Quick Review #134: Taigan no kaji - Spring 2025

Title: Taigan no kaji / 対岸の家事　　　　　　　　　　　　

Rating: 7 / 10

Recommended for: 

For those who want to watch a meaningful story about respecting one another's life choices and lifestyles with a heartwarming vibe but do not mind it for being a tad slow at times

* Potential spoilers ahead!

Liked:

- The drama stayed true to its central theme of showing understanding for people in different circumstances and one another's life choices and lifestyles. As such, the vibe of the story was thoughtful and meaningful yet it didn't prescribe a single solution to the problems featured nor push one school of thought over the other. I think this approach would resonate well with a wide audience regardless of your life situation and the feeling of being understood and heard made it enjoyable to watch this. And it was good that the drama did not try to push for a happily-ever-after and expected ending especially the part when Nakatani (Dean Fujioka) wanted to have time to think about when he was ready to forgive his mother.

- The casting was quite unconventional in the sense that Tabe Mikako was paired with Ichinose Wataru while Dean Fujioka played a couple with Shimabukuro Hiroko. While their acting was good and brought out the signature traits of their characters, I found Eguchi Noriko's character to stand out more as she managed to display the struggles and vulnerabilities of a working mother very well. 

Disliked: 

- The side plot which dragged on for a few episodes i.e. the threats against Shiho (Tabe) for being a housewife was terrible and totally redundant. I get that the issue featured was important in a sense but the mis-directed anger towards Shiho for nothing was hardly convincing. The so-called resolution to the situation was even more ridiculous.

- As a former SPEED fan during their heydays, much as I was surprised to see Hiroko act in this drama, the amount of airtime she had was simply too little and hardly satisfying even though the character had the potential to be quite interesting.

- To be honest, the story lost steam in the second half and I was getting a tad bored with the slowness especially when they spent so much time on the threats made towards Shiho. If the drama had dragged on for another episode or two, I might have given up before the finale.

Preview of "Ayashii Partner" - Spring 2025

Title: Ayashii Partner / あやしいパートナー

Official website: here

Official Instagram: here

Official TikTok: here

Official X: here

O.A. Start Date: 29 April 2025

Timeslot: Tuesdays at 12.59am (MBS) / 1.28am (TBS)

Broadcast by: MBS & TBS

Original Korean drama by: Kwon Ki-young

Opening theme song: "Unmei nante" by FANTASTICS

Ending theme song: "Lovey Dovey" by Kami wa saikoro wo furanai

Cast: Yagi Yuusei, Saito Kyoko, Kusakawa Takuya, Morita Kokoro, Ijima Ku, Tosa Kazunari, Takasugi Kou & Watanabe Ikkei

Preview of "Aozora Biiru" - Spring 2025

Title: Aozora Biiru / あおぞらビール

Official website: here

Official Instagram: here

Official X: here

O.A. Start Date: 16 June 2025

Timeslot: Mondays to Thursdays at 10.45pm

Broadcast by: NHK

Total number of episodes: 32

Original book by: Morisawa Akio

Theme Song: "Aozora" by Ueno Daiki

Cast: Kubozuka Airu, Fujioka Maito, Toyoshima Hana, Minamide Ryoka & Sato Eriko

Guest Lineup: Matsuo Satoru, Kobayashi Ryoko (Week 1) / Ken Naoko (Week 2) / Tokunaga Chikara (Week 3) / Takenaka Naoto, Negishi Toshie, Hoshida Hidetoshi, Hamatsu Takayuki (Week 5) / Nozomi Futo, Murai Ryota (Week 6) / Miyake Hiroki (Week 7)

Winners of the annual edition of Nikkansports Drama Grand Prix (2024)

Here are the winners for the annual edition of Nikkansports Drama Grand Prix in 2024. Numbers in brackets indicate the number of votes received:

Best Drama

1) Minami-kun ga koibito!? (138,310)

2) Umi no hajimari (16,351)

3) Tokyo Tower (10,739)

4) Umi ni nemuru daiyamondo (10,546)

5) Hidamari ga kikoeru (10,403)

6) Hikaru kimi e (10,330)

7) Unmet Aru nougekkai no nikki (6,742)

8) Onzoushi ni koi wa muzusugiru (6,379)

9) Saionji-san wa kaji wo shinai (6,116)

10) 95 (4,315)

Best Leading Actor

1) Yamashita Tomohisa - Blue Moment (37,977)

2) Kubota Masataka - Sora wataru kyoushitsu (36,709)

3) Ninomiya Kazunari - Black Pean Season 2 (36,077)

4) Nakano Taiga - Shinjuku Yasen Byouin (34,860)

5) Nakazawa Motoki - Hidamari ga kikoeru (29,162)

6) Meguro Ren - Umi no hajimari (19,027)

7) Nagase Ren - Tokyo Tower / Onzoushi ni koi wa muzusugiru (14,828)

8) Yagira Yuuya - Lion no kakurega (5,621)

9) Takahashi Kaito - 95 (4,410)

10) Kyomoto Taiga - Omukae Shibuya-kun (4,359)

Best Leading Actress

1) Ito Sairi - Tora ni tsubasa (46,601)

2) Ichikawa Mikako - Hotspot (37,337)

3) Nao - Ano kuzu wo nagutte yaritainda (36,386)

4) Iinuma Ai - Minami-kun ga koibito!? (35,114)

5) Sugisaki Hana - Unmet Aru nougekkai no nikki (17,692)

6) Matsumoto Wakana - Saionji-san wa kaji wo shinai / Watashi no takaramono (15,792)

7) Yoshitaka Yuriko - Hikaru kimi e (13,878)

8) Hirose Suzu - Kujaku no dansu, dare ga mita? (11,979)

9) Imada Mio - Hanasaki Mai ga damattenai (11,128)

10) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu! (3,299)

Best Supporting Actor

1) Yagi Yuusei - Minami-kun ga koibito!? (138,574)

2) Matsumura Hokuto - Saionji-san wa kaji wo shinai / Ensemble (22,342)

3) Bandou Ryouta - Lion no kakurega (17,727)

4) Nishihata Daigo - Onzoushi ni koi wa muzusugiru (11,740)

5) Fukazawa Tatsuya - Watashi no takaramono (10,728)

6) Ikematsu Sousuke - Umi no hajimari (7,503)

7) Ozaki Takumi - Unmet Aru nougekkai no nikki (5,950)

8) Matsuda Genta - Tokyo Tower (5,076)

9) Wakaba Ryuuya - Unmet Aru nougekkai no nikki (3,497)

10) Kobayashi Toranosuke - Sora wataru kyoushitsu (3,421)

Best Supporting Actress

1) Amami Yuki - Believe - Kimi ni kakeru hashi - (51,691)

2) Kuroki Haru - Hikaru kimi e (51,230)

3) Kimura Yoshino - Minami-kun ga koibito!? (35,006)

4) Takeda Rena - Minami-kun ga koibito!? (34,951)

5) Izumitani Rana - Umi no hajimari (15,034)

6) Kurata Ema - Saionji-san wa kaji wo shinai (8,412)

7) Itaya Yuka - Tokyo Tower (8,110)

8) Sugisaki Hana - Umi ni nemuru daiyamondo (7,195)

9) Koshiba Fuuka - Berabou ~ Tsutajuu Eiga no Yumebanashi (6,050)

10) Noro Kayo - Unmet Aru nougekkai no nikki (4,608)

Preview of "Nihon Touitsu Tokyo hen" - Summer 2025

Title: Nihon Touitsu Tokyo hen / 日本統一　東京編

Official website: here

Official Instagram: here

Official TikTok: here

Official X: here

O.A. Start Date: 2 July 2025

Timeslot: Wednesdays at 1am

Broadcast by: TV Tokyo

Cast: Motomiya Yasukaze, Yamaguchi Yoshiyuki, Shinoda Mariko, Tachi Yoshimi, Kitadai Takashi, Katsuya, Nakazawa Tatsuya, Honda Hiroto, Kawasaki Kenta, Kyan Yutaka, Nakaya Kazuhiro & Katase Rino

Quick Review #133: Kuuhaku (movie)

Title: Kuuhaku / 空白　　　　　　　　　　　　

Rating: 7 / 10

Recommended for: 

For those who want to watch a story featuring different perspectives on who's at fault and who's the victim and/or are fans of the cast especially Furuta Arata and Matsuzaka Toori

* Potential spoilers ahead!

Liked:

- This story will invoke changing emotions and interpretations as the movie progresses with regard to the topic of who's at fault and who's the victim in the case of an accidental death of a junior high school girl caught for shoplifting. I liked the fact that there was no standard answer given and showcasing different perspectives was a good way to highlight the dilemma of how difficult it is to view an issue objectively especially when emotions and our values come into the picture.

- The cast boasted quite a number of good actors with Furuta Arata and Matsuzaka Toori hogging the limelight as characters on opposite sides of the spectrum. Furuta's portrayal as a father who kept looking outwards to justify and make sense of why his daughter behaved the way she did and the reason she died instead of reflecting on his own actions was very convincing. On the other hand, Matsuzaka managed to show the complexity of his character who was filled with conflicting emotions as he faced criticism and pressure from what he supposedly did rightly but ended with the wrong consequences. Likewise, the supporting actors like Terajima Shinobu, Shuri, Ito Aoi, Tabata Tomoko, Fujiwara Kisetsu and Kataoka Reiko all pulled their weight to make their characters come to life.

Disliked: 

- While the individual parts of the movie were good, I felt that the story lacked a strong central theme or rather, was weak in trying to convey it. The title which literally means "blankness" can indeed be interpreted in a variety of ways such as how the father-and-daughter who hardly knew and understood each other despite living under the same roof, the emptiness and isolation which the daughter felt both at home and in school or the supermarket owner whose life revolved around the supermarket but he never realised the value of it to himself, the employees and customers until it was too late. While this multi-pronged approach might give viewers the freedom to develop their own conclusions, this also diluted the power of the movie's messaging. I felt like I went through a pretty emotional and painful journey but with no tangible or obvious outcome just like how the supermarket owner got a very belated and ambiguous apology for the father who finally acknowledged that his late daughter did do something wrong which contributed to the accident. Perhaps this hollow feeling is meant to resonate with the title and make everything come full circle but I would have preferred a clearer delivery of any central theme which the director or scriptwriter had in mind.

Preview of "Gezanmeshi Takasaki hen" (Drama SP)

Title: Gezanmeshi Takasaki hen / 下山メシ　高崎篇

Official website: here

Official Instagram: here

Official X: here

O.A. Start Date: 26 June 2025 at 12.30am

Broadcast by: TV Tokyo

Original book by: Nishino Toshiko

Cast: Shida Mirai

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.

Preview of "Kaibutsu" - Summer 2025

Title: Kaibutsu / 怪物

Official website: here

O.A. Start Date: 6 July 2025

Timeslot: Sundays at 10pm

Broadcast by: WOWOW

Original Korean drama by: Kim Su-jin

Cast: Yasuda Ken, Mizukami Koushi, Gouriki Ayame, Fujimori Shingo, Matobu Sei, Saotome Taichi, Kubo Saori, Kote Shinya, Hashimoto Jun, Mitsuishi Ken, Takahata Atsuko & Watabe Atsuro

Quick Review #132: Tsuki no michikake (movie)

Title: Tsuki no michikake / 月の満ち欠け　　　　　　　　　　　　　

Rating: 6 / 10

Recommended for: 

For those who want to watch a love story but don't mind the illogical and harrowing reincarnation concepts in the movie and/or are fans of the cast

* Potential spoilers ahead!

* I have not read the original novel.

Liked:

- The love stories of the two couples i.e. the Osanais (Ooizumi Yo and Shibasaki Kou) and Ruri x Akira-kun (Arimura Kasumi and Meguro Ren) were depicted pretty well with the former being the heartwarming and brings-a-smile-to-your-face type of subtle love and the latter being more of passionate and somewhat intense kind of love. I actually prefer the Osanais' story especially the parts where they talked about how they fell in love with each other and eventually got married. Such a warm and fuzzy vibe and very blissful kind of love to watch. 

- The acting of the four leads were definitely quite spot-on and very enjoyable to watch except for the scene when Ooizumi's character Tsuyoshi was crying at the sight of his loved ones' bodies after the accident where his cries sounded a bit odd. While Shibasaki may not have appeared a lot, I thought that the ending moments of her character Kozue telling her side of the love story were extremely well done. Fans of Meguro Ren would be quite happy to see him as a lovelorn chap but may not be so excited to see the bed scene with Arimura Kasumi (not explicit though since they were mainly long shots from a distance and there was a blanket covering the actors).

Much as I don't feel like praising Tanaka Kei, I have to give him credit when it's due - he's really suited to play this kind of obsessive/abusive husband and lover with a seemingly harmless and nice face.

Disliked: 

- This is my personal preference though but I am really not a fan of 転生 / reincarnation stories to begin with. While I understood that this was necessary for the purpose of this story, the loopholes and illogical execution of this concept made it impossible for me to like the movie. To be able to choose at will how or who you will be reborn as - that's already quite unbelievable. Not to mention waiting for the reborn version to grow up (which will take at least more than a decade) before resuming your love story from the last life - that just comes across as a horror and rather repulsive thing to happen and I certainly don't find it, romantic at all. Especially the final scene showing who Kozue was reborn as - that really killed any remaining positive feelings I had for the movie. This was quite a pity though because I did like specific parts of the movie as outlined above but it ended on such a sour note that I am not even sure if I want to finish reading the original novel which has been lying around since I bought it a while ago.

- Given that the story spans quite a number of years, I was surprised to see that there wasn't any attempt to distinguish between the 80s and 90s more distinctively. As such, in terms of clothing, the sets, surroundings and character images, they didn't feel that different from each other in the two timelines. That could be a bit confusing for viewers though so that's probably why the years kept appearing on screen to indicate the time when the development happened. 

- In relation to the above point, while Ooizumi and Shibasaki's characters did appear different in the two timelines, both in terms of mannerisms and appearance since the couple did evolve from newly-weds to parents of a 18-year-old senior high school kid, Meguro's character didn't really show the progression of time. He may have dressed more maturely as a guy in his 30s when he met Ooizumi's character for the first time but it felt like he was stretching it a bit too far and didn't come across as too convincing in this sense. On the other hand, his scenes as the university student-version of Akira-kun were definitely more natural since that's close to his actual age.

Preview of "Oi, Dazai" - Spring 2025

Title: Oi, Dazai / おい、太宰

Official website: here

O.A. Start Date: 29 June 2025

Timeslot: Sundays at 10pm

Broadcast by: WOWOW

Cast: Tanaka Kei, Koike Eiko, Miyazawa Ema, Kajihara Zen & Matsuyama Kenichi

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. 

Preview of "Teruko to Rui" - Spring 2025

Title: Teruko to Rui / 照子と瑠衣

Official website: here

O.A. Start Date: 22 June 2025

Timeslot: Sundays at 10pm

Broadcast by: NHK

Total number of episodes: 8

Original novel by: Inoue Areno

Cast: Fubuki Jun, Natsuki Mari, Fukuchi Momoko, Miura Ryota, Toudou Hinata, Okano Yoichi, Anzai Hajime, Yamaguchi Tomomitsu, Yuki Saori & Owada Shinya

Quick Review #131: Mukashi no otoko - Spring 2001

Title: Mukashi no otoko / 昔の男　　　　　　　　　　　　　

Rating: 4 / 10

Recommended for: 

For those who want to watch an erotic/adult story about people who go crazy for love and/or like stories about people having affairs but masked as pure love

AND/OR

Those who want to see the key cast members i.e. Fujiwara Norika, Oosawa Takao, Abe Hiroshi and Tomita Yasuko from 24 years ago in a messy romance story

* Potential spoilers ahead!

* I had actually watched this before a long time ago but didn't remember the details.

Liked:

- Oosawa Takao + Abe Hiroshi exuding a lot of sexy charm from 24 years ago is probably going to be a huge draw for the female viewers. As for the guys, there is Fujiwara Norika looking hot and gorgeous and Tomita Yasuko with a demure and beautiful look (not when her character goes crazy though).

- This being an adult love story and that there was quite a fair bit of attention on the physical attraction and desire between the characters, it was no wonder that there were a lot of intimate scenes. While I thought that there were too many at some point because it got so repetitive, I guess the sole saving grace was that they didn't go too big on the nudity so it didn't feel like a porn flick.

- Tomita's acting definitely outshone everyone else in the cast. Not an easy role to play because it would feel fake if she went too overboard so I thought that she did very well with maintaining a fine balance between the different facades of her character.

Disliked: 

- You might arrive at different conclusions and views on this drama depending on at which age or life stage when you watched this and/or in which era. Back then when this first aired, although I don't quite remember how I came across this drama and the details of the story, I do have a vague impression that I was pretty shocked by this. Not sure if it was due to the scriptwriter Uchidate Makiko's style of storytelling but I think I had a similar shocking experience when I watched another drama from her i.e. "Kegareta shita" in 2005. That was even more extreme than this drama, if I must say.

I was not an adult yet when this drama aired so I think my interpretation of the storyline and the characters naturally differed from how I look it at it now. There were probably many like me at that time who might wanted the lead characters to be together happily ever after despite the mess they created in the process. However, the me in 2025 just cannot see the lead couple in the same light anymore because the tinted glasses which I saw them through due to the way the story was crafted are gone. Perhaps it's due to having seen so many fictional and real-life affair stories in the Japanese entertainment scene over the past two decades that it has "opened up my eyes" to the problematic, immoral and sometimes evil behaviour which many of the characters engaged in. As such, it was difficult for me to feel for the characters, much less rooting for them.

I failed to comprehend how the lead couple could be having an affair so openly and selfishly while the people around them somehow facilitated or egged them or sort of turned a blind eye to what was going on. The mother-in-law who didn't blame her son for having an affair but directed criticism at the daughter-in-law? And what's with the boyfriend and the ex-boyfriend sitting together to have drinks in a pub talking about the same woman they were sleeping with?! A woman feeling like she got spurned but actually the man had never even expressed any interest in her before and it was one-sided on her part all along? And the current boyfriend helping the girlfriend go to taunt the ex-boyfriend so that the latter could be seduced by her again? All these things made it rather impossible for me to like this drama and instead, I found myself shaking my head at how ridiculous and nonsensical some of these developments were.

While I might have thought in the past that Tomita's character as the cheated on wife was largely at fault for "indirectly" causing her husband's infidelity, I think that the other side of the story which might not have been apparent to my younger self had become more obvious and understandable to me now. If I was writing this review after the first time I watched this drama, I might have kinder words for it though.

Preview of "Hitori de shinitai" - Spring 2025

Title: Hitori de shinitai / ひとりでしにたい

Official website: here

O.A. Start Date: 21 June 2025

Timeslot: Saturdays at 10pm

Broadcast by: NHK

Original manga by: Curry Zawa Kaoru

Theme Song: "Bounitsuki" by Shiina Ringo

Cast: Ayase Haruka, Sano Hayato, Yamaguchi Sayaka, Koseki Yuuta, Tsunematsu Yuri, Mitsushima Shinnosuke, Maro Akaji, Kishimoto Ayuka, Fujima Sawako, Kominami Mayuko, Koume Dayu, Kunimura Jun & Matsuzaka Keiko

Quick Review #130: Sunset Sunrise (movie)

Title: Sunset Sunrise / サンセット・サンライズ　　　　　　　　　　　　　

Rating: 8 / 10

Recommended for: 

For those who want to watch a feel-good story with serious topics embedded within amid some funny elements and/or are fans of Suda Masaki and Inoue Mao

* Potential spoilers ahead!

* I have not read the original novel.

Liked:

- While this movie was longer than 2 hours, it surprisingly didn't feel draggy nor rushed. Although I was a bit worried that this story might be big on senseless humour because it's a Kudo Kankuro script or go the other way to be a serious and dark story given the location in Tohoku (will inevitably talk about the aftermath of the 3.11 earthquake and tsunami crisis), I'm glad that there was a fine balance struck to make the movie quite palatable.

The story was pretty straightforward as it depicted how a company employee from Tokyo came to a fictitious town in the Tohoku region to rent a large house at an unbelievably low price after seeing the ad online. Since that was during the early days of the COVID-19 pandemic and that the virus hadn't actually spread in the countryside yet, an outsider from a place which was already seeing shutdowns and people working from home full time to curb the spread of the infection would naturally be viewed with increased scrutiny and skepticism. Even if the locals realised that his choice was largely influenced by the fact that he was a fishing enthusiast, had no ulterior motives and could make use of the fact that he could work remotely outside of Tokyo to pursue his interest, it still took them some time to warm up to this stranger. The journey which the lead character went through was predictable and there wasn't a lot of "drama" in that sense. However, I thought that the story provided quite a lot of food for thought on various issues. 

One line which I thought was quite memorable and impactful goes something like this - "We in the Tohoku region have always looked to Tokyo as the capital for things like the hottest TV shows to watch and the songs we listen to. However, how many people in Tokyo actually pay the same kind of attention to us? You people can't even name the 6 prefectures in the Tohoku region, for heaven's sake. And then after the tsunami crisis, you people just came to volunteer for a while, take off after that and conveniently forgot about us." Wow, very blunt but I think really impactful message which KudoKan was trying to convey here.

- Suda Masaki was definitely the star of the show as an endearing and funny stranger in this countryside as he learned how to live among the locals. I really liked his pairing with Inoue Mao and the ending was a tad unconventional i.e. that flying hug but very sweet. You would probably like this movie a lot if you are a fan of them.

Disliked: 

- Although the movie as a whole had a nice vibe, I thought that there were some parts where the humour got a bit stale. Perhaps by making the pace a bit faster in the second half of the story and cutting out the fluff might make this even more enjoyable to watch.

Romaji lyrics of "Boku niwa doushite wakarun darou" by Vaundy (Theme Song of TV Asahi Spring 2025 drama "PJ ~ Koukuu kyuunandan ~")

Title: Boku niwa doushite wakarun darou

Artist: Vaundy

Written by: Vaundy

Theme Song of TV Asahi Spring 2025 drama "PJ ~ Koukuuu kyuunandan ~"

konban wa oriru eki wo kae

boku no kokoro ni saiteita

chiisana puraido no yukue wo sagashita

zutto kizukenakattanda

boku no kokoro ga dou nimo

ano kikinareta ririkku de

namida wo nagashidasu made

ima dounika iiwake sagashite

me wo sorashite miyou ga

kitto

boku ijou ni boku izen ni boku yori mo

boku no koto tsukutteru

boku niwa doushite wakarun darou

mayoeru hibi ga

kore to nai aji no essei

boku niwa doushite wakarun darou

zasetsu no hibi wa irozuku tame

zenbu monokuro

konban wa aruku michi wo kae

boku no kokoro ni maiteita

chiisana puraido no kaori wo tadotta ga

toki wa manatsu

kouten to kaijin

souen kiwatatsu

kossou ao ni toke

monokuro wa keshian souhaku e

kotoba tarazu de itsumo miushinau no

kanashimi wa iiwake no kazu de

me wo tozashite miyou ga

zutto

boku ijou ni boku izen ni boku yori mo

boku no koto tsukutteru

mabuta ni utsutta eiga

boku niwa doushite wakarun darou

subete no koto ga

soumatou mune ni nokotteiru

boku niwa doushite wakarun darou

subete no koto ga

iro de michiteita monokuro

ano minato kara hikari wo tagutte

koko made kitanda

jitto

koudou wo kiiteita

[bokutachi wa, hisui no kiseki wo ikiteiru]

boku niwa doushite wakarun darou

subete no koto ga

soumatou mune ni nokotteiru

boku niwa doushite wakarun darou

subete no koto ga

marude akuru mae no you

boku niwa doushite wakarun darou

subete no hibi ga

kore to nai aji no essei

boku niwa doushite wakarun darou

subete no keshiki ga

omoidasu tame no monokuro

Quick Review #129: Kounodori 1 - Autumn 2015

Title: Kounodori 1 / コウノドリ １　　　　　　　　　　　　　

Rating: 8 / 10

Recommended for: 

For those who want to watch a no-frills realistic take on the issues surrounding pregnancy and childbirth with a star-studded cast and/or are fans of the MIU404 duo i.e. Ayano Go and Hoshino Gen in a hospital setting

* Potential spoilers ahead!

* Currently showing on Netflix (availability subject to geographical location)

* I have not read the original manga.

Liked:

- Unlike a lot of medical dramas which tend to make the lead character-doctor appear to be almighty and can cure anyone or all medical complications/issues can be resolved no matter what happens, this drama came across as pretty down-to-earth and largely realistic because it showed both the positive and negative sides for issues raised. While there were some regretful developments which may be sad, the imperfection portrayed here mirrors how life is really like so I thought it was good that the drama did not try to gloss over things and push for a all-ends-well-eventually vibe throughout.

There was also a lot of useful and hardly-known information about pregnancy, childbirth and social support for childcare which I think would be beneficial for anyone to know and to understand that having a child safely and successfully is not a given. Most importantly, I think the story did not try to give a best or only answer for the topics raised and left that judgement to the viewers because we would probably think differently based on our circumstances and experience to date. As such, it didn't feel like the drama was trying to push for a single outcome or most acceptable solution to viewers.

- The drama boasted of a star-studded line-up with the regulars being all leading-actors level by now so if you are fans of them, you will probably enjoy watching this at least for the sake of seeing how they used to act 10 years ago. I also liked the bickering young doctors played by Matsuoka Mayu and Sakaguchi Kentaro. What was also good was that the drama didn't try too hard in making the characters look like super beings who could do everything so everyone was endearing and relatable in their own right especially the parts where their vulnerabilities were displayed.

- Among the guests, I would say that Oguri Shun and Yamaguchi Mayu left the strongest impression on me. Well, in Oguri's case, you can consider him to be somewhat like a sub-regular member of the cast because he appeared quite a number of times across multiple episodes despite being a guest. Not that I mind though because I really enjoyed his performance as a single father who had to take care of his baby daughter on his own after his wife passed away due to an accident. As for Yamaguchi, her scene as a teenage mother who had to give up her baby for adoption as soon as she had given birth - I thought her acting was really heart-wrenching and convincing despite her being a teenager as well at that time. Although the drama featured quite a number of sad moments, hers was the only one which really moved me.

Disliked: 

- Perhaps this might be more of an issue for people like me who watched "MIU404" first before the "Kounodori" series but I felt that the character setting for Ayano and Hoshino's characters was somewhat identical i.e. one hot and one cold. As such, there were quite a lot of times when I felt that I was watching "MIU404" in a hospital setting and I had to keep reminding myself that I was watching a different drama. Given that the gap between both dramas was a good 5 years and that "MIU404" did not have original content to be based on, I just found that the overlap in their character settings somehow gave a been-there-done-that vibe so the novelty factor in that sense was somewhat lacking. I wonder if I might have felt the same way about "MIU404" if I had watched "Kounodori" first.

- Much as I said above that the story was largely rooted in reality and didn't try to be too dramatic, I found the ending a bit too idealistic and seemingly in a hurry to wrap up everything nicely. Perhaps it might be better to maintain the imperfection e.g. how Arai (Yamaguchi Sayaka) did not return to work as she was taking a break due to burnout rather than try to make everything look so hopeful and positive such as the couple taking their baby home after being unable to accept him for a long time.

The 123rd Drama Academy Awards (Winter 2025) - Best Drama

Overall Ranking Top 3

1) Mikami-sensei
2) Hotspot
3) Tokyo Sarada Bouru

Voters Ranking Top 5

1) Onzoushi ni koi wa muzusugiru

2) Apollo no uta

3) Mikami-sensei

4) Nipponichi no saitei otoko

5) Madoka 26-sai, Kenshuui yattemasu!

TV Reporters Ranking Top 5
1) Hotspot
2) Mikami-sensei
3) Tokyo Sarada Bouru

4) Kujaku no dansu, dare ga mita?

5) Madoka 26-sai, Kenshuui yattemasu!

Judges Ranking Top 5
1) Mikami-sensei

2) Hotspot

3) Tokyo Sarada Bouru

4) Nipponichi no saitei otoko

5) Bansan Blues

Source: The Television

The 123rd Drama Academy Awards (Winter 2025) - Best Leading Actor

Overall Ranking Top 3

1) Matsuzaka Toori - Mikami-sensei

2) Matsuda Ryuuhei - Tokyo Sarada Bouru

3) Katori Shingo - Nipponichi no saitei otoko

Voters Ranking Top 5
1) Nagase Ren - Onzoushi ni koi wa muzusugiru
2) Matsuzaka Toori - Mikami-sensei
3) Sato Shouri - Apollo no uta
4) Katori Shingo - Nipponichi no saitei otoko
5) Fujiwara Joichiro - Boku no asadoi motokano from Asadokute nani ga warui no?

TV Reporters Ranking Top 5
1) Matsuzaka Toori - Mikami-sensei
2) Matsuda Ryuuhei - Tokyo Sarada Bouru
3) Katori Shingo - Nipponichi no saitei otoko
4) Inowaki Kai - Bansan Blues

5) Kaneko Daichi - Bansan Blues

Judges Ranking Top 5
1) Matsuzaka Toori - Mikami-sensei
2) Matsuda Ryuuhei - Tokyo Sarada Bouru

3) Katori Shingo - Nipponichi no saitei otoko

4) Kamikawa Takaya - Mondai Bukken

5) Kaneko Daichi - Bansan Blues

Source: The Television

The 123rd Drama Academy Awards (Winter 2025) - Best Leading Actress

Overall Ranking Top 3

1) Ichikawa Mikako - Hotspot 
2) Nao - Tokyo Sarada Bouru
3) Hirose Suzu - Kujaku no dansu, dare ga mita?

Voters Ranking Top 5
1) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!
2) Hirose Suzu - Kujaku no dansu, dare ga mita?

3) Ichikawa Mikako - Hotspot

4) Takaishi Akari - Apollo no uta

5) Kawaguchi Haruna - Ensemble

TV Reporters Ranking Top 5
1) Ichikawa Mikako - Hotspot
Nao - Tokyo Sarada Bouru
3) Hirose Suzu - Kujaku no dansu, dare ga mita?

4) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!

5) Takaishi Akari - Apollo no uta

Judges Ranking Top 5
1) Ichikawa Mikako - Hotspot

Nao - Tokyo Sarada Bouru

Hirose Suzu - Kujaku no dansu, dare ga mita?

4) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!

5) Renbutsu Misako - Vanilla na mainichi

Source: The Television

The 123rd Drama Academy Awards (Winter 2025) - Best Supporting Actor

Overall Ranking Top 3

1) Kakuta Akihiro - Hotspot

2) Okudaira Daiken - Mikami-sensei

3) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?

Voters Ranking Top 5
1) Nishihata Daigo - Onzoushi ni koi wa muzusugiru
2) Matsumura Hokuto - Ensemble
3) Shison Jun - Nipponichi no saitei otoko
4) Kakuta Akihiro - Hotspot
5) Okudaira Daiken - Mikami-sensei

TV Reporters Ranking Top 5
1) Kakuta Akihiro - Hotspot
2) Okudaira Daiken - Mikami-sensei
3) Isomura Hayato - Kujaku no dansu, dare ga mita?
4) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?
5) Okada Masaki - Mikami-sensei

Judges Ranking Top 5
1) Kakuta Akihiro - Hotspot
2) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?

3) Okudaira Daiken - Mikami-sensei

4) Okada Masaki - Mikami-sensei

Kitamura Kazuki - Mikami-sensei

Source: The Television

The 123rd Drama Academy Awards (Winter 2025) - Best Supporting Actress

Overall Ranking Top 3

1) Shibuya Nagisa - Jigoku no hata made tsureteiku

2) Hiraiwa Kami - Hotspot
3) Suzuki An - Hotspot

Voters Ranking Top 5
1) Yamashita Mizuki - Onzoushi ni koi wa muzusugiru
2) Yoshioka Riho - Mikami-sensei
3) Hotta Mayu - Mikami-sensei
4) Tominaga Ai - Nipponichi no saitei otoko
5) Naka Riisa - Omusubi

TV Reporters Ranking Top 5
1) Shibuya Nagisa - Jigoku no hata made tsureteiku
2) Hiraiwa Kami - Hotspot

3) Yoshioka Riho - Mikami-sensei

4) Suzuki An - Hotspot
Hotta Mayu - Mikami-sensei

Judges Ranking Top 5
1) Tokiwa Takako - Mikami-sensei
2) Shibuya Nagisa - Jigoku no hata made tsureteiku

3) Uchida Rio - Mondai Bukken

4) Hiraiwa Kami - Hotspot

Takiuchi Kumi - Kujaku no dansu, dare ga mita?

Source: The Television

The 123rd Drama Academy Awards (Winter 2025) - Best Theme Song

Overall Ranking Top 3

1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)

2) Elf - Ado (Kujaku no dansu, dare ga mita?)

3) Koe - Hitsujibungaku (119 Emergency Call)

Voters Ranking Top 5
1) HEART - King & Prince (Onzoushi ni koi wa muzusugiru)
2) Circus Funk (feat. Chevon) - Katori Shingo (Nipponichi no saitei otoko)
3) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)
4) Eureka - Hoshino Gen (Madoka 26-sai, Kenshui yattemasu!)
5) Cinema - aiko (Ensemble)

TV Reporters Ranking Top 5
1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)

2) Elf - Ado (Kujaku no dansu, dare ga mita?)

3) Koe - Hitsujibungaku (119 Emergency Call)
4) Eureka - Hoshino Gen (Madoka 26-sai, Kenshui yattemasu!)
5) Illumination - B'z (Omusubi)

Judges Ranking Top 5
1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)

2) Elf - Ado (Kujaku no dansu, dare ga mita?)

3) Iris - BUDDiiS (Himitsu ~ THE TOP SECRET ~)

Koe - Hitsujibungaku (119 Emergency Call)

5) Circus Funk (feat. Chevon) - Katori Shingo (Nipponichi no saitei otoko)

Source: The Television

Winners of Music Awards Japan (MAJ) 2025 - Grand Ceremony (22 May 2025)

Here are the winners announced during the grand ceremony of Music Awards Japan 2025 on 22 May 2025:

Song of the Year: "Bling-Bang-Bang-Born" by Creepy Nuts

Artist of the Year: Mrs. GREEN APPLE

New Artist of the Year: tuki.

Album of the Year: "LOVE ALL SERVE ALL" by Fujii Kaze

Top Global Hit from Japan: "Idol" by YOASOBI

Best Song - Asia: "Supernova" by aespa

Best Viral Song: "Bling-Bang-Bang-Born" by Creepy Nuts

Best of Listeners' Choice - Japanese Song: "GOAT" by Number_i

Special Award - Korean Popular Music: "God of Music" by SEVENTEEN

Special Award - Chinese Popular Music: "Shao guan wo" by Zhou Shen

Special Award - Thai Popular Music: "Ghost" by Jeff Satur

Special Award - Indonesian Popular Music: "Bunga Hati" by Salma Salsabil

Special Award - Vietnamese Popular Music: "Tai Sinh" by Tung Duong

Special Award - Philippine Popular Music: "Raining in Manila" by Lola Amour

Best of Listeners' Choice - International Song: "Neva Play (feat. RM of BTS)" by Megan Thee Stallion

Best Japanese Hip Hop / Rap Artist: Creepy Nuts

Best Idol Artist / Group: Snow Man

MAJ Timeless Echo: Yazawa Eikichi

Karaoke of the Year - J-pop: "Lilac" by Mrs. GREEN APPLE

Karaoke of the Year - Enka / Kayokyoku: "Showa Katagi" by Tendo Yoshimi

Special Award - Oshi-katsu request Artist of the Year: Number_i

Song of the Year for Creators: "Idol" by YOASOBI

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.

Winners of Music Awards Japan (MAJ) 2025 - Premiere Ceremony (21 May 2025)

The Music Awards Japan (abbreviated as MAJ), is a music awards show held by the Japanese music industry to honour music talents from Asia, Japan and the Western regions and introduce Asian music to the global audience. The awards are organized by the Japan Culture and Entertainment Industry Promotion Association (CEIPA) in collaboration with the Japan's Ministry of Economy, Trade and Industry (METI). CEIPA was founded by the five major music organizations of the Japanese music industry i.e. the Recording Industry Association of Japan (RIAJ), the Japan Association of Music Enterprises, the Federation of Music Producers Japan, the Music Publishers Association of Japan, and the All Japan Concert & Live Entertainment Promoter's Conference and is responsible for the organization, marketing and hosting of the Music Awards Japan.

The list of eligible works and artists was generated through an automatic system based on data from Oricon, Billboard Japan, GfK Japan, Luminate, Usen, Daiichi Kosho Company, JASRAC etc. The artist concerned must have released at least one work during the qualification period of 29 January 2024 to 26 January 2025. 

The nominees (up to 5 per category) were then decided by a panel from the Japanese music industry. An international panel then decided on the winner for each category. However, the following categories' nominees and winners were selected through a public voting exercise via Spotify:

• Best of Listeners' Choice: Japanese Song
• Best of Listeners' Choice: International Song

The winners for the inaugural edition of MAJ will be announced over two days i.e. during the premiere ceremony on 21 May and the grand ceremony on 22 May, both held at Rohm Theater in Kyoto.

* Note that the announcement website provides links to various streaming/download portals to listen to the winning songs.

* The delayed-live stream of the grand ceremony can be viewed here.

Here are the winners announced during the premiere ceremony:

Best Japanese Song: "Bling-Bang-Bang-Born" by Creepy Nuts

Best J-Rock Song: "SPECIALZ" by King Gnu

Best Japanese Hip Hop / Rap Song: "Bling-Bang-Bang-Born" by Creepy Nuts

Best Japanese R&B / Contemporary Song: "Automatic" by Utada Hikaru

Best Japanese Dance Pop Song: "Bling-Bang-Bang-Born" by Creepy Nuts

Best Japanese Alternative Song: "more than words" by Hitsujibungaku

Best Japanese Singer-Songwriter Song: "Kaiju no Hanauta" by Vaundy

Best Idol Culture Song: "Watashi no ichiban kawaii tokoro" by FRUITS ZIPPER

Best Anime Song: "Idol" by YOASOBI

Best Enka / Kayokyoku: "Kurenai no chou" by Yamauchi Keisuke

Best Revival Hit Song: "Peppermint Blue" by Ohtaki Eiichi

Best Cross-Border Collaboration Song: "Feelin' Go(o)d" by Fujii Kaze / A.G. Cook

Best Instrumental Song: "aruarian dance" by Nujabes

Best Vocaloid Culture Song: "Senbonzakura" by Kurousa

Best Music Video: "Idol" by YOASOBI

Best Dance Performance: "Otonablue" by Atarashii Gakko!

Best Viral Song: "Bling-Bang-Bang-Born" by Creepy Nuts

Top Japanese Song in Asia: "Lemon" by Yonezu Kenshi

Top Japanese Song in Europe: "Bling-Bang-Bang-Born" by Creepy Nuts

Top Japanese Song in North America: "Bling-Bang-Bang-Born" by Creepy Nuts

Top Japanese Song in Latin America: "Bling-Bang-Bang-Born" by Creepy Nuts

Best International Pop Song in Japan: "APT." by ROSE & Bruno Mars

Best International Rock Song in Japan: "feelslikeimfallinginlove" by Coldplay

Best International Hip Hop / Rap Song in Japan: "Not Like Us" by Kendrick Lamar

Best International R & B / Contemporary Song in Japan: "we can't be friends (wait for your love)" by Ariana Grande

Best International Alternative Song in Japan: "BIRDS OF A FEATHER" by Billie Eilish

Best K-pop Song in Japan: "Ditto" by NewJeans

Best Jazz Album: "Step Into Paradise - LIVE IN TOKYO -" by Yano Akiko x Hiromi

Best Classical Album: "Opus" by Sakamoto Ryuichi

Best Japanese Song Artist: Mrs. GREEN APPLE

Best J-Rock Artist: King Gnu

Best Japanese R & B / Contemporary Artist: Utada Hikaru

Best Japanese Dance Pop Artist: Atarashii Gakko!

Best Japanese Alternative Artist: Hitsujibungaku

Best Japanese Singer-Songwriter: Fujii Kaze

Largest Live Audience: WEST.

Best Radio-Break Song: "Ai ga issou mellow" by Rikon Densetsu

Best Dance / Electronic Song in association with JDDA: "Edison" by Suiyoubi no Campanella

Best DJ in association with JDDA: DJ Nobu