In-demand on today’s variety shows! Why Aoki Macho and Hyoroku are so sought after

Rising Demand for Non-Competition Comedians

In Oricon News’ “2025 Breakout Comedians Ranking,” Aoki Macho of Kakeochi (30) ranked first, Hyōroku (38) third, and Minamikawa (43) fourth.

“Hyōroku was also nominated for the 2025 ‘New Words and Buzzwords Award.’ He’s in high demand for dramas like the NHK taiga drama Berabou ~Tsutae Eikano Yumebanashi~. In recent years, winning award competitions was considered the fastest path to a breakout. But with the rise of catch-up streaming, variety shows have diversified. Comedians with strong characters or who are useful on location—so-called non-competition comedians—are increasingly in demand,” said a production company director.

Aoki gained attention through Love it!, while Hyōroku and Minamikawa appeared on Wednesday Downtown (both TBS). A broadcast writer said, “These two shows have become like a casting catalog for the industry. Love it! evaluates live broadcast adaptability, and Wednesday Downtown tests performers under extreme conditions. Comedians who succeed here clearly have the skills, so they are more likely to be cast elsewhere.”

Other venues for discovering young talent include the YouTube channels of the comedy duos Saraba Seishun no Hikariand New York.

“With reduced production budgets, networks can’t spare staff to send to theaters or hold auditions. By checking these two channels, which actively introduce young talent, they cover that gap. Both duos are good at handling inexperienced comedians, acting almost like a user manual for performers,” said the director.

The popularity of catch-up streaming has also made thumbnails important, benefiting non-competition comedians.

“You first need viewers to click, so creating a compelling thumbnail is key. Comedians with a strong, memorable character—like one-hit-wonders—are in demand. Award-focused comedians are highly skilled but may not have visually striking appeal. With the rise of short official clips, impact-type performers like Hyōroku will continue to be popular,” said a key station producer.

The same broadcast writer noted that another rising comedian following Hyōroku is Izen (27), a female solo comedian from Beijing and a current graduate student at the University of Tokyo.

“Her use of Japanese has a sharp edge that sets her apart from past broken-Japanese foreign talents. She can handle both panel talk and location shoots, which is her strength.”

An increasing number of comedians are also choosing to avoid competition shows entirely. The writer continued:

“To succeed in competitions, you need to devote a lot of time to your act. If you’re eliminated in the quarterfinals, you risk being labeled boring. With more competitions and fewer post-win benefits, more comedians are going non-competition.”

As the times change, so too does the way comedians are promoted.

—”FRIDAY”, February 20–27, 2026 combined issue