Entertainment
'Pachinko' returns with Season 2, a more muted but necessary chapter in the series
“Pachinko,” a beautifully wrought historical melodrama, is back for its necessary second season, to fill in some holes, fiddle with loose ends and extend the story even farther beyond the borders of Min Jin Lee’s 2017 novel. It is a transitional season, which ends with little resolved and gaps still to fill, and while it offers all the sensual pleasures of the first season’s performances and production, its portion of love and death, it is very much the middle of a book.
Unlike the novel, which proceeds chronologically, the series, returning Friday on Apple TV+, alternates between the “present day” — 1989 Osaka — and the evolving story that gets us there. Season 1 began in 1915 before the birth of main character Sunja (Minha Kim) in Japanese-occupied Korea, then followed her through her country-girl youth into a romance with handsome, dangerous Hansu (Lee Minho). An unexpected pregnancy led to a marriage of convenience, later affection, with Isak (Steve Sanghyun Noh), a Christian preacher; together they moved to Osaka to join his brother Yoseb (Junwoo Han) and wife, Kyunghee (Eunchae Jung), where they become Zainichi, the term for Koreans living in Japan — a population much discriminated against. (Incidents of prejudice dot the current season, almost as a reminder of what the first season firmly established.)
That storyline got us to 1938. The new season picks up in early 1945 (skipping much of the novel), and times are difficult as Japan fearfully braces for an American attack; Sunja and Kyunghee eke out a living selling kimchi, and the cabbage has almost run out. Sunja’s children, Noa (Kang Hoon Kim), her son with Hansu, and Mozasu (Eunseong Kwon), her son with Isak, have grown accordingly. Noa, who is unaware of his birth father and takes after his adoptive father, is shy and studious, Mozasu brash and unsuited to study. Isak is in prison, having been arrested last season for rabble-rousing; Yoseb is working in a munitions factory in Nagasaki, which should raise an eyebrow. But a friendly new character, Mr. Kim (Kim Sungkyu), is hanging around helpfully, and Hansu, keeping an eye on them from near and far, will be back and involved.
In Season 2, Mozasu (Eunseong Kwon), left, and Noa (Kang Hoon Kim) are a little older.
(Apple)
(The Nagasaki sequence, which opens the fifth episode, is shot in black and white in standard aspect ratio, before returning to color and widescreen when the bomb drops. The title credit that follows omits the usual cheerful shots of the cast dancing to the Grass Roots‘ “Let’s Live for Today” as inappropriate. Understandably.)
Nearly all the capital of the 1989 storyline having been spent in the first season, showrunner Soo Hugh has had to create fresh material to keep those characters busy while the earlier narrative catches up. (At the end of the season, they still have three decades to go.)
Older Sunja (Yuh-Jung Youn) is still living in Osaka with her successful son Mozasu (Soji Arai), who has grown up to own pachinko parlors — a sort of pinball cum slot machine — and, as a somewhat disreputable if popular business, one of the few avenues then open to Koreans. (Mozasu himself, a major character last season, is mostly absent from this one.) Mozasu’s son, Solomon (Jin Ha), college-educated in America, is in Tokyo, involved in high finance and real estate. In Season 1, he’d attempted to pry an old woman from her home in hopes of putting a golf resort on the land and impressing his bosses; in the end, he advised her not to sign the papers, but the current season finds him unfortunately back on that horse, in a complete moral backsliding. (I found the particulars of Solomon’s business dealings somewhat hard to follow, or perhaps just not worth the effort.)
This authorial trouble making might be expressed in the old Hollywood formulation as “boy meets girl, boy loses girl, boy gets girl, boy loses girl, boy gets (possibly a different) girl” and so on, whether or not we are actually talking about boys and girls. It’s a problem familiar to ongoing original series, where fresh conflicts must be created each year. One expects it will build eventually to another shot at redemption — the series is too sentimental, too good-hearted not to offer him the chance.
Older Sunja (Yuh-Jung Youn) in “Pachinko.”
(Apple)
And of course we get enough of Good Solomon to justify our interest, just as we get enough of Good Hansu to make up for his criminality. Parts of Solomon’s story, which brings in some unsavory characters, do feel constructed as a deliberate mirror of Hansu’s; perhaps not coincidentally they are played by the show’s best-looking actors. As to Sunja’s new, extra-textual adventures, she’ll strike up a friendship with a man at the supermarket that allows for an adorable scene in a Mexican restaurant, something seemingly new to 1989 Osaka.
Though historical events are acknowledged, what with World War II and the Korean War falling within the earlier timeline, and the Japanese asset price bubble and crash on the horizon in the later one, the current season focuses on family life and domestic detail, even as, or perhaps because it’s disrupted. In 1989, Sanju travels on her own from Osaka to Tokyo to check on her grandson, whom she senses is not all right. There’s a lovely scene in which she slices vegetables alongside Solomon’s Japanese love interest and former colleague, Naomi (Anna Sawai); I almost wrote “throwaway scene,” but, in fact, that naturalism is essential to the series, making something real out of the extravagant, even soap-operatic plotting.
And food, often in short supply in the earlier storyline, plays a part — making a meal, making a living, making a place at the table, making a home — most tangibly, out of a barn that Sanju, Kyunghee, Noa, Mozasu and Mr. Kim occupy at the end of the war. (Hansu’s tragedy is that though he provides support for the family, with or without the knowledge, he remains an outsider.) Characters speak of a “life well lived,” which is not at all the same thing as living well.
Obviously, this is not the season to start with “Pachinko,” but if you haven’t yet, it’s worth beginning at the beginning. Even if you watched the first season — which, given that you’ve read this far, I assume you have — it may be worth a look back to remember who all these characters are, what they have to do with one another, and what kind of trouble they got in and out of previously. And if the new season lacks the expositional energy of the first, if it’s more muted in tone, if Sunju is not quite the ray of sunshine she was, her older self will still have occasion to say here that hers was a life well lived.
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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