Wednesday, March 12, 2025

Quick Review #105: Solomon no Gishou - Autumn 2021


Title: Solomon no Gishou / ソロモンの偽証

Rating: 3 / 10

Recommended for
Those who want to watch a not-so-challenging suspense story and/or are fans of Bandou Ryouta and Yamamoto Maika

* Disclaimer: I have not read the original novel nor watched the Japanese movie & Korean drama versions.
* Potential spoilers ahead!

Liked:
- Despite not being the leads, Bandou Ryouta and Yamamoto Maika's acting here were pretty impressive and they stood out for the right reasons. While Bandou's character was largely evil, there were traces of kindness in his true nature which were handled very convincingly. On the other hand, Yamamoto's character may have seemed to be on the dark side as well at first but the twist towards the end as her true self was revealed was done very nicely.

Disliked: 
- The length of the drama could have been shorter because things were really draggy in the lead-up to the mock trial in school. Even after the trial began, the proceedings were pretty much sleep-inducing for me. Likewise, the so-called truth behind the case felt like all the hoo-ha was for nothing and if you have seen enough of similar suspense stories, it wouldn't take you a lot of effort to figure things out. Perhaps it would be good to make this into a 5-episode drama rather than 8 long episodes.

- While I do like Kamishiraishi Moka as an actress, her role here was not very interesting to watch partly because Fujino Ryoko was a goody-two-shoes model student who was somewhat going with the flow and being a passive party who reacted to developments rather than propel things forward. Although the story positioned her character as someone who took the initiative to start the mock trial and investigation, I couldn't help but feel otherwise. As such, it felt so annoying to see her getting all heated up and antagonising people along the way in the pursuit of the so-called truth.

- Miyazawa Hio's performance here was disappointing, at least to me. I get that he was at a bit of a disadvantage since he was older than those who played the students so this created a very noticeable visual age gap with them and made him look out of place. And to make things more challenging for him, the character Kanbara hardly betrayed any emotions for most of this drama so it made his acting look even more stiff and difficult to stomach. I have to admit, I found it really painful to watch his acting here and the bad memory of watching him for the first time in "Todome no Kiss" kept coming back.

Tuesday, March 11, 2025

Preview of "Taigan no kaji ~ Kore ga, watashi no ikirumichi! ~" - Spring 2025


Title: Taigan no kaji ~ Kore ga, watashi no ikirumichi! ~ / 対岸の家事~これが、私の生きる道!~
Official website: here
Official Instagram: here
Official TikTok: here
Official X: here
O.A. Start Date: 1 April 2025
Timeslot: Tuesdays at 10pm
Broadcast by: TBS
Original novel by: Akeno Kaeruko
Cast: Tabe Mikako, Eguchi Noriko, Dean Fujioka, Ichinose Wataru, Shimabukuro Hiroko, Tanabe Momoko, Matsumoto Leo, Kawanishi Kenshiro, Nagai Kana, Kotobuki Shouma, Yoshitama Honoka, Igarashi Mio, Nakai Tomo, Hagiwara Mamoru & Nishino Nagisa

Monday, March 10, 2025

Preview of "Douse shinu nara, Paris de shinou." (Drama SP)


Title: Douse shinu nara, Paris de shinou. / どうせ死ぬなら、パリで死のう。
Official website: here
O.A. Date: 16 March 2025 at 11pm
Broadcast by: NHK
Cast: Okayama Amane, Mori Yurito, Murakawa Eri, Nakamura Ozuno, Oideyasu Oda, Yuuchami, Watabe Junichi, Hoshi Kousuke, Seki Shuuto & Kataoka Reiko

Sunday, March 09, 2025

Behind-the-scenes of TBS Winter 2025 drama "Mikami-sensei" and about its scriptwriter Shimori Roba


As "Mikami-sensei" continues to gather attention for its unconventional take on Japan's education system and various social issues, there have been a number of articles discussing its unique approach unlike other school dramas to date and its scriptwriter Shimori Roba. Read on for the behind-the-scenes trivia about this drama which will wrap up by the end of this month!

  • "Mikami-sensei" is Shimori's first solo script for a private network drama. To date, most of her writing work was for stage productions. Due to the reputation of TBS' Sundays 9pm timeslot and the scale of the production, she was worried if she could do a good job as she was pretty much a newbie at everything.
  • The first time she wrote a script was when she was in primary school.
  • Shimori revealed that it was only until the last ten years or so that she finally earned enough to survive solely on writing. For a very long time, her main income was from non-theatre work so she had extensive working experience in various industries. As such, many of her works are related to or set in the workplace and she credits those days as pivotal to her writing.
  • She founded the theatre group "Fuukin Koubou" in 1993 and began her activities with "serial number" since 2018. She admitted that as it can be difficult to survive solely on productions for her own company, she managed to grow her career by doing writing and directing for external productions.
  • Shimori is known for being good at writing scripts based on actual events and historical facts through interviews and extensive research. As such, her stories tend to be a mix of real social issues and fiction. To date, she has created more than 100 works.
  • The producer of "Mikami-sensei" i.e. Iida Kazutaka knew Shimori through a mutual acquaintance and had been to her stage plays from time to time. He then approached her to work on "Mikami-sensei" in spring 2020 after Shimori gained recognition and attention with her award-winning movie "Shinbun Kisha". As she believes that education is an important topic especially for the younger generation since they would be more receptive to new ideas and their thinking can be molded more easily to learn the right values and that she had never written about this genre in her plays, she told him that she was keen on this offer. 
  • Through repeated discussions with Iida and Shimori's research, she found out that the Ministry of Education, Culture, Sports, Science and Technology (MEXT) does have a system of dispatching its bureaucrats to schools to be teachers for short stints. Since many people would have the impression that most civil servants are diligent but find it difficult to do as they wish in the public service, this conflict was seen as something which could provide interesting viewpoints in the story. Besides, bureaucrats in areas such as education and culture have been seen as somewhat "weaker" in terms of influence and power compared to those in other ministries. As such, she raised the idea of doing a story about a bureaucrat-cum-teacher sent from MEXT to a public school and Iida liked the suggestion. However, the proposal did not get approved eventually and was put on hold. 
  • On hindsight, Shimori said that it was actually better that the proposal didn't go through back then because she felt that it would have flopped due to her inadequacy as a writer. She did not have a TV at home for about 15 years then and didn't even have the habit of watching dramas. After the proposal was turned down, she started to watch lots of dramas and movies in order to understand how dramas were made and what made a drama a success or a flop. That was how she finally built up her theory of what works or not through research and analysis of other people's works. She also credits her first foray into TV work such as being a co-scriptwriter for NHK's dramas "Gunjou Ryouiki" and "Kono hanasakuya" as being important in gaining actual experience.
  • In 2022, Iida suddenly sent Shimori an email and said that he still hadn't given up on their project. She was happy to hear about the revival of the plan and looked forward to working with Iida. As such, they renewed discussions and decided on the story's direction to be that of solving the students' problems one by one which would eventually lead to the resolution of a big issue in the country at the end. In addition, unlike most school dramas where teachers and students were pitted against each other, they would unite to fight against the greater evil in this drama. While Iida liked the idea, Shimori started to self-doubt when she returned home after the meeting and wondered if this plan would actually work. Nonetheless, she had faith that Iida would make this drama a reality because he was extremely motivated to make a education-themed drama due to his original dream of becoming a school teacher. She also felt that she couldn't turn in a half-baked piece of work and needed to match up to his passion in the project.
  • With regard to her original draft for Ep 1, Iida commented that they needed to start things off with a stronger impact. Just then, she was reminded of the stabbing incident involving entrance exam candidates outside the University of Tokyo in 2022 which was seen as a sign of societal stress surfacing in Japan. After making some adjustments to the settings, she incorporated a similar development in the first episode.
  • While Shimori prides herself as someone who has read lots of good mystery stories to date, things felt different when she was the one writing it. As such, rather than focus on surprising people with revelations, she decided to focus on making her story as logical and believable as possible.
  • When designing the character Mikami Takashi, Iida told Shimori that it would be good to make Mikami a dark hero. At that time, TBS was showing "Anti Hero" so she agreed that this might be a great idea. However, she didn't think that she could come up with a character like that. And besides, Mikami was not meant to be a hero but rather a new type of teacher. 
  • Shimori praised Matsuzaka Toori for being a perfect hit for Mikami since the first script reading session and was very happy that he brought this character to life. Although Matsuzaka had starred in the movie "Shinbun Kisha" which was also written by Shimori, they didn't really have much direct interaction back then since the script was adjusted along the way with the producer and director. And since Matsuzaka's character in the movie did not actually achieve what he intended despite summoning his courage to do so, Shimori really wanted Mikami to be able to realise his goal this time. In addition, she has been a follower of Matsuzaka's works and watched most of them so she felt confident that no matter what she writes, he would be able to deliver. The fact that this is their second collaboration gave her the confidence that he could do it.
  • In theatre, the playwright's writing style can be quite distinct but Shimori had to tone down a bit in this respect for the drama. As such, she didn't want to focus too much on the lines but instead tried to use other ways to convey the intended messages. For example, she quoted the scene in Ep 2 when Mikami gave Kanzaki a light push in the back and walked with him into the school which was filled with reporters at the gate rather than use words to illustrate the significance of this action.
  • Since Shimori had been cooped up writing the script, she decided to attend the auditions for the student characters so that she could "get out of the house to meet people". However, she did not participate in the selection process. The experience was useful for her to see for herself who was chosen to play what character and how these actors are like because it would be impossible to watch all of their prior works. She was very impressed with the casting choices as some of the actors did not actually look or feel like the characters they were playing but after the necessary styling and make-up, they were transformed accordingly to look the part. She also expressed amazement at the pool of talent they managed to secure and looks forward to seeing how these young actors will grow in time to come. Among them, she cited Okudaira Daiken as being really impressive to manage a difficult role like Kanzaki.
  • Amid her wide range of stories written to date, Shimori revealed that the common theme in them was to convey the message that people still have to live on despite what happens. As such, the importance of life and using culture and arts to protect lives are what she considers as extremely crucial themes.
  • Shimori revealed that coming up with names in the story was very challenging because she had to avoid having similar-sounding names for the characters. Even the school's name Rintoku Gakuin was finally decided after a while because it would be best not to overlap with an actual school's name. While writing the script, she also had a table with the characters' names and the cast members' photos which helped her imagine who would say what line. As for other details in the character settings, those were decided together with the production team.
  • As for the theme of "The personal is political" which gets repeated in the drama, Shimori revealed that this came from the feminism and student activism movements and she heard about it while doing research for another LGBTQ-themed story in the past. Although she had always thought that personal and political problems were unrelated, the idea that making it easier to live on a personal basis could change the political and social systems as well became apparent to her. As such, she really wanted to incorporate this belief in the story and was glad that through this drama, many people had become more aware about this.
  • Through this drama, Shimori hopes that viewers will be able to see that there is hope in things changing in the future as long as one continues to live, no matter how unlikely it may seem right now.

Saturday, March 08, 2025

Preview of "Ore no hanashi wa nagai ~ Spring 2025" (Drama SP)


Title: Ore no hanashi wa nagai ~ Spring 2025 / 俺の話は長い ~ 2025・春
Official website: here
O.A. Date: 30 Mar (Part 1) and 6 Apr 2025 (Part 2) at 10.30pm
Broadcast by: NTV
Theme Song: "Tomo yo" by SUPER EIGHT
Cast: Ikuta Toma, Yasuda Ken, Koike Eiko, Kiyohara Kaya, Sugino Yosuke, Imai Takafumi, Nishimura Masahiko & Harada Mieko

Friday, March 07, 2025

Preview of "Yamada Zenjidou no Fukuoka kurashi" (Drama SP)


Title: Yamada Zenjidou no Fukuoka kurashi / 山田全自動の福岡暮らし
Official website: here
O.A. Start Date: 20 March 2025 at 12 noon
Broadcast by: TV Tokyo
Original manga by: Yamada Zenjidou
Cast: Nakamura Aoi & Ohno Ito

Thursday, March 06, 2025

Behind the recent trend of 25-and-above actresses jumping on the bandwagon of appearing in alcoholic drinks' CMs


Have you noticed that there has been a recent trend of young actresses in their mid 20s suddenly appearing in alcoholic drinks' CMs for the first time? If so, you may be wondering why so read on to find out more about the reasons leading to this phenomenon!

  • In Japan, the legal age to consume alcoholic drinks is 20 years old. Although the age for one to be considered as an adult under civil law has been reduced to 18 years old since April 2022, the age limit of 20 still remains for alcohol and tobacco products. 
  • There is actually a self-imposed rule in place since 2016 by 9 alcoholic drinks-related organisations that they would not get anyone below the age of 25 years old to appear in their CMs and that the CMs should not use any expressions that make people appear as if they are below 25 even if their actual ages are 25 and above. These moves were said to be meant to prevent underage drinking by featuring CM personalities who would actually look like "adults" rather than appearing as if they are too young to be drinking. In addition, the CMs these days tend to have self-imposed restrictions such as avoiding expressions that could lead to excessive drinking and sound effects such as the sound of alcohol going down the throat. 
  • It is also worth noting that the TV CMs of alcoholic drinks are not shown between 5am and 6pm so these appear typically during primetime i.e. 7pm to 11pm when there are the most viewers. It is also common to see such CMs appear during the commercial slots of the dramas/shows which the actresses themselves are acting in. Getting a CM offer for a alcoholic drink is also seen as a testament to one's popularity and name awareness.

  • As such, it has become more apparent that there are more young and popular actresses turning 25 and above who have started to appear in such alcoholic drinks' CMs for the first time. In February alone, Nagano Mei was unveiled to be the new CM heroine for Suntory's highball Torys while Sugisaki Hana was the new messenger for SUI, a gin product also from Suntory. Nagano herself confirmed during her CM announcement event that she finally got her first alcoholic drink CM deal now that she had turned 25.
  • Looking back at recent years, Hashimoto Kanna and Fukuhara Haruka first appeared in alcohol-related CMs last year while the same applied to Hirose Suzu in the year before last. Imada Mio also took on her first alcohol CM in 2022. Nogizaka46 also started to appear in a beer CM after all of their members were 25 years old and above.
  • A key reason behind getting these actresses to appear in the alcoholic drinks' CMs is said to be their cross-generational reach and name awareness. Nagano, Sugisaki, Hashimoto, Fukuhara, Hirose and Imada (the next asadora heroine) had all appeared in NHK's morning dramas thus the general public is largely aware of them. And since they do not appear so much on TV unlike talents, it would be a refreshing sight to see them in the CMs where they get to show off another side of them unlike when they act as other characters.
  • Another factor is the gradual decline in the alcohol consumption of the younger generations. By getting these young actresses to promote the products and tapping on their huge social media following, it is anticipated that they would be able to achieve the best promotional impact for the products they endorse.
  • It has also become more common and acceptable for young actresses at the age of 25 and above to openly talk about their love for alcohol or share episodes of their "drunken" episodes in variety shows and events. For example, Kawaguchi Haruna has a solo drinking video series on her YouTube channel which has close to 5 million views to date.
  • This year, there will be a number of actresses who will turn 25 so they may be the next to appear in a new alcoholic drink CM soon e.g. Hamabe Minami, Kamishiraishi Moka, Mikami Ai, Kawai Yumi, Fukumoto Riko.

Wednesday, March 05, 2025

Preview of "Wagaya wa tanoshi" (Drama SP)


Title: Wagaya wa tanoshi / わが家は楽し
Official website: here
Official Instagram: here
Official X: here
O.A. Date: 13 March 2025 at 9pm
Broadcast by: TBS
Cast: Kohinata Fumiyo, Toda Keiko, Takahashi Kaito, Sakurai Yuki, Yamada Anna, Enari Kazuki, YOU, Iwasaki Kaneko, Kimura Midoriko, Kadono Takuzo, Inoue Jun, Murata Takehiro, Niwa Sadahito, Fukutome Mitsuho, Kitayama Masayasu, Ikushima Yuki, Masutome Yuria & Mita Yoshiko

Tuesday, March 04, 2025

Winners of the 15th Location Japan Taisho (2023/2024) and interesting trends from past years' winners


Location filming information magazine "Location Japan" announced its list of winners for the "Location Japan Taisho" on 20 Feb 2025 which highlights movies, dramas and anime works that helped in boosting awareness and popularity of their filming locations or where the stories were set in. The 15th edition of this award had 40 nominated works shown between 1 Nov 2023 and 31 Oct 2024 which featured 61 places/regions before 7 were selected as the final winners.

Judging was done by industry experts such as those from the Japan Tourism Agency and included the following 4 parameters: 
  • Voting was by about 20,000 members of the public
  • Level of support provided to the production teams by the local authorities
  • Measures to boost the level of ease of travel to the locations
  • Extent of change to the locations as a result of the exposure and increase in number of tourists
Note that some works were set/shot in multiple locations as indicated in brackets:

Grand Prix: "Meitantei Conan 100 man doru no michishirube" (Hakodate City, Hokkaido Prefecture) - Anime Movie

Runner-up: "Umi ni nemuru daiyamondo" (Nagasaki Prefecture / Nagasaki City, Nagasaki Prefecture) - Drama

Category - Voters' Choice: "Hikaru kimi e" (Uji City, Kyoto Prefecture / Echizen City, Fukui Prefecture / Otsu City, Shiga Prefecture) - Drama

Category - Filming Support: "Ano hana ga saku oka de, Kimi to mata deaetara" (Namegata City, Ibaraki Prefecture) - Movie

Category - Ease of Travel: "Sukidemo kirai na ama no jaku" (Yonezawa City, Yamagata Prefecture) - Anime Movie

Category - Regional Change: "Karakai jouzu no Takagi-san" (Kagawa Prefecture / Tonosho-cho, Kagawa Prefecture / Shodoshima-cho, Kagawa Prefecture) - Drama & Movie


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Looking at past years' winners, here are some interesting trends which I found with regard to the non-anime movies & dramas that were selected over the past 15 years:
  • Movies seem to have a slight edge over dramas when it comes to the proportion of winners over the past 15 years - 58% vs. 42%. It could be that most movies tend to be shown to a nationwide audience as compared to TV series which may not be shown at the same time due to regional schedules and differences. For example, dramas shown in the Tokyo metropolitan area or the Kanto region may be broadcast at a slightly later date in other prefectures or not be shown there at all. As such, the limit in terms of reach may result in a difference in terms of the influence which the work has in terms of boosting awareness and popularity of its filming location(s).
  • NHK's Taiga dramas and asadoras seem to be dominating this award as seen from 60% of the drama winners being from the national broadcaster. Coming in at a distant second is TBS with about 19%, FujiTV at almost 7%, NTV and TV Tokyo tied at close to 5% and TV Asahi at 2%. One possible reason is that the broadcast period for the Taigas (1 year) and asadoras (6 months) are at least double of the seasonal dramas (mostly ranging from 6 to 11 weeks). With a longer exposure period, it will no doubt enhance the impression that viewers have of the filming locations. 
  • Netflix broke the monopoly by the TV stations for the first time last year with "First Love Hatsukoi" which was shot in Hokkaido. Considering the fact that the title can only be watched by Netflix's subscribers as compared to dramas on free-to-air TV stations, this also signals the possibility of OTT content having a wider reach and stronger influence on viewers compared to the past.
  • While the format of this award has evolved over the years e.g. from having grand prix awards for both dramas and movies to a single grand prix award, the winners for the top title are spread evenly across both categories - 7 each. It is worth noting that although the Taigas and asadoras hogged the top spot in the 1st, 2nd, 4th, 6th, 9th and 14th editions ("Ryomaden" won the Location Japan Grand Prix and Drama Category - Grand Prix), movies took the title for 4 years straight until "Dousuru Ieyasu" broke the spell last year. If you consider this year's winner which is an anime movie, it does seem like movies have a growing influence on the public in terms of "promoting its shooting locations" as compared to TV dramas.
  • Looking at the list of winners in terms of prefectures, the top spot is actually not Tokyo but neighbouring Kanagawa! Perhaps due to its proximity to the capital where many TV stations and production companies are based at and the fact that it has a variety of landscapes from mountains, the sea, beaches, islands and suburbs to offer as well as the prefecture's strong support for entertainment productions, this could be why works shot in Kanagawa seem to be recognised more for their influence and popularity on the public. As for the other top contenders, Hokkaido, Nagasaki and Shizuoka come in at a close second with 7 awards each while Nagano and Tokyo are tied at 6.
  • On the other hand, some prefectures have not appeared on this award before. Surprisingly or not, they tend to be rather far from Tokyo or somewhat inaccessible due to reasons such as mountains or forests: Gunma, Nara, Wakayama, Tottori, Tokushima, Ehime, Kumamoto, Miyazaki and Okinawa. I'm a bit surprised by Gunma's omission though because the recent interview with the directing team of "Umi ni nemuru daiyamondo" did mention that their Hashima set was built in Gunma but I guess that was sort of concealed till the end of the drama and that the story was still largely based in Nagasaki. As for Okinawa, I'm quite certain that some dramas/movies would have been shot there especially those with a summer theme but it could be that the link between those works and the filming locations did not translate into strong benefits for the locality in terms of awareness or popularity through tourism income.
While I do not actively seek out filming locations of my favourite dramas and movies when I visit Japan, it can be fun to check out such places if I happen to be in the area. In addition, the impact of boosting a place's awareness and popularity through these entertainment works especially in the economic sense is definitely something which shouldn't be taken lightly. Sites like Location Japan offer a lot of information on these places so you can refer to such sites when planning your trips.

However, the downside of such heightened interest in a place is potential over-tourism which can have an undesirable impact on the local residents and spoil your experience at the same time. I'm sure we have read about the influx of tourists to places like the famous train intersection featured in "Slam Dunk", the "Kimi no na" fever to places in Gifu Prefecture or the endless queue at the cafe featured in "silent" when the drama was such a hit as well as complaints of unruly visitors and how they affected the residents around such locations. As such, while it's a good thing for local authorities and businesses to benefit from this trend of shooting location tourism, there is also a need to think about how to manage the crowds and ensure that everyone will have a pleasant experience visiting these places featured in your favourite works. On our part, we will also need to consider and ensure that we do not cause unnecessary disturbances to others while enjoying our time at these filming locations.

Monday, March 03, 2025

Quick Review #104: Demon City Onigoroshi (movie)


Title: Demon City Onigoroshi / Demon City 鬼ゴロシ

Rating: 2 / 10

Recommended for
Those who like action flicks featuring close contact combat and don't mind the lack of a robust storyline

* Disclaimer: I have not read the original manga

Liked:
- For those who like action films which focus more on close contact combat rather than gun action, you would probably enjoy this movie. There were quite a lot of such action sequences which allowed the lead Ikuta Toma to shine in this aspect.

- Just when the story hinted at a possible sequel with some remnants of evil, I was glad to see that there was a proper and complete ending. It would have been quite annoying to see signs of this story possibly continuing given the lackluster plot. And considering how the bulk of the action scenes were close contact combat, the way it ended was a good contrast with the general direction thus far.

Disliked: 
- While I cannot comment on whether the real life adaptation did justice to the original manga, the lack of a proper storyline in this movie version was hugely disappointing. The focus was entirely on taking revenge but there were some loopholes and things which were not properly explained. First of all, from a state of being paralyzed to killing tons of people with the logic-defying movements - there was no justification for the lead character being "resurrected" in this manner other than the possible reason of the mysterious substance injected into his drip while at the hospital. Even so, that substance should have been meant to kill, not make him "mutate" into someone who could use his body at will. 
In addition, given that there were so many people he killed along the way, it was odd that he resorted to a method which was not "effort-effective" because it required so much strength and movements yet exposed himself to the risk of sustaining injuries as well. And not to mention, he had to kill out in the open, not in a sly and undetectable manner. Not so smart if you are considering the setting that he was supposed to be a top-notch assassin. Keeping gun action and explosives to a minimum may be good from an action movie point of view but it just didn't make much sense.
Last but not least, while the concept of using Japanese demon masks was probably meant to conceal the identity of the baddies, I thought that it might be better to attach some meaning to why these particular masks were used and to explain how these people fitted into the grand scheme of things. And the lack of a strong ideology banding these people together other than for financial gains wasn't convincing. As such, all the characters came across as largely flat and their motivations difficult to understand. Even for the lead character, due to the lack of lines and minimal facial expressions, he also became someone who the audience would have difficulty empathizing with despite the great wrong he had suffered. 

- Much as I thought that this movie allowed Ikuta to show off his skills as an action actor, it certainly doesn't showcase him as one who's capable of more delicate and emotional acting because his character was largely emotionless except when faced with his wife and daughter. As such, I think this will be quite disappointing even for big fans of Ikuta.

Sunday, March 02, 2025

Highlights from the interview of the directing team for "Umi ni nemuru daiyamondo" - Best Directing in the 122nd Drama Academy Awards


Here are some highlights from The Television's interview with the directing team i.e. Tsukahara Ayuko, Fukuda Ryosuke, Hayashi Satoshi & Fukawa Ryosuke for "Umi ni nemuru daiyamondo" which won the Best Directing category in the 122nd Drama Academy Awards:

  • The filming of the drama took as long as six months. Prior to that, another month was spent on sourcing for a suitably-sized location and building the open set of Hashima Ginza somewhere in Gunma Prefecture. As such, it was challenging and time-consuming to keep shuttling between Tokyo and Gunma during the filming period.
  • Due to the dangers of filming in the Hashima of today due to the poor condition of its buildings and structures, they could only film in specific areas that were open to the public tours. As such, they approached the ex-residents for input on how to design the interior parts of the buildings and rebuilt these in the Midoriyama Studio.
  • As there are many ex-Hashima residents who are still living, they had to make sure that the scenes set in Hashima were as accurate as possible. It was a relief for them to get feedback from these ex-residents who were impressed with how the staff managed to replicate the scenes from back then.
  • The scenes on Hashima during the Showa era were created through CG. 
  • The team praised the lead actor Kamiki Ryuunosuke for being a very cheerful person who could slip into his two characters Teppei and Reo with ease as soon as filming began. He also contributed ideas and exchanged views with the staff for various scenes such as when Teppei confessed his feelings to Asako. Even when the team had some challenging requirements, Kamiki was also able to meet these without difficulty. From the beginning, he could already understand what the script wanted and obviously put in a lot of effort to build his characters before the filming began.
  • With regard to viewers' feedback that Teppei's life after leaving Hashima was so sad, the team explained that this had to do with the time setting of the story i.e. soon after the end of World War II. As depicted in Ep 4, the sins of the adults i.e. the generation of Teppei's parents were passed on to their children i.e. Teppei's generation in various ways. In order to break this cycle of tragedy, Teppei's position in the story was meant to be the person who took on the sins when he left Hashima so that the children of future generations could lead peaceful and happy lives. As to whether Teppei was happy with his life or not, that would be something which only he could have an answer to despite how others may feel sad for his fate. Especially as shown in the final moments of the last episode, Teppei had lived in a house facing the sea and Hashima so this could be interpreted as having some moments of happiness despite his harsh fate.
  • While this drama was ultimately entertainment, the team also saw that it provided a starting point for conversations and thinking about history, be it about the war or the coal mining industry or Hashima based on their recent thanksgiving trip to Nagasaki after filming ended. There were also other important messages in the story such as the value of family relationships, the passion of the older generations passing on to the current generations and taking conscious steps to change our lives for the better.
  • With regard to the scene when Shinpei (Saito Takumi) shot a gangster to save Rina (Ikeda Elaiza) in Ep 5, they didn't want to show him as a hero who saved a damsel in distress. This was because the sin of his action ended up being borne by Teppei who had to leave Hashima as a fugitive and also led to other people's lives being affected as a result. In addition, considering that Shinpei had participated in the war as a soldier and had experience shooting people to defend himself, his action could also be considered as a natural reaction rather than a calculated move to save Rina. There was also a message to be conveyed that using violence to counter violence would just result in an endless loop and downward spiral as seen by what the Araki family had to shoulder after Shinpei's death.

Saturday, March 01, 2025

Quick Review #103: Nodame Cantabile - Autumn 2006


Title: Nodame Cantabile / のだめカンタービレ

Rating: 9 / 10

Recommended for
Those who are fans of the original manga series and the cast members especially Ueno Juri and Tamaki Hiroshi and/or like school dramas with a classical music/musicians theme

* Disclaimer: I had read the original manga.

Liked:
- I can't remember how many times I've watched this drama since its first OA almost 20 years ago but with its release on Netflix recently, I found it hard to resist taking another look at this again. Especially considering the fact that I had read the original manga first before watching this drama, I was still entertained enough to watch this without having the need to press fast-forward or watch this at 1.5X playback speed.

- If you had read the post I wrote in August 2006 prior to the OA of this drama, I was pretty doubtful about whether this real-life drama adaptation would be good. Since I am a big fan of the manga, I didn't like the prospect of the drama ruining it for me. What's more, considering that I wasn't too familiar with Ueno Juri and Tamaki Hiroshi back then, I didn't have much confidence in them playing Nodame and Chiaki. However, all that turned out to be worry for nothing because they turned out to be so good at playing their respective roles so much that I became convinced they were the best choices after all.
Back then, I had also mentioned that Mizukawa Asami, Nagayama Eita and Uehara Misa would be good for their roles because they matched the images in the manga (at least from my perspective). Once I got to watch the drama, there were quite a number of others who also managed to bring their characters to life in a good way e.g. Koide Keisuke, Fukushi Seiji, Mukai Osamu and Takenaka Naoto. It will be a good walk down memory lane for those who want to see these actors back in their younger days.

- One key element of this drama's success was the classical music scenes. Be it the practice sessions or the actual performances, they were a joy to sit through even for those who are unfamiliar with this genre. My personal favourites are S Orchestra's performance of "Rhapsody In Blue" and the Rising Star Orchestra's performances at Suntory Hall in the final episode.

Disliked: 
- The only downside to being so familiar with the storyline and characters was the lack of surprise. As such, watching this felt a bit different from approaching a brand new story and could feel a tad boring for those like me because you would know what was going to come.

Friday, February 28, 2025

Updates related to the Nakai Masahiro & FujiTV incident - 28 Feb 2025


Since there would probably not be many significant developments in this incident prior to the release of findings by FujiTV's third party investigation committee in late March 2025, the frequency of these updates will be less frequent until then. Besides developments and information directly related to FujiTV, it is expected that the other TV stations will also share their own investigation findings in due course.

- The background story of FujiTV's shift to Odaiba and its love for the number 8: 
  • FujiTV was the ratings king for 12 years from 1982 to 1993. Its HQ used to be in Kawada-cho, Shinjuku Ward.
  • Construction on the new HQ in Odaiba began in May 1993 and the move was completed in March 1995.
  • However, this also marked the beginning of its decline and by the time president Kameyama Chihiro was at the helm in 2015, its annual average rating was No.4 out of the 5 key Tokyo-based private TV stations. In November the same year, its primetime weekly ratings position was even overtaken by TV Tokyo which was usually in the last spot.
  • The site of FujiTV's new HQ was part of the Waterfront Sub-capital Development Plan which began in the midst of the bubble era in 1989 and the goal was to create a huge business district in Odaiba. However, with the election of Aoshima Yukio, the Tokyo governor in 1995, the World Cities Expo scheduled to take place from March to October 1996 was cancelled. As such, FujiTV's plan to showcase its unique globe-shaped observatory in the air through this expo failed to materialise.
  • To begin with, the employees themselves were not so convinced by the need to move to Odaiba. Part of the reason was that there were many production companies which worked with FujiTV located around Kawada-cho and that its proximity to Shinjuku Nichome made it a convenient area to hold business meetings. However, Odaiba was lacking in entertainment options back then and you had to cross the Rainbow Bridge as the sole means to access the area. As such, employees were concerned that nobody would want to come to Odaiba if they had no specific purpose to do so.
  • While some affiliated companies and production staff did move together to Odaiba, the environment was also said to be not so conducive for work with the area positioned as a tourist attraction and the space design not optimal due to the mid-air corridors linking the buildings.
  • Some also cited the poor location in terms of fengshui and fortune telling as a reason why employees were not enthusiastic about the move. It was believed that the direction in which the HQ moved from Kawada-cho to Odaiba was seen as the most inauspicious.
  • In order to remove such poor perceptions of the area, FujiTV deliberately incorporated the Rainbow Bridge in many of its productions so as to give it an image overhaul e.g. the 1997 drama "Love Generation" starring Kimura Takuya & Matsu Takako and the 2003 movie "Odoru Daisousasen THE MOVIE 2 Rainbow Bridge wo fusa seyo!". Many other FujiTV shows also kept showing footage of the new HQ building and the Rainbow Bridge.
  • FujiTV and its executives seem to have a strong attachment for the number 8. During the shift to digital terrestrial broadcasting in 2011, other TV stations changed their channels but FujiTV stuck to the number 8. This was seen as putting it at a huge disadvantage due to its positioning on the TV remote control and the TV program listings in newspapers. Besides this, the date when Hieda Hisashi became the president was 8 August 1988 so this became the annual FujiTV Day. Its listing on the First Section of the Tokyo Stock Exchange was 8 August 1997 and the countdown to this was started at a time which lined up a string of 6 eights i.e. Heisei 8th year (1996) 8 August at 8.08am 8 seconds. The big meeting room where the regular president's press conference is held has a huge painting of Mount Fuji which has 8 peaks at the top nicknamed as "8 Leaves" and symbolises the 8-leaf lotus flower of Buddhism and the number 8 in Kanji.

- Despite the headwinds against FujiTV's shows, "119 Emergency Call" seems to be doing relatively well in various aspects:
  • As of 14 February 2025, the number of TVer subscribers who added this drama to their favourites exceeded more than 930,000 thus making it within shot of making it to the top 3 for this season. In contrast, the other FujiTV primetime dramas are outside of the top 10. While this may be due to individual preferences pertaining to these dramas, the potential impact of the anti-FujiTV sentiment as a result of the ongoing scandal cannot be discounted as well.
  • The drama managed to keep its household rating above 7% up to Ep 4. 
  • Feedback about the drama on social media is largely positive with praise centered on the increasingly interesting storyline and its realistic portrayal.
  • Its inclusion of popular voice actors in every episode so far seems to have gathered their fans as well to tune in to the drama.
  • While there had been a tendency to rely on famous actors and scriptwriters for the Mondays 9pm timeslot, the changing of generations within FujiTV has brought about a higher willingness to give relatively unknowns or up-and-coming people a chance. In Seino Nana's case, this is her first leading role in a Mondays 9pm drama. 
  • Especially since FujiTV's reputation has taken a hit because of the Nakai incident and there has been an increasing reluctance to be associated with their shows, this might open up more opportunities for those who haven't made it big yet.

- Doing the right thing at the right time?: With the upcoming 30th anniversary of the Tokyo Sarin Attack caused by Aum Shinrikyo on 20 March this year, FujiTV intends to air a special review programme on this case in the same month as reported by Sponichi on 7 February 2025. However, response to this piece of news has been somewhat critical due to FujiTV's handling of its own scandal and whether their priorities are misplaced i.e. they should review their own case first before doing the same for other things. As such, this has led to speculation if this is a move by FujiTV to deflect attention and criticism away from itself.
On the other hand, it was pointed out that this topic has been on FujiTV's radar for a long time since they had done similar features after 2000 when media attention on this matter was already waning. The issue though is, the timing of this 30th anniversary special may be considered inappropriate and in turn diminish the impact and meaning of their original intention to remind viewers about this important case in history.


- The first meeting of Fuji Media Holdings' Management Reform Subcommittee was held on 3 February 2025 but the composition of this subcommittee was cast into doubt as whether the company really has the intention to conduct reforms to its heavily-criticised corporate structure and governance systems:
  • The committee is made up of 7 external directors of FMH. Considering that these directors were almost non-existent since Nakai's incident first came to light at the end of last year, it is doubtful as to whether they will be able to do anything to bring about the necessary changes.
  • Among them, the inclusion of Yamada Makiko who used to be a former Prime Minister's Secretary/Cabinet Public Relations Officer is seen to be especially problematic. As the TV stations' broadcasting licenses are given out by the Ministry of Internal Affairs and Communications, the fact that Yamada came from this ministry and the amakudari practice (high-ranking government officials taking a lucrative job in a private or semi-private corporation) has already been criticised as one of the contributing factors to the crisis, makes her eligibility and willingness to lead reforms questionable. Adding on to the suspicion that she did not perform her duty to check on FujiTV's management was the statement made by former president Minato Koichi when asked by reporters during the second press conference on 27 Jan 2025. He confirmed then that the decision not to allow live broadcasting and video recording of the first press conference had nothing to do with her since she doesn't come to FujiTV regularly and wasn't at the TV station when they made this decision.
  • The remaining 6 members of this committee are also seen as reflective of advisor Hieda's preferences and easily influenced by him. 2 of them are from key corporations within Fuji Sankei Group - Sankei Shimbun and Bunka Housou while 1 is from Daiwa Securities Goup which is FujiTV's lead underwriter securities firm. Kikkoman's honorary chairman is widely known to be Hieda's close friend and the company even sponsored a programme on FujiTV for more than 50 years to date. The children of two of the committee members are also employees of FujiTV (one had already left). 
  • With regard to the selection criteria of the committee members and transparency of its work, FujiTV's PR department did not want to provide details. However, it stated that the selection was done based on requirements for outside directors stipulated in the Companies Act and the independence standards stipulated by financial instruments exchanges.

- Economic magazine "Shuukan Diamond" pulled off its latest issue due to be published on 17 Feb 2025 due to a mistake in its article based on a survey of FujiTV's sponsors. The editorial department found a mismatch in the company names and responses just before the publishing date. As of 14 Feb, although the copies were already delivered to bookstores, they would not be sold to the customers. Subscribers would have already received their copies with the wrong information by post. The publisher will follow up with a correction notice and upload the updated information on its homepage on 17 February.
The survey was conducted on 436 companies which placed ads on FujiTV and about 300 responses were received by Diamond. This is the first time in the magazine's history to suspend an issue. According to the Japan Magazines Publishers Association, the circulation figure of "Shuukan Diamond" was 72,000 per issue as of the last quarter of 2024.


- WOWOW announced on 14 Feb that it will no longer show nor provide the 2008 movie "Watashi wa kai ni naritai" starring Nakai on its streaming platform. The film was originally scheduled to be shown at 2.20pm on 21 Feb. In its statement, WOWOW apologised for the last-minute decision and explained that this was a move made in line with its corporate guidelines and in view of the current situation and customer feedback.


- Asset management company Rheos Capital Works Inc. has become a major shareholder of FujiTV's parent company Fuji Media Holdings with 5.12%. The holding of the latter's shares is said to be for investment purposes. While Rheos intends to use its rights as a shareholder, it has no plans to get involved in FMH's management. This is not the first time that Rheos has acquired shares of parent companies which own TV stations as it also had 5.31% of shares in TV Tokyo Holdings as of Oct 2024. 
  • According to a Bloomberg interview with Rheos' president Fujino Hideto, he pointed out that FMH's problems are due to its management being dominated by elderly men and their corporate culture which ignores human rights. He felt that if these factors are eliminated from the company, FujiTV will then have a chance at reinventing itself and change its future.
  • Rheos was reported to have started buying FMH's shares since 20 Jan which was three days after FujiTV's first press conference. On that day, the share price was JPY 1,785.5. At the time when Nakai's incident first came to light on 19 Dec 2024, the share price was JPY 1,858. By the time it was known that Rheos had become a major shareholder on 7 Feb, the share price had already surged to JPY 2,516.
  • What's interesting this time is how former "enemies" are seemingly banding together now. Rheos is a consolidated subsidiary of SBI Holdings whose chairman and president is Kitao Yoshitaka. Back in 2005, Kita was a white knight of Nippon Housou which was facing a takeover bid by Livedoor led by Horie Takafumi. Since FujiTV was a subsidiary of Nippon Housou at that time, this move effectively prevented FujiTV from being taken over. This led to Horie holding a grudge against Hieda and Kitao but he and Kitao reconciled after that. SBI Investments even invested JPY 1 billion in Horie's rocket development venture "Interstellar Technologies" in 2022. Since Horie had already declared openly that he will be buying FMH shares so as to attend the upcoming shareholders' meeting and pressure the management to carry out reforms, it is speculated that he may be teaming up with SBI Holdings and Rheos this time even though Fujino denied this collaboration.
  • According to the Companies Act, as long as more than half of the shareholders agree to remove the elderly management team at the general shareholders meeting, the motion can then be passed. As such, this is comparatively easier to execute vs. implementing fundamental changes to FujiTV's corporate culture. For example, at FujiTV's 533rd Program Council in Jan 2024, the chairman Tadaki Keiichi said that being overly mindful of human rights would restrict the creative space and liberty needed to make TV programmes which will then become so boring and rejected by the viewers eventually.
  • Unlike the Broadcasting Ethics & Program Improvement Organisation (BPO) which has no legal power on TV stations, the program council in each TV station has the authority to drive programming decisions. As such, the stance of the council will shape the TV station's production values and direction more so than BPO.

- President Online's article provides a review of FujiTV over the years and examines whether there is a likelihood of it becoming a "normal" TV station again:
  • It is important to note that at this stage, FujiTV has not committed a criminal offense under the Broadcasting Act or the Companies Act yet. As such, its relation to Nakai's incident has more to do with its moral and social responsibilities as a TV broadcaster.
  • It is probably more accurate to say that the problems with the TV station lies in its management's poor awareness of human rights especially for women and not sharing information with stakeholders when a portion of senior management members came to know about the Nakai incident and continuing to hire Nakai as a host after that. 
  • As such, to use the term "poor governance" to describe these problems as a whole does not seem entirely correct since the company itself and its parent are actually operating soundly from a business perspective.
  • To regain the public's trust, the most important point is probably how the TV station will revamp itself to something which matches the public's expectations. It is clear that a radical change in management and executives is the way to go of which attention is centered on its advisor Hieda Hisashi who has been controlling FujiTV for almost 40 years.
  • If the era of the founding family's control is included, FujiTV's history has been dominated by that and Hieda's era for about 60 years since its opening in 1959 as the 4th key station based in Tokyo.
  • Back when FujiTV was established, since the financial sector was the key driver, it was regarded as the mass media outlet for the financial world. Initially, it was chaotic until the Shikanai family took total control for close to 30 years. Subsequently, the Hieda coup took place in 1992 which led to Hieda becoming the president at the young age of 50.
  • Looking at the 8 FujiTV's presidents who succeeded Hieda, it is clear that the stints of the presidents got shorter to about 2 years per person after 2010. This coincided with the timing of FujiTV's decline in various aspects and was reflective of the difficulties faced by these short-term presidents to do anything significant during their stints. It was also obvious that those who were former producers were actually unfamiliar with the corporate management side of things and their ages at the time of their appointment were mostly on the higher side i.e. 60 years old and above. While reasons for their departures varied, it didn't appear as if they quit voluntarily so it was obvious that the appointment decisions were beyond their control.
  • In terms of the chairman, Hieda hogged the seat for a long 16 years before his successor Kanou Shuuji took over for just 2 years between 2017 and 2019. The latter was then "transferred" to affiliated Kansai TV to be its chairman before being restored to the same position in FujiTV 4 years later.
  • Another problem area cited in the Hieda empire is its overly close ties with the political world especially with the late Prime Minister Abe Shinzo. In addition, the practice of amakudari as seen from the appointment of multiple former key government officials (some of them even plagued by scandals) to take on senior executive positions is viewed unfavourably.
  • Currently, Fuji Sankei Group has become a massive organisation with 78 companies, 4 corporate bodies, 3 art museums and about 13,000 employees.
  • Even if Hieda is out of the picture, his influence in the organisation can still be seen from the appointment of key officials who are seen to be those in his favour. As such, conducting a total revamp of management is likely to create huge chaos and not so easy to do as people may imagine it to be.

- While FujiTV was said to be the pioneer in starting the joshiana (female announcers) boom in Japan back in the 1980s, it was actually during Hieda's era as the company president when the TV station started giving nicknames ending with "pan" to its female announcers and promoting them as if they were also TV talents. Looking at the 10 generations of "pan" announcers in their history, 5 of them had already left FujiTV i.e. first generation Chino Shio (Chino-pan), second generation Takashima Aya (Aya-pan), 4th generation Kato Ayako (Kato-pan), 7th generation Mita Yurika (Mita-pan) and 10th generation Kuji Akiko (Kuji-pan). In addition, looking at the number of female announcers who left FujiTV since 2000, there were as many as 20 of them in total.
On the other hand, while TBS had 16 announcers who left, none of them were those who joined from 2018 onwards. Over at TV Tokyo, it doesn't hire new announcers annually due to its size and lower number of news reporting programmes and has a smaller team to begin with so it had only 9 announcers who left during the same period.
As for NTV and TV Asahi, due to the strong power that their parent companies hold i.e. Yomiuri Shimbun and Asahi Shimbun respectively, it is said that their compliance standards in the announcer department are comparatively higher than that of the other key stations. And since they have a higher number of female management in the announcer department, these TV stations are said to be better at protecting their staff against unwanted advances or unnecessary entertainment functions. In NTV, 18 announcers left since 2000 while TV Asahi had only 11 who left.


- NTV released the results of its internal survey during its regular president's press conference on 17 Feb 2025:
  • The survey had 161 respondents mainly from the programme production side. These included 12 executives and producers from the content production, news reporting and sports reporting teams. A total of 25 female announcers were also interviewed in person.
  • The theme of the survey was to investigate if there were any meal gatherings where inappropriate sexual contact or advances were made.
  • Due to the urgency of trying to establish this, the survey was limited to a small group of people.
  • While there were no reported instances of such meal gatherings, 12 respondents mentioned that the purpose of some gatherings were indeed ambiguous.
  • As some respondents did not give clear answers or could not answer for sure about some instances and some had felt uncomfortable about speaking in person, there will be an anonymous survey about human rights to be conducted in March so as to identify possible sexual and power harassment issues.
During the press conference, the president also revealed that Nakai had informed NTV on 17 December 2024 about being interviewed by a magazine which was 2 days before the publication and followed up with them again on 6 January 2025. However, he didn't divulge any details about what the issue was about citing the reason as due to a confidentiality agreement. He also apologised for any potential inconvenience that would arise. Eventually, Nakai left the show "The! Sekai Gyoten News" after news reports about his incident came to light.


- While the TV industry is enveloped in a moody state due to the recent spate of bad news, NTV's upcoming Sports Fest at Ryogoku Kokugikan National Sumo Arena on 15 March 2025 looks likely to be a massive event for the entire group's companies. As many as more than 10,000 employees and their family members from about 50 companies under NTV Holdings including NTV, BS Japan, Ax-on Inc., Hulu and Studio Ghibli are expected to attend this. Although some have wondered if the timing of this event meant as a show of unity and positivity in NTV Holdings is to contrast against the state of things over at FujiTV, the event was actually decided more than 6 months ago and seen as important to garner support from the affiliated companies for NTV's annual charity event "24 Jikan Terebi" in August.


- Mainichi Shimbun's public opinion poll conducted on 15 and 16 Feb 2025 included 2 questions pertaining to FujiTV in relation to its role in the Nakai incident. While such opinion polls tend to focus on political issues, there are sometimes questions about societal issues included:

1) Was it appropriate for companies to pull off their CMs from FujiTV: 
Yes: 58% 
No: 16% 
Neutral: 25%

2) What do you think FujiTV should do in order to regain public trust?
Investigate and clarify the suspicion over FujiTV's employees' involvement in the matter: 45%
Investigate the real situation about how female announcers and employees were reportedly made use of for entertainment functions: 42%
Revamp the management team: 52%
Come up with preventive measures: 48%
Others: 8%
Not Sure: 10%


- FujiTV's poor public perception seems to be something which has been going on for some time:
  • Back in Jun 2015 when three of its female announcers appeared on FujiTV's talk show "Bokura no jidai", they commented on how the TV station seemed to be pursuing a negative image on purpose and that the dislike towards it seemed to be more about its image rather than the content it made.
  • Leaving out TV Tokyo which is comparatively smaller in size, FujiTV has been the TV station with the worst household ratings among the 4 Tokyo-based key TV stations since 2016 for 8 consecutive years. In terms of individual ratings, it has been in the last spot since 2020 after measurement criteria for this parameter was standardised.
  • In All About's favourite TV station survey conducted in April 2024 (500 people from their teens to 70s), FujiTV was no.4 behind NTV, TBS and TV Tokyo. Interestingly, while TV Asahi was last in this favourites ranking, it had good household ratings because its content is mainly targeted at older audiences who are said to watch more TV than the younger generations. This is probably why TV Asahi continues to include the household ratings figures in its annual reports despite other TV stations stopping this practice since the individual ratings measurement standard was finalised in 2020. Their reluctance to phase out household ratings measurement is also believed to be one of the key obstructions to the streamlining of ratings reporting from households to individuals. Just like FujiTV, TV Asahi's chairman who is about the same age as Hieda of FujiTV, has been hogging the position for 16 years.
  • Another survey conducted by J-CAST News in May/June 2018 asked 1,014 respondents which TV station they disliked. FujiTV won the top spot with 32.7% of the votes.
  • FujiTV's first golden era was between 1982 and 1993 where they won the triple crowns i.e. No.1 in average ratings for the three time belts - all-day (6am to 12 midnight), golden (7pm to 10pm) and primetime (7pm to 11pm) for 12 consecutive years. Even for the period between 2004 and 2010, there was a time when they got this title for 3 consecutive years. However, the ratings decline came and persists till today.
  • Despite their poor performance, FujiTV still felt that it was the leader among the private networks and even came up with a programme which positioned itself as one which considered the future of the industry which was not a welcomed move by its competitors. As it got more anxious about its poor performance, FujiTV made a series of programmes which were either heavily criticised or exposed to have fake or made-up content. Even so, there were hardly any proper investigations nor explanations about the problems which led to a huge distrust and dislike for the TV station that built up over the years.

- FujiTV announced on 21 Feb 2025 that their annual summer special programme "27 Jikan Terebi 2025" has been cancelled. 


- TBS released the findings of its investigation about the relationship between its employees and those in the entertainment industry on 21 Feb 2025 which was initiated following the Nakai incident:
  • There was indeed a TBS announcer who had attended the meal gathering organised by a FujiTV executive in May 2023 which Nakai also appeared at. However, there were no sexual advances made to this announcer and she did not notice any of the same made to other women at that gathering. In addition, she made it clear from the start that she could not stay late so had left before the gathering ended. As for having a meal with Nakai, that was the only time it happened.
  • As for the barbecue at Nakai's home on 31 May 2023, it was also confirmed that 2 male employees had attended it as they were invited personally by Nakai himself. There were other individuals from the entertainment industry and FujiTV's programming department at the event. These two employees left when the barbecue ended and did not see nor hear any inappropriate behaviour during the event.

- TV Asahi revealed some information about how the Nakai / FujiTV incident had an impact on them:
  • There was a sense of crisis for the entire TV industry in terms of compliance issues so TV Asahi also did their own investigation on whether there was a similar situation internally. Although they did not identify any instances, they are currently in the midst of doing a second round survey on about 70 employees. 
  • As for the sponsor pullout at FujiTV, some companies did come to TV Asahi since they had freed up a portion of their budgets originally meant for FujiTV. However, timing-wise, most of the CM slots were already taken up for February and March 2025 so it was difficult to absorb about 20% of the original CM market share at one go.
  • In particular, March is a period when sponsors typically need to use up their remaining budgets so it was hard to tell if the spike in advertising income was due to this reason or what happened at FujiTV.

- During TBS' regular president's briefing on 26 Feb 2025, it was revealed that Nakai had contacted TBS just before the article on his incident came out on 19 Dec 2024 but he did not give any details on the matter. As such, the TV station had no choice but to cancel the recording sessions of his shows "Nakai Masahiro no kinyoubi no sumairutachi e" and "THE MC3" scheduled in the remainder of Dec 2024 while waiting for updates on the situation and conducting its internal investigation. Subsequently, TBS managed to speak to Nakai directly. One of the shows was eventually cancelled while he left the other as decided on 20 Jan. 
The president Ryuuhou Masamine expressed regret at this incident since Nakai had worked with them extensively over the years. As for when they will get Nakai to attend a hearing for their internal investigation, this is likely to happen within this year. It had approached both Nakai and the victim in question through their representatives since the end of last year and is trying to confirm their stances towards assisting in TBS' investigation given their existing confidentiality agreement.


- The Fuji Sankei Ladies golf tournament has been cancelled as announced on 27 Feb 2025 due to the withdrawal of the organiser Fuji Sankei Group. The event was scheduled to be held from 25 to 27 Apr and has been held 42 times to date since 1982. However, following the sponsor fallout and criticism towards FujiTV for its alleged involvement in the Nakai incident, the fate of the tournament hung in the balance before the decision to cancel was made 2 months before the event date. As for the Fuji Sankei Classic tournament for male golfers in Sep, it is still unclear if it will take place as planned.

Thursday, February 27, 2025

The 122nd Drama Academy Awards (Autumn 2024) - Best Drama


Overall Ranking Top 3
1) Umi ni nemuru daiyamondo
2) Lion no kakurega
3) Sora wataru kyoushitsu

Voters Ranking Top 5
1) Umi ni nemuru daiyamondo
2) Sora wataru kyoushitsu
3) Lion no kakurega
4) Hikaru kimi e
5) Houkago Karute

TV Reporters Ranking Top 5
1) Umi ni nemuru daiyamondo
2) Lion no kakurega
3) Sora wataru kyoushitsu
4) Zenryouiki ijou kaiketsushitsu
5) Hikaru kimi e

Judges Ranking Top 5
1) Lion no kakurega
2) 3000 man
Sora wataru kyoushitsu
Umi ni nemuru daiyamondo
5) Zenryouiki ijou kaiketsushitsu

Source: The Television

Wednesday, February 26, 2025

The 122nd Drama Academy Awards (Autumn 2024) - Best Leading Actor


Overall Ranking Top 3
1) Kamiki Ryuunosuke - Umi ni nemuru daiyamondo
2) Yagira Yuuya - Lion no kakurega
3) Fujiwara Tatsuya - Zenryouiki ijou kaiketsushitsu

Voters Ranking Top 5
1) Kamiki Ryuunosuke - Umi ni nemuru daiyamondo
2) Yagira Yuuya - Lion no kakurega
3) Kubota Masataka - Sora wataru kyoushitsu
4) Matsushita Kouhei - Houkago Karute
5) Fujiwara Tatsuya - Zenryouiki ijou kaiketsushitsu

TV Reporters Ranking Top 5
1) Kamiki Ryuunosuke - Umi ni nemuru daiyamondo
2) Yagira Yuuya - Lion no kakurega
3) Fujiwara Tatsuya - Zenryouiki ijou kaiketsushitsu
4) Kubota Masataka - Sora wataru kyoushitsu
5) Matsushita Kouhei - Houkago Karute

Judges Ranking Top 5
1) Yagira Yuuya - Lion no kakurega
2) Kamiki Ryuunosuke - Umi ni nemuru daiyamondo
3) Kubota Masataka - Sora wataru kyoushitsu
Fujiwara Tatsuya - Zenryouiki ijou kaiketsushitsu
5) Matsushita Kouhei - Houkago Karute

Tuesday, February 25, 2025

The 122nd Drama Academy Awards (Autumn 2024) - Best Leading Actress


Overall Ranking Top 3
1) Yoshitaka Yuriko - Hikaru kimi e
2) Shuri - Monster
3) Nanao - Munou no taka

Voters Ranking Top 5
1) Yoshitaka Yuriko - Hikaru kimi e
2) Matsumoto Wakana - Watashi no takaramono
3) Nao - Ano kuzu wo nagutte yaritainda
4) Shuri - Monster
5) Adachi Yumi - 3000 man

TV Reporters Ranking Top 5
1) Yoshitaka Yuriko - Hikaru kimi e
2) Matsumoto Wakana - Watashi no takaramono
3) Nanao - Munou no taka
4) Shuri - Monster
5) Nao - Ano kuzu wo nagutte yaritainda

Judges Ranking Top 5
1) Shuri - Monster
2) Yoshitaka Yuriko - Hikaru kimi e
3) Nanao - Munou no taka
4) Matsumoto Honoka - Usotoki Rhetoric
5) Adachi Yumi - 3000 man

Monday, February 24, 2025

The 122nd Drama Academy Awards (Autumn 2024) - Best Supporting Actor


Overall Ranking Top 3
1) Bandou Ryouta - Lion no kakurega
2) Kobayashi Toranosuke - Sora wataru kyoushitsu
3) Tanaka Kei - Watashi no takaramono

Voters Ranking Top 5
1) Kobayashi Toranosuke - Sora wataru kyoushitsu
2) Bandou Ryouta - Lion no kakurega
3) Shimizu Hiroya - Umi ni nemuru daiyamondo
4) Emoto Tasuku - Hikaru kimi e
5) Tamamori Yuuta - Ano kuzu wo nagutte yaritainda

TV Reporters Ranking Top 5
1) Bandou Ryouta - Lion no kakurega
2) Kobayashi Toranosuke - Sora wataru kyoushitsu
3) Tanaka Kei - Watashi no takaramono
4) Shimizu Hiroya - Umi ni nemuru daiyamondo
5) Emoto Tasuku - Hikaru kimi e

Judges Ranking Top 5
1) Bandou Ryouta - Lion no kakurega
2) Shiono Akihisa - Hikaru kimi e
Kobayashi Toranosuke - Sora wataru kyoushitsu
4) Sato Tasuku - Lion no kakurega
5) Akiyama Ryuuji - Hikaru kimi e

Sunday, February 23, 2025

The 122nd Drama Academy Awards (Autumn 2024) - Best Supporting Actress


Overall Ranking Top 3
1) Sugisaki Hana - Umi ni nemuru daiyamondo
2) Miyamoto Nobuko - Umi ni nemuru daiyamondo
3) Hirose Arisu - Zenryouiki ijou kaiketsushitsu

Voters Ranking Top 5
1) Sugisaki Hana - Umi ni nemuru daiyamondo
2) Ito Aoi - Sora wataru kyoushitsu
3) Kuroki Haru - Hikaru kimi e
4) Tsuchiya Tao - Umi ni nemuru daiyamondo
5) Ono Machiko - Lion no kakurega

TV Reporters Ranking Top 5
1) Sugisaki Hana - Umi ni nemuru daiyamondo
2) Tsuchiya Tao - Umi ni nemuru daiyamondo
3) Hirose Arisu - Zenryouiki ijou kaiketsushitsu
4) Miyamoto Nobuko - Umi ni nemuru daiyamondo
5) Ito Aoi - Sora wataru kyoushitsu

Judges Ranking Top 5
1) Sugisaki Hana - Umi ni nemuru daiyamondo
2) Morita Kokoro - 3000 man
Ito Aoi - Sora wataru kyoushitsu
4) Miyamoto Nobuko - Umi ni nemuru daiyamondo
5) Hirose Arisu - Zenryouiki ijou kaiketsushitsu

Saturday, February 22, 2025

"KING OF SING" Top 20 singers with the best singing abilities rankings as voted by vocalists (2025)

TBS music program "KING OF SING" released its rankings of top singers with the best singing abilities as voted by 122 vocalists during its broadcast on 20 February 2025. There were two rankings in terms of age groups i.e. 30s and below and 40s and above. 

Check out the lists below to see if your favourites have been included in this ranking!


Top 20 singers in their 30s and below
1) Oomori Motoki (Mrs. GREEN APPLE)
2) Ado
3) Iguchi Satoru (King Gnu)
4) Yamazaki Ikusaburo
5) Ikuta Rira
6) Fujihara Satoshi (Official Hige Dandism)
7) Yonezu Kenshi
8) Takahata Mitsuki
9) Taka (ONE OK ROCK)
10) Shimizu Miisha
11) Fujii Kaze
12) May J.
13) LiSA
14) Ayaka
15) Miura Daichi
16) Kamishiraishi Mone
17) Shirota Yu
18) Nagaya Haruko (Ryokuoushoku Shakai)
19) Aimyon
20) Ikuta Erika


Top 20 singers in their 40s and above
1) MISIA
2) Tamaki Koji
3) Niizuma Seiko
4) Oda Kazumasa
5) Utada Hikaru
6) Shimazu Aya
7) Yoshida Miwa (DREAMS COME TRUE)
8) Fuse Akira
9) Nakajima Miyuki
10) Inaba Koshi (B'z)
11) Superfly
12) Kubota Toshinobu
13) Hirahara Ayaka
14) Yamadera Koichi
15) Kuwata Keisuke (Southern All Stars)
16) Hirose Koumi
17) Hikawa Kiyoshi
18) Hirai Ken
19) Matsu Takako
20) Ishikawa Sayuri

The 122nd Drama Academy Awards (Autumn 2024) - Best Theme Song


Overall Ranking Top 3
1) Nekko - King Gnu (Umi ni nemuru daiyamondo)
2) Fuujin - Vaundy (Lion no kakurega)
3) Break out of your bubble - Little Glee Monster (Sora wataru kyoushitsu)

Voters Ranking Top 5
1) Nekko - King Gnu (Umi ni nemuru daiyamondo)
2) Break out of your bubble - Little Glee Monster (Sora wataru kyoushitsu)
3) Fuujin - Vaundy (Lion no kakurega)
4) Donna chiisana - wacci (Houkago Karute)
5) Ashita - Noda Emi (Watashi no takaramono)

TV Reporters Ranking Top 5
1) Nekko - King Gnu (Umi ni nemuru daiyamondo)
2) Fuujin - Vaundy (Lion no kakurega)
3) Ashita - Noda Emi (Watashi no takaramono)
4) Break out of your bubble - Little Glee Monster (Sora wataru kyoushitsu)
5) Uta wo okurou - Takeuchi Mariya (Subarashiki Kana, Sensei)

Judges Ranking Top 5
1) Nekko - King Gnu (Umi ni nemuru daiyamondo)
2) Fuujin - Vaundy (Lion no kakurega)
3) Break out of your bubble - Little Glee Monster (Sora wataru kyoushitsu)
4) FOREVER - Chanmina (Monster)
5) Endless - TOMOO (Zenryouiki ijou kaiketsushitsu)