I, Hiroshi Nohara, the star of Japanese cinema

Chapter 233 Ordered! Support Kanto Television! The hopes of Takada Toshihide and Asumi!

As the black Toyota Crown slowly drove into the Tokyo TV underground parking lot, the afternoon sun was shining through the skylight, casting diamond-shaped spots of light on the smooth cement floor.

As soon as Hiroshi Nohara opened the car door, he saw the parking lot attendant, Sato, jogging over with a rag, a respectful smile on his face. He even stopped what he was doing: "Manager Nohara! You're finally back! These past two weeks while you were in Kumamoto, my colleagues in the production department have been asking me every day, 'When are you coming back, Manager?'"

Hiroshi nodded, gently shaking the car keys between his fingers: "Thank you all for your help. Is Director Sakata at the station today?"

"Yes, yes!"

Sato nodded quickly, eagerly opening the car door for him. His gaze fell on the "Kumamon IP Development Manual" that he hadn't taken with him from the passenger seat, and his tone was full of admiration: "You really made Tokyo TV proud this time in Kumamoto! I heard on the news yesterday that Governor Muto specifically mentioned you at the prefectural government meeting, saying that you are a 'cultural bridge between Kumamoto and Tokyo.' Many newspapers even published news about you creating Kumamon in Kumamoto Prefecture and promoting it for them!"

Hiroshi smiled but didn't reply, and walked along the parking lot passage towards the elevator.

Along the way, I encountered many employees carrying documents, including old acquaintances from the production department and newcomers from other departments.

But regardless of whether they knew him or not, everyone who saw him immediately stopped, bowed, and shouted:

"Good afternoon, Minister Nohara!"

"You've worked hard, Minister!"

The sounds rose and fell, and even the air was filled with a sense of cautious respect.

"Mm." He nodded in response, without stopping.

Having spent two years at TV Tokyo, from a third-tier director to having his own independent production department, from "Yamishibai" to "Seven Samurai," he had long been accustomed to this attention.

But more than these superficial gestures of respect, he was concerned about the state of the people in the production department.

After all, it was Sunday, and he should have been resting. But before he came, he paged Kitagawa Yao, and the girl said, "Everyone is rushing to meet the deadline at the department, and no one wants to go home."

The elevator doors opened with a "ding," and two young directors from the variety show department stood inside. Upon seeing Hiroshi, they immediately stepped aside and greeted him respectfully.

"Ah! It's Captain Nohara!"

"Ah."

Hiroshi responded with a smile, then stepped into the elevator and pressed the button for the 12th floor—the Nohara Special Production Department occupied the entire floor, which was specially approved by Nobuhiko Sakata, who said that "talented people should be given enough space."

During the elevator's ascent, one of the directors couldn't help but whisper, "Minister, I took my parents to see your film 'Seven Samurai' last week. My dad said it's the real samurai film, even more to his liking than Akira Kurosawa's!"

Another immediately chimed in: "My girlfriend cried for half an hour after watching it. She said that Kanbei's death in the end was so heartbreaking, and she asked when you would make another movie!"

Looking at their expectant eyes, Hiroshi said gently, "There are no plans for a movie at the moment, but there will be a few samurai-themed episodes in the fourth season of 'Tales of the Unusual.' If you are interested, you can ask Takeshi Yamamoto for the script later."

"Really? That's great!" The two directors' eyes lit up instantly, and they even bowed more deeply.

When the elevator doors opened again, faint discussions could be heard in the corridor on the 12th floor.

As Hiroshi stepped out of the elevator, he saw Kitagawa Yao running out of her office carrying a stack of documents. Her light gray business suit made her look exceptionally capable. When she saw Hiroshi, she almost dropped the documents in her hands and exclaimed with surprise, "Minister! Why are you back? Didn't you say you wouldn't arrive until tomorrow? I haven't had a chance to tell everyone..."

"I ended my trip early and thought I'd come and take a look." Hiroshi's gaze swept over the open office area.

Dozens of desks were filled with people. Some were discussing storyboards, some were typing away on their computers, and several animation staff members were gathered around drawing boards, doodling with colored pencils. Even in the break room, people were revising scripts while holding coffee. It was as lively as a weekday morning.

"The minister is back!" Someone shouted first, and the office area fell silent instantly. Everyone looked up and, upon seeing Hiroshi, their faces showed a mixture of surprise and joy. They all put down what they were doing and gathered around him.

"Minister, you're finally back! The ending script for the fifth season of 'Yamishibai' has been revised three times, and I still feel it's not quite right. I was just waiting for you to come back and make your final decision!" Kobayashi, a young animator from the animation team, squeezed to the front holding up his artwork, his tone full of urgency.

"Minister, the ratings for the last two episodes of 'Midnight Diner' are out! 20.2%! Number one in the second-highest time slot! Editor Tadokoro just called to say that Shueisha wants to release a related manga while it's still going strong!" Sato, who was in charge of publicity, held the report in his hand, his voice trembling with excitement.

Hiroshi smiled and raised his hand to gesture for everyone to return to their seats: "I know you all mean well, but please get back to your work first. Kitagawa, have the four section chiefs come to the meeting room. We'll have a meeting in ten minutes. Also, please bring over the progress reports from each department."

"Yes, Minister!" Kitagawa Yao immediately turned around and strode quickly toward the various offices in her high heels.

Hiroshi walked to his office door, but instead of going in, he stood in the corridor looking at the office area.

Hashimoto Ichiro was squatting in front of the animation team's drawing board, holding a pencil and revising the storyboard, his brows furrowed tightly.

Takeshi Yamamoto sat in the middle of the TV drama crew, holding the script and discussing it with several screenwriters, occasionally marking it with a red pen.

Kei Tanaka was in a corner of the variety show crew, repeatedly playing clips from "Super Transformation" on an old-fashioned VCR while muttering to himself.

Kenji Ito was the most relaxed, leaning back in his chair drinking coffee, holding a still from "Midnight Diner" in his hand, seemingly pondering something.

This is his team, a group of people who are endearingly serious about their respective fields.

……

Ten minutes later, the projector in the conference room was lit up.

Kitagawa Yao distributed the progress reports from each department to the four people, while she sat in a chair in the corner and took out her notebook to take notes.

Hashimoto Ichiro was the first to speak, spreading the animation storyboard on the table with a hint of pride in his voice: "Manager, the fifth season of 'Yamishibai' is in its final two episodes. We just finished recording the voice acting yesterday and are currently working on post-production. However, the average viewership rating for the fifth season is 11.8%, a significant increase from the 10.5% of the fourth season. We've also received 30% more reader feedback, with many saying they want to see more 'urban ghost stories.' We plan to premiere the sixth season in July, with a target viewership rating of 13%. We already have five scripts in reserve, all of which are high-quality stories that we've previously selected."

Hiroshi picked up the storyboard and flipped through it, his finger pausing on one of the pages.

It's a story about a "vending machine" where the machine spits out cans labeled "wishes" late at night, but takes something away from the person after fulfilling their wish.

He looked up at Hashimoto Ichiro: "The premise of this story is good, but the ending is a bit too straightforward. You should ask the screenwriter to revise it and make the process of 'taking things away' more ambiguous. For example, leave only an empty can with 'delivered' printed on it at the end. That would create more suspense and fit the style of 'Yamishibai.' Also, the sixth season could include some 'audience submissions' stories. Leave a submission address at the end of the episode. This would increase interactivity, filter out high-quality material, and reduce script costs."

Hashiro's eyes lit up, and he immediately took out a pen to write it down in his notebook: "You're right! How come I didn't think of that! I'll have the screenwriter revise the ending later, and then coordinate with the publicity team about submitting the article. I'll try to send out the call for submissions next week."

Next up was Takeshi Yamamoto, who adjusted his glasses and spoke calmly: "The fourth season of 'Tales of the Unusual' is currently airing its eighth episode, with an average viewership rating of 16%. The highest-rated episode, which focuses on the 'time loop,' reached 17.3%. However, we've recently received some feedback from viewers who feel that some episodes are too 'dark,' and they hope we can add some heartwarming themes. We plan to add two heartwarming stories to the remaining four episodes. One is about the 'old postman,' telling the story of how he helped an elderly man deliver mail before retiring; the other is about the 'secondhand bookstore,' telling the story of how the owner helps a customer resolve a misunderstanding through used books. The scripts are already written, and we're currently coordinating with the actors regarding their schedules."

Hiroshi nodded, tapping his fingers lightly on the report: "We can add heartwarming themes, but we can't lose the 'strange' element of 'Tales of the Unusual.' For example, the story of the 'Old Postman' could have a twist at the end—the old man has actually passed away, and the postman is delivering a letter he wrote to his future self when he was young. This would be both heartwarming and suspenseful. Also, when contacting actors, we should prioritize those with a 'realistic' feel, such as Takeru Satoh, who played the 'Tonkatsu Uncle' in 'Midnight Diner.' His acting is very down-to-earth and suitable for this kind of role."

Takeshi Yamamoto immediately agreed: "I understand! I'll talk to the casting team and ask them to contact Takeru Satoh first. I'll also have the screenwriter add the plot twist, and we'll try to start filming next week."

Then came Kenji Ito, who pushed the ratings report for "Midnight Diner" in front of Hiroshi with a relaxed smile: "Manager, the first season of 'Midnight Diner' has ended. The last episode had a rating of 20.2%, ranking first in the second-highest time slot, which is 3 percentage points higher than 'Yesterday's Cherry Blossoms' in the same period. Director Keiko Matsumoto called me yesterday and said that she cried several times after watching the 'Cat Meal' story in the last episode, and asked us when we would film the second season. In addition, Shueisha wants to compile the script of the 'Midnight Diner' drama into a manga, plus some unreleased short stories, and publish it next month. They asked if we agree."

Hiroshi picked up the report and glanced at it, a smile playing on his lips. "We can start preparing for the second season, but there's no need to rush into filming. Let the audience's enthusiasm settle down a bit, and it'll be perfect to premiere next spring. We can agree to Shueisha's manga, but we need to add the words 'Supervised by Hiroshi Nohara.' Also, have them add some details from the 'cafe menu' to the manga, such as how to make 'cat food' and the ingredients for 'ochazuke' (rice with tea). This will make it more practical and boost merchandise sales. By the way, has Mr. Mizukami given any feedback? He mentioned wanting to add some dishes from the show to his shop."

"Have!"

Kenji Ito nodded immediately: "The owner of the restaurant said that since the drama aired, the sales of 'cat rice' and 'ochazuke' have doubled. He wants to renovate next month to recreate the scenes from the drama, and he even wants to invite us to the ribbon-cutting ceremony!"

"I'll be there then." Hiroshi nodded, then looked at Kei Tanaka.

Holding the broadcast logs for "Super Transformation," Tanaka Kei said with a hint of pride, "Manager, the second season of 'Super Transformation' airs every Saturday at 4 PM, averaging 20% ​​viewership, with the highest-rated episode reaching 22.5%, making it the highest-rated variety show on the station. However, we've recently received feedback from some contestants saying the competition rules are a bit too strict, and many creative but imperfect entries have been eliminated. We plan to add a 'revival round' in the second half of the season, allowing previously eliminated contestants to re-enter, and we'll invite some celebrities as judges to increase the appeal. In addition, we'd like to collaborate with elementary schools to create a 'school special' featuring elementary school students, which will both increase the show's audience and enhance the station's image."

After listening, Hiroshi tapped his fingers lightly on the table: "We can add a revival round, but the judges should be artists who are 'creative,' such as an actor who acted in 'Tales of the Unusual.' His ideas are flexible and he's not bound by the rules. The idea of ​​a school special is great, but we need to pay attention to safety. When we coordinate with the school, we must confirm the venue and personnel arrangements. Also, the prizes for elementary school students can be changed to Doraemon and Kumamon merchandise, which are more meaningful than cash and can also boost manga sales."

Kei Tanaka immediately wrote it down: "I understand! I'll contact them right away. We'll also coordinate with the school for the school special. The prizes will be Doraemon figurines and comics, I guarantee the kids will love them!"

After the four finished their reports, the meeting room was quiet for a moment.

Kitagawa Yao then stood up, holding a box office report in her hand, her face beaming with excitement: "Minister, there are two more things to report to you. First, the final box office results for 'Seven Samurai' are in: 89 billion yen. Although it hasn't reached 10 billion, it's already the third highest-grossing film in Japan this year! Second, the final box office for 'Hachiko Monogatari' is 112 billion yen, breaking last year's box office record and becoming this year's box office champion! Everyone at the station is saying that you are the first director in Japan to reach 20 billion yen in box office revenue with just two films, and you've even been called the 'youngest member of the 10 billion yen box office club' by the media. Director Sakata just called me to say he wants to throw you a celebration party!"

"No need for a celebration banquet." Hiroshi waved his hand, his tone calm: "Let's save the money and give bonuses to the production department colleagues, give each of them an extra month's salary, and organize a hot spring vacation for everyone to relax."

"Great!" the four of them exclaimed in unison, their faces beaming with excitement—the production team was usually so busy they barely had time to breathe, and they had been wanting to relax for a while.

Looking at them, Hiroshi smiled slightly: "Alright, let's leave work here. Everyone's worked hard. Now we can relax and talk about something else."

The atmosphere in the meeting room instantly relaxed.

Hashimoto Ichiro was the first to speak, his tone filled with curiosity: "Minister, how was your trip to Kumamoto? I heard that Governor Muto specifically met with you and even appointed you as the 'Kumamoto Cultural Advisor,' is that true?"

Hiroshi nodded, picked up the teacup on the table and took a sip: "Yes, we did meet. We talked about the development of the Kumamon IP and the involvement of the Future Comics Club in character design. Everything is almost finalized. The appointment letter for the cultural consultant will be sent to the station next week. In the future, if there are any new promotional plans in Kumamon, they will contact me first."

"Wow! A cultural advisor!" Kei Tanaka exclaimed dramatically. "So, will you be going to Kumamoto often from now on? Will Misae-san's manga company also be collaborating with the Kumamoto Prefectural Government?"

When Misae was mentioned, Hiroshi's tone softened unconsciously: "Yes, Misae has already told the members about the future manga club's involvement in the design of Kumamon merchandise. They will submit the design drafts to the prefectural government next month. I also met Misae's family during my trip to Kumamoto. Her parents are very satisfied with me. Next... we should get engaged and married."

"Marriage?!" the four exclaimed in unison, their eyes lighting up.

Hashimoto Ichiro slammed his hand on the table excitedly: "That's great! Captain, you're finally getting married! I've always said you and Misae-san are a perfect match, but you didn't believe me! When are you getting engaged? You have to treat us to drinks when you do!"

Yamamoto Takeshi also nodded with a smile: "Yes, Minister, you are only 24 years old this year. Although your achievements are higher than all of ours combined, it's time for you to settle down and start a family. Japan's low birth rate is so serious now, and the country is advocating for early marriage. You can be considered to be responding to the call."

Kenji Ito joked, "Minister, when you get married, you should ask the owner of the 'Midnight Diner' restaurant to cook some dishes, like 'wedding rice' and 'sukiyaki,' and then have us film a special episode. It'll definitely be a hit!"

Kei Tanaka immediately chimed in, "Yes! We should also do a 'wedding special' in 'Super Transformation,' with the contestants cosplaying as you and Misae-san. That would be really interesting!"

Hiroshi was a little exasperated by what they said, but he didn't refute it. He just smiled and said, "The engagement ceremony will be in May, and we'll invite everyone to come. As for a special episode, there's no need for that; it's too ostentatious."

"How can we not make a splash!"

Hashimoto immediately retorted, "Minister, you are the pride of our TV Tokyo! Your wedding is such a big event, it has to be a big celebration! Besides, you are a public figure now, a little fanfare can even boost the station's reputation!"

Yamamoto Takeshi chimed in, "Section Chief Hashimoto is right. Look at Director Matsumoto Keiko; when she got married last year, the station held a grand wedding and broadcast it live, and the ratings were incredibly high. If you were to have a wedding, we could also broadcast it live, which would both increase your fame and boost the station's program ratings—a win-win situation!"

Hiroshi thought about it and felt that what they said made sense, so he nodded: "Then we'll discuss it later, but don't be too extravagant, keep it simple."

"Don't worry, Minister!" The four immediately agreed, their faces showing excitement.

Kenji Ito suddenly sighed: "Speaking of which, you're only in your early twenties, yet you're already a third-level director with your own production department. You've also produced works like 'Seven Samurai' and 'Hachiko Monogatari,' and your manga is a huge hit in Japan. You're really amazing. When I was your age, I was still doing odd jobs for my seniors. I didn't even dare to dream of making a short film on my own."

Hashiichiro sighed as well: "Yeah, when I was 23, I was still drawing backgrounds at an animation company, working overtime until midnight every day, and the salary was low. Now that I think about it, I'm really far behind you, boss. Sometimes I feel that your talent is like a god. Whether it's making movies, doing variety shows, or drawing comics, you can do it all to the best of your ability. We can only follow in your footsteps."

Yamamoto Takeshi said earnestly, "I think you, Minister, are not only talented but also visionary. For example, when you insisted on making 'urban ghost stories,' many people were not optimistic, saying it was too dark and no one would watch it, but 'Yamishibai' became a hit; and when you made 'Seven Samurai,' many people said that samurai films were outdated, but it was a box office and critical success. Looking back now, every decision you made was correct, and we are really lucky to be able to work with you."

Kei Tanaka nodded, "Yes, Minister, you not only teach us how to do things, but also how to be a person. Before, when I had a conflict with the people in the variety show team, you told me, 'Be a good person before doing things, and be sincere to others.' I have always kept that in mind. Now, the people in the variety show team are willing to cooperate with me, and that is all thanks to you."

Looking into their sincere eyes, Guangzhi felt a surge of warmth in his heart. He knew that his achievements today were not only due to the prophecy he gained from his time travel, but also because of the group of people around him who were willing to follow him and trust him.

He tapped the table lightly, his tone earnest: "Actually, I'm not as amazing as you all say. I've just been a bit luckier and had some good opportunities. For example, at TV Tokyo, Director Sakata and Deputy Director Asumi were very supportive, allowing me to focus on making programs. Also, senior director Eiji Kurosawa taught me a lot about film. Without them, I wouldn't have been able to create these works. As for you, just work with me, do your jobs well, and you'll naturally achieve your own success in the future."

Hiroshi's voice wasn't loud, but it carried a convincing power: "Just like Hashimoto can now stand alone in charge of 'Yamishibai,' Yamamoto can control the tone of 'Tales of the Unusual,' Ito made 'Midnight Diner' so popular, and Tanaka made 'Super Transformation' consistently the number one show in ratings—these are the reasons why I'm working with you all."

"Minister, you're being too modest!"

Tanaka Kei immediately waved his hand, a straightforward smile on his face: "If you hadn't entrusted 'Super Transformation' to me back then, I would still be doing odd jobs in the variety show department! You not only gave us opportunities, but also taught us how to do things well, which is the most valuable thing."

Hashiichiro nodded in agreement, still clutching the pen he had been using to take notes: "Yes, Minister, when 'Yamishibai' had funding problems last time, it was you who applied to Director Sakata for an additional budget; and Yamamoto, when he had a conflict with the screenwriter last time, it was you who mediated it—you may be young, but you know how to handle people and things better than us old hands, we admire you."

Looking at their sincere expressions, Guangzhi felt a warmth in his heart. After all, this was the team he led, and their hearts were united.

How could he not be happy?
Looking at the genuine agreement in their eyes, Hiroshi gently traced the wood grain of the conference table's edge with his fingertips—this table was an old item that Nobuhiko Sakata had specially retrieved from the warehouse when he first established his independent production department. It was said to have been used by a famous director during the Showa era, and faint coffee stains still remained on the tabletop. He suddenly felt that, more than box office numbers and trophies, the trust of the people around him was the most reassuring gain he had made since transmigrating to this world.

"Hearing you say that makes me happier than receiving a bonus from the station."

Hiroshi's tone was gentler than before, his gaze sweeping over the four of them: "But let's not talk about that now, we still have a lot to do—Hashimoto, the call for submissions for the sixth season of *Yamishibai* needs to start as soon as possible. Remember to place a small announcement in the culture section of the *Asahi Shimbun*. If the budget is insufficient, tell the finance department, and we'll include it in the production department's publicity budget;"

"Yamamoto, keep a close eye on the script reversal in 'The Old Postman.' I need to see the revised version next week."

"Ito, take some time to check on the renovation of Mr. Mizukami's canteen. Help him recreate the scenes from the drama in more detail, such as the old photos on the walls and the counter displays."

"Tanaka, contact him tomorrow to be a judge for the revival round of 'Super Transformation' and try to finalize the list next week."

"Don't worry, Minister!" The four of them responded almost in unison. Hashimoto had already taken out his notebook and started taking notes. The scratching sound of the pen tip on the paper was particularly clear in the quiet conference room.

Just then, the landline in Hiroshi's office suddenly rang, the ringing urgent and loud, interrupting the discussion in the conference room.

Hiroshi got up and walked to his desk, picked up the receiver, and before he could speak, Asumi's slightly helpless voice came from the other end of the line, with a hint of teasing in the end of her voice that only familiar people would say: "Nohara Hiroshi, you rascal, you went back to the production department and started a meeting with your subordinates first thing. What? You've completely forgotten about me, the deputy director?"

Hiroshi couldn't help but curl his lips when he heard that familiar tone, and unconsciously tapped the base of the phone with his fingers: "Deputy Director Asuka, what are you saying? I've only been back at the station for less than an hour, and before I could even catch my breath, Kitagawa Yao dragged me into a progress meeting. I was just planning to finish dealing with things here and then report to you on the situation in Kumamoto."

"Oh? Just got back to the station?"

Asumi paused for a moment, then laughed. The laughter, coming through the receiver, had a metallic quality to it: "I thought you knew the production bureau's office building by heart, but I didn't expect you to be busier than me. Alright, stop hanging around in your little conference room and come to Director Takada's office right now—not the deputy director's office you used to frequent, but the director's office that Director Sakata used to use."

"Director Takada?" Hiroshi paused slightly, his fingers stopping their tapping, but he understood.

Toshihide Takada has been promoted to head of the production department.

"Yes, it's Director Takada." Asumi responded on the phone, her tone becoming slightly more formal: "Director Takada and I are here to see you. We have something important to discuss with you. Don't dawdle, we're waiting for you in the office. The secretary at the elevator already knows you're coming and will bring you up."

After hanging up the phone, Hiroshi turned to the four of them and pointed to the reports on the table: "For the rest, proceed as we just discussed. Write down any problems you can't solve, and we'll talk about them when I get back."

"Yes, Minister!" Hashimoto nodded immediately, his pen still quickly jotting down the key points he hadn't finished writing down earlier in his notebook.

Hiroshi picked up his coat, draped it over his arm, and strode out of the meeting room.

When the staff in the corridor saw him, they still bowed respectfully and greeted him. He just nodded hurriedly and didn't stop walking.

The fact that both Takada Toshihide and Asumi approached him at the same time, and specifically chose Sakata Nobuhiko's former office, clearly indicates that it was no small matter. It was most likely related to the integration of Kanto Television, especially since Sakata Nobuhiko had mentioned in a pager last week that "the integration of Kanto Television needs to be accelerated."

The elevator stopped on the 12th floor. As soon as the doors opened, a woman wearing a light gray suit skirt stood in the doorway.

That was the secretary that Takada Toshihide was assigned after he was promoted to director. Her name was Miyazawa. She used to be Takada's subordinate when he was the executive deputy director. She was very capable.

Upon seeing Hiroshi, Miyazawa immediately flashed his standard professional smile and bowed slightly: "Minister Nohara, you've finally arrived. Director Takada and Managing Director Asumi have been waiting for you for ten minutes. Please come in."

Hiroshi nodded and followed Miyazawa to the end of the corridor.

When Nobuhiko Sakata was the head of the production department, he came to this office several times, each time to discuss important projects—the initiation of "Seven Samurai", the expansion of "Tales of the Unusual", and the approval of the independent production department. Each time, it was related to his development within the station.

Now that the office is owned by Toshihide Takada, for some reason, he felt a sense of loss and nostalgia.

Before Miyazawa could even raise his hand to knock, Takada Toshihide's enthusiastic shout came from inside the office, his voice much louder than usual during meetings: "Is that Hiroshi? Don't stand outside, just come in!"

Miyazawa's smile became even more ingratiating. He stepped aside to make room for Hiroshi and said in a low voice, "Minister, you see how much these two leaders value you. They were just saying, 'If Hiroshi doesn't come soon, we'll go to the 12th floor and invite him over.' You're a big shot at the station now. Even Director Sakata often praises you at high-level meetings, saying that you are the future pillar of TV Tokyo."

Hiroshi smiled but didn't reply, then pushed open the door and went into the office.

The office was more spacious than he remembered. The samurai sword decoration that Nobuhiko Sakata had placed in the corner had been moved and replaced with a huge glass fish tank, in which several red koi were swimming slowly.

The posters hanging on the wall are no longer those of Akira Kurosawa's movies, but a group photo of Toshihide Takada receiving the "Tokyo Film and Television Industry Contribution Award" last year. In the photo, he stands in the center, smiling brightly.

Takada Toshihide and Asumi were sitting on a leather sofa by the window, with two cups of freshly brewed matcha on the coffee table in front of them, steam rising gently.

Upon seeing Hiroshi enter, Takada immediately stood up from the sofa, a hearty smile plastered on his face, and strode forward to pat him on the shoulder—a gesture that would have been almost impossible before. When Takada was the executive deputy director, he would at most nod to him, never making such a close gesture.

"Hiroshi, we've been waiting for you!" Takada's voice was full of enthusiasm. He pointed to the sofa next to him and said, "Please sit down. Miyazawa just brewed some matcha, it's a premium tea from Uji. Try it, it's much better than the coffee in your office."

Asumi remained seated on the sofa, taking a sip of her tea with a hint of a smile in her eyes as she looked at Hiroshi: "What? Are you scared by Chief Takada's attitude?"

Hiroshi bowed to the two men with perfect and respectful movements: "Director Takada, Managing Director Asumi, I am sorry to trouble you both to take time out of your busy schedules to see me."

After speaking, he sat down on the single sofa next to him, picked up the matcha cup on the coffee table, and gently blew on it to cool it down. He knew that Takada Toshihide's change in attitude was not only because of his performance, but also because of Sakata Nobuhiko's attitude.

Now that Sakata has become the station director and president of the Tokyo Broadcasting System, Takada must win over this core figure of the "Sakata faction" if he wants to gain a foothold in the production department.

Looking at his composed demeanor, Takada nodded inwardly.

No wonder Nobuhiko Sakata values ​​this young man so much. He is not only talented but also knows how to behave properly, which is much better than those juniors who get arrogant as soon as they achieve a little success.

He sat on the sofa opposite Guangzhi, leaning forward slightly, and his tone became serious: "Guangzhi, the main reason I called you here is to discuss two important matters with you. They are both crucial to the future development of the station, and we can't do without you."

Hiroshi put down his teacup, his fingertips lightly resting on the rim, and looked intently at Takada: "Please give your instructions, Director. I will do my best to cooperate with any arrangements made by the Production Bureau."

"Don't be so reserved, let's discuss this together." Takada waved his hand and looked at Asumi, signaling her to speak first.

Asumi put down his teacup, took a thick folder from the briefcase beside him, and pushed it in front of Hiroshi: "Take a look at this first—this is Kanto TV's operational report for the past six months, as well as the 'Kanto TV Integration Plan' drafted by the station's senior management. Since our Tokyo TV acquired Kanto TV four years ago, although the merger has been completed on the surface, in reality, Kanto TV's production team, program resources, and audience have not been fully integrated. There have even been conflicts between the 'Tokyo faction' and the 'Kanto faction'. Last month, two veteran directors from Kanto TV even went to Director Sakata's office over resource allocation issues, which made things difficult for everyone."

Hiroshi didn't say anything, but simply picked up the folder and opened the first page.

Above are the basic statistics for Kanto TV: 1200 employees, 45 billion yen in revenue last year, and its main programs are local news and rural dramas. Even its highest-rated program, "Kanto Rural Stories," only achieved 8.5%, far below the average of TV Tokyo. He quickly flipped through a few pages, and when he reached the "Problem Analysis" section, he couldn't help but frown—it mentioned that Kanto TV's production philosophy was outdated, there was a serious loss of young directors and producers, and a seniority-based system existed, with many creative program proposals being rejected by senior management.

"For the past six months, I have been stationed at Kanto TV, holding meetings with their production team every day, trying to promote program reform, but with little effect."

Asumi's tone was weary as he rubbed his temples: "Most of the long-term employees at Kanto TV are native Kanto residents who are resistant to TV Tokyo and see us as 'outsiders.' The younger employees want to reform, but they have no say. Last month, a young director in charge of variety shows resigned from my job, saying, 'I see no hope at Kanto TV.' If this continues, forget about integration; sooner or later, the Kanto TV brand will be ruined in our hands."

Takada picked up the conversation, his tone much more serious than before: "President Sakata lost his temper at the high-level meeting last week, saying that if the problems with Kanto TV couldn't be resolved within three months, he would have me and Managing Director Asumi write our resignation letters. As you know, with the support of Tanaka Mikami, Tokyo TV is developing faster and faster, and last month they even poached two of our variety show directors; if the integration of Kanto TV goes wrong again, our position at Tokyo TV will be in danger."

Hiroshi closed the folder, placed it on the coffee table, and gently tapped the folder cover with his fingertips.

He roughly understood why the two of them had come to him.

The problems at Kanto TV, on the surface, are resource integration and team conflicts, but in essence, they are "outdated content" and "talent loss." What he excels at is using innovative content to revitalize the team. From "Yamishibai" to "Super Transformation," he breaks the deadlock each time with a new program format.

"Do you two mean that I should participate in the integration of Kanto TV?" Hiroshi looked up at the two men and asked calmly.

Takada nodded immediately, a smile returning to his face: "That's right! Managing Director Asumi and I discussed this for a long time and felt that only you could solve Kanto TV's problems. Think about it, when you took over 'Yamishibai,' it was a niche project that nobody thought would succeed, but you turned it into a benchmark for 'urban ghost stories'; 'Super Transformation' used to be just a low-budget variety show, but in your hands it became the station's ratings ace. What Kanto TV lacks right now is your ability to 'turn lead into gold'!"

Asumi added, "Our idea is to have you concurrently serve as the 'Content Director' of Kanto TV, without interfering with the daily management of Kanto TV, and mainly responsible for program innovation and talent development. You can transfer some people from your independent production department, or you can select promising young directors from within Kanto TV and give them the opportunity to make new programs. The station will give you the greatest support, whether it is budget or resources, as long as you ask, we can coordinate."

Hiroshi remained silent for a moment, his fingers still tapping lightly on the folder.

Taking on the role of content director for TV Kanto means his workload will double, as he will not only have to manage the production department of TV Tokyo but also oversee TV Kanto's programs. However, this also presents an opportunity.

If he can successfully integrate the Kanto TV station, his position within the station will be more secure, and he may even be able to influence future high-level decisions.

More importantly, Kanto TV has a wealth of local resources, such as the folk culture and tourist attractions of the Kanto region. These can all be used as material for new programs. For example, a local food program similar to "Midnight Diner" could be made, or a series of local ghost stories like "Yamishibai" could be made. This would not only boost the ratings of Kanto TV, but also help to find new content growth points.

"I have a condition."

Hiroshi raised his head, looking at the two of them with a determined gaze: "If I were to take on the role of content director for Kanto TV, I would want the 'final approval authority for program proposals'—whether it's a proposal from within Kanto TV or a new program I put forward, I would have the final say, and other leaders would not be allowed to interfere. In addition, I would need to select ten young directors from Kanto TV to come to my independent production department for three months to learn about TV Tokyo's production process, and then they would go back to lead the Kanto TV team."

Takada was taken aback, not expecting Hiroshi to make the request for "final approval." He subconsciously looked at Asumi, his eyes showing some hesitation—the final approval right for program approval used to be reserved for the director of the production department. Giving it to Hiroshi would be tantamount to handing over the lifeline of Kanto TV's content to him.

Asumi immediately nodded, her tone decisive: "No problem! Director Takada and I have already discussed it. As long as you can improve the ratings of Kanto TV, we will support you not only with the final review authority, but also with the establishment of the 'Kanto TV Content Center'. As for selecting young directors to study at Tokyo TV, that's even better. It can promote exchanges between the teams in both places and cultivate talent, killing two birds with one stone."

Seeing that Asumi had agreed, Takada quickly nodded in agreement: "Yes! Asumi is right. As long as the problem with Kanto TV can be solved, any conditions are negotiable. Don't worry, the station will definitely not interfere with your work. As for the budget, I have already spoken to the finance department. Kanto TV's content production budget will be increased by another 500 million yen this year, specifically for you to make new programs."

Hiroshi secretly breathed a sigh of relief.

What he wanted was the "final say," only in this way could he prevent the old leaders of the Kanto TV station from using their "seniority" to pressure people and allow the new program to proceed smoothly.

He picked up his teacup, took a sip of matcha, and let the warm tea slide down his throat with a delicate fragrance. "Since the two leaders trust me so much, I will do my best. I plan to first go to Kanto TV for a week to conduct research, understand their production team and existing programs, and then formulate specific reform plans. In addition, I would like to have Hashimoto and Ito come with me—Hashimoto is good at animation and genre content, and Ito understands livelihood programs. They can help me better connect with the Kanto TV team."

“Okay!” Takada immediately agreed: “You can bring whoever you want, as long as it’s convenient for you. Miyazawa, make arrangements for Hiroshi tomorrow, and let the Kanto TV station know to prepare for the reception. Don’t neglect Minister Hiroshi.”

Sitting next to him, Miyazawa nodded quickly and took out his notebook to jot down the notes: "Yes, Director. I will contact the office director of Kanto TV first thing tomorrow morning and make sure everything is arranged properly."

Asumi looked at Hiroshi with a hint of satisfaction in her eyes: "Hiroshi, actually, Director Sakata told me a long time ago that he trusts Kanto TV the most to be entrusted with you. He said that you are not only talented, but also know how to 'adapt to local conditions'—unlike some directors who just copy TV Tokyo programs to local stations and end up with problems. The 'Kumamon' IP you created in Kumamoto is the best example. You use local cultural elements to innovate, which is both down-to-earth and distinctive. This kind of thinking is perfect for Kanto TV."

Hiroshi couldn't help but laugh as he recalled his conversation with Governor Muto in Kumamoto: "Executive Director Asumi is too kind. I just felt that, whether in Tokyo or the Kanto region, what audiences always like is content that is 'warm'. Kanto TV has a lot of excellent local culture, such as traditional Kanto Kabuki, local cuisine, and local legends. These are all great materials. As long as they are packaged in a new format, they will definitely attract audiences. For example, we could make a show called 'Kanto Midnight Diner,' where each episode introduces a Kanto specialty dish and is accompanied by a story of a local resident. This would not only promote the food but also allow viewers to feel the warmth of the people in Kanto."

"That's a good idea!"

Takada's eyes lit up, and he slapped his thigh: "When I went to Kanto TV last time, I ate their local 'oden' and it was much better than the ones in Tokyo! If we can make it into a program, it will definitely be a hit! Hiroshi, just follow this idea. If you need any support, just tell me and Managing Director Asumi anytime."

Hiroshi nodded and then discussed some specific details with the two of them—

For example, the time arrangement for the research, the selection criteria for young directors of Kanto TV, and the budget allocation for the new program—more than an hour passed before we knew it.

The sky outside the window gradually darkened, and the office lights came on, casting a soft glow on the folders on the coffee table.

"It's getting late, and you've had a long day. Go home and get some rest." Asumi glanced at the wall clock and said to Hiroshi, "There's no need to rush the research. We can start next week. You should talk to Hashimoto and Ito and tell them to get ready."

Hiroshi stood up and bowed to the two men again: "Thank you for your trust, leaders. I will certainly not let you down. I will come up with a plan for the integration of Kanto TV as soon as possible and strive to see results within three months."

"Okay! We believe you!"

Takada escorted Hiroshi to the office door and patted him on the shoulder: "If you encounter any difficulties, don't bear them alone. Come to us anytime. We are 'family' now. We must work together to make TV Tokyo and TV Kanto great, and show those who look down on us that we are the best TV station in the Tokyo area!"

Hiroshi nodded in agreement, then turned and walked out of the office.

Miyazawa was still standing at the elevator entrance. When he saw him come out, he quickly bowed and said, "President Nohara, the elevator has been called for you. Please take care."

Hiroshi nodded and stepped into the elevator.

The elevator doors slowly closed, revealing his figure—wearing a dark suit, his tie perfectly tied, his eyes calm yet resolute.

Because he knows.

What follows will be a tough battle.

However, Hiroshi Nohara was not worried. With his countless creative ideas about Japan from his past life, he only needed to slightly modify other TV stations' good ideas.

Is it really impossible to revive Kanto Television?!
Hiroshi Nohara has the confidence to be here!

P.S.: Happy Mid-Autumn Festival everyone! Eat lots of mooncakes! And please give me some votes!
(End of this chapter)