Showing posts with label Analysis / Special Report. Show all posts
Showing posts with label Analysis / Special Report. Show all posts

Sunday, July 05, 2026

About the Sato Jirou & Hashimoto Ai harassment controversy and my thoughts on this


In case you are wondering why Sato Jirou and Hashimoto Ai are in the news this week, it all came about because of an article by Bunshun Online on 1 July. Since the situation is still developing, I thought that it would be good to do a summary of the developments to date. In addition, there are some points which arose both online and offline about this situation so I'll be sharing that along with my thoughts as well. Hope that this helps everyone to understand better what is going on.

Timeline

1 Jul 2026: 
Bunshun Online reported that there was a harassment controversy which happened during the filming of FujiTV Spring 2026 drama "Fuufu bessei deka" starring Sato and Hashimoto who played a married couple. While filming Ep 1, Sato had touched Hashimoto's chin which was supposedly an ad-lib not in the script. This caused the filming to be halted.

Apparently, Hashimoto had suffered severe sexual harassment from someone (not named in the article) while working on a stage play more than 10 years ago. This caused her to develop a trauma that made it necessary for her agency to set some "regulations" beforehand regarding body contact with her male co-stars in order for her not to be triggered emotionally.

The issue was, at the point when Hashimoto was offered this role, her agency reportedly told FujiTV about her situation and asked if it was OK for her to accept the offer despite her restrictions. As the focus of this drama was not on the romance of the lead couple and that there were no expected intimate scenes between the actors, it was decided then that it would be fine for Hashimoto to take on this role. However, Sato was never told about her condition and only came to know about it after Hashimoto's adverse reaction after the filming of the scene in question. Since then, there was a rule imposed on the set that any physical contact with Hashimoto except on the shoulders and arms were to be communicated and agreed on in advance.

After the filming halt, Sato visited Hashimoto's dressing room where another staff member was also present. He expressed his "dissatisfaction" at not being told beforehand about her situation and allegedly told her that she should have considered the character setting of them being a married couple before taking on the offer and manage the situation better by making sure her co-stars were aware of what they should do and avoid doing. In Bunshun's article, it was said that these comments had come across as negating Hashimoto's career to date, questioned her ability to continue as an actress and formed the basis of the harassment controversy.

On the same day, Sato issued an official statement in writing as well as on his X account where he hit back at Bunshun for cooking up a story. He stressed that he never scolded Hashimoto nor told her to quit being an actress especially if she had a situation which she had to hide from her co-stars. Sato said that his advice to her delivered in a calm tone and in the presence of a staff member was that if being open about her situation was proving to be very difficult, this would have an adverse impact on the safety of everyone and affect the production as well going forward. Moreover, he had already gotten confirmation from specialists in the field of dealing with harassment matters such as lawyers that he did not commit anything which would amount to harassment. However, Bunshun's article had painted him as a Showa-era old man who was bullying a weak and vulnerable woman by twisting the facts.

2 July 2026:
FujiTV issued a statement. While they did not name Sato and Hashimoto, the statement claimed that the issue of contention was not with the touching of the chin but rather the actor's words spoken in the actress' dressing room which was deemed to be harassment by external lawyers engaged to investigate this matter.

However, FujiTV was strongly criticised online, by industry insiders and in various media reports for their failure to communicate the situation promptly and clearly to the parties involved beforehand. By effectively pushing the blame to Sato, it was seen as a move to shirk responsibility in this mess. 

3 July 2026:
Hashimoto's agency issued a statement to support FujiTV's stand and assessment of the matter. However, Hashimoto herself had not spoken publicly nor posted anything on her social media accounts about this matter.

----------------------------------------------------------------------------------------------------------------------------

So...some key questions raised by many people online and industry insiders and my thoughts in italics:

1) Who made the decision not to tell Sato about such an important restriction involving his co-star? And why?
While it has been said that this was a collective decision by the drama's staff and Sato's manager to avoid "causing him to be unable to act naturally" by being overly mindful of his co-star's situation, an experienced and professional actor would be able to approach the situation better if he had the facts to begin with. And it's common knowledge that he's the type who likes to do ad-libs so to "ensure that he doesn't cross the line" when it came to such a delicate situation, it would be prudent to keep him in the loop. By withholding the information from him, this was placing him in a situation where it was easy for him to get into trouble, even if it was unintentional. Even if he wanted to do something not mentioned in the script, he could have given advance notice to Hashimoto which could have prepared her mentally and given her the opportunity to say no if she was uncomfortable with the suggested move.
A point that was raised with regard to the reluctance for Hashimoto's condition to be shared with Sato had to do with the order in which they were casted. It was reported that Sato was the first to be casted as the lead. If he had expressed any reluctance to work with Hashimoto in view of the filming restriction and the care needed for her condition, it might have resulted in her not being given the offer eventually. As such, despite the common practice in the industry requiring disclosure with interested parties before production begins, the fact that this piece of information was withheld from the lead and the person who acted most directly with Hashimoto was seen as odd and unacceptable.

2) Is giving "well-intended advice" considered harassment?
Harassment or not, intention is sometimes hard to prove or disprove because how the one on the receiving end feels about the action or words spoken is the key here. And often, well-intended advice may not be well-received or even welcomed by the listener to begin with.
Perhaps Sato was trying to advise Hashimoto as a senior in the industry with the intention of helping her to be more aware and careful in managing such situations better. He thought that he might have tried to say this in a manner that was as neutral as possible. However, from Hashimoto's perspective, she might already be upset over the incident during the filming and Sato's words, no matter how "nicely packaged" could have come across as a personal attack. Whatever it is, even if there was a third party around or that the action/words were delivered in a neutral manner as much as possible, that probably wouldn't have helped to make this incident less unpleasant for either party.

3) Double standards? Lookism and ageism?
While Hashimoto was painted as a victim in the whole controversy by Bunshun, many were quick to jump in and criticse her for seemingly double standards applied to different co-stars. Screenshots of her past intimate scenes with other actors were seen circulating online and many of these were way more "intimate" than Sato's brush of her chin. This then led to discussions on whether she was OK with doing such scenes with younger and handsome actors but not with an ojisan like Sato.
The thing is, we don't know if those "more intimate" scenes she did with other actors were done with proper preparations, advance notice and with sufficient on-set support such as the presence of an intimacy coordinator. What's clear in this case was, the brush on her chin was unexpected for her. If this lack of notice was the reason causing her adverse reaction, the extent of the "onscreen intimacy" is not the key but rather the lack of mental preparations of what was to come.
As for whether there were double standards applied when it came to lookism and ageism, it is anyone's guess.

4) FujiTV back in the limelight again for the wrong reasons and mismanagement
Honestly speaking, I wasn't surprised about this situation after learning that this was a FujiTV drama. Seeing how they mishandled their last scandal when their own staff was the victim of a sexual assault, my first thought was, them again! What irked me more was seeing how quick they were to deliver a "verdict" which effectively threw Sato under the bus with scant regard of what this would do to his career and reputation. Maybe FujiTV wanted to show that they had changed since then and could act with urgency with regard to such complaints? However, what was clear was how they chose to keep a material fact from their leading actor and when something went wrong, they shirked their responsibility so quickly as if they did nothing wrong.
Maybe it's time for agencies to consider again - can they trust FujiTV to protect their actors/actresses' interests when things go wrong or will the TV station simply cut them off to protect their own interests? 

5) Who will be the real victim?
As for Hashimoto's agency taking FujiTV's side so completely, this was kind of odd. I get it that they probably thought that they had already done the necessary by giving FujiTV advance warning of her condition and her agency was not the one who chose to keep this from Sato. And their intention to protect Hashimoto at all costs was understandable. As for Hashimoto not speaking out in her own words, this could backfire on her because her reaction and thoughts about what happened would be the key to put things into perspective. Then again, if she was already suffering from the way this incident had developed to date, it would be too much to expect her to say something.
While it seemed on the surface that Sato was the one taking the brunt of the negativity arising from this controversy initially, that doesn't mean that Hashimoto can manage to emerge from this unscathed. Her privacy was violated with the revelation of her psychological condition based on a past sexual harassment incident. She got labels accusing her of inconsistency in her behaviour towards other people in similar situations. And it's no secret in the industry that casting a "problematic" actor/actress is something which sponsors, casting directors and production crews want to avoid. This might further restrict the type of roles she can get in future. For one, playing a couple with another male co-star is probably something that might not happen in the near future.
As for Sato, being maligned and having his intentions twisted (as seen from his perspective) are things that he might have to grapple with for a long time especially with the negative label which FujiTV had slapped onto him. I wouldn't be surprised too if he vows to cut ties with FujiTV in future after this episode. 

Thursday, January 01, 2026

Dorama World - New Year Greetings, Recap of 2025 and Projection for 2026


Akemashite omedetou gozaimasu! 明けましておめでとうございます!

A very happy new year to everyone, no matter where you are and regardless of how long you have been following this blog! I wish everyone all the best in the year ahead and that you will find and come across more gems in the J-drama and J-movie universe and derive joy along the way while finding new titles to watch and keeping in touch with related developments through this space.

This year marks a very significant milestone for Dorama World as this blog began exactly 20 years ago in August 2006 (although it was in a different form prior to that). I don't know how many of you have been with me since then but this is indeed a very long time (way longer than I expected when I first started writing the blog) and I thank you from the bottom of my heart for your support to date. 

Honestly speaking, for this to have lasted 20 years as a solo side project while juggling other commitments without any help and hardly any promotion beyond organic reach and word of mouth, I am humbled by where I am today with regard to this blog. No doubt this may not be as well-known or influential as some of the other J-drama blogs out there, I hope that you have enjoyed what I've dished out over the years.

I haven't thought of what to do to celebrate this occasion but there are still a number of months to go until the anniversary month of August so I'll be planning something for sure.

And so, in this special year, I thought of doing a recap of what I watched in 2025 and give you some ideas of what's coming in this space for 2026. While I don't think that what I chose to watch, like or dislike may be in line with everyone's tastes, you may be curious about what I watched and through this post, you can hopefully uncover or find out about something which might just interest you. With the increasing Japan-related content on OTT platforms this day, there is a lot to watch - to the extent that I just can't catch up because my to-watch list keeps growing and time is so limited these days due to my tight schedule. This is a happy dilemma though because more content is better than no content.

Last but not least, note that the selection of titles are not restricted to new/current ones because the OTT platforms had uploaded a number of past-season or classic titles which I may have missed when it was in-season.

Here's a summary of my key statistics in 2025:

* In terms of the number of titles I watched in 2025, the total of 64 was slightly higher than in 2024's 61. However, when it came to the breakdown between dramas and movies, I watched more dramas than movies in 2024 (34 vs. 27) while 2025 saw a more-or-less even split of (33 dramas vs. 31 movies). I think this has to do with the fact that there were more movies available to watch on OTT and that I had much lesser time to watch full-length dramas and needed to be very selective on what I chose to watch.

* When it came to the source/platform I watched the dramas/movies on, it is probably not surprising that the bulk came from Netflix (38) with Amazon Prime and TVer tied at second with 10 each. 

* As for the "producers" of what I watched, while TBS' works were my top choice in 2024, the distribution was more spread out in 2025 - TBS (9), Netflix (6) and 5 each from NTV and TV Asahi.

* In 2024, there was a drama which I gave a perfect score of 10 i.e. "Lion no kakurega" but there wasn't any this year. The highest score I gave in 2025 was 9 out of 10 for two titles: "Mikami-sensei" and "Gekieiga Kodoku no Gurume".
On the other end of the spectrum, I gave the score of 1 for 1 title in both years i.e. "Anata no ban desu Gekijouban" (2024) and "Housoukyoku Senkyo" (2025).

* In terms of the ratings I gave for the titles I watched this year, it seemed like I was more satisfied with my picks in 2024 because 41% of the titles got a score of 8 and above. In contrast, only 25% were in this range in 2025. The bulk of the titles got a score of 5 to 7.5 i.e. 56% compared to 39% in 2024. The percentage for titles scoring below 5 was about the same for both years i.e. around 18%.

* As for my most "productive" month, I watched the most titles in March (12), April (10) and June (9).

NOTE THAT I still have 4 titles in 2025 which I haven't posted the reviews for so will get that done, hopefully by the end of this month.

First title I watched in 2025 was...


And I ended the year with this...


Coming to my plans for this space in 2026, what's for sure for now are:

* Clearing the outstanding quick reviews for the 4 remaining titles in 2025
* Planning for some celebratory activities for the anniversary month 

If you have any ideas on what you would like to see, please feel free to send them along. As to whether I can incorporate them in the anniversary month, the biggest challenge is time so I seek your kind understanding if I can't commit or deliver on certain suggestions.

As for my viewing plans in 2026, I think my selection will be very much focused on what the international OTT platforms have to offer. It's tougher for me to follow TVer which doesn't keep its dramas on demand for a long time and I can't really stick to the weekly viewing schedule these days (unless it's a must-watch-now kind of situation). For now, I intend to watch whatever is still in my to-watch list first so you may be seeing reviews of 2025's seasonal dramas along with older selections progressively in 2026 and this means that the newer titles may not be covered so promptly. Using this year as an example, I haven't watched all of Netflix's J-drama/J-movie productions except for "Imawa no kuni no Arisu" which I finished in days after its release. As such, please don't be surprised to see something released months ago being covered here much later.

Before I end this post, in case you are wondering what I watched on the first day of 2026...

Saturday, June 28, 2025

Ex-TOKIO member Matsuoka Masahiro meets the press for the first time following the band's sudden disbandment


After TOKIO’s sudden disbandment on 25 June 2025 following Kokubun Taichi’s indefinite hiatus from 20 June due to reported compliance violations, Matsuoka Masahiro faced the press for the first time on 27 June 2025 and answered their questions for about 20 minutes. This was done outside the Tokai City Arts Theater after his rehearsal for the stage play “Kaseifu no Mitazono THE STAGE Les Mizera Furo” which will be held on 28 and 29 June. 

Matsuoka was the first ex-TOKIO member to speak out openly on these issues and here are the key points as gathered from various sources:

  • Matsuoka was dressed in a black T-shirt and brown pants and wore a cap and glasses. 
  • He started off by apologising again to sponsors, everyone in Fukushima Prefecture, fans who had been supporting TOKIO for the past 31 years and all associates who they worked with in various programmes for the situation. With the liquidation of Kabushikigaisha TOKIO, they are in the midst of settling contracts with sponsors and various work parties following the disbanding of the band. Once everything is settled, the company will be officially shut down.
  • With regard to why the decision was made to disband in just 5 days after Kokubun’s issue came to light, this move was made to limit the impact and inconvenience caused to their work associates and fans to the minimum. Matsuoka and Joshima Shigeru i.e. Leader met up in person on 24 June to reach the decision and called Kokubun on the spot to convey this.
  • Matsuoka admitted that when he and Leader saw the NTV press conference which exposed Kokubun’s issue, they came to the realisation that they wouldn’t be able to protect TOKIO nor work using this name anymore. Honestly speaking, Matsuoka’s first thought was “not again, how many times has this been?” and also felt embarrassed because the band already had two members leave due to different reasons. In fact, when they set up Kabushikigaisha TOKIO, that was done with the understanding that if ever any one of the trio had to leave for any reason, that would mark the end of TOKIO. While it was a painful decision to make, this was a move which could not be avoided given the circumstances. While it was a cowardly and shameful manner of how TOKIO came to an end and they all felt really sorry to their fans, he stressed that this was something that they didn’t want to do but had to go ahead with it.
  • When asked if there is a possibility that Matsuoka and Leader could meet fans again in person via other formats in future, Matsuoka said that assuming if they are forgiven for what happened in the future, they might be able to do something. However, at this stage, there is nothing they can really do and it is not in their position right now to even think about sounding fans on how they feel towards this kind of proposition.
  • As for the current condition of Kokubun, Matsuoka revealed that he was in the doldrums and feeling remorseful for what happened. He also felt that Kokubun himself would have wanted more than anyone else to talk about what happened in front of the media because the latter is a man with a strong sense of responsibility. However, it was unlikely that Kokubun would be able to say anything even if he appeared in public given the confidentiality restriction so Matsuoka decided to be the one speaking up instead. This was also because Matsuoka was the PR director for their company.
  • Although Kokubun kept apologising to him and Leader, Matsuoka didn’t think that this wasn’t an issue which could be brushed off easily. When he and Leader told Kokubun about the decision to disband TOKIO over the phone, all Kokubun could do was to apologise repeatedly. Considering that they had spent 36 years of their lives together, Matsuoka recounted that he had never heard Kokubun sound like that before. And since they are no longer band mates, he doesn’t think that whatever he says now would matter to Kokubun anymore.
  • When asked about the relationships between the 5 ex-TOKIO members including Nagase Tomoya and Yamaguchi Tatsuya who left for their own reasons, Matsuoka felt that they each had their own ways of showing their love for the band. While they have not spoken to one another on this matter, he believed that Nagase and Yamaguchi would both have their own perspectives on this situation. Matsuoka and Leader did not contact Nagase and Yamaguchi on this and vice versa.
  • As for his relationship with Kokubun going forward, Matsuoka said that although they have become ex-band mates now, he doesn’t think that this will mean the end of their longtime friendship even though he knows very well that there may be people who won’t look on this favourably. He and Leader are still contacting Kokubun time to time recently for business matters only.
  • As for the question whether Matsuoka knew what Kokubun had done, he said that it was meaningless to pursue the reason for what led to this state of things. If asking for the answer to what Kokubun did would help salvage the situation, Matsuoka would do so but to him, dealing with the present situation matters more than delving into what caused it. 
  • Due to the privacy protection measures, nobody including Leader and him and their staff members knew what had exactly happened and when the problematic actions took place. However, in response to media rumours that this may be related to DASH-mura, Matsuoka said that this was untrue. 
  • With regard to recent media reports suggesting that Kokubun had engaged in bullying of fellow TOKIO members, Matsuoka denied this vehemently and stressed that there was absolutely no bullying within the group. He said that he was bewildered when he heard about such media reports and lamented how the unfounded rumours of late have been fueling lots of ridiculous theories that are going around.
  • When asked if Leader and Matsuoka would continue visiting and interacting with Fukushima Prefecture which had deep and longtime ties with TOKIO, he said that they would definitely do so.
  • As for the individual career plans of him and Leader, Matsuoka said that they are focusing on their respective projects on hand and the procedures to end their company for now. After the dust has settled and they take time to consider their options, they will then announce that in due course. The two of them will also be speaking to their 4 employees to find out their preferences and take the responsibility to secure re-employment for them if they wish.

Sources: 

Sponichi Annex 
https://news.yahoo.co.jp/articles/a6d7cfd2fa3c7d722cb9333bc41c124ece0d56fe 
https://news.yahoo.co.jp/articles/cfcbd95946174ec9c162c4c3422a902e414da068 
https://news.yahoo.co.jp/articles/0f45db33fd028ec35e4f62684bbe9a7f4f860ad9 
https://news.yahoo.co.jp/articles/0f45db33fd028ec35e4f62684bbe9a7f4f860ad9 
https://news.yahoo.co.jp/articles/40625553bb52f66f7bbd28356699e698592b53e7 
https://news.yahoo.co.jp/articles/037d6dbc428b96cec81236178ed58934c294ced2 

TV Asahi News
https://news.yahoo.co.jp/articles/d040ed97ce97e6166c990214a65c61cb3bd90586 

NTV News
https://news.yahoo.co.jp/articles/4f4ffae8bad555bf49ed24ac56f1a7c414754c8f 

Daily
https://news.yahoo.co.jp/articles/2ea07d3097d296b46bfea42088559bfe8f4f68c4 
https://news.yahoo.co.jp/articles/b62d0e57b684559b89086d324e62d6844d958990 
https://news.yahoo.co.jp/articles/e51140f4dba2b604f49eb42e5123f04a88cb107b 

Tokyo Sports
https://news.yahoo.co.jp/articles/8816f08545c58604ff77e1a5d67bb9305b477971 

Friday, June 20, 2025

TOKIO's Kokubun Taichi goes on an indefinite hiatus due to supposed "compliance violations"


This piece of news saddens me because it has to do with TOKIO, one of my favourite Japanese artists who I have been supporting for a long time since I came to know about them in 1996.

Over the last decade or so, the band has already gone through a number of hurdles and challenges which led to its members leaving one by one, be it voluntarily or not. The problem this time though is, nobody is saying what exactly is the issue other than it's a compliance violation. This will no doubt fuel lots of speculation and rumours swirling around that could be potentially even more damaging than the actual reason for Kokubun Taichi having to go on an indefinite hiatus. What could be serious enough to warrant him being taken off the shows but not to the extent of having a criminal complaint filed against him? So it's something that morally incorrect but legally OK? 

I just cannot wrap my head around this.

I think everyone is waiting for an answer but whether there will be one or if the official explanation reveals the reason in its entirety, only time will tell.

Here's the timeline of what's known so far based on various news reports (all dates/times in JST):

27 May 2025
NTV was said to have uncovered the multiple incidents involving Kokubun's compliance violations and shared information on this with relevant departments within the TV station. It then engaged external lawyers to conduct investigations. (Sports Hochi)

19 June 2025
Rumours of Kokubun quitting from his TV shows started circulating late in the evening and that official announcements will be made on the following day. The reason for the move was said to be due to "serious compliance violations" but at this point, nobody knew what exactly was the reason. (Sponichi Annex)

20 June 2025
- NTV's president Fukuda Hiroyuki announced on 20 June 2025 during a last-minute press conference at 1pm that the TV station had ascertained "multiple compliance violations in the past" by Kokubun thus the decision was made to take him off the variety show "The Tetsuwan DASH". 
  • He had been appearing in this programme as a member of TOKIO since it started in 1995. 
  • Fukuda revealed that he was informed of this matter on 27 May 2025 and that following the investigation by external lawyers, it was deemed that it would be inappropriate for Kokubun to continue appearing in the show. 
  • However, despite persistent questioning by the media at the press conference, Fukuda refused to reveal details of what happened or when it happened, citing privacy concerns. 
  • This attracted criticism from the media and online that the press conference did not answer any of the critical questions and was meaningless other than a display of NTV cutting off Kokubun first before his agency and company made his hiatus announcement.
  • What was only ascertained during the press conference was that this matter had nothing to do with anti-social forces, involved multiple people but was not a "large-scale case".
  • It was reported that an emergency board of directors meeting was called earlier in the morning to approve this decision.

- Kabushikigaisha TOKIO and STARTO ENTERTAINMENT released their statements announcing the indefinite hiatus of Kokubun:
  • It had come to their attention that Kokubun Taichi had been involved in multiple incidents of compliance violations. After discussing this issue with him and as a way of taking responsibility to reflect on his actions, he will be going on an indefinite hiatus with effect from 20 June 2025.
  • In the statement from Kabushikigaisha TOKIO which was signed off by the president cum TOKIO's leader Joshima Shigeru, it apologised to work associates and fans for the sudden announcement and causing them worry and inconvenience as a result. 
  • As of now, they have not made any decisions on what to do in future and all queries on this matter should be directed to STARTO ENTERTAINMENT which the company has a group agent contract with because Kabushikigaisha TOKIO does not have a designated channel to handle such queries.
  • Kokubun himself apologised for the concern and inconvenience caused to everyone and that his lack of self-awareness and complacency despite having worked in the entertainment industry for so many years were what led to his inadequate actions. At the moment, the period of his hiatus has not been fixed and he will take time to reflect on himself and change his ways.
  • STARTO ENTERTAINMENT's statement was similar to that of Kabushikigaisha TOKIO's which mentioned Kokubun's hiatus and apologised for the sudden announcement and inconvenience caused to everyone.

The work situation of Kokubun
The following information was compiled by Sponichi Annex and FLASH:
  • Co-vice president of Kabushikigaisha TOKIO and in charge of planning since April 2021
  • President of TOKIO-BA, a new project under Kabushikigaisha TOKIO. Joshima Shigeru & Matsuoka Masahiro are the vice presidents for TOKIO-BA
  • TOKIO entered into an agency contract with STARTO ENTERTAINMENT in April 2024
  • Had 6 regular shows on TV and radio i.e. The Tetsuwan DASH (NTV), Danshi Gohan (TV Tokyo), Sekai kurabetemitara (TBS), TOKIO Terrace (Mainichi Housou), Kokubun Taichi no THE CRAFTSMEN (BS10) and Kokubun Taichi Radio Box (JFN).
  • CM: Japan Net Takata Fukushima Prefecture "Fukushima Pride" - Japan Net announced on 20 June that it had taken off his CMs.
  • It had been announced on 12 June that Kokubun is to host TV Tokyo's "TV Tokyo Ongakusai 2025 ~ Natsu ~" in July. 
  • Kabushikigaisha TOKIO had already informed various TV stations and work partners of Kokubun's resignation from these shows.
  • Despite TOKIO not doing any music-related activities in recent years following the departure of Yamaguchi Tatsuya and Nagase Tomoya in 2018 and 2021 respectively, Kokubun was still involved in making music as recently as in March this year. He was the producer (using the name Mitazono Kaoru) for the digital single "clock" by special unit Shima Shigeko & Hikaru i.e. Joshima and Inoo Kei which was the theme song for the drama "Kaseifu no Mitazono" starring Matsuoka.
  • Over the past 4 years since the official LINE accounts of Kabushikigaisha TOKIO and Kokubun were set up on 10 June 2021, he had been sending daily morning greeting messages without fail through his official account between 6am and 7am to his followers which exceeds 128,000. However, the last message he sent was on 19 June and there was nothing for today i.e. 20 June which attracted speculation online prior to the hiatus announcement this afternoon.

Monday, June 09, 2025

Understanding "Kasumigaseki Bungaku" through TBS Winter 2025 drama "Mikami-sensei"


If you have watched "Mikami-sensei", you would have heard this term "Kasumigaseki Bungaku" being mentioned multiple times throughout the entire drama. So what is "Kasumigaseki Bungaku" and why was this being featured prominently in the drama?

To begin with, the literal translation of "Kasumigaseki Bungaku" / 霞が関文学 is Kasumigaseki literature. As you may already know, Kasumigaseki is a district in Chiyoda Ward, Tokyo, where most government ministries are located so the place name is often used as a metonym for the Japanese bureaucracy. Likewise, the term Nagata-cho is used to refer to the elected government or legislative branch since the Diet of Japan and the Prime Minister's residence are located here.

While the exact origin of Kasumigaseki Bungaku is not known, what sets this form of word usage apart from daily Japanese speech is the use of terms which on their own, are easy to understand but when pieced together becomes ambiguous, difficult to comprehend and often sounds ridiculous. As such, the term Kasumigaseki Bungaku actually contains a certain degree of mockery to mean that bureaucrats often speak in a hard-to-understand and somewhat unfeeling/robotic manner to complicate simple things. On the surface, they give the impression that things are progressing smoothly but nothing is said clearly so that they wouldn't be held responsible for their ambiguous words. This is said to be reflective of the bureaucrats' mindset of always looking for a way out in case things go wrong and their tendency to avoid having their mistakes being pointed out. 

Key characteristics of Kasumigaseki Bungaku speech include:
  • Only answering things that they are asked
  • Answering only the bare minimum and avoiding elaboration/clarification
  • Using ambiguous expressions in written form which could be interpreted in various ways
  • Making the subject vague, or in some cases omitting the subject, and obscuring who is responsible

Similarly, Nagata-cho Bungaku / 永田町文学 can be said to be the politicians' version of Kasumigaseki Bungaku. However, it is also said that Nagata-cho Bungaku is heavily influenced by the latter since a lot of ministers speak using scripts and statements prepared by bureaucrats in their ministries and heavily rely on them for advice since they are the subject matter experts. Over time, the use of Kasumigaseki Bungaku terms sort of "flowed over" to the political circle. Inevitably, both types of literature have identical characteristics i.e. complicated, ambiguous and unclear responsibility. 

Here are some examples of simple terms vs. their complicated versions in Kasumigaseki Bungaku style:

Rubbish / ゴミ ----> General waste / 一般廃棄物
Business District / ビジネス街 ----> Specified commercial cluster / 特定商業集積
Mother Complex / マザコン -----> Excessive mother-child contact / 過度な母子の密着
Boom in learning foreign languages /  外国語ブーム ----> Increased motivation to learn languages / 語学学習意欲の高まり

For those who may be interested in knowing more about Kasumigaseki Bungaku, you can read this article from NHK.

In "Mikami-sensei", the lead character Mikami Takashi played by Matsuzaka Toori is a bureaucrat from the Ministry of Education, Culture, Sports, Science and Technology who is dispatched to a senior high school to be a teacher for a designated period of time. Given his background, it is no wonder that the things he said were sometimes or rather often delivered in the Kasumigaseki Bungaku style especially in the earlier episodes. For example, you may have remembered the following:

If my memory is correct - 僕の記憶が確かならば
It is the result of my immorality - 不徳の致すところです (used when apologising for one's mistakes)
I cannot answer anything beyond this - これ以上はお答えできません
As I do not remember, I cannot say anything beyond this - 覚えておりませんので、これ以上のことは申し上げようがありません
We will continue to improve every day - 日々、精進してまいります

From these examples, it is quite clear that while some things can be spelled out more directly and clearly, the use of Kasumigaseki Bungaku actually muddles the meaning and where responsibility lies. It can also be difficult to say and understand even when compared to business-style formal speech.

Just as the picture in this post states, Kasumigaseki Bungaku is a literary form created by bureaucrats for bureaucrats to use. While it can difficult to make sense of it at times, hopefully you will be able to appreciate the nuance and hidden meanings better when you watch a drama/movie that features bureaucrats.

Thursday, June 05, 2025

When holding your horses may be better than trying to outsmart the competition - The strategic game of setting drama broadcast timeslots


Much has been said about how viewing habits have changed in recent years due to the increasing popularity of OTT platforms and on-demand viewing services which offer flexibility to viewers in watching what they want at a convenient time. This has inevitably led to lower real-time ratings across the board as TV stations struggle to pull in the audiences needed to sell commercial slots to sponsors and advertisers. Despite so, the TV stations still spend much time and effort in playing the strategy game of setting drama broadcast timeslots against their fellow competitors and other forms of entertainment, albeit with varying degrees of success.

This article examines the positioning of and strategies deployed in planning drama broadcast timeslots by the main TV stations. While this may not be so relevant to us outside of Japan who usually do not get to watch the dramas in real-time since we tend to rely on OTT platforms or delayed broadcasts, it is interesting to see the logic and justification behind these decisions.

TV Asahi
  • Their core/signature timeslots are Wednesdays 9pm and Thursdays 9pm which are usually the ones with the highest real-time ratings.
  • Signature offerings in the Wednesdays timeslot include the long-running series "Aibou" which entered its 23rd season last year.
  • Other timeslots include Tuesdays 9pm and the late-night Fridays 11pm timeslot. 
  • For dramas with lower real-time ratings such as those in late-night slots, the criteria to determine if the drama is doing well is also dependent on the number of views via on-demand platforms. For example, "Munou no taka" achieved the highest first-episode views to date for the Fridays 11pm timeslot with 2.13 million views.

FujiTV
  • Its signature timeslot is the Mondays 9pm timeslot which used to be well-known as the leader for "trendy dramas" in the 90s along with three other timeslots i.e. Tuesdays 9pm, Wednesdays 10pm and Thursdays 10pm.
  • Other offerings from affiliated TV stations in the same network include Kansai TV's Mondays 10pm timeslot and Tokai TV's Saturdays late-night timeslot.
  • Movements in recent years include the establishment of the Fridays 9pm timeslot in autumn 2023 which was moved to Tuesdays 9pm in the following year.
  • There have been a number of examples in recent years where some dramas perform very well on on-demand platforms such as "silent" which achieved record-breaking views despite relatively low real-time ratings and being in the Thursdays timeslot. However, "Umi no hajimari" which was made by the same team and featured the same lead actor Meguro Ren, was aired in the signature Mondays timeslot so the criteria for success and expectations were naturally higher as compared to the other timeslots.
  • The Thursdays timeslot has a tendency to feature controversial or more adult themes such as extramarital affairs and adult romance which some viewers may not feel comfortable watching with others and family so the on-demand views typically see rather high numbers.
  • The Tuesdays timeslot usually features workplace-related stories or those focusing on specific occupations such as "Jinji no Hitomi" in the Spring 2025 season.
  • The Wednesdays season tends to feature edgy, unconventional and adventurous works such as "Zenryouiki ijou kaiketsushitsu" in Autumn 2024 and "Shinjuku Yasen Byouin" in Summer 2024. A lot of effort is put into collaborations with OTT platforms so these works are also put onto Netflix to target the international audiences.
  • They are also experimenting with putting the next episode of their dramas onto their own on-demand platform FOD ahead of the live broadcast schedule since "Paripi Koumei" in Autumn 2023. This is said to be effective in attracting part of the viewers who watch on FOD to flow back to real-time viewing.

NTV
  • Up till 2023, there were three 1-hr timeslots i.e. Wednesdays 10pm, Saturdays 10pm and Sundays 10.30pm.
  • Since then, there were new 30-min late-night timeslots introduced i.e. Mondays 12.30am (produced by a local TV station in the Kanto region) and Fridays 12.30am. The Fridays slot has been shifted to Tuesdays from autumn 2024 while the original Fridays slot is no longer reserved for dramas only.
  • Yomiuri TV in the same network produces the Thursdays 12 midnight drama.
  • At one time, the Wednesdays timeslot was shifted to Saturdays 9pm i.e. two dramas back-to-back on Saturdays for a year but the Wednesdays timeslot was restored in April this year.
  • As for the Sundays timeslot, the drama offerings tend to be those light enough for people to watch before starting a brand new week the following day.
  • Compared to the past when most, if not all of its dramas were exclusively reserved for release on its own Hulu platform, there have been some which made it onto international platforms like Netflix e.g. "Houkago karute".
  • In order to boost awareness of the drama before its release, the TV station is also experimenting with releasing a short clip of the first episode on TVer and YouTube before the first OA.
  • One parameter for assessing whether viewers' interest and if they will be staying on for the long-term to watch a drama is the number of users who add the drama to their favourites list on platforms like TVer prior to the first OA.
  • In the late-night timeslots, they tend to be dramas which female viewers prefer to watch on their own rather in the company of others thus this explains the high on-demand views on streaming platforms.

TBS
  • The key timeslots are its signature Sundays 9pm along with Tuesdays 10pm and Fridays 10pm.
  • The Tuesdays timeslot is targeted at female viewers in their 30s and 40s and had quite a number of romantic love stories or comedies to date. However, the trend has shifted to include other forms of love such as family love in recent years.
  • The Fridays timeslot has a slightly higher target market in terms of age i.e. women from their 30s to 50s.
  • As for the Sundays timeslot, it is meant to capture the attention of a wide range of viewers thus explaining the variety of offerings and not being bound to a specific genre.


TV Tokyo
  • Its Mondays and Fridays late-night dramas are making waves on on-demand platforms such as its Monday offering in Summer 2024 i.e. "Otto no katei wo kowasu made" which generated total views above 30 million thus breaking TV Tokyo's record to date. This type of "affair-horror" or edgy stories are usually not meant to be watched together with family members thus explaining why the on-demand views are so high.
  • In order to promote their dramas, signature scenes are made into short clips and released on platforms like TikTok which in turn generates more interest. Those who watch the drama are also drawn to these short clips and they even have one video which has registered as many as 116 million views to date.
  • As for the Thursdays timeslot, one signature offering is the long-running series "Kodoku no Gurume" which had humble roots but grew to become so successful that it even had its own movie released in January 2025.
  • Until three years ago, TV Tokyo didn't have a department handling the drama content streaming business since it was only focused on the rights business for anime series. As they believe that affair stories with a suspense angle and revenge stories go very well with online streaming platforms, they intend to go big on these while still tapping on their expertise in doing gourmet and horror dramas.
  • It is also entering the short drama genre with its streaming app "BUMP" which releases dramas with 10 to 30 episodes of no more than 3 minutes long each and charges apply to each episode watched. These new content ideas are proposed by their younger employees and aimed at capturing new users and viewers.
 
What can be observed from the above:
  • Some TV stations hardly change their timeslots while some are adopting a bit of a "trial-and-error" approach to see what works for them.
  • Some TV stations are a lot more adventurous in trying new forms of PR and increasing access routes to their content rather than sticking to the usual.
  • Parameters for judging success seems to be expanded beyond real-time ratings to include views on streaming platforms and user interest. However, real-time ratings haven't been ignored completely since this is still critical for securing advertising income.
  • Some timeslots have a clearly defined target audience which shapes the nature of the content offerings while some have a defined type of genre instead.

The thing is, the decision of whether to hold the horses, create, cancel or move timeslots does come with a risk of failure, or at the very least embarrassment/ridicule by rivals and the industry insiders for the private networks. This article examines the rationale behind the strategy of drama timeslot planning and how the TV stations have fared in this game over the years.

When NTV resurrected its Wednesdays 10pm timeslot this spring after shifting it to Saturdays for one short year, it was inevitable that people would see this as a failure of its decision to move its long-running and considerably successful Wednesdays timeslot. Although the official reason given by NTV was to attract the female viewers who would already be tuning in to the variety show "Ueda to onna ga hoeru yoru" that airs before the drama to continue watching, the other side of the story was that the variety show "Sekai Itadaki Gurume" which was put into the original Wednesdays timeslot last year, isn't doing well and having two dramas back-to-back on Saturdays did not work out as planned. This type of change is often viewed as a blow to the morale of the staff and cast members of the shows/dramas involved and will affect the confidence of sponsors. On the other hand though, NTV has always been known to make decisions decisively when the going gets tough so being able to cut losses at such an early stage is also seen as beneficial to its long-term interests.

Actually, when NTV made the decision to shift its Wednesdays drama timeslot which had been around for 38.5 years, this was met with skepticism and dismay by the industry which failed to comprehend their reasons for doing so. One reason cited for NTV's decision back then was FujiTV creating a new drama timeslot which overlapped with NTV's since Spring 2022 but the performance of NTV's traditional drama timeslot was seen as still being able to hold its own against the new contender. Despite so, NTV probably felt that any small gains it had over FujiTV in this timeslot were not going to be enough to help it secure the top spot in the ratings race as a whole. Besides, seeing how FujiTV seemed to be able to achieve success with its back-to-back drama strategy on Mondays since autumn 2021, this was probably what tempted NTV to try doing the same on Saturdays by moving the Wednesdays drama to the weekend.

In FujiTV's case, it has probably seen even more missteps compared to NTV when playing around with its drama timeslots.

While NTV unexpectedly gave up the fight on Wednesdays last year and led to FujiTV hogging the drama timeslot, FujiTV actually had another short-lived fight against TBS' signature Sundays 9pm timeslot twice. From autumn 2010 to winter 2013 (2.5 years) and from spring 2016 to summer 2017 (1.5 years), FujiTV failed to break TBS' monopoly in this timeslot. FujiTV also created the Fridays 9pm timeslot to fight against TBS which barely lasted a year from autumn 2023 to summer 2024 until it was moved to the Tuesdays 9pm timeslot last autumn. 

Another classic example was FujiTV's Tuesdays 10pm timeslot which started in spring 1996 but was axed in summer 2016 despite seeing many past hits like "GTO" and "Kekkon dekinai otoko". A reason for the withdrawal from this timeslot was said to be NHK and TBS setting up new drama timeslots in spring 2010 and spring 2014 respectively. The result was that TBS managed to build the love story branding for this timeslot very quickly starting with the hit "Nigeru wa haji daga yaku ni tatsu".

These movements by FujiTV coincide with its slip from the No.1 position in the ratings race since 2010 and its desperate desire to improve its situation by doing something. However, it turned out that things got progressively worse for them no matter what they tried to do. 

While TV Asahi may have been seen as generating consistent hits through its reliance on long-running series like "Aibou" and "Kasouken no onna" which targets the middle-aged and elderly market segments, its willingness to change things around recently seems to suggest that it is also feeling the heat from the competition. For example, the end of its 23-year-old Thursdays 8pm mystery drama timeslot in summer 2022 and airing dramas in the Tuesdays 9pm timeslot were meant to capture viewers in the core market of teens to 40s but it seems like things aren't looking too rosy for them too.

TBS may be the odd one out in the field as it seems to be churning out consistent results while not making any changes to its primetime drama timeslots i.e. Sundays 9pm and Fridays 10pm. However, this is probably a chicken-and-egg issue where you risk being seen as a loser if you move your timeslot easily when faced with competition but if you don't, you might not be able to get the desired ratings which the TV station business focuses on. This has led to the phenomenon where any movement or changes typically last for just 1 to 3 years before things go back to how it is originally.

The unique nature of dramas as compared to other types of TV programmes like news, variety, infotainment and sports is also a key factor to consider. These programmes tend to rely on timeliness, how eye-catching they are and whether they are interesting so it's not so easy to record and watch/stream them later as compared to dramas. As such, many TV stations focus more on luring viewers to watch their dramas in real-time rather than work on quality instead thus creating the situation where some offerings are often mocked for being exaggerated, childish or silly e.g. NTV's Saturday dramas but very much talked-about, be it in the positive or negative sense.

It takes time to build up a viewing habit and for viewers to remember these timeslots. These constant changes to the programming schedule actually have a detrimental effect to cultivating the viewing habits needed to shore up the real-time viewing figures which the TV stations are seeking. Even for those who do not wish to view the dramas in real-time, having a grasp on the schedule helps in keeping track of when new episodes are uploaded to platforms like TVer which tends to erase episodes after 1 week or so (except the first three and last episodes). Speaking from personal experience, there were quite a number of instances to date when I dropped a drama because I missed an episode or did not manage to watch it in time on TVer before it got deleted, not because I lost interest and gave up voluntarily.

One other thing that gets in the way of cultivating real-time viewing habits is the disruption caused by variety show specials. Often, these ad-hoc shows tend to last for 2 to 3 hours at one go and inevitably eat into the timeslots usually meant for dramas. When that happens too often, viewers lose track of what is considered regular programming so this is especially problematic when a longtime drama timeslot gets shifted into a timing which has all along shown something else.

In comparison, NHK can do its own thing without being affected by what the private networks are doing because it has a different modus operandi. It is not bound by the seasonal cycle of new dramas shown every three months - its dramas have a variety of lengths and start/end dates can be anytime. From the perspective of the private networks, NHK is a competitor that "doesn't play by the rules" and thus is able to snatch away viewers at unexpected junctures, often without prior notice and giving the TV stations little room and time to react to the national broadcaster's moves. For example, just as FujiTV had to shift its Tuesdays 10pm timeslot to avoid a heads-on clash with NHK, NTV also had to bring forward its Saturday drama from 10pm to 9pm nowadays to prevent fighting with NHK. Besides, NHK has no need to consider ratings or sponsors due to its business model so it can afford to produce dramas with varied themes which often cannot be found on the private networks.

Even though this game of setting drama broadcast timeslots is hard to win, TV stations are unlikely and unable to give up on making dramas. This is because in this age of changing viewing habits, dramas and anime are actually the best intellectual property/content that can bring it the most money now compared to other TV shows. While it would be silly to keep banking on real-time ratings only to bring in the dough in the form of advertisement income, dramas can lead to an enormous amount of income through other channels such as:
  • releasing the dramas on OTT platforms (both domestic and international)
  • doing installments of successful series which can include spin-offs, movies, anime, stage plays, games, events, music and character goods
  • corporate collaborations such as special menus and goods
As such, despite the low return on investment in terms of the real-time ratings as compared to the costs involved in drama production, dramas are still going to take up the golden and primetime slots as compared to variety shows which tend to see better ratings. Besides, each of the private TV networks have their own OTT platforms so the growth of such channels in the form of paid users can be sustained as long as they have a decent archive of their past and current dramas. 

Friday, May 23, 2025

A case of mis-directed anger? - Reading between the lines of Higashimura Akiko's criticism towards Bunshun for Nagano Mei's scandal


Amid the controversy surrounding the alleged affair scandal of Nagano Mei and Tanaka Kei over the past month or so, the comments made by manga artist Higashimura Akiko recently are gaining attention as Nagano is the lead for the new movie "Kakukaku Shikajika" which is based on Higashimura's work. During her appearance on ABEMA's "Nichiyou The NIGHT Akiko to Osamu ga ichiyakagiri no kinkyuu nama housou" on 18 May 2025, Higashimura had the following to say about Shuukan Bunshun which first reported on the scandal:

"I know it's weird to say this, but I publish my manga through the publishing company Bungeishunju such as "Gisou Furin". Just two days after the news (about Nagano) was published, I had a meeting with the company to discuss my work. 
While I'm proud to be working with a company which delivers joy through literary works, to have our hard work (the movie) which we poured our heart and soul into being destroyed by a single magazine fills me with so much pain. To be honest, it felt like I was dating someone with a split personality. Especially since I do interact with some of the editors at Bunshun (not involved in the reporting of this scandal though) and go for drinks with them, I was really shocked that Bunshun would do that to me."

From her comments, it seems that Higashimura feels that the negative attention on her movie as a result of Nagano's scandal was more to do with Bunshun's reporting and at this timing before the movie was to be screened. Given that she has a working relationship with the publisher, it seems that she probably expected some form of "consideration" (忖度) to be given because what Bunshun did was tantamount to "betrayal" of their ties.

Now...looking at the comments below the article, it looks like the public doesn't see it in the same way and feels that her anger seems to be wrongly directed at Bunshun rather than Nagano who created this mess with her actions. There are a few aspects to consider here:

Holding back on negative coverage and interfering with the business of another department in the same company?
Coincidentally, TBS' drama which Nagano also stars in, featured a similar development where the reporter in the societal news department was lashing out at her colleagues in the news reporting department that their negative news coverage about her contact would spoil the effort and trust she had spent in building the relationship. And this was met with the retort that because of this bending-over-backwards consideration for the interests of others / "sontaku" was what made their news reporting hardly effective and not reflective of reality.

Going by Higashimura's argument, because she has a working relationship with the literary publishing arm of Bungeishunju, Shuukan Bunshun should not have reported on this scandal, especially not just before the release of her movie? The thing is, the literary works department and the editorial department of Shuukan Bunshun are most likely operating independently so for one department to exert influence on the other probably doesn't work in real life. Besides, Shuukan Bunshun is known for not shying away from controversy and influence (whether you feel that their articles are good for the public interest is another issue though) so I strongly doubt that the literary works department has the power to make the magazine "cancel" out a juicy scoop they took time and effort to investigate.

Likewise, if you consider the fact that the literary arm is still doing business as usual with Higashimura after the scandal's report came to light, this can also be seen as a sign of how both departments operate independently. It is not known if the literary department were "apologetic" or did anything to pacify her in the meeting straight after the publication of Bunshun's report but honestly, there was no need for them to do so anyway since they didn't go anything wrong to her in the first place.

And if Higashimura has an issue with the timing of the reporting, perhaps TBS should be even madder at Bunshun for releasing the first report just one episode after they started showing "Caster"? And if Nagano and Tanaka had taken a different route after the first report e.g. admitting to the scandal, would the second report even have come out with more damning evidence? Too many "what-ifs" here to consider.

Is the fault of the scandal with the parties who created the mess or the media outlet which exposed them?
From what it seems, Higashimura does have a very good opinion of Nagano which is fair enough because the latter was picked for this role which is modelled after Higashimura herself. And whatever Nagano may have done or not done in her private life, that could be unrelated to how she worked and acted in this movie. As such, I think it's understandable that Higashimura is full of praise for Nagano's acting or hard work put in for the movie.

The issue here is, Higashimura's comments seem to suggest that the mess which is plaguing her movie is because of Shuukan Bunshun's reporting. This is what I struggle to reconcile - why are you not upset with your lead actress who plunged your movie into this controversy and created trouble for everyone but you lash out at the media outlet for exposing her? Erm...perhaps someone can explain to me why?

Would negative press about the cast necessarily cause the performance of a work to suffer?
Consumers do have a choice. If you don't like something or someone in the cast, you make your choice with your remote control (TV), mouse (online streaming) or wallet (cinema). People who won't want to watch something in the first place will not choose the work anyway regardless of what happens. And those who really want something will still go ahead despite the "obstructions".

For those who wouldn't want to watch "Caster" because of Nagano, they can make a conscious choice not to watch the drama. Conversely, if you want to watch the movie "Kakukaku Shikajika" or want to support Nagano, you visit the cinema voluntarily and pay for the ticket with the money in your wallet. It is arguable whether negative press about the cast will affect the performance of a work and by how much. However, it is a bit too simplistic to draw a definite correlation between the scandal and the performance of a work because there are many factors which can come into play.

Personally, as I've been watching "Caster" every week, I find that the messy storyline is more likely to make me drop this drama rather than me rolling eyes while watching Nagano mouth those self-righteous lines with the bad press she is mired in right now at the back of my mind. Likewise, you can argue that "Kakukaku Shikajika" may do better in the box office if Nagano wasn't caught in this scandal (No.4 in the first week of release) but looking at the latest weekly box office ranking, it is up against blockbusters like "Conan", "Mission Impossible" and "Minecraft" so that's definitely questionable. 

I do not know what Higashimura intended to achieve by making those comments but whether they will help in her movie's performance in the box office, that remains to be seen. For now though, with both Nagano and Tanaka losing all their CM deals and being taken off projects due the cloud of doubt still hanging over their heads, those who are working with them can only pray that Bunshun or any other tabloid doesn't have an even more damning Part 3 to put the final nail in the coffin for their careers.

Wednesday, May 21, 2025

Too detached from reality? - The conflicting settings and unrealistic things in TBS Spring 2025 drama "Caster"


While "Caster" has been getting the wrong kind of attention of late due to Nagano Mei's ongoing controversy about an alleged affair with Tanaka Kei, another part of the drama is also being scrutinized for its apparent gaps between reality and fiction. This article from Pinzuba highlights the key discrepancies that are being talked about among viewers and industry insiders especially with regard to the character and newsroom settings.

To begin with, let's find out more about the key positions in a TV news reporting programme's production team:
  • Producer (プロデューサー): Person-in-charge of the entire programme. Manages various aspects such as planning, production and budget control.
  • Assistant Producer (アシスタントプロデューサー): Assists the producer in areas including drafting proposals, schedule and budget management
  • Overall Director (総合演出): Decides on the direction of the programme, issues instructions to directors and monitors the programme on-site
  • Director (ディレクター): Executes the plans from the overall director as well as gives instructions and manages the situation on-site.
  • Assistant Director (アシスタントディレクター): Follows the instructions of the director and provides support on-site.
  • Desk (デスク): The boss of the reporters who checks the articles and direction of the news reporting, decides on the composition of news topics for the day and time allocated to each story
  • On-site Reporter (リポーター・取材記者): Reporting news on site
  • Editing Reporter (編集記者): Compiles the information obtained on-site and creates articles to be read during the programme
  • Cameraman (カメラマン): The person-in-charge of filming footage at news reporting venues
  • Editors (編集者): Edits the information and filmed footage to produce news videos
  • Editor-in-chief (編集長): The boss of the editors who considers the quality and direction of the video content along with the viewers' needs and preferences and decides on the content mix
  • Caster / Announcer (キャスター・アナウンサー) : The person who reads the news in the programme
  • Commentator / Panelists (解説委員): Subject matter experts or panelists to explain the background and meaning behind news topics
  • Technical staff (技術スタッフ): Includes those working in broadcast technology, sound, artistic direction and technical support
Note that there may be slight differences in the terms used for the positions and/or segregation and overlap of duties between positions depending on various TV stations but the above more or less covers the key staff members for such news programmes.

If we are to look at the cast lineup in "Caster", the corresponding positions are as such:

Main Caster: Shindo Souichi (Abe Hiroshi)
Sub Caster: Koike Nami (Tsukishiro Kanato)

News Reporting Department Head: Kaiba Kouji (Okabe Takashi)
Producer: Yamai Kazuyuki (Otoo Takuma)
Overall Director: Sakikubo Hana (Nagano Mei)
Editor-in-chief: Ichinose Sakiko (Miyazawa Ema)

Director: Kajihara Koudai (Tamaoki Reo)
Assistant Director: Motohashi Yuusuke (Michieda Shunsuke) / Choi Jae-seong (Kim Mu-jun)
Editor: Ono Junya (Kimura Tatsunari)
Reporter (Society News): Ando Erika (Kikuchi Akiko)

The role and age of the overall director
First of all, one of the most commonly-heard "complaints" was the choice of Nagano to play the role of the overall director and what that position actually involves. This important role is often said to be the second-highest-in-command after the producer and has to manage the entire production personally in the studio while the producer actually spends more time away from the recording/broadcast of the programme doing high-level planning behind-the-scenes.
 
While the age of Nagano's character was not specified, it is estimated that she should be in her mid/late 20s to early 30s. Considering the fact that she was said to have worked in the variety department for a while and even got the Chairman's Award before, her age should be somewhere in her late 20s at the very least. In addition, the drama did have some scenes where Michieda's character Motohashi referred to her as his senior. This could be in reference to the fact that her position is higher than his or that she is older than him since the time setting of the story is that he is just into his second year of employment with JBN (his estimated age should be somewhere around 25).

Given her age setting, industry insiders pointed out that it was near impossible for someone to be given such an important position especially for a news programme. It would have been more appropriate for her to be a director instead. Moreover, based on what has been shown in the drama, this overall director had hardly done any "directing" within the studio and was often seen outside the studio such as going along with Shindo to film his interviews or get involved in the news reporting process. These are things which the overall director does not do in real life.

The unclear job scope and overlapping responsibilities
There are also seemingly unnatural points about the job scopes of other characters. 

For example, the editor-in-chief played by Miyazawa Ema should be busy enough dealing with news stories and making decisions on what to include for the day's broadcast. However, she had been depicted multiple times to be wearing an intercom headset and giving instructions to the staff during the broadcast which is what an editor-in-chief does not do. It also appears as if the story treats the role of the editor-in-chief to be equivalent or similar to that of the desk because she did refer to herself as the desk but the official cast chart shows her job title as editor-in-chief.

Likewise, Otoo Takuma's producer character should have been focusing on the management of resources and budgets instead of getting involved heavily in what goes on during the broadcast. As such, his actual job scope in the drama seems to deviate from reality too.

The unnatural / nonsensical news reporting process
In real life, there will be reporters in charge of designated areas/topics in the TV station's news reporting department. They are the ones who actually go out to report on news and pass the footage and information to the editors who create videos and other content used for the broadcast.

However, "Caster" hardly features any reporters doing this. In fact, the assistant director Motohashi and the overall director Sakikubo go outside the TV station to do the reporting while there is a noticeable absence of a reporter on site each time. Having an AD to confront a interviewee with proof of wrongdoing as featured in Ep 3 was also something that could never happen in reality. Moreover, a key component of the reporter's work i.e. negotiations with the production team on how much of the content is shown during the broadcast is sorely absent from the drama.

Spoiling the exclusive scoop
In Ep 3, when Motohashi exposed the professor's wrongdoing, he had done so in the presence of representatives from other media outlets even though this was an exclusive scoop he secured due to the evidence given to him by his friend. The thing is, nobody in the news reporting circle would spoil their own exclusive scoop like this because your rivals would just take the same information and report it. As such, the usual practice is to secure confirmation from the target in private without letting your competitors know. 

Employment matters are not decided on the fly
In Ep 5, the director Kajihara was suspended from work and told that his contract expiring at the end of the month would not be renewed due to an issue which cropped up for a report he was doing. The head of the news reporting department Kaiba said that since Kajihara's contract happened to be near the expiry date, the TV station would use this as the perfect excuse to give the latter his marching orders. However, this is not what happens in reality because there will be at least a two to three-month notice period when it comes to contract renewals especially if you factor in handover procedures. In addition, Kajihara is the chief director so for an important position like this, it is impossible to treat his contract in such a manner.

Trivalising the impact of a senior employee's brush with the law
In one episode, the director of JBN's societal news department was arrested for a criminal offense. However, JBN continued to operate as per normal as if nothing had happened. For a scandal like this involving a senior employee and in a position that deals with law enforcement authorities and the government bodies, the TV station couldn't have gotten away with just a simple apology on air. In extreme cases, the Ministry of Internal Affairs and Communications can even issue a broadcast suspension as punishment because this is considered a significant breach of trust as a TV broadcaster. 

While it is obvious that the drama prioritises entertainment over reality and tries really hard to portray Shindo as a super news caster who seems to do no wrong (until the rest of the characters do seem quite silly at times), these gaps with reality, conflicting settings and unrealistic developments make it more difficult for viewers to immerse themselves fully into the story. Although there were clear attempts at using real-life incidents as the base of these news stories featured in the drama (perhaps to boost the reality factor and gain more eyeballs by tapping on these big cases), it was also evident that the drama could not delve too deeply into these because of the potential negative impact on the actual persons and entities involved. In the end, this became a vicious cycle where the story ends up in the middle of nowhere.

Based on the episodes I've watched so far, I must say that the points raised in the article are indeed valid to a large extent. Personally, I wouldn't say that I have enjoyed all episodes of this drama to date because the quality seems to fluctuate a fair bit and the gap with reality does bug me to a large extent. And at this stage, most of the episodes can be considered to be fillers until the main plot/background story surfaces in the second half of the season so it's probably no wonder that the quality of the story seems to be a bit lacking at the moment. Coupled with the distraction from Nagano's scandal - somehow when she tries to be self-righteous and criticises Abe's character, it just comes across as uncomfortable to watch and less impactful as it should have been. This inevitably causes the impact of the drama and the message it is trying to convey to be weakened too. While I'm hopeful of better developments to come, I think it will take a major improvement in the second half of the drama to make up for the underwhelming first half in more ways than one.

Monday, May 19, 2025

The more the merrier vs. too many cooks spoiling the broth? - Looking into the trend of multiple scriptwriters in TBS' Sundays 9pm dramas


Is it a case of the more the merrier or will too many cooks spoil the broth? 

This article from Real Sound raises the above question by looking at the dramas from TBS' Sundays 9pm timeslot which has consistently done better than its competition in terms of ratings and critical reviews despite the languishing real-time ratings in recent years amid the rise of alternative viewing channels such as TVer and a wider variety of content vying for eyeballs such as those from Netflix.

While Japanese dramas traditionally tend to be written by a single scriptwriter, there is an increasing number of dramas featuring a main writer with assistants or multiple scriptwriters to share the workload or producing a collective script in the Hollywood style of "writers' room" where the team can range from as many as 10 to 20 writers. Recent examples in Japan which adopted the Hollywood style include NHK 2024 drama "3000-man" and Amazon Prime Video 2023 drama "Angel Flight".

Given that the Sundays 9pm timeslot is TBS' crown jewel in its drama programming, it is no wonder that a lot of time and resources are put into the offerings. However, the TV station's attempts to experiment with various genres and writing styles may not always turn out to deliver desired results. For example, while "VIVANT" in 2023 may have been a hit in terms of scale, the star-studded line-up and unexpected storyline which was kept a secret until the first OA, the response to last season's "Mikami-sensei" was somewhat divided especially over the long, complicated and philosophical lines in the script which required a fair bit of brain power to process.

The article highlights this season's "Caster" as being one of the unusual examples in this timeslot for having as many as 6 scriptwriters compared to the usual 1 to 4 writers in most dramas these days. Considering that a Sundays 9pm timeslot drama these days tends to last for 10 episodes, this actually means that each scriptwriter will probably get to work on slightly less than 1.5 episode (if divided equally). However, it is not known if they will actually co-write for each episode or divide individual episodes among themselves. 

One thing to note though, the last time a Sundays 9pm timeslot drama had 6 writers was in 2023's "Get Ready!" which was criticized for the lack of consistency in its story caused by fluctuating tones, writing style and story tempo back then. While it may be good to bounce off ideas from one another with a team of writers, it can also be risky if the team fails to agree on a single approach or chooses the wrong one when faced with varying viewpoints and options or worse still, come up with a script that has developments which do not agree with one another.

--------------------------------------------------------------------------------------------------------------------------

After reading this article, I wanted to investigate whether the number of scriptwriters do have a part to play in a drama's success/failure and if there are indeed trends pointing to a shift from single scriptwriters towards the multiple-writers system. As such, I obtained data for the TBS Sundays 9pm timeslot based on their offerings for the past decade and also tried to compare between figures from the pre- and post-COVID eras.

No. of dramas between Winter 2015 and Autumn 2019 = 20 (Pre-COVID)
No. of dramas between Winter 2020 and Winter 2025 = 19 (Post-COVID)

*Note that the Spring 2020 drama "Hanzawa Naoki 2020" was postponed to Summer 2020 due to the lockdown caused by the COVID pandemic. 
*I did not include "Caster" in the sample for the Post-COVID group since it is still running.
*Ratings information are based on the Kanto region thus may not reflect the true popularity and extent of viewership on both domestic and international streaming platforms.

Key observations over the past decade

  • The number of dramas which were real-life adaptations from novels and manga were about the same for pre-COVID (10 out of 20) and post-COVID (9 out of 19). 
  • Why I chose to make a distinction between the originals and adaptations in my analysis is that scriptwriters working on the latter need to fit their work within the parameters of the source material thus would have lesser creative freedom to do their thing. On the other hand, those doing originals have to bear the risk of their own ideas going either way - could be a success or flop.
  • One other thing to note is the difference between 原作 (original work) and 原案 (original draft). In the former, the scriptwriter has an original novel/manga etc. to adapt into a drama's script but in the latter, a draft with the broad outline of the characters and story setting is written by someone else other than the scriptwriter. As such, 原案 works are somewhat in the middle of the spectrum with adaptations and original creations at both ends and can be likened to be a "template" for scriptwriters to work with. In the pre-COVID days, there were no 原案 dramas but after the pandemic, there were at least 2 in this timeslot. This might be something to look out for in future - the concept of "DCU" was from overseas producers while "Gekokujou Kyuuji" was based on a non-fiction book about a true story. 
  • The number of Sundays 9pm dramas written by single scriptwriters was the same for both periods i.e. 11 out of 20 for pre-COVID and 11 out of 19 for post-COVID.
  • While some may say that there seems to be more dramas with multiple scriptwriters these days, the truth is that at least for this particular timeslot, it still seems to be fairly distributed between single and multiple scriptwriter systems for now.
  • However, the average number of scriptwriters for each Sundays 9pm drama has indeed increased. From an average of 1.65 writers per drama in the pre-COVID days, it does seem like there is a shift towards the multiple writers format with an average of 2.47 per drama in the post-COVID era.
  • It can also be observed that in terms of the number of writers per drama, the norm before COVID was anything from 2 to 4 but 4 seems to be the ideal number as seen in the post-COVID era with some going up to as many as 6 for a 10-episode drama series. This should explain why the average jumped so much in the past 5 years.
  • The length of a drama in this timeslot seems to be headed towards the sweet spot of 10 episodes per season post-COVID as compared to a variety of numbers in the pre-COVID era (ranging from 7 to 12). The average number of episodes per drama was 9.85 before 2000 but after that, the average inched up to 10.42.
  • As compared to the past when there was more or less standardization in terms of start and end dates for the seasonal dramas, there is a lot more variation these days with some having start dates before the beginning of the first month in the season and some not starting until the competition is already done with 2 or 3 episodes.
  • Despite so, to have the same number of episodes each season at 10 per drama since Spring 2022 (except for "Atomu no ko" which had only 9 episodes) seems to suggest the trend going forward that this is the preferred number of episodes for dramas in this timeslot.
  • In terms of performance based on average ratings, while the number of dramas which got an average above 10% was about the same at 15 titles for each period, the average rating was actually higher post-COVID at 13.39% compared to 12.81% pre-COVID. 
  • It is important to note that the post-COVID era included the monster hit "Hanzawa Naoki" which had a high average of 24.7% that was easily double of most offerings so this brought the average up significantly. In addition, the average ratings between 2020 and 2022 (the height of the pandemic where more people stayed home) were higher as compared to when restrictions were relaxed and people could head out more than before.
  • However, if you delve deeper in the 10%-and-above "hits" for both eras, only 6 out of 15 were written by single scriptwriters in the pre-COVID era while as many as 9 out of 15 were from solo scriptwriters in the post-COVID era.
  • What this probably suggests is that putting an entire drama in the hands of one scriptwriter can turn out to be a huge gamble thus resulting in the subsequent shift towards multiple scriptwriters as a form of risk mitigation by the TV station. 
  • On the other hand, since dramas by multiple scriptwriters tend to be those who are relatively unknown or fresh to this industry, it also helps in giving them experience without the burden of shouldering a drama's fate single-handedly.
  • In most scenarios, the staff credits list do not actually make a distinction in terms of hierarchy in the scriptwriting team. It is only when there is a main writer that the others are named as assistants e.g. "Mikami-sensei". As such, it looks from the outside that the members in such teams are on equal footing (more or less).
  • The higher success rate in the post-COVID era also needs to be considered along with the pandemic's situation between 2020 and 2022 when more people stayed home to watch TV. As such, out of the 9 hits in this period, 7 of them were from these years while there was only 1 in 2023 and 1 in 2025. 
  • The 3 dramas which got above 10% in 2024 were all written by teams of 4 scriptwriters while the only solo work "Umi ni nemuru daiyamondo" in the same year had a single-digit average rating.
  • Interestingly, while the 6 hits in the pre-COVID era were all from different solo writers, Kuroiwa Tsutomu accounted for as many as 4 out of the 9 hits in the post-COVID era i.e. "Kiken na Venus", "TOKYO MER", "My Family" and "Last Man Zenmou no sousakan". Of these, only "Kiken na Venus" was an adaptation from a novel so the others were all original scripts. 
  • On the other hand, the only other scriptwriter who had more than 1 hit in the past decade was Morishita Yoshiko but her two works were from different eras i.e. 2015's "Tennou no ryouriban" in the pre-COVID era and 2021's "Tengoku to Jigoku" from the post-COVID days. Perhaps this phenomenon seems to reflect a tendency to go back to tried-and-tested names when engaging solo writers because of the stakes involved for a golden timeslot like this?
On a personal note, I do pay attention to the scriptwriter other than the cast lineup and genre when deciding what to watch. While I do have some favourites, it is not always a given that I will like everything from them. Likewise, I don't really shun works by people I am not aware of or familiar with since the cast and genre tend to play a more significant part in influencing my decision. Of course, there are some who I know I probably wouldn't like because of their style of writing or past bad experience and would approach such works with a bit more caution and apprehension. 

One other thing which I do not really like is the idea of putting big names together to work on the same story especially if their styles are totally different and very hard to integrate with each other. One recent example I can think of is Netflix's "Rikon shiyouyo" - my conclusion is that the styles of Kudo Kankuro and Ooishi Shizuka just do not match and their individual strengths do not get amplified by putting them together.

Just based on the findings above, I think what's clear is that the more established names in the industry are likely to be the ones who get sole responsibility and power to write their scripts on their own especially for a primetime slot like TBS' Sundays 9pm. On the other hand, the willingness to shift towards having multiple writers can be good for the industry as a whole to introduce fresh and varied perspectives but it does come with a risk of the story being messed up. How to strike a balance between the need for consistently high quality throughout the entire drama and risk & resource management within the confines of the harsher operating environment is going to be an important issue to consider. Otherwise, it will be even hard to get access to good scriptwriters and nurture new ones when they get wooed with more resources from companies with deeper pockets and enjoy more creative liberty beyond what's allowed on traditional TV. In the end, viewers like us would probably not get to enjoy good productions if the scriptwriter i.e. one of the three key pillars in drama production is not there to shore up the story even with the best cast and staff lineup.