Journalist
Choi Song-hui
alfie312@ajunews.com
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Lotte Cultureworks Revamps ‘Inside the Play’ With Immersive Show Tied to Yeon Sang-ho’s ‘Gunche’ Lotte Cultureworks is relaunching its immersive, interactive performance brand, INSIDE THE PLAY, starting with a new production created in collaboration with director Yeon Sang-ho's film 'Gunche'. The brand is designed to pull audiences into a story world beyond the screen. Viewers take part directly, interacting with actors in real time and helping complete the narrative, rather than watching from the outside. The project is built around 'Gunche,' which was officially invited to the Midnight Screenings section of the 79th Cannes International Film Festival. The film centers on survivors trapped inside a sealed building during an unidentified outbreak, facing infected people who evolve in unpredictable ways. Thierry Fremaux, the festival's executive director, previously introduced Yeon's 'Gunche' as “a horror zombie genre film set inside a sealed building,” noting that audiences would imagine “various narrative devices and storytelling possibilities” within that setup. Lotte Cultureworks said it aims to expand the film's world into an offline space, blurring the line between cinema and live performance. By translating the story's claustrophobic fear and psychological pressure into an immersive format, the audience becomes a participant inside the incident. Unlike productions that follow a fixed route, this show uses a multi-ending system in which each audience member's choices and movement can affect the outcome as situations change in real time. 'Inside the Play: Gunche' opens May 21 at Lotte Cinema Sindebang. Tickets go on sale at 5 p.m. April 24 through Ticketlink and Naver Booking. “We planned this performance to build a fully immersive show in which the audience leads the narrative,” said Yoon Se-in, head of Lotte Cultureworks' live business division. “'Inside the Play' with the film 'Gunche' will be a chance to deliver thrills audiences have not experienced before.”* This article has been translated by AI. 2026-04-23 17:13:11 -
Director Maggie Kang Signs Exclusive Deal With The Present Company, Expands Korea Work Maggie Kang has signed an exclusive contract with The Present Company. The Present Company said on 23 that it plans to develop a range of projects with Kang based in South Korea and that it expects strong synergy with a director known for creativity and a global sensibility. The company added that Kang is a symbolic figure who has demonstrated the global potential of Korean content and will continue that work as a creator representing South Korea. Kang, a Korean Canadian director born in South Korea and raised in Canada, began her career as a story artist at global studios. She later drew worldwide attention directing Netflix’s “K-Pop Demon Hunters.” The title has surpassed 500 million cumulative streams, delivering one of Netflix’s top-level performances, and also earned international recognition, including two wins at the 98th Academy Awards and the feature animation prize at the 83rd Golden Globe Awards. Kang has also been noted for stylish visuals and fine detail, expanding her influence into fashion, including appearing on magazine covers and establishing herself as an artist watched by high-end brands. “K-Pop Demon Hunters,” which blends K-pop with a Korean-inspired universe, has been credited with helping set a new trend in the global content market. Kang received the Okgwan Order of Cultural Merit in recognition of her contribution to expanding Korean content. The Present Company is a management agency representing actors Ahn Hyo-seop, Shin Se-kyung, Kim Seol-hyun and Park So-dam. Ahn previously connected with Kang by participating in “K-Pop Demon Hunters” as a voice actor. Kang plans to broaden her work with The Present Company with South Korea as her base while continuing overseas activities in partnership with global agency UTA.* This article has been translated by AI. 2026-04-23 15:42:16 -
BIGBANG Opens Official b.stage Fan Community Ahead of August World Tour 그룹 빅뱅(BIGBANG)이 데뷔 20주년을 맞아 글로벌 팬덤 플랫폼 비스테이지(b.stage)에 공식 팬 커뮤니티를 열고 팬들과의 소통 강화에 나섰다. 오는 8월 월드투어를 앞두고 그룹 활동의 구심점을 마련한 셈이다. 22일 YG엔터테인먼트에 따르면 빅뱅은 지난 21일 데뷔일인 8월 19일을 상징하는 오후 8시 19분에 맞춰 비스테이지에 공식 팬 커뮤니티와 사회관계망서비스(SNS) 채널을 동시에 오픈했다. YG 측은 “오는 8월부터 월드투어를 예정하고 있는 만큼 팬들과 소통하며 더욱 뜻깊은 20주년을 만들어 나가고 싶다는 멤버들의 의지가 컸다”며 “이 채널을 통해 빅뱅이라는 이름으로 팬들의 마음에 더욱 가까이 다가설 것”이라고 밝혔다. 이번 커뮤니티는 멤버들이 그룹 활동 소식과 콘텐츠를 팬들에게 직접 전하고, 팬들 역시 게시판을 통해 자유롭게 소통할 수 있는 공간으로 운영된다. 향후 글로벌 투어를 비롯한 20주년 프로젝트 관련 공식 소식과 다양한 혜택도 순차적으로 공개될 예정이다. 빅뱅 멤버 지드래곤, 태양, 대성은 이미 각자의 솔로 활동을 통해 비스테이지에서 공식 팬 커뮤니티를 운영해왔다. 이번 그룹 커뮤니티 역시 같은 플랫폼에 오픈하면서 솔로 활동과 그룹 활동을 하나의 공간에서 이어갈 수 있게 됐다. 소통을 위한 첫 콘텐츠로는 새로운 로고 모션 영상이 공개됐다. ‘BIGBANG’과 ‘20TH ANNIVERSARY’ 문구를 담은 영상에는 코첼라 현장에서 촬영한 세 멤버의 뒷모습도 포함됐다. 빅뱅은 지난 12일과 19일(현지시간) 미국 캘리포니아에서 열린 ‘2026 코첼라 밸리 뮤직 앤드 아츠 페스티벌’ 무대에 올라 약 67분간 17곡을 선보였다. ‘뱅뱅뱅’, ‘판타스틱 베이비’, ‘하루하루’ 등 대표곡과 함께 태양의 ‘링가 링가’, 지드래곤의 ‘파워’, 대성의 ‘한도초과’ 등 솔로 무대도 펼쳤다. 해외 매체도 호평했다. 빌보드는 “관객들을 K팝의 황금기로 완벽히 소환했다”고 했고, 포브스는 빅뱅을 “K팝의 황제”라고 치켜세우며 귀환을 반겼다. 특히 빅뱅은 지난 19일 공연에서 오는 8월부터 월드투어를 시작한다고 공식 발표했다. 2017년 ‘라스트 댄스(LAST DANCE)’ 이후 9년 만에 빅뱅이라는 이름으로 선보이는 공연이다. YG엔터테인먼트는 “완벽한 공연을 만들기 위해 스태프 모두 최선을 다하겠다”고 밝혔다. 한편 비스테이지 관계자는 “K팝의 역사를 써온 빅뱅과 솔로에 이어 그룹 활동까지 비스테이지를 팬 소통 거점으로 제공하게 돼 기쁘다”며 “20주년이라는 특별한 해에 전 세계 팬들이 하나의 공간에서 모이고 앞으로 펼쳐질 글로벌 투어와 다양한 프로젝트를 함께 경험할 수 있도록 최선을 다해 지원하겠다”고 전했다. 2026-04-22 16:22:30 -
HYBE Latin America to Launch Low Clika Drama Series Ahead of New Album HYBE Latin America is rolling out a new project that pairs artists’ music with a storyline, applying what it calls a K-pop-style approach to expanding fan experiences in the Latin market. The company said on the 21st that band Low Clika will return with a new album in the second half of this year. The group drew attention through the band audition program “Pase a la Fama” and debuted in November 2025, promoting a sound that blends traditional Mexican folk music with trap, urban and pop elements. Ahead of the comeback, a short drama series titled “Low Clika: La Serie” will be released. Starting on the 23rd, one episode will be posted each week on the global superfans platform Weverse, as well as YouTube and TikTok. The drama follows the members as they face a crisis amid betrayal and intrigue, then overcome it and grow. It is structured around four main episodes, and a related new song will be released each time an episode concludes over about a month. Myrna Perez, general manager of SIENTO Records, a HYBE Latin America label, said building a connected universe in which music-centered content and narrative are organically linked is “one of HYBE and Chairman Bang Si-hyuk’s core philosophies.” She added, “Through this project, fans will experience the artists’ story, not just listen to the music.” 2026-04-22 15:21:17 -
BTS' song tops Billboard global charts for fourth straight week SEOUL, April 22 (AJP) - K-pop juggernaut BTS' latest song has held the top spot on Billboard's global charts for four consecutive weeks. According to the American music chart, "Swim," the title track from their fifth full-length album "ARIRANG" remained at the top of the Global 200 and Global Excl. U.S. charts for the week ending this Saturday, extending its run to a fourth straight week. Their album also held steady on the main U.S. charts, remaining in the top three of the Billboard 200 albums chart, while "Swim" has stayed on the Hot 100 since its worldwide release on March 20. The momentum extends to their global tour, which kicked off in Goyang, Gyeonggi Province on April 9. They are scheduled for some 85 shows across 34 cities around the world, with more than half already sold out, the most dates ever for a South Korean act on a single tour. Following their successful concerts in Tokyo, Japan, last week, they are set to perform in Tampa, Florida for three days starting this Saturday, as they ramp up the North American leg of the tour. Separately, BTS will also hold gigs along with other programs to meet fans, as part of projects stopping in cities including Las Vegas next month and Busan in June. 2026-04-22 11:31:00 -
Film Review: 'Jjanggu' Revives a 'The Wind' Character 16 Years Later "It feels romantic. The lighting, the temperature, the humidity ..." a cast member said on a variety show. The point was that place, weather and even how you feel can add up to a mood. Movies are no different. A viewer’s emotions and experiences can become the yardstick for judging a film. In that spirit, "Choi Family Review" introduces films through the writer’s own perspective, in a more relaxed, everyday tone. <Editor’s note> Some films do not end when the theater lights come up. Lines and expressions linger, replaying in the memories of people who lived through that time. The 2009 film 'The Wind' was one of them. Its box-office numbers did not tell the whole story, but it later gained the label of an "unofficial 10 million" hit through IPTV and VOD, becoming a phenomenon. 'Jjanggu' (directed by Jung Woo and Oh Seong-ho) expands that world and brings back a figure from those memories 16 years later. Rather than leaning only on nostalgia, it looks straight at the harsh reality of youth that can feel stuck in place. After taking off his school uniform and moving to Seoul, Jjanggu does not find a breakthrough but a long, grinding stretch of endurance. The film’s engine is the reality of young people who cannot give up on their dreams, yet must get through today and line up again for tomorrow. In 2010, Jjanggu (played by Jung Woo), a young man from Busan, heads to Seoul on a single hope: to become an actor. He cannot even pay the electric bill and gets by on a bowl of ramen, but in front of friends back home he mixes in Seoul slang and puts on a show of confidence. Living with his younger roommate, Kkangnaengi (Jo Beom-gyu), Jjanggu bounces from audition to audition, where life is not a spotlight but a cycle of rejection and trying again. As with 'The Wind,' Jung Woo’s autobiographical story anchors 'Jjanggu.' The sense of peeking into a page of his youth is reinforced through audition scenes tied to major works that shaped his career, adding a sharper feeling of reality. That is why Jung Woo is often described as the film’s identity. Viewers are positioned like longtime friends watching Jjanggu’s struggle up close, laughing and hurting with him as they sink into his inner life. Jung Woo’s performance does not simply recreate a character; it lays out, plainly, both the brightest and most humiliating parts of his past, forging a strong bond with the audience. Though the story flows around Jung Woo, its energy is completed by the people around Jjanggu. The back-and-forth among Jjanggu, Jjangjae (Shin Seung-ho) and Kkangnaengi is the film’s strongest draw. These are recognizable, everyday characters who add momentum while sharpening the texture of Busan as a place. The film leans on the sense that it is showing real Busan people, not a polished imitation, along with views from around the city. The actors’ raw performances, paired with Busan’s night air, pull viewers quickly into the period’s atmosphere. The handling of female characters, however, leaves room for criticism. Minhee (Jung Soo-jung), who is paired with Jjanggu in a romance, is drawn in a familiar "male fantasy" mold, and the way the relationship unfolds can feel out of step with today’s sensibilities. Because the film is strongest when it focuses on Jjanggu’s pursuit of acting, his day-to-day struggle and his lived-in rhythm with friends, it raises the question of whether more weight there would have helped. Even so, 'Jjanggu' remains funny, bittersweet and, in the end, intense, because the characters’ sincerity is embedded throughout and ultimately persuades the viewer. Echoing a line in the film — "It’s darkest before dawn" — it aims to accompany those moving through their own dark tunnel, offering presence rather than easy comfort. Following behind Jjanggu like someone watching a best friend’s growing pains, viewers may find themselves looking back on their own past seasons. The film opens April 22. Running time is 95 minutes, and it is rated for ages 15 and up.* This article has been translated by AI. 2026-04-22 11:06:53 -
BTS’ ‘SWIM’ Tops Billboard Global Charts for Fourth Straight Week 방탄소년단(BTS)이 미국 빌보드 글로벌 차트에서 4주 연속 정상을 지켰다. 정규 5집 '아리랑(ARIRANG)' 타이틀곡 '스윔(SWIM)'이 장기 흥행 흐름을 이어가고 있다. 지난 21일 발표된 빌보드 최신 차트(4월 25일 자)에 따르면 '스윔'은 '글로벌 200'과 '글로벌(미국 제외)'에서 각각 4주 연속 1위를 기록했다. 발매 4주차에도 두 차트 정상을 동시에 지켰다. 메인 차트에서도 성과가 이어졌다. '아리랑'은 메인 앨범 차트 '빌보드 200' 3위로 4주 연속 톱3에 올랐고, '스윔'은 메인 송 차트 '핫 100' 10위로 4주 연속 톱10에 들었다. 수록곡 '바디 투 바디(Body to Body)', '2.0', '훌리건(Hooligan)'도 '핫 100' 순위권에 포함됐다. '디지털 송 세일즈' 1위도 4주째 이어졌다. '아리랑' 수록곡들은 글로벌 차트 상위권에 고르게 포진하며 앨범 흥행을 뒷받침했다. 흥행은 공연으로도 이어지고 있다. BTS는 지난 9일 경기 고양종합운동장 주경기장에서 월드투어 'BTS WORLD TOUR 'ARIRANG''의 막을 올렸다. 이번 투어는 전 세계 34개 도시에서 총 85회로 진행되며, 한국 가수 단일 투어 기준 최다 회차다. 고양과 도쿄 공연을 포함해 한국, 일본, 북미, 유럽 등 총 46회 공연이 이미 매진됐다. 도시형 프로젝트 'BTS THE CITY ARIRANG'도 서울을 넘어 확장된다. '더 시티 아리랑'은 5월 미국 라스베이거스, 6월 부산에서 이어지며, 공연과 연계한 프로그램이 도시 전역에서 진행될 예정이다. BTS는 오는 25~26일과 28일 미국 탬파 레이먼드 제임스 스타디움 무대에 오르며 북미 투어를 본격화한다. * This article has been translated by AI. 2026-04-22 09:24:54
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The Boyz File Embezzlement Complaint Against One Hundred Label CEO; Agency Denies Allegations The dispute between K-pop group The Boyz and their agency, One Hundred Label, has escalated into a criminal complaint as their exclusive-contract fight continues. The Boyz’s legal representative said on 21 that nine members filed a complaint accusing One Hundred Label CEO Cha Ga-won of embezzlement under the Act on the Aggravated Punishment of Specific Economic Crimes. The complaint was filed by nine members, excluding member New, the representative said. The conflict had already surfaced over the group’s exclusive contract. The Boyz signed with One Hundred in December 2024, and in February this year nine members filed for an injunction to suspend the validity of their exclusive contracts. At the time, the group said the agency had not paid settlements since July last year and had refused to allow access to materials needed to verify transparency in the accounting. One Hundred countered that it could not accept demands to terminate the contracts. One Hundred rejected the new criminal allegation. Attorney Hyun Dong-yup, the agency’s legal representative, said the embezzlement claim against Cha was “groundless” and said the company had “faithfully carried out” its settlement obligations. He said the agency would respond by using “all legal means,” including a potential false-accusation charge, while adding that it still wants all 10 members to promote together. In an additional statement, One Hundred also argued the complaint lacks a sufficient legal basis. According to One Hundred, Yongsan Police Station asked to merge the case into an investigation being handled by Team 6 of Unit 1 of the Financial Crimes Investigation Division under the Seoul Metropolitan Police Agency’s Major Crime Investigation Division, which is investigating Cha, but the investigative team declined. Citing Hyun’s view, One Hundred said the refusal appeared to reflect that “the property’s belonging to another person” had not been recognized based solely on the complaint. The agency called the filing a “smear” complaint with “markedly weak” legal grounds. One Hundred also disputed the accounting claims, saying accountant Kim Geon-young of accounting firm Hyun completed account analysis and an overall audit and confirmed there was no misuse of funds or embezzlement. The agency again said it would pursue legal action, including for false accusation, over what it called an unfounded criminal complaint. One Hundred said the dispute has worsened in part because of how The Boyz’s legal representative has responded, alleging false information was provided to some members to encourage internal division. It also pointed to the first hearing on 20, saying the other side requested more than a week for an explanation period, and claimed the goal was to delay through a public-relations fight rather than resolve the matter. The agency said it has already paid members large signing bonuses and settlements, and that its settlement payment plan is transparently established. Despite the legal battle, The Boyz plan to proceed with scheduled concerts. The group is set to hold a solo concert from 24 to 26 at KSPO Dome in Olympic Park in Seoul’s Songpa district. 2026-04-22 07:48:16 -
‘Wild Thing’ Releases ‘Love Is’ Music Video for Film’s Fictional Co-Ed Group Triangle The film ‘Wild Thing’ has released the track and music video for ‘Love Is,’ the signature song of the fictional co-ed group Triangle featured in the movie. ‘Wild Thing’ is a comedy about Triangle, a three-member co-ed dance group that once dominated the music scene but disbanded overnight after an unexpected incident. The story follows the group as it takes on a reckless challenge to seize a comeback opportunity that arrives 20 years later. ‘Love Is’ is Triangle’s debut and 대표 song in the film, offering an early look at the movie’s tone and the group’s identity. The song was released at noon on the 21st across major South Korean music platforms including Genie, Melon, Flo, Bugs and Vibe, as well as YouTube and global services such as Spotify and Apple Music. It is a dance-pop track that updates the bright, hopeful feel of late-1990s to early-2000s dance music with a polished, modern sound. Composer Shim Eun-ji, known for work including TWICE’s ‘KNOCK KNOCK’ and ‘YES or YES’ and collaborations with SHINee, IU and ITZY, took part in the project. The song pairs an upbeat sound with lyrics about the excitement of love and a catchy chorus, aiming to capture Triangle’s fresh energy. The music video leans into a period look, using a 4:3 aspect ratio, retro framing, a stylized filter and eye-lighting effects to recreate the visual language of older music videos. Restrained camera movement further emphasizes an analog feel. The visual concept assigns each character a distinct accent color against a white background: Hyun-woo in red, Do-mi in green and Sang-gu in blue, matching wardrobe and set tones for a simple, direct impression. The performance is built around a trendy intro with tightly divided beats and easy-to-follow moves choreographed by Yang Uk. The video also highlights Hyun-woo’s b-boying, Sang-gu’s forceful rap and Do-mi’s steady presence, underscoring the group’s on-screen teamwork. After the video’s release, online comments included: “I can’t believe Kang Dong-won is showing such precise dancing,” “Eom Tae-goo shows a completely different side,” “They really captured the vibe of that era,” “The song is better than expected,” and “Why are they taking this so seriously?” Some viewers said the mix of retro and modern elements is boosting immersion in the film. ‘Wild Thing’ is set to meet audiences on June 3.* This article has been translated by AI. 2026-04-21 16:57:54 -
How Gen Z Turned Horror Film 'Salmokji' Into a Popcorn-and-Heart-Rate Challenge "Salmokji review: Spilled my popcorn." Since the horror film 'Salmokji' opened, short reactions and proof photos have flooded online. Posts saying viewers spilled popcorn — along with screenshots of heart rates captured right after the movie — quickly turned 'Salmokji' reviews into a kind of game. The trend has become another clue to the film’s box-office run, as personal experiences are reposted and recirculated online, extending the buzz beyond simple word-of-mouth that it is "scary." According to the Korean Film Council’s integrated ticketing network on the 21st, 'Salmokji' added 46,984 admissions the previous day, bringing its cumulative total to 1,508,824. That is well above its break-even point of 800,000. The film also ranked No. 1 at the weekend box office for two straight weeks and has held the top spot for 12 consecutive days. For April — typically considered an off-season for theaters — the sustained performance of a horror title has stood out. The reactions that spread fastest among Gen Z audiences were not detailed reviews. They were brief posts such as "First time I’ve ever thrown popcorn because I got startled," "The person next to me spilled all their popcorn," and "Salmokji review: spilled popcorn." Many were paired with screenshots from smartwatches or phone apps showing elevated heart rates. In other words, the reaction — photos and numbers — was consumed before the appraisal. Showbox said it views "popcorn proof" and "heart-rate proof" as part of a moviegoing verification culture. "It’s not just watching the film and being done — leaving reactions afterward and sharing them is helping secondary word-of-mouth," the company said. Showbox added that while popcorn and heart-rate reactions are not unheard of for horror films, sharing them in a more deliberate way after viewing can have a positive effect on box-office performance. If the early buzz resembled a challenge-style trend, repeat viewings were driven by audiences trying to reread the story and its hidden meanings. Online, viewers traded differing interpretations of the open ending and debated the relationship between Suin and Gitae. Others dug into the characters’ psychology and dynamics in detail, extending the experience from fear to analysis. Showbox said that since the COVID-19 pandemic, audiences have seemed eager to expand offline experiences or find ways to enjoy content after watching a film. The company said the broader trend has included pop-ups and other in-person experiences that extend beyond the screen, adding that films with more to talk about and engage with tend to generate attention that feeds back into theater attendance. As ending theories and relationship debates continued, 'Salmokji' kept generating conversation well after its release. Startled reactions created the first wave of attention; interpretation and character-focused discussion helped sustain it. The film’s scares did not end in the theater — they were revived online. That is why 'Salmokji’s' 1.5 million admissions are not captured by a single number. Fear experienced in the cinema moved into online proof posts, which then became a new source of buzz. With ending interpretations and relationship debates added on, the film was consumed again — offering a snapshot of how younger audiences are changing the way they watch and share horror movies.* This article has been translated by AI. 2026-04-21 14:56:58