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BTS Returns With Fifth Studio Album 'ARIRANG,' Releases 'SWIM' Music Video BTS returned with its fifth full-length album, “ARIRANG.” The group released the album at 1 p.m. on the 20th and unveiled the music video for its title track, “SWIM.” Shot against the open sea off Lisbon, Portugal, the video moves between a real large ship and detailed sets, emphasizing scale and visuals. The video opens on a massive vessel crossing an endless ocean. A woman is shown shaken and discouraged as she endures a difficult period. BTS appears as helpers guiding the ship — taking the helm, raising the anchor and scanning the route ahead. The seven members stay by her side in their own ways, offering quiet support. She eventually breaks a necklace that had felt like a restraint and smiles, conveying anticipation, tension and the moment of taking on a new challenge. Hollywood actor Lili Reinhart appears in the video, adding a restrained emotional arc. Director Tanu Muino led the production, creating a film-like mise-en-scène. In comments released through BigHit Music, the members said viewers can see a subtly more mature BTS. They also asked fans to watch it as they would a movie because it has a storyline. The group shared a weather-related anecdote, saying there was not a single day of good weather during filming and that a rain-soaked scene turned out beautifully. “ARIRANG” is described as an album that captures BTS’ identity and universal emotions many people can relate to. Bang Si-hyuk, the label’s chairman, oversaw overall production. The title track, “SWIM,” is an alternative pop song about pressing forward through life’s waves, framing the resolve to keep swimming at one’s own pace as a form of love for life. BTS will hold “BTS Comeback Live: ARIRANG” at 8 p.m. on the 21st around Gwanghwamun Square in Seoul, where it plans to perform new songs including the title track. On the 23rd (local time), the group will team up with global audio and music streaming platform Spotify for a “Spotify X BTS: SWIMSIDE” event in New York. It will then appear on NBC’s “The Tonight Show Starring Jimmy Fallon” on the 25th and 26th.* This article has been translated by AI. 2026-03-20 14:12:20 -
T.O.P to Return With First Full-Length Solo Album, “Another Dimension” Singer T.O.P is returning with a solo album. TOPSPOT PICTURES said on the 20th that T.O.P will release his first full-length album, ‘Multi-Perspective (ANOTHER DIMENSION),’ on April 3 through major online music platforms. Along with the announcement, T.O.P has been rolling out teaser videos on his official social media channels highlighting the new release’s mood. The first teaser, ‘I’m Totally Crazy! (Studio54),’ used distinctive typography and sound to signal the start of his comeback. A second teaser, ‘DESPERADO,’ set in a film-like scene, spotlighted T.O.P’s signature presence and raised anticipation for a musical shift on the album. The album is T.O.P’s first full-length project as a solo artist. The agency said he led overall production and prepared the record over a long period. ‘Multi-Perspective’ will be released at 6 p.m. on April 3, and preorders begin at 3 p.m. on the 20th through online album retailers.* This article has been translated by AI. 2026-03-20 14:09:17 -
BTS to Return After 4 Years With Netflix Live Show at Seoul’s Gwanghwamun 2026년 3월 21일, Seoul’s central Gwanghwamun area will be turned into a major stage broadcast live to more than 190 countries. Netflix will stream its first live event produced in South Korea, “BTS Comeback Live: ARIRANG,” marking the group’s first comeback performance in four years. Netflix held a media briefing Friday at Cinecube Gwanghwamun in Seoul’s Jongno district to outline the project and share production details. Attendees included Brandon Rigg, a Netflix vice president; Kim Hyun-jung, a BigHit Music vice president; Yoo Dong-ju, APAC head of HYBE Music Group; and executive producer Garrett English. Yoo said the question he heard most during preparations was, “Why Gwanghwamun?” He said the team focused on what would feel distinctly BTS, and that HYBE Chairman Bang Si-hyuk wanted the group’s return after four years to begin in “South Korea’s most symbolic space,” reflecting HYBE’s goal of expanding fan experiences. Yoo said the aim is to share a rare cultural moment — people of different ages and nationalities celebrating together at an iconic Korean site — with viewers worldwide. English said the central challenge was placing a modern pop show in a historic setting. He said the production held ongoing discussions on how to balance tradition and modernity while fully realizing BTS’ vision and showing respect for Gyeongbokgung, describing collaboration and faithful execution of the members’ creative intent as key principles. He called the physical scale “massive,” but said the goal is not only to capture the sweep from Gyeongbokgung to Seoul Plaza, but also to preserve close, intimate moments between the seven members and their fans — and to deliver that energy effectively to viewers watching live around the world. Kim said the new release’s title, “Arirang,” reflects that approach. She described it as an album that starts from the members’ roots, using both Korean and English so global fans can understand the message. She said it is intended to be enjoyed across generations, including by people who may not know BTS well. Kim added that BTS has long put its emotions and stories into its music, and that the members, Bang and staff worked closely to decide what message to deliver. For Netflix, Rigg said, the event is more than another program. He said single moments that connect the world at the same time are becoming rarer amid abundant entertainment choices, calling the BTS show the biggest live moment Netflix will present this year and a landmark partnership. Rigg said Netflix made major investments in local infrastructure and technical stability, drawing on experience from live broadcasts in extreme environments, including a Taipei skyscraper, to meet the constraints of a downtown location and expectations of hundreds of millions of simultaneous viewers. Joking, he said he was not sure what is harder — climbing a skyscraper or satisfying ARMY — but added that Netflix worked closely with local partners to prioritize reliability. He said Netflix has strong confidence in Korean content and that there was no better choice than BTS, adding the collaboration would set a new standard for Netflix live. On possible expansion into sports or other K-pop live events, he said many discussions are underway. Producers said the key viewing points are the combination of overwhelming scale and emotional closeness — capturing the size of Gwanghwamun while not losing the bond between the members and fans. Rigg also hinted at an unrevealed surprise, saying Saturday’s stage would offer a rare spectacle and become a massive global viewing party for ARMY and other viewers. “BTS Comeback Live: ARIRANG” is scheduled to be streamed live worldwide on Netflix at 8 p.m. Saturday.* This article has been translated by AI. 2026-03-20 13:03:20 -
BigHit Music VP: BTS’ ‘Arirang’ album starts from the group’s roots Kim Hyun-jung, a vice president at BigHit Music, introduced BTS’ new album, titled 'Arirang.' A media briefing for Netflix's 'BTS Comeback Live: Arirang (ARIRANG)' was held March 20 at Cinecube in Seoul's Jongno district. Attendees included Brandon Rigg, Netflix VP for nonfiction series and sports; Kim; Yoo Dong-ju, APAC representative for HYBE Music Group; and executive producer Garrett English. Kim said BTS has consistently made music that reflects the stories they want to tell and the emotions they feel at the time. She described the full-length album 'Arirang' as capturing the members' feelings and messages. She said the group worked closely during production with BTS members, executive producer Bang Si-hyuk and BigHit staff. She added that, as the album title suggests, it starts from BTS' roots and uses both Korean and English so listeners worldwide can understand the message. Kim said she hopes the album can be enjoyed across generations by longtime fans as well as people less familiar with BTS. BTS will release its fifth full-length album, 'Arirang,' at 1 p.m. on March 20. It is the group's first new release in three years and nine months since the June 2022 anthology album 'Proof.' The group has said the release will open a new chapter, 'BTS 2.0.' The album, which includes BTS' identity and universal emotions, was executive produced by Chairman Bang Si-hyuk. A comeback live show will be held at Gwanghwamun at 8 p.m. on March 21 and streamed live on Netflix.* This article has been translated by AI. 2026-03-20 12:00:19 -
Netflix to Livestream BTS ‘Comeback Live: Arirang’ From Seoul’s Gwanghwamun Square Ticket demand for “BTS Comeback Live: Arirang (ARIRANG),” set for March 21 at Seoul’s Gwanghwamun Square, has been intense. The venue’s 22,000 seats sold out immediately, and the ticketing site’s virtual queue topped 100,000 people. Because it is a free outdoor show, some forecasts say as many as 260,000 people could gather on site. Fans who cannot attend in person will still be able to watch live. Netflix said it will stream the Gwanghwamun performance in real time to more than 190 countries. For Netflix, the company said, the event is its first live event in South Korea and a major test of live-streaming capability in the OTT market. Netflix is also highlighting the production team. The show is overseen by Hamish Hamilton, a director known for major live broadcasts, including multiple U.S. Super Bowl halftime shows featuring artists such as Madonna, Beyonce and, most recently, Bad Bunny. Hamilton, who has led broadcasts including the 2012 London Olympics opening ceremony and awards shows such as the Grammys and Oscars, is expected to bring a style that goes beyond standard coverage, capturing small movements and emotional moments, Netflix said. The opening, which begins as three gates at Gwanghwamun open, the large stage planned around the Yukjo Madang area, and media-facade visuals along the walls are all to be carried on Netflix’s stream. To support the broadcast, Netflix said it is applying operational know-how built over the past decade to deliver what it described as “flawless” streaming without delays even with large numbers of simultaneous viewers worldwide. Netflix said it has built a stable viewing environment using its content delivery network, Open Connect. It will use advanced video-encoding technology that adjusts quality in real time to match a user’s network conditions, along with load-balancing technology designed to prevent traffic from concentrating on a single server. Netflix also said it has set up a multi-layer recovery system that automatically switches to a backup encoder if the main encoder fails, reducing the risk of interruptions. The company said it has tested the stability of such technology through live events including the “Jake Paul vs Mike Tyson” boxing broadcast and “Baby Gorilla Cam.” A Netflix official said the company is “putting full effort into broadcasting this BTS comeback live by mobilizing all live know-how accumulated since 2023 by the best experts for the best live.” The official added that, unlike offline concerts limited to a specific location or ticket holders, Netflix aims to create “a historic moment in K-culture” in which fans worldwide watch at the same time under the same subscription conditions. Netflix’s plan extends beyond the livestream. The company has already promoted BTS-related content through a marketing push around Seoul’s Seongsu-dong area. The rollout continues March 27 with the feature-length documentary “BTS: The Return.” The film is directed by Bao Nguyen, and produced with the global production company This Machine and HYBE, according to the article. It follows the seven members during a 3-year, 9-month hiatus as they gather in Los Angeles to reflect on what “BTS” means and complete the new release “Arirang.” Netflix subscribers will be able to watch both the March 21 live event and the March 27 documentary at no additional cost on TVs, mobile devices and other platforms.* This article has been translated by AI. 2026-03-20 06:03:52 -
CRAVITY’s Hyeongjun Stars in ‘Kill the Romeo’ Interactive Short-Form Drama Trailer CRAVITY member Hyeongjun will star in Kitts’ first interactive short-form drama, “Kill the Romeo,” set to be released on the platform on the 27th. The series from global K-pop short-form platform Kitts is an interactive, multi-ending romantic comedy told in first person. It follows “me,” a top-tier assassin whose alter ego is a devoted fan, after a new target is assigned: the viewer’s favorite idol, “Hyeongjun.” The story begins when the A-list killer receives an order to eliminate him. Hyeongjun plays an idol character who shares his name, marking his first acting project. The newly released main trailer opens with tense music and the line, “All my targets are called Romeo. Codename ‘Juliet.’ I’m a killer.” It then shows the viewer-character at Hyeongjun’s fan-sign event, before the mood shifts as he is named the target and placed in danger. Under the premise of “my favorite idol becoming my target,” the trailer presents multiple choices. Near the end, Hyeongjun asks, “Noona, what do you want me to do?” teasing the directions the story may take. Kitts has been expanding its library with monthly releases, following titles including “Wind Up,” starring NCT’s Jeno and Jaemin, and “Jumpboy LIVE,” starring VERIVERY’s Kangmin. “Kill the Romeo” is expected to differentiate itself from typical romantic comedies through its first-person format and branching story points. “Kill the Romeo,” starring Hyeongjun, will be released on Kitts on the 27th.* This article has been translated by AI. 2026-03-19 14:57:39 -
AMAZE CEO Lee Seung-jun: In the AI era, VR concerts must deliver irreplaceable experiences Artists can feel close enough to touch, and inside the theater, cheers and singalongs break out naturally. VR concert films are changing not only how audiences experience performances, but also what it looks like to go to the movies. Lee Seung-jun, CEO of AMAZE, which has released VR concert films featuring ENHYPEN, TOMORROW X TOGETHER, ATEEZ and TWS, said demand is rising as the format spreads. With TWS’ first VR concert, “TWS VR CONCERT : RUSH ROAD,” selling out day after day, Lee said word-of-mouth is lifting expectations. “Honestly, the response has been better than we expected, so I think it could set our best results yet,” he said. “As people talk about VR content, audience demand is going up. Albums cost money, concert tickets cost much more, and getting tickets is hard, so a VR concert film can be a good way to see an artist. I love concerts too, but it’s not easy to see a top artist right in front of you. This is much more of an up-close experience, so I think it’s a medium that fits music well.” AMAZE did not start out focused only on concerts. Lee said that while thinking about what might come after mobile, the company bet on “space” and VR headsets, tried multiple formats, and found concerts delivered the biggest impact. “It’s been 10 years since I started the company,” he said. “AMAZE is made up of early Kakao members, engineers who worked together back then. I used to work at a consulting firm, but seeing mobile as a new innovation and media paradigm led me to start a business. Then I thought about what would come next, and when the paradigm shifts, I wanted to go global. What we bet on was ‘space’ and ‘VR headsets.’ At first we didn’t do only music — we tried films and other things — but the biggest impact was concerts. So we decided to expand that and build content step by step, centered on entertainment.” That approach also shaped interactive features such as letting fans pick a favorite member and use a virtual light stick. Lee said the experience becomes denser when fans can respond and participate, not just watch. “Because these are K-pop artists, we thought it would be good if fans could choose their favorite member and keep watching that person,” he said. “So we added things like ‘pick your favorite’ and a ‘light stick.’ The elements can differ by artist. Recognizing hands and actions like waving a light stick can ultimately make the experience bigger.” Lee also drew a clear line between watching VR at home and watching it in a theater. When people who like the same artist gather and react together, he said, the content shifts from a private viewing to a shared event. “Of course you can watch at home,” he said. “But the feelings you get watching an artist you love with other people are definitely different. That’s why I think in the AI era, the value of 2D content or 2D images could gradually fall. What we make is, in a way, like Disneyland — we’re building an attraction for an artist. We’ll keep thinking about how to help audiences experience it with more immersion and a stronger sense of being there. And we plan to make it available online too for people with headsets at home. Even now, like selling concert DVDs, we sell a version you can watch by inserting a phone.” He said the format could expand beyond K-pop, and that U.S. and Chinese artists have shown significant interest. For now, he said, the company is weighing how to broaden genres without limiting itself to one market. “First, we’re thinking about expanding genres,” he said. “We’re not only thinking about K-pop artists. We’ve been getting a lot of contact from U.S. artists and Chinese artists, so we’re thinking about how to expand this. At the moment, male idol groups seem relatively easier in some ways. But we’re not limiting ourselves to that, and I think there’s a lot we can do with other artists too.” Lee said AMAZE’s edge is technology, built on two pillars: computer graphics based on Unreal Engine and AI. But he argued that, rather than competing with general-purpose image-generation AI, the key is accumulating VR-specific data and postproduction techniques. “Basically, we have two technical pillars,” he said. “One is CG-based technology like Unreal Engine used in games, and the other is AI. But AI should be viewed differently. AI that makes 2D video or images is closer to the domain of big companies like Google or OpenAI, and it’s not easy for an independent company to own that space — it’s expensive and competition is intense. But VR content is a different format. In this area, unique data for specific categories keeps accumulating, and learning based on that is how the technology advances. We have technology optimized for VR content. Using it, postproduction, image-quality improvement and interactive implementation can keep getting better. In VR, it’s important to raise image quality and immersion together. As that technology builds, audiences feel more like they’re on site, and we can add more spatial design and interactive elements. It matters that a single title does well, but we think it’s important to keep building that technology.” Asked why he believes the format will matter more in the future, Lee pointed to what he called an “irreplaceable experience.” “I think content keeps evolving,” he said. “The grammar we’ve built so far is centered on music concerts, but I don’t think this kind of new spatial experience will stay only with music. To get people to pay and come, it has to be a different experience from existing 2D content. We’re in an era of content overload, so it will only get harder to make people spend extra money on 2D content they can watch on a phone or TV. In the end, if it’s not more immersive and valuable, people won’t spend easily. Even in the AI era, I think what matters is an irreplaceable experience. We film real artists and create a real experience with sweat, time and a story inside it. AI can make fake performances, but I don’t think people will spend money on them in the same way.” Some viewers may still see the 33,000 won price and the VR format as barriers. Lee said he expects the market to move away from one-size-fits-all hits and toward sharper individual tastes. “I’m not sure how much longer traditional mass content will be possible,” he said. “There could be another case like ‘Wangsnam,’ but I don’t think it will repeat often. In the end, I think people spend money on experiences they truly love. Even if they spend 10,000 to 20,000 won on some content, they can spend much more on what they really like. I think we’re heading into an era of ‘micro interests’ — an era where people spend more deeply on what they truly like. Rather than focusing only on making each individual title a hit, we’re closer to building an environment and paradigm where more of those experiences can be made.” Lee said motion sickness — a frequent concern in VR — should be addressed differently depending on an artist and fan base. “Because each artist’s fan base differs in age and gender, the level of camera movement they can accept also differs,” he said. “Motion sickness happens because you’re still but the world moves. Taking that into account, if we later build dedicated theaters, we’ll make the chairs move in sync with the camera movement. We’re considering ways to make it less dizzying while delivering a more dynamic experience.” Ultimately, Lee said he is aiming for dedicated venues that go beyond putting on a headset. He said he wants to design the full experience so that, from the moment people enter, it feels like stepping into an artist’s world. “If we go in the direction I’m thinking, there would be motion chairs, and if we add elements like haptics matched to the music, the physical sensation could be much bigger,” he said. “It won’t end with just watching in a theater. We’ll likely design the space so people can enjoy things from the moment they arrive, and feel like they’re entering the artist’s musical world. This isn’t a far-future story — it’s at the stage of being discussed now.”* This article has been translated by AI. 2026-03-19 14:54:33 -
Han So-hee and Jeon Jong-seo team up for film 'Project Y' Every production is seen from countless angles. Even in the same place at the same time, directors and actors may experience the moment differently. <Choi Song-hui’s B-Cut> looks past the on-screen “A-cut” to the vivid record of what happened on set. By weaving together interviews with directors and actors, it reconstructs the “B-cut” moments that were often more intense than the finished frame. <Editor’s note> In the middle of a glittering city, two women at the edge of their lives reach for dirty money and gold bars. The film “Project Y,” directed by Lee Hwan, began with that one-line logline. But the project’s driving force, the actors said, came less from a production system than from their own initiative. Han So-hee and Jeon Jong-seo, both the same age, said they read the script together and decided, “Let’s do this.” They described a set built on mutual trust and intense focus, before any talk of visual spectacle. The film’s origins, they said, were rooted in admiration for each other’s work — support that came before any business pitch. “Jong-seo and I looked at the script together. We read it and started with, ‘Let’s do this,’” Han said. “Before being friends, I really like Jong-seo as a fellow actor. I liked her previous work, too, so I was curious how this project would turn out within her filmography — and what it would be like acting with me.” “When I was reading this script with So-hee, it was an especially difficult time for movie theaters,” Jeon said. “But since there were people who said they would believe in us, I wanted to do well. The starting point was that one line: ‘Two women the same age, standing at the edge of life, touch dirty money.’ Somehow it gave me courage.” The actors said their main task was convincing viewers why Mi-seon and Do-gyeong — two friends with sharply different personalities — would stay together. They built the characters to balance stability and danger, and worked with the costume team to create a simple, minimalist look, sometimes incorporating items from their own wardrobes. “I thought we had to persuade people why these two, who are completely different in personality and temperament, are friends,” Han said. “Mi-seon is more capable in daily life than Do-gyeong and pursues a stable kind of happiness. Since I also pursue an ordinary life, I tried to use that point of contact to make Mi-seon’s actions feel believable. There’s only one thing I want to say with this film: Even if you don’t have anyone on your side in this world, if you have one person who truly understands you, that’s a successful life.” “I wanted Do-gyeong to look tough but also feel like she could shatter like glass,” Jeon said. “Mi-seon, played by So-hee, looks fragile but is surprisingly solid and action-oriented. We talked about holding hands and moving forward as if we’re looking at the same thing, like a decalcomania. We especially wanted these characters to stick visually, so we discussed it directly with the costume team and reflected personal items, too. We said, let’s keep it simple and minimalist.” Their on-set rhythm, they said, came from balancing sensitivity and steadiness. One scene — digging through the night to steal a large sum of money — became the moment their commitment was most visible. “We dug for five hours,” Han said. “Since that scene is the start of our film, we really immersed ourselves to keep it real. After shoveling for hours, you sweat. We took off our outer layers and even used a watering can to create sweat while filming. I remember being so locked into that scene that I didn’t even feel the cold — I was extremely focused.” “The director actually tried to stop us,” Jeon said. “But we volunteered and acted it out like, ‘It would be good to throw off our clothes and dig here,’ sweating a lot. The director was the one telling us to wrap up and was worried about us. Ha.” Positioning themselves as part of a generational shift in Korean film, the two actors also stressed balance and responsibility across the cast. “It’s a two-lead film with two women the same age, and we wanted it to feel iconic rather than simply pretty,” Jeon said. “We hoped even a single poster would leave a strong impression, and I think audiences are interested in that. It seems like people responded well to the curiosity of, ‘A movie with two iconic women — what happens?’” “I feel a sense of responsibility with every project,” Han said. “Watching the edited cut, I thought, ‘In this era, there isn’t really a single main character.’ Everyone moves in harmony in their own place. The story flows with Do-gyeong and Mi-seon at the center, but without the other roles, they wouldn’t exist either. It feels like we’ve entered a time when the boundary of the main character is breaking down.” From volunteering to dig for five hours to offering personal items for costumes, the actors’ approach became, in their telling, the film’s most vivid “B-cut” record — two women meeting at the edge and moving forward through fierce rapport and shared responsibility.* This article has been translated by AI. 2026-03-18 16:54:52 -
Actor Go Jun to Marry Non-Celebrity Partner in Private Ceremony on April 5 South Korean actor Go Jun will marry his non-celebrity partner on April 5, according to reporting by this outlet. The wedding will be held at a location in Seoul and will be private, with only family and close acquaintances invited. The bride-to-be is not in the entertainment industry. The couple has been dating since last year. Go debuted in the 2001 film ‘Wanee & Junah’ and has since appeared in films including ‘Byeonsan,’ ‘Midnight Runners,’ ‘Luck-Key’ and ‘The Age of Shadows.’ His television credits include ‘The Fiery Priest,’ ‘Oh My Baby,’ ‘Save Me’ and ‘Death to Snow White-Black Out.’ He won the SBS Drama Awards for best supporting actor in 2019 for ‘The Fiery Priest’ and received the KBS Drama Awards best couple award in 2020 for ‘Cheat on Me If You Can.’* This article has been translated by AI. 2026-03-18 16:15:17 -
South Korea’s National Pension Service hit by fan backlash after ENHYPEN’s Heeseung exits Some overseas fans angry over ENHYPEN member Heeseung’s announced departure and move to solo work directed their frustration at an unlikely target: South Korea’s National Pension Service, a major shareholder in HYBE. Kim Seong-ju, chairman of the National Pension Service, said in a social media post on the morning of March 18 that the agency’s International Pension Support Center was briefly overwhelmed after its contact information spread online. The backlash began after HYBE subsidiary Belift Lab announced on March 10 that Heeseung would leave the group and pursue solo activities. Some overseas fans, opposing the decision, organized efforts to pressure the pension fund as a key HYBE investor to push for a reversal. Posts on X, formerly Twitter, and other platforms circulated the center’s phone number, urging users to “make things difficult” for the pension fund and to demand answers on whether it had been notified in advance and whether it understood potential losses in market value. As a result, the center received a surge of calls from overseas last week, temporarily disrupting operations. Kim said about 1,500 emails arrived in just two hours. “The International Pension Support Center provides pension counseling in multiple languages, including English, Chinese and Japanese, for foreign workers in Korea and Koreans living abroad,” Kim wrote, adding that people who urgently needed pension assistance were inconvenienced. Kim said the National Pension Service is a long-term investor managing retirement funds and invests in many companies worldwide, but does not intervene in individual firms’ management or personnel matters. “Of course, we have no authority to be involved in the formation of a K-pop group or its membership,” he said. He added that while the incident spread through social media as a “happening,” it prompted reflection on the pension fund’s public role, and he pledged to stay focused on managing citizens’ assets in a stable manner. Belift Lab has said Heeseung will continue as a solo artist under the label, including plans such as releasing a personal album. The company faces continued pushback from parts of the global fan base. * This article has been translated by AI. 2026-03-18 14:12:11