'Agency packaging' raises concerns over fair competition in K-drama industry

Actors Park Sung-hoon, left, and Han Ji-min pose during a press conference for JTBC drama "The Practical Guide to Love" at a hotel in Seoul, Feb. 26. Both lead actors are represented by the same talent agency, BH Entertainment. Yonhap

It is no longer unusual for much of a drama’s lead cast to come from the same agency. A casting strategy built around a lead actor and fellow agency actors, once a rare occurrence, now dominates the casting process. While it offers production efficiency, critics say the trend stymies open auditions, production diversity and the discovery of new talent.

The trend of "agency packaging" is distinctly visible across major recent broadcasts. Ongoing SBS drama "Phantom Lawyer" features lead Yoo Yeon-seok and supporting actor Kim Kyung-nam, both represented by King Kong by Starship. Recently concluded JTBC series "The Practical Guide to Love" cast Han Ji-min, Park Sung-hoon and Cho Bok-rae, all under BH Entertainment. Furthermore, upcoming SBS series "Good Partner 2" filled its lineup with Park Hae-jin, Kim Hye-yoon and Pyo Ji-hoon, all affiliated with Artist Company.

Production companies defend the practice as a reasonable market strategy. Centering a project around a proven star secures buzz, while casting their agency peers increases production efficiency and onscreen chemistry. It also provides rookie actors a pathway into major projects.

"Promoting affiliated actors is a win-win for everyone; it is hard to view it entirely negatively," a production official said.

However, opponents argue the practice creates a structural imbalance. When casting relies heavily on specific agencies, open competition decreases, hindering the diversity of the broader industry.

From left, actors Yoo Yeon-seok, Esom and Kim Kyung-nam pose during a press conference for SBS drama "Phantom Lawyer" at the broadcaster's headquarters in Seoul, March 11. Yoo and Kim are both affiliated with King Kong by Starship. Yonhap

"The structure itself limits audition opportunities," an industry insider said. "Even during auditions, actors sometimes get the impression that roles are already filled."

Packaging can also reduce the freshness of a drama. The frequent industry complaint that there are "no new actors" stems from this lack of opportunity, not a lack of talent. Actors with diverse backgrounds and personalities must enter the industry in order for content to remain abundant. Critics warn that prioritizing contract relations over acting ability or role suitability can make performances less convincing.

Screenwriter Im Sung-han, who writes under the pen name Phoebe for the TV Chosun drama "Doctor Shin," said agencies sometimes "squeeze in" rookie actors. She emphasized that finding an actor suitable for the role is more important than anything else.

The content industry operates on strict market logic, making risk minimization inevitable for production companies. While the practice provides opportunities for some rookies, excessive packaging concentrates opportunities among a select few. As the emergence of new actors becomes increasingly difficult, the industry must find a sustainable balance between production efficiency and fair competition.

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.