Variety shows created by famous producer Na Young-seok and his so-called “Na Young-seok crew” are increasingly attracting criticism for their overbearing involvement in the production. What was once a rare and light-hearted appearance from the producers has evolved into a constant and intrusive presence, so much so that viewers wonder why they now have to tolerate not only the cast, but also the production team on screen.
This change is seen most vividly in Netflix’s “Three Meals in Kenya” and tvN’s “Green Bean, Red Bean.” In both shows, Na Young-seok and the production staff no longer limit themselves to directing off-camera. Instead, they appear alongside the cast, engaging in conversations, visibly reacting and shaping the flow of scenes on screen. Their voices, comments and laughter often overwhelm the cast’s reactions, fragmenting the show’s natural rhythm and reducing viewer immersion.
Producer cameos are nothing new in Na Young-seok’s universe. They were used sparingly on previous hits such as “1 Night 2 Days”, “Three Meals a Day” and “New Journey to the West”. Back then, the production staff appeared only when necessary, often adding flair or comic pacing without overshadowing the cast.
Now, however, the landscape has changed. The presence of the producer is no longer occasional but constant and its frequency has increased significantly. Viewers are now required to consume not only the cast’s storylines but also the on-screen reactions and characters of the entire production team. As a result, discomfort and frustration grow among audiences who simply want to enjoy a variety show and not a meta-commentary involving the staff.
The production team is fully aware of this viewer fatigue. Kim Ye-seul, PD of “Three Meals in Kenya,” admitted in a recent interview that she saw the criticism. However, he defended the strong staff presence as intentional: “The relationship between Na Young-seok and the cast is an important part of the show. After six years, their dynamic seemed essential to keeping the group together.”
This explanation confirms what viewers suspected: the production team deliberately prioritized their presence over preserving immersion. If the creative choice consciously divides viewers, the resulting reaction becomes an inevitable consequence.
Concerns are also growing over Netflix’s upcoming “Dalla Dalla,” which reportedly resembles the “Lee Seo-jin’s New York New York” format of tvN’s “Friday Joy Package.” At the time, Na Young-seok and Lee Seo-jin appeared side by side throughout the program, narrating and leading scenes together. Watchers expect the same dynamic, which means more screen time in front of the producer.
Na Young-seok’s team has actually positioned themselves as co-stars in shows meant to focus on the cast. This change forces viewers to endure the presence of the production team just to enjoy the program. What once worked as a refreshing comic touch has now become a barrier to entertainment, an ironic but critical miscalculation.
If this pattern continues, viewers will wonder: Why is the production team’s spotlight more important than the quality of the show? And who really benefits from this creative choice: the audience or the producers?
Sources: Daum
