From Korea’s most prestigious school to K-pop manager: why they’re switching paths

From "Three Meals a Day" to "Hospital Playlist" and "Earth Arcade," independent studio Egg Is Coming has produced many of Korea’s most talked-about shows and is now seen as a rising powerhouse in pop culture. From left: CEO Lee Myung-han, producer Nah Yung-suk, writer Lee Woo-jung, and producer Shin Won-ho — all former KBS creators. Courtesy of Egg Is Coming

By Hankookilbo

• Published Oct 4, 2025 2:19 PM KST
• Updated Dec 8, 2025 12:30 PM KST

Once dismissed as “3D jobs” — dirty, dangerous and difficult — behind-the-scenes roles in South Korea’s pop culture industry are now attracting a new generation of highly educated and multilingual young people. From road managers with degrees from Seoul National University to aspiring producers competing at odds of 500 to 1 for jobs at hit-making studios, the sector once deemed undesirable is becoming one of the hottest career destinations for 20- and 30-somethings.

From ‘bag carriers’ to Seoul National University graduates

Entertainment managers were once derided as gabang mochi — a slang term derived from Japanese for “bag carriers” — because they were seen as little more than personal assistants, following stars around and handling menial tasks. In the 2006 film “Radio Star,” the manager character endures humiliation and even serves as a punching bag to secure his client’s TV appearances, reflecting how the job was once viewed as low-status and unskilled.

Today, that image is being overturned. The manager of actress Yoon Eun-hye, Yoo In-bi, graduated from Seoul National University’s business school after missing just three questions on the college entrance exam. Another Seoul National graduate manages a prominent K-pop girl group. Industry veterans say this trend — top-tier graduates entering on the “ground floor” — was unheard of even a decade ago.

“As the pop culture industry has grown rapidly, management roles are becoming more diverse and professional,” said a management company CEO with 27 years of experience.

Hit-making studios now top job choices

Aspiring producers no longer dream only of working for major broadcasters like KBS, MBC, or SBS. Instead, they aim for independent production houses such as Egg Is Coming — home to star producers Nah Yung-suk (“Three Meals a Day”) and Shin Won-ho (“Reply” series) — or Kim Tae-ho’s TEO, founded by the former “Infinite Challenge” producer.

“I think traditional TV variety shows are too focused on viewers over 40,” said J, a 23-year-old aspiring producer. “More people watch content on OTT platforms now, and independent studios are quicker to adapt and more creative. I want to make content like Nah Yung-suk or Kim Tae-ho.”

The shift reflects a broader industry trend: at the Baeksang Arts Awards this year, every major award in drama and entertainment went to shows produced by independent studios and released exclusively on OTT or YouTube. No network-produced show won.

In August, around 900 applicants competed for just a handful of entry-level producer positions at Egg Is Coming.

Wages soar as K-culture becomes an economic powerhouse

The influx of talent is raising standards — and salaries — across the board. HYBE and JYP reported average employee salaries exceeding 100 million won ($73,000) this year, while the lowest among the “Big Four” entertainment agencies, YG Entertainment, still paid an average of 63 million won, surpassing many large conglomerates.

This reversal underscores the rising industrial status of K-culture. As exports in traditional manufacturing sectors face headwinds from Chinese competition, entertainment agencies are enjoying booming global demand — and paying accordingly.

Foreign language skills and degrees now essential

Working as a road manager — once open to anyone with a driver’s license — now requires at least a college degree and often proficiency in English, Japanese, or Chinese. Hybe’s recruitment notice for “artist protocol” positions (road managers) explicitly states that foreign language fluency is preferred.

“More than half the year is spent abroad, and you can’t hire a translator for every trip,” said a manager at a major agency. “Many applicants are returnees from overseas universities.”

Some S.K.Y. (Seoul National, Korea, and Yonsei universities) graduates who once worked in planning or strategy are also transferring to management roles to build experience before aiming for executive positions. Seven of HYBE’s ten executive directors graduated from one of these three elite schools — a 70 percent share compared with the 25 percent average across Korea’s top 30 companies.

Harsh realities behind the glamor

But the job isn’t as glamorous as many expect. Managers often face rejection when pitching actors to production companies, and the work is typically top-down and highly demanding.

“I was told to go pitch actor profiles in person, but most companies just said to email them,” said G, 28, who quit the management job this year. “It’s hard to endure when you realize how little freedom you have.”

Many new recruits quit within a year, disillusioned after expecting close collaborations with celebrities over scripts and projects — something that usually happens only after a decade of experience. One Seoul National graduate hired by a major agency quit before the first anniversary to join Hyundai Motor.

Competition heats up for OTT-driven opportunities

Despite the tough reality, interest in the industry continues to soar. Independent studios like Egg Is Coming, TEO, and Modak report record numbers of applicants. In 2022, Egg Is Coming received 1,500 applications for just three producer positions, a competition rate of 500 to 1. Modak, which produces shows for Netflix, has seen applications triple in four years.

New hires can expect starting salaries of about 47 million won ($34,000) before bonuses — comparable to entry-level positions at major corporations. “It’s an investment to secure top talent,” said one studio representative.

Still, independent studios face hurdles such as limited access to bank financing. “It’s harder to get loans after leaving the big networks,” said a senior producer. “Improving welfare for junior producers is our next challenge.”

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.