Idol I
12 episodes
Starring Choi Soo Young, Kim Jae Young, Jung Jae Kwang, Choi Hee Jin, Kim Hyun Jin, Ahn Woo Yeon
Netflix, Viu
With the success of KPop Demon Hunters helping grow a global interest in the unique charm and fantastical appeal of South Korean idol groups, it’s still good to be reminded of all the unjust conditions that real-life K-pop idols are made to endure in pursuit of this ideal. There are already many K-dramas that touch on the rigidity of idol life and the phenomenon of fandom culture as being both healing and harmful, and ENA/Genie TV’s Idol I makes for a strong and particularly clear-eyed addition to the catalog.
This story of a lawyer coming to the defense of her favorite K-pop idol after he becomes the prime suspect in a murder investigation could have easily become nothing more than a sensationalist, wish fulfillment fantasy. But with earnest writing and fully lived-in lead performances, it maintains remarkable focus on the issues and aspects of character that actually bring it to more meaningful places.
Idol I doesn’t necessarily leap off the screen. Mounted on a relatively modest scale, it misses the opportunity to emphasize how the music, performances, and visual presentation of K-pop can capture the imagination of fans and idols alike. But even if its central K-pop band, Gold Boys, could use a stronger artistic personality, the series seems to intentionally reject flashiness—reminding us not to get distracted by celebrity glamor when people’s lives, careers, and safety are on the line. Even the usual K-drama romance tropes are kept to a minimum, and are arguably more effective for their infrequency.
This isn’t to say the show doesn’t entertain. While the mystery at its core is also modest about doling out unexpected twists, director Lee Kwang Young keeps a quiet urgency to the proceedings—creating tension not so much through the recurrent threat of violence but by observing the tenuous balance of trust between client and attorney. There’s still a good amount of inevitable romantic tension between the leads, which puts Maeng Se Na’s (Choi Soo Young) integrity as a lawyer at risk, just as much as it gives Do La Ik (Kim Jae Young) motivation not to give in to despair.
The romantic chemistry between these protagonists isn’t actually the most important thing about the series
It might seem like blasphemy that the romantic chemistry between these protagonists isn’t actually the most important thing about the series, but that’s what keeps Idol I from inadvertently making light of serious circumstances. Even in scenes where they’re apart, Choi Soo Young and Kim Jae Young always feel like they’re drawing from much richer character histories that just happen to share common experiences of a difficult childhood. Their performances inform one another’s characters thematically more than physically—a meaningful distance not unlike the bond between fans and artists.
The poise and professionalism that Soo Young lends to Se Na serves as counterbalance to her character’s private life as a Gold Boys superfan, and as a response to Se Na’s father being convicted of a crime when she was a child. Similarly, Jae Young’s La Ik is meek and respectful in public (as K-pop idols are often strictly trained to become), while harboring the fear and vulnerability of a kid who never really got to grow up. And in a supporting role as Gold Boys’ leader, Ahn Woo Yeon brings real pathos to Kang Woo Seong’s kindness and naivety in trying to keep his band members together while at the mercy of their unfeeling management company.
All this ultimately serves a script (by Kim Da Rin), which unites these individuals grappling with institutions that view people as commodities or means to an end. In her personal capacity, Se Na has to see the celebrity she adores as a complex human being in need—which doesn’t mean giving up the music she loves or the fandom she enjoys being a part of, but learning to better respect La Ik’s needs and privacy. It’s an adult “coming-of-age” story executed with surprising respect for the young at heart.
But where Idol I is most impressive is in the respect it shows idols, whom Kim Da Rin always characterizes as having dignity and agency. The show stresses just how much is stacked against them in South Korea—from being scouted and made to sign contracts at such a young age, to intense rumor-mongering from journalists and social media, to the oppressive rules of conduct under threat of exorbitant fees and litigation, and to the sasaeng (obsessive) fans stalking them and demanding reciprocation.
This story isn’t as interested in the question of La Ik’s guilt or innocence, as it is in illustrating how the media industry has made idols especially vulnerable to harm.
It’s a story that’s still urgent today, and not just because Soo Young is also a member of Girls’ Generation. In December, NewJeans member Danielle was kicked out of the group by the Hybe subsidiary ADOR and was slapped with a $30 million lawsuit. NewJeans had tried to terminate their contracts, arguing mistreatment and a breach of trust, while ADOR claimed to want all the members back. Xiumin, Baekhyun, and Chen of the boy group EXO have been embroiled in contract disputes with SM Entertainment since 2023 over revenue shares, with the company currently blocking the three members from participating in activities with the rest of the group.
Seunghan of Riize voluntarily departed after nearly 200 funeral wreaths were sent to the SM Entertainment building amid fan protests over leaked photos of him dating and smoking. Ju Haknyeon of The Boyz was kicked out by IST Entertainment over allegations of engaging in prostitution, which he has vehemently denied.
This long history of idol mistreatment stems from the reality that they aren’t technically considered workers in South Korea, and, therefore, do not have proper legal protections.
Idol I doesn’t provide a comprehensive solution. The big reveal to its central murder mystery isn’t particularly interesting, and the way it concludes its conflict between Gold Boys and their company’s CEO appears too generous.
But as K-pop expands its reach into new markets, we find it moving that the series hopes for idols to someday enjoy newfound freedom, new opportunities for creative growth, and an environment that values their basic rights.
Idol I is streaming on Netflix and Viu.
