The Rise of Laid-Back One-Topic Shows on BS: The Reasons Behind the Trend and the Looming Challenges

Shows like Iio Kazuki’s Zun Café (BS TV Tokyo), Kenko Ba’s Slightly Drunk Business Hotel Stays – Nationwide Edition (BS Asahi), Sand Daito’s Croquettes Are on the Rise (BS TBS), and Drunk Tsukaji’s Casual Standing Soba (BS Nippon TV)—to name just a few—have been flooding the BS landscape. Starting from April 12, another new program, Audrey Kasuga’s Self-funded Bar Hopping in Unknown Towns (BS TV Tokyo), will join the ever-growing list.

All of these shows feature solo hosts strolling through the streets, chatting with local people, and interacting with shop owners and customers. There are no pranks or outrageous laughs. Instead, they focus on niche topics that feel nostalgic and cater to the simple joys of middle-aged men.

The saying goes, “A loach under the willow tree”

What is the reason behind the proliferation of similar niche programs with the same kind of taste? Takahiko Ikegami, a former TV professional and currently a professor in the Media Creation Department at Doshisha Women’s University, says, “I watch ‘Zun Kissa’ every week!”

“Though it’s not exactly two loaches under the willow tree, when I was working in the industry, we used to say, three loaches under the willow tree. When a show became a hit, they would keep pushing it, making a third or fourth version.

This isn’t something that should be criticized; it simply shows there’s demand for it. From the production side, there’s the advantage that if you have a reliable format and talent, the cost to make it isn’t very high.”

That said, doesn’t it feel like the same thing is just being repeated, with only the locations changing? Doesn’t the audience start to feel like it’s getting monotonous?

“The fact that there’s a solid format means it’s prone to getting repetitive. What’s really important is the talent of the cast and the skills of the creators. For example, ‘Aibou’ starring Yutaka Mizutani continues with the same format because of consistent effort and well-developed storylines. Even with the programs we’re discussing, if they keep visiting similar places, it’s because there’s always something extra added to them that makes them continue.”

Indeed, even if the format is the same, the relationships and conversations with the people they meet are different. That’s why we can continue watching every time. The charm of that relaxed atmosphere is different from the highly crafted entertainment on terrestrial TV. However, for viewers to accept it, there might need to be a certain degree of relaxation on their part.

Would these types of shows be impossible to realize on terrestrial television, which has a younger audience?

“It has long been said that television broadcasting has reached a turning point, and as someone who loves television, I don’t want to say television is losing its appeal, but it’s clear that the numbers are on a downward slope. In this context, what we see now in terrestrial television is an attempt to appeal to the largest possible audience, trying to catch the broadest common denominator.

However, I believe it might be okay to narrow down the audience. The media tends to group young people together, but there are young viewers who like the same shows that older men do. It doesn’t have to be divided by generations; it would be nice if we could target older men while still expanding the base. There’s no need to make it for as many people as possible! If we push too hard on that, it could change the very utopia that older men enjoy.”

In contrast to BS’s niche programs, the recent incident with the variety show Monday Late Night (NTV) is a result of this very opposite situation. The controversy arose when they fabricated a street interview with a woman from China, adding a caption that said, “In China, people eat crows.” This sparked a backlash.

 

The concern of becoming a Red Ocean

Professor Kageyama also expresses frustration, saying, “The ‘Monday Late Night Show’ issue is a major problem. It should be more widely covered.”

He continues, “The type of entertainment sought by ‘Monday Late Night Show’ and ‘Zun Café’ are different. While ‘Late Night Show’ may seem relaxed, the comments from people on the street are often sharp, eccentric, and the content becomes extremely important. Directors are constantly pressured to capture enough material. ‘Late Night Show’ is created under that pressure. Popular programs during golden time or prime time are generally the same.”

He adds, “Originally a late-night show, ‘Late Night Show’ moved to the 10:00 to 11:00 p.m. time slot, making the expectations even more intense. As someone who has been in the industry, I can easily imagine the pressure. The director who fabricated the statements is a freelancer, but they were likely pressured by senior directors and producers to make the show more interesting week by week.”

On the other hand, he notes that even the relaxed shows loved by older viewers are not without their own pressures.

“In shows like ‘Zun Café,’ there’s no clear, standout humor in interactions with store owners or people they meet, but a warm atmosphere flows through it. Viewers enjoy the harmony between the performers, creators, and the people involved. However, creating such an atmosphere is not easy. Making people happy is no small feat. While the performers and creators might enjoy a small percentage of it, they aren’t just working casually. It is their skill and seriousness that creates that warm atmosphere.”

Finally, Professor Kageyama expresses concern that this market might become a Red Ocean.

“I think they’ve struck gold in a niche area, but if they keep digging, the genre may dry up. If too many similar shows appear, the entire market could sink. I hope they’ll preserve and protect this niche.”

He concludes with a call to television professionals: “Please, protect the utopia for older men!”