<figure id="attachment_448720" class="wp-caption alignnone" style="width: 1959px;" aria-describedby="caption-attachment-448720"><a href="#" data-ident_hash="efe3e236"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2025/12/fc7345470ada541a267db2c4c6f179c2.jpg" alt=""></a><figcaption id="caption-attachment-448720" class="wp-caption-text">The number of talent agencies facing difficult circumstances is increasing.</figcaption></figure>
Ai Iinuma (22), who played a genius hacker in the Sunday drama VIVANT (TBS), will not appear in the sequel scheduled to air next year, sparking discussion.
“On the day her withdrawal became known, her agency, Tanabe Agency, responded to media inquiries by announcing that her contract will expire next spring. It is unusual to comment nearly six months before her departure,” a source said.
&#8220;The agency’s founder and a veteran of the entertainment industry, Akira Tanabe (87), has already retired from frontline duties, and its flagship actor Masato Sakai (52) has gone independent. Currently, the agency has only four talents, including Iinuma. Even Tamori, who long represented the agency’s public face, is now 80 and works at his own pace. &#8216;Some insiders believe the agency is gradually slimming down. Since Iinuma is a promising young talent, they may have decided to let another agency handle her,&#8217;” said an advertising agency source.
A growing number of long-established talent agencies are being forced to close or scale down due to the prolonged TV industry slump, reduced programs, and cuts in performers’ fees.
“In April last year, A-Team, which represented popular talents including Riho Yoshioka (32), suspended entertainment operations, forcing all talents to either transfer or go independent—a recent memory. In November of the same year, Someday, which had talents like Norika Fujiwara (54) and Mariko Shinoda (39), was declared bankrupt by the Tokyo District Court,” reported a sports newspaper journalist.
Why are veteran agencies struggling? Entertainment executives point to a mismatch between their business models and the current era.
“Most long-established agencies operate with a small, elite team. They excel at providing thorough support and nurturing talents over the long term. On the other hand, they are not adept at quickly discovering and managing trendy talents, such as TikTokers or influencers, who fit the streaming business model.
After the former Johnny &amp; Associates was warned by the Fair Trade Commission over allegedly pressuring TV stations to prevent former SMAP members from appearing, agencies could no longer stop talents from going independent. In traditional agencies, many talents feel indebted to the founders who raised them, so it’s common to leave when leadership changes. For popular talents, opportunities come regardless, so there is little reason to stay.”
Looking ahead, talent agencies will need to expand beyond management, according to a production company director.
“TV fees keep dropping year by year, so management alone doesn’t generate significant revenue. Agencies like Horipro or Yoshimoto Kogyo, which have stage production and video divisions, are more secure. Agencies like Asobisystem, which started as an event planning company and now charges fans directly, are also doing well.
Agencies need to anticipate trends, understand public needs, and scout and train talents that fit those needs. They must then put them through a continuous audition system to build strong relationships. Agencies that cannot do this will struggle to survive.”
The entertainment industry’s power structure is set for significant change.
From &#8220;FRIDAY&#8221;, December 12, 2025 issue

 Kazuhiko Nakamura

 With Tanabe Agency announcing the expiration of its contract at an unusually early date, and various other companies closing their doors, long-established entertainment agencies are finding themselves in a difficult situation. What are the "businesses other than management" necessary for survival?

As TV Ratings Fall, Historic Talent Agencies Shut Down—What the Reiwa-Era Entertainment Industry Needs

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