T’way Air Expands Customer Outreach With YouTube and Instagram Content T’way Air said Thursday it is strengthening communication with customers through its official YouTube and Instagram channels. The airline is using long-form YouTube videos centered on employee stories to build trust, while focusing Instagram on follower benefits and interactive posts to grow its fan base. On YouTube, T’way Air features documentary-style long-form content in which employees appear on camera to share their work and daily routines. The airline said storytelling based on real workplaces has helped increase viewer engagement and channel growth. As of the end of this month, the channel had about 74,000 subscribers, up 153% from the same period a year earlier. Notable videos include “Vancouver Branch Manager” (400,000 views), “A Day in the Life of the Youngest Employee at Incheon Airport” (380,000), and “Newly Hired Aircraft Mechanic,” about a 30-year veteran taking on a new challenge (160,000). On Instagram, T’way Air said it is reinforcing its follower-focused approach. As of the end of this month, the account had about 210,000 followers, a 17% increase from a year earlier. The airline posts short-form videos offering behind-the-scenes looks and practical information designed to be quickly understood. It recently drew attention by switching the account to private and running an event that offered discount coupons only to followers. During the event, about 17,000 new followers joined, the airline said. Popular Instagram posts include a video on how pilots and cabin crew communicate in flight (1.13 million views), a preflight cabin crew briefing meeting (480,000), and tips on what to do if you lose earphones on board (170,000). “We are building trust with customers by showing the moments they are curious about as they are,” a T’way Air official said. “We will continue to expand empathy and communication with customers through stories that reflect employees’ concerns and pride, along with practical information.”* This article has been translated by AI. 2026-02-27 08:54:16

'I Am Solo' Season 16’s Oksun says she is preparing for marriage 'I Am Solo' Season 16 cast member Oksun has shared an update on her life. On the 26th, Oksun wrote on social media, “A lot of people have been asking how I’m doing, so I wanted to share an update,” adding, “It’s not that I’m sick or going through something difficult — I’m preparing for marriage.” She added, “I’ll greet you soon with good news.” In July, Oksun announced she was pregnant and received congratulations, but a month later disclosed that she had miscarried. At the time, she said, “Unfortunately, the precious little life that came to me suddenly returned to the sky,” adding, “I thought I would be OK once I entered a stable period, but because of my carelessness, I’m now going through a very painful and sad time after an unexpected goodbye.” She also asked for understanding, saying, “I would be grateful if you could be generous and watch over me with a warm heart,” and added, “I will try to overcome this hardship and return to you soon with a brighter 모습.” Oksun drew attention after appearing in 2023 on ENA and SBS Plus’ 'I Am Solo' Season 16 divorcee special. * This article has been translated by AI. 2026-02-27 08:48:17

Korean Air Cut Aircraft Carbon Emissions by 420,000 Tons Last Year, Despite More Flights Korean Air said it cut carbon emissions from aircraft operations last year by more than 420,000 metric tons from the previous year, even as it flew more routes. The airline said Feb. 27 that it recently held its “2026 first-quarter Fuel Management Committee” meeting and tallied 12,184,169 metric tons of carbon emissions from its flight operations in 2025. That was down 420,055 tons, or 3.3%, from 12,604,224 tons a year earlier. Korean Air said its total number of domestic and international flights rose about 2.6% in 2025 from the previous year, making the overall emissions decline notable. The company said emissions during flight are calculated by multiplying fuel consumption by a carbon-emissions factor commonly used across the global aviation industry. Korean Air attributed the reduction to tighter fuel management across operations, including deploying newer aircraft, flying more efficient routes, selecting optimal alternate airports for short-haul flights, improving forecasts of passenger baggage and cargo weight, and optimizing aircraft center of gravity. It said it pursued these measures while adhering to its “absolute safety” principle and by strengthening coordination among relevant departments. The airline said it expanded the share of aircraft introduced since 2017 to 41.6% of total flights and reduced emissions by operating more fuel-efficient models such as the Boeing 787-9 and 787-10 and the Airbus A350 and A321neo. It also applied an economically optimal cruising speed in flight planning based on factors including flight time and fuel burn, and optimized fuel loads by more accurately predicting actual payload weight, it said. Korean Air said it has continued working with air traffic control authorities to secure the shortest possible flight paths, reducing actual distance flown, fuel consumption and flight time. It said it prioritized the nearest airport among those meeting safety standards and reduced aircraft weight by optimizing fuel loads. The airline said it minimized use of auxiliary power units on the ground before takeoff and after landing to cut fuel use and emissions, and restored engine performance to improve fuel efficiency. Korean Air said it has also reorganized its companywide operating system to minimize emissions. It runs a fuel-management framework in which all organizations involved in flight operations communicate and cooperate, and it holds quarterly fuel-management committee meetings to review progress and set plans. It said it is also promoting measures to reflect frontline input and encourage voluntary participation, including awards for employees who contribute to emissions reductions and idea contests. To improve efficiency and apply more precise data, the airline said it digitized data previously recorded by hand and introduced artificial intelligence-based data processing. It said the system helps adjust onboard supplies such as drinking water and more precisely analyze and predict variables affecting passenger baggage weight, reducing deviations in baggage-weight estimates. Korean Air said its AI-based baggage-weight prediction was selected as an outstanding AI use case at the SkyTeam-led “2025 Sustainable Flight Challenge,” winning in the “Data Insight & Pioneer” category. “With a cooperative system based on voluntary participation and close communication among employees, we were able to reduce carbon emissions from flight operations,” a Korean Air official said. “This year as well, we plan to continue efforts for sustainable flight, including doing our best to meet our emissions-reduction targets.”* This article has been translated by AI. 2026-02-27 08:45:26

Museums Near Seoul’s Gwanghwamun to Close for BTS ‘Comeback Live’ Crowd Major museums around Seoul’s Gwanghwamun Square will temporarily close on March 21, when “BTS Comeback Live: ARIRANG” is set to be held at 8 p.m. at the square, as officials brace for heavy crowds. Industry officials said on the 27th that the National Museum of Korean Contemporary History decided to close that day, and the National Folk Museum of Korea has joined the shutdown. The museums said the closures are necessary to protect visitors as large crowds are expected. Up to 260,000 people are projected to gather in the Gwanghwamun area on the day of the BTS event. Other nearby museums are also considering temporary closures, officials said. The Korea Heritage Service is discussing with the Ministry of the Interior and Safety and police whether to temporarily close the National Palace Museum of Korea and suspend operations at Gyeongbokgung Palace and Deoksugung Palace. “We plan to make a final decision on closures and palace shutdowns sometime next week,” a Korea Heritage Service official said, adding that the agency will hold a final meeting with related institutions to confirm details, including the scope. The Sejong Center for the Performing Arts is also adjusting its schedule. The musical “Anna Karenina,” the play “Wasp,” and the dance performance “Double Bill Bliss and Jackie,” which had been scheduled for that day, will not be staged. The center said it is in talks about rescheduling “Park Shin-yang’s Exhibition Show: The Fourth Wall.” Opening some Sejong Center spaces to BTS fans is also under discussion. “We are reviewing multiple options, and nothing has been finalized,” a Sejong Center official said. Police are also preparing safety measures. The Seoul Metropolitan Police Agency has asked Seoul Metro to consider having trains pass through three subway stations — Gwanghwamun, Gyeongbokgung and City Hall — without stopping as a precaution against overcrowding. Traffic controls will also be imposed on Sejong-daero, which will be used as the performance venue, and on nearby roads including Saemunan-ro, Jongno, Sajik-ro and Yulgok-ro. The police agency said it will provide advance notice through electronic road signs once control hours are set.* This article has been translated by AI. 2026-02-27 08:16:31

Renault Korea Scenic E-Tech Named Korea’s 2026 Import Car of the Year Renault Korea said Feb. 27 that its compact electric SUV, the Scenic E-Tech 100% Electric, was named 2026 Import Car of the Year at the Korea Car of the Year (K-COTY) awards hosted by the Korea Automobile Journalists Association (KAJA). The Scenic E-Tech had earlier won Electric Crossover of the Year at another Korea Car of the Year program hosted by the Korea Automobile Expert Journalists Association (AWAK), giving it two major domestic “car of the year” awards this year. Renault Korea said the recognition follows last year’s award for its midsize SUV, the Grand Koleos, which was named SUV of the Year. The company said the back-to-back wins reflect strong evaluations of both its locally produced models and vehicles it imports and sells in South Korea. Renault also said it became the first non-German brand to win the Import Car of the Year category in South Korea. Since the category was introduced in 2016, winners through last year had all been models from two German premium brands, the company said. Renault Korea, which changed its corporate name and logo in 2024 and announced a renewed push in the domestic market, said it operates under the motto “born in France, made in Korea.” The company said it contributes to the local economy as an automaker rooted in Busan, while offering both domestically produced vehicles from its Busan plant and imported models to broaden its lineup. The Scenic E-Tech is equipped with an 87-kilowatt-hour high-performance NCM (nickel-cobalt-manganese) battery from LG Energy Solution and has a maximum driving range of 460 kilometers under South Korea’s Ministry of Trade, Industry and Energy certification standards, Renault Korea said. It also features “Fireman Access,” a patented battery-fire response technology developed with French fire authorities, the company said. The Scenic E-Tech previously won the 2024 European Car of the Year award.* This article has been translated by AI. 2026-02-27 08:15:22

HMM Busan Relocation Plan Gains Traction as Major Shareholders Signal Support President Lee Jae-myung’s remarks, followed by signals of support from Korea Development Bank, a major shareholder, have brought a possible relocation of HMM’s headquarters to Busan back into focus. Industry watchers say the company could replace three outside directors whose terms end next month, then call an extraordinary shareholders meeting to revise its articles of incorporation to enable the move. Union opposition, including the possibility of a strike, remains a key variable. According to the industry on Wednesday, KDB Chairman Park Sang-jin said at a press briefing the previous day that the Ministry of Oceans and Fisheries and the Korea Ocean Business Corp. had presented a schedule to complete HMM’s move to Busan in March or April. “If the relocation is confirmed, we will actively support it,” Park said. The comments effectively formalized the relocation push in line with Lee’s presidential campaign pledge. KDB and the Korea Ocean Business Corp. are HMM’s No. 1 and No. 2 shareholders, holding 35.42% and 35.08%, respectively. The biggest obstacle is HMM’s articles of incorporation, which stipulate that the company’s headquarters is in Seoul. The company must revise the articles at a shareholders meeting before it can begin practical work for a relocation. Amending the articles requires a special resolution backed by at least two-thirds of shareholders present. With KDB, the Korea Ocean Business Corp. and the National Pension Service holding more than 70% of HMM shares, the government could secure approval if the item is put to a vote. Investment banking sources said the agenda for HMM’s regular shareholders meeting on March 26 is not expected to include an articles change. No such item was included in shareholder proposals that closed earlier this month. In the shipping industry, a leading scenario is that KDB and the Korea Ocean Business Corp. will replace the three outside directors whose terms expire at the regular meeting, convene an April board meeting to approve an articles-change proposal, and then seek shareholder approval at an extraordinary meeting in May. Practical work for the Busan move is expected to ramp up in the second half of this year. HMM’s onshore union, made up of employees working in Seoul, is strongly opposed. It is expected to begin rallies in the Yeouido area next week and hold a strike resolution rally in front of Cheong Wa Dae to block the relocation, according to reports. Under labor law, management decisions such as relocating a headquarters are generally not subject to lawful industrial action. However, that could change when the amended Trade Union and Labor Relations Adjustment Act, known as the Yellow Envelope law, takes effect next month. If a management decision is interpreted as having a substantial impact on working conditions, it could be treated as a legitimate subject of labor action. If an HMM strike materializes, it would be the first general strike at a major company since the law’s implementation, drawing close attention from business, labor and legal circles. 2026-02-26 18:04:31

Hyundai Ioniq 9 Named 2026 Korea Car of the Year by Auto Journalists Group The Korea Automobile Journalists Association said on the 26th that Hyundai’s Ioniq 9 has been selected as the 2026 Korea Car of the Year. The Ioniq 9 earned an overall satisfaction score of 82.30 out of 100 in the final judging for the 2026 Korea Car of the Year (K-COTY), held on the 5th at the Korea Transportation Safety Authority’s Automobile Safety Research Institute in Hwaseong, Gyeonggi Province, the association said. A total of 18 models from 10 brands competed in the final round: Kia, Land Rover, Renault, Mercedes-Benz, Volvo, BMW, Audi, KG Mobility, Peugeot and Hyundai Motor Co. (listed in Korean alphabetical order by brand). Judges evaluated vehicles across 10 criteria: exterior design; interior and perceived quality; ease of instrument operation; handling and driving feel; acceleration; noise and vibration; high-speed stability and braking; safety and convenience features; fuel economy and maintenance; and price and purchase intent. The Ioniq 9 is Hyundai’s flagship electric SUV built on the E-GMP dedicated EV platform. The association said it offers class-leading interior space and a 110.3 kWh battery, with a maximum range of 532 kilometers on a single charge. It was also named SUV of the Year and EV of the Year. Renault’s Scenic E-Tech 100% Electric was chosen as Import Car of the Year with an overall satisfaction score of 70.07 out of 100. The association described it as a model based on a dedicated EV platform and noted it won the 2024 European Car of the Year at the 2024 Geneva Motor Show. Kia’s PV5 won Utility of the Year and Innovation of the Year. The association said the PV5 offers multiple lineups, including passenger and cargo versions, aimed at tailored mobility for business and leisure needs. Peugeot’s All-New 3008 Smart Hybrid was selected as Design of the Year. The association said it is a full model change introduced to the domestic market for the first time in eight years and received high marks from the panel. Mercedes-AMG GT received the Performance of the Year award. The association said it uses an F1-inspired P3 hybrid system and can accelerate from a standstill to 100 kph in 2.8 seconds. Jeong Chi-yeon, chair of the selection committee, said winners were chosen after rigorous testing and verification using key tracks at the Automobile Safety Research Institute, including a high-speed circuit and steering performance course. “I offer my sincere congratulations to the brands that rose to the top in each category amid fierce competition,” Jeong said. The 2026 K-COTY awards ceremony was held that evening at the Sebitseom Convention Hall in Banpo, Seoul, with attendees including government officials, related agencies, auto industry representatives, and association executives and members.* This article has been translated by AI. 2026-02-26 18:03:40

Love in the grey zone; how K-dating shows captured the world SEOUL, February 26 (AJP) – The island is fictional, the sand sun-bleached, the contestants impossibly polished. There is no king or queen of the jungle. No one makes grand declarations of love. Instead, they wrestle — sometimes almost literally — for a cup of iced Americano or a coveted night at a luxury hotel called "Paradise." Five seasons in, Single's Inferno has barely altered its rules. Contestants remain immaculate, well-educated, courteous to a fault — and curiously restrained in courtship. What fuels the tension is not overt seduction, but hesitation. In Korean dating reality, love is rarely declared. It is inferred. And that inference — the delicious agony of not knowing — has become a global obsession. The Grammar of "Sseom" At the center of this cultural export is one untranslatable word: "sseom." Loosely rendered in English as "something," or perhaps "situationship," sseom describes the suspended moment before a relationship is defined. It is a shared awareness without confirmation — a mutual gravitational pull neither party names aloud. In Western dating shows, attraction often accelerates toward confession and coupling. In Korean formats, it lingers. The camera dwells on glances, silence, anonymous messages delivered at night. Emotional escalation is slow, almost ceremonial. "The real pleasure lies in inference," says Haerin Shin, professor of media and communication at Korea University. "Viewers decode glances, gestures and hidden intentions. Romance becomes a social puzzle." On Single's Inferno, contestants can send anonymous notes revealing their interest — but never openly discuss their feelings unless invited. That anonymity intensifies ambiguity. A simple text can alter alliances. A coffee invitation can ignite rivalry. It is civility weaponized. A Streaming Juggernaut The numbers underscore that this is not niche programming. According to Netflix's Global Top 10 data for February 16–22, 2026, Single's Inferno: Reunion ranked No. 7 among non-English TV shows worldwide, recording 1.5 million views and 5.5 million hours watched in a single week — its second consecutive week on the chart. Season 1 marked a milestone as the first Korean reality series to enter Netflix’s Global Top 10 (Non-English TV). Season 2 stayed on the chart for four consecutive weeks, accumulating 65.08 million viewing hours during its Top 10 run. This is not a one-week curiosity spike. It is a repeatable global performance. Netflix's distribution model amplifies reach. Once a show enters the Global Top 10, it surfaces across territories, algorithmically recommended from São Paulo to Stockholm. Korean dating formats, once domestic experiments, now enjoy the same international exposure previously reserved for K-dramas and films. "Global distribution dynamics have been a major factor," Shin notes. "But what sustains viewership is the narrative style itself." Romance as Mystery Genre Korean dating shows occupy a curious middle ground between melodrama and detective fiction. Studio panelists observe in real time, offering commentary. Viewers join them — parsing eye contact, decoding who lingered beside whom at the fire pit, replaying ambiguous smiles. "It resembles a mystery genre," Shin explains. "Audiences test hypotheses about hidden emotions. They are participating, not just watching." Social media extends the experience. Fans create analysis threads, freeze-frame breakdowns, even behavioral charts mapping possible romantic trajectories. The show ends each week; the speculation does not. Unlike more explicit Western formats, Korean dating reality thrives on restraint. The "guilty pleasure" lies not in voyeuristic intimacy, but in suspense. In an era oversaturated with exposure, ambiguity feels radical. Love in an Age of Scarcity The global resonance of sseom also reflects shifting romantic realities. Across Korea, Europe, North America and Japan, marriage rates are falling and partnerships delayed. Economic pressure, social anxiety and digital isolation have reshaped dating norms. "In Korea, we speak of the 'N-po generation' — young people who feel compelled to give up dating, marriage or childbirth," Shin says. Similar patterns echo elsewhere: declining birth rates in Europe, adolescent social isolation in the United States, withdrawal phenomena such as hikikomori in Japan. Within that context, dating reality shows function as mediated participation. "For some viewers, these programs provide vicarious fulfillment," Shin notes. "They offer anticipation, jealousy, rejection and connection without personal risk." At the same time, they serve as observational spaces — informal tutorials on communication strategies and relational dynamics. In other words, they are not just escapism. They are social laboratories. Evolution on the Island Korean dating formats are also evolving alongside changing attitudes. Shows such as His Man spotlight same-sex relationships. Last Love explores later-life romance. Cross-cultural formats like My Korean Boyfriend broaden the lens further. The core structure — emotional inference, indirect confession, prolonged ambiguity — remains intact. But the cast has diversified, mirroring societal shifts. The success of Korean dating reality is not merely about being "less provocative" than Western counterparts. Nor is it solely the result of Netflix's algorithmic muscle. It lies in the tension of the grey zone. On a remote island where no one says "I love you," millions around the world are leaning closer to their screens — trying to read between the lines. 2026-02-26 17:50:11

How 60-second micro-dramas are redefining screen culture SEOUL, February 26 (AJP) - Over the past two decades, researchers have found that the average time people remain focused on a single task has fallen from roughly 2.5 minutes to about 40 seconds. For a generation raised on scrolling rather than scheduled programming, sitting through a two-hour film can feel like a commitment. A drama told in one or two minutes, however, fits neatly into the rhythm of daily life. Micro-dramas — serialized stories delivered in 60 to 120 seconds — are rapidly becoming one of the most consumed forms of visual entertainment worldwide. In South Korea, the surge has been particularly pronounced. According to Seoul-based short drama platform Beegloo, four of the five most-watched series this month are micro-dramas. While many titles initially targeted women in their 20s to 40s, the audience is broadening. Data show the core demographic is older than expected: women aged 35 and above now account for more than half of Beegloo’s global users. The rise of micro-dramas signals a structural shift within the already booming short-form content market. For years, web dramas with 10- to 15-minute episodes dominated digital storytelling. Now the attention economy favors speed, compression and emotional intensity. Micro-dramas are not confined to South Korea. Data from British research firm Omdia show the global market was valued at $11 billion last year and is projected to reach $14 billion this year. Nearly half of the $3 billion generated outside China comes from the United States alone. Regional breakdowns underscore the genre’s breadth. Latin America accounted for 27 percent of all short-form drama app downloads in the first quarter of last year — nearly 100 million downloads, up 69 percent year-on-year. Southeast Asia followed with 24 percent, a 61 percent annual increase. India, Europe and the U.S. each now hold between 7 and 11 percent of the global share. China remains a major growth engine, powered by domestic apps such as ReelShort and DramaBox. Both reported in-app purchase revenue growth exceeding 30 percent over the past year. According to Omdia’s analysis based on SensorTower data, ReelShort users in the U.S. average 35.7 minutes of daily viewing time — surpassing Netflix (24.8 minutes), Amazon Prime Video (26.9 minutes) and Disney+ (23 minutes). “I’m looking at Korean ones now through Vigloo and can compare them to shorts I often see on TikTok, YouTube and Instagram. The sheer volume of short sequences is striking,” said Patrick Parra Pennefather, a professor at the University of British Columbia. “Chinese and Korean micro-dramas are more developed,” he added. “With tools like Seedance 2, we may see new micro formats emerge — perhaps even original content built around generative AI. I’ve seen good, bad and a lot of slop.” A Battle for Attention Despite high daily viewing times, micro-drama platforms still trail major streaming services in monthly active users. Netflix counts roughly 12 million active users in the United States — about ten times more than ReelShort. Yet the disparity reveals something more nuanced: even with fewer users, micro-drama apps generate longer engagement per viewer. Their addictive brevity and algorithmic targeting reward repetition. “Micro-dramas aren’t just replacing television — they’re reprogramming how we consume stories,” said David Oh, professor of global media at Syracuse University. “Their power lies in how seamlessly they fit our digital habits.” Micro-dramas first gained traction in China’s mobile video ecosystem before spreading across Asia and onto global platforms such as TikTok, YouTube Shorts and Instagram Reels. Their narrative DNA blends soap opera melodrama with mobile-first design. Episodes often open mid-crisis — an affair exposed, a slap delivered, a betrayal revealed — pulling viewers instantly into the next clip. Earlier theories linked the popularity of webtoons and web dramas to commuting culture — watching or reading while riding the subway. But that explanation no longer suffices. “This isn’t just about mobility,” Oh said. “It’s about how deeply the mobile phone has become the center of everyday life.” Shortened attention spans, constant multitasking and algorithm-driven “instant payoff” loops form the psychological foundation of this viewing culture. Even pop songs are getting shorter. Time compression has seeped into storytelling, music and cognition itself. Micro-dramas embrace melodrama unapologetically. Betrayal, revenge and infidelity are recycled at high speed, echoing the “makjang” dramas once dominant in Korean prime time — but now compressed to 10x tempo. Emotional clarity replaces narrative complexity. In Southeast Asia and Latin America in particular, micro-dramas have become accessible entertainment for lower-income smartphone users with limited data plans or time. Light bandwidth, brief runtimes and emotional directness make them globally adaptable in ways prestige streaming often is not. As micro-dramas reshape storytelling grammar, traditional television faces recalibration. High-concept series such as Breaking Bad or Game of Thrones are likely to retain loyal audiences. But mid-tier shows may increasingly borrow from micro-drama logic. “We’re seeing split attention — people scrolling while watching TV,” Oh noted. “That means hour-long shows will pack in more frequent payoffs: twists, fights, shocks. It’s not a revolution, but an intensification of television’s existing strategies.” Long-form storytelling may begin to mirror short-form rhythms — faster cuts, sharper escalation and denser emotional triggers. Film faces a more uncertain path. On streaming platforms, the social discipline of the theater — no phones, no distractions — has weakened. To hold attention, films may simplify narratives and amplify spectacle. But the opposite scenario is plausible. As everything else shrinks, cinema could double down on scale: immersive sound, collective viewing and emotional grandeur. “Survival for film,” Oh suggested, “may depend on reminding audiences what ‘big’ really feels like.” In Seoul, telecom companies are already exploring micro-dramas as a subscription driver. Bundling short-drama platforms into mobile plans mirrors earlier streaming strategies: the more users watch, the longer they remain within an ecosystem. Production houses are investing heavily. Some operate industrial-scale studios churning out serialized one-minute episodes. Others experiment with generative AI tools to script dialogue and edit footage to algorithmic pacing. 2026-02-26 17:38:32

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