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  • TWS VR Concert Film ‘Rush Road’ Draws Fans With Quiet Energy and Meticulous Prep
    TWS VR Concert Film ‘Rush Road’ Draws Fans With Quiet Energy and Meticulous Prep Every production holds countless perspectives. People may share the same place and time, yet a director and performers can experience it in very different ways. looks beyond the on-screen “A-cut” to the vivid record of what happened off camera. By weaving interviews with directors and actors, it reconstructs “B-cut” moments that were often more intense than the finished frame. Among K-pop fans, the group TWS is often seen as “introverted,” known for soft-spoken interviews and a shy, rookie image. But in the close-up frame of a VR concert — where even a breath can feel inches away — the group showed a different side in the VR concert film “Rush Road,” which has continued to sell out. Director Kim Ji-ae, who helmed “Rush Road,” said the members’ focus stood out even on a set that could easily become dominated by technology. She said the shy boys carefully calculated their blocking in front of the camera and even adjusted choreography angles themselves. In an interview with this outlet, Kim described TWS and its fandom, SAI, as “above all, a big healing.” She said it was restorative to see the worries poured into the project — and the artists’ effort — turn into fans’ happiness. “These days, I take my vacation at the theater,” Kim said. “When I see people who came to watch a project we worked so hard on really loving it, it’s overwhelming. Being in the energy of people who came to see someone they like is healing. I had something stressful recently and went to the theater, and I came back healed after seeing SAI.” Watching “Rush Road” alongside SAI, this reporter noticed a contrast with other idol-fandom screenings. Where loud cheers often erupt the moment an artist appears close, SAI tended to respond differently. Even when a member reached out and stepped toward the viewer, the theater filled less with shouting than with quiet, bashful reactions. Kim said she saw the same pattern. “I felt like the fandom really takes after the artists,” she said. “Maybe because it’s an introverted group and an introverted fandom, they seemed embarrassed even while watching the film. Even with life-size standees, instead of taking photos up close, they zoom in from far away — it looked cute and shy. But on site they’re shy, and online they’re very active. When I read reactions on Twitter or communities, the feedback is so thoughtful, and I’m grateful. Some of the songs they suggested for the set list overlapped with songs we also regretted not being able to include, and I found it interesting — like, ‘We don’t think that differently.’” What drew that reserved fandom into the experience, Kim said, was the members’ relentless preparation. Amaze CEO Lee Seung-jun and Kim both praised the group for going beyond simply performing assigned choreography and instead working to find the best angles for VR. “TWS participated very actively in the preparation,” Kim said. “They kept studying how they should look by watching senior artists’ VR videos, and they practiced in a planned way down to fingertip details. Jihoon, Kyungmin and Youngjae — the so-called ‘Jakduz’ — are members who are very interested in performance directing. Even during choreography test shoots, Jihoon was watching the directing very closely, and the members all shared opinions, so it really felt like we were making it together. They were a team that thought through how each scene would look and what blocking would be better. Among the artists we’ve filmed so far, it’s rare to see anyone give input while even checking camera guides in such detail. It was a project filled with thought in every part, and it was my first time with artists like this.” Kim said it is not easy for artists to speak up on a set packed with technical staff. But she said TWS monitored rehearsal footage through VR headsets and traded immediate feedback. Even after realizing that a hand-holding jump move was hard to execute at “full power” because of the VR camera’s characteristics, she said, the group refused to coast. “It could have turned into a tech-driven set, but TWS never let go of their ambition for the stage,” Kim said. “They went into filming shouting, ‘This moment will never come back.’” Kim said the members’ off-camera shyness was matched, on camera, by a persistent drive to get the performance right. In the end, she said, the film’s impact was not only the novelty of VR but the clear connection left on screen between the artists and the fans who resemble them in temperament.* This article has been translated by AI. 2026-03-25 15:16:17
  • Park Jihoon to Return as Singer With RE:FLECT Single Album on April 29
    Park Jihoon to Return as Singer With 'RE:FLECT' Single Album on April 29 Singer and actor Park Jihoon is returning with a new release for the first time in three years. YY Entertainment said it posted a coming-soon image for Park’s first single album, ‘RE:FLECT,’ on its social media accounts at midnight on the 25th. The album is set for release at 6 p.m. April 29. The poster features a white envelope and white feathers. The word ‘RE:FLECT’ and an angel illustration on the envelope create a mysterious, dreamlike mood. ‘RE:FLECT’ will be Park’s first new music since his seventh mini album, ‘Blank or Black,’ released in April 2023. The agency said the album reflects on time that has passed and the emotions left behind, as Park looks at himself in the present. Park recently appeared in the film ‘The Man Who Lives With the King.’ He will meet fans again as a singer with the new release. Ahead of the album, Park will hold a fan meeting titled ‘Same Place’ on April 25 and 26 at YES24 Live Hall in Seoul’s Gwangjin District. ‘RE:FLECT’ will be available at 6 p.m. April 29 on major online music platforms.* This article has been translated by AI. 2026-03-25 10:00:39
  • Lee Soo-man’s A2O Entertainment launches ‘Zalpha’ K-pop audition in Seoul
    Lee Soo-man’s A2O Entertainment launches ‘Zalpha’ K-pop audition in Seoul A2O Entertainment Korea, founded by producer Lee Soo-man, said Tuesday it will hold its first official event, the “A2O Zalpha Audition.” The audition is drawing attention because it is Lee’s first project in South Korea that he will plan and oversee since a noncompete restriction in the domestic K-pop market was lifted. When Lee sold his SM Entertainment stake to HYBE in 2023, he agreed not to produce albums in South Korea for three years. That agreement was lifted last month, allowing him to resume domestic producing work. The audition will be held regularly every Sunday from 1 p.m. to 5 p.m. at A2O Entertainment Korea in Seoul’s Gangnam district. Applicants can show up in person on the day without separate advance steps or apply through the company’s official online channels. Categories include vocal, rap, dance and acting, and the audition is open regardless of nationality or gender. A2O said it plans to expand the program beyond South Korea to Japan, the United States and other markets. During the noncompete period, Lee established A2O Entertainment and formed the girl group “A2O May,” centered on Chinese members, focusing on overseas activities. The company said the domestic audition is expected to help put Lee’s “K-pop 2.0” approach on a full track.* This article has been translated by AI. 2026-03-24 17:43:42
  • ‘Salmokji’ aims to deliver immersive K-horror with water ghost tale
    ‘Salmokji’ aims to deliver immersive K-horror with water ghost tale A mysterious figure captured on a road-view image and a dark, deep reservoir form the backbone of the new Korean horror film “Salmokji,” which aims to turn a familiar “water ghost” legend into a modern, immersive scare. A press screening and news conference for “Salmokji,” directed by Lee Sang-min, was held Tuesday afternoon at CGV Yongsan I’Park Mall in Seoul. Lee attended with cast members Kim Hye-yoon, Lee Jong-won, Kim Jun-han, Kim Young-sung, Oh Dong-min, Yoon Jae-chan and Jang Da-a. The film follows a production crew that heads to a reservoir to verify an unexplained figure seen on road-view imagery, only to encounter a series of strange events. Starting from an everyday digital tool, the story shifts into the psychological pressure of an isolated setting. Lee said he wanted to maximize fear rooted in place. “I’ve always loved horror films, and my previous short films were also in the horror genre,” he said. “I wanted to amplify the fear a space can create. I focused on the ‘water ghost’ because I thought it could show an original image.” He said the goal was not just to watch fear unfold, but to make audiences feel as if they are inside it. “From the planning stage, I hoped viewers would feel ‘experiential horror,’ as if they were being bewitched by a water ghost,” Lee said, adding that the film uses devices unique to the creature, including appearances and reflections on the water’s surface. He also expressed confidence in a ScreenX version produced in postproduction, saying distortion in scenes such as the road-view sequence would heighten immersion. Cast members said they were drawn by the script and the project’s distinctive energy. Kim, who said she has long enjoyed horror films, described the shoot as exciting. “The script was so fun, and I really wanted to challenge myself with the character,” she said. “I think it will remain a good part of my career.” Jang, making her screen debut, plays Se-jeong, a character who meets a shocking end. “It was a completely different character from me, so acting out the dramatic emotional changes was a big experience,” she said. She added that the final scene became “much more horrific” than what was on the page, and said she went into filming prepared for what she called a “terrible death.” “It wasn’t easy, but the staff and I worked as one, focused on making the scene come out well,” she said. The production’s atmosphere also drew attention, with cast members recounting unusual experiences on set. Kim Jun-han said staff members reported seeing an unidentified young child, and that sensor lights at their lodging turned on and off on their own. “I thought, maybe that means the film will do well,” he said with a laugh. Underwater filming was described as a key element supporting the movie’s finish. Lee Jong-won said he trained ahead of time for an action sequence that required him to dive deep underwater to save someone. “Acting underwater wasn’t easy, but I did my best,” he said. Kim Young-sung and Oh Dong-min said their on-screen “brother” chemistry helped ground the story’s fear in realism. Recalling an underwater shoot in subzero wind chill, Oh said Kim would shiver between takes but snap into character as soon as action was called. Kim credited Oh’s emotional performance for helping him stay immersed through the final scene. Lee said he sees horror as a form of entertainment for younger audiences, noting a recent atmosphere of Gen Z moviegoers returning to theaters after the box-office success of “The Man Who Lives With the King.” “I also used to relieve the stress of exam periods by watching horror films when I was a teenager,” Lee said, recalling enjoying them with friends as a kind of courage test. “Horror films have a charm — after you scream, you feel refreshed when it ends.” He said he hopes students facing midterms will use “Salmokji” to blow off stress and enjoy what he described as a Gen Z-style “courage test.” “Salmokji” is scheduled for release in April. * This article has been translated by AI. 2026-03-24 17:24:23
  • VR Concert Film Rush Road Director Kim Ji-ae Aims to Give TWS Fans Strength to Live Today
    VR Concert Film 'Rush Road' Director Kim Ji-ae Aims to Give TWS Fans 'Strength to Live Today' In VR concert films, fans can feel as if their favorite artist has stepped right in front of them to sing and dance — a level of closeness and eye contact that is impossible at a live arena show. “TWS VR Concert: Rush Road” drew strong advance demand soon after release, and the website server crashed when second-round ticket sales opened. At the center of the project is Kim Ji-ae, a director at Amaze. She has directed VR concert films including Tomorrow X Together’s “Heart Attack,” ATEEZ’s “Light the Way” and TWS’ “Rush Road,” and said she focused on delivering what fans expect while making a 40- to 50-minute concert feel memorable. “TWS has a clear image that both fans and the public expect,” Kim said. “I filmed it thinking about how to make a 40- to 50-minute concert impressive without damaging those expectations. People expect TWS’ bright, fresh energy, so I wanted to preserve that clean mood. Some people hear ‘VR concert’ and think of flashy CG, or feel resistant to it. If ATEEZ was a surreal, cinematic stage built around their universe, I wanted TWS to feel like a friend — making everyday spaces feel special.” Kim said she studied the members closely, watching stage videos and behind-the-scenes content to learn their speech patterns and personalities. “I looked up everything like a newly converted ‘SAI’ (the fandom name) — stage videos, their own content, all of it,” she said. “Watching making-of footage, I studied what the members are like and what they say. When you look at TWS, it feels like ‘Animal Crossing.’ Like their music, they often use clear, pretty words and expressions, so I tried to bring that out.” Some fans, she said, welcomed that the film did not over-polish the performance and instead kept a more live feel — including overlapping or stumbling comments and small details such as Dohoon’s untied shoelace. “One of the best parts of a concert, for me, is watching the members’ relationships during the talking segments,” Kim said. “At a real concert there’s back-and-forth with the audience, but VR is inevitably one-way. Even so, I didn’t want it to feel like they were reading a script. I hoped their personalities and the group’s mood would come through not only in the live sections but also in the comments. Even if it wasn’t perfect, I wanted it to feel like they were speaking directly to me and guiding me, rather than reading a prompter. I explained that to the members, and they understood.” Kim said that natural feel came from the members’ attitude. She briefed them on what VR would be like — an experience with no blind spots, as if the fan’s favorite member is right in front of them — and said TWS prepared more diligently than expected. “I told them first that it’s not watching a stage from far away — it’s right in front of you, with no blind spots,” she said. “They were so sincere. If I sent references the day before, they practiced each one and even filmed themselves on their phones. That made filming very smooth. There were moments where Youngjae in the middle or Kyungmin at the end made small mistakes in their comments, but they played it off cutely and the members naturally covered for each other. I think that’s part of the charm. Even if something is a bit unpolished, how you handle it matters more, and I think we captured TWS’ fresh, early-debut atmosphere.” Kim said she prioritizes a “real-life” look, paying close attention in DI (color grading) and background compositing to how artists appear on stage and how light falls on their faces. “I care about the experience of seeing the artist in person, so I put a lot of effort into DI and background compositing,” she said. “Some scenes were reflected in the TWS VR concert — like when the sun rises and sets, or fireworks go off, and the artists’ faces are tinted by that light. I wanted it to feel realistic. But I saw feedback like, ‘The skin looks too white,’ or ‘There was too much retouching.’ Even when we didn’t raise the whites or add heavy correction, some people felt that way, which surprised me.” She said the backgrounds and spaces were designed with the same goal: that viewers leave feeling their day became a little more special because of TWS, without breaking the flow between songs. “I wanted people to feel, ‘Today became special because of TWS,’ so we used backgrounds like a bright daytime scene, a pretty golden hour sunset and a night sky with an aurora,” Kim said. “We also built special miniature-like spaces — a hip graffiti-covered spot and a room with a fresh vibe. I didn’t want the transitions between songs to feel abrupt or break immersion.” Kim said what stood out most in preparation was the members’ initiative. She said VR is not completed by backgrounds and effects alone; the key is how the artist’s live performance and movement are captured from the viewer’s perspective. “TWS is a team I want to brag about to the whole world,” she said. “In VR, backgrounds and effects matter, but how you capture the artist’s live performance and movement is crucial. Just designing camera animation so the viewer’s field of vision isn’t uncomfortable takes two to three months. We do choreography test shoots, camera guides and simulations before the main shoot, and TWS was the first artist to participate so actively in that preparation. They watched senior artists’ VR videos and kept studying how they should appear, and they practiced in a planned way down to fingertip details. Members like Jihoon, Kyungmin and Youngjae, who are interested in performance and choreography directing, actively shared opinions from the test-shoot stage. Among the artists I’ve filmed, it’s rare to see a group think through camera guides, blocking, facial expressions and details like this. It was a project filled with that level of thought, and we plan to release a making-of video later through a YouTube channel.” Kim said making a VR concert ultimately comes down to what emotion it leaves with fans — not just a well-made product, but an experience that offers comfort and renewed energy. “People tell us, ‘I got the strength to live today after watching our film,’ and I’m truly grateful,” she said. “At a stage greeting, Shinyu once said, ‘I hope the SAI who leave after watching this become special,’ and I feel the same. Since people made the effort to come, I hope they gain ‘the strength to live today’ from watching any artist, including TWS. That’s the mindset I bring to the project.” Kim said the members also hoped the VR concert would help break assumptions — about both the group and the format. “One thing they said that stayed with me was that they prepared so hard, and they hoped fans would recognize that effort,” she said. “TWS is strongly associated with a bright image, but if you look at their B-sides, the performances are strong and they sing live really well. The members were thinking a lot about how to show that. At the same time, they knew there are prejudices about VR, so they said they wanted to break prejudices about TWS and about VR together. It impressed me that they kept thinking through and revising details to make a show anyone could watch comfortably.”* This article has been translated by AI. 2026-03-24 10:51:39
  • BTS’ Netflix Live “Arirang” Tops Charts in 77 Countries, FlixPatrol Says
    BTS’ Netflix Live “Arirang” Tops Charts in 77 Countries, FlixPatrol Says BTS’ comeback concert broadcast live on Netflix has surged to the top of the platform’s rankings worldwide, according to FlixPatrol. FlixPatrol, a site that tracks streaming rankings, said on March 23 that “BTS THE COMEBACK LIVE | ARIRANG” ranked No. 1 globally in Netflix’s movie category based on the previous day’s results. The performance ranked No. 1 in 77 countries, including South Korea, the United States, Japan and the United Kingdom. It placed No. 2 in 14 countries including the Bahamas, the Czech Republic and Ireland, and No. 3 in New Zealand, landing in the top three in every country tracked. FlixPatrol calculates rankings by converting Netflix’s country-by-country “Top 10” lists into scores. BTS held “BTS THE COMEBACK LIVE | ARIRANG” on March 21 at Gwanghwamun Square in Seoul. The group debuted new songs onstage, including “Swim,” the title track from its fifth full-length album, “ARIRANG.” The concert also drew attention as Netflix’s first live event presented in South Korea. The livestream was carried in real time to more than 190 countries. BTS is expected to continue promotions for its fifth full-length album.* This article has been translated by AI. 2026-03-24 08:57:14
  • SEVENTEEN’s THE 8 to headline China’s Midou Music Festival in Nanjing
    SEVENTEEN’s THE 8 to headline China’s Midou Music Festival in Nanjing SEVENTEEN member THE 8 will close out a major music festival in China with a solo set, his agency said. PLEDIS Entertainment, a HYBE Music Group label, said on Monday that THE 8 will appear as a headliner at the MIDOU MUSIC FESTIVAL, scheduled for May 1-2 in Nanjing, Jiangsu province. Now in its 15th edition, the festival has grown into a large-scale event since launching in 2014, drawing crowds that also boost local tourism. Organizers held two editions last year, in June and October, attracting more than 80,000 and more than 60,000 attendees, respectively, according to the agency. THE 8 has previously headlined in China. At the YJ music festival in Beijing in September last year, he performed vocals and choreography and added a DJ set, drawing strong audience response, the agency said. Fans lined up from the night before, and he trended on Weibo immediately after the show. His recent releases have also performed strongly, the agency said. His 2025 single “Star Crossing Night” topped major Chinese music charts, and his Chinese EP “STARDUST,” on which he participated in writing and composing every track, was also well received. Beyond music, THE 8 has expanded into broader art projects. In December, he released an art film featuring a remix version of “Skyfall” as part of “THE 8 Contemporary ART,” a project reflecting his emotions and perspective. The agency said attention is focused on what he will bring to the Midou festival stage.* This article has been translated by AI. 2026-03-24 08:27:16
  • Xdinary Heroes to Return April 17 With New EP DEAD AND; Track List Released
    Xdinary Heroes to Return April 17 With New EP 'DEAD AND'; Track List Released JYP Entertainment’s boy band Xdinary Heroes (XH) is set to return with the new song “Voyager.” The group will release its new mini album, “DEAD AND,” at 1 p.m. April 17 and begin comeback promotions. Ahead of the release, JYP posted the album’s track list image at noon on the 23rd through its official social media channels. According to the track list, the album includes seven songs: the title track “Voyager,” the pre-release track “X room,” and “Helium Balloon,” “No Cool Kids Zone,” “Hurt So Good,” “Rise High Rise” and “KTM.” The six members — Gun-il, Jungsu, Gaon, O.de, Jun Han and Jooyeon — took part in the work on all tracks, as they have since debut, adding the band’s distinct musical identity. For “Voyager,” veteran K-pop producer Lee Woo-min, known as “collapsedone,” teamed up again with the band after working on songs including “PLUTO,” “Save me,” “Night before the end” and “Beautiful Life.” Songwriters Shim Eun-ji, VERSACHOI and Lee Hae-sol also contributed. Last year, Xdinary Heroes released two albums and held a world tour, while appearing on major stages including Lollapalooza Chicago, the 2025 Busan International Rock Festival and as the opening act for British rock band Muse’s concert in South Korea, strengthening its standing as a next-generation K-pop “super band.” After starting the year with an official fan meeting, the group recently completed its first local shows in Osaka and Yokohama, titled “Japan Special Live The New X Scene,” as it expands overseas activities. The pre-release track “X room” will be unveiled at 6 p.m. on the 25th. All tracks from the group’s eighth mini album, “DEAD AND,” will be available on music streaming platforms at 1 p.m. April 17.* This article has been translated by AI. 2026-03-23 16:36:17
  • ONEUS Wraps First Fan Concert Since Move to B-Wave Entertainment
    ONEUS Wraps First Fan Concert Since Move to B-Wave Entertainment ONEUS has completed its first fan concert since moving agencies, marking a new step for the group. The group met fans March 21-22 at the Grand Theater of Kwangwoon University’s Donghae Culture and Arts Center in Seoul’s Gwangjin district for “2026 ONEUS FANCON : Welcome to US’s ISLAND.” Backed by loud cheers, ONEUS opened with “STOP & MOVE” and “Now.” The show also featured interactive segments such as “Find the Voice!” and a rhythm word game, along with a keyword-themed dress-up mission that drew laughter from the crowd. The group’s performance-driven set included unit stages and songs spanning its career, including “Grenade,” “LIT” and “Valkyrie,” plus energetic dance cover stages that heightened the atmosphere in the hall. ONEUS also held a surprise celebration for the birthday of its official fan club, TO MOON. The members marked the occasion by blowing out candles with fans and taking time to grant fans’ wishes. B-Wave Entertainment said, “It is meaningful that ONEUS successfully wrapped up this fan concert created together with fans,” adding, “We thank the fans for filling the venue with support, and we will continue active communication through ONEUS’s music and content.” After choosing the fan concert as its first official activity under B-Wave Entertainment, ONEUS signaled it remains a strong presence with its distinct identity and performances. The group said it plans to continue meeting fans through a range of future activities.* This article has been translated by AI. 2026-03-23 16:03:16
  • BTS’ ‘Life Goes On’ Tops 1 Billion Spotify Streams, Their Sixth Song to Hit the Mark
    BTS’ ‘Life Goes On’ Tops 1 Billion Spotify Streams, Their Sixth Song to Hit the Mark BTS’ “Life Goes On” has surpassed 1 billion streams on Spotify. The track, the title song from the group’s seventh mini album “BE,” released in November 2020, reached 1 billion cumulative plays on the global audio and music streaming platform as of March 21. It became BTS’ sixth song to cross the 1 billion-stream threshold. The group previously hit 1 billion streams with “FAKE LOVE,” “Boy With Luv,” “Dynamite,” “Butter” and “My Universe.” “Life Goes On” is notable for reaching the milestone with lyrics primarily in Korean. The achievement drew added attention as it coincided with the strong performance of BTS’ new release “ARIRANG,” unveiled March 20. As all tracks from “ARIRANG” showed strength on Spotify’s “Daily Top Songs Global” chart, “Life Goes On” also re-entered the rankings as of March 21, nearly five years after its release. “Life Goes On” delivers a message of comfort — “still, life goes on” — in the face of circumstances that force people to stop. Upon release, it topped Billboard’s main singles chart, the Hot 100, dated Dec. 5, 2020, sparking global attention. Billboard said it was the only song in the chart’s 62-year history to reach No. 1 with lyrics centered on Korean. The music video, which Jungkook helped direct, has also drawn steady interest. The video shows the members in everyday moments and singing in a calm mood, conveying warmth to fans. Jungkook expressed the disappointment and longing of not being able to meet fans in person due to COVID-19. BTS released “ARIRANG” on March 20. Its title track, “SWIM,” ranked No. 1 on Spotify’s “Daily Top Songs Global” chart for two consecutive days, dated March 20-21. In South Korea, it also topped daily charts dated March 22 on major music platforms including Melon, Genie and Bugs. * This article has been translated by AI. 2026-03-23 15:51:42