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During the extended weekend, while many of us were enjoying the Good Friday and Easter holidays, the entertainment industry was abuzz with news about relationships. From announcements of marriages to break-ups, let’s take a look back at what unfolded in the world of showbiz news over the weekend.
Super Junior’s Ryeowook took to Instagram on March 29 to announce that he will be marrying his girlfriend Ari.
Addressing his fans, the 36-year-old boy group member wrote: “As all of you know, there is someone I have been seeing. Over the time we spent together, I naturally developed a desire to form a family with her. The decision was not made hastily.”
He added that the wedding will be held in late May.
In 2020, Ryeowook confirmed that he was dating 29-year-old Ari, a former member of the girl group Tahiti, after media reports of their relationship.
Japanese actor Yuki Yamada surprised fans by revealing that he has married his girlfriend, former J-pop idol Nishino Nanase on March 31.
The couple made their announcement on their individual social media accounts, posting the same joint letter: “We are happy to announce that we have tied the knot. We are still in the process of learning about life.”
They added that they share the same hobbies like playing games, watching movies, travelling and interacting with animals.
Yuki, 33, confirmed his relationship with Nishino, 29, in July last year after publications reported that they were living together.
South Korean actors Han So-hee, 29, and Ryu Jun-yeol, 37, have broken up two weeks after their romance went public.
So-hee’s agency 9ato Entertainment told Edaily that the two found their roles as actors to be “more important”.
“They promised to no longer be emotionally exhausted with their personal life. So-hee gave herself and the public a difficult time due to her personal emotions. Her method of communication was incorrect. She will accept any criticism.”
They added that they were “greatly responsible” for not looking after So-hee as her agency.
Jun-yeol’s agency C-JeS Studio also confirmed the breakup to the media.
Rumours of So-hee and Jun-yeol’s relationship started on March 15 after the two were seen together in Hawaii.
After initially denying the rumours, So-hee admitted to dating Jun-yeol the next day. C-JeS Studio confirmed their relationship later on.
So-hee faced harsh criticism from netizens as they accused her of being the third party in Jun-yeol’s seven-year relationship with actress and Girls’ Day member Hyeri.
So-hee refuted the rumours and stated that she met Jun-yeol after he and Hyeri had gone their separate ways.
On March 28, Taiwanese singer-actress Barbie Hsu’s ex-husband Wang Xiaofei shared that he has proposed to his girlfriend Mandy.
The 42-year-old Chinese entrepreneur posted a photo of Mandy, a Taiwanese influencer, wearing a diamond ring and added that she said yes.
“I still love Taiwan but I love Mandy even more. Thank you all for your blessings!” he wrote.
Since their divorce in 2021, Xiaofei and Barbie have been at each other’s throats.
Recently, Barbie accused Xiaofei of adultery and violence, which led to Xiaofei visiting her home and threatening to report her to the police for alleged drug abuse.
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Source: asiaone.com
Charli XCX has always worn her London party girl roots as a badge of honour, as evidenced by hits like ‘Break The Rules’, ‘After the Afterparty’, alongside the countless other party anthems she has released over the past decade. Now, with upcoming sixth album Brat on the horizon, we now know that she’s returning to her club era, with the proclamations that she “came from the clubs” and was “born to make dance music” during the announcement on X back in February. The first taste of this Charli coming to play? ‘Von Dutch’ that radiated with angst, grit and mayhem—coupled with a fierce wardrobe and explosive beauty in the form of her wild, cascading tresses.
And while the pop star’s summer album is already one of the most anticipated releases of 2024, her club-ready record is not the only thing we’re looking forward to. With artfully pushed boundaries and generous splashes of colour, Charli has always taken to her beauty looks with the same unabashed, experimental approach as she does with her music. And as she has stunned with every look from grunge to glamour in her different music eras, we are excited to see how she will channel London’s underground warehouse raves cosmetically now that we’re inching closer to her latest album release.
Before the party tracks from ‘Brat’ undoubtedly top the charts this summer, peruse the coolest, party-ready beauty moments from Charli XCX’s music video timeline. This might be a good time to steal some inspo just in time for the pop sensation’s upcoming world tour this year.
Pairing coral pink eyeshadow with bright red lipstick is the epitome of mid-2010s beauty, which is apt for the song that was Charli’s first solo top-ten single on the Billboard Hot 100.
Charli channels classic grunge beauty with kohl-rimmed eyes, blood red lips, and a flawless matte complexion in the music video inspired by ’90s cult classics The Craft (1996) and Jawbreaker (1999).
Putting her trendsetting capabilities on show, Charli sports a generous statement of Barbie pink years before Barbiecore and the single-colour eyeshadow trend came around.
Charli gives a lesson in taking inspiration while staying true to your own look, as she keeps her trademark bold brows and winged eyeliner while paying homage Rose DeWitt Bukater Titanic (1997).
Proving once more that she can do it all, Charli manages a theatrical winged eyeliner that is both smudged and sharp, and channels fellow Britpop star Amy Winehouse and post-apocalyptic warrior Furiosa.
Offering an avant-garde take on Kirsten Dunst’s iconic look in Marie Antoinette (2006), Charli uses colour to her advantage in channeling a look reminiscent of Pat McGrath’s porcelain dolls at Maison Margiela’s artisanal couture spring/summer 2024 show.
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Source: vogue.sg
Gwyneth Paltrow, the actor and entrepreneur, has been under the intense scrutiny of the Hollywood spotlight since a young age. She openly admits to being prone to worry and easily getting stressed out. In order to maintain calm, Paltrow says she has to put in a lot of effort.
Being in the public eye adds an extra layer of stress that most people don’t have to deal with, and she acknowledges that it can be exhausting. However, she has developed maturity and learned not to engage with the projections and opinions of others.
Paltrow’s recent collaboration with the meditation app Moments of Space is part of her journey towards self-love. At 51 years old, she feels she knows herself well and has become friends with herself. She no longer spends time worrying about what others think of her because she finds it unbeneficial. Strengthening her relationship with herself is of great value to her.
The app, powered by artificial intelligence, promotes an eyes-open approach to meditation, allowing users to stay engaged with the world while meditating. Paltrow was drawn to the project because she felt it was missing from her brand, Goop, which focuses on lifestyle and wellness.
She discovered that she could enter a meditative state while taking walks alone in nature but was unaware that there was an actual practice called eyes-open meditation. During the interview, she demonstrated the practice, explaining that she could still formulate thoughts and have a conversation while tapping into a reservoir of calm.
Paltrow has not acted in nearly four years, leading to speculation about whether she is on a hiatus or has retired from Hollywood. She clarified that her day job at her company is all-encompassing and doesn’t leave room for pursuing acting at the moment. However, she leaves the possibility open, stating that she has learned never to say never.
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Source: asianone
As our local art scene continues to develop, it is the individuals and spaces that prioritize community and inclusivity that are most valuable. Three independent art collectives shaping Singapore’s artistic scence future share their commitment to embracing the community and instigating change.
Tucked away on the second floor of Peninsula Shopping Centre, amidst camera shops and vintage clothing stores, lies Dblspce—an artistic incubator filled with natural light and raw charm. Co-founded by Sab Koh and Kimberly Shen, Dblspce offers artist residencies and mentorship programs, providing a space for reflection and creative exploration.
In its three cycles since 2021, Dblspce has hosted over 25 artists from various disciplines, fostering an environment for experimentation and collaboration. By prioritizing process over outcomes, Dblspce encourages artists to delve into new ideas and revisit old ones, free from the constraints of traditional art spaces.
Dblspce’s commitment to accessibility extends beyond its physical space, aiming to demystify the artistic process for mall-goers and art enthusiasts alike. By showcasing art in a public setting, Dblspce invites everyone to engage with art in their own way, fostering a deeper connection between artists and the community.
Art Again, a digital secondary art marketplace founded by Milon Goh and Chingyi Chua, offers a platform for buying and selling pre-owned art. By democratizing art ownership and making the art-buying process transparent and accessible, Art Again encourages people from all walks of life to start their own art collection journey.
Supper House, a creative hub founded by Ashley Chiam, aims to bridge the gap between different creative disciplines and industries. By fostering meaningful connections between artists and the community, Supper House creates space for shared experiences and conversations, enriching Singapore’s art scene one interaction at a time.
Together, these art collectives embody the spirit of collaboration and inclusivity, driving positive change in Singapore’s evolving art landscape. Through their dedication to community engagement and artistic innovation, they inspire us to reimagine the role of art in our lives and society.
Source: vogue.sg
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I struggle with letting go. When I attend yoga class, and the instructor urges us to release our tongues from the roof of our mouths, I purposely keep mine in place out of spite. So when I decide to try “The Class,” Alicia Keys’s favorite workout class led by Taryn Toomey, I already feel uncomfortable.
Essentially, “The Class” involves repeating a single movement throughout a song to generate body heat and encourages participants to observe their emotions. Natalie Kuhn, Co-CEO & Founding Teacher at The Class, explains that unlike other practices, participants are guided to be aware of their movements rather than zoning out. Alicia Keys is a dedicated fan and has collaborated with The Class for Mental Health Awareness Month and her Athleta launch in January.
I’m not sure if I’m willing to let go, but I’m curious enough to give it a try. I focus on one of Toomey’s mantras, repeating after her: “Show me.”
I try The Class at home on a sunny Sunday in Arizona, feeling slightly anxious but pleasantly surprised as the 60-minute session begins with a lively atmosphere reminiscent of a psychedelic yoga disco. Opting for a session taught by Toomey herself, I join the class in bouncing and shaking. Toomey encourages us to embrace unique movements, giving us permission to let go.
One of the aspects I enjoy most about The Class is the opportunity to move freely throughout a whole song. I find joy in the playful and somewhat absurd experience of prancing around my living room.
After the initial burst of movement, there is a pause for observation. I notice my heart racing, but the rest of my body remains still. It seems like there’s nothing more to express.
Despite incorporating guided meditation, The Class maintains a genuine physical practice. Many movements resemble yoga poses, and the repetition allows me to establish a strong mind-muscle connection and experience the expected burn. I am slightly thrown off by unconventional instructions like “soften your scalp.”
Sound plays a significant role in The Class. Toomey guides us to make deep, guttural sounds from the root to counter tension and demonstrate a willingness to evolve. Even though I’m alone in my living room, I feel a bit embarrassed.
Midway through the class, I realize with dread that we are building up to a full song of burpees. It feels strange to hear a spiritual mentor like Toomey use such a casual term, like seeing a teacher outside of school. I wonder if it’s just a segment meant to challenge our discipline, but I soon realize I’m mistaken. When Toomey asks what I would like to express during mid-burpees, I respond with anger.
If my body was quiet before, it is now protesting loudly. In a subtle act of rebellion, I take a 10-second water break, considering it payback for the burpees. It takes time to rebuild trust, but as we progress through planking and curtsy lunges, I reluctantly admit that endorphins are flowing. Eventually, we return to my favorite segment of free movement.
Whether it’s the colorful shadows through my stained glass window film or the absence of burpees, the final round of dance unlocks a new level of uninhibited play that I’m not accustomed to in my usual workouts. I let my hair down and fully embrace the moment, even though I am alone. The class concludes with a meditation, using our arms to release and redirect any lingering energy.
Letting go can be uncomfortable, as Kuhn acknowledges, but it is not impossible. She explains that everyone struggles with letting go because of the different ways they seek safety, recognition, security, and love. These mechanisms become attachments, and being asked to let go can feel like being asked to abandon a life raft in the middle of the ocean.
The Class is aware of this. Toomey acknowledges that the first step in any new endeavor, such as trying a new workout class, can throw a person off balance. The practice involves practicing and acquiring the necessary tools for success. I acknowledge that there is still much I would like to release, and I understand that it won’t happen in a single workout. However, The Class provides me with the space, freedom, and perhaps the willingness to recognize the work that still lies ahead.
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This article from popsugar.com
The recent incident involving the circulation of sexually explicit deepfake images of Taylor Swift created using artificial intelligence (AI) has shed light on the growing menace of deepfakes and digital harassment. While Swift may have the resources and fanbase to address such issues, it is crucial to recognize that many victims of pornographic deepfakes lack these advantages. This incident has prompted increased attention and has even spurred federal legislation to combat the abuse. Here are our tips about how to defend yourself from sexual abuse!
Addressing Nonconsensual Deepfake Pornography:
In response to the escalating threat of nonconsensual deepfake pornography, US senators introduced the Disrupt Explicit Forged Images and Non-Consensual Edits Act of 2024 (DEFIANCE Act). This bipartisan bill aims to allow victims of “digital forgery” to sue perpetrators civilly, providing them with an opportunity to seek justice. Previously, victims had limited success in pursuing legal action due to the novelty of the technology and the gaps in existing laws.
Advancements in AI Technology:
AI technology has rapidly evolved, making it easier for anyone to create realistic-looking nonconsensual deepfake pornography. Previously, individuals required technical expertise and extensive victim photos for convincing results. However, with the current advancements, perpetrators can create deepfakes using just one or two photos and readily available apps or websites. Consequently, instances of sexual violence against individuals have surged, affecting everyday people, especially women.
Implications for Women and Marginalized Individuals:
Nonconsensual deepfake pornography has disproportionately damaging effects on women, perpetuating violation, trauma, objectification, and potential harm to professional opportunities. The prevalence of deepfake content targeting celebrities has expanded to include individuals whose images can be easily obtained from platforms like LinkedIn or social media. This issue extends beyond personal harm, impacting how women are perceived and treated in various spheres of life.
The Taylor Swift Incident and Platform Responses:
In the case of Taylor Swift, the deepfake images originated from platforms like 4chan and Telegram. Microsoft’s AI generator, Designer, was reportedly used to create the nonconsensual content. While Microsoft closed the loophole allowing Designer to produce AI-generated celebrity porn, the images quickly spread on social media platforms. Content moderation efforts by these platforms, such as temporary search blocks and user reports, have been instrumental in combatting the dissemination of such harmful content.
The Importance of Legislative Action:
Legislation is crucial in providing recourse for victims of nonconsensual pornography. Currently, such content is often not considered defamation since it is acknowledged as fake. To address this issue effectively, both societal and legal efforts are necessary.
Preventing and Combating Nonconsensual Deepfakes:
Conclusion:
The incident involving Taylor Swift highlights the urgent need to address the threats posed by AI deepfakes and nonconsensual pornography. Legislation, awareness, and responsible digital behavior are essential elements in combating this issue. By taking proactive measures and supporting initiatives aimed at preventing and addressing nonconsensual deepfakes, individuals can contribute to a safer online environment.
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The Netflix movie “May December” draws inspiration from the real-life relationship between Mary Kay Letourneau and Vili Fualaau, leading to a depiction of stereotypes of Asian men that closely mirrors reality. The portrayal raises concerns about the impact of the woman’s race on her ability to groom an Asian American boy and the public’s reaction to the story. This perpetuates the harmful stereotype of Asian men as compliant and submissive, contrasting with the typical depiction of white men as dominant and assertive. The film exposes how gender and racial roles can make sexual abuse more acceptable to the public.
In a particular scene, Joe reveals that while other girls at school didn’t show much interest in him, “Gracie saw me and I wanted that.” It’s evident that he has internalized the white-savior complex. Gracie capitalized on the perception of Joe as an “other” to her advantage, especially as he grew up in a predominantly white community. It becomes apparent that Gracie had a fetish for Joe from the beginning, initially noticing him solely because his family was the only Asian family in the neighborhood.
In contrast to Joe, Gracie is much more controlling, treating him more like a tool or dehumanized servant than her husband. She also weaponizes her traditional “victim” role as a white woman, portraying herself as constantly under attack and hurt. She even tells Elizabeth, “I am naive. I always have been. In a way, it’s been a gift.” Despite clearly being in control of the relationship, she maintains a narrative of victimhood. She explains to Elizabeth that Joe “grew up very quickly,” while she herself was “very sheltered.”
There is also explicit and implicit fetishization of Joe’s Asianness at “May December”.
When Joe’s suppressed feelings about their relationship’s origins come to light, he approaches her more like a child than an equal partner and husband, asking, “Why can’t we talk about it?” Despite being only 13 years old at the time and unable to consent, Gracie continues to feed him a false narrative, telling him, “You seduced me. I don’t care how old you were. Who was in charge? Who was the boss?”
This situation brings up the “hot for teacher” trope often depicted in movies and TV shows. When a male teacher engages with a female student, it is universally seen as problematic and predatory. However, when the roles are reversed, the perception is vastly different. This framing obscures the truth that Gracie is a pedophile and an abuser.
There is also an explicit and implicit fetishization of Joe’s Asianness at play here, which can be harder to identify as it often manifests as so-called yellow fever and the objectification of Asian women. However, it also happens to Asian men in the form of exoticization or emasculation.
Gracie is not the only one to fetishize Joe’s Asianness. As Elizabeth reviews audition tapes for who might play Joe in the movie within a movie, she comments that the kids are “not sexy enough. You’ve seen him. He’s got this, like, quiet confidence. Even as a kid, I’m sure.” Similarly, she is able to use her white womanhood to seduce Joe herself.
The movie, and Letourneau’s real-life crime, reveal a disturbing truth: if Joe had been a white girl and Gracie an Asian man, the story would be perceived very differently. It’s hard to imagine American audiences accepting the idea of an emasculated Asian male teacher manipulating and seducing a young white female student. The relative acceptance of Gracie’s actions and the treatment of Joe reaffirms the perception of Asian men as “less than” in American society. They are often seen as emasculated and fetishized, serving the whims of the white majority without a voice or identity.
In real life, Letourneau and Fualaau legally separated in 2019 after 14 years of marriage and two children. Letourneau passed away from cancer in 2020 at the age of 58, leaving much of her estate to Fualaau. The conclusion of “May December” raises unanswered questions worth exploring.
The media’s portrayal of the real-life story relied on conventional gender stereotypes. Letourneau was depicted as a social victim, and her relationship with Fualaau was often described in terms of love. Her criminal actions were almost excused in the court of public opinion, while Fualaau’s trauma was overlooked. Similarly, in “May December,” gender stereotypes are prominent, but the racial implications are not scrutinized to the same extent. The power imbalance is attributed to the dynamic between an older woman and a teenage boy, rather than examining the impact of whiteness and Asianness.
The film’s conclusion leaves uncertainty about Gracie and Joe’s future, suggesting that she still has a hold on him and he remains trapped in their relationship, with his desires unimportant.
Source: popsugar.com
KBS2’s “The Matchmakers” continues to dominate the ratings, maintaining its top position with an average nationwide viewership rating of 4.3 percent, the same as its previous episode. On the other hand, episode 7 of tvN’s “A Bloody Lucky Day” experienced a slight decline in ratings with an average nationwide rating of 2.1 percent.
Additionally, episode 5 of ENA’s “Tell Me You Love Me” saw a slight decrease in ratings, earning an average nationwide rating of 1.9 percent, compared to its previous episode’s personal best score of 2.0 percent. Are you currently watching any of these dramas? Let us know your thoughts in the comments below!
The Matchmakers is a Korean historical romantic comedy drama that premiered on October 30, 2023 on KBS2 and Viu. It stars Rowoon and Cho Yi-hyun as two widowed matchmakers who team up to help four young maidens find their husbands in Joseon era. The drama has 16 episodes and is rated 91/100 by AsianWiki users.
Sim Jung-Woo (Rowoon) is an intelligent and handsome young man. He was the youngest to place first in the state examination, but he was picked to become the princess’ husband. During their wedding ceremony, the princess suddenly died. Sim Jung-Woo’s life changed and he became the most unfortunate man. According to the Joseon period custom, he is not able to take the government post and he can’t remarry. He then becomes involved with Jung Soon-Deok (Cho Yi-hyun). Jung Soon-Deok is a widow whose late husband was the second son of the first vice-premier. She secretly leads another life under the pseudonym of Yeojoo-daek. As Yeojoo-daek, she works as a matchmaker and also peddler of women’s items like cosmetics and accessories. She is the best matchmaker in the capital city of Hanyang. Sim Jung-Woo and Jung Soon-Deok become involved with each other and they try to get older single men and women to marry as matchmakers.
Rowoon and Cho Yi-hyun are the main actors of The Matchmakers, a Korean historical romantic comedy drama. They play the roles of Shim Jung-woo and Jung Soon-deok, two widowed matchmakers who try to help four young maidens find their husbands in Joseon era.
Rowoon is a singer and actor who debuted as a member of the boy group SF9 in 2016. He has also appeared in dramas such as Extraordinary You, She Would Never Know, and School 2021. He is known for his handsome appearance and tall height (191 cm).
Cho Yi-hyun is an actress who debuted in 2017 with the web drama Somehow 18. She has also starred in dramas such as School 2021, Nobody Knows, and Live On. She is known for her cute and charming personality and acting skills.
Rowoon and Cho Yi-hyun have shown great chemistry in The Matchmakers, both on and off screen. They have received praise from viewers and critics for their comedic and romantic scenes. According to the news, they have also launched three unique matchmaking operations in the drama. You can watch the latest episodes of The Matchmakers on KBS2 and Viu. ?
The other side, A Bloody Lucky Day’, the most fun and touching K-Drama I’ve watched recently. This drama is a fantasy romance about the love between a vampire and a human. The male protagonist, who became a vampire, decides to marry a human woman to change his fate. Is this marriage going to bring luck to both of them, as the title suggests? Or is it going to cause misery? You’ll have to watch it yourself to find out. I felt so many emotions while watching this drama.
Everything was perfect: the direction, the acting, the music, the story. Especially, the male protagonist’s character was so attractive. He had human feelings and struggles despite being a vampire, and he expressed his love sincerely to the female protagonist. And she also responded to his love and brought changes to her life. Their romance was full of sweet and thrilling scenes. But, the love between a vampire and a human is not easy. They face conflicts with each other’s worlds, families, friends, and go through dangers and pains along the way. The drama shows how they overcome these difficulties and find happiness. I laughed and cried and was immersed all day while watching this drama. I think this drama is a very well-made work. You won’t regret it if you watch it once.
The last one, “Tell Me You Love Me” is a K-Drama that will make you feel a lot of emotions, from anger to sadness to sympathy. It is not a typical romance drama, but rather a mature and realistic one. If you are looking for a drama that will challenge you and make you think, then you might want to give this one a try.
“Cozy fantasy” has quickly become one of the most popular niches in the fantasy genre, and there really is a lot to love about this style. It’s hard to pin down a single definition for cozy fantasy, but in general, it tends to avoid the enormous scope of epic or high fantasy while also steering clear of gritty, urban elements. Instead, these books have a vibe that’s more like your favorite comfort-watch TV show or a warm and cozy sweater, with a softer approach alongside stakes that can vary from small to large. They’re usually focused on familial, friendly, and/or romantic relationships just as much as — if not more than — the actual fantasy elements.
With such a broad definition that hinges a lot on “vibes,” there’s a wide range of books that fall into the cozy category. Found family is a common theme, as in “The Very Secret Society of Irregular Witches” by Sangu Mandanna or “Legends & Lattes” by Travis Baldree, while others, like “The Undertaking of Hart and Mercy” by Megan Bannen or “Witchful Thinking” by Celeste Martin, lean more into romance. Grab your favorite warm drink, find your favorite reading spot, and enjoy these cozy fantasy books!
And to discover even more great genres and books, check out the 2024 POPSUGAR Reading Challenge.
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Set in the early 1900s, “The Fairy Bargains of Prospect Hill” ($14) by Rowenna Miller takes place in a small farming community where, according to tradition, only a thin veil separates the humans from the world of the fae. Alaine Fairborn’s family still adheres to the old superstitions, so when her sister Delphine admits that her marriage is not what it seems, Alaine will do anything to save her sister. Unfortunately, deals with the fae are slippery, and they may have to sacrifice more than they ever expected.
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In “Witchful Thinking” ($16) by Celestine Martin, charms and magical beings are the norm in the mystic seaside town of Freya Grove. High school teacher Lucy finds herself suddenly under a particularly tricky spell, which won’t allow her to say no to anything. Complicating matters further is the return of Alex, her high school crush (and a merman) who is struggling with a hex on his own house, and he needs Lucy’s help to lift it.
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A magical island and a mysterious history are at the center of “The Magician’s Daughter” ($15) by H.G. Parry. After washing up on the hidden island of Hy-Brasil as a child, Biddy has grown up there under the care of magician Rowan and familiar Hutch. When Rowan doesn’t return from a trip off the island one night, it’s up to Biddy to venture into the unknown outside world, where she discovers secrets and conspiracies she never imagined — including ones that put her and her loved ones right in the middle of it all.
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An isolated witch finds family and love in “The Very Secret Society of Irregular Witches” ($14) by Sangu Mandanna. When witch Mika posts a silly video “pretending” to be a witch, it catches the attention of Nowhere House, a remote home where three young witches need help controlling their magic to avoid notice. Mika reluctantly agrees to journey to the house, where she finds herself immediately entwined in the lives of the witches and the other residents, including the prickly and protective librarian Jamie.
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If you prefer your cozy fantasy books to veer more towards magical realism than out-and-out fantasy, then you might like “Natalie Tan’s Book of Luck and Fortune” ($12) by Roselle Lim. When Natalie returns home to San Francisco’s Chinatown after her mother’s death, she’s surprised to see how much the neighborhood has changed. She’s even more surprised to inherit her grandmother’s restaurant, and despite the prophecies of the neighborhood’s seer, she’s not actually sure if she wants to revive the old restaurant or leave the tough memories behind and never look back.
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“The Undertaking of Hart and Mercy” ($14) by Megan Bannen feels like “You’ve Got Mail” crossed with a quirky Western-inspired fantasy setting. Hart, a marshall patrolling supernaturally dangerous territory, and Mercy, an undertaker trying to keep her family business open, rarely have a kind word for each other. What they don’t realize is that they’re each other’s anonymous pen pals. When magical dangers threaten to encroach on their town, they’ll grow closer — but the reveal of their true identities could spoil the bond that’s been building through letters.
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“That Time I Got Drunk and Saved a Demon” ($5) by Kimberly Lemming just might have one of the best titles of any book, ever! This short and sweet, cozy, and comic fantasy centers on Cinnamon, a spice farmer who accidentally saves the demon Fallon. Then, she finds out he’s actually not so bad — he’s trying to stop an evil witch who’s targeting his people, and now Cinnamon is getting pulled along on the adventure, too.
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While K-pop has been around for decades, it’s become especially popular in recent years. Groups like BTS and Blackpink are always at the top of the music charts. Seeing as K-pop is on everyone’s mind right now, it’s no surprise that a lot of authors have drawn inspiration from the K-pop industry and fan culture to pen their latest stories. So many books about K-pop focus on aspiring idols chasing their dreams and learning what it really takes to survive in the K-pop world. There are also stories about forbidden love between K-pop idols, as well as K-pop stars unexpectedly falling for non-famous people.
For those who prefer nonfiction, there are also plenty of books about K-pop dedicated to real-life groups. They often document stars’ journey to fame — from their humble beginnings as trainees to their experiences as full-fledged K-pop idols. So if you’re eager to learn more about the industry, here are 16 books about K-pop that you’re sure to love.
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“How to Speak K-Pop” ($12) is a guidebook that helps you learn and understand the most popular Korean words and phrases used in Korean popular culture. In addition to the definitions, the book provides the pronunciations and cultural backgrounds of the words as well. It even gives you real-life examples of how slang could be used among K-pop fans or in your favorite Korean dramas or movies.
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Elena Soo and Robbie Choi are childhood best friends who promised each other they’d go to prom together. However, after Robbie moves to Korea and becomes a famous K-pop idol, Elena thinks they’ll never see each other again. That all changes when Robbie shows up at her door hoping to fulfill their childhood promise. Although she wants nothing more than to accept his invitation, Elena can’t help but hesitate due to Robbie’s legion of fans and the paparazzi that constantly follow him. Read how the story ends in “Once Upon a K-Prom” ($12).
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“Beyond the Story: 10-Year Record of BTS” ($24) documents the past decade of BTS’s career, from their time as trainees to becoming the world’s biggest K-pop stars. The group’s success story is told through interviews with all seven members of BTS, which were conducted by journalist Myeongseok Kang. The book also features unreleased photos of the group and over 330 QR codes that’ll take readers directly to all the videos, songs, and blog posts mentioned by the members throughout the interviews.
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“XOXO” ($11) centers on an aspiring cellist named Jenny who falls for a cute boy named Jaewoo after spending a magical night with him in Los Angeles. Jenny is forced to say goodbye to him when he returns home to Korea. However, when she begins attending an elite arts academy in Seoul, Jenny is surprised to run into Jaewoo at her new school and is even more shocked to learn that he’s actually a famous K-pop idol. Because his company forbids him from dating, Jenny must choose whether she should follow her head and forget about Jaewoo or follow her heart and give their love a chance.
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“K-Pop Confidential” ($11) follows a Korean American girl named Candace Park who has always dreamed of becoming a K-pop idol. One day, she decides to audition for a music label that represents SLK, her favorite K-pop group. However, with so many people competing for a spot in the company’s new girl group, Candace never expected to actually be one of the lucky ones picked. When she’s asked to become a trainee, Candace excitedly moves to Korea to follow her dreams — but quickly realizes that there’s more to being a K-pop idol than just fame and glory.
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“Fireworks” ($10) is about a 17-year-old girl named Lulu Li whose neighbor and childhood friend Kite Xu grew up to become a member of the K-pop group Karnival. After it’s announced that Kite is taking a break from his group for unknown reasons, Lulu is surprised to learn that he’s returned home and wants to reconnect with her. The two eventually develop feelings for each other, but Lulu questions whether they can make a relationship work with the pressures of fame looming over them.
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In “I’ll Be the One” ($11), Skye Shin is determined to become the first plus-size K-pop idol. After nailing an audition for a major televised K-pop competition, Skye joins the show and tries her hardest to turn her dream of debuting into a reality. Although Skye learns that being in the spotlight isn’t easy, especially with everyone having an opinion on her body, she’s able to rely on her new friends, including fellow competitor Henry Cho, for support.
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