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  • Netflix Releases Official Teaser for BTS Comeback Live: Arirang
    Netflix Releases Official Teaser for BTS 'Comeback Live: Arirang' Netflix has released an official teaser for “BTS Comeback Live: Arirang,” kicking off a global countdown to BTS’ return. The teaser, unveiled on the streamer’s official social media accounts and YouTube on the 21st, compresses Korean aesthetics and the group’s artistic narrative into a short clip. Jimin appears briefly in the video, drawing attention and prompting a strong fan response as the teaser highlights his dreamy, elegant style. Netflix said the event is expected to be its first live broadcast of an event held in South Korea, streamed in real time to more than 190 countries. BTS will release its fifth full-length album, “Arirang,” worldwide at 1 p.m. on March 20, a day before the performance. On March 21, the group will debut stages for 14 new songs in Gwanghwamun. On the 27th, Netflix will release the documentary “BTS: The Return,” which follows the album’s production, before the group begins an 82-show world tour starting in April in Goyang.* This article has been translated by AI. 2026-03-09 08:33:42
  • World AI Film Festival Holds First Asia Edition in Seoul, Honors AI Shorts
    World AI Film Festival Holds First Asia Edition in Seoul, Honors AI Shorts The World AI Film Festival’s Seoul awards ceremony drew about 1,500 guests on March 6 at Lotte Concert Hall in Seoul, organizers said, as filmmakers and officials highlighted how artificial intelligence is reshaping production and storytelling. WAIFF (World AI Film Festival), co-founded by Institut EuropIA and Marco Landi, is described by organizers as the first and largest international network focused on the convergence of film and AI. With its main event based in France and editions expanding to Brazil, Japan and China, Seoul was selected as the first host city in Asia, the festival said. Aju Media Group participated as a media partner, covering changes in storytelling and the creative ecosystem in the AI era, according to the organizers. Opening the ceremony, Landi said one of the festival’s main goals is “discovering talent, protecting their rights and compensation.” He added that the five finalists from the Seoul edition are scheduled to be screened at a festival in Cannes, France. Ha Jung-woo, senior secretary for AI Future Planning at the presidential office, called it meaningful that the “experimental venue” where AI and creativity meet opened in Seoul as the first Asian edition. He said AI is rapidly expanding beyond industry and society into culture and the arts, and in film and content it is becoming “a completely new driving force” that broadens how creators work and how stories are told. Ha stressed that the value of the technology lies in human imagination and creativity. “AI is not something that replaces creation, and it should not become that,” he said, calling it a collaborator that expands creators’ possibilities and a partner for exploring new forms of expression. He added that it can help people with ideas create new forms of content media and broaden access to diverse content. The festival also drew attention for its international jury. Animator and producer Nelson Shin (Shin Neung-gyun), a juror, presented an excellence award and spoke about the pace of change. “I was very scared while doing this event,” Shin said. He recalled that after about 100 years of making films with cameras and projectors, Steve Jobs made “Toy Story” digitally, and “suddenly the workforce making films was reduced to one-twentieth.” “And now, in less than 20 years, AI has come,” he said, adding he worried there might be a way to stop it. During judging, he said, he could not tell what was shot with a camera and was surprised that “AI did everything.” “Now, in this era when anyone can make a work, everyone here is a writer,” he said. Jury chair Son Seung-hyun, CEO of Westworld, said WAIFF tours globally from Sao Paulo to Seoul, Kyoto and Cannes to explore new relationships among film, AI and human creativity. He said the Seoul participants were not only using new technology but also pioneering a new visual language. Son said the jury sought to avoid entries centered on technical spectacle or fully automated results. “What we focus on is not the amount or flashiness of AI, but the creator’s intent, meaningful energy, and reflection and originality embedded in the technology,” he said. He outlined four criteria: vision over perfect execution; guided intent over automation, including whether at least three AI tools were combined with clear purpose; meaning over short-term trends, seeking messages with long-term cultural impact; and the creator’s agency, judging how clearly the human voice came through. The grand prize went to director Kim Won-kyung’s “Could Know, Could Not Know.” “I came up from Seogwipo in Jeju,” Kim said after the win. “I never expected this, and I’m truly grateful. While working as a marketer, I used AI only as a work tool, but I was able to make the content I had really dreamed of and even receive an award, and my mind went blank. I will accept this with gratitude, thinking of it as the start of the second act of my life.” Other winners included the excellence award for “LOSING, About the Time Remaining” (directed by Lim Da-young and Lee Sang-hoon); an encouragement award for “The Dog, the Octopus and Me” (directed by AI Revolution); the AI advertising award for “Magic Mirror” (directed by Ji Seong-min); the AI shorts series award for “The More You Swallow” (directed by Lee Eun-young and Son Hee-song); the AI screenplay award for “Ticket to Neverland” (directed by Heo Min, Son Min-ho and Kim Han-in); the AI soundtrack award for “Arca” (directed by Lee Su-yeol); the AI Film Youth Award for “Manin” (directed by A-Frame); and the AI jury award for “Gum” (directed by Hwang Ha-min). On March 7, a day after the awards, the “WAIFF Seoul 2026 Creative Intelligence Forum” at Lotte Cinema World Tower addressed issues including production innovation using generative AI, next strategies for K-content, copyright protection and ethical guidelines. Organizers said WAIFF Seoul 2026 concluded successfully, positioning AI-driven creation as a step toward a sustainable industry ecosystem rather than a one-off event.* This article has been translated by AI. 2026-03-09 00:04:48
  • P1Harmony Wraps Third World Tour With Seoul Encore, Debuts New Songs
    P1Harmony Wraps Third World Tour With Seoul Encore, Debuts New Songs P1Harmony returned to Seoul after a run through 25 cities across Asia, North America and Europe, closing its third world tour with an encore concert that highlighted both its established catalog and what comes next. The group performed its “P1ustage H : MOST WANTED” encore on March 8 at Live Arena in Seoul’s Songpa district, marking the end of a tour that began in Seoul in August and continued through Oceania, Asia, North America, Latin America and Europe. The “MOST WANTED” theme — moving toward what P1Harmony and its fandom, “P1ece,” want most — was set from the opening, which followed a VCR about searching for hope in a ruined world. The group launched into “Black Hole” and “The Boy Who Ate the Sun,” then kept the pace with “DUH!,” “Scared” and “Before The Dawn.” Backed by a live band, the members shifted smoothly between dance, hip-hop and band-driven arrangements while maintaining steady live vocals. They moved freely across the extended stage and responded to fan requests by singing lines on the spot, narrowing the distance between artist and audience. Solo stages added variety between songs spanning the group’s early releases and its current sound. Intak performed “After Party,” and Jongseob paired “STUPID LOVE” with “Praise the Lord.” Keeho delivered a jazz-styled arrangement of “Creep.” Theo appeared with an acoustic guitar, read a letter to fans and said, “Thank you for helping this moment stay somewhere in your hearts for the rest of your lives, so I can sing in your youth.” He then sang “Twenty-Five, Twenty-One.” Jiung chose CNBLUE’s “I’m sorry,” telling fans, “I tried hard to reflect your feedback. I hope this song becomes a day that gives you enough strength to spend all of 2026 happily.” Reuniting as a full group, P1Harmony returned to high-tempo performance tracks including “Work,” “Bop,” “Pretty Boy” and “Jump,” then continued with “BFF,” “Everybody Clap,” “Heartbeat Drum,” “Follow me” and “Flash.” The encore also served as a preview of upcoming releases. The group performed tracks in Korea for the first time from its first English album, “EX,” released during the tour. It also debuted the title track from its ninth mini album, “UNIQUE,” due out March 12, along with the B-side “L.O.Y.L.” Jongseob said the new title track is “a genre P1Harmony is trying for the first time,” and asked fans to listen. Keeho added, “We’re releasing a new album after breaking a 10-month gap. Because ‘DUH!’ got a good response and results, there was both anticipation and pressure for the new album, ‘UNIQUE.’ I hope you give it lots of love.” For the encore, the group ran through “Countdown To Love,” “Play Harmony” and “SAD SONG.” Theo said, “I think we’ll be able to send off this tour feeling really relieved. Thank you for letting us make happy memories.” Jongseob added, “It’s time for ‘MOST WANTED’ to end in Seoul after a tour that lasted half a year. Thank you for being with us on this long journey. I hope this concert is something you need — for who you are now and who you’ll be tomorrow. We’ll be P1Harmony that can repay you.” Intak said, “A lot of thoughts cross my mind because we prepared so hard. Thank you to the fans by our side. Thank you for coming to love us and cheer for us until the end.” Jiung said, “It’s hard for me alone to change the world, but if someone leaves happy after watching our stage, isn’t that changing that person’s world? Someday, if I’m older and there’s even one audience member left, I want to perform — and I will — so I hope you stay with P1Harmony until then.” Soul said the concert could deliver both surprise and emotion, adding, “I hope you feel all of that before you go.” Keeho compared the show’s pace to a movie, saying films can feel short at two or three hours, but concerts can feel different. He thanked fans who had waited from the tour announcement through ticketing and the show itself, and said, “Thank you for giving us good energy for three days. We’ll carry that into promotions for the new album.” The group now turns to its next release. “UNIQUE,” its first mini album in 10 months since “DUH!,” follows a storyline in which the hero P1Harmony returns after declaring a strike. After 25 cities, the group is back in Seoul — and back with fans — as it begins its next chapter. * This article has been translated by AI. 2026-03-08 19:57:17
  • NCT’s Yuta Releases ‘Play Back’ as Theme Song for Japan’s ‘Kamen Rider Zets’
    NCT’s Yuta Releases ‘Play Back’ as Theme Song for Japan’s ‘Kamen Rider Zets’ NCT’s Yuta has joined the Japanese TV drama series ‘Kamen Rider Zets’ as the singer of its theme song, drawing attention from viewers. The track, titled ‘Play Back (PLAY BACK),’ was released at midnight March 8 on major global music platforms and has been met with a strong response. ‘Play Back’ is a rock song driven by aggressive guitar and a beat reminiscent of 2000s punk. The lyrics portray a mind wavering between reality and dreams, along with a firm resolve to defy fate and make one’s own choices. Yuta’s intense vocal delivery amplifies the song’s energy. ‘Kamen Rider Zets’ is a new season in Japan’s long-running ‘Kamen Rider’ franchise, which first aired in 1971 and marks its 55th year this year. Yuta, who watched the series as a child, said participating as the theme singer adds special meaning and underscores his influence in Japan. In January, Yuta headlined Japan’s Budokan arena to close out his first solo concert tour. He has also strengthened his local standing with his first full-length album, ‘PERSONA,’ released in October last year, which topped Oricon’s weekly rock album chart. Meanwhile, the film ‘Specials,’ starring Yuta, is set for release in South Korea on March 13. * This article has been translated by AI. 2026-03-08 14:36:16
  • Jang Hang-jun’s ‘The Man Who Lives With the King’ Tops 11 Million Moviegoers
    Jang Hang-jun’s ‘The Man Who Lives With the King’ Tops 11 Million Moviegoers 영화 '왕과 사는 남자'가 1100만 관객을 동원했다. 영화 '왕과 사는 남자'는 개봉 33일째인 3월 8일 누적 관객 1100만 명을 넘어섰다. 이는 흥행작 '파묘'(40일), '서울의 봄'(36일), '광해, 왕이 된 남자'(48일)보다 1100만 관객 달성 속도가 빠른 기록이며, '범죄도시4'와 같은 속도다. 5주차에도 관객들의 입소문에 힘입어 흥행을 이어가고 있는 가운데, 6주차에도 기세를 이어갈지 주목된다. 영화 속에서 이홍위(박지훈 분)와 광천골 사람들이 나무 명패에 각자의 이름을 적어 나무에 거는 장면을 바탕으로, 주역들이 나무 명패에 6글자로 적은 흥행 소감도 공개됐다. 장항준 감독은 "왕! 감사합니다!"라고 했고, 유해진은 "당나귀가 왔소!", 박지훈은 "사랑 주신 덕분!", 유지태는 "천만이 현실로", 전미도는 "천번 만번 감사", 김민은 "다 덕분입니다"라고 적으며 관객들에게 감사를 전했다. 이준혁은 "감사한 마음뿐", 안재홍은 "마치 꿈만 같아"라고 밝혔다. 한편 '왕과 사는 남자'는 457년 청령포를 배경으로, 마을의 부흥을 위해 유배지를 자처한 촌장과 왕위에서 쫓겨나 유배된 어린 선왕의 이야기를 그린다. 장항준 감독이 연출했으며 유해진, 박지훈, 유지태, 전미도가 출연했다.* This article has been translated by AI. 2026-03-08 13:00:20
  • BTS’ ‘ARIRANG’ tops 4 million Spotify pre-saves ahead of March 20 release
    BTS’ ‘ARIRANG’ tops 4 million Spotify pre-saves ahead of March 20 release Global interest in BTS’ upcoming release is showing up in the numbers. BigHit Music, a HYBE Music Group label, said BTS’ fifth full-length album, ‘ARIRANG,’ surpassed 4 million pre-saves on Spotify on March 7. The album topped 1 million pre-saves within two days of the pre-save launch and continued to climb. With about two weeks left until release, attention is on how high the figure will go. On Spotify’s March 4 ‘Countdown Charts Global,’ ‘ARIRANG’ ranked No. 1 again, holding the top spot for seven straight weeks. The chart tracks pre-save totals for albums and singles ahead of release and is widely used as a gauge of fan anticipation. BTS will release ‘ARIRANG’ at 1 p.m. on March 20 and hold ‘BTS THE COMEBACK LIVE｜ARIRANG’ at 8 p.m. the next day in the area around Gwanghwamun Square in Seoul. The event will be livestreamed on Netflix for audiences worldwide. A previously released trailer featured cheers from ARMY, the group’s fandom, heard at past concerts and visuals of the seven members set against Gyeongbokgung Palace. The album includes 14 tracks meant to capture ‘today’s BTS.’ The title track, ‘SWIM,’ centers on pressing forward through life’s waves, expressing a resolve to ride incoming currents at one’s own pace as a form of ‘love for life.’ RM handled most of the lyrics, the label said, adding sincerity to the message. * This article has been translated by AI. 2026-03-08 11:48:17
  • ‘A Man Living With the King’ Becomes 2026’s First Film to Top 10 Million Viewers in South Korea
    ‘A Man Living With the King’ Becomes 2026’s First Film to Top 10 Million Viewers in South Korea The film “A Man Living With the King” has drawn 10 million moviegoers, marking a new milestone at the South Korean box office. According to the Korean Film Council’s integrated ticketing network on Thursday, the film, directed by Jang Hang-jun, surpassed 10 million cumulative admissions at about 6:32 p.m. on its 31st day in theaters. The achievement makes it the fourth historical drama in South Korea to reach the 10 million mark, following “The King and the Clown,” “Masquerade” and “The Admiral: Roaring Currents.” It is also the first film in two years to cross 10 million admissions since “The Roundup: Punishment” sparked a box-office boom in 2024, a sign of renewed momentum for theaters after a prolonged slowdown. Set in 1457 at Cheongnyeongpo, the story follows a village chief who volunteers to live at an exile site to revive his community and a young deposed king sent into exile. The film has won broad support from both critics and audiences, the distributor said. The 10 million milestone is also a career marker for its cast. Yoo Hae-jin, who anchors the film as village chief Eom Heung-do, now has five films that have reached 10 million admissions. Yoo Ji-tae, who plays power broker Han Myeong-hoe, earned his first 10 million-viewer film. Actor Park Ji-hoon, who plays the exiled young king Lee Hong-wi, achieved a rare feat by joining the “10 million actor” ranks with his first commercial film, the distributor said. Showbox told this outlet, “We sincerely thank all audiences who supported ‘A Man Living With the King’ and joined us in theaters.” A company official added that with family and friends gathering at theaters during the holiday period becoming less common, “every step taken by audiences to come to the cinema feels even more meaningful.” The official said the company would “work to present good films” and asked for continued interest and support. With its ensemble performances and weighty message, “A Man Living With the King” is expected to maintain its box-office run even after passing 10 million admissions.* This article has been translated by AI. 2026-03-06 21:30:12
  • CRAVITY’s Hyeongjun to Star in Interactive Short-Form Drama ‘Kill the Romeo,’ Due in March
    CRAVITY’s Hyeongjun to Star in Interactive Short-Form Drama ‘Kill the Romeo,’ Due in March CRAVITY member Hyeongjun will make his acting debut as the lead in Kitts’ first interactive short-form drama, “Kill the Romeo,” set for release in March. The interactive, multi-ending romantic comedy begins when the narrator — a professional killer whose alter ego is a devoted fan — is assigned a new target: the narrator’s favorite idol. The story opens with an A-list assassin receiving a new mission, only to learn the target is the idol “Hyeongjun,” the person the assassin loves most. Shot in a first-person, interactive FMV (full motion video) format, the drama changes the character’s fate and ending depending on viewers’ choices. Hyeongjun appears as an idol character who shares his name, taking his first step into acting. In the drama, “Hyeongjun” is the center of a popular group and the assassin’s top idol — known for a warm, upbeat personality and a considerate, attentive side. At a fan-sign event, he learns he is the assassin’s target and is left in shock, with outcomes that vary based on the viewer’s decisions. Kitts is expanding its lineup with “Kill the Romeo,” following “Wind Up,” starring NCT’s Jeno and Jaemin, and “Jumpboy LIVE,” starring VERIVERY’s Kangmin. The company said it plans to strengthen competitiveness with premium short-form dramas and FMV content. The drama uses a first-person viewpoint to heighten immersion and builds multiple branching points tailored to the interactive format. Viewers step into the role of a killer torn between protecting or killing a favorite idol, with each decision directly affecting the story’s direction and ending. Production on “Kill the Romeo” has wrapped, and the project is now in postproduction, the company said.* This article has been translated by AI. 2026-03-05 17:09:09
  • Jinyoung and Kim Minju Lead JTBC’s New Friday Romance Series “Shining”
    Jinyoung and Kim Minju Lead JTBC’s New Friday Romance Series “Shining” Actors Park Jinyoung and Kim Minju are betting a first-love story can help revive JTBC’s Friday series. JTBC’s new Friday drama “Shining,” directed by Kim Yoon-jin (“Our Beloved Summer”) and written by Lee Sook-yeon (“One Fine Spring Day”), layers a teenage first meeting with a reunion in the characters’ 30s. The creators said the series aims to prove love through the passage of seasons rather than through big “incidents.” On the afternoon of the 5th, JTBC held a production presentation for “Shining” (written by Lee, directed by Kim) at The Link Hotel Seoul in the Guro district of Seoul. Kim and cast members Park and Kim attended and described the tone of the project. “Shining” follows young people who once shared a world of their own as they become each other’s faith and a light that guides their lives. Park and Kim co-star alongside Shin Jae-ha and Park Se-hyun. Kim said it is “a drama that doesn’t drive the story with some huge event.” He said that when he read the script, he felt the characters Tae-seo and Eun-a were portrayed in ordinary, recognizable moments, with a narrative that builds as the seasons pass. Asked how it differs from his previous work, Kim said, “If the last project felt like spring into early summer, I think ‘Shining’ may be a work that contains all four seasons.” Park plays Yeon Tae-seo, a subway train driver who looks at the world with precision. Living by the goal of simply getting through each day safely, the character is shaken in quiet ways when he reunites with his first love, Mo Eun-a, from when he was 19. Park said he found the through line from the character’s teens to his 30s in “consistency.” He called Tae-seo an ordinary person and said it was difficult to portray, adding that the writer told him she wanted Tae-seo to remain consistent in his teens, 20s and 30s. Park said he looked back on his own life and felt he had not changed dramatically, though his ways of coping with hardship differed over time. He said he tried to reflect that by playing Tae-seo with small shifts, keeping the performance restrained so viewers might think, “Someone like this really exists.” He also joked about wearing a school uniform again, crediting the lighting and cinematography teams for helping him pull it off. He said playing Tae-seo let him revisit his teens and 20s, and that his 30s now feel like the best time of his life. Asked about pressure after his previous work “Unknown Seoul,” Park said it would be a lie to say he felt none. He said he was grateful for the love but needed to approach the next project coolly, adding that “Shining,” unlike the previous work, is primarily a male-female romance. Kim plays Mo Eun-a, a manager of an old-house stay in Seoul with a background in hotel work. The character is energetic and charming but, after cycles of small rewards and major failures, meets her first love again. Kim said it was her first time playing a character across her teens, 20s and 30s. She said she had many concerns but enjoyed building the role in a more three-dimensional way. She said portraying a 30-something version of the character was especially challenging, so she talked extensively with the director and asked people around her for input. She said outward changes have limits, so she focused on how the character’s attitude and values might have shifted. Both actors emphasized their on-screen chemistry. Park called it “perfect,” saying the director scheduled extensive readings in advance — including one that lasted 10 hours — and that it would have been their fault if they had not become close. Kim said the readings helped her start filming in a comfortable state and called the time valuable. She said the set was fun and relaxed, crediting the director and Park. Park and Kim said they would work to make the “first love” story relatable, saying they wanted to show it “as if through a magnifying glass.” Park said the drama contains a story that anyone who has been in love will relate to, adding that while love is a common theme, “Shining” enlarges and highlights it like a magnifying glass. Kim said it is a story “everyone can relate to,” and added that the visuals are beautiful and may feel healing to watch. Park agreed, saying he knew South Korea was pretty but did not realize “how beautiful it is,” adding that the production filmed around the country and found it “truly beautiful.” JTBC’s Friday series slot was newly programmed last year, but earlier dramas including “The Good Man,” “My Youth” and “Love Me” stayed in the 1% to 3% ratings range, failing to establish a strong presence. That track record has fueled both anticipation and concern for “Shining.” Kim said any project comes with pressure, but noted the time slot’s format, with Episodes 1 and 2 airing back-to-back. He said viewers who follow how Tae-seo and Eun-a begin, move through time and return to each other may feel they want to keep watching for the full two hours. Episodes 1 and 2 air back-to-back at 8:50 p.m. on Friday the 6th.* This article has been translated by AI. 2026-03-05 15:30:12
  • BTS to Livestream Gwanghwamun Comeback Show Worldwide on Netflix
    BTS to Livestream Gwanghwamun Comeback Show Worldwide on Netflix BTS will meet fans worldwide from Seoul’s Gwanghwamun Square, a landmark at the center of South Korea’s modern civic life, in a comeback performance that will be livestreamed on Netflix. “BTS Comeback Live: Arirang (ARIRANG),” set for March 21 at Gwanghwamun Square, will be broadcast live to more than 190 countries via Netflix. Organizers and tourism officials say the event is expected to showcase Korean cultural identity to a global audience and potentially translate interest into travel.  Gil Gi-yeon, CEO of the Seoul Tourism Organization, said at a Seoul tourism business briefing held on the 24th that because BTS’ comeback show will be livestreamed on Netflix, “Seoul will likely become more widely known,” and he signaled plans to use the exposure to expand global tourism demand. The draw, the article said, is Netflix’s reach. Subscribers can watch without additional fees on mobile devices and TVs, allowing fans to join simultaneously under the same subscription model rather than being limited by venue capacity or ticket access. Netflix demonstrated the scale of its live streaming in 2024 with the boxing live event “Jake Paul vs Mike Tyson,” which it said drew 65 million concurrent connections. Netflix has also argued that viewing can lead to visits. In a survey it conducted in seven countries — Brazil, France, the United States, India, Indonesia, Thailand and Japan — Netflix was the main service through which overseas viewers encountered Korean content. Among foreigners who watched Korean content on Netflix, 72% said they intended to visit South Korea, compared with 37% among nonviewers. BTS’ livestream announcement has already fueled interest in the venue among overseas fans.  On social media, users posted comments such as, “I’m excited for a stage at Gwanghwamun,” and, “A performance with Gyeongbokgung Palace as the backdrop is symbolic.” Some fans have shared historical context about the area and exchanged information about Korean culture, reflecting how real-time streaming can broaden curiosity about the host city and its cultural sites. The article also pointed to broader economic spillover effects tied to global platforms, including tourism, dining and cultural industries. According to the Ministry of Culture, Sports and Tourism and the Korea Culture Information Service Agency’s “2025 Global Hallyu Trend Analysis Report,” reservations for K-pop experience packages rose 80% during the travel off-season from June to August after the success of “K-pop Demon Hunters.” It added that after the release of “When Life Gives You Tangerines,” international passengers at Jeju Airport hit a record 2.8 million. It also said Korean food featured in productions such as “Culinary Class Wars” and “Squid Game” drew renewed attention, with keywords including “kimchi” and “chef” frequently cited in overseas media coverage related to K-food. An industry official said the BTS livestream will help imprint both the current state of K-culture and South Korea’s appeal on viewers in more than 190 countries, adding that with global attention focused on Gwanghwamun, the economic and cultural ripple effects across related industries could be significant. With Netflix as its global distribution channel, the Gwanghwamun performance is expected to serve as a high-profile invitation for fans to look beyond the screen toward South Korea itself. 2026-03-05 13:36:23