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  • Court orders HYBE to pay Min Hee Jin 25.5 Billion Won in put option dispute
    Court orders HYBE to pay Min Hee Jin 25.5 Billion Won in put option dispute SEOUL, February 12 (AJP) - A Seoul court has ruled that HYBE must pay roughly 25.5 billion won ($19 million) to Min Hee-jin, former CEO of ADOR and current head of OK Records, in connection with a put option dispute. The Seoul Central District Court’s Civil Division 31, presided over by senior judge Nam In-soo, partially ruled in favor of Min in her lawsuit seeking payment under a shareholder agreement. The court ordered HYBE to pay Min roughly 25.5 billion won. It also dismissed a separate lawsuit filed by HYBE seeking confirmation that its shareholder agreement with Min had been lawfully terminated. The court had reviewed the two cases in parallel, as the validity of the contract termination directly affected Min’s right to exercise the put option. In its ruling, the court acknowledged that Min had explored ways to make ADOR independent from HYBE. However, it determined that such efforts alone did not constitute a material breach of the shareholder agreement. After reviewing KakaoTalk messages exchanged between Min and her associates, as well as her performance and responsibilities as CEO, the court concluded that her actions did not significantly hinder ADOR’s growth or cause demonstrable damage to the company. HYBE’s claim that Min had intended to terminate NewJeans’ exclusive contracts and pursue an initial public offering (IPO) for ADOR independently was also rejected. The court stated that although Min appeared to have discussed independence strategies with external investors, those proposals were premised on HYBE’s consent and could not have taken effect without it. The ruling further noted that Min continued to carry out her duties as CEO during the dispute, including overseeing album releases in Korea and Japan. Allegations raised by Min including claims that ILLIT had copied NewJeans and their album sales had been artificially inflated, were also found insufficient to justify termination of the contract. The court emphasized that the financial harm Min would suffer if the contract termination were upheld was “clear and significant,” while finding that HYBE had not demonstrated a breach serious enough to warrant cancellation of the agreement. Accordingly, the court ordered HYBE to pay Min approximately 25.5 billion won. It also ruled that HYBE must pay a combined 3.1 billion won to Mr. Shin, a former ADOR vice president, and Mr. Kim, a former cheif director, who had jointly notified the company of their intention to exercise the put option. The dispute stems from Min’s notification in November of 2024 that she would exercise her put option rights. Under the shareholder agreement, the put option payout is calculated by multiplying ADOR’s average operating profit over the previous two fiscal years by 13, and then applying 75 percent of Min’s ownership stake in the company. Based on ADOR’s earnings during the reference period and Min’s shareholding, the court determined that the amount due to her totals approximately 25.5 billion won. Including the claims filed by her associates, the total payout sought amounted to roughly 28.7 billion won. 2026-02-12 16:16:08
  • Court orders HYBE to pay Min Hee Jin about 25.5 billion won in Ador put-option case
    Court orders HYBE to pay Min Hee Jin about 25.5 billion won in Ador put-option case A South Korean court has ordered HYBE to pay about 25.5 billion won to Min Hee Jin, former CEO of Ador and now CEO of OK Records, in a dispute over a put option, or stock buyback right. The Seoul Central District Court’s Civil Division 31, led by Presiding Judge Nam In Soo, ruled Thursday that HYBE must pay Min about 25.5 billion won in a stock purchase price lawsuit she filed. The court also dismissed HYBE’s separate lawsuit seeking confirmation that a shareholder agreement had been terminated. The panel heard the two cases together because whether the shareholder agreement was terminated was a prerequisite for the put-option claim. The court said it could accept that Min explored ways to make Ador independent from HYBE, but found that fact alone did not amount to a material breach of the shareholder agreement. Citing KakaoTalk messages between Min and associates, along with her performance as CEO, the court said it was difficult to conclude she hindered Ador’s growth or caused losses. The court also rejected HYBE’s claim that Min planned to terminate NewJeans’ exclusive contracts, take the group with her and pursue an initial public offering for Ador. It said Min appeared to have met outside investors to explore independence plans, but those options were premised on HYBE’s consent and would have no effect without it. The panel also noted that Min continued to carry out her duties as CEO during the dispute, including releasing albums in South Korea and Japan. It said Min’s allegations that ILLIT copied NewJeans and claims of album “push-out” practices were also difficult to treat as grounds for a serious contract breach. The court said the harm Min would suffer from terminating the agreement was relatively clear and significant, but that it was hard to find a breach serious enough to justify termination. The court therefore ordered HYBE to pay Min about 25.5 billion won. It also ordered HYBE to pay a combined about 3.1 billion won to two of Min’s associates — a former Ador vice president identified by the surname Shin and a former director identified by the surname Kim — who also notified the company they were exercising put options. The dispute began after Min notified HYBE in November 2024 that she was exercising her put option. Under the shareholder agreement, the payout is calculated by multiplying Ador’s average operating profit for the previous two years by 13, then applying an amount equal to 75% of Min’s Ador stake. Based on operating profit for the relevant years and Min’s ownership, the amount due to her was about 25.5 billion won. With Shin and Kim also seeking payment, Min’s side sought a total of about 28.7 billion won.* This article has been translated by AI. 2026-02-12 13:00:00
  • James Van Der Beek of Dawsons Creek Dies at 48
    James Van Der Beek of 'Dawson's Creek' Dies at 48 Actor James Van Der Beek, best known for playing Dawson on the hit U.S. TV drama “Dawson’s Creek,” died Tuesday, local time. He was 48. His family said on his official Instagram account, “Beloved James Van Der Beek passed away peacefully this morning,” adding that he “never lost courage, faith and kindness until the very end.” The New York Times reported that Van Der Beek had been battling stage 3 colon cancer since being diagnosed in 2024. Born in 1977 in Cheshire, Connecticut, he moved to New York to pursue acting and began his career on Broadway in the play “Sand.” He rose to stardom in 1998 as Dawson, a high school student in “Dawson’s Creek.” The series followed the love, friendship and growing pains of teenagers in Massachusetts and helped launch young stars including Katie Holmes and Jason Behr. It also aired in South Korea and was popular there. Van Der Beek later appeared in NBC’s “Mercy” as a womanizing doctor and played an FBI agent in the “CSI: Cyber” series. He continued acting through recent years, including a role in the romantic comedy film “Sidelined: QB and Me.” Van Der Beek married Heather McComb in 2003; they divorced in 2010. He later married Kimberly Brook, and they have six children.* This article has been translated by AI. 2026-02-12 08:21:00
  • Disney-Pixar’s ‘Hoppers’ to Open in Dolby Cinema After 4DX Release
    Disney-Pixar’s ‘Hoppers’ to Open in Dolby Cinema After 4DX Release The film “Hoppers” has confirmed a Dolby Cinema release following its 4DX version, boosting anticipation among fans. “Hoppers” is a Pixar animated animal-adventure film built around “hopping” technology that transfers a human mind into an animal robot. The story follows a girl named Mabel, who becomes a robot beaver and infiltrates a vivid animal world, setting off on an unexpected adventure. With the Dolby Cinema release confirmed, the film also unveiled a Dolby Cinema poster. It shows Mabel connected to a hopping machine at the moment her transformation into a robot beaver is completed. Her bewildered expression suggests she can hardly believe what has happened, before she adapts to the animal world and is set to make an impact there. Dolby Cinema is expected to offer a different kind of immersion than 4DX, drawing audiences deeper into the adventure Mabel leads. The format’s sharp picture and realistic sound are also expected to bring to life the authenticity — and even the tactile feel — of the natural settings emphasized by director Daniel Chong, pointing to a theater-only cinematic experience. The film is directed by Chong, the creator of the globally popular series “We Bare Bears,” who also worked as a storyboard artist on “Cars 2” and “Penguins of Madagascar.” Newcomer Piper Curda voices Mabel. The cast also includes Bobby Moynihan, who appeared in “Inside Out 2” and “IF: Imaginary Friends,” and Jon Hamm, known in South Korea for “Top Gun: Maverick” and a Golden Globe win for best actor in a TV drama at the 73rd Golden Globe Awards for “Mad Men.” Three-time Academy Award winner Meryl Streep, who has recently been announced for “The Devil Wears Prada 2,” joins the voice cast. The film opens March 4. * This article has been translated by AI. 2026-02-11 11:18:44
  • Kwon Sang Woo and Moon Chae Won comedy Heartman launches on IPTV and VOD
    Kwon Sang Woo and Moon Chae Won comedy 'Heartman' launches on IPTV and VOD The film "Heartman" begins IPTV and VOD service on Tuesday, bringing the comedy to home viewers. Starting Tuesday, "Heartman" is available on IPTV platforms including Home Choice and Skylife, as well as streaming and mobile services such as Wavve, Google, Apple TV and Watcha. A discount-coupon event for VOD purchasers is also being offered. Director Choi Won Seop and actor Kwon Sang Woo, who previously teamed up on the "Hitman" series, reunite for "Heartman." The film mixes comedy with fast-paced banter among its characters and a focus on family ties. Moon Chae Won, Park Ji Hwan, Pyo Ji Hoon and Kim Seo Heon also star. "Heartman" follows Seungmin (Kwon), a man who returns and struggles to keep from losing his first love again, only to find himself caught up in a secret he cannot tell her.* This article has been translated by AI. 2026-02-11 08:42:00
  • Review: Kim Tae Yong’s ‘Number One’ Finds Quiet Comfort in Family Meals
    Review: Kim Tae Yong’s ‘Number One’ Finds Quiet Comfort in Family Meals “It’s romantic. This lighting, the temperature, the humidity …” a guest on a variety show once said. The point was that place, weather and even how you feel combine to create a mood. Movies work the same way: your day and your experiences can become the yardstick. “Choi’s Review” introduces films through the writer’s perspective, in a more relaxed, everyday tone. Mother, family and home-cooked food can be a sure-fire formula in South Korean cinema — and also a reason some viewers brace for another tear-jerker, especially around the Lunar New Year holiday. “Number One” seems to invite that assumption, but it largely avoids squeezing emotions for effect. Instead, it turns into a quiet mirror held up to everyday life. The premise is simple and cruel: Whenever Ha-min (Choi Woo-shik) eats his mother’s cooking, he starts seeing an unexplained number. As it drops, he learns, death is getting closer. The meals prepared by his mother, Eun-sil (Jang Hye Jin), become not comfort but a countdown. Ha-min pushes away the table with excuses to protect her time, while Eun-sil responds by cooking with even more care. The film focuses on the sad irony of two people who love each other but feel forced to create distance, capturing subtle shifts in the air between them. The movie is based on Uwano Sora’s Japanese novel, “You Have 328 Chances Left to Eat Your Mother’s Home-Cooked Meals,” reworked with a distinctly Korean sense of family conversation at the dinner table. Director Kim Tae Yong, known for probing characters’ inner lives in films such as “Giant” and “A Girl at My Door,” softens that sharp gaze here into something closer to understanding. One of the film’s key choices is how it sidesteps melodrama. At moments that could tip into heavy sadness, Kim often pulls back — slipping in humor or letting grief dissolve into the noise of ordinary life rather than putting it on display. The dialogue stays grounded in how people actually speak, and that plain tone carries much of the film’s sincerity. Locations also do narrative work. The contrast between Busan and Seoul reflects the story’s split emotions: Busan, where Ha-min spends time with Eun-sil, is portrayed as warm and familiar; Seoul, where he imagines a new start with Ryeo-eun (Gong Seung-yeon), is framed as a place of hard-edged working life. Kim, who is from Busan, uses local dishes such as beef radish soup and pickled bean leaves not as props but as emotional connectors, and fills scenes with eateries tied to memories shared by the director and cast. Performances are central. Jang and Choi, who played mother and son in “Parasite,” reunite with a deeper ensemble. Choi plays Ha-min with a restrained, matter-of-fact emotional register as he carries his secret through daily life. Jang gives Eun-sil a realistic face — hurt by her son’s distance but continuing on without spectacle. Gong’s Ryeo-eun, portrayed as someone capable of steady love, becomes a turning point that broadens the story. “Number One” aims less for a dramatic feast than for the feeling of a simple home meal: understated, but warming. It opens in theaters on Feb. 11. Running time is 104 minutes, and it is rated for ages 12 and older. * This article has been translated by AI. 2026-02-11 00:03:00
  • Lim Young Woong’s 2025 Seoul Tour Concert VOD to Stream Exclusively on TVING
    Lim Young Woong’s 2025 Seoul Tour Concert VOD to Stream Exclusively on TVING Singer Lim Young Woong’s Seoul concert will be available to watch from home. A VOD of his 2025 national tour concert, “I’m Hero (IM HERO),” filmed at the Seoul stop, will be released exclusively on TVING starting at 7 p.m. on Feb. 13. The video captures the show held Nov. 30, 2025, at KSPO DOME. Lim opened with “Wonderful Life” and performed a set list spanning hit songs and tracks from his second full-length album. The concert also featured stage production and official light sticks that changed color by song, along with performances and moments available only at the live show. He also interacted with fans through “Hero Singing Contest,” a segment in which he took requests on the spot. Audience sing-alongs and responses helped drive the atmosphere. The VOD includes multi-angle camerawork and live sound, aiming to recreate the concert experience for viewers and bring back memories for those who attended. Lim is also set to hold “2026 I’m Hero Concert: The Stadium 2 (2026 IM HERO CONCERT : THE STADIUM 2)” in September.* This article has been translated by AI. 2026-02-10 09:24:00
  • Stray Kids Concert Film ‘The Dominate Experience’ Tops Global Box Office
    Stray Kids Concert Film ‘The Dominate Experience’ Tops Global Box Office Stray Kids’ concert film “Stray Kids: The Dominate Experience,” which captures the group’s largest-ever world tour, has topped the global box office. According to U.S. outlet Deadline, the film, which opened on Feb. 6 (local time), grossed a total of US$19.1 million across 61 markets during the first weekend of February, ranking No. 1 worldwide. In North America, it earned about $5.6 million from 1,724 theaters in its opening weekend. In Mexico, it took in about $2.1 million to rank No. 1. In Germany, it grossed about $1.6 million, marking the biggest opening for a K-pop film in that market. In the U.K. and Ireland, it earned about $1.4 million, becoming the top-grossing K-pop film there. The film also posted solid results in Italy, Spain, Brazil, France, Peru, Chile and Australia. “Stray Kids: The Dominate Experience” documents Stray Kids’ “Stray Kids World Tour ‘Dominate,’” held from August 2024 through October the following year, spanning 56 shows in 35 regions. The film also includes the group’s concert at Los Angeles’ SoFi Stadium — billed as a first for a fourth-generation K-pop group — along with behind-the-scenes footage. Stray Kids are set to continue activities in 2026 and are scheduled to appear as headliners at the Governors Ball Music Festival in New York on June 6 and Rock in Rio in Brazil on Sept. 11. * This article has been translated by AI. 2026-02-10 08:06:00
  • Review: Ryoo Seung-wan’s ‘Humint’ hits a new peak of classic spy-action elegance
    Review: Ryoo Seung-wan’s ‘Humint’ hits a new peak of classic spy-action elegance “It’s romantic. The lighting, the temperature, the humidity …” a guest on a variety show once said. The point was that place, weather and how you feel combine to create an atmosphere. Movies work the same way: your mood and experience can become part of how you judge what you see. “ChoiCine Review” is a column that introduces films through the writer’s own perspective, in a more relaxed, everyday voice. Director Ryoo Seung-wan’s films arrive with a recognizable rhythm. If his earlier work moved like upbeat disco or punk, his new film, “Humint,” shifts into something closer to a full orchestra — heavier, colder and more controlled. The result is a polished new high point for Ryoo’s brand of action, refined even beyond “The Berlin File.” The story follows Jo, a National Intelligence Service black-ops agent known as Manager Jo (Zo In-sung), who is tracking an international crime case in Southeast Asia when he picks up a clue left by an informant killed during his earlier human-intelligence operation. He heads to Vladivostok, where he makes contact with Chae Seon-hwa (Shin Se-kyung), an employee at a North Korean restaurant, and selects her as a source for a new operation. Elsewhere, Park Geon (Park Jung-min), a State Security Department team leader sent to investigate disappearances near the border, senses that North Korea’s consul general, Hwang Chi-seong (Park Hae-joon), is involved. Using the pasts of Chae and Park as leverage, Hwang pressures them, and the players begin a dangerous balancing act. Rather than replaying power struggles head-on, Ryoo focuses on what is left unsaid — the gaps between records. The film keeps the poise of classic spy cinema while stripping away excess technique, making “Humint” one of the most tightly constructed espionage entries in his filmography. That control shows in the locations and staging. A Latvia shoot stands in for Vladivostok, bringing a chill texture to the screen. Buildings marked by Russia’s past create an unfamiliar mood, while heavy concrete surfaces help visualize the harsh reality surrounding the characters. The camera alternates between wide landscapes and tight close-ups at key moments, holding on faces to capture emotional shifts. The contrast between the weight of the setting and the instability in the characters’ expressions helps regulate tension scene by scene. The action is designed to match character and tempo, not just deliver thrills. Movements shaped through actual NIS training add professional detail, and the direction counts bullets in gunfights to give scenes a realistic weight. The texture of each fight reflects the characters’ circumstances and temperaments, pushing the story forward. Zo handles firearms with a composed, agentlike presence, using his physicality to give the action a measured style. Park Jung-min brings contained movement with bursts of energy, from his first appearance throwing darts to a car chase. Park Hae-joon tightens suspense with a coldness that turns everyday tools into weapons, while Shin anchors the film with a forceful performance built around decisive choices for survival. Together, the cast’s physical performances lock into an ensemble, building individual arcs within shared spaces and drawing a clear line between harsh reality and human conflict. “Humint” opens in theaters on the 11th. It runs 119 minutes and is rated for viewers 15 and older.* This article has been translated by AI. 2026-02-10 06:03:00
  • Three Korean Films Target Lunar New Year Moviegoers With Family Drama, Spy Action and Period Tale
    Three Korean Films Target Lunar New Year Moviegoers With Family Drama, Spy Action and Period Tale 설 연휴를 맞아 한국 영화 기대작 3편이 동시에 관객을 찾는다. 가족 드라마부터 첩보 액션, 정통 사극까지 장르가 다른 영화 ‘넘버원’과 ‘휴민트’, ‘왕과 사는 남자’가 극장가에 나란히 걸린다. 가족 관객을 겨냥한 ‘넘버원(Number One)’은 판타지 설정을 더한 휴먼 드라마다. 어느 날부터 엄마의 음식을 먹을 때마다 줄어드는 숫자가 보이기 시작한 아들 하-min(Choi Woo Shik)의 이야기를 그린다. 하민은 그 숫자가 '0'이 되면 엄마 은실(Jang Hye Jin)이 죽는다는 사실을 알게 되고, 이를 막기 위해 애쓴다. 영화는 가족애를 전면에 내세웠으며, 오는 11일(수) 개봉한다. ‘휴민트’는 블라디보스토크를 배경으로, 비밀과 진실이 뒤엉킨 얼음 바다에서 서로 다른 목적을 지닌 인물들이 맞서는 첩보 액션물이다. Jo In Sung과 Park Jung Min 등이 주연을 맡아 거친 액션과 인물 간 앙상블을 내세운다. 정통 사극을 찾는 관객에게는 ‘왕과 사는 남자’가 선택지로 제시된다. 1457년 청령포를 배경으로, 마을의 부흥을 위해 유배지를 자처한 촌장과 왕위에서 쫓겨난 어린 선왕 단종의 이야기를 담았다. 단종과 엄흥도의 실화를 바탕으로 재구성했다. 극장가는 설 연휴 기간 개성이 뚜렷한 한국 영화 3편이 동시에 관객을 만나면서 선택 폭이 넓어지고, 전체 박스오피스 규모도 커질 것으로 보고 있다.* This article has been translated by AI. 2026-02-09 11:09:00