Journalist

Lee Soo-jin
  • BIGBANG Brings Trot to Coachella, Kicking Off 20th Anniversary Activities
    BIGBANG Brings Trot to Coachella, Kicking Off 20th Anniversary Activities Korean trot music made an unexpected appearance at Coachella, one of the United States’ best-known music festivals. BIGBANG appeared at the Coachella Valley Music and Arts Festival on April 12 (local time) in California. G-Dragon, Taeyang and Daesung performed an official set under the name BIGBANG, signaling the start of activities marking the group’s 20th anniversary. It was BIGBANG’s first official performance since its 2017 “Last Dance” tour, nine years ago. The group took the Outdoor Theater stage, a venue comparable in scale to the main stage, and performed 17 songs. The set included hits such as “Bang Bang Bang,” “Fantastic Baby” and “Haru Haru,” along with solo tracks including “Home Sweet Home” and “Ringa Linga.” Daesung drew particular attention by performing his solo song “Look at Me, Gwisun,” creating a moment in which Korean trot rang out at a major U.S. festival and quickly spread across online communities and social media. Daesung displayed large Korean subtitles reading, “Hello. I’m Daesung,” then performed his new song “Hando Chogwa” and his signature track “Look at Me, Gwisun,” drawing loud cheers from fans in attendance. G-Dragon told the crowd, “BIGBANG’s 20th anniversary has just begun,” adding, “Huge things are coming. We’ll make the 20th anniversary coming-of-age celebration fun.” To close the main set, BIGBANG performed “Bad Boy” and “We Like 2 Party,” telling fans, “This year marks BIGBANG’s 20th anniversary. We’re still together like this.” The group ended the show after an encore of “Spring Summer Fall Winter.” BIGBANG is scheduled to return to Coachella for a second performance on April 20, and is also expected to embark on a global tour. 2026-04-13 18:27:19
  • Review Preview: Hind’s Voice Recreates Gaza Girl’s Final Call for Help
    Review Preview: 'Hind’s Voice' Recreates Gaza Girl’s Final Call for Help War often reaches people first through social media — a sudden surge of posts on X, many showing children injured or killed. At first, it is hard to look away. Over time, the images become unbearable, and the instinct is to scroll past — even as the scenes linger. When news reports later describe airstrikes hitting military sites, schools or hospitals somewhere far away, the faces of those children return. For many viewers, that is where the mourning stops. The docudrama “Hind’s Voice” forces audiences to stay with that discomfort, centering on the voice of a child who is dying somewhere in the world. The film is based on a real incident. On Jan. 29, 2024, as the Israeli military issued evacuation orders in the Gaza Strip, gunfire struck a car carrying a fleeing family. Only Hind, 6, survived long enough to call for help and speak with emergency responders. The movie uses the actual recorded audio of the calls between Hind and a call center worker. Actors playing the call center staff performed while listening to the real voice from the recording. Rescuers were about eight minutes away, but they needed permission from the Israeli military to move safely. It took five hours before they could depart. Because the case is widely documented, the film’s ending can be found with a simple search — and it is as devastating as many would fear. The director adopts an experimental approach that blurs documentary and drama, aiming to deliver “Hind’s case” with maximum impact. For viewers, the film becomes a confrontation with guilt and grief — mourning people killed in war despite having no role in starting it, and imagining that such violence could one day reach their own skies. Those who choose “Hind’s Voice” knowing what it contains may be prepared to carry that grief, even if it feels imposed. The film suggests that doing so may ease, if only slightly, the weight of looking away. “Hind’s Voice” opens April 15.* This article has been translated by AI. 2026-04-13 16:45:47
  • Child Prodigy Baek Kang-hyeon Says He Left Science High School After Bullying
    Child Prodigy Baek Kang-hyeon Says He Left Science High School After Bullying Baek Kang-hyeon, who drew attention after appearing on SBS’ “Gifted Discovery Team” as a toddler who could solve equations at 41 months old, has shared an update on his life in a recent broadcast. On the April 9 episode of SBS’ “Gifted Discovery Team Infinity,” Baek, now 12, appeared and spoke about his recent experiences. He became a national talking point after entering a science high school at age 10, but left after five months. He also recently applied to the University of Oxford in Britain but did not receive a final offer, the program said. The broadcast showed Baek studying more than 15 hours a day while preparing for the Oxford exams. He reached the final interview after earning the top A-level grade, A*, and a high score on the MAT, but ultimately was not admitted. A person in the study-abroad industry said Britain holds schools responsible for student safety, and suggested officials may have proceeded cautiously because Baek is 12. Baek said he left the science high school because of bullying. He said he enjoyed studying there and got along well with older students, but his mother said there were repeated problems with one student, including posting malicious comments online. The alleged perpetrator was found responsible for school violence and received a Level 3 disciplinary measure of 10 hours of in-school service, according to the program. “I remember crying a lot then,” Baek said. “I didn’t actually want to leave.” He added that he still considers the science high school his alma mater. In 2023, Baek’s father also drew attention after saying his son left not because he could not keep up academically but because of bullying. After failing to gain admission to Oxford, Baek has continued pursuing new challenges, including writing lyrics, composing music and developing app-based games. 2026-04-10 11:18:17
  • Seoul SK Falls to Anyang Jung Kwan Jang, Finishes Fourth After Late Free-Throw Misses
    Seoul SK Falls to Anyang Jung Kwan Jang, Finishes Fourth After Late Free-Throw Misses Seoul SK drew anger from fans after a listless performance in its regular-season finale raised questions about whether the team was trying to lose. On April 8, the final game of the sixth round of the 2025-26 LG Electronics Pro Basketball season was played at Anyang Jung Kwan Jang Arena. SK entered the matchup knowing a win would lock up third place in the regular-season standings, while a loss would drop it to fourth. As results came in from other arenas, the playoff picture sharpened. KCC lost to DB and Sono lost to KT, fixing the standings among those four teams. SK would face KCC in the six-team playoff with a win, or Sono with a loss. With SK trailing KCC in the head-to-head series, a string of puzzling plays followed. Late in the fourth quarter, SK’s Lee Min-seo committed a foul that led to free throws, and SK fell behind 63-62. With about 20 seconds left and the score tied 65-65, Jung Kwan Jang also made an unusual sequence: Kim Se-chang near the halfcourt line appeared to hand the ball to SK, then committed a foul by grabbing an opponent. SK went to the line with a chance to win by making one free throw, but Kim Myeong-jin missed both. SK then allowed a layup at the other end, with defense that did not appear aggressive. SK lost 67-65, finished fourth and will meet Sono in the six-team playoff. Fans criticized the game as looking like an “intentional loss.” SK, which finished first in the regular season last year, ended this season’s regular-season schedule under a cloud of controversy. According to multiple reports, an SK official said, “There was no intention to lose the game on purpose. We did show some disappointing moments at the end, but it wasn’t deliberate.” The KBL said that because five games were played simultaneously on the final day of the regular season, it would first analyze the SK-Jung Kwan Jang game before making a judgment. 2026-04-09 10:06:00
  • Review: ‘Sinners: Sinners’ and the Oscars’ Spotlight on the Blues
    Review: ‘Sinners: Sinners’ and the Oscars’ Spotlight on the Blues The Academy Awards may be the world’s most-watched film prizes, but they are still, as some put it, a largely local show. I paid little attention this year — until I heard that the film “Sinners: Sinners” (hereafter “Sinners”) had landed a record 16 nominations. Most people expected “One Battle After Another” to dominate. So why did the less-known “Sinners” suddenly stand out? In South Korea, the gap was stark. “One Battle After Another,” boosted by Leonardo DiCaprio, drew more than 500,000 viewers. Before its re-release, “Sinners” drew fewer than 80,000. Yet “Sinners” was a major hit at home: North American box office accounted for about 76% of its worldwide gross (source: IMDb). Even so, it was striking to see a film by Black filmmakers and starring Black actors — centered on blues music from an era of discrimination — become the most-nominated film in Oscars history. In the end, “Sinners” won four trophies out of 16 nominations, while most major awards went as expected to “One Battle After Another.” The nominations were a surprise, but the film did not overturn Hollywood’s usual order. The ceremony ended with relatively little controversy. Still, “Sinners” merits a second look, particularly at a time when, as President Donald Trump issues ultimatums to the world, the United States’ standing appears to be slipping by the day. My view is that the Academy’s attention to “Sinners,” after “One Battle After Another,” reflected a sense of urgency in trying to lift the image of an American empire whose prestige has fallen sharply. Part of the film’s appeal in the United States, I believe, is that while it tells a Black story, it also captures — in vivid sound and image — something foundational about the country itself, prompting even Americans to reconsider what they may not have fully recognized about their own roots. “Sinners” is a period piece set during the height of Jim Crow segregation laws. It layers music heavily into the story and eventually folds in occult elements, making for a complex plot. But its core is unmistakable: the blues. For decades, the United States held the “world’s police” image, even in blockbuster fantasies where it shoulders the mission of global stability and peace. In reality, the country’s most decisive global impact has been cultural — especially popular culture. For years, U.S. content has dominated music and film charts worldwide. And at the root of that cultural force sits Black blues music. “Sinners” treats the blues with reverence. In the film, a gifted blues player named Sammy takes the stage on the day twin brothers Smoke and Stack — who return home after running with gangs elsewhere — open a bar. Sammy performs his original song, “I Lied to You.” The sequence that follows was powerful enough to quicken the pulse of an ordinary viewer like me, sitting in the corner of an almost empty theater in South Korea. As Sammy sings and plays in 1932, the film collapses time: one person plays an electronic guitar; another DJs, then raps; others break-dance and twerk. At one point, as hip-hop unfolds, someone beside it performs Peking opera, a traditional Chinese musical theater form. The film presents the blues as a vast, almost sacred force — one that blurs the line between life and death and gathers past, present and future into a single moment. The greatness it assigns to the blues is rendered with unusual clarity in the “I Lied to You” sequence. What did American audiences feel watching it? Did they sense their country’s reach in a visceral way? The Academy, moved by that pull, nominated “Sinners” in 16 categories, granting it the distinction of the most nominations in Oscars history. That is where I see the cultural world’s urgency to restore the stature of an empire. For reasons that are not entirely clear, that effort ended with four wins out of 16. It may have been too much to expect that the blues — music born of resistance — could by itself rescue the future of a declining empire. The question now is what Americans will look to next for renewal — and whether that answer lies not outside the country, but within it.* This article has been translated by AI. 2026-04-08 19:03:20
  • Pitcher Ryu Hyun-jin hits 1,500-strikeout milestone
    Pitcher Ryu Hyun-jin hits 1,500-strikeout milestone SEOUL, April 8 (AJP) - Pitcher Ryu Hyun-jin of the Hanwha Eagles added another milestone in his baseball career with his 1,500th strikeout. Ryu, who started an away game against the SSG Landers in Incheon on Tuesday, struck out 10 batters to become the oldest pitcher in Korean Baseball Organization (KBO) history to reach 1,500 strikeouts at 39 years and 13 days, as well as the fastest to reach the milestone by games played with 246 outings. It was also his first double-digit strikeout game in about 14 years since October 2012. After the game ended with the Eagles' 6–2 victory, the left-hander, who pitched through the sixth inning, said he was aware he was approaching the milestone. "I thought I might be able to get at least one strikeout. I got it in the first inning, so I was able to pitch comfortably." Earlier Ryu amassed 934 strikeouts over 10 seasons in the U.S. Major League Baseball. Since making his professional baseball debut in 2006 in South Korea, Ryu has posted at least 100 strikeouts in nine consecutive seasons and is aiming to extend the streak this year. 2026-04-08 14:18:22
  • Hanwha’s Ryu Hyun-jin becomes KBO’s oldest, fastest to 1,500 strikeouts
    Hanwha’s Ryu Hyun-jin becomes KBO’s oldest, fastest to 1,500 strikeouts Hanwha Eagles left-hander Ryu Hyun-jin added another milestone to his career. Ryu started Monday at Incheon’s SSG Landers Field and earned the win after allowing two runs over six innings in Hanwha’s 2026 Shinhan SOL KBO League regular-season game against the SSG Landers. He struck out 10 to become the oldest pitcher in KBO history to reach 1,500 strikeouts, doing so at 39 years, 13 days. He also set the record for fewest games to 1,500, reaching the mark in 246 appearances. It was also his first double-digit strikeout game in 14 years, since an Oct. 2012 outing against the Nexen Heroes (now the Kiwoom Heroes). After the game, Ryu told reporters he learned about the approaching milestone after his previous start. “I did think I wanted to get at least one strikeout,” he said. “I got it in the first inning, so I was able to pitch comfortably.” Ryu added that he was not focused on piling up strikeouts. “I don’t have a desire to chase strikeouts,” he said. “But it’s good to have a day like today once in a while, and I’m just happy to have double-digit strikeouts for the first time in a long time.” Ryu previously recorded 934 strikeouts over 10 seasons in Major League Baseball. Combined with his KBO total, he has 2,434 strikeouts in Korea and the United States. Since debuting in the KBO in 2006, Ryu has recorded at least 100 strikeouts in nine straight seasons through last year, and he is aiming to make it 10 consecutive seasons in 2026. 2026-04-08 11:18:28
  • Review: Kim Young-ha’s ‘What Happened to the Man Stuck in the Elevator?’
    Review: Kim Young-ha’s ‘What Happened to the Man Stuck in the Elevator?’ ‘Even now, I still wonder. What on earth happened to him.’ Twenty-seven years after it was published, no one knows what became of him — the man who, in 1999, got stuck in an apartment elevator in Kim Young-ha’s short story, ‘What Happened to the Man Stuck in the Elevator?’ Though I read it more than 20 years ago, several scenes remain vivid, like a film: the man wedged at the fifth floor with his upper body caught between the doors, his feet dangling outside. The narrator, a resident of the same building, sees the man on the way to work and decides to report it rather than pull him free — worried about being late. But he has no cellphone. The security guard is out on patrol, and no one will lend a phone. The day only gets stranger: the commuter bus crashes, the narrator is mistaken for a sex offender, and at work he ends up trapped in an elevator. He is rescued much later, but his suit is ruined, he is late, and an important meeting ends in disappointment. By the time he gets off work, he still has not been able to report what he saw. Back home, he asks the building manager and neighbors what happened to the man — but no one knows. More than that, no one even seems to know such an incident occurred. The shock I felt then came from how chillingly real the story made “indifference” feel. The lingering anger came, too, from the author’s refusal to provide an ending. Kim, even now, has never offered an epilogue about the man’s fate. When I first read the story, I resented the neighbors, bus passengers and co-workers who piled hardship onto the narrator. A scene in which employees debate how many squares of toilet paper to allow for bodily waste, to save supplies, felt absurd. The narrator’s helplessness also seemed pathetic. Looking back now, I see the narrator differently: timid, perhaps, but in his own way admirable — the kind of worker who keeps showing up, enduring the long years, no matter what derails the day. Over time, my irritation at the bystanders has faded, replaced by a renewed respect for the many office workers who quietly withstand routine and then absorb sudden crises, solve them and move on. Kim, who was just over 30 when he wrote the story, may have been driven by irritation at people who pride themselves on being expressionless, detached and narrowly focused on their own tasks. Whether he still thinks that way is unclear. Now nearing 60, Kim met audiences on the 1st at a matinee concert that paired music and storytelling. The program placed the author’s commentary between performances of opera arias and film music. There, Kim reflected on ‘Cinema Paradiso,’ screened at a commemorative film festival marking the 30th anniversary of his literary debut. “I used to see it as a story about having to leave,” he said, “but watching it again, I realized it was about understanding the past and the community that made you.” He also said that in spring, more people wander without a destination, and “in that process, love shows on their faces.” The sharp edges in the author’s aura seem to have softened. So have mine. With time and experience, I have come to understand more of people’s smallness — and to value compassion more. I also find myself hoping that the story’s narrator, now surely older, would do something, anything, for a stranger in danger. * Leftover Review: A review of the impressions that remain after the main takeaways from cultural content are set aside.* This article has been translated by AI. 2026-04-03 18:45:18
  • 2026 World Cup Field Set at 48: Iraq Returns After 40 Years, Italy Misses Again
    2026 World Cup Field Set at 48: Iraq Returns After 40 Years, Italy Misses Again On April 1, Iraq beat Bolivia 2-1 in the intercontinental playoff to claim the final ticket to the 2026 World Cup. The result sent Iraq to the World Cup for the first time since 1986, ending a 40-year wait. Iraq, which borders Iran, has been shaken by war in the Middle East, with about 100 people killed, leaving the country in an unstable situation. Despite the security strains, large crowds poured into streets across Baghdad and other cities after the win, setting off fireworks and cheering. The Iraqi government declared a two-day public holiday. Another team ended an even longer drought. The Democratic Republic of Congo qualified for the finals for the first time in 52 years, beating Jamaica in the intercontinental playoff after a 120-minute match. DR Congo scored in extra time and held on for the win. Italy, a four-time champion, failed to qualify for a third straight World Cup. Italy drew Bosnia and Herzegovina 1-1 after extra time in the European qualifying playoff Group A final on April 1, then lost on penalties. After the setback, Italy’s football federation president and the national team director resigned, the report said. Bosnia and Herzegovina, meanwhile, will return to the World Cup for the second time, 12 years after 2014. South Korea’s first opponent in Group A was set as the Czech Republic, which qualified for the first time since the 2006 tournament in Germany. The Czech Republic beat Denmark on penalties after extra time in the European playoff Group D final. The 2026 tournament will be the first World Cup to expand from 32 teams to 48. Jordan and Uzbekistan from Asia, Cape Verde from Africa, and Curacao from the CONCACAF region will make their World Cup debuts. With the United States, Canada and Mexico hosting, the North America World Cup is expected to be the largest in the tournament’s history. The number of matches will rise from 64 to 104, and the competition will run 39 days, the longest World Cup to date.* This article has been translated by AI. 2026-04-03 10:54:00
  • South Korea Expands ‘Culture Day’ to Weekly, but Movie Discounts Draw Backlash
    South Korea Expands ‘Culture Day’ to Weekly, but Movie Discounts Draw Backlash South Korea’s monthly “Culture Day,” previously held on the last Wednesday of each month, expanded in April to a weekly Wednesday program called “Culture Wednesday.” The change follows the Culture, Sports and Tourism Ministry’s approval on March 3 of a revision to the enforcement decree of the Framework Act on Culture. The ministry said the revision broadens benefits such as discounted movie tickets and free or discounted admission to national heritage sites and sports events. But online communities have questioned whether the movie-ticket benefit has effectively been reduced rather than expanded. Under the previous program, movie tickets cost 7,000 won on Culture Day. Under the revised decree, the discount applies twice a month, but ticket prices rise to 10,000 won for adults and 8,000 won for youths. While theaters may offer discounts more often, viewers who do not go at least twice a month would pay more per discounted visit — a 3,000-won increase for adults compared with the previous 7,000-won price. The article said theaters had borne the cost of the discount without government subsidies. It said theaters, after consultations with the ministry, agreed to join the expanded program by increasing discount days to twice a month while raising the discounted price. After the change became known, comments on portal news sites, online communities and social media largely argued that cultural benefits had been cut, saying it would be better to keep a once-a-month 7,000-won movie ticket. Because the previous Culture Day was credited with boosting attendance, some have voiced concern that higher discounted prices under Culture Wednesday could weaken the draw and ultimately reduce theatergoers. 2026-04-01 17:57:16