Probably some days before Heeseung departure from Enhypen, I did give an opinion in an unpopular opinions post, that went on like this:
“There’s a reason the “seven-year expiry” is a big topic among industry professionals. People are excited about changing things up, but pushing against the seven-year contract rule could actually hurt idols in the long run, regardless of gender. We’re likely to see issues with “second contract extensions” from both major and smaller companies in the future. Not every group will last, as some are designed to function for a specific timeframe. It’s tough, but big companies often focus on contracts instead of supporting their idols’ individual careers, which can limit opportunities for solo projects and growth outside of just new albums and tours. These best for a group to stay around might be minimum of 10 years and a maximum of 15 years. Above that all the members should go to the next step of their career growth and life.”
Just few days after this opinion I posted, Heeseung moved out of Enhypen. And a few days after this, in another different unpopular opinions post I again posted an opinion echoing the first one above, that went on like this:
“I recently shared my thoughts in this subreddit about how extending K-pop contracts with the intention of squeezing the idols and milking them till the last drop thereby limiting their solo careers can lead to conflicts for idols and groups, and then, just a few days later, the whole Heeseung leaving Enhypen situation happened. This situation really highlighted my point. While some idols might prefer sticking to group activities, others are eager to shine on their own through solo projects. It’s important to note that many groups, especially those formed from survival shows, are created for specific durations and aren’t always designed for long-term success. K-pop fans should acknowledge this reality and approach it with maturity as we enjoy the music.”
Both explains a similar concern: unspoken realities beyond group activities, members have personal ambitions and life stages to consider male idols must navigate careers after military enlistment, female idols face challenges post‑30s and competition with younger groups, and some idols eventually want growth beyond albums and tours. Companies and fandoms often ignore these realities, clinging to their own assumptions. When events don’t match those expectations, frustration arises, and people struggle to accept the truth. This year we happen to see these:
Heeseung and Mark leaving their respective groups, Twice’ second contract renewal negotiations sparked debates about whether members should continue as a unit or branch out more. Contrary to SVT where all the 13 members signed for a second time. BLACKPINK’s 10th anniversary scandal showed how messy things can get when contract renewals and group longevity collide with individual ambitions, and how things get worse when lack of transparency from both the company and the idols’ side can make things worse for fandoms.
Beyond contract length, other factors like company mistreatment, idols starting their own businesses, and the lack of support for solo careers play a big role. Even after the first seven years, many companies still prioritize group activities mainly to maximize profit, rather than nurturing idols individually. While the idea of extending contracts into idols’ 30s or 40s looks good on paper, in practice it often backfires — creating frustration and problems for groups who sign a second time with hopes of stability but end up restricted instead. What didn’t help is these same companies, continuously pump out new groups, put in competition against their senior groups in the same company and relying on the same senior groups for revenue so that they can use for their juniors.
This is not a norm in previous gen but getting to stay prevalent nowadays given how K-pop is global. This strategy of squeezing senior groups while debuting new ones may seem sustainable in the global K‑pop era, but it won’t hold in the long run. We’re likely to see more departures, solo pursuits, and even disbandment — not just in Big 4 companies but also in mid‑tier labels with popular acts like (G)I‑DLE, IVE, and ATEEZ. Fourth‑gen groups will be the biggest victims, and both companies and fandoms will share responsibility. Twice, Enhypen and Blackpink is just the starting point. We will see a lot like this in future. Please embrace even it’s shocking for you.
submitted by /u/Psychological-Low841
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