Producer Lim Eun-jung on 'The Man Who Lives With the King' and Gen Z repeat viewings Two years after the last Korean film to hit 10 million admissions, “The Man Who Lives With the King” has kept building momentum. The period drama drew audiences through word of mouth, passed 10 million moviegoers and has continued to climb, topping 13 million admissions — an unusual run for a traditional historical film. At the center is Lim Eun-jung, CEO of the new production company Onda Works. “Director Jang Hang-jun said in an interview that he joined because I persuaded him. So on opening day, I worried, ‘What if I end up looking like a con artist?’” Lim said. “I’m deeply grateful that this small spark I set off has received such big love. I’m thankful to everyone I met along the way — and above all, to audiences.” Lim said she founded Onda Works after years of thinking about how to better support creators and see projects through. While she found producing rewarding, she said there were moments inside a company when it was hard to take full responsibility to the end. “I majored in Korean language and literature, and since high school I thought I should make stories,” she said. “As I studied the film industry, I realized what I’m good at is recognizing what people do well, so I focused on producing. Even when I worked at CJ ENM, my biggest goal was getting writers’ work out into the world, but I felt there would be limits inside a company. I thought I needed to be in a position where I could keep my promises if I wanted to keep working in film.” She said the industry was struggling when she considered leaving, and people around her tried to stop her. Still, she said the uncertainty made her decision clearer. “At the time, the industry situation wasn’t good, so everyone told me not to quit,” Lim said. “I heard a lot of, ‘No one is investing — what are you going to believe in?’ It was a livelihood issue for me, too. But I quit and traveled to Portugal for about a month. I love surfing, and when waves start coming in, surfers get excited and say, ‘Onda, onda.’ I thought it was cute and figured if I ever started a company, I’d use the name ‘Onda.’ Then the first surf shop I visited in Portugal was actually named ‘Onda.’ I asked what it meant, and they said it means ‘wave.’ In that moment I thought, ‘This is fate.’ That’s how, on April 1, 2023 — April Fools’ Day — I founded Onda Works, like a lie that came true.” “The Man Who Lives With the King” was a project Lim had carried since before launching the company. She said she was especially attached to it as an original period film without a source work, and she wanted to tell a personal story alongside a major historical moment. “I planned this project when I was at CJ ENM,” she said. “It’s an original work with no source material, and it was an item I really wanted to make with meaning. I’m not enough of a period-drama fanatic to call myself one, but I wanted to tell the story of an individual standing next to a big historical event. My favorite films are ‘The Lives of Others’ and ‘The King’s Speech,’ and I wondered if we could tell that kind of story in a Korean historical film. I started planning from the idea: What story would unfold if Eom Heung-do watched Danjong up close and began to feel something different?” The project stalled during the pandemic, she said, and at one point she told writer Hwang Seong-gu to take the screenplay rights and proceed elsewhere if an opportunity arose. “Hwang delivered the first draft in early 2020,” Lim said. “But it was the pandemic, and for several reasons production stopped. I told Hwang to take the rights and move forward at another company if there was a chance. But I think Hwang felt it would be inappropriate to do that because the script began with my proposal. So I said I would look for the right timing within five years. After that I started my own company and prepared this as our first film.” Lim said she chose Jang to direct because she believed the film’s core was the characters’ emotions and point of view, not the events themselves. “I thought the key was the perspective on the characters and the theme,” she said. “It was important how Danjong, seen through Eom Heung-do’s eyes, and Danjong’s emotions in that situation intersect. I thought about who could express those feelings most warmly, and I decided Director Jang Hang-jun was right. The warm tone I felt in ‘Rebound’ was also a big reason.” She said it was difficult for a new company to mount a period drama, given the high costs and uncertain commercial prospects. Lim said she needed to persuade experienced partners and investors, and the project took shape after multiple revisions. “I told BA Entertainment CEO Jang Won-seok that I wanted to co-produce on the condition that Director Jang Hang-jun would direct,” she said. “At first, he saw it as a commercial risk. So I showed him revised versions three times, and through that process he recognized the potential and joined. Showbox also listened to my project, and they agreed with the judgment that audiences can look for meaningful stories, not only provocative ones.” After release, Lim said she was struck by repeat viewings among Gen Z audiences — especially middle and high school students. “I think a long-built longing for theaters may have played a role,” she said. “Recently, several films have helped people feel the fun of watching in theaters again. This film also has many elements audiences can enjoy together in a theater, and it’s a film that makes it possible to talk with different people afterward. The experience itself — audiences laughing and reacting together — seems to have reminded people of the appeal of theaters. What surprised me most was Gen Z repeat viewing. I’ve often seen repeat viewing among die-hard fans, but it was truly welcome to see middle and high school audiences doing it. For someone like me who wondered whether the next generation would even exist for theaters, I think this is very meaningful.” Lim pointed to actor Park Ji-hoon as a key factor in connecting the character of Danjong to today’s audiences. “In the end, the combination of actor Park Ji-hoon and the character Danjong played a big role,” she said. “The CEO of the production company behind ‘Weak Hero’ told me good things about Park, so I had been watching him with interest. From the casting stage, I had a strong feeling he could become a Danjong that stays in people’s memories for a long time.” Lim said she has multiple projects in development and plans to move between period and contemporary stories. “First of all, I have a lot of film ideas,” she said. “I’ve built a long friendship with director Kim Eui-seok of ‘After My Death,’ and we’re preparing a genre film set in Gyeongseong that takes place on a train. Another is an action film with director Ahn Tae-jin of ‘The Night Owl,’ set in a border area during the Joseon era. The films I can talk about right now happen to be period pieces. The series projects I’m planning are almost all contemporary.” 2026-03-16 00:05:10

Leeum, Ho-Am Exhibitions Put the Focus Back on the Human Hand “Before it even touches Adam’s finger.” From “The Story of Art” (Yekyung), p. 310. Michelangelo (1475-1564) captured the split second before God’s and Adam’s index fingers meet to suggest the moment of creation. In the Sistine Chapel ceiling fresco “The Creation of Adam,” an all-powerful God reaches toward the first man, as if passing on a “spark of life” through a fingertip. Art historian E.H. Gombrich wrote in “The Story of Art” that the painting’s way of making God’s omnipotence visible is “one of the greatest miracles of art” (p. 310). Hands have long carried meaning — care and comfort, trust and power, violence and control. People build tools, write and draw with their fingers; they also seal solidarity with a handshake or signal conflict with a fist. In the Middle Ages, some believed a king’s touch could heal. The article notes that people even crossed from the New World to Britain to receive the touch of Britain’s Charles II. In “E.T.,” an alien and a boy touch fingers to form a bond. In director Jean-Jacques Annaud’s film “The Lover,” a fingertip touch signals the start of a dangerous romance. If the Buddha’s open palm is associated with peace and compassion, Hitler’s palm-down Nazi salute became a symbol of totalitarian fear. Now, the article argues, humans are trying to pass that dexterity to humanoid robots. It says major U.S. tech companies, as well as South Korean firms including Samsung, Hyundai Motor and LG, are working on robot hands — a modern echo of “The Creation of Adam.” Against that backdrop, two exhibitions running through June 28 — Tino Sehgal at the Leeum Museum of Art and “Kim Yunshin: Habi Habil, Bun-i Bun-il” at the Ho-Am Museum of Art — turn attention back to human touch. Sehgal centers exchange between people; Kim focuses on life shaped by hands working in unity with nature. Like a bird on a branch At Leeum’s lobby, there is no actual forest. Yet visitors can be invited to “touch” a tree and hear birdsong. Performers — described as interpreters — blend into the crowd, then approach a visitor with a gesture. Interpreter and visitor share the motion by touching fingertips. In Sehgal’s work, hands are not tools for taking photos or video. They become a living link between people. The exchange is meant to remain in the body and memory, not on social media. Sehgal has long asked how art can exist without a physical object. He leaves no sculpture or painting behind, building what he calls “constructed situations” through the human body, language and social interaction. Visitors become part of the exhibition and carry it forward through gesture, speech and recollection. At a recent news conference at Leeum, Sehgal said, “Art is a game we play together,” and “art is the continuation of the game.” He added, “I’m interested in real experience. The artist’s intention is only a kind of help — what matters is how you feel the work.” The exhibition also includes a live work referencing Rodin’s “The Kiss,” owned by Leeum, and other kiss scenes from art history. Two interpreters — a man and a woman — hold each other and move slowly. “My work connects to the past but also has something new,” Sehgal said. “Kissing appears in many works in art history. I thought about how to continue what’s in art history through my work.” Asked whether his “Kiss” can be passed on like baseball, he said transmission happens between people. “When you teach baseball to a 5-year-old, you don’t hand them a book — you teach with words and the body,” he said. “Showing objects (as museums do) is actually the exception in human history.” Adding and dividing into one — the tree keeps branching “My hands and my emotions connect as one with the tree. The moment I let go and stand the finished piece upright, I discover I have embodied, in a totem-like way, my dream of reaching the sky.” — Kim Yunshin, “The Soul of Wood,” Art in Culture, April 2023 The book “A Cultural History of Form” (Hangilsa) describes civilization — including humans, environments, artifacts and cultural phenomena — as following a branching structure like a tree. As limbs and fingers branch from a body, the article notes, similar patterns appear in neurons, lung airways, river deltas and lightning. Material culture, too, spread into countless branches through trial, error and innovation. At Ho-Am, Kim’s retrospective is built around her guiding idea, “Habi Habil, Bun-i Bun-il (合二合一 分二分一).” The article explains it as a process in which artist and material become one (合), and then a new work is born (分) — a movement between convergence and dispersal. Kim has said she gained insight by studying wood over time and carving it away with a chainsaw. Her sculptures, the article says, gather many strands: stacked stone towers; the lines of hanbok sleeves and the eaves of traditional Korean houses; Catholic and shamanistic beliefs; and the grandeur of South American nature and its vivid cultures. At a news conference on the 11th, Kim said, “The tree is me.” She added, “Since I was young, I lived with nature in the countryside, at the foot of a mountain. That’s me. I am nature.” Both exhibitions run through June 28. * This article has been translated by AI. 2026-03-16 00:03:27

Hanwha System Buys 0.58% Stake in KAI, Citing Space and Defense Cooperation Hanwha Group has bought shares in rival Korea Aerospace Industries, or KAI, for the first time in more than seven years. A business report filed Friday and cited Sunday by South Korea’s Financial Supervisory Service said Hanwha System, the group’s defense affiliate, bought 566,635 KAI common shares in November for 59.9 billion won. The stake equals 0.58% of KAI’s outstanding shares. Hanwha last held KAI shares in 2018, when Hanwha Aerospace sold its entire 5.99% stake.  Defense industry officials said closer cooperation between Hanwha and KAI could strengthen South Korea’s competitiveness in defense and aerospace. The two companies, however, have also competed in bids tied to a space project involving a small-satellite system. On the purchase, Hanwha System said the purpose of acquiring the stake was to strengthen cooperation in aerospace and defense businesses, adding that no additional acquisition plan has been decided. 2026-03-15 18:33:15

Lee Tae-hoon Misses 1-Meter Par Putt, Loses LIV Golf Singapore Playoff to DeChambeau Lee Tae-hoon, a Canadian of Korean descent, narrowly missed his first LIV Golf title, settling for second after a playoff loss in Singapore. Lee shot a 5-under 66 in the final round of LIV Golf Singapore on March 15 at Sentosa Golf Club (par 71). He finished at 14-under 270 and forced a playoff with Bryson DeChambeau of the United States. The playoff ended on the first extra hole, the par-5 18th. Lee had a chance to win but missed a birdie putt of about 8 meters. DeChambeau made par, and Lee then missed a 1-meter par putt, handing DeChambeau the trophy. Lee, who joined LIV Golf this year, earned $2.25 million (about 3.37 billion won) for second place — more than his career prize money on the Korea Professional Golfers' Association Tour, which stands at 2.58 billion won. DeChambeau collected $4 million (about 6 billion won) and claimed his fourth LIV Golf victory, his first in about 10 months since the LIV Golf Korea event in May last year. Also in the field, Song Young-han of the Korean Golf Club finished tied for 39th at 1-over 285. An Byeong-hun tied for 42nd at 2-over 286, Danny Lee of New Zealand tied for 47th at 3-over 287, and Kim Min-gyu was last in 57th at 25-over 309.* This article has been translated by AI. 2026-03-15 18:27:00

Hanwha Aerospace Signs Long-Term U.S. LNG Purchase Deal With Venture Global Hanwha Aerospace said March 15 it held a ceremony for a long-term liquefied natural gas purchase agreement with global LNG producer Venture Global. The event in Tokyo was attended by Hanwha Aerospace CEO Son Jae-il and Venture Global CEO Michael Sabel, along with senior government officials from both countries including South Korea’s Industry Minister Kim Jeong-gwan and U.S. Interior Secretary Doug Burgum, the company said. The United States held the Indo-Pacific Energy and Minerals Ministerial and Business Forum, or IPEM, in Tokyo on March 14-15, inviting 12 countries from the Indo-Pacific region, including South Korea. Hanwha Aerospace previously signed a deal with Venture Global last month to receive 1.5 million tons of LNG a year for 20 years starting in 2030. “This energy cooperation will once again demonstrate the firm partnership between South Korea and the United States to strengthen energy security,” Son said. “Based on our capabilities in energy and defense, we will continue to play our role as a global security partner.” Hanwha Aerospace said it is working with affiliates to build a global LNG value chain spanning production, distribution and use. Hanwha Ocean has capabilities in building LNG carriers and offshore infrastructure such as floating LNG production facilities, or FLNG. Hanwha Energy operates LNG power generation, and Hanwha Shipping is responsible for stable maritime transport of LNG.* This article has been translated by AI. 2026-03-15 18:21:15

Automakers Rework EV Plans as Demand Cools, Hybrids Regain Focus Global automakers are revising their strategies as growth in the electric-vehicle market slows. U.S. and Japanese carmakers are increasingly dialing back the pace of EV investment and shifting more attention to hybrids. According to the industry on the 15th, Japan’s Honda has decided to temporarily suspend its next-generation EV platform strategy, the “Honda 0 Series.” Development has also effectively halted on the flagship sedan “Saloon,” slated for release next year, and the Acura RSX sport utility vehicle, the report said. That has clouded Honda’s goal of investing 3.5 trillion yen in EVs by 2030 and switching all new vehicles to electric and hydrogen models by 2040. Honda’s decision reflects rising management burdens. Kyodo News and other foreign media reported Honda’s consolidated operating loss for last year is expected to be as much as 690 billion yen, a sharp reversal from an 835.8 billion yen profit a year earlier. This year, losses are forecast to reach as much as 2.5 trillion yen, the reports said. U.S. automakers have also posted operating losses tied to EV investment. Ford reported a $4.8 billion operating loss in its EV division last year. GM, while scaling back EV investment, spent about $6 billion to adjust production lines. Honda is moving to strengthen a hybrid-centered strategy while moderating EV investment. Toyota recently said it plans to increase hybrid production by about 30%, significantly expanding annual output. The Korea Automotive Technology Institute projected the same trend. In a January report, “Global Automotive Industry Issues to Watch in 2026,” it said the eco-friendly vehicle market should keep growing even as policy uncertainty increases. It said consumers are likely to focus on hybrids, which carry relatively lower risk. The global EV market has entered a contraction phase, the article said. Last year, the United States temporarily suspended EV tax credits under the Inflation Reduction Act. China ended its purchase-tax exemption policy starting this year and is imposing a tax equal to 5% of an EV’s price. In Europe, there are moves to ease a policy that would ban sales of internal-combustion vehicles starting in 2035. 2026-03-15 18:03:48

Lim Jin-young wins first KLPGA title at 2026 season opener in Thailand Lim Jin-young won the 2026 season-opening event on the Korea Ladies Professional Golf Association Tour, claiming her first career title in her 91st start. Lim closed Sunday with a bogey-free 7-under 65, making seven birdies in the final round of the Rejuran Championship at Amata Spring Country Club (par 72) in Chonburi, Thailand. The tournament purse was 1.2 billion won. She finished at 15-under 273, edging Lee Ye-won (14-under 274) by one shot. Lim earned 216 million won in prize money. The tournament turned on the par-3 17th, an island green surrounded by water. Lim holed a birdie putt of about 3.5 meters to move into a one-shot lead, while Lee missed a 3.9-meter birdie attempt. Lim then calmly saved par on the 18th to post her score. Lee also made par on the final hole, sealing Lim’s victory. “I can’t believe I won. It feels like a dream,” Lim said in a postround broadcast interview, tearing up. “I came to Thailand alone. I think my mom and dad, and everyone who supports me, will be just as happy as I am right now. Mom, Dad, I truly love you.” Lim, who debuted on the regular tour in 2022, lost her tour card in 2023 and returned in 2024. Her previous best finish was a solo second at the Deokshin EPC Championship in April last year. “I set a goal of two wins this season, and I got the first one,” she said. “I want to build on this and do well in the remaining tournaments.” Last season’s money leader Hong Jung-min finished tied for third at 12-under 276 with Kim Si-hyun, Jeon Ye-seong and others. Player of the Year Yoo Hyun-jo placed tied for 37th at 4-under 284.* This article has been translated by AI. 2026-03-15 17:57:00

Seoul 'in close talks' with Washington over sending warships to Strait of Hormuz SEOUL, March 15 (AJP) - The government is closely consulting with Washington and carefully weighing options after U.S. President Donald Trump pressed allies, including South Korea, to send warships to the Strait of Hormuz, Cheong Wa Dae said on Sunday. Urging countries "affected" by the closure of the strategically vital waterway, a critical chokepoint for roughly one-fifth of the world's oil supply, Trump wrote on his social media platform the previous day, "Hopefully China, France, Japan, South Korea, the UK, and others that are affected by this artificial constraint will send Ships to the area so that the Hormuz Strait will no longer be a threat by a nation that has been totally decapitated." He also wrote that "many countries" would be sending warships "in conjunction with the United States of America, to keep the Strait open and safe." The comments were made amid the escalating conflict in the Middle East, which began on Feb. 28 with coordinated U.S. and Israeli airstrikes on Iran and has since expanded into a broader regional war, with the U.S. vowing further strikes that have been met by Iranian retaliatory attacks. A Chong Wa Dae official said, "The safety of international sea lanes and freedom of navigation serve the interests of all countries and should be protected under international law," expressing hope that global maritime logistics can return to normal quickly. He also said the government is closely monitoring developments in the Middle East and related countries' moves, while considering measures to protect South Korean nationals and secure energy shipping routes. The government is expected to make a decision after considering various factors if a formal request is made. None of the five countries have yet explicitly responded to the U.S. request, with the U.K. offering only a limited "defensive" role in support of U.S. action. But even the U.S. Navy is not currently escorting tankers through the narrow strait. 2026-03-15 17:52:50

'Man Who Lives With the King' Tops 13 Million Moviegoers, Enters Korea’s All-Time Top 10 영화 '왕과 사는 남자'가 누적 관객수 1300만 명을 돌파하며 한국 영화 흥행 기록 상위권에 올랐다. 15일 배급사 쇼박스에 따르면 '왕과 사는 남자'는 이날 오전 9시 기준 전국 누적 관객수 1300만 명을 넘어섰다. 지난달 4일 개봉한 뒤 지난 6일 개봉 31일째에 1,000만 관객을 돌파했고, 9일 만에 1,300만 명을 추가로 넘어섰다. 쇼박스는 이 영화가 '명량'(1761만), '극한직업'(1626만), '신과 함께: 죄와 벌'(1441만), '국제시장'(1425만), '베테랑'(1341만), '서울의 봄'(1312만), '괴물'(1301만)에 이어 역대 한국 영화 가운데 여덟 번째로 1,300만 관객을 동원한 작품이라고 밝혔다. 흥행세도 이어지고 있다. 개봉 한 달이 지난 뒤에도 평일 관객이 15만 명 안팎을 유지하고 있으며, 지난 13일에는 22만 1000명, 14일에는 55만 4000여 명을 동원했다. 영화계 안팎에서는 현재 추세가 이어질 경우 2,000만 관객을 돌파할 가능성도 거론되고 있다. '왕과 사는 남자'는 1457년 청령포를 배경으로 유배된 어린 선왕과 그를 맞이한 촌장의 이야기를 그린 작품이다. 탄탄한 서사와 배우들의 연기로 호평을 받으며 장기 흥행을 이어가고 있다.* This article has been translated by AI. 2026-03-15 17:36:15

Astana braves the frost for a new Kazakhstan ASTANA, March 15 (AJP) - A leaden sky hung low over Astana on Sunday morning, stubbornly refusing to deliver the slight thaw promised by the local forecast. Instead, the mercury hovered at a biting -4°C, and the city’s wide avenues were flanked by mounds of snow stained with soot and dust, while footpaths were glazed in a treacherous layer of ice. Despite the chill, the capital’s residents appeared early. Clad in heavy winter coats, citizens moved with a hurried, quick-stepping gait, determined to reach the polling stations without lingering in the biting wind. The brisk movements reflected a city eager to participate in a defining moment for the nation. Kazakhstan, the giant of Central Asia with a population of approximately 20.4 million, stands as the region’s largest economy. By the end of 2026, its nominal GDP is projected to exceed $320 billion, firmly placing it among the world’s top 50 economies. While the nation has historically relied on "old industries" like oil, gas, and minerals, it is now undergoing a massive structural shift.Under a national goal to double its GDP by 2029, Kazakhstan is aggressively pivoting toward "new industries," including high-value manufacturing, artificial intelligence (AI), and digital finance. This national ambition has transitioned into concrete action this year. On January 18, Kazakhstan enacted a pioneering "AI Law," one of the first of its kind globally. President Kassym-Jomart Tokayev has declared 2026 as the "Year of Digitization and AI," concentrating state resources on technological innovation. Yet, these digital milestones are not merely technical adjustments; they represent the vanguard of a broader new industrial pivot intended to redefine the nation's competitive edge. The Kazakh leadership recognizes that a high-tech economy cannot thrive on an analog political foundation. Consequently, this referendum is targeted at a comprehensive overhaul of Kazakhstan's politics and society, acting as the critical "software synchronization" required to ensure the nation’s institutional architecture is as agile and transparent as the digital systems it is now deploying. Inside the grand, glass-fronted Al-Farabi Palace of Schoolchildren, the atmosphere shifted instantly from the harsh exterior to a scene of quiet, focused civic purpose. Citizens filtered into Polling Station No. 50 to cast a ballot that represents the most significant tectonic shift in the nation’s governance in decades. The referendum is designed to transition the country from a "super-presidential" system toward a more balanced "Presidential-Parliamentary" model, introducing a unicameral parliament known as the Kurultai and restoring the office of the Vice Presidency. Among the early arrivals was Roza, 61, whose bright, observant eyes offered a sharp contrast to the somber weather outside. She didn't see the freezing morning as a deterrent, but rather as a threshold. "Naturally, I believe that today, this new project is necessary for us," she said. "Because times are changing, people are changing, the era itself is changing. Therefore, it is necessary. I think it is only for the better, for the good". Roza’s hopes were grounded in a sense of urgency. "I don't have much time, I'm 61 years old," she remarked, noting that she paid particular attention to the changes that affect her personally—namely medicine, education, and the new direct access to the Constitutional Court. Despite the ticking clock, she remained optimistic: "I think everything will be very good in the near future". She confirmed she was fully informed before casting her vote. The mood took on a more rhythmic, festive energy in the residential suburb of Koshy. Inside Secondary School No. 3, the cold was a distant memory as the percussive strumming of traditional bands echoed through the hallways. The sound of the dombra turned what could have been a dry bureaucratic exercise into something closer to a cultural homecoming. Near the entrance, residents had set up unassuming, improvised stalls to greet the morning crowds. Golden jars of honey and royal jelly sat alongside piles of local confectioneries, turning the polling station into a modest community hub where neighbors paused to chat before heading to the booths. Kaisar Seifullin, the 39-year-old chairman of the precinct referendum commission at the school, watched the flow of families with an approving eye. "Most people are coming with a positive reaction, as you can see for yourself," Seifullin said. "Many Kazakh parents want to show and illustrate to their children how the polling station works". One of those parents was Almas Jexenbekov, 38, who arrived navigating the icy schoolyard patches with his pre-school son. For Jexenbekov, who works in mass media, the referendum is a necessary "upgrade" to the country’s fundamental software. "As for me, the new Constitution is like the upgrade of the Supreme Law of Kazakhstan that will affect the other laws because it is the priority," he explained. He noted that his professional background meant he was well-informed, having translated the discussions surrounding the changes. This sense of high-tech civic duty was echoed by Maksat Muratbekuly Mukhamedjanov, a 35-year-old education professional. To him, the day marked Kazakhstan’s transition from the raw, survival-focused independence of its early years to the maturity of a settled nation. "The first Constitution emphasized independence and our formation as a state. The new one is a big step into the future—not just as the Republic of Kazakhstan, but as a nation," Mukhamedjanov said. He was particularly struck by the inclusion of "digital rights" in the text, calling the legal evolution essential "immunity" for a nation in the age of digitalization. He praised the transformation of the parliament into a unicameral body, arguing that it "emphasizes public democracy" and aligns with models in developed nations. Like his fellow voters, he reported being "100 percent informed" through digital platforms and television. 2026-03-15 17:17:34