Hi, hello there, welcome back. Today we’re talking about a whole different type of pick-me-girls and pick-me-boys.
If anyone is keeping up with kpop, it’s not hard to receive the news that there's a new Korean idol group survival show that just got announced. Carrying on the spirit of the Produce series (which got scrapped, due to unfortunate circumstances), CJ ENM, or Mnet, came out with a whole new Planet series, and as of 2026, they’ve just announced Girls Planet 2.
Now, I am also a victim, I mean, an enjoyer of such idol group survival shows myself, my favourite being the Produce 101 Japan series and the Boys Planet series. I consider myself an active member of these fandoms — I had my fair share of experiences when it comes to voting, streaming, debating rankings, and bonding with other fans online.
Back in 2016, when Produce 101 was released, it was revolutionary. It opened markets, business aspects, and so, so many opportunities in the idol industry. And 10 years later, the market now is so saturated with these survival reality TVs that I’d comment as “getting a little out of hand”.
Let’s start off with the term “fan”. The term "fan" has been used continuously since the 19th century, and the term "fandom" dates from the turn of the 20th century. Fan and fandom originally referred to fans of sports clubs and, shortly after, the rapidly expanding science fiction fan bases, like the Marvel comics, or the Star Wars franchise, you name it. Right, and have I yet to mention that, organized fan communities existed prior to these groups? Wayyy back in the 1800s, readers of Sir Arthur Conan Doyle's stories, for instance, corresponded with his fictional creation and lamented the death of Sherlock Holmes (Littlejohn & Foss, 2009). In every case, whenever we say someone is a 'fan' of something, it almost always hints at some or all of the following: 1. they're into it as an amateur (not professionally), 2. they have a real fascination and emotional investment in it, and 3. they're often actively engaging with it, usually alongside other people as a fun leisure activity.
Being a fan is fun, coming from a person just cannot be casual for anything. It's an amazing experience to have when you genuinely like something, and not just want to be a casual consumer. Some showmakers lure into that idea, and they come up with reality TV that allows you and many others like you, to engage with the show, and dare I say, prove your love to it.
According to Henry Jenkins (2006) in Fans, Bloggers, and Gamers, participatory culture is where fans don’t passively consume media but actively participate, create, and influence outcomes. The format of reality TV itself is designed for this kind of engagement too. Metz (2007) notes that reality television blends real-life drama with strategic editing to generate strong emotional investment and audience loyalty. When combined with social media and voting systems, it creates an addictive loop of participation. In addition to that, Busse (2009) adds important context that fandom involves deep emotional investment, communal engagement, and amateur creativity. Media fans, especially of television and pop culture, often sit at the center of media convergence, where producers and audiences blur together.
We can link this back to reality survival shows like Produce 101 and many others; in these shows, viewers are encouraged to vote, create fan content, trend hashtags, and build massive online communities that directly impact which trainee will debut. This turns fandom into a digital participatory practice. A recent article in The Korea Times (Pyo, 2025) highlights why these K-pop survival programs remain popular despite declining TV ratings. Much of their appeal comes from fan participation. In Produce 101, viewers are called “national producers,” giving fans a real sense of ownership and responsibility to choose the final debut lineup, and this “viewer nickname” tradition still goes on even today. This builds deep loyalty and turns the viewing experience into a narrative fans can invest in emotionally (the “dopamine chase” of discovering and supporting trainees). Even with lower viewership, groups like ZEROBASEONE (from Boys Planet) proved that strong fandoms built through these shows drive massive album sales and long-term success.
In my experience, it was always a contest; not in a bad way, but it was clear that some trainees have more love from the audience than others, and that was reflected on weekly rankings of the show, sometimes even regardless of how the producers try to, in our words, “rig” the rankings. It was a standoff of your love and support for your favorite trainee, based on how many votes you were willing to give them, or did you participate in support groups outside of the show. It was a bloodbath, I’m not going to lie. But was it enjoyable as a fan? Well, I suppose so.
Though sometimes it makes me wonder; Are we truly participating freely, or are we being skillfully guided into free labour for entertainment companies?
(P.S. I am still SO not over ZB1's disbandmentㅠㅠ)
Busse, K. (2009). Fans, fandom, and fan studies. In S. W. Littlejohn & K. A. Foss (Eds.), Encyclopedia of communication theory. SAGE Publications. https://sk.sagepub.com/ency/edvol/communicationtheory/chpt/fans-fandom-fan-studies
Jenkins, H. (2006). Fans, bloggers, and gamers: Exploring participatory culture. New York University Press.
Metz, W. (2007). How reality TV works. HowStuffWorks. https://entertainment.howstuffworks.com/reality-tv.htm
Pyo, K. (2025, July 17). What makes K-pop audition programs so popular? The Korea Times. https://www.koreatimes.co.kr/entertainment/k-pop/20250717/what-makes-k-pop-survival-audition-programs-so-popular