#Getsu9

[faeryaesther]

[Image taken from his Instagram Story] Japanese Wheelchair Tennis Player, Oda Tokito expressed his disappointment as his match at the Paralympics will not be broadcast on Japanese tv, probably due to the match being played around the golden hour* (explanation under cut). This is one of the reasons why I feel like although we want to give wheelchair tennis the spotlight it deserves, the parties that are responsible for making it accessible for everyone are not doing their part. It is the paralympics. The biggest tournament for these incredible people. Please give them the highlight they deserve by broadcasting their matches. They deserve the attention they need.

From what I know, 'golden hour' spans between 7 pm and 9 pm, which then there will also be a prime-time monday weekly drama show, or commonly known as getsu-kuu (getsu9; literally translates to 'Monday 9'. Getsu9 dramas often have a lot of audiences as the viewership ratings are mostly higher than the rest of the week, so it is considered the prime time for the country. You can correct me if I'm wrong.

[aramajapan]

Nishikido Ryo is a forensic expert in new getsu9 drama ""Trace ~ Kasouken no Otoko"

Kanjani8’s Nishikido Ryo will take on his first Fuji TV getsu9 lead drama “Trace ~ Kasouken no Otoko”. This is 7.5 years since “Zenkai Girl” (July 2011), his last appearance in the said timeslot. In the drama, Nishikido plays a forensic science researcher at the Scientific Research Laboratory. The drama is based on the manga […]

Read more on aramajapan.com

[masaki82]

Kizoku Tantei character chart! I’m so excited for this drama! :D

Maybe a love line with Igawa-san and rival line with Emi-chan… I wonder what Nakama-san will be in the drama?

Please credit @masaki82 if you want to repost anywhere else ^^

It’s been ages since I actually posted on tumblr~ ^^

[amnosbands]

SPRING GETSUKU DRAMA 2017...AIBA LEADS AGAIN!

I sense a new Arashi single coming soon. 🤗

[abdulraveman]

Janiben 20180116

the guest is unable to show the whites of his eyes. So Hina asked Ryo to demonstrate 

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this guy has 2 getsu9 dramas and a taiga drama

[doramaticbites]

Nihonjinron: Just a couple of thoughts on why Jdramas aren’t as popular as Kdramas

I came across this great thread on quora that includes many great replies about why Jdramas are not as popular as Kdramas. I’d recommend the thread to anybody, but at the same time I’m not on quora so I’m going to give my two cents here.  

First some things I don’t agree with. One user gave a great reply, but in her answer she mentioned two particular points that I couldn’t agree with.  

First, I disagree that Jdramas aren’t doing as well because they are written by men while Kdramas have women writers. Some of Japan’s most popular screenwriters are female and there are plenty of female screenwriters across the broadcasting companies. I haven’t looked into the number of female producers or directors deeply, but they do exist. And active female screenwriters? Most definitely. Not to forget that female screenwriters contributed to the once explosive popularity of Jdramas across Asia. Talk about Getsu9 dramas and it’ll be hard to talk about Kitagawa Eriko as well.

Next, I disagree that Jdramas lack variety. The reality’s quite the opposite! Jdramas cover multiple genres from comedy, romance, crime, mystery, scifi, adventure and etc. In fact, the primary reason why I’m such a fan of them is precisely because they cover a broad spectrum of genres and topics.

Now for the things I agree with. One user, Michael Do gave a brilliantly comprehensive reply and goes in depth on an issue which I think is the most pertinent one as to why Jdramas are not as popular. That is, the lack of accessibility. Japanese companies are notoriously stringent in taking down illegally uploaded videos, which is fair. But in place of these, they hardly ever support legal avenues through which people can potentially watch said shows. Of course, with the increasing popularity of Netflix, we are starting to see more mainstream dramas on legal online avenues, however, most of the offerings are exclusive to Netflix Japan and do not include subtitles of other languages.

On top of that, which is not as discussed, is that in the early to mid 2000s when Kdrama was on the rise, Jdramas were sold at higher rates than Kdramas. As such, given the choice between them, international broadcasting companies were more reluctant to pick up on Jdramas. And as the Korean government and relevant parties made more effort to improve on their dramas, it effectively decreased the demand for Japanese drama.

Both of these I think, is linked to the fact that for a long time Japan never saw the need to look outward – and this sentiment is echoed by a character in one of my favourite dramas, Manhattan Love Story. Manhattan Love Story is a postmodern drama about people who gather in a café. Because the café is right next to a broadcasting company, these characters are all, in some way, connected to the entertainment business. Among them is a popular female screenwriter (probably based on Kitagawa Eriko), who, in a great self-reflexive moment in drama, complains about being given an award by an overseas awards ceremony. She laments ‘I write dramas for Japanese people.’ That, I think, encapsulates the mindset of the main players in the Japanese industry really well.

But why do the Japanese not look outward? Why the lack of motivation to venture overseas for so long? I think an attempt to answer this question has to start with a look at nihonjinron.

Essentially, nihonjinron are theories on what it means to be Japanese. It’s a broad genre that covers sociology, ethnology, anthropology and so on. Historically these texts emphasise how unique Japan is – and how special its position is in the world. Thoughts associated with the nihonjinron include how the Japanese are direct descendants of the gods, Japanese are homogenous (aka, biracial? You’re not really Japanese), that Japanese have their own unique set of thinking and moral values, and that the Japanese are leaders to their ‘backward’ Asian counterparts.

I’m a fan of golden age Japanese cinema directors, and their surprised reactions to the positive reception of their films are well-documented. They didn’t think films made for a Japanese audience could be understood or appreciated by a foreign audience – and that has a lot to do with this concept of a unique identity and way of thinking as Japanese people. In the same way I feel that Japanese execs kind of have a ‘I don’t think these foreign people are actually gonna GET this’. So marketing to an international audience is not the first thing on their minds.

Then I think that this idea that geographically Japan is part of Asia but not really a part of Asia hinders them from expanding. I remember back when people were really interested in Japanese entertainment, early 2000s when Korean entertainment was just starting to make its mark in Asia but not quite the force it is now. Back then you’d be hard-pressed to find any artiste that would want to have a concert in, say, Singapore or attend an Asian awards show. The furthest some would venture to would be Taiwan, which historically has ties with Japan. So the underlying sentiment seems to be, ‘This is an Asian thing – I’m not really part of y’all.’ And the interesting thing is that this thought is so pervasive that as an Asian I too sometimes felt that Japan was kind of unique. But that kind of haughtiness led to their inwardness and downfall.

Lastly I want to talk about the decline of the international Jdrama fandom. Decline of the fandom is due to Japan not marketing its shows outside of Japan, but the decline of the fandom may lead to Japan being unable to market its shows successfully outside of Japan too. Chicken and egg? Yes.

I love Jdramas, I really do, but Japan’s crackdown on fans who devote time and effort into subbing work and growing an international fandom has really hurt its reach. A weakened, wary fandom results in less subbed works, which leads to less exposure – especially when no legal forms of exposure exist. Big TV companies need to start partnering with Netflix, Hulu and Amazon Prime on a larger scale – allowing them to market these shows to an international audience, if needs be. It’s all about motivation – motivation to adapt, change and explore new methods. I’m slowly starting to become more optimistic as I see the media streaming trifecta (Netflix, Hulu, Amazon) start to produce more interesting originals, but I hope it’s not a case of too little too late. 

What I do know is that there is still a fanbase for Japanese dramas. People like me who adore them, yes, for their uniqueness, for the language, for the atmosphere, for the outlook on community and life, and for the diversity. Japan, please acknowledge us.

[tomorrowsdrama]

Omg the getsu9 dramas were where it was AT. I loved watching the specials they’d have at the start of each season where the casts of the dramas would compete against each other. Ah, sweet memories.

What are some of your favorite Japanese dramas? ^^

I haven’t kept up with jdramas regularly since about 2010ish so this list is probably super outdated. Consider this a kind of throwback list 😅 But some of my favorites/dramas I can rewatch numerous times include:

Hana yori dango

Good Luck!

Pride

Gokusen

Hotaru no hikari

Sora Kara Furu Ichioku no Hoshi

JIN

Nodame Cantabile

Tiger & Dragon

SPEC

Kimi wa petto

Satorare - I will always love Odagiri Joe partially because of this drama (one of my first ones ever!)

IWGP

Liar Game

Stand up!

Kou kou kyoushi 2003 - but mostly because Naohito Fujiki looked gorgeous and this was so gonzo in how messed up it was

Shinsengumi - the only taiga I ever got through

BOSS

H2

Trick

Strawberry on the shortcake

[osanajimi]

Kizoku Tantei Ep. 11 aka Finale

Feel good ending all around. It was okay, I guess. But the clean up was so obvious. They did say スッキリしましょう in the last preview, but everything was はっきりしすぎ, and rushed (whadduya expect when they let ep10 be a filler). Would’ve appreciated some ambiguity left here and there.

Also, didn’t need the last 1 minute between the two tanteis. Had it not been Takei Emi, it might have worked fine, but Aiba and Takei have the chemistry of OJ and toothpaste. Igawa Haruka, on the other hand, *grrrrrr* I thought my screen was gonna crack from that thing they had going on. (Un)Fortunately, it was short-lived.

I can’t really say that Kizoku Tantei was Getsu9 worthy. It was cracky, so that made it fun, the cast was great and the station tried hyping it up, but I don’t think the writing managed to live up to all that effort. I definitely didn’t watch it for the cases they’re trying to solve. Shame.

In the end, I’d say the major pull for me in this drama is the characters, primarily, the servants and the Maru-ki. Allow me to show my newfound appreciation for Namase-san. He’s amazing in this. And the Kizoku is really hot Aiba, so if you’re into that, bonus for you. 

[tegonews]

They were asked about Nissy in “Love that Makes You Cry”

Uno-chan: “When I see the actor Nishijima Takahiro in the drama, I think, ‘wait, yeah that is our member. Right?’ haha. I’m enjoying the drama but I always keep reminding myself that he is not just the great actor but also our member.”

Chiaki: “Yeah, he looks really cool and attractive in there and it makes me think if it really is Nissy.”

Uno-chan: “because we know so much about the other side of him!”

Chiaki: “We’ve working with him and known him for more than 10 years, I’ve never looked at him as 'oh he’s cool’ kind of way. So when I see him in the drama, it’s like…”

Uno-chan: “THE Getsu9 actor.”

Chiaki: “Yeah, yeah exactly!”

[gakkyrocks]

The first season of "Code Blue" was aired back in 2008 and received a high rating. It featured young doctors struggling to become flight doctors on emergency medical service helicopters. There was a special episode aired in 2009, and its second season (aired in 2010) also attracted many viewers.

The third season will feature new phase of each of their lives as full‐fledged doctors.

Main cast members including Yamashita, Aragaki Yui,Toda Erika,Asari Yosuke, and Higa Manami will be gathering up for the new season once again.

"Code Blue" the third season will air on 'Getsu9' (every Monday at 9:00pm) starting in July on Fuji TV.

[certidumbre]

Sparse Febri Translations from /a/nons

Source: link 1, 2, 3

Kubo: In Barcelona Yuuri lost Victor's baggage. It's based on a true story. When we went to data collecting long before and one of my fellow coworker lost hers. She's also the model for Minami sensei. We found out it's missing and everyone went out looking for it. Though we didn't find it in the end. Everyone's exhausted and it got pretty awkward. On the flight returning, I decided to have this in the show.

The paragraph about "Victor's baggage" = a reference to Yuuri losing Victor's bag of nuts in episode 10.

>Hiramatsu talking about preparation and making process >Hiramatsu: I was first told about it in July 2015. In September I started doing the character design. It's around March 2016 we got to working on episode 1. Preparing period lasted around a year. >Hiramatsu: The first time I heard about it, we've already had the name for the first two episodes. The draft of story structure also came up, I can see where the whole story flows. But without seeing the name, I had quite a few questions. So Kubo's work and mine were being done around the same time.

>Q: If there's a season 2, would you join? >Hiramatsu: I think it wouldn't be done without the main staff being there. For Sayo it's like "will you do it? You would absolutely join right?" I really don't know much for now.

>One of Kubo's friends went out drinking with some staff probably in 2014. Kubo got a message from her saying there's one person who's your fan! And that was Yamamoto. >Yamamoto asked Kubo "Would you like to do a skating anime together?" after listening to one of Kubo's radios where she talked about skating.

Now here is the most interesting part: the infamous rings. Kubo acknowledges them as engagement rings, plus the Victor/Yuuri scenes get compared to romantic dramas.

>Q: The rings in episode 10 is especially shocking. Does it flow naturally itself? >Kubo: It is necessary! At least when I was drawing the name I was very serious. At the end of episode 9, the scene of Yuuri and Victor reunited is what I always want to draw. Then in episode 10 and 11, there haven't been a scenario that's shocking enough. Episode 10 is a relaxing episode before GPF, I thought about many delightful things but it worried me there hasn't been a thing to deepen their bond. Until now, we have seen them hugging and doing what could be seen in a getsu9 romance Jdrama. I think when faced with GPF, they might need an item to support them. So once I tried searching for ring brands, I learnt engagement rings are not only meant for those who want to get married, but also are gifts for soulmates to share. More over, I found in the files of location hunting of Barcelona, there're photos of church and choir. I was like that's it!

In conclusion, not only are Yuuri's pair rings good luck charms to help him skate better for the GPF and an encouragement boost, but also soulmate rings to ensure that Victor stays close to him and never leaves. As Victor would say, "Wow! Amazing!"

[aramajapan]

Fuji TV's getsu9 recovers as “SUITS" hits 14.2% for premiere episode

It’s never say never for Fuji TV’s getsu9 timeslot. Oda Yuji’s “SUITS” gained a high 14.2% rating for its first episode. Oda, the star of the iconic 1991 getsu9 drama “Tokyo Love Story” is back to the timeslot for the first time since 2008’s “Taiyou to Umi no Kyoshitsu”.

Read more on aramajapan.com

[teamtakeiemi]

Takei Emi is finally casted in a getsu9 drama! She will co-star in “Kizoku Tantei” (Aristocrat Detective) alongside Aiba Masaki, Nakama Yukie, Namase Katsuhisa, Igawa Haruka, Takito Kenichi, Nakayama Miho and Matsushige Yutaka. 

“Kizoku Tantei” will start airing on April 9 at 9pm JST on Fuji TV. This is based on the novel with the same title by Yutaka Maya.

Source: Oricon JP

[amnosbands]

GETSUKU/ MONDAY NINE SPRING DRAMA 2017: CONFIRMED.

‘Kizoku Tantei/ Aristocratic Detective’ (Novel by Maya Yutaka)

Cast: Aiba Masaki Takei Emi Nakama Yukie Namase Katsuhisa Igawa Haruka Takito Kenichi Nakayama Miho Matsushige Yutaka

Credits to: https://mobile.twitter.com/chura1011/status/829722398437945344

[abdulraveman]

Nishikido Ryo will have a lead role in Fujitv’s winter suspense & crime Getsu9 (primetime Monday 9pm timeslot) drama Trace Kasōken no Otoko. Based on the manga “ Trace Kasoken Hoi Kenkyuin no Tsuiso” by Kei Koga, who was formely a researcher at a Science Institute. Screenplay by Aizawa Tomoko (Honnoji Hotel & Princess Toyotomi) and directed by Hiroaki Matsuyama (Liar Game, Nobunaga Concerto & Locked Room Murders). Supporting cast include Eiichiro Funakoshi & Yuko Araki

Ryo plays Reiji Mano is a seasoned yet cold & distant forensic expert in the Tokyo Forensic Science Laboratory. Zealous and original and dispels any speculation & subjectivity in investigations, he acts only for one purpose: to bring out the truth. But Mano hides a secret: his family was savagely murdered as a child, and he intends to do justice himself.

official site: here

manga summary here: 

[sakumakou]

20191220

1220　本日のＴＶ・メディア天気予報です。

「東京五輪の開幕半年前に在京５局同時番組を放映」（サンスポ） https://www.sanspo.com/geino/news/20191219/geo19121904000001-n1.html

「地方局の経営強化やAMラジオの将来検討等、民放連が中間報告」（日経Xtech） https://tech.nikkeibp.co.jp/atcl/nxt/news/18/06744/

「ユーミン　紅白で『ノーサイド』稲垣啓太ら選手とＴＶ初歌唱“勇気を胸に”」（デイリー） https://www.daily.co.jp/gossip/2019/12/20/0012974193.shtml

「『料理の鉄人』から20年、CXが『料理の神様』28日放送　MCは吉田鋼太郎」（報知） https://hochi.news/articles/20191219-OHT1T50176.html

「フジHD　スタートアップ投資に50億円　ファンド設立」（日経） https://www.nikkei.com/article/DGXMZO53542580Z11C19A2TJ1000/

「『全日本フィギュア』ウォームアップエリアに360度カメラ　本番直前映像生配信」（RBBtoday） https://www.rbbtoday.com/article/2019/12/19/175618.html#cxrecs_s

「2019年　ブレイク俳優ランキング：【横浜流星】が第1位」（ORICON） https://www.oricon.co.jp/special/54081/

「嵐のネット進出　『従来の芸能界のやり方壊す』苦渋の決断」（POST7） https://www.news-postseven.com/archives/20191220_1511328.html

「書評：テレ東が攻めるワケ、そして愛されるワケ/太田 省一」（ALL REVIEWS） https://allreviews.jp/review/3972

「『ロンバケ』『HERO』…平成月9全122作ポスター奇跡的集結の裏側」（マイナビ） https://news.mynavi.jp/article/20191220-getsu9/