“A Fandom Phenomenon” — The Accepted Sexualization Of Male K-pop Idols

Author’s Note: This article is not intended to shame fans but to create a space for reflection. As a fan and cultural critic, I believe we can appreciate our idols and engage in fan culture while advocating for their safety and well-being.

---

In the global rise of Korean pop (K-pop), fan culture plays an undeniable role in shaping not only the music industry but also the public personas of idols. This is especially true for male idols, who are frequently placed under a hypersexualized lens — both by companies and fans. While much has been written about the sexualization of female idols, male idols are often left without the same level of public concern. This imbalance speaks to deeper issues within the fan economy, capitalism, and gendered expectations.

One group that exemplifies this shift is BTS. Though not the first K-pop boy group to gain international traction, their explosive global success in the 2010s helped cement the boy group as the face of modern K-pop, leading to large fanbases and constant presence in the public eye. As these boy groups continue to grow, so do the companies’ efforts to maintain that global status.

Generally, K-pop companies’ chosen method for maintaining a global audience is through ensuring their idols are “appealing” to the fans. In other words, they ensure that the fans are able to project their fantasies onto the idols, continuing their obsession and interest in the groups. This applies to all K-pop groups, regardless of gender or intended audience.

The absurdity of these methods becomes most clear when looking at girl groups. However, many fans fail to acknowledge the harm that comes to male K-pop idols due to companies sexualizing them. In fact, companies actively design choreography and concepts to heighten sexual appeal and garner fan attention.

As the K-pop industry grows, so does its reliance on fan-driven demand. While companies are responsible for placing young male idols in mature concepts, fan participation in shipping culture and the normalization of sexualized performances contribute to the cycle, making it an industry-wide issue rather than just corporate exploitation.

How Shipping Culture Fuels The Sexualization Of Male Idols

One aspect of fandom culture often associated with K-pop is shipping, but it is important to note that not all fans engage with shipping culture in the same way. For many, shipping is simply a fun and harmless way to imagine relationships, much like pairing fictional characters in books or TV shows.

In fact, some fans are very intentional about separating fiction from reality, engaging in non-sexual, platonic, or even humorous shipping that does not sexualize the idols involved. However, the ethical complexity emerges when the lines between fictional fantasy and real people blur.

Unlike anime or manga characters, K-pop idols are living individuals with limited privacy and often intense contractual obligations. When fan-created fantasies become indistinguishable from the public’s expectations or are actively encouraged by entertainment companies, it raises concerns around consent, mental health, and the commodification of identity.

Shipping is most commonly done in relation to boy groups as a way for women to express sexual agency, as South Korea is a notoriously patriarchal society where women have been sexually repressed.¹

By using ships between male K-pop idols as a catalyst, female K-pop fans can express themselves in ways previously rejected. They can project their own fantasies onto the idols they love, subsequently living through them. This phenomenon is one that arose with the boys love, or BL, genre, a Japanese manga genre referring to gay ships. In order for Japanese women to explore their sexual fantasies in a space free of judgment, the BL genre was formed and has since gained global attention.²

This opened the doors for sexual expression through fictional ships. The male characters in BL manga tend to break traditional heteronormative norms, allowing for fans to break free of societal pressure. This presents a single question: why have some fans begun shipping real people when there are thousands of fictional material regarding the genre at their disposal?

The answer is simple: the K-pop industry is a capitalistic one that will go to any length to make a profit, including the promotion of fanservice that encourages these ships. The popularity of BL throughout Asia is no secret, and while not every BL fan participates in idol shipping culture, there tends to be a thread between the two.

As a result, male idols are typically put in unofficial pairings encouraged by fans demanding these dynamics through streaming, purchases, and online engagement. During concerts, idols often display a level of affection toward one another that goes beyond simple friendly gestures.

Hugging, kissing, and constant physical closeness are just a few of the ways idols engage in fanservice. While there’s absolutely nothing wrong with showing affection, it’s evident that entertainment companies capitalize on these moments for their own benefit.

It is not uncommon for choreographies to include sensual, intimate moves between members that can be read as romantic or sexual. Doing this ensures that K-pop fans indulge in their fantasies even more so they continue to buy albums, merch, and stream videos/songs. This pattern of unchecked sexualization, rooted in gendered fan expectations and corporate marketing strategies, underscores the industry-wide normalization of male objectification.

“When Fantasy Becomes Harm” — The Dark Side Of Shipping & Fanservice In K-Pop

Now, this may seem harmless at first. After all, it’s just fans having fun with their fantasies. However, shipping in fandoms typically results in two concerning outcomes: the proliferation of pornographic fan works and the emergence of harmful psychological effects — intended or not. It is concerningly easy to find written or drawn porn of K-pop idols, including the underage members of the groups. It is now more unusual not to find inappropriate material related to idols.

Because companies have encouraged this behavior through the promotion of fanservice, more and more sexualized content has been put out. As boy group audiences grow, so do the fans that indulge in fanservice and take it too far. Both minors and adults are forced to deal with explicit fanfiction and art being made regularly, and while fanfiction can be easy to avoid, the fanart isn’t. Disturbing fanart drawn of them that can include sexual assault, gore, and graphic imagery in general, is out for anyone to see.

Additionally, the psychological effects brought on by shipping and fanservice can be deeply damaging. The pressure to maintain fan-fueled narratives can strain real-life relationships between idols, forcing them to constantly perform and uphold dynamics that may not reflect their true feelings.

It is not unusual for fans to fixate on a particular pairing, to the point where an idol is continually associated with whoever they’re most popularly shipped with. This often extends into solo promotions, where the idol can’t escape mentions of their “ship” — even when the other person isn’t involved at all.³

The weight of these expectations can lead to severe anxiety, as idols have to be hypersensitive to how they interact with one another. This can make every interaction extremely stressful because they are no longer able to interact casually without fans either being disappointed or reading into it too much.

BTS’s V spoke on the subject of shipping in 2021 during a Weverse live. During the live performance, he asked fans to suggest methods for falling asleep. One fan commented that he could “‘look at pictures of Jungkook oppa who you love.'”⁴ This statement was a direct reference to the popular fan ship “Taekook” that features both V and Jungkook of BTS. In response to the fans’ comment, V said to “‘come out of your imagination now, it’s not good there.'”⁵

V recognized the fan projecting their own fantasies onto him and shut down the thought. Through a single statement, he criticized fan shipping and labeled it as a fan’s “imagination” rather than something to be put into reality. He drew a clear line against shipping, illustrating how many K-pop idols probably feel regarding fan ships.

However, regardless of idols’ opinions, as companies continue to use fanservice as a way to draw in fan attention, fans will take it as a sign that their indulgent fantasies do no harm to idols. Similarly, the more fans demand fanservice, the more companies will encourage it. Shipping is innocent, but the exacerbation of it by companies through fanservice and the tendency for fans to cross the line and let their fantasies bleed into real life showcase how it can negatively impact idols, exposing them to graphic, invasive fan works and impacting their mental health.

Mature Concepts & Industry Influence — Who Is To Blame?

K-pop concepts are what set them apart from other players in the music industry. Each comeback provides a new vision for the music videos and group storyline. One of the most common concepts in K-pop boy groups is the “dark” concept.⁶ The dark concept is characterized as sexy, edgy, and mature; it is most synonymously compared with the girl group concept “girl crush” that emphasizes the same themes.

Numerous famous boy groups have participated in this concept, including EXO and BTS.⁷ This concept breaks away from the usual “cute” aesthetic that is often promoted within K-pop, offering something a bit more unconventional and refreshing. As a result, fans are naturally drawn to it. The deviation from the norm adds an edge that stands out in an industry saturated with polished, bubbly images — making it all the more captivating.

While in an ideal world, this type of concept would be reserved exclusively for boy groups made up entirely of adult members, that unfortunately isn’t always the reality. Companies show no hesitation when giving mature concepts to younger groups. A prime example of this is “FEVER” by ENHYPEN. Released in 2021 as a B-side for their album “BORDER : CARNIVAL,” “FEVER” tells the story of a passionate and obsessive love.⁸ This is emphasized within the lyrics:

"My body is burning up because of you / My heart thirsts because of you / Like a fever, fever, fever, fever / I want to embracе you / I want to embrace you"

While the lyrics are open to interpretation, their pairing with the music video and choreography makes the mature undertones unmistakable. Scenes of group members lying in bed align closely with the lyrics, and the choreography features distinctly sensual movements.

For example, the choreography emphasizes full-body movements. Body rolls are key moves throughout the choreography, and the viewers’ eyes are guided towards the members’ necks because they frequently roll their heads back.

While these types of moves are not inherently sexual, when pairing them with the lyrics that speak of “embracing” and “thirsting” for someone, the sexual undertones are heightened.¹⁰ Rather than them simply being motions to provide greater diversity within the choreography, they become a way to produce a sensual effect.

While this typically would not be an issue, it becomes especially troubling when members are underage, as it blurs ethical lines between performance and exploitation. In ENHYPEN’s case, their youngest member, Ni-Ki, was only 16 at the time of the song’s release. Mature concepts are meant to be portrayed by mature people, not young individuals who are more vulnerable to predatorial behavior from fans.

Despite this, the song was extremely well received; it nearly matched their title track music video for the album in views and fans, and they referred to it as “one of the most organic [K-]pop hit songs” they had seen in a while.¹¹ Others expressed similar praise for the song, disregarding the harmful implications within it.

FIRST OF ALL, THE CHOREOGRAPHY FOR FEVER IS INSANE. ENHYPEN CAN PULL OFF ANY CONCEPT BUT THEY SLAYED THIS ONE. THE WAY THEY VIBED WITH THE SONG, THEIR STAGE PRESENCE IS OVERFLOWING, THEIR GAZES ARE GREAT & THEIR VOCALS ARE IMMACULATE. HANDS DOWN, ENHA ARE REALLY AN AMAZING GROUP

— ️️closed (@iIyunie) May 20, 2021

The popularity of “FEVER” played a significant role in shaping ENHYPEN’s musical trajectory, influencing their later releases to carry similar themes of obsession and passion. And while all the members are now adults, that does not erase the reality that they were performing songs with mature themes and lyrics well before they had all reached legal age.

The majority of fans either overlooked or failed to recognize the inappropriate implications of having underage boys perform a song like “FEVER,” choosing instead to praise the release for its sound and style. On the other hand, those who didn’t share in the overwhelmingly positive reception often expressed feeling “awkward” or uncomfortable — specifically due to the age of the members at the time. Many of them felt isolated in their concerns, as if they were the only ones questioning the appropriateness of the concept.¹²

The company, HYBE, may have chosen the mature concept for ENHYPEN, but it was ultimately the majority of fans who encouraged it. It may not have been all of them, but enough did that it set a precedent for how fans would respond to mature themes in boy group songs in the future. As a result, rather than criticizing, many will see it more fit to support and let the cycle continue. The utilization of mature concepts within boy groups illustrates the unrestrained industry intent to objectify male idols, putting them in uncomfortable and harmful positions while using fandom demand as justification.

“Double Standards” — How Fans Respond Differently To Male And Female Idols

To say that male K-pop idols are the only ones experiencing such treatment would be a lie. All idols, no matter their sex or age, experience being sexualized at one point or another. However, fan reactions to each instance are strikingly different depending on whether the idol is a man or a woman.

A girl group that has made waves in the past couple of years is NewJeans, now known as NJZ after parting with their previous company and rebranding their image. Debuting in 2022, the group experienced incredible success with their debut releases. One of those releases was “Cookie.” Like “FEVER” by ENHYPEN, cookie showcases mature lyrics hidden behind vague themes. The English lyrics go as follows:

"Looking at my cookie / Yeah, the scent alone will make you see (Taste it) / You can’t stop at one bite with me"

Similar to ‘FEVER,’ the lyrics of ‘Cookie’ carry a double meaning — appearing innocent on the surface, yet potentially suggestive depending on interpretation. If you take them literally, they tell the story of baking cookies for someone you like. However, that doesn’t negate the fact that they can be interpreted as sexual due to how the language within the song was used.

The choreography wasn’t anything like that of “FEVER.” In fact, it was more playful in nature, fitting of the innocent interpretation of the song. However, it did little to mask the sexual undertones within the song. This is because even though the choreography wasn’t sensual, the lyrics were. For example, the song consistently referenced “scent,” “thirst,” and taking a “bite.”¹⁴

While on their own, they are innocent descriptions; when done in the manner shown above, the meaning switches to something more explicit. This is a fact many fans saw, and they expressed their outrage regarding the lyrics, especially since the group was comprised of mainly minors.

Fans were so vocal about the issue that their label, ADOR, had to release a detailed statement defending the lyrics. They stated that it was simply about baking cookies, and there was no underlying message.¹⁵ However, that had done little to change fan minds. Many fans continued to express concern about the song’s lyrics and the age of the group members, especially in light of ongoing controversies surrounding mistreatment within the company.

y’all taking people’s criticism on cookie’s lyrics as an attack on newjeans, y’all have it twisted. it’s CONCERN FOR THESE GIRLS. whoever approved of the lyrics and allowed them to sing is disgusting. people are worried, rightfully so esp after the accusations against their CEO

— ☻ ౨ৎ (@fearofkth) August 1, 2022

These concerns were amplified by the fact that the group members were still quite young, leading some to question whether they were being pushed into mature concepts before they were ready, both physically and emotionally.

This is something that happens all of the time within the K-pop industry. When girl groups release songs with sexualized lyrics or choreographies, fans are quick to express how inappropriate it is, especially if younger idols are involved.

However, the same cannot be said for male idols, as demonstrated in the case of Ni-Ki from ENHYPEN. Rather, a majority of fans have come to expect male idols to be sexualized. Concepts show this, as girl groups get “girl crush” while boy groups are referred to as “dark” because they are inherently expected to fulfil the role of sex appeal.

This contrast reveals how fan culture enforces different standards of ‘protection’ based on gender — protecting the innocence of girls while expecting boys to embody desirability. If we truly want equity for all idols, the conversation must broaden to address how we often unconsciously allow harm to go unchecked when it affects male performers.

While fans usually strive to support and protect their idols, double standards fueled by the subconscious acceptance of male idols as representations of sex appeal lead to boy groups not being given the same consideration as girl groups when sexualized.

“Toward An Ethical Fandom” — Rethinking Our Role In K-pop’s Future

While the majority of fans advocate for female idols, the sexualization of male idols often goes unnoticed or is overlooked. They are expected to exude sex appeal and perform mature songs and choreographies, so no one ever speaks up when they are sexualized. Companies recognize this and continue to put out mature content and encourage fan shipping through fanservice.

A large demographic of fans project their fantasies onto male idols, and it leads to inappropriate content being made. As long as this continues, the industry will never improve. Male idols shouldn’t be forced into inappropriate positions because it is what is expected of them, especially young male idols. Fans need to take a step back and think of whether or not mature concepts are worth the treatment male idols are meant to endure.

Both male and female idols are severely mistreated, but female idols have fans recognizing the positions they are put in and speaking out. On the other hand, male idols are rarely afforded the same protection. If fans want a healthier industry, change starts with awareness.

Ethical fan culture might include questioning the appeal of certain performances, choosing not to share explicit content of underage idols, and holding companies accountable for their marketing strategies. It could also mean amplifying voices within fandom that call out harmful norms and creating community standards around respectful engagement.

After all, fans are not powerless — they help shape the industry they love. Every action they take and word they speak means something, and it’s up to them to ensure that meaning is heard.

Footnotes

1. Baudinette, Thomas. “Idol Shipping Culture (Chapter 13) – the Cambridge Companion to K-Pop.” Cambridge Core, Cambridge University Press, 2 Mar. 2023. ↩︎
2. Kincaid, Chris. “Yaoi: History, Appeal, and Misconceptions.” Japan Powered, 23 May 2016. ↩︎
3. Kelsey. “Is Shipping the Ultimate Burden for Idols?” Seoulbeats, 28 Sept. 2013. ↩︎
4. “BTS’s V Had the Best Response to an Army Shipping Him with Fellow Member Jungkook.” Koreaboo, 29 Aug. 2021. ↩︎
5. “BTS’s V Had the Best Response to an Army Shipping Him with Fellow Member Jungkook.” Koreaboo, 29 Aug. 2021. ↩︎
6. “6 Iconic Kpop Dark Concepts – Who Does It Best and How to Do It Yourself.” Fashion Chingu, 16 July 2022. ↩︎
7. “6 Iconic Kpop Dark Concepts – Who Does It Best and How to Do It Yourself.” Fashion Chingu, 16 July 2022. ↩︎
8. “Enhypen: Fever.” IMDb, IMDb.com, 19 May 2021. ↩︎
9. Fever (English Translation) – Enhypen | Genius Lyrics, 2021. ↩︎
10. Fever (English Translation) – Enhypen | Genius Lyrics, 2021. ↩︎
11. “R/Kpopthoughts on Reddit: Fever by Enhypen Is Genuinely One of the Most ‘Organic’ (International) KPOP Hit Songs I Have Seen in a While…” Reddit, 2021. ↩︎
12. “R/Unpopularkpopopinions on Reddit: Enhyphen Is Too Young for the Fever Comeback.” Reddit, 2021. ↩︎
13. “Cookie (English Translation) – Newjeans | Genius Lyrics.” Genius, 2022.
    ↩︎
14. “Cookie (English Translation) – Newjeans | Genius Lyrics.” Genius, 2022. ↩︎
15. Kim, L. “Ador Gives Detailed Explanation Following Controversy over Newjeans’ Song ‘Cookie.’” Soompi, 27 Aug. 2022. ↩︎