THE RAIN Announces 2025 [STILL RAINING: ENCORE] TOUR

K-pop legend returns to North America for three exclusive shows this November in New York, Los Angeles, and Atlanta

Credit: RAIN Company 

K-pop legend THE RAIN will return to North America this fall with his 2025 THE RAIN TOUR [Still Raining: Encore], marking another milestone in his storied career. Tickets for this highly anticipated three-city run will be available for presale (prior sign-up required) starting September 26, with public sales beginning September 27 via IEMShowPlace.com.

Promoted by Infinite Prospects Entertainment, the entertainment company who brought the recent hyped G-DRAGON tour to the U.S. and previous THE RAIN tour, alongside IEM Group Inc., which has brought international Chinese superstars such as Jay Chou and JJ Lin to North America, the U.S. leg will open November 23 in New York, followed by Los Angeles on November 26 and Atlanta on November 29. Audiences can expect THE RAIN’s signature high-energy performances and timeless hits as he reconnects with fans across the U.S.

The Still Raining: Encore tour follows THE RAIN’s triumphant 2023 North American comeback, his first U.S. concerts in sixteen years. That two-city run in Atlantic City and Las Vegas sold out quickly, underscoring both his enduring legacy and the demand for his return. “Can you believe it’s been seven years since our last concert tour? I’m beyond excited to finally meet you in person. There are so many things I want to show you,” THE RAIN shared at the time.

At recent Still Raining tour stops across Asia, THE RAIN performed a setlist that combined signature hits such as “It’s Raining” and “Rainism” with special covers of contemporary tracks by artists including NewJeans and Bruno Mars. The 2025 North American shows will follow this format, giving audiences the chance to hear both his most iconic songs and newer selections that have featured in his latest performances.

Since debuting in 2002 with Bad Guy, THE RAIN has been a driving force in bringing K-pop to the global stage. His 2004 album “It’s Raining” sold over one million copies, while his role in the hit drama “Full House” made him a household name across Asia. In 2006, The New York Times hailed him as “the ambassador of Asia” following sold-out shows at Madison Square Garden and Las Vegas, establishing him as one of the first K-pop stars to break into the U.S. market. After completing his military enlistment in 2012, he continued to thrive as a singer, actor, and entrepreneur. In 2020, he reunited with Park Jinyoung (J.Y. Park also known as the CEO of JYP Entertainment) for the viral single “Switch To Me,” proving his influence spans generations.

The 2025 encore tour builds on that momentum, offering fans in three of the country’s biggest music hubs the opportunity to celebrate THE RAIN’s legacy and experience his artistry in a new chapter.

About THE RAIN:

THE RAIN is one of the most influential figures in the history of K-pop, credited as a pioneer of the Hallyu Wave that introduced Korean pop culture to global audiences. Since his 2002 debut with Bad Guy, he has sold millions of albums worldwide and risen to international fame with the hit It’s Raining and his starring role in the drama Full House. His impact was cemented with sold-out performances at Madison Square Garden in 2006, where The New York Times hailed him as “the ambassador of Asia.” Beyond music, THE RAIN has starred in films including Ninja Assassin and continued to shape the industry through viral releases like Switch To Me (2020), proving his influence across more than two decades of music, television, and film.

 

#RAIN #RAINCompany #kpop #USTour2025 #STILLRAININGENCORETOUR #kcrush #kpoptourannounced #kidol #kcrushamerica #kcrushmagazine #Korean #kpopmusic #kpoppioneer #hallyu #hallyuwave #actor #KActor #NinjaAssassin #SwitchToMe #filmandmusicidol #THERAIN #RAINIsComingToTheUSNovember #Koreanpopculture #MadisonSquareGarden2006

For the world premiere of their latest feature The Woman at the 2025 Fantasia International Film Festival, writer and director Hwang Wook and producer Lim Dong-min presented their psychological thriller about a woman who appears to be everywhere, but neither understood nor known by the people in her life.

Played by Han Hye-ji, The Woman, Sun-kyung, has a quiet and unassuming nature that calls no real attention to her, but is noticeable enough to easily fit into whatever space she’s in, yet somehow seems to give off an aura that makes those around her wonder just how she came to be there. Take for instance the film’s opening sequence.

Sun-kyung is at a job interview to be a receptionist at a small local factory, and while she sits with her upright posture, quietly answering the typical questions about her previous job experience, one of the male staff sits behind her on a sofa loudly eating his bowl of cup ramen. When he’s reprimanded to either eat his lunch quietly or leave. He chooses to stay. But but not eat quietly. As the boss continues, asking if she’ll stay at the company for a long while, she says she will, but keeps uneasily looking back at her future colleague loudly chewing his food, this time a rice ball.

Though Sun-kyung’s lack of reaction by way of impatience or annoyance at having her interview be treated so unseriously, may at first indicate she’s the type of person not easily bothered by such matters, it perhaps is the true first sign that this woman is nothing like she appears to be.

At her apartment, Sun-kyung does things that at first glance don’t seem to be anything worth noticing. She puts in the keycode for the door…and after a few initial failures, enters and walks slowly to the lightswitch which she doesn’t turn on with the first try, and hesitantly sits then lays down on the sofa staring at an off-putting picture hung on the wall. Perhaps it’s nothing, but perhaps it is something that this strange picture in a way has similarities to the now famous Pope Leo X (after Rapahel) piece by Colombian figurative artist Fernando Botero.

The mystery of the woman—I love that the title plays as a sort of double entendre reference to the film itself as body and Sun-kyung—begins with a strange encounter Sun-kyung has with a man, Young-hwan (Kim Hee-sang, Mash Ville) who she initiates contact with through an online market forum to purchase his second hand vacuum. At first everything seems normal but the tone quickly changes to one of foreboding when Young-hwan suddenly blurts out that his mother died after drinking cyanide-laced vitamin water. The situation becomes increasingly disturbing and worrisome as Sung-kyung realises that as a woman, her safety could be in jeopardy, but she’s suddenly rescued by a man who turns out to be Ui-jin, an old school friend who just happens to be passing and coincidentally lives close by.

The next day, Sun-kyung learns that Ui-jin was found dead in his home under suspicious circumstances. When questioned by the police, she informs them of the strange interaction she, Young-hwan, and Ui-jin had the previous day, and insinuates that perhaps he may have   something to do with Ui-jin’s sudden demise.

As the police do their own investigations and draw their own conclusions about this case and another that occurs around the same time, Sun-kyung becomes convinced that she can figure out what the truth is. That she can tell the real from the fake news

The old adage “still waters run deep” perfectly applies to her, because as the film progresses Sun-kyun becomes a mystery for the audience to unravel, as she herself tries to solve the mystery of Ui-jin’s death and Sun-kyung’s supposed guilt.

In Mash Ville Hwang Wook proved that he has the ability to mix multiple genres, and music and cultural styles into his films in a cohesive way that makes sense to the narrative, but with enough roughness that the overall finished project doesn’t feel overly polished, and with The Woman he does the same but with a bit more slickness to the editing and cinematography befitting a film where a slight change in the camera angle can make a major difference in how a single look from a character can the entire context of what’s being said and done.

For The Woman, Hwang drew inspiration from the godfather of the physiological thriller and murder mysteries himself, Alfred Hitchcock and most notable his films Rear Window (1954), and Vertigo (1958), two films where nothing is ever what it seems, and the protagonists become the most unreliable narrators imaginable. Both films revolve around two male protagonists; one a former police detective with a severe case of vertigo, and the other a photojournalist bound to his bed due to injuries sustained in an accident, who try to solve two murder mysteries with multiple suspects, no real clear means of motive, and physical and mental barriers by way of their own biases and obsessive personality creating hindrances in their truth seeking endeavors as well as their relationships with those around them.

In making his protagonist a woman, Hwang Wook recognises that her gender creates a unique opportunity in showing how certain questions she asks, things she says, and the way she moves through communities within South Korean society gives a new interpretation of “the unreliable narrator”. Han Hye-ji does a terrific job of playing Sun-kyung as someone you want to trust because she’s a woman, is quiet, and likes to keep to herself. But she also turns these very same aspects of this woman into character traits that can be suspicious and at times eerie to watch. In the camera work by cinematographer Lee Sung-won, certain tilts of the camera and slight adjustments in the angle of the lighting create almost imperceptible illusions of Sun-kyung’s facial expressions taking on a menacing air. But was that really what happened or just the audience imagining things?

For Kim Hee-sang, working with Hwang Wook, The Woman is his second role playing an unhinged man on an emotional journey to either solace or completely losing whatever remains of his sanity. In both films, Kim’s portrayal is one that evokes sympathy laced with unease because we’re induced to be suspicious of him due to his troubling introduction. But unlike Mash Ville, as the story of The Woman progresses you have to wonder if perhaps our assumptions are wrong. Where we see a man sharing too much information about the violent death of his loved one, and not reacting in what’s considered a “normal” way, perhaps what’s being shown is a cry for help from a man in society that says grief is supposed to be kept hidden, dignified, and brief. A man who’s left alone to hold himself together and forced to project a facade that makes people who don’t even care about him as a person, comfortable in order to be accepted.

At the end of The Woman Hwang Wook gives no definite answers about anything. We perhaps know even less about Sun-kyung than we did in the beginning, and that’s a good thing because some mysteries aren’t meant to be solved…just yet. But what’s to be sure is that Hwang Wook and his creative team have created one of the most interesting psychological thrillers in recent years, and as performers Han Hye-ji and Kim Hee-sang gave layers to their characters, showing the complexities of human emotions where what we perceive to may not be the truth.

The Woman premiered in competition in the Cheval Noir program at Fantasia Fest.

In my interview with Hwang Wook and Lim Dong-min, they spoke about making such a drastic tonal change in the directing and narrative style from Mash Ville to The Woman, being inspired by Alfred Hitchcock, and how the modern ideology of “fake news” has seeped its way into into social media and people’s psyche, tainting the way they see the world.

Interpreting for the interview was conducted by Pyo Young-soo.

 

Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12

 

#TheWoman #FantasiaIFF2025 #kcrushinterview #kcrush #DirectorHwangWook #ProducerLimDongmin #filmfestival #ChevalNoirprogram #HanHyeji #KimHeesang #AlfredHitchcockinspired #kcrushamerica #kcrushmagazine #FantasiaInternationalFilmFestival #filmreview #filminterview

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Disclaimer: The views and opinions expressed in this article are solely those of the author and do not necessarily reflect the views of KCrush.

On Sunday, August 31, 2025, South Korean entertainment icon Kwon Jiyong, globally known as G-Dragon, transformed the T-Mobile Arena in Las Vegas into his personal stage for the Übermensch World Tour. The “King of K-pop” announced the tour earlier this year, on February 6, through his self-founded entertainment agency, Galaxy Corporation.

G-Dragon’s tour marked his first world tour in eight years, celebrating his comeback album released later that month. For longtime fans, this was more than just a concert—it was a long-awaited reunion. In my case, after last seeing him in concert in Seoul with BIGBANG, it was an emotional experience that I did not expect to tear up about.

KCrush was on the scene to capture the energy, the artistry, and the storytelling that unfolded across the four-act show. With 30 tour dates scheduled worldwide, Las Vegas was just one stop, but was monumental because it was his first time there.

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

A Devoted Crowd

Walking into the arena, the crowd reflected the passage of time since G-Dragon’s last major tour. Predominantly Asian women of Korean, Vietnamese, and Chinese heritage, the audience’s average age leaned toward the late 30s, though families and friend groups of all ages filled the space. Many were longtime fans who proudly waited for over an hour to purchase official merchandise, especially the daisy-shaped daisybong lightstick. Some cosplayed iconic looks from G-Dragon’s music videos, too. From robes and silk scarves under snapback caps, to handmade replicas of his red rose jacket, fans outwardly celebrated both his fashion legacy and his music.

Speaking of fashion, G-Dragon was stunning! We will get to that later.

The K-pop concert tradition of exchanging fanmade gifts was also alive and well. One woman cheerfully approached groups of attendees, saying, “Are you excited for the concert? I want to give you a keychain!” The community spirit of fandom, regardless of the soloist or group,  reinforces souvenirs and tokens of connection. You are quickly made to feel like you are amongst your kind of people, which was welcoming for first-time concertgoers.

Even those not deeply in fandom culture were caught up in the moment. In our guest section, a woman attending in support of a friend who worked with the Vegas tour team shared, “I’m not really a fan.” She admitted, “Still, it’s amazing to see a legend and the fruits of everyone’s labor.” That sense of pride rippled across the arena as anticipation grew.

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Act I: The Reminder

As the lights dimmed and the first act began, G-Dragon reasserted his legacy. This opening segment was a reminder of who he is and the powerful eras he has shaped in K-pop. Through a mix of strength-driven imagery, iconic visuals, and high-energy performances, he revisited some of his most dynamic work. My all-time favorite G-Dragon song, “MichiGO,” came rumbling through the speakers and I lost control with excitement! Rapping lyrics I remember studying years ago when I was early in my days of learning the Korean language was an indescribable feeling. I’ve heard him perform it live before during his last U.S. concert, but this time was different – I’ve  grown up with this and so has he.

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Act II: The Declaration

The second act took on a more dramatic, almost biblical tone. With heavy use of battle iconography and ascension themes, G-Dragon declared his endurance. There was a moment of showing him take a drastically high walk up a flight of steps, as if moving towards the heavens. It felt unexpectedly burdensome yet wholly inevitable. This was a statement that, despite years away from the stage, he still believes that he carries a responsibility to the industry and to his fans.

What made this act particularly thrilling was the choice of deeper album cuts. “I Love It” (너무 좋아) from Coup d’Etat—a collaboration with Zion.T and Boys Noize—echoed through the arena. Even more surprising was “Today,” a track from his 2012 mini-album One of a Kind, originally featuring Kim Jong Wan of Nell. G-Dragon even sang Kim Jong Wan’s high vocal parts! By this point, longtime fans were wrapped up in nostalgia. These were tracks I never imagined hearing live, and they instantly bridged the gap between past and present.

Throughout Act II, he also remixed songs with references to music greats, weaving in Kendrick Lamar’s Super Bowl intro to “They Not Like Us” and nodding to The Jackson 5. It was a reminder that while he is a K-pop pioneer, his artistry is global and continues to have an array of influences. After all, this is the man who said he sounded out the English words of Wu-Tang Clan’s songs as a youth as he fell in love with rap and hip-hop. By the way, did you know that he’s wearing Wu-Tang Dunks in the “Too Bad” music video? He’s been in the industry for decades and still references his early inspirations. (Again, the fashion! Wait, everyone, we’ll get to it.)

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Act III: The Arrival

If the first two acts looked outward—toward legacy and duty—the third act looked inward. Here, G-Dragon went back in time, referring to himself as a/the/that “boy.” This was not the voice of a boy striving for recognition, but of a man who has found peace within himself. He no longer has anything to prove; he has arrived. A bittersweet moment came in the form of a montage highlighting his lifelong dedication to entertainment. For fans who discovered him young, it was once charming to think of him as a child prodigy. But watching that same footage years later, one can’t help but reflect on the sacrifices he made. While his peers grew up with ordinary experiences, G-Dragon was on stage, acting, performing, and breaking records. His childhood was not his own—it was given to the craft. So much so, that whenever his left hand moved as he rapped, or took off his in-ear monitor (IEM) to encourage us to make more noise, the massive diamond ring on his hand almost made it seem like he’s married to it.

Act IV: The Farewell

The encore act tied everything together with tenderness. Similar to the time he took during his 2017 world tour, Act III: M.O.T.T.E., G-Dragon shared a recording of himself reflecting on the years he was out of the spotlight. He mentioned how overwhelmed and exhausted he was and how he was not certain when the time would be to return. There was still much that he wanted to say, but in his own way (hence, developing Galaxy Corp.). G-Dragon said that the little boy he was – now addressing himself as “Jiyongie”– can grow up reassured that everything would be okay. He is happy, free, and hopeful for the future.

The finale began with a special performance: a rock rendition of “I Can’t Help Falling in Love With You.” Standing at his mic, the audience joined in unison, evoking memories of when fans sang “Haru Haru” at BIGBANG’s last concert in December 2017. It was a communal, emotional release that underscored the bond between artist and audience. It closed with my favorite song from this year’s album, “IBELONGIIU,” where I stood and sang with pride until my vocal chords couldn’t produce more sound.

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Style, Symbols, and Superhuman Opulence

No G-Dragon concert is complete without a statement in fashion. Throughout the night, he appeared in an array of Asian designer ensembles, accented by his ambassador love affair with the House of Chanel. Accessories glittered, and the diamond studs in both of his ears were stunning — genuinely gasp-inducing sluggers of a rock that spoke to his wealth and passion for luxury..

One of the more symbolic threads of the night was his use of the “U” symbol, a motif he has carried throughout this 2025 era. By his own explanation, it represents his past and present self, from 2009 until today, looking upon one another. While the distance between then and now may not be vast in years, the transformation he has undergone in that span is both immeasurable and visible. So much has happened, and yet he continues evolving without abandoning what made him iconic.

G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION

Closing Reflections

The Übermensch World Tour is more than just a concert series; it is G-Dragon’s living autobiography told through music, visuals, and performance. Each act spoke to different stages of his life: the meteoric rise, the trials, the acceptance, and ultimately, the reconciliation with self.

Walking out of the T-Mobile Arena, one thing was clear: happiness, on his terms, has finally found G-Dragon. And for fans who have grown alongside him, the night was not only about witnessing a comeback but also about affirming a shared journey. Indeed, our leader, our self-realized “Superman” has returned! And this time, Kwon Jiyong feels more human than ever.

 

Ashley Borjon, Host & Historian

Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com

 

#GDRAGONinLasVegas #LasVegas #kcrush #GDRAGON2025USTour #kpop #kfashion #kidol #Koreanidol #BIGBANG #TheSuperman #TheSupermanHasReturnedtotheUnitedStates #Korea #kcrushmagazine #kfashionista #kcrushamerica #GDRAGONFashion #GDRAGONShow #GDRAGONTour #GDRAGONOnStage #GDRAGON #ÜbermenschWorldTour #GDRAGONGalaxyCorporation #TmobileArenaLasVegas #KwonJiyong #MichiGO

 

Ready to lose your voice again? Thought so! Grab your tickets and block off the dates, we’re coming back to bring you together again! 

KPOP CLUB NIGHT UPCOMING DATES SEPT—-> DEC 2025 

Sept 5 – Los Angeles (18+) – DJ Chen
Tickets: https://www.eventbrite.com/e/kpop-club-night-tickets-1560403531969

Sept 6 Seattle – Ora (21+) – DJ Chen
Tickets: https://tickets.oraseattle.com/e/kpop-club-night-ft-dj-chen-at-ora-4/tickets

Sept 12 – Denver- Temple (21+) – DJ Chen
Tickets: https://www.tixr.com/groups/templedenver/events/kpop-club-night-in-the-loft-154417

Sept 13 – Nashville – Vinyl Lounge (18+) – DJ Chen
Tickets: https://www.eventbee.com/v/kpop-club-night-in-nashville-sept-13-at-the-vinyl-lounge/event?eid=223322462   DISCOUNT CODE: STAY

Sept 19 – Dallas – Art Co (18+) – DJ Chen
Tickets: https://www.prekindle.com/promo/id/-2853111880204170264

Sept 19 – New Orleans – Arora (18+) – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-nola-sept-19-at-arora/event?eid=244729141 DISCOUNT CODE: STAY

Sept 20 – Detroit – The Loving Touch (18+) – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-detroit-sept-20-at-the-loving-touch/event?eid=284324834  DISCOUNT CODE: STAY

Sept 20 – Las Vegas – Fremont Country Club (21+) –  DJ Chen
Tickets: https://link.dice.fm/n3f5d1c10eac

Sept 20 –  London (19+)  – The Rec Room – DJ Yuka
Tickets: https://www.eventbee.com/v/kpop-club-night-in-london-sept-20-at-the-rec-room-masonville/event?eid=253223864  DISCOUNT CODE: STAY

Sept 26 –  New York (21+)  – 230 Fifth – DJ Chen & Angie
Tickets: https://kpop-ny.eventbee.com/ DISCOUNT CODE: STAY

Sept 27 –  Toronto (19+)  – The Rec Room – DJ Yuka
Tickets: https://kpop-toronto2.eventbee.com/ DISCOUNT CODE: STAY

Sept 27 –  Washington DC  (18+)  – The Howard – DJ Chen & DJ Angie
Tickets: https://www.ticketweb.com/event/kpop-club-night-howard-theatre-tickets/13898244 

Oct 3 – Chicago (21+) – Stereo – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-chicago-october-3-at-stereo/event?eid=274220993 DISCOUNT CODE: STAY

Oct 3 – Pittsburgh (21+) – Avalon – DJ Chen
Tickets:  https://www.eventbee.com/v/kpop-club-night-in-pittsburgh-oct-3-at-avalon-social/event?eid=284124793 DISCOUNT CODE: STAY

Oct 4 – Kent OH (18+) – The Burnt Pickle – DJ Chen
Tickets: https://kent-kpop.eventbee.com/  DISCOUNT CODE: STAY

Oct 10 – Miami (18+)  – Mad Live – DJ Chen
Tickets: https://miami-kpop.eventbee.com/  DISCOUNT CODE: STAY

Oct 11 – Phoenix (18+) – Waler Studios – DJ Chen
Tickets:https://phx-kpop.eventbee.com/  DISCOUNT CODE: STAY

Oct 11 – Winnipeg (18+) – The Rec Room – DJ Yuka
Tickets: https://www.eventbee.com/v/kpop-club-night-in-winnipeg-oct-11-at-the-rec-room/event?eid=284124362  DISCOUNT CODE: STAY

Oct 17 – Boston (21+) – Royale – DJ Chen
Tickets: https://kpop-boston.eventbee.com/ DISCOUNT CODE: STAY

Oct 18 – Minneapolis (18+) – Varsity – DJ Chen & DJ Angie
Tickets: https://www.livenation.com/event/vvG1bZbRh3R4gI/kpop-club-night

Oct 24 – San Francisco (21+) – Temple SF (Main Room Upstairs) – DJ Chen
https://www.eventbee.com/v/kpop-club-night-in-san-francisco-oct-24-at-temple/event?eid=284024695  DISCOUNT CODE: STAY

Oct 25 – Montreal (18+) – Ausgang Plaza – DJ Yuka
Tickets: https://lepointdevente.com/billets/xd0251025001

Nov 7 – Edmonton   – The Rec Room (18+) – DJ Angie
Tickets: https://kpop-edm.eventbee.com – DISCOUNT CODE: STAY

Nov 7 – Kansas City – Warehouse on Broadway (18+)
Tickets – https://www.etix.com/ticket/p/72980863/kpop-club-night-kansas-city-warehouse-on-broadway

Nov 8 –  Calgary (18+)  – The Rec Room – DJ Angie
Tickets:  https://kpop-calgary.eventbee.com  – DISCOUNT CODE: STAY

Nov 14 – Philadelphia – Fringe Bar (21+) – Tickets on sale soon

Nov 21 – Fresno – Club Encore (21+)
Tickets: https://fresno-kpop.eventbee.com/ DISCOUNT CODE: STAY

Nov 29 –  Columbus (18+) – Skully’s – DJ Chen
Tickets: https://cbus-kpop.eventbee.com – DISCOUNT CODE: STAY
********************************************************************************

Dec 20 – NYC 18+ MASSIVE EVENT!
Tickets out Sept 30

Dec 27 – CHICAGO 18+
3rd annual Chi Kpop Xmas
Tickets out October 5

Sign up to follow Kpop Club Night on Livenation.com for discounts to both of these shows!  

See you on the dance-floor!
______________________________________________________________________
Look at our updated pics&videos! We’ve uploaded hundreds more photos & videos from the last few months of parties, find yours and download them now at https://www.facebook.com/kpopclubnights/photos_albums

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Sean Dulake has a way of making you feel like you already know him. Whether he’s charming audiences on Korean primetime dramas or pulling fans into the whirlwind fantasy of Dramaworld, the actor, writer, and producer has built a career that blends heart, humor, and global appeal. With each project, he’s carved out a unique space where East meets West—delivering performances that feel both fresh and familiar. Now, as he gears up for his latest role in Butterfly (2025), Dulake is once again stepping into the spotlight with the same charisma that first won fans over. In this exclusive interview, he opens up about his journey, his creative spark, and the moments that continue to inspire him on and off screen.

Q: You’ve acted, written, and directed. Which role feels most natural to you, and which one pushes you the most?

Sean: Acting will always be my first love. Directing, though, is by far the most difficult. You’re running the ship, uniting teams, and making constant critical decisions with limited time and resources. It’s an all-encompassing role.

Q: What’s the hardest part about directing?

Sean: Directing is like a team sport—you’re working with department heads, artists, and crews to manifest your vision. The toughest part is motivating everyone while making countless decisions every day. There’s never enough time or resources, so you do the best with what you have.

Q: When you direct or write, how does your perspective as an actor shape your storytelling?

Sean: I always focus on character. That’s what audiences fall in love with and return for. As actors, we’re constant observers of human behavior, so character work comes naturally—and it’s the heart of any good story.

Q: How do you approach preparing for a role?

Sean: Every role requires different tools. I trained in Meisner, voice, and movement, and I try to pull from whatever works best for the character. For Butterfly, I researched CIA training—not the combat side, but persuasion and manipulation. Learning those techniques gave me insight into Hollis’s mindset.

Q: Why did you choose the title Korea Next, Finding Hallyuwood for your documentary?

Sean: At the time of Gangnam Style, Korean entertainment was just beginning to resonate globally, and I wanted to understand why. “Hallyu” means Korean Wave, so Finding Hallyuwood was a wordplay on Hollywood—a suggestion that Korea could become the next entertainment hub. Looking back, it’s clear Korea has delivered on that promise.

Q: What kind of stories still need to be told about the Korean American experience?

Sean: We’ve only scratched the surface. Streaming has opened the door for global audiences to embrace all kinds of cross-cultural stories. With Butterfly, for example, it’s not about being Korean American—it’s a spy thriller that just happens to center on a Korean American family. Those layered, universal stories are the future.

Q: In Butterfly, you play Hollis. How did you approach developing the character?

Sean: Hollis is ex-CIA and head of the Seoul office of the Caddis Group. I researched CIA psychological tactics like RICE—Resource, Ideology, Coercion, Ego—for turning sources. That helped me ground Hollis’s manipulation skills. And since Butterfly was the first American series fully shot in Korea, my bilingual background was crucial to bridging communication on set.

Q: How did it feel to be part of a series that taps into the global interest in Korean media?

Sean: Honestly, it’s huge. Daniel Dae Kim said the show wouldn’t have been greenlit ten years ago. To have a big studio-backed action series with a predominantly Asian cast shows how much the industry has evolved. I hope Butterfly becomes another reference point that proves these stories can succeed.

Q: How do you see cross-cultural projects shaping opportunities for Korean American actors?

Sean: Every successful project builds a reference point. Crazy Rich Asians was a turning point—suddenly, more opportunities opened up. I hope Butterfly can be that kind of example in the action-thriller space. Personally, I want to get to a place where it’s not even a “talking point”—it just exists.

Q: As someone who works in both the U.S. and Korea, what cultural differences stand out most?

Sean: In Korea, filmmaking feels communal—actors even help move equipment if it helps the crew. In the U.S., there’s more emphasis on individual excellence and entrepreneurship. Both are powerful, and I’ve learned a lot from each.

Q: Can you share a fun behind-the-scenes moment from Butterfly?

Sean: At the wrap party, everyone—Korean and American—sang karaoke together. It was hilarious watching American crew members belt out Korean ballads. It felt like the perfect cultural equalizer and a memory I’ll never forget.

Q: Since you speak both Korean and English, do you have a favorite expression from the set?

Sean: In Korea, we always end the day with “수고하셨습니다” (You worked hard/thank you for your efforts). It literally means “you have suffered well,” but it’s a way of honoring everyone’s contribution. I love that spirit of gratitude.

Q: If you weren’t pursuing acting or filmmaking, what would you be doing?

Sean: When I was a kid, I wanted to be a scientist. I love exploring how things work, and I still have that curiosity.

Q: Do you have any non-series projects you’re working on now?

Sean: Yes—my company, Third Culture Content, is adapting the Korean drama King the Land for the U.S. We’re excited to reimagine it for an English-language audience.

Q: Finally, is there anything you’d like to say to your fans?

Sean: I’ll never forget the early fans who supported Korean dramas before the global craze. Your passion made all of this possible. We live for the fans, and I’m deeply grateful.

With Butterfly, Sean Dulake proves that stories can cross borders just as seamlessly as he does. Rooted in gratitude for his fans and driven to tell bold, character-centered stories, he’s only getting started.

 

– Robyn Rush

On August 29, 2025, the world will be able to tune into Apple TV+ and binge KPOPPED, a new competition series unlike anything we’ve experienced before. Artists from around the world will collaborate to reimagine one of their chart-topping songs, performing before a live audience. It’s global legends and K-pop idols coming together to be crowned the winner by votes, and all of the excitement is happening in Seoul!

K-pop girl group BLACKSWAN (Korean: 블랙스완) is getting in on that excitement as participants. As a group born from the ashes of a legendary South Korean concept, the “swan” in their name could genuinely be replaced with a phoenix – they’ve reinvented the image of what it means to be a bonafide K-pop idol. As the first Korean-language major girl group with a full lineup made of non-Koreans, they intend to compete with global luminosity on their side.

In this interview, we connect with members Sriya and Nvee and hear their thoughts about KPOPPED and what fans should anticipate. Please enjoy!

Ashley Borjon, Host & Historian

Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com

 

#BLACKSWAN #KPOPPED #hallyu #kcrush #kcrushinterview #interviewwithBLACKSWAN #AppleTV #kpop #kcrushamerica #kcrushmagazine #SouthKorea #SeoulKorea #newmusicshow #girlgroup #koreanculture

PLAYBACK (플레이백) debuted in 2015 with the single “Playback”.  Despite strong talent and fan support, the group went inactive by 2018 and unofficially disbanded soon after. Since then, the members have branched into acting, solo music, content creation, and even new careers. Here is what each member is up to now.

Hayoung

Hayoung pursued acting after PLAYBACK, signing first with Management Nangnam and later with O& Entertainment, changing her stage name to Han Na Young. On July 2021, Hayoung signed with Echo Global Group and started using Lee Ha Young her birth name, as her stage name. She appeared in web dramas such as “On the Campus” (2019) and “To My Beautiful Woo Ri.” Recently, she took supporting roles in bigger productions, including “Call It Love” (2023) and the movie “Dead Man” (2024). Hayoung interacts with fans through her SNS platforms including Instagram.

Woolim

After PLAYBACK went on hiatus, Woolim debuted under OD Entertainment through The Pink Lady project girl group. The group debuted in February 2019 with the “God Girl” digital single. She then signed with Lean Branding in May 2021 and released some tracks including “My Dummy Darling” digital single, before the contract ended in January 2025. Woolim has also appeared in some television shows including ‘Immortal Songs 2’ in 2023 as a guest singer. Woolim also keeps up with her fans on her YouTube channel and other SNS channels including Instagram.

Yujin

After PLAYBACK went on hiatus, Yujin signed with FN Entertainment to focus on acting under the name Oh Chae Yi. She went on to star in Kdramas like “Gracious Revenge” (2019) and “Unpredictable Family” (2023). Yujin often interacts with fans through her Instagram page.

Yunji

Yunji has maintained a low profile since PLAYBACK went on hiatus. Based on her SNS feed, she works as an idol trainer. In March 2023, Yunji got married, and some PLAYBACK members reunited to celebrate her wedding. She occasionally posts updates with trainees and PLAYBACK friends on her Instagram page, but otherwise lives a more private life.

Eunjin

Originally removed during pre-debut, Eunjin was added back to PLAYBACK in 2017. After PLAYBACK’s hiatus, she released the “Can Do Nothing” OST for the drama “Touch” (2020). Since then, she’s been less active in mainstream entertainment. She interacts with fans on her Instagram page.

Though PLAYBACK’s group activities died down, each member has found her own path—whether in acting, solo music, mentoring, or personal life. Their story reflects both the struggles of K-pop groups and the resilience of idols who reinvent themselves beyond the stage.

 

—-Karen Mwenda

 

#PLAYBACK #WhereAreTheyNowPLAYBACK #Eunjin #CanDoNothingOSTbyEunjin #kcrush #kpop #kpopidol #Yunji #Yujin #FNEntertainment #OhChaeYi #GraciousRevenge #kcrushamerica #kcrushmagazine #Touchkdrama #Woolim #PinkLadyProject #Hayoung #HanNaYoung #LeeHaYoung #EchoGlobalGroup #OnThe Campus #CallItLove #Korea #koreanactress #koreankpop #kdrama #lifeafterkpop #WhereAreThePlaybackMembers

Editor : Evgeniya Hong

Rising K-pop newcomer Hwina is captivating listeners with her poetic lyricism and emotional depth. After debuting with hits like “Like a Tree”, she quickly became a name to watch, not only for her delicate yet expressive vocals but also for her lyrical storytelling. Her works such as “Noise Canceling” and the recent “A Secret Tale About Us” explore themes of identity, emotional healing, and quiet strength. In 2025, she gained national attention when she was selected as one of the final 10 artists for the MUSE ON 2025 program, beating out over 400 other applicants in the highly competitive selection process, solidifying her place among Korea’s new generation of singer-songwriters. We sat down with Hwina to talk about her journey, inspirations, and what lies ahead.

Who is Hwina and what is the story behind your name and artistry?

Hi KCrush readers! I’m Hwina, a singer-songwriter who creates music across pop, R&B, and synth-pop. My name represents my desire to shine through my music and connect with people on a deeper level.

Your debut mini album, “Like a Tree”, gained traction upon release. What emotions or stories were you hoping to express through the title and release in general?

My debut EP captures the emotions I experienced while growing up, especially those that shaped who I am. Since it was my first time opening up to listeners, I wanted to be completely honest. “Like a Tree”is about standing tall, growing stronger, and becoming someone who can offer comfort and strength to others. It reflects my positive mindset and my ongoing journey of personal growth.

Looking back, was there a defining moment when you knew you wanted to pursue music professionally?

I’ve always loved singing, but there was a moment in middle school that made everything clear. A friend who had made things difficult for me once said, “If you become a singer, I’ll ruin you.” Oddly enough, that pushed me even harder. I wanted to prove that I could succeed not just as a singer, but as a kind and strong person.

In “Noise Canceling”, you wrote about escaping from the noise of the world. What “noise” have you personally had to cancel out to find your own voice?

The noise I had to cancel was mostly my own anxious thoughts, like “Am I doing okay?” They shook me a lot. On top of that, there were outside expectations and comparisons. If I let those take over, I’d lose my true voice. So I learned to let go of the noise and focus on the stories I really want to tell. That’s how I found my own voice.

What’s one fact about you that fans have no idea about?

I really love soft and cozy things like blankets and plush toys. They calm me down and make me feel better. I always keep a blanket with me at home.

Your recently released the “A Secret Tale About Us” single has got many fans talking. What was the inspiration behind this piece?

It’s based on a real experience. When I was young, a boy and I watched a romance movie together, and we promised that even years later, we’d watch it again. I didn’t necessarily miss him, but that pure and innocent moment inspired the song.

Which artists, regardless of genre, inspire your sound and lyricism?

I’ve always looked up to IU. Watching her, I thought, “I want to be that kind of artist.” I want to be versatile, with a broad musical range and a lot of charm.

You were selected as one of the final 10 artists for the MUSE ON 2025 program, chosen from over 400 applicants. What did that moment mean to you as a rising artist?

It felt like recognition for all the work I’ve done so far. I’m really grateful, and I see it as a new opportunity to connect with more people through my music. It was a real turning point for me.

Fans are also excited about potential collaborations with new artists. Are there any Korean or international artists you’d love to work with in the future?

I’d love to collaborate with Lee Chan-hyuk from AKMU. I enjoy trying different genres, and working with him would be such a wonderful musical adventure. I’m also open to all kinds of creative ideas, even fashion collaborations.

 

We heard you’ll be releasing a new album soon through MUSE ON 2025. Could you tell us about the upcoming album?

The EP, coming out in October, is centered on synth-pop. It follows a journey from the bright, sunny moments of youth, to facing unavoidable realities, and finally to exploring the deepest parts of yourself. 

If you had to write a letter to your future self, five years from now, what is the one thing you would want to say or ask?

I’d tell myself, “Keep sharing love with the people around you.” No matter how far you’ve come, never forget the importance of staying genuine and close to the people who support you.

With the increasing wins and recognitions, what should fans be looking forward to in the near future? Any upcoming projects?

To stay true to that promise, I’ll keep making honest music. In September, I’ll be releasing a pre-release single, followed by my new EP in October. With these releases, I look forward to meeting fans more often and getting closer through concerts, live performances, and broadcast appearances.

What would you like to say to your fans who are always rooting for you?

It might seem like I’m walking this path alone, but I’ve really been walking it with all of you. I hope we can continue sharing our hearts through music for a long time. I’ll repay you with good songs, and with my new EP coming out this year, I’m excited to meet you more often through concerts and on various shows. Let’s stay together for many years to come! ♥THANK YOU! LOVE YOU ALL!♥︎

 

—-Karen Mwenda

We know the five stages of grief to be denial, anger, bargaining, depression, and acceptance, but what if there’s a sixth unnamed emotion? Regret. Written by Zou Wan-Zhen (Women in Taipei), and directed by Tsai Chai-ying (The Remains), the new Taiwanese horror Haunted Mountains: The Yellow Taboo (Shan Chi Huang I Hsiao Fei Hsia)—which is Tsai’s feature film debut—explores this deeply intense and dark emotion through the psychological breakdown of Jia-ming (Jasper Liu), a man whose fear over his relationship with his girlfriend ending gets leads to a never ending cycle of days filled with the torment of grief, regret, and guilt.

Inspired by the Taiwanese urban legend of the Yushan Xiaofeixia about a group of three ghostly spectres in the giant yellow raincoats who haunt the deep recesses of the Yusan (Jade) Mountain, Haunted Mountains: The Yellow Taboo is film that successfully weaves urban legend, traditional folklore, occultism, and relationship drama into an entertaining and compelling horror.

When best friends Jia-ming, Yu-xin (Angela Yuan), and her boyfriend and Jia-min’s childhood friend, An-wei (Tsao Yu-ning) decide to go hiking on a sunny day they expect their day to be the same as any other when they’ve trekked other mossy woodland trails. So the last thing they expect is to encounter a group of hikers and rescuers congregating around the body of a man who’s apparently died under mysterious circumstances. After making typical inquiries to satisfy their curiosity, the trio shake off whatever misgivings they have and continue on their way. But as the trail becomes more difficult to navigate and fog descends, they fail to pay attention to the signs that things aren’t quite right…until they come to a path blocked by torn yellow fabric strung between trees.

Against the hesitant suggestions from Jia-Ming and Yu-xin that perhaps they should turn back, An-wei insists there’s nothing wrong and the other two give in and cross the barrier. By violating this “Yellow Taboo”, they end up making the biggest mistake of their lives, for beyond this obvious sign of caution, the friends stumble upon a blood ritual being performed by masked individuals. This one action sets off a chain reaction of events where Jia-Ming is plunged into a timeloop where he repeatedly relives this horrific day watching the two people he cares the most about die over and over again for days, months, and years. Ghastly spectres in yellow raincoats constantly shifting indistinguishable faces haunt him in this waking nightmare only seems to be aware of.

Timeloop storylines aren’t new by any means to genre films, including horrors and psychological thrillers. But what makes this aspect of Haunted Mountains: The Yellow Taboo work is how it delves into the psyche of a man whose own emotions are what’s keeping him trapped as much as the otherworldly forces at work seem to be.

Though he loves An-wei, his desire to be the person that Yu-xin loves and wants to spend her life with, overrides everything else, and that desire becomes twisted with his insecurities at not measuring up to his friend, plagues Jia-Ming with doubts he can’t ignore. Every day he wakes, Jia-Ming is wracked with guilt at not preventing them from making such a huge mistake, his feelings for Yu-xin, failing An-wei, and his inability to stop it all from happening again.

Whenever Jia-ming takes a step towards figuring out how to end the loop, and get off the mountain, he’s not only thrown back to the point where it all went wrong, he’s tossed sideways, like a leaf in a thunderstorm, or a puppet on a string. Offsetting everything he thought he understood and believed.

Audiences familiar with Liu know him for his lead roles as the sweet and charming male lead in romantic dramas such as 2021’s Fall in Love with a Scientist, or more serious period occupation era dramas like My Bittersweet Taiwan, and with Haunted Mountains: The Yellow Taboo, they’ll get to see Liu stretch his acting wings a bit more as a man wracked with self-recrimination as he’s forced to confront his inner demons and learn that the best way to survive a storm is to push through it no matter how painful the process is.

Though some elements of the narrative are a bit uneven such as the introduction of a family that ends up having connections to the group and certain aspects of the occult and Shamanic themes without enough explanation on their connections, the film is intriguing and has great rewatch value as there’s clues that could be missed on first viewing. The production quality is very high as the set design, score and sound effects, and cinematography all meld together to create an atmospheric thriller that makes one curious to learn more about Taiwanese folklore, and perhaps venture into dark forests for a bit of adventure…or maybe not.

Haunted Mountains: The Yellow Taboo had its international premiere as an official selection of the 2025 Fantasia International Film Festival in Montreal, Canada. There I spoke to director Tsai and producer Ivan Chen about working in the Taiwanese film industry, making the change from commercial projects to a genre film, its themes of regret, guilt and folklore, and casting Liu for a role unlike any he’s done before.

Interpreting for this interview was conducted by Xige Yi.

 

Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12

 

#TheYellowTaboo #KCrushInterviewWithHuntedMountainTheYellowTaboo #TsaiChiaYing #IvanChen #KCrushInterviewWithDirectorTsaiChiaYingandProducerIvanChen #kcrush #kcrushamerica #kcrushmagazine #kcrushinterview #2025FantasiaInternationalFilmFestival #MontrealCanada #FallInLoveWithAScientist #horror #WrittenbyZouWan-Zhen #Taiwaneseurbanlegendof theYushanXiaofeixia

From their mythological vampire beginnings to powerful sci-fi imagery, VIXX have always told stories. Today, even as their group activities have slowed, each member continues to build their own narrative—on stage, screen, and beyond.

Ken (Lee Jae Hwan)

Ken switched agencies from Jellyfish, and Joined S27M Entertainment in March 2024. He became the MC of ‘YES I KEN’ YouTube reality show and released the ‘Puzzle’ solo mini-album in December 2024. He also headlined his own solo concert, “2025 KEN SOLO CONCERT: WONDER LAND”, in January 2025 and released the “To You” digital single in May 2025.

N (Cha Hak Yeon)

N changed agencies and signed with 51K after leaving Jellyfish in 2020 to pursue his acting career. He has evolved into an actor with a diverse filmography. He has acted in Oh My Ghost Clients, Joseon Attorney, and Castaway Diva. N is still an active member of VIXX

Hyuk (Hwang Min Hyuk)

Hyuk is currently under Companion Company after leaving Jellyfish in 2022. In 2022, Hyuk released the “Stay for Me” single featuring Seo In Guk. He also held a farewell fan concert, ‘2024 HYUK FAN CONCERT Home’, in March 2024 before enlisting for mandatory service. Hyuk enlisted as a public service worker in April 2024. Hyuk is still an active member if VIXX.

Leo (Jung Taek Woon)

Leo left Jellyfish in March 2024 and is now with under Big Boss Entertainment. After the move, Leo changed his stage name to Jung Taek Woon. He also launched his b,stage platform. On June 2024, it was announced that he would make his first film debut in ‘Veranda’, a romantic thriller film scheduled for release in 2025. Leo is still an active member of VIXX.

Hongbin (Lee Hong Bin)

Former member Hongbin left VIXX in August 2020 after a controversy on Twitch livestream. Hongbin apologized for the incident, left VIXX, and enlisted into the military. After miliary service, Hongbin returned to streaming on CHZZK, a Naver streamers platform that rolled out after Twitch’s exit.

Ravi (Kim Won Sik)

Former member Ravi exited VIXX in April 2023 amid a military evasion scandal. Prosecutors sought a two-year prison term, ultimately resulting in a suspended sentence and 2-year probation. Ravi is currently not active in the entertainment industry and has maintained a low profile from the public.

Although no full-group comebacks or tours have been held recently, VIXX remaining members—Leo, Ken, N, and Hyuk— posted a photo on May 25, 2025 celebrating their 13th anniversary. This symbolized their ongoing connection despite member departures. Fans anticipate possible future reunions, particularly after Hyuk completes his military service in early 2026. While no longer as united on stage, VIXX’s legacy thrives—through Leo’s stage presence, Ken’s soaring vocals, N’s acting, and Hyuk’s dedication. Their collective chapter may be paused, but individually, they continue to write compelling stories.

 

—-Karen Mwenda

 

#VIXX #WhereAreTheyNow #kcrush #Leo #Ken #N #Hyuk #kpop #kidol #Ravi #Hongbin #CHZZK #Jellyfish #JungTaekWoon #KimWonSik #kcrushmagazine #kcrushamerica #korean #membersofVIXX #where #kculture #BigBossEntertainment #CompanionCompany

THEBLACKLABEL’s Vince releases his new single “차차차 (CHA CHA CHA) (feat. G-DRAGON)”, a perfect summer smash following his success on the KPop Demon Hunters soundtrack. G-DRAGON’s first feature in 8 years arrives on his birthday, August 18—the perfect moment to celebrate and for Vince to step into the spotlight with this rare collaboration. Watch HERE and listen HERE.

Vince’s recent work on the KPop Demon Hunters soundtrack earned him a #2 album on the Billboard 200, while the Saja Boys‘ tracks “Soda Pop” and “Your Idol” both peaking at #3 on the Billboard Global 200. Beyond his contributions to BLACKPINK and BIGBANG – including LISA’s “MONEY” and BLACKPINK’s “SHUTDOWN” – Vince also serves as the main producer for ALLDAY PROJECT, playing a key role in their success.

Hot off his recent momentum, Vince unveils a summer-perfect track years in the making with none other than G-DRAGON. The lighthearted and playful “차차차 (CHA CHA CHA) (feat. G-DRAGON)” is breezy, charming, and made for lounging in the summer heat. Paired with an animated visualizer that captures the song’s energy and mood, it sets the stage for Vince and G-DRAGON to perform and shine together.

Photo Credit: THEBLACKLABEL

Follow Vince:

INSTAGRAM | YOUTUBE | FACEBOOK | TWITTER 

About Vince

Vince has written and produced for an all-star lineup of talent including JEON SOMI, IZNA, MEOVV, ALLDAY PROJECT and BLACKPINK. He was heavily credited on TAEYANG’s record-breaking album, ‘WHITE NIGHT‘ which spent two weeks at #1 on the Billboard World Digital Albums chart, and has contributed to every song on TAEYANG’s comeback EP, ‘Down to Earth‘. He also co-wrote and co-produced one of Korea’s best-selling songs of 2017, Sunmi’s smash hit ‘Gashina‘, which landed on the ‘Best K-Pop Song of the Year‘ list in Billboard.

Vince debuted in 2019 as a solo artist with the single ‘MENNAL‘ and went on to broaden his activities by collaborating with artists like Zion.T on the track ‘Emergency‘ and featuring on TANAKA’s ‘Choose Me’.

He produced the entire discography in his 2023 EP ‘The Drive‘, showcasing his artistry through songs like ‘UUU‘ and ‘GET OUT‘.

In 2025, he also participated as a producer and writer for the soundtrack of ‘KPop Demon Hunters, the first internationally produced animation centered on K-pop idols. The soundtrack achieved unprecedented success, charting on multiple major global & U.S. Billboard and Spotify charts.

About THEBLACKLABEL:

THEBLACKLABEL is a South Korean entertainment company, record label, and creative agency founded by TEDDY in 2016 and home to acts such as TAEYANG, JEON SOMI, ROSÉ, MEOVV and ALLDAY PROJECT.

 

#VINCE #GDRAGON #THEBLACKLABEL #TEDDY #KPOPDemonHunters #soundtrack #kcrush #kpop #kpopidol #CHACHACHA #ProducerALLDAYPROJECT #BIGBANG #newmusic #kcrushamerica #kcrushmagazine #songwriter #VinceandGDRAGONCollab

The Seoul International Wines & Spirits Expo (SIWSE) returned to COEX Exhibition Center June 26-28, 2025 and Kcrush was able to gather amongst professionals and enthusiasts and enjoy an easier-to-navigate experience once again. The annual event leaned heavily toward business exchanges than leisure tastings this year, offering a noticeably different energy compared to 2024’s atmosphere. I think it’s best that I provide some context so that it doesn’t appear that I’m nitpicking.

Music Credit: “msBlink”First, this year featured around 80 exhibitors, a noticeable reduction from last year, but made up for this with opportunities to learn about unique wineries and vendors. And even though the crowd was still large, there were also less people on the floor. The rows of vendors were easier to navigate but lacked some of the vibrant push-and-pull of discovery that comes with higher attendance. A contributing factor may have been that another expo was held in the same building for two of the three days, but it could also be because the beer scene was nonexistent.

Next, the attendee demographics also reflected a shift. While 2024’s expo welcomed a wider international presence, this year’s visitors were predominantly Korean, with most appearing to be in their late 20s to early 40s. Finally, the local professional turnout – something that definitely improved from 2024 – gave the event a sharper, more industry-driven atmosphere, showing how South Korea continues to define its own place in the global wine and spirits market.

Regardless, for a wine educator and fan like me, SIWSE 2025 still delivered plenty to explore. Instead of rows dominated by wines and spirits alone, we encountered glassware (and bought a unique set from a moscato vendor in less than 10 minutes on the exhibit floor on the first day!), wine storage solutions, packaging, and even shipping technologies. This gave the event a more transaction-oriented tone, with clear attention on the needs of distributors, importers, and business buyers. It was a behind-the-scenes experience I hadn’t had in the wine industry and genuinely enjoyed.

I was fortunate to have my husband, “Pilot”, join me again in covering the expo this year. Pilot supported the experience by collecting video interviews, helping us document not just the products, but the people and stories behind them. Together, we had the opportunity to engage with brands who generously shared their time and expertise. They seemed to really enjoy that we did this together! Notable highlights included conversations with Master Tardan and Shabo Winery, Matsuishuzo, Coreanos, Gongboocha Bakery Tea House, MEgori distilled soju, Siragida, WPER Wine, and Liliac the Wine of Transylvania. Their willingness to speak about their processes, philosophies, and products enriched the expo experience and gave us insight into the evolving landscape of global and Korean beverage culture.

While the 2025 Seoul International Wines & Spirits Expo may have been smaller in size and quieter in atmosphere, it emphasized the depth of Korea’s wine and spirits industry and its ties to the global market. I hope that its continuation in Busan later this year remains a window into both tradition and innovation!

Ashley Borjon, Host & Historian

Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com

 

#2025SeoulInternationalWinesandSpiritsExpo #Korea #wine #spirits #beer #expo #kcrush #Asianwines #MasterTardanandShaboWinery #Matsuishuzo #Coreanos #GongboochaBakeryTeaHouse #Megoridistilledsoju #Siragida #WPERWine #LiliactheWineofTransylvania #annualevent #kcrushmagazine #kcrushamerica #COEXExhibitionCenter #moscatvendor #internationalwineandspiritsvendors #SippingThroughSeoul

Beyond K-Pop and KDramas, Korea is shaping global development by building strong ties with Africa. Over the years, Korea has worked alongside several African countries to offer a lending hand is various sectors including health. Below are some of the projects highlighting the growing partnership rooted in shared progress and long-term resilience.

1. Big-picture Pledges

At the inaugural Korea–Africa Summit (June 2024) in Seoul, Korea committed to expand ODA (Official Development Assistance) to US$10 billion by 2030 and mobilize US$14 billion in export financing to unlock trade, infrastructure, energy, health, and digital projects with African partners. This is being channeled through KOICA (Korea International Cooperation Agency) grants, the Economic Development Cooperation Fund (EDCF) concessional loans via KEXIM bank, and partnerships with the AU (African Union), Africa CDC (Centre for Disease Control), and multilaterals.

2. Water, Sanitation & Climate Resilience

In May 2024, UNICEF and KOICA signed a US$39 million program to deliver climate-smart health, WASH (Water Hygiene and Sanitation), education, child protection, and social protection services on various African countries. KOICA has also funded multi-phase water production and supply upgrades in Kenya, including a partnership with UNICEF to scale up WASH resilience initiatives.

3. Power & Infrastructure

In 2023, the AfDB and Korea Exim bank (EDCF) aligned on a US$119 million transmission project supporting Kenya’s geothermal renewables integration. Korea’s Ministry of Economy and Finance has been deepening EDCF cooperation with 21 African countries since 2024 for more effectiveness. Uganda and Tanzania have also benefited in infrastructure boost, including Uganda’s 2024 $500 million EDCF agreement.

4. Education

Korea also has a track record of public governance policy dialogues and workshops with East African governments, sharing e-government and public sector modernization lessons. GKS (Global Korea Scholarship) and KOICA CIAT fellowship program (government officials’ scholarships) are some of the most impactful undergraduate, master’s and PhD scholarships. KOICA regularly supports scholarships, technical training, and short-course exchanges. Through the Smart Education Project, KOICA has established over 21 smart schools across Nigeria as of August 2025, transforming teaching through digital platforms. Before Nigeria, KOICA had also undertaken an education initiative in Zanzibar, Tanzania that also included a teacher-training program.

5. Health Systems & Disease Security

In 2024, Uganda’s ministry of health and WHO launched a KOICA-funded program to refurbish 28 health facilities in Busoga, improving service delivery and equipment readiness. Since 2004, Korea Foundation for International Healthcare (KOFIH) has also been running multi-year projects on various African countries including Ghana, Ethiopia, Kenya, Zimbabwe, etc. The projects strengthen health insurance policy, medical equipment governance, and TB screening and diagnostics, including the 2022–2026 KRW 8.15 billion governance project. Through 2024, KOFIH’s Dr. Lee Jong Wook Fellowship offered local trainings to build in-country capacity for biomed engineers. During the 2024 Summit, Africa CDC, Korea’s KDCA (Korea Disease Control & Prevention Agency) and the International Vaccine Institute agreed to deepen cooperation on vaccines and health security across Africa.

 

—-Karen Mwenda

 

#BeyondKPop #KoreasGrowingPartnershipwithAfrica #AfricaandKorea #KOICA #kcrush #KOFIH #Ugandasministry #WHO #Ethiopia #Kenya #Zimbabwe #health #KDCA #ODA #kcrushamerica #kcrushmagazine #partnershipwithAfrica #EDCF #kpop #kdrama #KEXIM #AU #CDC #Education #smartschools #WASH #power #infastructure #GlobalKoreaScholarship #CIAT

(Credit: A2O Entertainment)

Buy/Stream “B.B.B”: https://orcd.co/biggerbadderbetter

Watch “B.B.B”: https://youtu.be/0kBL7n_Yxak

The next-gen global girl group, A2O MAY, returns with “B.B.B”, a bold new single that lives up to its name – Bigger, Badder, Better. This next era marks a major step forward in the group’s mission to revolutionize global music, with “BBB,” which features striking visuals and genre-defying sounds. Earlier this year, the quintet made global headlines after being the first Chinese idol group to perform at the well-renowned iHeartRadio’s Wango Tango, marking both their U.S. stage debut and simultaneous appearance on American television via KTLA.

“B.B.B (Bigger Badder Better) [feat. A2O LTG]” is an empowering, high-energy anthem for today’s youth—radiating confidence, self-expression, and unapologetic flair. Driven by an infectious pop beat and bold lyrics like “I’m bigger, badder, better than the cool kids” and “Don’t need nobody to follow,” the track celebrates owning your power and embracing your true self. With its irresistible hook and fearless attitude, BBB isn’t just a song—it’s a movement for young adults ready to stand out and shine. The highlight of “B.B.B” is the special feature by LTG (Low Teen Girls) — three members from A2O Entertainment’s Rookies unit, set to debut in the near future. Set against a lively school backdrop, the music video captures LTG as juniors admiring the stylish and popular seniors, A2O MAY, creating a relatable and charming storyline. The fresh rookie energy of A2O LTG paired with A2O MAY’s confident presence delivers a unique synergy, adding a next-generation twist that makes “B.B.B” especially memorable for fans and new listeners.

In just a few short months, A2O MAY has broken records and defied expectations in the U.S. Their pre-debut single “Under My Skin” made them the first Chinese group to enter the U.S. Top 40 Radio Chart, where it remained for two consecutive weeks. Their official debut single, “BOSS,” has now charted five consecutive weeks – rising from #35 to #32 – marking their second U.S. Top 40 entry and the highest charting placement in history by a Chinese girl group. The track has also amassed over 30 million views across Weibo and YouTube, fueled by the viral Jump Rope Dance featured in its chorus. With growing traction across both Asia and North America, A2O MAY is fast emerging as a leading powerhouse in global pop.

Backed by K-pop pioneer Soo Man LEE and launched under A2O Entertainment, A2O MAY is the first group to embody “Zalpha Pop”—a genre blending Gen Z emotions and Gen Alpha’s creativity. Their music fuses futuristic production with emotionally resonant storytelling, creating cultural bridges through sound and style. Highlighting their unprecedented debut, the group attended the star-studded Amazon Studios’ “Lee Soo Man: King of K-Pop” premiere in Los Angeles, the feature documentary chronicling the enthralling life of a bold visionary. The red carpet sparkled with icons such as Girls’ Generation members and Taemin from SHINee, sharing the spotlight with the rising group primed for global dominance.

ABOUT A2O MAY

A2O MAY (AY-TWO-OH-MAY) is the first official girl group launched under A2O Entertainment, making their debut on December 20, 2024. The group is composed of five talented members — CHENYU (17), SHIJIE (18), QUCHANG (18), MICHE (20), and KAT (20) — who were selected from A2O Rookies’ HTG division. Hailing from Shanghai, Suzhou, and Hawaii, A2O MAY is a multicultural, bilingual group fluent in Chinese and English, representing a new generation of global idols. Each member brings a unique artistic identity shaped by passions such as fashion styling, piano, visual art, songwriting, and performance. A2O MAY is the first group to embody Zalpha Pop, a genre and cultural movement created by renowned producer Soo Man LEE, aimed at blending the emotional authenticity and storytelling of Gen Z and Gen Alpha. Their debut single, “Under My Skin,” captures this vision with a rhythmic, synth-driven sound and introspective tone, offering a powerful glimpse into the future of youth-driven global music. As pioneers of A2O’s artist ecosystem, A2O MAY continues to connect with fans worldwide through digital-first content, dynamic visuals, and an open, evolving narrative of growth, self-expression, and creativity.

More than a name, A2O MAY signals the beginning of a cultural shift. Inspired by the season of full bloom and sharing its sound with the Chinese character 美 (Mei), meaning “beauty,” the name reflects not only outer elegance but inner strength — the quiet power behind every transformation. More than artists, they are a bridge — connecting culture to culture, generation to generation, heart to heart. Step into the world of A2O MAY. The future begins in May’s full bloom.

Follow A2O MAY: INSTAGRAM | YOUTUBE | SPOTIFY | APPLE MUSIC | TikTok | Twitter/X

 

#A2O #CHENYU #SHIJIE #QUCHANG #MICHE #KAT #A2OMAY #BBB #kcrush #kpop #kidol #kpopfashion #kpopmusic #newmusic #GenZ #ZalphaPop #ProducerSooManLee #SooManLee #UnderMySkin #globalmusic #AmazonStudios #kcrushamerica #kcrushmagazine #thefirstChinesegrouptoentertheUSTop40RadioChart #ChinesePop #CPop #feat.A2OLTG #BOSS

GALAXY Corp. – GLOBAL VIRTUAL ARTIST AUDITION FORM

Click the link above to apply to audition

Home to K-Pop superstar G-DRAGON, AI Enter-tech company Galaxy Corporation, has officially announced the launch of 2025 GLOBAL VIRTUAL ARTIST AUDITION, a global audition program designed to discover and debut a groundbreaking virtual K-Pop group. The initiative marks Galaxy’s first large-scale talent search under its newly formed artist division and signals a bold step forward in redefining the future of K-pop through inclusivity, innovation, and global reach. Blending cutting-edge virtual technology with real-world talent, this initiative seeks to redefine the boundaries of music, identity, and performance in the K-pop industry.

2025 GLOBAL VIRTUAL ARTIST AUDITION will recruit talented individuals from around the world in Los Angeles to become members of a groundbreaking virtual idol group. These artists will have their voices, movements, and personalities embodied in fully virtual idol avatars – ushering in a new kind of performer beyond the traditional idol group. The avatars will be brought to life through an immersive transmedia concept developed by Galaxy’s Creative Technology. The project reflects Galaxy’s broader vision of building “entertainers without borders” who can transcend physical limitations to connect with a global audience in real time. 

These performers will undergo professional training and avatar pairing, taking on digital identities that transcend physical boundaries and allow them to perform, connect, and evolve in real time across global platforms. Members will receive specialized training, including vocal, rap, dance, motion capture, digital stage presence, and fan interaction through immersive media.

This marks Galaxy Corporation’s first public audition campaign of this kind, following widespread attention after signing global icon G-DRAGON. 2025 GLOBAL VIRTUAL ARTIST AUDITION reflects Galaxy’s ambition, combining artistry, individuality, and technology to shape the next generation of global superstars. Galaxy Corporation is best known for their impact in Korean entertainment, most notably producing the hit Netflix reality competition series, Physical 100.

Auditions will be held exclusively first in Los Angeles, making this a rare opportunity for North American-based talent to join a debut project backed by industry-leading technology and creative innovation. Following the LA auditions, additional rounds are planned in other major global cities, with the ultimate goal of debuting as global artists who transcend borders.

Eligibility

• Any age
• Any gender
• Categories: Vocal, Rap, Dance, All-Rounder

Submission Period

• Opens on August 13, 2025 at 12:00 AM PT
• Closes on August 26, 2025 at 11:59 PM PT
• Learn More: https://www.youtube.com/@galaxycorp_audition_official

Submission Requirements

• Submit one video, at least one minute in length, showcasing the talent you wish to highlight.

In-Person Audition

Location: Los Angeles

Date: September 8, 2025

Venue: El Rey Theatre

About GALAXY CORPORATION

Galaxy Corporation is an AI Enter-tech company redefining the boundaries of performance, media, and identity. With a focus on virtual content, AI-driven storytelling, and global talent development, Galaxy is pioneering immersive experiences for the digital era. In 2024, the company made headlines for signing world-renowned artist G-Dragon, signaling its bold vision to bridge the gap between legacy artistry and deep cultural insight, Galaxy Corporation is committed to shaping the next frontier of music, fandom, and digital expression.

#GalaxyCorporation #USAuditions #KPopauditions #USKPopauditions #kcrush #GDRAGON #kpop #audition #groundbreaking #GalaxyCorpholdingUSKPopAudition #auditionapplication #kcrushamerica #kcrushmagazine #koreanentertainmentcompany #2025 GLOBAL VIRTUAL ARTIST AUDITION #virtualkpopgroup #announcement #kpopannouncement #Physical100 #newkpopvirtualgroupaudition #GalaxyCorporationhomeofGDragonvirtualauditionUS #LosAngelasCalifornia

During the 25th annual Jeonju International Film Festival, award-winning South Korean actress and singer, Lee Jung-hyun made her directorial debut with the dramatic short Toe-Tapping Tunes, alternatively titled Going to See the Flowers, in which Jung-hyun plays, Su-mi, a woman suspended in overwhelming grief and anonymity by a society and system that fails the most vulnerable.

In Toe-Tapping Tunes, the determined Su-mi walks brusquely into a local hospital, upon entering the patient ward, she begins screaming for her mother at the top of her lungs. In the ward she confronts the doctors and nurses on their wards asking why they won’t release her mother who’s well enough to eat three meals a day so is well enough to be discharged. Despite the medical staff insisting that her mother isn’t well enough to be released, they do so in order to appease the argumentative daughter.

Once home, Su-mi does her best to get her mother to eat the light broths she prepares for her, but to no avail.

Unemployed and with no source of income to care for her mother, Su-mi tries to sell their home, but is told by the realtor that the market is bad, even worse than during the IMF crisis of the late 1990s. Nothing she seems to do is working. Her attempts to apply for social assistance as their family home being worth more than the prerequisite amount set by the government, makes them ineligible for welfare. The same home that they’re not making any from either as rental property or sale. Unfair life can be when we’re at our lowest. Seeking to grasp onto any ray of hope that things can be better, Su-mi sees a poster for a bus tour to see the cherry blossoms on Mt. Seoraksan, and determines that if she can get her mother well enough to attend the trip, then everything will get better. That there’s a light at the end of the long exhausting tunnel her life has become.

Having to deal with her mother’s cancer has worn Su-mi down mentally, but having to deal with her own chronic illness on top of it all creates a sense of weariness that hangs off of Su-mi’s body that’s almost visible to the eye.

Since her debut acting role in director Jang Sung-woo’s critically acclaimed A Petal (1996), Lee Jung-hyun has made a name for herself as a consummate performer who devotes herself to every role she takes on, including her stage career as AVA, her multi-facated charismatic persona which she made her singing debut in 1999.

Now after a very successful premiere at Jeonju International Film Festival—during which Jung-hyun also served as the festival’s 5th special Programmer of the Year—she’s making a name for herself as a screenwriter, director, and producer with the 28 minute short film. With her portrayal as Su-mi, Jung-hyun shows how adept she is at taking up these numerous roles behind and in front of the camera.

As Su-mi, Jung-hyun gives a great layered performance as a woman slowly unraveling no matter how tightly she tries to hold herself together, and no one seems to be able to see or hear her what she’s really saying. It’s like the more she insists that things are fine, the more obvious it is that nothing is ok. And unfortunately that’s the reality of too many people in today’s society.

In my interview with Jung-hyun, she spoke about her adaptability as a performer and director, the challenges of making an independent short film on a very small budget, and using her own personal experiences and real cases of social neglect as inspiration for the film.

Note: This interview was conducted via translated email correspondence and has been edited for clarity and length.

Throughout your career you’ve played a variety of characters who’ve lived in different time periods throughout Korean history, even the dystopian future, worked various jobs, existed in different strata or status of society, and were all in different places emotionally. Is there anything specific about each of them that you as their performer found to be similar?

In my debut film Flower Petal in 1996, as well as in the short films Turbulent, Myeongnyang, Alice in the Land of Sincerity, and Battleship Island, I played strong-willed characters, and I think all of the characters in these films are similar to my own usual strong-willed personality. I was the youngest of five daughters, and my father was a police officer, and coinciding with my debut, my father retired, so I effectively became the head of the household.

Fortunately, my debut in the film Flower Petal at the age of 15 allowed me to work as a child actor and model from a young age, which enabled all my sisters to complete their education and marry well. The maternal love in the movie Peninsula feels similar to the maternal love I have for my two children now.

Would you say this similarity between the characters and yourself, a similarity, is what drew you to playing them?

I think the first step is important. If that image was successful, then similar characters kept coming in. The movie Flower Petal was a really difficult character, but after playing the role of a possessed girl there, almost all of my roles since then have been tough characters, and I think audiences like it better when I play tough characters. In fact, it led to the movie’s success at the box office.

I dreamed of becoming a singer since I was a child, but I ended up debuting as an actor after passing an audition by chance. I’ve loved singing and dancing so much since I was a child that I did Michael Jackson’s moonwalk and sang Madonna’s songs at kindergarten. I feel happiest when I get to play new characters and express myself through acting, whether on stage or on screen. Seeing the audience enjoy my performance makes me even happier and grateful. 

As a singer and performer on stage known for playing multiple characters with each of your songs, I think it would be easy to say that the theatrics of performing came natural to you as you’re an actress, but I think the opposite could be true?

It wasn’t particularly difficult… It was just always fun. When acting, I don’t usually try to act, but rather I just let it come naturally, thinking of the character as my usual self and acting based on my awareness of the surrounding circumstances.

To me, the way you developed different on stage personas as Ava, may have been complex as you performed multiple characters, sometimes within one concert, live in front of different audiences each time for different events. 

I say this because I think taking on the role of writer, director, and actress for your first independent film project, gave you the ability to switch modes during the pre production, and filming stage for this short film.

Thank you so much for recognizing my village. It was really tough. Above all, we had to shoot more than ten scenes a day with a small budget of 5 million won, and we had to move locations and finish within three days, so it was hell.

As the director, I couldn’t let my spirits falter, and since all the staff were volunteering their talents, I had to take on all the junior staff’s tasks while considering everyone’s feelings during filming. Then, when the camera rolled, I had to fully immerse myself in my character. It was mentally and physically exhausting, but when the camera rolled, I focused all my energy on acting. Standing on the cliff edge made my concentration even sharper, so fortunately, the transition to acting went smoothly.

Was it always your intention to play Su-mi or did you decide to do so after you completed the screenplay?

Since we had to start filming within two weeks of completing the script, there was no time to cast actors, and since we didn’t have the production budget, we couldn’t offer guarantees, so I had no choice but to do it myself. Additionally, I didn’t feel confident that I could convey the character in such a short time. However, since I wrote the script myself, I knew the character well, so I thought there wouldn’t be any problems with the transition and just went ahead with it.

Next time, if I have a better environment, I want to shoot leisurely and sit in front of the monitor and focus only on directing. 

Why did you have to begin production so quickly after completing the script? Two weeks is a very narrow window to begin the process arranging filming locations, obtaining permits, and finding cast and crew.

The staff who were supposed to help me were working on other projects, so I didn’t have time to coordinate their schedules. Fortunately, I was able to quickly find the location using the internet and Google Maps.

There was no need to scout large venues, so it wasn’t difficult to get permission right away.

The film begins very suddenly with the increasing rhythmic beat of a drum that instead of leading a natural crescendo changes to lighter, happier music that in a way causes the audience to assume that the film will be light hearted and comedic, when in truth it really isn’t.

Yes, the script was based on the 2022 Changshin-dong incident in Korea, and the circumstances were quite dark, so rather than making the film equally dark, I wanted to make it bright and fun to convey the message. When it was screened in Jeonju this time, I was secretly happy to see that the audience thought it was a lighthearted movie but ended up crying at the end, which meant that the message was well conveyed.

Can you speak to your reasoning for beginning the film in such an upbeat way and if it was in your original script or perhaps conceived during the production process?

I had the idea for the script from the beginning. I completed the story while thinking of my late mother as I went cherry blossom viewing with pop music playing in the background. My mother passed away from cancer, but she refused treatment until the very end and wanted to go cherry blossom viewing, so we fought a lot. On the one hand, I felt regret. I wish I had taken her on one last cherry blossom viewing trip, but I couldn’t. So, I decided to approach it with joy and hope, and that’s how I completed the script.

My condolences on the passing of your mother. 

Thank you.

I think the Changshin-dong incident is a very unfortunate and sad occurrence that highlights the ways legal red tape and governmental administrative policies can cause the most vulnerable people in society to fall through the cracks. Your film does a great job of addressing this and how the epidemic of loneliness in modern society creates situations where people like Su-mi are left to struggle with their own mental health issues in isolation.

What was your creative process in developing Su-mi’s fragile psychological state in the script and your performance?

I used religion, though I’m not actually religious, but everyone around me is. While some are truly passionate believers, I’ve also seen others who go because their parents or family insisted. Others go to church for Christmas to receive church gifts, and then to Buddha’s Birthday to get bibimbap (temples often serve free food, and since they’re vegetarian, bibimbap is often served).

I found it fascinating that there were such conflicting religions, and I was also impressed by the fervent believers’ fervent prayers and reliance on God. So, I set up Su-mi as someone who, with no one to turn to, relies on religion, and she endured mentally until she collapsed.

The reason I chose Catholicism over other religions is because it has “holy water,” a physical tool to defeat the devil. Holy water is like a shield, a bodyguard.

Because a hospital is a place where quiet is valued and required for the peaceful recovery of patients, Su-mi’s introduction as someone unafraid to bring attention to herself immediately causes the audience perhaps rather unfairly, to question her motives and if she truly cares for her mother.

When Su-mi forced her mother to leave the hospital after causing a disturbance and returned home, there were demand letters from various university hospitals on the shelf. When Su-mi first caused a disturbance at the hospital, a message briefly appeared on the nurse’s computer monitor stating that she had not paid her hospital bills and had been hospitalized for a long period of time. Su-mi has continued to keep her mother hospitalized for several years without paying the hospital bills.

She does this because she has no money and cannot find a job due to her chronic illness. She intentionally causes disturbances to confuse hospital staff and force her mother’s discharge in order to avoid paying hospital bills.

Apparently, there are people who actually get discharged this way. I checked with different university hospitals and they confirmed that  one or two people a month avoid paying hospital bills and flee, and most of them are people in difficult circumstances. Fortunately, the hospital only sends demand letters and takes no further action. 

Additionally, Su-mi has a congenital illness, so she cannot find employment and only works part-time at home. The house is related to one of South Korea’s real estate issues. The Changsin-dong mother-child incident was a case where people who should have received protection from the state were denied it simply because they lived in a shack, and they died alone at home.

Once Su-mi is home with her mother it becomes quite clear that she’s not equipped financially and physically to look after someone in need of around the clock medical care, but still, Su-mi does her best to stay positive that her mother will get better.  

As you mentioned, she prays often and fervently and sprinkles holy water on her mother often, and I noticed Su-mi has multiple figurines related to Christianity, but also references to her mother being a Buddhist. Can you talk about Su-mi’s faith and the depiction of religion in the film?

I thought it would be interesting to portray her as someone obsessed with religion. I actually saw someone sprinkling holy water while walking down the street, and I thought it was really funny. So I incorporated that into the character of Su-mi. 

For her parents, I thought it would be interesting for them to have different religions. How much must the sick mother have hated her daughter Su-mi to sprinkle holy water on her? It was also interesting to imagine how they would have clashed under their different religions when the mother was healthy.

Despite being a devout Christian, and taking time to visit a church, Su-mi, never actually seeks counsel and help for herself. The scene where she enters the confessional but doesn’t speak to the Priest on the other side is heart breaking.  

She’s clearly under enormous stress and feels isolated with the strain of caring for her mother. I saw this as not just Su-mi’s fear of losing her mother but also herself under the weight of everything she’s carrying on her own.

Yes, Su-mi, who had always lived a hard life because of her mother, couldn’t show her struggles to anyone. Not even to the priest, whom she always wanted to impress. I thought that just going somewhere where no one was around and crying would be a little comforting to Su-mi, who found it difficult to cry.

For many people asking for help means surrendering control to someone else. That they’ve failed, and when her request for help is rejected, she falls into despair. But when she finds a poster for a cherry blossom viewing tour, she vaguely thinks that her mother will recover and be able to go on the tour. 

Is this theme of isolation, loneliness and fear of being seen as a failure in caring for an ailing parent the main theme you wanted to address with TOE-TAPPING TUNES; the isolation that only children experience when caring for a terminally ill parent?

It just came from my own experience. As I mentioned earlier, I felt bad that I couldn’t take my mother, who was battling cancer, on a cherry blossom viewing trip. Su-mi must have been exhausted from caring for her for so long and was not in her right mind, so she saw a kind of illusion or fantasy. In reality, my mother passed away as soon as she came home and couldn’t even go to the bathroom.

Another theme that I noticed in the film is food. The importance of meals being eaten. I know this may seem like an odd comparison and question, but in the variety show Stars Top Recipe at FunStaurant on which you’re a regular cast member, you pay very close attention to the details in preparing meals for your family.

For anyone who’s seen the show, which I have, it’s obvious food is one of your love languages. Was this also an inspiration for you?

The reason why I chose muk (mukul, a type of black bean paste) is because when my mother was undergoing cancer treatment she vomited a lot, so the only food she could eat was soft and sour muk dishes. That’s why I included the setting where Su-mi’s mother also chooses muk.

As someone who was taking care of her mother, I wanted to feed her something, and muk was the only food I could find among all the other foods. And the fact that the muk on the table is always there means that my mother has already passed away.

In your portrayal of Su-mi I noticed that the way you move your body is mostly in contained, and tense movement. Almost jerkily as though she’s someone being very conscious of every move they make, but when she walks it’s either with the hurried pace of someone trying to get places by a specific time, or she’s walking slowly like someone completely discouraged. 

Talk about the physical challenges of playing a character with two very distinct ways of being physically and how they reveal her true mental and emotional state when she’s incapable of speaking them.

Yes, Su-mi is always being chased. She’s running away. She doesn’t have time, so she has to feed her mother quickly and save her, so I expressed that with hurried movements.

Could you tell us about your technical approach to filmmaking, including the cinematography and costumes? You made some interesting choices in how the audience views Su-mi. Early on, the camera often looks up at her from a low angle, while in other scenes, such as the church sequence, the camera is positioned high up, making her appear small and fragile.

Thank you for your insight. When I was working on the storyboard, I chose a lot of dramatic angles to express Soo-mi’s presence. Her lines are strong, but she’s actually weak, so I used a lot of angles looking up from below.

To me this film acts as a cautionary tale for us to pay attention to the people in our lives, and look at the big and small things they do. What they say and don’t say. There are many people struggling, in need of help but are afraid to ask for it because they’re afraid of being judged and told they’re not doing enough.

Above all, there are many welfare blind spots in South Korea. There are cases where citizens who should be protected are not, and where the country’s welfare system is being abused. I completed the script with the intention of raising awareness of this fact and ensuring that the “Changshindong Mother and Child Incident,” which was the talk of the media two years ago, is not forgotten.

For many who do reach out for help, they’re rejected because they don’t meet specific social and financial criteria, so they’re left to fend for themselves until they slowly fade away beyond a point they can be seen and reached.

I really enjoyed your performance and direction of TOE-TAPPING TUNES, so I’m definitely looking forward to the next project. Filming your second movie a month after your directorial debut is quite impressive. What would you say has been your biggest lesson throughout the process of creating and premiering the film that you’ll take into this new project?

The biggest lesson is… with a small production budget, try to avoid taking on all the work of production, acting, directing, and staff members all by yourself. It was really hard, but when I collapsed, everyone collapsed, so I filmed while laughing and encouraging everyone.

Every day, I cleaned up the set, came in at 11 PM, prepared for the next shoot until 2 AM, and woke up again at 5 AM to go to the set. I started crying for two days straight.

I hope others can work happily with a more generous budget. Otherwise, it’s best to write a script that doesn’t require a large budget. I’m filming my graduation project in June, and it’s also about the socially disadvantaged. I’ve saved up a little more money to film it on a more generous budget than my previous projects.

Humans always grow and learn new things about themselves through new challenges and experiences. As an actor, and now as a writer and director, what new insights have you gained about yourself?

“If you persevere and work hard until the end despite wanting to give up, you will be rewarded.”

It’s truly rewarding to be invited to film festivals and interviewed by such wonderful people like you. I wanted to give up, but… I think I persevered and worked harder, and these great results followed.

Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12

 

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Photo Credit: THEBLACKLABEL

THEBLACKLABEL’s flagship artist JEON SOMI unveils her powerful new single and music video for the title track ‘CLOSER,’ from her brand-new EP Chaotic & Confused, out today. Watch HERE and listen HERE.

‘CLOSER’ reimagines the classic ‘Beautiful Girls‘ through the lens of Stutter House, blending a sensual mood with bursts of intensity and rising tension that pull the listener in. With its grand, polished production, the track becomes a true celebration of beauty. Visually striking and explosively dynamic, the music video mirrors this intensity, portraying JEON SOMI in scenes that shift between raw chaos and goddess-like elegance.

JEON SOMI’s 2nd EP Album [Chaotic & Confused] marks a pivotal moment in her artistic journey, capturing her growth through bold musical experimentation, transformative soundscapes, and heartfelt storytelling.

From the title track “CLOSER,” which experiments with a new genre called Stutter House, to “Escapade,” a stylish reinterpretation of post-punk, each song on the album offers something fresh and vibrant. The pre-release single “EXTRA” blends new disco and R&B, while “Chaotic & Confused” is a hybrid pop track marked by unpredictable transitions true to its name. Rounding out the EP is “DELU,” an emotional R&B number. Together, these tracks form a cohesive narrative of artistic self-discovery, told entirely through her own voice.

The various chaotic situations surrounding her—including the pressures of being an artist and the struggle with inner conflict—serve as central themes throughout the album. Lyrics like “My voice goes hoarse as I battle myself” are symbolic, capturing her journey of self-discovery through her internal struggles and the beauty that emerges from them. The album stands as both an honest confession and a reflection of a young, contemporary artist’s creative journey toward artistic evolution.

JEON SOMI, who contributed not only to songwriting and composition but also to the album’s visuals and performance direction, challenges herself creatively at every level. She showcases her multifaceted artistry, affirming her growth and transformation into a truly one-of-a-kind artist.

The album also credits TEDDY, Vince, Dominsuk, Jesse Bluu, Zikai, Johan Carlsson, Elvira Anderfjärd, Shae Jacobs, B.I, and Mudd the student as some of the Songwriters and Producers who contributed to this project.

Photo Credit: THEBLACKLABEL

 

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About JEON SOMI

Born as Ennik Somi Douma in 2001 in Ontario, Canada, JEON SOMI grew up in Seoul, South Korea. After several commercial ventures, JEON SOMI ultimately became known after winning Produce 101, a South Korean TV singing competition, and subsequently became part of the project girl group I.O.I. After winning first place on Korean reality singing competition Produce 101, the young musician joined THEBLACKLABEL and began her musical partnership with producer TEDDY. 

JEON SOMI released her first full-length album “XOXO” with the single “Dumb Dumb” achieving 20M views in just 2 days and breaking into the Billboard 200. Her second single, also titled “XOXO” has surpassed 100M views in less than a month and cemented JEON SOMI as one of the top solo female artists of this generation. In Summer 2023, she released her brand-new EP entitled “GAME PLAN” along with the music video for “Fast Forward” which has amassed over 80M views and was the #1 Trending Music Videos Worldwide for 3 days.

Currently just 24 years young, JEON SOMI has garnered the attention of major global brands such as Prada, Louis Vuitton, L’OReal, The North Face & Lacoste while also producing her own line of makeup products called, ‘GLYF‘.

 

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Once reigning as one of K-pop’s first global girl groups, Wonder Girls captured hearts with their catchy hits like “Nobody”, “Tell Me”, and “So Hot.” This iconic five-member girl group under JYP Entertainment, left a lasting legacy as K-pop pioneers who broke into the US market and defined the 2000s K-pop girl group era. From their debut in 2007 to their disbandment in 2017, the members have each followed unique paths in music, acting, and beyond. But where are they now, almost a decade after their disbandment? Here’s a look at each member’s journey since the Wonder Girls era.

1. Sunye (Min Sun Ye)

Former leader and main vocalist of Wonder Girls, Sunye, left the group in 2013 to focus on her family and faith. Sunye is a proud mother of 3 girls. Despite having opted out of the limelight, Sunye has still remained active in the industry including participating in “Mama The Idol” (2021) reality show. She released the “Genuine” solo debut album in 2022 and has performed in several musicals including “Dream High” (2025).

2. Yenny (Park Ye Eun)

Yenny was known for her unique voice and songwriting skills. After Wonder Girls disbanded in 2017, she pursued a solo music career with the “Through the Sky” and “Cross Country” soundtrack singles for ‘Cross Country’ (2017) travel series. Yenny continues to write and produce music as a solo artist, releasing singles like “Summertime” (2021) ad albums like “Left” (2022). Yenny is appreciated by fans for her authentic artistry and strong creative identity.

3. Sunmi (Lee Sun Mi)

Sunmi is arguably the most high-profile member post-Wonder Girls. After leaving the group in 2010 and returning in 2015 for their final years, she launched a very successful solo career. Sunmi is a top solo artist in K-pop, known for hits like “Gashina” (2017), “Heroine” (2018), and “Gotta Go” (2020). She is celebrated for her charismatic stage presence and experimental concepts. Sunmi has had successful collaborations, including with J.Y. Park, and has performed globally, including the “2022 Sunmi Tour” held across Europe and America.

4. Hyerim (Woo Hye Rim)

Hyerim joined Wonder Girls in 2010, replacing Sunmi during her hiatus. After the group disbanded, she stayed in the entertainment industry but moved away from the idol spotlight. Hyerim is now a mother of 2. Hyerim also ventured into acting and appeared on dramas like “Hello Stranger” (2018) and participated in “King of Mask Singer” (2020) music show.

5. Yubin (Kim Yu Bin)

Yubin joined Wonder Girls as Hyuna’s replacement and quickly became known for her rapping skills and strong stage presence. Since Wonder Girls ended activities, she has pursued a solo career with the “City Woman” (2018) mini-album followed by the viral “Thank You My Love” (2018) track. Yubin has also worked with JYP artists and other rappers and featured on various soundtracks. Yubin founded her music label, RRR Entertainment in February 2020, which also signed fellow former Winder Girls member Hyerim for a season. Yubin also competed on King of Mask Singer 2021 music show and in various television shows including “Last Survivor” (2022) and “Dating is Straight” (2022).

6. Sohee (Ahn So Hee)

Though Sohee left Wonder Girls in 2013 to pursue acting, she was a beloved member known for her visuals and charm. Sohee is now a successful actress starring in various Korean dramas such as “Train to Busan” (2016), “The Daechi Scandal” (2024), and “Thirty-Nine” (2022). She has steadily built a reputation as a talented actress beyond her idol roots and continues to expand her career in acting.

Though officially disbanded since 2017, Wonder Girls left an indelible mark on K-pop’s history. Their pioneering efforts paved the way for Korean acts in the US and globally. Fans continue to cherish their music and eagerly follow their individual journeys. Whether on stage, in the studio, or on screen, the Wonder Girls members keep shining—each in their own unique way.

 

—-Karen Mwenda

 

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See TrailerPSY and Megan Thee Stallion star in this cross-cultural musical celebration featuring K-pop idols and iconic Western artists

“KPOPPED” premieres globally on August 29, 2025 on Apple TV+.

Apple TV+ debuted the trailer for the highly anticipated eight-part song battle series “KPOPPED,” starring PSY, the international chart-topper who helped bring K-pop to the world with his global sensation “Gangnam Style,” and three-time Grammy Award-winning superstar and executive producer Megan Thee Stallion. From executive producers Lionel Richie and Miky Lee, the show brings together some of the biggest names in Western music and top K-pop idols for unexpected, high-energy reinterpretations of iconic hits. All episodes of “KPOPPED” are set to debut globally on Friday, August 29 on Apple TV+.

Hosted by actor and comedian Soojeong Son (“Servant,” “Search Party”), each episode finds Western chart-toppers teaming up with celebrated K-pop groups to reimagine one of their biggest songs, culminating in bold, collaborative stage performances. With just a short window to rehearse, these genre-bending partners deliver electrifying renditions for a live audience in Seoul, who vote for the standout “K-popped” performance of the night. After the song battle winner is determined, the K-pop idols close out the episode with an exciting performance.

Featured artists include:

K-pop acts: Billlie, ITZY, Kep1er, JO1, ATEEZ, STAYC, Kiss of Life and BLACKSWAN

Western artists: Megan Thee Stallion, Patti LaBelle, Spice Girls’ Mel B and Emma Bunton, Vanilla Ice, Taylor Dayne, Kesha, Eve, J Balvin, Kylie Minogue, TLC, Boy George, Jess Glynne, Ava Max and Boyz II Men

These legendary and rising artists trade stages and styles across eight episodes, offering a fresh spin on hit tracks including “Savage,” “Wannabe,” “Ice Ice Baby,” “Lady Marmalade,” “Can’t Get You Out of My Head,” “Motownphilly,” “Waterfalls” and more.

Some Episode highlights include:

Western Artists	K-pop Artists	Notable Tracks	Episode
Megan Thee Stallion, Patti LaBelle	Billlie “flipp!ng a coin”	“Savage,” “Lady Marmalade”	1
Mel B, Emma Bunton (Spice Girls)	ITZY “Gold”	“Wannabe,” “Say You’ll Be There”	2

The series is executive produced by Moira Ross, Lionel Richie, Miky Lee, Megan Thee Stallion and Greg Foster, alongside Harry H.K. Shin and Jake Hong, with producer Ki-woong Kim for CJ ENM Co., Ltd., with its unparalleled expertise in music variety shows and content production. Chris Culvenor, Paul Franklin, Wes Dening and David Tibballs executive produce for Eureka Productions (a Fremantle company), alongside Bruce Eskowitz.

Apple TV+ offers premium, compelling drama and comedy series, feature films, groundbreaking documentaries, and kids and family entertainment, and is available to watch across all your favorite screens. After its launch on November 1, 2019, Apple TV+ became the first all-original streaming service to launch around the world, and has premiered more original hits and received more award recognitions faster than any other streaming service in its debut. To date, Apple Original films, documentaries and series have earned 580 wins and 2,787 award nominations and counting, including multi-Emmy Award-winning comedy “Ted Lasso” and historic Oscar Best Picture winner “CODA.”

About Apple TV+

Apple TV+ is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $9.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV, Mac or iPod touch can enjoy three months of Apple TV+ for free.*

For more information, see the full list of supported devices.

*Special offer is good for three months after the first activation of the eligible device. One offer per Family Sharing group. Plans automatically renew until cancelled. Other restrictions and terms apply; visit apple.com/promo for more information.

When describing sound or music that evokes feelings of being uneasy, overwhelmed, confused, or scared we call it noise. Noise connotes something that’s undefined in a way that music and sound aren’t, and in his award winning feature Noise, South Korean writer and director Kim Soo-jin perfectly depicts noise as a distressing symbol for the darkness within humans and the ways in which losing a sense of community pushes people to social and emotional isolation.

Noise opens with a young woman, Ju-hee (Han Soo-a) staring with widened terror filled eyes at the ceiling above her. Her breathing is erratic and her movements distressed. She screams to her neighbors above her to stop making so much noise, begging them for silence and peace. Ju-hee is overcome with panic as the eerie distorted sounds emanating from the walls seem to close in on her, and the screen fades to black.

(Photo courtesy of Finecut Co., Ltd.)

Next we’re introduced to another, slightly older young woman working on the processing line of a busy factory. She’s tapped on the shoulder by her supervisor who gestures that she has a phone call waiting. As she nods her head in acknowledgement and walks off the factory floor, she places a small device in her ear, and as the audio is filled with the racketing cacophony of dozens of machines working in tandem, you realise that she’s the only person not wearing noise canceling headphones.

The young woman, Joo-young (Lee Sun-bin) is told that her sister, Ju-hee hasn’t been seen by her sister’s boyfriend Ki-hoon (Kim Min-suk) for days and he’s worried. When Joo-young enters the apartment she bought with Ju-hee, but strangely doesn’t seem to spend much time in, the room is dark and you even get the sense there’s a musky, decaying odor permeating in the air (which kudos to the production team for translating that so well). On the ceiling and walls dozens of black soundproofing mats have been stuck, and a fine layer of dust covers various surfaces.

As Joo-young searches through the rooms she finds signs of disarray, as through Ju-hee tossed things around in frustration. On the dining table sits a cake with spots of green mold and frosting wishing Joo-young happy birthday, and a container of congealed japchae. Each new revelation of a piece of Ju-hee’s life indicates that something is drastically wrong, and it starts to become evident that the sisters may not have been as close as they once were.

Joo-young finds her sister’s phone on which are dozens of audio recordings of Ju-hee screaming at night terrors that only she’s able to see and hear. Also on the table is another hearing aid, but this one belongs to Ju-hee. Out of curiosity and perhaps hope that it could provide an answer to what happened, Joo-young places the device in her ear and is met with screeching distorted screams and weird sounds that raise the hair on your arms. Sounds, noises that the audience isn’t hearing when Joo-young isn’t wearing it.

There’s many scenes and sequences like this throughout the film where director Kim Soo-jin places the audiences in the position of Joo-young, and at times Ju-hee. We hear what they’re able to hear with and without the devices, providing a perspective of deaf and hard of hearing characters not often done in film. Other films where this is done excellently is the 2019 Oscar winning film The Sound of Metal by Darius Marder, and more recently the 2025 coming of age feature The Way We Talk by Hong Kong filmmaker Adam Wong.

(Photo curtesy of Finecut Co., Ltd.)

Desperate to find her sister, Joo-young goes to the apartment building’s management office to inquire about her missing sister, but there she’s met with apathy and even annoyance tinged with aggression from the supervisor and security guard. She’s told that her sister isn’t a priority because they’re more interested in the new development deal being made.

At the police station, the officers treat Joo-young more with suspicion about her own movements than interest and concern for the missing young woman’s wellbeing. When speaking with Ju-hee neighbours no one seems to know anything about her and express their ire at being inconvenienced having to answer questions from a stranger and what negative effects a police investigation could have for the development deal. This selfishness is a repeated theme in Noise, a horror film set in an apartment building where every little sound made is a reminder that we’re not living alone.

It’s interesting that Soo-jin uses noise not only as a method of torment for our two female lead characters, but also as a narrative device to address the increasing culture of individualism in South Korea, and I think by extension the world. He makes it a point to show how times have changed from neighbours congregating to talk with each other about the random happenings in their homes, communities, and society, to aimlessly moving around each other, moving through life like ghosts who have no interest in the lives of the people they’re sharing so much of their space and time with.

The noises being made outside the apartment building don’t come from children playing or old people gossiping and having fun playing their own traditional games. The noises come from traffic, the constant sound of construction, and the distorted feedback of a microphone being spoken into at a meeting to discuss the tenants holding out on agreeing to having their homes torn down.

Another way that Soo-jin references the growing distance between people is the use of apartment numbers to identify each other. Ju-hee is referred to by her unit number, 604, in her recordings she speaks about being disturbed by the never ending noise from 704, and Joo-young has her own terrifying encounters with the downstairs neighbour, 504. No one seems to know anyone’s name or cares to use them anymore.

What makes Noise work as a true horror film isn’t just the truly unnerving sound design by Park Young, ki, the creepy production design Ko Seung-hyo, it’s the terrific performances by Lee Sun-bin (Sumbisori), Han Soo-a (Penthouse), and Ryu Kyung-soo (Broker) as increasingly obsessed tenant 504 with whom both sisters have terrifying encounters that no one else seems to hear, see, or care about.

Following up her performance in Sumbisori with Noise, Lee shows her acting chops and flexibility by playing characters of completely disparate experiences and personalities. The journey she and Soo-bin take Joo-young on is impressive and in some ways heart breaking with an end that deserves not to be spoiled because the film offers one of my favourite plot twists– and use of a cellphone app–of the year

Noise had its North American premiere at the 2025 Fantasia International Film Festival in the Selection 2025 program. It was an Official Selection at the SITGES – International Fantastic Film Festival of Catalonia 2024, KOSMORAMA Trondheim International Film Festival 2025, and Florence Korea Film Festival 2025.

(Photo courtesy of Finecut Co., Ltd.)

In my interview with Soo-jin during Fantasia, he spoke about carefully selecting his lead actresses for their ability to convey all of the intense emotions their characters experienced, making Ju-hee and Joo-young’s disability and integral part of the narrative, and working with cinematographer Jun Hong-kyu, composer Heo Jun-hyeok, and sound designer Park Young-ki to create the film’s visually and auditorially oppressive atmosphere.

 

Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12

 

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Looking for the perfect k-dramas to binge on this August? Whether you are craving heart-fluttering moments, rime-travel, riveting fantasy, or a unique twist of royalty, these 5 k-dramas will keep you hooked.

1. My Lovely Journey

Launching in August 2, 2025, ‘My Lovely Journey’ k-drama follows Kang Yeo Reum, a former idol turned travel reporter who hides quiet anxiety beneath her cheerful image. While producing a travel segment, she meets Lee Yeon Seok, a former engineer chasing his dream of becoming a filmmaker. As they collaborate on requested trips, both begin to rediscover their purpose. Through strangers’ stories and faraway places, Yeo Reum learns that true success isn’t fame—but finding joy, healing, and meaning in the unexpected roads we take.

2. Love, Take Two

Premiering on August 4, 2025, ‘Love, Take Two’ drama revolves around Lee Ji An, a tough, no-nonsense construction manager and proud single mom. Her world shifts when her once-studious medical‑student daughter begins acting out—just as Ji An’s old flame, Ryu Jeon Seok, reappears. Now a single dad with a flower-farming son, Ryu Jeon Seok’s peaceful life is turned upside down when both women crash into it—literally. What follows is a heartwarming, cross-generational story of rekindled love, family tension, and second chances that bloom where least expected.

3. Our Golden Days

‘Our Golden Days’ k-drama will be premiering on August 9, 2025. Lee Ji Hyeok seems to have it all—success, confidence, and charm—but a sudden personal setback forces him to reevaluate his life and priorities. Ji Eun Oh, a passionate café manager and interior designer, once had unrequited feelings for him and remains his emotional anchor. Meanwhile, Park Sung Jae, a wealthy friend torn between loyalty and hidden longing, complicates their connection. As the lives of three generations converge, they navigate love, regret, and healing together.

4. Twelve

Debuting on August 23, 2025, ‘Twelve’ is a high-stakes fantasy-action drama that follows 12 celestial angels, each tied to a Chinese zodiac animal and live disguised among humans to protect Korea. Ages ago, they sacrificed to seal destructive evil. When Oh Gwi, a crow-embodied demon who failed to become an angel, reawakens, the weary leader Tae San must rally his remaining comrades—clever strategists, fierce healers, and agile fighters—for a final, mythic battle to save humanity.

5. Bon Appétit, Your Majesty

Launching on August 23 2025, ‘Bon Appétit, Your Majesty’ k-drama revolves around Yeon Ji Yeong, a French-trained chef at the peak of her career, who suddenly finds herself transported back 500 years to Joseon dynasty. She is thrust into the royal kitchen of King Lee Heon, a fearsome tyrant with an extraordinary palate. Tasked with creating fusion dishes that satisfy his exacting tastes, Ji Yeong’s cooking begins to soften the king’s icy heart. But court intrigue intensifies with ambitious concubine Kang Mok Ju and politically opportunistic Prince Je Seon watching her every move.

 

—-Karen Mwenda

 

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