Journalist

Choi Songhee
  • BLACKPINK draws big crowds in China and Japan with Deadline promotions
    BLACKPINK draws big crowds in China and Japan with 'Deadline' promotions BLACKPINK drew strong interest in China and Japan with large-scale events marking the release of its third mini album, "Deadline." YG Entertainment said Thursday it successfully wrapped up a "Deadline" release promotion held across 20 Chinese cities in partnership with Tencent Music Entertainment Group, or TME. The company said it was planned as TME’s largest offline promotion to date, with a range of events rolled out starting on the album’s release day. Landmarks in cities including Ningbo, Macau, Shenzhen, Zhongshan and Foshan were lit in the group’s signature pink. Major shopping malls in high-traffic cities such as Beijing, Shanghai and Guangzhou featured album-themed wraps and large installations, while the music video for the title track, "GO," played on giant outdoor screens, turning the areas into "BLACKPINK spots." Pop-up stores in five cities also drew heavy crowds. In Shanghai, Dolby House Shanghai in the Zhangyuan cultural complex offered an immersive Dolby Atmos sound experience and large-screen presentations of the group’s music. The space combined tech-based music content with limited-edition merchandise, drawing positive reviews from visitors. The momentum continued in Japan. A pop-up store in Tokyo’s Shibuya district drew early lines before opening, and some items sold out quickly. Fans also took part in billboard events and promotions tied to major record labels, posting photos from the site on social media to celebrate the group’s comeback. "Deadline" sold 1,774,577 copies in its first week, according to Hanteo Chart, setting a new first-week record for a K-pop girl group. The album also ranked high on the main charts of the U.K.’s Official Charts and the U.S. Billboard, setting a record for the most chart entries by a K-pop female artist, the company said.* This article has been translated by AI. 2026-03-12 09:51:20
  • TXT Wins Japan Gold Disc Award for Best 3 Albums in Asia Category
    TXT Wins Japan Gold Disc Award for Best 3 Albums in Asia Category 그룹 투모로우바이투게더가 일본 골드 디스크 대상에서 의미 있는 성과를 냈다. The group TOMORROW X TOGETHER earned a major honor at the Japan Gold Disc Awards. According to the Recording Industry Association of Japan on Tuesday, the group’s third Japanese full-length album, “Starkissed,” was selected in the Asia category for “Best 3 Albums” at the 40th Japan Gold Disc Awards. Released in October last year, “Starkissed” topped Oricon’s weekly combined album ranking and weekly album ranking with the group’s highest score to date. As of November last year, cumulative shipments surpassed 500,000 copies, earning a Gold Disc “Double Platinum” certification. In January, the group released the digital single “SSS (Sending Secret Signals,” featuring HYDE, a member of Japanese rock band L’Arc~en~Ciel and a solo artist, drawing a strong response. The group has maintained steady popularity in Japan. Its fourth full-length album released in South Korea in July last year, “The Star Chapter: TOGETHER,” received a Gold Disc “Double Platinum” certification as of February. The album first earned “Platinum” certification in its release month and added the new certification seven months later. The association issues Gold Disc certifications each month based on cumulative album shipments. TOMORROW X TOGETHER will hold its seventh anniversary special concerts, “2026 TXT MOA CON,” across eight shows in four Japanese cities — Aichi, Chiba, Fukuoka and Hyogo — in May and June. The group previously performed for three days at KSPO DOME in Seoul’s Songpa district, drawing about 33,000 attendees. The group will release its eighth mini album, “7TH YEAR: When the Wind Briefly Stopped in the Thornbush,” at 6 p.m. on April 13. It will be the group’s first full-group album since renewing its contract with BIGHIT MUSIC last year.* This article has been translated by AI. 2026-03-12 09:01:03
  • A Man Living With the King Tops 12 Million Admissions, Holds No. 1 Spot
    'A Man Living With the King' Tops 12 Million Admissions, Holds No. 1 Spot The film "A Man Living With the King" has surpassed 12 million admissions. According to the Korean Film Council’s integrated box office database, the film drew 171,426 moviegoers on March 11, holding the No. 1 spot. Its cumulative total reached 12,055,448. Set in Cheongnyeongpo in 1457, the film follows a village chief who volunteers to live in exile to revive his town and a young deposed king sent into exile. The film has won broad support from both critics and audiences. Disney and Pixar’s animated film "Hoppers," directed by Daniel Chong, ranked No. 2 the same day with 11,605 admissions, bringing its cumulative total to 348,380. The film centers on Pixar’s imagined "hopping" technology, which transfers human consciousness into animal robots, as a girl named Mabel becomes a robot beaver and infiltrates the animal world on an unexpected adventure. "Samakdo," directed by Chae Gi-jun, opened that day and drew 11,185 moviegoers. Its cumulative total stood at 12,000. The film depicts a hellish ordeal witnessed in a sealed-off village where prophecies and secrets surround a pseudo-religion that disappeared after Japan’s colonial rule. It stars Jo Yoon-seo and Kwak Si-yang. 2026-03-12 08:18:16
  • BTS to Return With Gwanghwamun Comeback Live Streamed Worldwide on Netflix
    BTS to Return With Gwanghwamun Comeback Live Streamed Worldwide on Netflix Gwanghwamun, the center of Seoul, is set to turn purple again. After a wait of three years and nine months, BTS will make its official return on March 21 at Gwanghwamun Square with “BTS Comeback Live: Arirang.” Organizers say the event is designed as more than a comeback show, pairing a Korean narrative with a global audience and already reshaping downtown Seoul into a festival zone. With nine days to go, here are the main points. ◆ Capacity expanded to 22,000; purple wave from Gwanghwamun Station to City Hall Planned initially for 15,000 seats, the show has expanded to 22,000 amid surging demand. Offline ticket sales held Feb. 23 overwhelmed the “NOL Ticket” site, with the waiting queue topping 100,000; all seats sold out in 40 minutes. BigHit Music and HYBE said they secured additional viewing areas from Gwanghwamun Station, south of the Sejong-daero intersection, to near City Hall Station. Additional ticketing is set for March 12 at 8 p.m., and all sections will be standing to allow more fans to attend. Organizers said they are strengthening real-time monitoring and identity verification to curb scalping that has exploited the free event, with some resale listings reaching hundreds of thousands of won. ◆ Netflix’s first artist-only live stream aims for global reach The performance will be streamed live via Netflix to more than 190 countries. Netflix has not previously carried a live broadcast devoted to a single artist’s concert, a move expected to bring fans together in what organizers describe as a shared “digital square.” Industry attention is focused on how Netflix’s live-streaming capacity — previously cited as handling 65 million concurrent connections — will pair with BTS’ performance. A Netflix official said, “It will be a true live moment where viewers around the world share the same experience at the same time, without language and cultural barriers.” ◆ ‘Royal road’ opening and traditional aesthetics Organizers say the staging will emphasize Korean aesthetics. Members are set to open by marching along the “royal road” from Geunjeongmun to the restored Gwanghwamun Woldae, rebuilt for the first time in 100 years. The production also includes a large-scale performance combining the Arirang traditional music ensemble and dancers, along with a media facade planned to light up Gwanghwamun’s night sky and walls. Related brand collaboration products based on traditional Korean aesthetics are also to be released in stages through pop-up stores, organizers said. Analysts estimate the concert and related tourism, including pop-up store visits, could generate direct and indirect economic effects approaching 1 trillion won. Based on past large-scale concert data, they project 100,000 to 150,000 overseas fans could visit and spend at least 300 billion to 700 billion won on lodging, tourism and shopping. They added that the promotional value for Seoul’s city brand through the Netflix live broadcast could push the overall impact into the hundreds of billions of won more. ◆ New album March 20; world tour to span 34 cities BTS will release its fifth full-length album, “Arirang,” worldwide at 1 p.m. on March 20, the day before the concert. The 14-track album includes the title song “Swim (SWIM),” with leader RM participating broadly in the lyrics. The new songs are set to be unveiled on the March 21 Gwanghwamun stage. Plans after the comeback include a Netflix documentary, “BTS: The Return,” to be released March 27, covering the album’s production process. The group is also set to begin a major world tour in April starting in Goyang, with 82 shows across 34 cities.* This article has been translated by AI. 2026-03-12 06:03:21
  • SHINee’s Taemin Signs Exclusive Contract With Galaxy Corporation
    SHINee’s Taemin Signs Exclusive Contract With Galaxy Corporation Taemin, a member of the K-pop group SHINee and a solo singer, has signed with Galaxy Corporation. Galaxy Corporation said on the 11th that it has signed an exclusive contract with Taemin, adding that it will provide full support so his “unrivaled artistic capabilities” can create synergy with the company’s cutting-edge technology. Galaxy Corporation, which describes itself as South Korea’s first AI entertainment-technology company, develops “entertech” businesses that combine entertainment content with technologies such as AI and robotics. The company said the signing reflects a strategy to create added value by merging artists’ intellectual property with digital technology. With the move, Taemin joins a roster that includes singer G-DRAGON, actor Song Kang-ho and broadcaster Kim Jong-kook. Taemin debuted in 2008 as a member of SHINee, releasing hits including “Replay,” “Ring Ding Dong” and “View.” After making his solo debut in 2014, he released songs such as “Danger,” “Move” and “Want,” establishing himself as a solo artist known for performance. In August 2024, he launched his first solo world tour, “Ephemeral Gaze,” starting at Inspire Arena in Incheon, and held 37 shows across 20 countries in Asia, the United States and Europe. He is set to perform April 11 and 18 at the Coachella Valley Music and Arts Festival in Indio, California, becoming the first South Korean male solo singer to take the stage at the festival.* This article has been translated by AI. 2026-03-11 17:21:19
  • J-pop Singer Vaundy to Hold First Solo Concerts in South Korea in September
    J-pop Singer Vaundy to Hold First Solo Concerts in South Korea in September Japanese singer Vaundy will visit South Korea for the first time since his debut.  Type Communication Co., the organizer, said on the 11th that Vaundy will hold two solo concerts on Sept. 19 and 20 at Inspire Arena in Incheon, titled "Vaundy ASIA ARENA TOUR 2026 'HORO' IN SEOUL." The shows will mark his first official meeting with Korean fans who have long awaited a Korea concert, the organizer said. Vaundy is known as a multi-talented artist who oversees songwriting, composition and arrangement, as well as design, video direction and self-producing. Backed by polished sound, messages that resonate across generations and strong live performances, he has built a following across Asia beyond Japan. The Seoul concerts are expected to feature hit songs including "怪獣の花唄 (Kaiju no Hanauta)" and "踊り子 (Odoriko)," along with a special set list prepared for the Asia tour. The concerts will be held at Inspire Arena, described by the organizer as South Korea’s first multipurpose arena. Tickets for Vaundy’s first solo Korea concerts will be sold exclusively through online seller NOL Ticket starting at 8 p.m. on the 11th.* This article has been translated by AI. 2026-03-11 17:09:24
  • ‘K-Pop Demon Hunters’ Song ‘Golden’ to Be Performed at 98th Oscars
    ‘K-Pop Demon Hunters’ Song ‘Golden’ to Be Performed at 98th Oscars Netflix hit film ‘K-Pop Demon Hunters’ will bring its theme song, ‘Golden,’ to the Academy Awards stage. The Academy of Motion Picture Arts and Sciences said on its official website on March 10 (local time) that EJAE, Audrey Nuna and Rei Ami — who provide the vocals for the film’s girl group, Huntrix — will perform ‘Golden’ at the 98th Academy Awards. The performance will open with a fusion segment combining Korean traditional instruments and dance. The academy said it will highlight the folk elements and cultural inspiration behind the film before the three Huntrix vocalists continue with ‘Golden.’ Oscars executive producers Raj Kapoor and Katy Mullan called the film “a movie that sparked a global pop-culture craze.” On its official X account, the academy also posted: “Huntrix fans, light up your light sticks,” building anticipation for the stage. ‘K-Pop Demon Hunters’ is nominated this year for best animated feature and best original song. After winning at the Golden Globe Awards in January and the Grammys last month, attention is also on its Oscar chances. The 98th Academy Awards will be held March 15 at the Dolby Theatre in Hollywood, Los Angeles.* This article has been translated by AI. 2026-03-11 13:51:18
  • BLACKPINK’s ‘GO’ Enters Billboard Hot 100, Setting K-Pop Girl Group Record
    BLACKPINK’s ‘GO’ Enters Billboard Hot 100, Setting K-Pop Girl Group Record BLACKPINK is drawing attention for extending K-pop records on major U.S. and U.K. charts, including Billboard and the Official Charts. According to Billboard’s latest rankings released on March 9 (local time), “GO,” the title track from the group’s third mini album, “DEADLINE,” debuted at No. 63 on the Billboard Hot 100. It marked BLACKPINK’s 11th career Hot 100 entry, the most ever for a K-pop female artist. The group also placed No. 13 on Billboard Global (Excl. U.S.). “DEADLINE” previously became BLACKPINK’s fifth career entry on the Billboard 200, underscoring the group’s continued presence in the mainstream pop market. In the U.K., “GO” ranked No. 44 on the Official Singles Top 100, while “DEADLINE” reached No. 11 on the Official Albums Top 100. Those results gave BLACKPINK its 12th singles chart entry and fourth albums chart entry, setting new records for the most appearances by a K-pop female artist in both categories. Sales charts also showed strong momentum. “DEADLINE” topped Hanteo’s weekly and monthly charts with just two and a half days of tracking, and it earned a triple crown on Circle Chart. The album sold 1,774,577 copies in its first week, setting a new first-week record for a K-pop girl group. Released Feb. 27, “DEADLINE” has also drawn praise from major international outlets. Rolling Stone wrote, “BLACKPINK is back at its best,” and Billboard called “GO” “the best song on the album and a track that truly represents BLACKPINK.”* This article has been translated by AI. 2026-03-11 08:33:32
  • ‘The Man Who Lives With the King’ Tops 10 Million Viewers, Reviving Korea’s Theaters
    ‘The Man Who Lives With the King’ Tops 10 Million Viewers, Reviving Korea’s Theaters A straightforward, traditional historical drama has become Korea’s latest 10 million-admissions hit. Director Jang Hang-jun’s film “The Man Who Lives With the King” crossed the milestone, becoming the first Korean movie in about two years to do so and giving a lift to a theater industry that has struggled to regain momentum. According to the Korean Film Council’s integrated box office database on Monday, the film drew 203,027 viewers the previous day to remain No. 1. Its cumulative audience has topped 11,706,746. The film passed 10 million admissions at about 6:32 p.m. on March 6, its 31st day in release. It is the first 10 million-admissions film since the 2024 hit “The Roundup: Punishment,” and it is also the fourth historical drama to reach the mark, following “The King and the Clown,” “Masquerade” and “The Admiral: Roaring Currents.” Showbox, the film’s investor and distributor, said, “We sincerely thank all audiences who supported ‘The Man Who Lives With the King’ and joined us in theaters.” A company official added that, with people increasingly watching movies alone, “the steps of audiences who came to the theater feel even more meaningful,” and pledged to keep working to release strong films. A Lotte Cinema official said the film’s run shows that “if a movie is well made, audiences are always ready to breathe together in theaters,” adding that the cross-generational turnout could be “a decisive turning point” for a rebound in Korea’s film industry in 2026. The Lunar New Year holiday period proved pivotal. From Feb. 13 to 18, the film drew 2,675,454 viewers and held the top box office spot for seven straight days. On Feb. 17, the day after the holiday, it attracted 661,449 viewers, setting a post-pandemic record for the highest single-day audience during the Lunar New Year period since March 2020. A theater official said Korean films including “The Man Who Lives With the King” and “Humint” reclaimed the holiday box office lead after losing it to foreign titles last year, adding that the traditional historical drama drew family audiences across age groups. Industry watchers also pointed to an unusual mix behind the film’s staying power: broad family turnout during the holiday, followed by a surge driven by actor fandom and in-person stage greetings. The cast — including Park Ji-hoon, Yoo Hae-jin, Yoo Ji-tae and Jeon Mi-do, along with special appearance Lee Jun-hyuk — took part in events that drew strong reactions, which spread through online communities and social media and encouraged repeat viewings. A female moviegoer identified by her surname Kim said she became curious after seeing the actors’ active stage greetings and the online response, adding that their sincerity was “the decisive reason” she watched the film multiple times. The milestone also marked career firsts and records for key cast members, the article said. Yoo Hae-jin, who plays village chief Eom Heung-do, now has five 10 million-admissions films. Yoo Ji-tae, who plays Han Myeong-hoe, earned his first 10 million-admissions title. Park Ji-hoon, who plays the deposed young former king Lee Hong-wi, reached the mark with his first commercial film. Film critic Kim Heon-sik called it significant as “a 10 million-admissions film nobody predicted,” saying an original historical drama expanded its audience during the Lunar New Year holiday and then gained additional momentum from voluntary fandom support. He added that theaters still show their greatest strength with films that multiple generations can watch together. The film’s run is being read as a symbolic signal for the broader market, with theaters hoping the momentum will continue in the weeks ahead.* This article has been translated by AI. 2026-03-11 00:03:40
  • ‘Number One’ reunites Jang Hye-jin and Choi Woo-shik after ‘Parasite’
    ‘Number One’ reunites Jang Hye-jin and Choi Woo-shik after ‘Parasite’ Every production holds many perspectives. Even in the same place and time, directors and actors can experience the moment differently. “Choi Song-hee’s B-Cut” looks beyond the on-screen “A-cut” to the vivid record of what happened off camera. 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> Reunions can be risky, inviting complacency. But on the set of the film “Number One,” familiarity appeared to fuel growth. Jang Hye-jin and Choi Woo-shik, who played mother and son in “Parasite,” worked together again, while director Kim Tae-yong reunited with Choi a decade after “Giant” (2014). Instead of easing into old rhythms, they leaned into new demands, including the challenge of speaking in the Busan dialect and pushing through emotionally difficult scenes. Jang said the second collaboration with Choi brought comfort — and a new respect for him as a fellow professional. "People might think that’s why he was cast, but I think that’s a separate issue," Jang said. "Because it’s our second time meeting, there’s a comfort in thinking we know each other well. We don’t have to go through the process of getting to know each other like you do with actors you meet for the first time. Watching Woo-shik again, I thought he’d gained a lot of know-how. There were moments when I was watching the monitor and the thought popped into my head: ‘I want to do it like that.’ He also seemed to feel more responsibility for the set and looked after people around him. And he really looks like my real son, which helped me immerse myself. He really does!" Choi said Jang’s voice reminded him of his own mother, helping him connect more deeply in scenes where the two exchange emotions and dialogue more often than before. "She kind of resembles my mom. Even her voice tone is similar, so it was easy to immerse myself while acting," Choi said. "This time we had a lot more scenes where we traded emotions and lines, so it felt like we got closer, and I saw sides of her I hadn’t seen before. I think I’m just lucky. I’ve known the director since ‘Giant,’ and I’ve been close with Jang since ‘Parasite.’ The subject matter can be heavy, but on set we laughed a lot and had a really fun shoot." For viewers who remember “Giant,” the reunion between Kim and Choi carries added weight. Choi recalled meeting the director when Kim was 27 and Choi was 24, and said the director recognized how much he had changed over 10 years. "When we met on ‘Giant,’ the director was 27 and I was 24," Choi said. "Back then we shot with almost no rules, and it was really hard, but it was still enjoyable. This time I went in expecting a lot. The difference is we’re about 10 years older. The director would say, ‘You’ve grown so much, you’re all grown up, now you’re an actor.’ I think it’s because I didn’t have any of that back then. I had a pure heart that wasn’t worn down by the world, and that makes me trust him more." Jang described Kim as candid and upbeat, and said she would work with him again. "The director is honest and keeps the mood light," Jang said. "Because it’s a story about people, his own story inevitably comes through. ‘Giant’ reflected how he felt then, and now it’s reached ‘Number One.’ If he asks to do another project next time, I think I could do it anytime. It was a really good set." Behind the warm reunion, both actors faced a major hurdle: the Busan dialect. Choi said using the dialect while playing intense emotions felt daunting, but he wanted to challenge himself and relied on guidance on set. "I was most worried about the Busan dialect," he said. "I thought it would be really hard to use it while doing emotional acting. This time I wanted to challenge myself. A dialect has to tell you how that person has lived. Having to go to intense emotions on top of that honestly felt scary. When I actually did it, it was really hard, but thankfully the director and my senior were there, and a lot of people watched over me." Jang, who is from Busan, said the hardest part was balancing authenticity with clarity for viewers. She also pointed to costume details that helped complete her character, Eun-sil, including a light-blue fleece left behind by her son in Busan. "Because I’m from Busan, people told me that if I spoke in a real dialect they couldn’t understand it," Jang said. "The hardest part was adjusting how understandable to make it. I worried people might say, ‘You’re from Busan and that’s all you can do?’ But regional emotion is in your body, so I tried to go naturally. Costumes helped a lot, too. I wanted to keep the setup that Eun-sil comes out wearing the light-blue fleece her son left behind in Busan." Choi said he had long avoided what he called a “jinx” around heavy emotional scenes, fearing sadness would linger. On “Number One,” he said, Jang’s performance helped him face it directly. "I actually have a jinx about emotional acting," Choi said. "I avoided filming sad things because I felt like I’d fall into a swamp and become unhappy. But I couldn’t avoid that scene. Watching the mother change because of Ha-min was really hard. But Jang guided me well, so I just had to receive the emotion. I think that’s why the acting could come out naturally." The film’s foundation, they said, is the trust built over years — not the comfort of familiarity, but a shared willingness to test limits. Their reunion, shaped by long working relationships and new challenges, became less a return to the past than a push forward.* This article has been translated by AI. 2026-03-10 16:15:25