
Park Bo-gum ready to host seventh season of 'The Seasons'
Hallyu powerhouse Park Bo-gum is set to host the seventh season of "The Seasons," KBS' long-running late-night music talk show.
"The Seasons" is KBS' signature Friday night music show series, featuring interviews with musicians as well as live performances.
The seventh installment of the series is to be known as "Park Bo Gum's Cantabile," following previous seasons hosted by Jay Park, Choi Jung-hoon of Jannabi, AKMU, Lee Hyo-ri, Zico of Block B and, most recently, rapper Lee Young-ji, whose tenure ran from September 2024 to Feb. 21, 2025. Park Bo-gum's season premieres Friday.
Park is the first actor to host the late-night show, a departure from the series' tradition of musicians in the host spot. Explaining the choice, producer Choi Seung-hee emphasized Park's deep-rooted passion for music.
"We actually knew that Park was very interested in music, played the keyboard well and sang well," Choi said at a press conference in Yeouido, Seoul, Tuesday. "When he appeared on 'The Seasons' last year, he showed deep respect for musicians, and we persuaded him."
According to Choi, Park played an active role in shaping this season's identity, including its title, "Park Bo Gum's Cantabile." The title is a nod to his past KBS drama "Naeil's Cantabile."
"I've always wanted to create a show under my name with 'Cantabile' in the title," Park said. "'Cantabile' means 'like singing' … I hope it becomes a space where I can communicate with other artists, share conversations with the audience, find comfort and exchange joyful moments with one another."
Park will also be the first host to create an original theme song for the show.
"We are discussing the composition of a new 'signal song,' and I plan to write lyrics that suit our program," said Park. "I'm thinking of lyrics that match the spring season," said Park."
Amid declining viewership, the producer reaffirmed a commitment to spotlighting new musicians and safeguarding a space for artists to hold deep discussions about music.
"Our broadcast time has always been Friday at 10 p.m. As you all know, this is a time slot where other channels air high-budget dramas worth hundreds of billions of won," Choi said. "Meanwhile, we continue to produce our program with a budget from 30 years ago. In a way, we approach production with the mindset of guarding the last stronghold of music programs."
Choi stressed that ratings are not the sole metric of success.
"If ratings were our only priority, we wouldn't be introducing new musicians every week in such a highly competitive time slot," she said.
"However, we believe that the identity, purpose, and significance of a music program are far more important. That's why we are committed to showcasing emerging and meaningful artists, providing them with a stage and finding great value in doing so."

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
17 hours ago
- Korea Herald
Minho revisits his first theater role in ‘Waiting for Waiting for Godot'
A year after his stage debut was cut short, SHINee's Choi Minho is stepping back into the role that first introduced him to theater. Choi will once again play Val in 'Waiting for Waiting for Godot,' opening Sept. 16 in Seoul's Daehangno. The production is an homage to Samuel Beckett's absurdist classic 'Waiting for Godot.' Written by American playwright Dave Hanson, the comedy centers on two overlooked understudies, Esther and Val, who find themselves trapped backstage, endlessly waiting for their chance to perform. Last year, the Korean premiere ended prematurely for Choi when veteran actor Lee Soon-jae, his stage partner in the role of Esther, withdrew from the production due to health issues. 'This was my very first play, and the role felt destined for me,' Choi said during a press conference Tuesday in Seoul. 'When I first began rehearsals last year, I thought, 'This character is in exactly the same situation I'm in. His longing to be on stage is exactly what I feel.'' Acknowledging his disappointment at the sudden ending, he intends to channel it into this new run. 'This play carries messages of encouragement and resilience. That's what I want to deliver to the audience.' He added that rehearsals brought back memories of his early trainee days. 'Back then, all I wished for was to stand on stage and be recognized. That innocent desire of my younger self came back to me through this role. It reminded me why I wanted to perform in the first place.' Choi and actor Lee Sang-yun will alternate in the role of Val, while veteran actors Park Geun-hyung and Kim Byung-chul share the role of Esther. 'Waiting for Waiting for Godot' runs through Nov. 16. hwangdh@


Korea Herald
2 days ago
- Korea Herald
Park Chan-wook's 'Killing Game'
Director and cast discuss 'No Other Choice,' Park's adaptation of Donald Westlake's novel, at a Seoul press event In a packed screening room at CGV Yongsan on Tuesday, Park Chan-wook and his cast appeared bemused by the turnout. Nearly 300 reporters had gathered for Park's first Korean feature in three years — a project that, he revealed, had been percolating since he first encountered Donald Westlake's 1997 novel "The Ax" two decades ago. "The day has finally come," Park said, with the particular mixture of formality and wit that characterizes his public appearances. The film, retitled "No Other Choice," will premiere at Venice next month — the first Korean entry in competition since 2012 — before traveling to Toronto, New York, and opening the Busan International Film Festival's 30th edition on Sept. 17. What drew Park to Westlake's novel wasn't its mystery, but its inexorable logic. "Most mysteries are whodunits. Once you know, you're done," he explained. "But this starts with someone determined to kill. It shows how society's machinery pushes an ordinary person to that point. His victims are all versions of himself." Park revealed he'd initially considered naming the film "Mogaji," Korean slang for getting axed, before settling on the current title. "The original title was 'The Ax,' but in Korean we'd say 'getting the neck' — our version of getting axed," Park explained. "It felt too violent. The new title carries this sense of rationalization, making excuses. It applies to everyone -- even those doing the firing. Everyone's trapped, claiming they literally had no choice." The trailer screened for the press suggests Park has tapped into the absurdist vein that runs through his filmography. Lee Byung-hun, playing a laid-off manager at a paper manufacturing company, appears in one shot performing what might be a bizarre self-help ritual, tapping his temple with disturbing intensity. In another sequence, he raises an enormous ceramic planter above his head — presumably to brain someone — while water streams comically down his face. "I asked Park if I could play it funny," Lee recalled of his first script reading. "There were so many darkly comic moments, I wondered if I was misreading the tone. He said, 'The funnier, the better.'" The cast hardly needed convincing when Park came calling. "I didn't even know what role I'd play," Lee Sung-min said. "It was Park Chan-wook. Of course I'd do it." Son Ye-jin agreed: "Working with Park, starring opposite Lee Byung-hun — I'd have regretted passing this up." The production's obsessiveness emerged as a leitmotif during the press conference. Park and his team constructed an entire house, which he described as a "bastardized European-Korean hybrid from the '70s," selecting each plant in the garden with taxonomic precision. They splurged to record the score with London's Contemporary Orchestra. ("We saved on everything else," Park quipped, "including what we paid the actors.") Lee Byung-hun, who hadn't worked with Park on a feature since "JSA" 24 years ago, seemed genuinely awed by the director's process. "During post-production, watching him discover details on the big screen that he'd missed in editing — tiny expressions, color gradations — I understood what it takes to be a master. Also, why I'll never direct." Then came the inevitable streaming-era question: Why theaters over streaming? Park stood firm. "Call me an originalist, but cinema means the big screen. Every sound we placed, every color we calibrated in the frame's corner — it requires that scale, those speakers, that captive darkness. Otherwise, why bother?"


Korea Herald
2 days ago
- Korea Herald
Eyes say everything in Seoul Metropolitan Ballet double bill
Choi Young-gyu in Hans van Manen's '5 Tangos,' Kang Gyeong-ho in 'No More' It was only a five-minute rehearsal. But when ballet dancer Choi Young-gyu placed one hand on his hip and stepped into the sharp, pulsing rhythm of a tango, the effect was unmistakable. His gaze carried the intensity of the dance, his chemistry with his partner was evident, and his stage presence came through even in the briefest of moments. The glimpse gave a hint of things to come at Seoul Metropolitan Ballet's double bill, opening Friday at the Sejong Center in Seoul and running through Aug. 27. The program pairs legendary choreographer Hans van Manen's '5 Tangos' with 'No More' by choreographer Ryu Hoi-woong. Now in his 15th season with the Dutch National Ballet, Choi said the occasion carries special meaning. 'I've danced in many galas in Korea, but this is the first time I'm bringing a full piece back home,' the principal dancer said at a group interview Monday at a rehearsal studio on Nodeul Island. Set to the music of Astor Piazzolla, '5 Tangos' has long been performed in Europe, but this week marks its Asian premiere. Choi has worked closely with van Manen at the Dutch National Ballet, where the choreographer once served as artistic director and still holds the title of resident choreographer, so the piece feels familiar to him. 'The music has both passion and melancholy. When I dance and look into my partner's eyes, I feel what tango must be like -- the intensity, the excitement -- even though I've never actually danced it. It's thrilling for me, and because I enjoy it so much, I believe the audience will too.' Feline van Dijken, the stager for the ballet, emphasized that the essence of van Manen's choreography lies in how the dancers respond to one another. 'The way dancers look at each other and the connections they make are very essential for this work. The choreography is almost secondary to how they create the atmosphere on stage.' Choi is also taking on added responsibility as rehearsal director. 'Before, I only had to focus on my own part. Now I have to oversee the entire arc of the piece, from beginning to end. It's given me the chance to understand the work on a much deeper level.' 'No More' confronts life's anxieties with energy Also conjuring fiery rhythms, this time set to the pounding beat of live drums and percussion, 'No More' examines the anxieties of contemporary life. Dancer-turned-choreographer Ryu first unveiled the work at the company's pre-debut triple bill performance last year. For its return, marking the first anniversary of the Seoul City-run contemporary ballet company, Ryu has reworked the piece with expanded choreography, a larger cast and a sharper emotional focus. The piece reflects the fatigue and frustration of modern, hyper-competitive urban life — what Ryu calls the struggles of Korea's so-called 'N-Po Generation,' a term referring to the young generation that has given up on many things in life: dating, marriage, children, homeownership and even dreams. Yet rather than dwell on despair, the ballet emphasizes resilience. 'I hear people around me say, 'Life is too hard.' I wanted to find a way to give back positive energy,' Ryu said. This year's version adds scenes that blur the line between dream and reality, concluding with what he described as 'a message of encouragement: Let's keep moving forward.' Ryu said he worked with drummer Kim Geon-jae of the indie rock band Silicagel to use drumbeats that evoke both destructive and monotonous rhythms -- like footsteps and a racing heartbeat -- and to create movement expressing dialogue, competition and love. The piece reunites Ryu with dancer Kang Gyeong-ho, who gained stardom on Mnet's dance survival program 'Stage Fighter.' 'Last year, there were just seven dancers. This time, nearly twice as many join the cast, and the choreography feels more layered. The message has shifted from dwelling on hardship to offering comfort and strength,' Kang said.