Good Manager

Good Manager (Korean: 김과장), also known internationally as Chief Kim, is a South Korean workplace comedy-drama television series that aired on KBS2 from January 25 to March 29, 2017, consisting of 20 episodes.^[1] The series stars Namkoong Min as Kim Sung-ryong, a skilled accountant previously employed by gangsters who infiltrates the TQ Group conglomerate as a middle manager in the accounting department with the initial intent to embezzle funds for his escape abroad.^[2] Instead, he becomes entangled in the company's internal corruption and rallies his underpaid, overworked colleagues to expose executive malfeasance and mismanagement, transforming from self-serving opportunist to unlikely corporate crusader.^[1] Directed by Choi Joon-bae and written by Park Jae-bum, the drama blends sharp satire of South Korean corporate hierarchies with humor derived from Kim's flamboyant personality and unorthodox tactics against authoritarian superiors.^[3] Key supporting roles include Nam Sang-mi as the principled prosecutor Shin Ha-kyung, Lee Jun-ho as the idealistic corporate auditor Seo Yul, and Jung Hye-sung as the determined labor union representative Kang Yoo-ju, whose alliances and rivalries drive the narrative's exploration of ethics, loyalty, and power dynamics in a chaebol-dominated economy. The series highlights defining themes such as resistance to exploitative labor practices and the moral ambiguities of whistleblowing, without romanticizing corporate reform.^[4] Good Manager achieved notable commercial success, maintaining top ratings throughout its run and earning critical acclaim for its ensemble performances and incisive commentary on real-world office injustices.^[1] At the 2017 KBS Drama Awards, Namkoong Min received the Top Excellence Award for Best Actor in a Mid-length Drama, while Lee Jun-ho won for Excellence in Acting and Jung Hye-sung for Best Supporting Actress; the production also secured awards for Best Production Director and Best Drama at the Korea Drama Awards.^[5] Its enduring popularity stems from relatable depictions of workplace absurdities and character-driven comedy, influencing subsequent K-dramas on similar themes.^[6]

Synopsis

Plot Overview

Kim Sung-ryong, a proficient accountant accustomed to handling finances for criminal syndicates, is unexpectedly appointed as the chief of the accounting department at TQ Group, a major conglomerate riddled with executive corruption, under the pretext of aiding in embezzlement schemes orchestrated by top management.^[1] ^[7] This recruitment stems from his reputation for financial manipulation, positioning him within a dysfunctional department fraught with inefficiencies and internal pressures.^[2] The central narrative revolves around the ensuing tensions in TQ Group's accounting division, where Sung-ryong navigates rivalries between departments and confronts the exploitative practices of corporate leadership targeting vulnerable employees. ^[3] As auditing efforts intensify, the plot drives forward through Sung-ryong's strategic maneuvers to safeguard the underdog staff against systemic predation, highlighting the cutthroat dynamics of the conglomerate's operations.^[1]

Key Narrative Arcs

The narrative arcs of Good Manager chronicle the protagonist Kim Sung-ryong's infiltration of TQ Group, a conglomerate rife with embezzlement and exploitation, and the ensuing chain of events propelled by his opportunistic decisions and the employees' collective resistance. Initially aired on KBS2 starting January 25, 2017, the early episodes depict Kim, a former gangster accountant seeking quick riches to fund his escape abroad, assuming the role of accounting chief through fabricated credentials to siphon funds undetected.^[1]^[2] His flamboyant entry sparks immediate friction with upper echelons, particularly executives like the cunning Director Park, whose authoritarian tactics mask personal graft; these clashes, rooted in Kim's disregard for protocol, expose frontline workers' grievances over unpaid wages and manipulated ledgers, inadvertently forging tentative alliances as Kim diverts minor audits to shield subordinates.^[4]^[8] Mid-series progression, through episodes building to the 20th installment, intensifies as Kim's embezzlement scheme unravels amid escalating corporate retaliation, prompting him to pivot toward sabotage of TQ's core frauds—such as inflated subsidiaries and slush funds—via leaked documents and improvised audits. This shift triggers unionization drives among demoralized staff, legal probes by prosecutors into executive malfeasance, and internal purges, where causal repercussions manifest in retaliatory firings and surveillance; Kim's tactical improvisations, like rallying the accounting team against fabricated deficits, amplify employee agency while drawing ire from the chairman's inner circle, culminating in heightened stakes by late February 2017 airings.^[9]^[10]^[6] The finale arcs, concluding on March 30, 2017, resolve through orchestrated exposures that dismantle the executive cabal's hold: Kim coordinates whistleblower testimonies and forensic reckonings of TQ's billions in concealed losses, empowering workers via successful labor negotiations and precipitating arrests or resignations among figures like Park, whose overreach in suppressing dissent proves their undoing. This denouement underscores how individual cunning, amplified by group solidarity, disrupts entrenched corruption, yielding partial reforms like equitable pay structures without fully redeeming the conglomerate's foundational flaws.^[11]^[12]^[13]

Cast and Characters

Protagonist and Main Leads

Kim Sung-ryong, the protagonist portrayed by Namkoong Min, is a former accountant for gangsters who inadvertently joins the accounting department of the corrupt TQ Group as its chief.^[1] Leveraging his expertise in financial manipulation and unorthodox tactics, Sung-ryong shifts from self-preservation to actively dismantling embezzlement schemes within the company, serving as the narrative's central driver of conflict and reform efforts.^[2] Namkoong Min's depiction emphasizes Sung-ryong's flamboyant charisma and strategic cunning, marking a pivotal role in the actor's career for its blend of comedy and moral complexity.^[3] Yoon Ha-kyung, played by Nam Sang-mi, functions as a key ally and main lead, embodying an ethical human resources manager who uncovers and challenges TQ's exploitative practices.^[2] Her character's principled investigations into labor violations intersect with Sung-ryong's financial probes, fostering collaborative resistance against executive malfeasance and highlighting internal whistleblowing dynamics.^[1] Nam Sang-mi's performance conveys Ha-kyung's resilience and moral fortitude, contributing to the leads' joint progression toward corporate accountability.^[3] Seo Yul, portrayed by Lee Jun-ho, represents an ambitious young executive in TQ's management strategy team, ascending through competence amid pervasive institutional dysfunction.^[2] As a foil and eventual collaborator to Sung-ryong, Yul's arc illustrates merit-driven navigation of hierarchical politics, injecting tension through his initial loyalty to the company before aligning with anti-corruption initiatives.^[1] Lee Jun-ho's portrayal underscores Yul's intellectual prowess and evolving integrity, enhancing the narrative's exploration of individual ambition within flawed systems.^[3]

Antagonists and Executives

The primary antagonists in Good Manager are the senior executives of the TQ Group, portrayed as a tightly knit leadership cadre focused on maintaining control through layered authority and resource allocation. Chairman Park Hyun-do, enacted by Park Young-kyu, occupies the apex of this hierarchy as the 58-year-old head of the conglomerate, directing strategic decisions from the top floor.^[14] His immediate inner circle includes wife Jang Yoo-sun, played by Lee Il-hwa (aged 49 in the role), who influences family-tied corporate affairs, and executive director Baek Mi-kyung, portrayed by Seo Jung-yeon (43), responsible for oversight of key operational divisions.^[14] These positions reflect a realistic chaebol-style structure, where board-level decisions cascade down to enforce compliance across departments.^[1] Further down the executive ladder, figures like Vice President Ko Gwang-su, performed by Jung Suk-yong, manage specialized functions such as finance and procurement, often clashing with mid-level teams over budgetary directives.^[14] Prosecutor Seo Yul, brought to life by Lee Jun-ho, functions as an external ally to TQ's leadership, leveraging legal mechanisms to shield executive actions from scrutiny, a role that underscores alliances between corporate and prosecutorial hierarchies.^[15] This portrayal draws on verifiable corporate dynamics, with executives operating in insulated suites while delegating enforcement to subordinates.^[16] Casting for these roles emphasized performers with established screen presences in ensemble dynamics, enhancing the authenticity of hierarchical interactions; for instance, Park Young-kyu had appeared in over 100 dramas by 2017, including authority figures in workplace settings, while Lee Jun-ho brought prior experience from legal and corporate-adjacent narratives.^[17] Such selections contributed to depictions of executives as pragmatic operators within rigid command chains, without exaggeration of individual traits beyond positional demands.^[1]

Supporting Ensemble

The supporting ensemble in TQ Group's accounting department features secondary characters who bolster the protagonist's initiatives through their distinct personalities and evolving loyalties, creating layered group dynamics amid corporate scrutiny. Choo Nam-ho, portrayed by Kim Won-hae, serves as the department director, characterized by initial timidity and bureaucratic deference that yields to reluctant solidarity, often providing comic relief via exaggerated reactions to embezzlement schemes and ethical dilemmas.^[18] This role underscores the team's transition from isolated drudgery to cohesive resistance, with Nam-ho's arc exemplifying how mid-level functionaries adapt to disruptive leadership. Kim Won-hae, active in Korean television since the mid-2000s, drew on his experience in ensemble comedies to infuse the character with relatable vulnerability, enhancing the realism of office hierarchies.^[18] Additional team members, such as staff assistants Won Ki-ok (Jo Hyun-sik) and others in the department, exhibit quirky traits like obsessive detail-orientation and improvised problem-solving, aiding in audits and cover-ups that expose institutional graft while fostering banter-driven chemistry.^[14] These portrayals contribute to the narrative's comedic realism by depicting mundane tasks—such as reconciling ledgers under deadline pressure—as opportunities for humorous solidarity, reflecting authentic workplace bonds tested by external probes from prosecutorial figures in Seoul and local Gunsan investigators tied to the protagonist's origins.^[19] The ensemble's interplay, marked by shared meals and petty rivalries, amplifies themes of collective agency, with actors' grounded performances—Jo Hyun-sik's prior comedic supporting turns in minor roles—lending credibility to the group's underdog appeal against executive overreach.^[1]

Special and Guest Roles

The series includes cameo appearances by established actors in one-off roles that underscore elements of the protagonist's backstory and corporate intrigue. Jung Kyung-ho portrays a blackmailer who confronts Kim Sung-ryong in episode 6, serving to introduce tension from the lead's prior criminal associations.^[1]^[15] Veteran actor Lim Yong-soon appears as a company representative in episode 19, facilitating a key negotiation scene amid the firm's internal conflicts.^[1] These brief roles, aired during the show's original 2017 run on KBS2 from January 25 to April 6, contribute targeted narrative propulsion without deeper character development.

Themes and Analysis

Depiction of Corporate Hierarchy and Ethics

The drama portrays the fictional TQ Group as embodying a chaebol-like hierarchy characterized by rigid top-down control, where executives prioritize personal enrichment through rent-seeking behaviors such as embezzlement and political favoritism over sustainable operations. This structure mirrors empirical observations of South Korean conglomerates, where family-dominated ownership concentrates decision-making power, fostering inefficiencies like over-diversification and suppressed innovation due to loyalty demands over competence.^[20] ^[21] In the series, upper management engages in cover-ups and hypocritical invocations of "ethical management" to mask malfeasance, reflecting real-world patterns where chaebol leaders have historically extracted rents via government ties, as seen in documented cases of bribery and undue influence persisting into the 2010s.^[11] ^[20] Lower ranks in TQ's accounting department, by contrast, demonstrate merit-based competence stifled by hierarchical pressures, with employees depicted as overworked and undervalued yet capable of operational insights that executives ignore. This dichotomy underscores personal incentives driving participation: subordinates often comply with directives to avoid reprisal, while executives exploit positions for self-gain, highlighting individual agency amid institutional flaws rather than excusing systemic determinism. The narrative deviates for dramatic effect by centering a rogue accountant's improbable heroism, but grounds inefficiencies in verifiable chaebol traits like internal rent competition among elites, which empirical studies link to governance failures reducing firm value.^[22] ^[21] Ethical tensions revolve around creative accounting practices, such as falsifying ledgers to conceal executive excesses, drawing parallels to 2010s Korean scandals involving fraudulent reporting in conglomerates to sustain appearances of solvency. Protagonists navigate dilemmas like balancing self-preservation against exposing fraud, emphasizing accountability through personal moral reckonings—e.g., reforming illicit skills for legitimate ends—without portraying evasion as viable or admirable. This approach aligns with causal realities where individual choices, incentivized by weak oversight, perpetuate cycles of corruption, as evidenced by chaebol restructurings post-crises that targeted tunneling but often faltered due to entrenched family control.^[11] ^[23]

Individual Agency vs. Institutional Corruption

In Chief Kim, the protagonist Kim Sung-ryong exemplifies individual agency as the primary mechanism for confronting entrenched corporate malfeasance, leveraging his expertise in financial manipulation—honed through prior illicit activities—to dismantle fraudulent schemes within TQ Group rather than appealing to labor unions or external oversight bodies.^[24] Initially motivated by self-interest to embezzle funds for personal escape, Sung-ryong's approach privileges pragmatic ingenuity, such as forging ad-hoc alliances among undervalued employees through shared incentives like job security and mutual gains, over ideological collectivism or regulatory intervention.^[21] This narrative arc underscores causal drivers rooted in personal incentives, where reform emerges from opportunistic navigation of self-interest rather than enforced structural change. Sung-ryong's transformation from a detached opportunist to a catalyst for accountability occurs incrementally through direct engagement with institutional rot, including exposure to executive embezzlement exceeding billions of won, prompting him to redirect his cunning toward internal sabotage like falsified audits and leveraged confessions.^[25] Unlike conventional depictions favoring prosecutorial heroism, the series illustrates bureaucratic constraints, as Sung-ryong repeatedly evades and outmaneuvers investigators whose warrants fail against sophisticated accounting fraud, highlighting how entrenched power influences formal processes and renders them ineffective without insider disruption.^[26] This portrayal critiques an over-optimistic reliance on state apparatuses, prevalent in mainstream analyses of corporate governance, by demonstrating that prosecutorial limits—stemming from evidentiary gaps and elite leverage—necessitate individual risk-taking for tangible progress. The drama's emphasis on character-driven reform mirrors empirical patterns in South Korean chaebol scandals, where lone whistleblowers have pierced veils of institutional complicity despite systemic barriers. For instance, Kim Yong-chul, a former Samsung executive, publicly detailed slush funds and bribery networks totaling hundreds of billions of won in the early 2000s, catalyzing investigations that eluded routine audits due to internal suppression.^[27] Such cases, including exposés by lawmakers on Samsung's market manipulations in 2013, reveal that individual disclosures—often at personal peril, including legal retaliation—have driven accountability where regulatory bodies, hampered by political-economic ties, falter, aligning with the series' causal realism that prioritizes human initiative over collective or bureaucratic remedies.^[28]

Realism in Accounting and Business Practices

The depiction of forensic accounting techniques in Good Manager, such as ledger manipulation and slush fund concealment, reflects practices scrutinized under South Korea's K-IFRS framework, which mandates full IFRS adoption for listed companies effective January 1, 2011, following a 2007 roadmap announcement.^[29]^[30] These standards emphasize transparent revenue recognition and asset valuation (e.g., IAS 18/IFRS 15 equivalents), where manipulations like off-balance-sheet entries or fictitious transactions have been detected in real audits via techniques including transaction tracing and ratio analysis.^[31] Similar methods align with Korean Standards on Auditing (KSA), which require auditors to assess fraud risks through substantive testing of ledgers, as seen in investigations of historical cases like the Daewoo Group's 1999 collapse involving 41 trillion won in inflated accounting.^[32] The series accurately portrays departmental silos in conglomerate structures—mirroring chaebol dynamics—as barriers to oversight, where finance, operations, and executive layers operate with limited cross-verification, enabling localized fraud to evade detection until external probes.^[20] In practice, chaebol family control and hierarchical opacity have contributed to repeated scandals, as evidenced by the Financial Supervisory Service's (FSS) role in uncovering discrepancies without robust internal whistleblower integration.^[33] For instance, 2017-2019 probes into Samsung Biologics' merger valuation involved allegations of ledger adjustments to inflate assets by over 3 trillion won, highlighting how siloed decision-making delayed regulatory flags despite K-IFRS compliance mandates.^[34]^[35] However, the narrative overstates the feasibility of unilateral resolutions by a single auditor, contrasting real-world necessities for systemic reforms like FSS-mandated restatements, board restructurings, and enhanced external audits under the Act on External Audit.^[36] Actual fraud remediation, as in SK Group's 2003 accounting irregularities leading to a chairman's conviction, typically involves multi-agency interventions and fines up to 15-20% of fraudulent amounts, rather than isolated departmental heroics.^[33] Recent 2025 regulatory hikes doubling penalties for sustained infractions underscore that individual fixes rarely suffice without institutional enforcement, including auditor sanctions by the Korean Institute of Certified Public Accountants (KICPA).^[37]^[32] This dramatization prioritizes plot momentum over the protracted, collaborative nature of compliance under K-IFRS, where forensic recoveries often span years amid legal appeals.^[38]

Production

Development and Writing Process

The project originated in 2016 when KBS greenlit the series, with screenwriter Park Jae-bum tasked to craft a narrative centered on workplace dynamics in a corrupt corporation.^[39] Park, known for prior works like The Good Doctor (2013), aimed to deliver a blend of humor and critique targeting corporate malfeasance, positioning the protagonist as an unlikely reformer within a hierarchical conglomerate environment.^[39] This intent aligned with Park's emerging style of satirical storytelling, later characterized as part of his "justice trilogy" emphasizing social criticism through exaggerated yet grounded depictions of institutional power imbalances. Script evolution focused on maintaining narrative momentum, culminating in a fixed 20-episode structure to prioritize character-driven conflicts over extended subplots common in the genre.^[1] The first script reading occurred on December 15, 2016, allowing for refinements ahead of the January 2017 premiere.^[40] Key creative decisions incorporated realistic elements of accounting fraud and internal audits, drawing from South Korea's chaebol-dominated economy where subsidiaries often face exploitative pressures from parent conglomerates, reflecting broader tensions between large-scale corporate entities and vulnerable operational units.^[20] Park's approach avoided romanticized resolutions, instead highlighting incremental ethical shifts amid systemic incentives for corruption, informed by documented cases of financial irregularities in Korean firms during the mid-2010s.

Casting Decisions

Namgoong Min was confirmed in the lead role of Kim Sung-ryong on December 12, 2016, selected for his established versatility in embodying anti-hero figures and comedic elements, building on successes like his romantic lead in Beautiful Gong Shim earlier that year and prior intense portrayals in thrillers.^[41]^[42] His prior experience with morally ambiguous characters positioned him as a merit-based fit for the gangster-turned-accountant protagonist, emphasizing street-smart cunning over conventional heroism.^[43] Lee Jun-ho, transitioning from idol group 2PM to acting, was similarly confirmed on December 12, 2016, for the role of Seo Yul, the principled finance director and antagonist foil to the lead.^[41] His casting leveraged emerging dramatic chops from roles like Deadly Possession (2016), with early praise for his nuanced villainy in Chief Kim underscoring a selection process favoring proven adaptability over idol fame alone.^[44] The supporting ensemble, including Nam Sang-mi as Yoon Ha-kyung and Jung Hye-sung as Hong Ga-eun, was assembled concurrently to foster on-set chemistry, as evidenced by production photos highlighting collaborative rapport among leads.^[45] No major recasts occurred during pre-production or filming, reflecting stable commitments from confirmed talent. Actors underwent targeted preparation for the drama's accounting and corporate jargon, with Namgoong Min noted for meticulous role immersion to authentically convey technical dialogue and behavioral tics.^[46]

Filming Locations and Techniques

The principal photography for Good Manager was conducted primarily in Seoul and Gyeonggi Province, utilizing urban offices and streets to replicate authentic corporate settings for the drama's depiction of TQ Group's headquarters and daily business operations.^[47] Exteriors of the fictional conglomerate were shot at modern high-rises, including structures in Incheon's Songdo International City, to convey the scale of South Korean chaebol environments.^[48] Filming spanned late 2016 to early 2017, aligning with the series' broadcast schedule on KBS2 starting January 25, 2017.^[49] Additional location shooting occurred in Gunsan, North Jeolla Province, where outdoor scenes, including flashback sequences involving protagonist Kim Sung-ryong's family memories, were captured at sites like the Gyeongam-dong Rail Village (경암동 철길마을) and Jinpo Maritime Park.^[50] These rural-industrial areas provided contrasting backdrops to the urban corporate intrigue, with the abandoned rail tracks symbolizing personal history amid economic shifts.^[51] Other provincial spots, such as the Uri Kkot Botanical Garden in Hwaseong, Gyeonggi Province, were used for transitional outdoor moments emphasizing character reflection. Production techniques emphasized practical efficiency due to the live-to-air format common in 2017 KBS dramas, with partial pre-production allowing for location scouting but relying on rapid on-site adjustments to capture dynamic office interactions.^[49] Interior boardroom and accounting department scenes were filmed on constructed sets mimicking real Korean firms, prioritizing natural lighting and steady camera work to heighten tension in ethical confrontations without excessive stylization.^[52] Budget limitations, typical for public broadcaster series, led to consolidated shooting blocks in Seoul to minimize travel and overtime, as noted in contemporaneous production reports.^[48]

Soundtrack and Music

Original Score Composition

The original score for Good Manager (also known as Chief Kim) was composed by music director Lee Pil-ho, who delivered 12 instrumental tracks integrated into the drama's regular soundtrack album released in 2017.^[53] These pieces employ tense synthesizer elements to underscore high-stakes audit sequences, building suspense amid the protagonist's schemes against corporate malfeasance, while shifting to upbeat rhythms during team triumphs to amplify the series' satirical humor. Recurring motifs signal escalating revelations of institutional corruption, synchronizing with plot beats to heighten comedic irony without overpowering dialogue-driven tension. Lee Pil-ho's approach, drawing from his experience in Korean broadcasting, prioritizes dynamic shifts that mirror the narrative's oscillation between absurdity and realism in business ethics.^[53]

Released Soundtrack Tracks

The original soundtrack (OST) for Good Manager was issued in eight sequential parts from January to March 2017, aligning with the drama's weekly episodes on KBS2, each featuring a lead vocal track by Korean artists alongside an instrumental version. These releases primarily consisted of pop and ballad songs that underscored character emotional arcs, such as workplace perseverance in DinDin's upbeat rap "Must Be The Money" from Part 1 and romantic longing in ballads like "Will You Love Me" by Gilgubongu and Kim So Hee from Part 4.^[54]^[55] A compilation album aggregating the parts and additional tracks was released on April 7, 2017, by Loen Entertainment, totaling 20 songs without reported licensing disputes.^[54]^[56] The following table lists the released parts:

Part	Release Date	Artist(s)	Lead Track
1	January 26, 2017	DinDin	Must Be The Money
2	February 3, 2017	After Romeo	How It Happens
3	February 18, 2017	Song Yoo Bin	Starlight Night
4	March 3, 2017	Gilgubongu, Kim So Hee	Will You Love Me
5	March 10, 2017	Seenroot	Roller Coaster
6	March 15, 2017	Seo Young Eun	Dreaming
7	March 17, 2017	SoulstaR	Unbelievable
8	March 24, 2017	Dalda	That's Right

"Must Be The Money" achieved notable viewer acclaim, including a live performance by DinDin at the 2017 KBS Drama Awards, though specific Gaon digital download sales figures for individual tracks remain undocumented in public records.^[57] Other parts, such as the ballad-heavy Parts 3 and 4, supported narrative themes of aspiration and interpersonal bonds but did not register prominent chart positions on Gaon or international metrics.^[54]^[58]

Broadcast and Ratings

Airing Details

Good Manager premiered on KBS2 in South Korea on January 25, 2017, with episodes airing weekly on Wednesdays and Thursdays at 22:00 KST.^[1] The series maintained this schedule through its 20-episode run, concluding with the finale on March 30, 2017.^[2] Post-broadcast, the drama secured international licensing agreements, enabling availability on global streaming services. It became accessible on Netflix in various regions shortly after its domestic airing. Additional platforms, including Viki, offered subtitled versions to international audiences.^[59] The production adhered to its planned timeline without reported scheduling disruptions, airing consistently amid sustained domestic viewership.^[1]

Episode Viewership Data

The viewership ratings for Good Manager, measured by AGB Nielsen Korea on a national basis, began modestly with the premiere episode on January 25, 2017, achieving 7.8%.^[60] The second episode aired the following day dipped slightly to 7.2%.^[60] Ratings then surged, hitting 12.8% for episode 3 on February 1 and 13.8% for episode 4 on February 2.^[61]^[62] By mid-season, the series reached its peak, with episodes 11 and 12—broadcast on March 1 and March 2, 2017—each recording 18.4%, the highest in the run.^[63] Subsequent episodes maintained strong performance above 15%, including 17.1% for episode 14 on March 9, 17.1% for episode 16 on March 16, and 17.4% for episode 17.^[64]^[65]^[66] The finale episodes 19 and 20 on March 29 and 30 concluded at 16.9%.^[67]

Episode	Air Date	National Rating (%)
1	Jan 25, 2017	7.8
3	Feb 1, 2017	12.8
4	Feb 2, 2017	13.8
5	Feb 8, 2017	15.5
9	Feb 22, 2017	17.8
11-12	Mar 1-2, 2017	18.4
20	Mar 30, 2017	16.9

These figures reflect a consistent upward trend after the initial episodes, with the series securing the top spot in its Wednesday-Thursday time slot for 15 consecutive weeks, outperforming competitors like SBS's Saimdang, Light's Diary (which fell to around 10% by mid-run) and MBC's Missing 9 (below 5%).^[68]^[69]^[70]

Reception

Critical Evaluations

Critics praised Chief Kim for its incisive dialogue that dissected ethical dilemmas within corporate hierarchies, often blending humor with pointed commentary on accountability and integrity.^[4] Reviewers at Dramabeans noted the series' efficient delivery of compelling ethical confrontations, particularly in early episodes where protagonist Kim Sung-ryong's schemes exposed systemic malfeasance at TQ Group.^[4] This approach was lauded for innovating within the office drama genre by prioritizing character-driven moral reckonings over rote melodrama.^[12] However, the narrative faced criticism for uneven pacing, especially in later arcs where repetitive business intrigue overshadowed character development and humor.^[6] One review highlighted a slow-moving plot bogged down by incessant corporate politics, which diluted the initial satirical bite despite intermittent triumphs against corruption.^[6] Similarly, observations of redundancy in corruption-focused subplots suggested the series occasionally prioritized formulaic escalation over nuanced progression.^[71] The depiction of chaebol-style corruption, centered on embezzlement and executive malfeasance, drew mixed assessments; while commended for spotlighting employee resistance to top-down graft, some found its portrayal streamlined for comedic effect, sidestepping the multifaceted regulatory and economic layers of actual Korean conglomerates.^[21] This simplification, per critiques, rendered the ethical battles entertaining yet somewhat detached from the entrenched, institutionally protected dynamics observed in real scandals like those involving Samsung or Hyundai in the 2010s.^[21]

Audience and Commercial Success

The series garnered substantial fan engagement through its high rewatch value in the office comedy genre, with viewers citing its blend of humor, relatable workplace dynamics, and character-driven narratives as factors encouraging multiple viewings.^[72] Namgoong Min's charismatic portrayal of the protagonist Kim Sung-ryong not only anchored the show's appeal but also elevated his career trajectory, transitioning him from dramatic roles to leading comedic successes and solidifying his status as a top actor by 2017.^[73] Commercially, the original soundtrack album, featuring tracks like "Must Be the Money" by DinDin and contributions from artists such as GB9 and Seenroot, was released on April 7, 2017, providing an additional revenue stream via physical and digital sales, though precise figures remain undisclosed in public records.^[54] Merchandise tied to the drama, including OST CDs, supported niche market sales among dedicated fans, aligning with broader K-drama trends where ancillary products extend economic viability beyond broadcast.^[74] Internationally, "Good Manager" achieved notable streaming success on platforms offering subtitles, such as Viki—where it holds a 9.5/10 user rating from 19,396 reviews—and Netflix, fostering global viewership among audiences drawn to its accessible comedy without relying on heavy romantic tropes.^[59] This post-broadcast digital accessibility amplified its reach, contributing to sustained fan communities and indirect commercial benefits through platform algorithms and user recommendations.^[75]

Criticisms and Debates

Critics have debated whether "Good Manager" unduly glamorizes rule-bending and extra-legal tactics in combating corporate malfeasance, portraying the protagonist Kim Sung-ryong's shift from embezzlement to internal reform as endorsing vigilante justice rather than reliance on formal legal or regulatory mechanisms.^[76] This perspective holds that the series' comedic emphasis on clever circumvention of company hierarchies and accounting manipulations risks undervaluing compliance with established laws, potentially influencing viewers toward viewing institutional processes as inherently ineffective.^[77] The drama's sharp anti-corporate satire, depicting the fictional TQ Group as emblematic of chaebol-style exploitation, intersected with South Korea's 2017 political landscape, where scandals involving Samsung's Lee Jae-yong—arrested on December 18, 2016, for bribery tied to then-President Park Geun-hye—fueled public demands for chaebol reforms following Park's impeachment on March 10, 2017. Some observers contended this framing amplified systemic bias against large conglomerates, portraying executives as uniformly villainous amid ongoing economic contributions from chaebols, which accounted for approximately 80% of South Korea's GDP in 2017, without sufficiently acknowledging the need for balanced regulatory approaches under the incoming Moon Jae-in administration's fair economy policies. Counterarguments highlight the series' focus on individual meritocracy and ethical evolution as a rebuttal to collectivist corporate cultures, where personal initiative drives positive change without romanticizing corruption, aligning with first-hand accounts of workplace dynamics in Korean firms.^[21] Limited discussions also note reinforcement of accountant stereotypes, depicting them as either comically inept rule-followers or sly manipulators, as analyzed in examinations of professional portrayals across Korean media.^[78] No significant scandals or widespread backlash emerged, reflecting the show's overall alignment with contemporaneous public sentiment on corporate accountability.

Awards and Nominations

Major Wins

At the 2017 KBS Drama Awards, held on December 31, 2017, Good Manager secured key victories that underscored its widespread appeal, bolstered by nationwide viewership ratings averaging approximately 8.2% per AGB Nielsen Korea measurements across its 20-episode run, with peaks reaching 10.9% for the finale.^[1]^[79] Namkoong Min earned the Top Excellence Award (Actor category) for his portrayal of Kim Sung-ryong, the unconventional accountant-turned-corporate reformer central to the series' satirical take on office dynamics.^[79]^[80] Lee Jun-ho received the Excellence Award (Medium-length Drama, Actor category) for his role as the idealistic prosecutor Seo Yul, whose character arc contributed to the drama's blend of comedy and moral intrigue.^[1] Namkoong Min and Lee Jun-ho also clinched the Best Couple Award, a fan-voted honor recognizing their bromantic partnership, which became a highlight amid the show's consistent double-digit positioning in weekly top-20 ratings charts.^[81]^[5]

Recognition for Performances

Namkoong Min received a nomination for Best Actor at the 53rd Baeksang Arts Awards for his portrayal of the titular character Kim Sung-ryong, an eccentric accountant turned corporate whistleblower, highlighting the performance's impact in a competitive field that included Gong Yoo for Goblin.^[82] This recognition underscored the dramatic's blend of comedy and satire, though the award ultimately went to Gong Yoo on May 3, 2017.^[82] Lee Jun-ho earned a nomination for Best New Actor at the 2017 KBS Drama Awards for his role as Seo Yul, the ambitious and initially antagonistic finance director whose character arc contributed to the ensemble's dynamic interplay.^[83] This nod marked an early highlight in his acting career transition from idol singer, signaling rising recognition for his ability to embody complex antagonists within the workplace comedy genre. Additionally, he was nominated for Best Idol Actor at the 2018 Soompi Awards, reflecting fan and industry appreciation for his breakout villainous turn.^[84] The cast's collective performances, noted for their chemistry in portraying office rivalries and moral dilemmas, received further nods at genre-specific honors, though specific ensemble categories were limited; individual recognitions like those for Min and Jun-ho emphasized the strength of key roles in elevating the series' satirical edge.^[1]

Legacy

Cultural and Industry Impact

The series "Chief Kim," aired in 2017, influenced post-broadcast analyses of South Korean corporate culture by depicting the internal struggles of employees against chaebol-style corruption, contributing to academic examinations of hustle culture and its effects on workers. A 2024 study utilized the drama as a cultural artifact to illustrate pervasive long-hour work norms and hierarchical pressures in Korean offices, underscoring how such portrayals reflect and potentially normalize exploitative practices while highlighting resistance strategies.^[85] Similarly, a 2025 analysis of accountant stereotypes in Korean dramas referenced "Chief Kim" for portraying the profession through a lens of ethical dilemmas and clever maneuvering, influencing perceptions of financial roles in media beyond traditional villainy or tedium.^[78] In the industry, the drama's blend of comedy and critique elevated workplace satires, with its high viewership—peaking at 12.5% nationwide ratings—demonstrating demand for narratives addressing real economic inequities without overt politicization, as noted in 2017 end-of-year media roundups.^[86] This resonated in subsequent discussions, including a 2025 social media post linking K-dramas like "Chief Kim" to debates on workplace empathy and anti-corruption stands, fostering broader media conversations on employee agency in rigid hierarchies.^[87] However, empirical data on direct societal shifts, such as increased accounting enrollments or formalized workplace reforms attributable to the series, remains undocumented in peer-reviewed or statistical sources.

Influence on Korean Drama Tropes

Chief Kim's portrayal of Kim Sung-ryong, a corrupt accountant who infiltrates a conglomerate's auditing department to expose embezzlement, established a template for the anti-hero protagonist in corporate thrillers, blending financial acumen with moral ambiguity to challenge institutional corruption.^[2] This archetype, where a flawed expert leverages specialized knowledge against unethical executives, echoed in subsequent series like Special Labor Inspector Joe (2019), featuring a labor inspector dismantling corporate malfeasance through insider tactics akin to Kim's auditing schemes.^[88] Similarly, Vincenzo (2021), penned by the same writer Park Jae-bum, adapted the anti-hero mold to a mafia consigliere dismantling a food conglomerate, retaining the motif of a cunning outsider weaponizing professional skills for justice amid satire of chaebol excesses.^[89] The series advanced ensemble-driven office comedies by emphasizing interpersonal alliances among mid-level employees against hierarchical abuse, influencing post-2017 workplace satires that prioritize group dynamics over individual romance. Dramas such as Pegasus Market (2019) mirrored this through a collective of vendors resisting corporate takeover, fostering camaraderie in absurd professional battles much like the TQ Group's ragtag auditors.^[90] This shift favored realistic depictions of bureaucratic absurdities and team-based triumphs, evident in the genre's expansion into feel-good ensemble narratives critiquing labor inequities without relying on melodramatic tropes.^[91] No direct adaptations of Chief Kim emerged, distinguishing its tropes as organically disseminated rather than franchised. A 2026 drama titled Chief Kim, starring So Ji-sub and adapted from an unrelated webtoon, centers on an inter-Korean operative posing as an ordinary salaryman, bearing no narrative connection to the 2017 series despite the shared title.^[92]^[93]