By Danielle E. Marias Ulrich
I was not a K-pop fan, so as a tired parent of a two-year-old, I was reluctant to spend my limited “me time” on an animated movie with such a committing title. However, for me, a transracial Korean adoptee, KPop Demon Hunters (KDH) delivered an on-point representation of my own Korean adoptee-related trauma, pain, and healing that unexpectedly brought me tear-filled catharsis.
KDH’s accumulation of accolades feels endless. It is Netflix’s most streamed film ever; it has a platinum, Grammy-winning soundtrack; it won two Golden Globes and has two Oscar nominations, its sequel is already in production; and KDH costumes captured Halloween. The celebration of the film echoes the Korean wave (hallyu, 한류), the world’s fascination with Korean culture (BTS, Squid Games, kimchi, skincare). The global shift from the racism I grew up with in the 90s to today’s embrace of Korean culture is mind-blowing. Many have expressed similar sentiments, including Korean Canadian Maggie Kang, director of KDH and Korean American Arden Cho, the speaking voice of Rumi—the lead singer of the film’s fictional K-pop group HUNTR/X and the film’s half human-half demon protagonist who is ashamed of and rejects the demon part of her identity.
A narrative historically left out of mainstream Korean cultural discourse is that of transracial Korean adoptees—those of us born in Korea and adopted internationally as babies. The history of the decades-long Korean adoption industry is painful, and Korean adoptee voices largely have been overlooked by western and Korean governments, adoption agencies, adoptive families, and non-adoptees. KDH is an inspiring celebration of Korean culture. True to the film’s message with Rumi facing her demon identity, to fully celebrate Korean culture, it’s necessary to acknowledge and face the complicated parts.
One Korean adoptee friend astutely likened my near-religious experience watching KDH for the first time to my version of psychedelic assisted therapy. The last time I felt as validated in my experience was when the Atlanta spa shootings were denounced as acts of anti-Asian hate. This time however, my catharsis originated not from a response to violence, but from the film’s themes of self-empowerment and self-love (I still tear up when I listen to the film’s final song “What It Sounds Like”).
The film’s existence is a celebration of Korean culture. I feel relieved to hear kids on the playground pretending to be HUNTR/X members Rumi, Mira, and Zoey, speaking Korean, and donning Korean fashion, rather than pulling the corners of their eyes back and chanting ‘ching chong’ slurs. I now live in a Montana town that supports two Korean restaurants, neighboring Lucchese and western Americana watering holes. I am hopeful that my son may not face the same severity of racial bigotry that I did. In other ways, the dissonance between my childhood and today is jarring. My Koreanness used to be weaponized, fetishized, and tokenized, and now is celebrated, which can make me feel frustration, indignation, and gaslit. Nonetheless, today we not only embrace Korean culture, but diverse identities and cultures like never before. My toddler’s books center different types of family structure (Love Makes a Family) and the beauty of human diversity (We’re different, We’re the Same), including embracing our Asian features (Eyes That Kiss in the Corners) and traditions (The 12 Days of Lunar New Year). Additionally, today’s digital age has connected the world. While I anxiously hope that K-12 norms around screens and social media will improve by the time my son reaches that age, I no longer expect someone to ask if I’m from North Korea or China or if I can understand their derogatory imitation of an Asian language. Unlike when I was growing up, no longer can racist bullying be excused as ignorance.
While KDH’s themes of embracing identity in all of its complexity make the film broadly relatable, the parallels between the systemic rejection of patterned demons by the KDH universe and the systemic rejection of Korean adoptees by the US and Korea are noteworthy. Korean adoptions began during the Korean American War as a way to export orphaned mixed-race babies often with Korean moms and American soldier dads. The combination of bolstering Korean American diplomacy and their economies, the cultural rejection of single mothers with babies out of wedlock, and the western white savior complex, led to transracial adoptions of Korean children exponentially increasing and peaking in the 80s.
The traumas that Rumi and I endured as babies have had reverberating impacts. Like Rumi rejecting and hiding her patterns that divulge her demon identity, I internalized systemic rejection by hating and blaming myself for being rejected by Korea, the US, and my biological family. Growing up, I felt racial dysphoria, dissociated myself with anything Asian, and hid my Korean adoptee heritage by assimilating with white American culture. However, like Rumi, I still felt like an imposter, harboring shame for not being white enough, American enough, Korean enough, for not being like everyone or anyone else. Both Rumi and I denied and hid the shameful pieces of our identity that ‘other’ us.
For both Rumi and Jinu (the secondary antagonist, fellow demon, and Saja Boys leader whose shame stems from his family’s forced separation), their healing started from finding community in each other, both bearing the burden of demon shame. Similarly, the Korean adoptee community has been crucial to my healing. Fellow Korean adoptees understand the shame for existing, the denial of our Koreanness, the pressure to assimilate, the rage towards the Korean adoption industry and governments, the frustration with the gatekeepers of our human rights, the sadness for being erased, and the despair for our lost origins. One acquaintance cathartically epitomized these feelings in three words: “burn it [Korean adoption industry] down.”
Rumi acknowledges in the song ‘Free’ that “we can’t fix it if we never face it,” which enables her to embrace her demon identity, wield her patterns as a superpower, and defeat sovereign demon Gwi-Ma. For me, these lyrics reflect my healing journey on individual and institutional levels. Individually, I now acknowledge that being a transracial Korean adoptee is not my fault, no longer blaming myself for decisions made beyond my control. Though I regret growing up rejecting myself and Korean culture, I give myself grace for doing what I felt I had to to survive. Like Rumi celebrating her demon patterns, I now embrace being Korean and transracially adopted as central to my identity and humanity.
Institutionally, steps have been taken to start reckoning with the trauma of Korean adoption. In May 2025, an investigation by the Truth and Reconciliation Committee found that the Korean adoption industry (including Korean and western governments) violated Korean adoptees’ human rights. In October 2025, Korea’s president made the country’s first public apology to Korean adoptees for this abuse. In December 2025, Korea’s government announced intentions to end international adoptions of Korean children due to widespread human rights violations. That these steps occurred in the same year that KDH debuted has made the film inextricably linked to my healing. While only first steps, this recognition of wrongdoings could forge a path towards repairing and reconciling this traumatic part of Korea’s history. Increasingly, Korean adoptees are sharing their experiences through memoirs (All You Can Ever Know, by Nicole Chung), podcasts (The Janchi Show), documentaries (PBS’s South Korea’s Adoption Reckoning), support groups (KAAN), birthland tours (Me & Korea), non-profit organizations (AdopteeBridge), and international gatherings (IKAA). Our language for talking about adoption has started evolving. We have begun the shift from solely prioritizing adoptive parents, adoption agencies, and Korean-American diplomacy to now considering the human rights of adoptees. Therapists now specialize in adoption-related trauma. There is greater support for open adoptions and maintaining connection with the adoptee’s first family. While these are steps in the right direction, room for improvement remains.
Like Rumi not fully understanding the origins of her half human-half demon existence with unanswered questions about her demon father and demon hunter mother, the origins of my existence remain unknown too. Was I abandoned, wanted, loved, planned, and/or a result of violence? Do I have a sibling? Are my parents alive? Do they or does anyone know that I exist? Do I have a family history of [insert genetic disorder here]? I have searched for my birth family unsuccessfully. However, one search is not enough. We must repeatedly search through varied approaches like visiting Korea in person, submitting a missing person’s report, and posting my information with local news outlets (all while contending with the language and cultural barriers) because finding answers often depends on luck, especially regarding the accuracy and accessibility of one’s adoption records and who one works with. These efforts are costly, time-intensive, and physically, mentally, and emotionally exhausting. I have an annual calendar reminder that then joins my weekly to-do list (grocery shopping, vacuuming, buy winter jacket for my son, do birth search) on top of supporting my family and pursuing my career. I am learning to accept that this wound may never fully heal or even scar over because I have to pick off the scab regularly each time I search. While my origins may remain unknown forever, I hope the KDH sequel will teach us more about our favorite characters’ origins. My Korean adoptee friend is rooting for Zoey to be a Korean American adoptee, having been the only HUNTR/X member who grew up in the US. We can hope.
Regardless of the KDH sequel and what the future holds for Korean adoptees, I feel proud that we as Korean adoptees finally are speaking up and sharing our experiences towards acknowledging our humanity and helping with our healing. I feel validated that Korean culture is embraced today, hopeful for a brighter future for the next generations, and encouraged that we now have films like KDH that help us embrace all of Korean culture, including the Korean adoptee experience.
Note: I do not speak for all 200,000+ Korean adoptees. Each Korean adoptee’s experience is unique, and I present only mine here.
Danielle E. Marias Ulrich is a transracial Korean American adoptee and plant biologist who enjoys spending time outside on foot, mountain bike, skis, or boat with her husband and toddler.
