Celebrity Departures Surge as Industry Questions the Future Role of Managers in the Age of AI

Her contract ended on March 31, the end of the fiscal year

A major shift is occurring in the entertainment industry.

Ahead of the new fiscal year, there has been a wave of actors, entertainers, and comedians leaving their agencies.

On March 31, actor Mokomichi Hayami (41) and actress Shihori Kanjiya (40) both announced their departure from their agencies. Hayami commented:

“I entered the entertainment industry in my late teens with no experience and not knowing right from left. Thanks to the support and encouragement of everyone involved and my fans, I was able to experience and share in wonderful moments that I would not have encountered in my life.”

Kanjiya also wrote:

“I was scouted in the second year of junior high school and entered this world. I had never had dreams, but I was given the bold dream of performing in front of people as an actress. They patiently supported me for 26 years. All of my experiences have made me who I am today.”

In addition, talent Orin (Ohbayashi Orin) (28) ended her contract with her agency on March 31 and returned to her hometown agency, “Ringo Music,” in Aomori.

The comedy world has also been in turmoil.

Kazuhiro Fujiwara (48) of the comedy duo “LICENSE,” Katsumi Kawahara (formerly Tenjiku Nezumi), and R-1 Grand Prix winner Maido Miura (48) have left Yoshimoto Kogyo. From April, Miura will switch to a sales support contract, in which he only handles job coordination through Yoshimoto.

In addition, actress Rei Dan (54) and singer-songwriter miwa (35) also left their respective agencies during March.

Even top stars only earn a monthly salary of 500,000 yen

These departures have been partly reported as a wave of resignations, and this trend is expected to continue. According to an entertainment industry insider:

“Compared to 10 years ago, entertainers now have far more ways to earn money. In the past, they had to appear on TV to build name recognition and then land commercials before making big money. But now, if they go viral on YouTube, Instagram, or TikTok, they can easily earn over 1 million yen a month.”

As long as they remain affiliated with an agency, their earnings are shared. The split varies depending on the agency, but in TV work it is often around 70% to the talent and 30% to the agency, or 60% to the talent and 40% to the agency.

Salary systems also differ by agency, ranging from commission-based pay to fixed monthly salaries. A mid-level entertainment agency manager said:

“In our case, a young actress who played lead roles and also appeared in commercials was earning a monthly salary of 500,000 yen. She became dissatisfied and eventually left the agency.”

She is now working as a freelancer.

If they go independent, all of their earnings go directly into their own pockets. This appeal is driving a growing number of departures from agencies. However, in some cases, talent are actually being pushed out through what is effectively a hidden restructuring. A senior agency executive told this publication:

“The entire talent agency industry is under severe financial pressure. While TV and film fees are declining significantly, costs for costumes, maintenance, and staffing are rising. Only a handful of agencies are believed to be operating in the black. For less cost-effective talent, agencies are recommending transfers or terminating contracts. These circumstances are not made public, so it appears as though talent are voluntarily leaving, but in reality many are being effectively laid off by their agencies.”

Recently, AI has also become a new threat to agencies.

A well-known actress reportedly spends around 30,000 yen per month on AI tools to calculate her market value and appropriate fees, using the results to negotiate with her agency. One talent manager expressed concern:

“AI can instantly provide answers not only for schedule management but also for the most effective promotional strategies. This actress is still affiliated with her agency, but she may go independent once transportation and logistical issues are solved. Eventually, we may reach a time when managers are no longer necessary.”

It seems the wave of change is steadily reaching the entertainment industry as well.