The panel “Fresh TV Japan and panel discussion, Japan effect: the rising global influence”, sponsored by MIC/BEAJ, was one of the most relevant meetings at MipLondon 2025, bringing together leading experts from the Japanese audiovisual industry. Moderated by Janine Stein, editorial director of ContentAsia, the discussion explored the growing expansion of Japanese intellectual property (IP) and its impact on the global marketplace.
The session began with a presentation by Virginia Mouseler, CEO of The Wit, who highlighted the appeal of Japanese content under the theme, “Japan: The Land of the Rising IP.” Mouseler pointed out the peculiarity of the Japanese industry in relation to IP: ‘Japan hardly adapts foreign formats, but exports and reinterprets its own content in both scripted and unscripted’.
Japan has established itself as the sixth largest exporter of unscripted formats, with flagship titles such as Dragons’ Den / Shark Tank (Sony), Old Enough (Nippon TV) and TV Asahi‘s new reality show, Trick House. Among recent projects, he highlighted 100, a musical and family entertainment show where participating groups must add up exactly 100 years among their members. This format, promoted by Empire of Arkadia, ABC Japan and South Korean production company D-Turn, reflects the growing collaboration between Japan and Korea.
In fiction, the adaptation of IPs is predominant in Japan, with 64% of new productions based on manga, novels or webtoons, in contrast to 35% in the rest of the world. Examples of this trend include the police comedy Tokyo Salad Bowl (NHK), the futuristic thriller The Top Secret (Kansai TV), the historical action series I, Kill (WOWOW) and the financial drama Private Banker (TV Asahi).
The panel delved into how Japan has evolved in its approach to international co-production. Fotini Paraskakis, founder of Empire of Arkadia, highlighted the growth of Japanese formats and their integration into global production structures: ‘There are more than 370 versions and 12,000 episodes of adapted Japanese formats in the world. But now we are entering a new era of communicating with the international community, through unscripted, factual and dramatic formats’.
ABC Japan’s Nami Komo highlighted the importance of storytelling in Japanese content, noting that stories with a strong emotional component are key to Japanese television culture. The alliance with Korea in the production of 100 exemplifies this fusion of styles: ‘a format with elements of gamification, but with the narrative depth characteristic of Japanese content’.
For his part, Shin Yasuda, senior producer at NHK, shared his experience in documentary co-production and the importance of adapting stories to different markets. He highlighted how the pandemic influenced the narrative of certain projects, highlighting the need for flexibility and adaptation in global distribution strategies.
One of the most interesting points of the panel was the reflection on the particular Japanese creative vision. Fotini Paraskakis emphasized that Japanese entertainment does not always respond to a traditional production logic, but rather prioritizes originality and fun: ‘A lot of times we ask ourselves why we do this…and the answer is simply because it’s fun. Not everything has to make sense, but if it connects with the audience and travels internationally, then it’s a success’.
This philosophy has enabled the export of innovative formats that challenge the conventions of global entertainment. Programs such as Red Carpet Survival (Nippon TV), where contestants must protect a celebrity on an obstacle-strewn red carpet, reflect this boundless creativity.
The panel concluded with an optimistic view on the future of Japanese content. The combination of story, gamification and emotional storytelling will continue to be the key to the success of Japanese productions in the global market. With strategic alliances and an increasing openness to co-production, Japan is consolidating its influence in the international audiovisual industry.
