The Broadcast Program Export Association of Japan (BEAJ) is leveraging its flagship initiative, “Treasure Box Japan (TBJ)”, to solidify the country’s position as a global content source at MIPCOM 2025. According to Makito Sugiyama, Executive Director of BEAJ, the organization is implementing a comprehensive, multi-layered program to ensure that Japanese content gains ‘continuous visibility, credibility, and opportunities in the global marketplace’.
The cornerstone of this effort is the “TBJ” showcase, scheduled for the opening day of MIPCOM, which is strategically designed for maximum impact. Sugiyama noted in conversation with Prensario, that this timing ensures that Japanese formats are ‘not only seen but also prioritized in subsequent business discussions and negotiations’ by the thousands of buyers attending the market. This year’s event is backed by the Ministry of Internal Affairs and Communications and features ten of Japan’s leading broadcasters, including Nippon TV, TBS, TV Tokyo, and Fuji TV, showcasing an ‘unprecedented lineup of creativity’.
A diverse portfolio of formats
The 2025 “TBJ” lineup underscores the creative breadth of Japanese television, offering a mix of original and versatile unscripted formats. This year’s slate includes concepts that blend entertainment with high-stakes originality. For instance, the simple, visually engaging quiz show Just Circle it! (NHK Enterprises) allows for seamless play-along participation via an app, while Mega Catch (Nippon TV) features a survival competition built around colossal, jaw-dropping challenges, where contestants must «catch it and survive» to claim a cash prize.
Japanese broadcasters are also introducing concepts that blend genres and bridge generational divides. Six Genz Game (Yomiuri TV) requires six contestants from wildly different age groups, spanning Showa-era seniors to Gen Z TikTokers, to collaborate to win. Furthermore, the slate includes the horror-themed variety show Reform Horror House (MBS), where celebrities investigate a ‘horror-modified’ old Japanese house to uncover a mystery, and SUMO KING (TV TOKYO), a physical entertainment series where contenders face off on a massive sumo ring across knockout stages.
Other formats include Infinite Loop (TBS), a psychological competition where challengers accumulate prize money in connected rooms but face elimination if they fail a mission, and the psychological game show Like or Dislike Doubt (Fuji Television), which asks players to discern the genuine preferences of their rivals.
Strategic support and global visibility
Beyond the live presentation, BEAJ provides continuous support for international expansion. The organization manages the “Japan Program Catalog (JPC)”, a «one-stop portal site» with over 900 registered overseas buyers, which acts as a digital hub where showcased TBJ titles, including trailers and production details, are integrated. This dual approach—‘live presentation at MIPCOM and online continuity through JPC’—is designed to translate the market buzz into concrete business opportunities.
Sugiyama asserts that Japanese creativity stands out globally due to its combination of professional-driven performance, cultural distinctiveness, and ‘fearless experimentation’. He points out that the domestic industry’s competitive nature forces producers to constantly innovate, resulting in globally adapted formats like Dragon’s Den/Shark Tank and Ninja Warrior.
