AJU PRESS ASIA FIRST NEWS AGENCY

Journalist

Choi Song-hui
  • One Year into Lee Jae-myungs Administration: South Korean Film Industry Sees Increased Support but Faces Ongoing Challenges
    One Year into Lee Jae-myung's Administration: South Korean Film Industry Sees Increased Support but Faces Ongoing Challenges One year into Lee Jae-myung's administration, the South Korean film industry is experiencing both signs of recovery and structural challenges. Successful films such as "The King’s Affection," "Salmon," and "Goonch" have emerged, while titles like "Hope" and "Goonch" were invited to the Cannes Film Festival, reaffirming the presence of Korean cinema. However, issues such as the holdback controversy, a decrease in the number of productions, and a lack of trust in the Film Promotion Committee remain unresolved.Over the past year, the government's film policy has focused on crisis response and increased support. The Ministry of Culture, Sports and Tourism allocated an additional budget of 65.6 billion won to help revive the stagnant film industry. This funding aims to support mid-budget film production, independent art films, and advanced technology production, injecting capital into a production environment that has been weakened by COVID-19. The distribution of movie discount vouchers to encourage theater attendance has also been implemented.Since May 13, the Ministry and the Film Promotion Committee have distributed 2.25 million movie discount vouchers worth 6,000 won each. This is half of the 4.5 million vouchers secured through the supplementary budget. The vouchers were made available through major multiplex websites and apps, with an additional 2.25 million set to be distributed in July during the summer peak season.Minister of Culture, Sports and Tourism Choi Hwi-young highlighted some recovery in the film industry during a press conference marking the first anniversary of Lee's government. He noted that theater attendance increased from 20.82 million in the first quarter to 31.90 million, and the number of films with production budgets exceeding 2 billion won rose from 26 last year to 40 this year. He stated that these indicators suggest that "escaping the film crisis is possible."This year, the box office has indeed shown positive trends. Director Jang Hang-jun's "The King’s Affection" successfully attracted family audiences and fans, while the horror film "Salmon" surpassed its break-even point and established a long-term box office trend. Director Yeon Sang-ho's "Goonch" was invited to the Midnight Screenings section of the 79th Cannes Film Festival and quickly surpassed 2 million viewers domestically. Director Na Hong-jin's "Hope" marked the first Korean film in four years to compete at Cannes, while Director Jeong Joo-ri's "Dora" was also invited to the Directors' Fortnight.However, the success of individual films does not necessarily indicate a full recovery for the industry. The total number of moviegoers, which exceeded 200 million in 2019 before the pandemic, has significantly declined, and the production of mid-sized commercial films continues to be stifled. Concerns are growing that the reduction of mid-budget films, which have traditionally served as a gateway for new directors and actors, is leading to a rigid production ecosystem.In the field, there are ongoing discussions about the direction and execution of government support. The mid-budget film support program has faced criticism for being misaligned with production realities, despite the budget increase. Film and drama productions often take years to complete, but government funding must be utilized within the fiscal year, leading to situations where funds must be returned if additional investment is not secured after selection.Minister Choi is aware of this issue. He previously stated at a meeting of the Cultural Arts Policy Advisory Committee's Film and Video Division that "asking works to be created according to the government budget schedule is a reversal of the order," emphasizing that funding should be provided according to the production cycle that allows for the best works to be made. His remarks align with calls from the field to adjust annual support programs to better match actual production timelines.A major issue facing the film industry is the holdback. Holdback refers to the grace period between a film's theatrical release and its transition to subsequent platforms such as OTT and IPTV. There is ongoing debate between those advocating for the restoration of theatrical value and those arguing that prolonged restrictions on subsequent distribution make it difficult for investors and distributors to recoup their funds.Some government and National Assembly members have discussed limiting OTT releases for a certain period after theatrical premieres to encourage theater attendance. However, investors, distributors, and some film organizations strongly oppose a six-month legislative mandate, arguing that extended delays in transitioning to subsequent platforms would lengthen the period for recouping funds and further stifle production and investment structures.During a press conference marking the first anniversary of the people's sovereignty government, Minister Choi announced the establishment of a 22-member public-private consultative body for the film industry, aiming to reach a conclusion by the end of August. He stated, "We all understand each other. We know each position on the issues. What is now needed is to reach a conclusion, whether it be a gradual or fundamental one."He added, "We are currently in a crisis and difficult times, and while there may be a slight tailwind, the film industry is not yet in a normalized state. I believe all participants in the film industry—production, investment, distribution, and theaters—are united in the sincerity of finding a solution." He also expressed the government's willingness to participate if there is a need for policy and budgetary roles.Distrust surrounding the Film Promotion Committee remains a challenge for the film policies of Lee Jae-myung's first year. At a meeting in Jeonju in April, strong concerns were raised by industry professionals regarding the committee's lack of communication, understanding of current issues, operational methods, and expertise. Some attendees criticized the committee's chair for not adequately listening to industry voices compared to the frequency with which the Minister meets with filmmakers.The distrust in the film industry goes beyond mere communication issues. Complaints have accumulated regarding the committee's failure to adequately represent industry demands during discussions on the normalization of the Gender Equality Center, the imposition of ticket fees, and the budget restoration process. The film industry coalition has criticized the committee for not fulfilling its role as a policy executor, stating that industry professionals are directly persuading the National Assembly during the legislative and budgetary processes.The government has also outlined plans to elevate the K-culture industry as a national growth engine. Minister Choi announced at the press conference that the target size of the K-culture industry would be raised from 300 trillion won to 400 trillion won by 2030. The export target for K-culture is also set to increase from $35 billion to $110 billion. The film industry will inevitably be addressed within this broader K-culture expansion strategy.However, what the film industry demands is not merely an increase in industry size but a restructuring of the distribution framework that allows production, investment, distribution, theaters, and OTT to operate cohesively. Recovery of theater attendance, subsequent platform revenues, and production cost recovery structures must align for mid-budget films and new projects to thrive once again.The film policies of Lee Jae-myung's first year have shown a commitment to crisis response. The supplementary budget allocation, distribution of discount vouchers, expansion of mid-budget film support, and the establishment of a public-private consultative body on holdback have all elevated the stagnant film industry to a policy agenda. However, there are still strong calls for structural reforms following the budgetary infusion.Ultimately, the key to the second year of film policy will be the conclusions and execution capabilities of the consultative body. If discussions on holdback favor one side—whether theaters, investors, distributors, producers, or OTT—conflict is likely to recur. Conversely, if realistic guidelines reflecting changed audience consumption patterns and platform environments are developed, it could mark the starting point for the recovery of Korean cinema.Minister Choi stated, "The first year was a time of running swiftly to meet many people and establish direction. The second year will focus on execution. I will concentrate on practical measures to ensure that we can feel the effectiveness of our policies." The film industry is now at a stage where it awaits not just confirmation of support but also specific institutional improvements and implementation.* This article has been translated by AI. 2026-05-28 14:22:00
  • Korean Film Gunchae Surpasses 2 Million Viewers, Eyes Global Success
    Korean Film 'Gunchae' Surpasses 2 Million Viewers, Eyes Global Success Gunchae, the latest film by director Yeon Sang-ho, has surpassed 2 million viewers domestically and is showing promising signs of success in international markets. The film secured overseas distribution rights in 124 countries prior to its release, and in Malaysia, it quickly climbed to the top ranks of all-time Korean film box office hits. With approximately 800,000 viewers remaining to reach its break-even point, there is growing interest in whether Yeon’s K-zombie genre can create a sustainable revenue model through both domestic box office sales and international rights.According to the Korean Film Council's integrated ticketing system, Gunchae recorded a cumulative audience of 2,000,005 by the afternoon of May 25. As of May 26, the total audience count stands at 2,169,097. The film set a record for the fastest 2 million viewers among 2026 releases, surpassing popular films such as The King’s Affection, Salmokji, and Project Hail Mary.Gunchae had a strong opening, achieving the highest box office score of the year on its first day. It continued to break records, reaching 1 million viewers in the shortest time and now 2 million, outpacing the previous record set by the 2025 hit, Zombie Daughter, by one day.From a profitability perspective, Showbox reports that Gunchae's break-even point is approximately 3 million viewers, based on confirmed domestic revenue. With the current cumulative audience of 2,169,097, it has about 800,000 viewers left to reach that threshold. The film has maintained its position at the top of the box office, suggesting that the timeline to reach break-even could be accelerated based on weekend attendance trends.Internationally, the response to Gunchae has been swift. The film was pre-sold to 124 countries before its release. As it prepares for its world premiere in the Midnight Screening section at the 79th Cannes Film Festival, it has already garnered interest from overseas distributors. North American distributor Well Go cited Yeon Sang-ho's proven track record with films like Train to Busan as a key reason for their acquisition, while Taiwanese distributor Movie Cloud highlighted the film's unique portrayal of infected individuals as evolving intelligent beings rather than mere zombies.In Malaysia, Gunchae has shown remarkable early success. Released on May 22, the film grossed 7 million ringgit by May 25. On its third day, it surpassed 5.75 million ringgit, exceeding the final box office total of 5.5 million ringgit for the 2024 film, The Grave. Currently, the top two all-time Korean film box office hits in Malaysia are Yeon Sang-ho's Train to Busan and Peninsula, with Gunchae now joining the ranks, indicating a strong consumer interest in Yeon's zombie universe in the local market.The international rollout continues, with Gunchae opening in Taiwan and Malaysia on May 22, followed by releases in France, Singapore, and the Philippines on May 27, Australia and New Zealand on June 11, and North America on August 28. A release in Japan is also scheduled for 2027. The film's domestic box office revenue, pre-sold rights, and key international market performances are creating a robust financial structure.A Showbox representative stated, "Director Yeon Sang-ho is a well-known creator in international markets. There was significant interest at Cannes, with numerous requests for interviews from foreign media, and the overseas response has been enthusiastic. Distributors in the U.S. and France have also given positive evaluations of the film. Although Malaysia is still in the early stages of release, the rapid box office performance is promising, and we look forward to the reactions from other countries as they release."In an interview, Yeon expressed his relief at the domestic success, stating, "I’m glad. If we reach break-even quickly, I’ll be able to relax, but since the break-even point is 3 million, I think we’ll have more leeway once we surpass that."He also shared his thoughts on audience reactions, saying, "I watched it in 4DX with my daughter yesterday, and it was lively. When I made the film 'Face', I met viewers who engaged deeply, but this time, it definitely felt like a blockbuster with a lively atmosphere. I’m glad to feel that vibe."Regarding the reactions at Cannes, Yeon noted, "The audience at the Cannes Film Festival can’t be considered typical viewers. The festival is a gathering of film enthusiasts and has a celebratory atmosphere, making it hard to gauge general reactions. However, it was nice to meet Korean audiences right after returning from Cannes. It feels like ages ago that Cannes was just last week."Gunchae depicts isolated survivors in a quarantined building facing off against infected individuals that evolve in unpredictable ways due to a mysterious infection. This film is the latest from Yeon Sang-ho, who has expanded the K-zombie genre with Train to Busan and Peninsula, featuring actors Jeon Ji-hyun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-bin, and Kim Shin-rok.With its rapid domestic success, international pre-sales, and strong early performance in Malaysia, Gunchae is being highlighted as a case study in the revenue structure of Korean genre films. As it approaches its break-even point with about 800,000 viewers remaining, there is keen interest in how far Yeon’s K-zombie franchise will extend its success in both domestic and international markets.* This article has been translated by AI. 2026-05-28 14:18:00
  • Yeon Sang-hos new zombie film draws 2 million moviegoers in less than a week since release
    Yeon Sang-ho's new zombie film draws 2 million moviegoers in less than a week since release SEOUL, May 26 (AJP) - Director Yeon Sang-ho's latest film "'Gunch'e," also known as "Colony," has drawn over 2 million moviegoers less than a week since its release last Thursday. According to the Korean Film Council, the zombie film surpassed 2 million in cumulative theater attendance as of Monday, reaching the milestone faster than any other film released this year and outpacing previous box-office hits such as "The King's Warden" and "Salmokji: Whispering Water" in opening weekend performance. Even before its release here, the film had already attracted considerable attention after being invited to this year's Cannes Film Festival, which wrapped up last week. The 122-minute film, starring Jun Ji-hyun, Koo Kyo-wan and Ji Chang-wook, revolves around survivors trapped inside a building sealed off after an unidentified outbreak as they confront infected people evolving in unpredictable ways. It is Yeon Sang-ho's latest work in the zombie genre, following "Train to Busan" (2016) and "Peninsula" (2020). 2026-05-26 13:48:54
  • BTS attend AMAs in Las Vegas, eyeing another award
    BTS attend AMAs in Las Vegas, eyeing another award SEOUL, May 26 (AJP) - Members of K-pop juggernaut BTS are attending the American Music Awards (AMAs), one of the major U.S. pop music awards shows in Las Vegas on Monday. Their in-person attendance at the annual music awards ceremony at the MGM Grand Garden Arena comes for the first time since 2021. They are competing for "Artist of the Year" and "Best Male K-pop Artist" awards. Their latest song, "SWIM," the title track from their fifth full-length album "Arirang" is also nominated for "Song of the Summer." If BTS win Artist of the Year, it would mark their second top honor at the awards after 2021, when they became the first South Korean act to receive the award. The AMAs are considered one of the leading U.S. pop music awards shows, along with the Grammy Awards and the Billboard Music Awards. Nominees are selected based on factors including streaming, album and track sales, radio airplay and tour revenue, and winners are decided entirely by public vote. K-pop-related nominees are also prominent this year. A remix version of "Dracula," a collaboration between BLACKPINK's Jennie and Australia's Tame Impala, is nominated for Song of the Summer as well. Girl group KATSEYE are nominated for "Best New Artist" and "Breakthrough Pop Duo/Group Performance," and their song "Gnarly" is up for "Best Music Video." Netflix's animated film "KPop Demon Hunters" is also nominated for "Best Soundtrack," with its main theme song "Golden" is up for "Song of the Year." Meanwhile, BTS recently took their North American tour to Las Vegas, selling out all four shows — including the opening night at Allegiant Stadium, which drew over 60,000 fans. Attention is now on whether BTS can take home another top AMA trophy. 2026-05-26 10:27:30
  • Kim Hyang-gi Discusses Challenges of Comedy in The Absolute Value of Romance
    Kim Hyang-gi Discusses Challenges of Comedy in 'The Absolute Value of Romance' Actress Kim Hyang-gi is showcasing the charm of K-highteen on the global stage with her role in 'The Absolute Value of Romance.' The Coupang Play series is reaching international audiences through Amazon Prime Video, expanding its presence in major Asian countries and South America. At the center of this success is Kim, who plays the lead character, Yeojoo, a seemingly ordinary student by day and a popular romance novelist by night. Her relatable acting and charming comedic timing are driving the show's popularity."I’m relieved that people are enjoying something new and finding it fun. It’s fascinating to see that international viewers seem to like it too. It makes me realize there’s a growing interest in works that reflect Korean sentiments," she said.The challenge of comedy was not easy for Kim. She had to learn how to elevate her natural tone to fit the comedic genre. Yeojoo, who has a lot of monologues and dialogue, required extensive practice to master the rhythm and delivery."I had no sense of comedy at all. Enjoying it as a viewer is different from performing it. I wasn’t sure how far I could push my natural tone to achieve a comedic effect. With so much dialogue and many monologues, I practiced a lot. I felt that even at my maximum, it wouldn’t come off as over-the-top. I decided to give my best within my limits and follow the director’s guidance," she explained.One principle Kim adhered to while preparing for comedy was to avoid trying too hard to be funny. This insight came from studying the performances of seasoned comedians and actors in the genre. Rather than exaggerating Yeojoo’s character, Kim aimed to portray her as genuine in every moment."When I first prepared, I looked at performances by comedians and actors in the comedy genre. The common thread was that you shouldn’t try too hard to be funny. Many said that the moment you try to be funny, you lose the rhythm. I felt my mission was to live as Yeojoo within the script. The reason Yeojoo is funny is that she is so honest and sincere, yet struggles to manage her own thoughts. Therefore, I believe it’s important to show that everything she says is sincere and that her honesty is evident," she said.Yeojoo's appearance was also a crucial aspect of her character. Her short bangs and red glasses visually represent her quirky personality and unique worldview. Kim wanted to incorporate both Yeojoo's mindset and comedic elements into her hairstyle."After finishing my previous project, I had a calm bob hairstyle. I thought about making a significant change, and I felt that a cartoonish look would suit both the character and the project. There’s a scene where Yeojoo wears red glasses while working on her dreams. I thought a spiky short hairstyle would fit her free-spirited nature and enhance the comedic elements. I decided to cut my bangs to add more fun to the character," she said.Kim also approached her facial expressions differently. Initially, she focused on delivering the rhythm of her lines and monologues, but during the preparation process, she realized she needed to use her face more actively. While she had previously restrained her emotions in past roles, this time she aimed to express herself more freely."At first, I was focused on the dialogue and the rhythm of the lines, but I realized I needed to use my face more actively. Since Yeojoo appears frequently, I thought it might be burdensome if I sounded too theatrical. So, I decided to use my facial expressions more. In the past, I had limited my expressions in genre-specific roles, but this time I approached it differently," she said.Playing Yeojoo also prompted Kim to reflect on her own school days. While filming, she looked back at photos from her middle and high school years, recalling the joy of laughing with friends even without special events. Growing up in the same neighborhood with friends from kindergarten through high school helped her understand Yeojoo better."While filming, I found myself looking at photos from middle and high school. Even without special events, we laughed every day. I was curious about those moments, so I looked at many old photos. I’m grateful for my friends who have been with me since kindergarten through high school. They accepted me naturally, and we enjoyed our school days together. Those memories were helpful in understanding Yeojoo," she said.Having started as a child actor, Kim finds playing a student role both familiar and refreshing. Just a short time ago, she was discussing the challenges of being a child actor, and now she is navigating roles across a wider age range."I definitely had those thoughts. It was amusing to think that just a few years ago, I was talking about the struggles of being a child actor, and now I can play roles across different age ranges. I see it as a blessing and a good opportunity, so I decided to embrace it. I don’t know how long I can play a high school student," she said.Currently, Kim is accepting her position as someone in a state of change rather than defining herself rigidly. Although she has been in the industry for a long time, she still finds herself as the youngest in some settings, while in others, she must take the lead or share energy with younger colleagues. This complex feeling leaves her with new questions about herself as both an actress and a person."I don’t really know myself right now. I feel ambiguous. I’ve realized that for the first time, I had many younger colleagues on set. I’ve often been the youngest, but now I have friends, and experiencing that has made me feel like I’m still the youngest in some situations, while in others, I’m the older sister. Those complexities have brought about a new sense of confusion for me as both an actress and a person," she said.Kim does not view this ambiguity negatively. Instead, she believes it’s a time to remain open to change rather than trying to control or define herself. She has grown more accepting of her evolving roles in different settings."When I think about what roles I can take on, it varies with each project. In theater, I was the perfect youngest, while in 'The Absolute Value of Romance,' I had to take the lead. This time, I had to play a role where I both received and gave energy in the middle. So, I felt I needed to keep an open mind. I think it’s a time to accept that I can’t control everything about myself. I don’t know how this ambiguity will change, but it doesn’t feel bad just because it’s difficult," she said.Kim’s attitude as an actress is also becoming clearer. Rather than striving to excel, she aims to fulfill her role within the project without causing harm to others. She believes this mindset allows her to feel freer."All my senses are feeling new. As an actress, I want to approach each project with the mindset of not causing harm to others while doing my part. I think that way, I feel less fear and perform better. I want to maintain that attitude," she concluded.* This article has been translated by AI. 2026-05-22 06:18:07
  • Director Lee Sang-yeob and Kim Jae-won Discuss Yumis Cells and Shin Sun-rok
    Director Lee Sang-yeob and Kim Jae-won Discuss 'Yumi's Cells' and Shin Sun-rok Every work contains numerous perspectives. Although the director and actors share the same space and time, their experiences may differ. 'Choi Song-hee's B-Cut' focuses on the vivid behind-the-scenes moments that go beyond the 'A-Cut' captured on screen. It reconstructs the 'B-Cut' moments that were even more intense than the completed frames through interviews with the director and actors. <Editor's Note> TVING's original series 'Yumi's Cells 3' (written by Song Jae-jung and Kim Kyung-ran, directed by Lee Sang-yeob) depicts the romance between Yumi (played by Kim Go-eun), now a star writer, and Sun-rok (played by Kim Jae-won), who unexpectedly enters her mundane life. Based on the webtoon of the same name, 'Yumi's Cells' has captured Yumi's life, love, and growth from its first season in 2022 to its third season in 2026.Director Lee Sang-yeob, known for his work on dramas such as 'Mr. Baek,' 'Shopping King Louie,' 'Revenge of Others,' 'A Wife Knows,' 'My Solo Love,' 'Half and Half,' and 'My Youth,' has guided 'Yumi's Cells' through all three seasons. The third season serves as the final chapter of Yumi's growth and love story, with Shin Sun-rok at its center. Kim Jae-won portrays Shin Sun-rok, Yumi's last love and the culmination of her long journey."It would be a lie to say I felt no pressure. It felt like being introduced as 'my boyfriend' by a precious daughter during a holiday gathering. Sun-rok is like a unicorn, a younger man without flaws. So, there was some pressure. But thinking back, it's an opportunity to play a fantasy-like role. I've always given my best in every project, but this time, I feel like I poured in 200% instead of 100%." (Kim Jae-won)Director Lee Sang-yeob noted that he saw Kim Jae-won's effort to manage that pressure. Rather than focusing on achieving perfect synchronization, he recognized Sun-rok's potential in Kim's attempt to maintain composure despite the tension."When Jae-won walked in, I thought, 'Oh? It's Sun-rok.' Being a rookie actor, he couldn't help but feel nervous. His efforts to hide that nervousness reminded me of Sun-rok. When I saw him sitting neatly, I thought, 'That's how Sun-rok would be,' and I found that endearing. I thought, 'If it's Jae-won, he can do it.'" (Director Lee Sang-yeob)The tone of the romance was crucial. Sun-rok needed to be youthful but not frivolous, affectionate but not overly sentimental. Kim Jae-won carefully calibrated Sun-rok's excitement while being mindful of this delicate balance."I thought it shouldn't be overly sentimental. As a younger man, he needs to convey love, but he must still appear masculine and evoke excitement without crossing into sentimentality. I determined that there's a fine line between sentimentality and excitement." (Kim Jae-won)What did Director Lee and Kim Jae-won find appealing about Sun-rok? Director Lee identified the character's core as 'twists,' while Kim Jae-won highlighted 'straightforwardness' as a key aspect of the character."I think the fundamental aspect is 'twists.' Even when there are twists, if there's no charm, it falls flat, but Sun-rok is genuinely honest and healthy. He has no prejudices. He is a wonderful young man who loves someone steadfastly and runs toward them, making him admirable as a man." (Director Lee Sang-yeob)"Sun-rok's greatest charm is his straightforwardness. Like the 'one-track general' cell in the series, once he decides, 'I love this woman,' and 'I will protect her for life,' he charges ahead without calculation. That's why he ends up marrying Yumi, right?" (Kim Jae-won)When did Sun-rok first develop feelings for Yumi? Kim Jae-won believes the answer lies in the second confession scene in the series. Despite trying to suppress his feelings due to the principle of maintaining a professional relationship, Yumi had already become an integral part of Sun-rok's life."In my interpretation, Sun-rok's journey is revealed when he says during the second confession, 'I think I liked the writer from the beginning.' That seems accurate. His feelings for Yumi grew, but due to the principle of not dating someone related to work, he forced himself to cut off his feelings. Perhaps he had a crush from the start and gradually became fond of Yumi through Kim Joo-ho. What began as curiosity turned into affection, and he may not have even realized how deep his feelings for Yumi had grown." (Kim Jae-won)Thoughts on the age difference between Yumi and Sun-rok were also discussed. Director Lee believes that the age gap enhances the dynamics of their relationship and adds to the drama's appeal, while Kim Jae-won noted that he focused on the romance without worrying about the age difference."Through seasons one and two, Yumi has matured, and in the original work, there aren't many conflicts in her relationship with Sun-rok. A drama needs conflict, but since there isn't any, we ultimately decided to introduce the keyword 'age gap.' The age difference was intended to add fun when Yumi has a crush on Sun-rok." (Director Lee Sang-yeob)"I didn't pay any attention to the age difference. Although I'm younger than Go-eun noona, she's such a lovely person that I approached the role with a mindset of loving her in reality. I was able to immerse myself in that feeling." (Kim Jae-won)'Yumi's Cells 3' consists of eight episodes, shorter than the previous seasons, which had 14 episodes each. While this brevity may be disappointing, the production team opted for a more concise conclusion to Yumi's growth, life, and love story."Seasons one and two had 14 episodes each, and I thought, 'Wow, that was long.' Haha. When we decided to conclude Yumi's story about growth and life, it raised many questions. We debated how many episodes to have. The final conclusion from the production team was, 'Even if it's disappointing, let's go with eight episodes.' We aimed to wrap up Yumi's story in an enjoyable way." (Director Lee Sang-yeob)"I can't control the number of episodes in the project. Haha. I also wondered why it was shorter than the previous series, but I think it's because Sun-rok, unlike previous characters, charges ahead once he is certain. Of course, a longer format would be great, but even in a shorter format, I believe I must give my best performance as Sun-rok." (Kim Jae-won)'Yumi's Cells' has been a series that follows not just a love story but also Yumi's journey to becoming the protagonist of her own life. For Director Lee, season three represents the conclusion of a work and a farewell to the viewers who have supported Yumi for so long."I am truly grateful. 'Yumi's Cells 3' would not have been possible without the love and support of the fans. The fans raised Yumi. Thank you for supporting, cheering, and applauding until the end. Every time I read comments saying, 'I was moved by the last scene,' I felt, 'The viewers share my feelings.' Thank you for being with us until now." (Director Lee Sang-yeob)"I believe 'Yumi's Cells' has taken a long journey from seasons one to three. I feel proud to have been part of it until the end. As a viewer who followed Yumi's perspective, I hope she lives happily." (Kim Jae-won)* This article has been translated by AI. 2026-05-21 17:49:07
  • Byun Woo-seok Apologizes for Historical Distortion Controversy in 21st Century Great Lady
    Byun Woo-seok Apologizes for Historical Distortion Controversy in '21st Century Great Lady' Actor Byun Woo-seok has once again apologized regarding the historical distortion controversy surrounding his recently concluded drama, '21st Century Great Lady.'On the morning of May 19, a production presentation for the new Netflix variety show 'Yoo Jae-suk Camp' was held at the Grand Ballroom on the LL floor of the JW Marriott Dongdaemun in Seoul. Attendees included PDs Jung Hyo-min, Lee So-min, and Hwang Yoon-seo, along with broadcaster Yoo Jae-suk, actors Lee Kwang-soo, Byun Woo-seok, and Ji Ye-eun.During the event, Byun addressed the controversy over historical inaccuracies in '21st Century Great Lady.'He stated, "I believe that the best version of myself is to do my best in every moment. Therefore, I put my utmost effort into filming 'Yoo Jae-suk Camp,' and I hope viewers will appreciate that effort in the show alone."He continued, "Regarding the issue (of historical distortion), I want to sincerely apologize for that."Meanwhile, the final episode of '21st Century Great Lady,' which aired on May 16, depicted the coronation ceremony of the character Ian Daegun, played by Byun Woo-seok. This scene sparked controversy due to the use of the term 'Cheonse,' associated with vassal states, and the appearance of a crown representing a vassal instead of the emperor's ten-leaf crown, leading to accusations of historical distortion and the Northeast Project controversy.On May 18, Byun Woo-seok took to social media to express, "During the filming and acting process, I lacked consideration for the historical context and meaning embedded in the work and how it might be perceived by viewers. I sincerely apologize for that."'Yoo Jae-suk Camp' is a variety show where Yoo Jae-suk, along with Lee Kwang-soo, Byun Woo-seok, and Ji Ye-eun, engages with viewers in a 'variety training camp.' The show is set to premiere on May 26.* This article has been translated by AI. 2026-05-19 14:34:44
  • Yoo Jae-suk Launches Yoo Jae-suk Camp with Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun
    Yoo Jae-suk Launches 'Yoo Jae-suk Camp' with Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun Yoo Jae-suk is set to meet viewers through a new variety show named after him. Unlike typical lodging shows, this program will feature a three-day, two-night camp experience filled with morning missions, quizzes, campfires, and talent shows. Attention is focused on the laughter that will emerge from this large-scale Netflix camp variety show, which includes Yoo Jae-suk, Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun as staff members.On the morning of May 19, a production presentation for the new Netflix variety show 'Yoo Jae-suk Camp' took place at the JW Marriott Dongdaemun in Seoul. Attendees included Yoo Jae-suk, Lee Kwang-soo, Byun Woo-seok, Ji Yeo-eun, and producers Jung Hyo-min, Lee So-min, and Hwang Yoon-seo, who discussed the program.'Yoo Jae-suk Camp' features novice camp leader Yoo Jae-suk and unpredictable staff members Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun, who will engage with guests and create a fun escape from daily life during the group camp experience.Producer Lee So-min explained, "While filming 'The Great Disaster Planning,' we discussed expanding the lodging variety show concept. We thought it would be interesting if Yoo Jae-suk became the camp owner, leading to this project. The novice camp leader and staff will run two sessions of the camp over three days and two nights."Producer Jung Hyo-min added, "We didn’t propose the camp to Yoo Jae-suk; rather, he suggested trying a lodging variety show, which we felt would fit well with a retreat-style format. It can be described as a camp tailored for Yoo Jae-suk."The key difference between 'Yoo Jae-suk Camp' and existing lodging variety shows is its large number of participants and tightly packed schedule.Producer Hwang Yoon-seo stated, "The biggest differentiator is that it’s a Yoo Jae-suk-style camp. While traditional lodging shows only provide accommodation, this program involves a large group participating in a variety of activities over three days and two nights. Viewers will also see Yoo Jae-suk getting tired in real-time as they experience various activities like morning missions, cushion quizzes, and the iron bag game."Yoo Jae-suk, stepping into the role of novice camp leader, shared that safety and health were his primary concerns when he first received the proposal.He said, "When I first received the proposal, I thought about how important it was to create fun experiences for a large group over three days and two nights, but above all, safety and health, as well as ensuring everyone enjoys themselves during the schedule, were my top priorities."Yoo Jae-suk also expressed the pressure of having his name attached to the program. He remarked, "It is a bit burdensome to create a show with my name attached, but I felt that 'Yoo Jae-suk Camp' was the most intuitive name to give viewers comfort and clearly convey what the program is about."Yoo Jae-suk paid close attention to the camp environment as well. Producer Lee So-min noted, "We ensured good conditions by considering temperature, humidity, and even individual power outlets." Yoo Jae-suk added, "For a large group to stay for three days and two nights, safety and health are the most important. Since the production team shared this view, we focused on those aspects."The combination of staff members Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun is also a highlight.Lee Kwang-soo shared, "Before receiving the proposal, I saw the recruitment notice for guests for 'Yoo Jae-suk Camp' on air and thought it looked new and fun. I was very excited to join." When asked if he expected to be cast, he humorously replied, "I had about a 10% expectation. I thought the casting was already done and felt a bit disappointed, but I was thrilled to receive the offer to join."Byun Woo-seok is making his debut in a fixed variety show with this program. He expressed, "I love watching variety shows, and I was excited to show a new side of myself for the first time. Most importantly, I was thrilled to work with Yoo Jae-suk, Kwang-soo, and Ji Yeo-eun."He continued, "Fans enjoy my everyday life, and I thought 'Yoo Jae-suk Camp' would be a great opportunity to show that. Although it was scary, I decided to take on the challenge."Yoo Jae-suk praised Byun Woo-seok's sense of humor, saying, "I was curious about how Woo-seok would perform, and many people on set said he was very funny. He worked hard and enjoyed himself while also playfully teasing Kwang-soo, which was a first for me." Lee Kwang-soo chimed in, "This was the first time I experienced such playful teasing."Byun Woo-seok added, "I was quite nervous as it was my first time doing a long-term variety show, but Kwang-soo, Ji Yeo-eun, and Yoo Jae-suk made me feel comfortable. They opened their hearts to me, allowing me to relax and fully engage in the experience."Ji Yeo-eun expressed her excitement, saying, "I was really looking forward to the camp even before it started. I hope viewers enjoy our comfortable and natural moments together." She also mentioned her initial concerns about bonding with Lee Kwang-soo and Byun Woo-seok, saying, "I wondered if we could become friends, but now just seeing their faces makes me smile. Lee Kwang-soo is my life role model."The staff emphasized Yoo Jae-suk's sincerity as the 'boss.' Lee Kwang-soo remarked, "I often felt that Yoo Jae-suk was genuinely invested in this camp. After filming, he continued to discuss the camp and worried about whether the guests would be comfortable, which showed his sincerity. This made us more committed as well."Byun Woo-seok noted, "Seeing Yoo Jae-suk take the lead on set motivated me to work harder," while Ji Yeo-eun said, "After spending two nights and three days together, I realized that 'Yoo Jae-suk is indeed Yoo Jae-suk.' I thought, 'Was he this warm of a person?' He reaffirmed my ideal type in my heart."'Yoo Jae-suk Camp' will also feature a surprise appearance by the couple Lee Hyori and Lee Sang-soon. Producer Jung Hyo-min explained, "It has been about ten years since 'Hyori's Homestay.' While there are benefactors who have helped me as a producer, Lee Hyori and Lee Sang-soon are also among them. We tried to invite them while working on 'The Great Disaster Planning,' but it fell through due to their move to Seoul."Jung continued, "After the guest recruitment announcement, Lee Hyori reached out first, asking, 'Should I come to keep Yoo Jae-suk in line?' I thought it would be great if she could come as a surprise, so we secretly arranged it."'Yoo Jae-suk Camp' is a large-scale camp variety show named after Yoo Jae-suk, featuring a new combination of Lee Kwang-soo, Byun Woo-seok, and Ji Yeo-eun. Attention is on how this retreat-style program, combining accommodation, games, and group activities, will be received on Netflix. The first five episodes will be released on May 26, followed by episodes six to ten on June 2.* This article has been translated by AI. 2026-05-19 13:16:31
  • Kim Min-jong Responds to MC Mongs Illegal Gambling Allegations with Legal Action
    Kim Min-jong Responds to MC Mong's Illegal Gambling Allegations with Legal Action Singer and actor Kim Min-jong has firmly denied allegations of illegal gambling made by MC Mong. On May 19, through his legal representative, the law firm Okims, Kim stated, "I want to make it clear that the claims being discussed about me are not true." He added, "After thoroughly verifying and organizing the facts related to this matter, I plan to hold accountable those responsible through civil and criminal legal actions. I will act cautiously to avoid disappointing those who have supported me for a long time." Kim's team also strongly opposed the recent online rumors. The legal representative stated, "Baseless personal rumors and malicious allegations against Kim Min-jong are spreading indiscriminately, seriously damaging the reputation of an artist who has received great love from the public." They emphasized, "All claims related to Kim Min-jong are clearly false. He will confront these allegations head-on without any compromise to prove his integrity." Previously, on May 18, MC Mong mentioned Kim Min-jong's name during a live broadcast, suggesting the existence of an illegal gambling ring involving celebrities. MC Mong denied allegations of illegal gambling against himself during the broadcast, stating, "Who would use company funds for illegal gambling?" He continued, "The source of the funds can be traced through account tracking, and I would like them to look at my account as well. How could I gamble with company money? I don’t even understand that claim." MC Mong co-founded One Hundred with Chaga Won, chairman of the Piak Group, in 2023 but left the company in July of the previous year. Since then, allegations have emerged that he used company funds for illegal gambling.* This article has been translated by AI. 2026-05-19 10:51:26
  • I.O.I and Xikers Release New Albums Today, Marking Their Comeback
    I.O.I and Xikers Release New Albums Today, Marking Their Comeback Group I.O.I and Xikers are making their return to the music scene today, releasing new albums simultaneously. I.O.I will release their mini-album 'I.O.I: LOOP' at 6 PM on various online music platforms. This marks the group's first new album in nearly nine years. Members Lim Nayoung, Chungha, Kim Sejeong, Jung Chaeyeon, Kim Sohye, Yoo Younjeong, Choi Yoojung, Kim Doyeon, and Jeon Somi have combined their musical talents to create a complete album. The title track 'Suddenly' is a synth-pop song that captures the unexpected feelings of nostalgia and memories. Jeon Somi contributed to the lyrics, reflecting on the emotions of reconnecting with past relationships. The dreamy outro enhances the song's lingering effect. The album also features contributions from the members. 'I.O.I (Where My Girls At)', co-written and co-composed by Jeon Somi, showcases the group's signature refreshing energy over house rhythms. 'SPF 100+ (Summer Pop Fantasy)' is an Afrobeats track that expresses rekindled emotions through summer imagery. 'If I', written and composed by Yoo Younjeong, features a rock-based sound that encapsulates a decade-long relationship, while 'Back Then, Us Now', penned by Chungha, serves as a response to their previous song 'Shower'. Additionally, the album includes the pre-released track 'Goodbye with a Smile (Recorded in 2016)', produced by Jin Young, bridging I.O.I's past and present. Following the album release, I.O.I will hold a solo concert titled '2026 I.O.I Concert Tour: LOOP' from May 29 to 31 at the Jamsil Indoor Stadium in Seoul, where they will meet with fans. Xikers is also making a comeback today with their new album. They will release their mini-album 'ROUTE ZERO: The ORA' at 6 PM. This album marks the beginning of a new series following the conclusion of their 'HOUSE OF TRICKY' series, which has spanned two years and seven months since their debut. 'ROUTE ZERO: The ORA' captures Xikers' first encounter with the world beyond Tricky House. The title track 'OKay' embodies the group's bold energy as they strive to break free from societal norms. The album includes five tracks, featuring 'Ghost Rider', 'Graffiti', 'Trophy', and 'Outsider', alongside the title track. Members Minjae, Sumin, and Yechan contributed to the lyrics for all songs, infusing the album with the group's unique style. Xikers will hold a comeback showcase at 8 PM today at the NOL Theater in Mapo-gu, Seoul, where they will perform their new songs. They will also host their second fan meeting 'roadymap to univerxity' on June 27 at the Ticketlink 1975 Theater in Seoul and on July 31 at Zepp Haneda in Tokyo. With I.O.I returning as a full group after nearly nine years and Xikers launching a new series, the music industry is set to heat up with their simultaneous album releases today.* This article has been translated by AI. 2026-05-19 08:49:10