This document outlines several instances of both alleged and proven mismanagement, mistreatment, abuse of power, betrayal, and more by WakeOne, CJ ENM, and MNET through their handling of survival and competition programs.

Please note that while we have made every effort to gather accurate information, some observations and facts may have been missed during our research. As such, this document may continue to evolve over time.While many of these concerns are based on fan observation, member testimonies through platforms like Bubble, and firsthand experiences from fans, others have been confirmed through legal proceedings and public records.Our goal as fans is not to attack these companies out of anger, but rather to highlight these issues as concerned supporters and consumers. We firmly believe that idols and trainees deserve to be treated fairly, as individuals with rights and dignity, not merely as just as a product of a company.Over the years, we have observed a pattern of negligence, mismanagement, and disrespect that cannot be ignored.Additionally, we aim to uplift WakeOne artists by bringing more attention to their work and increasing fan support, which will benefit them both emotionally and financially.In this campaign, we also present relevant background on CJ ENM's history of controversy, alongside applicable South Korean laws related to labor rights, artist protection, and workplace conduct.These legal frameworks support the concerns raised and establish the necessity for accountability and change.

Profit Over People: Institutional Failures in
CJ ENM’s Idol Industry Model

CJ ENM is not merely a dominant force in South Korea’s entertainment industry, it is the architect of a tightly controlled ecosystem that governs nearly every stage of an idol’s career. As the parent company of MNET and the owner of influential labels like WakeOne, Lapone, H1ghr Music, AOMG, Amoeba Culture, and Stone Music12, CJ ENM oversees everything from the development of survival shows to contract negotiations, album releases, and promotional budgets. This vertically integrated model has produced global success stories, but that success has often come at the cost of artist wellbeing, career longevity, and personal dignity. Beneath the viral comebacks lies a repeated pattern of corporate overreach, neglect, and exploitation.

The company’s dominance begins in the conceptual stages of content development. Programs such as Idol School, Produce 101, Produce X 101, I-LAND, Girls Planet 999, Boys Planet, Queendom, and Kingdom are engineered by CJ’s strategy teams, framed as high-investment, trend-driven global ventures. Production budgets often reach into the millions and are executed by MNET’s in-house staff, funded entirely through CJ ENM’s resources3. In Japan, CJ partnered with TBS and Yoshimoto Kogyo to produce Produce 101 Japan, later forming Lapone Entertainment, in which CJ ENM owns a 70% stake, granting itself significant control over the careers of groups like JO1 and INI4.

After each show concludes, winners are funneled into labels that CJ ENM directly oversees. I.O.I, Wanna One, IZ*ONE, and X1 all debuted under either YMC or Swing, entities eventually merged into WakeOne in 2021. ENHYPEN, formed through I-LAND, debuted under Belift Lab, a joint venture where CJ held a 51.5% ownership stake and later sold fully to Belift5. In 2024, izna, the winning group from I-LAND 2, launched under WakeOne. Similarly, Kep1er and ZB1, formed through Girls Planet 999 and Boys Planet respectively, are managed by CJ-owned label. Even TOO, a boy group originating from Boys24 that first was co-managed with N.ch, was transferred to WakeOne6 and reorganized into TO1 before disbanding in December 2023. This structure ensures CJ ENM retains control over both the creative direction and financial outcomes of the groups it creates.

However, the company's total control has often led to severe mismanagement. In 2019, CJ ENM admitted that producers had manipulated votes in multiple seasons of the Produce franchise7 as well as Idol School8. As a result, X1 disbanded after just five months and IZ*ONE’s activities were delayed. Though refunds were issued, there were no meaningful systemic changes. Through their own testimony, MNET said they planned to “Avoid audition programs in the future”9 yet they have continued to air audition programs since this statement in 2019.

Safety and ethical concerns have plagued CJ ENM’s projects. During Boys Planet, a trainee also broke his arm during filming10, yet the company minimized the incident. Though CJ ceded control of Belift Lab in 2023, I-LAND 2 raised similar concerns, including allegations of poor set conditions11, though the producers later refuted these claims12. The Boys Planet controversy echoed past patterns, with participants being eliminated before the first episode aired, through means of their ‘Star Level Test’. This allowed MNET to more easily eliminate those they didn’t like without much question, even though fans felt some trainees were eliminated unfairly13. Even their K Group Center, Kim Geonwoo, faced allegations of bullying, even admitting truth to some claims14. This raised suspicion of no proper background checks given to participants. Despite public demands for transparency, CJ ENM remained unresponsive.

CJ ENM - Subsidiary of CJ GROUP

CJ ENM Entertainment Division ( 씨제이이엔엠 엔터테인먼트 부문), formerly known as CJ E&M, is a South Korean entertainment and mass media division (formerly company) of CJ ENM. In July 2018, the company merged with the parent company's subsidiary CJ O Shopping, with the latter being the surviving entity.They operateAs a media company and television program production throw:
-Mnet
-tvN family of networks
-OCN family of networks
-CATCH ON family of networks
-Chunghwa TV
-Tooniverse
-DIA TV
-UXN
-Studio Dragon
-CJ ENM Studios
-JS Pictures
-AStory (10.71%)
-Studio Take One
-Fifth Season (co-owned with Endeavor and Toho International)
-CJ ENM Digital StudioAs a film production company, film publishing house, film investment production throw:
-CJ Entertainment
-Skydance Media (unknown percentage; based in the United States)
-CJ ENM Studios
-Studio Dragon
-413 Pictures
-True CJ Creations - A joint venture with the True Corporation of Thailand, mainly used to create Thai adaptations of Studio Dragon shows.On the sector of music, as an artists management, record label, music production company, event management, concert production company, music publishing house and entertainment investment company.
Involved on the Management of
-Wake One
-AOMG
-H1ghr Music
-Amoeba Culture
-MODHAUS
-Swing Entertainment
-Lapone Entertainment (based in Japan, co-managed by Yoshimoto Kogyo)
Involved on the Distribution
-Stone Music Entertainment
-Genie Music (15.35%)As a concert production company, festival production and producing award event.
-MAMA Awards
-KCON
-Valley Rock Music & Arts Festival
-Get It Beauty CON
-OLive CONAs an animation production company, animation publishing house, animation investment production and merchandising animation content.
-InfinityOne Comics Entertainment
-Studio Bazooka
-CJ ENM Studios
-Cartoon FamilyAnd more.

CJ ENM - Background

• Case of Lee Hanbit
Lee Hanbit joined CJ ENM as a PD in 2016. Following his assignment as an assistant director for the tvN drama Drinking Alone, PD Lee Hanbit was subjected to an overwhelming workload and systemic mistreatment by CJ ENM.As a newly appointed assistant director, he was burdened with a range of duties far beyond a single person’s capacity including: costume and prop management, meal preparation, filming data handling, and budget settlement. Despite his inexperience, he was also tasked with executing the dismissal of existing staff after company executives ordered replacements, intensifying the workload amid live filming demands.The production environment became increasingly hostile, marked by insufficient manpower, relentless pressure, and mounting responsibilities.When PD Lee raised concerns about the layoffs and the production process, he was met with harsh reprimands, verbal abuse, and workplace bullying. The culmination of these abusive conditions led PD Lee Hanbit to take his own life as a form of protest. In the aftermath, his family, friends, and civic organizations—including the Media Workers' Union and the Youth Union—formed a countermeasure committee.After eight months of advocacy, CJ ENM formally apologized in June 2017, acknowledged its role in his death, and pledged to reform the production environment by ensuring appropriate working hours and rest periods to prevent future tragedies.• TV DRAMAS*
• In 2018, a broadcast worker fell from the set of the tvN drama “Hwayugi” while performing excessive lighting installation work in the early morning hours, paralyzing his lower body.•In 2019, the tvN drama “Arthdal Chronicles” shocked the public by revealing that they had forced 151 hours of continuous filming per week.• Every time these incidents occurred, CJ ENM stated that they would continue to work to improve the production environment.• MAMA 2020
On December 11, Dispatch reported alarming health and safety conditions during the filming of the 2020 MAMA at CJ ENM Contents World in Paju — a location still under construction and only 30–40% completed, according to the Paju City Hall Architecture Department. The site was marked with warning signs such as “Caution: snakes,” “Caution: fire hazards,” and “Warning: drop hazards.”Despite this, CJ ENM conducted performance recordings inside one of the only two completed structures, Studio 6. Artists were required to go on and off stage multiple times over at least four hours. Reporters present at the site noted that the level of dust in the air made it difficult to breathe or see clearly, with several experiencing throat pain from prolonged exposure.CJ ENM responded to criticism by claiming the studio was a “new building” and that the air conditioning system was “fully operational.” However, K-pop agency representatives contradicted this, stating that rehearsals and pre-recordings ran through the morning of the event — with the set being torn down and replaced just before the live show.While CJ ENM had received city approval to film inside Studio 5 and Studio 6, Paju city officials admitted that no dust particle inspections had been conducted since construction began in 2019. “There was no request from CJ ENM regarding air quality or safety checks prior to MAMA,” a city representative confirmed.• Corruption on Survival Programs
In 2019, it was revealed that CJ ENM had engaged in widespread corruption and severely neglected the working conditions on the filming sites of numerous idol survival audition programs aired on Mnet, including the Produce 101 series, Boys24, and Idol School. Rather than conducting fair evaluations, production staff manipulated rankings and outcomes in exchange for bribes and various forms of entertainment.Trainees (many of whom were teenagers) were subjected to unsafe conditions, including excessive filming hours without proper rest, lack of ventilation, and poor hygiene standards. These led to frequent health incidents, such as physical collapse and skin diseases during closed filming camps, yet no meaningful intervention or preventative measures were implemented.It was not until December 2019, after widespread public outcry and legal investigations, that CJ ENM issued an official apology. However, the company failed to reflect on the fundamental problems at the heart of their idol audition systems, including the long-standing exploitation of minors and youth artists for profit.Despite promises to reform, CJ ENM resumed airing survival programs less than six months later.• I‑Land (Season 1)
• Underfunded Production: CJ ENM did not allocate enough production costs or secure sufficient manpower for I-LAND, despite the scale and complexity of the show. Due to company mismanagement, newly hired PDs were instructed to personally pay for production expenses amounting to millions of won because CJ ENM had not secured the proper corporate credit limits.• Overworked Staff: Assistant directors were forced to work long hours under extreme pressure, with excessive duties beyond their capacity.• Hidden cameras in private spaces: Contestants reported that Mnet placed hidden cameras behind two‑way mirrors and in dormitories and bathrooms, without explicit consent. Some former contestants described experiencing PTSD and severe anxiety after the show.• Dangerous set conditions: Staff raised concerns that the stage structure looked unsafe, but CJ ENM continued filming without addressing these warnings. A staff member fell and was seriously injured during construction of the multi-level stage. Safety regulations were clearly not followed.• Emotionally manipulative edits: Contestants were ranked by their peers, and editing highlighted emotional breakdowns or conflicts to boost drama. Popular clips showed trainees crying or begging not to be voted out — often without context. This reinforced public perception of “weakness” or “toxicity,” hurting some reputations permanently.• Extreme surveillance & isolation: Contestants were not allowed phones, contact with families, or outside entertainment. Even books and music were restricted. In interviews, some stated they felt like they were "in a prison."• Contestant health issues: Some participants showed visible signs of fatigue and weight loss. With little rest and long filming hours, this raised red flags with fans, especially when rehearsals were filmed overnight without proper breaks.• Petition Against Corrupt Producers:
A petition was submitted by an assistant director against PDs Kim Yong-beom and Ahn Joon-young—both previously exposed for manipulating Produce 101 voting results and receiving sexual favors from agency officials.• Girls Planet 999 (C‑Group Discrimination & Working Conditions)
• Language neglect: Foreign trainees in the C-Group frequently lacked proper translator or interpretation support, despite official promises by Mnet. Many were even denied access to basic language tools like dictionaries, hindering their understanding of instructions and mission details.• Restricted access to personal devices and outside content: Contestants testified to extreme isolation during filming, with no access to personal devices, music, social media, or phone calls, except for a single one-month break throughout the entire filming period. This “closed system” cut off communication with families and support networks.• Inhuman filming schedules: Planet demo stages reportedly lasted 40 hours straight with only two hours of break, trainees sometimes slept only an hour per day.Discriminatory treatment & “evil editing”• Consistent bias against C‑Group: Chinese trainees often received negative edits, villain arcs, or sympathy‑bait stories, while Korean and Japanese trainees were featured more favorably.• Emotional distress among C‑Group trainees: Ma Yu Ling shared that staff treated the Chinese contestants particularly poorly, she and others cried together due to systemic neglect. Only two staff were reportedly kind to them.• Scripted drama: Contestant Fu Yaning later revealed that her apparent “diss” of another trainee was scripted as part of a manufactured storyline.Testimonies from Former Contestants
• Tammy Wu (C-Group):
Described the filming as being in a “closed, isolated system”, with almost zero outside communication. She said she wasn’t allowed to contact family, use her phone, or even listen to her own music.• Ma Yuling:
Confirmed that C-Group trainees were treated differently. Her interview revealed a culture of emotional neglect, double standards, and alienation.• Fu Yaning:
Revealed her “rude” moment toward Yujin was scripted by Mnet, not her idea. She was pressured into delivering a confrontational line, then edited into a villain role by the production team.

WakeOne’s General Mismanagement

  • WakeOne has been documented paying fansites and disclosing private information for their benefit. This behavior is unethical, violates idol privacy, and creates unsafe environments.
  • Despite multiple efforts from fans demanding accountability and change, the company has consistently ignored concerns. [a][b][c][d][e][f][g][h][i][j][k][l][m][n][o]
  • Former idols from before the company’s reorganization have alleged non-payment and lack of proper promotional support. [a]
  • Artist schedules are largely restricted to CJ ENM subsidiaries such as Hello82 and MNET, severely limiting public exposure and growth.
  • Reports of abuse and misconduct from staff toward idols have surfaced and remain unaddressed. [a][b][c][d][e]
  • The company has repeatedly failed to adequately prepare artists for international schedules, displaying clear organizational incompetence. [a][b][c]

Why CJ ENM and WakeOne Are Liable

At the beginning, WakeOne did not exist. Instead, groups formed through the Produce series were managed by companies such as Swing Entertainment, MMO, Studio Blue, Stone Music, and Off the Record. Over time, all of these entities—except Stone Music and Swing—were dissolved. In their place, WakeOne was established and eventually partnered with Swing Entertainment. This restructuring came shortly after the Produce series vote-rigging scandal.In December 2019, CJ ENM publicly promised to stop producing debut survival programs following the Produce X 101 controversy. However, less than two years later, they launched Girls Planet 999 in August 2021, maintaining a similar mission format and simply introducing the K/C/J group concept. Many fans saw Kep1er as an experimental group to test public reception, especially given the company’s consistent silence in response to fans’ concerns about mistreatment and unfair management.WakeOne claims on their official website:
> “We discover and nurture artists with the best system, working with the industry’s leading specialists and management to entertain a global audience.”
Yet in reality, they have consistently failed to nurture their artists, denying them full promotional opportunities and restricting their ability to showcase their talents.CJ ENM states:
> “We actively seek the information or knowledge we require to attain our objectives and deliver results with a sense of responsibility.”
However, their refusal to learn from past mistakes—such as the Produce scandals—and their decision to break their promise not to host more survival programs directly contradicts this core value.Looking further up the corporate ladder, CJ Corporation (CJ ENM’s parent company) claims to prioritize:
- “Respecting and Protecting Human Rights”
- “Promoting Diversity, Equity, and Inclusion”
- “Strengthening Transparent Management”
- “Expanding Ethical and Compliance Management”Yet CJ Corp continues to allow its subsidiaries to neglect and abuse artists and trainees. These include:
- Violations of human rights, especially toward minors and foreign trainees.
- Lack of transparency, particularly in management decisions and survival show production.
- Failure to enforce ethical standards, as seen in repeated scandals and broken promises.CJ ENM has failed to hold WakeOne and MNET accountable for their actions.
CJ Corp, in turn, has failed to hold CJ ENM accountable, betraying the trust of not only the artists and trainees, but also fans who contribute their time, energy, and money in support of these individuals.This pattern of negligence has led to:
- Loss of fan trust
- Worsening artist conditions
- Repeated disappointment due to lack of communication and fair opportunitiesEnough is enough.
It's time for CJ ENM, WakeOne, and CJ Corp to:
- Stop hiding behind dissolved companies
- Take accountability for their actions
- Uphold their stated values and ethical responsibilitiesWe, as fans, will not stop until quantifiable change is achieved. The well-being of idols and trainees must come before profit.

Requested Changes and Demands

• The protection of idols has not been taken seriously. Many threats have been made to idols and overall hateful things have been said. Please take proper action.• Legal action should be taken against the perpetrator of the Jiwoong editing incident.• Styling should be age appropriate.• All Red Carpet appearances should have proper styling, and never should feature stage outfits.• Please limit the amount of times a piece of clothing is worn for fresh styling opportunities.• Fair contents distribution, allowing each group, and by extension each member, as well as all solo artists to showcase every part of their talent and connect with fans through vlogs, reality shows, covers, and other in-channel contents• Fair survival shows. We understand that there is a level of editing that goes into any and every reality show including special storylines, however we demand that the manipulation of both viewers and trainees’ characters to solely benefit the company ends beginning with BOYS II PLANET.• Fair line distribution, with no more than a 7 second margin between the highest and lowest allocations for all groups.• Fair scheduling for members, with no more than a 2 schedule difference between the members with most schedules and member with least schedules for all groups.• The company must clear up rumors about Yoon Jiyoon’s hiatus by 1 September 2025. If the rumors of workplace bullying are alleged, we demand an apology be issued to Yoon Jiyoon and all staff involved should be suspended. If rumors are false, we want reassurance she is resting well.• The staff member responsible for scolding Ricky after he went live should be terminated if still employed by the company.• CIEM’s should be provided to each member of izna by the one year anniversary.• Members should be allowed one full day (24 consecutive, uninterrupted hours) of rest per month as well as regular health checks outside illness.• A mental health counselor should be available at all times for trainees and idols due to constant stress and pressure.• Regardless of contract verbiage, all trainees and idols are humans and this should be reflected in treatment of them. Happy idols = happy fans.• We are strictly against the use of Artificial Intelligence in any capacity.If no reasonable change is met by 1 October 2025, we intend to increase the intensity of the campaign with no plans to stop until we see quantifiable change.

Concerns Regarding WAKEONE’s Artist Management

Jo Yuri

How the Former IZ*ONE Member Was Neglected by Her CompanyDespite her success as a member of the group IZ*ONE, Jo Yuri has experienced significant mismanagement since debuting as a solo artist. Fans who have dedicated themselves to supporting her have expressed disappointment over the way her schedules and promotions have been handled. Had WakeOne provided more effective promotion, Glassy could have grown into a larger fandom, especially following her rising popularity after Squid Game.- Due to a lack of promotion, Yuri appears not to be a priority for WakeOne as an artist. This perception only shifted slightly after her role in Squid Game, which led fans to feel the company regarded her as disposable.- Her comebacks receive minimal promotion, primarily limited to YouTube appearances with almost no television show exposure, severely limiting opportunities to expand her fanbase.- Comebacks often seem rushed and underfunded, which has led to fan disappointment regarding the overall quality and impact of her releases.- Yuri is rarely given opportunities to showcase her vocal talents outside of music releases and occasional shows.- Outside of comeback periods, fans feel that Yuri effectively disappears from the public eye, with a lack of variety show appearances or consistent personal content such as vlogs, contributing to a decline in fan engagement.- Fans have expressed concern that tightly scheduled activities (including comebacks, drama filming, and guest appearances) may be causing overwork and health issues.- Scheduling appears poorly coordinated, limiting Yuri’s ability to adequately prepare and promote her projects, as seen when promotional activities for Taxi Driver were cut short due to Squid Game filming commitments.This pattern of mismanagement highlights the need for WakeOne to reevaluate their approach to supporting Jo Yuri’s career, ensuring her talents and efforts receive the recognition and care they deserve.

TO1

WakeOne’s Neglect and Mismanagement of TO1Lack of Protection and Safety Measures
- WakeOne failed to take action against malicious comments directed at members, particularly targeting Woonggi.
- No visible efforts were made to protect TO1 from online harassment or defamation.
- Fans were left to handle harmful discourse without proper company support or intervention.Poor Management of Health and Hiatuses
- Members’ health updates were vague and inconsistently communicated.
- No official statement was released regarding Woonggi’s health status or the reason behind his extended hiatus.
- Chihoon was inactive on all platforms for over a month with no explanation, leaving fans in the dark.
- The group’s silence on VLIVE extended for long periods, further worrying fans about member well-being.Neglect of Celebrations and Milestones:
- Woonggi and Chihoon’s birthdays were completely ignored on all official platforms — no posts, posters, or VLIVE celebrations were provided.
- TO1’s 500th day passed with no recognition, not even a commemorative post.
- On April 1, TO1’s second debut anniversary was marked only by a generic social media post. No live content or proper celebration was arranged despite member availability.Disorganized Content and Inconsistent Communication
- Behind-the-scenes and promotional content was uploaded randomly to the official YouTube channel, with no consistent schedule.
- Members were seemingly restricted from using VLIVE or SNS, drastically reducing fan engagement opportunities.
- Comeback schedules, such as the release of "CIDER," were pushed back without transparency or updates.
- On May 24, 2022, all member activities were halted with minimal explanation other than a vague statement to "reorganize, recharge, and prepare for their next album."

Kep1er

How a group meant to succeed was set up by their company to fail.Over nearly four years, fans have observed multiple issues with Kep1er’s management. Despite several calls to action, no meaningful changes have been implemented.Fans were hopeful after the contract renewal and the group’s transfer to Klap, a subsidiary of WakeOne, anticipating better opportunities. However, Kep1ians continue to face disappointment as WakeOne allows Klap to mismanage the team.Lack of Protection and Safety Concerns
- Multiple members have received death threats with no action taken by the company, leaving fans anxious for their safety.
- A petition regarding the removal of Huening Bahiyyih was never addressed by the company.
- The company has failed to take visible action against malicious posts, defamatory comments, sexualizing remarks, and online harassment, leaving members vulnerable to ongoing attacks.
- Members have appeared with unexplained bruises on multiple occasions, raising concern among fans regarding possible neglect.
- The company ignored defamatory articles targeting Kim Dayeon during debut, allowing harmful dating rumors to spread unchecked.
- During international fan calls, Kim Dayeon was tricked into speaking offensive phrases without company protection or monitoring.Constant Health Issues Among Members
- Chaehyun received an IV drip on the day of the Queendom finale yet still performed.
- Xiaoting’s neck injury is considered non-recoverable.
- Youngeun fainted during a fan call and required hospitalization.
- The company has shown a pattern of pushing members to perform despite clear health concerns, endangering their well-being.
- Youngeun’s health-related hiatus before their August comeback disappointed both fans and herself, who had expressed excitement for the return.The Mistreatment of Huening Bahiyyih
- WakeOne refuses to acknowledge the dehumanizing cyberbullying she faces, including derogatory nicknames like "Bahorsie" and "Bahobo," comparisons to a horse, and being called “the cold place” by some fans.
- The company refused brand deals for her on at least two occasions.
- Despite placing second on Girls Planet 999, she was rarely given opportunities and often pushed to the back.
- A petition for her removal from the group circulated after her win but was never addressed by the company.The Mistreatment of Shen Xiaoting
- Xiaoting hosted her birthday live alone without cake or decorations, only after fans pleaded for it.
- She had no scheduled activities in China until after contract renewal.
- Following the end of her contract with Topclass, WakeOne failed to promote her for months, with only one solo promotion since contract renewal.
- Xiaoting has been the target of racist and dehumanizing comments allowed to persist.Unequal Treatment and Opportunities
- Kim Chaehyun, winner of Girls Planet first place and group center, rarely appeared in this position, disregarding public votes.
- Line and part distributions are heavily skewed, limiting some members’ chances to showcase their skills.
- Individual scheduling favors certain members over others, giving unequal promotional opportunities.Poor Comeback Planning
- Galileo promotions were scheduled during Chuseok, limiting exposure and activities.
- We Fresh was poorly planned and executed, causing many fans to leave the fandom.Poor Styling and Design
- Outfits are often reused partially or entirely across events and members.
- No unique outfits are provided for red carpet or special events; performance outfits are used instead.
- Concerts and fan meetings lack dancers, props, and creative set design, reflecting little investment.
- Early content was filmed against plain white backgrounds with no set design.Miscellaneous Issues
- The group was forced into Queendom shortly after debut, hurting their confidence amid hateful messages.
- Seo Youngeun returned from hiatus only 10 days after her father passed, denying her adequate grieving time.
- Birthday celebrations receive minimal effort — cake, decorations, posts, and photoshoots are lacking.
- Members were made to fly economy class while other groups under the same company flew first class.
- Kep1er was completely erased from Mnet’s history during anniversary celebrations.
- The company excluded the group from survival show recaps and major Mnet events such as Studio Choom and KCON.Summary
It is evident that Kep1er members have suffered mental and physical distress, underpromotion, and lack of resources from their company. Both as individuals and as a group, they have been severely neglected compared to their peers. Instead of taking responsibility, WakeOne effectively abandoned the group by transferring management to a subsidiary post contract renewal.

ZEROBASEONE

An inside look at the mistreatment of one of the biggest boy groups of 2024-2025.At their debut, ZB1 became million sellers, generating significant profit for WakeOne. Over time, it became clear that this success was not a priority for the company, and fans grew concerned about the unfair treatment of the members. Despite being the company’s primary earners, there appeared to be troubling issues behind the scenes, causing fans to worry for the safety and well-being of the team. Despite repeated fan outcries, the treatment often worsened.Lack of Protection and Safety Concerns
- Multiple members have received death threats with no visible response from the company, leaving fans anxious about their safety.
- The company has failed to act against malicious posts, defamatory comments, sexualized remarks, and online harassment, exposing members to ongoing attacks.
- Members have shown questionable bruises on several occasions, raising concerns of neglect.
- Insufficient security was provided at airports, leaving members vulnerable to mobbing.
- Several performances, including the debut showcase, were held under unsafe conditions, alarming fans.Constant Sickness and Health Concerns
- Members have required hospital visits and IV fluid drips multiple times, causing concern about health management.
- Taerae was forced to continue working immediately after the passing of his grandfather, without adequate grieving time.
- Hanbin underwent wisdom teeth removal but was pressured to dance immediately afterward, despite medical advice recommending rest.
- Yujin participated in ISAC with a leg injury, needing assistance to walk.
- Zhang Hao was made to sign hundreds of albums while ill, missed a fansign due to sickness, and the company failed to reschedule.
- Ricky and Zhang Hao were unable to perform in Taiwan for health reasons, while Yujin performed despite illness.Mistreatment of Member Shen Ricky
- Ricky was scolded and forced to end a livestream, subsequently banned from SNS and restricted from Plus Chat.
- Due to passport and visa issues, Ricky was stranded at airports multiple times—responsibility of the company.
- Editors blurred his face in official group content, suggesting intentional censorship rather than image protection.
- Ricky has minimal SNS presence, leading even casual observers to speculate about his departure.
- Opportunities for solo schedules have been very limited.Mistreatment of Member Zhang Hao
- Despite winning first place on Boys Planet with the privilege of center position, Hao is often excluded from this role in content.
- Promotion of his solo song, a benefit of his ranking, has been minimal.
- Most of Hao’s work comes from networks outside CJ ENM (about 90% from MBC).
- On Mnet’s anniversary, Hao received only one minute of screen time with no special segments or interaction with other winners.
- Several brand deals involving Hao have been rejected by the company, as reported by brands through his Chinese fanbase.Mistreatment of Member Kim Jiwoong
- Jiwoong was deliberately excluded from the Top 9 video posted by Mnet after group formation.
- At the debut showcase, Jiwoong collapsed due to exhaustion and electric shock from his in-ear monitors but was forced to apologize rather than receive medical care.
- He receives minimal screen time in behind-the-scenes content and vlogs, disappointing fans.
- Following a manipulated video targeting Jiwoong, the company took minimal action, and his SNS presence and schedule opportunities have been reduced.Internal Imbalance and Scheduling Issues
- The ‘World Tour’ had limited dates and omitted countries where ZB1 is popular, frustrating fans unable to attend live events.
- Tour dates conflicted with important holidays and exams, negatively impacting members’ personal lives.
- Members were reportedly unaware of the tour schedule until public announcement.
- Solo schedules are unevenly distributed, threatening some members’ future careers.
- Unlike other groups, ZB1 has almost no official performance videos, placing additional stress on members like Hanbin who took on directing responsibilities.Miscellaneous Issues
- Staff have been caught mocking fans and acting unprofessionally.
- Birthday gifts for Jiwoong were initially rejected despite prior approval.
- Ricky’s CIEM (custom in-ear monitors) was lost by the company, leading to a fanbase lawsuit which WakeOne refused to settle by apology, instead paying damages.
- Zhang Hao’s fans attempted to gift him a guitar, but WakeOne initially rejected it claiming he “already had an instrument.” After fan backlash, the gift was accepted.Summary
Despite their immense popularity as individuals and as a group, ZeroBaseOne and its members have been denied the opportunity to flourish equally as artists. The company has shown repeated disrespect and negligence toward the members and their loyal fans. Time and again, WakeOne’s unfair treatment has been evident—even when they believed they would not be noticed.

izna

An Open Appeal to WakeOne Entertainment and The Black LabelAs izna reaches the one-year mark since debut, we, the fans, feel compelled to raise serious concerns regarding the consistent mistreatment of the group and its members. This document outlines the systemic issues that have hindered izna’s growth, undermined member morale, and alienated the fandom.Lack of Protection and Safety Concerns
- The company has failed to take visible action against malicious posts, defamatory comments, sexualizing remarks, and online harassment, leaving members vulnerable to ongoing attacks. [a]
- Members have been styled in inappropriate or overly revealing outfits, raising concerns about age-appropriate presentation and a lack of regard for their comfort and safety (e.g. Jiyoon’s styling during N/a era resulting in multiple fancams being taken down; Saebi’s outfits often inappropriate for her age).Weak Sales Strategy Impacting Rookie of the Year (ROTY) Potential
- “SIGN” was released only as a digital album, limiting sales.
- “BEEP” was a limited physical release despite demand.
- These decisions drastically reduced izna’s chances of securing music show wins or being seriously considered for ROTY.Insufficient Fan Support and Engagement
- No official fan membership kit has been distributed.
- No 1:1 private messaging/chat feature for fans.
- No fan meeting has been organized.
- No open fan support opportunities, unlike other WakeOne artists.
- Only 3 out of 7 members able to receive custom in-ear monitors, crucial for live performance.
- In some countries, fan support activities like advertisements or events need company approval. However, fanbases haven’t been able to proceed because WakeOne isn’t responding to emails, even basic requests for permission that would help promote both the artists and the company.
- Overall lack of opportunities for members to connect with fans, resulting in fan disappointment and departure from the fandom.Absence of Group-Level Promotional Opportunities
- izna has yet to receive promotional campaigns comparable to their labelmates.
- Limited schedules and lack of visibility on public broadcasts and variety platforms have stunted the group's exposure.
- No pre-debut variety content was produced to introduce the members, unlike KEP1ERVIEW and CAMP ZEROBASEONE.
- izna has received minimal promotion outside of music releases, reducing fan connection and overall public recognition.
- Only 2 out of 7 members were given opportunities to post covers. Covers should be consistent and at full discretion and creative control of the members to fully showcase their abilities.
- No official promotional schedule was released, leaving fans unable to prepare for streaming or support efforts.
- No behind-the-scenes content from recording sessions was shared, missing a vital opportunity to highlight the members’ vocal and artistic growth.Mishandling of Jiyoon’s Hiatus and Reintegration
- Jiyoon’s hiatus was poorly communicated, with no official updates or timeline shared, leaving fans confused, anxious, and disheartened.
- She was excluded from the group’s 100-day celebration letter, other members’ birthday letters, and was not mentioned during music show win speeches twice, which felt like deliberate omission rather than temporary absence.
- On her birthday, the company announced the release of the XOXO izna Busan trip content—a group activity filmed and promoted without her, which fans found deeply disrespectful and hurtful.
- Continued promotions without acknowledgment of Jiyoon make it seem as though she is being erased from the group’s image, damaging her public reputation and emotional connection with fans.
- izna’s official Spotify profile displays pictures of the six other members but does not include a picture of Jiyoon.Unequal Member Treatment and Internal Imbalance
- Mai received no individual promotional content or opportunities until her magazine cover during the “BEEP” era.
- Disparities in screen time, styling, and line distribution persist across comebacks. Mai and Saebi consistently have the least screen time, lines, and center opportunities despite being handpicked for the group.
- Inconsistent social media activity from certain members (particularly Mai and Jiyoon prior to her hiatus) has created confusion among fans. Mai primarily posts on Plus Chat, with little to no presence on Instagram or X, unlike other members who engage more regularly across platforms.
- Inconsistent opportunities for members to appear solo or in units on other variety content, including those hosted by their peers.
- Mai was excluded from a group video following their appearance at Coach’s opening day in Seoul.Mishandled Japanese Debut
- The Japanese debut was relegated to a B-side of a Korean single.
- No Japanese variety or music show appearances were arranged.
- The music video concept appeared nearly identical to the Korean version, diminishing the group’s credibility and originality in a competitive market.

A GUIDE FOR THE FANDOMS
Starting August 8 at 6PM KST

In order to help us successfully request action from the company, we have outlined steps we are asking fans to take in order to help them more easily participate.Hashtag and Template
• Together, Naya, Zerose, Kep1ians, Glassy, WIN:D, and Star Creators will spread hashtags against the mistreatment of WakeOne artists, along with templates that call out the company.
• This will occur August 8 at 6PM KST.
• Spread the document and Carrd to inform fans and others of the allegations across as many SNS platforms as possible (e.g. BlueSky, Reddit, Facebook, Telegram, etc.)Physical Letters to WakeOne and CJ ENM
• Physical letters are much harder to ignore than emails.
• Emails can easily be filtered to spam.
• Include fan impact statements: how has their behavior affected you as a fan/consumer, and why does it make you not want to spend money on these idols?
• Add a plea for the company to listen and make reasonable change.
• If possible, fans should have letters notarized to help legitimize the claims.Emails
• While emails are less effective, they are not ineffective.
• We will still use this method to apply pressure from all fronts.
• Write carefully to avoid spam filters and increase the chance of delivery.
• WAKEONE, CJ ENM, and CJ Corp are our main targets — we’ll provide multiple email addresses.Formal Complaints
Korean Fair Trade Commission (KFTC) — Corporate Misconduct
• Their self-claimed “ethics” do not reflect reality.
• Fans feel financially manipulated, as the company profits from survival shows and fan investment only to abandon groups.
• The ZB1 fanclub was announced just before a “world” tour, leading many fans to buy access expecting participation. But many countries were excluded.
• Abuse of market power: most shows idols are sent to are owned by CJ ENM.Korea Communications Standards Commission (KCSC) — Media Manipulation & Ethics
• Viewer manipulation through malicious editing has led to unfair eliminations and harmed trainees' reputations.
• They publicly claimed they would avoid “audition programs,” but broke that promise.
• Due to past voting scandals, fans still distrust their transparency.

Sources

Legal Framework

Relevant Laws Potentially ViolatedLegal Context: South Korea
• Labor Standards Act (근로기준법)
Regulates working hours, rest periods, overtime pay, and workplace safety for employees.• Child and Youth Welfare Act (아동·청소년의 성보호에 관한 법률)
Protects the rights and welfare of minors and youth, including safe working conditions.• Personal Information Protection Act (개인정보 보호법)
Governs the collection, use, and protection of personal data, including consent for recordings.• Framework Act on Gender Equality (양성평등기본법)
Promotes equal treatment and prohibits discrimination based on gender.• Act on the Promotion of Fair Trade (공정거래법)
Ensures fair business practices, prohibits bribery and unfair manipulation.• Broadcasting Act (방송법)
Regulates broadcasting standards, including fairness and transparency in programming.• Act on the Protection, etc. of Trainees and Employees in the Entertainment Industry (연예인 및 연습생 보호에 관한 법률)
Provides specific protections for trainees and employees in the entertainment sector.

Additional Relevant Laws and Regulations• Occupational Safety and Health Act (산업안전보건법)
Ensures safe and healthy working environments, including accident prevention and proper safety measures on set.• Act on the Prohibition of Child Labor and Protection of Children and Juveniles at Work (아동 및 청소년 고용금지 및 보호에 관한 법률)
Prohibits hazardous work for minors and regulates working conditions for children and youth.• Act on the Regulation of Terms and Conditions of Employment (근로조건의 명시 등에 관한 법률)
Requires employers to clearly state employment conditions, including hours, wages, and duties.• Anti-Corruption and Civil Rights Commission Act (부패방지 및 국민권익위원회의 설치와 운영에 관한 법률)
Covers corruption and unethical conduct in public and private sectors, which could apply to bribery and vote-rigging scandals.• Fair Labeling and Advertising Act (표시·광고의 공정화에 관한 법률)
Prohibits deceptive advertising or false representation, potentially applicable to misleading editing or staged drama.

Chinese Laws & Regulations Relevant to Chinese Trainees Abroad• Labor Contract Law of the People’s Republic of China (中华人民共和国劳动合同法)
Governs labor contracts and protects workers’ rights, including contracts signed with foreign companies or overseas assignments.• Law on the Protection of Minors (中华人民共和国未成年人保护法)
Protects minors’ rights and welfare, including protection from exploitation and harmful work conditions.• Law on the Promotion of Foreign Trade and Economic Cooperation (中华人民共和国对外贸易经济合作法)
Regulates economic cooperation and foreign trade activities, including cultural exchanges and employment abroad.• Regulations on Overseas Work and Study of Chinese Citizens (中国公民出国工作和留学管理条例)
Governs management of Chinese nationals working or studying abroad, requiring certain protections and support from sending and receiving entities.• Civil Code of the People’s Republic of China (中华人民共和国民法典)
Includes provisions on contract law, personal rights, and liability that may apply to contracts signed with foreign entertainment companies.

International Laws & Standards Relevant to International Trainees• International Labour Organization (ILO) Conventions
South Korea is a member of the ILO, which sets standards for working hours, fair treatment, non-discrimination, and protection of young workers, including:- ILO Convention No. 138 (Minimum Age)
- ILO Convention No. 182 (Worst Forms of Child Labour)
- ILO Convention No. 87 (Freedom of Association and Protection of the Right to Organize)
- ILO Convention No. 98 (Right to Organize and Collective Bargaining)• United Nations Convention on the Rights of the Child (UNCRC)
Protects children’s rights globally, including the right to protection from economic exploitation and hazardous work.• International Covenant on Economic, Social and Cultural Rights (ICESCR)
Protects rights related to fair working conditions and nondiscrimination.• General Agreement on Trade in Services (GATS) – Mode 4
Covers temporary movement of service suppliers, including performers, ensuring fair treatment of foreign workers.• OECD Guidelines for Multinational Enterprises
Provides standards on responsible business conduct, including respecting human rights and labor rights of workers across borders.

MAMA-Specific Legal Context• Occupational Safety and Health Act (산업안전보건법)
• Construction Technology Promotion Act (건설기술 진흥법)
• Framework Act on the Environment (환경정책기본법)
• Indoor Air Quality Control in Public Use Facilities Act (실내공기질 관리법)
• Building Act (건축법)
• Performers’ Rights under Copyright Act (저작권법 중 실연자 권리)
• Framework Act on Disaster and Safety Management (재난 및 안전관리 기본법)
• Public Health Control Act (공중위생관리법)
• Criminal Act (형법) — Negligence or Endangerment Clauses
• Labor Standards Act (근로기준법) (if applied to staff or freelance workers on set)