logo
How does South Korea's society treat celebrities in crisis? A new case raises questions

How does South Korea's society treat celebrities in crisis? A new case raises questions

Independent03-04-2025

A young actor's suicide in South Korea. Allegations of an underage relationship. They are part of a growing drama in the Asian entertainment world that raises questions about society's treatment of celebrities in crisis, with harsh media and online commentary amplifying their lowest moments.
This week, South Korean actor Kim Soo-hyun publicly denied allegations that he dated the late actor Kim Sae-ron when she was under the age of sexual consent. His emotional press conference followed Kim Sae-ron's suicide in February, which reignited allegations that they were romantically involved.
Here's what we know about the case.
Who was Kim Sae-ron?
Kim Sae-ron was once one of South Korea's most promising film stars. She began acting at age 9 in the 2009 film 'A Brand New Life,' which premiered at the Cannes Film Festival. She gained further recognition with 'The Man from Nowhere' (2010) and 'A Girl at My Door' (2014), also invited to Cannes.
Her career halted in May 2022 after she crashed her car in Seoul while driving under the influence. Despite offering a public apology and reportedly paying compensation to shops that lost power because of the crash, she faced relentless negative attention.
___
EDITOR'S NOTE: In South Korea, callers can receive 24-hour counseling through the suicide prevention hotline 1577-0199, the 'Life Line' service at 1588-9191, the 'Hope Phone' at 129 and the 'Youth Phone' at 1388.
___
Media and online commentators scrutinized her personal life. YouTube gossip channels accused her of exaggerating financial difficulties and questioned her sincerity. Critics, and her family, say it contributed to her declining mental health.
She killed herself on Feb. 16, Kim Soo-hyun's birthday.
Who is Kim Soo-hyun and what is he accused of?
Kim Soo-hyun, 37, also has been one of South Korea's most recognized actors, known for dramas such as 'My Love from the Star' (2013) and 'Queen of Tears' (2024) as well as films like 'The Thieves' (2012) and 'Secretly, Greatly' (2013).
Speculation about a relationship with Kim Sae-ron began last year when she posted a photo of them together, quickly deleted. Gold Medalist, the agency co-founded by Kim Soo-hyun, denied the relationship, according to South Korean media.
Days after Kim Sae-ron's death, a YouTube channel known for its politically charged content, HoverLab, alleged that she and Kim Soo-hyun had been in a six-year romantic relationship beginning in 2015, when she was 15 and he was in his late 20s. The channel released what it called evidence including photos, videos and letters. Kim Soo-hyun has called them fabricated.
Kim Sae-ron's family had approached HoverLab to release the materials, calling it an attempt to restore Kim Sae-ron's image.
On March 27, a lawyer representing Kim Sae-ron's family presented to journalists what the family claimed was a photo of an undelivered letter written in 2024 in which Kim Sae-ron described Kim Soo-hyun as her 'first and last love' and referenced a five-to-six-year relationship.
The letter was written after she failed to reach Kim Soo-hyun to discuss a debt she owed his agency, according to the lawyer. After Kim Sae-ron's contract ended and wasn't renewed, the agency asked her to pay back 700 million won (about $520,000) in damages related to her drunk-driving case. Her family says the demand placed severe pressure on her.
Kim Soo-hyun has acknowledged that he dated Kim Sae-ron but insisted their relationship began after she became an adult. He called claims of an underage relationship false and damaging.
'It is also not true that the deceased made a tragic choice because of my avoidance (of her), or because my agency pressured her about debt," an emotional Kim told Monday's press conference.
He refused to answer a question from the AP about when he first met Kim Sae-ron.
Could there be legal consequences?
Whether any laws were broken depends largely on timing. South Korea raised its age of sexual consent from 13 to 16 in 2020. Kim Sae-ron was born in 2000, and the family alleges the relationship began in 2015, when she was 15 and Kim Soo-hyun was 27.
Kim Soo-hyun maintains that their relationship lasted from summer 2019 to fall 2020, when Kim Sae-ron was a legal adult.
Kim Soo-hyun's agency has taken legal action against the family of Kim Sae-ron and HoverLab, which first aired the underage relationship claims, for distributing private photos and videos of the actor, including images of Kim Soo-hyun kissing the late actor. Kim's agency said Kim Sae-ron had visited his apartment and his family was present. The agency said they were not dating at the time.
On Monday, Kim Soo-hyun's lawyer announced a civil lawsuit seeking 12 billion won (approximately $8.15 million) in damages against the YouTube channel and Kim Sae-ron's family, along with criminal complaints alleging defamation and violation of privacy laws. Kim Soo-hyun and his agency also sued the YouTube channel operator for stalking.
The family's legal representative and HoverLab both told the AP on Wednesday that they plan to sue Kim Soo-hyun and his agency for making false claims about his relationship with the late actor.
What role did online harassment play?
Kim's death reignited criticism of South Korea's relentless tabloid and digital media culture. Her family has singled out videos with speculative, unverified content portraying her as emotionally unstable and morally questionable.
Suing for defamation is often a lengthy, costly battle for South Korean celebrities, as many platforms, like YouTube, are based overseas. Punishments are typically light, with fines or suspended sentences.
Other high-profile cases following negative online attention have included the deaths of K-pop singers Sulli and Goo Hara in 2019 and 'Parasite' actor Lee Sun-kyun in 2023.
What's the fallout?
Fashion brand Prada has ended its collaboration with Kim Soo-hyun. South Korean cosmetics company Dinto terminated its one-year contract with him, citing the seriousness of the controversy. 7-Eleven Taiwan canceled a Kim Soo-hyun fan event last month, citing schedule changes.
An online petition this week calling for the age of consent to be raised from 16 to 19 has gathered nearly 40,000 signatures on the National Assembly's website.
Suggested reforms in South Korea meant to discourage harsh online comments have not been passed.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Why disaffected actors often make excellent playwrights
Why disaffected actors often make excellent playwrights

Spectator

time3 hours ago

  • Spectator

Why disaffected actors often make excellent playwrights

Actors are easily bored on long runs. Phoebe Waller-Bridge once revealed that she staged distractions in the wings to amuse her colleagues. On the last night of Hay Fever, egged on by another actor, she bent over 'and showed [her] arsehole' to the on-stage actors. Nabokov's plays are seldom performed. But he was alive to middling, mediocre dramatic clichés, fashions long-forgotten, but invaluably preserved in his 1941 lecture 'The Tragedy of Tragedy': 'The next trick, to take the most obvious ones, is the promise of somebody's arrival. So-and-so is expected. We know that so-and-so will unavoidably come…' This is the lost convention, the stand-by that Beckett was frustrating in Waiting for Godot – with its tedious announcements and its adamantine disappointment. John Osborne was a jobbing actor and therefore intimately irritated by the conventions of repertory drama. In Epitaph for George Dillon, co-written with another actor, Anthony Creighton, Osborne super-sizes the Act One curtain line. It is announced that George Dillon will be arriving as a temporary lodger. He arrives. It is intimated that he will replace Raymond, a son who has been killed in the war. He is exceedingly polite. But his curtain line, as he contemplates a framed photograph of Raymond, is 'You stupid-looking bastard'. As David Baron (his stage name), Harold Pinter was another disaffected thesp. Hence his brusque impatience with dramatic convention. The Caretaker begins by violating convention: MICK is alone in the room, sitting on the bed. He wears a leather jacket. Silence. He slowly looks about the room, looking at each object in turn. He looks up at the ceiling, and stares at the bucket. Ceasing, he sits quite still, expressionless, looking out front. Silence for thirty seconds. Thirty seconds of silence in the theatre is an eternity. And this second silence follows on the initial silence. Then Mick exits. Without saying a word. An unusual, irregular opening. When Act One ends, we expect the act-division to cover an omitted passage of time. But Act Two begins 'A few seconds later'. The Room begins as a two-hander – a bizarre one-handed two-hander, in which the wife drivels on, unstoppably. The husband, Bert, says nothing until the very end of the play – an extreme version perhaps of the radio comedy Take it from Here, where the young couple, Ron and Ethel, displayed the same imbalance, Ron's dialogue being restricted to 'Yes, Eth'. Ron being short for Moron. The Homecoming has an important stage direction describing the set. The wall between the sitting room and the staircase isn't there. The audience assumes this is an exploded view, a stage convention, so we can see what would otherwise be hidden. However, as Lenny tells us later, the wall has actually been knocked through. The imaginary and the real are confused, as they are for most of the play, until it becomes clear that the men in the play are acting out a communal fantasy – a sexual fantasy trailed by Max, the patriarch, when he is guying his homosexual brother, Sam: 'When you find the right girl, Sam, let your family know, don't forget, we'll give you a number one send-off, I promise you. You can bring her to live here, she can keep us all happy. We'd take it in turns to give her a walk round the park.' This prolepsis is long before the arrival of Ruth and Teddy, long enough for the audience to forget it. Ruth is a prostitute. But for most of the play we aren't certain. The confusion over the wall is emblematic of this overall instability. The Dumb Waiter – two killers waiting for their victim – derives from Hemingway's story 'The Killers'. The hyper-banal is invested with menace. Hemingway's title makes even the diner menu toxic: 'chicken croquettes with green peas and cream sauce and mashed potatoes.' Banal, except that the men eat with their gloves on. 'In their tight overcoats and derby hats they looked like a vaudeville team' – if they didn't look so much like gangsters, George Raft or Jimmy Cagney. Food and fear, a telling zeugma. In Pinter, orders for scampi, for soup of the day, liver and onions, jam tart, arrive via the dumb waiter, defunct but still active – like a moribund stage convention. Here we have the classical convention of the deus ex machina, the god lowered in some sort of box who intervenes at a play's end to resolve all difficulties and provide solutions. But instead of instructions, there are customer 'orders'. It is significant that the stage directions refer to the 'box': 'The box descends with a clatter and bang.' Not 'compartment' or 'shelf'. Pinter's play knows it is a play. Just before the dénouement, Gus and Ben rehearse: BEN: When we get the call, you go over and stand behind the door. GUS: Stand behind the door. BEN: If there's a knock on the door you don't answer it… What transpires, however, is nothing like the rehearsal. Gus stumbles in looking more like a victim than an executioner: 'He is stripped of his jacket, waistcoat, tie, holster and revolver.' A reversal of the rehearsal. Nothing is resolved. Anyone for menace?

Channel 4's Beth is a sad glimpse into the future of terrestrial TV
Channel 4's Beth is a sad glimpse into the future of terrestrial TV

Spectator

time3 hours ago

  • Spectator

Channel 4's Beth is a sad glimpse into the future of terrestrial TV

On the face of it, Beth seemed that most old-fashioned of TV genres: the single play. In fact, Monday's programme was the complete version of a three-parter made for YouTube and excitedly announced as Channel 4's first-ever digital commission. A less excited interpretation, however, might be that it was Channel 4's first sign of surrender to the hostile forces of streaming now threatening all of Britain's terrestrial networks. Either way, it was a peculiar watch that, over the course of its 36 minutes, felt less like a fully fledged drama than notes towards one. In a nervous bid to ensure YouTube viewers were gripped before they could search for something else, it began with a good-looking couple having sex. But not for long. Within 50 seconds, the man, Joe, noticed blood on the sheets and the woman, Molly, realised she'd had the latest in a series of miscarriages. Seconds after that, the pair were visiting their hunky private doctor who advised them to knock off the IVF, in favour of 'lots of sex': advice he bestowed with a distinct leer in Molly's direction. Following the consultation, Joe and Molly (Nicholas Pinnock and Abbey Lee) wondered about adoption or fostering, but as an interracial couple, decided they wanted 'our kid to look like both of us'. In one of these 'notes towards' moments, it also appeared that Joe himself had been unhappily fostered. But of course there wasn't time to get into that and instead the first 12-minute section ended with Molly suddenly pregnant. Once she was, there were some more hints at a theme the show would clearly have liked to explore in more depth, in this case Joe's class unease about having a much posher partner. Yet, no sooner was this suggested than we cut to the delivery room, where Molly gave birth to a white baby – moments later, a white primary-school girl whom Joe, now separated from Molly, was picking up from a party. Despite his (and our) suspicions, the reason for the child's colour wasn't the pervy doctor, but something wholly unguessable which relied on a lurch into the supernatural that I'd better not spoil, but that, once again, the show didn't have time either to prepare us for or to reflect on, and so simply plonked in front of us. Beth was by no means a disaster. The two leads did their considerable best with what they had to work on – as did the script, which often managed to be intriguing before the time constraints rendered it merely frustrating. Nonetheless, you couldn't help thinking how much more could have been done with the material in a mini-series that wasn't quite so mini. If this was a glimpse of the terrestrial-TV future, the best you can say is that its programmes certainly won't overstay their welcome; the worst is that they'll be badly lacking in the swagger and storytelling confidence of the pre-streaming era. Still, if it's old-fashioned you want, there's always Not Going Out – the longest-running sitcom now on British television and by some distance the most traditional. There remains something almost heroic about Mack's determination to keep the British-sitcom faith Defending his chosen form, its creator Lee Mack said recently: 'The thing you always hear people say about studio sitcoms is: 'They're so 1970s.' But then you ask people to name their favourite British sitcoms and they're all from the 1970s: Fawlty Towers, Dad's Army, Steptoe and Son.' Sadly, I'm not convinced that many of these 'people' would be under 50. But there remains something almost heroic about Mack's determination to keep the British-sitcom faith, especially as he can get at least as many laughs from his lightning ad-libs on Would I Lie to You? without any of the hard writing yards required here. Even so, it's not quite true, despite those references, that the show's influences are all British – because it's too full of wisecracks for that. Captain Mainwaring, Basil Fawlty and the Steptoes would be wildly indignant if they knew we were laughing at them, whereas the characters in Not Going Out (like those in say Cheers and Frasier) constantly make remarks that are intended to be funny. So it was that the 14th series started with the fictional Lee and his wife Lucy (Sally Bretton) being shown round a property by a seller who doubled as a straight man setting up Lee and Lucy's stream of one-liners – which carried on just as relentlessly once the episode developed into a full-blown, well-plotted farce based, naturally, on implausible lies, implausibly believed. I can't claim that Not Going Out is among my weekly unmissables (unlike Would I Lie to You?). But I'm definitely delighted that Mack continues to fly the flag for a sitcom that has no desire to throw in some dark drama to provide an edifying moral lesson – or indeed to do anything much beyond making us laugh.

Singer and TikTok star Addison Rae changes her stage name
Singer and TikTok star Addison Rae changes her stage name

NBC News

time4 hours ago

  • NBC News

Singer and TikTok star Addison Rae changes her stage name

Addison Rae is now going by a new stage name. The singer and TikTok star, who just released her self-titled debut album on June 6, has dropped the name 'Rae' from her professional moniker and is now known simply as Addison. 'I said it in an interview, I was just like, 'Oh, I think I've grown past being called Addison Rae,'' Addison told host Quenlin Blackwell during a June 8 appearance on Blackwell's 'Feeding Starving Celebrities' YouTube series. 'Then the album being named 'Addison' kind of was a tie-in for that,' she added. The 'Diet Pepsi' singer, 24, said there is also a more practical reason behind her decision. 'I just am tired of also signing Addison Rae. It's really long. I just would rather sign Addison,' she said, laughing. 'And then I was like, 'Yeah, it just makes more sense because, like, it's going back to the roots really.'' Still, Addison, who was born Addison Rae Easterling, said she won't be upset if longtime friends and fans still think of her as Addison Rae. 'Whoever knows me as Addison Rae and knew me as Addison Rae will always know me as that,' she said. Addison joins a growing list of celebrities who have opted to tweak their professional names during the past year. Just last month, Angelina Jolie's 19-year-old daughter Shiloh Jolie — who'd already dropped her father Brad Pitt's surname from her own in 2024 — choreographed an original dance piece under the name Shi Joli. Former 'Teen Mom 2' star Kailyn Lowry's 15-year-old son, who was formerly known as Isaac Elliott Rivera, announced last week on his mom's 'Barely Famous' podcast that he was now going by his middle name, Elliott. Meanwhile, Malia Obama, the 27-year-old daughter of former President Barack Obama and first lady Michelle Obama, has been using the professional name Malia Ann as a writer and director in Hollywood. Michelle Obama opened up about her older daughter dropping the Obama name professionally when she recently appeared on Kate and Oliver Hudson's 'Sibling Revelry' podcast. The former first lady said it was natural for young adults — especially those from famous families — to want to 'push away' from their family name at some point. 'You're trying to distinguish yourself,' she explained, adding, 'It is very important for my kids to feel like they've earned what they are getting in the world, and they don't want people to assume that they don't work hard, that they're just naturally handed things,' she added. ' 'They're very sensitive to that. They want to be their own people.' 'Malia, who started in film, and it being her first project, she took off her last name, and we were like, 'They're still going to know it's you, Malia,'' she added with a laugh. 'But we respected the fact that she's trying to make her way.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store