<figure id="attachment_441694" class="wp-caption alignnone" style="width: 1892px;" aria-describedby="caption-attachment-441694"><a href="#" data-ident_hash="24fac242"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2025/10/6f37f12d715433943bc8e38cf549c6e5.jpg" alt=""></a><figcaption id="caption-attachment-441694" class="wp-caption-text">As soon as it was decided that Takaishi would play the heroine in the morning drama Bakebake, her visibility skyrocketed. “We’ve been inundated with inquiries about commercial appearances,” said an employee of an advertising agency.</figcaption></figure>
<h2>The number of ghost story and paranormal-themed programs is increasing across TV networks</h2>
On September 29, the NHK morning drama Bakebake premiered, starring Akari Takaishi (22) as the heroine.
“Set in Matsue, Shimane during the Meiji era, the series depicts the daily life of a couple who love ghost stories, modeled after Setsu Koizumi and the Yakumo couple. It’s gaining attention, partly due to the recent ghost story boom,” said a TV magazine editor.
In recent years, “Hitokowa” (human horror) videos and other paranormal content have become popular on YouTube, and terrestrial TV has followed suit. Examples include Kuchi o Soroeta Kowai Hanashi (TBS, July 28) and Kowai Yatsura to Iku (Nippon TV, September 11).
“&#8217;Kowai Yatsura to Iku&#8217; originally aired on Hulu and was then brought to terrestrial TV. Paranormal and ghost story programs require relatively low budgets, and they can attract viewers over a long period via streaming. In today’s cost-cutting TV industry, that makes them very appealing. Even reenactment scenes can be done with unknown actors,” said a producer at a key station.
Recent J-horror hits have also helped fuel interest: Masami Nagasawa (38) starring in Dollhouse grossed 1.7 billion yen, and Miho Kanno (48) starring in Kinki Chiho no Aru Basho ni Tsuite surpassed 1.5 billion yen.
&#8220;The popularity of ghost-related media has expanded beyond films. For example, comedian Tanishi Matsubara (43), known for living in haunted properties, had his story adapted into a movie, while idol unit Wakusei Tsushinsha member Migiri Kishibe (25) has participated in ghost story events. Hidehei Shimada (47), who broke out as a palm reader, has also focused on ghost stories in recent years. Although some criticize this as lacking principle, exposure has increased again,” said a TV writer.
In the ’90s, Junji Inagawa (78) sparked a ghost story boom, and airing such programs every summer became standard. However, they declined in the late Heisei era.
“Compliance regulations have had a big impact. Older paranormal shows sometimes filmed in unauthorized abandoned buildings, and celebrities would get mentally shaken from the fear. This often caused trouble with property owners or talent agencies,” explained a production company director.
Talk-based ghost story programs are compliance-friendly, said the key station producer.
“Masaoi Koii (41), who publishes ghost story books, and sequence artist Hayato, who can see spirits (34), stand out as storytellers. They have high YouTube views, strong storytelling skills, and reasonable fees. The only issue is that some talents plagiarize others’ scary stories to capitalize on the trend, which can cause problems later. Staff research skills are essential.”
Despite the boom, many TV personnel remain cautious.
“Special programs are fine, but there’s a superstition in the industry that if a regular show features ghost or paranormal content, the program will end. We always perform rituals before filming, but veteran staff are often reluctant to participate due to lingering trauma,” said the same TV writer.
For TV professionals, nothing may be scarier than the end of a show.
—From FRIDAY, October 17, 2025 issue

 Kazuhiko Nakamura

 The recent ghost story boom in the entertainment industry has seen a rapid increase in the number of popular YouTube ghost stories being broadcast on terrestrial TV. Budget-free, suitable for distribution, and compliant with regulations...are they the savior of the TV industry, which is struggling to cut production costs?

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