Journalist

Choi Songhee
  • Han So-hee and Jeon Jong-seo team up for film Project Y
    Han So-hee and Jeon Jong-seo team up for film 'Project Y' Every production is seen from countless angles. Even in the same place at the same time, directors and actors may experience the moment differently. <Choi Song-hui’s B-Cut> looks past the on-screen “A-cut” to the vivid record of what happened on set. By weaving together interviews with directors and actors, it reconstructs the “B-cut” moments that were often more intense than the finished frame. <Editor’s note> In the middle of a glittering city, two women at the edge of their lives reach for dirty money and gold bars. The film “Project Y,” directed by Lee Hwan, began with that one-line logline. But the project’s driving force, the actors said, came less from a production system than from their own initiative. Han So-hee and Jeon Jong-seo, both the same age, said they read the script together and decided, “Let’s do this.” They described a set built on mutual trust and intense focus, before any talk of visual spectacle. The film’s origins, they said, were rooted in admiration for each other’s work — support that came before any business pitch. “Jong-seo and I looked at the script together. We read it and started with, ‘Let’s do this,’” Han said. “Before being friends, I really like Jong-seo as a fellow actor. I liked her previous work, too, so I was curious how this project would turn out within her filmography — and what it would be like acting with me.” “When I was reading this script with So-hee, it was an especially difficult time for movie theaters,” Jeon said. “But since there were people who said they would believe in us, I wanted to do well. The starting point was that one line: ‘Two women the same age, standing at the edge of life, touch dirty money.’ Somehow it gave me courage.” The actors said their main task was convincing viewers why Mi-seon and Do-gyeong — two friends with sharply different personalities — would stay together. They built the characters to balance stability and danger, and worked with the costume team to create a simple, minimalist look, sometimes incorporating items from their own wardrobes. “I thought we had to persuade people why these two, who are completely different in personality and temperament, are friends,” Han said. “Mi-seon is more capable in daily life than Do-gyeong and pursues a stable kind of happiness. Since I also pursue an ordinary life, I tried to use that point of contact to make Mi-seon’s actions feel believable. There’s only one thing I want to say with this film: Even if you don’t have anyone on your side in this world, if you have one person who truly understands you, that’s a successful life.” “I wanted Do-gyeong to look tough but also feel like she could shatter like glass,” Jeon said. “Mi-seon, played by So-hee, looks fragile but is surprisingly solid and action-oriented. We talked about holding hands and moving forward as if we’re looking at the same thing, like a decalcomania. We especially wanted these characters to stick visually, so we discussed it directly with the costume team and reflected personal items, too. We said, let’s keep it simple and minimalist.” Their on-set rhythm, they said, came from balancing sensitivity and steadiness. One scene — digging through the night to steal a large sum of money — became the moment their commitment was most visible. “We dug for five hours,” Han said. “Since that scene is the start of our film, we really immersed ourselves to keep it real. After shoveling for hours, you sweat. We took off our outer layers and even used a watering can to create sweat while filming. I remember being so locked into that scene that I didn’t even feel the cold — I was extremely focused.” “The director actually tried to stop us,” Jeon said. “But we volunteered and acted it out like, ‘It would be good to throw off our clothes and dig here,’ sweating a lot. The director was the one telling us to wrap up and was worried about us. Ha.” Positioning themselves as part of a generational shift in Korean film, the two actors also stressed balance and responsibility across the cast. “It’s a two-lead film with two women the same age, and we wanted it to feel iconic rather than simply pretty,” Jeon said. “We hoped even a single poster would leave a strong impression, and I think audiences are interested in that. It seems like people responded well to the curiosity of, ‘A movie with two iconic women — what happens?’” “I feel a sense of responsibility with every project,” Han said. “Watching the edited cut, I thought, ‘In this era, there isn’t really a single main character.’ Everyone moves in harmony in their own place. The story flows with Do-gyeong and Mi-seon at the center, but without the other roles, they wouldn’t exist either. It feels like we’ve entered a time when the boundary of the main character is breaking down.” From volunteering to dig for five hours to offering personal items for costumes, the actors’ approach became, in their telling, the film’s most vivid “B-cut” record — two women meeting at the edge and moving forward through fierce rapport and shared responsibility.* This article has been translated by AI. 2026-03-18 16:54:52
  • Actor Go Jun to Marry Non-Celebrity Partner in Private Ceremony on April 5
    Actor Go Jun to Marry Non-Celebrity Partner in Private Ceremony on April 5 South Korean actor Go Jun will marry his non-celebrity partner on April 5, according to reporting by this outlet. The wedding will be held at a location in Seoul and will be private, with only family and close acquaintances invited. The bride-to-be is not in the entertainment industry. The couple has been dating since last year. Go debuted in the 2001 film ‘Wanee & Junah’ and has since appeared in films including ‘Byeonsan,’ ‘Midnight Runners,’ ‘Luck-Key’ and ‘The Age of Shadows.’ His television credits include ‘The Fiery Priest,’ ‘Oh My Baby,’ ‘Save Me’ and ‘Death to Snow White-Black Out.’ He won the SBS Drama Awards for best supporting actor in 2019 for ‘The Fiery Priest’ and received the KBS Drama Awards best couple award in 2020 for ‘Cheat on Me If You Can.’* This article has been translated by AI. 2026-03-18 16:15:17
  • South Korea’s National Pension Service hit by fan backlash after ENHYPEN’s Heeseung exits
    South Korea’s National Pension Service hit by fan backlash after ENHYPEN’s Heeseung exits Some overseas fans angry over ENHYPEN member Heeseung’s announced departure and move to solo work directed their frustration at an unlikely target: South Korea’s National Pension Service, a major shareholder in HYBE. Kim Seong-ju, chairman of the National Pension Service, said in a social media post on the morning of March 18 that the agency’s International Pension Support Center was briefly overwhelmed after its contact information spread online. The backlash began after HYBE subsidiary Belift Lab announced on March 10 that Heeseung would leave the group and pursue solo activities. Some overseas fans, opposing the decision, organized efforts to pressure the pension fund as a key HYBE investor to push for a reversal. Posts on X, formerly Twitter, and other platforms circulated the center’s phone number, urging users to “make things difficult” for the pension fund and to demand answers on whether it had been notified in advance and whether it understood potential losses in market value. As a result, the center received a surge of calls from overseas last week, temporarily disrupting operations. Kim said about 1,500 emails arrived in just two hours. “The International Pension Support Center provides pension counseling in multiple languages, including English, Chinese and Japanese, for foreign workers in Korea and Koreans living abroad,” Kim wrote, adding that people who urgently needed pension assistance were inconvenienced. Kim said the National Pension Service is a long-term investor managing retirement funds and invests in many companies worldwide, but does not intervene in individual firms’ management or personnel matters. “Of course, we have no authority to be involved in the formation of a K-pop group or its membership,” he said. He added that while the incident spread through social media as a “happening,” it prompted reflection on the pension fund’s public role, and he pledged to stay focused on managing citizens’ assets in a stable manner. Belift Lab has said Heeseung will continue as a solo artist under the label, including plans such as releasing a personal album. The company faces continued pushback from parts of the global fan base. * This article has been translated by AI. 2026-03-18 14:12:11
  • Film Review: Lee Dong-hwi’s ‘Method Acting’ Finds Pathos Beneath the Laughs
    Film Review: Lee Dong-hwi’s ‘Method Acting’ Finds Pathos Beneath the Laughs “It feels romantic — this lighting, the temperature, the humidity …” a guest once said on a variety show. The point was that place, weather and even how you feel can combine to create a mood. Movies are no different. Your mood that day, and your own experiences, can become part of how you judge what you see. “Choi’s Review” introduces films through the writer’s perspective and lived experience, in a more relaxed, everyday tone. There is a clear gap between the craft of making people laugh and the humiliation of becoming the joke. If a planned laugh is a professional win, being laughed at by accident can feel like a private defeat. The comedy film “Method Acting” follows a man determined to be seen as a serious actor, even as everyone around him keeps consuming “funny Lee Dong-hwi.” Lee Dong-hwi plays an actor who built a name on the mega-hit comedy “Algae-in.” Loved for comedy, he stops working because he no longer wants to be remembered only as “the funny actor,” and waits for a chance to break out. When he is finally cast in the traditional historical drama “Gyeonghwa Suwol,” he treats method acting — total psychological identification with a role in pursuit of extreme realism — as both an escape hatch and his last line of proof. The reality of serious drama, however, does not cooperate. From the first day of shooting, mistakes pile up. His older brother Dong-tae (Yoon Kyung-ho), filling in as a stand-in manager, creates new problems with unpredictable moves. Tensions also rise with Taemin (Kang Chan-hee), a younger top star whose status has overtaken his senior’s, turning their relationship into a contest for control as the set slides toward chaos. Director Lee Gi-hyeok, himself an actor, expands his short film of the same name into a feature, widening the lens to the private life behind the idea of “method acting.” The film’s strength lies beyond the slapstick of a man trying to shed a comic persona. It is in his decision to face his limits head-on, and in the isolation that pushes him toward a truth he can live with. The performance he reaches at the edge of collapse is, ironically, not fully captured by the camera. What follows is a quieter daily life — and only after accepting ordinary reality does he return, on and off set, to his own version of “method acting.” The family life shown beyond the unruly shoot provides the film’s firmest foundation. Against the noisy struggle in front of the camera, the film lingers on small, plain images — a mother’s back, a silent living room — to show loneliness without forcing it. Those moments make clear this is not a comedy aimed only at laughs. The characters’ growth invites viewers to recognize pieces of themselves and draws empathy and comfort from that recognition. Performances complete the film’s tone. Lee Dong-hwi uses his own name and image, turning himself into the target while pulling pathos from behind the jokes. Yoon moves between easy humor and heavy sincerity as the brother, steering the audience’s emotions. Kim Geum-soon, as the mother, anchors the film’s emotional center as a grounded parent who loves her son’s comedy more than anyone. Kang, as top star Jeong Taemin, stands out with a character who is irritating but not easy to hate, showing a broader acting range than before. Viewers may enter expecting familiar Lee Dong-hwi comedy, but what they leave with is the idea that everyone has a kind of “method acting” that holds up daily life. On the stage of life, the film suggests, people wear their masks and endure the roles they have been given. By playfully twisting the line between reality and fiction, “Method Acting” highlights the comedy and tragedy behind laughter and offers a quiet pat on the back to anyone who made it through the day. It opens in theaters March 18. Running time is 92 minutes. The rating is for ages 12 and up. * This article has been translated by AI. 2026-03-18 00:05:03
  • BTS comeback project turns Seoul into citywide THE CITY ARIRANG festival
    BTS comeback project turns Seoul into citywide 'THE CITY ARIRANG' festival Ahead of BTS’ comeback, Seoul is set to be washed in what organizers call a “purple Arirang.” Beyond a standard album release, the plan is to turn the capital into a monthlong, citywide festival space tied to the group’s return. HYBE on March 16 released details on Weverse for its urban project “BTS THE CITY ARIRANG SEOUL.” The events will run from March 20, the release date of BTS’ new album “ARIRANG,” through April 19 across central Seoul. “THE CITY” is HYBE’s in-house format that layers exhibitions, pop-up stores, hotel packages and other tie-ins around concerts or album releases. BTS previously staged “THE CITY” in Las Vegas and Busan. Organizers said the Seoul edition expands the concept with comeback messaging, large-scale media displays and hands-on programs spread across the city. The biggest concentration of events is planned for March 20. At 7 p.m., media facade shows are set for landmarks including Sungnyemun and N Seoul Tower. At 8:30 p.m., a 15-minute drone light show is scheduled over Ttukseom Hangang Park. Gwanghwamun Square will also be filled with comeback content. From 7 p.m. March 20 to midnight March 21, related videos will run on large screens around the square. Music-and-light shows tied to the new album are planned at Dongdaemun Design Plaza and at Banpo Bridge’s Moonlight Rainbow Fountain. The DDP program is scheduled to continue through April 12. Beyond watching, fans will be able to take part in experience-based programs, including a “stamp rally” linking major sites such as Yeouido, DDP and Shinsegae Square. Participants collect stamps at each location while moving through the city. An event plaza at Yeouido Hangang Park will be turned into a “Love Song Lounge” for three days starting March 20, featuring busking and photo zones tied to the album campaign phrase, “WHAT IS YOUR LOVE SONG?” Beginning April 6, DDP Exhibition Hall 1 will be decorated as “ARMY Madang,” and media installations using light and video are planned for areas including Cheonggyecheon and Yongsan Station under the name “Love Quarter.” Organizers said the project is also designed to connect with commercial and tourism spaces. HYBE said it is partnering across sectors including mobility, finance and food and beverage, as well as the hotel industry. Major hotels in Seoul will offer BTS-themed packages aimed at demand from global fans. HYBE described “BTS THE CITY ARIRANG SEOUL” as a test and showcase of how BTS’ intellectual property can combine with a city’s tourism offerings. It said areas stretching from Gwanghwamun to Cheonggyecheon and the Han River are being repositioned as places to see, hear and experience the group’s music, not simply pass through. Detailed information is available on Weverse and the project’s official website. Some programs will operate by advance reservation. * This article has been translated by AI. 2026-03-18 00:03:29
  • Netflix to Release BTS Comeback Documentary BTS: The Return on March 27
    Netflix to Release BTS Comeback Documentary 'BTS: The Return' on March 27 Netflix said it will release a feature-length documentary, “BTS: The Return,” chronicling the group’s comeback journey on March 27. Netflix on the 17th unveiled an official poster and trailer to launch promotion. The documentary follows BTS as the seven members reunite after a 3-year, 9-month hiatus and complete their fifth full-length album, “Arirang (ARIRANG).” The film looks back on the group’s rise since its 2013 debut and focuses on the members’ struggles and growth as they prepare their next chapter. It includes behind-the-scenes footage of the members reuniting in Los Angeles and continuing their music work while reflecting on what the team means to them. Netflix positioned the documentary as a key follow-up to “BTS Comeback Live: Arirang,” which will be streamed exclusively live on Netflix at 8 p.m. on March 21. Bao Nguyen, director of “The Greatest Night in Pop History,” directed the project. It was co-produced by global production company This Machine and HYBE. In the trailer, the members share candid reflections on the past, present and future, alongside the message, “We came back to where we naturally belong.” “BTS: The Return” is set for a worldwide simultaneous release on Netflix at 4 p.m. on March 27.* This article has been translated by AI. 2026-03-17 08:43:44
  • BTS to Stage Drone Show, Citywide Events in Seoul for Arirang Album Release
    BTS to Stage Drone Show, Citywide Events in Seoul for 'Arirang' Album Release BTS will turn Seoul into a citywide celebration around the release of its new album, ‘Arirang,’ with media facade displays, a drone light show and hands-on fan programs planned across major sites. The group on Monday posted details on the global fan platform Weverse for ‘BTS THE CITY ARIRANG SEOUL.’ The city project, branded ‘THE CITY SEOUL,’ will run from March 20 to April 19 across central Seoul, aiming to offer experiences available only during the limited period and at specific locations. On March 20, the album’s release day, large-scale events are scheduled back-to-back. Media facade shows will run from 7 p.m. at sites including Sungnyemun and N Seoul Tower. A drone light show is set for the sky over Ttukseom Hangang Park from 8:30 p.m. for about 15 minutes. The area around Gwanghwamun Square, where ‘BTS THE COMEBACK LIVE｜ARIRANG’ will be held, will also be filled with related programming. From 7 p.m. March 20 to midnight March 21, comeback content will be shown on large outdoor screens near the square. Music-themed light shows are also planned at Dongdaemun Design Plaza, or DDP, and at Banpo Bridge’s Moonlight Rainbow Fountain. The DDP program will run March 20 to April 12, and the Banpo Bridge fountain production will continue March 21-22. Interactive events include a ‘stamp rally’ mission at key hubs such as Yeouido, DDP and Shinsegae Square, where visitors collect stamps by checking in at locations around the city. From March 20-22, a ‘Love Song Lounge’ will operate at the event plaza of Yeouido Hangang Park, tied to the album’s global campaign phrase, “WHAT IS YOUR LOVE SONG?” Organizers said the space will feature music-based activities, busking and photo zones. From April 6-12, DDP Exhibition Hall 1 will be set up as ‘DDP ARMY Madang.’ From April 6-19, a ‘Love Quarter’ program will run around Cheonggyecheon and the Yongsan Station area, using light and video to project the album’s message onto settings such as stone walls, stairs and street trees. Organizers also plan tie-ins with mobility, lodging, finance and food-and-beverage partners to improve visitor convenience and extend the project into everyday settings. They said collaborations with new business areas will broaden the experience compared with earlier ‘THE CITY’ projects. Detailed schedules and program information are available on BTS’ Weverse channel and the official website. Some programs will require advance reservations. ‘BTS THE CITY ARIRANG’ is to roll out sequentially in major cities worldwide, starting in Seoul.* This article has been translated by AI. 2026-03-16 14:57:15
  • BLACKPINK Tops 3.6 Billion Streams on Melon Across Group and Solo Tracks
    BLACKPINK Tops 3.6 Billion Streams on Melon Across Group and Solo Tracks BLACKPINK has logged about 3.6 billion streams on Melon, South Korea’s major music platform, combining group and solo releases. The tally highlights results built over the past decade through both team and individual activities, as the group recently returned as a full lineup after 3 years and 5 months. Kakao Entertainment’s music platform Melon said March 16, citing its Melon Data Lab big-data analysis, that BLACKPINK’s group songs have reached 2,567,050,000 streams, while members’ solo songs have totaled 1,031,690,000. Combined, that is 3,598,680,000 streams. Among group tracks, “As If It’s Your Last” led with 260,900,000 streams. “DDU-DU DDU-DU” and “Playing With Fire” each surpassed 200 million. Other songs with more than 100 million plays were “Lovesick Girls,” “How You Like That,” “Forever Young,” “Whistle,” “Kill This Love,” “Pink Venom,” “Shut Down” and “Boombayah.” Melon noted that the list includes non-title tracks such as “Forever Young.” “BLACKPINK is a leading K-pop act that continues to be loved not only for group releases but also for members’ solo songs,” Melon said, adding that the group has 10 songs that have exceeded 100 million streams on Melon through group activities alone. Album performance was also strong. For releases with at least two tracks, “SQUARE UP” recorded 500,300,000 streams, “THE ALBUM” 336,200,000, “SQUARE TWO” 303,700,000, “BORN PINK” 288,200,000, “SQUARE ONE” 259,200,000 and “Kill This Love” 253,200,000. Melon said every track on the full-length album “BORN PINK” entered Melon’s Top 100 chart. Chart results showed similar momentum. BLACKPINK placed 12 songs in Melon’s daily Top 10, and those songs spent a combined 916 days in the Top 10. “Lovesick Girls” stayed in the Top 10 the longest at 159 days. “JUMP,” released last year, logged 142 days, followed by “How You Like That” with 109 and “DDU-DU DDU-DU” with 108. Those four were the only songs to remain in the daily Top 10 for more than 100 days. Members’ solo streaming totals were led by Jennie with 437,060,000, followed by Rosé with 418,590,000, Jisoo with 119,330,000 and Lisa with 56,720,000, for a combined 1,031,690,000. Among solo tracks, Jennie’s “SOLO” was the most-streamed at 179,590,000. Rosé’s collaboration with Bruno Mars, “APT.,” recorded 133,150,000. Melon said “APT.”, released in October 2024, surpassed 100 million streams quickly despite being a relatively recent release. Solo chart presence was also notable. By days in Melon’s daily Top 10, Rosé’s “APT.” recorded 200 days and Jennie’s “like JENNIE” logged 122. By member, Rosé spent a total of 329 days in the daily Top 10, Jennie 322 and Jisoo 98, for a combined 1,071 days. Catalog listening extended beyond title tracks. Among group B-sides, “Forever Young” recorded 180,510,000 streams and “Pink Venom” 123,760,000, while “Don’t Know What To Do” had 69,360,000 and “Pretty Savage” 53,830,000. Among solo B-sides, Rosé’s “Gone” led with 43,690,000 streams. Lisa’s solo track “MONEY” drew attention for a seasonal listening pattern. Melon said the song is known as a “New Year’s Day money-attracting song,” and that on Jan. 1 this year, streams rose 306% from the previous day while listeners increased 267%. “MONEY” has accumulated 22,440,000 streams, Melon said. BLACKPINK recently returned with its third mini album, “DEADLINE.” Melon said the full Data Lab feature on BLACKPINK is available through the Melon app’s magazine section and Melon’s official social media channels. 2026-03-16 14:00:20
  • Netflix’s ‘K-Pop Demon Hunters’ wins Oscars for animated feature and original song
    Netflix’s ‘K-Pop Demon Hunters’ wins Oscars for animated feature and original song Netflix’s animated film “K-Pop Demon Hunters” swept two awards at the 98th Academy Awards, winning animated feature and original song. At the ceremony at the Dolby Theatre in Hollywood, Los Angeles, the film was first announced as the winner of the animated feature prize. Director Maggie Kang, who beat out nominees including “Arco,” “Elio” and “Zootopia 2,” said, “I’m sorry it took so long to make a movie with a protagonist who looks like me,” adding, “The next generation won’t have to long for movies like this. This award is for Korea and Koreans around the world.” Co-director Chris Appelhans added, “Music and stories connect us across borders,” offering encouragement to artists. The film’s momentum continued when its soundtrack song “Golden” won the original song Oscar. The song’s creators — Lee Jae, Mark Sonnenblick, Kwak Jung-gyu and Lee Yu-han — became emotional onstage after beating nominees including “Dream of a Train” and “Sinners: Sinners.” Lee Jae, who also sang and wrote lyrics for the track, said, “When I was young, I was teased for liking K-pop, but now everyone is singing along to Korean lyrics,” adding, “This award isn’t about success. It’s about the strength to endure and recover.” The show’s highlight was the celebratory performance of “Golden.” For what the article described as the first K-pop performance in Oscar history, a pansori singer and percussionists opened with traditional Korean dance alongside 24 dancers. Lee Jae, Audrey Nuna and Rei Ami, dressed in white, then took the stage. The article said Hollywood stars waved light sticks and joined in a Korean-language singalong. “K-Pop Demon Hunters” is an action fantasy about girls who are K-pop singers by day and heroes who fight evil spirits by night. Since its release last June, the film surpassed 300 million views on Netflix, and “Golden” reached No. 1 on Billboard’s Hot 100, the article said. Other major awards were also announced. Best picture went to Paul Thomas Anderson’s “One Battle After Another,” and Anderson also won best director. Michael B. Jordan won best actor for “Sinners: Sinners,” and Jessie Buckley won best actress for “Hamnet.” 2026-03-16 13:33:24
  • ‘Golden’ From ‘K-Pop Demon Hunters’ Wins Oscar for Best Original Song, Lee Jae Says ‘Everyone Sings in Korean’
    ‘Golden’ From ‘K-Pop Demon Hunters’ Wins Oscar for Best Original Song, Lee Jae Says ‘Everyone Sings in Korean’ Netflix’s animated film ‘K-Pop Demon Hunters’ won the Oscar for best original song for its soundtrack track ‘Golden,’ giving the film two Academy Awards on the night. The 98th Academy Awards were held at the Dolby Theatre in Hollywood, Los Angeles, at 7 p.m. local time on March 15. ‘Golden’ beat other nominees including ‘Dream of a Train,’ ‘Viva Verdi!’ and ‘Sinners: Xenus’ to take the prize. Lee Jae, Mark Sonnenblick, Kwak Jung-gyu and Lee Yu-han went onstage together to accept the trophy for ‘Golden.’ Holding the award and tearing up, Lee Jae said, “Growing up, people teased me if I said I liked K-pop, but now everyone is singing lyrics in Korean.” Lee added, “Like this song, this award isn’t just about success — it’s about the strength to endure and recover.” The film had earlier won the Oscar for best animated feature, adding best original song to cap a standout night. ‘K-Pop Demon Hunters’ is an action-fantasy animation about a K-pop idol group that uses music to defeat evil spirits and protect the world. Since its release last June, it has drawn more than 300 million views — a first for Netflix — and ‘Golden’ reached No. 1 on Billboard’s Hot 100, fueling a global craze. * This article has been translated by AI. 2026-03-16 11:21:18