This paper examines how South Korean understanding of what it means to be—or to have been—a citizen of the DPRK has evolved during the last decade. How does South Korean popular culture reflect that evolution and, in turn, shape ongoing transformations in that understanding? These questions have significant policy implications and take on a heightened salience given the recent deterioration in relations that has taken place under the Lee Myung Bak administration: is the South Korean imagination being enlarged to make room for an inclusive but heterogeneous identity that accepts both parts of the divided nation? Or, conversely, is a hardening of mental boundaries inscribing cultural/social difference in tandem with the previous decade's (anything but linear) progress in political/economic rapprochement? In examining these questions, I sample key discursive sites where the South Korean imaginary expresses itself, including music, advertising, television comedy programs, film and literature.