“Fencing King” Oh Sang-wook, Free of Jinxes: “A Stable-Type Athlete” … “Isn’t It Fine to Eat and Win?” [Omniscient Interfering Viewpoint] [Summary]

*This content was translated by AI.View Original

“Fencing King” Oh Sang-wook showcased the qualities of a “stable-type athlete.”

In Episode 420 of MBC’s variety show “Omniscient Interfering Viewpoint” (planning by Noh Si-yong, directed by Chae Hyun-seok, Gimhae-ni, Lee Da-eun, Seo Ye-na, and Kang Yeon-ju; written by Yeo Hyeon-jeon), which aired on the 17th, Oh Sang-wook’s calm resilience that propelled him to the pinnacle of the world was revealed. National team coach Won Woo-young reported that Oh is “indifferent to everything except the moment he is competing,” noting that he even brought his two Asian Games gold medals, earned in fierce battles, home without cases. He is described as a stable-type athlete who lacks the routines or jinxes commonly held by athletes, such as inhaling a hamburger five minutes before a match or chewing kimbap while putting on a mask. Oh Sang-wook stated, “There is a certain calmness unique to people from Chungcheong Province, but I actually tried to break free of jinxes with the mindset that ‘it’s fine if I eat and win.’”

Behind such resilience and world-class skill lay rigorous training. The day after his triumphant return home, he immediately began training alongside Do Gyeong-dong and Park Sang-won of “Fencing Team Korea,” as he was preparing for the National Sports Festival and the World Cup. He also demonstrated a unique sense of responsibility as the “eldest brother” of the team. Oh Sang-wook had postponed his herniated disc surgery to compete in this Asian Games, but despite suffering an ankle injury during the individual event, he steadily led his nervous younger teammates, who were burdened by the pressure to win gold medals. Even on the brink of defeat, where conceding just one more point would mean losing, he encouraged his juniors’ value by saying, “You are not beneath me; you have your own brands,” and soothed them with, “I will do it for you.” Ultimately, they wrote a dramatic comeback story with four consecutive points.

Coach Won Woo-young supported the team by conducting training in a fencing hall that replicated the audience’s cheers and boos from the competition venue, maintaining a poker face even when his heart sank at the athletes’ injuries. With such polished teamwork, Team Korea achieved valuable results that shone brighter than gold, raising expectations for “Fencing King” Oh Sang-wook to defend his title from the upcoming World Cup through to the 2028 Los Angeles Olympics.

The time spent sweating and enduring together with 19 men was fully captured in their first music track, “CINEMA,” where the members of We The Boyz became the protagonists rather than the choreographers or directors for artists. In-gyu revealed, “It’s a life of working day and night in an underground practice room. Although we bicker, the process of trusting and relying on each other when it’s time to work felt like a movie.” Instead of creating choreography as a secondary deliverable for music made with We The Boyz, they produced music specifically for dance, and the result was “CINEMA.”

Behind them were two leaders at opposite ends of the spectrum who embraced their free-spirited younger members: Bata and In-gyu. Bata was like a motherly older brother who cared for his members down to their souls. His love, which manifested in embarrassing cuteness when receiving coffee truck support from his fiancée Ji Ye-eun, extended to a broad-minded acceptance of the bold pranks and dissing from the MZ-generation youngest members. On the other hand, In-gyu willingly took on the role of a “bossy” figure who did not hold back harsh words out of a desire for his members not to fall behind. This was a surprising contrast to In-gyu’s well-known image as “Gyu-jok-i” (a playful nickname) in broadcasts, revealing that he is actually a deep thinker. The practice sessions led by the two leaders—covering production, video direction, detailed movements, and breathing for each part—continued until late at night. Their overwhelming performance, from high-difficulty moves to group choreography, was the result of countless repetitions.

That effort was released as intense energy during their first music video shoot. Bata and In-gyu checked formations and angles even off-camera to enhance the quality. The members expressed a cinematic process of overcoming hardships together in a set reminiscent of a training camp and a chess match, through dynamic group choreography. It was a moment when those who had once illuminated others’ stages became the protagonists, dancing purely for themselves and experiencing “our own art.”

Meanwhile, next week will feature ATEEZ’s San and Hong-jung, key figures behind the “BAD” craze, and Yoo Young-woo of “Kamigeddon.”

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*This content was translated by AI.View Original