Actor Im Joo Hwan’s past experience working at a logistics center in Coupang has attracted public attention, not only for the surprising career change, but also for what it reveals about the growing income gap in the Korean entertainment industry.
According to OSEN, eyewitness accounts recently surfaced in online communities claiming that Im Joo Hwan was spotted working at a logistics warehouse in Icheon. In response, his agency, Basecamp Company, confirmed the reports, saying he had worked there “a few times during a break between projects.” The agency added that it has since completed the work and is currently preparing for its next project.
Im Joo Hwan debuted in 2003 and has played leading roles in numerous dramas and films. Given his long career, the revelation that he had taken on day-to-day warehouse work during a hiatus surprised many. However, others pointed out that in today’s entertainment climate, such decisions may not be unusual.
The Korean drama and film industry has recently experienced a reduction in production volume and a reduction in investment. As a result, both actors and staff members face fewer opportunities. Some reports suggest that more artists have turned to side or part-time jobs during the extended breaks. With the market increasingly focused on large-scale projects, opportunities for participation have become limited, leaving many professionals in a prolonged gap between roles.
The issue also intersects with ongoing debates about pay disparities among actors. Since the rise of global OTT platforms, major Korean actors have reportedly earned multibillion-dollar payouts per episode. Foreign media previously reported that Lee Jung Jae received $1 million per episode (about KRW 13 billion) for Squid game Season 2. Lee himself admitted: “It is true that I received a large sum“, further fueling discussions about skyrocketing attendance fees.
Furthermore, Japanese actor Takayuki Yamada once mentioned in a Netflix event that lead actors in Japan receive around 10 million yen (around 94 million KRW) per episode. Analysts have noted that this can represent up to a tenfold difference compared to top-tier Korean stars, highlighting how relatively high Korean actors’ compensation has become in the global OTT era. However, OTT platforms argue that there is no fixed upper limit, stressing that rates are negotiated flexibly depending on the scope of the project, the importance of the role and the production schedule.
Ultimately, industry observers describe the situation as a structural polarization: a small number of actors earn exceptionally high per-episode salaries, while many others endure extended hiatuses. Im Joo Hwan’s case goes beyond a personal livelihood choice and is interpreted as a reflection of larger imbalances within the current content production ecosystem.
As discussions continue, her story has sparked discussion not only about individual resilience, but also the sustainability of the entertainment industry’s current pay structure.
Sources: OSEN
