Young newlyweds drive marriage rates to rise for third straight year SEOUL, March 19 (AJP) - Some 240,000 couples tied the knot last year, up 8.1 percent or 18,000 couples from a year earlier, seeing a rise for a third straight year since 2025, the Ministry of Data and Statistics said Thursday. The figure is also the highest in seven years, up from 239,200 in 2019, recovering to pre-pandemic levels after dipping to around 200,000. Of the total 240,000 couples, some 82.6 percent were first-time marriages for both spouses, while 9 percent were remarriages for both. Among men, 87.5 percent were first-time grooms and 12.3 percent were remarrying, while among women, 85.9 percent were marrying for the first time and 13.6 percent were remarrying. The average age at first marriage was 33.9 for men and 31.6 for women, up 1.3 years and 1.7 years respectively, compared to a decade ago. Among first-marriage couples, cases in which the wife was older accounted for 20.2 percent, up 0.3 percentage points. Marriages involving a foreign spouse totaled 21,000, down 0.3 percent. Marriages with foreign women accounted for 16,000, while those with foreign men stood at 5,000. Among foreign wives, those from Japan and Laos increased, while marriages with women from Viet Nam and Thailand declined. Among foreign husbands, those from Japan and Canada rose, while marriages with men from China and the U.S. fell. With marriages rising across all regions except North Jeolla Province, Gyeonggi Province saw the highest number of marriages, followed by Seoul and Incheon. Marriages were most common in December, followed by May and July, while June and September saw the fewest. Meanwhile, divorces totaled 88,000, down by about 3,000 from 2024. Divorces were most common among couples married for 30 years or more, followed by those married for five to nine years and for four years or less. By age, divorce rates were highest among men in their late 40s and women in their early 40s. The ministry attributed the rise to a sharp increase in marriages among people in their early 30s. "The number of marriages have risen significantly, driven largely by those in their late 20s to early 40s, with the biggest surge among people in their early 30s," said Park Hyun-jung, a ministry official. 2026-03-19 15:50:01

Study: Poor Gum Health May Raise Risk of Esophageal, Colorectal Cancer Periodontal disease is among South Korea’s most common conditions. National Health Insurance Service data show that, as of 2024, more than 19.5 million people received treatment for periodontal disease, with covered costs totaling about 2.3 trillion won. Against that backdrop, researchers presented findings suggesting that poorer gum health may be linked to a higher risk of certain cancers. Experts note that because the mouth is directly connected to the digestive tract, inflammation from periodontal disease can negatively affect overall health. Park Jae-yong, a professor of gastroenterology at Chung-Ang University College of Medicine, presented an analysis on March 19 at the Korea Press Center in Seoul during the 18th Gum Day event, focusing on the relationship between poor gum health and esophageal cancer. Park said the study was based on a hypothesis that swallowing saliva could repeatedly carry oral inflammation, leading to chronic inflammation and potentially esophagitis. He said the analysis found the risk was about 16% higher among people with tooth loss and about 10% higher among those with periodontal disease. Neglecting oral care, he said, may increase the risk of digestive-tract cancers due to bacteria associated with gum disease. He added that significant associations were also found between esophageal cancer and poor oral hygiene habits, including brushing fewer than three times a day, not brushing before bed, and not using interdental cleaning tools. Separately, speakers cited a 2024 study published in Nature on how gum-disease bacteria can affect the colorectal cancer environment. Kook Joong-ki, a professor in the Department of Oral Biochemistry at Chosun University’s College of Dentistry, said animal experiments showed that a specific bacterium — Fusobacterium nucleatum subspecies animalis C2 — can worsen cancer when it reaches the colon. Dongkook Pharmaceutical and the Korean Academy of Periodontology have designated March 24 as Gum Day since 2009 to raise public awareness of periodontal disease and its links to health. This year’s 18th event was held under the theme, “Thorough gum care reduces the risk of digestive-tract cancers.”* This article has been translated by AI. 2026-03-19 15:48:00

Shinhan Leads Overseas Profit as KB Improves; Woori, Hana Slide Shinhan Bank and KB Kookmin Bank posted solid results across most overseas units, while Hana Bank and Woori Bank saw weaker performance as losses widened at key subsidiaries, the financial industry said. Results diverged sharply by market — including China, Europe and Southeast Asia — shaping winners and losers among the major lenders. According to the financial sector on the 19th, Shinhan’s 10 overseas subsidiaries posted a combined net profit of 586.9 billion won last year, the highest among the four major banks. That was up 2.59% from a year earlier. Canada Shinhan Bank swung to a loss, but most other units improved. Two core overseas operations — Japan’s SBJ Bank and Shinhan Vietnam Bank — delivered results in the 100 billion won and 200 billion won ranges, respectively, on locally tailored strategies. Shinhan Bank China’s net profit jumped fourfold from a year earlier on higher gains tied to securities. Shinhan Bank America and Shinhan Bank Indonesia expanded lending to strong local companies, with net profit rising 278.65% and 34.7%, respectively. KB Kookmin sharply reduced losses at its overseas units. The bank operates five overseas subsidiaries, including Cambodia’s Prasac and Indonesia’s Bukopin. Its overseas result improved from a 2024 net loss of 202.9 billion won to 81.7 billion won last year, turning profitable. The improvement was driven largely by Bukopin, which narrowed its net loss to 102.8 billion won after posting a 360.6 billion won net loss a year earlier. Growth of 28% in low-cost deposits and 10% in settlement-related loans helped lift performance. The Myanmar unit returned to profit on expanded local business, and KB Prasac Bank earned 152 billion won as it increased low-rate deposits. Hana Bank’s global business declined. Net profit at its overseas subsidiaries fell 33% from a year earlier to 86.8 billion won last year. Hana Bank China swung to a 39.2 billion won net loss as it set aside provisions amid a prolonged downturn in China’s real estate market. Net profit at Germany’s KEB Hana Bank also plunged 66% amid factors including falling eurozone interest rates. Hana Bancorp, a U.S. bank holding company targeting Korean-American networks, posted a 253% surge. Woori Bank’s overseas slump deepened after it had ranked second globally in overseas net profit. Net profit at its 11 overseas subsidiaries fell 79% from a year earlier to 44.9 billion won last year. A major drag was Indonesia’s Woori Sodara Bank, which swung from more than 56 billion won in net profit to a 74.1 billion won loss. Woori Bank China also posted a 52.7 billion won net loss. This year, the banks plan to focus on strengthening fundamentals at overseas units as the global operating environment grows more uncertain due to the U.S.-Iran war and rising oil prices. KB Kookmin and Shinhan said they aim to expand with high-quality assets and reinforce core earnings for sustained growth. Hana said it will boost business synergies among four branches, including two opened in India in December, and seek to improve results at its German unit by attracting financing demand tied to South Korea’s defense industry exports. 2026-03-19 15:27:00

Uzbekistan and Tajikistan trade potential estimated at forty percent growth SEOUL, March 19 (AJP) - The Center for Economic Research and Reforms has determined Thursday that mutual trade between Uzbekistan and Tajikistan possesses the potential to increase by 30 to 40 percent. This assessment was presented today in Tashkent during an international conference regarding new prospects for a regional alliance. The center, an analytical body under the Administration of the President of Uzbekistan, indicates that bilateral engagement remains only partially realized despite recent growth. Asadov Khurshed, the deputy director of the organization, stated that the relationship between the two nations has reached a qualitatively new level. From 2017 to 2025, trade volume between the neighboring states expanded 3.8 times, rising from 238 million dollars to 912 million dollars. During this period, exports from Tashkent grew 3.7 times while imports from Tajikistan increased more than fourfold. The country now ranks ninth among the leading importers of Uzbek products. This growth is supported by a foundational institutional framework established through the 2024 Treaty on Allied Relations (Source: Ministry of Foreign Affairs of Uzbekistan). The potential for a 30 to 40 percent increase is linked to the substitution of Tajik imports from third countries with goods manufactured by Uzbek producers. Geographical proximity and shared transport infrastructure provide an advantage for the delivery of automobiles, household appliances, textiles, and chemicals. The deputy director emphasized that the most promising model for cooperation involves the establishment of joint processing facilities in border regions. These centers would prioritize the handling of agricultural raw materials and the development of new agrologistics networks. The ongoing development of transport infrastructure and transit opportunities is expected to serve as a primary driver for further economic integration. This shift toward a deeper investment model is a factor in strengthening connectivity across the region. The current level of allied relations provides the necessary foundation for transitioning toward shared regional infrastructure projects. The international scientific and practical conference brought together experts from government institutions and the academic community to discuss these prospects. 2026-03-19 15:26:52

Val Kilmer to Appear in New Film Using AI a Year After His Death Actor Val Kilmer is set to return to the screen in a new film, recreated through artificial intelligence technology. On March 18 (local time), The Associated Press reported that Kilmer will appear via AI in the independent film “As Deep as the Grave,” due for release this year. The report said it comes a year after his death. According to AP, the film’s producers said Kilmer had signed on before he died, but health problems prevented him from taking part. After his death, his family approved a digital replica of the actor, the producers said, and the family is being compensated for its use. In a statement, Kilmer’s daughter said her father had long viewed new technology as a tool that could expand the possibilities of storytelling, and she expressed hope that the film would respect that potential through his role. Kilmer had previously used AI assistance during his lifetime. Before dying of pneumonia, he was diagnosed with throat cancer and underwent a tracheotomy that left him without his voice. In his final film, “Top Gun: Maverick,” AI was used to recreate his voice. Still, the use of AI in Hollywood has become one of the industry’s most contentious issues. One of the main drivers of the 2023 U.S. actors union strike was concern over AI, after studios proposed digitally scanning background and minor performers and reusing those images across productions. That dispute eased after post-strike negotiations between the actors union and producers led to contract language requiring performers’ consent and appropriate compensation. The agreement, however, did not bar digital scanning itself. The prospect of seeing a globally popular star in new work even after death is now a reality. But Kilmer’s AI-assisted return is also a reminder that audiences, like the industry, are being pressed to decide how far they are willing to accept AI-generated stand-ins for human performers.* This article has been translated by AI. 2026-03-19 15:24:38

KAIST researchers identify new mechanism for forming magnetic skyrmions SEOUL, March 19 (AJP) - Researchers at the Korea Advanced Institute of Science and Technology (KAIST) have discovered a new physical principle that allows for the formation of skyrmions, tiny magnetic vortices, without the specialized conditions previously thought necessary. This finding opens new pathways for developing next-generation, ultra-low-power information storage devices that could address the rising energy demands of artificial intelligence. KAIST said Thursday that a research team led by Professor Kim Se-kwon from the Department of Physics has theoretically demonstrated that swirling magnetic structures can form naturally through the interaction between magnetism and atomic lattices. This interaction, known as magnetoelastic coupling, suggests that skyrmions can be implemented in a much wider range of magnetic materials than once believed. Skyrmions are microscopic swirls of magnetic spin that are highly stable and significantly smaller than the magnetic domains used in current hard drives. Because of these properties, they are considered a primary candidate for spintronic devices, which could offer information storage densities hundreds of times higher than existing technology while consuming minimal power. Until now, scientists believed that forming skyrmions required specific, complex environments, such as structural asymmetry in the crystal or strong spin-orbit coupling. However, the KAIST team proved that the universal phenomenon of magnetoelastic coupling—where the magnetic state and the arrangement of atoms influence each other—is sufficient to create these structures. The team's research shows that when this coupling becomes strong enough, the naturally aligned state of a magnet becomes unstable and transitions into a new ordered pattern. This process results in a "chiral spin texture" where skyrmions and antiskyrmions are arranged in a repeating array, accompanied by simultaneous lattice distortion. "This study demonstrates that magnetic structures like skyrmions can form even without specific, specialized interactions," Professor Kim Se-kwon explained. "It is particularly significant as it suggests the possibility of implementing these structures in two-dimensional magnetic materials, which are currently a major focus of global research." The study, featuring Dr. Go Kyoung-chun as the lead author, was published in the prestigious physics journal Physical Review Letters on February 11, 2026. (Reference Information) Journal/Source: Physical Review Letters Title: Magnetoelastic Coupling-Driven Chiral Spin Textures: A Skyrmion-Antiskyrmion-like Array Link/DOI: https://doi.org/10.1103/5csz-pw7x 2026-03-19 15:03:10

Kim Yong-hwan Warns Current Turmoil Resembles 2008 Crisis as Uncertainty Grows Kim Yong-hwan, who has spent more than four decades on the front lines of South Korea’s financial sector, warned that today’s conditions resemble the 2008 global financial crisis. Kim, who served as senior deputy governor of the Financial Supervisory Service in 2008, was involved in the country’s response at the time. In a telephone interview with Aju Economy on the 19th, Kim said the collapse of subprime mortgages in 2008 has “only changed form,” now appearing as troubled private lending tied to U.S. big tech companies in 2026. “Anxiety is rising that it is similar to that time,” he said, adding that uncertainty at home and abroad is unusually high. Private lending refers to companies borrowing through funds raised by nonbank financial firms, a form of private debt. As concerns grow about potential weakness centered on U.S. big tech, it has emerged as a new flashpoint in global finance. With the global private-lending market swelling to the trillions of won, rising delinquency at some firms and fears of tighter liquidity are, critics say, rapidly building “hidden risks.” Kim said that when global shocks hit, South Korea’s markets tend to swing more sharply than those of major economies. With tensions rising in the Middle East, domestic stocks have been seesawing by roughly 10%. He attributed the volatility to a narrow investment base rather than weak fundamentals. “It’s not that Korea’s fundamentals are weak, but the capital market is not broad-based, so the financial market is more exposed to volatility,” he said, arguing that a deeper direct-financing market would make Korea less sensitive to external shocks. He also voiced concern about Korea’s growth structure. “Only a very small number of conglomerates such as Samsung, SK and Hyundai are doing well, while small and mid-sized firms continue to struggle,” Kim said. He added that per capita gross national income has failed for 12 years to break through the $30,000 threshold, and said Korea should consider whether it can grow like Taiwan, which entered the $40,000 era last year. Unlike South Korea, where a handful of large companies account for most exports and investment, Taiwan is often assessed as having a more dispersed industrial base built around small and mid-sized firms. Kim said Korea needs a structure in which large companies and smaller firms grow together for stable development, underscoring the need for balanced growth. Drawing on experience with multiple financial crises and industrial shifts, Kim advised younger officials that the most important thing in policymaking is to avoid haste and keep the big picture in view. “Especially in an era like this, when people expect AI to solve everything, policymakers need judgment and balance that come from experience,” he said. Kim entered public service in 1979 through the 23rd class of the state civil service exam and held posts including director of the Welfare and Living Affairs Division at the Ministry of Finance and Economy, director general of Supervisory Policy Bureau II at the Financial Supervisory Commission, standing commissioner at the Financial Services Commission, and senior deputy governor at the Financial Supervisory Service. He later served as president of the Export-Import Bank of Korea and chairman of NH NongHyup Financial Group, and now works as an adviser at Shin &u0026 Kim. Earlier this month, he published a memoir, “Flow Like Water, Stand by Principles.” 2026-03-19 15:03:00

CRAVITY’s Hyeongjun Stars in ‘Kill the Romeo’ Interactive Short-Form Drama Trailer CRAVITY member Hyeongjun will star in Kitts’ first interactive short-form drama, “Kill the Romeo,” set to be released on the platform on the 27th. The series from global K-pop short-form platform Kitts is an interactive, multi-ending romantic comedy told in first person. It follows “me,” a top-tier assassin whose alter ego is a devoted fan, after a new target is assigned: the viewer’s favorite idol, “Hyeongjun.” The story begins when the A-list killer receives an order to eliminate him. Hyeongjun plays an idol character who shares his name, marking his first acting project. The newly released main trailer opens with tense music and the line, “All my targets are called Romeo. Codename ‘Juliet.’ I’m a killer.” It then shows the viewer-character at Hyeongjun’s fan-sign event, before the mood shifts as he is named the target and placed in danger. Under the premise of “my favorite idol becoming my target,” the trailer presents multiple choices. Near the end, Hyeongjun asks, “Noona, what do you want me to do?” teasing the directions the story may take. Kitts has been expanding its library with monthly releases, following titles including “Wind Up,” starring NCT’s Jeno and Jaemin, and “Jumpboy LIVE,” starring VERIVERY’s Kangmin. “Kill the Romeo” is expected to differentiate itself from typical romantic comedies through its first-person format and branching story points. “Kill the Romeo,” starring Hyeongjun, will be released on Kitts on the 27th.* This article has been translated by AI. 2026-03-19 14:57:39

BTS Live D-2: K-tech takes center stage for a show of the century SEOUL, March 19 (AJP) - South Korea is home not only to BTS but also to some of the world's most advanced technology — and it does not need the Olympics to prove it. Saturday's comeback spectacle is set to showcase both K-pop and K-tech prowess on a truly global stage. The K-pop supergroup will return after nearly four years in groundbreaking fashion — an open-air concert at Gwanghwamun, Seoul's historic government and palace district — staged free of charge for nearly 300,000 spectators and streamed live to audiences in 190 countries via Netflix. Netflix, which secured exclusive global broadcasting rights, is deploying its full content delivery arsenal for its first-ever live event from Korea. The streamer will use Emmy Award-winning video encoding that automatically adjusts quality to each viewer's network and device, along with a load-balancing system featuring triple-redundancy encoder failover. A dedicated live-operation mode will reprioritize infrastructure resources to keep the stream uninterrupted — all powered by Open Connect, Netflix's proprietary CDN built with more than 1,000 ISP partners worldwide since 2012. In plain terms, the live feed will run on a highly resilient, high-capacity system designed to deliver seamless streaming regardless of demand. "BTS live broadcasts have always functioned as global gatherings, with fans setting alarms, taking long lunch breaks or staying up late so they can experience the moment together," Netflix said on its Tudum platform. AI-powered network defense In wireless technology, South Korea is second to none. All three telecom carriers have mounted a full-scale network defense. SK Telecom will deploy its proprietary AI-driven system "A.One" for the first time at a live event, dividing the venue into three zones based on crowd density. The carrier has also installed temporary base stations and dedicated roaming infrastructure for foreign visitors. "This large-scale K-pop concert is a global event drawing worldwide attention, and we expect an ultra-high-density traffic environment. We will demonstrate Korea's world-class AI-powered network capabilities and deliver stable telecommunications services," an SK Telecom spokesperson said. KT is applying its AI-based traffic management solution "W-SDN" to automatically control base station overloads, while deploying six mobile base stations, 79 wireless units and 14 Wi-Fi access points across the venue. "KT has the country's largest international network and internet backbone, and has significantly expanded capacity for the BTS concert. Drawing on experience from major events such as the Olympics and the WBC, we will ensure stable and seamless connectivity," a KT spokesperson said. LG Uplus is leveraging autonomous network technology to predict traffic surges and has installed temporary relay equipment at more than 10 locations near the square. Smart security and crowd control An extraordinary crowd also requires highly digitized security and crowd management. Organizers have introduced a mobile ticketing system that links each ticket to a device's unique identifier, preventing unauthorized transfers and scalping. At entry points, 31 metal-detection gates will screen attendees, while a real-time crowd management system will monitor density levels and relay data instantly to safety personnel. Police have deployed counter-drone vehicles and explosive-detection dog units around the venue. Mapping the mega crowd Internet and messaging platforms are also stepping in to guide the unprecedented influx of visitors into Gwanghwamun — an area roughly the size of three soccer fields. Naver Map has reconfigured the concert zone into an indoor-style navigation system, highlighting restrooms, entry gates, screens and information centers. Kakao Map has launched a pilot service through March 22, providing ultra-precise bus location data across about 420 Seoul routes to help commuters navigate detours caused by the event. "We are working closely with the Seoul Metropolitan Government to provide accurate traffic information so citizens can travel safely and conveniently," said Lee Chang-min, head of Kakao's map business development team. A city turned into a stage Technology will extend beyond the venue into the city itself. The Seoul Metropolitan Government and BigHit Music are transforming the capital into a citywide media canvas under the "BTS The City Arirang Seoul" project, running from Friday through April 19. Media facades will illuminate Sungnyemun Gate and Namsan Seoul Tower on the album's release day, followed by a drone light show over Ttukseom Hangang Park. Dongdaemun Design Plaza will host synchronized music-and-light shows every 30 minutes through April 12. Built on a legacy of tech-driven performance Saturday's showcase builds on BTS's long history of pushing technological boundaries — from volumetric hologram displays at the 2020 MAMA to multi-view XR livestreaming during "Map of the Soul ON:E," and a 108-camera volumetric capture system that rendered the group as AR holograms alongside Coldplay on The Voice in 2021. The upcoming 82-date Arirang World Tour, launching April 9 at Goyang Stadium, will feature a 360-degree "in-the-round" stage across 34 cities in 23 countries. As RM told GQ: "The most important thing is just that we are here back together again. We're going to see the fans all over the world." And this time, they are doing it at a truly global technological standard. 2026-03-19 14:54:49

AMAZE CEO Lee Seung-jun: In the AI era, VR concerts must deliver irreplaceable experiences Artists can feel close enough to touch, and inside the theater, cheers and singalongs break out naturally. VR concert films are changing not only how audiences experience performances, but also what it looks like to go to the movies. Lee Seung-jun, CEO of AMAZE, which has released VR concert films featuring ENHYPEN, TOMORROW X TOGETHER, ATEEZ and TWS, said demand is rising as the format spreads. With TWS’ first VR concert, “TWS VR CONCERT : RUSH ROAD,” selling out day after day, Lee said word-of-mouth is lifting expectations. “Honestly, the response has been better than we expected, so I think it could set our best results yet,” he said. “As people talk about VR content, audience demand is going up. Albums cost money, concert tickets cost much more, and getting tickets is hard, so a VR concert film can be a good way to see an artist. I love concerts too, but it’s not easy to see a top artist right in front of you. This is much more of an up-close experience, so I think it’s a medium that fits music well.” AMAZE did not start out focused only on concerts. Lee said that while thinking about what might come after mobile, the company bet on “space” and VR headsets, tried multiple formats, and found concerts delivered the biggest impact. “It’s been 10 years since I started the company,” he said. “AMAZE is made up of early Kakao members, engineers who worked together back then. I used to work at a consulting firm, but seeing mobile as a new innovation and media paradigm led me to start a business. Then I thought about what would come next, and when the paradigm shifts, I wanted to go global. What we bet on was ‘space’ and ‘VR headsets.’ At first we didn’t do only music — we tried films and other things — but the biggest impact was concerts. So we decided to expand that and build content step by step, centered on entertainment.” That approach also shaped interactive features such as letting fans pick a favorite member and use a virtual light stick. Lee said the experience becomes denser when fans can respond and participate, not just watch. “Because these are K-pop artists, we thought it would be good if fans could choose their favorite member and keep watching that person,” he said. “So we added things like ‘pick your favorite’ and a ‘light stick.’ The elements can differ by artist. Recognizing hands and actions like waving a light stick can ultimately make the experience bigger.” Lee also drew a clear line between watching VR at home and watching it in a theater. When people who like the same artist gather and react together, he said, the content shifts from a private viewing to a shared event. “Of course you can watch at home,” he said. “But the feelings you get watching an artist you love with other people are definitely different. That’s why I think in the AI era, the value of 2D content or 2D images could gradually fall. What we make is, in a way, like Disneyland — we’re building an attraction for an artist. We’ll keep thinking about how to help audiences experience it with more immersion and a stronger sense of being there. And we plan to make it available online too for people with headsets at home. Even now, like selling concert DVDs, we sell a version you can watch by inserting a phone.” He said the format could expand beyond K-pop, and that U.S. and Chinese artists have shown significant interest. For now, he said, the company is weighing how to broaden genres without limiting itself to one market. “First, we’re thinking about expanding genres,” he said. “We’re not only thinking about K-pop artists. We’ve been getting a lot of contact from U.S. artists and Chinese artists, so we’re thinking about how to expand this. At the moment, male idol groups seem relatively easier in some ways. But we’re not limiting ourselves to that, and I think there’s a lot we can do with other artists too.” Lee said AMAZE’s edge is technology, built on two pillars: computer graphics based on Unreal Engine and AI. But he argued that, rather than competing with general-purpose image-generation AI, the key is accumulating VR-specific data and postproduction techniques. “Basically, we have two technical pillars,” he said. “One is CG-based technology like Unreal Engine used in games, and the other is AI. But AI should be viewed differently. AI that makes 2D video or images is closer to the domain of big companies like Google or OpenAI, and it’s not easy for an independent company to own that space — it’s expensive and competition is intense. But VR content is a different format. In this area, unique data for specific categories keeps accumulating, and learning based on that is how the technology advances. We have technology optimized for VR content. Using it, postproduction, image-quality improvement and interactive implementation can keep getting better. In VR, it’s important to raise image quality and immersion together. As that technology builds, audiences feel more like they’re on site, and we can add more spatial design and interactive elements. It matters that a single title does well, but we think it’s important to keep building that technology.” Asked why he believes the format will matter more in the future, Lee pointed to what he called an “irreplaceable experience.” “I think content keeps evolving,” he said. “The grammar we’ve built so far is centered on music concerts, but I don’t think this kind of new spatial experience will stay only with music. To get people to pay and come, it has to be a different experience from existing 2D content. We’re in an era of content overload, so it will only get harder to make people spend extra money on 2D content they can watch on a phone or TV. In the end, if it’s not more immersive and valuable, people won’t spend easily. Even in the AI era, I think what matters is an irreplaceable experience. We film real artists and create a real experience with sweat, time and a story inside it. AI can make fake performances, but I don’t think people will spend money on them in the same way.” Some viewers may still see the 33,000 won price and the VR format as barriers. Lee said he expects the market to move away from one-size-fits-all hits and toward sharper individual tastes. “I’m not sure how much longer traditional mass content will be possible,” he said. “There could be another case like ‘Wangsnam,’ but I don’t think it will repeat often. In the end, I think people spend money on experiences they truly love. Even if they spend 10,000 to 20,000 won on some content, they can spend much more on what they really like. I think we’re heading into an era of ‘micro interests’ — an era where people spend more deeply on what they truly like. Rather than focusing only on making each individual title a hit, we’re closer to building an environment and paradigm where more of those experiences can be made.” Lee said motion sickness — a frequent concern in VR — should be addressed differently depending on an artist and fan base. “Because each artist’s fan base differs in age and gender, the level of camera movement they can accept also differs,” he said. “Motion sickness happens because you’re still but the world moves. Taking that into account, if we later build dedicated theaters, we’ll make the chairs move in sync with the camera movement. We’re considering ways to make it less dizzying while delivering a more dynamic experience.” Ultimately, Lee said he is aiming for dedicated venues that go beyond putting on a headset. He said he wants to design the full experience so that, from the moment people enter, it feels like stepping into an artist’s world. “If we go in the direction I’m thinking, there would be motion chairs, and if we add elements like haptics matched to the music, the physical sensation could be much bigger,” he said. “It won’t end with just watching in a theater. We’ll likely design the space so people can enjoy things from the moment they arrive, and feel like they’re entering the artist’s musical world. This isn’t a far-future story — it’s at the stage of being discussed now.”* This article has been translated by AI. 2026-03-19 14:54:33