分类： entertainment

SEOUL — The global ascendancy of South Korean entertainment, from Oscar-winning films like ‘Parasite’ to the worldwide phenomenon of ‘Squid Game,’ has catalyzed a significant shift in Hollywood’s casting landscape. This cultural momentum is creating unprecedented opportunities for Korean performers seeking international careers, while simultaneously challenging entrenched industry stereotypes.

Actor Amy Baik’s experience epitomizes the push factors driving this transition. After being cut from a domestic commercial solely for lacking double eyelids—a prized feature in Korean beauty standards—Baik redirected her ambitions toward Western markets. ‘It made me wonder how I can survive as an actor in South Korea,’ she reflected. Her subsequent role in Netflix’s ‘XO, Kitty’ demonstrated how features previously discouraged in Korea became assets abroad, with American casting directors suggesting her for action roles beyond stereotypically ‘cute’ images.

This migration necessitates specialized support systems. Los Angeles-based Upstage Entertainment, co-founded by Alison Dumbell and Devon Overman, bridges the gap between Korean talent and Hollywood opportunities. Dumbell notes increased demand for ‘specifically Korean characters’ rather than generic East Asian roles, attributing this shift to the global popularity of Korean content. However, persistent stereotypes like the ‘nerdy tech programmer’ remain problematic, with Dumbell sometimes refusing submissions to protect actors from reductive casting.

The transition involves navigating substantial differences in industry practices. Korean American casting director Julia Kim highlights fundamental questions from aspiring actors: ‘Should I change my Korean name to a Western name? Do I pay to get an agent?’ Technical standards diverge significantly—American audition tapes require clean white backgrounds, while Korean headshots favor fashion-model aesthetics versus U.S. preferences for character-matched profiles.

Language acquisition presents another layer of complexity. Veteran actor Julian Shin (Shin Ju-hwan) undertook intensive English preparation, transcribing over 30,000 words and idioms. ‘Learning expressions like ‘break a leg’ makes you feel closer to being native,’ he noted. Accent coaching focuses on authenticity rather than eradication. ‘It’s perfectly fine, even preferable to have an accent because it’s part of who you are,’ emphasizes Overman, who works on intonation patterns rather than eliminating linguistic identity.

Structural factors in Korea accelerate this talent migration. Shin describes an increasingly challenging domestic industry where opportunities contracted noticeably over three years. Age discrimination also pushes actors abroad—29-year-old Misun Youm notes that ’30 isn’t considered young’ in Korea, while American casting often disregards age specifications that limit opportunities domestically.

The collective experience reveals an industry at an inflection point. Where previous generations felt pressure to Americanize completely, contemporary performers find increasing space for cultural authenticity. ‘Now it feels like you can be yourself—be Korean if you’re Korean,’ observes Shin. ‘Stereotypes are gradually crumbling.’ This evolution suggests Hollywood’s gates are opening wider than ever to diverse Korean talent, transforming barriers into bridges for cross-cultural artistic exchange.

Dubai is orchestrating what promises to be its most ambitious New Year’s Eve spectacle to date, with newly released behind-the-scenes footage revealing extraordinary preparations underway. Captured and shared by Emaar founder Mohamed Alabbar via social media platform X on December 14, 2025, the exclusive video provides a fascinating glimpse into the intensive rehearsals transforming Downtown Dubai into a global celebration epicenter.

The footage showcases an array of breathtaking elements: drummers creating powerful rhythmic foundations, contemporary dancers executing sweeping choreography, and performers maneuvering colossal props including an intricate camel and bird structure. One particularly striking moment features a dancer performing advanced acrobatics, spinning effortlessly while inverted on his head. These rehearsals, conducted in casual attire within brightly lit studios, hint at the grandeur awaiting audiences when enhanced by custom costumes, atmospheric lighting, and the iconic Burj Khalifa backdrop.

This year’s celebrations mark a significant expansion from previous events, spanning an unprecedented eight-day festival from December 31 through January 7. While premium viewing areas requiring tickets offer front-row access to live performances and the renowned fireworks display, Emaar has confirmed that wider Downtown festivities will remain accessible to all visitors free of charge. The scale of preparations evident in the rehearsal footage suggests Dubai is poised to deliver a multicultural performance spectacle that will capture global attention and reinforce its status as a world-leading destination for landmark celebrations.

In a breathtaking moment captured during their Abu Dhabi excursion, actress Millie Bobby Brown executed a stunning vanishing act aboard the world’s fastest roller coaster, leaving her newlywed husband Jake Bongiovi in a state of astonished disbelief. The incident occurred on Yas Island’s Formula Rossa attraction at Ferrari World Abu Dhabi, which accelerates to 240 km/h in under five seconds.

The Stranger Things star and the son of rock legend Jon Bon Jovi were experiencing the thrill ride when Brown seemingly disappeared from view due to the combination of extreme velocity and gravitational forces. Bongiovi’s reaction—a mixture of shock and amusement—was captured on video as he turned to find his wife’s seat unexpectedly empty during the peak velocity segment of the ride.

This marital adventure forms part of the couple’s Middle Eastern getaway following their intimate wedding ceremony earlier this year. The viral moment has sparked amusement across social media platforms, with entertainment commentators noting it as a testament to both the ride’s intensity and the couple’s playful dynamic. Theme park officials have clarified that safety mechanisms were fully engaged throughout the experience, with the disappearance illusion being a common occurrence due to the ride’s physics-defying characteristics.

American rapper Cardi B has generated significant social media attention in Saudi Arabia following her headline performance at Riyadh’s MDLBEAST Soundstorm festival in the early hours of Sunday. The artist captivated audiences with her cultural sensitivity and enthusiastic appreciation for the Kingdom.

During her set, Cardi B greeted the thousands-strong crowd with the traditional Muslim salutation ‘Salam alaikum’ and repeatedly used the Arabic phrase ‘mashallah’ (meaning ‘God has willed it’) to express her admiration for the wealthy Gulf state. In widely shared Instagram videos, the performer remarked, ‘Everything is brand new, honey. This country looks like it was just opened up yesterday.’

The artist demonstrated notable adaptation to local cultural norms, opting for a flowing outfit that covered her from neck to toe—a departure from her typically revealing stage attire. Known for her explicit language, Cardi B maintained a more restrained tone throughout her performance, avoiding her most graphic expressions.

In the days leading up to the festival, the rapper documented her Saudi experience through social media posts from Riyadh’s luxury shopping malls, where she donned a hijab and enthusiastically praised both the retail opportunities and the opulence of the Saudi capital. ‘The shopping is great, Mashallah!’ she exclaimed in one video, while also expressing delight at her recognition in the Kingdom: ‘I’m somebody over here.’

Cardi B’s Saudi appearance follows her recent legal victory in a $24 million civil trial where she was cleared of assault charges alleging she had slashed a woman’s face with her fingernails. The rapper joins a growing list of Western celebrities who have recently performed in Gulf states, including Jennifer Lopez, Celine Dion, and Eminem, as the region continues to attract international talent across entertainment and sports.

In a weekend marked by a cinematic lull preceding the highly anticipated release of ‘Avatar: Fire and Ash,’ Disney’s animated sequel ‘Zootopia 2’ triumphantly returned to the number one position at the domestic box office. The film garnered an estimated $26.3 million in its third weekend, a performance that propelled its global cumulative earnings to a staggering $1.14 billion. This achievement solidifies its status as the second Hollywood production of 2025 to cross the coveted billion-dollar threshold, trailing only Disney’s own ‘Lilo & Stitch’ ($1.04 billion). A monumental driver of this success has been the film’s extraordinary reception in China, where it has amassed $502.4 million, establishing it as the most significant Hollywood hit in the market in recent years.

The weekend’s box office dynamics were defined by a duel between holdover franchises. Universal Pictures and Blumhouse Productions’ ‘Five Nights at Freddy’s 2′ secured the second spot with $15.4 million in its sophomore outing. Despite experiencing a steep 70% decline from its unexpectedly strong debut, the horror sequel has proven immensely profitable. With a domestic total reaching $95.5 million against a modest production budget of $36 million, it reinforces Blumhouse’s reputation for crafting high-return horror properties.

In stark contrast, the most notable new wide release, James L. Brooks’ comic drama ‘Ella McCay,’ faltered significantly. The film, marking Brooks’ directorial return after a 15-year hiatus, opened to a meager $2.1 million from 2,500 locations. Despite a renowned supporting cast including Jamie Lee Curtis and Woody Harrelson, the $35 million production was met with overwhelmingly negative reviews and scant audience interest, highlighting the modern theatrical market’s challenging landscape for adult-oriented dramedies.

As the industry looks ahead, all eyes are on the upcoming holiday season—traditionally the most lucrative period for cinema. With overall annual ticket sales tracking closely behind last year’s disappointing figures, studios are banking on a strong finish powered by a slate of major releases including ‘Avatar: Fire and Ash,’ ‘The SpongeBob Movie: Search for SquarePants,’ and ‘Marty Supreme.’

Emmy Award-winning comedian and actress Amy Schumer has publicly confirmed the dissolution of her seven-year marriage to chef Chris Fischer. The announcement was made via her official Instagram account, where Schumer characterized the separation as mutually respectful and entirely amicable.

In her carefully worded statement, Schumer emphasized the couple’s continued mutual affection and shared commitment to co-parenting their six-year-old son, Gene. ‘Chris and I have made the difficult decision to end our marriage after seven years,’ she wrote. ‘We love each other very much and will continue to focus on raising our son. We would appreciate people respecting our privacy at this time.’

The clarification comes after months of mounting speculation regarding marital difficulties between the couple. Schumer directly addressed circulating rumors by adding: ‘Amicable and all love and respect! Family forever.’

According to sources close to the former couple who spoke with People magazine, the separation process has been notably harmonious. ‘There’s nothing ugly. It’s a cohesive split. They’ve just been finalizing a few things,’ the insider revealed.

The relationship timeline shows Schumer and Fischer married in February 2018 after a relatively brief courtship, with their son born in May 2019. Earlier in November, sources indicated the couple had been working through ‘normal issues’ that long-term marriages commonly face, with both parties reportedly committed to resolving their differences.

Schumer had previously addressed the speculation directly on December 1st, dismissing theories connecting their marital status to her weight loss or Fischer’s autism diagnosis. ‘Whatever ends up happening with me and Chris has nothing to do with weight loss or autism. Fingers crossed we make it through. He’s the best,’ she stated at the time.

The former couple’s last joint public appearance occurred in June 2025 at the Tribeca Film Festival, marking what appears to have been their final red carpet appearance as a married couple.

NEW YORK — The literary world converged in Manhattan last week to celebrate Haruki Murakami, the renowned 76-year-old Japanese author, through a series of events blending music, literature, and cross-cultural recognition. The acclaimed novelist, a perennial contender for the Nobel Prize in Literature, received dual honors highlighting his profound impact on global fiction and US-Japan relations.

The Center for Fiction bestowed upon Murakami its prestigious Lifetime of Excellence in Award during a gala at Cipriani 25 Broadway. This distinction places him alongside previous recipients including Nobel laureates Toni Morrison and Kazuo Ishiguro. The ceremony featured a poignant tribute by legendary musician Patti Smith, who performed her ballad “Wing” and shared her personal connection to Murakami’s work, holding aloft his debut novel Hear the Wind Sing and reciting its iconic opening line about the imperfection of both writing and despair.

Two days later, the Japan Society co-hosted “Murakami Mixtape” at The Town Hall—a sold-out, bilingual celebration that merged literary readings with jazz performances. The event honored Murakami with its annual award recognizing individuals like Yoko Ono and Caroline Kennedy who have strengthened US-Japan ties. Jazz pianist Jason Moran, translator Motoyuki Shibata, and scholar Roland Kelts curated an evening that explored both Murakami’s famous works and lesser-known pieces, including the short story “The 1963/1982 Girl from Ipanema” and early essays about New York written before the author had ever visited.

The program delved into Murakami’s deep connection with jazz, which began in 1963 when he first heard Art Blakey and the Jazz Messengers perform in Japan. This musical thread culminated in a special appearance by 88-year-old bassist Reggie Workman, the last surviving member of Blakey’s band, who joined Moran for an improvisational jam session.

Murakami himself reflected on his complex relationship with America, recalling his first visit in 1991 during a period of intense “Japan bashing” when protesters would encourage destroying Japanese cars. He described feeling culturally isolated during those early years, noting the absence of contemporary Japanese literature in American bookstores. However, he expressed optimism about Japan’s emerging cultural identity, celebrating how young Japanese creators across literature, film, and anime are now gaining international recognition—marking what he sees as Japan’s true cultural emergence despite economic challenges.