At the 76th Berlin International Film Festival (running from Feb. 12-22, 2026), while acclaimed German filmmaker Wim Wenders holds the fort as the Jury President, South Korean cinema is sneaking into the Berlinale’s halls with both the confidence of a seasoned auteur and the grit of a rising star. Beyond the mainstream buzz, South Korean directors are spread across the slate, with everything from haunting historical dramas to quirky meta-narratives. Whether it’s filmmaker Hong Sang-soo once again feeling right at home in Berlin or emerging indie voices making waves, here are the Korean films worth checking out at the 2026 Berlinale.

My Name (Chung Ji-young)

Director Chung Ji-young enters the festival’s Forum section, famous for experimental and brave filmmaking, with a movie that’s already being heaped with praises. The winner of the Jeju 4·3 Peace Foundation Scenario Grand Prize, it stars the incredible Yeom Hye-ran as a mother caught in a tug-of-war over her 18-year-old son’s identity while trying to protect his name — and his future. It unfolds against the backdrop of the immensely violent history of the Jeju 4.3 incident in 1948, a communist-led uprising on Jeju Island that was met with extreme government repression and led to mass civilian killings. My Name isn’t your light popcorn flick, but a deeply emotional journey that talks about long-held silences, generational trauma, and finding healing in the wreckage of history.

The Day She Returns (Hong Sangsoo)

It wouldn’t be a Berlinale without the festival’s favorite “prolific auteur,” Hong Sangsoo. Returning to the Panorama section after a string of Silver Bear wins in previous years, Hong brings The Day She Returns. It follows an actress (played by Song Sun-mi) who takes a break from her career after getting married, only to fall right back into the madness of an acting class. The film is part comedy, part existential crisis about the profession itself. It’s meta, funny, and likely going to leave you analyzing your own life choices.

En Route To (Yoo Jae-in)

Marking a bold international debut in the Generation 14plus section, this film doesn’t shy away from the messy parts of life. Yun-ji, a pregnant student, finds herself totally alone after her teacher vanishes. Desperate to pay for an abortion, she makes the heartbreaking decision to steal her roommate’s savings. It’s an unfiltered look at bodily autonomy, social isolation, and the brutal choices young people are forced to make, promising to bring a fresh, slightly uncomfortable, but necessary voice to the Berlinale.

Speedy! (Oh Ji-in)

This Korean short film has secured a spot in the Generation Kplus competition. As the title and section suggest, it’s a quick, punchy, and likely very visual story designed to resonate with younger audiences. Speedy! revolves around a young girl who wants to be the fastest reader, just like the local cool kid in 1989 Seoul, but in trying to be so, she realizes the whole “prodigy” thing is tougher than she thought. The movie’s inclusion in the international premiere lineup suggests it’s got that signature creativity that Korean shorts are famous for.

For the complete 2026 schedule and screening times, visit the Official Berlinale Program here.

The post RSI Recommends: Must-Watch Korean Films at the Berlin International Film Festival 2026 appeared first on Rolling Stone India.

Forget the capes and spandex because the best K-drama “superheroes” are often everyday people wrestling with extraordinary gifts. Unlike their Western counterparts, who usually punch their way through problems, these characters personify the messy, compelling interplay between power and the very human struggle to control it. The real struggle, though, is watching them deal with the fear of hurting someone, the heavy emotional burden of their powers, and just being plain exhausted from trying to live a normal life while totally bending the rules of science. They feel real and exposed, like a reminder that being a true hero isn’t about being invincible. It’s about surviving the personal battle with the amazing (and crazy) power you have inside. 

The Burden of the Gift

In K-dramas, some heroes don’t have super-strength; they have super-sensitivity, which is often more of a burden than a blessing. In I Hear Your Voice (2013), Park Soo-ha’s (Lee Jong-suk) ability to read minds makes him a “superhero” in the courtroom, but a victim in the real world. His ability isn’t a strategic advantage; it’s a mix of human malice and hidden insecurities that made him grow up too quickly. The constant noise of human dishonesty is a sensory overload that makes him profoundly lonely, while his power makes him a target for a vengeful killer, proving that knowing the truth doesn’t always make you safe.

It’s a similar story in He Is Psychometric (2019). Just like Soo-ha, Lee Ahn (GOT7’s Jinyoung) can see the past just by touching someone or something. The problem is he can’t really control his power, which turns him into a total loner. He can’t even hold hands without being hit by a wave of someone else’s memories. His vulnerability is his inability to connect with people without the “filter” of his power, and his touch-based visions are a curse of unwanted intimacy, revealing the darkest secrets of those he loves.

These characters are essentially vulnerable because they cannot “turn off” the world. Their abilities are a breach of their own boundaries, proving that knowing everything or being extraordinary is often the quickest way to lose your peace of mind.

The Physicality of Vulnerability

Strong Girl Do Bong-soon (2017) went against the grain by linking morality to power. Bong-soon (Park Bo-young) is very strong, but she is afraid of losing that strength if she uses it for selfish reasons or hurts someone innocent. This makes her feel tense all the time because she has to check her morals and ego before every punch she throws. Her “weakness” is her conscience, and her “vulnerability” is her strong desire to be “delicate” for the man she loves. This shows the classic K-drama struggle between who she really is and what society expects of her.

Likewise, the “Counters” in The Uncanny Counter (2020–2025) are literally dead-adjacent; they only have power because they are in a coma or on the brink of death, literally given a second lease on life in exchange for hunting demons. Their vulnerability is their mortality: if they break the rules of their “Yung” (the line between this world and the next) partners, they lose their second chance at life. This team-up is driven by shared grief and the collective trauma of being outcasts, with their vulnerability acting as a ticking clock that makes every attack a gamble with their existence.

On the other hand, the 2023 megahit Moving took a visceral approach. Healing factors and flights aren’t used for flashy battles in this drama adaptation of Kang Full’s super-successful webtoon of the same name; they are used to endure torture and protect one’s family. Here, the weakness lies in the role of parents. The “super” parents are terrified, not for their own lives, but that their “super” children will inherit their “curse” of being hunted by the state. So, the vulnerability, again, isn’t just physical; it’s the desperate need of parents to hide their children’s gifts so they can lead a “normal” life. Their greatest strength, their love for their family, is also used as a leverage chip by those in power.

The Next Chapter: Economic Heroism

As we look at the latest sensation in K-drama superheroes, Cashero (2025), we see a hero whose strength is proportional to how much cash he has. The show makes the fight between “power and vulnerability” real. Kang Sang-woong’s (Lee Jun-ho of 2PM) strength depends entirely on the amount of cash he carries. To be a hero, he must literally bankrupt himself. It’s a brilliant but cynical metaphor for modern life. His power is based on actual capital, but his weakness comes from financial vulnerability and his bank account, a deeply relatable modern anxiety. The K-drama brilliantly transforms the superhero genre into a critique of late-stage capitalism — you can save the world, but only if you can afford the bill.

Simply put, K-drama superheroes aren’t interesting because they can fly or catch bullets; they are interesting because they still have to face the NIS, the local bully, or an empty bank account. They bleed, they go into debt, and they cry over cold noodles. And by 2026, the genre has mastered this “interplay”—reminding us that true heroism isn’t the absence of vulnerability, but the choice to act even when your power makes you more exposed than ever.

The post Heroes with a Hitch: How K-Drama Superheroes Rewrite the Western Trope appeared first on Rolling Stone India.

With an acting legacy spanning hits like Empress Ki (2013–2014), Healer (2014–2015), The K2 (2016), Suspicious Partner (2017), and The Worst of Evil (2023), or his most recent, The Manipulated (2025), one of our top picks in K-dramas of 2025, Ji Chang-wook is a Hallyu mainstay whose career has been consistently shaped by nuanced performances. While playing a romantic hero may be his strongest suit, he’s as good a swashbuckling action hero as he is in a variety of other roles. And Ji shows no signs of slowing down, with a slate of upcoming projects already generating interest. Here’s the lowdown.

One of the most hyped titles on the list has to be Scandals. It’s an epic saga of obsession and messy consequences, reimagining the 2003 hit Untold Scandal, which was a massive box-office hit in South Korea at the time. Set against the backdrop of the Joseon era, the film is a thrilling romantic drama centred around the elite. Directed by E J-yong and starring heavyweights like Bae Yong-joon and Jeon Do-yeon, it’s reminiscent of the classic 1782 French novel Dangerous Liaisons (Dangerous Liaisons in English).

The upcoming K-drama takes place in the structured and unforgiving world of Confucian high society, starring Son Ye-jin as the poised Lady Cho and Ji Chang-wook as Cho Won, a wealthy playboy who thrives on breaking the rules. They hatch a plan to play emotional chess, using others as pawns for their own gain and flouting societal expectations. However, their little game blows up when they meet Hui-yeon (Nana), a young widow, and what starts as a calculated bet quickly spirals into a messy web of real feelings and complicated drama. The series will be available for streaming on Netflix, with the release date yet to be announced.

The next title has Ji Chang-wook teaming up with legendary actress Jun Ji-hyun for the 2026 apocalyptic thriller Gunche (tentatively titled Colony). With visionary director Yeon Sang-ho at the helm, this project is already shaping up to be a major hit, a “culmination” of Yeon’s cinematic universe that potentially draws on threads from hits like Train to Busan (2016) and Peninsula (2020). The plot feels like a high-stakes mix of Happiness (2021) and Sweet Home (2020 – 2024), centering on a group of people trapped in a building while a mysterious virus transforms their neighbors into terrifying creatures.

What makes this a must-watch, though, is the powerhouse cast. It marks the long-awaited big-screen return of Hallyu queen Jun Ji-hyun — her first film since 2015’s Assassination — alongside Ji Chang-wook and a stacked ensemble including Koo Kyo-hwan and Shin Hyun-been. With filming already underway, fans are eager to see if this “diamond in the rough” will become the next big thing in the K-horror universe.

The excitement continues with Ji Chang-wook and Japanese star Mio Imada teaming up for this new cross-cultural romance, Merry Berry Love. A collaboration between CJ ENM, Nippon TV, and Disney+, the story follows Lee Yoo-bin (Ji), a Korean man who moves to a quiet Japanese island for a fresh start after a career slump. There, he hits it off with Karin (Mio), even though he doesn’t speak Japanese. Expect laughs and awkward “lost in translation” moments as these two navigate a major culture shock while falling for each other.

Both leads are excited about the project, with Ji Chang-wook admitting that filming in Japan has been a long-time dream. And although he’s a bit nervous about the new territory, he’s fully prepped and ready to dive into the character. Mio Imada, a self-proclaimed K-rom-com fan, is equally stoked to live out her K-drama dreams and believes the heart of the show is that love is a universal language, which makes it so relatable. Merry Berry Love will stream on Disney+, with the release date expected to be announced soon.

The post Ji Chang-wook: What’s Next for the Hallyu Star appeared first on Rolling Stone India.

After nearly four years of military service hiatus and a lifetime of anticipation, BTS is officially back. Together again, they are unveiling new music this March that marks the revival of a worldwide sensation. But beyond the music, they’ve also unveiled a new BTS logo, with their latest “Three Red Circles” drawing widespread attention and sparking new fan theories.

It all started on Dec. 31, 2025, when BTS’s gold membership fans received a New Year’s postcard featuring a brand-new logo with three distinct red circles. Beneath them was a date, now etched into every fan’s calendar: March 20, 2026, the release date for their upcoming album.

If you’ve been following the K-pop scene or the global music industry at large over the last decade, you know that BTS has evolved from a boy band to a cultural phenomenon. Having grown up alongside their fans, the ARMY, their journey from “Bulletproof Boy Scouts” to “Beyond the Scene” perfectly captures the essence of an evolving brand identity. Every iteration of their logo has been a visual diary, a declaration of a new era and message, and a deeper connection with their audience. From the rugged detail of a bulletproof vest to the sleek, symbolic imagery of 2026, here’s how the Bangtan identity has shifted through the years.

2013–2016: The Bulletproof Era

Back when they released their debut album 2 Cool 4 Skool, BTS were underdogs with a serious message, using their music to speak about the pressures of their generation. And their old-school bulletproof vest logo perfectly captured this early grind. It was cluttered and rough around the edges, featuring a tactical vest flanked by a grenade, lightning bolts, and sharp rays. A visual manifestation of “Bangtan Sonyeondan” (Bulletproof Boy Scouts), it underlined the fire and power of their mission: to shield themselves and their generation from the bullets of social prejudice, scrutiny, criticism, and expectations. Perhaps the logo was less about branding and more about rebellion, almost like visual armor against a world filled with judgment. It screamed attitude, just like their music at the time.

2016-2017: The Wings Era

In this era, BTS ditched the bulletproof vest look for a more abstract design featuring four distinct circles, each with its own texture and mapped to songs from their Wings album. Far from random, the shapes represented the individual members, which changed and connected through the era’s iconic short films. For example, Jungkook’s circle from Begin eventually connected with RM’s circle from Reflection, just like Suga’s circle did with Jimin’s. Hermann Hesse’s novel Demian heavily inspired the design, reflecting themes of temptation, growing up, and lost innocence. The logo changed again slightly when the repackaged version of You Never Walk Alone was released in 2017, with the circles morphing into a fancy navy blue knot to signify their departure from the “Bulletproof Boy Scouts” to a more refined “Beyond the Scene” identity.

2017: The Doors—Beyond the Scene

Then came the significant rebrand in the summer of 2017, when BTS expanded its name to also signify “Beyond the Scene” and introduced a sleek, minimalist logo featuring two black trapezoids that resembled half-open doors. The design represented a meeting point between BTS and ARMY, symbolizing solidarity, progress, and the exploration of new horizons. Additionally, it evoked their origins, remaining true to the protective spirit embodied in their “bulletproof vest” logo.

2022: The Proof Period

The Proof anthology era acted as a bridge. While the 2017 “doors” remained the official brand identity, the Proof logo — a blocky, metallic typography — cemented their purpose. It was a visual anchor during their solo chapter, reminding everyone that their history was bulletproof even as they stepped into separate rooms for a while.

2026: The Comeback

Now that we’ve reached the 2026 comeback, the branding has shifted once more. To signal their fresh start after military discharge, BTS reset their digital presence and introduced a new visual language for their fifth studio album. Recent postcards sent to ARMY gold members and social media updates feature the new logo, described as vibrating waves of sound and harmonics. The design uses symbols like ⊙⊝⊜, with fan theories flying left and right, decoding the new logo as symbols of music, journey, and harmony, marked by a shift to red. This era is about resonance; after years of individual growth, the seven members are syncing together again to create a unified sound.

The post Decoding BTS’s Comeback: The Evolution of Their Iconic Logo appeared first on Rolling Stone India.

India’s K-pop explosion shows no signs of slowing down. What probably began with a BTS, Blackpink or EXO track in a cybercafé has now evolved into a full-blown cultural remix, sweeping across dorm rooms, school corridors and midnight bus rides nationwide. Fans are swapping lyrics, staging campus flash mobs and dreaming of seeing their idols perform live on home turf.  

In the 2025 Global Hallyu Survey (based on 2024 data), India recorded the third-highest affinity towards K-content globally at 84.5 percent, after the Philippines and Indonesia, according to the Financial Express. And at roughly 185 million users, India’s K‑pop streaming numbers are a beast in themselves. In fact, when Korean entertainment giant Hybe, the agency behind K-pop supergroup BTS, recently rolled out its Indian arm in Mumbai, they said India’s streaming market is the second‑largest in the world, and “the perfect market to implement our growth strategy,” especially given the “remarkable rise of K‑pop in India.” Not to be outdone, K-pop icon G‑Dragon’s agency Galaxy Corp. is reportedly scouting the subcontinent and plans to open an Indian branch by early next year. 

The influence of K-pop has also trickled down into fashion, food, beauty, language and everyday culture. Korean restaurants, beauty aisles and language classes are booming, with Korean Culture Centre (KCC) registrations jumping from 814 in 2020 to 4,680 in 2021, while KCCI-supported school programs reported a rising trend from 1,535 enrolments in 2023 to 2,572 in 2024.  

Yet, despite all this frenzy, the dream of a full-scale K-pop festival in India remains frustratingly out of reach. Physical festivals, the beating heart of the K-pop experience, keep getting stuck in a stuttering loop. Online, the craze is deafening, but live K-pop events on Indian ground remain a shaky, under‑cooked affair. It’s a crazy catch-22: everyone’s hyped, and the hype is off the charts, but the practical side just can’t keep up. 

The Infrastructural Choke Point 

India’s live‑event scene is unarguably on the rise — estimates based on a joint report by the Federation of Indian Chambers of Commerce & Industry (FICCI) and Ernst & Young (EY) say it’s expected to steadily grow from ₹88 billion in 2023 to a whopping ₹143 billion by 2026. It’s an exciting time for the concert economy in theory, but on ground, the country’s sheer scale and diversity can turn any big‑ticket festival into a Herculean puzzle. Outside the usual suspects — Delhi, Mumbai, and Bangalore — there are barely any venues that can handle the volume of sound, lighting, security, and crowd‑control gear that a world-class concert demands.  

Nikita Engheepi, a pioneer of India’s K-pop concert scene and Co-Founder of Pink Box Entertainment (a premier K-pop event agency) and Namaste Hallyu (Korean media website), says, “India has pulled off big concerts, but we don’t yet have enough venues for a country this massive. With faster permissions and more mid‑to‑large spaces, K-pop events could scale instantly. The demand is already huge, but the ecosystem just needs to catch up.”  

The ground reality of staging a K-pop show is that the whole production often has to be airlifted in, which spikes costs and makes organisers think twice. Jason Manners, CEO of Rockski and Festival Promoter of Shillong’s Cherry Blossom Festival, highlights, “Logistical and financial constraints are killing [these experiences]. Flying in international artists is expensive, and sponsors are hard to come by. India’s festival infrastructure isn’t exactly top-notch either.” The result is that fans are left scrolling through livestreams while the live experience remains just beyond our grasp. 

The market is still finding its feet. Most big domestic events happen in open-air spaces that aren’t actually designed for concerts and end up running short on creature comforts. Take the case of the Bryan Adams gig last year in Mumbai, where just three bathrooms were available to accommodate a thousand attendees, resulting in a spectacular screw-up. A bigger challenge is technical flexibility: adjustable decks, elaborate rigging, and premium audiovisual setups aren’t always easily available, so delivering the high-octane spectacle K-pop fans expect is a logistical nightmare. Traffic jams, unsafe parking spots, and insufficient safety precautions make the situation more difficult. Popular Indian singer and actor Diljit Dosanjh even called out some of these inadequacies during his December 2024 “Dil-Luminati” tour, saying there isn’t enough infrastructure to support live shows in India and urging authorities to act. His remarks definitely stirred the pot — some called him out for being a bit too harsh, given the success of Coldplay’s 2025 gigs, while others agreed he had a valid point about the urgent need for better venues. Bottom line: when you’re booking a big, international concert or music festival, the whole setup has to meet global standards. 
 
Sukanya Bandopadhyay, a longtime K-pop enthusiast, sums it up: “Korean entertainment companies work with a level of structure and predictability. They look for venues that can support heavy production, organizers who understand the pace of Korean concert routines, and a local ecosystem that can handle a crowd without losing control. India has the enthusiasm, no doubt, but the infrastructure is still catching up.” She points out how events like the K-Town Festival made that painfully clear—long lines, patchy communication, delays, and a sense that organizers underestimated what the audience needed. “For fans who’ve seen how Korean concerts run, even through videos, the difference was obvious,” she states. “And for Korean agencies watching from afar, these lapses don’t inspire confidence.” The broader issue is that India still lacks enough mid-sized, technically consistent venues. A K-pop show isn’t just a musical performance; it’s a tightly choreographed production with lighting cues, live screens, sound precision, and safety checks. Without that baseline, it becomes hard for international acts to commit and even harder for festivals to grow into something stable, she adds. 

The Economic Equation 

The economics of pulling off a K-pop show in India are a tough equation. K-pop has established itself as a global brand with a premium price tag, and that premium shows up the moment you start ticketing a concert. Bringing A-listers to the country means shelling out massive performance fees, flying in an entourage of dozens, and hiring state-of-the-art audiovisual setups that most Indian venues simply don’t have. Against a still-developing live event market, those costs push ticket prices into a range that easily outprices a big chunk of the young, passionate fanbase that fuels the hype. 

The primary hurdle, whispered in back-room meetings, is plain old financial viability.  Even a single established act can feel like an astronomical undertaking: artist fees that sit firmly in the big-league bracket, complex logistics for travel and security, and technical riders that demand gear you can’t just rent from the local shop.   

“Too often, ticket prices here make promises the event can’t keep,” Bandopadhyay notes. “Fans are willing to spend, but not to be shortchanged. When organisers charge global rates and deliver shaky execution, the devotion they rely on starts to feel exploited rather than celebrated.” The result is a tightrope walk between affordability and breaking even, and, more often than not, the rope snaps before the show even starts. 

Production costs pile up on top of the artist fees, which pushes the budget north of what a typical Indian festival spends. Venue scarcity doesn’t help either: India has few globally compliant arenas, so organizers end up converting stadiums or hiring makeshift spaces, then pouring money into extra infrastructure—public transport links, parking, toilets, waste management— just to make the venue work.  Plus, licensing is a bureaucratic maze, with over ten separate permissions required, from venue booking to security clearances. The whole process tends to be lengthy, unpredictable, and, at times, opaque, and an added 18 percent GST (Goods and Services Tax) squeezes margins even further.  

As Ashish Hemrajani, Co-founder & CEO of BookMyShow, told The Economic Times: We need a clear policy at the national and state level that makes it easier to host events, keeps people safe, maintains decent sanitation, and gets the logistics sorted. Audience spending power is another weak link. While India boasts a massive young population that lives for K-pop, the average fan’s disposable income is modest compared to fans in Japan, South Korea or even Southeast Asia. Ticket prices for a K-pop festival can start at ₹2,499 (as seen with the K-Wave Festival 2024 featuring Hyolyn and Suho of EXO) and keep spiking upwards, shutting out many would-be concertgoers. According to a Reddit user, going to a concert in India has become a status flex — tickets are sky-high because venues are scarce and the rich can overspend without hesitation. The top 0.1 percent hold about 40 percent of the wealth, so expensive tickets barely make a dent for them. That elite spending sets the bar, pushing K-pop concert and festival tickets far beyond what most fans can afford.  

But there’s a bigger narrative here: the contrast highlights the evolving dynamics of K-pop fandom in India. As Engheepi puts into perspective, “When we started in 2015, the real challenge wasn’t logistics, it was proving that India even had a K-pop fandom and getting fans used to paid experiences like fan meets and hi-touch sessions. Our goal has always been to put Indian fans on the map and grow the market.”

When you look at the actual shows that have happened, it’s a patchwork of trial runs. Jackson Wang (GOT7) performed at Lollapalooza Mumbai in 2023, but India wasn’t on his “Magic Man World Tour” at the time. KARD toured pre-2020, and Kim Woojin (ex-Stray Kids) played smaller venues. In late 2024, a slate of names—Suho, Hyolyn, Chen and Xiumin of EXO, B.I, and Bambam of GOT7—played at the K-Wave and K-Town festivals. This year, Taemin (of Shinee), Super Junior-D&E, Yedam, Jey, and OneWe headlined K-Town 3.0, and Everglow was one of the headline acts for the Orchid Music Festival in Sikkim. These multi-artist festivals are a safer bet, a way to spread the risk while still feeding the frenzy. Yet the underlying pattern remains: fans can’t afford the high prices, so big artists often stay away, and without regular big-ticket shows, the market never builds the concert culture that could justify those prices. And until that loop breaks, K-pop concerts in India will stay rare.  

An Indian event organizer, who requested anonymity to protect his privacy, reiterates, “Everyone talks about demand, but nobody mentions that the real barrier is affordability. We’d love to keep tickets at ₹2k or maybe even less, but with the exchange rate and the artists’ fees, we’re stuck between a rock and a hard place. At the end of the day, it’s a vicious cycle: high costs mean high ticket prices, and low attendance from the youth who drive the K-pop craze. Until the cost structure changes, these festivals will stay niche, no matter how loud the fans may scream.”

A Narrative of Unmet Demand 

The result? A passionate community that’s forced to live the love second-hand. Instead of waiting for a marquee name to show up, they’ve taken matters into their own hands, setting up meet‑ups, fan projects, and streaming bashes that turn the digital space into a lively subculture of its own to keep the hype alive. As Tanvi Lahiri, a member of a Kolkata-based K-pop fan club, says, “Honestly, we can’t wait for a big city K-pop festival — so we just create our own mini-fest every month. We rent a tiny community hall, set up LED lights, and stream the latest MVs together, celebrating our biases’ birthdays, and engaging in fun karaoke while we snack on our favorite ramen and kimbap. It’s our way of living our K-pop dreams without breaking the bank.” 

Elaborating on this narrative that speaks to the unmet demands of K-pop fans in India, Jason Manners points out that “language barrier, low buying power, and lack of emotional connection with the content” are some of the main reasons behind the struggle. He asserts, “Indian fans aren’t used to the fandom marketing strategies that work in other countries, and K-pop companies don’t have a strong presence here.” This one-sentence rundown sums up a whole lot of friction: language, money, and a feeling that the music is still just out of reach for most fans. There’s an eager audience, but the industry hasn’t quite figured out how to tap into this market effectively just yet. 

“To make K-pop festivals work, we need to get creative.” Manners theorizes and adds that collaborating with local artists, offering affordable tickets, and providing English subtitles or dubbing are key. “Most importantly, K-pop companies need to establish a presence in India and engage with fans.” In other words, the formula is part local flavor, part smart pricing, and a lot of genuine fan interaction. Having worked with artists like Kim Woojin, Alexa, Pixy, Lucas, and Everglow in cities ranging from Shillong to Bangkok, Sikkim, Delhi and Mizoram, Manners states, “I’ve seen firsthand what works and what doesn’t,” stressing that smaller K-pop companies are more likely to succeed here because “they’re willing to adapt and lower prices. Online events or streaming could also help reach a broader audience.” 

It makes sense that the struggle is a clash between a global cultural phenomenon and the gritty realities of Indian logistics, economics, and bureaucracy, causing the dream of a massive K-pop festival in India to remain a far-fetched one for millions of fans. At the same time, things are definitely shifting, with more and more K-pop idols and their agencies showing interest in India as a potential stop for performance and marketing. “Now, the landscape is unrecognisable,” admits Engheepi. “Everyone can see K-pop’s impact here, and watching Indian fans finally get the recognition they deserve has been incredibly fulfilling.”

The momentum is building with Jung Kook’s (of BTS) highly anticipated exhibition, Golden: The Moments, finally arriving in India — a clear signal that the exhibition is a trial run for larger events. Hybe’s statement underscores the strategic angle: “Our goal is to build meaningful cultural bridges, connecting our global artists with Indian fans, where the voices of India become global stories.” 

For now, however, until the big stage arrives, the fans are keeping the party alive in community halls, Discord channels, and cramped living rooms – proof that when the big stage is out of reach, the subculture simply builds its own. 

The post The Struggling Beat of K-Pop Festivals in India appeared first on Rolling Stone India.

2026 is a year of heavy hitters and legends reclaiming their thrones in K-pop. And it’s an unbelievable lineup at that. BTS is finally dropping their fifth studio album. And it’s going to be a culture-shifting moment. Not to be outdone, EXO is coming through with their eighth full-length album, Reverxe. And for the Blinks?  Blackpink is back “in your area” with their third studio album.

But the nostalgia doesn’t stop here.  BigBang is celebrating a massive two decades in the game, and they’re doing it on one of the world’s biggest stages at Coachella. Meanwhile, if you’re into the more cinematic side of K-pop, Enhypen is pulling us into a whole new universe, exploring the dark fantasy vibes of their upcoming album, The Sin: Vanish.

If anything, it’s going to be the year when K-pop takes over our lives again. Let’s break down the comebacks you absolutely cannot miss in 2026.

BTS

The countdown to BTS’s comeback begins with their fifth studio album, arriving on March 20, 2026. The announcement was made on Weverse, accompanied by special handwritten letters from each member to their fans in the Weverse community. The 14-track record promises to be a showcase of personal growth and gratitude for fans, with all members involved in the creative process. The release comes with an extensive promotional world tour, with over 65 stops globally, potentially including India; the exact details are expected to be announced on Jan. 14, 2026. Pre-orders for the album open on Jan. 16, 2026, accompanied by teaser images and promotional schedules.

EXO

EXO-Ls and K-pop stans are hyped about EXO’s new offering, Reverxe, their eighth full-length album, following Exist in 2023, releasing on January 19, 2026. But this time around, the group includes only six members: Suho, Chanyeol, D.O., Kai, Sehun, and Lay, as Chen, Baekhyun, and Xiumin won’t be participating due to contract issues with SM Entertainment. The album boasts nine tracks, including the pre-release single “I’m Home.” A world tour is likely in the works, and the fifth season of their reality show, Travel the World on a Ladder, will play a key role in promoting the album.

Blackpink

While Blackpink is on the verge of wrapping up their Deadline World Tour, the K-pop superstars are gearing up for their comeback with their third studio album set to drop in early 2026, as confirmed by YG Entertainment. It marks 10 years since the quartet’s debut in 2016 and will be their first physical release since Born Pink (2022), featuring the lead single “Jump,” which dropped in July 2025 and became one of our top K-pop songs of 2025. Reportedly, in its final stages, band member Lisa recently hinted at the new music, courtesy of an InMusic report, saying, “There’s something for you guys coming, but I won’t say anything because you know I hate spoilers.” Meanwhile, you can catch the Deadline tour’s final shows in Hong Kong (Jan. 24-25, 2026).

BigBang

The K-pop icons will be celebrating their 20th anniversary in style at Coachella on April 12 and 19, 2026, with G-Dragon, Taeyang, and Daesung taking the stage — their first major group performance since 2022’s “Still Life.” The Coachella performance is part of their year-long celebration. According to Korea JoongAng Daily, the band is also working on a new album, their first since 2016’s Made and leaving YG Entertainment.

Enhypen

Enhypen’s forbidden love saga continues with their seventh mini-album, The Sin: Vanish, launching a fresh narrative arc in the dark-fantasy universe. The album picks up where Desire: Unleash left off, with lovers forced into exile to keep their love alive amidst a vampire society’s rigid rules. The Sin: Vanish follows a vampire’s existential crisis — if he should cross the line for the one he loves — and hints at Enhypen’s signature blend of styles, rich vocals, a solid sound design, and darker textures. The EP drops on Jan. 16, 2026, at 2 PM KST (12 AM ET) digitally and physically.

The post The Biggest K-Pop Comebacks of 2026: BTS, EXO, and More appeared first on Rolling Stone India.

Joohoney returns with “Sting,” a new single that samples an iconic line from boxing legend Muhammad Ali. The pop-hip-hop track, fresh off his second mini-album, Insanity, is Joohoney’s statement of creative defiance and represents a creative rebirth for the Monsta X member. It’s built around the idea of embracing one’s inner madness to truly shine — something that also resonates with Joohoney’s own trajectory and is a more meaningful look into his personal musical identity, free from the constraints of a group dynamic.

The song rides on the rhythm of Ali’s legendary mantra: “I’m gonna float like a butterfly, sting like a bee.” Joohoney internalizes it; he takes Ali’s iconic words and makes them his own, infusing them into a narrative of self-discovery, artistic revival, embracing contradictions, finding strength in vulnerability, and transforming pain into light.

The lyrics, “I think dream is a marathon/Sweating on my body still not enough/I’m searching for who I am, what kind of character/The ego of passion that lit the fire…” express that determination. As a self-producing artist involved in the songwriting, composition, and production of the track, Joohoney is constantly chasing his vision, and Ali’s voice sample adds a layer of depth and history while also grounding the song in a larger-than-life spirit.

The music video is a vivid portrayal of the same, where gritty junk settings match a high-energy performance. The camera frames everything from Joohoney’s power moves to his rebellious gaze with a level of intensity that plays out like a portrait of a fearless artist, not shying away from peeling back the layers of the person he is. Images used in the video, like the Chinese character for light (光) and the bee motif, add to the narrative, while an intriguing chess sequence, where Joohoney is playing against himself in the mirror reflect how he’s battling himself as much as anything or anybody else.

“Sting” is pretty immersive, making the listener feel as if they’re right there in the ring, feeling the heat of the moment with the artist amidst the sweat, grit, and roar of the crowd. The production is heavy with percussive elements that push the song forward, highlighting the instinctive sides of Joohoney’s creative process in sync.

Both as a member of Monsta X as well as a solo artist, Joohoney has been bringing his edge to K-pop, one powerful verse at a time, fusing the unrestrained energy of hip-hop with a surprising emotional depth.

Often blending trap flows, catchy melodies, and hooks with a lot of attitude, he’s like a scientist in a studio, experimenting with diverse sounds that feel reminiscent of mixtapes like Out of Control, Psyche, and a bunch of hits he has produced for Monsta X and other groups. And with “Sting,” Joohoney takes things up a notch, unleashing sharper bars and delivering the punch, just like Ali.

The post Joohoney Drops Sharper Bars with ‘Sting’ appeared first on Rolling Stone India.

2026 is here, and so are the K-dramas. January’s lineup is packed with variety: we have time travel, soul swaps, gumiho transformations, and undercover missions all happening this month. Oh, and there’s a lot of heartwarming romance in the mix as well. Here’s a closer look at the stories set to define January 2026’s K-Drama slate.

The Judge Returns

A legal drama that’s as much fantasy as it is action, revenge is simply one of the key characters in this intriguing drama. Anchored by a stellar cast featuring Ji Sung, Park Hee-soon, and Won Jin-ah, the series bring to life the complex journey of Judge Lee Han-young (Ji Sung), a man mired in corruption until a simple incident flips the script completely. Sent back a decade in time and given a chance to make amends and rewrite his mistakes, he wakes up determined to serve justice — this time, on fair terms.

Release Date – Jan. 2, 2026

To My Beloved Thief

Set in Joseon, Hong Eun-jo (Nam Ji-hyun) is a caring, compassionate noblewoman skilled in the art of medicine. But secretly, she’s the enigmatic Hong Gil-dong, a thief with a heart of gold who steals from the rich to help the needy. On the other side, Prince Yi Yeol (Moon Sang-min) is hot on her trail to catch the thief. But just when he thinks he’s on the verge of doing so, the two characters mysteriously switch souls, forcing them to live each other’s lives, confront their own identities, desires, and the one thing they just can’t control — their growing feelings for each other.

Release Date – Jan. 3, 2026

Can This Love Be Translated?

When a famous and free-spirited actress, Cha Mu-hee (Go Youn-jung), clashes with her new and highly skilled interpreter, Ju Ho-jin (Kim Seon-ho), the sparks definitely fly. Their differing opinions create initial tension, but as they gradually grow closer, they discover a path to understanding, happiness, and most importantly, love. Can This Love Be Translated? is an intrigue-filled rom-com where love finds its own vocabulary and where two hearts learn to speak the same language.

Release Date – Jan. 16, 2026

No Tail to Tell

As a gumiho, Eun-ho (Kim Hye-yoon) has revelled in the pleasures of the human world while cleverly sidestepping good deeds without getting tangled in moral obligations so she could continue staying immortal. But things suddenly go south when, in a twist of fate, an accident involving the charismatic soccer star Kang Si-yeol (Lomon) turns her into a human, stripping her of her powers and forcing her into experiences she wasn’t prepared for — of self-discovery, emotional awakening, and perhaps even love.

Release Date – Jan. 16, 2026

Undercover Miss Hong

A by-the-book inspector, Hong Geum-bo (Park Shin-hye), goes undercover, trading her sharp suit for a disguise as a 20-year-old at a shady securities company. As Geum-bo juggles her secret mission with being a clumsy newbie at work, she digs into financial scams amid surprises, office politics, unexpected friendships, and CEO Shin Jeong-woo (Go Kyung-pyo), whose presence complicates her mission in unexpected ways.

Release Date – Jan. 17, 2026

The post The Must-Watch K-Dramas of January 2026 appeared first on Rolling Stone India.

BTS is officially coming back on March 20, 2026, with their fifth studio album, featuring 14 brand new tracks. The announcement was made on January 1, 2026, via Weverse, the group’s official platform for connecting with fans worldwide. The album release will be followed by an extensive promotional world tour, whose details will be announced on January 14, 2026, at midnight KST.

Leading up to the announcement, BTS—in a token of appreciation and love—sent special handwritten letters to their fans, ARMY, who have been Weverse members thus far, announcing their comeback. Each member—RM, Jin, Suga, J-Hope, Jimin, V, and Jungkook—wrote their own letter, expressing gratitude to fans for their love and support over the years. The letters were delivered directly to their homes, like the first official notification—albeit with a personal touch—of their return to the music scene. For those who didn’t get a physical copy, it’ll be available on the platform at the end of January.

In his letter, V expressed excitement to reconnect with ARMY, hoping for a warm reception for their new music. RM, Jin, Suga, J-Hope, and Jung Kook also shared their thoughts, saying they’re stoked to finally share new music after a long wait and expressing their love for ARMY. According to a press release, the album promises to be a creative reset for BTS, showcasing their personal growth and gratitude towards their fans, with all members contributing to its creative process and reflecting their individual perspectives and emotions.

The world tour in question is the group’s first in approximately four years since BTS Permission to Dance on Stage, which concluded in Las Vegas in April 2022. Set to be a massive event with over 65 stops globally, the tour is anticipated to be a defining cultural moment, celebrating a reunion that’s expected to be etched in pop culture history. India is rumored to be one of the stops, especially with Hybe’s new wing opened in the country and Jung Kook’s Golden exhibition recently held in Mumbai.

The anticipation is building as we await further updates, while BTS has reset their Instagram account, further fueling fan theories and excitement. Pre-orders for the album will open on Jan. 16, 2026, followed by teaser images and promotional dates.

With BTS’s history as record-breaking hitmakers, this comeback is poised to mark a new era for the band, grounded in the years of connection and loyalty they’ve built with their fans and listeners. Meanwhile, BTS has launched their new official website, where you can access more information about the release and tour in the coming days.

The post BTS Is Back, and the World Is Listening appeared first on Rolling Stone India.

Christmas is here, and your K-pop playlists are begging for a festive makeover. You could do that with the winter wonderland EXO’s “First Snow” brings or maybe the chaotic, Grinch-like vibes of Stray Kids’ “Christmas EveL.” In keeping with the holiday spirit, we’ve curated a list of K-pop Christmas songs that capture the essence of this season in all its joy, chaos, and warmth. Whether you’re into romantic ballads, fun party numbers, or quirky holiday tunes, here’s our list of K-pop hits to get your playlist holiday-ready.

EXO – “The First Snow”

“The First Snow” is a K-pop Christmas classic that never gets old. Its gentle, soothing melody captures the magic of snowfall, with lyrics about making memories with your loved ones that really hit home. The piano accompaniment is soft, the harmonies are lush, and EXO’s vocals make everything come alive — the perfect soundtrack for cozy winters and Christmas festivities.

Stray Kids – “Christmas EveL”

This song may seem like an outlier among Christmas songs, but that’s precisely why it hits the spot for some. It’s about the chaos of the festive season, from the holiday rush, buzzing streets, extreme cold, the whole nine yards, layered over a funky hip-hop beat that captures Stray Kids’ edgy vibe, along with some festive bells and chimes that add to the mood. If you’ve ever felt a little Grinchy during the holidays, “Christmas EveL” is for you — a refreshing mix of humor, spirit, and heart that makes it a must-listen.

Jimin – “Christmas Love”

A holiday pop treat, “Christmas Love” is sweet-toned, blending traditional carol vibes with modern R&B beats. Jimin (of BTS) wrote it as a Christmas gift to fans, inspired by his childhood memories of snow falling on Christmas morning. Consider it an offering to help people tap back into that carefree, innocent feeling and remind them they’re loved through this feel-good music.

Twice – “Merry & Happy”

“Merry & Happy” is a holiday romance, written by J.Y. Park, a pop delight that turns the holidays into a celebration of love and connection. With its snappy charm and holiday sparkle, this track is surely Twice’s gift to your Christmas playlist.

BTS – “Dynamite” (Holiday Remix)

Vibe with this festive remix from BTS, which brings the original song into the holiday season with a fresh sound. The original’s upbeat mood, sassy style, and ease get a festive facelift where retro disco-pop meets Christmas magic, with a warm holiday vibe and jingle bells taking center stage. The vocals are intimate, making the song’s message of spreading joy, hope, and confidence as comforting as a hug from your best friend.

Girls’ Generation-TTS – “Dear Santa”

“Dear Santa” rewards close listening and repeated plays with its subtle fusion of pop, R&B, and jazz, where each layer reveals new depths and textures. The song’s emotional core is its message of romantic longing, perfectly captured in Taeyeon, Tiffany, and Seohyun’s soulful vocals and a soaring swing section.

NCT Dream – “Candy” 

“Candy” is the essence of winter romance in NCT Dream style, a revamp of the H.O.T. classic featuring R&B and pop elements alongside a dash of festive magic. The lyrics express the happiness of loving someone, and the band’s energetic performance is sure to leave you with a big smile on your face.

Super Junior – “Celebrate” 

“Celebrate” is like the perfect background music for a quaint coffee shop on a snowy night. The bright synth-pop, off Super Junior’s 11th studio album, is like a love letter to the festive spirit — the crunch of snow, the warmth of a cup of hot chocolate, and the laughter of friends and family — in a catchy, feel-good number that reminds you to slow down, appreciate the everyday miracles, and drink in the fun of being together.

Red Velvet X Aespa – “Beautiful Christmas”

A highlight from the SMTOWN winter album, 2022 Winter SM Town: SMCU Palace, “Beautiful Christmas” is a dance carol built on cheerful swing rhythms and piano hooks. The cute crossover showcases the versatility and chemistry of Red Velvet and Aespa, with a message that emphasizes the importance of appreciating the people and moments that make the holiday season special.

The post K-Pop Christmas Hits: Must-Add Songs to Your Holiday Playlist appeared first on Rolling Stone India.