Former TV Tokyo Producer Unveils True Side of Masahiro Nakai 35 Days After Shock Retirement Drama
Mr. Nakai is coming to TV TOKYO.
I still vividly remember Masahiro Nakai’s words.
“While looking at TV Tokyo through the car window as we got closer, I thought, ‘I wonder if Tabuchi-san is there.'”
On November 22, 2008, when Nakai appeared on Kira Kira Afro to promote the movie I Want to Be a Shell, he visited TV Tokyo. It was during this visit that I had the chance to reunite with him after a long time. Although Kira Kira Afro was a program from TV Osaka, at that time, the “Tokyo Business Trip Afro” was recorded at TV Tokyo.
This was something specially prepared for Nakai’s appearance.

At that time, TV Tokyo was in the middle of what could be called the “Johnny’s winter era,” as no talent from the former Johnny & Associates agency appeared on the network following the so-called “Junior Scandal” that occurred in January 1999.
The “Junior Scandal” was a major incident where the underage drinking and smoking of Johnny’s Jr. members were widely reported by the photo magazine FRIDAY, which triggered the wrath of Meri Kitagawa. TV Tokyo was made an example of within the industry, taking responsibility for the situation. The full details of this matter are covered in my book New Television Theory of the Chaotic Era, so I will leave it out here.
At the time, I was working on documentaries, and I had long wanted to collaborate with SMAP. I repeatedly made offers to their manager, Michi Iijima, but was continuously turned down with the reason being “Johnny won’t allow it.”
The “ban on appearances” was a thick wall. However, Kira Kira Afro was a show on TV Osaka, a different company within the same network, and since it was for a movie promotion, along with the relationships with hosts Tsurube Shofukutei and Naomi Matsushima, Nakai’s appearance miraculously came to fruition.
“When Nakai was coming to TV Tokyo.”
When I received this news from the senior producer in the production bureau, I rushed to the studio where the recording was happening. It was there that Nakai, waiting behind the set for his turn, said the words I quoted at the beginning.
I was happy. Why did Nakai say such a thing to me? Why did the senior producer from the production bureau contact me specifically about Nakai’s visit? And why did I rush to be there? It was because Nakai and I had shared a memorable and unforgettable precious time together.
I want to make it clear here. With Nakai’s sudden retirement, the issues regarding his alleged troubles with women have become a point of contention in the public eye. If there truly was anything suspicious about those allegations, it should not be forgiven. This article does not seek to defend Nakai nor to assert his righteousness, nor is it intended to speculate on the rumors.
I lived with them almost every day of my life.
Nakai, who joined the former Johnny & Associates in 1987, made his television debut as part of SMAP in the TV Tokyo drama Abunai Shonen III, which began airing in October 1988 (the group was formed in April of the same year, with their official debut in September 1991).
I was an assistant director for that program. The Abunai Shonen series had three parts, with the first two parts starring the wildly popular group Hikaru Genji. As the successor to them, it was a huge opportunity for SMAP, who had yet to debut. The pressure they faced was immense. Readers of my generation will remember that Johnny Kitagawa, inspired by the success of Hikaru Genji, who performed while roller skating, came up with the idea for SMAP to appear riding skateboards.
Nakai was the oldest at 16 years old, a first-year high school student, while the youngest, Shingo Katori, was 11 years old and in the sixth grade. To avoid interfering with their school schedules, the filming mostly took place during long breaks like summer vacation.
We would travel to places like Chiba and shoot while staying at training camps. During the day, we’d shoot outdoor scenes, and in the late afternoon, we would finish filming. As the assistant director, and being close in age, I became their caretaker. I would give commands like, “Take a bath and bring your homework to the large hall by 6 p.m.!” and sit them down to help with their summer homework. Even when we were in Tokyo, I lived a life where I was with them almost every day.
Since they hadn’t debuted yet, they would come to TV Tokyo by train after school. TV Tokyo, with limited production funds, often filmed in parks in front of the old headquarters in Kamiyacho.
It’s no wonder that when Nakai visited TV Tokyo for Kira Kira Afro after a long time, he felt nostalgic seeing the park and the headquarters from the car. For both SMAP and Nakai, it was their youthful days and the starting point as a national idol. Of course, it was the same for me. That’s why Nakai’s words were so heartwarming and proud for me.
By the way, one year later, it was my show, the September 2010 documentary Hiroshi Arakawa Challenges the Mystery of the Sealed Xuanzang, that broke the ice of TV Tokyo’s “Johnny’s winter era.”
The narrator, Tsuyoshi Kusanagi, reminisced during the recording, saying, “I’ve already surpassed the age you were back then, Tabuchi-san.” For them, those days during their formative years as talents were truly unforgettable.

Looking back on Nakai’s character in his formative years as a TV personality.
As the saying goes, “The soul of a triplet lasts for a hundred years,” it is said that personality and character begin to form around the age of three and are established by the age of ten. Of course, there are times when the environment, experiences, and experiences trigger changes in personality. In some cases, the individual may make an effort to change them.
There is a psychological theory that personality and behavior patterns formed in childhood persist into adulthood. Freud’s psychoanalytic theory and Bowlby’s attachment theory, for example, suggest that childhood experiences have a significant impact on later personality and behavior.
In humanistic psychology, there is also the theory of Carl Rogers and Abraham Maslow, which states that “the true personality is the natural state of the individual, the self that he or she deeply believes he or she ‘wants to be.
In this essay, in accordance with these theories, I will look back at Nakai’s character during the formative years as a TV personality that I spent with him, and speculate on the changes in his state of mind leading up to his declaration of sudden retirement on January 23, only “35 days” after the December 19, 2008 weekly magazine report. Again, I would like to state that this is only my personal opinion and does not deny or justify the allegations against Mr. Nakai.
The following seven characteristics of Mr. Nakai as I perceived him at the time were
(1) Nervous and detailed
(2) Humble
(3) Always anxious
(4) Lack of self-confidence
(5) Narcissistic
(6) Considerate of surroundings
(7) Strong sense of responsibility
He was a hard worker more than others, eager to practice and research
Mr. Nakai was not confident in his singing and dancing. He was concerned about his slightly high-pitched voice. He often consulted me about his dancing, believing that he lacked athleticism. He would ask me every now and then, “Was that song okay?” or “I couldn’t do a good backflip, so Johnny got mad at me.”
Speaking of high school students, it’s an age often associated with being full of youthful arrogance. However, Mr. Nakai showed no trace of that. His personality was the very embodiment of seriousness, and he never acted superior. It is said that talents from the former Johnny’s office would address staff and outsiders with a kun suffix, but SMAP, including Mr. Nakai, never did so with me.
Perhaps this was because I was in a position where I tutored them or provided advice, acting as a “caretaker” or “mentor,” but he always called me “Tabuchi-san.”
When he messed up a line, while other actors remained unfazed, he would exclaim, “Damn it!” and show clear frustration. Watching Mr. Goro Inagaki, who was already praised for his acting at the time, he often said, “Why is Goro-chan so good at this?” Even when I reassured him, saying, “That’s not true, Masahiro, you’re good too,” he remained humble, responding, “No, that’s not the case at all.”
That is why he was an exceptionally hard worker, dedicated to practice and research. Even after being recognized as a great host, he continued making handwritten notes and meticulously preparing through pre-show simulations. The roots of Mr. Nakai’s approach can be traced back to those early days.
Mr. Takuya Kimura, in contrast, had a natural genius type of talent, whereas Mr. Nakai was more of a brilliant scholar type. Struggling to memorize lines, he would always stand in the corner of the set, murmuring to himself as he memorized. While the other members were playing around, he was often the only one with his script open.
When a scene was approved with an “OK!” during filming, he would rush to the monitor and intensely watch his own performance on playback. He was strict with himself and had a stoic nature. Looking back now, I wonder if this behavior stemmed from the burden and pressure of being the leader.
His meticulousness, often perceived as nervousness, was actually a necessary trait for a successful entertainer. From my perspective, he paid attention to details that I felt he didn’t need to worry about.
One time, while eating a bento on location, he muttered, “Am I eating too much?” I asked, “What’s wrong?” Given how slim he was, there was no reason for him to restrict his diet. However, he was worried that he might become too heavy to execute a backflip during the upcoming shoot.
But this attention to detail also meant that he was incredibly considerate of those around him. His ability to be mindful of others made it clear why Mr. Johnny had chosen him as SMAP’s leader. Even during shoots, when the set was noisy and no one was listening, it was always Mr. Nakai who would call out, “Hey, Tabuchi-san is saying something!” I was always grateful for that.

His last comment published in Nonbiri Nakai.
It may be hard to imagine from his confident presence as a variety show host, but Nakai was always anxious and lacking confidence in himself. However, being always anxious provides the greatest strength in mitigating risks—it allows one to always be careful.
A personality that lacks confidence fosters humility, self-improvement, and empathy. He listened to others’ opinions and tried to accept them. The way he skillfully drew out people’s feelings on variety shows was likely cultivated through this trait. Whenever I gave him advice, he would always respond, “You’re right. I’ll try that.”
People are naturally inclined to help those who accept help. With a strong desire for self-improvement, he was able to continue making efforts. His constant anxiety and lack of self-confidence made him sensitive to others’ emotions and highly empathetic. Nakai brilliantly utilized these traits to become a renowned host who could handle guests of all ages and backgrounds.
At first glance, lack of confidence and narcissism seem contradictory, but they are not necessarily so. Both stem from being highly aware of how others perceive them.
People who lack confidence fear failure and criticism, while narcissists fear a decline in their self-image—both use ‘defense mechanisms’ to protect themselves. Moreover, both personalities are sensitive to interpersonal relationships. Nakai possessed all of these qualities, which is why he was able to earn such widespread popularity.
Looking back, the personality I observed in Nakai during his formative years as a talent remained unchanged throughout his career. These traits are clearly reflected in the final comment he released on his personal blog, “Nonbiri Nakai.”
1_ “I take full responsibility for everything” → A strong sense of responsibility: Demonstrates his commitment to being accountable for his actions.
2_ “I do not believe this fulfills all of my responsibilities in any way” → Humility: Acknowledges that there is always room for improvement.
3_ “I sincerely apologize for the inconvenience I have caused” → Consideration for others: These words directed at fans and those involved show his deep concern for those around him.
4_ “I will continue to face various issues sincerely and handle them with integrity” → Sincerity: His meticulous, humble, anxious, and self-doubting nature, combined with his narcissism, strong sense of responsibility, and consideration for others, led to this firm declaration of intent.

“Is he in demand now?”
Nakai, being both anxious and lacking self-confidence while also having a narcissistic side, has constantly asked himself, “Am I being needed right now?” and remained conscious of his own dramaturgy.
Various websites and social media have criticized him, accusing him of running away,” but I believe Nakai is not someone who would simply end things like this.
If the allegations of trouble involving a woman are true, it is inexcusable. However, Nakai has a strong sense of social responsibility—he has contributed to society by providing meals and donations to disaster victims, as well as supporting healthcare workers during the COVID-19 pandemic. For someone like him, remaining silent while rumors spread, causing public unrest and leading to Fuji TV’s suspension of over 75 commercials, must be unbearable.
Given Nakai’s nature—his deep-seated insecurity and excessive consideration for those around him—it is likely that his decision to “put an end to his own activities first” stemmed from an overwhelming sense of obligation and concern.
Being strict with himself and highly disciplined, Nakai must have considered the impact of this incident not only on the woman involved but also on the entire television industry that helped shape his career. His decision might have been driven by a belief that there was no other choice. If that is the case, there is no way Nakai would want public backlash or slander directed at the woman in question. I want to believe that his comment on his personal blog was a declaration that “I will not run away.”
You, who once stood in front of TV Tokyo’s building and wondered, “I wonder if Tabuchi-san is here,” showing kindness even in such moments—you could never be a coward.
Text by: Toshihiko Tabuchi
Professor of Visual Arts at J. F. Oberlin University. Born in Hyogo Prefecture in 1964. After graduating from the Faculty of Law at Keio University, he joined TV Tokyo. He has produced documentaries on unexplored regions of the world, and has visited more than 100 countries. On the other hand, he has also been actively involved in the production of social documentaries, tackling difficult issues such as the "United Red Army," "Elderly First Offenders," and "Stalking Perpetrators. He has also produced numerous drama productions. He retired from TV Tokyo in March 2011. His books include "New TV Theory in an Age of Chaos," "Victory Learning from the Weak: The Secret of TV TOKYO's 'Reverse Thinking' to Turn Disadvantageous Conditions into Strength," "Developmental Disabilities and Juvenile Crime," "Stalking Assailants: Please Run Away from Me," and "Learning from Unexplored Places: The Shape of Happiness. He is a regular member of the Japan Writer's Association, a regular member of the Japanese Society of Image Arts and Sciences, a regular member of the Japanese Society of Food Service, and a regular member of the Broadcast Criticism Roundtable. He founded 35 Produce Inc. which disseminates a variety of information through video. https://35produce.com/