km ✧

oh hell nah…i’m actually fucking done with y’all. bliss came out barely a MONTH ago. a goddamn month. and even before that they were touring, preparing for the comeback, doing schedules nonstop, then came fancalls, promotions and basically everything else required for a comeback. ni-ki had already said they started working on the next album. and now the choreo is ready too? no it doesn’t sit right with me, it hasn’t for a while but this is my last straw. y’all are genuinely insane. when the fuck are they supposed to rest ? and please spare me the “oh they had a week of vacation in february”…as if one week in six goddamn years would ever be enough? like genuinely answer me. where is the break. where is the period where they’re allowed to just EXIST without preparing for the next thing belift can sell. and i don’t wanna hear “that’s just the kpop industry” anymore because SHUT THE FUCK UP. something being normalized does NOT make it normal. it does NOT make it healthy. it does NOT magically make their bodies any less human. YOU try doing comeback preparations, recording, learning choreographies, filming content, rehearsals, fancalls, performances, travelling between countries and doing a fucking world tour and then come back and tell me how “normal” it is. and the “well they chose to be idols” argument pisses me off even more. yes. yes they chose to be ARTISTS. they chose to sing. dance. perform. make music. stand on stages. they certainly did NOT sign away their right to fucking rest. to be able to express themselves freely as artists. genuinely when did being passionate about your job begin meaning your company gets to squeeze every last drop of energy out of you? and yes they’ll keep doing it because they know fans will be paying for it regardless. and PLEASE stop romanticizing this shit as “hard work”…there is a point where hard work becomes overwork. there is a point where dedication becomes exploitation. these boys shouldn’t need to destroy themselves just for you to finally believe they’re hardworking. they have proved it a thousand times already. actually i’m so tired of watching idols say they’re exhausted, say they barely stop working, talk about schedules that “crossed the line”and somehow fans still turn around and go “omg our hardworking boys🥺”…. NO. that is NOT fucking cute. and will never be. that should concern you. make you raise questions. and at this point i’m also done with this whole “stay in your lane, everyone can support however they want” mentality when we’re literally watching the exact same system get rewarded for doing this. you cannot spend all day tweeting “please let them rest 🥺” and then buy every album version, every piece of merch, every ticket, every fucking thing the company throws at you while they’re already preparing the next product before the current era has even had time to finish. before any of them had the time to even BREATH. you’re asking the company to stop while proving to them that they have absolutely no financial reason to. do you seriously not see the contradiction? what incentive are you giving belift to stop? genuinely. because from where i’m standing all they’re learning is that they can keep piling more and more work onto them and people will complain for five minutes before opening their wallets again. and yeah...i’m done watching it happen quietly. if you wanna call this “normal” i’m gonna be the first to call it out. if you wanna push exhaustion as dedication, i’m gonna call it out. if you wanna act like caring about their wellbeing begins and ends with tweeting “rest well” under a weverse post, i’m gonna call that shi out too. because i care about these seven human beings infinitely more than i care about getting another album three months faster. i never needed more content. i certainly don’t need another comeback. and i don’t need them constantly proving how much they love us by working themselves into the fucking ground. i need them to be allowed to breathe. and if supporting them means demanding better from the people managing them instead of blindly consuming everything that company sells me, then yeah. i’ll gladly be on their fucking neck about it. they’ll never stop hearing from me. that’s a promise.

apparently some people (🤡) need this explained, so here we go. a WORLD TOUR doesn’t mean an artist magically appears on stage for two hours and then goes back to doing absolutely nothing until the next show. it means: — hours of rehearsals before the tour even starts — choreography practice and constant run-throughs — band/stage rehearsals, blocking and technical rehearsals — soundchecks — hair, makeup and fittings — travelling between cities and COUNTRIES — airports, flights, buses and hotels — immigration/customs and constantly moving luggage/equipment — adjusting to different time zones and dealing with jet lag — press, interviews and promotional schedules depending on the stop — fansigns/fancalls or other schedules that somehow still continue — rehearsing again when something about the stage/setlist changes — performing a physically demanding 2–3 hour show for two or three consecutive days — then recovering enough to do it all over again a barely days later. while a COMEBACK doesn’t mean walking into a studio once, singing a song and calling it a day either. an album or more a comeback means: — recording MULTIPLE songs — multiple recording sessions, takes, revisions and vocal direction over several months — learning completely new choreographies — hours and hours of dance practice (as we’ve seen) — recording choreography/performance videos — concept meetings and preparation — fittings for several different concepts/stages — concept photo shoots — filming trailers, teasers and other promotional material — filming the MV (sometimes over several days) — recording additional content — interviews and press — music-show rehearsals and prerecordings — comeback stages — dance challenges (tiktoks, cause of course those are scheduled too) — fansigns/fancalls — and whatever other promotional schedules the company adds on top :)) now here comes the apparently revolutionary part: when an artist is preparing a comeback WHILE touring, these things do not magically happen in separate dimensions. they OVERLAP. the recording has to happen somewhere between the travelling. the choreography has to be learned somewhere between concerts. the filming has to be fitted somewhere between existing schedules. the rehearsals have to happen while they are already rehearsing and performing an entirely different set of songs on tour. so when people say “comeback preparation takes months” as some sort of gotcha…YES. EXACTLY. that is literally the concern. good job at pointing it out <3 because those months of preparation aren’t months where the artists are sitting at home doing nothing. if they are touring at the same time, that means they are preparing an album ON TOP OF the physical and mental workload of a world tour. the problem is that the work required to make that comeback exists long before release day. hope this incredibly difficult concept is slightly easier to understand now.

girl you’re the one needing your brain to put caps on, cause you just proved the exact fucking point everyone is making. and yes, people who don’t even stan enha are raising the same concerns btw. the embarrassment i’d feel if i were you…but i guess our morals are different. nobody even said they’re releasing the album tomorrow. literally nobody. that’s a strawman you invented because apparently “why are they already working on another comeback while still touring and barely a month out from the last one?” was too inconvenient to actually address. if comeback preparation takes 6–7 months as you say, then congrats! you’ve just explained exactly why people are concerned :)) because that means recording, choreography, rehearsals, filming and everything else that comes with preparing an album are happening WHILE they’re still touring, doing fancalls, appearances and schedules from the current era. my point is and will always be: you try doing it yourself and then come back to me. and i genuinely don’t care how trained someone is. your body has limits. being an idol doesn’t turn you into a machine no matter how desperately some of you want to consume them like one. the problem was NEVER the release date. the problem is that there apparently isn’t an actual OFF period between these cycles. they finish one thing while already preparing the next, tour in between, then move straight into another exact same cycle and repeat. and the “if you don’t like it then just unstan” part is genuinely so childish too. since when did being a fan mean shutting your brain off and applauding everything a company does? i stan ENHYPEN. i do not stan belift or hybe. i certainly do not owe a management company blind loyalty. criticizing how they’re being worked, asking for better conditions, wanting them to actually rest and have more artistic freedom doesn’t make me less of a fan. more like the opposite. “unstan” because i care about their wellbeing more than i care about being constantly fed content? be serious. if your definition of a “real fan” is someone who never questions the company as long as they keep getting content, then thank fuck i don’t fit it. because you saw the concerns being raised and your response was whatever this is? laughable. those 6–7 months of preparation you brought up are work too. work they have to fit around travelling for and performing a goddamn world tour, alongside every other schedule they have. i genuinely think some of you need to understand what a world tour actually means because there’s no way you’re acting like all of this exists in separate little boxes. do you think albums materialize out of thin air on release day? hell nah…preparing for a comeback is work. recording is work. practicing choreography is work. rehearsing is work. touring is work. fancalls, filming and promotional schedules are work. nobody is asking why the album isn’t dropping tomorrow. we’re asking when, between all of that, are they actually getting meaningful time to fucking rest? so maybe before telling everyone else to “use their brains”, try to use yours and make sure your own argument doesn’t accidentally prove theirs first. embarrassing. oh also while we’re here, don’t tell me i “don’t want their music” either. no, i don’t want whatever music the company decides to rush out because they need another product to sell. i don’t want songs made around whatever trend they think will perform fastest or whatever sound they think is easiest to market. if anything, i want MORE of their music. i want to hear what THEY are producing. what THEY are writing. what THEY actually want to make. heeseung was never the only member creating music, and acting like wanting them to have more artistic freedom somehow means “not wanting new music” is genuinely stupid. and yes, i want enhypen’s musical identity back too. sue me. i want music that actually feels like THEM, not an endless chase after whatever sound happens to be trending. so no, don’t tell me i don’t want to hear their music. because i desperately do. i just care enough about them to want better than more and faster. but that’s apparently a conversation you’re not ready for yet. sad. hope you wake the fuck up eventually and learn to think for yourself instead of treating whatever the company feeds you as something you’re obligated to defend. have a good one love🫶🏻

i genuinely need to get this off my chest because i keep seeing the same reasoning lately and i cannot make it make sense. when exactly did we discover that boycotting has consequences? certainly not yesterday… lower streams, lower sales, weaker engagement, uncomfortable numbers, uncertainty around what comes next…we knew. we knew ALL of this from the beginning. because that was the point of the boycott. that was never some hidden consequence nobody warned us about. you literally can’t financially withdraw support from a company while at the same damn time guaranteeing that every commercial metric stays untouched. that’s not a boycott. so seeing those exact consequences all of a sudden being used as proof to present boycotting as “dangerous” feels incredibly backwards to me. like are we for real? and especially now too. this comeback (and i’m speaking for myself) feels like an experiment i simply find uncomfortable and do not want to participate in. if belift is looking at this first six-member era to understand whether everything can continue normally, whether the fandom will adapt, whether the same support and money will still come in despite everything that happened…why would THIS be the moment i decide to give them exactly that?? to give them what they want? i just can’t. it goes against all of what i’ve been fighting for all these months. if this comeback is a test (as i genuinely believe is), i refuse to help give them the answer they want. and i honestly struggle so much with people suddenly using contract renewal to justify why supporting this comeback is supposedly necessary… yes, success matters. of course it does. enhypen being commercially valuable gives them power. but commercial success does not automatically mean good contract conditions, nor does one comeback determine their entire negotiating position. i’m sorry but i don’t agree with that. their leverage is made up of so much more than that: years of established success, touring demand, fandom size, brand value, individual value, the revenue they already generate, how dependent the company is on them, what alternatives they have and, yes, how consumers react when the company makes decisions they strongly oppose. so, fan pressure is leverage too. and that is the part this mentality completely ignores. if the company can make decisions that cause months of anger, protests and distrust, and then still receive the exact same streams, sales and engagement when the comeback arrives…what exactly tells them that anything needs to change?? we can scream “we’re unhappy” every damn day, but companies will always pay attention to consumer behaviour. that’s why if our actions tell them “we will support whatever you release regardless”, why would they read that as pressure? i’m also very uncomfortable with people saying we need to keep financially supporting the company NOW so that maybe the members will have enough power to demand better treatment from that same company LATER. but how long does that continue? how can we be sure it will go that way? keeping the metrics up can also strengthen the company’s position in a different way, because it shows them that no matter what they pull, people will keep consuming it. every comeback could be important for their career. every comeback could affect numbers. every comeback could happen near some future negotiation. there will ALWAYS be a reason why “right now isn’t the right time”. and if every moment where withholding support could actually have an impact suddenly becomes too dangerous to boycott…then when exactly is a boycott supposed to matter? during the periods where the company has nothing to lose? that literally makes no sense to me… and please understand: i KNOW this is hard. i miss enjoying their work normally. i miss not having to think about whether clicking something, streaming something or buying something goes against what i have been standing for. there have been countless moments where taking the easier path would have felt so much better emotionally. but none of that is new either: the discomfort was part of the decision from the beginning. and personally, i would feel much worse going back to financially supporting the same company i have spent months criticizing, especially during an era that i believe could determine how viable this new situation looks commercially. i just can’t do that. people are obviously allowed to stop boycotting. nobody should be forced into this, and changing your mind by itself is not hypocrisy. if you reached your limit, say that. if you no longer believe the boycott is effective, say that. if you decided that the possible consequences are no longer risks you are willing to take, say that. i can respect honesty. what i struggle to respect is spending months explaining how necessary collective pressure was, encouraging other people to make sacrifices too, and then suddenly framing the same consequences we knew about from day one as a reason why supporting the comeback is now the only responsible choice. because then i have to ask: what exactly were we preparing ourselves for all these months? a boycott that only continues while it is comfortable and commercially harmless is not much of a boycott. and maybe that sounds harsh, but i would rather say what i genuinely think than pretend this sudden change in reasoning makes sense to me. it doesn’t.

you know what? i don’t care anymore. there will never be enough “closure” for me because my issue was never heeseung choosing solo work. my issue is everything that made that choice necessary in the first place. so yes…call me whatever you want, i couldn’t care less. i stand firm in my choice, and i’ll keep speaking even if i’m the last one standing. this stopped being about fan feelings a long time ago.

lately i’ve seen more and more people announcing they’re stopping the boycott. while everyone is free to make their own decisions, i can’t help but feel conflicted. first of all, if the boycott has genuinely reached a point where it’s seriously affecting your mental health, then your wellbeing should always come first. this isn’t about judging anyone’s personal limits. what i struggle with is the reasoning behind many of these posts. this boycott was never about depriving ourselves of enhypen. it was never about proving who loves them more. and it certainly wasn’t supposed to last only until it became inconvenient. it was built on something much deeper: principles. many of us reached a point where we could no longer, in good conscience, continue financially and algorithmically supporting a company whose actions we believed were harmful because of a pattern of decisions that consistently failed the artists. for months, we’ve explained why financial pressure and engagement matter. we’ve said this boycott is fundamental because it’s one of the few forms of leverage fans actually have. that’s why i struggle when i see “i miss enhypen,” “i want to watch official content again,” or “i wanted the merch” presented as reasons for stopping. because…let’s be honest here, we all miss them. every single person participating in this boycott misses them. if missing enhypen was enough to justify ending it, this movement would’ve disappeared months ago. the reality is that this fandom has spent months making sure we never had to choose between loving enhypen and standing by our principles. there are folders with their entire discography. there are archives of their content with subtitles. there are fan edits, compilations, translations, and countless community projects. if someone wants merch, there’s also an entire second-hand market where you can buy from other fans instead of directly funding the company. those alternatives exist because this community worked incredibly hard to create them. that’s why it doesn’t sit right with me when people act as though returning to official platforms was the only way to reconnect with the members. missing them is real. i miss them every fucking day too. but those feelings were never the reason this boycott started, and they don’t erase the alternatives that already exist. if you’ve genuinely changed your mind about the boycott, then say that. if you no longer believe it’s the right approach, be honest about it. people are allowed to change their minds. what i struggle with is saying the boycott is still fundamental, that the company’s actions are still wrong, that the members still deserved better…while simultaneously returning to financially and algorithmically supporting the very company those principles were meant to challenge. to me, that’s where the contradiction lies. principles matter most when they’re inconvenient. if they only exist until the next comeback, the next merch drop, or until missing the members becomes too painful, then they stop being principles and become preferences. i’m not saying this because i think i’m better than anyone else. i’m saying it because i still believe the reasons this boycott started haven’t disappeared. the alternatives are still there. the moral questions are still there. and the company we’re talking about is still the same one.

this “closure” everyone is talking about doesn’t really make any sense to me, i’m sorry. the inconsistencies have been there since the beginning. - he spoiled a world tour. if his departure had already been planned, why would he tease something he supposedly knew he wouldn’t be part of? - en-o’clock’s new season barely started with one episode before suddenly going on hiatus. if everything had already been planned, why did that happen? - he had tickets for australia that were cancelled right before the trip. if his departure had already been decided, why were those plans still in place? - he had been talking about releasing a mixtape for over a year, not just two songs. - overflow was written after his departure. so what happened to the music he had been working on before? and regardless of interpretation, the song’s own lyrics naturally raise questions. - there were collaborations and projects involving him that had already been planned. if everyone already knew he was leaving, why continue planning them? - why were the members obviously unable to freely mention each other throughout all of this? that’s very weird. and these are only a few examples. so genuinely, what kind of closure are people talking about? because for me, an emotional documentary isn’t the same thing as transparency. i’m sure it’ll be emotional, just like the overflow mv. i probably won’t watch it because i know it won’t be good for me emotionally. but is it going to answer the questions i’ve had since march? i don’t think so, not really. what frustrates me the most is that we’re acting as if those questions suddenly disappeared, when the company spent months releasing content and making decisions that many fans found very difficult to reconcile. if this documentary gives you closure, it’s okay i guess. but it just won’t give me the answers i’ve been looking for. that’s it.