In a revealing appearance on the popular MBC variety program Radio Star, Beomgyu, a prominent member of the globally acclaimed K-Pop group Tomorrow X Together (TXT), shed light on the rigorous and often stifling image management protocols enforced by their agency, BIGHIT MUSIC, during the group’s formative years. The disclosure provides a rare glimpse into the internal mechanics of idol branding and the disconnect that can exist between a performer’s natural personality and the "concept" curated by entertainment conglomerates. Beomgyu’s testimony highlights a period in the group’s history where they were mandated to adhere to a "prince-like" persona, a strategy that the member suggests ultimately backfired by leading the public to perceive the group as lacking charisma or being "boring."
The Genesis of the Prince Concept
When Tomorrow X Together debuted on March 4, 2019, they carried the immense weight of being the first group launched by BIGHIT MUSIC since the global ascent of BTS. The industry and fans alike were looking for a successor to the "Kings of K-Pop," and the label’s strategy appeared to be the cultivation of an image rooted in ethereal, youthful, and regal perfection. According to Beomgyu, the label issued specific directives to ensure the members maintained a "prince" image at all times. This involved strict behavioral guidelines that governed how they spoke, moved, and interacted with the camera.
One of the most surprising revelations from Beomgyu was the prohibition of aegyo—the common K-Pop practice of acting in a cute or charming manner to appeal to fans. While many groups utilize aegyo to build a sense of approachability, BIGHIT MUSIC reportedly believed that such displays would undermine the sophisticated and dignified "prince" aesthetic they were attempting to build for TXT. This mandate extended beyond music video sets and into the realm of variety television, where idols are typically expected to be high-energy and humorous.
The Backlash of a Synthetic Image
The implementation of this restrictive persona had immediate consequences for the group’s public reception. Beomgyu noted that because the members were forced to suppress their natural humor and spontaneity, early viewers of their content often labeled the group as "boring." In the highly competitive K-Pop variety landscape, where "variety sense" (the ability to be funny and engaging on camera) is a prized commodity, TXT’s forced stoicism was misinterpreted as a lack of personality.
Beomgyu recounted instances where he attempted to break character to inject humor or charm into a recording, only to face disciplinary measures from management. He revealed that even when he managed to sneak in moments of genuine personality or "cute" antics during filming, the label’s control extended into the editing room. Scenes that did not align with the "prince" narrative were systematically removed during post-production, ensuring that only the curated, synthetic version of the group reached the public. This level of gatekeeping created a barrier between the artists and their audience, preventing the formation of the authentic parasocial bonds that are vital for long-term success in the digital age.
The Livestream Rebellion and Reclaiming Authenticity
The shift in TXT’s public image was not a result of a sudden change in corporate strategy, but rather a calculated move by the members themselves to bypass the editing process. Beomgyu explained that the group found a loophole in the label’s censorship through live broadcasting. Platforms like V LIVE (and later Weverse) allowed the members to interact with fans in real-time, where the lack of post-production meant their true personalities could not be hidden.
During these livestreams, the members began to gradually defy the "prince" mandate. They engaged in chaotic banter, showed off their natural wit, and displayed the "messy" human elements that the label had tried to polish away. Beomgyu noted that once the public began to react positively to these unscripted moments, BIGHIT MUSIC eventually relented, recognizing that the "real" TXT was far more marketable and beloved than the "prince" version. This transition marked the beginning of TXT’s evolution into a group known for their relatability, chaotic group chemistry, and diverse variety skills, as seen in their own variety series, TO DO X TXT.
Chronology of TXT’s Image Evolution
To understand the impact of Beomgyu’s revelations, it is necessary to look at the group’s trajectory since their debut:
- March 2019 (The Dream Chapter: STAR): TXT debuts with "Crown." The group is marketed with a bright, "magical boy" aesthetic. Behind the scenes, the "prince" restrictions are at their peak.
- 2019–2020: The group appears on various idol programs. Fans and critics note a certain "stiffness" in their variety appearances compared to their peers. Beomgyu mentions getting into trouble for trying to be funny during this period.
- Mid-2020 (The Dream Chapter: ETERNITY): The group begins to lean into darker, more complex themes. Livestreams become more frequent, and the "chaotic" reputation of the members starts to grow within the fandom (MOA).
- 2021 (The Chaos Chapter: FREEZE): A significant turning point. The group’s musical style shifts toward pop-punk and rock. Their public persona is now fully uninhibited, characterized by honesty and vulnerability.
- May 2026: Beomgyu appears on Radio Star and officially confirms the long-suspected theory that their early "boring" image was a corporate imposition.
Industry Context: The "Concept" vs. The Individual
The phenomenon Beomgyu described is not unique to TXT, though his candidness about it is rare. In the K-Pop industry, the "concept" is often viewed as a foundational element of a group’s brand. Agencies invest millions into the visual and behavioral styling of a group to fill a specific niche in the market. However, as the 4th generation of K-Pop has progressed, there has been a notable shift toward "authenticity marketing."
Data from social media engagement suggests that modern fans are more likely to support groups that appear "real" and "unfiltered." The success of groups like TXT, Stray Kids, and NewJeans is often attributed to their ability to project a personality that feels distinct from a corporate script. Beomgyu’s revelation underscores the risk of "over-curating" an idol; when the gap between the persona and the person becomes too wide, it can lead to burnout for the artist and a sense of detachment for the fan.
Fan Reactions and Social Media Discourse
Following the broadcast of the Radio Star episode, the K-Pop community took to social media to express their thoughts, with many fans sharing old clips of TXT that highlighted the absurdity of the "prince" mandate. One fan pointed out the irony of the label asking the members not to act "cute" when their debut song, "Crown," and its accompanying choreography were the "embodiment of cute and youthful."
Other fans analyzed the early episodes of the group’s variety content, noting that the editing was noticeably different. "You can tell from the way they edited the early TO DO episodes too; they wouldn’t let them be funny at all," one viral tweet remarked. The consensus among the fandom was a sense of relief that the members fought to show their true selves, as the "chaotic" and "loser-chic" energy (a term often used affectionately by fans to describe their relatable struggles) has become a core part of TXT’s identity.
Broader Implications for BIGHIT MUSIC and HYBE
This revelation also reflects on the evolution of BIGHIT MUSIC (now a subsidiary of HYBE). In the group’s early days, the label was perhaps over-cautious in its attempt to differentiate TXT from BTS. While BTS was known for their "underdog" and "self-produced" narrative, BIGHIT likely sought a "high-concept, polished" narrative for TXT to avoid direct comparisons.
However, the "prince" experiment serves as a case study in the limitations of top-down image control. It suggests that even the most successful agencies can misread market desires. The fact that the members had to "rebel" to save their public image indicates a need for more collaborative branding between artists and management. As HYBE continues to expand with multiple sub-labels, the lesson from TXT’s debut era—that authenticity cannot be manufactured and that "boring" is the greatest risk in entertainment—remains highly relevant.
Conclusion
Beomgyu’s appearance on Radio Star has done more than just provide a humorous anecdote about his rookie days; it has validated years of fan speculation regarding the group’s early management. By speaking openly about the "synthetic" image they were forced to maintain, Beomgyu has reinforced the group’s current brand of honesty. Today, Tomorrow X Together stands as one of the most successful groups in the world, not because they are "princes," but because they are seen as individuals who navigated the pressures of a rigid industry to find their own voices. The "boring" label is long gone, replaced by a reputation for being one of the most genuine and entertaining acts in the global music scene.
