Tuesday, December 31, 2024

Quick Review #90: Sora wataru kyoushitsu - Autumn 2024


Title: Sora wataru kyoushitsu / 宙わたる教室

Rating: 8 / 10

Recommended for
Those who want to watch an uplifting true story about rising against the odds but not presented in an overly idealistic and dramatic fashion and/or are fans of the cast especially Kubota Masataka

Liked:
- While rising-against-the-odds stories about the underprivileged or those facing challenges in life due to various reasons are aplenty, they can sometimes come across as overly dramatic or idealistic as if everything will turn out well just because you work hard or put in effort. However, given that this drama was based on a true story, this kept the story grounded in reality while maintaining that encouraging and uplifting vibe about doing something about the situation rather than just lamenting that there's nothing which can be done and accept things as they are.

- The "student" characters in the story had varied circumstances thus added a multi-faceted angle to the challenges which people studying in night school faced. In addition, many of the problems they faced had a "modern take" that were not featured much in past stories set in night or part-time school such as dyslexia and orthostatic dysregulation which many people were unaware of or knew very little about in the past. What also made this a bit different from past stories of a similar nature was that the students were focusing their efforts in a science club which was "extra time" they had to spend in school on top of attending classes and studying. While they faced slights, discrimination, prejudice and bias because of their backgrounds and the fact that they studied in a night school part-time rather than full-time, it was natural to feel like cheering them on as the story made these characters very endearing and relatable even though you may not have gone through the same thing as they did.

- The acting from the cast was generally of a high standard and I personally liked Ito Aoi, Maria Theresa Gow and Issey Ogata's performances a lot because they were such naturals. However, Kubota Masataka really stood out with his mellow and somewhat subdued acting which still allowed the character's emotions to manifest across the screen without hysterics. 

Disliked: 
- Although most parts of the story were still believable and realistic, I felt that the portion about how Fujitake saw a more level playing field in scientific research when he went to the US was a tad idealistic and not so reflective of how things are in the world now. I could understand his frustration about how resources, power, discrimination and bias stood in the way when it came to the Japanese scientific research field but the way the story described it, it seemed to suggest that bias and discrimination were not present outside of Japan. In the past, many dramas would have painted this ideal scenario of "the grass is always greener on the other side" but everyone can see that racism and discrimination are present everywhere. As such, it bothered me a bit to see how the drama still tried to say that going outside of Japan was the only way to be free of such restrictions and soar high depending on your potential and talent.

- For those who are not too familiar with or know very little about scientific jargon and terminology, you can feel a bit lost at times when the dialogue gets a bit too technical. I lost track of the number of times when that happened to me especially when there were explanations of scientific concepts. I was also unsure if the English subtitle translations did portray everything accurately for these parts. For example, when I saw that the synopsis on the Amazon Prime listing page kept putting Gakuto's name as Taketo, I wondered what was causing this discrepancy. While the same Kanji name can be pronounced in both ways, people were calling the character Gakkun and Gakuto. I can't help but think that whoever wrote those summaries didn't watch the drama or there was no QC for what was put there.

Monday, December 30, 2024

Preview of "Watashi no shiranai watashi" - Winter 2025


Title: Watashi no shiranai watashi / 私の知らない私
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
O.A. Start Date: 9 January 2025
Timeslot: Thursdays at 11.59pm
Broadcast by: YTV / NTV
Cast: Ono Karin, Baba Fumika, Hyoudou Takumi, Shibuya Nagisa, Shibuya Kento & Koike Teppei

Preview of "Noroi wo ageru" - Winter 2025


Title: Noroi wo ageru / ノロイヲアゲル
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
Official YouTube: here
O.A. Start Date: 5 January 2025
Timeslot: Sundays at 12.45am
Broadcast by: TV Tokyo
Cast: Higuchi Hina, Yuutarou, Gunpi, Kabashima Hikari, Abe Oto, Fubuki Kei, Yoshizawa Mei, Neya Ryoka, Nishime Shun, Wakabatashi Genta & Miura Kairi

Sunday, December 29, 2024

Quick Review #89: Kinou nani tabeta Season 1 - Spring 2019


Title: Kinou nani tabeta Season 1 / きのう何食べた?

Rating: 8 / 10

Recommended for
Those who like slice-of-life stories featuring lots of cooking and eating scenes and a more down-to-earth and realistic take on gay couples

Liked:
- Given that food and cooking feature prominently in the title and story, it was not surprising to see a lot of effort and time put into these scenes when Shiro (Nishijima Hidetoshi) whipped up so many delicious-looking meals for his live-in partner Kenji (Uchino Seiyou) and the latter enjoying these with so much delish. Not only did the cooking scenes feel like an intimate cooking lesson with Nishijima's nice-sounding narration, the cinematography really made simple and/or day-to-day fare look so much more appetising. Of course, Uchino's ability to convey the tastiness of the food to viewers through his acting also deserves special mention since we can only imagine the taste across the screen.

- While many Japanese dramas and movies about LGBT couples these days tend to be a bit exaggerated, fantastical and feature comparatively younger pairings e.g. "Ossans Love", this drama's down-to-earth approach showing the reality and issues facing a middle-aged gay couple could be a lot more palatable to those including myself who don't like the sensational fluff and stuff meant to make viewers squeal or giggle. I think there was also a deliberate attempt to tone down on the skinship or intimate scenes featuring these couples or perhaps that was how the original manga was designed to be. 
The gay couples featured in this drama face similar problems like aging, healthcare, money issues and planning for the future just other couples but because of the legal limitations in areas such as marriage and the bias they face, the path surely isn't what many people can imagine or empathise. Although there are a few scenes which can be a bit funny when Kenji gets into his otome mode, I think the vibe on the whole is pretty subdued and tries to convey the messages in an as-a-matter-of-fact manner while not getting too bogged down by the negativity and bleakness in reality.
One part that was quite memorable for me was seeing Shiro's parents' reaction to their son's sexual orientation. Usually, stories featuring people "coming out" about this to their families can get rather emotionally-charged especially with parents expressing disbelief or attempting to "correct things" and make the child "normal" again. However, given that Shiro was already 45 years old and his parents probably had a fair bit of time to come to terms with this topic (while not entirely understanding or accepting it deep down), I thought that was a pretty realistic take on how the real-life situation for many might look like. In particular, I really liked Shiro's mother for telling him off about not admitting that he was gay at the workplace because it felt like she didn't want him to continue lying and should live in a more carefree manner. However, given his occupation and the preset prejudice that people may have about certain vocations, this revelation might make it difficult for him to work like he does now. And besides, his colleagues didn't really need to know about his sexual orientation. Usually, a lot of such stories feature the social circle knowing about this but the family doesn't know so it was pretty unusual to see the reverse for Shiro's case.

- The great acting and chemistry of Nishijima and Uchino definitely is a key reason for the success of this drama. While Nishijima is no stranger to playing elites or professionals wearing suits, I think those roles gave him a bit of an aloof and cool feel compared to Shiro who had a lot more emotions and worries that could be seen by the viewers. In this sense, he made Shiro a lot more relatable and endearing. On the other hand, Uchino has no lack of macho or strong male characters in his career but the somewhat softer, emotional and otome Kenji really made me see him in a different light and showed off his versatility as an actor.
Do keep a lookout for Yamamoto Koji and Isomura Hayato as well because this couple really made me chuckle many times whenever they appeared. 

- Since the episodes were no more than 30 minutes each, the drama didn't feel draggy even though there were as many as 12 episodes. While I liked the relaxed pace and could get through each episode with relative ease, those who crave a bit more "action" or a faster development might find this a tad slow and boring in some of the episodes.

Disliked: 
- Although this couldn't be helped, there was a change in the cast for the role of Shiro's father from Shiga Kotaro to Tayama Ryosei as Shiga had to quit halfway due to illness. It would have been good if the beginning of episode 11 had mentioned this change because it was so abrupt to see Tayama appear just like that. Given that I already read the news back then when this happened, it only took me by surprise for a brief moment before I remembered this. However, those who didn't know would feel puzzled and wonder what was going on. And since both actors had very different appearances and vibes, you can't deny that this non-knowledge of what happened and the sudden change would get in the way.

Saturday, December 28, 2024

Preview of "Kansatsui Asagao 2025 Shinshun SP" (Drama SP)


Title: Kansatsui Asagao 2025 Shinshun SP / 監察医 朝顔2025新春スペシャル
Official website: here
Official Instagram: here
Official X: here
O.A. Date: 3 January 2025 at 9pm
Broadcast by: FujiTV
Original manga by: Kagawa Masahito & Kimura Naomi
Theme Song: "Asagao" by Orisaka Yuta
Cast: Ueno Juri, Tokito Saburo, Kazama Shunsuke, Shida Mirai, Nakao Akiyoshi, Morimoto Shintaro, Fujiwara Kisetsu, Saito Yoichiro, Sakanoue Akane, Nagase Yuzuna, Nakamura Chitose, Ishida Hikari, Totsugi Shigeyuki, Hiraiwa Kami, Tomosaka Rie, Miyake Hiroki, Sugimoto Tetta, Itao Itsuji & Yamaguchi Tomoko

Friday, December 27, 2024

Top 10 bestselling music artists in 2024 (Oricon)

As seen from the rankings below, it seems like physical music media still accounts for the bulk of sales for music artists in Japan even though digital releases and online streaming are increasingly becoming the preferred medium for music releases by some artists and consumers who do not or buy less physical music media. There are also clear distinctions between the top 10 rankings for both types of media with idol groups featuring more prominently in the physical music media top 10 while bands and solo singers seem to be doing better in terms of digital media. 

However, other than this being solely due to music preferences by consumers of both types of media, one important thing to keep in mind is which medium the artists choose to release their works through. For example, STARTO Entertainment's artists tend not to release their new music on digital platforms except when it comes to releasing them on streaming portals but that's largely restricted to older works. And not every group in their agency makes their music available online so fans can only get their hands on these works through buying CDs and DVDs. On the other hand, some artists choose to release their music exclusively on or largely in digital media formats so that's why they aren't seen in the physical media top 10. Yonezu Kenshi is probably one of the few who is an "all-rounder" to manage both realms equally well because about 56% of his sales come from physical media while the remaining is from digital media. Comparatively, Mrs.GREEN APPLE saw about 76% of their sales from the digital world so that's why they are overall No.2 but nowhere to be seen in the top 10 for physical media.

South Korean boybands seem to be doing really well too as seen from SEVENTEEN and Stray Kids outdoing every group from STARTO other than Snow Man and SixTONES. Looks like they are giving the local idol groups a serious run for their money while 2022's champion BTS is taking a break in the meantime due to military service. However, both groups are not appearing on the upcoming Kouhaku on NHK which is supposedly a reflection of who are popular in the past year - apparently not so for at least the last 2 decades, I think. The absence of female idol groups is also somewhat surprising even though groups like New Jeans and TWICE seem to be featured pretty frequently on TV and the Japanese media but they don't seem to be raking in the bucks through music releases. Maybe it's the concerts and their merchandise which are bringing in the dough rather than through music releases?

* Numbers in brackets indicate the estimated total sales figure in JPY:



1) Snow Man (JPY 15.42 billion)

2) Mrs.GREEN APPLE (JPY 9.59 billion)

3) SixTONES (JPY 6.47 billion)

4) SEVENTEEN (JPY 6.38 billion)

5) Stray Kids (JPY 6.05 billion)

6) Yonezu Kenshi (JPY 5.84 billion)

7) Ado (JPY 4.61 billion)

8) YOASOBI (JPY 4.37 billion)

9) WEST. (JPY 4.28 billion)

10) INI (JPY 4.12 billion)



1) Snow Man (JPY 14.92 billion)

2) SixTONES (JPY 6.35 billion)

3) SEVENTEEN (JPY 5.2 billion)

4) Stray Kids (JPY 4.9 billion)

5) WEST. (JPY 4.28 billion)

6) Naniwa Danshi (JPY 3.79 billion)

7) INI (JPY 3.67 billion)

8) Nogizaka46 (JPY 3.41 billion)

9) Sakurazaka46 (JPY 3.37 billion)

10) Yonezu Kenshi (JPY 3.27 billion)



1) Mrs.GREEN APPLE (JPY 7.3 billion)

2) back number (JPY 3.68 billion)

3) YOASOBI (JPY 3.61 billion)

4) Vaundy (JPY 3.23 billion)

5) Official Hige Dandism (JPY 2.89 billion)

6) Ado (JPY 2.87 billion)

7) Yonezu Kenshi (JPY 2.57 billion)

8) Creepy Nuts (JPY 2.36 billion)

9) King Gnu (JPY 2.29 billion)

10) Aimyon (JPY 2.09 billion)

Preview of "Kodoku no Gurume 2024 Oomisoka Special Taiheiyo kara nihonkai Goro, kita e ano hitotachi no tokoromade." (Drama SP)


Title: Kodoku no Gurume 2024 Oomisoka Special Taiheiyo kara nihonkai Goro, kita e ano hitotachi no tokoromade. / 孤独のグルメ2024大晦日スペシャル 太平洋から日本海 五郎、北へ あの人たちの所まで。
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
O.A. Date: 31 December 2024 at 10pm
Broadcast by: TV Tokyo
Cast: Matsushige Yutaka
Guest lineup: Mitsuishi Ken, Hinagata Akiko, Tsukamoto Shinya, Tanaka Misako, Izumiya Shigeru & Suzuki Sawa 

Thursday, December 26, 2024

Preview of "Tonari no nurse aid SP 2025" (Drama SP)


Title: Tonari no nurse aid SP 2025 / となりのナースエイドSP 2025
Official website: here
O.A. Date: 11 January 2025 at 9pm
Broadcast by: NTV
Original novel by: Chinen Mikito
Cast: Kawaei Rina, Takasugi Mahiro, Yamoto Yuuma, Yoshizumi, Uesugi Shuhei, Oda Risa, Akase Akari, Furuta Arata, Takimoto Miori, Narumi Riko, Kote Shinya & Mizuno Miki

Wednesday, December 25, 2024

Quick Review #88: Ai no ato ni kuru mono (Korean drama)


Title: Ai no ato ni kuru mono / 愛のあとにくるもの / 사랑 후에 오는 것들

Rating: 8 / 10

Recommended for
Those who wish to watch a love story about people from different countries and cultures and how a relationship is worn out by the struggles of daily life as well as those who are fans of the leads Lee Se-young and Sakaguchi Kentaro

While this is technically classified as a Korean drama, half of the story was set in Japan and half the dialogue in Japanese so I decided to post the review here. This drama is currently available for viewing on Coupang Play, Viu and Amazon Prime Video (the latter have region restrictions).

Liked:
- The story was well-crafted as it showed the gradual changes and breakdown of a romantic relationship brought about by the challenges of daily life and solitude felt caused by being alone in a foreign country. While the pace could be improved at certain junctures, the saving grace was that this drama was only 6 episodes so it didn't feel so dragged out. It was also good that the story didn't take sides and showed both versions of what went wrong for the lead couple rather than lay the blame on one side.

- The leads had really terrific onscreen chemistry as a couple madly in love in the Japan arc and later as reunited ex-lovers in the Korea arc. A story like this involving two languages can feel a bit awkward at times between the switching of languages and when actors try to speak in a non-native language. However, I felt that Lee's Japanese was better than expected so this definitely helped to boost the appeal of the story. Sakaguchi's English was also pretty nice to hear although it would have been good to hear him speak more Korean sentences than just short words and phrases.
Also keep a lookout for a number of cameos from the Japan side - I was pleasantly surprised to see them appear since I had no prior knowledge of that.

- The visuals in this drama were really beautiful and coincided with the vibe of the different arcs and the states of the lead couple's relationship. In the Japan arc, the seasons were largely in spring and summer with lots of colours and a warm feeling but in the Korea arc, the season was in winter with strong wins, greyish backtones and snow. As such, it was not too difficult to distinguish between both timelines even though the time difference between them was just 5 years.

Disliked: 
- As mentioned above, the pacing can be a bit slow as the shots lingered long to emphasize certain emotions. It can be a tad boring for people who would prefer a more fast-paced or "happening"-kind of love story.

- The thing about second leads in a love story is, they tend to be projected as obnoxious, irritating or simply a nuisance. Most of the time, there is little depicted on the rationale of their behaviours so they are mostly "unlikeable" in this sense. Sad to say, the same thing happened here with the second leads looking like they were obsessed with the leads for no apparent reason. Perhaps the original novel could provide some answers about this?

- With regard to the ending, I can understand that there is a tendency to have happy endings for such stories. However, it might have been better to let them take some space to heal after talking things out before getting back together. It just seemed too sudden for them to be talking as if they won't reconcile just one night before and then patching things up overnight.

Tuesday, December 24, 2024

Preview of "Madoka 26-sai, Kenshuui yattemasu!" - Winter 2025


Title: Madoka 26-sai, Kenshuui yattemasu! / まどか26歳、研修医やってます!
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
O.A. Start Date: 14 January 2025
Timeslot: Tuesdays at 10pm
Broadcast by: TBS
Original manga by: Mizutani Midori
Cast: Yoshine Kyoko, Suzuki Nobuyuki, Takahashi Hikaru, Ohnishi Ryuusei, Yoshimura Kaito, Konishi Sakurako, Hotta Akane, Sano Hiroki, Iwao Kaishi, Itakura Toshiyuki, Morita Tetsuya, Mori Kanna, Akahori Masaaki, Mizobata Junpei, Sato Ryuuta, Kimura Tae & Okuda Eiji

Monday, December 23, 2024

Quick Review #87: Umi ni nemuru daiyamondo - Autumn 2024


Title: Umi ni nemuru daiyamondo / 海に眠るダイヤモンド

Rating: 9 / 10

Recommended for
Those who like fictional stories with an actual historical setting and some suspense elements and are fans of the cast especially Kamiki Ryuunosuke

SPOILERS AHEAD, PROCEED WITH CAUTION~

Liked:
- Right from the start, this drama impressed me with its production quality in many ways. Be it the story which showcased the different types of love among the characters (romantic, family, friendship, comrades), the cinematography that resembled the quality you would see in movies or OTT productions or replicating the sights of Hashima through filming at various places and piecing everything seamlessly despite the island being in ruins now and not open to public access, it was evident that so much effort was put in to produce this drama. I also liked the fact that the story managed to address the questions that popped up over the course of the entire season and wrapped up everything nicely rather than try to keep things open-ended and suggest that there might be a sequel. 
The two biggest surprises to me were probably Sawadaaji's true identity as well as who Reo was. Honestly speaking, while Sawadaaji being Makoto was thrown up as a possibility on social media before, Reo being unrelated to anyone from Hashima and not resembling Teppei at all (it was just Asako's imagination projecting Reo's looks on Teppei) was very surprising and there were no clues prior to the revelation that could have allowed viewers to guess this.
 
- The scriptwriter was adept in weaving together so much detail which may not seem important at first but were evidently important when it came to describing the interpersonal relationships of the characters. For example, in the case of Teppei and Asako, while it is sad and regrettable that Teppei never got to tell Asako personally what happened to him and how much he loved her, the fact that he was able to convey his feelings for her in an indirect way by leaving behind the things which mattered most to her and protecting her happiness from afar were probably the best proof of his deep and long-lasting love for her. By leaving behind the blue giaman flower vase which he made for Asako for the purpose of proposing to her (notice how Asako always wore blue clothes when she spent time with Teppei and the sea blue-coloured bottle he had given to her which she treasured and used it as a vase for her flowers given by Teppei), this diamond that he made for her would be forever sealed in Hashima which resonates with the title of the drama i.e. the diamond which sleeps in the sea. He also remembered how much she desired to have a field of cosmos on the rooftop of her house so he went ahead to do the same at the yard of his house which faces Hashima.
Although one may wonder why he couldn't have reached out to Asako after he was no longer on the run, Teppei knew very well that his re-appearance wouldn't have changed their fates because Asako was already married with kids and had a new life of her own. Rather than disturb and disrupt her life as well as her family's, Teppei stayed away without the intention to let Asako know what happened to him and would rather let her bear a grudge against him for leaving without a word. One can only imagine how painful it must be for him to be on his own for decades, wander around different parts of Japan and not being able to be with his love and family. Moreover, he was not able to stay in Hashima until its final days so that must have been a lot to bear.
Likewise for Kensho and Yuriko, that proposal scene was such a classic and touching and their bond as a couple was so beautiful to watch. On the other hand, although Shinpei and Rina's happiness was short-lived, I thought that the process right up till their marriage was built-up nicely to contrast against the tragic fate that awaited them later.

- The characters featured in the story were endearing and memorable in their own ways so it would be hard for me to pick favourites among them. However, Kamiki Ryuunosuke definitely deserves special mention for being able to portray Teppei and Reo in so vastly distinct ways that it was impossible to mix them up with each other. Towards the end when Teppei was shown escaping to various locations in Japan to avoid those people after him and Rina, he showed a much jaded and worn out Teppei that was so different from the energetic and enthusiastic version back in Hashima. When Reo appeared in 2024, this felt yet like another version of Kamiki in the same story so hats off to him for being so versatile in his acting.

Disliked: 
- While the fact that Reo was unrelated to Hashima and Teppei wasn't a bad idea, I did feel that it was a bit anti-climatic and the reason that Asako gave for reaching out to Reo didn't come across as very convincing to me. As such, I thought that if Reo had some link to Hashima or there was a more compelling reason to "choose" him, I might have liked this development better.

- Although I understand that the story was largely from Asako's perspective, it was also regrettable that her friends and family were all gone so there was nobody else to corroborate her story. I would be really interested to know more about Kensho and Yuriko's life post-Hashima and Teppei's perspective and what happened especially in his late years. That I felt was a huge missing piece of the puzzle for me personally to make this story more complete.

Sunday, December 22, 2024

Preview of "Jigoku no hate made tsureteiku" - Winter 2025


Title: Jigoku no hate made tsureteiku / 地獄の果てまで連れていく
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
O.A. Start Date: 14 January 2025 (Pre-release via Netflix from 7 January 2025)
Timeslot: Tuesdays at 11.56pm
Broadcast by: TBS
Theme Song: "Ame ga michireba" by Higuchi Ai
Cast: Sasaki Nozomi, Shibuya Nagisa, Inoue Yuki, Yoshizawa Shizuya & Itao Itsuji

Saturday, December 21, 2024

Quick Review #86: Lion no kakurega - Autumn 2024


Title: Lion no kakurega / ライオンの隠れ家

Rating: 10 / 10

Recommended for
Those who want to watch a well-crafted story about family love, friendship and comradeship with a tinge of suspense and great acting from the cast especially Yagira Yuuya, Bandou Ryouta & Sato Tasuku

SPOILERS AHEAD, PROCEED WITH CAUTION~

Liked:
- While the story initially hinted at something sinister due to the disappearance and supposed deaths of Aoi and Shuuto, there was actually an abundance of love, hope and positivity waiting to be discovered along the way. Despite the negativity about domestic abuse, some sleazy criminal stuff happening in the background and most of the attention being on getting to the bottom of things and saving the two of them from their abuser, the other characters including the leads were never neglected nor forgotten as the character development on the whole was balanced and well-taken care of. 
If it had been that the story simply ended with Aoi and Shuuto's rescue and moving on to a new life, it would have been so predictable. The last curveball at the end about Hiroto's realisation regarding losing his purpose in life with Mikkun not having to depend on him that much anymore and that Shuuto is back with his mother was definitely sad and painful to watch but absolutely necessary as a catalyst for everyone to move on with their lives in their own ways. Of course, if everyone can stay together forever, that might have been the ideal ending but in reality, it's sometimes necessary to part ways for the good of everyone. Being needed by someone can give a sense of purpose and fulfillment but nothing is constant in this world and deriving a sense of purpose based on another person's needs and wants is just not sustainable to begin with. And in Hiroto's case, it's high time that he lives for himself after all the sacrifices he had to make over the years. As such, the last episode was definitely the icing on the cake and helped to make this drama a lot more memorable and end on such an uplifting and happy note.
Even though the cliffhanger before the finale seemed like a sharp turn from where the story was seemingly heading towards, it was actually an issue lurking in the background all along. Viewers like me were probably "conditioned" in such a way to focus too much on the case, Aoi, Shuuto and Mikkun so as to strengthen the impact of throwing Hiroto's issue into the limelight at the very end. What was brilliant about the final episode was that the nagging concerns and signs about Hiroto's sense of loss and not having a direction in life were there all the time but never properly addressed until it reached breaking point. As such, the finale didn't need a long time to convince viewers why Hiroto did what he did and why he had to refocus on himself and not put Mikkun's interests ahead of his own's. The scriptwriter probably wanted to reinforce the notion of "love yourself first before you can love others" and suggest that Hiroto needed to change first so that his relationship with Mikkun will become healthier and stronger in the long run. Otherwise, there may come a day when he resents having to sacrifice his life for the sake of Mikkun or that Mikkun depends so much on Hiroto that he can't do what he is actually capable of doing.

- The relationship dynamics and interactions between Hiroto and Mikkun was definitely a major attraction about this story. For example, their little gestures such as striking their palms, walking home together in the sunset at Mikkun's pace while Hiroto looked on gently and patiently made me smile because that was so beautiful and happy to see. Of course, there were times when Mikkun was quite a handful but Hiroto seemed to have his ways of dealing with that thanks to his years of taking care of Mikkun. I thought that the brotherly love between them came across very convincingly, thanks to the great chemistry and acting of Yagira and Bandou. 
As the story depicted the brothers becoming independent enough to forge their own paths while giving each other support from afar, it also showed a change in roles for them. Hiroto has always been a stabilising constant factor in Mikkun's life so it appears that Mikkun depends on Hiroto to live as he wishes. However, Mikkun later becomes a form of support for Hiroto and a motivator of sorts. Seeing this transition was really heartening and very encouraging.

- The acting here definitely deserves special mention. While it is easy to pay attention to the more "stand-out" roles like Mikkun, Lion/Shuuto or even the abuser Tachibana played by Mukai Osamu (he was really creepy and obnoxious in some scenes), Yagira had a very difficult role in the sense that Hiroto was rather ordinary and could easily fade into the background. Instead, Yagira's acting made Hiroto become someone who could offer a warm embrace to anyone and be a symbol of reassurance so his presence was definitely not overlooked at all. 
On the other hand, Bandou's role was challenging in that he needed to make Mikkun look convincing yet not go overboard with his expressions and gestures. As shared in an earlier post about the casting process of Bandou as Mikkun, his efforts in preparing for the character certainly haven't gone unnoticed. No wonder Mikkun has become a crowd favourite among viewers and even parents of children with ASD are saying that his portrayal was spot-on. 
Sato Tasuku may be a child but the scenes when Lion was put through physical and mental stress caused by the separation from his mother and his father's abuse definitely showed his potential in acting. Aside from the emotional pain that Lion bore, Sato was also able to show the innocence of a child effortlessly at the same time whenever Lion was in the company of the Komori brothers.

Disliked: 
Nothing - I can't really remember when was the last time I gave a perfect score in my reviews but I must say, this drama was definitely impressive.

Friday, December 20, 2024

Preview of "Zetsumeshi Road 2024" (Drama SP)


Title: Zetsumeshi Road 2024 / 絶メシロード2024
Official website: here
Official X: here
O.A. Dates: 20 December 2024 at 1.02am / 27 December 2024 at 12.52am
Broadcast by: TV Tokyo
Cast: Hamatsu Takayuki

Thursday, December 19, 2024

Quick Review #85: Zenryouiki ijou kaiketsushitsu - Autumn 2024


Title: Zenryouiki ijou kaiketsushitsu / 全領域異常解決室

Rating: 9.5 / 10

Recommended for
Those who like mystery + suspense + humanity stories with a SPEC-vibe and Japanese mythology elements and/or are fans of the cast especially Fujiwara Tatsuya and Hirose Arisu

SPOILERS AHEAD, PROCEED WITH CAUTION~

Liked:
- As noted in my first impression post about this drama, it was hard to tell where the story was headed to other than the fact that it had the SPEC vibe, minus the wackiness but still retained some humour. However, I was pleasantly surprised by the twists and turns in the story and how the hints and clues leading to the truth scattered throughout the drama were tied up really nicely at the end. The incorporation of Japanese mythology and gods as a key component of the story was totally unexpected but very intriguing even though my knowledge of this area is quite limited. With regard to the humanity aspect, the theme might be a bit heavy and serious at times but it was neither preachy nor presented in an unnatural manner. Instead, I felt that the messages conveyed to the viewers were really thought-provoking and meaningful.
It's been a while since I felt so satisfied with a drama's plot especially since I wasn't expecting too much and had picked up this title just because of the leads and my impression that this was going to be yet another mystery-suspense story. I'm glad that this drama proved me wrong.
Given how this drama ended, it looks likely that there will be a sequel in the future, hopefully soon.

- The cast especially Fujiwara and Hirose were excellent in bringing out the best in their roles. In particular, I like the relationship development of, revelations surrounding Okitama (Fujiwara) and Koyume (Hirose) and the wonderful chemistry showed by both actors. A number of scenes in the last 15 minutes or so were so bittersweet and heart-wrenching. Even the last-minute cameo by Mizobata Junpei was so interesting to watch (buying Tokyo Banana back to Kyoto after a business trip???) that it would be great to see him return if there is ever going to be a sequel.

Disliked: 
- The only thing which bothered me a bit was the names of the gods. As the names were in Kanji and sometimes quite difficult to pronounce and read at one go, it was a tad challenging to follow the story whenever a new god was introduced. Especially when Okitama and his gang was talking about the supernatural beings in Japanese mythology over the first few episodes and later introducing the various gods who appeared or got mentioned, it can get really mind-boggling and disruptive. For those familiar with Japanese mythology and the gods, this wouldn't have been much of a challenge though.

Wednesday, December 18, 2024

Preview of "Berabou ~ Tsutajuu Eiga no Yumebanashi ~" - NHK 2025 Taiga Drama


Title: Berabou ~ Tsutajuu Eiga no Yumebanashi ~ / べらぼう 〜蔦重栄華乃夢噺〜
Official website: here
Official Instagram: here
Official X: here
O.A. Start Date: 5 January 2025
Timeslot: Sundays at 8pm
Broadcast by: NHK
Narrator: Ayase Haruka
Cast: Yokohama Ryuusei, Yasuda Ken, Koshiba Fuuka, Sometani Shota, Hashimoto Jun, Yamoto Yuuma, Miyazawa Hio, Ochiai Motoki, Nakamura Aoi, Inowaki Kai, Nakamura Hayato, Ishizaka Kouji, Kataoka Ainosuke, Takahashi Katsumi, Satomi Kotaro, Tominaga Ai, Fukuhara Haruka, Ito Atsushi, Takanashi Rin, Kazama Shunsuke, Hashimoto Ai, Iijima Naoko, Kubota Sayu, Aijima Kazuyuki, Yoshizawa Hisashi, Harada Taizo, Adachi Yumi, Mashima Hidekazu, Ikuta Toma, Ayase Haruka, Watanabe Ken etc.

Tuesday, December 17, 2024

Preview of "Vanilla na mainichi" - Winter 2025


Title: Vanilla na mainichi / バニラな毎日
Official website: here
O.A. Start Date: 20 January 2025
Timeslot: Mondays to Thursdays at 10.45pm
Broadcast by: NHK
Total number of episodes: 32
Original novel by: Katou Tsubasa
Theme Song: "Namida no shoutai" by SUPER BEAVER
Cast: Renbutsu Misako, Nagasaku Hiromi & Kido Taisei etc.

Monday, December 16, 2024

Preview of "Tokyo Sarada Bouru" - Winter 2025


Title: Tokyo Sarada Bouru / 東京サラダボウル
Official website: here
O.A. Start Date: 7 January 2025
Timeslot: Tuesdays at 10pm
Broadcast by: NHK
Total number of episodes: 9
Original manga by: Kuromaru
Theme Song: "Wash Away" by Balming Tiger
Cast: Nao, Matsuda Ryuuhei, Nakamura Aoi, Takeda Rena, Nakagawa Daisuke, Itose Souichi, Nomura Fusso, Sekiguchi Mandy, Asai Daichi, Zhang Han, Xu Liting, Chiao Yuan-yuan, Nguyen Truong Khang, Abe Shinnosuke, Hirahara Tetsu, Imoto Ayako, Minagawa Sarutoki & Mikami Hiroshi

Sunday, December 15, 2024

Preview of "TRUE COLORS...Sore wa, watashidake no iro" - Winter 2025


Title: TRUE COLORS...Sore wa, watashidake no iro / トゥルー カラーズ…それは、わたしだけの色。
Official website: here
O.A. Start Date: 5 January 2025
Timeslot: Sundays at 10pm
Broadcast by: NHK
Total number of episodes: 9
Theme Song: "True Colors" by Cyndi Lauper
Cast: Kurashina Kana, Maiguma Katsuya, Takito Kenichi, Kaname Jun, Tamaoki Reo, Hoshi Moeka, Morinaga Yuki, Morita Kokoro, Ise Kayo, Natori Yuko, Takashima Masahiro, Ishibashi Renji, Kitamura Kazuki, Sylvia Grab, Ito Ayumi, Miyazaki Yoshiko, Nakahara Takeo, Kaku Chikako, Kato Masaya & Watanabe Ken

Saturday, December 14, 2024

Quick Review #84: Anata no ban desu Gekijouban (movie)


Title: Anata no ban desu Gekijouban / あなたの番です 劇場版

Rating: 1 / 10

Recommended for
Those who wish to watch the characters of "Anaban" again but in a reshuffled setting and don't mind a ludicrous storyline

SPOILERS AHEAD, PROCEED WITH CAUTION~

Liked:
- Just for the sake of indulging in "Anaban" nostalgia, it was fun to see the residents gathered together albeit with some additions, omissions and new relationship dynamics. Those who ended up dead in the drama were resurrected for this movie so that should be something that their fans would love to see. There were two big surprises for me - the identity of one of Kuroshima's ex-boyfriends who turned out to be the murderer as well as the identity of the father of Ono-chan's (Nao) unborn baby (you will only find out about it at the end though and it was so shocking).

Disliked: 
- Since the story in this movie wasn't a continuation from the drama series and started off with a key change in the setting i.e. it was Shota (Tanaka Kei) instead of Nana (Harada Tomoyo) who went to the residents' meeting that set off the chain murders, a lot of things had changed as a result. While the residents still had issues with one another that provided some murderous intent here and there, this part actually didn't feature much in the movie's storyline. Instead, it was a spider web of sorts extending from Kuroshima (Nishino Nanase) that led to what happened on the cruise ship so the other residents really felt no more like a live background with nothing much going on for them. 
I was not impressed by the scriptwriter still tapping on parts from the drama series when the movie's storyline was reportedly positioned as a new one. It felt like these elements were stuffed into the storyline for the sake of milking the popularity of the "Anaban" franchise thus this hampered the flow of the story. It would have been better if a totally unrelated story was done with the existing characters instead.

- Given the number of characters involved, a 2-hr+ movie simply isn't enough to give everyone an opportunity to do their thing. As such, some characters were too forgettable because they hardly had lines and airtime. Some like Ono-chan who was easily one of the most interesting characters in the drama, didn't even feature prominently in the murder cases on the cruise ship. And I also wondered why they had to get Kadowaki Mugi to play such an insignificant role. It felt like a huge waste of talent to gather the cast and yet not utilize them to their full potential.

Friday, December 13, 2024

Quick Review #83: Gibo to Musume no Blues - Summer 2018


Title: Gibo to Musume no Blues / 義母と娘のブルース

Rating: 8.5 / 10

Recommended for
Those who like heartwarming family-oriented stories and/or are fans of the cast members

* Currently available on Netflix (subject to geographical location)

Liked:
- The storyline while predictable at times, was packed with lots of funny, sweet and touching moments. Be it the development of the stepmother-stepdaughter relationship, the slowly developing romance between Akiko and Ryoichi, the cute childhood friends-first love plot involving Miyuki and Hiroki, the rebuilding of Bakery Mugita or the one-sided love story of Akira towards Akiko, there was a lot to take in but the pace was managed just fine without feeling too draggy or rushed. 

- Acting-wise, everyone really managed to shine in their own ways. Ayase Haruka has always been quite good in juggling both comedy and serious acting so it was not surprising that she managed to make Akiko so endearing and fun to watch throughout the course of the entire drama. The scenes with Ryoichi (Takenouchi Yutaka) as their relationship developed provided some really fuzzy and nice romantic scenes as well. Her interactions with both the child actor Yokomizo Naho and the grown-up version of Miyuki played by Kamishiraishi Moka were also engaging and touching to watch. Likewise, Kamishiraishi was such a joy to watch as she showed how Miyuki had grown up well with Akiko's love and the positive traits of Ryoichi and I really liked her pairing with Inowaki Kai here. While I didn't quite like Akira as a character, Sato Takeru's performance was able to make him come across as someone you couldn't bear to dislike despite his flaws especially when it came to his mashed-up vocabulary.

- The theme song by MISIA really helped to accentuate the heartwarming vibe in this story especially during climax scenes or towards the end of the episodes.

Disliked: 
- Too little of Takenouchi here because Ryoichi died halfway in the story. I would have loved to watch more of him not just because I am his fan but also due to the fact that Ryoichi and Akiko were only just getting started in their romance. Too bad that it wasn't meant to be for them.

- I wouldn't say that I really disliked this part but it did get in the way more so in the beginning of the story. Since Akiko was using formal speech and in a stiff business-like manner quite often, the words she said were at times rather difficult to understand and not what you tend to hear in dramas/movies unless the setting was in a workplace, the corporate world or public sector. As such, for those not used to this kind of speech, you might find it a bit more difficult to follow what she was saying and a tad jarring to the ears even with subtitles to help in your understanding.
Things did improve gradually as Akiko softened up thanks to her interactions with Ryoichi, Miyuki and the people around them. While she maintained her "politeness" in her speech, it was definitely more palatable and felt more comfortable to watch.

Thursday, December 12, 2024

Preview of "Yo ni mo kimyou na monogatari Winter 2024 SP" (Drama SP)


Title: Yo ni mo kimyou na monogatari Winter 2024 SP / 世にも奇妙な物語 冬の特別編 2024
Official website: here
Official X: here
O.A. Date: 14 December 2024 at 9pm
Broadcast by: FujiTV
Storyteller: Tamori
Cast:
- Sato Shori, Katayama Yuki & Itakura Takeshi
- Onoe Matsuya, Tsuda Kanji & Fenix D'Joan
- Tanaka Takushi, Ikezu Shouko, Fujimoto Koudai, Hayashi Meari, Horii Arata, Morioka Yutaka, Arai Shingo & Nishihata Reika
- Seino Nana, Hosoda Yoshihiko & Fukutsu Kenzo

Wednesday, December 11, 2024

Preview of "Darekaga kono machi de" - Autumn 2024


Title: Darekaga kono machi de / 誰かがこの町で
Official website: here
O.A. Start Date: 8 December 2024
Timeslot: Sundays at 10pm
Broadcast by: WOWOW
Original novel by: Sano Hiromi
Cast: Eguchi Yosuke, Makita Aju, Tsuruta Mayu, Hyunri, Miyagawa Ichirota, Omi Toshinori, Totsugi Shigeyuki, Honda Hakutaro, Denden & Ootsuka Nene

Tuesday, December 10, 2024

Winners of the 16th TAMA Movie Awards (2024)


Best Movie
Yoake no subete
Boku no ohisama

Special Award
Staff and cast members of "Boku ga ikiteru, futatsu no sekai"
Staff and cast members of "Lookback"

Best Actor
Fuji Tatsuya - "Ooinaru fuzai"
Yoshizawa Ryo - "Boku ga ikiteru, futatsu no sekai" / "Kingdom Daishogun no kikan" / "Kazoku"

Best Actress
Kamishiraishi Mone - "Yoake no subete"
Kawai Yumi - "Namibia no sabaku" / "An no koto" / "Lookback" / "Shigatsu ni nareba kanojo wa"

Best Up-And-Coming Director
Chikaura Kei - "Ooinaru fuzai"
Yamanaka Yoko - "Namibia no sabaku"

Best Up-And-Coming Actor
Matsumura Hokuto - "Yoake no subete" / "Dear Family" / "Kirie no uta"
Saito Jun - "Karaoke iko!" / "Mabuta no tenkousei" / "Karakai jouzu no Takagi-san" / "Seiyoku"

Best Up-And-Coming Actress
Morita Kokoro - "Tatsumi" / "Kuchinai Sakura" / "Sayuri" / "NN4444" / " Gudon no hohoemi"
Hayase Ikoi - "Ikoku nikki" / "Ano ko wa daare?"

Source: TAMA Eigasho

Monday, December 09, 2024

The criteria for success - Comparing the top 10 Japanese drama titles in terms of real-time ratings and TVer viewership from Winter 2023 to Summer 2024


In the past decade or so, much has been discussed about how TV real-time ratings alone no longer reflect the true extent of a Japanese drama's success or popularity now. Gone are the days when a drama could get double-digit real-time ratings with ease and that blockbuster hits were those looking upwards from 25%. Nowadays, anything above 10% is a rarity while single-digits even for primetime dramas would hardly raise eyebrows. Reasons for these trends are aplenty including a greater variety of mediums to watch dramas on including international OTT platforms and viewers can also go to on-demand streaming platforms to catch up on shows so there is less of a need to watch something in a designated timeslot.

To get an understanding of the differences in viewing patterns and volumes when it comes to real-time ratings and on-demand platform viewership, this analysis takes data from Video Research's (VR) household real-time ratings for the Kanto region and TVer's quarterly release of its top 20 most-viewed shows on its portal. The reasons why these two sources were chosen are that VR's data has been the go-to standard for audience measurement of TV and radio shows while TVer is a free portal owned jointly by the 5 key TV networks and provides titles from all of them. 7 seasons' worth of data from Winter 2023 to the recently concluded Summer 2024 were used for the purpose of this analysis.

Let's begin by looking at some interesting observations over the 7 seasons in question:

- "VIVANT" was the only drama in the 7 seasons which took top place in terms of real-time ratings and on-demand views. 
There were also some unusual examples like "Brush up life" which got No.10 in terms of real-time ratings but was No.1 for on-demand views, "Sayonara Maestro" which was No.1 on TV but No.10 on TVer and "Anata ga shitekure nakutemo" which was No.1 on TVer but nowhere to be seen in the real-time top 10 ranking for the season.
What this suggests is that what works well in terms of attracting viewers to tune in real-time may not be the same for on-demand platforms. 

- Nowadays, even if a drama does not get a double-digit average rating for the entire season, there is still a likelihood for it to be the No.1 drama of that season if the competition isn't stiff. Examples would be "Keishicho Outsider" (9.49%) and "Gekokujou Kyuuji" (9.63%). Coincidentally or not, these two dramas were shown during the colder seasons i.e. Winter 2023 and Autumn 2023 which were said to be "good seasons" for TV dramas since people tended to stay home more when it was cold. 
And the summer season which was usually seen as a "dumping ground" for dramas since people would be out holidaying during the summer vacation, saw "VIVANT" buck the trend by being the highest rated in these 7 seasons with 14.26%.
Goes to show that weather or the season is no longer a key determinant of a drama's success in terms of real-time ratings?

- To make it to the top 10 dramas of the season in terms of real-time ratings, the average qualifying score is 7.24% which was what most top 5 dramas of the season would exceed. However, in actual fact, out of the 70 dramas in this analysis, 42 actually didn't cross this bar. The most extreme example would be the Autumn 2023 where only the top 2 exceeded this figure.
In addition, the gap between the No.1 and No.10 dramas were around the 5% mark with the least difference seen in Winter 2023 - "Keishicho Outsider" vs. "Brush up life" (3.26%) and the most difference in Summer 2023 - "VIVANT" vs. "CODE" (9.12%).
What this suggests is that the margin between the dramas outside the top 3 tends to be very small but their gaps with the top contenders is comparatively wider.

- In terms of views on TVer, the average "passing mark" to make it to the top 10 is about 24 million views for the entire season. However, depending on the competitive landscape for that season, the number of views needed to become No.1 differed greatly. 
"Brush up life" managed to get No.1 with 30.72 million views while "Futekisetsu nimo hodo ga aru!" got its title with 33.42 million views. However, "Destiny" easily got the same position with just 28.84 million views. 
On the other hand, "Anata ga shitekure nakutemo" and "VIVANT" got No.1 with 54.81 million views, "Ichiban suki na hana" got 40.26 million views but "Umi no hajimari" was far ahead of its competition with a whooping 71.48 million views. This was more than double of the second-placed "Otto no katei wo kowasu made" at 32.58 million views!
As for the cut-off point on the lower end of the ranking, it took "Reversal Orchestra" just 12.88 million views to enter the top 10 but "Kururi" and "Minami-kun no koibito" needed more than 18 million views to scrape through since most of the top 10 titles for their respective seasons were above 20 million views.

And here are the details for the 7 seasons who are interested:





While it may be difficult to quantify and set a standard criteria to determine a drama's success in terms of TV ratings and on-demand views for now, it is no longer possible for content producers like TV stations to ignore the latter market and be hung up over real-time ratings only. Some dramas may have fared poorly on TV but still gained a lot of attention through their great numbers on on-demand platforms or being talked about online. As seen from the enormous number of views for some of the blockbuster hits in these seasons, it suggests that more consumers/viewers are making a conscious choice to watch what they want at their own convenience rather than be tied down by a fixed timeslot. And since there are more measurement metrics nowadays to judge whether a drama has performed well, it is probably time for the media as well to focus less on making a hoo-ha whenever a title expected to do well e.g. with a star-studded cast or big-time actor/actress as the lead suffers from poor real-time ratings.

Times have changed so the way we look at success has to evolve as well.

Thursday, December 05, 2024

The story behind Netflix's rise in the Japanese market to hit the 10-million members milestone in less than 10 years


With Netflix's recent announcement that they have hit the 10-million members milestone one year shy of their 10th anniversary since they entered the Japanese market, there were a number of articles which analyzed how they did it and the challenges along the way. As such, I have extracted and added some more information to the key points raised so that you can gain a better understanding of the issues in the Japanese entertainment industry which isn't necessarily friendly towards a foreign company like Netflix.


- While Netflix does not provide a regular update on its membership numbers in Japan, it recently announced that it had surpassed the 10-million membership milestone in the first half of 2024. This was just one year shy of its 10th anniversary since it entered the Japanese market on 2 September 2015. As recent as 4 years ago, Netflix had announced that it reached the 5 million members milestone in Japan so this effectively meant that they had doubled their membership base in just 4 years.

- Paying for cable TV and on-demand streaming portals may have been commonplace outside of Japan but this was seen as something that wouldn't work so well in Japan because there were various free platforms for the domestic viewers to watch programmes made by private TV stations. Since subscription-based platforms like WOWOW and Sky PerfecTV! were reportedly having 3 to 4 million subscribers at their peak, the market consensus was that the Japanese market would not see membership numbers exceeding 5 million for the paid TV streaming segment. 

- When Netflix launched the drama series "Zenra Kantoku" in August 2019 after it started operating in Japan 4 years ago, that attracted a lot of attention and was said to be why its subscription number surged to 3 million members in the following month.
Due to the COVID-19 pandemic, it added another 2 million members within a span of 12 months and easily cleared the 5 million subscribers milestone in September 2020.

- However, Netflix did not reveal its membership numbers after 2020 which industry insiders suspected to be due to a slide in its membership base after the pandemic. Adding on to the speculation was that the up-and-rising domestic competitor U-NEXT had seen its membership jump to 4.33 million after its merger with Paravi thus fanning the sentiment that it was giving Netflix a serious run for its money.
With this latest announcement though, it has become apparent that U-NEXT is still far from Netflix in terms of membership numbers and had actually been growing steadily over the years.

- The significance of a 10-million membership base can be put into perspective by comparing this with Japan's population numbers. Based on the current population of 124.5 million people, Netflix's membership number may be just 10% of that but when compared to the number of households i.e. 48.85 million, that works out to more than 20% (considering most households would only need one subscription even if it is to be shared among family members living together).
Most if not all free-to-air dramas these days are seeing low real-time ratings and that anything above 10% is considered a hit. Assuming that just half of Netflix's members in Japan watch one drama, that would be similar to having a reach of 10% of all households nationwide. And not to forget that people outside of Japan can also watch these Japanese titles on the Netflix platform so actual viewership reach (Netflix's worldwide membership base is said to be more than 283 million) would be wider than a domestic drama aired on free-to-air TV only.

- Considering that only paid subscribers can get access to a Netflix title, it was unusual to see that a pet phrase in a Netflix drama was chosen as one of the top 10 buzzwords in 2024. The line "mou ee deshou" by Pierre Taki in the drama "Jimenshitachi" released earlier this year seemingly proved to be popular enough for its inclusion in the buzzword top 10 ranking and even became a parody and game by comedian Chocolate Planet.

- It also seems that Japanese titles are gaining traction in the world with "Jimenshitachi" making it to the top 10 ranking in 30 countries. Another title i.e. "Shinobi no ie" released in February was the No.1 title in 16 countries during its first week of release and also made it to the top 10 in 92 countries. 
On the domestic front, "Jimenshitachi" was No.1 in Japan for 6 weeks in a row, "Shinobi no ie" was No.1 for 4 weeks while "City Hunter" and "Gokuaku Joou" both hogged the top spot for 3 weeks in a row following their releases.

- However, Netflix's entry into the Japanese market was not smoothsailing from the start. It has always been nicknamed as a black ship (kurofune) in a reference to the Western ships that came to Japan between the 16th and 19th centuries which essentially means a foreign disruptor in the Japanese market. The Japanese entertainment content industry was indeed exclusive and isolated to domestic players while being resistant to foreign competitors for a long time. With the success of Netflix and the titles it had produced over the years with domestic industry players, it has opened up more possibilities for Japanese titles making it in the world through this platform.

- Looking at Japanese dramas made by Netflix with Japanese directors and/or TV stations, you can see that there had been a steady flow of investment in J-content. Note that this list only mentions the first season's release year for those having multiple seasons and doesn't include the Japanese movies, anime and music content also available on the platform: 

2015
Underwear

2016
Hanabi
Shinya Shokudou

2017
Bokudake ga inai machi
Honoo no tenkousei REBORN
Salaryman Kantaro
100 man en no onnatachi
Nobushi no gurume

2018
Uchuu wo kakeruyo daga
Jimmy ~ Aho mitai na honma no hanashi ~
Mobusaiko 100

2019
Zenra Kantoku

2020
Imawa no kuni no Arisu
Juon: Noroi no ie
Ai naki mori de sakebe - DEEP CUT -
FOLLOWERS

2021
Gokukufudou

2022
First Love Hatsukoi
Hiyama Kentarou no ninshin
Kingyozuma
Shinbun Kisha

2023
Sanctuary
Kimi ni todoke
Yu Yu Hakusho
Mitarai-ke, enjou suru
Rikon shiyouyo
THE DAYS
Maiko-sanchi no makanai-san

2024
Shinobi no ie
Renai Battle Royale
Jimeshitachi
Gokuaku Joou
Sayonara no tsuzuki

- In Toyo Keizai's interview with Sakamoto Kazutaka, the vice president of Netflix Japan's Content Department, he revealed that the first three years of Netflix's entry into the Japanese market was not easy. From the start, they concentrated on acquiring as much content as possible and even dabbled in producing their own original content like the drama version of "Hibana" adapted from Matayoshi Naoki's novel but the results were not that satisfactory. Coupled with the fact that Japanese works did not really make an impact in the world back then, the US headquarters didn't think that it was worth spending money on making their own Japanese content. This was contrary to the notion that many people had about Netflix having a lot of money to spare and would be willing to do so just because they were a foreign company.
However, the efforts paid off gradually as more Japanese works made it into Netflix's top 10 global ranking. With reference to the most-viewed ranking released for the first half of 2024 (January to June), Japan accounted for the second-most number of non-English titles in the ranking while South Korea took the top spot.

- The success of Netflix's original titles have also translated into gains for the shooting locations such as Kobe City where "City Hunter" was shot at. It was reported in the media that the city managed to get economic gains of more than JPY 400m thanks to the popularity of the title.

- Unexpectedly, the music used in these original titles have also benefited from the popularity. The ending song for "City Hunter" i.e. TM NETWORK's "Get Wild Continual" soared up the karaoke rankings and saw a doubling of its monthly listener numbers on Spotify.
Another example would be from the reality show "Boyfriend" where its theme song "Dazed & Confused" by South Korean artist Glen Check grabbed the No.2 spot in Spotify Japan's Viral Top 10 ranking despite Check being relatively unknown in Japan.

- Netflix's growing prominence in the entertainment industry is said to have brought about significant benefits in neighbouring South Korea such as improvement in labour conditions. For example, the daily filming hours are restricted to 12 hours and not to exceed more than 52 hours a week. Even though this may mean an increase in costs due to the higher number of filming days, there is an increasing trend of more efforts put in to secure enough budget so as to accommodate such arrangements. However, there are also downsides such as the reportedly sky high salaries for the cast taking up a huge chunk of the budget and a drying up of suitable stories to be made.

- While Netflix intends to replicate the good stuff from their experience in South Korea and apply that to Japan, they are also mindful of potential pitfalls in areas like budget management. Hopefully, this will bring about a positive ripple effect in the industry for the long term.

Preview of "Slow Train" (Drama SP)


Title: Slow Train / スロウトレイン
Official website: here
Official Instagram: here
Official X: here
O.A. Date: 2 January 2025 at 9pm
Broadcast by: TBS
Cast: Matsu Takako, Tabe Mikako, Matsuzaka Toori, Hoshino Gen, Chae Jong-hyeop, Matsumoto Honoka, Iketani Nobue, Kura Yuki, Furutachi Kanji, Uno Shohei, Iizuka Satoshi, Sugawara Daikichi, Nakamura Yuko, Maida Nono, Lily Franky & Iura Arata

Wednesday, December 04, 2024

Winners of Yahoo! Japan Search Awards 2024

Here are the winners of Yahoo! Japan Search Awards 2024 in selected categories:

For the full list and winners in other categories, please refer to here.


1) Tora ni tsubasa
2) Hikaru kimi e
3) Umi no hajimari
4) Futekisetsu nimo hodo ga aru!
5) Black Pean Season 2


1) Gekijouban Haikyu!! Gomisuteba no kessen
2) Kingdom Daishougun no kikan
3) Last Mile
4) Inside Out 2
5) Hen na ie


1) Kawai Yumi
2) Chae Jong-hyeop
3) Deguchi Natsuki
4) Wakaba Ryuuya
5) Matsumoto Wakana


1) Number_i
2) Mrs. GREEN APPLE
3) NewJeans
4) WEST.
5) ME:I