Not the sugar – the original animation is a bit difficult these days. Between The cancellation of the intestine of “The Tiny Chef Show” awarded at Emmy Award, “ Pixar’s “Elio” wading at the box office opening box office (I still hope An “elementary” return narrative), the endless parade of the live action remakes by avoiding the animated classics on which we grew up, and Max by removing the original episodes of “The Looney Tunes” For a reason Godforsaken, things look at, well … dark! But among the reflections on the Internet and the hashtags “RIP Original Animation”, the Sky-Falling hysteria is extremely premature. Example: “Kpop Demon Hunters” is absolutely prosperous here, and it only plays the old dusty rules of person.

The last team between Netflix and Sony Pictures Animation, the sliding show and rooting of demons “Kpop Demon Hunters” is the follow -up of the last company “Spider-Man: Spider-Man: Spider-Man: Spider-Ver”. Instead of bringing a piece of beloved IP to life, the film focuses on a group of K-Pop girls called Huntr / X, composed of Pop Idols Rumi (Arden Cho / Ejae), Mira (May Hong / Audrey Nuna) and Zoey (Ji-Young Yoo / Rei Ami). The trio is not only one of the most popular musical acts in the world, but they are also the last of a long line of demon hunters responsible for using their musical gifts to maintain the barrier of the Honmoon which seals the demons – and their leader, Gwi -Ma (“Calmars game” the bad lee Byung -Hun) – of the human world.

Under the confident direction of Maggie Kang (in its beginnings in functionality) and co-director / writer Chris Appehans, “Kpop Demon Hunters” explodes on the screen as a animated genre Animation with the legitimate songs of the Oscars, the termination, the inventive ratings and the rhythic fury emotionally on the identity, the termination and the beat with a rhythic and rhythic. He has everything that a person could wish in an animated film, and on the basis of his stellar performance on Netflix, the public appears en masse.

“Kpop Demon Hunters” wears his influences as a dazzled honor badge, with flavors of “Buffy the Vampire Slayer”, “Totally Spies”, “The PowerPuff Girls”, and the anime swirl to be good. However, what could have been a derived mashup rather lands like an intelligent and thematically resonant remix. The Arc de Rumi, in particular, is an exploration of the generational obligation and to accept even the darkest truths on its existence, while juggling the daily challenges of simple existence in the world. Incorporate it into the K -Pop entertainment landscape – which has become increasingly influential for the American public (you can thank The star of “The White Lotus” and member of Blackpink Lisa for the current enthusiasm of Labu) – gives the global film relevance and a resolutely NOW sensitivity. So many films these days are desperately trying to evoke feelings of yesteryear or repeated time formulas verbatim, but “Kpop Demon Hunters” evolves the pet in something cooler.

A large part of the success of the film is a graciousness of Sony Pictures Animation, which continues its reign as a stylistic power. According to the visuals to fall in the limits of “Spider-Verse” films And “The Mitchels vs the Machines”, “ This film again highlights the mastery of the studio in the mixture of animation styles, textures and tones. Each piece dazzles, soaked with a hyper saturated color and kinetic details – but it is the moments of more calm or more absurd characters that really shine.

The CG animation flirts with the expressive elasticity of classic 2D anime styles, offering breathtaking facial contortions without sacrificing the futuristic brilliant. Zoey, in particular, is a comic revelation: whether it is style shark teeth animated halfway or that the eyes are transformed into a six pack (which then inexplicably becomes corn in epis and ultimately popcorn) while launching Saja’s engagement-a group of K-Pop demon in kpop. The animation corresponds to the frantic, electric and exhilarating worlds of the K-Pop hunting and the demons, and cements “Kpop Demon Hunters” as one of the most original cinematographic rides of the year.

When “Elio” underperform compared to the projections of the opening weekend, Doug Creutz, media analyst at TD Cowen, said Deadline“We expect cinema studios to react to this clear trend of Greenlighting fewer animated films IP Original (do not blame the leaders of the film, blame the public).” This assertion – that the public is to blame for the drop in performance of the original animated functionalities – is not only wrong, it is intellectually lazy. The public does not reject the original animation; They respond to a market that has made such content increasingly inaccessible and unaffordable.

Last month, “Lilo & Stitch” attracted large crowds in his live reimagination – not only because it is “recognizable IP” at a time when cultural complacency reigns, but because for families, It represents a lower risk investment. If I had to buy a single adult and two children’s tickets to see “Elio” in my local theater during the first non-no-matters screening (to welcome parents who had to work), it would cost me $ 59.04-and it is before taking into account too expensive concessions. In our current economic climate, families are naturally opposed to risk with regard to what they will see in theaters. When marketing is minimal and a film lacks brand familiarity, people are much less likely to spend more than $ 70 for what looks like a bet.

Meanwhile, “Kpop Demon Hunters” is in difficulty on Netflix – instantly accessible to millions, without additional cost beyond the subscription and the possibility of being appreciated in the comfort of the sofa. As much as I have given a member to see this in all his big and beautiful glory on the big screen where it belongs, his success is undoubtedly credited with the accessibility of a streaming platform. This is not a problem of apathy of the public. It is a structural problem within a consolidated industry that has had increasingly expensive theatrical experiences. Until it changes, the original animated films will continue to thrive where accessibility prevails – and it will probably not be in theaters, but on streaming platforms.