After three years and five months, BLACKPINK returned with their third mini album, “DEADLINE”, a comeback that should have marked a triumphant new chapter. Instead, it has ignited a wave of global backlash directed not at the members themselves, but at their agency, YG Entertainment. Fans across platforms have collectively criticized what they describe as a “perfunctory” rollout, pointing to three core issues: lack of promotional effort, uneven resource distribution, and drastically scaled-back comeback activities.
The first wave of criticism centered on what many viewed as a striking absence of sincerity in promotion and visual materials. Compared to the elaborate, multistage teaser strategies typical of major K-pop releases, the promotional cycle for “DEADLINE” appeared unusually minimal. Only two visual teaser versions, one group poster, and a single music video teaser were released. There were no individual member teasers, no countdown content, and none of the layered promotional buildup that has become standard for top-tier acts. Previously, the company had claimed that the album cover shoot was complete, raising expectations for a polished visual concept. However, the final cover, featuring an extremely minimal line design, was widely mocked as looking more like a draft sketch than a flagship comeback image.
The situation worsened when the entire album’s tracks, including the title song “GO”, were leaked online a week before release. Fans criticized the company for failing to implement adequate security measures. Upon official release, further confusion followed: on platforms such as Spotify and Melon, songs were reportedly difficult to search or temporarily unavailable, disrupting streaming support efforts. For a group of BLACKPINK’s stature, such technical disarray amplified perceptions of mismanagement.
Debate also erupted over the album’s production quality and comeback activities. The music video for “GO” relied heavily on studio sets with limited outdoor scenes, leading some viewers to criticize its visual scale as underwhelming. More controversially, the group did not perform choreographed stages for the new songs, nor did they hold traditional music show promotions or a comeback live broadcast. In an industry where performance stages are central to fan engagement and viral momentum, the absence of these elements made the comeback feel incomplete.
Musically, reception has been polarized. The title track drew criticism for its repetitive, slogan-like hook, particularly the repeated chant of “Blackpink” and “go go”, with some arguing that it lacked the distinctive identity that previously defined the group’s hits. Some commentators suggested that certain tracks felt like filler material extending the album’s runtime. At the same time, other listeners defended songs such as “Me and My”, praising their easy listening appeal and polished production.
Beyond the music itself, controversy has intensified over perceived inequalities in member treatment. Fans of Jisoo noted that her individual lines reportedly run only one minute and twenty five seconds. They also alleged that her screen time in the music video was significantly reduced and frequently cut away during group chorus sections. Online discussions even escalated to accusations of “workplace bullying”.
Rumors of differing career priorities among the members have fueled anxiety. According to circulating insider claims, Jisoo and Rosé are said to favor continued group activities, while Jennie and Lisa are reportedly more focused on solo careers.
Nevertheless, the commercial performance of “DEADLINE” has been record-breaking. The album reportedly surpassed 1.44 million copies in first-day sales on Korea’s Hanteo chart, setting a new benchmark for K-pop girl groups. The “GO” music video exceeded 10 million views within 7 hours and 16 minutes, marking one of the fastest view milestones of the year. Yet even these achievements have not quieted dissatisfaction. Some fans have gone so far as to argue that strong sales should serve as leverage against the company, calling for members to reconsider their contracts once obligations are fulfilled.
BLACKPINK’s return was meant to reaffirm their global dominance after a prolonged hiatus. Instead, it has sparked a broader debate about how major entertainment companies balance profitability, artistry, and fan engagement in an era where audiences are more organized, vocal, and scrutinizing than ever.
