Former Wanna One’s Lai Kuanlin Confesses True Thoughts About Living As An “Ordinary Salaryman”
The transition from the international spotlight of the K-pop stage to the structured environment of a corporate office is a path rarely taken by those who have reached the pinnacle of the music industry. However, for Lai Kuanlin, the former youngest member of the global sensation Wanna One, this shift has provided a sense of peace and stability that the idol life seemingly could not offer. In a recent appearance on the variety program Wanna One GO: BACK TO BASE, Lai Kuanlin provided fans and industry observers with a rare, candid look into his life after retiring from the entertainment industry, confirming that he is now thriving as a film production professional and scriptwriter.
During the broadcast, which served as a virtual reunion for the members of Wanna One, Lai Kuanlin reconnected with his former teammates, most notably meeting personally with Ha Sungwoon and exchanging video messages with the other members. Despite the nostalgic atmosphere of the reunion, the former idol was firm in his stance regarding his career. He expressed that while he cherishes the bonds formed during his time with the group, the prospect of returning to the screen or participating in formal musical activities remains a difficult proposition. This revelation provides a profound insight into the psychological and professional toll that high-level celebrity status can take on young performers.
A New Chapter in Film Production and Scriptwriting
Lai Kuanlin’s current professional life is a stark departure from the choreographed performances and rigorous touring schedules of his teenage years. He revealed that he is currently employed at a film production company in China, where he has transitioned into a behind-the-scenes role. His daily routine now mirrors that of a standard "salaryman," a term used in East Asian cultures to describe white-collar workers who earn a steady salary and follow a traditional corporate structure.
"I’m working in a Chinese movie production company, and I’m working on short films mostly while learning about scriptwriting," Lai Kuanlin stated during the program. "I’m a salaryman now, so I do feel rather relieved."
This sense of relief appears to stem from the stability of his current trajectory. Unlike the volatile nature of the music industry, where success is often measured by chart positions and public perception, his current role allows for a more incremental and personal form of growth. He noted that he finds immense satisfaction in "seeing myself get better slowly," contrasting this with the "too quick" ascent he experienced as a singer.
The Rapid Rise and "Chick Trainee" Legacy
To understand why Lai Kuanlin finds his current life so rewarding, one must look back at the unprecedented speed of his initial rise to fame. In 2017, at the age of 15, the Taiwanese-born trainee joined the second season of the survival reality show Produce 101. At the time, he was affectionately nicknamed a "chick trainee" because he had only been training under Cube Entertainment for six months. Despite his limited experience, his visual appeal, charisma, and rapid improvement earned him a massive following.
He eventually secured the seventh position in the final lineup, becoming a member of Wanna One. The group’s impact on the K-pop industry was immediate and overwhelming. Their debut EP, 1X1=1 (To Be One), sold over 740,000 copies, and they became the first K-pop group to sell over a million copies of their debut album. For eighteen months, Lai Kuanlin lived at the center of a cultural phenomenon, performing in sold-out arenas across the globe and appearing in dozens of high-profile advertisements.
However, this rapid ascent meant that his formative years were spent under intense public scrutiny. The pressure to perform at an elite level with minimal preparation is a factor that many industry analysts point to when discussing the burnout of young idols. Lai Kuanlin’s recent comments suggest that the pace of his early career was perhaps unsustainable for his personal well-being.
Chronology of Transition: From Stage to Studio
The journey from Wanna One’s disbandment in January 2019 to his current role as a film professional was marked by significant legal and professional hurdles. Following the conclusion of the group’s activities, Lai Kuanlin initially pursued a dual career in South Korea and China, debuting in a duo with Pentagon’s Wooseok and taking on lead roles in Chinese television dramas such as A Little Thing Called First Love.
However, in July 2019, a legal dispute arose between Lai Kuanlin and his then-agency, Cube Entertainment. He sought to terminate his exclusive contract, citing a breach of trust regarding the management of his activities in China. The legal battle lasted nearly two years, eventually concluding in 2021 when the Seoul Central District Court ruled in his favor, officially terminating his contract.
This legal victory appeared to be the turning point for his career strategy. Free from the constraints of the traditional K-pop agency model, he began to pivot toward his interest in filmmaking. In 2021, he made his directorial debut with the short film Winter & Spring Are Not Far Away, which received critical acclaim and won several awards at international film festivals, including the Rome International Movie Awards. This success proved that his transition was not a retreat from creativity, but rather a redirection of it.
Analysis of the "Post-Idol" Career Path
Lai Kuanlin’s decision to leave the limelight is part of a broader, emerging trend within the K-pop industry where former idols seek "normalcy" or alternative creative outlets. While many former members of successful groups transition into solo music careers or acting, a small but notable number are choosing to leave the entertainment industry entirely.
The industry’s demanding nature—often involving "slave contracts," lack of privacy, and extreme physical exhaustion—has been a topic of international discussion. By choosing the life of a salaryman, Lai Kuanlin is reclaiming his autonomy. His statement that he prefers "seeing myself slowly improve" over "becoming a singer too quickly" is a subtle critique of the idol "factory" system, which often prioritizes immediate marketability over long-term artistic or personal development.
From a sociological perspective, Lai Kuanlin’s move reflects a desire for "ordinary" success. In many ways, his new role in scriptwriting allows him to use the narrative skills he developed as a performer but in a way that is controlled and sustainable. His colleagues and former members have expressed their respect for this choice, acknowledging that the happiness found in a stable, 9-to-5 environment can be just as fulfilling as the adrenaline of a stadium concert.
Support from Former Members and the Public
The reaction from the members of Wanna One has been overwhelmingly supportive. During Wanna One GO: BACK TO BASE, the camaraderie between the members was evident. Ha Sungwoon, in particular, noted that seeing Lai Kuanlin happy and healthy was more important than any professional collaboration. The members reportedly respect his decision to step away from the industry, recognizing the unique challenges he faced as a foreign trainee who was thrust into the spotlight at such a young age.
Fans, known as Wannables, have also largely embraced his new path. While there is a natural sense of longing to see him perform again, the prevailing sentiment on social media platforms like X (formerly Twitter) and Weibo is one of pride. Many fans have noted that his courage to walk away from fame to find personal peace is an inspiration.
"Kuanlin really had a tough time as a trainee in another country," one fan noted in a post that garnered significant engagement. "He has now quit the idol industry and looks very happy. The members respected that decision… that’s a real team."
Broader Implications for the Entertainment Industry
Lai Kuanlin’s story serves as a case study for the sustainability of the "Produce" model and the K-pop industry at large. It raises important questions about the duty of care agencies owe to young trainees, especially those from abroad. His success in the film industry also suggests that the skills learned during idol training—discipline, teamwork, and creative expression—are highly transferable to other professional fields.
Furthermore, his transition into a Chinese production company highlights the shifting dynamics of the East Asian entertainment market. As the Chinese film industry continues to grow, it offers a robust alternative for talent who may find the South Korean idol system too restrictive.
In conclusion, Lai Kuanlin’s confession about his life as an "ordinary salaryman" is a powerful testament to the importance of mental health and personal agency. By choosing a path of slow, steady growth over the fleeting highs of pop stardom, he has found a sense of relief that he clearly values above all else. His journey from a "chick trainee" to a respected film professional is a reminder that there is life—and indeed, great success—beyond the stage. As he continues to hone his craft in scriptwriting and film production, he remains a figure of interest, not as a former idol, but as a young professional successfully navigating the complexities of a second act.
