<figure id="attachment_394278" class="wp-caption alignnone" style="width: 2052px;" aria-describedby="caption-attachment-394278"><a href="#" data-ident_hash="06f14539"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2024/10/5aba3e41dfda8f05cd21e704fd35ca7f.jpg" alt=""></a><figcaption id="caption-attachment-394278" class="wp-caption-text">Kanna Hashimoto stars in the NHK morning drama &#8220;Omusubi.&#8221; With the story set in her hometown of Fukuoka Prefecture, viewer expectations were high, but…</figcaption></figure>
<h2>Now the face of NHK</h2>
The broadcast of the 111th NHK morning drama, &#8220;Omusubi,&#8221; has begun.
The lead role is played by Kanna Hashimoto (25), who was a local idol in her hometown of Fukuoka Prefecture.
In 2013, when she was in her third year of junior high school, a photo of her dancing at a local event quickly spread on the internet through forums like &#8220;2channel&#8221; and Twitter. As a result, she gained attention and was praised as an adorable local idol and a once-in-a-thousand-years talent. She began to be featured in NHK news programs and variety shows, and since then, she has made a remarkable ascent in the entertainment industry. At just 25, she has countless appearances in movies, dramas, stage performances, and commercials. She also holds regular spots on variety shows and was chosen to host the NHK &#8220;Kōhaku Uta Gassen&#8221; for two consecutive years in 2022 and 2023. She is now the face of NHK.
With Hashimoto in the lead role, expectations for the drama skyrocketed. However, it seems many viewers felt a sense of unease after watching the first episode. Shortly after the broadcast ended, a reflection meeting hashtag (#ReflectionMeeting) began trending online.
Comments on X expressed concerns, such as “The return of Chimu-don-don” and “The nightmare of Chimu-don-don,” worrying about a repeat of the excessively popular &#8220;Chimu-don-don&#8221; (aired in the first half of 2022) during the #ReflectionMeeting.
Morning dramas are said to have necessary concepts, and meeting these elements increases the likelihood of success.
The first of these is a story of women&#8217;s rise to success. Many morning dramas feature female protagonists. The concept involves overcoming hardships and eventually growing into a prominent figure. Furthermore, the protagonists are often based on real women who made their mark in history, which is considered a classic setting for morning dramas.
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<h2>Moderate tears.</h2>
However, not all morning dramas follow this trend. While the concept of a women&#8217;s rise to success remains unchanged, there are times when the protagonist isn&#8217;t a historical figure, and original scripts featuring contemporary dramas like this one can be created.
However, high-rated contemporary dramas are surprisingly few. Many have been produced in the past, but at the time, the internet was not widespread, so evaluations and opinions about dramas didn&#8217;t circulate, whether positively or negatively. However, original contemporary dramas broadcast in the 2010s, such as &#8220;Teppan,&#8221; &#8220;Jun to Ai,&#8221; &#8220;Mare,&#8221; &#8220;Hanbun, Aoi,&#8221; &#8220;Okaeri Mone,&#8221; &#8220;Chimu-don-don,&#8221; and &#8220;Maiagare!&#8221; have all received harsh criticism.
The second element is moderate tears.
&#8220;Viewers feel moved and shed tears when they see the protagonist, who lived through the turbulent eras of the Meiji, Taisho, and Showa periods, growing while battling the times. Additionally, World War II was the most tragic event for the Japanese people, and they feel a sense of reverence for those who overcame that era.
In the Heisei and Reiwa periods, tragedies like the Great Earthquake have also occurred. While they are depicted in &#8216;Hanbun, Aoi&#8217; and &#8216;Okaeri Mone,&#8217; many viewers have personally experienced them, leading to a feeling of tension rather than tears while watching. There might also be a sentiment of &#8216;I don&#8217;t want to watch that yet&#8217;” (broadcast writer).
However, since morning dramas are also family dramas, tumultuous events and overcoming hardships are not necessarily essential conditions. This brings us to the third important element: eliminating the gap between the sender and receiver.
<h3>&#8220;Since it’s a drama watched during morning commutes to work or school, too many sad scenes can turn viewers away. A moderate balance of joy and sorrow is necessary as a family drama, but ultimately, it depends on how much viewers can empathize and agree with it. In other words, it’s essential to eliminate the discrepancy between the drama&#8217;s story and the viewers&#8217; emotions. In this regard, &#8216;Omusubi&#8217; has a notable issue, as there are scenes that raise questions about the script,&#8221; (commercial drama producer).</h3>
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For example, there’s a scene like this: the protagonist, Yoneida Yui, played by Hashimoto, refuses to join her club activities because she has to help her family, who are farmers. However, her family doesn’t seem to be poor, and they have enough help. This raises the question of whether she really needs to assist them. In the end, she joins the calligraphy club simply because the seniors are cool, and on weekends, she engages in gal activities.
 
<h3>Why incorporate the gal element?</h3>
Honestly, viewers are struggling to keep up. This is because the story doesn’t clarify why incorporate the gal element? Since morning dramas are watched by many generations, there are numerous viewers who are unfamiliar with gal culture. As a result, there are simply too many scenes that leave viewers wondering, &#8220;What does this mean?&#8221;
&#8220;It was the same with &#8216;Chimu-don-don&#8217;; it feels like they’re trying to capture a local flavor while aiming for what would resonate with the locals. However, the information and humor about the gal culture are half-baked. If they want to make it a comedy, they need to thoroughly research Fukuoka&#8217;s gal culture and create characters that local people can relate to, ensuring the script captures genuine laughs. Otherwise, scenes that lack realism will attract criticism&#8221; (the aforementioned producer).
The fourth rule is:
&#8220;Within the broadcast time, create a peak every five minutes, meaning there should be three climaxes in a 15-minute episode. The final peak serves to maximize anticipation for the next episode&#8221; (the aforementioned writer).
When looking at these five rules, &#8220;Omusubi&#8221; isn’t drastically deviating from the morning drama concept. However, it must be said that even this five-minute peak cannot be described as particularly high.
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<h3>The possibility of continuously revising the script.</h3>
So, how can &#8220;Omusubi&#8221; redeem itself in the future?
Looking at the introduction page on NHK&#8217;s website, it states:
&#8220;The heroine bravely pushes forward through the tumultuous waves of the Heisei and Reiwa eras. She lives positively and authentically, enjoying herself to the fullest without worrying about what others think! Yes, she is a gal.&#8221;
While there are many concerns surrounding &#8220;Omusubi,&#8221; the drama has only just begun. It’s well known that morning dramas often continuously revise their scripts to adapt to the situation. If this approach proves successful and clicks with the audience, there is certainly a possibility of it gaining popularity.
However, the emergence of the #ReflectionMeeting and the buzz on the internet indicate that the drama is attracting significant attention. Perhaps this, too, is one way to enjoy morning dramas.

 Kazuhiko Nakamura

 NHK's TV drama series "Omusubi" has already been the subject of "#Reflections" on X, and it has been reported that "viewers can't stop coming back". It is said that there are several "success factors" for morning dramas, but can they succeed if they fulfill them?

Can “Omusubi” Succeed If Kanna Hashimoto Can’t Keep Up with Gal Talk?

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