
No signs of forced entry in Park Na-rae's home: reports
Park filed a police report Tuesday after discovering that certain valuables were missing from her home in Itaewon, Yongsan-gu, Seoul, the day before. According to her agency, the amount of the stolen property has not yet been determined.
Investigators are looking into the possibility that the alleged theft may have been conducted by someone acquainted with Park, or that the theft occurred some time ago without her knowledge, meaning any signs of forced entry have been lost over time.
Park is best known for the variety reality TV show "I Live Alone," of which she has been a regular cast member since 2016. As the program centers on the lives of the cast members living alone, Park's home has become widely familiar to the public. Park had previously expressed concerns over strangers unexpectedly showing up at her house.
Park bought the detached house in a posh residential district in 2021, reportedly paying 5.5 billion won, or roughly $4.8 million at the time.
Park's agency said Thursday it could not offer any additional information regarding the theft at this time.
rladpdnjs1024@heraldcorp.com

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
2 days ago
- Korea Herald
Park Sae-eun, fellow Paris Opera Ballet etoiles bring favorites to Korea
Building on a banner year for international ballet galas in South Korea ― with the American Ballet Theater in April and the UK's Royal Ballet in early July ― the Paris Opera Ballet is also making its return this summer. From July 29 to Aug. 1 at the Seoul Arts Center and Aug. 3 at the Daejeon Arts Center, the POB Etoiles Gala will bring an unprecedented number of the company's top dancers to Korean stages. Leading the gala is Park Sae-eun, who in 2021 became the first Asian dancer to be named an etoile, or principal dancer, at the world's oldest national ballet company. This marks her third time curating the gala, following previous editions in 2022 and 2024. Among the 10 featured etoiles are French ballet icon Mathieu Ganio and rising star Guillaume Diop. Diop made history in 2023 as the first Black dancer named etoile following his full-length performance as Albrecht in "Giselle" ― a milestone that took place in Seoul. 'Given everyone's packed schedules, it's extremely rare to have this many etoiles performing together outside of Paris,' Park said in a recent written interview with The Korea Herald. 'The fact that so many of my colleagues were eager to perform in Korea made all the effort worthwhile.' Visiting Seoul for the first time, Ganio is joining the gala in his first international performance since retiring from the company in March, following 'Onegin.' 'Ganio has long been the definition of the Paris Opera Ballet,' Park said in introducing him. 'His humility and dedication have made him a role model for younger dancers.' 'I'm grateful to Sae-eun for bringing me to Korea,' said Ganio. 'I'm especially looking forward to exploring Seoul. It's a city everyone's talking about these days, full of energy and increasingly influential in Europe as well.' Dancers bring favorites, finest works As in previous years, Park has curated the gala program with a balance of classical and contemporary works, divided into three distinct sections: Programs A and B in Seoul, and Program C in Daejeon. When selecting the pieces, Park said she centered the program on works that each dancer both loves and performs best. Another key priority was to include a medium-length repertoire to go on a fuller emotional and narrative journey. 'As a curator, I want to create performances for Korean audiences that feel like 'a performance that can only happen here and now.'' Park will perform "In the Night" and "The Nutcracker" in Program A and "Sylvia" and "The Sleeping Beauty" in Program B. Ganio will perform 'In the Night' and 'Sonata' in Program A. One of Park's favorites is Jerome Robbins' delicate 'In the Night,' set to Chopin's four piano nocturnes. The ballet features three couples, each portrayed at a different stage of their relationship. Park performs as part of the first couple with Paul Marque, while Ganio dances the second couple with Leonore Baulac. 'Personally, I believe this piece best showcases the distinctive dance style of the POB. For the first couple, it's especially important to express the most tender love where every subtle breath and touch counts,' said Park. 'The second couple represents stability and formality within a relationship,' Ganio added. 'What audiences could look out is how feelings are expressed through restraint. It's a nuanced portrayal that shows love doesn't always have to be passionate to be deeply felt.' Defining moments on and off the stage Park joined the POB as a corps de ballet member in 2011 and has been with the company for over a decade. Reflecting on her promotion to etoile in 2021, she described it as a turning point that brought both 'responsibility and freedom." Another big turning point came with the birth of her daughter in 2023. Park says motherhood has given her emotional space, allowing her to focus more deeply on conveying feeling in her performances. 'I found myself stepping onto the stage with more calmness and with emotional depth. Parenting taught me to focus intensely in short bursts, which has improved the quality and concentration of my practice,' said Park. Meanwhile, 41-year-old Ganio, who chose to retire a year earlier than the usual retirement age, is navigating a turning point now. He is currently participating in postretirement programs offered by the POB to redefine his direction beyond the stage. 'My daily routine isn't very different from my time at the company. The difference is that I perform less frequently in Paris, but more on international stages. I want to look back calmly on my past and create a meaningful transition,' said Ganio. 'Looking back, every moment on stage was sincere and profound. My decision to retire is part of a process of preparing for a new beginning. I want to stay connected to the arts, just in a different way offstage.' Looking ahead to the 2025-26 season, Park is set to perform "Giselle," a role she considers among her absolute favorites. "There are moments when music, movement and feeling all come together as one. My body reacts almost instinctively, and time on stage seems to stand still. In those moments, even the audience's breath feels distant, and I'm reminded, 'Ah, this is why I dance.' Those moments don't come often, but they're why I return to the stage again and again.'


Korea Herald
2 days ago
- Korea Herald
팟캐스트 (706) 세계가 열광하는 라부부의 정체는?
진행자: 홍유, Chelsea Proctor Why are Labubu monsters taking over the world? 기사 요약: 괴짜 같은 외모의 피규어 라부부가 젠지 세대의 개성과 불완전함을 상징하며 패션계의 새로운 아이콘으로 떠오르고 있다. [1] In an industry that thrives on constant reinvention, a mischievous, elvish toy called Labubu is quickly becoming fashion's most unexpected new star. thrive: 번창하다 mischievous: 장난기 있는 elvish: 요정 같은, 신비롭고 장난기 있는 [2] With its jagged teeth, wild hair and wide-eyed grin, Labubu has leapt from collectible curiosity to cultural symbol. Originally designed by Hong Kong artist Kasing Lung, Labubu was introduced through the Pop Mart x How2work series, initially appealing to a niche group of toy collectors. jagged: 들쭉날쭉한 appeal: 매력을 끌다 [3] But Labubu's popularity has surged well beyond that audience, especially among Generation Z consumers drawn to its offbeat, anti-cute aesthetic. offbeat: 색다른, 일반적이지 않은, 독특한 aesthetic: 미적 감각 [4] Unlike the smooth, symmetrical mascots that once dominated toy shelves, Labubu's oddball charm resonates with young people who reject conventional standards of beauty. The imperfections — sharp teeth, awkward grin, untamed hair — have become a statement of identity in an age where uniqueness is increasingly celebrated. oddball: 괴짜 yoohong@


Korea Herald
4 days ago
- Korea Herald
'Non-celebrity risk' shakes Korean dating reality TV
Authenticity and low overhead costs continue to make non-celeb shows appealing to producers despite off-screen scandals Dating reality shows featuring ordinary people have gripped South Korean audiences for years now, with hits like "I'm Solo" consistently dominating the country's television ratings. But there's a dark side to the trend: as these shows gain popularity, the term 'non-celebrity risk' has taken hold in the entertainment industry — referring to cases in which participants are later revealed to be involved in legal or ethical misconduct. The issue was thrust into the spotlight in late June when Seoul's Mapo Police Station confirmed the arrest of a man in his 30s, identified by the surname Park, on charges of quasi-rape, a crime distinguished in Korean law by the victim's state of unconsciousness. Park allegedly sexually assaulted a woman on June 21 in a parking lot in Seogyo-dong, Mapo-gu. Local media soon identified Park as part of the 25th cohort of participants in "I'm Solo," one of Korea's most popular dating reality programs, where he appeared under the nickname Young-chul. "I'm Solo" brings together ordinary men and women for one week to see if they can find love. What added to the controversy was that Park, at the time of his arrest, was still appearing on "I'm Solo, Love Forever" — a spinoff featuring the ongoing romantic arcs among former cast members of "I'm Solo." In a statement, the show's production team said, 'We learned of Park's criminal charges and the court's warrant for his arrest through media reports. Given the gravity of the situation, we will take appropriate measures to ensure viewers are not made uncomfortable during the broadcast.' Not only was footage of Park removed from the show, but so were scenes involving other cast members with ties to him. This incident followed another major scandal involving a former fan-favorite from the show's 10th cohort of daters. A cast member identified by her surname Choi — known to viewers by the nickname Jung-sook — was fined 7 million won ($5,026) in June for multiple offenses, including assault and defamation. According to prosecutors, Choi struck the victim in the face six times and destroyed their phone, while also publicly insulting them. "ToGetHer," Wavve's viral reality series featuring lesbian daters, also came under fire in May when allegations surfaced online against cast member Kim Ri-won. Anonymous posts accused Kim of previously working as an online adult content broadcaster and engaging in prostitution. In response, Kim admitted to having participated in six dinner meetings during her time as a BJ (broadcast jockey), but denied any physical involvement, saying, 'All of the gatherings were strictly dinners.' Following public backlash, the production team removed all of Kim's scenes and romantic storylines from the show. Unlike shows featuring celebrity performers -- who are represented by agencies and have received professional training in media conduct -- reality programs that rely on non-celebrities can be far more unpredictable off-screen. Still, producers say the format remains attractive for its authenticity and low overhead costs. 'Watching these reality shows, viewers can easily empathize (with the cast) and become immersed as they see their own experiences or emotions reflected in the honest and unfiltered appearances of the non-celebrity cast members,' said a local producer on the condition of anonymity. 'Plus, their appearance fees are significantly less than what celebrities command, making the productions highly cost-efficient.' But experts argue that the financial upside can no longer justify the reputational damage to broadcasters and the recurring cycle of scandals, rushed edits and public apologies, which undermine the authenticity of the programs and ultimately damage the credibility of Korean unscripted content as a whole. Lee Moon-haeng, a media and communications professor at Suwon University, emphasized that the core issue lies in the casting process. 'Broadcast media is inherently drawn to marketable individuals. Once a new person with public appeal is discovered, production teams often rush to cast them without conducting proper background checks.' Lee added, 'The focus is often on superficial traits — looks, education, social media presence — at the expense of character evaluation. That needs to change.' To tackle the issue, she suggested not only enhancing background checks but also implementing stricter legal safeguards for producers. 'Appearance contracts should include accountability clauses, such as the right to claim damages or pursue legal action if a cast member becomes embroiled in controversy," said Lee.