MBC's 'I Live Alone' faces National Assembly scrutiny over staged 'spontaneous trip' controversy

MBC's variety program "I Live Alone" came under fire at a National Assembly national audit Thursday, with lawmakers saying the show not only staged broadcaster Jeon Hyun-moo's trip to Kazakhstan as a spontaneous journey but also misled the public in its subsequent explanation — while the phrase "spontaneous trip" remained on the show's official YouTube channel. Democratic Party of Korea lawmaker Kim Nam-kuk raised the controversy at Thursday's national audit of the Korea Broadcasting Culture Promotion Association, held by the National Assembly's Science, Technology, Information, Broadcasting and Communications Committee. "I Live Alone" aired footage in August showing Jeon deciding on the spot at Incheon Airport to fly to Almaty, Kazakhstan, where he rented a car and traveled around the country. Suspicions of staging soon emerged, however, as observers noted that driving in Kazakhstan requires notarized documents, that the Kazakhstani government had publicly stated it provided production support, and that it would have been logistically difficult for a large crew to secure flights at the last minute. The production team explained that Jeon had genuinely chosen Kazakhstan on impulse and that the crew had simply anticipated the possibility and prepared in advance. That explanation also came under scrutiny after it emerged that a pre-production script submitted to Incheon Airport authorities in July — when the crew applied for filming permission — already contained a line in which Jeon says, "How about going to Kazakhstan?" Some viewers also criticized Jeon for continuing to appear on other programs and host travel-related content without ever publicly addressing the controversy. "If it was a scripted fiction dressed up as a reality show, that is a deception of the public," Kim said. "Whether it is news or entertainment, broadcasters must uphold their basic duty not to undermine public trust in the process of delivering content." Kim said the production team "deceived the public once again" in the way it handled its explanation. He also noted that the phrase "spontaneous trip" was still visible in the title of the relevant video on MBC's official YouTube channel. Kang Hyung-chul, chairman of the Korea Broadcasting Culture Promotion Association, said in response that "a reality program must be real — if it is not, it loses public trust, as you have said," adding that the incident "should serve as an opportunity to review the transparency of both the review process and the explanation process so that similar cases do not recur." Kang said he would "oversee and supervise management to ensure this becomes an opportunity for comprehensive reflection."

Oct. 23, 2026

Seoul's Jongmyo simulation image 'copied from Naver Street View,' lawmaker says

Simulation of Sewoon District 4 redevelopment scrutinized at national audit Noh Jong-myeon says image matches 2018 portal street view Ultra-wide lens said to distort high-rise building scale Ad balloon demonstration also dismissed as 'a show' A 3D simulation image released by the Seoul Metropolitan Government — presented as the most accurate depiction of the view from Jongmyo shrine toward the Sewoon District 4 redevelopment site — was in fact fabricated using an unauthorized Naver Street View photo, a lawmaker alleged at a national audit Friday. The city also stands accused of exploiting the exaggerated perspective of an ultra-wide-angle image to make buildings reaching up to 141.9 meters appear smaller and farther away than they actually are. Democratic Party of Korea lawmaker Noh Jong-myeon raised the allegation at the National Assembly's Culture, Sports and Tourism Committee national audit, saying the simulation image of Jongmyo and Sewoon District 4 that Seoul Mayor Oh Se-hoon had previously released was manipulated. "Mayor Oh and the Seoul Metropolitan Government used a doctored image to deceive the public," Noh said. The image at the center of the dispute is a "future Sewoon district" simulation that Oh unveiled at a Seoul Metropolitan Council policy session on Nov. 18, 2025. The rendering depicted the view from the Jeongjeon Sangwoldae — the main shrine platform at Jongmyo — looking toward Sewoon District 4, and was presented as evidence that high-rise buildings planned for the site would not encroach on Jongmyo's historic landscape even after redevelopment. Oh, appearing before the council in person, held up the simulation image and said, "Our work is the most accurate." He said the city had input precise data and used 3D techniques to capture exactly what a person standing directly in front of the main shrine would see with their own eyes. Noh said the background image in the city's simulation matches a Naver Street View photo taken in 2018, pointing to identical cloud formations, surrounding scenery and even a distorted pillar of the Gongsindan building that appears cut off in the same way in both images. "The shape of the clouds and the tilted, truncated pillar distortion on the Gongsindan building across from the main shrine in the city's simulation are identical to the Naver Street View photo taken in 2018," Noh said. He said the city used a street view image shot with a short focal length that exaggerates perspective, making distant buildings appear smaller and farther away than they really are. Noh also presented what he described as evidence that traces of the Street View source had been deliberately removed. He said the city deleted Naver Street View's unique identifying markers, erased a construction crane near tree branches, and altered the shape of a wooded area on the right side of the image. The marker at the base of the Sangwoldae — the shooting location — was covered over by cloning an adjacent section of the image, he said. Noh also said the city violated its own standards, noting that Seoul's integrated landscape review manual requires photographs to be taken at eye level with a standard 50mm lens and explicitly prohibits the use of street view images. The dispute is rooted in a broader conflict between the Seoul Metropolitan Government and the Cultural Heritage Administration over high-rise development in Sewoon District 4 in front of Jongmyo. The city maintains that raising the maximum building height from 71.9 meters to 141.9 meters would have only a limited impact on Jongmyo's landscape. The Cultural Heritage Administration, however, has argued that tall buildings pose a serious threat to the value and surrounding scenery of Jongmyo — a UNESCO World Heritage Site — and has demanded that a heritage impact assessment be completed before any development proceeds. Noh also took issue with an ad balloon demonstration the city conducted after releasing the simulation. On Wednesday, People Power Party members of the National Assembly's Culture, Sports and Tourism Committee visited Jongmyo and Sewoon District 4 to assess the redevelopment's potential impact on the surrounding landscape. Four ad balloons were installed at the planned building locations, at heights of 94, 99, 141 and 142 meters. After viewing them, the PPP lawmakers said the balloons did not obstruct sightlines and questioned the Cultural Heritage Administration's concerns about landscape damage. Noh said that citing a photograph already suspected of distorting the view to justify a conclusion of "no landscape damage" after the balloon demonstration amounted to nothing more than a staged show to legitimize a conclusion the city had already reached. "The Seoul Metropolitan Government floated the ad balloons over Sewoon District 4 about two months after releasing the fake simulation," Noh said. "They staged the same show again this month — it is a clever sleight of hand and a fraud perpetrated on the public." The Cultural Heritage Administration also came under fire for failing to determine whether the image had been manipulated during an earlier audit and for responding to the matter too passively. Cultural Heritage Administration chief Heo Min said Jongmyo is a World Heritage Site inscribed by UNESCO in 1995 in recognition of its value as the world's largest wooden ritual complex. "The ritual ceremonies held in front of the main shrine and the integrity of its landscape are core attributes of the site, so any act that creates a sense of intimidation in front of Jongmyo must be thoroughly prevented," Heo said.

Oct. 23, 2026

Arttoken teams up with Jikjisa to debut temple character, fortune app at Gimcheon Kimbap Festival

Art content solutions company Arttoken is partnering with Jikjisa — the head temple of the eighth district of the Jogye Order of Korean Buddhism — to participate in the 2026 Gimcheon Kimbap Festival, running Friday through Sunday in Gimcheon, North Gyeongsang Province. Jikjisa will operate an official booth at the event, with Arttoken handling all aspects of booth planning and management, including character development, merchandise production, brand collaboration and on-site operations. The Gimcheon Kimbap Festival has grown into one of the city's signature events since its inaugural edition in 2024, drawing 170,000 visitors over two days last year. This year the festival expands to three days and will be held across Jikji Culture Park and Samyeongdaesa Park. The Jikjisa booth will be set up in the front courtyard at the temple's main gate. Jikjisa character 'Hwangaki' makes public debut The centerpiece of the booth is Hwangaki, a character Jikjisa is unveiling for the first time. The name comes from Hwangaksan, the mountain on which the temple stands, and refers to a blue haetae statue long kept on the base of the temple's dharma drum platform. The date of the statue's creation has not been confirmed, though Jikjisa believes it was made several hundred years ago. The temple developed a character intellectual property based on the haetae statue, while Arttoken designed the character to reflect the statue's sculptural features and produced merchandise including T-shirts and keyrings. The Hwangaki statue, normally kept from public view, will be moved to the second floor of Jikjisa's Manseru pavilion for the duration of the festival and put on special display all three days. Admission is free with no time restrictions. Hwangaki reads your fortune: saju app 'Myoyong' bows at festival Arttoken will also use the festival to introduce Myoyong, a saju-based fortune app it developed to make traditional East Asian astrology and the four pillars of destiny accessible in a digital format. Users enter their date and time of birth to receive daily, overall and detailed fortune readings. At the Jikjisa booth, the app will run on four kiosks, with Hwangaki serving as the character who delivers each visitor's fortune. Myoyong is planned for expansion as a web app. Traditional liquor, illustration and fragrance under one roof Beyond merchandise and fortune readings, the Jikjisa booth will be set up as a multi-cultural experience space bringing together traditional liquor, illustration, fragrance and beverages. Seonsan Brewing, a traditional liquor brand from Gumi; Waengeugigeug (Giraffe Drawn with the Left Hand), an illustration brand; Chorokdo, a fragrance workshop based in Daegu; and Maeil Dairies are all joining the booth in support of Jikjisa's vision. Daewoong Pharma will sponsor health supplement products. Seonsan Brewing is a youth-run brewery whose makgeolli, rooted in a 500-year-old home-brewing tradition of the Seonsan Kim clan, won the grand prize in the fresh makgeolli category at the 2024 Korea Liquor Awards. Waengeugigeug is a project in which the artist has drawn a giraffe with the left hand every day since 2021, bringing free-spirited hand-drawn illustrations to add visual charm to the booth. Chorokdo will run a hands-on program where visitors can make their own incense and sachets. Maeil Dairies will open a beverage counter inside the booth, and Daewoong Pharma will provide health supplement products to visitors as a sponsor. Arttoken designed the space so that each brand's individual character shines while the entire Jikjisa booth flows together as a single cultural destination. Visitors can browse Hwangaki merchandise, receive a fortune reading from Hwangaki through Myoyong, and enjoy makgeolli, illustrations, fragrance-making and beverages all in one place. A portion of the booth's operating proceeds will be donated to Jikjisa by Arttoken and all participating brands, and the temple will use the funds to support those in need. "Expanding traditional cultural assets into character IP and digital content is exactly what Arttoken does best," said Hong Ji-suk, chief executive of Arttoken. "Starting with this collaboration with Jikjisa, we will continue connecting cultural heritage with technology." Seonghyo, Jikjisa's director of financial affairs, said the temple wanted to create an opportunity for visitors to approach the temple with ease rather than finding it intimidating. "We hope that during the festival, more people will form a connection with Jikjisa in the courtyard at the main gate and enjoy traditional culture in a joyful way," he said.

Oct. 23, 2026

Wonju bets on sleep and recovery to build wellness tourism brand

Kyungdong University Medical Campus, Gangwon Economic Promotion Foundation sign MOU Mayor Ku Ja-yeol: 'We will add values of rest and recovery to our tourism resources' Wonju brings together an unusually broad range of assets: natural landscapes including Chiaksan mountain, Sogeumsan mountain and the Seomgang River; medical facilities such as Kyungdong University Medical Campus, Christian Hospital and Yonsei University Hospital; and cultural and leisure destinations including the Hanji Art Museum, Museum San, Park Kyung-ni Literature Park and Oak Valley Resort. Of late, the city has also been emerging as a hub for new industries that combine advanced technologies — including AI — with medical and therapeutic services. Wonju is now moving to activate wellness tourism by drawing on these resources. Wellness, a concept that blends well-being, happiness and fitness, refers to activities that pursue physical and mental health alongside overall quality of life. To that end, the city signed an MOU Friday with Kyungdong University Medical Campus and the Gangwon Special Self-Governing Province Economic Promotion Foundation to promote Wonju-style sleep wellness tourism. The three institutions agreed to discuss cooperation based on each organization's expertise and capabilities in connection with the "2026 Wellness Cluster Activation Project," and to build a collaborative framework for promoting Wonju-style wellness tourism. Under the agreement, Kyungdong University will contribute specialized personnel in physical therapy, occupational therapy and clinical pathology, along with medical and digital healthcare infrastructure, to help develop tourism content centered on sleep, rest and recovery. Wonju will identify and develop wellness tourism resources suited to the region's characteristics, while the Gangwon Special Self-Governing Province Economic Promotion Foundation will support project preparation, promotion, resource development and advisory services. The MOU responds to shifting tourism demand following the enactment of legislation to foster the therapeutic tourism industry, and aims to develop differentiated tourism content by linking local university expertise with existing tourism resources. Wonju plans to develop a wellness tourism program centered on sleep, with the aim of extending visitors' stays, boosting local spending and contributing to the revitalization of the regional economy. "This agreement will serve as an opportunity to add new value — sleep, rest and recovery — to Wonju's existing tourism resources," Mayor Ku Ja-yeol said. "Drawing on the expertise and capabilities of both institutions, we will build a competitive wellness tourism city that keeps visitors coming back."

Oct. 23, 2026

Culture minister vows thorough audit of former National Museum chief amid exhibit controversy

Minister pledges full audit of exhibit management procedures; rebuffs claims ministry organized events for first lady Culture, Sports and Tourism Minister Choi Hwi-young has signaled a sweeping audit of former National Museum of Korea Director Yoo Hong-june, who stepped down amid controversy over the display and verification of privately owned artifacts. Speaking at a comprehensive national audit of the National Assembly's Culture, Sports and Tourism Committee on Friday, Choi said the ministry would not limit its review to the misuse of official authority. "We will conduct a full audit of every procedure involved in managing and verifying the exhibits that became the subject of this controversy," she said, responding to People Power Party lawmaker Jeong Yeon-wook's call for a broad investigation into Yoo. When Jeong asked whether she was at least confirming an audit using official authority, Choi said yes. "I believe the honor and public trust the National Museum of Korea has built over many years have been damaged by this incident," she said. "I deeply regret that, and we will restore that trust through a thorough audit." The National Museum of Korea drew criticism after a special exhibition that opened in July — titled "Woori-deul-ui Bapsang," a table-setting exhibition — displayed a piece of calligraphy by pro-Japanese collaborator Park Jung-yang (1874–1959) while misidentifying it as the work of independence activist Park Won-geun (1912–1950). The controversy deepened when it emerged that Yoo had purchased the calligraphy in 2019 through an online auction for 50,000 won ($38), and that he had recommended it as an exhibit item roughly two months before the show opened. Facing sharp criticism, Yoo announced his resignation Wednesday, saying he had concluded "that stepping down from the director's post is the right course of action in order to restore the museum's damaged reputation." Cheong Wa Dae accepted his resignation immediately. Separately, Choi rebuffed claims by People Power Party lawmaker Kim Seung-su that the ministry had hastily organized overseas cultural events for first lady Kim Hye-kyung. "The Ministry of Culture, Sports and Tourism does not host events for the first lady," she said. Choi said the ministry plans cultural events to coincide with presidential overseas trips, when interest in South Korea runs particularly high. "Interest in K-culture is very strong worldwide, and when the president visits a country, attention to Korea reaches a peak — we plan cultural events to match that moment," she said. "It is only natural that the first lady, who accompanies the president on state visits, would attend those events. I don't understand why that is being treated as a problem." On the allegation that some overseas cultural events attended by the first lady were hastily arranged through sole-source contracts, Choi said the nature of presidential overseas trips makes advance planning difficult. "Because of the characteristics of presidential state visits, it is hard to plan events far in advance. That is why the ministry uses its budget and awards sole-source contracts to organize them on short notice," she said. "I find it hard to accept the criticism that the events were rushed."

Oct. 23, 2026

Singer Lee Moon-se, 67, says cataract and presbyopia surgery transformed his vision

Behind every public figure's appearance lies a personal health regimen. This series examines the diets, exercise routines, procedures, and beauty and fashion choices of people in the spotlight. Singer Lee Moon-se said his vision improved significantly after undergoing cataract surgery and presbyopia correction. Cataracts, a condition in which the eye's lens becomes cloudy, often develop alongside presbyopia — the age-related difficulty in focusing on nearby objects. Doctors are increasingly correcting both conditions at once by choosing the right type of intraocular lens during cataract surgery. Lee posted on SNS on Thursday that he was on his way to a follow-up appointment "exactly one week after cataract surgery." He added that his vision had improved remarkably — he could see "so clearly" — which he attributed to having the presbyopia correction done at the same time. Cataract surgery involves removing the clouded natural lens and replacing it with an artificial intraocular lens. Depending on the type of lens used, the procedure can restore not only distance vision but also intermediate and near vision. Cataracts cloud the lens; presbyopia reduces focusing ability Although both cataracts and presbyopia are linked to aging of the eye's lens, the two conditions differ in how they develop and what symptoms they cause. The lens is a transparent structure inside the eye that refracts light and focuses it onto the retina. A healthy lens stays clear, allowing light to pass through freely. With age, however, the protein structure inside the lens changes and clumps together, gradually turning the lens opaque — a condition known as a cataract. When cataracts develop, objects may appear blurry, as if seen through a fog. Light can seem to scatter, and headlights from oncoming cars at night may feel uncomfortably glaring. Colors may take on a yellowish tint and lose their sharpness. As the cloudiness worsens, even a new pair of glasses may no longer provide adequate vision correction. According to the US National Eye Institute (NEI), cataracts are caused primarily by age-related changes in the lens. Diabetes, smoking, prolonged exposure to ultraviolet light and the use of steroid medications are also recognized risk factors. Presbyopia, by contrast, results from a loss of elasticity and focusing flexibility in the lens. In younger eyes, the lens changes shape to focus on objects at varying distances. As the lens stiffens with age, adjusting focus for close-up tasks becomes harder. Presbyopia typically begins to appear in a person's 40s. Common signs include blurry text on a phone screen or in a book, and the habit of holding reading material at arm's length to bring it into focus. Prolonged close-up work can also cause eye fatigue and headaches. In middle-aged and older adults, cataracts and presbyopia can occur together — the lens becomes cloudy, blurring overall vision, while the ability to focus at close range also declines. Removing the clouded lens and implanting an artificial one — correcting presbyopia too Cataract surgery involves removing the clouded natural lens and implanting a clear artificial intraocular lens in its place. The procedure typically begins with a small incision in the cornea. The surgeon uses ultrasonic energy to break the lens into fragments and remove them, then inserts an intraocular lens so that light focuses accurately on the retina. Intraocular lenses vary in the distances they can focus and in their vision-correction characteristics. The most basic type is the monofocal lens, designed to focus at a single distance — either near or far. A patient whose lens is set for distance vision may still need reading glasses for books or phone screens. Multifocal intraocular lenses, by contrast, are designed to focus at multiple distances. Their optical structure distributes light across several focal points, improving both distance and near vision at the same time. Some lens designs also correct intermediate vision, such as for computer screens. Extended depth-of-focus (EDOF) lenses extend the range of clear vision, providing relatively continuous sight from distance through intermediate ranges. According to the American Academy of Ophthalmology, multifocal and EDOF lenses can reduce dependence on glasses after cataract surgery. Patients who regularly read, use smartphones or work at a computer — and therefore need good vision at a range of distances — can choose a lens type based on their lifestyle. The optical properties of each lens type also produce different visual experiences. Multifocal lenses can cause halos or light scatter around streetlights and car headlights at night. Because light is split across multiple focal points, contrast sensitivity in low-light conditions may also be reduced, making edges appear less sharp. The American Academy of Ophthalmology advises careful evaluation for patients who drive frequently at night or who have other eye conditions such as glaucoma or macular degeneration. Before surgery, doctors examine the shape of the cornea, the length of the eyeball, and the condition of the retina and optic nerve. Patients with astigmatism may be candidates for a toric intraocular lens that corrects it at the same time. For those seeking to correct both cataracts and presbyopia simultaneously, it is also important to consider whether distance or near vision matters more in daily life. Vision gradually recovers after surgery — eye drops and eye protection are key Cataract surgery is considered a relatively fast-recovery procedure. According to the NEI, about 90 percent of cataract surgery patients experience improved vision afterward. Removing the clouded lens allows light to reach the retina more effectively, making vision feel brighter and clearer. Patients who saw a yellowish tint before surgery often notice that colors appear more vivid and distinct afterward. Vision may be temporarily blurry immediately after surgery due to corneal swelling and inflammation. As recovery progresses, vision stabilizes; the final outcome depends on the condition of the eye and the characteristics of the implanted lens. After surgery, patients must use antibiotic and anti-inflammatory eye drops for a prescribed period. The UK's National Health Service (NHS) advises using eye drops for several weeks following cataract surgery to prevent infection and inflammation and to support healing. Before applying eye drops, patients should wash their hands thoroughly and avoid letting the tip of the dropper touch the eye or skin. Rubbing or pressing on the eye should be avoided immediately after surgery, as external pressure during healing of the incision can affect recovery. Patients are often advised to wear a protective eye shield while sleeping for a set period to prevent unconscious rubbing. When washing the face or showering, care should be taken to keep soap and shampoo away from the surgical site. Swimming, strenuous exercise and heavy lifting should be resumed only after consulting a doctor based on the patient's recovery progress. Mild redness and a sensation of something in the eye are normal during recovery. Severe pain, a sudden drop in vision or worsening redness requires prompt medical attention. Flashes of light in the visual field or a sudden increase in floaters should also be evaluated to check the condition of the retina. Routine post-operative check-ups monitor visual acuity, eye pressure, inflammation and the position of the intraocular lens. Cataracts are one of the most common eye conditions associated with aging. In the early stages, adjusting eyeglass prescriptions or improving lighting can ease discomfort, but surgery is considered when vision loss begins to affect daily life. Regular eye exams to monitor the lens and retina, and wearing UV-blocking sunglasses outdoors, are recommended for long-term eye health. For those with diabetes, managing blood sugar levels and quitting smoking can also help preserve vision. When planning cataract surgery, it is important to assess the degree of vision loss, the extent of presbyopia symptoms and the patient's lifestyle. Choosing the right intraocular lens and following post-operative care instructions carefully can help restore clear vision and reduce the impact on daily life.

Oct. 23, 2026

Visitors flock to Goseong's new Songjiho Sea-Sky Trail in Gangwon Province

Path cuts through heart-shaped coastline like Cupid's arrow; 200,000 visitors in 46 days A quintessential Korean lagoon setting, the Songjiho Sea-Sky Trail is a maritime walking path connecting the entrance of Songjiho Lake to a small uninhabited island, offering close-up views of the East Sea's scenic coastline. The trail runs toward Jukdo, an uninhabited island at the center of a heart-shaped stretch of shoreline, cutting through the middle like Cupid's arrow. Goseong-gun, a county in Gangwon Province that bills itself as a "hub city for the peace economy," announced Friday that the Songjiho Sea-Sky Trail had surpassed 200,000 cumulative visitors just 46 days after its official opening on Sept. 5. The county plans to develop the trail into a destination that draws tourists from across the country on a sustained basis. Going forward, it intends to add festivals, cultural and arts events, and a range of hands-on experiences, while linking the trail with Songjiho Lake and nearby attractions to encourage longer stays. The county also plans to work with local business leaders to develop measures linking the trail to broader economic revitalization, including food and shopping options. Improvements to visitor amenities and facility operations will be pursued on an ongoing basis to create a safe and comfortable tourism environment, officials said. "We have only just taken our first step, so there is still much to fill in," Goseong County Chief Ham Myeong-jun said. "We will continue to strengthen tourism content and find ways to grow alongside the local community — so that the many people now flocking to Goseong can stay, spend, and ensure the benefits flow back to local residents — and develop the Songjiho Sea-Sky Trail into Goseong-gun's signature sustainable tourism destination."

Oct. 23, 2026

'Saenghwang, yanggeum and voice' bring a millennium of resonance to Theater Yong

Performance runs Oct. 31–Nov. 1 at the National Museum of Korea's Theater Yong; Han Ji-su, Yun Eun-hwa and Seodo Band interpret the birth, resonance and prayers of the Silla Bell The National Museum of Korea Cultural Foundation announced Friday that it will stage the special performance "Sori: Seongdeok Daewang Sinjong" at Theater Yong in the National Museum of Korea in Yongsan-gu, Seoul, from Oct. 31 to Nov. 1. The production reimagines the Sinjong — one of Korea's most celebrated national treasures, also known as the Emille Bell or the Silla Bell — through the lens of sound. Drawing on the saenghwang (a traditional mouth organ), the yanggeum (a hammered dulcimer) and the human voice, the performance weaves together music, video and stage art to trace the bell's creation, its distinctive resonance and the prayers embedded within it. The production is notable for pushing beyond the visual experience of cultural heritage, inviting audiences to hear and feel it instead. Through the performance, audiences can encounter the bell's millennium of history and meaning through a contemporary sensibility. Structured in three parts, "Sori: Seongdeok Daewang Sinjong" takes three numbers associated with the bell as its guiding motifs: "√2," representing the bell's proportional form; "64 Hz," evoking its deep, low resonance; and "771," the year of its completion. Each number anchors one part of the narrative — birth, resonance and prayer. The first part traces the time it took for earth, fire and metal to be forged into a single monumental form. Saenghwang performer Han Ji-su uses the instrument's breath and harmonics to express the process leading up to the bell's first sound. The second part captures the moment sound is born from the completed bell. Yanggeum performer Yun Eun-hwa strikes metal strings to produce a clear, intense timbre that evokes the vibrations of resonance spreading across the bell's surface. The third part begins in 771, the year the bell was finished, and turns toward the hearts of the people whose wishes it carried. Seodo Band, known for music that moves between traditional and popular genres, gives voice to a thousand years of longing for peace and well-being. Jung Yong-seok, president of the National Museum of Korea Cultural Foundation, said the performance was conceived to bring audiences closer to cultural heritage through the performing arts. "We hope the millennium of resonance carried by the Sinjong will leave a lasting impression in the everyday lives of today's audiences," he said. Artistic Director Jo Yong-gyeong said the production sought to encounter the bell's form, sound and the emotions it holds through the language of contemporary performance. "By experiencing through sound a piece of cultural heritage that we have only ever looked at in a museum, I hope the time and prayers the bell has carried will reach today's audiences as a new sensation and resonance," Jo said.

Oct. 23, 2026

Yangyang-gun revamps Yongho-ri Observatory and Mongdol Sori trail under Kim Jeong-jung's renewal drive

Since Yangyang-gun County Chief Kim Jeong-jung took office, a broad renewal effort has expanded beyond urban beautification and cultural programming to uncover lesser-known tourist destinations and refurbish their facilities. In September, Yangyang-gun completed renovations at Yongho-ri Observatory, one of the area's signature attractions offering sweeping views of the East Sea and the scenic coastal landscape. The work aimed to prevent safety accidents caused by aging infrastructure and to extend the durability and service life of the facilities. Crews removed and replaced deteriorated safety fencing along roughly 200 meters of the access road leading to the observatory, and treated the steel structural columns with rust removal, anti-corrosion coating and weather-resistant paint to strengthen the structure's safety and longevity. The county also completed renovations along roughly 350 meters of the Mongdol Sori trail, a coastal walking path built along Jeongam Beach. The trail is known for the distinctive sound of waves washing over its rounded pebbles and for its scenic coastal views, making it a popular walking destination for local residents and tourists alike. Yangyang-gun plans to carry out additional improvements along the Mongdol Sori trail in the Jeongam-ri 1-4 area by the end of November. Both Yongho-ri Observatory and the Jeongam Beach Mongdol Sori trail offer scenery striking enough to leave visitors wondering why these spots have not been better known until now. "The walking trail and the observatory are precious tourism resources that allow visitors to enjoy Yangyang's beautiful natural scenery up close," a county official said. "We will continue to inspect aging facilities and carry out phased improvements to create a safe and pleasant tourism environment, and to enhance Yangyang-gun's image and visitor satisfaction." Kim Jeong-jung, a first-term county chief, opened his administration in July by publicly apologizing for a series of governance failures that had occurred in Yangyang before last year, signaling a clear commitment to reform from the outset.

Oct. 23, 2026

SAS boosts Incheon flights to 6 times weekly in first year, eyes daily service

SAS marks first anniversary of Incheon route Frequency raised from 4 to 6 flights per week Operating profit rebounds to 3 billion Swedish kronor On-time performance cited as key competitive edge "The world needs more of Scandinavia. We will actively offer Korean customers a differentiated Nordic travel experience and benefits tailored to their expectations." Kenneth Andersen, head of international sales at Scandinavian Airlines (SAS), made the remarks at a press conference held at the Korea Press Center in Seoul to mark the first anniversary of the Incheon-Copenhagen route, announcing continued investment and capacity expansion in the South Korean market. The event was organized to review the airline's operational performance over the past year since it launched the first direct service between the two cities last September, and to share its long-term network expansion plans. SAS is a multinational carrier jointly established by Denmark, Sweden and Norway. It operates Copenhagen, Stockholm and Oslo airports as its main hubs, and in 2024 switched its global alliance membership to SkyTeam to broaden its international network. SAS increased the frequency of its Incheon-Copenhagen route from four to six flights per week starting with the summer season in June — a move made less than a year after the route's launch. The airline attributed the expansion to stable demand from both passenger and cargo traffic. "Our already high expectations for the Korean market over the past year have been exceeded," Andersen said. "Expanding to six weekly flights in the very first year of operation is an objective reflection of the route's commercial performance and our headquarters' confidence in the Korean market." The airline said the Incheon route has maintained solid operational results despite persistent profitability pressures across the global aviation industry stemming from geopolitical instability and high fuel prices. It highlighted a 50-50 split between Korean and foreign passengers as a key indicator, saying the balance helps cushion seasonal demand swings. In summer, the route draws concentrated tourism demand across the Nordic region — Denmark, Sweden, Norway and Iceland — while in winter, connecting traffic through the Copenhagen hub to southern Europe provides support. Cargo has also contributed to profitability, with high-tech IT components and biotech pharmaceuticals moving outbound from Korea and fresh seafood, including live salmon, coming in from the Nordic region. Kim Mi-kyung, executive director at Dongbo Aviation, SAS's general sales agent in South Korea, said the frequency increase to six weekly flights in under a year demonstrates the trust SAS's headquarters places in the Korean market. "Rather than focusing on short-term results, we are building the route's competitiveness with a long-term perspective," she said. The route expansion is being pursued alongside the airline's broader operational recovery and a major fleet investment program. Celebrating its 80th anniversary this year, SAS carried 28.3 million passengers in fiscal year 2025, up 12 percent from the previous year, while sales rose 7 percent to 49.1 billion Swedish kronor. Operating profit (EBIT) reached 3 billion kronor, marking a return to the black. In June, the airline announced plans to introduce up to 40 Airbus A330-900neo and A330-300 aircraft, and placed a firm order for 45 Embraer E195-E2 jets to strengthen its European regional network, with purchase rights for an additional 10. Those aircraft are scheduled for delivery in phases over roughly four years beginning in late 2027. "We have combined strict cost control with continued investment in the customer experience — including cabin products and lounges," Andersen said. "We plan to double our long-haul wide-body capacity from current levels within the next two and a half years." Service upgrades and ground infrastructure improvements are also under way. SAS has already installed Starlink high-speed satellite internet on 80 percent of its short-haul A320 fleet and is now extending the service to its long-haul aircraft. The two A350s and two A330s deployed on the Incheon route are scheduled to receive the upgrade before February 2027. Meanwhile, Copenhagen Airport — the airline's primary hub — is expanding its annual capacity from 30 million to 42 million passengers while maintaining its single-terminal transit structure, and is set to open a large new flagship lounge in 2027. On future route development, SAS said its priority is to consolidate and deepen the commercial footing of the existing Incheon-Copenhagen service before launching flights to other South Korean cities. The airline also plans to strengthen ties with SkyTeam partner Korean Air while leveraging its top on-time performance ranking among European carriers as a key competitive advantage. "Expanding the Incheon-Copenhagen route from six to seven days a week — daily service — could be the next step," Andersen said. "We want to be the gateway to safe and reliable Nordic travel for discerning Korean travelers, offering connectivity to more than 100 cities across Europe via Copenhagen, backed by Europe's best on-time performance."

Oct. 23, 2026

Art Center Nabi, KOFICE to co-host convergence art exchange project 'Collective Karma: Who is We?'

Art Center Nabi and the Korea Foundation for International Cultural Exchange will co-host a convergence art exchange project to mark the 2026 Korea-China-Japan Year of Cultural Exchange. The project consists of a forum titled "truly see you" at Jeongdong 1928 Art Center on Nov. 5, followed by a special exhibition, "The Dance of Karma: Weaving a New We," at Art Center Nabi from Nov. 6 through Dec. 12. The Korea-China-Japan Year of Cultural Exchange was designated for 2025–2026 at the ninth trilateral summit, and the three countries have been building cultural ties since 2025. The project asks, through the lens of art and technology, what "we" — the very premise of that exchange — truly means. The forum requires advance registration, while the exhibition is free and open to the public. Further details are available on Art Center Nabi's official website. By Lee Seung-hyun, Herald Art Day curator

Oct. 23, 2026

DAWN captures 500 years of forest in sound with debut ambient album

Recorded at Gwangneung Forest, Namhansanseong and Bijarim Tied to national heritage project 'Gachieum' Artist DAWN has traded his singing voice for the sounds of nature. After traveling to forests across Korea to capture ambient sound, he has completed five tracks and is marking a new creative chapter under the producer name Kachi Service. DAWN releases his first ambient album, "green house," Friday at 1 p.m. through major online music platforms. The album is the first musical work he has produced under the artist name Kachi Service — his role as executive producer on "Gachieum," a project spotlighting Korean artisans and national heritage. The album's foundation is field recording — the practice of capturing sounds from real environments outside the studio. By gathering sounds from nature and everyday surroundings and using them as musical raw material, field recording brings what might otherwise pass as background noise to the center of a composition, and allows the atmosphere and sensory character of a specific place to be rendered in sound. DAWN visited Gwangneung Forest, preserved for more than 500 years, the woodland surrounding Namhansanseong Fortress, and Bijarim — a grove dense with centuries-old nutmeg yew trees — to record the sounds of nature. The sounds gathered at these three sites, each carrying its own distinct history and environment, form five tracks including "Ancient Future" and "Patience & Devotion." The album marks a new creative approach for DAWN: rather than simply observing nature, he documented the sounds it produces and translated them into music. Ambient music prioritizes texture, spatial depth and atmosphere over strong melody or rhythm. When natural sounds are incorporated, listeners can feel as though they are physically present in a specific place while the music plays. "For DAWN, ambient music was the genre that allowed him to set aside complicated thoughts and rest during the period when he first began meditating," a representative said. "This album is his attempt to recreate that sense of rest he found in music." Berlin-based mastering engineer Zino Mikorey contributed to the recording. Starting with this album, DAWN plans to continue traveling across Korea, documenting the beauty of nature and the world beyond it through sound. The project also connects to DAWN's longstanding interest in traditional culture. On the MBC variety program "Na Honja Sanda" ("I Live Alone"), he has been seen crafting lamps from traditional hanji paper and carving wood by hand. In a broadcast last month, he also revealed the process of collecting sounds from national heritage sites with recording equipment and documenting the scenes on film. The album extends his engagement with traditional beauty from the visual into the sonic. DAWN debuted with the group Pentagon in 2016 and expanded into solo work in 2019 with his first solo single "MONEY." He has showcased his vocal range through tracks such as "Bicci Naneun Neoege" and has been active across fashion and visual arts as well as music. Rolling Stone named him one of the most stylish musicians in the world. More recently, he has served as executive producer of the YouTube series "Gachieum," introducing the work of Korean artisans and the beauty of traditional craft. "green house" extends that work into the realm of sound.

Oct. 23, 2026

Parents on the golf course, grandkids at the water park: Eland Park launches Saipan family travel package

Eland Park unveils three-generation family package Tailored perks for every generation Free night for bookings of four nights or more A new travel package bundling three hotels and resorts in Saipan offers accommodations for up to eight guests and full-board dining throughout the stay. The package is designed to cater to every generation, from toddlers to grandparents. Eland Park announced Friday that its three Saipan properties — Kensington Hotel Saipan, PIC Saipan and Coral Ocean Resort Saipan — will offer customized three-generation family travel packages ahead of the winter season. The base package includes one night's accommodation, meals (two or three per day depending on the property) and property-specific perks. When two adults book, one child under 12 per adult receives complimentary meals. Guests who book through the official website receive complimentary airport pickup and drop-off service, and those staying four or more consecutive nights receive one free night. The minimum stay is two nights, and bookings are open through March 28, 2027. At Kensington Hotel Saipan, the "Family All-Inclusive" package offers connecting rooms accommodating up to four adults and four children, along with three meals a day. Guests staying three or more nights gain access to the "Saipan Flex" benefit, which allows cross-use of amenities across all three resorts. Rates start at $732 per night, with stays available from Dec. 24 through March 31, 2027. PIC Saipan, which operates the island's largest water park, offers the "Better Together" package, combining connecting rooms for up to eight guests, a three-meal-a-day gold pass and unlimited water park access. An artificial surfing facility and more than 40 activities are included at no extra charge. Rates start at $615 per night, with stays available through March 31, 2027. Coral Ocean Resort Saipan offers the "Private Ocean Suite" package, pairing a standalone two-bedroom villa that sleeps up to six with two meals a day. Guests can add a round of golf at the resort's ocean-view course, which spans 909,091 square meters. Rates start at $500 per night, with stays available from Nov. 26 through March 31, 2027. "We are delighted to introduce a customized package for three-generation family travel, so that parents and children can create special memories together in warm Saipan this winter," an Eland Park official said. "We plan to continue launching customer-tailored travel products that highlight the distinct character of each hotel and resort."

Oct. 23, 2026

Chuncheon fails the test on cultural heritage management

Excavation site at Camp Page left flooded; additional artifacts found at provincial office construction site go unreported A civic group that previously reported the discovery of hundreds of artifacts at the Gangwon Special Self-Governing Province's new headquarters construction site in Chuncheon's Goeun-ri has now flagged another problem: excavated remains at the Camp Page archaeological site in Chuncheon were found flooded and left unprotected in late October, the group said, prompting it to file a report with the Cultural Heritage Administration. The Chuncheon Jungdo Prehistoric Site Preservation Headquarters — known as the Jungdo Headquarters — said Wednesday that remains excavated at the Camp Page site in September were found in October to be submerged without waterproof sheeting in place. The group urged the Cultural Heritage Administration and Chuncheon city to conduct an emergency on-site inspection and take preservation measures. Chuncheon city is currently conducting additional exploratory excavations at the site through an archaeological institution. Precision excavations have been under way at the Camp Page site since 2019, and thousands of artifacts have already been unearthed. The total excavation cost stands at about 8.8 billion won ($6.64 million). At a 2023 expert review meeting convened by what was then the Cultural Heritage Administration, specialists gave the upper-layer remains at Camp Page a high score of 86.7 points, formally designating them a "large-scale urban heritage site from the Unified Silla to Joseon periods" and clearly recommending that preservation of the original form be the guiding principle. Earlier, a large prehistoric urban heritage site was discovered on Jungdo island in Chuncheon. Reports have since emerged that dozens of additional artifacts were found in the surface layer at the provincial headquarters construction site in Goeun-ri, beyond the 388 pieces officially recovered by Chuncheon city from that same layer. The finds have prompted speculation that not only Jungdo — already confirmed by the Cultural Heritage Administration as a prehistoric urban heritage site — but Chuncheon as a whole may have been a vast urban settlement stretching from prehistoric times through the ancient and Unified Silla periods, spanning thousands of years. Kim Jong-mun, head of the Jungdo Headquarters, said excavations on Jungdo have already provided proof, and that recent cluster discoveries of artifacts in surface layers across multiple parts of Chuncheon suggest the city may have been a prehistoric and ancient metropolis on a par with Gyeongju and Buyeo. "If Gangwon Special Self-Governing Province and Chuncheon city excavate, investigate and restore the sites with the same care and legal rigor applied to places like Gyeongju, Buyeo, Gongju and Hanseong Wiryeseong, Chuncheon could become a world-class city of history and cultural heritage," he said. This year, Chuncheon city carried out additional excavations to conduct precision surveys of the middle-layer remains. As of October, the city is conducting exploratory digs to investigate remains in the lower layer beneath the middle-layer site. The Jungdo Headquarters said it is highly likely that conducting additional investigations at the Camp Page site while backfilling previously excavated remains, running excavators over them, removing waterproof sheeting that had been installed over unearthed remains and leaving those remains submerged constitutes a serious violation of the law. A comparison of photos taken by the Jungdo Headquarters at Zone 1 shows that the remains confirmed during the Sept. 28 survey had no boundary markings around them, and that by Wednesday the same remains were found submerged with no waterproof sheeting installed. Buried cultural heritage requires active management and damage-prevention measures even after remains are identified during excavation. When remains are found submerged and left unprotected, the relevant authorities must promptly verify the site's condition and the adequacy of preservation measures — steps that Chuncheon city has either failed to take or taken in violation of the law. Meanwhile, Chuncheon city announced it had recovered and processed 388 artifacts found at the access road construction site for the new provincial headquarters in Goeun-ri, and notified the contractor that work on the new headquarters building — halted for as long as 42 days — could resume. The Jungdo Headquarters said the excavation covered only a portion of the construction site and was limited to the visible surface layer — an assessment reporters confirmed through on-site coverage. The Jungdo Headquarters also said that after the 388 artifacts were recovered, dozens more were reported found at the site — yet Chuncheon city neither halted construction immediately nor reported the new finds to the Cultural Heritage Administration, as required by law and Cultural Heritage Administration guidelines.

Oct. 23, 2026

Hanwha Youth Orchestra performs for patients, staff at National Fire Service Hospital

Concert held Thursday at National Fire Service Hospital About 100 in attendance for roughly 40-minute program Hanwha has supported music education for youth in Cheonan and Cheongju since 2014 Hanwha announced Friday that its Hanwha Youth Orchestra held a concert for patients and medical staff at the National Fire Service Hospital on Thursday. About 100 people, including medical staff and patients, attended the roughly 40-minute performance. The program featured Rossini's "The Barber of Seville" overture, Yang Bang-ean's "Frontier," and the Waltz of the Flowers from Tchaikovsky's "The Nutcracker." The concert was organized by young local musicians who have developed their classical instrument skills with Hanwha's support. The members expressed their gratitude through music to firefighters and medical staff who have dedicated themselves to public safety. The Hanwha Youth Orchestra is a cultural arts corporate social responsibility project that Hanwha Group has operated since 2014 for young people in Cheonan, South Chungcheong Province, and Cheongju, North Chungcheong Province. The initiative drew inspiration from El Sistema, a social music education model that originated in Venezuela. Each year, Hanwha provides about 60 young people with classical instrument instruction from professional teachers and opportunities to perform in an orchestra. Approximately 800 members have passed through the orchestra to date. The Hanwha Youth Orchestra is scheduled to hold its regular concert at Cheongju Art Hall on Nov. 12. "We plan to continue supporting music education and performance activities so that young people can grow through music and share their talents with the local community," a Hanwha official said.

Oct. 23, 2026

Lee Su-bin takes 3rd at Wieniawski Competition, first Korean to place in 10 years

Violinist Lee Su-bin, 26, has taken third place at the 17th Henryk Wieniawski International Violin Competition — the first Korean to place at the competition in 10 years, since Kim Bom-sori. According to her agency Credia, Lee performed Concerto No. 1 in F-sharp minor, Op. 14 with the Poznan Philharmonic Orchestra conducted by Lukasz Borowicz in the final round held in Poznan, Poland. The prize carries a cash award of 15,000 euros ($16,800). First place went to Bohdan Luts, 21, of Ukraine, and second place to Li Jinzhu, 19, of China. The Wieniawski Competition was first held in Warsaw in 1935 to mark the centenary of the birth of Polish violin virtuoso and composer Henryk Wieniawski (1835–1880). It is considered the oldest surviving international violin competition. Polish violinist Bartlomiej Niziol served as jury president, with South Korea's Yang Sung-sik and Japan's Akiko Suwanai among the other jurors. The competition is held roughly every five years. Its inaugural edition in 1935 saw Ginette Neveu take first place and David Oistrakh second; Oistrakh's son Igor Oistrakh then claimed first place in 1952. Previous Korean prizewinners include violinists Han Su-jin (joint second, 2001), Yoon So-young (first, 2011) and Kim Bom-sori (joint second, 2016). Lee picked up the violin at age four and made her debut at the Kumho Young Artist Concert in 2010, the same year she won first place at the Russian International Youth Violin Competition. She went on to win the Moscow David Oistrakh International Violin Competition in 2013 and the Young Concert Artists International Auditions in New York in 2014, placed at the Indianapolis International Violin Competition in 2022, and received an award at the Montreal International Musical Competition in 2023. Since September 2025, she has been serving as artist-in-residence at the Queen Elisabeth Music Chapel in Belgium. Violinist Chung Kyung-wha, a longtime mentor of Lee, sent a congratulatory message through Credia. "I am truly proud of violinist Lee Su-bin, who has boldly proven her own deep and refined musical world on the great stage of the world," she said. "I offer my deepest applause for the conviction and artistic integrity that have grown stronger through this fierce competition, and I hope she takes her next leap forward in peace of body and mind." Chung added: "This achievement is not an end, but a brilliant starting point in a great journey toward an ever-wider musical horizon. With all my heart, I bless and look forward to the future of Lee Su-bin as an incomparable artist who will lead the world stage."

Oct. 23, 2026

'They exist only because we remember them': Director Song Il-gon on his portrait of 60 years

Director Song Il-gon on 'Still Brilliant' Chilling suspense in place of graphic violence A story of solace woven from girls' dreams 'I wanted it to be a narrative of solidarity and healing' "Only the wind blows over the old village beyond the crescent-moon mountain; longing settles like frost on the path where the plum blossoms have fallen." (From the original soundtrack "Brilliantly") It is the bitter winter of 1942, a time when no one could know how the next ordinary day might end. Jeong-im (played by Choi Ju-eun) climbs to a mountain peak and sings, stepping carefully from note to note in a clear, gentle voice. Beside her is Sun-ok (played by Park Seo-kyung), who treasures her friend's talent as if it were her own. A faint warmth of spring spreads across the cheeks of the two seventeen-year-old girls. They roll the quiet lyrics around in their mouths, and a pure melody layers itself over the words, one sheet at a time. Someday they will go to Seoul — one to become a singer, the other a troupe director who puts her friend on stage. Even in a brutal era, the tremor of hope refuses to be extinguished. The camera lingers on those faces. Deep wrinkles settle over once-bright skin as the film moves among three different points in time. Somewhere at the far end of that journey, the girl's face finds its way to Sun-ok in old age, played by Kim Hye-ja. That the two faces do not feel mismatched despite the gap of decades is because the longing that has run through one person's entire life bridges the distance between them. "Still Brilliant," which opened Wednesday, deals with the victims of Japan's wartime sexual slavery, yet not a single scene is set inside a comfort station. Instead, the film's gaze is fixed on the time before the tragedy. The everyday lives and dreams of girls who were then untouched and clear-eyed breathe warmth into a history the audience already knows. What the tragedy stole was not only lives and freedom — it was the infinite possibility of an ordinary, brilliant universe. "I thought the subject matter would make it hard for audiences to walk in," Song said. "If people feel they have to suffer through it because it's a painful story, they won't want to watch. There were already works that dealt with this painful material, so I felt I shouldn't simply reenact that story." The film marks the return of director Song Il-gon — who won the jury prize in the short film competition at the Cannes International Film Festival in 1999 with his short "Picnic" — after a long absence from the screen. It is also the screen comeback of Kim Hye-ja, celebrating her 65th anniversary in the industry, nine years after "The Road" (2017). Song met with reporters at Megabox COEX in Seoul on Thursday, the day after the film opened. "I hoped that by following the brilliant lives of the two girls, audiences would naturally come face to face with the pain," he said. No reenactment, no forced message The seed of the film was a play called "Old Apple" by writer Lee Hye-suk. It is the first time Song, who has written every screenplay he has ever directed, has picked up a camera for someone else's story. When he first opened the script, the weight of the subject hit him immediately — but what ultimately moved him was the "upright and good-hearted spirit" he found inside it. "I believe historical events should be explored through literature, film, music — through many different perspectives and forms," Song said. "Only then can those events help us reflect on who we are today." Because the subject of "comfort women" is a history of suffering he has long studied and lived with, Song set one firm principle for himself: he would not repeat the pain. His solution was to shift the camera's gaze to what came before and after the events themselves. The lives of girls who knew only happiness crack open one dawn when a figure approaches like a distant dot — Sun-ok's cousin Jeom-rye, who had been taken to a comfort station. Jeom-rye returns to the village in a daze, and her face alone is enough to suggest the horrors that happened off screen, foreshadowing the darkness closing in on the girls. "The documentary footage is too horrific and raw," Song said. "What seemed more important to me was imagining the inner pain of a woman who had lived through that and come back — I wanted it to reach the audience not as the pain of the event itself, but as the pain of the heart." Jeom-rye's arrival marks the film's first turning point. The everyday world of girls who had been dreaming of tomorrow collapses. Their terror is conveyed to the audience through sound. The moment Japanese soldiers enter the dressing screen behind which the girls are hiding, the music holds its breath and the screen fills with tense, barely audible movements. Jeong-im and Sun-ok, separated from the soldiers by a single door, dare not even breathe. As a falling sickle is barely caught by a girl's hand, the audience's breath stops with it. "I arranged the film so it could be enjoyed more as a genre piece," Song said. "I had no desire to objectify the film or stand at a distance and force a message on the audience." By stripping away any lecturing tone and layering in taut suspense, the direction ensures that viewers do not sit as spectators of violence but crouch alongside the girls. "I wanted audiences to be scared when the children are scared, and happy when they're happy," he said. "I hoped people would watch with a feeling of rooting for them — 'I hope they don't get taken, I hope they're safe.' Wondering how frightened they must have been, how terrified." Faces over landscapes, people over era Even after fear has passed through, the girls still sing. What Song worked hardest on in this film was verisimilitude — the power to make audiences believe what they are seeing is real. The same applied when depicting the girls' dreams: he wanted them to feel not like vague fantasies but like tangible wishes within reach. "Even in times of such suffering, children do not want to lose their dreams," Song said. "I wanted that to be heartbreaking." That is also why Song included a musical sequence. In a scene called "If We Go to Seoul," the three young friends known on set as "Sunjeondu" — Sun-ok, Jeong-im and Du-yeong — dress up and sing together on an imaginary stage that conjures the Seoul they have been dreaming of. "Everyone wants to go out into a wider world and be happy," Song said. "The children of that era were no different from us today. If they had been born now, into a good family in a good country, they could have become Blackpink. That's why I think this scene is not a fantasy at all — it's deeply realistic. You can see the distance between a dream and the reality that refused to allow it." The film weaves together 1942, 1991 and 2010, thread by thread. There is a reason 1991 sits in the middle: it was the year the late Kim Hak-sun became the first survivor of Japan's wartime sexual slavery to testify publicly about what had happened to her. "I spent the most time thinking about how to fit the present, the past and the more distant past together," Song said, "and about where to place that time and those memories when all the truths of the story are finally revealed at the ending." What connects the three time periods is faces. Lashes trembling faintly, lips quivering almost imperceptibly, dark eyes each holding their own mixture of excitement and fear, joy and sorrow — the camera focuses on the actors' faces with unusual intensity. It is also why Song describes the film as a portrait. "When you look at a portrait for a long time, you begin to see that person's emotions and memories," he said. "The dressing screen where the girls hide is very narrow. I couldn't make a shabby winter hiding place look beautiful. I wanted to show their emotions through faces rather than landscapes." The director's most cherished scene was born the same way. Sun-ok has just learned she is to be married off, and the two girls sit facing each other; in a space where only the sound of wind passes between them, the feeling of having to leave a friend behind settles into both faces. Song called the girls "children we must remember." At the center of all those faces is actor Kim Hye-ja. After finishing her last drama series, Kim had said she wanted to "live quietly, like a wildflower" — but the director's persistent persuasion that this was a story the younger generation needed to see changed her mind. "The film is fundamentally about a story spanning more than 60 years of two girls' lives, so casting was absolutely critical," Song said. "Kim Hye-ja has an overwhelming presence — an image encoded in the DNA of the Korean people. She embodies compassion for humanity, warm love, and every image of being a mother, an older sister, a friend to all of us." "There is a close-up near the ending where she delivers the line: 'Each day drags on unbearably, yet ten or twenty years pass in a flash,'" Song said. "I felt a shiver through the entire shoot. It was a face only a truly great actor could show." Over 118 minutes, the film never raises its voice to proclaim tragedy. It simply lets the audience gaze quietly at the faces of girls who once sang. "We live in a dopamine age — slashing, stabbing, killing, always chasing something more stimulating," Song said. "That is precisely why we need an anti-dopamine film." Song runs through the film's beginning and end, and memory passes from mouth to mouth like the words of a song. That feeling is embedded in the title itself. "'Still' is a word that connects the past and the present," Song said. "If we do not remember, existence disappears. They exist only because we remember them." "I kept thinking that only by remembering how precious those children's brilliant days were can we also remember the painful history," he said. "Their story was no different from ours. By remembering that era, we can avoid tragedy again — and even when tragedy stands before us, if we stand together in solidarity and empathy, perhaps those wounds can be healed."

Oct. 23, 2026

Tourism ventures come to Seongsu-dong: K-pop dance, traditional liquor and more

Korea Tourism Organization runs 'Seongsu Rest Stop' pop-up Multi-sensory tourism venture pop-up store opens in Seoul 'Cheonggyecheon Club' connects investors with ventures Event supports market entry and investment attraction A multi-faceted support event aimed at helping promising tourism venture companies break into new markets and attract investment is being held in Seoul's Seongsu-dong. The initiative is designed to help tourism ventures establish themselves and grow, and will feature a range of hands-on experience programs at an on-site pop-up store. The Korea Tourism Organization announced Friday that it is co-hosting a pop-up store called "Seongsu Rest Stop" and a networking event called the "Tourism Venture Cheonggyecheon Club" in Seongsu-dong, Seoul, from Friday through Saturday, to promote the products and services of tourism venture companies and create opportunities for market entry and investment. The "Seongsu Rest Stop," held at The Garbe Seongsu as both an online and offline pop-up, features 27 tourism venture companies. Visitors can enjoy hands-on content including a 3D AI photo booth, a K-pop dance class, AI beauty and medical consultations, and traditional liquor tastings. The event will also expand its reach to customers through an online promotional showcase and live commerce broadcasts in partnership with private platforms such as My Real Trip, running through Nov. 13. Running concurrently, the "Tourism Venture Cheonggyecheon Club" is organized in cooperation with Korea Venture Investment Corp. and focuses on strengthening investment attraction capabilities and expanding networks for tourism ventures. On Friday, the second floor of The Garbe Seongsu will host about 60 participants — including companies from the 17th and 18th cohorts of tourism ventures, investors from the Korea Fund of Funds' tourism account, and representatives from large and mid-sized companies — for a series of sessions: investor relations pitching, a "reverse pitching" session in which investors propose the technologies and partnerships they are seeking, one-on-one consultations based on pre-arranged matching, and intellectual property education. On Saturday, Imagination Planet Seongsu will host a lecture on AI transformation by Song In-hyeok, chief executive of Unique Good Company, which operates the experiential space "Real World Seongsu." Tourism venture companies will then take part in a hands-on training session in which they build their own AI agents, aimed at strengthening practical skills. "This event will give tourism venture companies with outstanding ideas a chance to connect with the public while also boosting their competitiveness in the market and scaling up," said Kim Gwan-mi, head of the Korea Tourism Organization's Tourism Business Support Division. "We will continue to provide wide-ranging support so that tourism ventures can establish themselves as the driving force of a sustainable tourism industry."

Oct. 23, 2026

12.1 billion hours watched, restaurant bookings up fourfold: Korea moves from screen to experience

Ten years of Netflix in Korea Viewing ranks second globally, trailing only the US More than 200 titles in the global top 10 Restaurant bookings up fourfold, haenyeo museum visits up 58.9% 12.1 billion hours. That is how much time the world spent watching Korean stories on Netflix over the past year — enough, if one person watched without pause, to last 1.38 million years. No country other than the United States watched more. The world is no longer content just to watch. Viewers are booking tables at restaurants run by chefs from Culinary Class Wars, pushing open the doors of public bathhouses to try the body-scrub experience depicted in KPop Demon Hunters, and enrolling in Korean-language classes to understand the dialogue in their favorite dramas. Ten years after Netflix arrived in Korea, Korean stories have stepped off the screen and into the daily lives of people around the world. Netflix said Friday that it has produced or co-produced more than 200 Korean titles in partnership with over 80 domestic production companies since 2016, and that more than 200 Korean titles have reached the global top 10 since 2021. Some 25,000 cast and crew members worked in front of and behind the camera, while 122 dubbing and subtitling partners rendered Korean dialogue into languages across the globe. To mark the milestone, Netflix launched a 10th-anniversary website titled "Netflix and Korea: 10 Years Together" and released a report by global research firm Synthesio tracking the footprint Korean content has left on everyday life worldwide. 1.4 times Japan, nearly twice the UK — this is no fluke The survival thriller Squid Game, the science-fiction disaster film "The Great Flood," the family drama "When Life Gives You Tangerines" — Korean content has leaped across genres and pulled ahead of the global competition. The world spent 1.4 times as many hours watching Korean titles on Netflix as Japanese titles, and nearly twice as many hours as British titles. Those figures come from market research firm Omdia, which tallied Netflix viewing hours by country of production alongside Digitalei from April 2025 through March this year. Kim Da-min, director of the Netflix series "Kkumalba," described the platform as "a giant megaphone," saying "the very fact that you can show your work to people all over the world in real time is enormously meaningful." Nam Gung-seon, director of "A History of Confessions," was equally struck by the scale of the audience that gathered across borders. "The fan base within a single country isn't that wide, but when fans from around the world come together, it's extraordinary," he said. Numbers like these cannot be built on one or two breakout hits. Behind them is a new generation of talent. Over the past three years, at least one in three Korean originals released on Netflix came from a first-time director or writer. Park Yun-seo, who made her directorial debut with "Girigo" after serving as an assistant director on "Kingdom" Season 2, said the achievement was possible "because Netflix actively believed in new attempts rather than relying on familiar names." More than 6,500 people have received training through Netflix education programs in the five years since 2021. The range of stories has broadened as well. Choi Kyung-suk, a producing director on "Eunjung and Sangyeon," said that before Netflix, the industry focused on "stories that as many people as possible could watch," but that the platform has since made it possible to "draw out far more diverse stories and expand the range of subject matter." Kim Min-seok, the writer of "Juvenile Justice" — which confronts juvenile crime and the legal system head-on — recalled being told from the outset to "tell our own story rather than worry too much about global performance." Han Jun-hee, director of "D.P.," which uses the eyes of a military deserter-apprehension unit to illuminate the darker side of army life, put it simply: "You have to take risks to tell interesting stories." Tasting, learning, following along — Korea walks off the screen When Culinary Class Wars Season 2 dropped, reservation books at the featured chefs' restaurants changed overnight. In the five weeks after the release, bookings and waitlist registrations at each participating restaurant jumped more than 303 percent — more than fourfold — compared with the five weeks before. Lee Jun, chef at Seoul restaurant Swaniye and a Season 2 cast member, told The Associated Press that before the show aired, most of his customers were foreign visitors, but that Korean customers now book so quickly that foreign tourists struggle to get a seat. In response, inbound travel agencies have begun guiding foreign tourists on how to use "white spoon/black spoon" filters on booking platforms — effectively turning Netflix content into a travel itinerary. Bookshops felt the effect too: a cookbook published in 2019 by chef Woo Jeong-wook sold 227 times as many copies in the 20 days after the show aired as it had in the 20 days before. "When Life Gives You Tangerines" redirected global travelers toward Jeju Island. Driven by the drama's popularity and an expansion of air routes, the number of foreign visitors to Jeju last year reached about 2.24 million, up 17.7 percent in a single year. The Jeju Haenyeo Museum, which documents and displays the lives of Jeju's female divers, welcomed about 49,000 foreign visitors between January and November last year — 58.9 percent more than in the same period the year before. Jeju Island attributed the surge to growing international interest in haenyeo culture fueled by the drama's global success. The word "haenyeo" was added to the Oxford English Dictionary in January this year. KPop Demon Hunters drew foreign tourists into public bathhouses. According to travel platform Klook, in the seven weeks after the title's release, bookings for body-scrub experiences rose 11 percent over the preceding seven weeks, while ticket reservations for a sauna in Seodaemun-gu, Seoul, climbed 57 percent. Korean words and objects have crossed borders as well. "Dalgona," introduced to the world through Squid Game, entered the Oxford English Dictionary in December 2024. The Joseon-era "gat" hat, which the series "Kingdom" brought to global attention in 2019, reappeared six years later atop the heads of the Lion Boys in KPop Demon Hunters. Attention has translated into study: TOPIK applicants already surpassed 550,000 by September 2025, exceeding the total for all of 2024. Maria Rua Aguete, head of media and entertainment research at Omdia, said the momentum that began with a handful of global blockbusters like Squid Game "has evolved into a sustainable content ecosystem capable of achieving international success across multiple genres," adding that "that consistency is cementing Korea's position in the global streaming market."

Oct. 23, 2026