S. Korea's KIMM urges rapid pivot as humanoid era dawns SEOUL, April 08 (AJP) - South Korea's Korea Institute of Machinery & Materials (KIMM) said that 2026 marks the year humanoid robots cross into commercial viability, urging the nation to exploit its manufacturing prowess within a five-year window before the global pecking order hardens. In its 122nd policy report uploaded Wednesday, KIMM said the industry has entered a "commercial tipping point" — the moment where humanoids shed their laboratory origins and begin generating revenue on factory floors and in service settings. The pivot is underpinned by a sharp decline in manufacturing costs. Per-unit expenses currently hover at about $35,000 but are expected to fall to between $13,000 and $17,000 within five years as mass production scales up and component designs mature. China's Unitree Robotics has led the price collapse, driving its flagship model from $90,000 for the H1 in 2024 down to $5,900 for the R1 in 2025 — a trajectory KIMM attributes to Wright's Law, under which unit costs drop 15 to 20 percent each time cumulative output doubles. Shipment volumes are poised to follow a similar exponential curve. Bank of America projects global humanoid deliveries will surge from a cumulative 18,000 units in 2025 to about one million annually by 2030 to 2035. Goldman Sachs forecasts sales climbing from roughly 8,000 units in 2025 to 136,000 in 2030 and 2.1 million in 2035, entering what the bank calls a J-shaped acceleration phase. The United States leads the race with big-tech-driven AI foundation models and semiconductor design advantages spearheaded by Tesla, Nvidia and Figure AI. China, meanwhile, has mobilized more than 140 companies into mass-production competition, with Chinese firms accounting for about 70 percent of newly unveiled humanoid models in 2025 and rapidly consolidating market share through vertically integrated supply chains and state subsidies. South Korea possesses world-class semiconductor, battery and telecommunications infrastructure but remains hobbled by a shortage of indigenous AI foundation models and a fragile supply chain for humanoid-specific components such as actuators and reducers, the report said. To close the gap, KIMM prescribed a "two-track" strategy: the first track calls for localizing core hardware — precision actuators, control systems and dedicated batteries — by leveraging the country's existing manufacturing base. The second track urges swift partnerships with global AI leaders such as OpenAI and Google to bridge the foundation-model deficit rather than attempting to build one from scratch. KIMM itself is spearheading a 220.8 billion won ($149.8 million) national project to develop a mass-production-ready humanoid platform, a self-learning AI brain and an open data factory where industry and academia can jointly train robot models. The institute plans to unveil the first version of its own humanoid, KAIROS, by April 2027. "The era of flashy tech demos is over — what matters now is how quickly a robot can earn its keep on a real factory floor," said Kim Hee-tae, a senior researcher at KIMM's center of R&D policy. "The window through 2030 is the golden time that will determine who commands this market, and Korea must convert its manufacturing edge into robotics leadership before that door closes." 2026-04-08 15:02:09

Son Heung-min scores first non-penalty goal of 2026 as LAFC routs Cruz Azul in Champions Cup quarterfinal 미국 메이저리그사커(MLS) 로스앤젤레스FC(LAFC)의 손흥민이 마침내 올해 첫 필드골을 터뜨렸다. 손흥민은 8일(한국시간) 미국 캘리포니아주 로스앤젤레스의 BMO 스타디움에서 열린 크루스 아술(멕시코)과 2026 북중미카리브축구연맹(CONCACAF) 챔피언스컵 8강 1차전에서 전반 30분 선제골을 기록하며 팀의 3대 0 완승을 이끌었다. LAFC는 1차전에서 3-0으로 이기며 4강 진출에 유리한 고지를 점했다. 2차전 원정 경기는 15일 열린다. 4-2-3-1 전형의 최전방 공격수로 선발 출전한 손흥민은 전반 30분 마티외 슈아니에르(캐나다)가 오른쪽에서 올린 크로스를 페널티 박스 정면으로 쇄도해 왼발로 마무리했다. 이 골로 손흥민의 이번 시즌 공격 포인트는 2골 11도움이 됐다. 손흥민의 올 시즌 첫 득점은 지난 2월 18일 CONCACAF 챔피언스컵 에스파냐(온두라스)전(6-1 승)에서 기록한 페널티킥이었다. 이후 9경기 동안 득점이 없던 그는 이날 시즌 2호골이자 첫 필드골을 터뜨렸다. LAFC는 전반 39분과 후반 13분 다비드 마르티네스(베네수엘라)의 연속 골로 격차를 벌리며 3-0 완승을 거뒀다. 손흥민은 승리가 굳어진 후반 추가시간 2분 네이선 오르다스(미국)와 교체돼 벤치로 물러났다.* This article has been translated by AI. 2026-04-08 14:21:00

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

New Books: Why You Keep Tuning In to Romance ‘Frequencies’ Problematic Love That Unknowingly Ruins You and Helps You Grow=By Kim Ji-yong, Dplot. If you find yourself searching YouTube for tarot readings like “Does that person still think about me?” or listening to romance “frequencies” promising “They’ll text in eight minutes,” this book argues it may be time to look inward instead. For readers who avoid dating out of fear of heartbreak — or who cannot leave relationships that repeat the same wounds — the author urges them to stop blaming fate, a fixed destiny or past love and to examine their own unconscious patterns. Kim, a psychiatrist, draws on cases from his clinic involving people struggling with love and dating. He describes the counseling process as using a “T-hammer” to bring up what lies beneath the surface, analyzing patterns ranging from people who cannot start relationships to those who cannot deepen them, those who cycle through frequent breakups, and those who repeatedly end up in unequal power dynamics. Citing Sigmund Freud’s line that “in a married couple’s bedroom there are six people,” Kim writes that early attachment to parents can shape adult romance. One example is a woman in her early 30s — with striking looks and a stable job — who has never dated; raised by a tyrannical father, she unconsciously built a wall around herself with the rule that any man “like Dad” was unacceptable. Other cases include L, who cannot stand loneliness; W, who wants to be loved exclusively; and G, who is “too nice,” inviting readers to recognize themselves in past or current relationships. Kim also warns readers to break free from the “gaslighting” of the idea that “your true other half is out there.” He argues that warmth in love comes not from destiny but from reasoned self-reflection, honest conversation with a partner and growth that expands each person’s sense of self. If that kind of love feels unfamiliar, he writes, start now. He recommends the book to prospective parents and those raising young children, saying the attachment types described can help readers assess their own tendencies and consider whether they may be passing on insecure attachment. “‘Life is not something you explore and then live; it is something you live while exploring.’ Yang Gui-ja, , Sseuda, 2013, p. 296. Life is not time spent searching for a fixed answer. There is no correct answer to begin with. It is unpredictably complex, and every moment is contradictory. By living through those contradictions and paradoxes, we gain unexpected insight and grow. That was true for me, and for everyone I have met. (Omitted) Near the end of , I found a line that confirmed my changed thinking. ‘What do you think the completion of love is?’ ‘Marriage?’ ‘Love is complete in itself. If you loved unbelievably well, that’s enough.’” (pp. 244-245) Mind Study With Mencius=By Jang Hyun-geun, Hangilsa. Jang, a professor in the Department of Chinese Studies at Yongin University and an adjunct professor at Jilin University in China, explains that Mencius’ concept of “budongsim” — an unshakable mind — is not about suppressing emotion. He describes it as internalizing principles that do not collapse under pressure, arguing that people waver because of outside influences despite an inherently good nature. Based on Mencius’ answer to how to remain steady, Jang lays out 22 everyday principles. They include holding to one’s intent and center without meddling in small matters; not lingering too long at the door of someone who has closed off conversation; keeping principles while judging what is most important and urgent; and setting rules to rely on when judgment blurs or emotions take over. For readers who feel shaken day after day, the book offers a standard for self-review. “Mencius was different. Rather than simply following fate, he opened the possibility of ‘seeing’ fate differently through self-cultivation and effort. He accepts that some fate cannot be helped, but also recognizes that some things are not fixed, and he sought ways to find happiness and joy on that side. He offered the path of seeking the nature within people — benevolence, righteousness, propriety and wisdom — as a ‘useful’ solution. What is useful in life is not money or power but cultivation of the mind. Happiness gained through character cultivation is more important in life than a fate that brings fortune.” (p. 273) 2026-04-08 14:12:23

Review: ‘Salmokji’ turns a reservoir into the engine of fear "It feels romantic. The lighting, the temperature, the humidity ..." a guest on a variety show once said. The point was that place, weather and even how you feel can combine to create an atmosphere. Movies work the same way: your mood and experience can become part of how you judge what you see. In that spirit, "Choi’s Review" introduces films through the writer’s perspective, in a more relaxed, everyday voice. <Editor’s note> In some films, a location does not stay in the background. It changes the characters’ rhythm and becomes a force that drives the story. That is the case in “Salmokji,” where the reservoir that gives the film its title functions less as a setting than as the narrative’s anchor. On a weekend morning, producers at the road-view service company Onroad Media are urgently called in after an unidentified figure appears on a road-view image of the rumor-filled reservoir known as Salmokji. PD Han Su-in (Kim Hye-yoon) is ordered to reshoot the footage that day and quickly assembles a team to head to the site. At the reservoir, junior PD Seong-bin (Yoon Jae-chan), PD Se-jeong (Jang Da-a), who runs a “horror exploration” channel, and filming-company head Gyeong-tae (Kim Young-sung) and his younger brother Gyeong-jun (Oh Dong-min) step into an uneasy tension created by the place itself. Once filming begins, their missing senior, Gyo-sik (Kim Jun-han), emerges from the fog, and a series of hard-to-explain events follows. Su-in’s ex-boyfriend, Gi-tae (Lee Jong-won), heads to Salmokji to try to save them, but the situation spirals into confusion and fear. The film builds the reservoir into an active presence, not a mere backdrop. Salmokji steadily unsettles the characters’ senses and even redirects their gaze, making the fear feel physical. Rather than simply recycling familiar ghost-story imagery, the movie reshapes it into the sensation of being pulled under water. Designed elements — a grove of large willows, oddly stacked stone towers and tangled aquatic plants — heighten the reservoir’s texture. The mise-en-scene works to draw viewers downward, as if the space itself is pushing the characters forward. Director Lee Sang-min also translates that space into a contemporary experience. Equipment such as a 360-degree panorama camera, motion detectors and a ghost box is used not as decoration but as a way to make an unseen presence feel immediate. Handheld camerawork, off-kilter framing, fog and the waterline as a boundary build pressure, while jump scares release it with precision. Sound design amplifies stillness, water and small movements, tightening the film’s grip. For that reason, “Salmokji” appears best suited to premium formats rather than standard screenings. The staging suggests an eye toward ScreenX and 4DX, where expanded visuals and physical vibration can turn the audience from observers into participants. The ensemble is a strength. Kim holds the film’s center with a sharp, restrained presence. Lee, introduced in earnest after the midpoint, blends naturally into the story and raises tension. Kim deepens the mystery and chill, while Jang and Yoon help keep the pacing alive. Kim Young-sung and Oh, as the Gyeong-tae brothers, stand out by giving potentially functional roles a sense of everyday realism that reinforces the reservoir’s grounded feel. “Salmokji” aims for more than startle effects, pushing viewers to feel what it means to be held by a place. By layering fiction onto a real reservoir and placing the source of fear in the location itself, it blends classic horror mood with contemporary technique. The film opens in theaters April 8. It runs 95 minutes and is rated for ages 15 and older.* This article has been translated by AI. 2026-04-08 14:09:26

KIST cracks long-elusive reaction mechanism in next-gen hydrogen fuel cells SEOUL, April 08 (AJP) - South Korean researchers have unraveled a reaction mechanism at the heart of next-generation hydrogen fuel cells that had eluded scientists for years, a breakthrough that could accelerate the development of cleaner and cheaper energy systems. A team led by Ji Ho-il at the Korea Institute of Science and Technology (KIST) devised a new analytical protocol that pinpointed for the first time how oxygen reduction reactions unfold inside the cathodes of protonic ceramic fuel cells (PCFCs), the institute said on Wednesday. PCFCs operate at temperatures below 500 degrees Celsius, well under the threshold required by conventional solid oxide fuel cells, which translates into lower manufacturing costs and significantly longer lifespans. The technology has drawn growing attention as a pillar of the global shift toward hydrogen-based energy, yet progress has been hampered by the sheer complexity of the electrochemical reactions occurring at the cathode, where oxygen, electrons and protons collide simultaneously. Previous studies relied on researchers selecting one assumed reaction pathway from hundreds of possibilities — a method prone to decisive bias. Ji's team upended that convention by developing a protocol that identifies the rate-determining step through precision experiments first, then traces the reaction pathway backward without any prior assumptions. When the protocol was applied to two widely studied cathode materials — PBSCF and BCFZY — the team confirmed for the first time that the two materials follow entirely distinct reaction pathways. One material showed a sharp drop in resistance as water vapor increased, while the other remained virtually unchanged, offering direct experimental proof of the divergence. "This study fundamentally reveals why hydrogen fuel cells suffer from low efficiency," Ji said. "We expect it to serve as an important foundation for developing the high-performance fuel cells essential to realizing a clean hydrogen economy." Beyond fuel cells, the researchers said the analytical framework could be applied broadly to other electrochemical devices, including systems that produce green hydrogen by running the cells in reverse to harness solar, wind and nuclear energy. 2026-04-08 14:05:53

BTS kicks off first world tour in 7 years amid chart-topping comeback halo SEOUL, April 08 (AJP) - K-pop supergroup BTS will launch its “BTS World Tour Arirang” in Goyang on Friday, opening an 85-show run across 34 cities through 2027 in its first global tour in seven years as the group extends its comeback momentum across global charts and digital platforms. The group will hold three concerts at Goyang Stadium on April 9, 11 and 12, marking the opening leg of the world tour. The April 11 show will also be broadcast through a live-viewing event in about 3,800 theaters across some 80 countries and regions, expanding the audience well beyond the venue. The schedule has also been broadened to include additional Latin American stops, including Lima, Santiago and Buenos Aires. The tour will mark the group’s first full-member visits to Colombia, Peru and Argentina, while also setting milestones as the first Korean act to perform at major venues such as Estadio El Campín in Bogotá and Estadio Nacional in Santiago. Demand has already been evident in ticket sales, with dozens of shows across Goyang, Tokyo, North America and Europe sold out. Live Nation said BTS has sold about 2.4 million tickets for 41 performances in North America and Europe alone. As of 1:40 p.m. (0440 GMT), shares of HYBE were trading at 260,500 won, up 1.6 percent. Activity surrounding the Goyang concerts has extended well beyond the stadium. Images of BTS-wrapped buses have circulated online, while rehearsal and soundcheck footage from the venue has spread widely across social media, reflecting the scale of anticipation ahead of the opening shows. Online platforms have also seen a rapid spread of user-generated content, including travel tips, venue guidance and concert-related information, highlighting highly coordinated fan participation both on-site and online. The tour follows the group’s March comeback with its fifth studio album Arirang, which has continued to perform strongly on major charts. The album remained at No. 1 on the Billboard 200 for a second consecutive week, marking the first time a K-pop act has posted back-to-back weeks atop the chart. It recorded 187,000 units in its second week, including 114,000 in pure album sales, 65,000 streaming-equivalent units and 8,000 track-equivalent units, according to Billboard. On the singles chart, “SWIM” ranked No. 2 on the latest Billboard Hot 100 while retaining the top spot in digital song sales for a second straight week. Beyond the charts, BTS has continued to roll out content tied to the album. A documentary, BTS: THE RETURN, released on Netflix on March 27, follows the production of Arirang and the members’ creative journey behind the project. The group has also sustained engagement through a staggered release strategy, spacing out new content instead of concentrating attention around a single promotional window. The music video for “SWIM,” released on March 20, has drawn more than 92.1 million views and reached No. 3 on YouTube’s trending chart. An official performance video followed on March 25, topping 22.9 million views and ranking No. 5 on the same chart. On April 2, the “BTS 2.0” video surpassed 34.1 million views and climbed to No. 2 on YouTube’s music trending chart. Most recently, the music video for “Hooligan,” released on April 8, drew more than 4.9 million views within hours. The sequential rollout highlights a strategy designed to sustain visibility and audience engagement over time. Such phased promotion has become increasingly common among major entertainment companies as they seek to extend comeback cycles and maintain momentum ahead of world tours and major international award events. The Goyang concerts will serve as the opening chapter of what is shaping up to be the largest global tour yet by a K-pop act. 2026-04-08 13:59:23

Anne Hathaway Says Meryl Streep Shaped Her Career: 'A Great Gift' to My Life Anne Hathaway on Tuesday spoke warmly of Meryl Streep, saying Streep’s influence has been a lasting “gift” in her life. A press conference for the film ‘The Devil Wears Prada 2’ (directed by David Frankel) was held Tuesday afternoon at the Four Seasons Hotel Seoul in Jongno-gu, Seoul. Streep and Hathaway attended. “This movie gave me a lot,” Hathaway said. “I was 22 at the time (of the first film), and my character was 22, too. I had a boss who was scary and amazing, and as a new actor I got to act with the most amazing actor. That experience made me who I am.” “I was influenced by Meryl in every way,” she said. “I think it was a great gift in my life. So many doors opened, and because audiences loved me, I was able to take on other roles.” Hathaway also praised Streep’s approach on set. “Meryl listens to what other people say when she acts, and she gains so much from that,” she said. “As a young actor, I could have gotten stuck in my own performance, but watching Meryl, I could feel what a deep mind is and how quickly her mind works. If you call it our chemistry, Meryl is so good and I just admire her. That’s our chemistry.” ‘The Devil Wears Prada 2’ follows Miranda (Streep), the legendary editor-in-chief of fashion magazine ‘Runway,’ and Andy (Hathaway), who returns as a planning editor after 20 years, as they reunite with Emily (Emily Blunt), now an executive at a luxury brand. The story centers on their struggle to regain leadership in the fashion world amid a dramatically changed media environment. The film is set for its first theatrical release worldwide on April 29. * This article has been translated by AI. 2026-04-08 13:15:18

Meryl Streep Says Grandkids Talk Daily About 'K-Pop Demon Hunters' as K-Culture Spreads Hollywood actors Meryl Streep and Anne Hathaway spoke about their interest in Korean culture during a press conference in Seoul. The event for the film 'The Devil Wears Prada 2' (directed by David Frankel) was held Tuesday afternoon at the Four Seasons Hotel Seoul in Jongno-gu. Streep and Hathaway attended. Asked what they would want to cover in Korea if they were fashion editors, Streep said she was especially interested in Korean barbecue. "I’m very interested in Korean barbecue. I spend a lot of time in L.A., and there’s a Korean barbecue place near a hockey arena my son goes to a lot," she said. Streep added that she often hears about Korea while living in the United States. "I have six grandchildren, and every day they talk about 'K-Pop Demon Hunters,' and they really love the songs," she said. "They’re influenced by K-pop and K-culture. It seems to mean the world is connected. Don’t we affect each other’s lives? When I was young, it was hard to experience foreign cultures, but my grandchildren are being influenced by Korean culture. It’s meaningful that we’re connected." Hathaway said Korea is shaping youth culture and has strengths recognized worldwide. "In particular, it’s leading in music, and it’s also outstanding in fashion and skincare, so I’m very interested," she said. "I think there’s a lot of rich content. If I were a features editor like Andy in the film, I would highlight those points and target readers." She added that, as a fashion editor, she would want to interview many people, including directors Park Chan-wook and Bong Joon Ho. 'The Devil Wears Prada 2' follows Miranda (Streep), the legendary editor-in-chief of fashion magazine 'Runway,' and Andy (Hathaway), who returns as a features editor after 20 years. They reunite with Emily (Emily Blunt), now an executive at a luxury brand, and struggle to regain influence in the fashion world amid a dramatically changed media environment. The film is set for its first worldwide theatrical release April 29. * This article has been translated by AI. 2026-04-08 11:48:19

Meryl Streep, Anne Hathaway Bring 'The Devil Wears Prada 2' to Seoul Ahead of April 29 Release The fashion-world duo of Miranda and Andy returned to the spotlight in Seoul, two decades after the original film, as "The Devil Wears Prada 2" arrives in a media landscape reshaped by smartphones and digital disruption. A press event for the film was held Tuesday afternoon at the Four Seasons Hotel Seoul in Jongno-gu. Stars Meryl Streep and Anne Hathaway attended. Streep, visiting South Korea for the first time, thanked the audience for the welcome. "This is my first time coming to Korea. Thank you for welcoming us warmly," she said. "I’m happy we can show you a film we love so much, and I’m glad to be here with a project I’m proud of." Hathaway said she wished she could stay longer. "I’m a little disappointed — I wish I could have been here a bit longer," she said, adding that visiting Starfield Library was on her bucket list but time was short. "Still, I’m going to try to do as much as I can with the time I have. I’m trying to figure out how to eat as much delicious food as possible," she said, drawing laughter. Asked what kind of story they would pursue if they were fashion-magazine editors covering Korean culture, Hathaway pointed to the country’s global influence. "Korea is leading youth culture right now and has so many strengths worldwide," she said, citing music, fashion and skin care. She added that, as an editor, she would want to interview directors Park Chan-wook and Bong Joon-ho. Streep said she was interested in Korean barbecue, noting there is a restaurant near a hockey arena her son frequents in Los Angeles. She also described how Korean pop culture reaches her family. "I have six grandchildren, and every day they talk about 'K-pop Demon Hunters' and they really love the songs," she said. "They’re being influenced by K-pop and K-culture. It feels like the world is connected. We affect each other’s lives." Streep said the sequel needed time. "I never thought, 'Why couldn’t we do it earlier?'" she said. "We needed 20 years. This story has to be 'now.' Because 20 years have passed, just as audiences were surprised by the first film, they can be surprised by the second, too." She said the 2026 media environment is central to the film. "When the first film came out in 2006, it was before the iPhone was released," Streep said. "Now everyone has a smartphone. Smartphones changed everything. Journalism and print culture changed, and entertainment changed, too. Our industry is going through major upheaval, and financially there are questions about how to get through these difficulties. This film is set against a rapidly changing media environment 20 years later." Hathaway agreed, saying the film reflects the impact of "digital innovation" on journalism and fashion. She said Andy, once a 22-year-old new graduate, returns 20 years later with experience, skills and confidence, and appears as Miranda’s potential partner. Hathaway said the sequel’s message extends beyond independent women to independence as an individual. "In the second film, Andy is paying all the bills she needs to pay," she said. "It would be nice if there’s a good person, but she thinks she’s great even 'on her own.'" Streep spoke about representation for older women on screen. "It’s rare in films to see a woman over 70 play a boss like this," she said, adding she was glad to portray a character with that kind of presence. She also said she recently appeared on a Vogue cover with editor Anna Wintour, with a 76-year-old photographer. "Women over 50 gradually disappear, and their opinions and thoughts are reflected less in culture," she said. "I’m happy we can show people with a strong presence." Hathaway praised Streep’s approach to acting. "Meryl listens to what other people say when she acts, and she gains so much from that," she said. "If our chemistry is anything, it’s that Meryl is so good and I’m just in awe. That’s our chemistry." Streep said filming the sequel was energized by the reunion. "When we made the second film, the energy between us caught fire — it was lively and fun," she said. She added she enjoyed working again with Emily Blunt and Stanley Tucci, and said the group’s chemistry grew stronger. Near the end of the event, the production presented the actors with red high heels inspired by traditional Korean flower shoes. Streep called them "incredible" and "so beautiful," while Hathaway said they felt like a treasure and that she would remember the day when she looked at them. The two said they were looking forward to meeting fans later Tuesday at 7 p.m. Streep thanked the public for the warm reception and said she wanted to greet everyone in Korea. Hathaway said she was grateful to talk about life and dreams and called it an honor to return. "The Devil Wears Prada 2" follows Miranda, editor-in-chief of the legendary fashion magazine Runway, and Andy, who returns as a features editor after 20 years. They reunite with Emily, now an executive at a luxury brand, and struggle to regain leadership in the fashion world amid a transformed media environment. The film opens in South Korean theaters on April 29, ahead of the rest of the world. * This article has been translated by AI. 2026-04-08 11:42:26