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  • MBC’s ‘21st Century Grand Prince’s Wife’ hits 10% in Seoul area by Episode 2
    MBC’s ‘21st Century Grand Prince’s Wife’ hits 10% in Seoul area by Episode 2 MBC’s Friday-Saturday drama “21st Century Grand Prince’s Wife” crossed into double-digit ratings in the Seoul metropolitan area by its second episode. Nielsen Korea said Saturday that Episode 2, aired Friday, drew a nationwide rating of 9.5% and 10.1% among households in the Seoul area, ranking No. 1 in its time slot. Its 20-49 rating was 5.3%, the highest among all Saturday programming. The minute-by-minute peak reached 11.1%. The top moments were a scene in which Seong Hui-ju wins a top entrepreneur award and another in which Prince Ian meets Lee Yun, who arrives alone at an event marking Entrepreneurs’ Day. The episode followed Seong’s efforts to win Ian’s affection. After her proposal, pitched as a show of her strengths, was rejected, she pursued him across locations including a road, a movie theater, a riding arena and an event venue, pressing forward at every turn. As Seong kept approaching him, Ian’s attitude began to shift. He tidied his appearance as if expecting her to appear at any moment and showed a subtle reaction to news of her blind date. Set in a 21st century constitutional monarchy, the drama centers on a romance between a woman who has everything but is a commoner and a king’s son who can have nothing. Episode 3 airs April 17 at 9:50 p.m.* This article has been translated by AI. 2026-04-12 16:45:15
  • Xdinary Heroes Unveil Track Sneak Peeks for New EP Dead and Ahead of Release
    Xdinary Heroes Unveil Track Sneak Peeks for New EP 'Dead and' Ahead of Release JYP Entertainment boy band Xdinary Heroes has released all track sneak peeks for its upcoming album, building anticipation for its return. The band is set to release its eighth EP, "Dead and (DEAD AND)," on April 17. Ahead of the release, it has been rolling out short previews of songs on its official social media channels. On April 11, it shared snippets of "No Cool Kids Zone" and the title track, "Voyager." On April 12, it unveiled part of the opening track, "Helium Balloon." In the "No Cool Kids Zone" preview, Jun Han delivers witty lyrics over a hard-driving sound, highlighting the song’s garage-band energy and humor. In "Voyager," vocals from Gun-il, Jungsu, Gaon, O.de, Jun Han and Jooyeon ride a powerful rhythm and full band sound, with a fast-moving arrangement that heightens the emotional intensity. "Helium Balloon" leans on a lyrical melody and wistful mood, blending dreamy, vintage tones with delicate phrasing. "Dead and" will include seven tracks: "Voyager," the previously released "X room," "Helium Balloon," "No Cool Kids Zone," "Hurt So Good," "Rise High Rise" and "KTM." The group has continued its practice of taking part in songwriting since debut, with all members credited on the new release. After the comeback, Xdinary Heroes will expand its stage to Europe and the U.K. The band will hold its special live series, "Xdinary Heroes The New Xcene Special Live in Europe & UK," starting May 31 in Manchester, followed by June 2 in London, June 4 in Paris, June 7 in Frankfurt and June 9 in Milan. The dates follow the group’s first solo concerts in Japan, held in Osaka and Yokohama in January. The eighth EP "Dead and" and its title track "Voyager" will be released at 1 p.m. on April 17 through major music streaming sites. * This article has been translated by AI. 2026-04-12 14:57:14
  • KATSEYE Brings Surprise HUNTRIX Collaboration to Coachella, Crowd Sings Along
    KATSEYE Brings Surprise HUNTRIX Collaboration to Coachella, Crowd Sings Along KATSEYE delivered a surprise collaboration at the Coachella Valley Music and Arts Festival, sharing the stage with vocalists from HUNTRIX, the fictional girl group from “K-Pop Demon Hunters.” The group performed on the Sahara stage in Indio, California, on April 11 (Korea time). Opening with its newly released single “PINKY UP,” KATSEYE ran through 11 songs and dance breaks in a roughly 45-minute set. “We can’t believe we finally made it to Coachella. So many emotions are swirling,” the members said. “You’re making our dream a reality.” The set drew loud sing-alongs from the crowd on songs spanning multiple styles, including “Debut,” “Gameboy,” “Internet Girl,” “Gabriela” and “Gnarly,” as fans followed the lyrics and moved to the beat. Introducing “My Way,” the members offered a message of support: “We’re cheering for all of you who have the courage to do things your own way, not just what others tell you to do.” The night’s centerpiece was a surprise joint stage with HUNTRIX vocalists Rei Ami, Audrey Nuna and Leejae, who joined KATSEYE for “GOLDEN.” The song was rearranged at a slightly slower tempo to highlight the melody, with the performers trading eye contact and building harmonies. KATSEYE’s “PINKY UP,” released April 11, ranked No. 10 on Spotify’s “Daily Top Songs USA” chart dated April 10 and No. 18 on the “Daily Top Songs Global” chart. The track pairs hard-hitting percussion and bass with glossy synth textures, delivering an energetic sound and a message about living fully in the moment.* This article has been translated by AI. 2026-04-12 10:55:13
  • BTS Launches Arirang World Tour in Goyang, Drawing 132,000 Fans Over Three Shows
    BTS Launches 'Arirang' World Tour in Goyang, Drawing 132,000 Fans Over Three Shows BTS returned to solo touring with a stadium-scale production that paired mass choreography and fireworks with distinctly Korean imagery, using its new album, "Arirang," to signal what the group called a new chapter, "BTS 2.0." The group held "BTS World Tour Arirang in Goyang" on April 9 and April 11-12 at the main stadium of Goyang Sports Complex in Goyang, south of Seoul. It marked BTS’ first standalone tour in about four years since "BTS Permission to Dance on Stage" ended in April 2022. About 132,000 people attended across the three shows. BTS opened with "Hooligan," "Aliens" and "Run BTS," driving the pace from the start. A mega crew of dozens joined the group for synchronized choreography that filled the stadium and quickly lifted the crowd’s energy. After the opening, Jung Kook told fans the weather was better than the day before and promised to "heat up" the venue even if it felt chilly. V said it had been a long time since BTS performed on a 360-degree stage and that being surrounded by ARMY, the group’s fan base, felt good. Jimin said the audience response seemed even hotter and that ARMY’s voices were especially clear. He added that BTS released "Arirang" after four years and resumed a concert tour after six and a half years, saying the group tried many new approaches in both the album and the stage production. Suga said BTS also made new attempts in songs and staging and asked fans to stay with the show even if some elements felt unfamiliar. The concert framed "BTS 2.0" as a step forward while revisiting the group’s roots. Fans saw new songs from the fifth full-length album, "Arirang," alongside established hits, arranged to trace BTS’ musical path and point to its next direction. The setlist was organized into three themes. In the "BTS" section, the group performed "they don’t know ‘bout us" with large screens showing modernized images of traditional Korean masks, followed by "Like Animals," "FAKE LOVE," "Swim" and "Merry Go Round." In the "2.0" section, BTS centered on "Normal," inspired by ink-wash painting, and ran through performance-heavy tracks including "Not Today," "MIC Drop," "FYA" and "FIRE." "Body To Body" featured choreography evoking the traditional circle dance ganggangsullae and was paired with fireworks. "IDOL" included a march along the stadium track. The final "Arirang" section pushed the crowd into a festival mood with "Come Over," "Butter," "Dynamite," "Fleet" and "Into the Sun." Korean aesthetics ran through the production, reflecting themes BTS said it explored on "Arirang" about origins, roots and identity. Traditional symbols were presented with a modern sensibility and tied closely to the music. The stage design placed a pavilion-like structure inspired by Gyeonghoeru at the center of an open 360-degree stage, reimagining a shared banquet space. The floor was designed after the South Korean flag: the taegeuk circle anchored the center, while four protruding stages extended outward, drawing on the trigrams. The layout also brought the group closer to fans around the venue. With the world tour resuming after six and a half years, the show emphasized the full seven-member lineup rather than individual stages, leaning on large-scale group choreography and a setlist packed with fan-favorite hits while presenting the message of cohesion and evolution tied to "BTS 2.0." RM thanked fans for coming after what he called a long wait, saying, "You’re the best." He said many things were changing, but the most important points had not: that the seven members chose to do this work together and that they genuinely think of their fans. He added that BTS would not take filling the venue lightly and asked fans to trust the group and watch its changes with patience, noting he first met Jung Kook when he was 15 and that they are now all over 30. Suga said the good weather seemed to match the crowd’s energy and asked fans to tell those attending the next day to come ready to shout and blow off stress. "Thanks to you, I’m taking home good memories. Thank you, and I love you," he said. Jimin said it had been six and a half years since the group toured and four years since the album release, adding he missed fans and wanted to thank them for waiting. He said BTS would keep working to deliver strong stages and music and asked fans to stay by the group’s side. V said he used his voice so much during the first show that the back of his neck hurt afterward, but that seeing ARMY made the pain "disappear like magic." Jung Kook said he was relieved the show ended safely and said the weather and cheers made him feel good. He told fans he hoped they understood that his actions and feelings toward them were sincere in any situation, adding he would keep giving everything for them and would repay their waiting with strong performances. J-Hope said he is always curious about fans’ thoughts and reactions and that the members talked extensively while preparing the concert, considering in detail how to deliver good feelings and create memories. He said the seven members’ commitment to the stage is genuine and that they want to keep showing their best performances. BTS is set to continue the tour with shows April 17-18 at Tokyo Dome, followed by dates across North America, Europe, South America and Asia. The plan calls for 85 concerts in 34 cities, described as the highest number of shows for a single tour by a Korean artist, with additional dates in Japan and the Middle East also announced.* This article has been translated by AI. 2026-04-11 21:39:17
  • Yeon Sang-ho’s ‘Colony’ Invited to Cannes Film Festival Midnight Screenings
    Yeon Sang-ho’s ‘Colony’ Invited to Cannes Film Festival Midnight Screenings Director Yeon Sang-ho’s film ‘Colony’ has been officially invited to the Midnight Screenings section of the 79th Cannes Film Festival, which runs May 12 to May 23 in Cannes, France. The festival’s executive committee announced the selection at an official news conference on Wednesday afternoon (Korea time). Festival director Thierry Fremaux, introducing the invitation, described ‘Colony’ as a horror zombie film set inside a sealed-off building, directed by Yeon, known worldwide for ‘Train to Busan.’ He said the premise would lead audiences to imagine “a range of narrative devices and storytelling possibilities.” The invitation marks Yeon’s fourth appearance at Cannes, following his feature-length animated debut ‘The King of Pigs’ (2012, Directors’ Fortnight), ‘Train to Busan’ (2016, Midnight Screenings) and ‘Peninsula’ (2020, Official Selection). ‘The King of Pigs’ drew attention as the first Korean feature-length animated film invited to the Directors’ Fortnight. After that, Yeon’s first live-action film, ‘Train to Busan,’ was invited to Midnight Screenings and was praised by Fremaux as “the best Midnight Screening ever, an action blockbuster that captures both entertainment and social realities.” When ‘Peninsula’ was selected, Yeon was also lauded as “a leading Korean director following Park Chan-wook and Bong Joon-ho,” the article said. The Midnight Screenings section showcases a small number of genre films — including action, thriller, noir, horror and fantasy — chosen for both artistic merit and popular appeal. With Park Chan-wook serving as jury president in the competition section and ‘Colony’ now confirmed for Midnight Screenings, the festival is expected to be especially notable for Korean film fans, the article said. Yeon said he was “very happy” to present ‘Colony’ at Cannes and added that he was excited for it to screen in Midnight Screenings, which he called a gathering place for genre-film fans worldwide. “I will proudly introduce the actors who worked with me and Korea’s genre cinema. Thank you,” he said. ‘Colony’ is set inside a building sealed off after an unidentified outbreak, where isolated survivors confront infected people who evolve in unpredictable ways. The film is scheduled for release in South Korea in May. * This article has been translated by AI. 2026-04-09 20:18:27
  • Na Hong-jin’s ‘Hope’ Invited to Compete at the 79th Cannes Film Festival
    Na Hong-jin’s ‘Hope’ Invited to Compete at the 79th Cannes Film Festival Na Hong-jin’s new film “Hope” (HOPE) has been officially invited to the Competition section of the 79th Cannes Film Festival, which opens May 12. The festival’s organizing committee announced the selection on April 9 local time. Na has maintained a long relationship with Cannes: his debut feature “The Chaser” was invited to the Midnight Screenings section in 2008; “The Yellow Sea” was selected for Un Certain Regard in 2011, unusually a year after its release; and “The Wailing” screened Out of Competition in 2016. With “Hope” entering Competition, Na becomes the first Korean director to have all of his feature films invited to Cannes. Competition is the festival’s main section, typically selecting about 20 films from around the world, and this marks Na’s first time in the lineup. The invitation also puts a Korean film back in Competition for the first time in four years, since 2022’s “Decision to Leave” and “Broker.” Na, whose films have now been invited to Cannes four times in a row, said, “It’s an honor. I’ll work harder in the time remaining.” “Hope” begins at a police outpost in Hopohang, near the Demilitarized Zone, where chief Beomseok hears reports from local young men that a tiger has appeared, throwing the village into alarm as he confronts an unbelievable reality. It is Na’s first new film in 10 years since “The Wailing.” “Hope” will premiere at Cannes in May and is set for a theatrical release this summer. 2026-04-09 19:09:18
  • BTS to Launch ARIRANG World Tour With 360-Degree Stage, Promises New Show
    BTS to Launch 'ARIRANG' World Tour With 360-Degree Stage, Promises New Show BTS will open its "BTS WORLD TOUR 'ARIRANG'" with shows on the 9th and 11-12 at the main stadium of Goyang Sports Complex in Gyeonggi Province. Starting in Goyang, the tour will span 85 concerts in 34 cities, including Tokyo, North America, Europe, South America and other parts of Asia. It will set a record for the most shows on a single tour by a Korean artist. The concerts will feature songs from the new album "ARIRANG" along with long-running hits. The group has also teased staging built around a 360-degree setup. The members shared their thoughts and what to watch for through their agency, BigHit Music. RM said it still "doesn’t feel real," adding that preparations for a 360-degree show were not easy but that "once it starts, it’ll be really fun." He said he is excited to pick up a microphone again and meet ARMY fans around the world. Jin said he believes concerts are the most important thing for a singer and that he wants to meet audiences worldwide as soon as possible, adding that he hopes to experience local cultures and the atmosphere in each region. Suga said he has felt since he was young that concerts matter most for singers and that the members are all looking forward to the tour. J-Hope said world tours are always joyful and that he is preparing with a happy mindset for what he called a festival with fans worldwide. Jimin said that while the group has performed many times, it plans to show a stage "completely different" from before, calling it a big challenge and asking fans to look forward to it. V said he worried about being out of practice after a long break and prepared "several times harder," adding that he wants to show everything they have prepared. Jung Kook said he wants to get on stage soon and feels excited about meeting audiences in person again. The group pointed to the 360-degree stage and tailored production as key highlights. RM said he most looks forward to the moment they can all jump around freely on stage and hopes the entire venue feels like one huge club. Jin said the 360-degree stage will be used as if every direction is the front, adding that with the stage rotating and the members moving, audiences can expect a different kind of fun. Suga said he most anticipates the first moment of facing the crowd, adding that the concert includes plenty of show-style production for viewers to enjoy. J-Hope said the 360-degree setup will make each song feel different and that the production will feel like watching a show, with visual aesthetics that express Korea. Jimin said the moment he most looks forward to is meeting ARMY, adding that the group put more effort into production so audiences can enjoy it visually as well. V said the songs, set list, production and overall structure are strong, adding that it is a performance the group can present with confidence. Jung Kook said he has concerns because it is a 360-degree show, but that performing with audiences on all sides will make it more special, adding that there will be plenty to see. A total of 46 shows, including the three Goyang concerts as well as dates at Tokyo Dome and in North America and Europe, have already sold out. In North America, BTS will hold solo concerts — a first for a Korean artist — at Sun Bowl Stadium in El Paso, Stanford Stadium, Gillette Stadium in Foxborough, M&T Bank Stadium in Baltimore and AT&T Stadium in Arlington. The group will also set new marks in South America, becoming the first Korean artist to perform at Estadio El Campín in Bogotá, Colombia, and Estadio Único de La Plata in Buenos Aires, Argentina. It will also hold a solo concert — another first for a Korean artist — at Estadio Nacional in Santiago, Chile. Separately, starting on the 9th, the Korean Intellectual Property Office’s special judicial police for trademarks plans to conduct a public campaign near the concert venue to crack down on counterfeit K-pop goods and promote respect for intellectual property. The effort aims to block distribution of counterfeit products that unlawfully use artists’ trademark rights and to highlight the importance of buying authentic merchandise.* This article has been translated by AI. 2026-04-09 15:39:16
  • Korean Film Groups Urge Rethink of Holdback Law, Propose 20% Cap on Screen Concentration
    Korean Film Groups Urge Rethink of Holdback Law, Propose 20% Cap on Screen Concentration 영화계 주요 13개 단체가 참여한 영화단체연대회의가 더불어민주당 임오경 의원이 대표 발의한 '영화 및 비디오물 진흥에 관한 법률' 일부 개정안의 철회를 요구하고 나섰다. The coalition said the current downturn cannot be explained only by the pandemic and the spread of global streaming platforms, arguing it reflects accumulated structural problems including an oligopolistic theater market, vertical integration and screen concentration. At a policy proposal news conference held Thursday morning at the People’s Solidarity for Participatory Democracy’s Neutinamu Hall in Seoul, participants including Korea Scenario Writers Association Chairman Kim Byeong-in, Nainus Entertainment CEO Kim Seung-beom, attorney Park Kyung-shin, Korea Film Producers Association Vice President Park Kwan-su, director Yang Woo-seok, Korea Film Producers Association Chairman Lee Eun and animation producer Hwang Kyung-sun said the industry faces a structural crisis and needs institutional reform and investment support. Kim said that in 2025 South Korea released fewer than 30 commercial films with net production costs exceeding 3 billion won. “It’s hard to even recall the early-to-mid 2000s, when we made more than 100 films and achieved a renaissance,” he said, adding, “It feels like watching the collapse of Hong Kong’s film industry in the late 1990s.” Yang said the crisis is often attributed to the roughly two-year pandemic period starting in 2020 and Netflix’s push into home viewing, but he argued South Korea’s weak recovery compared with other countries stems from a fragile industrial structure. He said admissions fell from about 230 million in 2019 to 106 million as of the end of 2025, or 46% of the earlier level. The coalition also opposed a controversial proposal to legislate a “holdback” period. The amendment sponsored by Democratic Party lawmaker Lim Oh-kyung would allow films to be released on follow-on platforms such as IPTV and OTT services only after six months have passed since the end of their theatrical run. Speakers argued that a six-month gap between theaters and IPTV is not a holdback but effectively a blackout. Park said the news conference was not held to support Lim’s bill. “This amendment should be fully withdrawn. It’s not a normal holdback bill; it’s a blackout bill,” he said. Park said protecting a film’s theatrical run matters, and argued it could be achieved by introducing limits on screen concentration. As an alternative, the coalition proposed a system to prevent theater chains from allocating an excessive share of seats to one or two films. It said a single film’s share of screens should be capped at 20%. The group said that if such a system takes hold, more films would remain in theaters longer and holdback periods between platforms could normalize naturally. It also said film profitability could improve and, over time, theater revenue could recover. Park said theaters’ worsening revenue is not due to holdbacks but to market concentration and vertical integration that have led to consumers and business partners being treated poorly. He said theaters should start by lowering ticket prices and screening a wider range of films, adding that distributors and producers would have less reason to rush films to other platforms if they are performing well in theaters. The coalition said holdbacks should apply only when theaters show a willingness to keep films on screens and should serve as a rule that protects that effort. It said Lim’s amendment should be scrapped because it reflects the views of major theater chains without collecting opinions from the broader film industry. Lee said Lim’s intent in proposing the amendment appeared positive, but he argued it was drafted without a close look at the industry and should be discarded. On the proposed 20% cap, Lee said that in the past it was considered desirable for a film not to exceed 30%, but the coalition is now calling for 20%, adding that the figure should be adjusted through discussions that include theaters and distributors. Citing overseas examples, Lee pointed to Japan to argue for a long-run screening structure. He said it took more than six months for “Kokuhou” to draw 10 million moviegoers in Japan, while “The Man Who Lives With the King” surpassed 10 million in four weeks. Lee said theaters are focused on boosting revenue by reducing other films’ shares, warning that without reasonable limits on screen concentration, irreversible situations could repeat. Speakers also called for expanding investment alongside institutional reforms. They said that with average production costs for commercial films exceeding 10 billion won, there is an urgent need to create large funds in the 100 billion won range as well as mid-sized funds. They said film funds backed only by the government’s fund-of-funds have limits, and proposed that the government act as an anchor investor and provide tax benefits to attract private capital. The coalition said the industry’s slump reflects not only falling admissions but broader structural problems, and argued that limits on screen concentration and expanded financing should be discussed before legislating holdbacks. It urged the government and the National Assembly to consider the proposals in future legislative and policy discussions.* This article has been translated by AI. 2026-04-09 14:27:09
  • Lotte Cinema to Exclusively Screen LE SSERAFIM’s First VR Concert Film
    Lotte Cinema to Exclusively Screen LE SSERAFIM’s First VR Concert Film 롯데시네마가 르세라핌(LE SSERAFIM)의 첫 VR 콘서트 ‘르세라핌 브이알 콘서트 : 인비테이션(LE SSERAFIM VR CONCERT : INVITATION)’을 단독 개봉한다. 롯데시네마는 르세라핌의 퍼포먼스를 VR 기술로 구현한 이번 작품을 월드타워에서 단독 상영한다고 밝혔다. 관객들은 현실과 환상이 교차하는 세계관 속에서 르세라핌의 무대를 새로운 방식으로 만나볼 수 있다. 롯데시네마는 오는 4월 15일부터 월드타워 3관을 ‘르세라핌 VR 전용 상영관’으로 운영한다. 상영관뿐 아니라 월드타워 곳곳도 르세라핌 비주얼로 꾸며 관람 전부터 몰입감을 높일 예정이다. 공식 머치도 선보인다. 롯데시네마는 VR 콘서트 최초로 극장 내에서 공식 상품을 단독 출시하고, 월드타워 스위트샵에서 뷰파인더와 렌티큘러 포토카드팩 등을 판매할 계획이다. 관람객을 위한 이벤트도 진행된다. 기본 특전에 더해 매주 다른 주차별 특전이 선착순으로 제공된다. 자세한 내용은 롯데시네마 공식 홈페이지와 애플리케이션에서 확인할 수 있다. 롯데시네마 관계자는 “이번 르세라핌 VR 콘서트는 전용 상영관을 마련해 공간 전체가 하나의 콘텐츠가 되도록 기획했다”며 “공식 머치 출시와 특전 등 다양한 현장 이벤트를 통해 극장에서 더욱 특별한 경험을 하길 바란다”고 말했다.* This article has been translated by AI. 2026-04-09 10:09:19
  • Salmokji Tops Box Office on Opening Day With Best Horror Debut Since 2021
    'Salmokji' Tops Box Office on Opening Day With Best Horror Debut Since 2021 The horror film ‘Salmokji’ opened at No. 1 at the box office on its first day in theaters, according to industry data. The film follows a production crew that heads to a reservoir for a reshoot after an unidentified figure appears on a road-view image, only to encounter something lurking in the dark, deep water. According to the Korean Film Council’s integrated ticketing network, ‘Salmokji’ drew 89,912 moviegoers on its opening day, April 8, bringing its cumulative audience to 116,825. The figure topped the same-day daily box office totals for ‘The Man Who Lives With the King’ and ‘Project Hail Mary.’ Its opening-day turnout was the strongest for a horror release since ‘The Medium’ in 2021, and it also surpassed the 76,003 opening-day audience reported for ‘Project Hail Mary.’ Audience response has remained positive, with ‘Salmokji’ posting a 91% score on CGV’s Egg Index, a rating based on verified viewers. ‘Salmokji’ is now playing in theaters nationwide.* This article has been translated by AI. 2026-04-09 08:54:15