When I watched “Ariyoshi’s Summer Vacation 2021: 77 Hours of Adherence,” I felt a sense of sadness. Who was this program aimed at, and how was it intended to be enjoyed, and why was it broadcast during prime time on Saturdays?
This is the ninth edition of the show, so it must be a “regular” program, but every time I watch it, I feel uneasy, wondering who the audience is supposed to be.
I’m sorry to say this, because I’m sure there are people who enjoy watching this show, but although the members may be gorgeous, in terms of content and direction, it’s almost like a “casual travel show on Saturday and Sunday afternoons. Why did they think this was okay for Golden Prime, which has a completely different audience demographic and scale than the Saturday afternoon slot?
It was painful to see the …… actors trying their best to make it interesting, and I felt that it would be difficult to do so. It was a little disappointing and in a way very typical of Fuji TV.
The same kind of disappointment was felt in the recent “FNS Rough & Music – A Festival of Songs and Laughs”, which was held at …… instead of 27-hour TV, with a grand theme of “Fusion of Songs and Laughs” and a rather gorgeous lineup. I guess it was supposed to be instead of 27-hour TV, but they brought together quite a splendid group of people with the grand theme of “fusion of singing and laughter,” and realized a novel program with the big names of Hitoshi Matsumoto, Masahiro Nakai, and Ninety Nine.
It must have been quite a feat, and in the “Wide NASHO” broadcast on the 5th, Mr. Hitoshi Matsumoto and announcer Kyoko Sasaki summed it up by saying, “Rough & Music was a success because it was talked about on the Internet. However, I was very bothered by what I saw. The evaluation from the TV people around me was not so good either. This was also somewhat “disappointing.
Even with such a splendid lineup, …… all the performers looked awkward and uncomfortable, and everyone’s comments were groping and reserved. It’s not that I’m not a fan of the show, but it’s not that I’m not a fan of the show.
I got the impression that the show went on and on and on, with almost all the performers refraining from doing anything because the three new female announcers were the general MCs. As a result of the flamboyantly lavish lineup, it seemed that no one was able to show off their own strengths and good points, and that the good points were canceled out. This is such a shame, don’t you think?
As a TV professional, I tend to blame the “misunderstanding of the people at Fuji TV” for this “disappointment.
I once had the pleasure of writing an article for FRIDAY Digital titled “The TV stations that are really great, as selected by 30 active TV professionals. In the survey, Fuji TV was ranked first among the “TV stations that I think are no good.
Many TV people pointed out the decline in the quality of program production, “misunderstandings” regarding production, and problems with the “attitude and corporate culture of the station staff” as the reasons. In other words, I feel that it’s like Fuji TV to produce programs that are “a little out of touch with the current times” and not even notice their mistakes.
Don’t get me wrong, I think there are a lot of “good people” working at Fuji TV. They are cheerful, fun, popular, and always think “I love to make interesting TV”, so to speak.
NTV and TBS are doing better in variety shows, but I feel that they have more “negative people”. From the outside, I get the impression that people at Fuji TV seem to be enjoying their work more than people at other stations. So why don’t they realize that they are mistaken? It’s as if everyone who enters the “United States of Odaiba” is under the spell of …….
“There is an old Fuji TV catchphrase that says, “If it’s not fun, it’s not TV. There is a feeling that the people at Fuji TV still “believe” in this catchphrase. When I talk to them, I often hear them say this phrase. To me, it sounds like, “If it’s not fun (for us), it’s not TV (as we think).
There is a phrase often uttered by TV people, “People at Fuji TV are the ‘class favourites’. There is a sense of “we were the popular kids in our class, and we’re going to make interesting TV” in Fuji TV’s programs.
“It’s like, “If we, the popular kids in the class, think it’s fun, then of course you (the viewers) will think it’s fun, right? That’s the feeling. It’s as if they’re saying, “If you get a bunch of popular people together and make a lot of noise, everyone will enjoy it. Maybe it’s because I’m a low-caste, “backward-looking” Telecho alumnus. “I get the feeling that they don’t have the attitude to think about what the viewers of today would really enjoy.
And more to the point, I feel that the term “not TV” itself is out of step with the times. In this day and age, I don’t care if it’s not TV at all as long as it’s interesting, but I often feel that the people at Fuji TV are overly concerned about what they think is TV.
For TV personalities, Fuji TV has long been a “special presence” because it is the “king of commercial broadcasters. That’s why they actively make time in their schedules to appear in Fuji TV programs and ask “What’s wrong with this? Isn’t it strange? It’s hard to say “something is wrong” even if you have a question. The same goes for the staff of the production company. Even if they think, “Wake up, Fuji TV,” it’s hard for them to say it to their faces.
In essence, I love Fuji TV’s programs. I entered the TV industry because I admired Fuji TV, and I grew up with its programs. Many of the people who work at Fuji TV also like it. That is why I hope that Fuji TV will wake up from the “magic of the dreamland of the United States of Odaiba” and come to its senses as soon as possible.
Text： Hiromichi Chinmoku / TV producer and writer
Joined TV Asahi in 1992. After covering the Great Hanshin Earthquake and Aum Shinrikyo as a reporter in the Social Affairs Department, he worked as a director for Super J Channel, Super Morning, and News Station before becoming a producer. After working as a director of Super J Channel, Super Morning, and News Station, he became a producer. He has been involved in many overseas projects, including coverage of China, the Korean Peninsula, and the terrorist attacks in the United States. In August 2019, he became an independent producer and has been active not only in broadcasting but also in various media. He is also a part-time lecturer at the Department of Newspapers, Faculty of Letters, Sophia University. As a member of the Society for Public Communication, she has studied regional media, and has researched and written articles on face-hame-panels as her life's work. His recent publications include "Dramatically Increase Access and Registration! "Video Production" (Nihon Jitsugyo Shuppansha).