The clash with Hive was thrust into the public eye by Beleaf Lab’s claim that the rookie girl group Arlit copied NewJeans. Min Hee-jin, in an official statement, argued that Arlit copied NewJeans’ concepts, styling, choreography, and even their formula, calling it a cultural infringement on originality. The accusation from debut onward branded Arlit as a copycat, turning the two groups into a high-profile public rivalry.

Despite the intention to safeguard NewJeans’ originality, the claim was criticized for making Arlit a direct casualty in the dispute. Min also pointed to the debut process of NewJeans as the root of the conflict, publicly referencing the debut order of LE SSERAFIM. During the initial press conference, she claimed NewJeans was set to debut as Hive’s first girl group, but LE SSERAFIM debuted first, delaying NewJeans’ schedule.

The remarks caused unnecessary controversy for LE SSERAFIM, and Source Music filed a civil suit against Min Hee-jin for damages. This case highlighted how executives could drag active artists into a conflict narrative rather than the other way around. As the dispute intensified, Min used statements from NewJeans members and their parents to bolster his claim against what he labeled Hive’s alleged oppression, framing the artists as emotional tools in a power struggle.

The criticism intensified that the NewJeans members were being framed not merely as artists but as victims in a corporate feud. In a separate verdict last month, the court noted that Min had waged a public relations campaign under the banner of protecting NewJeans and found it hard to view this as protective. While the message that children must be protected is worthy of support, delivering true weight to it requires reconciling with earlier actions that dragged competing groups into the dispute and involved NewJeans’ members in the narrative.

The paradox lies in Min’s own public confrontation with Hive; her involvement, alongside Arlit and LE SSERAFIM, shows a history of interwoven conflicts that have risked turning young artists into collateral in a power struggle. The article suggests that for Min Hee-jin’s advocacy to carry real weight, she must address and resolve these tensions, not merely issue statements that critics say are hollow.