Choi Young-jun
Choi Young-jun is an actor, born 1980.
A late start, then a very fast run. Choi Young-joon, born in Daegu in 1980, did not begin appearing in television drama until 2019, with supporting parts in Arthdal Chronicles and then Flower of Evil the year after. He is a singer as well, though the screen work is what the record here documents.
What followed is one of the more efficient supporting careers in recent Korean television. Hospital Playlist, Vincenzo, Mine, Inspector Koo, Our Blues, The Sound of Magic, Bloodhounds, Gyeongseong Creature: that is a walk through most of the prestige Korean series of the early 2020s, usually a few rungs down the cast list, usually in a role that has to establish a whole social position within one or two scenes.
The parts skew official and adversarial. Detectives, subordinates, functionaries, men whose job is to represent an institution to the lead. Kato in Gyeongseong Creature is the most heavily written of them. The pace has not slowed: Omniscient Reader: The Prophecy and Big Deal in 2025, The Defects and The Price of Confession, and Honour listed for 2026.
Movies (2)
TV (13)
Where to start with Choi Young-jun
With a supporting actor the question is which show, not which performance. Hospital Playlist is the gentlest entry and probably the right one, an enormously warm ensemble drama and a good place to acclimatise to how Korean television uses its supporting bench.
For the actual performances, Vincenzo is the flashiest, a gleefully absurd crime comedy that hands every side character a moment. Flower of Evil is the best-constructed thriller here, a marriage-and-suspicion drama in which his detective work drives real plot. Our Blues is the outlier and the most moving thing on the list, an anthology of interlinked lives on Jeju Island.
At the genre end, Gyeongseong Creature is period horror with a real budget behind it, Bloodhounds is a lean loan-shark action piece, and Mine is the quiet one, a chaebol drama about the women inside a rich family.