The Rise of Women’s Empowerment in the TV Industry: Benefits and Drawbacks

The “Female Comedian No.1 Competition THE W 2024” aired at the end of last year on Nippon TV. The producer selected was Asuka Kataoka (27), a young employee in her sixth year at the company.

“She is a promising candidate who has directed popular variety shows on the network, such as ‘1 Million People’s Big Question!? Waratte Koratte!’ and ‘Oshare Clip.’ Since the beginning of the Reiwa era, there has been a rapid increase in women working as assistant directors (ADs) and directors,” says a director from a production company.

The television industry, once notorious for long hours and as a representative of black companies, has seen significant improvements in working conditions due to workstyle reforms, which has led to an increase in female applicants.

“Now, young ADs and others leave work on time. It’s common for their bosses to stay late and do the editing work (laughs). The freedom in hairstyle and clothing compared to general companies is also appealing to women,” says a broadcast writer.

Behind the rise of female staff, there is also the influence of “oshi katsu” (supporting your favorite idols or artists).

“Since the past, there have been women who wanted to get close to their favorite idols or comedians and infiltrate the television industry. In the past, if it was found that someone was a fan, they wouldn’t be hired, but now it’s difficult to secure talent. As long as their fandom doesn’t interfere with their work, it’s overlooked,” says a key network producer.

Situations where female staff are valued

The increase in female staff also brings advantages for TV networks.

“In this era of diversity, there are more programs with female talent as the main focus. Tasks like attaching lapel mics to actresses or models are easier to ask female staff to handle. Ideas and advice from a woman’s perspective in planning meetings are also helpful. After all, the main audience for terrestrial TV is women,” says a director from a production company.

In promotional activities through platforms like social media, female staff are also valued, according to a previous broadcast writer.

“Mei Ioka, known as ‘Cyborg AD Ioka’ at a production company under the Yoshimoto Kogyo umbrella, and Riko Sato, ‘Dancing AD-chan’ at TBS-affiliated TV U Fukushima, are getting views on YouTube and TikTok comparable to that of talent. Having female staff ‘perform’ saves on production costs significantly.”

While female staff are now a crucial part of the TV industry, the benefits aren’t without their downsides.

“The high turnover rate is a major issue. Marriage and childbirth are major life events, and there’s no way to prevent employees from leaving during these times. Women who entered the TV industry as part of their ‘fan activities’ often leave once they are satisfied. When they leave after you’ve spent time training them, it can be a significant loss for the network.

Even if they stay, fan activity ADs are primarily focused on working in environments where their favorite stars are. Their motivation to work in management or broader roles at the network is often non-existent. While this is fine in the short term, there’s growing concern about the long-term depletion of talent in the TV industry,” says a producer from a major network.

Clearly, for TV networks to overcome their struggles, promoting women’s empowerment is indispensable.

From the March 28, 2025 issue of ‘”FRIDAY”