Now a superior version of television， TV station employees say， “To be honest， I would love to be poached by Netflix”．．．The same situation as between professional baseball and Major League Baseball is occurring in the television industry．
“Honestly, I want to be poached by Netflix,” says TV station employee as he reveals his true feelings… The same pattern as that between professional baseball and Major League Baseball is playing out in the TV industry. TV stations that have long reigned supreme in the video media industry are now in big trouble. Although it was initially viewed as a rival, it has somehow managed to create a coexistence relationship with YouTube, but now something that can clearly be described as a “superior version of television” has emerged. TV Station Employees Who Want to Be Hired by Netflix The entity in question is Netflix, an American video streaming service. Television stations are now poaching their best talent to this service. On September 30th, video director Hitoshi Okuda announced that he had signed an exclusive five-year contract with Netflix. Speaking of Daikon, he is best remembered for working on the hit Netflix drama “Jihansha-tachi,” but he has also worked on other projects such as “Moteki” and “Bakuman.” He also has the image of mass-producing works in the film industry, such as “.’’ However, in 2022, he won the Galaxy Award Grand Prize for the Fuji TV drama series “Elpis – Hope, or Disaster.” When “Elpis” was broadcast, it became a hot topic, with people saying, “Who would have thought we’d be able to see a work of this calibre on terrestrial TV!” This poaching is a major blow to television, as he has made a huge contribution to terrestrial television dramas. In addition, in 2023, Netflix signed a five-year contract with screenwriter Yuji Sakamoto, who has produced many hit dramas, and producer Yuta Fukui, who worked on dramas such as “Class 3-A: From Now On You Are All Hostages,” will transfer from Nippon Television. In 2024, former TBS producer Akira Isoyama, who worked on “Too Much Inappropriate!”, will sign a five-year contract. “Nowadays, some of the staff in the drama and film departments at the station are working with the motivation of, ’I’m going to get results on terrestrial TV and get poached by Netflix!’ After a popular drama series is aired, rumors fly around like, “Apparently, Netflix has contacted producer X.” I also hear that some of the variety team members are aiming for Netflix or Amazon Prime.” (TV station official) In fact, in 2022, producer Taro Ashida, who worked on popular variety shows such as “What’s wrong with him now?”, “What’s wrong with being cute?” and “Toge Ari Togenashi Toge Toge”, left TV Asahi and moved to Amazon. Scriptwriting fee of over 3 million yen per episode?
“Until a few years ago, many people compared YouTube to television, and even said that television would one day be replaced by YouTube, but the people at the stations didn’t feel it was much of a threat. As we can see from the current situation, YouTube is like a backward compatible version of television. The structure is such that people who achieve results on YouTube are also invited to appear on television. Even though it is said that television has run out of money, production costs are still incomparably larger than YouTube. However, Netflix and Amazon have become like superior versions of television. The production costs are a world apart from TV, and the structure is such that people who achieve success on TV can go to Netflix.” (Same source) These days, terrestrial TV stations are like Japan’s professional baseball, and foreign companies like Netflix and Amazon are like the major leagues. Osamu Suzuki, who worked on the hit drama “Evil Queen,” which began streaming on Netflix on September 19th, revealed that his scriptwriting fee for Netflix was about five times that of terrestrial broadcasting. Generally, the script fee for a one-hour terrestrial television drama is around 500,000 to 600,000 yen. This means that Suzuki is estimated to have earned more than 3 million yen per episode. It’s exactly like the difference in annual salary between professional baseball and major league baseball. Of course, that doesn’t mean TV stations aren’t taking any action either. In recent years, all networks have been focusing on dramas, with the number of programs produced now about double compared to 20 years ago. It is said that this is to increase the amount of high-quality in-house content and boost the number of paid subscribers to the video streaming services that the company operates, such as Hulu and FOD. Another factor increasing the number of dramas is the recognition of the limitations of the domestic market and the desire to produce content that can be sold overseas. Click the link for more details. https
>>1 Only talented people who also make some movies are poached It’s embarrassing to say that when they leave it all up to the production company Only a small percentage of the cream of the crop go to streaming, and newcomers aim for streaming from the start Only useless middle-aged people are left behind by the station It’s the same as when talented aspiring screenwriters started aiming to be manga originals 30 years ago when dramas started relying on manga originals from the start.
Japan’s entertainment village system is no good. Entertainment hasn’t grown at all. It should be a place where talented people can shine, not a place where people are forced to do things.
It would be nice if they could sign long-term contracts like athletes, but it’s risky to be fired so soon. TV stations still seem to offer lifetime employment.
The sharp-eyed and promising players have probably already been transferred, so what chance do the remaining dregs have of getting a decent deal there?
Neptune has been said to be like the Mao Zedong system, where managers fire their subordinates one after another and then fire themselves in the end, but has that changed?
I don’t think they want someone from a TV station anyway.
Netflix’s selling point is their original dramas, but their batting average is so poor that out of every 100 shows, there’s only 1 good one, 9 good ones, and 90 trash. They won’t last long like this.
Netflix has a good budget. In other words, what would be considered a normal amount of money over there would be considered extremely expensive in Japan, so it would be absolutely impossible to shoot a drama of the same quality as Netflix in Japan.
>>59 They’re doing real-time streaming on tver, but no matter how much it develops, they’re not going to give up their vested interests in terrestrial broadcasting. I’ll resist until I’m crushed.
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