AJU PRESS ASIA FIRST NEWS AGENCY

Journalist

Choi Song-hui
  • Boyfriend Celebrates 15th Anniversary with Fans at Concert
    Boyfriend Celebrates 15th Anniversary with Fans at Concert The group Boyfriend reunited with fans to celebrate their 15th anniversary. Members and their fandom, known as Best Friends, commemorated this milestone with performances, memories, and new songs.Boyfriend held their '2026 Boyfriend Fan Concert: Our 15th Season' on May 30 at the Gabin Art Hall in Seoul, with shows at 2 PM and 6 PM.The 'Our 15th Season' concert marked the time shared between Boyfriend and their fans, celebrating their debut with hits like 'Boyfriend,' 'Don't Touch My Girl,' 'Janus,' and 'I Yah.'Reuniting as a full group for the first time in a while, Boyfriend showcased their teamwork and energy developed over the past 15 years. They engaged with fans through segments like 'Balance Game' and 'Bof Guilty Human,' while the 'Relics Exhibition' featured signed CDs, fan merchandise, and items that even the members had forgotten about, adding humor and emotion to the event.They also premiered their new song, 'Our Voices Adorning the Night Sky,' from their 15th-anniversary album 'Boyager 6.' The concert continued with a variety of performances, including fan songs 'Footsteps,' 'Fox Rain,' 'Super Hero,' 'On & On,' and 'Good Night.'At the end of the concert, Boyfriend expressed, "It was scary and worrisome to be on stage again after a long time, but hearing your cheers gave us confidence. We felt alive." They added, "We are grateful to the fans who have been with us in the same place for 15 years."They also stated, "We will continue to leave footsteps every year, and we hope you will walk alongside us. We look forward to sharing the 16th season together."Earlier, Boyfriend released their sixth mini-album 'Boyager 6' on May 26, marking the start of their 15th-anniversary activities. The album title combines 'Boy' and 'Voyager,' symbolizing the new journey of the six members who have come together again after their individual paths.The album includes six tracks, featuring the title song 'Our Voices Adorning the Night Sky,' along with 'Deja Vu,' 'Footsteps,' 'Today Too,' 'Time Limit,' and an instrumental version. Member Jeongmin participated in producing the album and wrote lyrics for four songs, while the members contributed their ideas from the planning stage through to recording direction and choreography.Previously, Boyfriend shared their thoughts on their 15th anniversary in a Q&A session following the album release. Donghyun expressed gratitude for being able to celebrate this milestone with the members who have been part of his life for so long. Minwoo also shared his excitement about reuniting with the members, stating that he still finds it hard to believe and promised to show fans a great performance.Jeongmin described the album as a collection of lyrics and melodies created with thoughts of the fans who have waited and remembered them for a long time, hoping their voices, united again after their individual journeys, would reach many people.* This article has been translated by AI. 2026-06-01 13:39:00
  • SBS Unveils New Dramas Kim Manager and There is a Chance for 2026-2027
    SBS Unveils New Dramas 'Kim Manager' and 'There is a Chance' for 2026-2027 SBS has announced its upcoming dramas, 'Kim Manager' and 'There is a Chance,' building on its success as the top network for viewers aged 2049 for six consecutive years. The spotlight is on So Ji-sub's return to SBS after 13 years and the acting transformation of Lee Je-hoon, raising questions about whether these dramas can continue the network's winning streak. On June 1, a media day event titled 'SBS Drama: Next Episode' was held at Hotel Naru in Mapo-gu, Seoul. Attendees included So Ji-sub and director Lee Seung-young from the new Friday-Saturday drama 'Kim Manager,' as well as Lee Je-hoon, Ha-young, and director Kwon Da-som from the upcoming 2027 series 'There is a Chance.' 'Kim Manager,' set to premiere on June 26, is adapted from a popular Naver webtoon. The drama follows an ordinary father who becomes the most dangerous man in the world to reclaim his only daughter, blending elements of revenge and action. The script is penned by Nam Dae-jung, known for works like 'Great Wish' and '30 Days,' while Lee Seung-young, along with rookie director Lee So-eun, directs the series. In the drama, So Ji-sub plays Kim, an ordinary employee at a small savings bank, who is actually a former agent with a history of special operations. He expressed his excitement about returning to SBS, stating, "SBS feels like home. It's been 13 years since I last acted in a drama, and although it's been a while, I'm happy and warmly engaged in filming." So Ji-sub chose 'Kim Manager' for its combination of action and emotional depth. He noted, "After filming 'The Square,' I felt a desire to explore noir action again. When I received the script for 'Kim Manager,' I was drawn to the action elements." He also related to the character's journey of raising a daughter alone, as he plays a father with a high school daughter, saying, "I was curious about how I would portray this role, and I believe viewers will see a new side of me despite my years of experience." He elaborated on the action scenes, stating, "While there are necessary action sequences, the core of the action is rooted in the emotions of Kim and his friends. There will be hand-to-hand combat, knife fights, gunplay, car chases, and explosions. I believe these various actions will provide a satisfying experience for viewers." Director Lee Seung-young emphasized that 'Kim Manager' is not just a heavy revenge tale. He remarked, "While a father losing his daughter is inherently serious, the presence of actors like Choi Dae-hoon and Yoon Kyung-ho brings a lighter tone. Although it could feel heavy, 'Kim Manager' is fast-paced, lively, and intense." Regarding the adaptation from the original webtoon, the director explained, "Typically, adaptations aim for novelty, but we have a clear concept. We are preserving the strengths of the original while deepening the narrative during the live-action process. The exhilarating action is a significant strength, and we have worked hard to give it a realistic feel." The possibility of a sequel was also discussed. So Ji-sub cautiously noted, "Since we are at the beginning of the drama, it's a delicate topic, but I believe the characters and narrative have the potential for expansion. A sequel seems feasible, but first, we need to gain the audience's love." Director Lee also touched on the use of artificial intelligence (AI) in production. He stated, "We experimented with AI to replace certain sequences in 'Kim Manager.' The results have shown both possibilities and limitations. Over the past five months, I've noticed the rapid advancement of AI technology. In the near future, it may help directors tackle challenges in filming complex scenes. However, there are still limitations in achieving the authentic feel of a live set, and we must be cautious in selecting where to use it." The 2027 drama 'There is a Chance' was also previewed at the event. This series features Kwon Baek, a former lawyer and current office manager, leading a ragtag legal team to turn seemingly hopeless cases into victories through unconventional methods. Directed by Kwon Da-som, who co-directed 'Connection' and 'My Demon,' the script is written by Jeong Jin-young and Kim Ui-chan, known for 'Soonpoong Obstetrics and Gynecology' and 'You Can't Stop Them.' Lee Je-hoon plays Kwon Baek, a former star lawyer who lost his license due to a bribery scandal and has since gone into hiding. He returns to lead a disorganized law office. Ha-young portrays Yeo Shim-hee, a rookie lawyer with no connections but a strong work ethic. Lee Je-hoon aims to showcase a different side from his character Kim Do-gi in 'Taxi Driver.' He shared, "Kim Do-gi received a lot of love, so I pondered how to present myself in my next project. The two characters have opposing methods of delivering justice." He explained, "While Kim Do-gi fought quietly outside the law as a dark hero, Kwon Baek navigates the legal space with flair. Kwon Baek is seasoned and witty, wielding a sword against those who cross the line." Lee Je-hoon also expressed optimism about the potential for a sequel to 'There is a Chance.' He said, "I feel that the chemistry on set and the potential for episode expansion are limitless. I would love to continue with this team for the next season. I believe 'There is a Chance' could become SBS's new franchise series." Ha-young conveyed her trust in director Kwon Da-som, stating, "I've heard a lot about Kwon Da-som's capabilities. The strong bond among the SBS production team is evident. I had high expectations before the project, and I am currently witnessing their exceptional skills, which feel beyond a debut work due to the preparation and effort involved." Lee Je-hoon acknowledged the pressure and expectations of launching a new project amid SBS's continuous success. He remarked, "There is so much content available now, and ultimately, we need to be chosen by viewers. It feels like both the cast and crew, as well as external factors, are strategically moving to ensure we select and produce quality content for broadcast." He added, "When I read the script for 'There is a Chance,' I thought viewers might be exhausted and stressed, but I believe this enjoyable and uplifting drama will bring excitement and joy to their week. I hope it becomes a beloved series." So Ji-sub commented, "They say the summer heat will be intense, so I hope viewers can cool off by watching our drama." Director Lee Seung-young expressed, "While filming 'Kim Manager,' I felt that my life character might change. I am working hard to create a memorable character for the audience." As 'Kim Manager' and 'There is a Chance' are positioned as key upcoming projects for SBS in 2026 and 2027, attention is on whether the network's successful formula for genre dramas and its strategy for sequels will continue through these new offerings.* This article has been translated by AI. 2026-06-01 12:57:00
  • SBS Announces Next Chapter in Drama Strategy After Six Consecutive Years of 2049 Ratings Success
    SBS Announces Next Chapter in Drama Strategy After Six Consecutive Years of 2049 Ratings Success SBS has unveiled its next chapter in drama strategy, building on six consecutive years of leading ratings among viewers aged 20 to 49. The network aims to enhance its competitive edge in season-based intellectual property while expanding weekday dramas, collaborating with global OTT platforms, and integrating artificial intelligence (AI) production technologies to adapt to the evolving media landscape.On June 1, a media day event titled 'SBS Drama Media Day: Next Episode' was held at Hotel Naru Seoul MGallery in Mapo-gu, Seoul. The event featured Hong Seong-chang, CEO of Studio S, and Kim Gi-suk, SBS Programming Director.During the event, SBS presented its achievements over the past six years since the launch of Studio S and revealed its drama lineup for the second half of 2026 through the first half of 2027. Since its inception, Studio S has established itself as a key production base for SBS dramas, delivering numerous hits such as 'Stove League,' 'Penthouse,' 'Romantic Doctor, Teacher Kim,' 'Taxi Driver,' and 'Hot Blooded Priest.'Hong highlighted the success of SBS's Friday-Saturday dramas, stating, "SBS's Friday-Saturday dramas are as solid as an impregnable fortress in the industry. The starting point was 'Hot Blooded Priest,' which was the first Friday-Saturday drama and received immense love. Since then, we have worked hard to dominate the Friday-Saturday drama slot and aimed to create a DNA of refreshing and enjoyable dramas."SBS emphasized its core strategy of 'Series Power.' The network has leveraged the success of season-based hits like 'Romantic Doctor, Teacher Kim,' 'Taxi Driver,' and 'Hot Blooded Priest' to expand characters and world-building, positioning this as a competitive advantage. Additionally, new seasons of proven hits like 'Good Partner,' 'Chaebol X Detective,' and 'Judge from Hell' are in the works.Kim noted, "The key term in programming is Series Power. The reason this is possible and strong at SBS can be attributed to three factors: a solid world-building, unique characters, and the realization of common sense and justice." He added, "Characters and worlds that viewers can follow and root for, like the revenge agency Rainbow Transport in 'Taxi Driver' and Doldam Hospital in 'Romantic Doctor, Teacher Kim,' are essential. Providing refreshing catharsis in a frustrating reality is the core of SBS's Series Power."Regarding the success of season-based dramas, Hong mentioned the trust between the creative team and actors. He stated, "It must be something the viewers want, and the world-building must be expandable. The reason we can produce many season-based dramas is due to the strong trust between the production team and the actors. There are many cases where actors, directors, and writers are tightly knit on set."SBS plans to maintain its strengths in Friday-Saturday dramas while expanding its weekday drama lineup. Kim remarked, "Starting with the success of 'Kiss for No Reason,' we have resumed weekday dramas. We need to increase the variety and challenge of dramas with the resumption of weekday programming in November." He continued, "We will implement a two-track strategy that maintains the representative identity of Friday-Saturday dramas while continuing to explore new genres like romantic comedies and sports themes."The lineup for the second half of 2026 kicks off with 'Kim Manager,' set to premiere on June 26. Based on a Naver webtoon of the same name, 'Kim Manager' tells the story of an ordinary father who becomes the most dangerous man in the world to reclaim his only daughter. So Ji-sub stars as Kim Manager, a former agent who awakens his true self for his daughter.'Chaebol X Detective' will also return for its second season, featuring the collaboration between the third-generation chaebol detective Jin Yi-soo, who returns to the violent crimes unit after completing formal training at the police academy, and the newly appointed team leader Joo Hye-ra. Ahn Bo-hyun and Jung Eun-chae star, with director Kim Jae-hong and writer Kim Ba-da reuniting from season one.In October, 'Doctor X: The Era of the White Mafia,' based on the Japanese TV Asahi series, is set to air. This medical noir follows genius surgeon Gye Soo-jung as she navigates through a corrupt medical power structure. Kim Ji-won, Lee Jung-eun, Son Hyun-joo, and Kim Woo-seok are among the cast.The highly-rated 'Good Partner' from last year is also returning for a second season. 'Good Partner 2' features the first divorce law firm representative attorney Cha Eun-kyung taking on new challenges with a new partner. Jang Na-ra reprises her role, joined by Kim Hye-yoon as the new partner.Upcoming drama 'Nine to Six' is an office romance that centers on the head of the legal team, Kang Ji-suk, who proves himself through work, and intern Han Sun-woo, who uses kindness as his weapon, alongside department head Park Hyun-tae. Park Min-young, Yook Sung-jae, and Ko Soo are confirmed to star.The 2027 lineup includes occult, legal detective, fantasy justice, and sports dramas. 'Awakening' tells the story of children who awaken strange abilities amid the hell of entrance exams and a priest who sets out to save them. Lee Joon-hyuk takes on his first leading role in the occult genre.'There is a Chance' is a cheerful legal detective drama led by former lawyer and current office manager Kwon Baek, who turns losing battles into winning ones. Lee Je-hoon plays the quirky office manager Kwon Baek, while Ha Young plays rookie attorney Yeo Shim-hee.'Nightmare' depicts a vigilante group that traps evildoers in nightmares instead of prison. Kim Nam-gil and Lee Yoo-mi star in this drama. 'Full Count' portrays the survival struggles in the sports battlefield over the position of a professional baseball coach, featuring Kim Rae-won and Park Hoon.Collaboration with global OTT platforms was also highlighted as a key strategy. Hong stated, "Global OTT can be a competitor, but it is an indispensable platform for the globalization of dramas. We are continuing our strategy to showcase not only SBS dramas but also those produced by Studio S to audiences worldwide." He added, "We have produced four dramas for global OTT and launched works on other platforms. Studio S aims to create quality dramas not only for SBS but also for global audiences."Kim also noted, "While there can be side effects from OTT collaboration, there are many positive aspects. For instance, 'Wonderful New World' was number one in ratings and also topped Netflix. It has the effect of being loved globally, which could have been limited to domestic audiences."The use of AI technology was also a topic of discussion. Hong remarked, "AI is a hot topic in the industry. Initially, directors were resistant, but after training, the paradigm shifted. AI can be utilized in a way that supports creators rather than taking away their rights."He explained, "In 'Taxi Driver,' we used AI for certain cuts, and we plan to showcase fully AI-generated footage briefly. This was created with the agreement of all production staff and creators. We intend to inform viewers about the use of AI through subtitles before the drama airs." He added, "The significance lies in being able to create scenes that were previously impossible to implement."He also mentioned the cost-saving effects of AI. Hong stated, "We created a long segment of AI footage for 'Kim Manager,' achieving over 60% savings compared to production costs without AI. As these cases accumulate, they will enhance our competitiveness."Hong identified the internal creative workforce as a key strength of Studio S. He stated, "The secret to maintaining SBS drama's competitiveness lies in the manpower of Studio S. New writers who have emerged through director and script competitions are collaborating closely in their creations. Studio S is referred to as a drama academy in the industry." Kim added, "The balance between external and internal talent is excellent."SBS is pursuing a strategy that includes strengthening season-based IP, expanding genres, increasing weekday dramas, collaborating with OTT platforms, and integrating AI production technology, all based on its six consecutive years of leading ratings among viewers aged 20 to 49. The network aims to maintain the brand competitiveness established through its Friday-Saturday dramas while broadening its platforms and formats to adapt to the changing viewing environment. Attention is focused on whether the upcoming lineup from the second half of 2026 to 2027 will validate SBS's next strategy in drama production.* This article has been translated by AI. 2026-06-01 12:06:00
  • Jeon Ji-hyun and Koo Kyo-hwans Gunchae Tops Weekend Box Office, Surpasses 3 Million Viewers
    Jeon Ji-hyun and Koo Kyo-hwan's 'Gunchae' Tops Weekend Box Office, Surpasses 3 Million Viewers 'Gunchae' has maintained its position at the top of the weekend box office for two consecutive weeks. According to the Korean Film Council's integrated ticketing system, 'Gunchae' attracted 971,020 viewers from May 29 to 31, securing the top spot at the weekend box office. This marks the film's 11th consecutive day at number one since its release. The film surpassed 3 million cumulative viewers just 10 days after its release on May 30, exceeding its break-even point. It has achieved the fastest milestones for 1 million, 2 million, and 3 million viewers among films released this year, continuing to draw audiences in its second week. 'Gunchae' tells the story of survivors trapped in a building due to an unidentified infection outbreak, facing off against infected individuals who evolve in unpredictable ways. Directed by Yeon Sang-ho, the film stars Jeon Ji-hyun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-bin, Kim Shin-rok, and Go Soo. In second place was 'Backroom,' which attracted 303,264 viewers during the same period, bringing its cumulative total to 391,129. Released on May 27, the film follows Clark and Mary as they encounter inexplicable events in a bizarre space characterized by yellow walls and endless fluorescent lights. 'Backroom' expands an internet-based horror universe into a feature film. Its unique premise, along with involvement from A24 and James Wan's Atomic Monster, as well as visual direction by director Kane Parsons, has garnered early interest from audiences. The film 'Michael' followed closely, drawing 136,682 viewers during the same period, with a cumulative total of 1,394,934. 'Michael' chronicles the journey of Michael Jackson, who captivated the world with his innate musical talent and became the 'King of Pop.' As the last weekend of May concluded, 'Gunchae' held its lead after surpassing its break-even point, while the new release 'Backroom' quickly attracted audiences, establishing itself as a successful foreign film. 'Michael' also maintained a strong position with nearly 1.4 million cumulative viewers.* This article has been translated by AI. 2026-06-01 08:42:00
  • Review: Wild Thing Revives the Stage with Todays Support
    Review: 'Wild Thing' Revives the Stage with Today's Support "It's romantic. The lighting, temperature, humidity..." This was a remark made by a participant on a variety show. It signifies that elements like location, weather, and physical condition come together to create an 'atmosphere.' The same applies to film. The mood of the day and personal experiences can serve as 'evaluation criteria' for a movie. In this way, 'Choi's Review' introduces films to audiences by blending the author's experiences and perspectives. The aim is to present it in a more relaxed and everyday manner. <Editor’s Note>Everyone has likely experienced a time when they were a 'fan' of someone. Perhaps they had a photo pinned to their desk, and a single lyric from that person made their heart flutter. They believed that the stage where that person stood would never crumble. However, time eventually brings even the most dazzling names back to everyday life. The performer who once danced under bright lights becomes a struggling broadcaster worried about living expenses, while the rapper who once spit fire finds himself in an ill-fitting suit as an insurance agent. The film 'Wild Thing' is a story that calls these individuals back to the stage after they have moved on to different lives.The three-member mixed dance group 'Triangle,' which once dominated the music scene, unexpectedly disbanded overnight due to unforeseen events. Twenty years later, a performance proposal arrives for leader Hyun-woo (played by Kang Dong-won), who has become a struggling broadcaster. He seeks out Do-mi (Park Ji-hyun), who is now the daughter-in-law of a chaebol family, and Sang-goo (Eom Tae-goo), who is buried in debt after a failed solo album. The three, having lived different lives, struggle to reunite for one last performance, but their past rival, ballad prince Seong-gon (Oh Jung-se), and the former head of their agency, CEO Park (Shin Ha-kyun), complicate matters further.Director Son Jae-gon, known for creating his own comedic world with films like 'Sweet, Savage Love,' 'The Villainess,' and 'I Won't Hurt You,' showcases his unique comedic sense once again. The theme of 'former stars' could easily veer into caricature or pity, but 'Wild Thing' does not rely solely on those emotions. Instead, it holds onto the present of characters who endure their current lives after once shining brightly. The film goes beyond merely evoking laughter from past glories; it also follows the earnestness of those trying to return to the stage. Audiences find themselves laughing at their 'bittersweet' situations while secretly hoping for their successful return to the stage.The nostalgic music and visuals of the idols from that era are one of the film's enjoyable points. From Triangle's debut song 'Love Is' to the title track of their second album 'Shout It Out,' and Choi Seong-gon's solo song 'I Like You,' the songs in the film faithfully capture the essence of the music scene from that time, drawing audiences into nostalgia and immersion. Composers Shim Eun-ji and Lee Jin-hee, who are currently making waves in the K-pop scene, do not merely mimic the styles of the first and second generations of K-pop. Their work revives familiar melodies and moods in a sophisticated manner that resonates even today. By seriously capturing and implementing the identity of the music and stage from that time, the film's songs achieve a musical authenticity that transcends simple parody or imitation. The intuitive melodies and sound that intricately capture the emotions of that era add momentum to the film, naturally drawing audiences into its rhythm. The magic of humming the tunes long after leaving the theater is a clear achievement of the film's music.Nevertheless, 'Wild Thing' does not linger solely on past glories. The film focuses on the present struggles of 'Triangle' as they attempt to return to the stage, rather than their bygone peak. The Y2K sentiment and the unique atmosphere transitioning from the 1990s to the 2000s, along with the details of the music and styling, are nostalgic, but the film does not settle into the comfort of nostalgia. Instead, the process of awakening their stiff bodies to stand as their true selves again becomes the driving force of 'Wild Thing.' It is also interesting that this journey is depicted as a road movie. Their path is rough and rugged but filled with unyielding vitality. The distinct personalities of the characters racing toward the common goal of the 'stage' imbue the film with a lively rhythm, inviting the audience along for the ride.Their earnestness creates humor even in tangled situations, ultimately leading to support. As past rival ballad prince Seong-gon (Oh Jung-se) and the former agency head CEO Park (Shin Ha-kyun) complicate matters, the road becomes increasingly treacherous, but the film transforms that chaos into momentum for their journey. The race in 'Wild Thing' is both lively and exhilarating. The simple yet fervent wish for them to stand on stage drives the latter part of the film.The actors' comedic performances and chemistry are also impressive. Kang Dong-won, Eom Tae-goo, and Park Ji-hyun convincingly portray the rhythm of a group that once swept the stage as 'Triangle.' Their dedication to singing, rapping, and dancing is evident. The chemistry of the three moving as a team again encourages the audience to support their performance. Oh Jung-se serves as the 'kick' of 'Wild Thing.' His unique comedic sense brings Choi Seong-gon to life, pinpointing moments of humor in every scene. Thanks to the ensemble of the actors, the film maintains a delightful rhythm until the end.Ultimately, 'Wild Thing' is a film that rekindles the passion of once being a devoted fan. Life continues even after the stage lights go out. Watching those who rise again to stand under the lights is more touching than one might expect. This film transforms the nostalgia of once being a fan into a present-day support system.'Wild Thing' will be released in theaters on June 3. The running time is 107 minutes, and it is rated for ages 12 and up. Audiences are encouraged to stay for the ending credits and post-credits scene, featuring Triangle's 'Love Is' and 'Shout It Out' to keep the excitement alive.* This article has been translated by AI. 2026-06-01 06:03:00
  • Kang Dong-won Discusses His Role in Wild Thing and the Challenges of Dance
    Kang Dong-won Discusses His Role in 'Wild Thing' and the Challenges of Dance Kang Dong-won returns in an unexpected role. The film 'Wild Thing' is a comedy about a mixed-gender dance group called 'Triangle,' which once dominated the music scene but disbanded due to unforeseen circumstances. Now, 20 years later, they attempt a comeback. Kang plays Hyun-woo, a former breakdancer turned struggling broadcaster, navigating the gap between past glory and current reality. His earnest portrayal of Hyun-woo brings both poignant and humorous moments to the film."After the trailer and music video were released, a close friend reached out to me, joking, 'What’s up? Are you short on cash these days?' Ha ha. I thought that comment carried a lot of meaning. I expected reactions like that. I thought, 'Oh, this is going to be fun.' There were a few projects I chose thinking people would be surprised, but I think this one will surprise them the most. It feels like a pleasant betrayal," Kang said.To convincingly portray Hyun-woo, Kang learned to dance. Although he is accustomed to action roles, dancing required a completely different skill set. He practiced late into the night even after filming wrapped."I was really satisfied with how I looked dancing. By the time we filmed the final stage, I thought, 'Wow, I’m actually good at this.' I worked really hard. Even after filming, I kept practicing and would go to the studio at night. As I continued to film the dance scenes, I gained stage experience. At first, I was overwhelmed with singing, dancing, looking at the camera, and engaging the audience, but later, as the choreography became second nature, I focused more on enhancing my lines. My dance lines improved over time," he said.While action and dance both involve physical movement, Kang found the training for each to be entirely different. He had a background in martial arts from a young age, but hip-hop dance required rhythms and attitudes he had rarely encountered."Learning something is similar, but this felt like a completely new sport with no foundation. I had a bit of a base from practicing taekwondo as a child, but hip-hop was different from dance. Matching the beat felt very unfamiliar. At first, I was learning the moves and thought, 'This isn’t working. I need to start with my steps,' so I spent about 30 minutes just walking. I played music and walked with a friend who was teaching me," he explained.He immersed himself in hip-hop culture to better understand Hyun-woo. Although Kang typically does not favor method acting, he felt it was necessary to change his wardrobe for this role. It was not just about mimicking a culture that felt foreign to him but understanding the gestures and movements that came from it."I had to use a lot of swagger in my gestures, but for those who don’t listen to hip-hop, it can seem confusing. It took me a while to adapt. Eventually, I bought clothes that fit the style. I’m not a fan of method acting, but I felt I needed to wear those clothes to understand the culture. I didn’t get why they walked or moved that way, but later I realized it was all about the beat," he said.Kang also took the time to study hip-hop history. He admitted he was almost completely ignorant about the genre. By watching documentaries and following the trends of music and culture, he began to understand the environment in which Hyun-woo grew up."I didn’t listen to hip-hop much. The only thing I knew was Limp Bizkit. I didn’t even know Tupac was a person’s name. Ha ha. I was so uninformed that I had to start studying hip-hop history from scratch. I watched documentaries, and that’s when I started to understand the character of Hyun-woo. I thought, 'He must have been exposed to this kind of music and lived like this during that time,'" he said.Kang was particularly focused on the performances of Triangle during their first album. He did not want to trivialize the stage in a comedy film. Instead, he aimed to perform well enough that even actual dancers from that era would not feel embarrassed watching it."For the first album stage, my goal was to perform well enough to be funny. I wanted to ensure that those who transitioned from being dancers to singers wouldn’t feel embarrassed watching it. I wanted them to think, 'Yeah, I used to do that,' rather than 'I never did that.' I hoped the audience would feel, 'Why is this so good? Why is it funny because it’s good?'"'Wild Thing' does not aim for precise historical accuracy but rather blends the cultural sensibilities of the late 1990s and early 2000s into a cinematic experience. Kang expressed a desire to revive the authentic 'coolness' of that era without mocking it."I wanted to recreate what I saw on TV when I was in high school. It was genuinely cool back then. I never thought about becoming a dance singer, but I wanted to capture that feeling I had as a child. I wanted to incorporate the essence of first-generation idols. I didn’t want to approach it in a purely humorous way. The hairstyles and styles that might seem excessive now were cool back then. I wore my hair and clothes like that too," he said.Hyun-woo once enjoyed a glamorous peak but now lives as a lesser-known broadcaster. Although Kang has maintained his status as a top star, he understands the feeling of being forgotten. He has carried the thought of potentially being forgotten since his debut."I’ve always been on an upward trajectory, but I’ve fluctuated within that. However, I don’t think I’ve ever fallen below the 2012 average. I might have fluctuated around the 50-day average. Ha ha. I’ve always thought about being forgotten since my debut. I felt that way since 'The Temptation of Wolves' did well. I’ve always thought I would eventually be forgotten. I’ve lasted longer than I expected, but someday I will be forgotten. There will come a time when my work decreases, and as a person, I will eventually be forgotten too. People will think, 'Was there someone like that?'">Kang is now considering projects beyond South Korea. However, he is no longer waiting for someone to recognize him and cast him. He has shifted towards creating and taking initiative in his work."In the past, I hoped someone would want to work with me, recognize me, and cast me. But now I think, 'Forget it. I’ll just create it myself.' It doesn’t have to be limited to Korea. To put it simply, I want to work with truly talented people from around the world."* This article has been translated by AI. 2026-05-31 16:24:00
  • Backroom Thrives in South Korea and North America, Surpassing 300,000 Viewers in Five Days
    'Backroom' Thrives in South Korea and North America, Surpassing 300,000 Viewers in Five Days "Backroom" is experiencing significant success in both South Korea and North America. In South Korea, the film surpassed 300,000 viewers within just five days of its release, while in North America, it debuted at the top of the box office on its opening day, emerging as a dark horse for this summer's theater lineup.According to the integrated ticket sales network, as of May 31, "Backroom" has accumulated over 300,000 viewers in its first five days. This achievement is faster than recent hits in the same genre, such as "Noise," which reached 300,000 in eight days, "Spring Garden" in eleven days, and "Exit 8" in twelve days. Despite having fewer screens, it has shown a steep growth curve among films released during the same period, establishing a strong presence in the South Korean market.The film's early performance was notable. On its opening day, May 27, "Backroom" attracted 54,100 viewers, bringing its total to 54,629, making it the top foreign film at the box office. This figure surpassed the opening day numbers of "Exit 8" with 31,965 viewers and "Noise" with 28,162 viewers. On its second day, it maintained its lead with a cumulative total of 87,859 viewers."Backroom" is also achieving rapid success among A24's releases in South Korea. "Minari" surpassed 100,000 viewers within three days of its March 2021 release, while "Everything Everywhere All at Once" exceeded 110,000 viewers in twelve days. With over 50,000 viewers on its opening day alone, "Backroom" is quickly breaking records for A24 films in the country.In North America, the film continued to perform well. On its preview night, it earned $10.4 million, setting a new record for A24's highest preview earnings. This figure significantly surpassed the previous record of $2.9 million set by "Civil War." With a production budget of approximately $10 million, the film's preview earnings nearly matched its production costs, marking a strong start in the North American market.Director Kane Parsons, at just 20 years old, is gaining attention for placing his debut feature at the top of the North American box office. The film features performances by Chuitel Edgiofo, Renate Reinsve, Mark Duplass, Finn Bennett, Aivan Georgia, and Lukita Maxwell, enhancing its immersive experience.The film's unique premise, based on the "Backroom" universe, has also contributed to its success. It tells the story of Clark and Mary, who encounter inexplicable events in a bizarre space characterized by yellow walls and endless fluorescent lights. The expansion of this internet-based horror universe into a feature film, combined with the collaboration between A24 and producer James Wan, generated significant interest prior to its release.With simultaneous success in both South Korean and North American markets, "Backroom" has emerged as a new variable in this summer's theater scene. Having surpassed 300,000 viewers domestically in just five days and set a record for A24's preview earnings in North America, there is growing anticipation regarding its potential for long-term success.* This article has been translated by AI. 2026-05-31 14:33:00
  • Son Heung-min Scores Twice as South Korea Leads Trinidad and Tobago 2-0
    Son Heung-min Scores Twice as South Korea Leads Trinidad and Tobago 2-0 The South Korean national football team finished the first half leading 2-0 against Trinidad and Tobago, thanks to a brace from captain Son Heung-min. Under the guidance of coach Hong Myung-bo, South Korea concluded the first half at South Field, Brigham Young University in Salt Lake City, Utah, on May 31. In the first match of their final warm-up ahead of the North and Central America World Cup qualifiers, Coach Hong employed a three-back formation. Son played as the lone striker, supported by Bae Jun-ho and Lee Dong-kyung in the attacking midfield. Kim Jin-kyu and Baek Seung-ho controlled the midfield, while Jens Castrop and Kim Moon-hwan operated as wing-backs. The defense was composed of Lee Gi-hyuk, Jo Yu-min, and Lee Han-beom, with Jo Hyun-woo in goal. Despite a sluggish start, South Korea broke the deadlock thanks to Son. In the 40th minute, Kim Jin-kyu delivered a through ball to Kim Moon-hwan, who sent a low cross into the box, allowing Son to score the opening goal. Son quickly added a second goal. In the 42nd minute, after receiving a pass from Son, Bae Jun-ho was fouled inside the penalty area. Son stepped up to take the penalty and scored with a powerful shot to the left side of the goal, marking his 56th career international goal. With Son's two goals, South Korea ended the first half with a comfortable two-goal lead. * This article has been translated by AI. 2026-05-31 11:39:00
  • Shonu and Hyungwon of Monsta X: From Potential to Genre
    Shonu and Hyungwon of Monsta X: From Potential to Genre Every day, dozens of songs and works are created. While music, dramas, and films are introduced through countless media, what reaches the public is often less than half. The artists who sing and act face similar challenges, frequently undervalued or overlooked despite their exceptional talents. Artist Spotlight is a segment dedicated to introducing artists from various fields and exploring their growth. It serves as a heartfelt tribute to these creators. — Editor's Note Only those who have filled to the brim can understand. Just as pouring out all one’s energy requires skill, so does the act of letting go. While Monsta X has expressed the raw desire of love with a fierce mood, Shonu and Hyungwon refine those emotions with polished language and restrained lines. The passionate love becomes a well-ordered tension, and the straightforward confession transforms into a question about love itself. Choosing to evoke lingering feelings rather than certainty, and to observe rather than push, they create a different grammar of love within the world of Monsta X.Shonu and Hyungwon are the first unit formed after eight years since Monsta X's debut. Centered around the team’s main dancer and vocalist, they have crafted an aesthetic that is both distinctly Monsta X and refreshingly unfamiliar. While Shonu anchors the stage with a solid presence, Hyungwon meticulously shapes the temperature and texture of emotions with his unique vocal tone and production sense. This complementary combination vividly marks the unit's identity. If Monsta X confronts emotions with intense energy, Shonu and Hyungwon calmly draw out the underlying tension and restraint within that world. Though their directions differ, their roots remain firmly planted in the fierce journey Monsta X has traveled.Their first mini-album, The Unseen, marked the beginning of realizing their potential. This album starts with a narrative about facing the many 'selves' that exist in the eyes of others. The real me, the me interpreted by others, and the me loved by someone. Instead of denying these unfamiliar and confusing faces, Shonu and Hyungwon quietly accept that they are all part of themselves. The title track, Love Me A Little, explores the tension between the true self and the self that others desire through restrained vocals and performance. Hyungwon took on the production, while Shonu contributed to the choreography, demonstrating that the unit operates with their own sensibilities from the outset.The follow-up mini-album, Love Me, further clarifies Shonu and Hyungwon's aspirations. While The Unseen was about acknowledging multiple selves, Love Me focuses on love within the relationships where those perspectives intersect. The title track, Do You Love Me, captures the precarious tension of pushing and pulling each other while delaying a definitive answer about love. Shonu and Hyungwon present this question with sophistication, leaving ample space rather than forcing a conclusion. They hold onto the hesitations and subtle temperature differences throughout the process rather than rushing to an ending.As their musical grammar solidifies, they carve out a distinct realm separate from Monsta X. Hyungwon, who has previously focused on pain and longing in tracks like Nobody Else, Mercy, and Wildfire, now paints love in a brighter and more romantic light in this album. He sings about summer love with the retro groove of Superstitious and captures a fearless emotional journey in Accelerator. This stands in stark contrast to the tragic tones of previous works, showcasing a broader and more colorful range of love that Hyungwon now explores.While Hyungwon expands his role as a producer through songwriting, Shonu visually completes this on stage. Notably, his solo track Around & Go clearly showcases Shonu's vocal prowess beyond just being a performer. His R&B-infused vocals and delicate control stimulate a refined sensibility, while his solid presence supports the entire piece, firmly anchoring the unit. The harmonious balance between Hyungwon's polished mood and Shonu's strong center makes Shonu and Hyungwon a unique unit.Ultimately, Love Me holds greater significance not just in the fact that the two have reunited, but in the establishment of a distinct narrative unique to this unit. It is a process of discovering a completely different pace and order while sharing the energy of Monsta X. Through this album, Shonu and Hyungwon evolve from a simple unit into a team with their own story.Only those who have burned brightly can possess such calm. They have found the most refined form of beauty within the world that Monsta X has built without erasing it. Love Me proves that their sensibilities have transcended potential to become a genre of their own. The aesthetics of letting go are only possible after having filled to the brim. Shonu and Hyungwon ask us about love again with their delicate sensibility, in the most sophisticated way, leaving a lasting impression.* This article has been translated by AI. 2026-05-29 07:02:00
  • Vigloo Launches AI Animation Tab to Accelerate Short Drama IP Expansion
    Vigloo Launches AI Animation Tab to Accelerate Short Drama IP Expansion Short drama platform Vigloo is accelerating its expansion into AI-based content by launching a dedicated animation tab. This new feature will categorize AI animation and AI live-action dramas separately, enhancing its multi-format IP strategy in the short-form content market.On May 28, global content platform Spoon Labs announced the establishment of the animation tab on its short drama platform Vigloo, marking a significant expansion of its AI-based content lineup.The creation of the animation tab aims to improve viewer accessibility by separating AI-produced content into an independent category. Vigloo plans to enhance its multi-format IP operations, which currently includes about 30 AI animations out of a total library of approximately 400 titles. The platform intends to gradually increase the proportion of AI live-action dramas as well.Along with the new tab, Vigloo unveiled two new AI titles. The AI 3D animation "The Demon Lord's Marked Bride: Returning for Blood," which was previewed on May 14, tells the dark fantasy romance of a bride who was sacrificed to a demon by her family on her wedding day but returns for revenge after gaining the demon lord's mark. The production utilizes AI to enhance the visual and directorial elements, creating a fantasy world and character expressions that would be challenging to achieve with live-action.The AI live-action drama "Married the Ex Gang Leader!" released on May 28 targets the Japanese market. It reflects unique Japanese subcultures, such as the bosozoku (street gang) and yankii culture, in its male protagonist's character, aiming to cater to local romance content demands.Vigloo is expanding its strategy by reinterpreting popular original works based on a strong IP ecosystem of webtoons and web novels in Korea and Japan, as well as producing spin-offs of verified drama IPs. In the U.S., the company is building a production system centered in Los Angeles, focusing on English original content that reflects North American viewer preferences, including supernatural romance, romantic comedies, and revenge romances targeting women in their 30s and 40s.AI content is also a core strategy for the platform in terms of production efficiency. Vigloo aims to fill 30% of its entire library with AI content by concurrently producing AI-based 2D and 3D animations of existing IPs and new AI live-action short dramas. The AI production structure is said to reduce costs by up to 90% compared to traditional methods while allowing for rapid supply of diverse genres and formats.A representative from Vigloo stated, "Separating AI animation into its own tab instead of mixing it with the general lineup is part of our content expansion strategy based on OSMU (One Source Multi Use), aimed at broadening our portfolio into the animation sector."They added, "We believe that as the quality of AI-produced works improves, viewers are beginning to open their wallets. Vigloo expects to maximize production efficiency using AI technology and expand genres that can express both live-action and animation, providing richer content to viewers."Spoon Labs CEO Choi Hyuk-jae remarked, "AI is a tool that expands the possibilities of content beyond the distinction between live-action and animation. Vigloo will evolve into a multi-format platform that transcends formats, genres, and markets, leveraging its AI production capabilities."Vigloo, which launched the first AI short-form animation in Korea last December, is simultaneously pursuing the animation adaptation of live-action short drama IPs and the production of original AI live-action dramas. The company aims to accelerate content supply and broaden IP utilization in the short drama market based on AI production methods.* This article has been translated by AI. 2026-05-28 17:12:00