Treasure Box Japan: BEAJ showcased 10 new formats at MIPCOM 2026
During the first day of MIPCOM 2026 in Cannes, the Broadcast Program Export Association of Japan (BEAJ) hosted the highly anticipated «Treasure Box Japan» showcase. The event gathered international buyers and industry leaders to witness the debut of ten brand-new television formats presented by ten of Japan’s leading commercial broadcasters.
The session provided deep insights into the global format landscape, starting with an analytical overview by Virginia Mouseler, CEO of The WIT. Mouseler presented a sobering but pragmatic view of the international market, revealing that the number of new formats had drastically declined by 60% over the past decade, returning to 2008 levels. She noted that traditional format powerhouses had felt this depression, pointing out that the UK had taken a hit and Israel had not exported a new format since 2018.
However, Mouseler emphasized that there was a bright side: while there were fewer new formats overall, there was a noticeable surge in returning seasons. She advised the audience to embrace a «new religion» in format creation. «You take a content creator hit and you make it bigger for another platform,» she explained.
Following Mouseler’s market analysis, Makito Sugiyama, Executive Director of Business Management at BEAJ, took the stage to highlight the enduring power and future ambition of Japanese IP. Sugiyama reminded the audience that five of the world’s top ten entertainment IPs originated in Japan, with giants like Pokémon and Hello Kitty outperforming massive Western franchises like Star Wars. Furthermore, he noted that classic, genre-defining global TV formats such as Dragons’ Den (Shark Tank), Ninja Warrior, and America’s Funniest Home Videos all traced their roots back to Japan.
Sugiyama stressed that while creativity had always been a core strength, something crucial was changing: momentum and institutional backing. «Japan’s overseas content revenue has already surpassed the country’s semiconductor and steel exports,» he revealed. To capitalize on this, the Japanese government officially positioned content as a core industry. Sugiyama announced that the government backed this commitment with real investment, allocating roughly $370 million to content-related initiatives in its latest supplementary budget—a 44% increase in just one year.
The ultimate goal, Sugiyama explained, was ambitious: Japan aimed to reach $130 billion (20 trillion yen) in overseas content revenue by 2033. «Japan has always had the creativity. What’s new is the momentum behind it—greater investment, stronger government support, and a much bigger ambition to take Japanese ideas to the global market,» Sugiyama stated.
The showcase presented ten brand-new, highly adaptable formats ready to travel internationally:
* Nippon TV introduced ULTRA MISSION, an action-packed, high-stakes game show format.
* Fuji Television presented Tri Tag, an intense competitive chase-and-tag physical format.
* TV Tokyo showcased Charge Me Up!, an inventive reality challenge centered on energy and power dynamics.
* Kansai Television pitched Panic Wheel, a high-pressure studio game show format packed with suspense.
* Chukyo TV Broadcasting brought SAVE MONEY, a timely competition format focused on strategic budgeting and survival economics.
* TBS Television unveiled Fort Frenzy (working title), an ambitious studio-based battle of endurance and strategy.
* TV Asahi detailed Trade Room, a psychological negotiation and trading game.
* Asahi Television Broadcasting Corporation introduced BET ON WHAT’S NEXT, an unpredictable studio betting format centered on real-time challenges.
* MBS showcased Tested and Ranked, an unscripted consumer-testing competition format.
* Yomiuri TV closed the presentations with Cash Stash, a dramatic hidden-cash hunt and guessing game.
