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      Why ‘Dr. Brain’ Is More Subdued Than Sensational

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      In an interview, the South Korean filmmaker Kim Jee-woon discusses his quiet psychological thriller and the emerging global popularity of K-drama.The South Korean science-fiction thriller “Dr. Brain,” whose first season wraps up Friday on Apple TV+, must seem jarring to anyone expecting another high-concept Korean series (or K-drama) like the recent international hits “Kingdom” (zombie costume drama), “Squid Game” (dystopian science fiction) and “Hellbound” (supernatural religious-cult drama).By contrast, “Dr. Brain” often feels stylistically and emotionally subdued thanks to its withdrawn protagonist, a brain scientist named Sewon (Lee Sun-kyun) who has an overdeveloped amygdala and an underdeveloped hippopotamus. So while Sewon has an exceptional memory, he’s not very warm or ingratiating.Lee Sun-kyun stars as a scientist with a device that can access other people’s memories and perspectives.Apple TV+Based on a popular Korean web cartoon, “Dr. Brain” follows Sewon as he searches for his missing son, Doyoon (Jeong Si-on), using his own experimental “brain-synchronizing” device, which allows two human patients to share their memories. Viewers learn more about Sewon in each new episode as he brain-syncs with his friends and loved ones, and sees himself through their eyes.For his first K-drama, the veteran genre filmmaker Kim Jee-woon (“Illang: The Wolf Brigade,” “I Saw the Devil”) tamped down the cartoon’s more fantastical elements — his “Dr. Brain” plays more like a psychological drama with science-fiction trappings. In a recent video interview, Kim, who directed all six episodes and wrote them with Kim Jin A and Koh YoungJae, discussed the emerging global popularity of K-drama and how he relates with his main character. These are edited excerpts from that conversation, which was facilitated by the translator Rebecca Lee.It’s not terribly common to build a series around an emotionally distant character like Sewon, who is defined primarily by curt speech and inexpressive body language. Why did you make him that way?We added the part where he has an overdeveloped amygdala and underdeveloped hippocampus. If you look at the original web cartoon, you’ll see that Hong Jac-ga, the original cartoon’s writer and artist, primarily defined Sewon as a creative, outstandingly intelligent character.I wanted to add more layers to Sewon’s personality; I imagined that he needed to be more socially isolated so that he could establish more relationships as the story progressed. We also added more supporting characters to our series than were in the original cartoon.Did you work with Lee Sun-kyun to make his muted performance reflect Sewon’s more sympathetic qualities?Sun-kyun initially struggled to follow all of Sewon’s emotions, so before we started shooting, he and I talked about how we’d make Sewon relatable. We decided to make the character seem warmer to viewers as the story progresses, so as Sewon goes through a series of brain-syncs, he shows us emotions that are not evident when we first meet him.Aside from the brain-synchronization aspect, “I tried to keep the plot grounded in reality,” Kim said.Apple TV+You use subjective camerawork to simulate what Sewon sees when he brain-syncs with other patients. These point-of-view sequences can be disorienting, but they mostly look realistic. How did you determine what viewers should see in these scenes?I tried to keep the plot grounded in reality because we didn’t turn Sewon into a superhero. So I started with the assumption that this type of technology is possible, and started building from there. For example: When Sewon brain-syncs with someone, he unconsciously picks up their habits, emotions and thoughts, so I tried to visualize how he might feel in his everyday life. What do his nightmares feel like? What does it look like if he’s on strong medication or recreational drugs?My team and I looked up successful experiments on brain synchronization, brain connection and brain wave transmission from around the world, and consulted with prominent brain engineers in Korea. Among the various neuroscience experiments, I was impressed by a 2011 study conducted by the psychology and neuroscience professor Jack Gallant at UC Berkeley. Gallant showed a short video clip to human test subjects and then was able to successfully reconstruct images from that video by observing the brain activity in their visual cortexes. Those experiments suggest that in the coming decades, dreams could be scanned and visualized by interpreting neurological activity from the visual cortex while we sleep.Were any aspects of “Dr. Brain” inspired by other series or films?This wasn’t an inspiration for “Dr. Brain,” but I’m generally inspired by the tempo and the wealth of detail in “Zodiac.” As for “Dr. Brain” and the concept of showing what people’s memories and dreams look like, I’m a big fan of “Eternal Sunshine of the Spotless Mind” and Satoshi Kon’s anime movie “Paprika.”What do you think about the recent global popularity of K-dramas? Are there certain genres or styles of them that you prefer or dislike?Korean music, movies and music started to reach a global audience after 1997, when Kim Dae-jung was elected president. His administration implemented policies that nurtured more competitive domestic arts programs and industries, which led to the development of a global fan base for Korean content. The generation that’s now creating Korean content grew up watching films and listening to music that were made during the middle to late 1990s, so they know how to appeal to global audiences.Seo Ji-hye, left, and Jo Bok-rae in “Dr. Brain.” Korean dramas have been more popular than ever on streaming services this year.Apple TV+Some cast members from “Dr. Brain” have said that you remind them of Sewon. Lee Sun-kyun said that you are both “a little blunt, but very deep.” Do you identify with the character?Yeah, there are several similarities. I’m not a person who’s quick to express emotions. I don’t really talk about myself a lot, and I’m not very active in pursuing personal or social relationships. These social inhibitions are partly an expression of my personality, but also how I see my role as a director. Korean filmmaking can be quite chaotic, and a director’s actions, behavior or mood can have a big influence on the crew and the production’s staff. A director cannot be shaken by every little thing that happens during the shoot, so he has to make sure that his entire team can rely on him.What makes Korean filmmaking uniquely chaotic? How is it different from something like “The Last Stand,” the American action movie you made with Arnold Schwarzenegger?In Korea, you and your team will often end the working day by going out for a couple of drinks. Maybe more than a couple of drinks — quite a few drinks. As you drink together, you try to find solutions to problems that happened during the workday that you weren’t able to confront at the time. That’s a very common occurrence in Korean filmmaking, and I think it’s unique to Korea as well. I’m not a big fan of doing that stuff. [Laughs.]Compared to Hollywood productions, Korean movies and dramas are built around a unique family-like hierarchy, though that’s now changing completely. Five years ago, the Korean entertainment industry passed new labor laws that shorten working hours and provide better welfare and health insurance. The pandemic’s need for social distancing has also brought immense changes to Korean film and TV, and while some old labor practices remain, a new culture is emerging. More

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      From BTS to ‘Squid Game’: How South Korea Became a Cultural Juggernaut

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      The country was once largely known for cars and smartphones, but a global audience has become mesmerized by its entertainment, and creators say success didn’t happen overnight.PAJU, South Korea — In a new Korean drama being filmed inside a cavernous studio building outside of Seoul, a detective chases down a man cursed to live for 600 years. Pistol shots crack. A hush follows. Then, a woman pierces the silence, screaming: “I told you not to shoot him in ​the heart!”The scene was filmed several times for more than an hour as part of “Bulgasal: Immortal Souls,” a new show scheduled to be released on Netflix in December. Jang Young-woo, the director, hopes it will be the latest South Korean phenomenon to captivate an international audience.South Korea has long chafed at its lack of groundbreaking cultural exports. For decades the country’s reputation was defined by its cars and cellphones from companies like Hyundai and LG, while its movies, TV shows and music were mostly consumed by a regional audience. Now K-pop stars like Blackpink, the dystopian drama “Squid Game” and award-winning films such as “Parasite” appear as ubiquitous as any Samsung smartphone.Jang Young-woo, the director of “Bulgasal: Immortal Souls.” He hopes it will be the latest South Korean phenomenon to captivate an international audience.Chang W. Lee/The New York TimesIn the same way South Korea borrowed from Japan and the United States to develop its manufacturing prowess, the country’s directors and producers say they have been studying Hollywood and other entertainment hubs for years, adopting and refining formulas by adding distinctly Korean touches. Once streaming services like Netflix tore down geographical barriers, the creators say, the country transformed from a consumer of Western culture into an entertainment juggernaut and major cultural exporter in its own right.In the last few years alone, South Korea shocked the world with “Parasite,” the first foreign language film to win best picture at the Academy Awards. It has one of the biggest, if not the biggest, band in the world with BTS. Netflix has introduced 80 Korean movies and TV shows in the last few years, far more than it had imagined when it started its service in South Korea in 2016, according to the company. Three of the 10 most popular TV shows on Netflix as of Monday were South Korean.“When we made ‘Mr. Sunshine,’ ‘Crash Landing on You’ and ‘Sweet Home,’ we didn’t have a global reaction in mind,” said Mr. Jang, who worked as co-producer or co-director on all three hit Korean Netflix shows. “We just tried to make them as interesting and meaningful as possible. It’s the world that has started understanding and identifying with the emotional experiences we have been creating all along.”The South Korean dystopian drama “Squid Game” became the most watched show on Netflix.NetflixThe growing demand for Korean entertainment has inspired independent creators like Seo Jea-won, who wrote the script for “Bulgasal” with his wife. Mr. Seo said his generation devoured American TV hits like “The Six Million Dollar Man” and “Miami Vice,” learning “the basics” and experimenting with the form by adding Korean colors. “When over-the-top streaming services like Netflix arrived with a revolution in distributing TV shows, we were ready to compete,” he said.South Korea’s cultural output is still tiny compared with key exports like semiconductors, but it has given the country the sort of influence that can be hard to measure. In September, the Oxford English Dictionary added 26 new words of Korean origin, including “hallyu,” or Korean wave. North Korea has called the K-pop invasion a “vicious cancer.” China has suspended dozens of K-pop fan accounts on social media for their “unhealthy” behavior.The country’s ability to punch above its weight as a cultural powerhouse contrasts with Beijing’s ineffective state-led campaigns to achieve the same kind of sway. South Korean officials who have attempted to censor the country’s artists have not been very successful. Instead, politicians have begun promoting South Korean pop culture, enacting a law to allow some male pop artists to postpone conscription. This month, officials allowed Netflix to install a giant “Squid Game” statue in Seoul’s Olympic Park.Seo Jea-won, the writer behind “Bulgasal.” The show’s supernatural plot recalls American TV favorites like “X-Files” and “Stranger Things.”Chang W. Lee/The New York TimesThe explosive success didn’t happen overnight. Long before “Squid Game” became the most watched TV show on Netflix or BTS performed at the United Nations, Korean TV shows like “Winter Sonata” and bands like Bigbang and Girls’ Generation had conquered markets in Asia and beyond. But they were unable to achieve the global reach associated with the current wave. Psy’s “Gangnam Style” was a one-hit wonder.“We love to tell stories and have good stories to tell,” said Kim Young-kyu, CEO of Studio Dragon, South Korea’s largest studio, which makes dozens of TV shows a year. “But our domestic market is too small, too crowded. We needed to go global.”It wasn’t until last year when “Parasite,” a film highlighting the yawning gap between rich and poor, won the Oscar that international audiences truly began to pay attention, even though South Korea had been producing similar work for years.“The world just didn’t know about them until streaming platforms like Netflix and YouTube helped it discover them at a time when people watch more entertainment online,” said Kang Yu-jung, a professor at Kangnam University, in Seoul.A scene from “Parasite,” the first foreign language film to win best picture at the Academy Awards.EPA, via ShutterstockBefore Netflix, a select number of national broadcasters controlled South Korea’s television industry. Those broadcasters have since been eclipsed by streaming platforms and independent studios like Studio Dragon, which provide the financing and artistic freedom needed to target international markets.South Korean censors screen media for content deemed violent or sexually explicit, but Netflix shows are subject to less stringent restrictions than those broadcast on local TV networks. Creators also say that domestic censorship laws have forced ​them to dig deeper into their imagination, crafting characters and plots that are much more compelling than most..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Scenes often overflow with emotionally rich interactions, or “sinpa.” Heroes are usually deeply flawed, ordinary people trapped in impossible situations, clinging to shared values such as love, family and caring for others. Directors and producers say they deliberately want all of their characters to “smell like humans.”Kim Young-kyu, CEO of Studio Dragon, which makes dozens of South Korean TV shows a year. Chang W. Lee/The New York TimesAs South Korea emerged from the vortex of war, dictatorship, democratization and rapid economic growth, its creators developed a keen nose for what people wanted to watch and hear, and it often had to do with social change. Most national blockbusters have story lines based on issues that speak to common people, such as income inequality and the despair and class conflict it has spawned.“Squid Game” director Hwang Dong-hyuk first made a name for himself with “Dogani,” a 2011 movie based on a real-life sexual abuse scandal in a school for the hearing-impaired. The widespread anger the film incited forced the government to ferret out teachers who had records of sexual abuse​ from schools for disabled minors​.Although K-pop artists rarely speak about politics, their music has loomed large in South Korea’s lively protest culture. When students in Ewha Womans University in Seoul started campus rallies that led to a nationwide anti-government uprising in 2016, they sang Girls’ Generation’s “Into the New World.” The boy band g.o.d.’s “One Candle” became an unofficial anthem for the “Candlelight Revolution” that toppled President Park Geun-hye.The K-Pop band Blackpink, which has conquered markets in Asia and beyond.Netflix, via Associated Press“One dominating feature of Korean content is its combativeness,” said Lim Myeong-mook, author of a book about Korean youth culture. “It channels the people’s frustrated desire for upward mobility, their anger and their motivation for mass activism.” And with many people now stuck at home trying to manage the enormous angst caused by the pandemic, global audiences may be more receptive to those themes than ever before.“Korean creators are adept at quickly copying what’s interesting from abroad and making it their own by making it more interesting and better,” said Lee Hark-joon, a professor of Kyungil University who co-authored “K-pop Idols.”On the set of “Bulgasal,” dozens of staffers scurried around to get every detail of the scene just right — the smog filling the air, the water drops falling on the damp floor and the “sad and pitiable​”​ look of the gunned-down man. The show’s supernatural plot recalls American TV favorites like “X-Files” and “Stranger Things,” yet Mr. Jang has created a uniquely Korean tragedy centered on “eopbo,” a belief among Koreans that both good and bad deeds affect a person in the afterlife.Based on the recent success of Korean shows abroad, Mr. Jang said he hopes viewers will flock to the new series. “The takeaway is: what sells in South Korea sells globally.”Construction of new studios at the complex where “Bulgasal” was filmed. “Our domestic market is too small, too crowded. We needed to go global,” Mr. Kim said.Chang W. Lee/The New York Times More

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      'Squid Game,' the Netflix Hit, Taps South Korean Fears

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      The dystopian Netflix hit taps South Korea’s worries about costly housing and scarce jobs, concerns familiar to its U.S. and international viewers.In “Squid Game,” the hit dystopian television show on Netflix, 456 people facing severe debt and financial despair play a series of deadly children’s games to win a $38 million cash prize in South Korea.Koo Yong-hyun, a 35-year-old office worker in Seoul, has never had to face down masked homicidal guards or competitors out to slit his throat, like the characters in the show do. But Mr. Koo, who binge-watched “Squid Game” in a single night, said he empathized with the characters and their struggle to survive in the country’s deeply unequal society.Mr. Koo, who got by on freelance gigs and government unemployment checks after he lost his steady job, said it is “almost impossible to live comfortably with a regular employee’s salary” in a city with runaway housing prices. Like many young people in South Korea and elsewhere, Mr. Koo sees a growing competition to grab a slice of a shrinking pie, just like the contestants in “Squid Game.”Those similarities have helped turn the nine-episode drama into an unlikely international sensation. “Squid Game” is now the top-ranked show in the United States on Netflix and is on its way to becoming one of the most-watched shows in the streaming service’s history. “There’s a very good chance it will be our biggest show ever,” Ted Sarandos, a co-chief executive at Netflix, said during a recent business conference.Culturally, the show has sparked an online embrace of its distinct visuals, especially the black masks decorated with simple squares and triangles worn by the anonymous guards, and a global curiosity for the Korean children’s games that underpin the deadly competitions. Recipes for dalgona, the sugary Korean treat at the center of one especially tense showdown, have gone viral.A shop in Seoul selling “Squid Game”-themed dalgona.Heo Ran/ReutersLike “The Hunger Games” books and movies, “Squid Game” holds its audience with its violent tone, cynical plot and — spoiler alert! — a willingness to kill off fan-favorite characters. But it has also tapped a sense familiar to people in the United States, Western Europe and other places, that prosperity in nominally rich countries has become increasingly difficult to achieve, as wealth disparities widen and home prices rise past affordable levels.“The stories and the problems of the characters are extremely personalized but also reflect the problems and realities of Korean society,” Hwang Dong-hyuk, the show’s creator, said in an email. He wrote the script in 2008 as a film, when many of these trends had become evident, but overhauled it to reflect new worries, including the impact of the coronavirus. (Minyoung Kim, the head of content for the Asia-Pacific region at Netflix, said the company was in talks with Mr. Hwang about producing a second season.)“Squid Game” is only the latest South Korean cultural export to win a global audience by tapping into the country’s deep feelings of inequality and ebbing opportunities. “Parasite,” the 2019 film that won best picture at the Oscars, paired a desperate family of grifters with the oblivious members of a rich Seoul household. “Burning,” a 2018 art-house hit, built tension by pitting a young deliveryman against a well-to-do rival for a woman’s attention.The masked guards in “Squid Game” mete out violence during the competitions.NetflixSouth Korea boomed in the postwar era, making it one of the richest countries in Asia and leading some economists to call its rise the “miracle on the Han River.” But wealth disparity has worsened as the economy has matured.“South Koreans used to have a collective community spirit,” says Yun Suk-jin, a drama critic and professor of modern literature at Chungnam National University. But the Asian financial crisis in the late 1990s undermined the nation’s positive growth story and “made everyone fight for themselves.”The country now ranks No. 11 using the Gini coefficient, one measure of income inequality, among the members of the Organization for Economic Cooperation and Development, the research group for the world’s richest nations. (The United States is ranked No. 6.)As South Korean families have tried to keep up, household debt has mounted, prompting some economists to warn that the debt could hold back the economy. Home prices have surged to the point where housing affordability has become a hot-button political topic. Prices in Seoul have soared by over 50 percent during the tenure of the country’s president, Moon Jae-in, and led to a political scandal.“Squid Game” lays bare the irony between the social pressure to succeed in South Korea and the difficulty of doing just that, said Shin Yeeun, who graduated from college in January 2020, just before the pandemic hit. Now 27, she said she had spent over a year looking for steady work.“It’s really difficult for people in their 20s to find a full-time job these days,” she said.South Korea has also suffered a sharp drop in births, generated partly by a sense among young people that raising children is too expensive.“In South Korea, all parents want to send their kids to the best schools,” Ms. Shin said. “To do that you have to live in the best neighborhoods.” That would require saving enough money to buy a house, a goal so unrealistic “that I’ve never even bothered calculating how long it will take me,” Ms. Shin said.Characters in the show receive invitations to participate in the Squid Game.Netflix“Squid Game” revolves around Seong Gi-hun, a gambling addict in his 40s who doesn’t have the means to buy his daughter a proper birthday present or pay for his aging mother’s medical expenses. One day he is offered a chance to participate in the Squid Game, a private event run for the entertainment of wealthy individuals. To claim the $38 million prize, contestants must pass through six rounds of traditional Korean children’s games. Failure means death.The 456 contestants speak directly to many of the country’s anxieties. One is a graduate from Seoul National University, the nation’s top university, who is wanted for mishandling his clients’ funds. Another is a North Korean defector who needs to take care of her brother and help her mother escape from the North. Another character is an immigrant laborer whose boss refuses to pay his wages.The characters have resonated with South Korean youth who don’t see a chance to advance in society. Known locally as the “dirt spoon” generation, many are obsessed with ways to get rich quickly, like with cryptocurrencies and the lottery. South Korea has one of the largest markets for virtual currency in the world.Like the prize money in the show, cryptocurrencies give “people the chance to change their lives in a second,” said Mr. Koo, the office worker. Mr. Koo, whose previous employer went out of business during the pandemic, said the difficulty of earning money is one reason South Koreans are so obsessed with making a quick buck.“I wonder how many people would participate if ‘Squid Game’ was held in real life,” he said.Seong Gi-hun, the show’s protagonist, entering an arena for one of the games.Netflix More

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      China's Weibo Suspends BTS, Blackpink and EXO Fan Accounts

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      Weibo accused one account devoted to a BTS member of illegal fund-raising amid a crackdown on 22 pages.HONG KONG — One month before the 26th birthday of Park Ji-min, a member of the South Korean boy band BTS, his fans in China pooled money to plaster his photographs and a declaration of their “eternal love” on the exterior of an airplane.As pictures of the customized Jeju Air plane circulated widely in China last week, Weibo, a Chinese microblogging platform, took notice. It accused the fan account of “illegal fund-raising,” and on Sunday, it banned the page from posting on the site for 60 days.The First in the world—Customized Exclusive Airplane in cooperation with Jeju AirPeriod: 9.1-11.30Flight Number: HL8087Note: The route may be changed due to some special reasons, please download Flightradar24 to check the flight information. pic.twitter.com/vp6AMpqjgd— PARKJIMINBAR👑 (@JIMINBAR_CHINA) September 1, 2021
      Weibo did not stop there. Hours later, the social media platform said that it would also suspend 21 other K-pop fan accounts for a month, including those that worship other BTS members; the girl group Blackpink; and EXO, a band with Chinese members, after receiving complaints.It was not immediately clear what social media crimes the fan accounts for Blackpink and EXO were deemed to have committed, but the move by Weibo came amid the backdrop of a broader government crackdown on celebrity worship and online fan culture in China.Beijing has recently taken steps to rein in fan clubs amid growing concern that the quest for online attention and celebrity adulation is poisoning the minds of the country’s youth.In its statement, Weibo said that stricter oversight of the fan groups would “purify” the online atmosphere and fulfill the platform’s responsibilities to society. It said that it would remove related blog posts that violated regulations and stressed that it “firmly opposes such irrational celebrity-chasing behavior and will deal with it seriously.”Weibo repeatedly cited a National Radio and Television Administration notice issued on Thursday for the need to manage the “chaos of fan clubs.” In the notice, the government regulator said it would ban broadcasts of “vulgar internet celebrities” and feminine-looking men. It stressed the importance of rectifying the “unlawful and immoral behavior” of celebrities and of upholding an industrywide standard of “loving the party and loving the country” in artistic creations.Representatives for BTS, Blackpink and EXO could not immediately be reached for comment. K-pop fans denounced Weibo’s action, calling it unwarranted and overly harsh.Agnes He, a university student in the southeastern Jiangsu Province of China, said that she believed it could help rein in fan behavior that had gone too far. But she also fretted about whether she could still buy albums at a discounted price through group purchases organized by the fan accounts.“I am quite sensible when chasing stars,” Ms. He said in a phone interview on Monday, adding that she saw pop idols as positive and energizing influences. “It’s a personal freedom. Just because I like Korean pop idols doesn’t mean I’m not patriotic.”K-pop fans around the world are known for their organizational prowess, with many decking out billboards, giant LED screens and public transportation vehicles to show support ahead of an album release or a favorite band member’s birthday. Some have turned to political activism, and others took credit for helping to inflate expectations for a rally in Oklahoma for Donald J. Trump, then the American president, by reserving tickets they had no intentions of using.But the online armies of Korean pop music fans are running up against President Xi Jinping’s sweeping agenda to clean up aspects of the entertainment industry in China. The Cyberspace Administration of China banned the ranking of celebrities by popularity. A regulator also accused an actress, Zheng Shuang, of tax evasion, fined her more than $46 million and ordered broadcasters to stop showing content in which she had appeared.BTS ran afoul of Chinese patriotic sentiment last year, when its leader, Kim Nam-joon, who performs under the stage name RM (formerly Rap Monster), made a seemingly innocuous remark about the shared suffering of Americans and Koreans during a ceremony commemorating the Korean War.Chinese internet users erupted in anger, questioning why he had not also recognized the sacrifices of the Chinese soldiers who had fought on the side of North Korea. To pre-empt a nationalistic backlash, multinational brands scrubbed references of their collaborations with BTS on their Chinese websites and social media accounts.This week, Chinese internet users both celebrated and criticized the suspension of the K-pop fan accounts. Some saw it as a necessary balm against idol worship and excessive spending on celebrities, even going as far as to call BTS an “anti-China group” and Korean pop music a form of “cultural invasion.”Dew Ding, a 24-year-old filmmaker in Beijing, was among those who supported the banning of the BTS singer’s fan account, saying that fans were overly incentivized to spend money in order to maintain an imaginary relationship with their idol.“This crowdfunding is getting more and more crazy, so I don’t think is a good thing,” she said.But Allen Huang, a Taipei-based D.J. who often writes about K-pop, said he did not believe that the ban would be effective in stopping fan accounts. To evade censorship and suspensions, many were rushing to hide their fund-raising campaigns, he said, sometimes by merely removing the word “fan page” from their accounts.“Chinese people will find ways to continue to support, whether that’s through non-Weibo fan clubs, silent fund-raising or just a rebranding of the idea of fan funding,” he said.Li You More

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      Asian Composers Reflect on Careers in Western Classical Music

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      For all their shared experiences, each of these five artists has a unique story of struggles and triumphs.Asian composers who write in Western classical musical forms, like symphonies and operas, tend to have a few things in common. Many learned European styles from an early age, and finished their studies at conservatories there or in the United States. And many later found themselves relegated to programming ghettos like Lunar New Year concerts. (One recent study found that works by Asian composers make up only about 2 percent of American orchestral performances planned for the coming season.)At times, the music of Asian composers has been misunderstood or exoticized; they have been subjected to simple errors such as, in the case of Huang Ruo, who was born in China, repeated misspellings of his name.For all their shared experiences, each of these artists has a unique story. Here, five of them provide a small sampling of the lessons, struggles and triumphs of composers who were born in Asia and made a career for themselves in Western classical music. These are edited excerpts from interviews with them.Tan DunMusic is my language. To me “West” and “East” are just ways of talking — or like ways of cooking. I’m a chef, and sometimes I find my recipe is like my orchestrations. It would be so boring if you asked me to cook in one style. Eastern and Western, then, have for me become a unique recipe in which one plus one equals one.I am in a very special zone historically. I’m 63, and part of the first generation of Eastern composers after the Cultural Revolution to deal with Western forms. But it’s just like rosemary, butter and vegetables. You can cook this way, that way — and that’s why the same orchestras sound so different, from Debussy to Stravinsky to myself.I’m lucky. When I came to the United States as a student, my teachers and classmates gave me enormous encouragement to discover myself. And I learned so much from John Cage. After this, it felt so easy to compose. And when people approach me for commissions, I re-approach them about what I’m thinking about. I remember when Kurt Masur asked me to write something for the New York Philharmonic — the Water Concerto for Water Percussion and Orchestra — I said, “Can I write something for water?” He said, “As long as you don’t flood our orchestra.”Yes, we often are misunderstood. It’s like when you cook beautiful black bean with chili sauce and chocolate. They may say, “Hey, this is a little strange.” But you explain why, and that can be very interesting. Thank God I love to talk. And there has been progress for us. I am the first Eastern composer to be the dean of a Western conservatory, at Bard. That’s like a Chinese chef becoming the chef of an Italian restaurant. That’s the future: a different way of approaching color, boundary-less, a unity of the soul.Du Yun”If I’m a spokesperson,” Du Yun said, “it’s for my own voice.”Caitlin Ochs for The New York TimesOne thing about composers like Tan Dun: They came out of the Cultural Revolution, after a door had closed for so many years. So there was so much focus on what China was doing, a lot of curiosity — curiosity rather than active racism. Our generation — I’m 44 — is so different.We learn Western music with such rigorous systems. And we do not close our ears to different traditions or styles; that attitude determines early on that you don’t have that kind of boundary, or ownership. But you still hear those conversation topics about “East meets West.” It’s so tiring. East has been meeting West for thousands of years; if we’re always still just meeting, that’s a problem.Programming Chinese composers around Lunar New Year is in general very problematic. Do we need to celebrate the culture? Yes. Do we need to celebrate the tradition? Absolutely. But it can be part of the main subscription series, or a yearlong series. Then you can really tell stories, not just group people by a country.My name does not give me ownership of Chinese culture. There are so many things I don’t know. There are so many burdens and fights — as the woman, the woman of color, the Chinese woman — that I decided to fight nothing and just create my own stuff. I told myself that if I had a great body of work, that would speak to what a Chinese woman can do.I never wanted to be pigeonholed, to be a reduced representation. I wanted to always open that Pandora’s box of messiness — and I encourage others to celebrate messiness, the unclean narrative of your life. Every immigrant has her own path; your work should absolutely be reflective of that. So if I’m a spokesperson, it’s for my own voice. And through that particular voice, I hope there is something that resonates.Bright ShengWhen someone asks Bright Sheng whether he’s a Chinese or American composer, he responds, “100 percent both.”Nora Tam/South China Morning Post, via Getty ImagesWhen I left China, it was a time of economic and, in a different way, cultural reform. I’m glad I came to the United States, but I do have a little bit of guilt. I probably could have done more there. But my agenda was to try to learn Western music and become the best pianist, conductor and composer I could be. I was fortunate to meet Leonard Bernstein, and I was under his wing for five years. Now, at 65, when someone asks me if I consider myself a Chinese or American composer, I say, in the most humble way, “100 percent both.” I’m well-versed in both cultures.There has been racism and misunderstanding, but that is inevitable. Would that be different if there were Asian people running orchestras? Yes, of course. My response has just been to try to write the best music I can. I wrote an opera for San Francisco Opera — “Dream of the Red Chamber,” which they’re reviving. It’s a very popular Chinese story, and when I worked on it with David Henry Hwang, we asked ourselves: “Is this for a Western audience or Eastern audience?” We decided first and foremost it should just be good, and it had to be touching. Good music transcends.For example, a piece of mine, “H’un (Lacerations),” premiered at the 92nd Street Y in New York. It is subtitled “In Memoriam 1966-1976” — about the Cultural Revolution — and it is very harsh and dramatic, with no melody. My mother was there, and she said it brought back a lot of painful memories. I was also sitting next to this very old Jewish woman, and after I took a bow onstage, she leaned over and said, “If you changed the title to ‘Auschwitz,’ this would be just as appropriate.” That was the highest compliment.Unsuk Chin“I believe in multiple identities and think that without curiosity,” Unsuk Chin said, “any style or any musical culture atrophies and risks becoming a museum.”Julie Glassberg for The New York TimesThe Korea of my childhood and adolescence was a very different place from what it is today. In the 1960s, it was an impoverished developing country, devastated by colonialism and by the Korean War, and until the late 1980s, there was a military dictatorship in place. In order to develop as a composer, one had to go abroad, as there didn’t exist an infrastructure for new music. Now 60, and having lived for 35 years in Europe, it remains important for me to contribute to the contemporary music scene in Asia.When I moved to Germany, there was a tendency to put composers in certain boxes, with all the aesthetic turf wars back then. Since I was neither interested in joining any camp or fashionable avant-garde or other trends, fulfilling exotic expectations, or assumptions of how a woman should or should not compose, I had to start a career in other countries while still living in Germany. Prejudices such as viewing an Asian composer or performing musician only through “sociological” lenses are still relatively common in various countries, but times are changing. Of course, there exist prejudices and complacency in the whole world, including in Asia. Perhaps the only remedy to this apparently, and sadly, all-too-human impulse is try to retain a sense of wonder and attempt to find distance to oneself.I have worked in different countries for decades, and have felt a need to stay curious about different musical cultures, traditions and genres. I believe in multiple identities and think that without curiosity, any musical style or culture atrophies and risks becoming a museum: Art has always thrived when there has been cross-fertilization.At the same time, one should be wary of the danger of exoticism and superficial cultural appropriation. I think that a contemporary composer needs to study different cultures, traditions and genres, but make use of those influences in a selective, historically conscious and self-critical manner.Huang RuoHuang Ruo said that if he spoke English with an accent, he composed with one, too.Rathkopf PhotographyWhen people heard I came from China, they would often say, “Does your music sound like Tan Dun?” I don’t think they meant any harm, but it shows a certain ignorance. I tried to explain that China is a big country, and we all speak with our own voice.I started as an instrumental composer, and a lot of those works got programmed at Asian-themed or Lunar New Year concerts. I didn’t notice at first, but you begin to see patterns. I don’t feel my work has any less quality than my other colleagues who are not minority composers, but for conductors, programmers and artistic directors, it doesn’t seem to come to their mind that you can naturally program an Asian composer’s work next to Beethoven or Tchaikovsky.That’s one of the reasons I turned to opera. I thought, there must be no opera company having a themed season devoted to Asian composers. So finally, I got to be programmed next to “Fidelio” and “Madama Butterfly.” That was my revenge. Also, I’ve wanted to write on subjects that reflect Asian or Asian American topics, to really share these stories. In this case it is actually me making the choice.Someone once told me I speak English with an accent. I said, “Otherwise, how would you know that’s me speaking?” I feel the same way as a composer. I want to have my own originality, to speak with my own accent — with my love of Western musical styles, but also this heritage I carry of Chinese culture.Without coming to the United States, I would be a different composer. If I went to Europe instead, I would also be very different. But I feel I made the right decision, and at 44 I fully embrace who I am today, and where I am as well. More

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      Subway Product Placement Makes It a Star of Korean TV

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyKorean TV’s Unlikely Star: Subway SandwichesThe sandwich chain’s aggressive use of product placement has made it a ubiquitous presence on the country’s television shows.Subway has appeared in at least 17 Korean shows, according to an informal tally by The New York Times.March 14, 2021, 5:00 a.m. ETIn an episode of the Korean television show “The K2,” which takes place in a world of fugitives and bodyguards, a man is being treated with a defibrillator when he enters into a dream state. On the fringe of death, he recalls taking a past love to a Subway restaurant and to a park for a picnic, where he gently feeds her a sandwich and soft drink with the Subway logo facing the camera.The detail is not a narrative quirk. It is a result of South Korea’s broadcasting regulations and the aggressive use of product placement in the country’s shows by Subway, the American sandwich chain famous for its $5 foot-longs.“People joke, ‘If I had a drink every time Subway popped up, I’d be drunk before the first half is over,’” said Jae-Ha Kim, a journalist in Chicago who reviews Korean dramas. “Everyone here’s like, ‘I never got a Subway sandwich that looked that good, with that much meat.’”Product placement in TV shows is a reality the world over. But South Korea’s terrestrial stations are prevented from inserting commercial breaks during programming, meaning many Korean companies must be creative about getting their wares in front of viewers. As Korean dramas have become more popular with international audiences, global brands have pushed to be part of the action.And no company has pushed harder than Subway, which has grown into the world’s largest fast-food chain by store count since its founding in 1965 in Bridgeport, Conn.Colin Clark, the country director for Subway in South Korea, said product placements in popular dramas like “Descendants of the Sun” had a positive impact on global sales, specifically citing markets in China, Taiwan and Singapore.“I swear to you, it was a difference between night and day — before the product placement and after the product placement — the effect it had on the customers,” said Mr. Clark, who declined to provide specific sales figures.Subway’s country director in South Korea credits product placement in Korean dramas with a positive impact on global sales.Credit…Jean Chung for The New York TimesSubway did not provide a total of how many Korean dramas its products had appeared in, but an informal tally by The New York Times counted appearances on 17 shows. That can add up to a lot of people seeing the company’s cold cuts. Netflix, with over 203 million worldwide members, has become a leading portal for Korean dramas. When the highly anticipated Korean drama “Sweet Home” was released on Netflix in December, 22 million viewers watched the show in its first month.By sleekly presenting its products on Korean dramas as a harbinger of cool, Subway is also presenting a fresh image to American viewers who are increasingly watching the shows.Recently, the company has faced scrutiny of its bread, which an Irish court ruled is not bread, and its tuna, which a lawsuit claimed is “anything but tuna.”But on TV, pristinely clean Subway shops pop with bright colors serve as the setting for business meetings, social gossip and dates for beautiful couples. Instead of cookies and tea, elderly Korean TV characters keep freshly wrapped Subway sandwiches at the ready — you never can know when an unexpected guest will drop by and crave an Italian sub.On the popular Korean drama “Crash Landing on You,” North Korean soldiers and a South Korean businesswoman find common ground through Subway sandwiches.Product placement in Korean shows began in earnest in 2010, when South Korea’s stringent broadcasting laws eased restrictions on the practice in an effort to increase network revenues and promote Korean goods. In 2018, South Korea’s networks sold $114 million worth of product placement, up 15 percent from the previous year, according to Soobum Lee, a mass communication professor at Incheon National University.Shows collect an average of about $900,000 from product placements, although 2016’s “Descendants of the Sun” sold triple that amount, Mr. Lee said. It was also criticized by some viewers for excessive product placement.Other American companies, like Papa John’s Pizza, have used product placements in Korean dramas, but none are as ubiquitous as Subway.Ms. Kim said these kinds of shoehorned ads had become popular topics of discussion online, with some fans claiming they disrupt plots and threatening to stop watching altogether.She pointed to criticism of the show “Guardian: The Lonely and Great God” (also known as “Goblin”) and a scene where it’s inferred that the protagonist prevents a man from committing suicide; in an effort to cheer him up, the suicidal man is handed a Subway sandwich. Subway is also celebrated in death; in another episode, the Grim Reaper is shown enjoying a meal from the chain.“I know in the U.S. people are sick of it,” Ms. Kim said of the product placement. “We’ve had Subway, we know it’s not good. Stop trying to make it seem good.”While American viewers may roll their eyes at Subway’s being portrayed as haute cuisine, Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul, said product placement had been proved to work.Subway “tastes way better in South Korea,” said Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul.Credit…Jean Chung for The New York TimesWhen the actress Jun Ji-hyun wore red lipstick on the 2013 series “My Love From the Star,” similar products sold out in stores throughout Asia. Books featured on Korean dramas have become best sellers.Marja Vitti, who covers Korean television for the website Dramabeans, said some fans had watched dramas to spot new products from companies before they were released to the public.“I seem to notice a new Samsung feature in every drama,” Ms. Vitti said. “It’s like, ‘Oh, I guess we’re getting folding phones soon.’”Keeping up with trends, Subway has begun teasing new sandwiches on shows. In October, the company released its own mini-drama on YouTube, “Someway,” about a young woman who develops a crush on a Subway employee and regularly eats at his location to win his affection.Each episode begins with a character expressing fondness for a new sandwich variety, like one made with Altermeat, a meat substitute. The first episode of “Someway” has more than 1.3 million views.“There’s humor in the advertising we’re doing,” Subway’s Mr. Clark said. “As a brand, if you take yourself too seriously, you’re going to end up always getting into trouble.”Subway opened its first South Korea location in 1992. Now there are more than 430 Subways in the country, its second-largest footprint in Asia behind China.To continually appeal to its target demographic of 15- to 25-year-olds, Subway is also becoming more inventive with how it is presented. On the drama “Memories of the Alhambra,” gamers competing in an augmented reality game collected valuable swords and coins by going to Subway.In real life, newer restaurants with digital menu boards display the chain’s appearances on shows.Product placement “was a relatively cheap way to get us brand awareness,” said Mr. Clark, who has also overseen collaborations with the K-pop star Kang Daniel and a limited-edition Subway streetwear release with Fila. “It was something the other brands were doing, but weren’t really kind of owning that space the way Subway started doing.”Mr. Yoo said that in South Korea, Subway was generally viewed as a healthier option than burger chains, which added to its appeal. During the decade he lived in the United States he rarely ate at Subway, he said, but now he regularly enjoys its sandwiches in Seoul.“To be honest, it tastes way better in South Korea,” Mr. Yoo said.Brands like Subway will soon be able to do more traditional advertising on South Korean television. In January, the Korea Communications Commission announced plans to allow commercial breaks on terrestrial stations.Product placement is not likely to disappear, though.Mr. Clark said that terrestrial advertising was too expensive and that those stations didn’t reach Subway’s desired young customer base, who frequently stream episodes on their phones.Besides, the practice of product placement has already become a plot point.On the show “Because This Is My First Life,” the lead character dreams of becoming a television writer. When she lands a job in the industry, her assignment is to jam product placements into the scripts of popular Korean dramas.In Subway’s YouTube mini-drama, a young woman develops a crush on a Subway employee and regularly eats at his location to win his affection.Credit…Jean Chung for The New York TimesAdvertisementContinue reading the main story More

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      Song Yoo-jung, a South Korean Actress, Has Died at 26

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      AdvertisementContinue reading the main storySupported byContinue reading the main storySong Yoo-jung, South Korean Actress, Is Found Dead at 26No cause of death was disclosed, but the case followed a string of suicides by young entertainers in the country.Tiffany May and Jan. 25, 2021Updated 2:25 p.m. ETSong Yoo-jung in 2014. She appeared in several Korean television dramas and also acted in music videos.Credit…Dong-a Ilbo, via Agence France-Presse — Getty ImagesA 26-year-old actress was found dead on Saturday in Seoul, South Korea, the latest loss of a young performer in the country’s entertainment industry, which has faced a reckoning over the mental health burden on its glamorous stars.The death of the actress, Song Yoo-jung, who appeared in several television dramas, was confirmed in a statement by the company that represented her, Sublime Artist Agency. The agency did not disclose the cause, but the suddenness of Ms. Song’s death brought to mind the series of suicides that has plagued Korean pop music in recent years.Alarms have long been raised over the pressures imposed by South Korean management companies on young entertainers, many of whom are groomed starting as teenagers to be pop idols. Their looks are closely scrutinized, and their tightly choreographed lives are often broadcast on social media platforms that expose them to both adulatory fan mail and hateful comments.For many, their time in the limelight is limited, if they ever reach star status. By their late 20s, some are considered replaceable.A number of the K-pop stars who have taken their own lives spoke of struggles with their mental health and the toll of cyberbullying. Ms. Song, an up-and-coming actress, had not mentioned publicly any such issues.Ms. Song began her acting career at 20 and appeared in commercials for Estée Lauder skin care products and for the ice cream chain Baskin-Robbins. In her breakout role in 2019, Ms. Song played a fresh-faced architecture student with a pixie cut, searching for her soul mate, in a web series called “Dear My Name.” She also acted in music videos.She was an advocate for people with disabilities, serving as ambassador for a South Korean group called Warm Accompaniment.Ms. Song’s agency called her “a great actress who performed with passion.” It did not immediately respond to requests for comment.The problem of suicide in South Korea is not restricted to the entertainment industry. The country has the highest suicide rate among the 37 developed nations that make up the Organization for Economic Cooperation and Development.But celebrity suicides, involving actors and others, have been a fixture in the South Korean news media over the past decade or more. In recent years, attention has fallen most sharply on deaths in the K-pop industry, one of the country’s most successful cultural exports.In 2017, a singer, Kim Jong-hyun, killed himself at 27 after leaving a note saying that he had been overcome by depression.In 2019, Sulli, a 25-year-old K-pop star, took her own life after she had complained about the relentless cyberbullying she faced upon joining a feminist campaign that advocated not wearing bras.About six weeks later, her friend Goo Hara, 28, also killed herself, leaving a handwritten note about her despair.Ms. Goo had tried to reason with online critics, asking them to refrain from vicious comments.“Public entertainers like myself don’t have it easy — we have our private lives more scrutinized than anyone else and we suffer the kind of pain we cannot even discuss with our family and friends,” she wrote.If you are having thoughts of suicide, call the National Suicide Prevention Lifeline at 1-800-273-8255 (TALK) or go to SpeakingOfSuicide.com/resources for a list of additional resources.AdvertisementContinue reading the main story More

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      How 8 Countries Have Tried to Keep Artists Afloat During Panemic

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      #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesA Future With CoronavirusVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyHow 8 Countries Have Tried to Keep Artists AfloatGovernments around the world have tried to support the arts during the pandemic, some more generously than others.While South Korea largely contained the spread of coronavirus last year — “The Phantom of the Opera” in Seoul closed for only three weeks — the government still provided some $280 million in pandemic relief for cultural institutions.Credit…Woohae Cho for The New York TimesJan. 13, 2021Updated 5:23 a.m. ETIn December, owners and operators of theaters and music halls across the United States breathed a sigh of relief when Congress passed the latest coronavirus aid package, which finally set aside $15 billion to help desperate cultural venues. But that came more than six months after a host of other countries had taken steps to buffer the strain of the pandemic on the arts and artists. Here are the highlights, and missteps, from eight countries’ efforts.FrancePresident Emmanuel Macron of France was one of the first world leaders to act to help freelance workers in the arts. The country has long had a special unemployment system for performing artists that recognizes the seasonality of such work and helps even out freelancers’ pay during fallow stretches. In May, Mr. Macron removed a minimum requirement of hours worked for those who had previously qualified for the aid. He also set up government insurance for TV and film shoots to deal with the threat of closure caused by the pandemic. Other countries, including Britain, quickly copied the move.GermanyGermany’s cultural life has always been heavily subsidized, something that insulated many arts institutions from the pandemic’s impact. But in June, the government announced a $1.2 billion fund to get cultural life restarted, including money directed to such projects as helping venues upgrade their ventilation systems. And more assistance is on the way. Germany’s finance ministry intends to launch two new funds: one to pay a bonus to organizers of smaller cultural events (those intended for up to a few hundred people), so they can be profitable even with social distancing, and another to provide insurance for larger events (for several thousand attendees) to mitigate the risk of cancellation. Germany is not the first to implement such measures; Austria introduced event insurance in January.BritainIn July, the British government announced a cultural bailout package worth about $2.1 billion — money that saved thousands of theaters, comedy clubs and music venues from closure. In December, several major institutions, including the National Theater and the Royal Shakespeare Company, were also given long-term loans under the package. Even with the help, there have already been around 4,000 layoffs at British museums alone, and more in other sectors.The National Theater in London was one of several major institutions to receive a long-term loan from the British government in December.Credit…Lauren Fleishman for The New York TimesPolandEuropean cultural aid hasn’t been enacted without controversy. In November, Poland announced recipients of a $100 million fund meant to compensate dance, music and theater companies for earnings lost because of restrictions during the pandemic. But the plan was immediately attacked by some news outlets for giving money to “the famous and rich,” including pop stars and their management. The complaints prompted the culture minister to announce an urgent review of all payments, but the government ultimately defended them, and made only minor changes.The Coronavirus Outbreak More