
Park Eun-Bin Delves Into The Dangerous Mindset Of A Killer Doctor
Park Eun-bin won the Grand Prize at the 59th Baeksang Arts Awards for her performance in the drama Extraordinary Attorney Woo. Her endearing portrayal of autistic attorney Woo Young-woo was celebrated for the insight it offered into the character's unique perspective. In the new Korean series Hyper Knife, Park portrays another complex and interesting character. Jeong Seok is a doctor, but she's also a killer. She's a brilliant brain surgeon, primarily because she's obsessed with perfecting her skills, but she has little regard for social norms or the rights of others.
It's a surprisingly dark character for Park, who previously played a princess in disguise in The King's Affection and a singer stranded on a desert island in Castaway Diva. Seok decides who will live or die based on the level of threat they pose to her existence. Playing Seok required learning more about antisocial behavior and yet the character is more than a textbook example of a disorder. Park's portrayal lends her depth. Viewers are not likely to approve of Seok's behavior, but they may come to understand how she justifies it.
'As an actor, it's always fascinating to meet a new character and dive deep into understanding its life,' said Park. "When I first read the synopsis and script of Hyper Knife, I made the decision not to limit the character of Jeong Seok to just the concept of psychopathy. Instead, I focused on exploring her core emotions and the mindset that drives her actions from various perspectives. I also referenced traits of Antisocial Personality Disorder (ASPD) to breathe life into the character.
While it can be hard to wrap your mind around the idea of a doctor who is also a killer, there are a few recorded cases of serial killers with a medical license. Park did not base her character on any real-life figures
'Except when portraying actual historical figures, I generally don't approach characters by modeling them after a real person,' said Park. 'I believe that characters should be allowed to live freely within the context of the story, and prefer to focus on the character itself without the influence of external opinions. As such, there wasn't a specific real person I referenced when creating the character. Instead, I referred to DSM-5 and ICD criteria which are used to diagnose ASPD to use as a foundation to build my own interpretation of the character's traits.'
Those character traits help explain why Seok feels it's right to take the lives of others
'Seok is a character with significant moral flaws,' said Park. 'She is immature and extremely selfish. She places her own desires above everything else. I saw her as someone who would be incapable of understanding the societal norm that murder cannot be justified. She is impulsive, reckless, and tends to disregard the consequences of her actions. She also only thinks about her needs, often blaming others or justifying actions that go against societal norms with seemingly logical rationalizations.'
Although it is a darker role than anything Park has taken on before, she saw it as a challenge.
'Taking on a new role is always something that makes my heart race,' said Park. 'As an actor, I feel truly blessed to be able to explore such a wide range of characters. Every time I'm offered a role that even I could have never imagined before, it's very exciting and feels like people believe in my ability to take on anything. Moving forward, I plan to continue choosing roles that speak to me and what I feel drawn to.'
Park began working as a model when she was only four. Two years later she debuted as an actress. Since then she's appeared in dozens of dramas, including Hot Stove League and Do You Like Brahms. As a child she once imagined becoming a doctor, but only briefly.
'However, I feel that I've achieved my dream by experiencing various professions as an actor,' she said with a smile. 'Regardless of which career I would have chosen, I believe that I would have adapted well and enjoyed my life.'
When Park first saw the script for Hyper Knife, she was intrigued by her character but also the character's relationship with her mentor, neurosurgeon Choi Deok-hee, played by Sul Kyung-gu (A Normal Family, Kill Boksoon). Deok-hee recognizes her remarkable skill. Sill, he's wary of her impulsive selfish nature and ultimately bans her from working in his hospital. She can now only perform illegal surgeries. When he develops a medical problem that she may be the only surgeon talented enough to correct, he has no choice but to ask her for help. It's a hard sell.
'I was drawn to the hard-to-explain mentor-mentee relationship and the constant psychological tension between them,' said Park. "I was especially excited to present viewers with this never-before-seen dynamic relationship filled with fiery passion and no room for courtesy, particularly in Korean society. It was also interesting that the main character is a doctor, but not a character who embodies justice. It was refreshing to see the villain as the main character in a picaresque story, where you don't have to follow the usual poetic justice."
Finding similarities with her character is a stretch.
'Although I don't share many similarities with Seok, my goal was to help viewers connect with the character, even the parts that might be hard to fully understand, and to make them curious to know more. I am truly grateful that viewers were able to understand Seok even more deeply than I expected. As the protagonist, I had to serve as the emotional core of the story, so I am relieved that I was able to make the character feel convincing."
Park is pleased that international viewers can enjoy and talk about her dramas.
'It's amazing to live in a world where viewers from all around the world can watch the same content and have conversations about it,' she said. "I'm grateful for these experiences and I'll use it as a foundation to move forward to the next chapter in my life.'
Hyper Knife, which also stars Yoon Chang-young (All Of Us Are Dead) and Park Byung-eun (Moving), airs on Disney+ internationally and on Hulu in the U.S.
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Los Angeles Times
4 hours ago
- Los Angeles Times
Korean American artist reflects on her parents' immigrant experience in Tustin gallery exhibit
When Korean American artist Wendy Park was growing up in Southern California in the 1980s and '90s, the Compton Fashion Center swap meet was her playground. 'I grew up with immigrant parents from Korea and we worked in the swap meets all over L.A. We did Norwalk, Palmdale, Paramount and Compton was a place that I remember vividly,' said Park. 'I remember it being such a beautiful, colorful place.' Park's early life at the swap meet and her parents' immigrant experience are at the center of her third solo exhibition at Various Small Fires OC gallery in Tustin. Titled 'Of Our Own,' Park's paintings explore artifacts and rituals of daily life as an immigrant and the objects that can connect a current home to one left behind. In the exhibition, the large doubled paneled work, ''90s Compton Swap Meet' captures an uncharacteristically quiet moment at the swap meet, void of both customers and vendors. A carousel of sunglasses for sale with hand mirrors tied to the display sits along side a jungle of plants, some hanging and others potted in plastic pink swans. A broom, trash bag and metal hand truck lean against the brick wall, evidence of the work being done, next to a stall that sells baby strollers and battery-operated toy puppies that bark and flip. 'My mom was telling me how this really was a place of community,' said Park. 'It used to be a Sears building and a Korean man bought it and made all these little stalls and inside there were more kiosks and stalls. It was a place where Korean immigrants who don't have access to starting a business could come and work.' Swap meets themselves tend to be place of community for immigrant populations. They are places where they hear their own language spoken and purchase products and ingredients specific to their needs. 'This is painted from a woman's perspective of that era,' Park said of the work. 'It was a place of opportunity for Korean immigrants.' The subject matter is an incredibly timely one, given the countless raids made by U.S. Immigration and Customs Enforcement across the nation in recent weeks with immigrant marketplaces and hubs like Santa Fe Springs Swap Meet, MacArthur Park and downtown Santa Ana targeted locally. 'Immigrants are the most hardworking people. They leave their families, they leave everything they know to come and start a new life. It is tragic that they finally get here, overcome their struggles and maybe live a good life and then get taken away,' Park said about the current climate. 'It is heartbreaking to see. It is an unfair situation and done poorly.' Park received a BFA from Otis College of Art & Design and spent 13 years in Disney animation. The bright colors that inform her work draw on that experience while also reflecting her point of view as a child, how colorful and alive the world seemed to her then. She references both American pop and Korean folk art in her work and makes newspaper kiosks, coin laundry carts and pots of Tiger Balm worthy of investigation. In 'Charms Cash' wads of dollar bills are tightly rubber-banded and stored in a can used to hold hard candy. 'It's really difficult for immigrants to trust the banking systems,' said Park. 'They are afraid of how much information they have to give or what might happen. My parents would hide money in the house or store it at the swap meet in candy containers like this.' Park's father sold plants at the swap meet and she got in the habit of hiding things in the plastic swan pots popular in the era, which are present in 'Go Swan' alongside an open can of beer and lit cigarette over a Korean board game. Some pieces are also historic documentation of sites that might otherwise be lost to fleeting memory. 'Western and 5th' depicts Korean market signage that no longer exists, but Park recalled visiting the center as child with her grandmother and aunts. The memory was unearthed with the help of an old photo of the 1992 L.A. riots. The concept for the '90's Compton Swap Meet' piece is an idea Park said she has carried in her mind for a while and its completion was made possible partly by oral history shared by her mother. When the two of them couldn't agree on the coloring of the building facade of the Compton swap meet, Park used a hip hop music video for reference. 'My mom members it as a brick-colored storefront but I was telling her I remember it like a rainbow,' said Park. 'I was watching a Tupac music video and it showed it with these colors in it.' Her memories helped Park piece together a more accurate representation of the place she and her family spent long days. Hours at the swap meet were so demanding in fact, that the family often couldn't get to church on Sundays. 'There was actually a room inside the Compton swap meet where they would all have fellowship and pray and have Bible study on Sunday,' said Park. The religious community found at the Compton Fashion Center is depicted in the wooden crucifix featured in the work. While Park remembers the swap meet fondly, she admits her mother has expressed a desire for her talented daughter to choose a more pleasing subject to paint. 'She is like, 'you can paint anything in the world, why are you painting the swap meet?'' said Park. But while her mother sees the family's tenure at the swap meet as a time she would just as soon forget, Park said the memories give her a sense of pride and reminds her how hard her parents worked to create a better life. 'For me, it is so admirable,' said Park. Mostly, Park hopes her art will encourage people to keep an open mind about others who might be living with fear for themselves or their loved ones as ICE raids continue. Park said now is the time immigrant families like need their community more than ever. 'The biggest thing is empathy; have an open heart and protect those who need it right now,' said Park. 'A lot of people are afraid to go out and get groceries, or do simple things.' Wendy Park's solo exhibition 'Of Our Own' is on view through July 19 at VSF OC, 119 N. Prospect Ave., Tustin. The gallery is open to the public Wednesday through Saturday, from 10 a.m. to 6 p.m.


The Hill
3 days ago
- The Hill
South Korea's last circus, Dongchoon, holds up as it marks centennial
ANSAN, South Korea (AP) — No more elephant and monkey acts. No more death-defying motorbike stunts. No more singing or acting on stage. Several hundred spectators still clapped constantly when acrobats with Dongchoon Circus Troupe, South Korea's last and 100-year-old circus, twirled on a long suspended fabric, juggled clubs on a large, rotating wheel and rode a unicycle on a tightrope under the big top. 'As I recall the hardship that I've gone through, I think I've done something significant,' Park Sae-hwan, the head of the circus, said in a recent Associated Press interview. 'But I also feel heavy responsibility because if Dongchoon stops, our country's circus, one genre in our performing arts, will disappear. That's the problem.' Founded in 1925, Dongchoon is Korea's oldest circus. In the golden ages of South Korean circuses in the 1960s when most households still had no TVs, Dongchoon travelled across the country, wowing audiences with then exotic animals like an elephant and a giraffe and a variety of shows including skits, comic talks, singing, dancing and magic shows. At its peak years, it had more than 200 artists, acrobats and other staff, according to Park. Like in many other countries, TVs and movies later syphoned off the audiences of Dongchoon and other circuses in South Korea. Their actors, singers and comedians moved to TV stations, and some became bigger stars. The advent of the internet, video games and professional sports were another blow. South Korean circuses also dropped animal shows that faced protests by animal rights campaigners. Now, Dongchoon is the only circus in South Korea after all its rivals went out of business. Park, who joined Dongchoon in 1963, served as a show host and sometimes sang and acted in the circus's drama programs. He left the circus in 1973 and ran a lucrative supermarket business. In 1978, he returned to the circus industry by taking over Dongchoon, which was put up for sale after devastating typhoon damage. Park, now 80, said he worried Dongchoon could disappear into history after seeing newspaper reports that its assets would be split into parts and sold. 'I thought Dongchoon must not disappear. When we want to study the roots of our country's dramas, we should look back on the traces of Dongchoon. The same goes for the history of our other shows, traditional music performances and magic shows as well as circuses themselves,' Park said. Heo Jeong Joo, an expert at the All That Heritage Research Institute, also values highly the legacy of Dongchoon, which she said incorporated many traditional performers and artists who operated before its 1925 founding. 'Its foundation exceeds 100 years. In a historical perspective, I think it should be designated as an intangible cultural asset,' Heo said. Park said he almost closed the circus in 2009 after his shows drew only 10-20 spectators each for several months during a widespread flu outbreak. It survived after local media reports sympathizing with the plight of Dongchoon prompted many people to flock and fully pack shows for weeks, he said. Since 2011, Dongchoon has been performing at a big top at a seaside tourist area in Ansan, just south of Seoul. Its circus workers also frequently travel to other areas for temporary shows. Dongchoon officials said their business is doing relatively well, drawing several hundred spectators on weekdays and up to 2,000 on weekends at Ansan alone. Ansan official Sharon Ham said local tourism has been boosted by Dongchoon's presence. She said Dongchoon shows are popular with both older generations wanting to recall childhood memories of circuses and younger generations seeking something new. 'It was a very impressive and meaningful circus,' Sim Chung-yong, a 61-year-old spectator, said after one show last week. 'But I also thought about how much big pains and hardships those circus acrobats underwent to perform like this.' Dongchoon officials say they now offer only acrobatic performances and refrain from too-risky acts because many people don't like them any longer. Its all 35 acrobats are now Chinese, as a circus job is generally shunned by more affluent South Koreans who consider it too dangerous and low-paying. Park said he bought land at Ansan where he hopes to build a circus school to nurture South Korean circus artists. Xing Jiangtao, 37, has been working for Dongchoon since 2002 — initially as an acrobat and now as its performance director. He recalled that when he first came to South Korea, he and his Chinese colleagues all worked as assistants to Dongchoon's 50 South Korean acrobats but they've all left one by one. 'Now, it's the only circus in South Korea, and I hope we will create good circus performances to show to spectators so that we can help Dongchoon exist for another 100 years,' Xing said in fluent Korean.


Hamilton Spectator
3 days ago
- Hamilton Spectator
South Korea's last circus, Dongchoon, holds up as it marks centennial
ANSAN, South Korea (AP) — No more elephant and monkey acts. No more death-defying motorbike stunts. No more singing or acting on stage. Several hundred spectators still clapped constantly when acrobats with Dongchoon Circus Troupe, South Korea's last and 100-year-old circus, twirled on a long suspended fabric, juggled clubs on a large, rotating wheel and rode a unicycle on a tightrope under the big top. 'As I recall the hardship that I've gone through, I think I've done something significant,' Park Sae-hwan, the head of the circus, said in a recent Associated Press interview. 'But I also feel heavy responsibility because if Dongchoon stops, our country's circus, one genre in our performing arts, will disappear. That's the problem.' The golden age of circuses Founded in 1925, Dongchoon is Korea's oldest circus. In the golden ages of South Korean circuses in the 1960s when most households still had no TVs, Dongchoon travelled across the country, wowing audiences with then exotic animals like an elephant and a giraffe and a variety of shows including skits, comic talks, singing, dancing and magic shows. At its peak years, it had more than 200 artists, acrobats and other staff, according to Park. Like in many other countries, TVs and movies later syphoned off the audiences of Dongchoon and other circuses in South Korea. Their actors, singers and comedians moved to TV stations, and some became bigger stars. The advent of the internet, video games and professional sports were another blow. South Korean circuses also dropped animal shows that faced protests by animal rights campaigners. Now, Dongchoon is the only circus in South Korea after all its rivals went out of business. How Dongchoon survives Park, who joined Dongchoon in 1963, served as a show host and sometimes sang and acted in the circus's drama programs. He left the circus in 1973 and ran a lucrative supermarket business. In 1978, he returned to the circus industry by taking over Dongchoon, which was put up for sale after devastating typhoon damage. Park, now 80, said he worried Dongchoon could disappear into history after seeing newspaper reports that its assets would be split into parts and sold. 'I thought Dongchoon must not disappear. When we want to study the roots of our country's dramas, we should look back on the traces of Dongchoon. The same goes for the history of our other shows, traditional music performances and magic shows as well as circuses themselves,' Park said. Heo Jeong Joo, an expert at the All That Heritage Research Institute, also values highly the legacy of Dongchoon, which she said incorporated many traditional performers and artists who operated before its 1925 founding. 'Its foundation exceeds 100 years. In a historical perspective, I think it should be designated as an intangible cultural asset,' Heo said. Park said he almost closed the circus in 2009 after his shows drew only 10-20 spectators each for several months during a widespread flu outbreak. It survived after local media reports sympathizing with the plight of Dongchoon prompted many people to flock and fully pack shows for weeks, he said. Dongchoon leaps again at its seaside big top Since 2011, Dongchoon has been performing at a big top at a seaside tourist area in Ansan, just south of Seoul. Its circus workers also frequently travel to other areas for temporary shows. Dongchoon officials said their business is doing relatively well, drawing several hundred spectators on weekdays and up to 2,000 on weekends at Ansan alone. Ansan official Sharon Ham said local tourism has been boosted by Dongchoon's presence. She said Dongchoon shows are popular with both older generations wanting to recall childhood memories of circuses and younger generations seeking something new. 'It was a very impressive and meaningful circus,' Sim Chung-yong, a 61-year-old spectator, said after one show last week. 'But I also thought about how much big pains and hardships those circus acrobats underwent to perform like this.' Dongchoon officials say they now offer only acrobatic performances and refrain from too-risky acts because many people don't like them any longer. Its all 35 acrobats are now Chinese, as a circus job is generally shunned by more affluent South Koreans who consider it too dangerous and low-paying. Park said he bought land at Ansan where he hopes to build a circus school to nurture South Korean circus artists. Xing Jiangtao, 37, has been working for Dongchoon since 2002 — initially as an acrobat and now as its performance director. He recalled that when he first came to South Korea, he and his Chinese colleagues all worked as assistants to Dongchoon's 50 South Korean acrobats but they've all left one by one. 'Now, it's the only circus in South Korea, and I hope we will create good circus performances to show to spectators so that we can help Dongchoon exist for another 100 years,' Xing said in fluent Korean.