I recently went through a couple of posts on how much some fans miss the old state of Korean variety TV, and the raw and honest personalities of 2nd Gen idols who left a mark during this period in K-Pop. Though however nostalgic this aspect of the industry may be, I’d say that the current cream of the crop in Korean variety is no longer on television (Nolto aside, bc it’s also hard not to love the Taeyeon fanmeets that ensue).
Rather, a large portion of the best variety content I’ve watched across all generations lives on YouTube.
I find that an underdiscussed aspect of the K-Pop industry is how its shift from scripted variety television to digital content has helped groups and idols of all generations for the better. More importantly, the current landscape of variety content in K-Pop has now evolved to welcome more versatile concepts (Workdol, Self-On KODE, No Prepare, odg, HUP!, Lee Mujin Service, Idol Human Theater) and smarter scripts without sacrificing the personality and wit of veteran TV hosts (JaeJae of MMTG [aka Korean Nardwuar and inarguably the biggest SONE alive], Jessi’s Showterview, and kstarnextdoor), as well as a relaxed and candid side of idols that are seldom seen on television (monotube).
I’d like to give a big shout to kstarnextdoor in particular, as Jonathan is one of the most exciting personalities in Korean variety. His energy seamlessly traverses between both mediums of TV and YouTube, and for one of Korean variety’s prime hosts to be part of one of the country’s most marginalized groups is groundbreaking in itself. His podcast (Jonathan’s Black Friday) is also worth checking out, as it puts an important spotlight on immigrant experiences in South Korea.
While I do think 2nd Gen had some very inventive variety shows (Happiness in 10,000 Won, Guerrilla Concert, Hello Baby, We Got Married), there was a clear sea change that occurred with the rise of VLIVE in 2015, and year-end shows like The Boss is Watching being one of the last of its kind to be made for public broadcast.
This is particularly indicative of two things that would make K-Pop’s 3rd Generation one of the most pivotal in the industry’s history:
1. That the majority of 3rd Gen groups debuting at this time would be the last to prioritize variety TV appearances as heavily as centralizing an influx of in-house and one-off digital content (Going Seventeen, Run BTS, Time to Twice) whose quality easily rivals that of their televised counterparts.
2. That these same groups would lead the charge for a current era of K-Pop groups who are the most well-adjusted to social media trends and the versatility of YouTube content as a whole.
Some groups serve as entire parts of K-Pop’s story, and BTS, SEVENTEEN, Blackpink, Red Velvet, and TWICE are five who would unapologetically embrace modernity during the onset of a sea change in K-Pop that saw a majority of its 2nd Generation on its last legs. Many notable acts of this period hardly had individual social media platforms to promote themselves outside of their company’s official YouTube channel, thus becoming disadvantaged in their adjustment to the expanse of social networking technologies.
So while K-Pop’s 3rd Generation is massively credited for spearheading its worldwide appeal (and rightfully so), much of this credit should also be attributed to how open many of these groups were to integrating newer approaches to media production as another way of strengthening and broadening their core fanbases, be it through member-hosted series or impromptu VLIVEs at 3 AM.
This change was also furthered by idols becoming more comfortable across a wide range of YouTube-created content over the old guard of variety hosts on Korean TV networks, who are not only likely to be out of touch with the overwhelming about of Generation MZ idols, but carry a sense of humor that does not resonate with them, all while being backed by production teams who are more likely to set them up for unnecessary barrages of hate (ie MNET’s penchant for evil editing). Not to mention hosts’ own misconducts that are systemically perpetuated by the South Korean entertainment industry at large.
It’s also rare for shows like Radio Star and Hello Counselor to bring out quality material if those who have facilitated and conceptualized these productions have a general lack of decorum for the humanity of both its guests and audience. And I hate Radio Star as much as the next fan, but even then, I cannot deny that TWICE’s best TV interview is on there. They’ve never been as candid on television as they have here, and it’s quite a joy to watch the group in their natural element despite the presence of Kim Gura himself.
The versatility of YouTube content is also a massive improvement than previous generations of idols were afforded. This is despite how widespread Internet usage in South Korea was compared to other parts of the world at the time. And it’s amazing how 1st and 2nd Gen idols are creating variety content – and in turn media environments – that have made idols from newer generations more comfortable (Hyell’s Club, Hyo’s Level Up, BYOB, to name a few).
More importantly, they have provided an outlet for older generations to openly discuss their previous experiences in tightly scripted environments so they won’t have to perpetuate the same level of psychological discomfort that they once endured on TV. Even if all of these idols have had variety training prioritized by their respective companies, there wasn’t one way to truly prepare them for how they would end up being treated on the air.
Jaejoong’s Jaefriends is a great example of a veteran idol whose company-issued mysterious guy persona was comfortably shed in this current environment of YouTube content. Even those who have known him for a long time have come to embrace a personable side of him that had been shielded for years.
While I do miss shows like Weekly Idol and Idol Room being the prime source for quality variety content, I believe the shift to digital content is actually one of the best things to happen for K-Pop. And even if the likes of VLIVE are long gone, the platform will always be revered for once housing some of the best self-made, unscripted documentaries in K-Pop.
I wanted to make this post because I think some fans can get too nostalgic over 2nd Gen variety, and forget how much more comfortable and personable their own faves are now that they have full control over their own content compared to the tightly controlled landscape of variety TV (which had some of the greatest groups walking on eggshells). Even those whom you least expect to have YouTube shows (Seulgi, Chaeryeong, Eunchae) have gotten series and channels of their own, which has allowed some of the most introverted idols to try different and fun things beyond what their job would typically allow.
All things considered, the decline of newer idols on the variety TV circuit is far from the worst possible thing to happen in K-Pop, let alone the public’s lack of interest in idols on TV as a whole. With the industry being well into its digital age for nearly a decade, we have seen some of the most varied and inventive forms of digital content that K-Pop has to offer. While it is in due part to the careers of many groups having more avenues of longevity than that of previous generations, it has allowed seasoned veterans to openly interact with their juniors and peers in ways that TV just simply wouldn’t allow them to.
Most of all, it has given us as fans more nuanced and human conversations on the industry than ever before. For all the fun and games that now makes up the sprawling sandbox of YouTube content, it’s just as refreshing to listen to honest perspectives on idoldom that aren’t humanely forced out of artists and entertainers with their own unique approaches to their craft – let alone at the very expense of their well-being.
For all the algorithmically-shaped flaws YouTube has possessed over the last few years, it brings me great joy to see this platform being leveraged in K-Pop as a means to bridge demographics of idols and fans alike. Just this week, we were treated to the pricelessness of Soobin’s fandom, and since then, newer fans have been showering their praises for KARA for the first time. I only hope that more idols take advantage of this platform’s endless possibilities, whether it be to showcase unique dynamics within a group, voice important issues, or form new interactions far away from the industry itself.
Television may have played an integral role in dictating the shape of K-Pop and idol groups to come, but it has historically denied idols of their dignity just as much as it has broadcasted their gifts to the world. For better and worse, YouTube has given idols opportunities to express themselves more freely than before – and in turn, a new voice that is all their own.
Long may it continue.
Sidenote – Feel free to recommend your favorite channels or series below. I’ve only given a few examples, but I know that there are so much more.
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