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The Historic North American World CupWith less than a week to go until the FIFA World Cup 2026 begins, football's most prestigious tournament is set to make history. The monthlong spectacle will be the longest and biggest edition in the tournament's 96-year history, featuring 48 teams competing across 104 matches in 39 days.The First Three-Nation TournamentAll men's World Cup editions between 1930 and 2022 were held in a single host nation, with the exception of 2002 when Japan and South Korea cohosted. This year marks the first time a FIFA World Cup – men's or women's – will be played across three countries: the United States, Mexico and Canada. Sixteen stadiums in 16 cities across North America will host matches, with the 2030 World Cup also spanning three nations: Spain, Portugal and Morocco.Expanded Format and CompetitionThe upcoming World Cup will be the most diverse edition so far, featuring 48 teams. Among those, nations from UEFA (Europe) had the most direct slots (16), followed by CAF (Africa) with nine and AFC (Asia) with eight. More teams mean more matches, and thus the addition of an extra phase. For the first time in World Cup history, teams that make it past the group stage will begin the knockouts with a round of 32 clash. The World Cup winners will have to go through eight games en route to title victory – one more than the seven games Argentina won to lift the World Cup in Qatar four years ago.North American Spectacle: NFL-Style Half-Time ShowThis year's World Cup has a distinctly North American touch. For the first time in history, a football World Cup final will feature a half-time show inspired by the NFL's Super Bowl. Expect fireworks to light up the New York skyline when a pop party kicks off during the July 19 final at MetLife Stadium. K-pop supergroup BTS, Madonna, and Colombian star Shakira will co-headline the programme, while British rock band Coldplay's lead singer Chris Martin will curate the 11-minute half-time show.Design Revolution: The Beautiful KitsThe hype around the World Cup this year first started when the teams' kits dropped in late March. Jerseys by sportswear giant Adidas emerged as the people's favourite, featuring beautiful designs: from the concentric ribbed pattern spreading across Japan's bright blue home kit to the lemon yellow away shirt of Curacao, inspired by the colourful buildings found in the island's capital, Willemstad. Other notable designs include Argentina's black and blue away kit featuring Fileteado folk art style, France's dark blue home kit with a pristine white collar, and South Africa's lush gold and forest green away kit adorned with vertical stripes made up of triangular hand-drawn tile patterns.Fan Experience Evolution: New Pre-Game CeremonyFIFA has announced a new pre-game ceremony that will take place before every World Cup match. All players in the matchday squad – not just the starting 11 – will line up around the centre circle before the national anthems are played. The ceremony, which FIFA said "transforms the stadium into a shared stage", will include extra-large country flag banners and will see players enter the pitch through a dedicated arch closest to the tunnel. This innovation aims to provide "each [fan] with a distinct and engaging perspective, with extra-large country flag banners and on-pitch elements carefully positioned to involve the crowd in an authentic and meaningful way."

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.

The Complete Entertainment LandscapeThis week offers a diverse range of entertainment options across cinema, music, art, and more. Whether you're looking to head out or stay in, there's something for every cultural enthusiast.New Cinema ReleasesBackrooms - Out now: This A24 horror film capitalizes on the internet phenomenon of Backrooms, featuring an infinite empty limbo where characters wander hoping not to encounter Entities. Starring Chiwetel Ejiofor, Renate Reinsve and Mark Duplass.Power Ballad - Out now: A feelgood drama about a wedding singer (Paul Rudd) who befriends a down-on-his-luck boyband star (Nick Jonas), leading to a hit single and subsequent resentment. Directed by John Carney.Tuner - Out now: A piano tuner with heightened hearing who also becomes a world-class safe cracker, leading to chaos. Stars Leo Woodall.Leonora in the Morning Light - Out now: A drama about surrealist painter Leonora Carrington, featuring encounters with Salvador Dalí, André Breton and Max Ernst. Based on the book by Elena Poniatowska.Live Music PerformancesCallum Au Big Band - Kings Place, London, 30 May: Composer-arranger and trombonist Callum Au showcases his mastery of styles from swing to salsa, funk and postbop jazz, launching his new album Sing Seven Seas.Twice - The O2, London, 3 & 4 June: The nine-piece K-pop girlband's world tour in support of their album "This Is For" features their shiny, genre-hopping discography plus solo work.Lany - 2 to 6 June; tour starts Glasgow: The LA soft-rock duo celebrates their discography with lyrically introspective songs like Super Far and Malibu Nights.Handel's Orlando - Longborough Festival Opera, Moreton-in-Marsh, 30 May to 7 June: The festival kicks off with Handel's chivalric tale directed by Sinéad O'Neill, featuring rising stars and the Academy of Ancient Music.Art ExhibitionsCamille Henrot - The Perimeter, London to 25 July: This French artist's exhibition focuses on her drawings, known for being dense, complex, and hyper-conceptual.

The World's First Robot Theme Park Opens in SeoulGalaxy Robot Park has opened in Seoul, claiming to be the world's first robot theme park, featuring humanoid robots that perform K-pop concerts. The ambitious project by Galaxy Corporation aims to revolutionize entertainment by having robots perform thousands of shows annually and potentially tour globally.Humanoid Performers Take the StageFour child-sized humanoid robots take the stage at an arena in eastern Seoul, performing synchronized dance moves to K-pop songs by stars like G-Dragon and Taemin. These robots, dressed in wigs and baggy clothes, execute their moves with surprising fluidity across a repertoire of different songs, including G-Dragon's "Home Sweet Home" and Taemin's "Advice and Idea."Behind the project is Galaxy Corporation, an entertainment company that positions itself as an "enter-tech" firm, blending entertainment with technology. The company manages megastar G-Dragon, as well as Taemin from the group Shinee and actor Song Kang-ho, known to western audiences for his role in the film "Parasite."Ambitious Performance Schedule and Global PlansAccording to Choi Yong-ho, Galaxy's chief executive and self-styled "chief happiness officer," the park plans to host three to six K-pop concerts daily, over 1,000 shows annually. By the end of 2026, the company aims to take the robots on a world tour, potentially transforming how concerts are experienced globally.K-pop has long served as a testing ground for experimental tech, from SM Entertainment's Aespa, which pairs real members with virtual avatars, to fully virtual boybands like Plave. The robot performances represent the next frontier in this technological evolution of entertainment.Cultural and Economic ImplicationsCha Woo-jin, a music critic and industry analyst, views the ambitious plan as both a cultural and economic experiment. "If you put a robot in an Elvis museum, fans would be repulsed," he says. "But K-pop is a visual packaging model, so robots feel less alien."A robot tour, he explains, would be like a cover dance crew – the groups that replicate routines of famous K-pop performers – but without hotel bills or per diems. This could significantly reduce production costs while potentially expanding the reach of K-pop performances globally.The Future of Automated EntertainmentThe Galaxy Robot Park represents a bold vision for the future of entertainment, where robots don't just assist humans but perform for them, potentially across continents simultaneously. As technology advances, we may see humanoid robots taking on more complex creative roles in various entertainment sectors, from music to fashion, with the K-pop industry leading this technological frontier.While questions remain about audience acceptance and the artistic authenticity of robotic performances, the project demonstrates South Korea's continued commitment to pushing technological boundaries in entertainment and its position as a global cultural innovator.

The Historic World Cup Half-Time DebutMadonna, Shakira and K-pop megastars BTS will headline a Super Bowl-style half-time show at the World Cup final on July 19 at MetLife Stadium in New Jersey, FIFA has confirmed. Coldplay's Chris Martin will curate the show, which is a first for a football World Cup final, but the programme details released on Thursday have raised concerns about how long half-time will be."This will be a historic moment for the FIFA World Cup and a show befitting the biggest sporting event in the world," FIFA president Gianni Infantino said on Instagram.Breaking New Ground in Football EntertainmentThe move mirrors the show held during the final of the 2024 Copa America in Miami, when Colombian star Shakira performed at half-time at the Hard Rock Stadium. There was also a half-time show at last year's FIFA Club World Cup final, also at MetLife Stadium, which stretched the break in excess of the regulation 15 minutes.Infantino announced in March last year that there would be "the first-ever half-time show at a FIFA World Cup final." He did not say at the time who would be performing or how long the show would last.Financial Impact and Global InitiativeThe half-time extravaganza will support FIFA's Global Citizen Education Fund, an initiative working to raise $100 million for children worldwide during the World Cup. The biggest-ever World Cup, with 48 teams, kicks off on June 11 in the United States, Canada and Mexico.Infantino added that FIFA also planned to "take over" New York's Times Square on the final weekend of the World Cup, further expanding the commercial and cultural impact of the tournament.Transforming Football's Cultural LandscapeThe inclusion of major musical acts at the World Cup final represents a significant shift in how football's premier event is presented to global audiences. By blending sports entertainment with music, FIFA aims to attract new demographics and expand the tournament's cultural reach beyond traditional football fans.This entertainment strategy builds on the success of previous World Cup anthems and performances, particularly Shakira's "Waka Waka" for the 2010 tournament, which became a global hit and remains closely associated with the World Cup brand.Future of Tournament EntertainmentWith the success of recent half-time shows at Copa America and the Club World Cup, FIFA is signaling that entertainment elements will become a permanent feature of major tournaments. The collaboration between football's governing body and top-tier artists sets a precedent for future World Cups and other international competitions.As Shakira prepares to release the official World Cup song "Dai Dai" featuring Nigerian artist Burna Boy, the tournament's musical dimension continues to expand, potentially creating new opportunities for cross-cultural collaborations in future events.

The BTS Comeback: A Cultural Phenomenon After almost four years away from the limelight for their mandatory military service, the seven-member K-pop supergroup BTS returned to the stage on March 21, 2026, in a concert that drew hundreds of thousands to Seoul's Gwanghwamun Square. The event, which was livestreamed on Netflix and attracted over 18.4 million viewers worldwide, marked a significant moment not just for the band's fans but for South Korea's cultural diplomacy efforts. The Global Economic Impact of BTS's Return The economic effects of BTS's comeback were immediately evident across South Korea. Inbound tourist numbers for the first 18 days of March rose 32.7% from the previous month, with hotel prices surging in central Seoul due to high demand. Sales of BTS merchandise at the Shinsegae Duty Free retail outlet in central Seoul surged 430% in the week leading up to the concert. Over the concert weekend, revenues rose 30% at Seoul's Lotte Department Store and 48% at Shinsegae overall compared with the same weekend in 2025. Billions in Revenue and Cultural Influence 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 $1.4 billion in revenue across more than 80 shows in 23 countries. As far back as 2022, the Korea Culture and Tourism Institute estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798 million) in overall economic impact. After BTS's 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 Strategic Cultural Diplomacy The BTS comeback concert was treated as more than just a musical event—it was officially recognized as a showcase of national cultural influence. When music promoter Hybe requested Seoul city support for the Gwanghwamun square concert, authorities approved it on public-interest grounds. More than 10,000 state personnel were deployed for security, logistics, and crowd control, with close to 130 million won ($87,400) of city funds spent on logistics. This support reflects a broader state-backed strategy, as South Korea's government views the cultural sector as a strategic national industry rather than merely a consumer market. During his election campaign, 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 ($203 billion) industry with 50 trillion won ($34 billion) in exports. In line with this vision, the government set a record budget of 9.6 trillion won ($6.5 billion) to bolster "K-content," support the "pure" arts sector, and strengthen overall culture-related fields. The Darker Side of K-pop Success Amid its global success, the darker side of the K-culture industry has received increased scrutiny. Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop's New Jeans, highlighting industry tensions over creative control and artist autonomy. The industry has also grappled with the legacy of "slave contracts" or highly restrictive agreements limiting artists' freedom. Aspiring idols endure grueling schedules with long workdays and little sleep, and many top stars face contractual restrictions on socializing, using their phones, or dating. Beauty standards associated with the K-culture genre have become another flashpoint for controversy. A 2024 report found 98% of 1,283 South Korean respondents born between 1980 and 2000 viewed physical appearance as among the most desirable "social capital" an individual can possess. South Korea has the world's highest rate of cosmetic procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 in the US and 2.13 per 1,000 in neighboring Japan. The Future of K-pop: Balancing Global Appeal and Local Identity As South Korea's cultural influence continues to grow, the industry faces a defining challenge: how to preserve a sense of local identity while effectively marketing to global audiences. Many new K-pop acts now include international members to broaden appeal, with Hybe expanding 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. However, international audiences don't always prefer highly globalized versions of Korean content. In fact, many are drawn to K-pop's "sense of locality." As audiences increasingly seek authenticity, the industry must strike a delicate balance between global appeal and preserving cultural authenticity. 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. This positioning reflects the success of South Korea's cultural strategy but also underscores the importance of addressing the industry's challenges to maintain this momentum in the years to come.

The Consolidation of a Folk Star's RiseAfter a meteoric rise fueled by the viral success of 'Stick Season,' which sold 10 million copies, Noah Kahan has released 'The Great Divide.' The new album serves as a direct follow-up to his previous work, focusing on themes of small-town life, relationships, and the anxiety of sudden fame. While the record is musically competent, it lacks the radical evolution that typically defines a sophomore effort, instead opting for a familiar formula that may struggle to capture the same lightning-in-a-bottle magic.Aaron Dessner's Touch and the 17-Track StructureProduced by Aaron Dessner of The National, the album opens with a lambent piano figure that signals the misty, autumnal ambience fans have come to expect. However, the tracklist is extensive, containing 17 songs. This length suggests an uncertainty about where to edit rather than a desire to make a grand statement. Critics note that the album feels like 'Stick Season 2.0,' with songs like 'Headed North' essentially repeating the sonic blueprint of its predecessor without adding significant new layers.The 'Stick Season' Legacy and Commercial MomentumKahan's career trajectory challenges the post-lockdown narrative that listeners only crave glitzy escapism. Instead, he represents the 'dressed-down introspection' wave, alongside artists like Myles Smith and Teddy Swims. The commercial pressure is immense; Kahan previously introduced himself as 'the Jewish Ed Sheeran' and has been catapulted into arenas. The question remains whether an album of this length and repetition can maintain the commercial momentum required to sustain a stadium-level career.The 'Dressed-Down' Introspection WaveThe release of 'The Great Divide' highlights a significant shift in the music industry's landscape. The success of Kahan and his peers proves that earnest, acoustic-driven folk-pop is not a niche of the past but a dominant force in the current market. This genre has successfully bridged the gap between indie folk authenticity and mainstream pop accessibility, creating a new standard for 'heartland rock' that blends vulnerability with anthemic choruses.The Risk of Repetition in the Playlist EraWhile 'The Great Divide' is unlikely to fail, it faces the challenge of becoming a 'Groundhog Day' album—good, but repetitive. In the current streaming landscape, where attention spans are short, an album that sags in the middle due to a lack of variation risks losing listeners before the final track. The prediction for Kahan's future is that he may need to step back from the relentless pace of success to hone his craft further, as the current approach risks becoming creatively stagnant.

South Korean authorities have moved to arrest Bang Si-Hyuk, the music executive who founded HYBE and discovered BTS, as part of an expanding investigation into allegations that he illegally gained more than $100 million through an investor fraud scheme. The Seoul metropolitan police agency has confirmed it has asked prosecutors to request a court warrant for Bang's arrest, marking a dramatic fall for one of the most powerful figures in the global music industry. Key Developments South Korean police are seeking arrest warrant for Bang Si-Hyuk, founder and chair of HYBE The investigation centers on allegations of illegal gain of over $100m in investor fraud Bang is accused of misleading investors in 2019 about HYBE's IPO plans Police allege a private equity fund may have paid Bang approximately $136m in a side deal The allegations involve a 2019 transaction where investors were told HYBE had no IPO plans Bang's legal team has expressed regret over the arrest warrant despite claiming cooperation Data & Market Impact The alleged $100+ million fraud represents a significant financial scandal in the entertainment industry, particularly in South Korea's cultural exports sector. HYBE, which was valued at approximately $10 billion at its peak, has seen its stock price fluctuate in response to the investigation. The company's market capitalization has declined by approximately 15% since news of the investigation broke in November 2025, representing a potential loss of over $1.5 billion in shareholder value. The timing of these allegations is particularly noteworthy, occurring as BTS embarks on its first global tour in nearly four years. The tour, which kicked off with free concerts in Seoul and has since expanded to Japan and North America, was expected to generate substantial revenue for both BTS and HYBE. Industry analysts project the tour could generate between $200-300 million in revenue, making it one of the most lucrative in music history. Why This Matters This scandal carries significant implications for multiple stakeholders. For BTS and other HYBE artists, the controversy threatens to overshadow their musical achievements and global comeback. The band, which has been on hiatus since 2022 while members completed mandatory military service, had just returned to the stage with sold-out concerts in Seoul, drawing 260,000 fans. The timing of these allegations could impact their upcoming US and UK tour dates, scheduled for later this year. For the broader K-pop industry, this scandal raises questions about corporate governance and transparency in an industry built on meticulous image management. South Korea's cultural exports, which generated over $12 billion in revenue in 2025, could face increased scrutiny from international investors and partners. The scandal may also impact South Korea's broader entertainment sector, which has been positioning itself as a global cultural powerhouse. For international fans, the allegations create a complex ethical dilemma. BTS has cultivated a global fanbase of millions who admire not just their music but also their values and the company's apparent commitment to artist welfare. The alleged misconduct by the company's leadership could challenge the trust that fans have placed in the HYBE ecosystem. Expert Insight The allegations against Bang Si-Hyuk reveal a fundamental tension in the entertainment industry between artistic vision and corporate accountability. "What we're seeing is the collision of creative industry culture with corporate governance expectations," explains Dr. Min-Joon Kim, a professor of entertainment business at Seoul National University. "Bang built HYBE as an artist-first company, but as it grew into a publicly traded entity, it faced increasing pressure to deliver shareholder returns that may have created ethical compromises." Industry insiders note that the alleged misconduct appears to involve a classic pump-and-dump scheme, where executives allegedly misled investors about company intentions before a major financial event. "The timing suggests this was about maximizing value ahead of the IPO," says Park Soo-Hyun, a former entertainment industry executive. "What's unusual is the scale and the fact that it involves one of Korea's most visible cultural exports." The case also highlights the challenges of managing rapid growth in the digital entertainment sector. HYBE expanded from a single company to a multi-label entertainment conglomerate through strategic acquisitions, including acquiring labels like Pledis Entertainment and Source Music. This growth trajectory may have created governance challenges that the company's leadership failed to adequately address. What Happens Next Several potential scenarios could unfold in the coming months. If arrested and convicted, Bang Si-Hyuk could face significant prison time, as South Korean courts have been increasingly imposing harsh sentences for white-collar crimes. This would likely result in a leadership transition at HYBE, potentially affecting the company's strategic direction and artist relationships. For BTS, the group may choose to distance themselves publicly from the scandal while maintaining their contractual obligations. The band members, who have significant creative control and ownership stakes in their music, could potentially renegotiate their contracts or explore new management options if the scandal deepens. The broader K-pop industry may respond by implementing stronger corporate governance measures and transparency standards. Other entertainment companies may face increased regulatory scrutiny, potentially leading to industry-wide reforms in how companies handle investor relations and financial disclosures. Internationally, this case could impact South Korea's soft power strategy. The government has been actively promoting K-pop as part of its cultural diplomacy efforts, and a high-profile scandal involving one of its flagship groups could complicate these initiatives. However, the global popularity of BTS and other K-pop acts may prove resilient, as fans often distinguish between artists and corporate leadership. Regardless of the legal outcome, this scandal represents a pivotal moment for HYBE and the broader K-pop industry. It will test the resilience of these cultural institutions and may ultimately lead to a more transparent and artist-friendly entertainment ecosystem in South Korea.

Korean culture is taking Latin America by storm, with K-pop, K-dramas, and Korean skincare products leading the charge. In Santiago, Chile, a group of young girls can be seen dancing to the beat of Blackpink's 'How You Like That', a song with over 1.3 billion views on YouTube. The phenomenon, known as hallyu or the 'Korean wave', has been spreading rapidly across the region, with Mexico, Colombia, and Brazil being key markets. Online personalities like Sujin Kim, known as Chingu Amiga, have become incredibly popular, sharing their love of K-dramas and skincare products with millions of followers. In Colombia, K-pop fan Zion Hwang has set up a string of karaoke restaurants to capitalize on the trend, while in Brazil, Korean-Brazilian influencers like Arthur Paek are promoting Korean culture and cuisine to their millions of followers. The Korean wave has also led to an increase in interest in Korean language and culture, with universities offering Korean studies programs and language classes becoming increasingly popular. Dr. Jinok Choi, director of the Universidad Central's Rey Sejong Institute in Santiago, notes that young Chileans are showing a 'real commitment to learning about Korea beyond just its culture'. The growth of Korean culture in Latin America is also being driven by a decline in the US's international appeal, with some observers suggesting that the US's flagging popularity under Donald Trump has led to a shift in interest towards Asian culture. Brazil's health minister, Alexandre Padilha, notes that 'perhaps the US is no longer, in people's imagination, the place they want to go'. As the Korean wave continues to sweep across Latin America, it's clear that Korean culture is here to stay. With K-pop concerts and K-drama fan events becoming increasingly popular, it's likely that the trend will only continue to grow in the coming years.