Star Today reporters are always busy. They move around like idol stars, going to Gangnam, Sangam-dong, and Samcheong-dong in a single day. Eating triangular kimbap is a daily routine. At entertainment issue sites, official events, and interview locations, Star Today reporters share behind-the-scenes stories from the past week that they couldn't include in their articles.
# What reporters said the most after interviewing the cast of 'Bokssak Sogassda'
The interview with the cast of Netflix's 'Bokssak Sogassda', which brought tears to viewers around the world, was luxuriously held at a hotel in Seoul, including a café in Samcheong-dong. Starting with Park Bo-gum, the interview included IU, Moon So-ri, and Park Hae-joon. After the interviews, the reporters who met all of them asked Netflix representatives the most, “Aren't we interviewing 'Mr. Hak' (actor Choi Dae-hoon)?” The interview marathon continued from early morning to afternoon, and when a representative met a reporter after the interview, they smiled and said, “Actor Choi Dae-hoon is currently having difficulty coordinating his schedule and is actively being recruited.” Ah, we really want to meet you, Mr. Hak!
# Choi Soo-jong, inheriting the 'Tears King' from Choi Bul-am
‘National husband’ Choi Soo-jong shed tears as he inherited the KBS1 program ‘Korean People’s Table’ from ‘National actor’ Choi Bul-am. He cried so sorrowfully that the event host, announcer Eom Ji-in, ran over to hand him tissues. ‘Korean People’s Table’ is a program that introduces the culture, history, and stories of local communities contained in a meal. This year marks its 700th episode. Choi Soo-jong, known as the ‘KBS historical drama king,’ has taken over the spoon of Choi Bul-am, who has led the program for 14 years. Although he felt immense pressure for various reasons and struggled with it, he gathered his courage. Above all, he was moved by the fact that citizens of various ages, from elementary school students to 90-year-olds, recognized him and kindly supported him, shedding tears. Sharing a heartwarming story, Choi Soo-jong wiped away tears once again, truly the king of tears!
# Mr. Jeon Hyun-moo, please donate your talent to Kim Soo-hyun's agency
Recently, Jeon Hyun-moo found himself at the center of controversy due to a drunken live broadcast with singer BoA. He demonstrated the essence of an apology letter worthy of ‘KBS’s report writer.’ Is there such a clean and exemplary apology letter in the entertainment industry, where ‘controversies’ arise at the drop of a hat? If he just remained silent, false facts and absurd rumors would endlessly arise, and if he apologized carelessly, it would only fuel public anger. Whether it’s a misunderstanding or a fact, he must accurately explain the situation immediately, apologize for what needs to be apologized for, clarify what needs to be clarified, and firmly state what is not true. An ambiguous and inappropriate apology that is neither an apology nor a clarification, or one that misses the timing, can lead to an uncontrollable worsening of the situation.
For instance, recently top star Kim Soo-hyun faced backlash after holding a ‘tearful press conference’ 21 days into a controversy regarding the timing of his past relationship with the late Kim Sae-ron’s family. Although it was a press conference, there were no questions and answers, and he awkwardly repeated, “Star Kim Soo-hyun is...” without expressing any moral apology or sadness for his past lover, ultimately ending with a ‘120 billion won lawsuit,’ leading to negative reactions such as “Is he acting?” “It’s contrived,” “He just came out to talk about money,” and “Why not ask Mr. Jeon Hyun-moo to write an apology letter?” Choreographer Noze, who rose to stardom through ‘Street Woman Fighter,’ also faced backlash for discriminating between a luxury brand and a small business brand, but despite the delayed timing, the lack of specific wrongdoings and compensation for the affected brand led to further criticism. It has been mocked as the so-called ‘all-purpose apology letter.’
# Box Office Flop, 0 Invited Films to Cannes... The Film Industry on the Edge
The long-standing theater crisis has become a reality. The global status has also dropped significantly. This year, no Korean films were named in any category at the Cannes Film Festival (hereinafter referred to as ‘Cannes’), including competition, non-competition, midnight screenings, and notable mentions. It has been three consecutive years since a film has entered the competition section, and it is the first time in 12 years that there has been ‘0’ invitations.
The domestic theater situation is also bleak. The goal of theatrical releases has long been to merely break even, and traditional major production companies in Chungmuro are facing difficulties, while new production companies specializing in non-film projects are rising, creating significant internal tension and competition. There are also numerous conflicts. Beyond crisis, the industry is on the brink, and now reporters are reluctant to write articles at all. A representative from a film distribution company, after a screening of a new film, broke down in tears discussing the pressure of box office scores. The theater industry is facing a drought in box office success, losing its lead to the OTT market, and the reality is that breaking even has become the goal. Coupled with external evaluations that are not as favorable as before, it brings a bitter feeling.
