Recently, a leaked document from HYBE shook the K-pop community, revealing the company’s elaborate strategy to increase chairman Bang Si Hyuk’s influence and suggesting ways to create internal conflicts within SM Entertainment in the post- Lee Soo Man. This strategy not only aims to highlight Bang Si Hyuk as a “revolutionary figure”, but also strategically employs international media attention.
Lee Soo Man Documentary – An Opportunity to Trigger “Internal Conflict” in SM?
A section of the document, dated November 30, 2022, discusses an upcoming Amazon Prime documentary titled Lee Soo Man: the king of K-Pop. According to the document, this film promises to reveal hidden stories and aspects of SM Entertainment founder and former CEO Lee Soo Man’s career.
HYBE notes that this documentary will primarily target international audiences, rather than Korean viewers, raising the possibility of conflict among SM’s post-Lee Soo Man leadership when the film releases. The document also suggests that this approach could “stir the boat” within SM, especially as producers and executives continue to work in Lee Soo Man’s shadow. This has led some to wonder whether HYBE is using this situation to “stir ” the internal structure of SM.
Bang Si Hyuk’s promotional strategy: the “nice figure” image.
In addition to the strategy for potential conflict in SM, the document highlights HYBE’s long-term goal of promoting Bang Si Hyuk as a humble and likable leader, in contrast to the self-promotion of Lee Soo Man and Park Jin Young (JY Park) . According to the document, as Park Jin Young prepares for the end-of-year concerts and Lee Soo Man “continues to praise himself,” HYBE believes it is essential to portray Bang Si Hyuk as a genuine “game changer,” someone who has shattered norms traditional K-pop music.
Part of this strategy includes featuring Bang Si Hyuk on the covers of international magazines, particularly during major events at HYBE’s US branch. Specifically, HYBE plans to collaborate with magazines such as GQ and introduces Bang with the phrase “He’s not the king of K-Pop”, underlining his role as a pioneering force transforming the K-pop industry.
