📢 Statement Regarding The Globe and Mail’s Review of Stray Kids’ Toronto Concert
‼️FIRST: DO NOT CLICK ON THE ARTICLE IN QUESTION.
We are urging all STAYs—do not give this article traffic.
Do not fuel their attempts at monetization through hate-clicks. We’ve provided screenshots so the content can be read in full without boosting the site’s engagement. There is absolutely no reason to support this disrespectful piece with your attention or data.
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TO THE AUTHOR @BWheelerglobe & @globeandmail
On behalf of STAYs worldwide—the global fandom of Stray Kids—we are speaking out in response to The Globe and Mail’s review of the group’s June 30 concert at Rogers Stadium in Toronto. While media outlets are entitled to share critical perspectives, what was published falls far short of professional journalism. What we read was not critique—it was a lazy attempt at snark, wrapped in cultural ignorance and sprinkled with outdated stereotypes.
This article, written by Brad Wheeler, fails to uphold even the basic expectations outlined in The Globe and Mail’s own Editorial Code of Conduct.
https://t.co/3eGYIlpRCc
By our count, it violates at least seven of the paper’s stated journalistic principles.
Let’s begin with the lack of fairness and balance. From degrading comments like “Stray Kids is for listeners with short attention spans” and “Built for the Adderall generation,” to the appalling headline “Do you suffer from mild to moderate dopamine addiction? Stray Kids might be right for you,” the piece is riddled with disrespectful, dehumanizing language. These statements mock the genre and its audience, trivialize neurodivergent conditions, and disregard any pretense of objectivity or respect.
Wheeler then goes on to call Stray Kids “so prefabricated it makes the Monkees look like the Beatles,” a direct dismissal of their self-produced artistry and musical integrity. The comparison is not only inaccurate—it also blatantly violates the outlet’s guidance to avoid stereotyping by race, geography, or cultural background. Framing K-pop through a Western-centric, mocking lens—while ignoring its global legitimacy—reduces the achievements of an internationally respected Korean act to a punchline.
The article is also filled with unsubstantiated personal opinion presented as fact, including unsupported claims like “The band has a lot to learn about pacing” and “Pre-planned banter... was boring and often interminable.” Not one source is cited—not from the event organizers, not from fans, not even from the band.
There is no ethical treatment of the subjects, either. One of the most glaring examples: “Apparently ‘Toronto, make some noise!’ is taught on the first day of English courses in Korea.” This line isn’t just sarcastic—it’s xenophobic. It mocks non-native English speakers and contributes nothing but cultural condescension to the piece.
While it's true that reviews are granted more leniency in tone, they are not exempt from basic principles of fairness, factual accuracy, or respect—especially not when published by a major outlet claiming to be Canada’s most trusted news source. At best, this review is unprofessional. At worst, it’s offensive.
Let us be clear: Stray Kids are not a prefabricated boy band. They are internationally recognized producers, lyricists, and performers. Their genre-defying, multilingual sound is intentional, and their work ethic and authenticity are the very reasons why they’ve built a fiercely loyal global fanbase.
To reduce their concert—an historic, sold-out performance for 50,000 fans in Canada—to a sarcastic jab at “dopamine addiction” is not music journalism. It’s ridicule disguised as critique.
We’re not asking for fan service—we’re demanding basic respect and the bare minimum standards of decent journalism. Stray Kids didn’t just bring a concert to Toronto—they brought a global movement, years of self-made success, and a message of empowerment that speaks across cultures and languages. That deserves real commentary, not lazy punchlines from a close-minded critic who seems more interested in shock value than substance. If the best he can offer is recycled sarcasm, cultural mockery, and AI-flavored insults dressed up as a review, maybe it’s time he rethinks his career—or at least learns the difference between critique and condescension. DO BETTER!
— From STAYs worldwide
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Link to the template (in English and Korean) to send to JYPE:
https://t.co/ZMgqjFZU5i
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Link to the template for emailing The Globe and Mail editors and Ethics Committee members:
https://t.co/UknUvb4NME
STAYS can send complaints to the site directly using the form found on this page: https://t.co/1BOKYKd0iN
STAYS can also call the publication directly to express their views about the article:
Phone Number
Toll-Free: 1-800-387-5400
Local: 416-585-5000
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STAYs can submit public responses to The Globe and Mail
► Submissions must follow their rules: under 150 words, include your full name, city, and daytime phone number.
► Submissions are not guaranteed to be published, but they are reviewed for possible inclusion in the “Letters to the Editor” section — which is public.
https://t.co/UknUvb4NME
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NEXT FEEL FREE TO EMAIL MR BRAD WHEELER AT:
[email protected]
We won't give you a template for this, STAYs should—speak from the heart. 😈
Lee Know is the only member who did not receive a new solo song on this release of the Replay album out of 17 songs. Lee Know's only inclusion is a live version of a song that was released almost 4 years ago. We are aware there will be a SKZ-REPLAY 2026 part 2, but that is a separate release without a release date set yet. SKZ-REPLAY 2026 Pt. 1 is a distinct, standalone release, a special digital album meant to celebrate the eighth anniversary of our fandom that is releasing in less than a week. As an anniversary gift, all fans should be considered equal without the exclusion of a member and those that bias them. This is absolutely disrespectful to not only us but most of all to Lee Know, especially on an album with 17 tracks. Most of the songs were not performed on tour, so that is not an excuse, and the company has enough resources derived from his own hard work to give him a song. This is profoundly more hurtful given Lee Know is the first member going to enlist, and enlistment is not long away for him.
Additionally, during the live performances he continues to be erased; he was barely visible during his own parts. During S-Class, instead of highlighting Lee Know's iconic kick stunt on his own line, the camera pans away. The same pattern was noticed for the rest of the concert, and many shared how difficult it was to see him on screens at all. Lee Know has barely one line in every new song performed until now from the new album. This is their last tour before Lee Know enlists, and not even for this reason he is given ways to showcase himself properly. This only speaks to the lack of professionalism in that company. Every member deserves the chance to showcase new music and to be seen while performing their skills; Lee Know should not be the only exception.
We hope the fandom recognizes how unfair this treatment is towards Lee Know as an artist and joins us in raising awareness. Until he receives the same opportunities as the other members, we will focus our support on projects that genuinely highlight and value his work. We refuse to let this be overlooked because Lee Know deserves the same respect, support, and opportunities as every other member.
We want to thank Lee Know, because even if the company is lackluster, he has been delivering outstanding performances for us. We noticed your effort, and we are in awe. Almost every Lee Know fancam is going viral. Everyone sees how you own the new choreography and how much you have perfected the old ones. Every time you dance a new performance we can't help but admire your attention to detail, technique, passion, stamina, and talent ❤️🔥
LEE KNOW WE SUPPORT YOU
#WE_WANT_LEEKNOW
Lee Know is the only member without a solo song in the upcoming SKZ-REPLAY album, he gets barely any lines in new songs and screen time in official livestreams, music videos and any content in general.
This is disrespectful not only to Lee Know’s years of hard work but to the fans that waited so long to support his projects.
We demand JYPE to treat their artists equally and provide them the same opportunities not only for solo activities but within the group‼️
LEE KNOW WE SUPPORT YOU
#WE_WANT_LEEKNOW