Journalist
Joonha Yoo유준하
joonhayoo94@ajupress.com
ReporterCOEX Sejong Center for the Performing Arts & Music, Culture, Entertainment, Automotive
Joonha Yoo is a bilingual journalist at AJU Press (AJP), covering music, culture, entertainment and Korea’s automotive industry.
Raised in Fort Collins, Colorado, he often writes from the scene, bringing firsthand detail to stories ranging
from BTS comeback concerts to unique cultural events that catch the world's eye. "I write from the scene, not from the sidelines."
Raised in Fort Collins, Colorado, he often writes from the scene, bringing firsthand detail to stories ranging
from BTS comeback concerts to unique cultural events that catch the world's eye. "I write from the scene, not from the sidelines."
Latest by Joonha Yoo
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AI becomes K-drama ingredient as soaring costs reshape filmmaking SEOUL, August 03 (AJP) - A recent K-drama hit, Agent Kim: Reactivated, had all the ingredients of a blockbuster action sequence — North Korean agents, a former security-service commando, gangsters, explosions and a high-speed chase through a snow-covered tunnel ending in a plunge into icy water. None of it was filmed. The roughly three-minute sequence that fooled audience as an expensive location shoot was generated entirely with artificial intelligence. Described by its creators as the first full sequence in a Korean commercial drama produced with generative AI rather than live-action photography, the scene has become a test case for an industry confronting soaring production costs, shrinking advertising revenue and increasingly tighter production schedules. The experiment also reached far beyond South Korea. Agent Kim: Reactivated debuted at No. 1 on Netflix's global non-English TV chart with 10.5 million views and retained the top spot the following week with 9.1 million. The figures do not show whether audiences embraced the AI-generated sequence itself, but they placed the experiment inside one of Korea's most widely watched television exports. Its significance lies less in whether AI can produce spectacular images than in why it was used. The sequence was initially planned as a conventional shoot but was deemed impractical because of the locations, action scenes and visual effects it required, according to Ryu Jae-hwan, deputy head of Morpheus Studio, the AI production company behind it. Hong Sung-chang, chief executive of the drama's production company Studio S, said producing the sequence with AI reduced costs by more than 60 percent compared with filming it conventionally. The savings mattered, Hong said, but so did preserving scenes that otherwise would have been abandoned because they were too dangerous, too expensive or simply impossible to shoot. That distinction illustrates the role AI is beginning to occupy in Korean film and television. It is not replacing the industry's highest-end visual-effects work. Instead, it is filling the widening gap between what directors want to show and what producers can afford to film. The Agent Kim sequence was not created at the push of a button. Morpheus Studio spent about a month developing visual concepts and another two months producing the footage. The team generated roughly 1,000 still images and more than 2,000 video clips before selecting 289 shots for the final sequence. Human judgment remained central throughout the process — from designing costumes and locations to selecting shots, editing the sequence and correcting color. The production therefore challenges the assumption that generative AI simply removes labor from filmmaking. It may reduce the need for physical sets, location shoots, stunt work and some conventional visual effects, but it replaces them with a new workflow built around repeated generation, evaluation and refinement. Traditional VFX, however, still offers greater control. "With sufficient time and production resources, there is no visual element we cannot create," said Kim Gyu-min, a spokesperson for Dexter Studios, one of South Korea's leading visual-effects companies. The amount of work varies dramatically depending on the shot, Kim said. Adding a single flying object to filmed footage bears little resemblance to constructing an entire computer-generated battle scene. The more complex and detailed the image, the more artists and production time are required. Lighting illustrates the difference. VFX artists must reproduce the direction and intensity of light, along with shadows, reflections and atmospheric effects, so that computer-generated objects blend seamlessly into filmed environments. Dexter treats lighting as a separate stage in its production pipeline, Kim said. Daylight scenes are particularly demanding because of the sharp contrast between illuminated and shaded surfaces. A film director, who had not viewed the Agent Kim sequence but discussed generative AI more broadly, also questioned whether AI-generated footage could consistently blend into a longer dramatic production. An AI clip may appear realistic on its own, the director said, but every sequence must match the color, camera movement, characters and physical environment of the scenes before and after it. Viewers are especially sensitive to inconsistencies in brightness and shadow, making daylight CG and VFX particularly unforgiving. The technical capability of Korean VFX companies is rarely the limiting factor; production time and budgets often determine the final quality. Yet VFX companies are not resisting the technology. They are increasingly incorporating it. Dexter already uses AI for repetitive post-production tasks, including removing visible stunt wires. Work that artists once completed manually frame by frame can increasingly be automated, allowing them to devote more time to complex shots that still require human judgment. AI is also opening possibilities for sequences that would otherwise require extensive sets, location shoots and large production crews, Kim said. It may not yet match the finish of a scene produced through conventional filming and post-production, but it can provide a practical alternative when traditional methods are no longer financially viable. The emerging production model is therefore more likely to combine AI with conventional VFX than force a choice between them. AI accelerates visual experimentation and automates routine tasks, while traditional VFX provides the precision needed to control and integrate the final result. The pressure to adopt those tools is particularly acute for broadcasters. EBS President Kim Yu-yeol said total television advertising revenue has fallen from about 2.1 trillion won ($1.5 billion) two decades ago to roughly 550 billion won last year. During the same period, the production cost of a single drama episode rose from between 50 million won and 100 million won to between 2 billion won and 3 billion won. In one AI animation experiment, Kim said, EBS reduced production costs to one-fortieth of those required under conventional methods. For broadcasters facing shrinking advertising income and sharply rising production costs, AI is no longer merely an experimental technology. It is increasingly becoming a survival tool. EBS has expanded AI-assisted programming, including the terrestrial drama Resurrection Class, while KBS has developed an AI television studio that automates camera tracking and plans to extend the system to news, interview and educational programming. The economic and creative arguments are not mutually exclusive. Lower production costs can preserve scenes that otherwise would be cut, turning cost savings into greater creative ambition. But the technology also introduces new risks. Ryu said Morpheus Studio discovered that one AI model unintentionally generated the face of a real actor with no connection to the production. The team subsequently verified AI-generated characters through image searches to reduce the risk of using recognizable faces without consent. The episode raises unresolved questions about how actors' likenesses enter AI training data and who bears responsibility when AI-generated characters resemble real people. Audience acceptance also remains uncertain. A December 2025 Hankook Research survey of 1,000 adults found that 49 percent felt uncomfortable with advertising or entertainment containing AI-generated images or video. The figure rose to 71 percent among respondents aged 18 to 29. At the same time, 81 percent viewed the spread of AI-generated content as a natural consequence of technological progress. The findings suggest audiences may regard AI's expansion as inevitable while remaining cautious about how it is used and disclosed. The Netflix rankings and domestic television ratings for Agent Kim: Reactivated cannot determine whether viewers embraced its AI-generated sequence. It remains unclear how many even knew how it had been created. What the production does establish is that generative AI has moved beyond demonstration videos and isolated experiments. It has entered mainstream television production, reached a global audience and delivered a sequence that producers say would have been prohibitively expensive to film conventionally. For now, AI cannot offer the same precision and consistency as established visual-effects techniques across every type of scene. Nor does it eliminate the need for artists, editors or creative judgment. Its first major role in Korean television may instead prove more pragmatic: not replacing images the industry already knows how to create, but making possible the ones it can no longer afford to shoot. 2026-08-03 17:53:14 -
aespa to launch world tour with global cinema livestream from Seoul SEOUL, August 03 (AJP) - K-pop girl group aespa will kick off its new world tour this week, with the opening concert simultaneously screened in movie theaters across 11 regions worldwide. SM Entertainment said Monday that the first show of "2026-27 aespa LIVE TOUR – SYNK : COMPLaeXITY" on Aug. 7 will be broadcast live in 146 cinemas across 11 markets, including South Korea, allowing fans around the world to watch the group's world tour opener in real time. The second night's performance on Aug. 8 will instead be livestreamed globally through Beyond LIVE and Weverse. The two concerts will take place at Gocheok Sky Dome, marking aespa's first standalone performances at the venue and the opening of a tour that will visit 25 cities across Asia, North America, South America and Europe. In Korea, four theaters operated by Megabox, one of the country's three major multiplex chains, alongside CGV and Lotte Cinema, will participate in the live-viewing event. Three of them will become the first cinemas in the country to present a concert using AI-powered immersive audio technology, pairing spatial audio with 4K projection to deliver a more immersive viewing experience. The rollout reflects a broader trend in K-pop, with agencies increasingly turning to theatrical live viewings to reach fans unable to attend concerts in person. Groups including BTS, SEVENTEEN and IVE have all adopted the format as demand for large-scale concert broadcasts has continued to grow. The SYNK : COMPLaeXITY tour follows aespa's 2024-25 SYNK : PARALLEL LINE world tour and comes after the release of the group's second studio album, "LEMONADE," in May. The album debuted at No. 9 on the Billboard 200, becoming aespa's third top-10 entry on the U.S. albums chart. 2026-08-03 17:38:07 -
South Korean soprano Sumi Jo receives Maria Callas SEOUL, August 03 (AJP) - South Korean soprano Sumi Jo has received the 12th Premio Internazionale Maria Callas, becoming the first Asian artist to receive the Italian honor in the year she marks the 40th anniversary of her international debut. PRM, Jo's publicity agency, said Monday that she accepted the award in Verona on Sunday, where organizers hold the annual ceremony each Aug. 2, the anniversary of Maria Callas' debut at the Arena di Verona in 1947. The prize recognizes artists who have made lasting contributions to opera and classical music, and previous recipients include director Franco Zeffirelli and baritone Leo Nucci. In a statement, Jo said the timing made the honor especially meaningful because she received the award exactly 79 years after Callas made her own Verona debut in the same city. She described it as one of the most meaningful moments of her career. The award comes during a milestone year for Jo, one of South Korea's most internationally acclaimed classical musicians. She launched her international career after winning Italy's Carlo Alberto Cappelli International Singing Competition in 1986 and has since appeared at many of the world's leading opera houses, including the Metropolitan Opera, La Scala, the Royal Opera House and the Vienna State Opera. This year, she has marked the anniversary with the release of the commemorative album "Continuum" and the second Sumi Jo International Singing Competition, held in France in July. She is also preparing for an international tour later this year. Jo will return to Korean audiences with a concert celebrating the 40th anniversary of her international career at the Seoul Arts Center on Sept. 4. 2026-08-03 17:37:32 -
South Koreans warmer toward Japan than ever SEOUL, August 03 (AJP) - South Koreans have never viewed Japan more favorably, while Japanese attitudes toward South Korea also improved sharply, with public sentiment between the two neighbors reaching its warmest level on record despite unresolved historical disputes, a joint annual survey showed Monday. South Koreans' favorable view of Japan rose to a record 54.3 percent, up from 52.4 percent a year earlier, according to the 13th annual survey jointly conducted by the East Asia Institute (EAI) in Seoul and the International House of Japan (IHJ). The findings were released at a joint press conference in central Seoul. The figure has climbed steadily since bottoming out at 12.3 percent in 2020 and has remained above the 50 percent mark for a second consecutive year — the highest level recorded since the survey began. Unfavorable views stood at 38.5 percent, while 7.2 percent of respondents said they held a neutral view. The results suggest that people-to-people exchanges have become a stronger driver of bilateral perceptions than diplomatic tensions. Among South Koreans with favorable impressions of Japan, 66.9 percent cited the country's orderly society and courteous public culture as the main reason, while 43.9 percent pointed to Japanese food, shopping and tourism. Researchers said the continued surge in two-way travel has played a central role in improving perceptions. Historical issues nevertheless remained the biggest obstacle to warmer ties. Among respondents with unfavorable views of Japan, 74.9 percent cited what they considered Japan's insufficient reflection on its wartime past. Another 46.9 percent pointed to the territorial dispute over the Dokdo islets, while 42.0 percent cited unresolved issues surrounding wartime forced labor and military sexual slavery. The improvement in public sentiment was also reflected in broader assessments of bilateral relations. The share of South Koreans describing current Korea-Japan relations as "good" nearly doubled to 20.6 percent from 10.6 percent a year earlier. A majority, 59.1 percent, described relations as "average," while 20.6 percent said they remained "bad." Japanese respondents also reported significantly warmer attitudes toward South Korea. The proportion holding favorable views rose 10.5 percentage points to 35.3 percent, while unfavorable opinions fell to 44.1 percent from 51.0 percent a year earlier. Researchers attributed the improvement to the sustained popularity of Korean culture, food and tourism in Japan, as well as a more favorable view of President Lee Jae Myung following the resumption of shuttle diplomacy between Seoul and Tokyo. The survey was conducted online between July 17 and 21 among 3,099 adults aged 18 and older, including 1,547 respondents in South Korea and 1,552 in Japan. 2026-08-03 16:14:08 -
Stray Kids kicks off RUN IT world tour with five sold-out Seoul concerts SEOUL, August 03 (AJP) - K-pop boy group Stray Kids successfully wrapped up it's five sold-out concerts in Seoul, officially kicking off its "RUN IT" world tour and giving fans an early preview of music from its upcoming mini album, "THIS & THAT," JYP Entertainment said Monday. The JYP Entertainment group performed at Seoul's KSPO Dome on July 25-26, July 29 and Aug. 1-2, drawing capacity crowds across all five dates. The Seoul concerts marked the opening leg of RUN IT, which is scheduled to continue across Asia with stops in Japan, Hong Kong, Taiwan, Thailand and Singapore through March 2027. Across the five shows, Stray Kids revisited its musical journey, opening with the 2017 pre-debut track "Hellevator" and debut single "District 9" before moving through later hits including "God's Menu," "Thunderous," "S-Class" and "Chk Chk Boom." A 59-meter panoramic LED screen, live band arrangements and expanded stage production formed the centerpiece of the performances. The group also introduced two unreleased songs from "THIS & THAT" — "I Do" and "After You" — ahead of the mini album's release on Aug. 7. During the final Seoul concert, Stray Kids surprised fans by unveiling the first music video teaser for the title track. During the encore, the members said the concert was designed to reflect the journey Stray Kids has shared with its fans. "Because of STAY, we've found the energy to keep running forward" the group said throughout the concert. The Seoul run also included a surprise celebration marking the birthday of the group's official fan club, STAY, during the Aug. 1 performance. The concerts come during another active year for Stray Kids. In June, the group became the first K-pop act to headline New York's Governors Ball Music Festival and is scheduled to headline Rock in Rio in Brazil on Sept. 11. Their first mini album of 2026, "THIS & THAT," will be released at 1 p.m. (0400 GMT) on Aug. 7. 2026-08-03 11:35:02 -
NCT 127 launches interactive 'CALL 127' campaign ahead of new album SEOUL, August 03 (AJP) - K-pop boy group NCT 127 has launched an interactive promotional campaign ahead of its seventh studio album, "BLINGY," built around the idea that fans are the ones calling the group into action, SM Entertainment said Monday. SM Entertainment opened the CALL 127 website at midnight Monday as the centerpiece of the campaign leading up to the album's Aug. 24 release. Styled as a command center, the site allows visitors to browse teaser materials while following a storyline that casts NCT 127 as a team responding to calls across Seoul. A signature feature lets users press a "CALL 127" button to hear voice messages from the members, creating the impression of direct communication with the group. The website also includes behind-the-scenes images from the teaser shoot and will serve as a hub for online and offline promotional events throughout the comeback. The campaign expanded Monday with the release of the first three episodes of a trailer series on NCT 127's official YouTube channel. The videos follow Haechan, Jaehyun and Yuta as mysterious signals begin interrupting their everyday routines, setting up a storyline that will continue throughout the promotional campaign. The concept ties into what SM describes as the album's "One Team" theme, emphasizing the connection between the members and their fans through an ongoing narrative rather than standalone teaser content. "BLINGY" will be released at 6 p.m. (0900 GMT) on Aug. 24 across major streaming platforms. The nine-track album marks NCT 127's first full-length release since "WALK" in 2024 and arrives as the group celebrates the 10th anniversary of its debut this year. Since debuting in 2016, NCT 127 has established itself as one of SM Entertainment's flagship acts with songs including "Cherry Bomb," "Kick It," "Sticker" and "Fact Check." Following the album's release, the group will launch its fifth world tour, "NEO CITY – THE REDLINE," beginning with three concerts at Seoul's KSPO Dome from Sept. 18 to 20 before continuing across Asia. 2026-08-03 11:34:50 -
Cortis teams with Juicy J for 'Motion' ahead of Lollapalooza debut SEOUL, July 31 (AJP) - K-pop rookie boy group Cortis has enlisted Academy Award-winning rapper Juicy J for its latest digital single, "Motion," as the rookie group prepares for its debut appearance at Lollapalooza Chicago this weekend. BigHit Music said Friday that the track was released at 1 p.m. KST. Drawing inspiration from the Memphis hip-hop sound that emerged in the U.S. South during the 1990s, "Motion" reinterprets the genre through the group's own musical identity. All members of Cortis participated in writing and composing the song, while Juicy J appears as a featured artist. A founding member of Three 6 Mafia, the Memphis rapper won an Academy Award for "It's Hard out Here for a Pimp" from the film Hustle & Flow and has collaborated with artists including Katy Perry, Megan Thee Stallion and Travis Scott. Cortis said the project grew out of a relationship established before its debut. "Working with Juicy J wasn't simply about bringing together two artists," the members said. "It was built on mutual respect and a shared understanding of each other's music, and it's a song we've wanted to share for a long time." Following its performance at Lollapalooza Chicago, Cortis will return to Seoul to celebrate the first anniversary of its debut with concerts at Korea University's Hwajeong Gymnasium on Aug. 22 and 23. 2026-07-31 16:45:52 -
NMIXX to make Japan debut with 'N=MIXX' SEOUL, July 31 (AJP) - NMIXX will officially enter the Japanese market later this year with the release of its first Japanese best album, "N=MIXX," as the JYP Entertainment girl group expands overseas following a year of international touring and growing recognition from global music publications. JYP Entertainment said Friday that "N=MIXX" will be released on Dec. 9, marking the six-member group's official Japanese debut — roughly four years and nine months after its 2022 Korean debut, one of the longer gaps among JYP's acts to make the jump to Japan. The 12-track compilation will include Japanese-language versions of previously released songs, including the title track from "Blue Valentine," NMIXX's debut full-length album in Korea. As with past JYP debuts in Japan, the group's introduction to the market takes the form of a self-titled best album rather than new original material. Rather than serving as a simple collection of past releases, the album is designed to introduce NMIXX's catalog to Japanese audiences in one sweep, drawing on songs that span the group's career, from its 2022 debut single "AD MARE" to this year's "Heavy Serenade." The Japanese debut comes as NMIXX continues its first world tour, "EPISODE 1: ZERO FRONTIER," which opened at Incheon's Inspire Arena last November. Ahead of the album's release, the group will perform two concerts at Tokyo's Keio Arena on Aug. 8 and 9, marking its largest standalone performances in Japan to date. NMIXX has steadily built its international profile over the past year. The group's "Fe3O4: FORWARD" and "Blue Valentine" drew favorable reviews from overseas outlets including NME, Dazed and Teen Vogue, while its latest EP, "Heavy Serenade," was ranked No. 3 on Billboard's list of the best K-pop albums of the first half of 2026. The EP's track "Crescendo" also placed No. 5 among the outlet's best K-pop songs of the same period. Since debuting in 2022, NMIXX has built its identity around blending multiple genres and vocal styles within a single track, an approach JYP calls "MIXX POP." The Japanese debut marks the group's latest step in expanding its footprint beyond South Korea, following performances across Asia, North America and Europe. 2026-07-31 16:17:45 -
Red Velvet returns as full group with summer EP 'Velvet Summer' SEOUL, July 31 (AJP) — K-pop girl group Red Velvet will return as a full group on Aug. 3 with "Velvet Summer," its first five-member release in more than two years, marking a return to the summer season that helped establish the act as one of K-pop's defining warm-weather groups. SM Entertainment said Friday that the five-track EP and its lead single, "Surfin' Boy," will be released at 6 p.m. KST on Aug. 3. The comeback is the group's first release featuring all five members since "Cosmic," which came out in June 2024. Rather than revisiting the bright, high-energy sound of earlier hits such as "Red Flavor," "Power Up" and "Umpah Umpah," the title track blends bossa nova guitar, reggae rhythms and house grooves in a more laid-back take on Red Velvet's signature summer sound. SM said the song highlights a more mature side of the group's seasonal musical identity. The EP also brings together several of Red Velvet's longtime creative collaborators. Member Joy, who has increasingly participated in songwriting through her solo work, wrote the lyrics for both "Surfin' Boy" and "Hawaii." Veteran songwriter and producer KENZIE, whose previous credits include "Red Flavor," "Peek-A-Boo" and "Psycho," contributed lyrics and composition for "Hot Girls Cold Vibe." Producer Hwang Hyun and lyricist Jo Yoon-kyung, both longtime collaborators with the group, also contributed to the album with "Orchestra" and "Hula Hoop." Ahead of the release, Red Velvet will hold a three-day fan concert at Korea University's Hwajeong Gymnasium in Seoul from July 31 through Aug. 2, where "Surfin' Boy" is scheduled to receive its first live performance. Originally planned as a two-day event, the fan-con was expanded after tickets sold out, with the additional show also reaching full capacity. The final performance will be livestreamed globally through Beyond LIVE and Weverse. The group will also host a countdown livestream on its YouTube and TikTok channels beginning at 5 p.m. KST on Aug. 3, ahead of the album's release. SM said "Level Up Project," Red Velvet's reality series, will return later this year with its sixth season, the first new installment in about four years. Since debuting in 2014, Red Velvet has become one of K-pop's best-known summer acts with songs including "Red Flavor," "Power Up" and "Queendom." While the group has alternated between its bright "Red" concept and its more refined "Velvet" identity throughout its career, "Velvet Summer" aims to bring those two sides together in a single, unified sound. 2026-07-31 16:17:27 -
Stray Kids to kick off 2026 comeback with self-produced EP 'THIS & THAT' SEOUL, July 31 (AJP) - Stray Kids will return on Aug. 7 with "THIS & THAT," the group's first release of 2026, following a year of stadium tours, international festival appearances and record-setting success on the Billboard 200. JYP Entertainment said Friday that the group will release the EP and its title track, "This & That," at 1 p.m. KST on Aug. 7. The eight-track project marks another self-produced release for the group, with in-house unit 3RACHA — Bang Chan, Changbin and Han — credited across every song, including the pre-release single "Run It" and a festival remix of the title track. JYP said the album highlights the group's versatility while continuing the self-produced approach that has defined Stray Kids since its 2018 pre-debut single "Hellevator." The rollout comes less than two weeks after Stray Kids opened its RUN IT world tour with five sold-out concerts at Seoul's KSPO Dome. The tour next heads to Japan, where the group is scheduled to become the first overseas male act to headline Tokyo's National Stadium, before continuing through Nagoya, Osaka, Fukuoka, Hong Kong, Taipei, Bangkok and Singapore into early 2027. The group is also set to headline Rock in Rio in Brazil this September and launch STRAYCITY, a fan festival built around Stray Kids, with stops planned in Bogotá, Buenos Aires and Mexico City. The comeback follows a milestone year for the group. Both of last year's releases — the fourth studio album "KARMA" and the mixtape "DO IT" — debuted at No. 1 on the Billboard 200, making Stray Kids the first act to send eight consecutive releases straight to No. 1 on the chart. The group's dominATE world tour also finished No. 2 on Pollstar's year-end ranking of global concert tours and No. 10 on Billboard's Top Tours chart for 2025, the highest placements achieved by a K-pop act on either list. That momentum has carried into 2026. In June, Stray Kids became the first K-pop act to headline New York's Governors Ball Music Festival, performing before a crowd of about 45,000. 2026-07-31 16:17:19