Why Young Actors Are Taking Center Stage in July Dramas

Selection of young actors is a win-win situation

The lineup of July dramas is steadily being announced, and a clear trend is emerging: a focus on school-themed stories and the casting of rising young actors. Notable examples include Hayato Isomura (32) starring in Bokutachi wa Mada Sono Hoshi no Kousoku wo Shiranai (Fuji TV), and Ami Toma (18) leading Chihayafuru – Meguri – (NTV).

“A lot of summer-season dramas have traditionally targeted younger audiences since students are on break. But now that streaming view counts have become a key metric for success, this trend has only intensified,” explains a TV magazine editor.

This movement is especially evident at Fuji TV, which lost sponsors following the controversy triggered by retired entertainer Masahiro Nakai’s (52) scandal involving a woman.

“Take Fuji’s currently airing drama Nami Uraraka ni, Meoto Biyori, for example—it was reportedly put together in a rush after big-name actors pulled out due to the negative publicity. The show had been ‘undecided’ in planning for some time, and the male lead, Kyo’ya Honda (25), is appearing in a prime-time drama series as a regular for the first time. Without the scandal, more seasoned actors likely would’ve been cast,” says a senior executive from a talent agency.

Although it airs at 11 p.m., Fuji TV also cast Hiroshi Iwase (21)—from the same agency as Honda—as one of the leads in their July drama Kita-kun ga Kawaisugite Te ni Amaru no de, 3-nin de Share suru Koto ni Shimashita. The executive continues:

“The drama production team isn’t involved in the scandal. Actors understand that the staff on set are working hard, and unless they’re top-tier celebrities whose image directly affects major ad campaigns, most will still accept offers from Fuji. It’s all about exposure and name recognition. Honda’s breakthrough with Meoto Biyori was huge, and 2025 might just see a wave of ‘second Hondas.’”

A commercial TV producer adds that the trend is also advantageous for networks:

“Dramas are long-term revenue generators. School-themed dramas in particular allow networks to cast up-and-coming talents that agencies are eager to promote. If even one of them breaks through, people will come back to rewatch it on streaming, and DVDs can sell too. Plus, it’s cheaper to hire young actors. Sponsors looking to appeal to younger or working-age audiences like this, and it helps networks build goodwill with agencies. It’s a win-win.”

Of course, not every young actor makes it big.

“TV stations are increasing terrestrial drama slots, and streaming-only dramas are also growing. But budgets aren’t exactly generous. That’s why young actors—whose rates are lower—get more chances. However, many of these opportunities are in low-budget late-night dramas, often revolving around BL or sparkly romance stories. These roles don’t broaden an actor’s range. Many find themselves approaching their 30s having been typecast, only to lose work to the next wave of fresh-faced stars. Their schedules are full, but they’re exhausted, used up without ever breaking out. A case like Kyo’ya Honda, who landed a quality prime-time role and went national, is still rare,” the executive concludes.

How many rising talents will be able to seize this rare prime-time opportunity—born out of Fuji’s own misfortunes?

From the June 20, 2025 issue of “FRIDAY”