Comedian Divide Amid Matsumoto Hitoshi Issue, with Yoshimoto Stable and Kazutaka Ozawa’s Precarious Position

At the end of last year, allegations of sexual assault by “Downtown” star Matsumoto Hitoshi broke out. Eleven female witnesses appeared in the Weekly Bunshun, which ran a seven-week feature article.

Matsumoto is suing Bungei Shunju for approximately 550 million yen in damages, and the first oral argument will be held on March 28 at the Tokyo District Court.

Even if Matsumoto wins the lawsuit on the issue of sexual assault, we wonder if there will still be a place for her in the entertainment industry at that time. According to media reports, there are several testimonies that he used his junior staff to lure women to his room, and his image is at its worst.

Despite the fact that he has a wife and child, there is a strong impression that he was flamboyantly playing with women. He has a strong allergic reaction from the female demographic, which is the most important demographic for sponsors, and the hurdles to his return to TV will be quite high.

The fate of Kazutaka Ozawa of “Speed Wagon,” Jun Kurose of “Punk Boo Boo,” Sense Watanabe of “Crossbar Direct Hit,” and Kenji Tamura, who reportedly accompanied Matsumoto, is also a matter of concern.

Ozawa initially said

“I have nothing to be ashamed of.

but then he changed his mind and announced that he was going to suspend his activities. Only Ozawa and Matsumoto, who were reported in the first issue, have been suspended.

Recently, Bunshun has stopped reporting the real names of junior comedians, perhaps because of the view that “junior comedians are also victims in a sense.

What about Kurose, who belongs to the same Yoshimoto Kogyo as Matsumoto?

According to his website, he is scheduled to perform on three stages at “Lumine the Yoshimoto” on February 17, two stages on February 18, and three stages at “Tokyo Grand Kagetsu” on February 23, and has a full schedule of theater performances after that. Kurose has not commented on Matsumoto’s case, but he seems to be very busy without taking a break from work.

The same goes for Watanabe. Every weekend, he has theater performances at “Omiya Raccoon Yoshimoto Theater,” “Yoshimoto Eternal Hall,” and “Yoshimoto Makuhari Aeon Mall Theater,” among others.

Tamura Kenji is active in the U.S., so he does not perform in Japan, but he is not on hiatus either.

This is exactly Yoshimoto’s strength. Even if they are not invited to variety shows, they can feed their comedians at their own theaters. In addition, there are countless programs produced by the company, such as BS Yoshimoto.

On the other hand, Horipro, to which Mr. Ozawa belongs, has a hall in Kawasaki where live performances can be held, but it does not own a theater where comedians can perform manzai. Survival in the entertainment industry depends greatly on the agency to which one belongs. But if you become as big a name as Matsumoto-san, there is no way you will appear in theaters as Downtown, and you will have to either come back or retire,” said an entertainment industry insider.

As for Ozawa, he may have attended the scene of the first sexual assault allegation, and unless Matsumoto’s innocence is proven, it will be difficult for him to return. As for Ozawa, he may have attended the scene of the first sexual assault allegation, and unless Matsumoto’s innocence is proven, it will be difficult for him to return to work. It will be a difficult task to steer the case, as he is “facing an all-or-nothing situation.

When will Matsumoto, whose trial is about to begin, and the others be able to find a way out?