Few Former Johnny’s Stars, Fading Ratings—Yet TV Experts Say These Spring Dramas Are Must-Watch Hits

Hidden gems everywhere

“April, when the new fiscal year begins and broadcasters compete to establish new viewing habits among newly employed workers, is often packed with ambitious productions. But this spring, there hasn’t been a single title that has captured widespread attention. It simply doesn’t feel like ‘TV dramas are generating buzz,’ and the impression is that casual viewers haven’t been drawn in,” says drama watcher Mihiro Kawada.

As of the end of April, not a single series had achieved double-digit television ratings, nor had any streaming drama averaged more than two million views per episode. The lackluster performance of this season’s spring dramas has become a hot topic.

“The image of Kazuko Hosoki—or rather, Erika Toda (37)—smiling as she sets a ¥10,000 bill on fire is incredibly impactful. The amount being spent on production and promotion far exceeds anything seen on terrestrial television,” says a commercial broadcaster’s programming executive.

“I believe one reason for this season’s sluggish performance is that there’s a sizable audience willing to spend their limited free time watching ‘You’ll Go to Hell instead,'” says a producer at a major television network.

While many television insiders cite Netflix’s “You’ll Go to Hell” as the biggest obstacle facing broadcast dramas, television writer Pudding Aida adds, “It’s also rare to see a season with so few former Johnny’s talents.”

“I also think the lead casts in this spring’s dramas are generally understated, lacking trendy personalities and current stars. The number of actors who make viewers say, ‘If they’re starring, I’ll definitely watch,’ directly affects a show’s initial momentum.”

The growing popularity of streaming-exclusive dramas has also conditioned viewers to binge-watch entire series, making real-time viewing feel less valuable and creating another headwind for terrestrial serial dramas. Even so, many argue that while the casts may not be flashy, they are filled with talented performers. There are many hidden masterpieces this season, and I actually think it’s been an exceptionally rich lineup, according to Kawada.

For example, writer Kumao Oyama enthusiastically praises “One Vote in the Galaxy” (Fuji TV), calling it an outstanding achievement.

“The story follows a political secretary who has been forced out of politics and recruits the owner of a neighborhood snack bar to run in the Tokyo gubernatorial election. Despite the unusual premise, it never feels gimmicky. Lines like, ‘It’s not empty idealism—it’s simply doing what’s right,’ and ‘Refusing to give up on what’s right is the strongest thing you can do,’ never come across as cheesy. They resonate deeply, and that’s because they’re delivered by Kayo Noro (42), who has earned a reputation as someone whose presence elevates any quality production.”

Many viewers say they are brought to tears every episode by the performances of Haru Kuroki (36) and Noro as they strive to uphold simple ideals and decency that seem to have disappeared from modern Japan.

“Any role Noro plays instantly feels far more authentic. She’s already become an indispensable presence in television dramas, and it’s probably only a matter of time before she lands a leading role,” says a production company executive.

Veteran actors deliver standout performances

“Tagusari Brothers” (TBS), whose second episode saw an unusually large jump in its core ratings (viewers aged 13–49), has won over younger audiences and earned widespread praise from drama watchers.

“The premise alone is compelling: two brothers who become police officers investigate the truth behind their parents’ murder after the statute of limitations has expired. On top of that, the brothers are played by acclaimed actors Masaki Okada (36) and Shota Sometani (33). The siblings differ in their way of thinking and expressing emotions, and those differences influence the investigation itself.

The series successfully balances the enjoyment of watching its characters with the thrill of unraveling a mystery. It’s more than just a police drama—it layers themes of family love, revenge, justice, statutes of limitations, and sibling relationships. The supporting performances by Goro Kishitani (61) and Haruka Igawa (49) are equally powerful. Everyone seems to be hiding something, and the more decent a character appears, the more suspicious they become,” says Aida.

The producer is Junko Arai, renowned for crime suspense hits such as “MIU404” and “Unnatural” (both on TBS). The chief director is Takeyoshi Yamamoto, who gained recognition with Netflix’s “The Crimes of Kujo,” while cinematographer Kenjiro So has won multiple Japan Academy Awards for film lighting. “The direction and cinematography both reflect an exceptional level of quality,” says Kawada.

“It’s remarkable how every episode delivers a shocking twist in its final moments. Social media erupts after each broadcast with comments like, ‘The last five minutes were unbelievable!’ Personally, I see it as a mystery series on par with last season’s Sunday Theater hit ‘Reboot’ (TBS). Despite its heavy themes, the inclusion of Travis Japan’s Kaito Miyachika (28) as an endlessly cheerful rookie detective provides excellent contrast.”

Ironically, “Reboot” is viewed with a certain amount of resentment by employees at TV Asahi.

“‘Reborn: The Last Hero’ simply had terrible timing. The title, the dual-role concept—it overlaps with ‘Reboot’ to such an unbelievable degree that you can’t help but laugh. At the production announcement, one entertainment reporter even joked, ‘I have to keep reminding myself not to mix them up.’

Both series revolve around murder cases, feature mystery elements tied to rebirth or restarting, and star actors in their forties. It started at a disadvantage because of those similarities, but it has performed admirably, ranking No. 1 overall on TVer’s rankings for Episodes 1 through 5 and surpassing 10 million cumulative catch-up streams by its fifth episode.”

Oyama also gives the series high marks.

“It incorporates the familiar reincarnation concept often found in anime and light novels. The protagonist uses his business experience and memories from his previous life to revive a declining shopping district, and the way his overpowered abilities are portrayed makes for highly entertaining viewing with a constant grin on your face. Issei Takahashi’s (45) perpetually bewildered performance is also incredibly charming. The real appeal moving forward will be seeing how he chooses to use those extraordinary abilities for the benefit of society and the people around him.”

For the second part: Television insiders reveal the trial-and-error behind this season’s must-watch dramas—even those with disappointing ratings that have critics raving.

From “FRIDAY” June 5 and 12, 2026