Tak Jaehoon has announced his return to SBS as an MC for the new variety show "Actually, Seriously!" (Korean title: "아니 근데 진짜!").
The program blends short scripted scenes (sketches) with talk segments and promises bold, changing concepts each episode.
Tak described the offer as "a gift from God" and did not hide his joy at being able to work again.
Reuniting with Lee Sang-min is likely to create a comeback story that mixes humor with lingering anxiety.
Tak Jaehoon returns to SBS — Between Laughter and Anxiety
The core fact: rehire
Dolsingpoman (literally "Divorced Single Men") was cancelled in 2025 after news about Lee Sang-min's remarriage, leaving Tak temporarily out of work.
Then, on Feb 2, 2026, at a press briefing, SBS announced it had signed Tak to the new show "Actually, Seriously!."
The program was initially titled "12 Zodiac" but the producers changed the name after reworking the concept.
Tak summed up this rehire as "the joy of being able to work again."
He had been the production team's first choice, and the staff designed a hybrid format—sketches plus talk—to give viewers a fresh experience each week.
The announced lineup includes Tak Jaehoon, Lee Sang-min, Lee Soo-ji, and Kai.
Lee Soo-ji accepted based on previous collaborations, and Kai joined after checking his schedule with his group activities.
The show is slated for Monday nights starting Feb 2026 and promises provocative episode concepts.
Lee Sang-min joked about his reputation as a "program killer," using self-deprecating humor to signal trust with the production team.
Setting and context
When Lee Sang-min remarried in 2025, Dolsingpoman was cancelled.
At the time, Tak publicly expressed disappointment at the cancellation, and he briefly found himself without steady TV work.
However, the entertainment industry often reshuffles opportunities quickly.
SBS used a new format to keep existing fans while trying to attract new viewers, and in that process Tak emerged as the obvious first choice.
When Tak said, "One thing disappeared, so I had to find another," he was pointing to the practical need to work after losing a show.
The line reads both as a personal confession about the insecurity of show business and as a reflection of structural realities in TV work.
Financial necessity and image maintenance repeatedly shape a performer's choices.
For Tak, getting rehired means more than a job: it helps stabilize his finances and fulfill family responsibilities.
What the comeback means
This is a fresh start.
For Tak personally, staying on air preserves career continuity and professional survival.
In television, long gaps make a return harder; so a quick rehire is a competitive advantage.
Meanwhile, staying visible matters for an entertainer's brand.
Main broadcast variety shows attract viewers and advertisers alike, so steady appearances help protect market value.
Tak's long career and library of past moments increase the chance that his return will generate buzz and ratings.
His phrase "the joy of being able to work again" does more than express emotion.
It signals a pragmatic recovery of income and responsibility to family.
A successful comeback can also set an example for colleagues facing similar setbacks.
From an industry perspective, producers' willingness to change formats and reshuffle cast shows agility.
They get a chance to keep loyal viewers while experimenting to draw new audiences.
For viewers, seeing a familiar face again can be comforting, and a new format sparks curiosity.
This mix often helps secure early ratings and social media attention.
Clear anxieties and risks
Anxiety remains.
Several layers of concern surround Tak's rehire.
First, it is unclear whether this gig will lead to long-term stability.
Variety shows depend on ratings and trends, so initial interest can evaporate quickly.
Second, because Dolsingpoman's cancellation was tied to a cast member's personal life, the idea that private events can end shows still lingers.
That raises questions about whether the Tak–Lee pairing might face similar fate in the future.
When Tak repeatedly mentions "anxiety and fear," he is naming a deeper professional insecurity rather than mere stage nerves.
It connects to financial uncertainty and makes visible the psychological burden performers often carry.
Third, image risk can threaten a show's longevity.
If a cast member becomes a subject of ongoing jokes or if their sincerity is doubted, audience sympathy can fade fast.
Lee's offhand "program killer" joke may be funny now, but it also recalls the prior cancellation and can work as a source of unease.
Fourth, tensions can arise between creative freedom and ethical choices.
If a network prioritizes ratings and commerce, it may neglect performers' image management and privacy.
That narrowing of options can harm performers' long-term careers and the industry's labor conditions.
Finally, public opinion can shift quickly.
Early applause can die down, and if the show disappoints, backlash lands directly on the cast.
Outlook and impact
The prognosis is mixed.
The format is original and the cast will draw attention, so initial buzz seems likely.
However, changing concepts every episode increases production pressure and could make it harder to keep a stable schedule.
If ratings and advertising revenue follow, Tak's role could become long-term.
Conversely, if the show underperforms, the schedule could shrink or the format could be revised, putting the cast at risk again.
Industry effects matter too: success would encourage investment in similar hybrid formats and expand the variety landscape.
That would create new opportunities for producers and on-screen talent alike.
If the show fails, the damage is concrete: reputations suffer and production costs are lost.
That outcome would force networks to tighten format testing and test cast choices more carefully.
Ultimately, a show's success comes down to content consistency, cast chemistry, and nimble scheduling by the production team.
When those factors align with supportive fan response and fair reviews, longer-term stability becomes possible.
Closing and questions
In short, Tak Jaehoon's return to SBS represents both a personal comeback and an example of how broadcasters redeploy talent.
For him, the new show is an opportunity to reclaim image and income, but it also invites renewed pressure and responsibility.
The program's fate will hinge on steady format execution, cast rapport, and how audiences respond.
Tak's rehire shows the coexistence of comeback joy and professional anxiety.
Do you see this return as a path to long-term stability for Tak, or as another test on a difficult stage?
