Journalist
Choi Song-hui
alfie312@ajunews.com
-
BTS Releases 'SWIM' Live Clip Filmed at Seonhyewon BTS has released a live clip for “SWIM.” The group posted the video at midnight on the 29th on its official YouTube channel. It was filmed at Seonhyewon, pairing a traditional setting with the modern choreography of “SWIM.” Instead of elaborate stage effects, the clip relies on lighting to highlight the group’s dance lines and the space itself. Lighting designed to evoke flowing water adds to the sense of immersion, and the members’ live vocals — down to audible breathing — are captured clearly. BTS released its fifth full-length album, “ARIRANG,” on the 20th. Using “Arirang,” a song widely associated with Korea, as the title, the group said the album expresses its roots and the emotions felt by the seven members in 2026. The album also reflects a hope that, like the folk song that has endured across generations, the new release will resonate widely and be remembered for a long time. “ARIRANG” has gained traction on major charts worldwide. On Hanteo Chart, it set a new BTS record with first-week sales of 4,169,464 copies. The title track, “SWIM,” held No. 1 for eight straight days (20-27) on Spotify’s Daily Top Songs Global chart. On the U.K. Official Charts, “ARIRANG” debuted at No. 1 on the Official Albums Top 100 (March 27-April 3), and “SWIM” reached No. 2 on the Official Singles Top 100, setting another group record. BTS is continuing promotions with appearances on YouTube channels including “Insaeng 84” (Jin), “Hot Issue Ji” (Jimin), “Finding Kani” (j-hope), “Epic Kase” (RM, Suga) and “Ppadeoneoseu” (RM, V). At 5 p.m. on the 29th, an episode of “Fairy Table” featuring V will be released. * This article has been translated by AI. 2026-03-29 10:48:22 -
CRAVITY’s Hyeongjun to Star in Interactive Short-Form Drama ‘Kill the Romeo’ on KITS CRAVITY’s Hyeongjun is set to show a new side as an actor in a first-person interactive short-form drama, built around viewer choices that determine his fate. Global K-pop short-form platform KITS said on the 27th it will exclusively release the interactive series “Kill the Romeo” starring Hyeongjun at 1 p.m. “Kill the Romeo” is an interactive, multi-ending romantic comedy in which the protagonist — “you” — lives a double life: a killer by trade and a devoted fan by persona. The story begins when your next target is named as your favorite idol, Hyeongjun. A newly released main poster heightens the premise with an on-screen prompt from the viewer’s perspective: “Do you want to eliminate the target?” The series uses the FMV (Full Motion Video) format, letting viewers choose options that drive the plot. Depending on whether the viewer carries out the mission to eliminate Hyeongjun or protects him out of fandom, the ending changes. Viewers can also collect Hyeongjun digital photo cards as the story unfolds. After a shared storyline, the drama branches at four decision points, leading to four endings: two versions of a happy ending, a bittersweet ending and a bad ending. Reaching one ending takes about 45 minutes, while seeing all outcomes takes about 90 minutes. The project marks Hyeongjun’s first lead role in a drama. Despite filming in a setup that required direct, one-on-one eye contact with the camera, he handled a wide emotional range spanning comedy, romance and action, earning positive feedback on set, according to the release. It also said he created choreography himself for a dance scene. KITS, which recently released “Wind Up” starring NCT’s Jeno and Jaemin and “Jumpboy LIVE” starring VERIVERY’s Kangmin, said it plans to further strengthen its interactive content lineup with “Kill the Romeo.” All episodes of “Kill the Romeo” will be released exclusively on KITS at 1 p.m. on the 27th. Episodes 1 through 6 will be available for free, with later episodes accessible via membership or paid purchase. * This article has been translated by AI. 2026-03-27 11:09:20 -
Korea Music Copyright Association disputes audit criticism over AI works registration The Korea Music Copyright Association, known as KOMCA, on Tuesday rejected a recent audit finding and related reports on artificial intelligence, calling them an interpretation that overlooks the specific nature of music copyright and the group’s response efforts. The Board of Audit and Inspection said in a March 24 announcement that 11 copyright collective management organizations, including KOMCA, were registering works and collecting and distributing royalties without separately verifying whether AI had been used. KOMCA responded in a statement Tuesday that it has reviewed internal policy while operating an AI task force team since 2023 and has officially implemented a “registration hold policy” for AI-used works since March. Under the policy, members seeking to register songs must check whether AI was used, and any work reported as AI-assisted is put on hold, the association said. KOMCA said the measure is a temporary management step meant to prevent confusion in the creative ecosystem and distortions of rights in the absence of legal standards. It said it is not denying copyright for AI-used works across the board, but taking a preemptive step to reduce disputes. The association also said there is no widely trusted technology worldwide that can perfectly determine whether AI was used. Given those technical limits, it said, the system inevitably relies on creators’ self-reporting, and a small number of false filings should not be treated as overall negligence by the association. As alternatives, KOMCA said its new chairman, Lee Si-ha, had proposed verification steps even before taking office, including requiring submission of DAW (digital audio workstation) files that can help show the actual creation process. It added that the association is accelerating development of a “Korean-style AI detection program.” KOMCA said it is also strengthening after-the-fact monitoring, including screening suspected AI-use cases found on platforms such as YouTube Shorts and withholding royalty payments while conducting additional analysis. The association said it is discussing national-level standards through the “K-Music Rights Organizations Coexistence Committee,” launched in February under Lee’s leadership. Topics include requiring transparency in AI generation processes and establishing clear criteria to distinguish human-created works from AI-generated works. “Even though management systems have not been established globally, the association has responded proactively,” a KOMCA official said. The official added that KOMCA will work closely with the Ministry of Culture, Sports and Tourism to help establish a fair copyright order.* This article has been translated by AI. 2026-03-25 17:45:57 -
'A Man Living With the King' Tops 15 Million Tickets, Ranks No. 3 All Time in Korea The film ‘A Man Living With the King’ has surpassed 15 million admissions in South Korea, reaching the milestone 50 days after its release. Distributor Showbox said Wednesday that the movie had topped 15 million cumulative viewers as of Wednesday afternoon. It reached 10 million admissions on its 31st day in theaters after opening Feb. 4, then hit 14 million on day 45 before adding another 1 million in just five days. The result makes ‘A Man Living With the King’ the third release in Korean box office history to cross 15 million, following ‘The Admiral: Roaring Currents’ (17.61 million) and ‘Extreme Job’ (16.26 million). It also moved past ‘Along With the Gods: The Two Worlds’ (14.41 million) and ‘Ode to My Father’ (14.25 million) to join the top tier of all-time Korean hits. Directed by Jang Hang-jun, the film is set in Cheongnyeongpo in 1457 and follows a village chief who chooses exile to revive his community and a young deposed king sent into exile. Strong word of mouth, driven by the on-screen pairing of Yoo Hae-jin and Park Ji-hoon, has helped sustain its long run.* This article has been translated by AI. 2026-03-25 16:31:06 -
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 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 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 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' 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’ 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