
'3 out of 4 are minors': Baby DONT Cry's 'F Girl' teaser sparks concern over candy packaging
Baby DONT Cry's teaser sparks debate
The group unveiled the teaser for their debut single, F Girl, on June 20 (KST). In the clip, a member approaches a store counter and places a small packet down, prompting a confused and disapproving glance from the male clerk. She then opens the packet, revealing a piece of candy, which she pops into her mouth without hesitation.
The moment quickly drew attention as viewers noticed the packet's design closely resembled a condom wrapper - a deliberate visual choice that sparked immediate discussion and controversy online.
'F Girl' MV Teaser 1🔗 https://t.co/j4BIUsQULLDebut Single [F Girl]2025. 6. 23. 6PM 💿 Pre-save : https://t.co/BVrEEzDpoy #BabyDONTCry #BDC #FGirl #250623_6pmKST #PNATION #피네이션 pic.twitter.com/nC6ZAh0PHh
Fans raise concerns over minors
While some fans interpreted the teaser as cheeky and bold, the overall response has been largely critical. Many fans voiced concern over the suggestive nature of the imagery, given that three of the four members are minors. Paired with the provocative title, F Girl, the teaser has sparked serious debate about the appropriateness of the group's debut concept.
3/4 members are minors btw https://t.co/qnBFhPKqW3
3 minors, condom wrapper, song called f girl… https://t.co/Gh5Sk0SXWB pic.twitter.com/hnrlDEFINA
'noooo the condom is an intentional artistic message' ok why does a minor filled group have to portray that message https://t.co/nVtztijZ5a
These concepts only work with adults https://t.co/qNh4pOWIUC pic.twitter.com/c34BlK1hvA
Soyeon also dragged by netizens
The controversy has also seen Soyeon, who played a role in producing Baby DONT Cry face criticism. While some fans were quick to defend her, insisting she likely had no say in the visual or conceptual elements, others felt that her involvement with the group made her partially responsible for the group's problematic debut presentation.
What disgusts me the most is how her fans are still making feminist theories, do you realise that there is nothing wrong with holding your fav accountable? Calling people perverted when the song name, teaser and first mv were flat out weird and sickening. https://t.co/FTxz4RchVH pic.twitter.com/kNEmKLdluq
soyeon weird as fuck for this actually https://t.co/IjNvRNL70k
Larger debate over K-pop and minors
While P Nation and the creative team behind Baby DONT Cry are facing criticism, the controversy has also reignited broader discussions around the use of sexualized imagery involving minors in K-pop. With the group's official debut drawing near, attention is now focused on how the label will respond - and whether any adjustments will be made to the group's concept or rollout.
For all the latest K-drama, K-pop, and Hallyuwood updates, keep following our coverage here.

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Her commercial partnerships range from luxury fashion and beauty giants like Estée Lauder and Gucci to Korean companies such as Woori Financial Group , Evezary, and Black Yak. She has also worked with technology leaders including Samsung Korea , Sony , and SK Telecom . Childhood in a Cramped Home IU's early years were far from glamorous. When her parents could no longer support her and her younger brother, they went to live with their grandmother in a small, overcrowded home. In a YouTube interview, she recounted living in freezing, cockroach-infested conditions, where food was scarce. Her grandmother sold hair clips at the market to keep the household afloat. Hunger, Rejection, and Exploitation During her teenage years, IU chased every audition opportunity she could find, only to be turned down repeatedly. In the same interview, she revealed she sometimes slept in recording studios just to get a proper meal. She also shared with SBS that during this period, she struggled with an eating disorder, describing herself as trapped in cycles of self-loathing, lethargy, and binge eating. On top of this, she endured failed auditions—more than 20 in two years—and even fell victim to scams by fake talent agencies. The Breakthrough with Loen Entertainment Her perseverance paid off in 2008 when she signed with Loen Entertainment, now Kakao M. IU's debut single 'Lost Child' premiered on M Countdown on September 18, 2008, and served as the lead track for her first EP Lost and Found, released on September 24. The EP garnered critical appreciation and earned her the 'Rookie of the Month' award from South Korea's Ministry of Culture, Sports and Tourism in November 2008. Early Albums and Growing Popularity In April 2009, IU released her first full-length album Growing Up, which sold about 31,000 copies and produced her first Top 25 hits—'Boo' and 'Hey (Rock Ver.)' on South Korea's Circle Gaon Chart. Around this time, her popularity grew further thanks to her acoustic covers of popular K-pop hits like Super Junior's 'Sorry, Sorry,' Big Bang's 'Lies,' and Girls' Generation's 'Gee.' She appeared on variety shows such as Star Golden Bell, participated in radio programs like Kiss the Radio, and took on television presenting roles. OST Success and Chart Domination IU's career reached new heights in 2010 when she released 'Someday' for the Dream High drama soundtrack. According to Gaon Digital Chart data, the song reached number one soon after release and went on to sell over 2.2 million digital copies by the end of 2011, becoming one of her top-selling OSTs. Agencies By 2011, IU was dominating the charts with hits such as 'The Red Shoes ,' 'My Old Story,' 'Friday,' and 'Last Fantasy.' Her music consistently appeared on both Korean charts and the Billboard K-pop Hot 100. Creative Control and Continued Success In 2015, IU solidified her position as an independent creative force with the release of her self-directed album Chat-Shire, exercising full control over its musical direction and production. By 2020, she had become one of the most influential artists in Korean entertainment, setting benchmarks for musical excellence and personal branding. A Legacy of Resilience IU's career arc—from a young girl in a cramped, cold home to the highest-earning K-pop soloist—stands as a testament to resilience and vision. As documented by entertainment and business outlets alike, her story combines raw talent, relentless effort, and the refusal to give up even in the face of overwhelming obstacles. With continued work in both music and film, as well as strong ties to brands and creative ventures, she remains a leading figure shaping the future of Korean pop culture.