OPINION: An accident out of complete curiosity

A funny thing happened in the movie world this weekend. Netflix, the streaming giant that’s been described as the death of movie theaters by balding purists like me, got a number one at the box office.

It’s unofficial, mostly because of Netflix’s policy of never reporting box office numbers, but theater chains’ estimates and news outlets like Deadline claim Netflix received their first box-office number one ever with “KPop Demon Hunters.” Somewhere around $18 million in box office sales beat out holdovers like “Weapons” and “Freakier Friday.”

There’s a lot of storylines here, such as a few things “KPop” does that’s playing to the cultural zeitgeist of our youngest generation. But first, a word about these screenings that are fascinating to me.

First off, Netflix released “KPop” on its platform in late June to an enviable success. So, two months later, seeing “KPop” perform at a number one is crazy. Obvious question, can’t people just watch the movie at home? Yes, but there’s a lot more to it.

“KPop Demon Hunters” is heavily influenced by K-pop, South Korea’s pop genre, which has gained increasing influence in the west, especially to the younger generation. You don’t have to know Blackpink or BTS or TWICE, but your kids might. I’ll try my best to explain.

K-pop’s presence in the west has fueled a certain type of fandom which is vitally rabid. There’s a strong commercial window for K-pop groups and their fanbases, which is why a lot of K-pop groups have begun writing English verses or parts of the choruses in English.

There’s an absurd amount of merch, sort of similar to how Taylor Swift has created her own type of sphere around how people consumer her music. Stan culture (the type of extreme fandom where liking something becomes a personality trait) was practically birthed from K-pop. To an outsider looking in, it’s a different world.

This level of loyalty has helped boost “KPop” (the movie, don’t get confused now) into one of Netflix’s most successful projects. The music of “KPop” has also been gifted a life of its own, including the ironic status on a few charts of having the movie’s fictional groups Huntr/x and Saja Boys be the highest-charting K-pop groups.

When bringing the animated musical to theaters, Netflix opted to market it as a “sing-a-long event,” putting lyrics on the screen during the songs.

It’s not too crazy, encouraging audience participation like this has been around for ages, but it’s received a sort of resurgence recently. Sing-a-longs have struck “Wicked” in recent memory, and I recall seeing some screenings of “A Minecraft Movie” for audience members who want to blurt out the “chicken jockey” or “I am Steve” memes.

The release strategy of “KPop” makes a lot of sense for a sing-a-long. The movie (and K-pop as a subsection of genre culture) is already based around concerts and fan interaction. Plus, with the movie being available at home, there’s time for audiences to grow attached to the soundtrack.

One more thing. “KPop” was developed by Sony Pictures for theaters, but was offloaded to streaming with Netflix. No strong reason was given for this, but the move screams of low confidence in their product. Sony will be kicking themselves now after the success, but the Netflix release strategy works in a pretty unique way.

Combine instantaneous sparks in the K-pop fanbase, known for their intense loyalty, with a release straight to the TVs in their homes and you get a never-before-seen success as fans have the space to rewatch the movie over and over.

“KPop” releasing in theaters is an extension of that loyalty, providing not just the best way to see their movie (biggest screen with the best sound) but a format which encourages fan participation.

Out of complete curiosity, I went to one of these screenings on Saturday. K-pop and Iowa might not mix, but I was fascinated when I saw the screening I chose was almost sold out.

I already saw the movie at home, though I thought it was mostly average and another sign that I was slipping from what my own generation likes. I took my seat (in the corner, I was definitely not going to be singing along) and had a much better time in the theater.

Most of the adults had a silent gentlemen’s agreement to let the kids sing this one. It was super cute, seeing kids sing along the best they could. One of them brought a light stick flashing all kinds of colors, just like they would to a real concert.

I’m cynical a lot with movies these days, but there’s an incredibly unique experience being in a room knowing everyone is here to actually enjoy what they’re watching. It doesn’t happen too often, especially with how fast pop culture moves.

I also enjoyed “KPop” a lot more on this go. I owe it to proper theater sound; good speakers just can’t be beat. I think there’s a lot of room for shorter musicals like “KPop,” even if their unique energy isn’t replicated.

The movie’s also exceptionally colorful (your uncle who hates dyed hair would have an aneurysm), refreshingly optimistic and notably goofy in a way that feels genuine, even if the K-pop industry is known for feeling manufactured. For a young kid, it’s prime for getting their attention and good enough to keep it.

I feel ridiculous, and maybe “KPop” simply annoyed me enough to loop around to being good, but I really did have a great time. Surrounded by optimism, a fun crowd, the biggest screen, the most colors, the loudest speakers, the booming-est bass; isn’t that the point of theaters? It’s strange Netflix was the one who did it. What a happy accident.