Actor Im Joo Hwan’s past experience working at a Coupang logistics center has drawn public attention — not only for the surprising career move, but also for what it reveals about the widening income gap in the Korean entertainment industry.
According to OSEN, eyewitness accounts recently surfaced on online communities claiming that Im Joo Hwan had been spotted working at a logistics warehouse in Icheon. In response, his agency, Basecamp Company, confirmed the reports, stating that he had worked there “a few times during a break between projects.” The agency added that he has since completed the job and is currently preparing for his 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 took on daily warehouse labor 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 tightened investments. As a result, both actors and staff members are facing fewer opportunities. Some reports suggest that multiple performers have turned to side jobs or part-time work during extended breaks. With the market increasingly centered around large-scale projects, participation opportunities have become limited, leaving many professionals in prolonged gaps between roles.
The issue also intersects with ongoing debates over actor pay disparities. Since the rise of global OTT platforms, top Korean actors have reportedly commanded multi-billion won fees per episode. Foreign media previously reported that Lee Jung Jae received $1 million per episode (approximately 13 billion KRW) for Squid Game Season 2. Lee himself acknowledged, “It is true that I received a large amount,” further fueling discussions about soaring appearance fees.
In addition, Japanese actor Takayuki Yamada once mentioned at a Netflix event that leading actors in Japan receive approximately 10 million yen (about 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 comparatively high Korean actor fees have become in the global OTT era. However, OTT platforms have maintained that there is no fixed upper limit, emphasizing that fees are negotiated flexibly depending on project scale, role significance, and production schedule.
Ultimately, industry observers describe the situation as a structural polarization: a small number of actors command exceptionally high per-episode salaries, while many others endure extended hiatuses. Im Joo Hwan’s case goes beyond a personal livelihood choice and is being interpreted as a reflection of broader imbalances within the current content production ecosystem.
As discussions continue, his story has sparked conversations not only about individual resilience, but also about the sustainability of the entertainment industry’s current compensation structure.
Sources: OSEN