Journalist
Choi Songhee
alfie312@ajunews.com
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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 -
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 -
Police Seek Arrest Warrant for HYBE Chairman Bang Si-hyuk on Fraudulent Trading Allegations Police have applied for an arrest warrant for HYBE Chairman Bang Si-hyuk over allegations that he misled investors ahead of the company’s initial public offering and induced them to sell their stakes. The Seoul Metropolitan Police Agency’s financial crimes unit said April 21 it requested the warrant on suspicion of fraudulent unfair trading. The move came about five months after police questioned Bang in mid-November. Bang is accused of telling HYBE investors in 2019 that there were no plans to list the company, then having them sell shares to a specific private equity fund before proceeding with the IPO. Police believe Bang had previously signed a nonpublic agreement to receive 30% of the fund’s post-listing sale profits, and that he gained nearly 200 billion won in illicit profits. Under South Korea’s Capital Markets Act, it is illegal to obtain financial gain by providing false information or using improper schemes involving financial investment products, including unlisted shares. If the violation yields profits of 5 billion won or more, the penalty can be life imprisonment or at least five years in prison. Police said they began investigating after receiving a tip in late 2024. They raided the Korea Exchange and HYBE in June and July last year and barred Bang from leaving the country. As the probe dragged on, his public activities were also reported to have been constrained. More recently, the U.S. Embassy in Seoul was reported to have sent a letter to the National Police Agency seeking cooperation for Bang’s visit to the United States, citing BTS world tour-related matters. Bang’s side says the company complied with relevant laws and regulations during the listing process and that there is no legal issue. * This article has been translated by AI. 2026-04-21 13:51:16 -
Horror film emerges as surprise box-office draw SEOUL, April 20 (AJP) - Horror film "Salmokji: Whispering Water" held onto the top spot at the domestic box office for a second consecutive week, driven by strong word of mouth among younger moviegoers. According to the Korean Film Council on Monday, Lee Sang-min's directorial debut feature attracted 472,109 moviegoers over the weekend, bringing its cumulative total to 1.46 million since its release earlier this month. It already surpassed its break-even point of 1 million moviegoers in just about ten days after its release on April 8, extending its unexpected box-office run. The 95-minute film revolves around a film crew that visits a reservoir where an unidentified figure has been spotted, only to encounter something hidden in the dark waters below. Word of mouth has spread online, with viewers taking to social media to share their views, fueling curiosity about the film. In particular, its open-ended conclusion has sparked heated debate over interpretations, prompting many to watch it again. 2026-04-20 14:14:02 -
Singer Park Hye-kyung Releases New Single, 'Dreams Don’t Melt' Singer Park Hye-kyung is returning with a new song. Park is releasing the single, “Dreams Don’t Melt,” on Wednesday. The modern rock track, marked by a polished British alternative feel, carries a message that dreams held deep inside do not disappear even through hardship and the passage of time. The song opens with a lyrical guitar riff and restrained vocals, then builds as distorted guitar and a driving rhythm intensify toward the chorus. Park’s clear tone and huskier voice add to the song’s sincerity. Through her agency, Park said she hopes the new release “will become a song of encouragement for everyone going through a difficult time, so they can run again toward tomorrow.” She added that returning with new music after a long break feels especially meaningful, saying she spent that time thinking and preparing musically and “put that sincerity into this new song.” Park also said she plans to connect more directly with fans through busking and other formats, and promised to repay those who have waited with better music and an earnest presence. “Dreams Don’t Melt” will be available at 6 p.m. Wednesday on major online music platforms.* This article has been translated by AI. 2026-04-16 17:54:08 -
Robert De Niro, Ben Stiller and Ariana Grande Set for 'Meet the Parents 4' in November 'Meet the Parents 4' has set a November release and unveiled its first poster and trailer. The 'Meet the Parents' franchise is a comedy built on the tense, often awkward standoff between a father-in-law and son-in-law. It has centered on Jack Byrnes, a CIA veteran, and Greg Focker, who is trying to win approval to marry into the family. The first film earned $330 million worldwide, and the second topped it with $522 million. In the fourth installment, Greg’s son, Henry, introduces his girlfriend, Olivia, to the family. Robert De Niro and Ben Stiller return, and Ariana Grande joins the cast as Olivia. The newly released poster highlights the friction among the characters, contrasting Stiller’s Greg with De Niro’s Jack glaring at him, alongside a confident Olivia. The trailer uses BLACKPINK’s “JUMP” as background music. Jack tells Olivia, “Don’t worry. We do this with all potential new family members,” as he puts her through a lie detector test. Greg also tries to determine whether Olivia is right for Henry. Olivia, described as a former FBI hostage negotiator, pushes back in unexpected ways, raising the stakes. The film’s team said Stiller’s character, once the son-in-law under scrutiny, now faces a reversal. They said the sparring between Stiller as a prospective father-in-law and Grande as a formidable prospective daughter-in-law will be a key draw. '’Meet the Parents 4’ is directed by John Hamburg, who worked on the scripts for all previous films. De Niro, Stiller, Owen Wilson and Grande star. The film is scheduled for release in November.* This article has been translated by AI. 2026-04-16 17:48:26 -
Jung Woo Returns as Jjangu in New Film, Co-Directing Autobiographical Story 2009’s hit film “Wish” (“Baram”), often dubbed an “unofficial 10 million” blockbuster and long embraced by many Korean men as a defining movie, is bringing back its character Jjangu after 16 years — this time as the focus of a new film. “Jjangu” follows the character in his 20s after high school, thrown into what the film portrays as a jungle-like adult world, fighting to survive while chasing a single goal: becoming an actor. A press screening and news conference for “Jjangu,” co-directed by Oh Seong-ho and Jung Woo, was held Wednesday afternoon at CGV Yongsan I’Park Mall in Seoul. Oh, Jung and cast members Jung Soo-jung, Shin Seung-ho, Kwon So-hyun and Jo Beom-gyu attended. Set in the 2000s, the film depicts Jjangu (played by Jung) as he starts living on his own in Seoul and confronts the realities of pursuing his dream. The project draws heavily from Jung’s own story; he wrote the screenplay and also co-directed. Capturing the atmosphere and sensibility of Busan, where the story is rooted, was a key challenge, Oh said. “Gyeongsang Province’s sensibility was very important,” Oh said, adding that locations needed to feel lived-in rather than like tourist spots. He said the team practiced to avoid “fake” dialect and deliver authentic Busan speech. For Jung, filming in his hometown came with a warm reception. He said some locations — including a nightclub and a gukbap restaurant — were initially difficult to secure, but local contacts offered support after hearing he was making the film. “They sponsored us and even lent us the places,” Jung said. “I thought, ‘I’m not done yet,’ and that people in Busan still care about me. I filmed with a grateful heart.” Like “Wish,” which drew attention for its lively chemistry among friends, “Jjangu” leans on fast back-and-forth between characters. Jung said he wrote the script as if he were hanging out with his real friends, while also doing extensive rehearsals and read-throughs. He said the cast was chosen not only for dialect but for acting ability and fit with the roles, adding that their personalities helped create the on-screen rhythm. Co-stars credited Jung’s drive on set. Jo said he felt he would learn a lot by working alongside Jung, whose energy helped shape the chemistry between their characters. Shin said the set was consistently enjoyable and that he hoped that feeling would carry to audiences. He said Jung’s leadership allowed the actors to perform in a “live” tone and situation, to the point he sometimes forgot they were filming. Jung said returning to the role of Jjangu — and taking on directing — carried special meaning. He said “Jjangu” has been his nickname since he was 2 or 3 years old, and that the character again brought thoughts of his father. “It was nice to revisit the acting I did 16 years ago as Jjangu,” he said. “I thought audiences might be happy to see him again, too. I hope they feel that way.” Jung said that while co-directing and starring can bring practical burdens, he had fun during production. He also said he was grateful to have the chance to make the film at a time when the movie market is difficult. Asked about how autobiographical the characters are, Jung said not all of them are based on real people. He described Min-hee as a “wannabe” figure for men, and said characters such as Beom-gyu and So-hyun reflect things he saw and experienced indirectly. Jung Soo-jung plays Min-hee, Jjangu’s first love, described as skilled at pushing and pulling in relationships. She said she enjoyed “Wish” and had long been curious about a follow-up. “When I got the offer, I enjoyed reading it, and I wanted to work with Jung Woo,” she said, adding that the cast filmed in a good mood together. On Min-hee’s feelings, Jung said that while the character may seem hard to read, she played every moment as sincere. “Min-hee’s feelings for Jjangu are real,” she said, adding that what begins as a joke gradually becomes an honest confrontation with her true emotions. “Jjangu,” which revisits 2000s nostalgia and the bittersweet growing pains of youth, is expected to offer fans of “Wish” a sense of return while introducing new audiences to Jung’s personal story. It opens in theaters on the 22nd. * This article has been translated by AI. 2026-04-16 17:42:35 -
TOMORROW X TOGETHER Turns the Page With a More Direct Story on 'The Seventh Year' Dozens of songs and works are created every day, but many never reach a wide audience. The same is true for the artists who sing and act — even strong talent can be overlooked. “Artist Spotlight” introduces artists across fields and tracks their growth, as well as offering an affectionate tribute. <Editor’s note> TOMORROW X TOGETHER’s music has long been built like a continuing narrative, with album series that read as chapters in a coming-of-age story. The group, under BigHit Music, debuted March 4, 2019, as a five-member multinational boy band. Its name means that “you and I, different from each other, come together in one dream to make tomorrow together.” That storyline has moved through releases including “The Dream Chapter: STAR,” “The Dream Chapter: MAGIC” and “The Dream Chapter: ETERNITY,” followed by “minisode1 : Blue Hour.” It continued with “The Chaos Chapter: FREEZE” and “The Chaos Chapter: FIGHT OR ESCAPE,” then “minisode 2: Thursday’s Child,” tracing emotions from excitement and discovery to rupture, confusion, desire and the aftermath of a first breakup. The narrative, however, has not stayed only in a fictional framework. The meaning of the group’s name has been reinforced in its real-life teamwork, marked by trust and affection and a steady commitment to moving forward together. Ahead of their seventh anniversary, all five members renewed their contracts, a decision that underscored they were choosing the next stage as a group. That shift comes into sharper focus on the mini-album “The Seventh Year: When the Wind Stopped for a Moment in the Thornbush.” Where the group previously expressed growing pains through a “boy” persona and an overarching universe, the new release looks more directly at the present — the responsibility and expectations that have accumulated since debut, the gap between ideals and reality, and the anxiety and worry they felt before renewing their contracts. Even as the approach becomes more direct, the group’s emotional texture remains consistent: less blunt force than a feeling that slowly spreads. The mood is often dreamy with a cool edge and a damp lyricism, and the album title and subtitle extend that sensibility, using “thorns” as a metaphor for past pain and a brief calm amid ongoing unease. Those themes carry through the track list. “One More Day” (“하루에 하루만 더”) sings of the desperation to hold on to a love that is nearing its end, while also pointing to determination to keep pursuing a dream — a sentiment the article links to the group’s mindset after renewing contracts. “Bed of Thorns” addresses accepting the results of choices, while “So What” lays out the anxieties and 고민 of the past seven years in more direct terms. “Take Me to Nirvana” and “21st Century Romance” turn to sensations of release and inner signals. The closing track, “Next of Next” (“다음의 다음”), leaves the future uncertain but insists on moving toward tomorrow. In that sense, the album is not simply a “new chapter.” It reframes long-built trust and affection — along with the instability that can come with it — in a more realistic grain. The group’s story, once read mainly as a fictional growth narrative, is now closer to its own names and feelings. The pages, it suggests, are still turning.* This article has been translated by AI. 2026-04-16 10:33:44