from daydreams to screen time

In March 2026, the usual buzz of fan celebrations at HYBE’s Seoul headquarters gave way to the charged energy of protests, drawing eyes from around the world. As both a K-pop fan and a new journalist, I watched as news broke of Lee Heeseung leaving ENHYPEN. Heeseung, the group’s main vocalist and a founding force, had shaped ENHYPEN’s sound and spirit from the start. His exit sent shockwaves through the global fandom and sparked urgent conversations about how K-pop artists are treated and the obstacles they endure.

This article dives into ENHYPEN’s meteoric rise and the storm swirling around Heeseung’s departure. It explores how companies like HYBE sometimes see K-pop artists less as people and more as commercial assets. As a fan eagerly awaiting ENHYPEN’s next chapter, I watched heated debates unfold about industry practices and the toll they take on artists’ rights. (An, 2025, p. 184-199) Korea JoongAng Daily reports that even some idols admit to the industry’s hardships. As a new journalist, I aim to offer a clear-eyed perspective on how treating artists as mere revenue streams can threaten their freedom, health, and dignity. By spotlighting ENHYPEN’s schedule and fans’ passionate reactions, I hope to show that these challenges ripple across the entire K-pop world.

To understand how some K-pop companies treat their artists, it helps to examine the extent of artists’ control over their own careers. When Belift Lab and HYBE announced that Lee Heeseung was leaving ENHYPEN in early 2026, they described it as a “friendly split” and said he wanted to pursue a “distinct musical vision.” But explanations like this often obscure the fact that companies pressure their artists. Instead of supporting both group and solo careers, as more flexible companies do, they often force artists to make tough choices. (Xportsnews, 2026) For example, SM Entertainment has let artists like SHINee, NCT, EXO, and Girls’ Generation do both group and solo work. According to Mel B, Western groups such as The Jackson 5 and One Direction have managed both music production and global performance, but labor practices in Western and other Asian music industries differ significantly from those in the K-pop industry. In Western pop, artists often have more say over their own work, which makes it especially tough for fans to see the recent disappointment and confusion in the ENGENE community (ENHYPEN’s fandom). (Woo et al., 2026) Some fans have expressed frustration, blaming HYBE for not supporting Heeseung’s wish to pursue solo projects, while others are curious about what might be happening behind the scenes. Social media has been lively, featuring hashtags such as #ProtectHeeseung and #ENHYPENDeservesBetter, showing just how passionate and divided fandom feels. As Professor Kim Ji-hoon, an expert on Korean entertainment labor, explains, “K-pop idols face contracts much stricter than those for Western artists, which limits their creative and personal choices.” 

To address public concern, HYBE and Belift Lab have released several statements highlighting their efforts to support artists’ growth both as individuals and as part of groups. For example, following Heeseung’s departure, HYBE emphasized that the decision was made after “long and open discussions” to respect Heeseung’s aspirations. The company has also pointed to new wellness programs and mentorship opportunities to help idols manage their careers and well-being. According to Asia Business Daily, HYBE has launched the “HYBE Artist Rights Violation Report” site, an integrated reporting center to protect the rights of its affiliated artists. Right there, the fans know it is a lie, as they know he wanted to do both solo work and be in ENHYPEN.

Not only did HYBE kicked Lee Heeseung out of ENHYPEN, a group he has been with for over 6 years that he sees as his family but also sees them as his brothers, HYBE is purposefully trying to erase Heeseung’s dedication and hard work from future works, drafting his profile on WeVerse making his profile on ENHYPEN’s WeVerse channel not active, and trying to erase him in gaming platforms like Rhythm Hive (a music rhythm game where there are artists under HYBE like BTS, TXT, ENHYPEN, SEVENTEEN, Le Sserafim, NewJeans, BOYNEXTDOOR, Illit, and TWS. Those are the current rosters in the game as of May 2026) and ENHYPEN WORLD (a game that the group had dedicated their time on making this game possible for the fans to enjoy). Not only that, but I do believe they are trying to sabotage his solo debut, and we are currently seeing it in real time across various social media platforms, with fans witnessing it.

This situation reveals a troubling pattern: artists are often seen as products rather than people. In a truly inspiring workplace, employees are encouraged to grow and shine. Yet under HYBE’s management, idols can feel interchangeable, with business interests overshadowing each performer’s unique talents and dreams.

When an artist’s dreams clash with company priorities, management often chooses to shuffle or swap out members instead of making room for compromise. The global wave of fan protests and the sight of demonstration trucks outside HYBE’s headquarters were powerful responses to these changes and to deeper worries about how easily idols can be replaced. Online, fans organized campaigns demanding fair treatment and transparency for idol labor. These united efforts reveal just how powerful and organized fandoms have become.

The company’s official line is all about “balancing activity and well-being,” yet it sidesteps fans’ real worries about exhaustion and safety. As a journalist, I’ve followed ENHYPEN’s whirlwind schedule: world tours, back-to-back album releases, and, in 2025, three countries in five days with barely a moment to breathe. Members juggled overnight radio shows and music video shoots, often running on empty. (Kim, 2025) These relentless routines spark urgent questions about health and burnout, fueling ongoing fan debates about what the industry truly expects from its idols.

HYBE and Belift Lab frame grueling schedules as signs of “professionalism” and “passion for fans.” Yet, members have taken the stage while battling knee injuries or high fevers, their struggles sometimes hidden until much later. (5 Times K-Pop Idols Got Seriously Injured During Awards Shows, 2020) By packing tours back-to-back with little rest, companies seem to chase quick profits at the expense of their artists’ lasting health.

South Korean labor laws, such as the Korean Labor Standards Act, are intended to ensure employers provide a safe workplace and protect employees from harm. Privacy laws, such as the Personal Information Protection and Electronic Documents Act, also aim to protect artists’ personal data. (Labor Standards Act, 2021) But sometimes these laws aren’t enforced well. Even though the rules are in place, there aren’t always explicit steps to ensure performers’ safety or privacy, especially in the high-pressure world of entertainment. There are several reasons for this: oversight groups may lack enough resources or authority to perform regular checks, and industry lobbying can slow or block changes. Also, respect for big entertainment companies and fear of speaking out can prevent people from reporting problems or acting together. (Olivia, 2025) Because of this, many companies might only do what is required on paper, without really encouraging mental health, managing fatigue, or protecting against harassment and privacy problems.

Even with these ongoing problems, there are reasons to feel hopeful. According to Korea JoongAng Daily, Rep. Jung Yeon-wook introduced a revision to the Popular Culture and Arts Industry Development Act in early 2026 to address regulatory gaps in the regulation of entertainment agencies and improve tax fairness in the industry. This law would set clearer minimum rest periods, standardize contract terms, and require regular external audits to ensure companies follow the rules. According to The Korea Times, Korea’s “yellow envelope law” came into effect in March 2026, prompting unions representing subcontracted workers throughout various industries to demand direct negotiations with parent companies and prepare for strikes against those who refuse to negotiate. Recent disputes between major entertainment agencies and artists have drawn attention to working conditions in the K-pop industry, with several high-profile contract conflicts highlighting concerns over restrictive agreements and the need for reform, according to The Regulatory Review.

Even as privacy is breached and protections fall short, the fans, ENGENE (ENHYPEN’s fandom) refuse to give up. Their campaigns and advocacy are gaining momentum, proving that collective action can shield artists and reshape the industry for the better. By raising our voices and backing these efforts, we can help ensure K-pop idols are cherished as people, not just performers. Now is the time for fans and industry allies to unite and help build a kinder, more compassionate future for K-pop.

These persistent issues reveal a wide gulf between the rules’ promises and the reality within companies. When enforcement falters or accountability blurs, the true purpose of protecting artists slips away. By working together and staying committed, we can help bridge this divide and create a safer, more respectful world for all.

When agencies blur the line between idols’ private lives and their public personas through livestreams and fan calls, it becomes easy to overlook their humanity and limits. As a fan, I treasure the closeness with my favorite group, but sometimes the intensity feels too much. In those moments, I remind myself that their well-being and happiness must come first, even if it means stepping back and giving them room to breathe.

The Regulatory Review

Ultimately, HYBE and similar companies often overlook the heart of the matter: their artists’ well-being. As someone who cares deeply for both fans and performers, I believe real change is within reach if companies truly start to listen, that is if someone can actually truly listen. To move forward, I suggest a few key steps. Agencies could make artist contracts and schedules public, allowing outside groups to check for fair labor practices. An industry-wide code of conduct, shaped by artist unions, mental health experts, and labor advocates, could set clear standards for rest, contracts, and safe reporting. Regulators and watchdogs should have the power to conduct surprise inspections of company practices. Fans and advocacy groups can also play a role by supporting agency ratings based on artist care, backing legal aid, and pushing for stronger laws at every level. By embracing these changes, the industry can finally honor the talent, passion, and humanity that make K-pop shine. Until then, ENGENE’s from all over the world will keep fighting for a brighter future, for ENHYPEN to return as seven.

References

An, C. (2025). K-Pop Idols as Dependent Self-Employment Workers: Exploitation, Subordination, and Labor Protections. The Journal of Arts Management 55(4), pp. 184-199. https://doi.org/10.1080/10632921.2025.2504979

Xportsnews. (April 6, 2026). K-pop agency crisis deepens: Artists flee over ‘Cha Ga-won risk’ as Lee Seung-gi exits. The Korea Times. https://www.koreatimes.co.kr/entertainment/20260407/k-pop-agency-crisis-deepens-artists-flee-over-cha-ga-won-risk-as-lee-seung-gi-exits

Woo, E., Lardner, A. & Schuette, G. (April 17, 2026). K-Pop’s Global Rise Tests Labor Protections. The Regulatory Review. https://www.theregreview.org/2026/04/18/seminar-k-pops-global-rise-tests-labor-protections/

Kim, I. (August 10, 2025). A Day in the Life With Enhypen on Tour. Vogue. https://www.vogue.com/article/last-looks-enhypen

(August 27, 2020). 5 Times K-Pop Idols Got Seriously Injured During Award Shows. Koreaboo. https://www.koreaboo.com/lists/5-times-kpop-idols-got-seriously-injured-award-shows/

(2021). Labor Standards Act. National Law Information Center. https://www.law.go.kr/LSW/lsInfoP.do?chrClsCd=010203&lsiSeq=232199&urlMode=engLsInfoR&viewCls=engLsInfoR

Olivia. (February 18, 2025). K-Pop Industry Faces Turmoil Amidst Public Disputes: Calls for Policy Support and Anti-Tampering Legislation. Ten Asia. https://www.tenasia.com/entertainment/2025022072134

Kyung-min, P. (November 1, 2025). K-pop legal feuds highlight the power of contracts as NewJeans and EXO members lose disputes. The Korea Times. https://www.koreatimes.co.kr/entertainment/k-pop-20251102/k-pop-legal-feuds-highlight-power-of-contracts-as-newjeans-exo-members-lose-disputes