Ayase, Kim Taku, Shibasaki… “Surprising Background” of the Disappointment of Spring Dramas Across the Board

Almost all spring dramas that started in April are dying. Currently, only “My Family” (TBS), starring Kazuya Ninomiya (38), is maintaining double-digit viewer ratings for its prime-time broadcasts. However, this is also in the 9:00 p.m. slot on Sundays, when high ratings can be expected, and it is barely maintaining double-digit ratings. It is not at a level where it can be said to be doing well.

This season’s spring drama lineup is not bad at all. There is a wide variety, from romances to mysteries to coming-of-age stories, and a wide range of actors, from veterans to promising young talents, have been cast. However, as a result, none of the attempts can be said to have been successful.

What in the world is happening to spring dramas?　Our interviews with people in the entertainment industry who are familiar with the drama industry revealed two major reasons.

First, the momentum of veteran and mid-career actors is waning.

One of the most notable trends this season is that actors such as Haruka Ayase (37) and Takuya Kimura (49), who were previously considered high viewers, have been struggling across the board. Kimutaku recorded single-digit ratings for the first time in his career. In the case of “Invisible” (TBS), starring Kou Shibasaki (40) and Issei Takahashi (41), the ratings have dropped to the 6% range, and there are even rumors that the show may be cancelled.

In looking into the cause, it seems that the problem lies not with the actors but with the storyline. Kimura’s drama is a coming-of-age story about a fallen former boxing champion who revitalizes his high school’s weak boxing club. Some have pointed out that the story is similar to “Dragon Cherry Blossom” (2009, TBS), but it is not as punchy as “Dragon Cherry Blossom,” and the storyline is not consistent with the comical tone of “Dragon Cherry Blossom. The story is simply not good enough, and many people have dropped out of the series.

Haruka Ayase’s “The Testament of My Ex” (Fuji TV) and Shibasaki and Takahashi’s “Invisible” are both mysteries that include an element of consideration of the culprit, but many people point out how thin the stories are, saying, “Even I can easily recognize the culprit” or “The crime is too poorly done for a genius criminal. The storyline is too thin.” “The veteran actors’ profound performances are not enough to make the storyline stand out,” says an editor of a TV magazine, “and it gives the viewer the impression that the story is not well told.

Everything is a big deal.

On the other hand, there is also an entertainment journalist who pointed out the following.

No matter how subtle the story is, in the past they would have been able to push through with their charms and leave a decent number of viewers. However, nowadays, if they play a good role, people say, “That’s great! The reality is that their popularity and aura have become commensurate with their age, and they no longer have the power to make anything interesting.

And yet, we have to depend on their past glory forever and cast big names for everything, without thinking about whether they fit or not. Such an easy system is also a problem. This also means, on the flip side, that even though they have declined, there are no youngsters rising up to surpass them. ……”

So what is the other reason for the stalling of spring dramas?　It seems to be a bit unfortunate for both the actors and the production team.

I think it’s largely due to the easing of restrictions on activity due to the coronavirus. As many dramas, both terrestrial and distributed, became social phenomena during the stay-home period, the probability of people watching the drama will increase if they do not go out, after all.

But this season, the drama broadcast period coincided with Golden Week, the first time in three years that there were no action restrictions. It is my impression that many people have relatively stopped watching all dramas this season because they were distracted by travel and other activities, saying, “I’ve had enough of this season’s dramas. It is true that there are few dramas this season that they want to watch no matter what, but the viewer ratings might have increased a little more if the voluntary restraint from going out was called for.

In other words, they have lost the handicap of refraining from going out and are no longer evaluated as leniently as before. From now on, the true strength of the drama will be tested.