Na Young-Seok's Big Paycheck and TV's Budget Crisis
Na Young-Seok is a household name in South Korea’s entertainment industry. As a visionary television producer behind hit reality shows like Three Meals a Day, Grandpas Over Flowers, and New Journey to the West, Na has become synonymous with experimental, audience-loved content. His knack for capturing everyday charm and turning it into binge-worthy content has redefined Korean reality TV.
With success came a considerable reward: reports claim Na earns about 4 billion Korean won a year, roughly $3 million, including bonuses. In American television terms, that’s executive-level compensation. Yet, in a surprising twist, Na recently admitted that his company, CJ ENM, is going through financial difficulties due to ballooning production costs and shrinking profits.
A Production Genius with a Price Tag
In some circles, Na’s paycheck is seen as deserved. He isn’t just a producer; he’s reshaped Korea’s entertainment landscape. Critics and fans alike admire how he blends humor with human warmth, replacing flashy celebrity culture with relatable storytelling. Even CJ ENM officials defend his salary, pointing to the international success and licensing deals Na’s shows have achieved.
And they're not wrong. Shows like New Journey to the West have found large audiences in China, Japan, and Southeast Asia. With foreign OTT (over-the-top streaming) services eager to buy Asian content, Na’s programming has become an exportable cultural product — not just entertainment but soft power. Imagine a blend of Anthony Bourdain’s travel charm and Survivor’s structure, but reimagined through a Korean lens.
The Other Side: The Cost of Great TV
Despite the praise, there’s growing criticism. Na’s annual income has become a focal point in debates about CJ ENM’s current deficit. As production budgets soar — thanks to rising actor fees, more elaborate sets, and higher costs for overseas filming — the company is struggling to balance its books.
Some viewers question whether it's fair for one individual to earn so much when the company faces budget cuts and layoffs. "People earning that kind of money need to show accountability," one online commenter said — capturing a sentiment that echoes in the U.S. whenever CEOs receive bonuses during downturns. Yet industry experts argue the problem is bigger than just one big paycheck—it reflects how unsustainable TV production models have become.
What’s Really to Blame: Na or the System?
Anyone who works in media knows the pressure to keep up with audience expectations. In an era dominated by Netflix, YouTube, and TikTok, traditional networks everywhere are splurging on high-stakes content to retain relevance. That means risky bets, like filming in remote islands or creating elaborate, niche-themed shows that won’t guarantee a return.
It’s not just Korea. American networks like HBO or NBC face the same dilemma. Higher viewer demand for quality production equates to higher costs. Add in shrinking ad revenues — as companies shift budgets to social media platforms — and even big names start to sweat.
In this light, Na’s salary isn’t the main villain. Instead, it’s a symptom of a rapidly evolving entertainment economy — one that hasn’t figured out how to thrive in a digital-first, ad-shy, platform-bloated world.
Balancing Talent and Responsibility
Na Young-Seok remains a symbol of quality television. His shows radiate authenticity, making viewers feel like they’re hanging out with their favorite uncles or neighbors, not celebrities. But his earnings — juxtaposed with a struggling company — highlight a bigger question: How do we value creative labor versus organizational health?
People don’t just want great content; they want ethical practices behind the scenes. That includes fair wages for crew members, sustainable production schedules, and transparency in management. Na's situation is a reminder that even entertainment, a realm of escapism, is influenced by real-world economics.
If there’s a solution, it’s not slashing pay or blaming individuals. It’s about realigning priorities in the entertainment world — making room for creativity without bankrupting the organizations behind it. It’s a conversation both Hollywood and Hallyu (the Korean Wave) would benefit from having.
