South Korea's entertainment industry is experiencing a dramatic shift as graduates from the country's most prestigious universities increasingly choose behind-the-scenes roles in K-pop management and content production over traditional corporate careers. Jobs that were once dismissed as "3D" - dirty, dangerous, and difficult - are now attracting highly educated, multilingual young professionals who see the booming K-culture sector as a pathway to career success.
The transformation is most visible in artist management roles, which have evolved from the derogatory "gabang mochi" (bag carrier) stereotype to sophisticated positions requiring advanced degrees and multiple language skills. Yoo In-bi, who manages actress Yoon Eun-hye, graduated from Seoul National University's business school in 2022 after missing only three questions on the college entrance exam. Another Seoul National graduate currently manages a prominent K-pop girl group - a trend that industry veterans say was unheard of even a decade ago.
"As the pop culture industry has grown rapidly, management roles are becoming more diverse and professional," explained a management company CEO with 27 years of experience. The 2006 film "Radio Star" once depicted managers as humiliated assistants who served as punching bags to secure their clients' TV appearances, but today's reality is vastly different.
Aspiring producers are also shifting their career ambitions away from traditional broadcasters like KBS, MBC, and SBS toward independent production houses that have become industry powerhouses. Studios like Egg Is Coming - home to star producers Na Young-seok ("Three Meals a Day") and Shin Won-ho ("Reply" series) - and Kim Tae-ho's TEO are now considered the most desirable destinations for young talent. Egg Is Coming has produced hit shows ranging from "Three Meals a Day" to "Hospital Playlist" and "Earth Arcade," establishing itself as a rising force in Korean pop culture.
"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 Na Young-seok or Kim Tae-ho." This sentiment reflects a broader industry trend - at this year's Baeksang Arts Awards, every major award in drama and entertainment went to shows produced by independent studios and released exclusively on OTT platforms or YouTube, with no network-produced show winning.
The competition for these coveted positions has become fierce. In August, approximately 900 applicants competed for just a handful of entry-level producer positions at Egg Is Coming. In 2022, the studio received 1,500 applications for only three producer positions, creating a competition rate of 500 to 1. Similarly, Modak, which produces shows for Netflix including "Kian's Bizarre BB" featuring BTS member Jin, has seen applications triple over four years.
The influx of top-tier talent is driving significant salary increases across the entertainment sector. HYBE and JYP Entertainment reported average employee salaries exceeding 100 million won ($73,000) this year, while YG Entertainment - the lowest-paying among the Big Four entertainment agencies - still offered an average of 63 million won, surpassing compensation at many large conglomerates. This wage growth reflects the entertainment industry's rising economic importance as traditional manufacturing sectors face challenges from Chinese competition while Korean cultural exports experience booming global demand.
Job requirements have also become more sophisticated, particularly for road manager positions that once required only a driver's license. HYBE's recruitment notices for artist protocol positions explicitly state that foreign language fluency is preferred, as artists spend more than half the year abroad. "You can't hire a translator for every trip," noted a manager at a major agency. "Many applicants are returnees from overseas universities." Working as a road manager now typically requires at least a college degree and proficiency in English, Japanese, or Chinese.
The academic credentials of industry executives reflect this educational upgrade. Seven of HYBE's ten executive directors graduated from S.K.Y. universities (Seoul National, Korea, and Yonsei universities), representing a 70 percent share compared to the 25 percent average across Korea's top 30 companies. Some S.K.Y. graduates who previously worked in corporate planning or strategy roles are transferring to management positions to build experience before pursuing executive positions.
However, the reality behind the industry's glamorous image often proves challenging for new recruits. Managers frequently face rejection when pitching actors to production companies, and the work environment is typically hierarchical and demanding. "I was told to go pitch actor profiles in person, but most companies just said to email them," said G, a 28-year-old who quit a management job this year. "It's hard to endure when you realize how little freedom you have."
Many new hires quit within their first year, disillusioned after expecting close collaboration with celebrities on scripts and projects - something that typically occurs only after a decade of experience. One Seoul National University graduate hired by a major agency left before their first anniversary to join Hyundai Motor Company, illustrating the gap between expectations and reality.
Despite these harsh realities, interest in entertainment industry careers continues to surge. Independent studios like Egg Is Coming, TEO, and Modak report record numbers of applicants each year. New hires can expect starting salaries of approximately 47 million won ($34,000) before bonuses, comparable to entry-level positions at major corporations. "It's an investment to secure top talent," explained one studio representative.
The industry still faces structural challenges, particularly for independent studios seeking financial support. "It's harder to get loans after leaving the big networks," said a senior producer. "Improving welfare for junior producers is our next challenge." Nevertheless, the continued influx of highly educated talent suggests that Korea's entertainment industry has successfully transformed from a stigmatized sector into one of the country's most attractive career destinations for ambitious young professionals.
