Osaka Comedians Drift from M-1 Victory Amidst Comedy Dynamics and TV Stations Circumstances

Last year’s “M-1 Grand Prix” (TV Asahi) saw “Reiwa Roman” winning the championship with only five years of experience since their formation.

“Having graduated as the top student from Yoshimoto Kogyo’s training school NSC, they have been attracting attention since their debut. Winning as the leadoff batter, which is challenging to achieve high scores, is impactful, reminiscent of the first edition’s Nakagawa Family. Kuruma Takahira (29), the boke (funny man) of the duo known for his intelligent analytical character, has also received favorable reviews. Their exposure is expected to increase rapidly.” (Production company director)

Since the new coronavirus broke out in 2020, the M-1 Grand Prix has been won by Tokyo-based comedians such as Reiwa Roman for four years in a row.

“Due to the restrictions on inter-prefectural travel during the COVID-19 pandemic, key television stations have become cautious about using comedians residing in Osaka. Additionally, while Tokyo theaters quickly emphasized streaming, theaters in Osaka lagged behind. The disparity in opportunities, such as TV appearances and stage performances, has reduced chances for comedians in Osaka, the ‘home of comedy,’ contributing to their distance from winning the championship.” (Broadcast writer)

With the new Corona model switching to the 5th category, there are high expectations for Osaka comedians to make a comeback, but the broadcaster believes that it will take more time.

“Amid the decline in corporate TV commercial involvement just before the COVID-19 infection spread, the reduction in advertising revenue intensified. Each station’s production budget is dwindling, and despite being the champion of the ‘R-1 Grand Prix,’ Rion Tazuhara (30), who made headlines for taking a six-day break from the new year, might not be actively invited from Osaka unless there is an additional appeal in the humor of the act. As long as the economic situation at key stations does not improve, the ‘East high, West low’ trend in the comedy world may continue.”