Go Hyun Jung 고현정

[Guest kdramafanusa]

The dress & shoes really didn't work on her. She put on some weigh.

Source: http://bntnews.co.uk/app/news.php?nid=3709

Ko Hyun-jung returns with charisma, The Queen's office

Write: 2013-06-05 10:44:12



[by Joy Kim] Actress Ko Hyun-jung will be back to TV screen with her new drama The Queen's Office.

On 4th of June, production report conference of MBC drama The Queen's Office was held at 63 Convention center. For the conference, staffs and actors including Ko Hyun-jung, Yoon Yeo-jung, Lee Ki-young, Choi Yun-young, Kim Hyang-ki, Cheon Bo-gun, Kim Saeron, Seo Sin-ae, and Lee Young-you were present.



Ko Hyung-jung's comment became an issue after she said "Honestly, I think there is nothing to learn from children. Adults should teach children well." She looked as a charismatic teacher, her drama's character name is Ma Yeo-jin.

Meanwhile, cold-hearted teacher Ma Yeo-jin's story - new drama The Queen's office will start airing from 12th of June. (photo by bntnews DB)   



contact: news@bntnews.co.uk

[Guest jyshen]

class="entry-title"Will Ko Hyun-jung Become the True Queen of the Classroom?

It seems that MBC’s new Wednesday and Thursday drama “Class of the Queen” [translated title], set to premiere on Wednesday, may be a bit different from previous classroom dramas. The show will depict on the struggles between the heartless and charismatic teacher Mah Yeon-jin (Ko Hyun-jung) and a class led by representative Shim Ha-na (Kim Hyang-gi). And the drama will aim to ask what the true values of teaching, learning and happiness are through the various incidents they experience. Producer Lee Dong-yoon said the series will “contain no romance nor the common ‘secret to one’s birth’,” elements that are so often included in dramas, so this probably means he is that confident. But this too was probably because he believes in the solidness of Japanese drama “Queen’s Class,” which the new show is based on, the strong child actors, and top actress Ko who is returning to the small screen for the first time in three years. Below is an excerpt from a press event last week, regarding the issues the show must resolve to touch viewers’ hearts.

 http://www.tenasia.com/archives/59487

Q. I think you may feel some pressure over the fact that there is an original show.

Producer Lee Dong-yoon: When I first saw the original show, I thought, ‘What is this?’ Because its story was refreshing but was different from the usual classroom dramas. So I focused more on delivering the message from the original show than reenacting it perfectly. I wanted to make it into a show that is a reflection of Korea’s education system and society today in particular.

 

Q. Then how exactly did you differentiate your show from the original?

Writer Kim Won-seok: As mentioned just now, we worked on showing the reality of Korea. And there was deep enough of a message in the original show so we worked at adding in other elements that would be fun.

Producer Lee: And I think we also differentiate ourselves with the acting skills of our cast. I know this will sound like self-praise but we have an amazing cast. Ko Hyun-jung, who will play the teacher Mah Yeon-jin, had been our first choice for the role, and we worked hard to cast the child actors as well. We took many things into consideration because they are children we’d need to spend three to four months together in real life, and a year in the drama. 

 

Q. Did you refer to the original drama to prepare playing your character?

Lee Ki-young: A principle I stick to when it comes to acting is that I won’t watch its original work if there is one. And it’s because if I watched the original work, I may not be able to separate myself from the character within that, and then feel uncomfortable when I do acting that seems different from the original. I think it’s better to make a space of my own that I can act in with freedom. 

Ko Hyun-jung: I didn’t watch the original drama. I realized while preparing to play my character that it’ll be better not to. And based on my experience, the outcome is better when I just trust in the producer and go with what the writer has written.

 

Actress Ko Hyun-jung speaks at the press event for MBC’s upcoming Wednesday and Thursday series “Class of the Queen” [translated title] on June 4, 2013. [MBC]

 

Q. It must’ve been quite difficult to act with so many child actors.

Choi Yoon-young: I was almost always the youngest member of the cast in the past. But there are a lot of child actors in this drama and I’m also playing a teacher, so there a lot of things I have to pay attention to. However, I’ve been surprised many times by the children because they act so well even though they’re young. I’ve been learning a lot from them.

Lee: What is key on set is keeping the children quiet. There are times when it’s just difficult to do so. For example, there was a scene where we got together 400 children but there weren’t just the child actors but also extras that were six or seven years old. So it really wasn’t easy doing something with all of them. We’ve been trying out a lot of ways (to keep them quiet) including telling them they’ll get presents if they do a good job.

Ko: In a way, I feel more at ease because I’m working mostly with children. But producer Lee Dong-yoon has been the main reason we’ve been doing well with the child actors. And personally, it’s my first time working with 24 students so it’s not easy, but physically, it’s probably the child actors that have the hardest time. When the shoots take longer, some of the child actors, that aren’t the main characters, have to sit in the chair of the classroom for hours without saying anything. 

 

Q. This is your first drama in three years. Do you not feel a lot of pressure because of this?

Ko: Not too much. The more we shoot, the more I remember from my past MBC drama, and I think I’m getting used to things.

 

Q. It couldn’t have been easy to play your character because the character in the original drama had such a distinct personality.

Ko: I have difficulties for every acting role. But what I focused on most this time around was on making this drama one that could be watched not only by the younger generation but also by their parents. There were times I had difficulties because my character Mah Yeon-jin speaks to the children in a very strong and cruel way, but I hope viewers will focus more on the message she is trying to deliver.

 

Q. Did producer Lee Dong-yoon not have any particular requests in regards to you playing the teacher?

Ko: What he requested in the beginning was that I make her seem a bit sexy. That’s why I decided that I should lose some weight. I thought a fat witch-like teacher who bothers her students all the time would make her look too easy [Laughs]. I wanted to make sure that her sharp personality would be expressed not only through her lines and gaze but also through the swiftness of her movements.

 

Q. Well the drama won’t be an entirely new kind of drama but not one that’s been seen often. This means the show might be more risky so you must feel pressured over the ratings as well.

Ko: I do but not over the ratings. I think what’s important is what is shot and how our story unfolds because in a way, ratings are decided by luck. We’re going to try to focus more on how to deliver our story persuasively.

http://www.tenasia.com/archives/59487

[rubie]

Lee Byung-hun & Lee Min-jung to Tie the Knot on August 10Go Hyun-jung Decides to be on a Diet?
Published on June 12, 2013 arirangworld

[Guest kdramafanusa]

Source: http://bntnews.co.uk/app/news.php?nid=3933

Ko Hyun-jung returns with black charisma

Write: 2013-06-14 13:20:50



[by Joy Kim] Actress Ko Hyun-jung is back with more charisma at MBC drama The Queen’s Classroom with perfect styling.

MBC drama The Queen’s Classroom is about cold hearted and charismatic teacher Ma Yeo-jin and her 6th grade students. From the first episode, Ko Hyun-jung makes appearance in all black look overwhelming the others in the classroom.

Ko Hyun-jung’s character Ma Yeo-jin got nick name from the viewers as ‘Black Witch’ as soon as she made appearance in the drama.  

According to the drama staffs, they wanted show Ma Yeo-jin’s character through her style as well. Ma Yeo-jin is perfectionist and stays cold in every situation. The staffs were looking for fashion items which have both charisma and unisexual image.

To create the image of Ma Yeo-jin, the stylist came up with entire outfit in black color. For the accessories, black bag with architectural design with modern and chic details. The bag’s architectural design matched with Ma Yeo-jin’s character. The bag is known to be from local fashion brand Rouge & Lounge.    

Ko Hyun-jung’s black bag from Rouge & Lounge is for both genders and it has unique characteristics with long shoulder straps and architectural design.

(photo captured from MBC The Queen’s Classroom, by Rouge & Lounge, bntnews DB)  

contact: news@bntnews.co.uk

[Guest kdramafanusa]

Mr X's writeups.

http://vaultofdoom.wordpress.com/2013/06/13/first-look-%EC%97%AC%EC%99%95%EC%9D%98-%EA%B5%90%EC%8B%A4-the-queens-classroom/
class="entry-title"[FIRST LOOK] 여왕의 교실 (The Queen’s Classroom)

There was a tiger in the class.

With a skirt, admittedly – although her femininity or lack thereof was hardly a detail worthy of scrutiny, considering that the entire class was almost literally richard simmons its collective pants.

It’s hard to contextualize memories of your educational background in a universal way, because while our childhood as a whole can be more or less easily pigeonholed through the use of a few functional cliches, education is something that upbringing and our own individuality alone cannot define – something we mostly have no control over, in the grand scheme of things. Indeed, comparing the life of a student in East Asia, Europe and North America seems like an exercise in futility, given how that experience can go from an ancillary formative foundation hopefully creating a (ethical and intellectual) compass the child will live by in his adulthood to a bonafide full-time job dominating the child’s entire adolescence with its disarming influence. As an offspring of the Reggio Emilia Approach like many other fellow European children, school was never that dominating or intimidating an experience for me. But it surely was another story for the fine young ladies and gentlemen I eventually came to befriend in Busan and the rest of that beautiful country.

My Korean friends would narrate tales of sleepless nights and copious nosebleeds, coming home way past sunset after exhausting sessions at the school library studying for that all important test (because landing in the bottom half of the school was akin to a mortal sin); they’d tell tales of school parent associations treating their children’s educational process like a spin doctor paving the way for a political candidate. I’d vividly recall trying to emulate Magic Johnson in the school basketball team with dubious success, playing hookie with a half dozen mates under the suspicion that the stern high school math teacher would serve us with a guerrilla test, and of our frequent visits to run-down cinemas to watch films we were way too young to understand – or to be legally allowed to watch, truth to be told. School for me was at times frustrating, occasionally illuminating, and overall an enriching experience. But in places like Korea it’s often like going to war and back, its physical and emotional spoils weighing on the student’s mind more than the formative benefits inculcated upon him.

And yet, although our personal reaction will evidently be shaped by the weight the school environment holds in our lives, there is thankfully some common ground. Like the way we as children would react to a particularly strict teacher, especially on our first meeting. Be it an environment which considers both student and teacher as fellow learners (like in the Reggio Emilia Approach) or one where the teacher is a sort of all-powerful drill instructor donning a skirt and glasses, a child’s sense of curiosity and his spontaneous initial fear in approaching every new environment is more or less similar regardless of the realities that await him past that emotional door: we’re all wandering in the dark, fearing the Boogieman will suddenly frighten us. And yet can’t help but keep walking, even running. Most of the time that fear is uncalled for, but there is always the exception confirming the rule. When you grow up then you might realize that that stern exterior might be the result of a teacher projecting her insecurities onto her job, trying to find a solid and consistent milieu (pestering her poor students!) that her chaotic everyday life cannot offer. But at first sight, in the eyes of a child, the scary and strict teacher becomes like a tiger, roaring at her helpless preys from that intimidating pedestal.

Picture a carefree fifth-grader, heading to school for his first day while happily kicking his favorite soccer ball. All that spontaneous fervor and energy of youth can create problems if not controlled by moderation, and sure enough his ball ends up inadvertently hitting the back of a passerby’s head. His gigantic figure dominates the frame, half man half creature from your scariest nightmares. Was he a gangster in layman’s clothing? A ssireum wrestler strolling to his training ground? The proverbial coarse merchant down at the port, cursing up a storm even with a clear sky? No idea, but his intimidating roar startled the kid, as his bulging figure was storming towards him with the fury of a hungry grizzly. The kid barely managed to escape, reaching school at last. Bless the heavens, he would have thought. Except that menacing figure would be now staring at him from that pedestal, inside his class. He had just kicked his new teacher in the head with a soccer ball. Welcome to school, kiddo.

Time was March 16 of 1981, twenty past six in the afternoon – right around the time kids would come back from an intense day at school. The first scene of a drama that would become legendary featured child sensation Ahn Jung-Hoon (who would later go on to transition somewhat successfully into an adult character actor, becoming a regular of Choi Wan-Gyu dramas) as the aforementioned fifth-grader, and the imposing teacher was played by the late, great Jo Gyeong-Hwan, who had become a megastar on TV thanks to the success of seminal police procedural 수사반장 (Chief Inspector) – yes, the one both detectives and criminal suspect stop everything to watch in 살인의 추억 (Memories of Murder). In its five year run, the show would star a who’s who of Korea’s impressive roster of child actors (another name who survived in the industry up to today being the fabulously talented Yoon Yu-Seon), and eventually be picked up by (once upon a time) formidable talents like director Hwang In-Roi and writer Song Ji-Na. It started as nothing more than yet another children’s drama, but eventually became one of the most beloved. People knew it as 호랑이 선생님 (Tiger Teacher).

As you’ve read in the first few chapters of The Rise & Fall of the K-Drama Empire (more of those are coming, I promise), children’s dramas were one of the first formats the industry embraced once it began expanding its timeslots from a predominantly prime-time based venture to something beginning in the early afternoon and extending all the way to late night. People who would write important pages in the history of K-dramas, like sageuk legend Kim Jae-Hyung, would begin here, and it’s through children’s dramas that many child actors (like Lee Jae-Eun and Son Chang-Min) began their careers. But the format started falling out of favor with the masses right as the democratization of the country experienced its final apotheosis in the early 1990s, ushering in the Golden Age of this medium and monumental changes both in viewing demographics and their tastes – bonanza which paradoxically came at the expense of consistently eroding diversity. Children’s dramas were slowly but surely replaced by campus dramas like 우리들의 천국 (Our Paradise) in 1991, and eventually morphed into Yoon Seok-Ho’s trendy drama prototypes like 내일은 사랑 (Love is Tomorrow). It would take over a half decade to see the format regain its lost vigor, with Kim Ji-Woo’s 학교 (School) series, but now we were no longer dealing with cheerful and educational school tales targeting children, but something a little more realistic and mature.

Now having morphed into a bonafide genre instead of a mere format casting a wider thematic net, these school-themed youth dramas have been wandering in a worrying creative limbo for years – with even the resurrected School format treading the same stagnant thematic waters with its 2013 inception. Kim Hyeon-Hee’s wonderfully breezy 강남엄마 따라잡기 (Gangnam Mom) and Jung Sung-Joo’s brilliant 아내의 자격 (A Wife’s Credentials) are two of the very few highlights this genre has given us in recent years (although both approach its most predominant themes only tangentially), and for a good reason: they contextualize the contemporary life of children in school by inserting it in a wider social, sociological and educational reality – something which even involves those who had always amounted to nothing more than peripheral, non-playing characters, like the parents themselves.

It would be naïve to consider 여왕의 교실 (The Queen’s Classroom), MBC’s new Wed/Thu miniseries, as yet another example in the unnervingly uneven maturation of this genre, because as you know it’s a largely faithful remake of a popular 2005 NTV drama. I will devote an upcoming Yeouido Observer to the motivations that guide this industry’s sudden penchant for copiously remaking Japanese dramas, but let’s just say that it’s not exactly moved by an increasing sense of cultural amalgamation between the two countries – or some kind of endearing sense of newfound affinity. What should interest us is how this drama positions itself in the context of J-dorama adaptations, and what it brings to the table.

You can’t always generalize as you’ll certainly find the odd drama or two going in different directions, but there are generally two ways to remake a drama: either you theoretically extrapolate what made the original work and try to project it onto your derivation as closely as possible (paying special attention not to make a wholesale copy), or you filter its thematic consciousness through your own set of values and cultural idiosyncrasies, applying it to your own environment. I have little interest in the former, as it’ll often turn into intellectually derelict project dramas like 아름다운 그대에게 (To The Beautiful You). But the latter can often have some legs, particularly in the case of material like 하얀거탑 (The White Tower).

It’s easy to see why Yamazaki Toyoko uncharacteristically gave Lee Gi-Won permission to adapt her brilliant original work 白い巨塔 (Shiroi Kyoto), from which an acclaimed film and two television adaptations were born (in 1978 and 2003) – some go as far as suggesting that CTV’s 白色巨塔 (The Hospital) is the third one, as the novel by Hou Wenyoung it was based upon bears a frightening resemblance to her original work. Lee’s brilliant adaptation and Ahn Pan-Seok’s majestic hand created something even more compelling than Inoue Yumiko’s 2003 rendition, as they transcended the Hippocratic struggles of two formidable doctors by throwing them inside the political and social cauldron that is the Korean work environment. The White Tower wasn’t just a superb medical drama debating the merits of that famous oath and its repercussions vis-a-vis the relationship between doctor and patient, but also an astute political drama. One could even argue it was a strange sort of sageuk donning hospital gowns as its armor, and scalpels as its swords. Being able to write adaptations that pay homage to the original but also somewhat transcend its limitations is the most fascinating aspect of approaching any remake. And while I might question the ulterior motives at the core of this particular production, the way this show approaches what was a severely limited premise shows a lot of potential.

女王の教室 (Jyoou no Kyoushitsu) is certainly a passable show with a decent roster of child actors – particularly Shida Mirai, who at the time looked like a prodigy. But what it and a large amount of dramas in Japan often suffer from – perhaps because of strong literary roots that dominate and eventually demote the medium to a mere vessel of narrative information that never feels three-dimensional — was this didactic and frustrating disconnect from reality, the idea that your overarching message was so predominant that everyone and everything inside it felt like a mere puppet, a pawn at the service of your ultimate message, which becomes hamfisted to an insufferably grating extent. Plus if you add Amami Yuki’s terribly mechanical acting and directing that only emphasized the disconnect, there wasn’t much to bite on with the exception of that overarching, omnipresent theme – a teacher’s tough love, the edges of which are pushed to the limit. So a limited original for what looked like yet another star vehicle masquerading as remake, surely? Not exactly promising, and prone to yet another lazy regurgitation by the powers-that-be in Yeouido.

Then again, a few elements made this show intriguing from the start: first, the fact that it’s very expertly cast. Set aside the eclectic choice of going with Go Hyun-Jung and the usual array of talented veterans (Lee Gi-Young, Yoon Yeo-Jung, Jung Seok-Yong et al), it’s the kids that stand out. This is a veritable all-star roster that combines both popularity, raw talent and upside potential: you’ve got the bonafide stars-in-the making like Kim Hyang-Gi, Kim Sae-Ron and Seo Shin-Ae, and established actors who’ve already amassed a decade long career like Lee Young-Yoo – remember the cute kid from 불량주부 (Bad Housewife)? It has fireballs of energy like Cheon Bo-Geun of 헬로우 고스트 (Hello Ghost), and promising and versatile young talents like Kim Ji-Hoon and Jung Ji-In from the childhood portion of 누나 (My Dear Sister), not to mention Son Seong-Joon and Im Je-No from A Wife’s Credentials.

Lee Dong-Yoon is nothing more than a honest journeyman, his credits featuring throwaway makjang like 신들의 만찬 (Feast of the Gods) and microseries like 런닝,구 (Running). But it’s writer Kim Won-Seok that was an intriguing prospect – and of course at this point it’s pretty obvious we’re not talking about the veteran who wrote 8일 (Eight Days) and 임꺽정 (Im Kkeokjeong). Intriguing because Kim grew up professionally in Chungmuro, working as assistant director for Kwak Kyung-Taek in 닥터K (Dr. K) and then with Ryu Seung-Wan in his tremendous debut 죽거나 혹은 나쁘거나 (Die Bad) – after which they also worked together in 짝패 (The City of Violence). He has adapted a couple of comedies on the big screen before, but that’s a pretty gritty resume for someone approaching this genre, particularly in light of his only other work on TV – the glorious 친구 – 우리들의 전설 (Friend: Our Legend), in which he helped Kwak Kyung-Taek both write and direct. Someone who’s been dealing with traumatized gangsters and problematic childhoods his entire career approaching the world of grade schoolers? Wow.

The effect is immediate: not only does the show pay homage to the original by essentially adopting its same narrative structure and character trajectory – down to the fine details, like our devilish teacher telling the kids that since a life of discrimination awaits them out there, might as well start to get accustomed to it early on, alleged injustice included. It puts it in a more realistic Korean context in which conformism (or better, Japan’s own brand of group-oriented meta-conformism) is not a culturally (almost genetically) innate trait, but ultimately an acquired form of convenient individualism paradoxically motivated by the Korean psyche’s innate group mentality. As in, a pragmatic, pervading sense that diversity is futile and counterproductive; that in the long run it will make the personal pursuit of happiness even more elusive, and that only those who conform to those invisible social mores can be successful (and therefore happy) – because strength is not what defines survival, but survival is what defines strength. It’s the same leit motif that defined the struggle of all the kids in A Wife’s Credentials and that of their parents: the point is achieving results because of what you gain from them (as in anything that can further and/or improve your social status), not the knowledge and life lessons you can gain from the pursuit of those achievements. Landing last in your class is problematic because it makes you a potentially unproductive member of society and exposes you to possible future hardeships, not because it might highlight learning deficiencies on your part.

These overtones envelop the entire show, and although the parents have only had a tangential role so far, their presence is already felt indirectly. It’s like witnessing A Wife’s Credentials and Gangnam Mom’s dynamics all over again, the intriguing exception being that this time we’re seeing this social conundrum from the children’s perspective. Inevitably, the “teacher from hell” (that’s what kids called her in the Japanese original, oni sensei) is a lot less blatant and grotesque posturing and more deadpan, matter-of-fact pragmatism. What Ma Yeo-Jin says is exactly what those children’s parents know, but would never want their kids to hear: be first of your class or close enough, or happiness will continue to be something you aspire for but never achieve; don’t break the rules society set for you, not because it’s morally wrong or anything, but because you can only be damaged by the consequences. Despite her deadpan delivery, there is an underlying tension in Go’s delivery, as if Yeo-Jin was only reluctantly playing a part she wasn’t completely comfortable with – which is obviously what will define her gradual transformation in the second act and eventual denouement in the third, assuming the show follows the original’s trajectory.

Go has visibly gained weight and that’s sort of become the talk of the town concerning this show (along with the usual J-dorama fanboys pestering all Korean drama-related communities with their ad-hoc vitriol), but I wouldn’t point out something as superficial and uninfluential as this if not for the fact that it actually helps the character. Go is a little less pretty than usual, and those “slight imperfections” (bear with me, I know K-drama’s idea of beauty is severely misguiding and misguided) highlight that underlying sense of tension even more than Go’s own acting does. I don’t know if it’s just a little stress or whether she consciously gained weight because of this role, but had Go shown up a la Amami Yuki, all perfect and pristine and looking like a model posing as a ruthless and devilish teacher, then all you’d get is yet another soulless cipher who helps deliver the writer’s message in spite of lacking any tangible sign that there’s something pulsating inside her – if not for the maudlin thematic U-turn tacked on in the third act. Go’s portrayal is a lot more compelling: you can see a little of the spite and malice that dominated her performance in 선덕여왕 (Queen Seondeok) as Mishil, but there’s a touch of frailty as well, that je ne sais quoi that tells you something is cooking, and that we’ll eventually find out. You can question the public figure all you want (she’s batshit crazy, if you ask me and a good number of industry people), but when it comes to delivering riveting performances, it’s pretty obvious she’s a very reliable actor. And that’s all we need from her, really.

This show has good performance across the board, though. Kim Hyang-Gi is predictably wonderful, showing more maturity than her biological age would suggest but never becoming too perky. And the little we’ve seen of the rest of the cast (including parents and teachers) can only promise good things – as there are no potential black sheep in sight. What’s even more comforting is that the kids look pleasantly ordinary, it’s not a collection of child models straight out of a fashion magazine — or impossibly pretty teachers uglying themselves up for the camera, for that matter. The premise might be unrealistic, but you surround the core with realism and then it can still be compelling.

That is the point. PD Lee is not exactly exploding with flair, but he’s doing a honest, competent job, never resorting to egregious tonal shifts and trying to limit music to the strict necessary (and it’s music by Ji Pyeong-Kwon, so we’re in good hands anyway). Kim’s script is relatively rich and compelling but never too dense as to give people the idea we’re dealing with a children’s version of The White Tower. And while it would be a little too far-fetched to expect great things from this show, it wouldn’t be much of a stretch to say that we’ve got a promising little tiger on our hands. Although her roar might not be as scary as you first thought…

여왕의 교실
THE QUEEN’S CLASSROOM

An iOK Company Production Airing on: MBC, Wed/Thu 21:55, 16 Ep Official Website CP: 김진민 (Kim Jin-Min) PD: 이동윤 (Lee Dong-Yoon) richard simmons. PD: 강인 (Kang In), 이동현 (Lee Dong-Hyun), 이은호 (Lee Eun-Ho) PRODUCER: 전승훈 (Jeon Seung-Hoon), 박인선 (Park In-Seon) WRITER: 김원석 (Kim Won-Seok), 김은희 (Kim Eun-Hee) DP: 김만태 (Kim Man-Tae), 김화영 (Kim Hwa-Young) EDITOR: 임경래 (Im Gyeong-Rae) LIGHTING: 백강준 (Baek Gang-Joon) MUSIC: 지평권 (Ji Pyeong-Kwon) CAST: 고현정 (Go Hyun-Jung), 윤여정 (Yoon Yeo-Jung), 이기영 (Lee Gi-Young), 김새론 (Kim Sae-Ron), 김향기 (Kim Hyang-Gi), 천보근 (Cheon Bo-Geun), 서신애 (Seo Shin-Ae), 이영유 (Lee Young-Yoo), 김지훈 (Kim Ji-Hoon), 정석용 (Jung Seok-Yong), 최윤영 (Choi Yoon-Young), 진경 (Jin Gyeong), Ricky Kim, 변정수 (Byeon Jung-Soo), 이아현 (Lee Ah-Hyun), 김영필 (Kim Young-Pil) PEAK RATING (AGB): % AVG RATING (AGB): %

67 PRODUCTON
72 WRITING
70 ACTING
66 INTANGIBLES
68 AVERAGE

[Guest kdramafanusa]

Mr X's review (http://vaultofdoom.wordpress.com)

여왕의 교실
THE QUEEN’S CLASSROOM

An iOK Company Production Airing on: MBC, Wed/Thu 21:55, 16 Ep Official Website CP: 김진민 (Kim Jin-Min) PD: 이동윤 (Lee Dong-Yoon) richard simmons. PD: 강인 (Kang In), 이동현 (Lee Dong-Hyun), 이은호 (Lee Eun-Ho) PRODUCER: 전승훈 (Jeon Seung-Hoon), 박인선 (Park In-Seon) WRITER: 김원석 (Kim Won-Seok), 김은희 (Kim Eun-Hee) DP: 김만태 (Kim Man-Tae), 김화영 (Kim Hwa-Young) EDITOR: 임경래 (Im Gyeong-Rae) LIGHTING: 백강준 (Baek Gang-Joon) MUSIC: 지평권 (Ji Pyeong-Kwon) CAST: 고현정 (Go Hyun-Jung), 윤여정 (Yoon Yeo-Jung), 이기영 (Lee Gi-Young), 김새론 (Kim Sae-Ron), 김향기 (Kim Hyang-Gi), 천보근 (Cheon Bo-Geun), 서신애 (Seo Shin-Ae), 이영유 (Lee Young-Yoo), 김지훈 (Kim Ji-Hoon), 정석용 (Jung Seok-Yong), 최윤영 (Choi Yoon-Young), 진경 (Jin Gyeong), Ricky Kim, 변정수 (Byeon Jung-Soo), 이아현 (Lee Ah-Hyun), 김영필 (Kim Young-Pil) PEAK RATING (AGB): 7.8% AVG RATING (AGB): 7.200%

AVG RATING [Ep 02/16]: 73/100

• PRODUCTION: 69
• WRITING: 75
• ACTING: 75
• INTANGIBLES: 73

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FIRST LOOK(Ep 01/16, AVG 68/100)

100 WORDS (Ep 02/16, AVG 73/100): Remakes have often taken a winning formula and tried to emulate what made it work without even pondering what could be potentially lost in translation (or transposition). This surprisingly accomplished exception does what no Korean remake has been able to do since Lee Gi-Won’s 하얀거탑 (The White Tower): actually say something compelling enough to transcend its original text. Everything here from the kids’ interplay to the parents’ reaction and all the way to the social microcosm surrounding them is believable, something that can only help our main course: a terrific performance by Go Hyun-Jung. This is very good stuff, folks.

[Guest kdramafanusa]

Source: http://en.starnnews.com/news/index.html?no=206224

Go Jun Hee makes an explanation about her post

2013-06-19 14:32



Go Jun Hee explained about her recent post.

On Jun 18th, actress Go Jun Hee wrote on her me2day, "I love you, Go Hyun Jung. I visited the class after moving three weeks of schedule around. It's been a long time since I met her for the last time, and she still looked beautiful! You are so beautiful!"

In the photo, Go Jun Hee and Go Hyun Jung are posing for a photo together, and many netizens showed explosive reactions as the photo was first revealed.

However, Go Jun Hee wrote on her me2day again, "Ah! It's not that I moved my schedule around, but it's just that I've been waiting for the schedule of Hyun Jung's schedule and the drama team's schedule. Do not misunderstand. And, one reporter that I was showing off my friendship with her, but it's not. Can't I even cheer for my own idol? Cheers for 'Queen's Classroom'!"

Netizens who saw her post left comments, such as "Yes, it was a bit of over reaction", "It's the reporter's fault", and "Go Jun Hee must have felt very unpleasant", and "But, their close relationship is famous already."

On the other hand, Go Jun Hee appeared on a drama with Go Hyun Jung back in 2006.

/Reporting by Kim Ji-Yi en@starnnews.com

[Guest Crichton]

Does anyone know....did she really lose total custody of her children after divorcing? I am just curious because I have read that after the divorce, she "temporarily lost custody" of her children", so I assumed she regained custody/visitation.   But then I read that custody went entirely to her ex because of his family's influence and his greater status as the "father"...and she never sees her children and wants to act a lot so they can at least see her on tv?

If the latter is true, that is really heartbreaking and tragic. 

[rubie]

Found this previous news with English gist to share
August 18, 2013
How much appearance payment do film stars get?
by hufsba13 Editor KOFAN.com l Korean article at Nate l 2012 Korean article  

Fans are always curious about how much money the major film stars receive for appearing in the movie.
This record is from 2012 and was revealed through SBS entertainment news program ‘Hanbam TV Entertainment’.

₩600,000,000 ($539,000) – Lee Byung-hun, Kim Yoon-suk, Song Kang-ho, Jang Dong-gun, Won-bin₩500,000,000 – Choi Min-sik, Ha Jung-woo, Kim Myung-min, Ha Ji-won₩400,000,000 – Hwang Jung-min, Kim Hye-soo, Cha Tae-hyun, Jun Ji-hyun, Lee Bum-soo, Park Hae-il, Son Ye-jin, Go Hyun-jung, Im Soo-jung, Soo-ae₩300,000,000 – Lee Min-jung, Lee Na-young, Um Jung-hwa 

[Guest khjkaren]

hello everyone... by chance, is there someone who knows how to be part of Go Hyun Jung ssi daum cafe? 

[rubie]

March 4, 2014
Ko Hyun-jung to Teach Acting at Dongguk University
The ChosunIlbo


Actress Ko Hyun-jung will teach acting at her alma mater Dongguk University in Seoul this year.
She took the job at the suggestion of faculty and alumni.
She attended the school in the early 90s, majoring in acting and film.
In her classes, Ko will teach juniors and seniors about acting. Back in 2006, she donated a W100 million (US$1=W1,071) scholarship fund to the school. 

[rubie]

March 4, 2014
Go Hyun-jung Named Acting Professor At Dongguk University
Source: KBS Global


Top actress Go Hyun-jung will be imparting her knowledge and experience to the future generations of Korea. Go was named an associate professor for the undergraduate theatre program at Dongguk University. She will more specifically be teaching third and fourth year students under the subject of "Medium Acting". 
Go actually attended Dongguk University herself. She studied performing arts at the institution until her acting break came, catapulting her into stardom. She even later donated 100 million won for a scholarship fund in 1006.
Go was named the highest paid actress in South Korea in 2010 for her role in the drama "Big Thing".

[Guest adikkeluangman]

Yeo Jin Goo and Yoon Shi Yoon Both Want to Do a Romance with Go Hyun Jung
On the March 31 episode of SBS’s “Good Morning Entertainment Special,” actors Yoon Shin Yoon and Yeo Jin Goo, stars of the new film “Mr. Perfect,” both picked Go Hyun Jung as the actress that they most want to work with.


Specifically, they were asked, “Which actress do you most want to act in a romance with?” Yoon Shi Yoon replied first that he really wants to work with Go Hyun Jung, and Yeo Jin Goo, surprised, said that he’s always felt the same way, as well. Yoon Shi Yoon said, “Let’s do it together. I’ll be the oldest, and you can be my younger brother.” Yeo Jin Goo joked, “Then is Go Hyun Jung our older sister?” at which Yoon Shi Yoon, taken aback, said, “Let’s not be related.”
In other news, the new film “Mr. Perfect,” starring Yoon Shi Yoon and Yeo Jin Goo, will hit theaters on April 3
http://www.soompi.com/2014/03/31/yeo-jin-goo-and-yoon-shi-yoon-both-want-to-do-a-romance-with-go-hyun-jung/#.Uzl3GqiSzi8
I approved of this. I never thought of this pairing before... Move on Jo In Sung...   Here come the fresh blood. 

[suchadiva42]

I'm hoping to see GHJ in another drama soon and will continue to come here for complete updates on her as well..

[Guest hankk]

After Dong Yi, Dae Jang Geum, and while watching still ongoing Empress Ki, I only found Queen Seon Duk recently, and think it is one of the greatest historical Kdrama's.
The whole cast is super, but Go Hyun Jung is really impressing as Lady Mishil.

Looking further, I saw she is singer as well.
I only found 2 Youtube clips with her singing, with low sound-quality.
But her voice and choice of music are impressing me a lot.
I cannot find anything else using my English, but perhaps there are legal download-able  clips somwhere in Korean ?
I would be obliged !

[zloves97]

Hello guyss...... 
I'm also an avid fan of Ko Hyun Jung, in fact she's one of my fave k-actress. Anyways, its very nice to find that I'm not the only one who likes and admires her.

[Guest adikkeluangman]

Yeo Jin Goo Wants To Be Matched Up with Go Hyun Jung for His Next Project 


Korea’s “little brother” actor Yeo Jin Goo revealed that he wants to act with actress Go Hyun Jung on the MBC program “Section TV Entertainment News” that aired on May 4. He further continued, “I think it would be a great opportunity to act with her on a historical drama.” 
When asked what his secret was in capturing the hearts of older women, Yeo Jin Goo jokingly replied, “(Though I am still young) I think they want to feel protected by me.” 
Yeo Jin Goo was recently appointed to be a honorary ambassador for the Vietnamese Film Festival and fans can see more of him this year through his movie “Mr. Perfect.” In addition, Yeo Jin Goo has been nominated for the award of Best New Actor at the 50th Baeksang Arts Awards that will take place this month.
http://www.soompi.com/2014/05/04/yeo-jin-goo-wants-to-be-matched-up-with-go-hyun-jung-for-his-next-project/#.U2b_kK2Sxc9

This is his second time mentioned Ms. Go. Come on PD. Let's granted this kid wish ok. A drama is good too.

[rubie]

June 24, 2014
Facial cleansing tips of top 5 Korean female celebrities with flawless skin
Source: The Korea Herald
Regardless of their age or nationality, many women attempt to defy aging by preserving good skin and natural beauty. Female celebrities, whose appearance is crucial for their work, create their own ways to maintain great-looking skin. The Korea Herald has listed the top five female Korean celebrities with good skin and their secret tips for facial cleansing. 
1. Go Hyun-jung 

Actress Go Hyun-jung’s luminous and youthful skin is legendary in Korea. Few people imagine that she is 43 year old. 
Not only is her skin youthful, Go’s face is also nearly flawless, even without makeup. 
One of her beauty tips for washing your face is “following the textures of your fine hairs.” “Fine hairs” are the peach fuzz on your face. 
When applying cleansing lotion on face, Go applies it according to the direction of the fine hairs. When rubbing or cleansing her face, however, she does it against the direction of the hairs. 
This cleansing method has been famous since she released her first-ever beauty book, “Go Hyun-jung’s Texture,” in 2011. The book became a best seller, selling out in only two days.
2. Park Soo-jin A former member of idol group Sugar, Park Soo-jin also boasts flawless skin.Her know-how for face-washing involves three steps. 1) Apply a cleansing cream to your face and smoothly spread the cream with warm hands. Rinse your face with lukewarm water but splash it with cold water at the end. 2) Apply a foam cleanser on your face and rub gently. Just like the previous step, rinse your face with lukewarm water but splash it with cold water at the end.3) Put foam from a soap made of egg whites on your face and wait for 5 minutes. You may feel your face getting tighter and the pores contracting. 

3. Lee Min-jung 
Beauty star Lee Min-jung also has a clean, youthful face.
Her beauty tip for face-cleansing is “mist.”
Rather than using typical types of cleansers such as oil or cream, Lee uses a mist-type cleanser. She sprays cleansing mist on her face and waits for a minute until the makeup comes off. In this way, she avoids using her hands while cleansing. Once most makeup comes off, Lee rinses her face with lukewarm water. 
Rubbing your face while cleansing is considered one of the easiest ways to accelerate aging. 
4. Suzy Miss A member Suzy’s no-makeup face is also flawless.For an effective facial cleansing, Suzy has adopted the “4-2-4 method.” 1) Apply a cleansing oil and circle-massage for 4 minutes against the direction of the skin texture.2) Apply a foam cleanser and continue massaging for 2 minutes. 3) Rinse for 4 minutes with lukewarm water. Try to avoid touching your face your hands. 
5. Son Ye-jin Actress Son Ye-jin is also famous for good-looking facial skin. Though it has been over a decade since she debuted, Son still looks nearly the same.Her beauty tip for facial cleansing is using a steam towel. 1) Before beginning the cleansing work, put a hot steam towel on face for a minute to open the facial pores. 2) Upon the steam towel, massage your face with your hands, especially around the forehead, temples and cheekbones. 3) Cleanse your face with an exfoliating cleanser.4) Rinse your face with ice lemon water. This helps the pores contract. 

[zloves97]

Ko Hyun Jung takes in the ALS Ice Bucket Challenge

[zloves97]

Latest photos of Ko Hyun Jung 








Ageless, still a beautiful goddess  8-> 8->