The fundamental background that the year-end and New Year program ended in "too disappointing content and results"

The 2021 "NHK Kouhaku Uta Gassen" was held at the Tokyo International Forum as the main venue because the NHK Hall could not be used due to construction work. There were certainly some productions that couldn't be done at NHK Hall, but ... (Photo: Joint)

Let's write from the conclusion. This year-end and New Year holidays were disappointing for the television industry. This is because I feel that many people have made me feel that I don't have to watch the special program for the year-end and New Year holidays. Selected for the first red and white starring ...! Kamishiraishi Mone & Moeka "Raising Sisters" [Photo] Roughly speaking, commercial broadcasters had no motivation or money. NHK had motivation and money, but the direction of spending was completely wrong. The directions they were aiming for were 180 degrees different, but in the sense that they made viewers conclude that there was nothing to see in the special program for the year-end and New Year holidays, further accelerating the already-advanced departure from television. It was the year-end and New Year holidays that made me really sad as a TVman who said that commercial broadcasting and NHK were exactly the same. Regarding commercial broadcasting, "No Laughing Series" and other "No Laughing Series" are probably no longer a matter of money, and the programs broadcast instead are almost "no motivation or money". It was just more than I had imagined. Most of the large-scale special programs that cost time and money were rarely produced, and only this program that was held in a piggyback ride by a laughing entertainer was broadcast. The reason can be easily guessed. For the time being, if you invite a laughing entertainer and ask him to do something like comics and comics, it will not cost you much money and effort, and you will be able to create a program that "somehow feels interesting". Normally, the "engei program" would not start in a big way until the beginning of the year and the "new year". This is because it is customary to "see the performance at the beginning of a happy year." However, probably because of the "saving mode" this time, TV became an on-parade of "engei programs" as early as the end of the year. What's more, no matter what station you look at, there are only programs that sell the winners of the competition, such as "M-1 champion participates", and the same mens come out and just do the same story. It is natural that viewers get tired of it, and even if the M-1 champion is released, there is no way to make a program that is more exciting than M-1, and many viewers say, "I wonder if I should just watch M-1 after all." It can be said that it is a general summary of commercial broadcasting that it has brought about the result of making people think. At best, the special of the regular program made the tea muddy. There was nothing interesting enough to mention it, and the most interesting thing was "Hakone Ekiden" ... It would be no exaggeration to say that it was a cold situation. Next is NHK. This year's red and white song battle was full of tsukkomi. Certainly, it was a finish that clearly showed that the huge production cost was used tightly, especially in the technical field, and I felt motivated that "it is time to change the old-fashioned red and white." However, from the conclusion, the result may not have been good. I think the result was "I have a lot of motivation and money, but the usage is completely wrong." I analyze why the Kouhaku Uta Gassen has been a "national popular program" in the first place. (1) It is a "major festival program" that is broadcast live for a long time at the end of the year on New Year's Eve. It may have been natural if it was a "reform of red and white" that can be seen as a no-hohon chaban that no one can gain or lose, but to be honest, this red and white is a lot of money and reform. After putting in a fiery passion, it can be said that it ended up as a result of completely denying these "reasons for seeing red and white". First of all, about ① "Large festival program". This time, I jumped out of the annual NHK Hall and the main venue became the Tokyo International Forum. And it is a masterpiece that we connected the relay destinations of NHK studios in Shibuya, spent a huge amount of money on them, put in a large amount of the latest shooting and lighting equipment, and made full use of the latest luxurious technology including virtual production. There was (although the silent pressure of the message "Technology development using your license fee is not wasted. I will take a look at the results" ...). As a result, the camera work and screen production became too elaborate and complicated, and the finish was not so great, but I couldn't think of shooting normally in a live studio. Ironically, this completely counteracted the "lively excitement and festive feeling". It felt like I was playing "well-made music videos" one after another. The red and white song battle is a "festival", so even if there are some mistakes, the feeling that "it's really exciting at the NHK Hall in Shibuya" is good, and that's what makes New Year's Eve special. I was directing it, but it was "just like recording" -and it was actually "really pre-recording" for some artists, so it's not exciting. Moreover, because the video was made too beautifully, the sound of the audience seats was almost cut, or because it was a studio with no audience, 80% of the artists who appeared said, "I don't know how it actually is. The finish made me wonder if it was lip-synching, and I felt that it was even more exciting. Next, regarding (2), "This song was popular this year, wasn't it?", I think there were almost no songs that could be said to be "popular this year." From my point of view, there are only a few songs that were popular this year, such as "Forgetfulness", and I feel that there were many artists who said, "There are people who have been talked about this year, but why is that song?" .. I thought it consisted of these three pillars: "NHK-related songs, old songs, and songs I didn't know." I think there were many songs that I didn't know, from the elderly to the young. The song "What's this song? I don't know" was played at a fairly high rate, and the talks at the MC and the venue were extremely short this time. You don't have to watch it because you're not a customer of this show. " Moreover, another problem is the contents of "old songs". Some of the songs were more than 60 years old, such as "Let's meet in Yurakucho", but I think most of them were "about 20 years ago". In other words, the songs that are "previous songs but not so nostalgic for the elderly" and "the songs of the age that young people such as Generation Z do not understand at all" are the main songs, and I feel that they are the most nostalgic after all. I think it was "viewers in their 30s to 40s". After all, I feel that this is "isn't it the age of the program production staff?" Considering the point that "I spent a lot of money on the shooting equipment and finished it coolly", I said "It was not a red and white song battle made for self-satisfaction rather than for customers". "Is it suspicious?" Comes to the fore, but I think this is too much for me. No, I'm sure I think too much. Isn't it? NHK person? About ③ "Battle between Red and White". This is something that is being discussed here and there, so I'd like to let it flow easily, but I'd like to say, "Because red and white itself is a happy color, there should be no problem in separating it into a red group and a white group." I'm saying that. I totally agree with the view that "parting into men and women and fighting" is becoming unsuitable for the times because of gender. But then, I simply think, "Isn't it okay to divide the artists who appear into the red group and the white group by lottery?" What does NHK think is difficult? I think. I don't know what it is, but the audience is told that "diversity" is preached under the theme of "colorful", and that "SDGs" and "Paralympic" are added as elements just like they were attached. Do you want? The main venue became a colorful fresh flower Morimori, and Yuzu was decorated with flowers on his shoulders, and even the station announcer was wearing a strangely flashy costume, so "I managed to make a red group and a white group as much as possible. I felt that it was humorous to try to make it inconspicuous. Who is the effort for? Isn't it really an appeal to the great NHK people who are saying, "Let's get rid of the red and white song battle," not the viewers? I want to misunderstand. For that reason, I thought, "After all, the victory or defeat of red and white is decided by voting," and the framework itself that makes us feel the gender bias of "red is female, white is male" remains a question. I have. So personally, I couldn't accept the theme of "colorful". Once again, "No one wants a theme that is preaching to red and white", "It's good to work hard so that young people can see it, but I will not cut off the elderly", and "Your efforts Is it really pointing in the right direction? " That is my conclusion after seeing the red and white song battle. And I think it's time to reconsider making a program with the idea of ​​"showing it to the viewers you want to show" for both commercial broadcasters and NHK. The idea is "from the top", and it is arrogant and irreverent with the feeling that "it is the idea of ​​an advertising company and the viewer is only considered as money". I want you to change your mindset to "make the viewers you want to see happy" instead of "show it to the viewers you want to see". Otherwise, not only young people but also the elderly will rapidly move away from terrestrial television. If you notice it, you could say, "And no one is gone." It was the year-end and New Year holidays that strengthened such a sense of crisis as a TVman's edge. By all means, I would like to see an interesting year-end and New Year special program next year-end and New Year holidays. From the elderly to the young, I want to laugh and see Nohohon in a happy mood. Sentence: Hiromichi Shizume / TV Producer / Writer Joined TV Asahi in 1992. After working as a reporter for the Social Affairs Department on the Great Hanshin Earthquake and Aum Shinrikyo, he became a producer after working as a director for Super J Channel, Super Morning, and Hodo Station. He is involved in many overseas interviews, including coverage of the Korean Peninsula in China and terrorist attacks in the United States. He also participated in the launch of ABEMA's service, planning and producing programs such as "Abema Prime" and "W's Tragicomedy". Independent in August 2019, active not only in broadcast programs but also in multiple media. He is a part-time lecturer at the Department of Newspapers, Faculty of Letters, Sophia University. As a member of the Public Communication Society, he learned about the local media, studied the face panel as his lifework, and wrote articles. In his recent book, "Access and registration will increase dramatically! "Video production" professional gimmick 52 "(Nihon Jitsugyo Publishing Co., Ltd.)

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