AJU PRESS ASIA FIRST NEWS AGENCY

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최송희
  • Son Heung-min Scores Twice as South Korea Leads Trinidad and Tobago 2-0
    Son Heung-min Scores Twice as South Korea Leads Trinidad and Tobago 2-0 The South Korean national football team finished the first half leading 2-0 against Trinidad and Tobago, thanks to a brace from captain Son Heung-min. Under the guidance of coach Hong Myung-bo, South Korea concluded the first half at South Field, Brigham Young University in Salt Lake City, Utah, on May 31. In the first match of their final warm-up ahead of the North and Central America World Cup qualifiers, Coach Hong employed a three-back formation. Son played as the lone striker, supported by Bae Jun-ho and Lee Dong-kyung in the attacking midfield. Kim Jin-kyu and Baek Seung-ho controlled the midfield, while Jens Castrop and Kim Moon-hwan operated as wing-backs. The defense was composed of Lee Gi-hyuk, Jo Yu-min, and Lee Han-beom, with Jo Hyun-woo in goal. Despite a sluggish start, South Korea broke the deadlock thanks to Son. In the 40th minute, Kim Jin-kyu delivered a through ball to Kim Moon-hwan, who sent a low cross into the box, allowing Son to score the opening goal. Son quickly added a second goal. In the 42nd minute, after receiving a pass from Son, Bae Jun-ho was fouled inside the penalty area. Son stepped up to take the penalty and scored with a powerful shot to the left side of the goal, marking his 56th career international goal. With Son's two goals, South Korea ended the first half with a comfortable two-goal lead. * This article has been translated by AI. 2026-05-31 11:39:00
  • Shonu and Hyungwon of Monsta X: From Potential to Genre
    Shonu and Hyungwon of Monsta X: From Potential to Genre Every day, dozens of songs and works are created. While music, dramas, and films are introduced through countless media, what reaches the public is often less than half. The artists who sing and act face similar challenges, frequently undervalued or overlooked despite their exceptional talents. Artist Spotlight is a segment dedicated to introducing artists from various fields and exploring their growth. It serves as a heartfelt tribute to these creators. — Editor's Note Only those who have filled to the brim can understand. Just as pouring out all one’s energy requires skill, so does the act of letting go. While Monsta X has expressed the raw desire of love with a fierce mood, Shonu and Hyungwon refine those emotions with polished language and restrained lines. The passionate love becomes a well-ordered tension, and the straightforward confession transforms into a question about love itself. Choosing to evoke lingering feelings rather than certainty, and to observe rather than push, they create a different grammar of love within the world of Monsta X.Shonu and Hyungwon are the first unit formed after eight years since Monsta X's debut. Centered around the team’s main dancer and vocalist, they have crafted an aesthetic that is both distinctly Monsta X and refreshingly unfamiliar. While Shonu anchors the stage with a solid presence, Hyungwon meticulously shapes the temperature and texture of emotions with his unique vocal tone and production sense. This complementary combination vividly marks the unit's identity. If Monsta X confronts emotions with intense energy, Shonu and Hyungwon calmly draw out the underlying tension and restraint within that world. Though their directions differ, their roots remain firmly planted in the fierce journey Monsta X has traveled.Their first mini-album, The Unseen, marked the beginning of realizing their potential. This album starts with a narrative about facing the many 'selves' that exist in the eyes of others. The real me, the me interpreted by others, and the me loved by someone. Instead of denying these unfamiliar and confusing faces, Shonu and Hyungwon quietly accept that they are all part of themselves. The title track, Love Me A Little, explores the tension between the true self and the self that others desire through restrained vocals and performance. Hyungwon took on the production, while Shonu contributed to the choreography, demonstrating that the unit operates with their own sensibilities from the outset.The follow-up mini-album, Love Me, further clarifies Shonu and Hyungwon's aspirations. While The Unseen was about acknowledging multiple selves, Love Me focuses on love within the relationships where those perspectives intersect. The title track, Do You Love Me, captures the precarious tension of pushing and pulling each other while delaying a definitive answer about love. Shonu and Hyungwon present this question with sophistication, leaving ample space rather than forcing a conclusion. They hold onto the hesitations and subtle temperature differences throughout the process rather than rushing to an ending.As their musical grammar solidifies, they carve out a distinct realm separate from Monsta X. Hyungwon, who has previously focused on pain and longing in tracks like Nobody Else, Mercy, and Wildfire, now paints love in a brighter and more romantic light in this album. He sings about summer love with the retro groove of Superstitious and captures a fearless emotional journey in Accelerator. This stands in stark contrast to the tragic tones of previous works, showcasing a broader and more colorful range of love that Hyungwon now explores.While Hyungwon expands his role as a producer through songwriting, Shonu visually completes this on stage. Notably, his solo track Around & Go clearly showcases Shonu's vocal prowess beyond just being a performer. His R&B-infused vocals and delicate control stimulate a refined sensibility, while his solid presence supports the entire piece, firmly anchoring the unit. The harmonious balance between Hyungwon's polished mood and Shonu's strong center makes Shonu and Hyungwon a unique unit.Ultimately, Love Me holds greater significance not just in the fact that the two have reunited, but in the establishment of a distinct narrative unique to this unit. It is a process of discovering a completely different pace and order while sharing the energy of Monsta X. Through this album, Shonu and Hyungwon evolve from a simple unit into a team with their own story.Only those who have burned brightly can possess such calm. They have found the most refined form of beauty within the world that Monsta X has built without erasing it. Love Me proves that their sensibilities have transcended potential to become a genre of their own. The aesthetics of letting go are only possible after having filled to the brim. Shonu and Hyungwon ask us about love again with their delicate sensibility, in the most sophisticated way, leaving a lasting impression.* This article has been translated by AI. 2026-05-29 07:02:00
  • Vigloo Launches AI Animation Tab to Accelerate Short Drama IP Expansion
    Vigloo Launches AI Animation Tab to Accelerate Short Drama IP Expansion Short drama platform Vigloo is accelerating its expansion into AI-based content by launching a dedicated animation tab. This new feature will categorize AI animation and AI live-action dramas separately, enhancing its multi-format IP strategy in the short-form content market.On May 28, global content platform Spoon Labs announced the establishment of the animation tab on its short drama platform Vigloo, marking a significant expansion of its AI-based content lineup.The creation of the animation tab aims to improve viewer accessibility by separating AI-produced content into an independent category. Vigloo plans to enhance its multi-format IP operations, which currently includes about 30 AI animations out of a total library of approximately 400 titles. The platform intends to gradually increase the proportion of AI live-action dramas as well.Along with the new tab, Vigloo unveiled two new AI titles. The AI 3D animation "The Demon Lord's Marked Bride: Returning for Blood," which was previewed on May 14, tells the dark fantasy romance of a bride who was sacrificed to a demon by her family on her wedding day but returns for revenge after gaining the demon lord's mark. The production utilizes AI to enhance the visual and directorial elements, creating a fantasy world and character expressions that would be challenging to achieve with live-action.The AI live-action drama "Married the Ex Gang Leader!" released on May 28 targets the Japanese market. It reflects unique Japanese subcultures, such as the bosozoku (street gang) and yankii culture, in its male protagonist's character, aiming to cater to local romance content demands.Vigloo is expanding its strategy by reinterpreting popular original works based on a strong IP ecosystem of webtoons and web novels in Korea and Japan, as well as producing spin-offs of verified drama IPs. In the U.S., the company is building a production system centered in Los Angeles, focusing on English original content that reflects North American viewer preferences, including supernatural romance, romantic comedies, and revenge romances targeting women in their 30s and 40s.AI content is also a core strategy for the platform in terms of production efficiency. Vigloo aims to fill 30% of its entire library with AI content by concurrently producing AI-based 2D and 3D animations of existing IPs and new AI live-action short dramas. The AI production structure is said to reduce costs by up to 90% compared to traditional methods while allowing for rapid supply of diverse genres and formats.A representative from Vigloo stated, "Separating AI animation into its own tab instead of mixing it with the general lineup is part of our content expansion strategy based on OSMU (One Source Multi Use), aimed at broadening our portfolio into the animation sector."They added, "We believe that as the quality of AI-produced works improves, viewers are beginning to open their wallets. Vigloo expects to maximize production efficiency using AI technology and expand genres that can express both live-action and animation, providing richer content to viewers."Spoon Labs CEO Choi Hyuk-jae remarked, "AI is a tool that expands the possibilities of content beyond the distinction between live-action and animation. Vigloo will evolve into a multi-format platform that transcends formats, genres, and markets, leveraging its AI production capabilities."Vigloo, which launched the first AI short-form animation in Korea last December, is simultaneously pursuing the animation adaptation of live-action short drama IPs and the production of original AI live-action dramas. The company aims to accelerate content supply and broaden IP utilization in the short drama market based on AI production methods.* This article has been translated by AI. 2026-05-28 17:12:00
  • One Year into Lee Jae-myungs Administration: South Korean Film Industry Sees Increased Support but Faces Ongoing Challenges
    One Year into Lee Jae-myung's Administration: South Korean Film Industry Sees Increased Support but Faces Ongoing Challenges One year into Lee Jae-myung's administration, the South Korean film industry is experiencing both signs of recovery and structural challenges. Successful films such as "The King’s Affection," "Salmon," and "Goonch" have emerged, while titles like "Hope" and "Goonch" were invited to the Cannes Film Festival, reaffirming the presence of Korean cinema. However, issues such as the holdback controversy, a decrease in the number of productions, and a lack of trust in the Film Promotion Committee remain unresolved.Over the past year, the government's film policy has focused on crisis response and increased support. The Ministry of Culture, Sports and Tourism allocated an additional budget of 65.6 billion won to help revive the stagnant film industry. This funding aims to support mid-budget film production, independent art films, and advanced technology production, injecting capital into a production environment that has been weakened by COVID-19. The distribution of movie discount vouchers to encourage theater attendance has also been implemented.Since May 13, the Ministry and the Film Promotion Committee have distributed 2.25 million movie discount vouchers worth 6,000 won each. This is half of the 4.5 million vouchers secured through the supplementary budget. The vouchers were made available through major multiplex websites and apps, with an additional 2.25 million set to be distributed in July during the summer peak season.Minister of Culture, Sports and Tourism Choi Hwi-young highlighted some recovery in the film industry during a press conference marking the first anniversary of Lee's government. He noted that theater attendance increased from 20.82 million in the first quarter to 31.90 million, and the number of films with production budgets exceeding 2 billion won rose from 26 last year to 40 this year. He stated that these indicators suggest that "escaping the film crisis is possible."This year, the box office has indeed shown positive trends. Director Jang Hang-jun's "The King’s Affection" successfully attracted family audiences and fans, while the horror film "Salmon" surpassed its break-even point and established a long-term box office trend. Director Yeon Sang-ho's "Goonch" was invited to the Midnight Screenings section of the 79th Cannes Film Festival and quickly surpassed 2 million viewers domestically. Director Na Hong-jin's "Hope" marked the first Korean film in four years to compete at Cannes, while Director Jeong Joo-ri's "Dora" was also invited to the Directors' Fortnight.However, the success of individual films does not necessarily indicate a full recovery for the industry. The total number of moviegoers, which exceeded 200 million in 2019 before the pandemic, has significantly declined, and the production of mid-sized commercial films continues to be stifled. Concerns are growing that the reduction of mid-budget films, which have traditionally served as a gateway for new directors and actors, is leading to a rigid production ecosystem.In the field, there are ongoing discussions about the direction and execution of government support. The mid-budget film support program has faced criticism for being misaligned with production realities, despite the budget increase. Film and drama productions often take years to complete, but government funding must be utilized within the fiscal year, leading to situations where funds must be returned if additional investment is not secured after selection.Minister Choi is aware of this issue. He previously stated at a meeting of the Cultural Arts Policy Advisory Committee's Film and Video Division that "asking works to be created according to the government budget schedule is a reversal of the order," emphasizing that funding should be provided according to the production cycle that allows for the best works to be made. His remarks align with calls from the field to adjust annual support programs to better match actual production timelines.A major issue facing the film industry is the holdback. Holdback refers to the grace period between a film's theatrical release and its transition to subsequent platforms such as OTT and IPTV. There is ongoing debate between those advocating for the restoration of theatrical value and those arguing that prolonged restrictions on subsequent distribution make it difficult for investors and distributors to recoup their funds.Some government and National Assembly members have discussed limiting OTT releases for a certain period after theatrical premieres to encourage theater attendance. However, investors, distributors, and some film organizations strongly oppose a six-month legislative mandate, arguing that extended delays in transitioning to subsequent platforms would lengthen the period for recouping funds and further stifle production and investment structures.During a press conference marking the first anniversary of the people's sovereignty government, Minister Choi announced the establishment of a 22-member public-private consultative body for the film industry, aiming to reach a conclusion by the end of August. He stated, "We all understand each other. We know each position on the issues. What is now needed is to reach a conclusion, whether it be a gradual or fundamental one."He added, "We are currently in a crisis and difficult times, and while there may be a slight tailwind, the film industry is not yet in a normalized state. I believe all participants in the film industry—production, investment, distribution, and theaters—are united in the sincerity of finding a solution." He also expressed the government's willingness to participate if there is a need for policy and budgetary roles.Distrust surrounding the Film Promotion Committee remains a challenge for the film policies of Lee Jae-myung's first year. At a meeting in Jeonju in April, strong concerns were raised by industry professionals regarding the committee's lack of communication, understanding of current issues, operational methods, and expertise. Some attendees criticized the committee's chair for not adequately listening to industry voices compared to the frequency with which the Minister meets with filmmakers.The distrust in the film industry goes beyond mere communication issues. Complaints have accumulated regarding the committee's failure to adequately represent industry demands during discussions on the normalization of the Gender Equality Center, the imposition of ticket fees, and the budget restoration process. The film industry coalition has criticized the committee for not fulfilling its role as a policy executor, stating that industry professionals are directly persuading the National Assembly during the legislative and budgetary processes.The government has also outlined plans to elevate the K-culture industry as a national growth engine. Minister Choi announced at the press conference that the target size of the K-culture industry would be raised from 300 trillion won to 400 trillion won by 2030. The export target for K-culture is also set to increase from $35 billion to $110 billion. The film industry will inevitably be addressed within this broader K-culture expansion strategy.However, what the film industry demands is not merely an increase in industry size but a restructuring of the distribution framework that allows production, investment, distribution, theaters, and OTT to operate cohesively. Recovery of theater attendance, subsequent platform revenues, and production cost recovery structures must align for mid-budget films and new projects to thrive once again.The film policies of Lee Jae-myung's first year have shown a commitment to crisis response. The supplementary budget allocation, distribution of discount vouchers, expansion of mid-budget film support, and the establishment of a public-private consultative body on holdback have all elevated the stagnant film industry to a policy agenda. However, there are still strong calls for structural reforms following the budgetary infusion.Ultimately, the key to the second year of film policy will be the conclusions and execution capabilities of the consultative body. If discussions on holdback favor one side—whether theaters, investors, distributors, producers, or OTT—conflict is likely to recur. Conversely, if realistic guidelines reflecting changed audience consumption patterns and platform environments are developed, it could mark the starting point for the recovery of Korean cinema.Minister Choi stated, "The first year was a time of running swiftly to meet many people and establish direction. The second year will focus on execution. I will concentrate on practical measures to ensure that we can feel the effectiveness of our policies." The film industry is now at a stage where it awaits not just confirmation of support but also specific institutional improvements and implementation.* This article has been translated by AI. 2026-05-28 14:22:00
  • Korean Film Gunchae Surpasses 2 Million Viewers, Eyes Global Success
    Korean Film 'Gunchae' Surpasses 2 Million Viewers, Eyes Global Success Gunchae, the latest film by director Yeon Sang-ho, has surpassed 2 million viewers domestically and is showing promising signs of success in international markets. The film secured overseas distribution rights in 124 countries prior to its release, and in Malaysia, it quickly climbed to the top ranks of all-time Korean film box office hits. With approximately 800,000 viewers remaining to reach its break-even point, there is growing interest in whether Yeon’s K-zombie genre can create a sustainable revenue model through both domestic box office sales and international rights.According to the Korean Film Council's integrated ticketing system, Gunchae recorded a cumulative audience of 2,000,005 by the afternoon of May 25. As of May 26, the total audience count stands at 2,169,097. The film set a record for the fastest 2 million viewers among 2026 releases, surpassing popular films such as The King’s Affection, Salmokji, and Project Hail Mary.Gunchae had a strong opening, achieving the highest box office score of the year on its first day. It continued to break records, reaching 1 million viewers in the shortest time and now 2 million, outpacing the previous record set by the 2025 hit, Zombie Daughter, by one day.From a profitability perspective, Showbox reports that Gunchae's break-even point is approximately 3 million viewers, based on confirmed domestic revenue. With the current cumulative audience of 2,169,097, it has about 800,000 viewers left to reach that threshold. The film has maintained its position at the top of the box office, suggesting that the timeline to reach break-even could be accelerated based on weekend attendance trends.Internationally, the response to Gunchae has been swift. The film was pre-sold to 124 countries before its release. As it prepares for its world premiere in the Midnight Screening section at the 79th Cannes Film Festival, it has already garnered interest from overseas distributors. North American distributor Well Go cited Yeon Sang-ho's proven track record with films like Train to Busan as a key reason for their acquisition, while Taiwanese distributor Movie Cloud highlighted the film's unique portrayal of infected individuals as evolving intelligent beings rather than mere zombies.In Malaysia, Gunchae has shown remarkable early success. Released on May 22, the film grossed 7 million ringgit by May 25. On its third day, it surpassed 5.75 million ringgit, exceeding the final box office total of 5.5 million ringgit for the 2024 film, The Grave. Currently, the top two all-time Korean film box office hits in Malaysia are Yeon Sang-ho's Train to Busan and Peninsula, with Gunchae now joining the ranks, indicating a strong consumer interest in Yeon's zombie universe in the local market.The international rollout continues, with Gunchae opening in Taiwan and Malaysia on May 22, followed by releases in France, Singapore, and the Philippines on May 27, Australia and New Zealand on June 11, and North America on August 28. A release in Japan is also scheduled for 2027. The film's domestic box office revenue, pre-sold rights, and key international market performances are creating a robust financial structure.A Showbox representative stated, "Director Yeon Sang-ho is a well-known creator in international markets. There was significant interest at Cannes, with numerous requests for interviews from foreign media, and the overseas response has been enthusiastic. Distributors in the U.S. and France have also given positive evaluations of the film. Although Malaysia is still in the early stages of release, the rapid box office performance is promising, and we look forward to the reactions from other countries as they release."In an interview, Yeon expressed his relief at the domestic success, stating, "I’m glad. If we reach break-even quickly, I’ll be able to relax, but since the break-even point is 3 million, I think we’ll have more leeway once we surpass that."He also shared his thoughts on audience reactions, saying, "I watched it in 4DX with my daughter yesterday, and it was lively. When I made the film 'Face', I met viewers who engaged deeply, but this time, it definitely felt like a blockbuster with a lively atmosphere. I’m glad to feel that vibe."Regarding the reactions at Cannes, Yeon noted, "The audience at the Cannes Film Festival can’t be considered typical viewers. The festival is a gathering of film enthusiasts and has a celebratory atmosphere, making it hard to gauge general reactions. However, it was nice to meet Korean audiences right after returning from Cannes. It feels like ages ago that Cannes was just last week."Gunchae depicts isolated survivors in a quarantined building facing off against infected individuals that evolve in unpredictable ways due to a mysterious infection. This film is the latest from Yeon Sang-ho, who has expanded the K-zombie genre with Train to Busan and Peninsula, featuring actors Jeon Ji-hyun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-bin, and Kim Shin-rok.With its rapid domestic success, international pre-sales, and strong early performance in Malaysia, Gunchae is being highlighted as a case study in the revenue structure of Korean genre films. As it approaches its break-even point with about 800,000 viewers remaining, there is keen interest in how far Yeon’s K-zombie franchise will extend its success in both domestic and international markets.* This article has been translated by AI. 2026-05-28 14:18:00
  • Yeon Sang-hos new zombie film draws 2 million moviegoers in less than a week since release
    Yeon Sang-ho's new zombie film draws 2 million moviegoers in less than a week since release SEOUL, May 26 (AJP) - Director Yeon Sang-ho's latest film "'Gunch'e," also known as "Colony," has drawn over 2 million moviegoers less than a week since its release last Thursday. According to the Korean Film Council, the zombie film surpassed 2 million in cumulative theater attendance as of Monday, reaching the milestone faster than any other film released this year and outpacing previous box-office hits such as "The King's Warden" and "Salmokji: Whispering Water" in opening weekend performance. Even before its release here, the film had already attracted considerable attention after being invited to this year's Cannes Film Festival, which wrapped up last week. The 122-minute film, starring Jun Ji-hyun, Koo Kyo-wan and Ji Chang-wook, revolves around survivors trapped inside a building sealed off after an unidentified outbreak as they confront infected people evolving in unpredictable ways. It is Yeon Sang-ho's latest work in the zombie genre, following "Train to Busan" (2016) and "Peninsula" (2020). 2026-05-26 13:48:54
  • BTS attend AMAs in Las Vegas, eyeing another award
    BTS attend AMAs in Las Vegas, eyeing another award SEOUL, May 26 (AJP) - Members of K-pop juggernaut BTS are attending the American Music Awards (AMAs), one of the major U.S. pop music awards shows in Las Vegas on Monday. Their in-person attendance at the annual music awards ceremony at the MGM Grand Garden Arena comes for the first time since 2021. They are competing for "Artist of the Year" and "Best Male K-pop Artist" awards. Their latest song, "SWIM," the title track from their fifth full-length album "Arirang" is also nominated for "Song of the Summer." If BTS win Artist of the Year, it would mark their second top honor at the awards after 2021, when they became the first South Korean act to receive the award. The AMAs are considered one of the leading U.S. pop music awards shows, along with the Grammy Awards and the Billboard Music Awards. Nominees are selected based on factors including streaming, album and track sales, radio airplay and tour revenue, and winners are decided entirely by public vote. K-pop-related nominees are also prominent this year. A remix version of "Dracula," a collaboration between BLACKPINK's Jennie and Australia's Tame Impala, is nominated for Song of the Summer as well. Girl group KATSEYE are nominated for "Best New Artist" and "Breakthrough Pop Duo/Group Performance," and their song "Gnarly" is up for "Best Music Video." Netflix's animated film "KPop Demon Hunters" is also nominated for "Best Soundtrack," with its main theme song "Golden" is up for "Song of the Year." Meanwhile, BTS recently took their North American tour to Las Vegas, selling out all four shows — including the opening night at Allegiant Stadium, which drew over 60,000 fans. Attention is now on whether BTS can take home another top AMA trophy. 2026-05-26 10:27:30
  • Kim Hyang-gi Discusses Challenges of Comedy in The Absolute Value of Romance
    Kim Hyang-gi Discusses Challenges of Comedy in 'The Absolute Value of Romance' Actress Kim Hyang-gi is showcasing the charm of K-highteen on the global stage with her role in 'The Absolute Value of Romance.' The Coupang Play series is reaching international audiences through Amazon Prime Video, expanding its presence in major Asian countries and South America. At the center of this success is Kim, who plays the lead character, Yeojoo, a seemingly ordinary student by day and a popular romance novelist by night. Her relatable acting and charming comedic timing are driving the show's popularity."I’m relieved that people are enjoying something new and finding it fun. It’s fascinating to see that international viewers seem to like it too. It makes me realize there’s a growing interest in works that reflect Korean sentiments," she said.The challenge of comedy was not easy for Kim. She had to learn how to elevate her natural tone to fit the comedic genre. Yeojoo, who has a lot of monologues and dialogue, required extensive practice to master the rhythm and delivery."I had no sense of comedy at all. Enjoying it as a viewer is different from performing it. I wasn’t sure how far I could push my natural tone to achieve a comedic effect. With so much dialogue and many monologues, I practiced a lot. I felt that even at my maximum, it wouldn’t come off as over-the-top. I decided to give my best within my limits and follow the director’s guidance," she explained.One principle Kim adhered to while preparing for comedy was to avoid trying too hard to be funny. This insight came from studying the performances of seasoned comedians and actors in the genre. Rather than exaggerating Yeojoo’s character, Kim aimed to portray her as genuine in every moment."When I first prepared, I looked at performances by comedians and actors in the comedy genre. The common thread was that you shouldn’t try too hard to be funny. Many said that the moment you try to be funny, you lose the rhythm. I felt my mission was to live as Yeojoo within the script. The reason Yeojoo is funny is that she is so honest and sincere, yet struggles to manage her own thoughts. Therefore, I believe it’s important to show that everything she says is sincere and that her honesty is evident," she said.Yeojoo's appearance was also a crucial aspect of her character. Her short bangs and red glasses visually represent her quirky personality and unique worldview. Kim wanted to incorporate both Yeojoo's mindset and comedic elements into her hairstyle."After finishing my previous project, I had a calm bob hairstyle. I thought about making a significant change, and I felt that a cartoonish look would suit both the character and the project. There’s a scene where Yeojoo wears red glasses while working on her dreams. I thought a spiky short hairstyle would fit her free-spirited nature and enhance the comedic elements. I decided to cut my bangs to add more fun to the character," she said.Kim also approached her facial expressions differently. Initially, she focused on delivering the rhythm of her lines and monologues, but during the preparation process, she realized she needed to use her face more actively. While she had previously restrained her emotions in past roles, this time she aimed to express herself more freely."At first, I was focused on the dialogue and the rhythm of the lines, but I realized I needed to use my face more actively. Since Yeojoo appears frequently, I thought it might be burdensome if I sounded too theatrical. So, I decided to use my facial expressions more. In the past, I had limited my expressions in genre-specific roles, but this time I approached it differently," she said.Playing Yeojoo also prompted Kim to reflect on her own school days. While filming, she looked back at photos from her middle and high school years, recalling the joy of laughing with friends even without special events. Growing up in the same neighborhood with friends from kindergarten through high school helped her understand Yeojoo better."While filming, I found myself looking at photos from middle and high school. Even without special events, we laughed every day. I was curious about those moments, so I looked at many old photos. I’m grateful for my friends who have been with me since kindergarten through high school. They accepted me naturally, and we enjoyed our school days together. Those memories were helpful in understanding Yeojoo," she said.Having started as a child actor, Kim finds playing a student role both familiar and refreshing. Just a short time ago, she was discussing the challenges of being a child actor, and now she is navigating roles across a wider age range."I definitely had those thoughts. It was amusing to think that just a few years ago, I was talking about the struggles of being a child actor, and now I can play roles across different age ranges. I see it as a blessing and a good opportunity, so I decided to embrace it. I don’t know how long I can play a high school student," she said.Currently, Kim is accepting her position as someone in a state of change rather than defining herself rigidly. Although she has been in the industry for a long time, she still finds herself as the youngest in some settings, while in others, she must take the lead or share energy with younger colleagues. This complex feeling leaves her with new questions about herself as both an actress and a person."I don’t really know myself right now. I feel ambiguous. I’ve realized that for the first time, I had many younger colleagues on set. I’ve often been the youngest, but now I have friends, and experiencing that has made me feel like I’m still the youngest in some situations, while in others, I’m the older sister. Those complexities have brought about a new sense of confusion for me as both an actress and a person," she said.Kim does not view this ambiguity negatively. Instead, she believes it’s a time to remain open to change rather than trying to control or define herself. She has grown more accepting of her evolving roles in different settings."When I think about what roles I can take on, it varies with each project. In theater, I was the perfect youngest, while in 'The Absolute Value of Romance,' I had to take the lead. This time, I had to play a role where I both received and gave energy in the middle. So, I felt I needed to keep an open mind. I think it’s a time to accept that I can’t control everything about myself. I don’t know how this ambiguity will change, but it doesn’t feel bad just because it’s difficult," she said.Kim’s attitude as an actress is also becoming clearer. Rather than striving to excel, she aims to fulfill her role within the project without causing harm to others. She believes this mindset allows her to feel freer."All my senses are feeling new. As an actress, I want to approach each project with the mindset of not causing harm to others while doing my part. I think that way, I feel less fear and perform better. I want to maintain that attitude," she concluded.* This article has been translated by AI. 2026-05-22 06:18:07
  • Director Lee Sang-yeob and Kim Jae-won Discuss Yumis Cells and Shin Sun-rok
    Director Lee Sang-yeob and Kim Jae-won Discuss 'Yumi's Cells' and Shin Sun-rok Every work contains numerous perspectives. Although the director and actors share the same space and time, their experiences may differ. 'Choi Song-hee's B-Cut' focuses on the vivid behind-the-scenes moments that go beyond the 'A-Cut' captured on screen. It reconstructs the 'B-Cut' moments that were even more intense than the completed frames through interviews with the director and actors. <Editor's Note> TVING's original series 'Yumi's Cells 3' (written by Song Jae-jung and Kim Kyung-ran, directed by Lee Sang-yeob) depicts the romance between Yumi (played by Kim Go-eun), now a star writer, and Sun-rok (played by Kim Jae-won), who unexpectedly enters her mundane life. Based on the webtoon of the same name, 'Yumi's Cells' has captured Yumi's life, love, and growth from its first season in 2022 to its third season in 2026.Director Lee Sang-yeob, known for his work on dramas such as 'Mr. Baek,' 'Shopping King Louie,' 'Revenge of Others,' 'A Wife Knows,' 'My Solo Love,' 'Half and Half,' and 'My Youth,' has guided 'Yumi's Cells' through all three seasons. The third season serves as the final chapter of Yumi's growth and love story, with Shin Sun-rok at its center. Kim Jae-won portrays Shin Sun-rok, Yumi's last love and the culmination of her long journey."It would be a lie to say I felt no pressure. It felt like being introduced as 'my boyfriend' by a precious daughter during a holiday gathering. Sun-rok is like a unicorn, a younger man without flaws. So, there was some pressure. But thinking back, it's an opportunity to play a fantasy-like role. I've always given my best in every project, but this time, I feel like I poured in 200% instead of 100%." (Kim Jae-won)Director Lee Sang-yeob noted that he saw Kim Jae-won's effort to manage that pressure. Rather than focusing on achieving perfect synchronization, he recognized Sun-rok's potential in Kim's attempt to maintain composure despite the tension."When Jae-won walked in, I thought, 'Oh? It's Sun-rok.' Being a rookie actor, he couldn't help but feel nervous. His efforts to hide that nervousness reminded me of Sun-rok. When I saw him sitting neatly, I thought, 'That's how Sun-rok would be,' and I found that endearing. I thought, 'If it's Jae-won, he can do it.'" (Director Lee Sang-yeob)The tone of the romance was crucial. Sun-rok needed to be youthful but not frivolous, affectionate but not overly sentimental. Kim Jae-won carefully calibrated Sun-rok's excitement while being mindful of this delicate balance."I thought it shouldn't be overly sentimental. As a younger man, he needs to convey love, but he must still appear masculine and evoke excitement without crossing into sentimentality. I determined that there's a fine line between sentimentality and excitement." (Kim Jae-won)What did Director Lee and Kim Jae-won find appealing about Sun-rok? Director Lee identified the character's core as 'twists,' while Kim Jae-won highlighted 'straightforwardness' as a key aspect of the character."I think the fundamental aspect is 'twists.' Even when there are twists, if there's no charm, it falls flat, but Sun-rok is genuinely honest and healthy. He has no prejudices. He is a wonderful young man who loves someone steadfastly and runs toward them, making him admirable as a man." (Director Lee Sang-yeob)"Sun-rok's greatest charm is his straightforwardness. Like the 'one-track general' cell in the series, once he decides, 'I love this woman,' and 'I will protect her for life,' he charges ahead without calculation. That's why he ends up marrying Yumi, right?" (Kim Jae-won)When did Sun-rok first develop feelings for Yumi? Kim Jae-won believes the answer lies in the second confession scene in the series. Despite trying to suppress his feelings due to the principle of maintaining a professional relationship, Yumi had already become an integral part of Sun-rok's life."In my interpretation, Sun-rok's journey is revealed when he says during the second confession, 'I think I liked the writer from the beginning.' That seems accurate. His feelings for Yumi grew, but due to the principle of not dating someone related to work, he forced himself to cut off his feelings. Perhaps he had a crush from the start and gradually became fond of Yumi through Kim Joo-ho. What began as curiosity turned into affection, and he may not have even realized how deep his feelings for Yumi had grown." (Kim Jae-won)Thoughts on the age difference between Yumi and Sun-rok were also discussed. Director Lee believes that the age gap enhances the dynamics of their relationship and adds to the drama's appeal, while Kim Jae-won noted that he focused on the romance without worrying about the age difference."Through seasons one and two, Yumi has matured, and in the original work, there aren't many conflicts in her relationship with Sun-rok. A drama needs conflict, but since there isn't any, we ultimately decided to introduce the keyword 'age gap.' The age difference was intended to add fun when Yumi has a crush on Sun-rok." (Director Lee Sang-yeob)"I didn't pay any attention to the age difference. Although I'm younger than Go-eun noona, she's such a lovely person that I approached the role with a mindset of loving her in reality. I was able to immerse myself in that feeling." (Kim Jae-won)'Yumi's Cells 3' consists of eight episodes, shorter than the previous seasons, which had 14 episodes each. While this brevity may be disappointing, the production team opted for a more concise conclusion to Yumi's growth, life, and love story."Seasons one and two had 14 episodes each, and I thought, 'Wow, that was long.' Haha. When we decided to conclude Yumi's story about growth and life, it raised many questions. We debated how many episodes to have. The final conclusion from the production team was, 'Even if it's disappointing, let's go with eight episodes.' We aimed to wrap up Yumi's story in an enjoyable way." (Director Lee Sang-yeob)"I can't control the number of episodes in the project. Haha. I also wondered why it was shorter than the previous series, but I think it's because Sun-rok, unlike previous characters, charges ahead once he is certain. Of course, a longer format would be great, but even in a shorter format, I believe I must give my best performance as Sun-rok." (Kim Jae-won)'Yumi's Cells' has been a series that follows not just a love story but also Yumi's journey to becoming the protagonist of her own life. For Director Lee, season three represents the conclusion of a work and a farewell to the viewers who have supported Yumi for so long."I am truly grateful. 'Yumi's Cells 3' would not have been possible without the love and support of the fans. The fans raised Yumi. Thank you for supporting, cheering, and applauding until the end. Every time I read comments saying, 'I was moved by the last scene,' I felt, 'The viewers share my feelings.' Thank you for being with us until now." (Director Lee Sang-yeob)"I believe 'Yumi's Cells' has taken a long journey from seasons one to three. I feel proud to have been part of it until the end. As a viewer who followed Yumi's perspective, I hope she lives happily." (Kim Jae-won)* This article has been translated by AI. 2026-05-21 17:49:07
  • Byun Woo-seok Apologizes for Historical Distortion Controversy in 21st Century Great Lady
    Byun Woo-seok Apologizes for Historical Distortion Controversy in '21st Century Great Lady' Actor Byun Woo-seok has once again apologized regarding the historical distortion controversy surrounding his recently concluded drama, '21st Century Great Lady.'On the morning of May 19, a production presentation for the new Netflix variety show 'Yoo Jae-suk Camp' was held at the Grand Ballroom on the LL floor of the JW Marriott Dongdaemun in Seoul. Attendees included PDs Jung Hyo-min, Lee So-min, and Hwang Yoon-seo, along with broadcaster Yoo Jae-suk, actors Lee Kwang-soo, Byun Woo-seok, and Ji Ye-eun.During the event, Byun addressed the controversy over historical inaccuracies in '21st Century Great Lady.'He stated, "I believe that the best version of myself is to do my best in every moment. Therefore, I put my utmost effort into filming 'Yoo Jae-suk Camp,' and I hope viewers will appreciate that effort in the show alone."He continued, "Regarding the issue (of historical distortion), I want to sincerely apologize for that."Meanwhile, the final episode of '21st Century Great Lady,' which aired on May 16, depicted the coronation ceremony of the character Ian Daegun, played by Byun Woo-seok. This scene sparked controversy due to the use of the term 'Cheonse,' associated with vassal states, and the appearance of a crown representing a vassal instead of the emperor's ten-leaf crown, leading to accusations of historical distortion and the Northeast Project controversy.On May 18, Byun Woo-seok took to social media to express, "During the filming and acting process, I lacked consideration for the historical context and meaning embedded in the work and how it might be perceived by viewers. I sincerely apologize for that."'Yoo Jae-suk Camp' is a variety show where Yoo Jae-suk, along with Lee Kwang-soo, Byun Woo-seok, and Ji Ye-eun, engages with viewers in a 'variety training camp.' The show is set to premiere on May 26.* This article has been translated by AI. 2026-05-19 14:34:44