Journalist

Yoo Joonha
  • WAIFF D-4: Seoul to host event for AI-driven films this week in lead up to Cannes
    WAIFF D-4: Seoul to host event for AI-driven films this week in lead up to Cannes SEOUL, March 2 (AJP) - Excitement has been building for an event as part of the annual World AI Film Festival (WAIFF), which is set to kick off in Seoul this week. As part of WAIFF's worldwide journey leading to Cannes in April, the two-day event is set to open at Lotte Concert Hall in southern Seoul on Friday, following last month's stop in São Paulo and with upcoming events scheduled later this month in Kyoto, Japan, and Wuxi, China. The festival's stop in Seoul is no coincidence as South Korea has emerged as a leader in AI-driven content creation, blending technology with cinematic storytelling, making it a perfect venue for WAIFF's global expansion since its inaugural launch in Nice, France, last year. At the Seoul event, around 25 films are competing in six categories – "Best AI Short Film," "Best AI Youth Film," "Best AI Micro Series," "Best AI Advertisement," "Best AI Screenplay," "Best AI Soundtrack," with prizes worth over 27 million won ($18,775). Nominees include young filmmakers and independent creators experimenting with AI-generated scripts and visual effects, as well as commercial studios integrating AI-assisted production techniques. A jury of about a dozen filmmakers, animation specialists, and industry professionals will be led by Son Seung-hyun, CEO and founder of Westworld, a leading South Korean visual effects (VFX) company. Each country's winners will then be invited to screen at Cannes for the Grand Finale at the Palais des Festivals, scheduled for April 21–22, vying against international competitors. The event is also expected to draw filmmakers, film enthusiasts, and industry insiders, serving not only as a competition through screenings and awards but also as a forum for discussions on AI ethics, copyright challenges, and the creative potential of generative technologies in cinema. Participants will be able to get a chance to connect with AI experts, directors, and industry professionals who are pioneering the integration of AI into filmmaking. With its combination of competition, discussion, and networking opportunities, the event would reinforce South Korea's emerging role as a hub for technological innovation in the creative industries. 2026-03-02 12:19:19
  • Korea, Japan end lower Fri after stunning February
    Korea, Japan end lower Fri after stunning February SEOUL, February 27 (AJP) - Asian equities diverged Friday as chip-heavy markets in South Korea and Japan retreated following a reassessment of AI earnings momentum, while sentiment improved modestly in China-related markets ahead of next week’s pivotal Two Sessions. In Seoul, the benchmark KOSPI fell 1.0 percent, or 63.14 points, to close at 6,244.13, after swinging between a high of 6,347.4 and a low of 6,153.9. The pullback followed a near-uninterrupted rally since Feb. 9. Foreign investors were heavy sellers, offloading 7.12 trillion won worth of shares. Individuals bought 6.31 trillion won and institutions added 545.8 billion won, suggesting the recent rally has been driven largely by domestic liquidity rather than offshore inflows. Turnover on the KOSPI reached 52.94 trillion won ($36.8 billion), underscoring active repositioning after a year-long bullish run. Foreign outflows pressured the currency, with the dollar rising 7.20 won to 1,440 won. Technology heavyweights led declines. Samsung Electronics slipped 0.7 percent to 216,500 won, while SK hynix dropped 3.5 percent to 1,061,000 won. Although Nvidia posted strong quarterly results, U.S. markets reacted cautiously, with its shares falling sharply overnight. Investors reassessed the sustainability of AI-driven earnings momentum, particularly after disclosures of sharply rising long-term purchase commitments raised questions about demand visibility. The tech-heavy KOSDAQ edged up 0.4 percent to 1,192.8 after touching an intraday high of 1,201.9, remaining near record levels. On the KOSDAQ, foreigners bought 63.5 billion won and institutions added 444.5 billion won, while individuals were heavy sellers, offloading 470.7 billion won — indicating selective rotation into mid- and small-cap growth names. Autos provided a notable counterweight. Hyundai Motor surged 10.7 percent to 674,000 won after announcing plans to invest approximately 9 trillion won in the Saemangeum region to build an AI data center, robotics manufacturing facilities and hydrogen infrastructure. The investment, structured around an AI-centered industrial cluster, reinforced investor optimism toward advanced manufacturing and next-generation mobility themes. Samsung Biologics rose 0.7 percent to 1,778,000 won, Kia edged down 0.2 percent to 205,500 won, and Doosan Enerbility gained 2.4 percent to 106,300 won. In Tokyo, the Nikkei 225 edged up 0.05 percent to 58,781.6, while the broader TOPIX advanced 1.4 percent to 3,934.5, reflecting strength in domestic-oriented shares even as semiconductor-linked names retreated. Tokyo Electron fell 2.9 percent, Advantest slid 4.5 percent and SoftBank declined 2.6 percent, mirroring global technology weakness. In contrast, Toyota gained 1.3 percent. Tokyo’s February core consumer price index, excluding fresh food, rose 1.8 percent year-on-year — slightly above expectations but still below the Bank of Japan’s 2 percent target. The “core-core” measure, excluding both fresh food and energy, accelerated to 2.5 percent, reinforcing the view that policy normalization will remain gradual and data-dependent. The yen traded around 156 per dollar. China’s Shanghai Composite added 0.4 percent to 4,162.9, while Hong Kong’s Hang Seng Index gained 1.0 percent to 26,647.9, outperforming regional peers despite lingering geopolitical uncertainty. Markets also monitored developments after the United States and Iran concluded a third round of nuclear talks without a breakthrough, though both sides signaled that technical discussions would continue. 2026-02-27 17:02:52
  • BTS Comeback D-22: The line between private and public - Jungkook
    BTS Comeback D-22: The line between private and public - Jungkook Editor’s Note — As BTS prepares to return as a full seven-member act with a new album set for March 20 and an open-stage performance at Gwanghwamun on March 21, following a near four-year hiatus for rotational military service, AJP revisits the group’s 13-year trajectory. This series reexamines BTS’s history, music, performance identity and enduring appeal. The eight installment traces the roots and growth of Jungkook. SEOUL, February 27 (AJP) - They sing about love, self-worth and empathy. At the same time, BTS members are adults with private lives that occasionally surface in public view. A late-night livestream by BTS member Jungkook on Feb. 26 prompted debate across fan communities, highlighting the tension between authenticity and expectation in global pop culture. Jungkook went live at approximately 3:40 a.m. KST (0640 GMT) on fan platform Weverse and streamed for about 90 minutes. The broadcast began informally, with Jungkook drinking alongside his older brother and acquaintances. He spoke about recent activities and preparations for BTS’ upcoming “ARIRANG” comeback, later shifting to a more candid tone about feeling busy and under pressure. Some segments of the livestream drew criticism. Viewers cited instances in which he used profanity, made an obscene hand gesture toward friends and responded firmly to fans who urged him to end the broadcast due to his intoxicated state. Jungkook told viewers not to dictate what he could or could not do. Shortly after the livestream ended, Jungkook posted a selfie on Weverse with the message: “The album is coming up soon. Please wait a little bit more. I’ll do my best when we make a comeback. I love you,” followed by seven purple hearts. A recording of the livestream was later removed from the platform. A divided response Reaction was immediate and varied. A full recording reposted on YouTube accumulated roughly 340,000 views, 14,000 likes and more than 2,500 comments. On X (formerly Twitter), discussion posts circulated widely. Korean-language reactions tended to express concern. Some users questioned Jungkook’s judgment, arguing that public figures representing a global group carry added responsibility. One longtime BTS-focused YouTube account with more than 44,000 followers announced it would stop uploading new content, citing disappointment, while leaving existing videos online. English-language responses often emphasized personal autonomy and stress. Several users described Jungkook as appearing tired or frustrated, while others stated that as an adult he has the right to live privately as he chooses. The contrast reflected differing expectations across segments of the fandom. Established livestream identities Some fans framed the incident within BTS’ long-standing livestream culture. One widely shared X thread analyzed each member’s communication style during broadcasts, describing Jungkook’s persona as more informal and friend-like compared to other members’ more structured or measured approaches. Such interpretations suggest that fan expectations are shaped by perceived consistency. When tone or behavior diverges from that established image, reactions intensify. Career context Born Jeon Jungkook on Sept. 1, 1997, in Busan, Jungkook entered the entertainment industry as a teenager. After auditioning for the television program “Superstar K,” he received offers from multiple agencies and chose Big Hit Entertainment. He debuted in 2013 as the youngest member of BTS at age 16 internationally (17 in Korean age). Known as the group’s “Golden Maknae,” he serves as main vocalist and a central performer. As a solo artist, Jungkook achieved measurable commercial milestones. In 2023, “Seven (feat. Latto)” debuted at No. 1 on the Billboard Hot 100. Subsequent singles “3D (feat. Jack Harlow)” and “Standing Next to You” both reached the top five. His album “GOLDEN” peaked at No. 2 on the Billboard 200 and charted for 25 weeks. “Seven” also topped the Billboard Global 200 and remained on global charts for an extended period. Brand partnerships have included global campaigns for Calvin Klein and associations with luxury brands such as Chanel and Hublot. That level of visibility amplifies scrutiny. Informal interactions, including livestreams, are often interpreted within the broader context of global brand representation. Public access and expectation BTS’ global rise has been closely linked to direct digital communication with fans. Livestreams have served as a primary channel for real-time engagement. However, increased accessibility can heighten expectations of conduct. For artists who have grown up under sustained public attention, the boundary between personal expression and public responsibility remains narrow. Whether the Feb. 26 livestream is remembered as a minor controversy or a transitional moment may depend less on the broadcast itself and more on subsequent public and professional developments. In global pop culture, authenticity and accountability frequently coexist. How audiences interpret that balance continues to evolve. 2026-02-27 15:35:29
  • WAIFF D-7: World AI Film Festival in Seoul for the first time
    WAIFF D-7: World AI Film Festival in Seoul for the first time SEOUL, February 27 (AJP) - The World AI Film Festival Seoul 2026 will kick off on March 6 at offline venues including a concert hall and a franchise movie theater, kicking off the annual AI film festival in the Asia region and highlighting South Korea’s growing presence in AI-driven content creation. The two-day event, running through March 7, is part of the World AI Film Festival Seoul 2026 (WAIFF Seoul 2026)’s expanding global network founded by Institut EuropIA under the leadership of former Apple executive Marco Landi. Since its inaugural launch in Nice, France, in 2025, the festival has positioned itself as an international platform dedicated to exploring the artistic and industrial convergence of artificial intelligence and cinema. More than 27 million won ($18,775.4) in prize money will be awarded across six competitive categories. The Best AI Film prize carries 10 million won for first place, 5 million won for second place and 3 million won for third place. Additional honors include Best AI Screenplay, Best AI Soundtrack, Best AI Micro Series and Best AI AD, each accompanied by a 2 million won award, while Best Youth AI Film carries a 1 million won prize. Selected winners may also be invited to screen at the main World AI Film Festival event in Cannes in April 2026. An 11-member jury representing film, animation, media and global cultural industries will evaluate the competition. Daniel Son, founder and chief executive of visual effects studio Westworld, will serve as jury president. A veteran VFX supervisor whose credits include "Exhuma," "All of Us Are Dead" and "Sweet Home Season 1," Son has received major honors at the Asian Film Awards and the Grand Bell Awards. Animation pioneer Nelson Shin, known for his work on "The Pink Panther," "Bugs Bunny," "Daffy Duck," 'The Simpsons" and the original lightsaber effects for Star Wars, joins the panel alongside supervising editor Nayoung Nam, whose credits include Squid Game and Along with the Gods. The jury also features Nigerian producer and cultural entrepreneur Bolanle Austen-Peters; director Jang Hang-jun, known for Forgotten, Rebound and The King’s Warden; and Cine21 chief executive Chang Young-youp, bringing together expertise spanning animation, global streaming production, filmmaking and film journalism. The festival was co-founded by Ngo Thi Bich Hanh and David Defendi. A total of 30 nominations have been confirmed across six prize categories: "Best AI Short Film," "Best AI Youth Film," "Best AI Micro Series," "Best AI AD," "Best AI Screenplay" and "Best AI Soundtrack." Several titles received multiple nominations. "Losing, Dog," "Octopus & Me," "Ticket to Neverland," "Little Wings" and "The Gate of Yokai" earned dual nominations, underscoring their cross-category strength. Beyond the competition, WAIFF Seoul 2026 will host a Pro Talks program addressing generative AI production workflows, intellectual property governance and ethical standards in AI-assisted filmmaking. Organizers say the Seoul edition aims to serve not only as a showcase of emerging AI cinema, but also as a forum shaping the creative and regulatory frameworks of the industry’s future. The festival will open at 6 p.m. (0900 GMT) on March 6 at Lotte Concert Hall. Tickets are currently available through the official ticketing platform Event Us, with sales closing at 1 p.m. on March 2. 2026-02-27 11:28:56
  • K-pop girl band aespa to release collaborative single Keychain
    K-pop girl band aespa to release collaborative single 'Keychain' SEOUL, February 27 (AJP) - K-pop girl band aespa will drop "Keychain," a collaborative single with Grammy-winning artist Anderson .Paak on Friday, the four-member group's agency SM Entertainment said. The collaborative track will unveil globally at 2 p.m. (0500 GMT) across major streaming platforms. "Keychain" serves as an original soundtrack (OST) for "K-POPS!," a film produced, directed and starring Anderson .Paak. The song blends the artist's signature hip-hop, R&B and funk-rooted sound with aespa's distinctive vocal tone and performance style. Anderson .Paak, a Korean American musician, first rose to prominence with his 2016 album "Malibu," which earned him his first Grammy nomination. In 2021, he formed the project duo "Silk Sonic" with Bruno Mars. The pair topped the Billboard Hot 100 and went on to win nine Grammy Awards, solidifying the 40-year-old's global profile. The collaboration has drawn attention as a cross-cultural partnership between a leading K-pop act and an established American pop artist. aespa, debuted in 2020, is a fourth-generation K-pop girl group known for its aggressive electronic production style rooted in "hyperpop" and "cyberpunk/industrial aesthetics." The quartet, Karina, Giselle, Winter and Ningning has built its sonic identity around high-intensity synth textures, metallic sound design and digitally layered vocal processing. K-POPS! portrays the Korean American community, one of the fastest-growing multicultural groups in the United States, through a family comedy centered on identity, music and generational connection. The film is set to premiere in North America on Feb. 27. Meanwhile, aespa is set to continue its "2026 aespa LIVE TOUR – SYNK : aeXIS LINE" with performances in Macau on March 7 and 8. 2026-02-27 10:42:24
  • Samsung joins $1 trillion club as AI rally ripples across Asia
    Samsung joins $1 trillion club as AI rally ripples across Asia SEOUL, February 26 (AJP) - Samsung Electronics emerged as Asia's standout winner Thursday, joining the exclusive $1-trillion market-cap club as overnight Nvidia earnings sent the tech giant soaring 7 percent. The breakthrough came as AI enthusiasm — reignited by blockbuster earnings from Nvidia — swept across regional markets, propelling South Korea and Japan to fresh highs while China-related bourses lagged. The benchmark KOSPI jumped 3.7 percent, or 223.4 points, to close at 6,307.3 after touching a record intraday high of 6,313.3. Turnover ballooned to 38.3 trillion won ($26.8 billion), underscoring the intensity of the move. The tech-heavy KOSDAQ gained 2 percent to 1,188.2. Beyond Samsung, the rally spread across the semiconductor ecosystem: SK hynix climbed 8 percent , Hanmi Semiconductor soared 28.4 percent, LG Electronics advanced 10.1 percent, and Hyundai Motor rose 6.5 percent The gains were driven by expectations that high-bandwidth memory (HBM), advanced packaging equipment and industrial AI applications will remain core beneficiaries of sustained infrastructure spending. Foreign investors were net sellers of 2.11 trillion won on the KOSPI, while institutions bought 1.24 trillion won and individuals added 661 billion won — suggesting domestic liquidity powered the breakout. The regional tone followed Nvidia’s fiscal fourth-quarter results, which showed revenue of $68.13 billion, up 73 percent year-on-year. Data center sales accounted for more than 90 percent of total revenue — a figure that reaffirmed the durability of AI infrastructure demand across the semiconductor supply chain. CEO Jensen Huang also sought to calm fears that AI agents would cannibalize the broader software industry, arguing instead that they would act as users of software tools rather than replacements. The remarks helped stabilize sentiment across AI-linked equities globally. In Tokyo, the Nikkei 225 rose 0.3 percent to 58,753.4, marking its second straight record close. The index briefly surpassed 59,000 for the first time, hitting 59,332.4 before trimming gains on profit-taking. A weaker yen and overnight strength on Wall Street supported sentiment. Investors also weighed the nomination of two dovish academics to the Bank of Japan’s policy board, reinforcing expectations that monetary tightening will proceed gradually. Market participants noted that a sustained push toward 60,000 would require continued earnings momentum and credible government-backed growth initiatives. Mainland Chinese and Hong Kong markets ended lower. The Shanghai Composite slipped 0.01 percent to 4,146.6, while the Hang Seng Index fell 1.13 percent to 26,462.5 as investors locked in gains ahead of upcoming policy meetings. The Korean won weakened slightly to 1,429.2 per dollar. U.S. 10-year Treasury yields stood at 4.043 percent, while the VIX eased to 17.9, signaling reduced near-term risk anxiety. 2026-02-26 17:38:08
  • BTS Comeback D-23: V more than a pretty face
    BTS Comeback D-23: V more than a pretty face Editor’s Note — As BTS prepares to return as a full seven-member act with a new album set for March 20 and an open-stage performance at Gwanghwamun on March 21, following a near four-year hiatus for rotational military service, AJP revisits the group’s 13-year trajectory. This series reexamines BTS’s history, music, performance identity and enduring appeal. The seventh installment traces the roots and growth of Jimin. SEOUL, February 26 (AJP) - As of 3:20 p.m. (KST) Thursday, the main trailer for BTS’ “WORLD TOUR ‘ARIRANG’ LIVE VIEWING” had surpassed 484,000 views within 17 hours of release, drawing more than 130,000 likes and 8,000 comments on YouTube. These are not just promotional tallies. They are signals — evidence that global attention around BTS remains not only intact, but active. And within that orbit, V continues to exert a distinct gravitational pull. Born Kim Taehyung on Dec. 30, 1995, in Daegu, V spent his early years between the city and the rural county of Geochang. His entry into entertainment has since become part of BTS lore: accompanying a friend to an audition, he was encouraged by staff to try out himself — and became the only successful candidate from Daegu that year. When BTS debuted in 2013, he was revealed last, earning the nickname “secret weapon.” More than a decade later, that early mystique has matured into something more durable: presence. Magnetism, in V’s case, is not about volume. It is restraint. His deep baritone — warm, slightly husky, almost cinematic — lends emotional weight to BTS’ discography. In an industry often dominated by high-register intensity, his tone anchors songs, adding contrast and depth. A solo identity shaped by texture That sensibility defined his 2023 solo album Layover, a project that leaned into jazz, R&B and vintage soul rather than maximalist pop spectacle. The album debuted at No. 2 on the Billboard 200 and remained on the chart for eight weeks — a performance that suggested sustained engagement beyond first-week momentum. On the Billboard Hot 100, V has recorded multiple solo entries. “Christmas Tree” reached No. 79 in 2022. In 2023, “Love Me Again” debuted at No. 96, while “Slow Dancing” climbed to No. 51 — his highest solo peak. “FRI(END)S” later reached No. 65, followed by “Winter Ahead (with Park Hyo Shin)” at No. 99 and “White Christmas (with Bing Crosby)” at No. 93 in 2024. In the U.K., “Slow Dancing” peaked at No. 24 on the Official Singles Chart, while “FRI(END)S” rose to No. 13 — reinforcing his foothold in one of the world’s most competitive music markets. The pattern is not explosive volatility. It is consistency. Digitally, V’s reach is equally formidable. When he launched his personal Instagram account, he reached 1 million followers in 43 minutes and 10 million in under five hours — benchmarks later recognized by Guinness World Records. Within 16 days, he ranked No. 1 among Korean male celebrities in follower count. As of Feb. 26, 2026, his account stands at 70.33 million followers. Individual posts routinely surpass 10 million — even 20 million — likes, thresholds rarely crossed by entertainers globally. His 2021 “Butter Concept Photo” became one of the fastest posts by a Korean artist to hit 10 million likes. International media have frequently noted his visuals. In 2017, he topped TC Candler’s “100 Most Handsome Faces,” an annual ranking curated by U.S.-based film critic TC Candler and The Independent Critics that has become a recurring fixture in global pop culture discourse. What distinguishes V is duality: understated yet theatrical, playful yet composed. On stadium stages, he projects scale. In quieter moments — live broadcasts, interviews, impromptu gestures — he cultivates intimacy. The contrast feels intentional rather than accidental. In an industry defined by acceleration and constant reinvention, V’s trajectory suggests a different model: evolve without urgency, command attention without overt exertion. As BTS approaches its “ARIRANG” comeback moment, the rising digital metrics tell a familiar story. The fascination surrounding V has not faded. If anything, it has deepened — quieter, steadier, and no less powerful. The next installment will focus on Jungkook. 2026-02-26 16:18:07
  • BTS Comeback D-23: When free meets the resale machine
    BTS Comeback D-23: When free meets the resale machine SEOUL, February 26 (AJP) - Standing, A-4 section, seat 3n. +15.” A Wednesday search for “BTS Gwanghwamun” on X did not just surface fan updates. It revealed a marketplace. The shorthand “+15” meant 150,000 won ($105.5) — for a ticket whose official price is zero. Dozens of similar posts appeared within hours, some already stamped “transfer completed.” The event in question — BTS Comeback Live: ARIRANG — is scheduled for March 21 at 8 p.m. at Gwanghwamun Square, a civic landmark more commonly associated with candlelight protests and World Cup gatherings than pop spectacles. Within 14 minutes of ticketing opening at 8 p.m. on Feb. 23, resale posts began circulating. To enter the resale ecosystem, one must first learn its dialect. “+10.” “Foreign OK.” “All verification possible.” Sellers frequently mention “a-om,” shorthand for account transfer. The method involves canceling a reservation during low-traffic hours so a buyer can attempt an immediate rebooking. The maneuver carries obvious risk: once released, tickets can be captured by bots or competing users. Another term, “pal-om,” refers to transferring the wristband distributed after identity verification at the venue. Though designed as a safeguard, social media accounts openly advertise wristband transfer “reservations,” typically charging around 10,000 won upfront, promising refunds if unsuccessful. Beyond individuals, a parallel micro-economy appears to be forming. Some accounts claim more than 3,000 successful wristband transfers and advertise “99.8% success rates.” Others promote real-time cancellation monitoring, offering to secure newly released tickets for a 10,000 won deposit and an additional 40,000 won upon success. These figures are self-reported and cannot be independently verified. But they reveal how resale services brand themselves: efficient, data-driven, near-guaranteed. Some accounts list multiple adjacent seats despite one-ticket-per-person rules, suggesting resale activity has in some cases evolved into semi-organized brokerage operating alongside official systems. Police have requested removal of at least 34 posts related to proxy purchasing or suspected scams. Major resale platform TicketBay has banned listings for the event. Yet most transactions unfold on decentralized social media channels, where enforcement is uneven at best. Not uniquely Seoul Ticket resale frenzies are hardly confined to Korea. When Taylor Swift launched her 2022 Eras Tour, 3.5 million fans registered for Ticketmaster’s Verified Fan presale in the United States. When tickets went live on Nov. 15, the system crashed within an hour amid surging traffic, though 2.4 million tickets were sold in a single day. Original prices ranged from $49 to $499, with VIP packages up to $899. Resale listings later climbed as high as $3,800. The backlash triggered congressional scrutiny of Live Nation, Ticketmaster’s parent company, over antitrust concerns. Seoul’s case differs in one essential respect: the face value was zero. According to the Korea Creative Content Agency, scalping cases surged from 359 in 2020 to 4,224 in 2022 as live events resumed after the pandemic. Following the launch of an integrated reporting portal in 2021, reported cases declined to 2,224 in 2024 and 1,649 in 2025. Authorities continue to warn fans against purchasing overpriced resale tickets, citing fraud risks. But private transactions conducted through messaging apps and encrypted social media channels remain difficult to police comprehensively. Some artists have experimented with aggressive countermeasures. Singer Jang Beom-june canceled an entire concert booking in 2024 after evidence of resale prices reaching six times face value. He later tested NFT-based tickets and dynamic QR codes that refresh periodically to prevent screenshot fraud. Such measures reflect a broader industry acknowledgment: traditional ticketing controls struggle in an era of instantaneous digital arbitrage. A civic square, a commercial logic Gwanghwamun Square is not merely a venue. It is a symbolic public commons capable of hosting tens of thousands — a stage for democratic mobilization and national celebration. By staging a free comeback concert there, organizers signaled a shared civic moment. Yet digital marketplaces obey a different logic. When demand is global and supply is finite, even zero acquires a shadow price. “I love musicals, so I buy tickets quite often,” said a 32-year-old Seoul resident who asked not to be named. “I don’t think resale is entirely bad. Some people simply can’t log in at the exact ticketing time because they’re at work.” She added: “Extreme markups feel uncomfortable. But if someone secured a ticket on my behalf, I can understand paying a premium. If both sides agree, I don’t see it as inherently wrong.” In the age of global fandom, free is no longer free. 2026-02-26 15:58:59
  • South Korean director Park Chan-wook to lead jury at 79th Cannes Film Festival
    South Korean director Park Chan-wook to lead jury at 79th Cannes Film Festival SEOUL, February 26 (AJP) - Korean film director Park Chan-wook will serve as jury president of the 79th Cannes Film Festival, organizers announced Thursday, marking another milestone in his long-standing relationship with the prestigious event. Park will chair the main competition jury responsible for selecting the Palme d'Or, the festival’s top prize. He is the first Korean filmmaker to preside over the Cannes jury. His ties to Cannes date back more than two decades. In 2004, the noir-thriller "Oldboy" won the Grand Prix, propelling him into the international spotlight. He returned in 2009 to receive the Jury Prize for the vampire-themed thriller "Thirst," and again in 2022, when he was named Best Director for the neo-noir romantic mystery "Decision to Leave." Over the years, Park has become one of the festival’s most closely associated auteurs. Widely regarded as one of the most distinctive voices in contemporary world cinema, Park has built a reputation for meticulous visual composition and morally complex storytelling. Beyond representing Korean film abroad, he is viewed as a global auteur whose works regularly circulate through major festivals and critical discourse. In a joint statement, Cannes president Iris Knobloch and festival director Thierry Frémaux said "Park Chan-wook's inventiveness and visual mastery have given contemporary cinema some truly memorable moments. His ability to capture the complex impulses of characters with unusual destinies has left a lasting mark." They added, "We are delighted to celebrate his immense talent and, more broadly, the cinema of a country deeply engaged with the questioning of our time." Park succeeds French actress Juliette Binoche, who led the jury in 2025. Korea previously celebrated a historic Cannes victory in 2019, when Bong Joon-ho won the Palme d'Or for "Parasite," underscoring the country’s growing influence in global filmmaking. Park’s most recent feature, "No Other Choice," is a dark satire about an unemployed family man who resorts to extreme measures to secure a new job. The film was selected as South Korea’s submission for the Academy Awards, but did not receive a nomination. The 79th Cannes Film Festival will be held from May 12 to 23 in Cannes, France. 2026-02-26 14:30:29
  • Koreas fertility rate hits four-year high in 2025
    Korea's fertility rate hits four-year high in 2025 SEOUL, February 25 (AJP) - Still a far cry from the replacement-level fertility rate of 2.1, South Korea’s total fertility rate, which bottomed out in 2023, inched above the long-cited 0.70 level last year, data showed. According to the Ministry of Data and Statistics on Wednesday, the number of births in 2025 reached 254,500, up 16,100 from a year earlier, or 6.8 percent — the largest annual increase since 2007. The total fertility rate — the average number of children born to a woman over her lifetime — rose to 0.80, the highest since 2021, from 0.72 in 2023 and 0.75 in 2024. Marriage registrations increased 1 percent in 2023, 14.8 percent in 2024 and 8.9 percent in 2025. In December alone, marriages rose 13.4 percent year on year to 25,527. “Births in Korea are still overwhelmingly tied to marriage,” said Kang Hyun-young, an official in charge of birthrate policy at the ministry. “In our data, increases in marriages typically precede increases in births by one to two years,” she said. “The rise in marriages since 2023 is now being reflected in birth figures.” While declining to provide a numerical forecast for 2026, Kang said the sustained expansion in marriages was “a statistically meaningful positive signal.” Demographic timing: the early~1990s cohort Women aged 30 to 34 recorded 73.2 births per 1,000 women in 2025, the highest among all age groups. Fertility among women aged 35 to 39 rose 13.0 percent from a year earlier, reaching a record level. “Women born between 1991 and 1995 have entered their early 30s, which is the peak childbearing age group,” Kang said. “That cohort expansion has contributed to the increase in total births.” She added that the population of women in their early 30s has been rising since 2021, exerting upward pressure on aggregate birth totals. Survey data suggest shifting social attitudes may also be playing a role. In 2024, 68.4 percent of respondents said couples should have children after marriage, up from 65.3 percent in 2022. The share saying childbirth without marriage is acceptable rose to 37.2 percent from 34.7 percent. “Multiple factors are interacting,” Kang said. “Policy measures cannot be excluded, but their individual effects cannot be statistically isolated.” She emphasized that the recent rebound reflects “overlapping demographic, social and behavioral dynamics,” rather than any single policy intervention. Later childbirth, continued population decline Despite the improvement, structural challenges remain. The average maternal age rose to 33.8 years, while births to women aged 35 and older accounted for 37.3 percent of total births — the highest share since records began in 1981. Deaths totaled 363,400 in 2025, exceeding births by 108,900. South Korea has recorded negative natural population growth every year since 2020. Regional disparities were also evident. Seoul’s fertility rate stood at 0.63, while South Jeolla Province recorded 1.10. Kang said the trend should be monitored closely on a month-by-month basis. “The increase in marriages over the past three years provides a foundation,” she said. “But whether the trend continues depends on demographic structure and ongoing social changes.” For now, the data point to a tentative stabilization after years of decline — but not yet a reversal of South Korea’s long-term depopulation. 2026-02-25 17:46:21