
Upcoming K-dramas to Watch in June 2025
Here is your monthly update on K-dramas! June 2025 is shaping up to be an exciting month for K-drama fans, with a diverse slate of new releases ranging from gritty crime thrillers and historical fantasies to heartwarming romances and even one unique take on Sherlock Holmes. Expect names like So Ji-sub, Ok Taec-yeon, Jeon Yeo-been, and Choo Young-woo on your screens.
Whether you're in the mood for action-filled tales of revenge, universe-bending love stories, or schoolyard dramas, this month promises something for every kind of viewer. Most anticipated of all is Squid Game 3, the final season of the iconic K-drama. Read on to learn more about the K-dramas and their release date, plot, cast, and where to watch them.
Without further ado, here are all the exciting new K-dramas releasing in June 2025:
Release Date: 6th June
Lead Cast: So Ji-sub, Huh Joon-ho, Ahn Kil-kang, Lee Bum-soo, Gong Myung, Choo Young-woo, Jo Han-chul
Network: Netflix
Plot: An adaptation of a webtoon named Plaza Wars, this gritty crime drama set in Seoul's underbelly follows Gi-jun, one of the underworld's fiercest. However, he retires due to a certain incident. Years later, his brother Gi-seok's ruthless murder reignites Gi-jun's thirst for vengeance and he's convinced the culprit lurks close.
Release Date: 11th June
Lead Cast: Seohyun, Ok Taec-yeon, Kwon Han-sol, Seo Bum-june, Ji Hye-won
Where to Watch: Viki, KBS2
Plot: The series follows a college student known as K who suddenly finds herself transported into a historical romance novel. Stuck in the body of a minor noble character named Seon-chaek, she ends up spending a night with the male lead, a royal named Lee Beon. Lee Beon then insists they get married and K is tasked with keeping the story intact and making sure he falls for the female lead instead of her.
Release Date: 13th June
Lead Cast: Nam Koong-min, Jeon Yeo-been
Where to Watch: Disney+
Plot: The Korean drama follows Lee Je-ha, a film director who feels overshadowed by his father's success and is struggling to make his second film. He decides to make a film about a person with a terminal illness and ends up meeting Lee Da-eum in the process, an aspiring actress who suffers from a rare disease. The drama will have 12 episodes and will air every Friday and Saturday.
Salon de Holmes
Release Date: 16th June
Lead Cast: Lee Si-young, Jung Young-joo, Kim Da-som, Nam Gi-ae
Where to Watch: ENA
Plot: Salon de Holmes is a comedy action drama that revolves around four women who live in the same apartment complex. They team up in order to deal with a range of villains, from people who don't park properly and refuse to separate their waste to darker, more sinister criminals.
Release Date: 16th June
Lead Cast: Park Ju-hyun, Park Yong-woo, Kang Hoon
Where to Watch: Disney+
Plot: Hunter with a Scalpel centers its story on the past coming back to haunt a forensic pathologist considered to be the top of her field. The father she presumed dead all these years has returned to threaten everything she worked for, and with everything on the line, she has no choice but to face her past to save her future.
I Am a Running Mate
Release Date: 19th June
Lead Cast: Yoon Hyun-soo, Lee Jung-sic, Choi Woo-sung
Where to Watch: TVING
Plot: I Am a Running Mate is a high school drama following the life of model student Noh Se-hoon. His reputation takes a hit when an unfortunate incident earns him the nickname 'Erector'. Determined to retrieve his dignity, he decides to become a running mate for the school's student council and gets involved in a flurry of competition.
Head Over Heels
Release Date: 23rd June
Lead Cast: Cho Yi-hun, Cha Kang-yoon, Choo Young-woo, Choo Ja-hyun
Where to Watch: tvN
Plot: A fantasy romance drama, Head Over Heels revolves around a young woman who moonlights as a shaman. When she realises her first love is bound for an early death, she decides to save him from his destiny. This is a 12-episode drama that will air every Monday and Tuesday.
Squid Game 3
Release Date: 27th June
Lead Cast: Lee Jung-jae, Lee Byung-hun, Wi Ha-joon, Im Si-wan, Kang Ha-neul, Park Sung-hoon and more
Where to Watch: Netflix
Plot: The third and final season of Squid Game will release this year as well! Helmed by Hwang Dong-hyuk, the final instalment of the thriller series will continue to follow Seong Gi-hun's fight to shut down the games once and for all.
Love Phobia
Release Date: 27th June
Lead Cast: Yeon Woo, Kim Hyun-jin, Jo Yoon-seo, Choi Byung-chan
Where to Watch: U+ Mobile TV
Plot: Love Phobia gives us another opposites-attract story between an unlikely pair. On the one hand is Yoon Bi-ah, the CEO of an AI-powered dating app who is emotionally detached. On the other hand is Han Sun-ho, a novelist who is all about emotions and feelings. This drama will have 8 episodes.
Which Korean drama are you most looking forward to in the month of June? Which do you think could become the best of 2025? Let us know your thoughts in the comments below!
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The Guardian
an hour ago
- The Guardian
From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics
Alfred Hitchcock, David Attenborough, Harold Pinter, Stanley Kubrick, Ridley Scott, Hideo Kojima – these are just a few of the recipients of the Bafta fellowship, the highest honour the academy can bestow. Japanese composer Yoko Shimomura is the latest to receive the accolade; one of only 17 women and four Japanese people to have done so. She is also the first video-game composer to be recognised by the British Academy of Film and Television Arts, and the first composer recognised at all since John Barry in 2005. It is with good reason that the academy has honoured her. Shimomura is an icon. You'll know her music from Street Fighter, Final Fantasy, Super Mario, Kingdom Hearts, Legend of Mana, Streets of Rage and more than 70 other games she has contributed original compositions or arrangements to. Her 37-year-long career has seen her record at Abbey Road Studios, have her music played by symphonic orchestras around the world, and work in genres ranging from rock to electronica, ambient to industrial, pop to opera. And yet Shimomura seems unchanged by her success. 'Certainly, over the course of my career, there have been a number of times – a lot of times perhaps, compared to other people – where I have struggled. Enough to think maybe I want to give up.' She tells me that even as far back as her first job at Japanese developer Capcom, she thought she had maybe two or three years in her before she'd quit. She also says she applied for that job with 'barely any hope of getting accepted' – with a modesty that still seems a core part of her character. 'Even though I love this job, there have been plenty of times when it was really hard for me to continue. I couldn't sleep, and I would especially struggle as deadlines would approach.' Part of her fatalism came from the culture of video games in Japan in the late 80s. Despite the thriving arcade and development scene later leading to the mainstream success of the PlayStation in the mid-90s, pursuing a career in video games was seen as a dubious prospect by Shimomura's peers and family. 'This is something I think most gamers who were around at the time will understand,' she laughs. 'Generally, my friends and people I hung out with were not big gamers, so they weren't too familiar with what games really were. At the time, a lot of them were confused about what a job in video-games music even was! Certainly, my parents were not of the generation who would have played the Famicom [the NES], so they would say things like: 'Oh, video-game music? Is that a job? Is that real?' There was a lack of knowledge and understanding about the profession, really.' Surprisingly, given the male-dominated western world of video games in the 80s and 90s, Shimomura tells me that a lot of her colleagues in the sound department at Capcom were women. The developer split its composers into corporate and consumer divisions, where the top staff were all female. 'I felt that since the head staff were women,' she says, 'it was easier for other women to join the department.' Her peers began to understand how serious Shimomura was about her musical career with the release of Street Fighter II in 1991, the ninth game she worked on. 'That's when the tide started to turn. It sold so much, and so many people knew it and became familiar with my music, that it was a really significant title for me. I certainly think it's why I ended up working with Square on titles like Live a Live and Front Mission – because the bosses there knew me from Street Fighter.' For Street Fighter, Shimomura would study the character designs and personalities of the fighters, then design themes for them. She would also pore over the detailed pixel art stages for each character, and draw out details from their 'home stage'. She would then compose music based on the character's ethnicity and culture, often to striking and unusual effect. The best example, to my ear, is the use of a major key rhythm track for the Brazilian fighter Blanka, while the main melody playing on top of the rhythm is in minor. It's odd but it works, and gives the green-and-orange fighter a musical identity as as much as a visual one. Shimomura's classical background gave her the tools to work techniques such as this into her music. She eventually departed Capcom for Square, the most famous RPG developer in the world, because she wanted to work on games where she could utilise classical composition techniques. 'Why is classical music such a good fit for RPGs? I think it's because so many of those titles are set in medieval, European-style worlds where that music naturally belongs,' she says. 'But even if an RPG is set in a more modern take on a world, they're very rarely close to reality; the game world is of another age. And classical music is of another age too, so it's a very good fit.' The first project Square set Shimomura to work on was Live a Live, a 1994 RPG that takes players on a fantastical journey as eight characters across nine scenarios. 'There are so many different worlds and different settings in there, and very few of them actually needed classical music, so it was completely different to what I was expecting,' she laughs. Sign up to Pushing Buttons Keza MacDonald's weekly look at the world of gaming after newsletter promotion Shimomura would not get to flex her classical music muscles the way she really wanted to until Square's 1999 release Legend of Mana, on which she felt she could truly express herself. 'Until that point, at Square, the projects I worked on did not allow me to do something 100% from scratch,' she explains. 'There were always other factors, other legacy things that went before it. Music in Live a Live had to align with the characters. For Parasite Eve, I had to work with what was established in the original game. Mario RPG, of course, is set in the world of Mario and had to be 'Mario music'. I was not free to create something from the ground up until Legend of Mana.' Legend of Mana would be foundational for the rest of Shimomura's career. Three years later she would work on Kingdom Hearts, the now-mainstream success that trades on the unlikely idea that the worlds of Final Fantasy and Disney could somehow become merged. 'When it first released, Kingdom Hearts wasn't a big hit,' Shimomura recalls. 'After it was released, it was one of those hard times I mentioned before: I left Square, and I wasn't sure if I was going to continue in this job or not. But then they came back to me and asked if I wanted to work on Kingdom Hearts II, and that was significant for two reasons. One, it proved I could continue doing this as a freelancer. And two, it was the first time I'd been asked to come back and work on another game in a series.' Even at that point, 17 years into her career, Shimomura was uncertain about her standing in the world of video-game music. 'I think, both professionally and in a sense of personal growth, that's why Kingdom Hearts means so much to me.' Now, 37 years since her first job at Capcom, Shimomura has been lauded with Bafta's highest honour, and she is still as polite, humble and respectful as the young woman poring over Street Fighter's stages. 'I was blessed to have mentors and seniors who really helped me grow as a composer and taught me a lot of what made me who I am,' she says. 'I feel very lucky, and it is down to all those people that I am here talking to you today.' And her advice to other young women hoping to break into making music for games today? Be tenacious, persevere and work through that self-doubt. 'I think the reason I haven't given up is because I always make myself think of the love I have for music and for games. I cherish that feeling. And so if people do ever think they want to give up, please, cherish that feeling of love yourself, and keep going. I hope I can be an example for people when times are tough. If I can get over that, I hope that they can too.'


BBC News
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- BBC News
Fulong Sand Sculptures: Amazing Disney-Pixar-Marvel sand art to inspire you
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BBC News
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The 12 best books of 2025 so far
From multigenerational family sagas to speculative dystopias – the very best fiction of the year so far. Dream Count by Chimamanda Ngozi Adichie More than 10 years have passed since Chimamanda Ngozi Adichie's acclaimed Americanah, so the arrival of her new novel is a big literary moment. Dream Count is built around interconnecting storylines and the friendship of three Nigerian women whose lives have not worked out as they had envisioned. Recounting the characters' hopes and struggles, the novel interweaves childhood and early-adult memories with the women's current lives. It is "worth the wait," says The Observer, and is like "four novels for the price of one, each of them powered by the simple but evergreen thrill of time spent in the company of flesh and blood characters lavishly imagined in the round." The book explores "big themes" according to the New Statesman – masculinity, race, colonialism, power. "A complex, multi-layered beauty of a book. Extraordinary. " (LB) We Do Not Part by Han Kang We Do Not Part was released in English translation in February, although it was originally published in Han Kang's native South Korea in 2021, and therefore helped contribute to the body of work that won her the 2024 Nobel Prize for Literature. Drawing comparisons with her Booker Prize-winning bestseller, The Vegetarian, and similarly blurring the lines between dreams and reality, We Do Not Part explores the relationship between two women, Kyungha and Inseon, while uncovering a violent and forgotten chapter in Korean history. The LA Times calls We Do Not Part: "exquisite and profoundly disquieting". It writes of Han Kang: "her singular ability to find connections between body and soul and to experiment with form and style, are what makes her one of the world's most important writers." (RL) Stag Dance by Torrey Peters The follow-up to Torrey Peters' critically acclaimed debut Detransition, Baby is a collection of tales, each with an intriguing premise, ranging in genre from romantic to dystopian to historical. In The Masker, a young party-goer on a hedonistic Las Vegas weekend must choose between two guides, a mystery man or a veteran trans woman; in The Chaser an illicit boarding-school romance surfaces; in the titular Stag Dance a group of lumberjacks in the 19th Century, working deep in the forest, plan a winter dance – with some of the men volunteering to attend as women. The Chicago Review of Books compares the collection favourably to Peters' debut, describing the stories as "seductive, dazzling, and history-making once again". The Guardian is similarly effusive: "The pieces are meticulously crafted; especially Stag Dance, with its deft pacing and almost operatic denouement." The writing is "mischievous rather than sanctimonious", it adds, and "it is clear she is having a great deal of fun". (LB) Theft by Abdulrazak Gurnah "A quietly powerful demonstration of storytelling mastery" writes The Observer of Theft, the 11th novel from the 2021 winner of the Nobel Prize for Literature. Set against the backdrop of postcolonial East Africa, situated between Zanzibar and Dar-Es Salaam, Tanzania, Theft is a coming-of-age tale exploring the inner lives of three teenagers – Karim, Badar and Fauzia – who bond despite growing up in very different circumstances. "A tightly focussed, beautifully controlled examination of friendship and betrayal," writes The Economist, while The Wall Street Journal praises Gurnah's "restraint", adding: "he builds his fictional worlds cumulatively, giving equal regard to the 'many things' that make up experience. There are no single truths in this steady, mature novel, which may be why it feels so true as a whole." (RL) Universality by Natasha Brown Natasha Brown's celebrated 2021 debut, Assembly, was a short, precise novel and a dissection of class and race that was shortlisted for several awards. In her follow-up she examines how identity politics is cynically deployed, satirising on the way cancel culture and the worlds of publishing and journalism. The story begins with a dubious article attempting to unravel a mystery involving an illegal rave, a missing gold bar and a banker. Soon the novel moves on to the fallout from the exposé, and the knock-on effect of the people affected by the crime. "It's all enormous, nasty fun," says the Literary Review. "Infidelity, exploitation and hatred abound… Brown's main purpose is to satirise and skewer the socio-economic forces that have shaped life in the UK since the late 2010s." Universality is "very funny", says the New Statesman. "Brown is an astute political observer, easily dismembering cancel culture and our media circus." (LB) The Names by Florence Knapp Knapp's debut novel begins in 1987, as Cora Atkin is pondering three different names for her newborn baby boy: Gordon, after her abusive doctor husband; Bear, the choice of her older daughter, Maia; or her preference, Julian. With the premise that each potential name offers a unique destiny, the narrative splits therein, revisiting its characters at seven-year intervals in a manner that recalls Sliding Doors. And despite its dark subject matter, critics have praised The Names for its upbeat, uplifting effect. The Standard writes: "Knapp's deftly woven story is at once a big, bold experiment, a playful exercise in nominative determinism, a meditation on fate and a coming-of-age story", while The Washington Post calls the novel: "a profound, deeply compassionate examination of domestic abuse," which is "startlingly joyful and paced like a thriller". (RL) The Emperor of Gladness by Ocean Vuong Ocean Vuong's second novel The Emperor of Gladness: "may well be the first millennial Great American Novel", according to Art Review. It is: "perfectly tuned", and "as wide in scope as it is quiet and tender". It tells the story of Hai, a young gay man who has run away from home, and his coming of age in the rural northeast in Obama-era US. It also explores his friendship with Grazina, an elderly Lithuanian widow with dementia. Hai finds work in a fast-dining chain, and bonds with his mixed bag of new colleagues, who discover connection in their past hardships. The Emperor of Gladness is: "a fine-grained social panorama driven by the developing camaraderie of an ensemble cast bonded in precariousness and pain," says The Observer. (LB) Eden's Shore by Oisín Fagan "A tremendous romp of a tale", this brutal seafaring epic's protagonist is Angel Kelly, a late-18th-Century slaver headed to Brazil with the goal to found a utopian community; chaos ensues and he washes up on the shores of an unnamed Spanish colony. With grisly attention to detail, Fagan spares little in describing the violence of the slave trade with the blackest of humour and an experimental approach to form. "Eden's Shore is a rich and beautifully told tale of toxic adventurism" writes the TLS, while the Financial Times writes: "Alexander's capacious performance is made to encompass the visceral, physical experiences of the journey – disease, sex, seasickness, violence – and its more cerebral aspects, in which the politics, philosophy and idealistic utopianism of the day find expression." (RL) Dream State by Eric Puchner A multi-generational family saga, Dream State explores themes of love, betrayal, and the effects across generations of the choices we make. Beginning in 2004, the story is set in a rapidly warming, fictionalised version of Montana's Flathead Valley, with the lake at the valley's centre the nucleus of the story. Dream State traverses five decades, and: "gradually coalesces into a family history that feels monumental", says Lit Hub. The effect is: "hypnotically telescopic, a vision of people we come to know across decades. Puchner's manipulation of time is among his novel's most magical elements." His narration: "can slip from funny to harrowing as fast as young man can ski to his death". Oprah Winfrey selected Dream State as a book club pick, describing Puchner as a "master storyteller" and the book as: "an exquisite examination of the most important relationships we have in our lives". (LB) The Dream Hotel by Laila Lalami Longlisted for the 2025 Women's Prize for Fiction, Lalami's fifth novel is a nightmarish speculative tale about the terrifying reaches of technology and surveillance. As Sara returns to LAX airport from a conference, she is stopped by the Risk Assessment Administration, who determine – using data from her dreams – that she is about to harm her husband. She's transferred to a retention centre to be monitored for 21 days, where she finds – along with other dreamers – that her journey back to her family becomes more and more out of reach. "A scarily credible vision," The Spectator writes of The Dream Hotel, continuing that it: "taps deftly into the terrors of our times", while The Economist calls it: "a riveting tale of the risks of surrendering privacy for convenience". (RL) Confessions by Catherine Airey The debut from new voice Catherine Airey has been widely praised. Confessions traces the trajectories of three generations of women as they experience the weight of the past in all its complexity. In 2001, newly orphaned by 9/11, New Yorker Cora Brady, on the cusp of adulthood, is offered a new life in Ireland – where her parents grew up – by an estranged aunt. "The narrative zips along with the crackling intelligence of Donna Tartt, full of twists and zips, and genuine surprises," says the Irish Independent. "Confessions is an astonishing and remarkable novel and truly deserving of all the accolades coming its way." The Guardian says: "The book is a saga: its serious pleasures are its expansiveness and range, and Airey's rare, particular instinct for scenes or worlds that are interesting to be with, from 1970s New York art kids to early female gamers." Confessions, it concludes, is "a cool, bold image of female pain and liberation". (LB) Flesh by David Szalay Szalay's most celebrated work, All That Man Is, which was shortlisted for the Booker Prize in 2016, explored 21st-Century manhood through the lives of nine different men. One man's journey from teen to adulthood is the subject of Flesh. We first meet 15-year-old István in Hungary where he lives with his mother, then as he begins a relationship with a much older woman that has tragic consequences, joins the army and then rises to the top of London society. With Flesh, Szalay employs an even more pared-down version of his spare, minimalist prose to explore the meaning of a life. "Flesh is about more than just the things that go unsaid…" writes the Guardian, "it is also about what is fundamentally unsayable, the ineffable things that sit at the centre of every life, hovering beyond the reach of language." The Observer praises Flesh's: "searing insight into the way we live now" calling it: "a masterpiece". (RL) -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.