Although this problem has recurred repeatedly, the root cause is not merely the behavior of the artists or fans but involves child labor laws and their enforcement by authorities and stakeholders. Thairath Plus invites everyone to revisit the laws and protections for ‘child laborers in the entertainment and advertising industries,’ as well as labor laws in general, questioning where the welfare, safety, and labor protections truly lie within the entertainment industry—especially since those under the spotlight are still just ‘youths.’
The common perception in Thailand’s entertainment industry often views actors, artists, or production crews as professions that yield fame and comfortable earnings. However, in reality, acting and event work are forms of labor requiring significant skills and experience to handle problems and manage emotions. They also demand sufficient maturity to communicate and continually deliver happiness to people, even on days when body and mind are exhausted from a packed schedule.
At the same time, surviving in Thailand’s entertainment industry requires learning and enhancing skills in coping, problem-solving, and emotional management. This raises questions about the appropriateness of placing youths in front-facing roles with such activities. The issue intensifies when the artist is merely a child or youth, as the pressures and challenges affect children the most. Being in a learning stage, they have limited emotional control, life experience, and skills to cope and resolve problems.
While expectations naturally arise between artists and fans—both striving and dedicating themselves to supporting their favorite artists—expecting a child to bear the pressure of hundreds of adults’ expectations or maintain perfect emotional control amid exhaustion may be too burdensome for one child.
The root problem is not solely the artists’ behavior but also lies with management companies and event organizers. They must recognize age-related limitations and have direct responsibility to set appropriate working hours, design safe activities aligned with the artists’ youth status, rather than imposing adult work models that disregard the limits of artists who are still just children.
However, the real issue is to question whether management companies and event organizers have fulfilled their duties as 'employers' under safety standards and legal requirements. Have they assessed the scope of work and rest periods to align with the artists’ physical condition and age group?
Currently, Thailand lacks comprehensive laws protecting child actors, and there are loopholes in the Labor Protection Act B.E. 2541 that, despite provisions on child labor, include significant exceptions benefiting the entertainment industry. Notably, the prohibition on night work (22:00 - 06:00) for children under 18 excludes child actors in films, dramas, or similar performances, allowing them to work during these hours with only a brief stipulation that employers should provide “reasonable rest” for these child workers.
The term 'reasonable' thus creates a large loophole, enabling management and production teams to overwork children beyond limits, including overnight filming, rushing schedules to meet air dates, and accepting continuous event jobs that affect children’s schooling and rest time.
In places like California or the United Kingdom, laws clearly define working hours for children based on age, limiting the maximum hours children can be on set and actually work per day (for example, school-age children may not work more than four hours on school days). They also strictly allocate time for off-set education. Moreover, employers must apply for permits from government agencies in advance, children must undergo health checks, and a vetted guardian must be present to ensure safety at all times.
Academic proposals in Thailand have suggested strengthening the law by requiring employers to request permission at least 15 days before work starts, submit plans for rest periods, and set strict maximum daily working hours by age group. They also proposed withholding 10% of earnings as a guarantee until the child reaches adulthood to prevent exploitation. However, these remain academic recommendations and have not yet been implemented in practice.
The ongoing controversy presents a critical challenge that must be addressed both in terms of ‘management responsibility’ and ‘Thai law.’ Management must plan work considering workers’ physical and mental limits, while laws should close loopholes and protect child laborers as human beings.
In a democratic society, criticism is always possible if based on truth and goodwill, aiming for artists to learn and develop. However, it must be remembered that the real problem is not only the children but lies with ‘adults’—including social structures, laws, work scheduling, and activity formats set by management companies.