The Devil is back in town



Remaining in the shadows is the protector of Hell’s Kitchen, solidifying his status as a strong figure in Marvels television universe, even more so after the abrupt cancellation of two of its Netflix titles. It makes you wonder what sets Daredevil apart—how it stays inventive and impressive—and the third season has all the answers.

It’s not easy to mount yet another vigilante-driven story. And after the second season had degraded itself to setting the pieces for “The Punisher” and “The Defenders,” the next one had to embody the very core of what makes Daredevil the hero that he is: Redemption.

Rising stars, raising emotional tempos



Shivers down my spine, a clench in my throat. This deserves an Oscar, I thought. In my mind I gave a thousand applause for A Star Is Born as the credits finally roll in.

In his directorial debut, Bradley Cooper tells a serendipitous romance that keeps both its characters and the audience in the moment. Cropping each frame purposely in each of the leads’ line of sight, he delivers a story in an immersive and intimate manner.

We meet Jackson Maine (Bradley Cooper) and Ally (Lady Gaga) in the same pace as the leads actually do. That makes every evoked emotion on screen so raw, so authentic that it’s inevitable not to be swayed.

The ultimate Marvel movie marathon starts this weekend!


I know every Marvel fan just couldn't wait for the next MCU phase to launch. With movies like the Avengers 4, Captain Marvel (hello, Jude Law), and Spider-Man: Far From Home in the 2019 roster, we just can't help but look forward to the next compelling arcs that will further the string of narratives we have grown to love.

But the Marvel Cinematic Universe is also celebrating its 10th year anniversary. It's a chance to look back on the marvelous world it managed to create on the big screen--one defying time and gravity, introducing otherworldly realms, and ultimately bringing the world's mightiest heroes together.

Dear DΞΔN



SEOUL MCA PRESS JUNKET, MAY 2017

I was wandering around Hongdae when the faint sound of a familiar song urged me to walk a little slower. Playing in a club basement was DEAN’s “I Love It,” and nothing made me more excited than the thought of hearing it live come the weekend. The track didn’t manage to lure me into experiencing Seoul’s club scene, but it did make me skip and snap my fingers to a few beats.

Just a few blocks away, another track by the R&B artist was blasting from the speakers, and like its chorus, I needed someone to tell me what to do when I met DEAN in person the next day for a one-on-one interview.


RELATED STORY: DEAN and Syd of The Internet sing about young ‘love’

“I heard your songs last night as I walked around Hongdae,” I managed to tell DEAN, who was now seated a few inches from me. It was the second time I was seeing him that day, and unlike our first encounter (he pointed me to the direction of the bathroom), I didn’t freeze.

The ingenuity that is ‘K-pop’


The genre is backed by generations of fans who are vocal in pitting their idols against the industry’s long list of legends, because they are very much entitled to believe they can.


K-pop was always made for world domination.

Lee Soo-man—yes, the guy who owns SM Entertainment—saw that music was the next great export. He was a visionary for identifying music as the biggest cultural asset to invest in, as revealed in Vox’s “Explained” series which can be streamed on Netflix.

Come the year 1997, South Korea created a basic law for the promotion of cultural industries. It meant putting prime focus on bolstering the arts, and, in turn, promoting Korean cultural and entertainment productions as exports supporting the economy.

1992’s Seo Taiji & Boys are as much of a Korean revolutionary music symbol as BTS is now (in fact, their music are considered as bold criticisms of society, with BTS even covering Seo Taiji and Boys’ “Come Back Home”).

Seo Taiji and Boys

The group was considered as fearless trailblazers of K-pop groups, even preceding the 1997 law. Seo Taiji and Boys was replaced in the spotlight by agency talents H.O.T, Roo’Ra, Baby VOX, S.E.S, and Sechskies, which all soared to fame in the mid 90s.

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