Journalist
Lee Soo-jin
isooeye@ajunews.com
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Seoul SK Falls to Anyang Jung Kwan Jang, Finishes Fourth After Late Free-Throw Misses Seoul SK drew anger from fans after a listless performance in its regular-season finale raised questions about whether the team was trying to lose. On April 8, the final game of the sixth round of the 2025-26 LG Electronics Pro Basketball season was played at Anyang Jung Kwan Jang Arena. SK entered the matchup knowing a win would lock up third place in the regular-season standings, while a loss would drop it to fourth. As results came in from other arenas, the playoff picture sharpened. KCC lost to DB and Sono lost to KT, fixing the standings among those four teams. SK would face KCC in the six-team playoff with a win, or Sono with a loss. With SK trailing KCC in the head-to-head series, a string of puzzling plays followed. Late in the fourth quarter, SK’s Lee Min-seo committed a foul that led to free throws, and SK fell behind 63-62. With about 20 seconds left and the score tied 65-65, Jung Kwan Jang also made an unusual sequence: Kim Se-chang near the halfcourt line appeared to hand the ball to SK, then committed a foul by grabbing an opponent. SK went to the line with a chance to win by making one free throw, but Kim Myeong-jin missed both. SK then allowed a layup at the other end, with defense that did not appear aggressive. SK lost 67-65, finished fourth and will meet Sono in the six-team playoff. Fans criticized the game as looking like an “intentional loss.” SK, which finished first in the regular season last year, ended this season’s regular-season schedule under a cloud of controversy. According to multiple reports, an SK official said, “There was no intention to lose the game on purpose. We did show some disappointing moments at the end, but it wasn’t deliberate.” The KBL said that because five games were played simultaneously on the final day of the regular season, it would first analyze the SK-Jung Kwan Jang game before making a judgment. 2026-04-09 10:06:00 -
Review: ‘Sinners: Sinners’ and the Oscars’ Spotlight on the Blues The Academy Awards may be the world’s most-watched film prizes, but they are still, as some put it, a largely local show. I paid little attention this year — until I heard that the film “Sinners: Sinners” (hereafter “Sinners”) had landed a record 16 nominations. Most people expected “One Battle After Another” to dominate. So why did the less-known “Sinners” suddenly stand out? In South Korea, the gap was stark. “One Battle After Another,” boosted by Leonardo DiCaprio, drew more than 500,000 viewers. Before its re-release, “Sinners” drew fewer than 80,000. Yet “Sinners” was a major hit at home: North American box office accounted for about 76% of its worldwide gross (source: IMDb). Even so, it was striking to see a film by Black filmmakers and starring Black actors — centered on blues music from an era of discrimination — become the most-nominated film in Oscars history. In the end, “Sinners” won four trophies out of 16 nominations, while most major awards went as expected to “One Battle After Another.” The nominations were a surprise, but the film did not overturn Hollywood’s usual order. The ceremony ended with relatively little controversy. Still, “Sinners” merits a second look, particularly at a time when, as President Donald Trump issues ultimatums to the world, the United States’ standing appears to be slipping by the day. My view is that the Academy’s attention to “Sinners,” after “One Battle After Another,” reflected a sense of urgency in trying to lift the image of an American empire whose prestige has fallen sharply. Part of the film’s appeal in the United States, I believe, is that while it tells a Black story, it also captures — in vivid sound and image — something foundational about the country itself, prompting even Americans to reconsider what they may not have fully recognized about their own roots. “Sinners” is a period piece set during the height of Jim Crow segregation laws. It layers music heavily into the story and eventually folds in occult elements, making for a complex plot. But its core is unmistakable: the blues. For decades, the United States held the “world’s police” image, even in blockbuster fantasies where it shoulders the mission of global stability and peace. In reality, the country’s most decisive global impact has been cultural — especially popular culture. For years, U.S. content has dominated music and film charts worldwide. And at the root of that cultural force sits Black blues music. “Sinners” treats the blues with reverence. In the film, a gifted blues player named Sammy takes the stage on the day twin brothers Smoke and Stack — who return home after running with gangs elsewhere — open a bar. Sammy performs his original song, “I Lied to You.” The sequence that follows was powerful enough to quicken the pulse of an ordinary viewer like me, sitting in the corner of an almost empty theater in South Korea. As Sammy sings and plays in 1932, the film collapses time: one person plays an electronic guitar; another DJs, then raps; others break-dance and twerk. At one point, as hip-hop unfolds, someone beside it performs Peking opera, a traditional Chinese musical theater form. The film presents the blues as a vast, almost sacred force — one that blurs the line between life and death and gathers past, present and future into a single moment. The greatness it assigns to the blues is rendered with unusual clarity in the “I Lied to You” sequence. What did American audiences feel watching it? Did they sense their country’s reach in a visceral way? The Academy, moved by that pull, nominated “Sinners” in 16 categories, granting it the distinction of the most nominations in Oscars history. That is where I see the cultural world’s urgency to restore the stature of an empire. For reasons that are not entirely clear, that effort ended with four wins out of 16. It may have been too much to expect that the blues — music born of resistance — could by itself rescue the future of a declining empire. The question now is what Americans will look to next for renewal — and whether that answer lies not outside the country, but within it.* This article has been translated by AI. 2026-04-08 19:03:20 -
Pitcher Ryu Hyun-jin hits 1,500-strikeout milestone SEOUL, April 8 (AJP) - Pitcher Ryu Hyun-jin of the Hanwha Eagles added another milestone in his baseball career with his 1,500th strikeout. Ryu, who started an away game against the SSG Landers in Incheon on Tuesday, struck out 10 batters to become the oldest pitcher in Korean Baseball Organization (KBO) history to reach 1,500 strikeouts at 39 years and 13 days, as well as the fastest to reach the milestone by games played with 246 outings. It was also his first double-digit strikeout game in about 14 years since October 2012. After the game ended with the Eagles' 6–2 victory, the left-hander, who pitched through the sixth inning, said he was aware he was approaching the milestone. "I thought I might be able to get at least one strikeout. I got it in the first inning, so I was able to pitch comfortably." Earlier Ryu amassed 934 strikeouts over 10 seasons in the U.S. Major League Baseball. Since making his professional baseball debut in 2006 in South Korea, Ryu has posted at least 100 strikeouts in nine consecutive seasons and is aiming to extend the streak this year. 2026-04-08 14:18:22 -
Hanwha’s Ryu Hyun-jin becomes KBO’s oldest, fastest to 1,500 strikeouts Hanwha Eagles left-hander Ryu Hyun-jin added another milestone to his career. Ryu started Monday at Incheon’s SSG Landers Field and earned the win after allowing two runs over six innings in Hanwha’s 2026 Shinhan SOL KBO League regular-season game against the SSG Landers. He struck out 10 to become the oldest pitcher in KBO history to reach 1,500 strikeouts, doing so at 39 years, 13 days. He also set the record for fewest games to 1,500, reaching the mark in 246 appearances. It was also his first double-digit strikeout game in 14 years, since an Oct. 2012 outing against the Nexen Heroes (now the Kiwoom Heroes). After the game, Ryu told reporters he learned about the approaching milestone after his previous start. “I did think I wanted to get at least one strikeout,” he said. “I got it in the first inning, so I was able to pitch comfortably.” Ryu added that he was not focused on piling up strikeouts. “I don’t have a desire to chase strikeouts,” he said. “But it’s good to have a day like today once in a while, and I’m just happy to have double-digit strikeouts for the first time in a long time.” Ryu previously recorded 934 strikeouts over 10 seasons in Major League Baseball. Combined with his KBO total, he has 2,434 strikeouts in Korea and the United States. Since debuting in the KBO in 2006, Ryu has recorded at least 100 strikeouts in nine straight seasons through last year, and he is aiming to make it 10 consecutive seasons in 2026. 2026-04-08 11:18:28 -
Review: Kim Young-ha’s ‘What Happened to the Man Stuck in the Elevator?’ ‘Even now, I still wonder. What on earth happened to him.’ Twenty-seven years after it was published, no one knows what became of him — the man who, in 1999, got stuck in an apartment elevator in Kim Young-ha’s short story, ‘What Happened to the Man Stuck in the Elevator?’ Though I read it more than 20 years ago, several scenes remain vivid, like a film: the man wedged at the fifth floor with his upper body caught between the doors, his feet dangling outside. The narrator, a resident of the same building, sees the man on the way to work and decides to report it rather than pull him free — worried about being late. But he has no cellphone. The security guard is out on patrol, and no one will lend a phone. The day only gets stranger: the commuter bus crashes, the narrator is mistaken for a sex offender, and at work he ends up trapped in an elevator. He is rescued much later, but his suit is ruined, he is late, and an important meeting ends in disappointment. By the time he gets off work, he still has not been able to report what he saw. Back home, he asks the building manager and neighbors what happened to the man — but no one knows. More than that, no one even seems to know such an incident occurred. The shock I felt then came from how chillingly real the story made “indifference” feel. The lingering anger came, too, from the author’s refusal to provide an ending. Kim, even now, has never offered an epilogue about the man’s fate. When I first read the story, I resented the neighbors, bus passengers and co-workers who piled hardship onto the narrator. A scene in which employees debate how many squares of toilet paper to allow for bodily waste, to save supplies, felt absurd. The narrator’s helplessness also seemed pathetic. Looking back now, I see the narrator differently: timid, perhaps, but in his own way admirable — the kind of worker who keeps showing up, enduring the long years, no matter what derails the day. Over time, my irritation at the bystanders has faded, replaced by a renewed respect for the many office workers who quietly withstand routine and then absorb sudden crises, solve them and move on. Kim, who was just over 30 when he wrote the story, may have been driven by irritation at people who pride themselves on being expressionless, detached and narrowly focused on their own tasks. Whether he still thinks that way is unclear. Now nearing 60, Kim met audiences on the 1st at a matinee concert that paired music and storytelling. The program placed the author’s commentary between performances of opera arias and film music. There, Kim reflected on ‘Cinema Paradiso,’ screened at a commemorative film festival marking the 30th anniversary of his literary debut. “I used to see it as a story about having to leave,” he said, “but watching it again, I realized it was about understanding the past and the community that made you.” He also said that in spring, more people wander without a destination, and “in that process, love shows on their faces.” The sharp edges in the author’s aura seem to have softened. So have mine. With time and experience, I have come to understand more of people’s smallness — and to value compassion more. I also find myself hoping that the story’s narrator, now surely older, would do something, anything, for a stranger in danger. * Leftover Review: A review of the impressions that remain after the main takeaways from cultural content are set aside.* This article has been translated by AI. 2026-04-03 18:45:18 -
2026 World Cup Field Set at 48: Iraq Returns After 40 Years, Italy Misses Again On April 1, Iraq beat Bolivia 2-1 in the intercontinental playoff to claim the final ticket to the 2026 World Cup. The result sent Iraq to the World Cup for the first time since 1986, ending a 40-year wait. Iraq, which borders Iran, has been shaken by war in the Middle East, with about 100 people killed, leaving the country in an unstable situation. Despite the security strains, large crowds poured into streets across Baghdad and other cities after the win, setting off fireworks and cheering. The Iraqi government declared a two-day public holiday. Another team ended an even longer drought. The Democratic Republic of Congo qualified for the finals for the first time in 52 years, beating Jamaica in the intercontinental playoff after a 120-minute match. DR Congo scored in extra time and held on for the win. Italy, a four-time champion, failed to qualify for a third straight World Cup. Italy drew Bosnia and Herzegovina 1-1 after extra time in the European qualifying playoff Group A final on April 1, then lost on penalties. After the setback, Italy’s football federation president and the national team director resigned, the report said. Bosnia and Herzegovina, meanwhile, will return to the World Cup for the second time, 12 years after 2014. South Korea’s first opponent in Group A was set as the Czech Republic, which qualified for the first time since the 2006 tournament in Germany. The Czech Republic beat Denmark on penalties after extra time in the European playoff Group D final. The 2026 tournament will be the first World Cup to expand from 32 teams to 48. Jordan and Uzbekistan from Asia, Cape Verde from Africa, and Curacao from the CONCACAF region will make their World Cup debuts. With the United States, Canada and Mexico hosting, the North America World Cup is expected to be the largest in the tournament’s history. The number of matches will rise from 64 to 104, and the competition will run 39 days, the longest World Cup to date.* This article has been translated by AI. 2026-04-03 10:54:00 -
South Korea Expands ‘Culture Day’ to Weekly, but Movie Discounts Draw Backlash South Korea’s monthly “Culture Day,” previously held on the last Wednesday of each month, expanded in April to a weekly Wednesday program called “Culture Wednesday.” The change follows the Culture, Sports and Tourism Ministry’s approval on March 3 of a revision to the enforcement decree of the Framework Act on Culture. The ministry said the revision broadens benefits such as discounted movie tickets and free or discounted admission to national heritage sites and sports events. But online communities have questioned whether the movie-ticket benefit has effectively been reduced rather than expanded. Under the previous program, movie tickets cost 7,000 won on Culture Day. Under the revised decree, the discount applies twice a month, but ticket prices rise to 10,000 won for adults and 8,000 won for youths. While theaters may offer discounts more often, viewers who do not go at least twice a month would pay more per discounted visit — a 3,000-won increase for adults compared with the previous 7,000-won price. The article said theaters had borne the cost of the discount without government subsidies. It said theaters, after consultations with the ministry, agreed to join the expanded program by increasing discount days to twice a month while raising the discounted price. After the change became known, comments on portal news sites, online communities and social media largely argued that cultural benefits had been cut, saying it would be better to keep a once-a-month 7,000-won movie ticket. Because the previous Culture Day was credited with boosting attendance, some have voiced concern that higher discounted prices under Culture Wednesday could weaken the draw and ultimately reduce theatergoers. 2026-04-01 17:57:16 -
Review: 'Project Hail Mary' Weighs Sacrifice vs. Survival Without Judgment * This article contains major spoilers for the film. The film ‘Project Hail Mary’ includes a scene in which three crew members — a pilot, an engineer and a scientist — talk before boarding a spacecraft meant to save Earth as the sun dies. Grace, the scientist, suddenly realizes he is the only scientist assigned and protests: “I get motion sickness even in an elevator.” Yao, the pilot, replies, “That’s good. There are no elevators on the ship.” Grace answers, “No. This is a suicide mission.” Ilyukhina, the engineer, adds, “We’re perfect friends to die together.” The pilot and engineer have already agreed to go. Grace has not — and never intended to. The mission is one-way: once they leave Earth, they are expected to carry out their task at the destination and then die, unable to return. Grace is a middle school science teacher ostracized in academia for challenging the theory that all life requires water. That work leads to a request that he analyze a sun-dwelling microbe called ‘Astrophage,’ pulling him into the Hail Mary project. He expects to handle research and analysis, not fly into space. But an accident kills the scientist originally slated to go, leaving Grace as the only option. Stratt, the project’s hard-driving leader, tells Grace he will be given time to decide whether to die for the mission: three hours. After agonizing, Grace answers through tears, “I can’t go.” Earth may be in trouble, he notes, but there is said to be about 30 years left. Stratt refuses to accept his decision. She stops the fleeing Grace, renders him unconscious and puts him on the ship anyway — a blunt choice of sacrificing one for the many. The film asks whether that decision gives Earth a chance to recover. Set against Grace are Yao and Ilyukhina. Unlike Grace, who has no family or pets, they have loved ones and wide circles of friends. The two appear to have accepted death long ago, even discussing what kind of death would be most tolerable. The review recalls a line from the film ‘Deep Impact,’ when astronauts face a final self-sacrifice: “A high school will be named after us.” In ‘Project Hail Mary,’ Yao and Ilyukhina’s willingness to die is portrayed with a light touch, but the stakes remain stark. Even if the number of people they might save amounts to a quarter of humanity, the film suggests, that does not make any single life insignificant. Still, Yao, Ilyukhina and Stratt move forward, executing the logic of a few dying for the overwhelming majority — grimly, calmly and at times with humor. Grace, by contrast, cries that he would rather live on Earth a little longer, even if only for a few more years. He sobs in front of Stratt. Even without anyone depending on him, the film treats his desire to keep living as a choice that is hard to condemn. The film does not rule on which side is right. It presents, on equal terms, those who want to stay and those who choose to leave to die, emphasizing that different people make different decisions. The review argues that the film’s gaze is warm in the way it acknowledges and contains those competing human impulses. It even invites viewers to understand Stratt, who forces Grace onto the ship, as someone acting from her own position and sense of necessity. The review concludes that the film leaves an additional, lingering impression: people pursuing what they believe is the best choice, from where they stand, can appear admirable even when their decisions collide. * ‘Leftover review’: A review of the smaller impressions that remain after the main takeaways from cultural content. 2026-03-31 18:04:14 -
World Cup Rights Talks Stall in South Korea, Raising Concerns Over Public Access With about 70 days left until the 2026 North America World Cup, South Korea’s three terrestrial broadcasters and JTBC held talks over broadcast rights but failed to narrow their differences. The meeting on March 30 was chaired by Kim Jong-cheol, chairman of the Broadcasting Media Communications Commission, and attended by KBS President Park Jang-beom, MBC President Ahn Hyeong-jun, SBS President Bang Moon-shin and JTBC President Jeon Jin-bae. The two sides did not reach an agreement. JTBC said it had presented a final proposal on March 23, suggesting that the remaining rights fee — after subtracting revenue from digital resales — be split evenly between JungAng Group, which includes JTBC, and the three broadcasters. JTBC added that the three broadcasters’ “Korea Pool” has previously shared international sports rights costs at the same ratio, and said its proposal was a last offer made despite the prospect of “a large deficit,” citing concerns about universal viewing rights. A terrestrial broadcaster official who attended the March 30 meeting said there was “no progress” in negotiations for the 2026 World Cup rights. The official said the three broadcasters’ CEOs are demanding a “responsible position statement” from JTBC, which they say triggered the dispute. JTBC secured exclusive rights to the 2026-2032 Summer and Winter Olympics and the 2025-2030 World Cups in 2019, the report said, bypassing the Korea Pool consortium of MBC, KBS and SBS. It later sought to resell the rights to the three broadcasters, but the effort fell through. As a result, JTBC exclusively aired the 2026 Milan-Cortina Winter Olympics, but drew low ratings due to limited channels, fueling controversy over whether it infringed on the public’s universal right to watch major events. To protect that right, Democratic Party lawmaker Han Jeong-ae introduced an amendment to the Broadcasting Act on March 16 to guarantee universal viewing rights for events including the Olympics and the World Cup. The commission has also tried to mediate as negotiations have repeatedly stalled, including by holding an open public forum under the theme, “2026 North America World Cup broadcasts, listening to the public,” but has struggled to break the deadlock. While the March 30 meeting failed to bridge the gap, the terrestrial broadcaster official said working-level talks would continue, leaving open the possibility of a final deal. 2026-03-30 17:21:00 -
South Korean Actor Lee Sang-bo Found Dead at 45; Agency Says It Is Checking Actor Lee Sang-bo has died, South Korean media reported. He was 45. The Hankook Ilbo reported on the 27th that Lee was found dead on the 26th. Police who responded after a report from his family are investigating the exact circumstances of his death, the newspaper said. His agency, Korea Management Group (KMG), told multiple media outlets it was checking the report. Born in 1981, Lee debuted in the 2006 KBS drama “The Invisible Man Choi Jang-soo.” He appeared in dramas including “Miss Monte-Cristo” and “Elegant Empire,” and in films including “Secretly, Greatly” and “Mephisto.” Lee drew public attention in 2022 after police detained him following a report of a man who appeared to be under the influence walking around in public. It was later found to be a misunderstanding linked to his taking prescribed antidepressants and anti-anxiety medication, according to the report. In media interviews at the time, Lee said he felt wronged but called the incident a turning point, adding that he wanted to be remembered for his acting. He signed an exclusive contract with his current agency earlier this year and had signaled plans for more active work. Reports also said all posts on the social media account he ran during his lifetime have been deleted. 2026-03-27 18:18:19