Seoul – Shekinah Yawra had no other option but to spend the night at a South Korean jjimjilbang, a 24-hour bathhouse, after every hotel near central Seoul sold out in late March.
But sleep was secondary for the 32-year-old Filipino who had made her way to Seoul’s Gwanghwamun Square at 7am to secure a spot in a crowd that city officials estimated would grow to hundreds of thousands.
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All this was for a glimpse at the seven-member K-pop supergroup BTS, who returned to the stage on March 21 after almost four years away from the limelight for their staggered, mandatory military service.
Though she failed to secure one of 22,000 free tickets for BTS’s first return concert in the square, Yawra was still ecstatic to stand on the sidelines and watch the concert live on a big screen set up for the occasion.
“We all came just for this,” she told Al Jazeera, recounting how friends had flown in from the Philippines for a single night to catch the concert.
Worldwide, more than 18.4 million viewers tuned in for the Netflix livestream of the concert.
Kpop group BTS perform during ‘BTS The Comeback Live Arirang’ concert in central Seoul, South Korea, March 21, 2026 [Kim Hong-ji/Pool/Reuters]
With an estimated 30 million fans worldwide – who refer to themselves as the BTS ARMY – the K-pop group is the most visible symbol of “Hallyu”, or the “Korean Wave”, and the global surge of interest in South Korean popular culture and the financial revenues being generated as a result.
In late March, BTS’s 10th studio album, Arirang, topped the charts in the United States, Japan and the United Kingdom, the world’s three largest music markets. The group’s upcoming world tour is expected to generate more than $1.4bn in revenue across more than 80 shows in 23 countries.
Domestically, inbound tourist numbers for the first 18 days of March rose 32.7 percent from the previous month, according to Ministry of Justice data, as the return concert approached and hotel prices surged across central Seoul amid the demand for rooms.
In the week leading up to the concert, sales of BTS merchandise – from BTS glow sticks to blankets – surged 430 percent at the Shinsegae Duty Free retail outlet in central Seoul, the company said.
Over the concert weekend, revenues also rose 30 percent at the city’s Lotte Department Store and 48 percent at Shinsegae overall, compared with the same March weekend a year earlier, in 2025.
Fans cheer before the BTS The Comeback Live Arirang concert as they wait near the concert venue, in central Seoul, South Korea, on March 21, 2026 [Kim Hong-ji/Reuters]
As far back as 2022, the Korea Culture and Tourism Institute (KCTI) – a government-sponsored think tank and research organisation – estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798m) in overall economic impact.
KCTI researcher Yang Ji-hoon told Al Jazeera that a sample study of the crowd at the BTS comeback event at Gwanghwamun Square highlighted the uniqueness of fandom-driven tourism. More than half of those at the concert were foreign visitors and many required long-haul travel to attend.
“In Europe and the United States, travel tends to be concentrated within its own regions,” Yang said.
“So, for people to overcome such travel barriers and come to South Korea, it usually requires more than just ordinary motivation or typical spending – it’s not something that happens easily,” he said.
K-pop’s transition to the global mainstream
The scale of BTS’s return to the entertainment world reflects a broader state-backed strategy.
When music promoter Hybe requested Seoul city support for the Gwanghwamun square comeback concert, authorities approved it on public-interest grounds, treating the event as a showcase of national cultural influence.
Almost befitting an official event, more than 10,000 state personnel were deployed for security, logistics and crowd control.
According to data retrieved by South Korean publication Sisain, through a public information disclosure request to the Seoul government, close to 130 million won ($87,400) of city funds were spent as part of logistics for the comeback concert.
South Korean government support for BTS has a precedent.
As members of the boyband approached South Korea’s mandatory military service age, policymakers debated special exemptions for members of BTS, which was estimated to have generated $4.65bn annually to the country’s economy.
After BTS’s forthcoming concerts in Mexico City sold out in just 37 minutes, Mexican President Claudia Sheinbaum urged South Korea’s President Lee Jae Myung to “bring the acclaimed K-pop artists more often”, noting nearly one million fans in Mexico had attempted to secure 150,000 tickets.
South Korea’s cultural influence is also extending beyond music.
South Korea’s cosmetics exports surpassed $11bn last year, according to global accountancy firm PricewaterhouseCoopers (PwC), overtaking France in cosmetics shipments to the US, while South Korean food and agricultural exports reached a record $13.6bn, according to data from the Ministry of Agriculture, Food and Rural Affairs.
KCTI researcher Yang described the growing interest as a phase of “transition to the global mainstream”, where South Korean products are internationally recognised and content output is measured against worldwide benchmarks such as the Billboard charts and the Academy Awards.
He also warned that structural reform is now essential to keep pace with the wave of interest in South Korea.
“As the industries expand in scale, they must also evolve in its underlying systems, infrastructure, and workforce,” he said.
“Rather than focusing solely on direct financial support, future governmental policies should move toward strengthening foundational conditions – such as improving labour environments, addressing unfair practices, building relevant infrastructure, and establishing more robust statistical and data systems,” he said.
Politicians appear to be paying attention.
During his election campaign last year, President Lee framed the next phase of cultural expansion as “Hallyu (Korean Wave) 4.0”, with promises to grow the sector into a 300 trillion won ($203bn) industry with 50 trillion won ($34bn) in exports.
In line with this vision, the government set the budget to bolster “K-content”, support the “pure” arts sector and strengthen the overall culture-related fields at a record 9.6 trillion won ($6.5bn) — reflecting the president’s view of the cultural sector as a strategic national industry rather than merely a consumer market.
South Korea’s strategy appears to be paying off.
South Korea now ranks 11th globally in “soft power”, according to Brand Finance’s Global Soft Power Index, placing the country as both “influential in arts and entertainment” and “products and brands the world loves”, just behind the US, France, the United Kingdom and Japan.
The darker side of K-pop: Pressure to become a perfect idol
Amid its global success, the darker side of the K-culture industry has received more scrutiny.
Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop’s New Jeans, a band considered to be a potential heir to BTS and their all-female colleagues Blackpink. The highly public legal dispute that started in 2024 highlights industry tensions over creative control and artist autonomy.
Since the early 2000s, K-pop has also grappled with the legacy of “slave contracts”, or highly restrictive agreements limiting artists’ freedom. Although reforms by the Fair Trade Commission have improved protections for performers, contractual obligations in the K-pop industry are exacting on new performers and their strict work routines have long been documented.
From their trainee years, aspiring idols endure gruelling schedules that involve long workdays and little sleep.
Many top stars often face contractual restrictions on socialising, using their phones or dating. They are also typically limited in what they can say publicly, relying on agency-managed messaging to communicate with fans and the media.
While the rise of social media and other online platforms has opened new avenues for more direct expression and interaction in recent years, concerns over burnout and depression have continued to shadow the industry, with several high-profile stars taking their own lives.
Beauty standards associated with the K-culture genre have also become another flashpoint for controversy.
A 2024 report by South Korean economy news site Uppity found 98 percent of 1,283 respondents born between 1980 and 2000 viewed physical appearance as among the most desirable “social capital” an individual can possess.
Nearly 40 percent of respondents in the survey had undergone cosmetic procedures, while more than 90 percent held neutral or positive attitudes regarding undergoing medical procedures to enhance beauty.
According to the International Society of Aesthetic Plastic Surgery, South Korea has the world’s highest rate of procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 people in the US and just 2.13 per 1,000 in neighbouring Japan.
Yoo Seung-chul, a professor of media studies at Ewha Womans University in Seoul, said that K-culture has reinforced the normalising of beauty as a significant metric of personal and social value.
“K-culture has reinforced systems and structures around self-expression,” Yoo told Al Jazeera.
“With the rise of webtoons that incorporate themes like plastic surgery, there has been a noticeable reduction in the stigma towards going under the knife among younger audiences in their teens and early twenties,” Yoo said, explaining that popular plastic surgery platforms such as Unni have further normalised the trend by connecting people to clinics and reviews of these clinics and their surgeons.
At the same time, globalisation has reshaped the K-culture industry itself. Many new K-pop acts now include international members to broaden appeal.
Hybe has expanded this strategy through its US subsidiary, Hybe America, producing globally oriented groups like Katseye, which only has one South Korean member in its six-member girl group.
The shift has prompted debate.
Even BTS’s latest album Arirang – a nod to South Korea’s most iconic folk song – has divided fans over its use of English lyrics and foreign producers.
“K-content is being designed with global audiences in mind from the outset. In film, there has been a noticeable rise in genres like horror and science fiction, which are easier to export internationally,” Yoo said.
“This global orientation is also reflected in K-pop agencies recruiting foreign members for idol groups,” he said.
But international audiences do not always prefer highly globalised versions of Korean content, Yoo said, adding, in fact, that many are drawn to K-pop’s “sense of locality”.
As audiences increasingly seek authenticity, Yoo argues the industry faces a defining challenge.
“Industries and companies need to figure out how to preserve a sense of local identity while effectively marketing to global audiences,” Yoo added.
“Striking that balance will be crucial in shaping the next phase of Korea’s cultural exports.”
HOUSTON — Deandre Ayton has a simple explanation for his first career ejection.
“We’re both sweaty guys,” the Lakers center said after his accidental elbow to the back of Alperen Sengun‘s head resulted in his ejection from Sunday’s loss to the Houston Rockets.
The Lakers center was assessed a flagrant foul 2 with 5:41 remaining in the third quarter of the 115-96 Game 4 loss. It “looked crazy on camera,” Ayton acknowledged, but it was not malicious.
Ayton said he was bracing for contact against the 6-foot-11, 243-pound Sengun and Ayton’s arm simply slipped off Sengun’s shoulder and hit his head. It didn’t affect Sengun at all: he finished with 19 points and six rebounds on six-of-12 shooting as the Rockets forced a Game 5 on Wednesday at 7 p.m. PDT at Crypto.com Arena.
“I’m not no guy who is a dirty player or plays like that,” Ayton said. “If anything, me trying to play dirty, I’ll damn near hurt myself. I just hope he’s all right and they don’t think it was intentional.”
Sengun and Rockets coach Ime Udoka both said the flagrant 2 call — which characterizes an act as “unnecessary and excessive” — was “soft.” Sengun said he didn’t expect Ayton to be ejected for the play. When crew chief James Williams declared that Ayton would be sent off, the Lakers center simply dropped his head and walked to the locker room. Injured Rockets star Kevin Durant, who missed the game with a bone bruise in his sprained left ankle, waved goodbye from the Rockets bench.
“We’re proud of the way he handled it, and I think that just speaks volume about who he is and his progression,” Lakers guard Marcus Smart said. “He’s learning, he’s continuing — it probably would have been justifiable if he went off, right? But to keep his composure and stay positive, I think that’s only going to help him and this team.”
Lakers’ Jarred Vanderbilt (2) and Deandre Ayton (5) go up for a rebound against Houston forward Tari Eason during the first half Sunday.
(Karen Warren / Associated Press)
It was the first time Ayton was ejected in his eight-year NBA career. The center, to the chagrin of many in the NBA, has long been known more for his finesse touch shots than physical play. Lakers coach JJ Redick called Ayton, “a sweet, just, like, kind soul.”
Lakers coaches and teammates have tried to encourage him to increase his intensity and aggressiveness. General manager Rob Pelinka even made a custom shirt with half of Ayton’s face next to the face of a lion.
Ayton answered the call Sunday with 19 points and 10 rebounds. He was one of the Lakers’ only forms of consistent offense in the blowout loss. Outside of Ayton and Rui Hachimura, who shot six for 10 with 13 points, the Lakers were shooting 31.3% from the field in the first three quarters. They trailed by as many as 26 points as Smart and LeBron James, veterans who led the team to a 3-0 lead in the best-of-seven series, looked worn down with Luka Doncic (hamstring) and Austin Reaves (oblique) still sidelined.
“It’s been tough for DA,” said Smart, who had nine points, five assists and four turnovers. “We’ve been hard on him. He’s been hard on himself. You guys have been hard on him. … He’s been taking it, embracing it and trying to get better and better. Today he showed that. He came out, we relied on him a little bit more. He made plays for us.”
Ayton soon had company in the Lakers locker room after teammate Adou Thiero and Rockets guard Aaron Holiday were both ejected after receiving two technical fouls with 1:11 remaining in the fourth quarter. They got tangled up under the basket and exchanged words briefly.
Thiero, who entered the game midway through the fourth quarter when the Lakers cleared their bench, made a memorable playoff debut by scoring his first postseason basket with an emphatic alley-oop dunk over Dorian Finney-Smith. But the premature ending to his first postseason appearance was “uncalled for,” James said.
“It made no sense,” said James, who had 10 points and nine assists but eight turnovers. “… I don’t think that was warranted. Give him two technicals? The kid just got in the game.”
At the end of the physical game, players from both teams jawed back and forth at midcourt after the final buzzer. Much of the Lakers bench and some coaches approached to help diffuse the situation. Redick said he was simply poking his head into the situation the way people might turn their heads to gawk at commotion in a bar. When he determined nothing was happening, he left.
“Hilarious,” Smart said with a smirk of the postgame skirmish. “Very hilarious.”
Situated along the UK coast is a county brimming with quintessential British villages and an array of scenic walking routes, and the most hygienic soft play centre for little ones
This UK county is brimming with pretty villages and scenic vistas (Image: Getty Images/iStockphoto)
A beautiful UK county with ample walking routes and picturesque villages has the ‘cleanest soft play’ centre.
Soft play centres, with their cushioned equipment, ball pits, mats, slides and climbing frames, are not only a great way to keep young children entertained, but they also support their development. Children can improve their social skills, enhance their coordination, and develop physical movement while stimulating imagination and creativity in a fun, safe and secure environment.
So it’s no wonder that soft play is popular among parents and their little ones. Yet parents not only want to ensure the soft play is suitable for their child, but also want to know it’s hygienic before planning a visit.
Luckily, the outdoor play specialists at Outdoor Toys have uncovered the cleanest soft play centres across 20 of the most popular UK counties, and there’s one that stood out from them all. Somerset ranked as the most hygienic soft play, according to the toy experts’ analysis of Tripadvisor reviews.
The experts revealed that fewer than 4 in 100 reviews mentioned hygiene issues at Somerset’s soft plays. Instead, unsanitary reviews made up just a mere 3.9% of all feedback on TripAdvisor, and parents praised the “clean and airy” environment at Space Adventurers Indoor Play in Taunton.
Other highly rated centres in Somerset include Play Haven SoftPlay, Ocean Adventurers Soft Play, and Safari Tots. But it’s not just the children’s play centres that warrant a visit to the county.
Somerset is packed with picture-perfect villages and picture-postcard landscapes, set against rolling hills, patchwork fields, dramatic gorges, coastal shores and ancient woodlands. Thanks to its acres of lush landscapes, the county is famously home to Glastonbury Festival at Worthy Farm in Pilton, and when the festival isn’t on, it offers ample walking opportunities, including to the summit of Glastonbury Tor.
Dunster is considered one of the prettiest villages in Somerset, with its preserved medieval architecture, more than 200 listed buildings and 17th-century Yarn Market, nestled within Exmoor National Park. There’s also the picturesque village of Selworthy, with its array of thatched cottages, All Saints Church, and scenic walking routes to Selworthy Beacon, a hill and Marilyn of Exmoor, which offer panoramic views across the coast.
There’s also the small village of Allerford, with its whitewashed thatched cottages and 15th-century packhorse bridge, located on the edge of Exmoor National Park. As well as the historic village of Mells, which has often been dubbed one of the prettiest in the UK, thanks to its ‘chocolate-box’ charm, with honey-coloured houses and walks along the Wadbury Valley and Mells River.
So why not combine a trip to the cleanest soft play centre with exploring the stunning vistas of Somerset? And with its position along the coast, you could even spend a day at the seaside during the warmer months.
Top 10 regions with the cleanest play areas
1.Somerset
Total reviews: 908
Unsanitary reviews: 35
Unsanitary reviews (%): 3.9%
2. South Yorkshire
Total reviews: 1,040
Unsanitary reviews: 57
Unsanitary reviews (%): 5.5%
3. Lancashire
Total reviews: 1,106
Unsanitary reviews: 65
Unsanitary reviews (%): 5.9%
4. Greater Manchester
Total reviews: 1,344
Unsanitary reviews: 87
Unsanitary reviews (%): 6.5%
5. Nottinghamshire
Total reviews: 401
Unsanitary reviews: 33
Unsanitary reviews (%): 8.2%
6. Essex
Total reviews: 1019
Unsanitary reviews: 87
Unsanitary reviews (%): 8.5%
7. Hampshire
Total reviews: 1,020
Unsanitary reviews: 96
Unsanitary reviews (%): 9.4%
8. Lincolnshire
Total reviews: 564
Unsanitary reviews: 55
Unsanitary reviews (%): 9.8%
9. North Yorkshire
Total reviews: 457
Unsanitary reviews: 50
Unsanitary reviews (%): 10.9%
10. West Midlands
Total reviews: 447
Unsanitary reviews: 49
Unsanitary reviews (%): 11.0%
Kim May, Creative Arts Therapist at ISP Fostering, revealed the benefits of soft play centres for young children. She told the Outdoor Toys team: “Spending time in play centres helps children to embrace the play and imagination stages of their development and is beneficial for socialisation and the development of physical and cognitive skills.
“When children are in their most infant years, development is about harnessing imagination and mobility skills, and lots of what they learn is through sensory experiences – soft play can positively contribute to this. For children under four years old in particular, they rely on their sensory memory a lot (taste, touch, sound, feel, and sight). Even if a child is too small to physically move or interact with toys or a play area, they are still learning and developing through their senses.”
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