
K-drama actor Park Si Hoo, previously embroiled in rape controversy, now faces new allegations in sex scandal
Ms. A stated that the alleged behavior began in 2020 while their families were residing in Seoul's affluent UN Village. She accused Park of pretending to be close to her while secretly acting as a "connector" between her husband and other women. Tagging Park in her post, she threatened to expose more evidence and declared that she had "nothing to lose."
Screenshots, money transfers, and a brewing scandal of Park Si Hoo
Ms. A shared screenshots that appeared to be text messages between Park and her husband. One exchange dated May 2021 allegedly shows Park forwarding a woman's bank account number. In return, her husband reportedly replied with photos of the woman pulled from social media.
She also posted a video recording of a KakaoTalk chat window, allegedly showing more recent messages between her husband and Park Si Hoo. The posts rapidly gained attention, with netizens calling for accountability amid Park's silence.
A dark past that haunts Park Si Hoo
This isn't the first time Park Si Hoo has found himself at the center of a scandal. In 2013, he was accused of raping a female trainee at his agency's office following a night of drinking. Although he denied the allegations and countersued for blackmail and false accusations, he was eventually indicted for quasi-rape and injury by rape. The case was later dropped after the alleged victim withdrew her complaint, but the damage to his image lingered.
Park Si Hoo's comeback in jeopardy
Despite the cloud over his past, the actor has recently attempted a return to the limelight. He appeared on TV Chosun's variety show Dad and Me and is slated to star in the upcoming remake of the 2021 American drama The Mentalist. However, this new controversy threatens to derail his career once again. As of now, Park Si Hoo has not issued any response to the latest allegations - though he remains active on TikTok.
For all the latest K-drama, K-pop, and Hallyuwood updates, keep following our coverage here.

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(The later invention of the mass-market paperback, in the 1930s, would be another landmark.) Readers hunted down the classics, followed reading lists set up by reformist associations, or joined newly opened libraries, which also expanded across this period. A new fashion emerged, from the 1920s, for knowing the best, most absorbing or enjoyable of the many new books appearing: modern novels above all. This fashion for the new often existed alongside a desire to know the classics and their authors – and to display them all in the home. Book clubs formed, book programmes on the new medium of radio were introduced, and new essays and advertisements about owning and displaying books appeared. Features in newspapers and magazines highlighting the 'Book of the Week' or 'Book of the Month' became common by the late 1920s. So did essays and advertisements addressed primarily to women readers. Most images, though, showed a man sitting in an armchair surrounded by his homely books. A new language emerged too, describing the emerging book worlds as 'middlebrow', in contrast to the 'lowbrow' (those merely following popular or mass tastes) and the highbrow (those whose tastes were only high, refined and, perhaps, pretentious). All three terms could be terms of abuse: usually in feminised forms. Harvard Classics The volume of new books could provoke anxieties for both established critics and the new readers about 'drowning in a sea of new novels', alongside new enthusiasms for trying to keep up with the latest. Guidance in reading – what to read and how to read – became a new industry. So did guidance on buying and collecting books, and owning them. And, no less important, to displaying them by building a library in your own home. 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The new book culture was very reader-oriented and often feminised. A weekly book page appeared in the commercial radio paper, The Listener-In, edited and written by Miss J.G. Swain, who also presented a weekly radio programme: 'Living Authors'. A Book of the Week selection appeared on the Women's Page, and readers were invited into close relations with 'living authors'. As leading historian of Australian reading, Patrick Buckridge, has shown, the very successful Australian Women's Weekly also ran extended pages on good books and good reading from the 1930s to the 1960s. Women readers were specifically addressed, and they were the key participants. A worried stenographer wrote to the Weekly, with perfect middlebrow judgement: 'I like biographies, best-sellers, history and travel books and most of the classics, but the girls I have come in contact with cannot be bothered with any of these, and, if they read at all, just read light fiction. 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