Reiwa Era TV Industry Trends Examining the Pros and Cons of Reducing Broadcast Frequency

Reports indicate that “Johnson” (TBS), which features popular comedians like Kamaitachi, Mitorizu, and Moguraider, will end this fall.

“The show, which was heavily promoted as the successor to the popular “Lincoln,” known for its star-studded appearances by Downtown and Sumazau, started with much fanfare in October of last year. However, since spring, the number of broadcasts has drastically decreased. There were no broadcasts in June, and this fact itself didn’t even become a topic of discussion.” (Entertainment reporter from a sports newspaper)

The reduction in broadcast frequency is not limited to “Johnson.” In recent years, there has been an increase in weekly programs that are not aired regularly.

A director from a production company explains:

“For example, in the past, making viewers aware of the specific day and time a program airs, like Fuji TV’s flagship drama slot ‘Getsu 9,’ was considered a shortcut to a hit. Viewer habits were highly valued. However, with the rise of catch-up streaming in the Reiwa era, the number of viewers concerned about broadcast times has significantly decreased. Coupled with cuts in production budgets, networks have started adopting a strategy of reducing the number of broadcasts while increasing the number of 2- to 3-hour special programs to make better use of the available content.”

While some programs, like “Johnson,” have seen a decline in viewers due to reduced broadcast frequency, others have achieved success despite similar changes.

“For example, ‘Atarashii Kagi’ (Fuji TV) initially struggled with stagnant ratings during its focus on sketches, and there were rumors of it being canceled. However, the viewer-participation segment ‘Gakkou Kakurenbo’ became a hit. Despite airing biweekly, the show maintained its quality by taking time to showcase the creation of props, which contributed to its success. Similarly, Music Station (TV Asahi) now airs once to three times a month, but it has rebounded by booking trending artists,” explains a key network producer.

Reducing the number of regular broadcasts still offers significant benefits.

“Until now, we could only test pilot episodes during major programming changes in April or October. However, there are now more opportunities to try out special programs. The speed at which low-rated shows are canceled and replaced with new ones has greatly increased. Additionally, with more flexibility in the program schedule, staff working conditions have likely improved significantly,” says a key network producer.

On the other hand, a senior production company executive worries that the popularity gap between programs that air weekly and those that do not will inevitably widen.

“The strong popularity of ‘Human Gourmet Documentary Omoumai Mise,’ produced by Chukyo TV, is largely due to its weekly broadcast schedule. Additionally, since payments for external staff and performers are made per broadcast, reducing the number of airings could lead to decreased motivation,” says an industry insider.

However, it seems likely that the trend of reducing broadcast frequency will continue in the future.

“Programs like ‘Omoumai Mise,’ which maintain quality with weekly broadcasts, are rare. Nowadays, the number of views on catch-up streaming services is also crucial, so maintaining quality is a priority. Low view counts can negatively impact sponsorship,” says an advertising agency representative.

The days of eagerly anticipating weekly broadcasts seem to be growing distant.

From the July 26/August 2 combined issue of FRIDAY