I, Hiroshi Nohara, the star of Japanese cinema

Chapter 256 Hiroshi's Promotion! Deputy Director of the Production Bureau of Kanto TV! The Youngest Deputy Director of the Production Bureau in History!
The black sedan drove smoothly through the night streets of Tokyo, neon lights flashing outside the window, and billboards between skyscrapers casting flickering shadows on the streets.

Hiroshi Nohara, who had been drinking, leaned back in the passenger seat, his fingertips unconsciously stroking the edge of his phone, his mind replaying Asumi's words from the evening: "Sato Tokugawa's Tokyo Bay project started with a staggering trillion yen."

"The Tokyo Bay land reclamation project..." he muttered to himself, a complex look flashing in his eyes.

In his previous life on Earth, he had seen records of this project in historical documents. Ultimately, it failed due to a broken funding chain and environmental controversies. The huge amount of money invested was like water poured into the sea, leaving not even a ripple.

But in this world, Sato Tokugawa actually dared to put this project on the agenda and even pulled Tanaka Mikami along to push it forward.

The car drove across a bridge spanning the river, and Tokyo Bay below shimmered with a dark light in the night.

Hiroshi Nohara looked at the sea and tapped his knee lightly with his fingers: "1991... The economic bubble should start to show next year. It won't be able to be contained in '93, and by '94 the entire Japanese economy will be dragged down."

Having experienced the information bombardment of his past life, he was all too aware of the destructive power of this bubble bursting—countless businesses went bankrupt, families were burdened with huge debts, young people couldn't find jobs, and the entire country was plunged into "the lost two decades," from which it never fully recovered.

The driver from Tokyo TV noticed his silence and asked in a low voice, "Hiroshi-san, would you like to turn on the radio?"

"No, thank you." Hiroshi Nohara shook his head and turned his gaze back to the window.

The real estate agencies along the roadside were still lit up, with posters on their glass doors advertising "pre-sale of high-end apartments" and "limited-time special offers on sea-view villas," with prices that were shockingly high.

He couldn't help but sneer inwardly: "It's impossible that the higher-ups aren't aware that something's wrong, but no one has the courage to burst the bubble. Real estate involves too many interests—the construction industry, the steel industry, the banking industry… a single move can have far-reaching consequences. They'd rather watch the bubble continue to expand than dare to sever this 'economic pillar'."

He took out his phone, and his calm face was reflected on the screen when it lit up.

He had the power to change many things in this world, but he wasn't confident he could shake the entire economic system—all he could do was prepare a way out for himself and those around him, ensuring they could stand firm when the storm came. His finger scrolled through his contacts to the name "Nohara Sashi," and he pressed the call button.

The phone was answered after three rings, and Nohara Sashi's hearty laughter immediately came through the receiver, accompanied by the sounds of clinking glasses and a noisy crowd in the background: "Hiroshi! Calling so late, is something urgent? I'm having dinner with agricultural cooperative officials from Omagari City!"

"Brother, let's find a quiet place first. I need to talk to you about something serious." Hiroshi Nohara's voice was steady, carrying an undeniable seriousness.

Nohara Saji sensed the seriousness in his tone and quickly apologized to the person next to him. After the footsteps and the sound of the door closing, the background finally quieted down: "Alright, no one's around now. Tell me, did you run into some trouble?"

"I'm fine, I just wanted to ask about things on your end." Hiroshi Nohara softened his tone. "Are the sales of the Akita dogs and the land acquisition going smoothly?"

When talking about his business, Nohara Sashi's voice immediately became excited: "Successful! So successful! You have no idea how popular our Akita dogs are all over the country right now! Pet shops in Tokyo are ordering two hundred every month, and orders from Osaka and Nagoya are already booked until next month. Last month, our sales alone exceeded fifty million yen!"

He paused, then added, "The ski resorts in Hokkaido have also signed a long-term cooperation agreement with us. They want to train a group of Akita dogs to be search and rescue dogs, and they pay us ten million yen in cooperation fees every year. There are also hot spring hotels in Kyushu that have specially set up an 'Akita dog interaction area' where guests can walk our dogs. They buy more than a dozen puppies from us every month."

Hiroshi Nohara listened attentively, and only asked after he finished speaking, "What about the land acquisition? You said you wanted to acquire land in Omagari City, how's the progress?"

“You can rest assured about this one!” Nohara Saji’s voice was full of pride. “I get along very well with Mayor Ito Kenji and Chairman Suzuki Kentaro. They not only helped me coordinate the transfer of farmland, but also helped me secure tax breaks. We’ve already acquired nearly 50,000 acres of land. Half of it is used for pasture and dog breeding, and the other half is used for rice and vegetables. You mentioned ‘agriculture and tourism integration’ before, so I plan to build a few walking trails next to the rice paddies so that customers who come to buy dogs can experience farming, and incidentally boost the surrounding agritourism.”

He lowered his voice, his tone filled with anticipation: "I've spoken with Chairman Suzuki, and next year he'll help me connect with other towns in Akita Prefecture. By then, we can acquire at least another 50,000 mu of land, bringing the total to 100,000 mu. At that point, our family will be the largest breeding base in Akita Prefecture, and we'll be able to capture the largest market share, whether it's selling dogs or agricultural products!"

When Hiroshi Nohara heard "100,000 mu of land," he frowned slightly. "Brother, don't rush the land acquisition. The key is to control the quality. And what about the Akita dog supply? With so many being sold every month, can our breeding base keep up? Don't let us ruin our reputation by not being able to deliver the goods."

"Don't worry! I've been following your plan for a while now!" Nohara Sashi quickly explained, "I signed an agreement with the Akita Prefecture Agricultural Cooperative to bring together all the Akita dog breeders in the prefecture. We use our breeding dogs for all of them, and we even send veterinarians to check on them regularly. Now, only our Akita dogs can be marked with the 'purebred certification.' Even if other breeders want to sell, they won't be competitive—people recognize our brand and think that only our dogs are the most authentic."

He paused, then added, "I've also applied to Mayor Ito for the 'Akita Inu Culture Festival,' which will be held next spring. We'll invite pet bloggers and media from all over Japan to cover it. If you have time, why don't you come and take a look? We can use the festival to promote our agricultural products."

Hiroshi Nohara breathed a sigh of relief, a smile playing on his lips: "The idea of ​​a cultural festival is good. I'll go if I have time. But remember, whether you're selling dogs or farming, make sure you have enough cash flow. Don't put all your money into the land. The economic situation is unstable lately, so having cash on hand is essential to deal with unexpected situations."

“I understand!” Nohara Saji’s voice was crisp. “You told me before that ‘cash is king,’ so I keep 30% of my profits in the bank every month and have also bought some grain reserves. Don’t worry, I won’t gamble all my money like those real estate developers do.”

After hanging up the phone, Hiroshi Nohara leaned back in his chair, finally feeling relieved.

Although his elder brother is straightforward, he always keeps his reminders in mind. The layout of the Akita dogs and the land is already very solid, and even if there is economic turmoil in the future, it can withstand it steadily.

Just then, the car entered a familiar neighborhood, and he saw the warm yellow light shining from the window of his apartment building. The corners of his mouth unconsciously curved into a smile.

When I opened the door, the aroma of food wafted out.

Misae Koyama was carrying a bowl of miso soup out of the kitchen when she saw him return. Her eyes lit up immediately: "Hiroshi-kun, you're back! Wash your hands and eat quickly, the tempura is freshly fried and still warm!"

The table was laden with food. Golden and crispy tempura was arranged on a white porcelain plate, next to steaming white rice and pickled vegetables. The steam from the miso soup filled the room, making it feel warm and cozy.

After Hiroshi Nohara washed his hands and sat down, Misae eagerly handed him chopsticks: "Try it! Today I called my mom to learn how to fry tempura. I used a low temperature and slow frying method, so it's crispy on the outside and tender on the inside. I'm sure you'll like it."

Hiroshi Nohara picked up a piece of shrimp tempura and took a bite. It was indeed crispy and not greasy, and the sweetness of the shrimp meat spread in his mouth.

He nodded: "It's delicious, even more authentic than what you get in restaurants."

Misae immediately smiled, her eyes narrowing into slits, her cheeks flushed: "Really? Then I'll make it for you often from now on!"

As they ate and chatted, Misae suddenly remembered something, put down her chopsticks, and said, "By the way, Hiroshi-kun, I watched the news tonight! They said NHK held a documentary panel discussion, and even Minister Miyazawa from the Cabinet went. You were there too, right? Although the news didn't show your face, the reporter mentioned 'A Bite of China' and said you proposed the idea of ​​'cultural export.' That's amazing!"

Hiroshi Nohara sipped his miso soup and said in a flat tone, "It's just a normal industry exchange, nothing special. However, after this symposium, NHK will launch the 'Cultural Export Special Project,' so our Future Manga Company can prepare in advance."

"A manga club?" Misae blinked, looking puzzled. "Doesn't our club just color your manga? How does it relate to cultural export?"

"There will be more things to do in the future."

Hiroshi Nohara put down his spoon and looked at her seriously. “I plan to translate the manga of ‘Doraemon’ and ‘Midnight Diner’ into foreign languages ​​and collaborate with NHK’s overseas channels to promote them. The manga artists in your company are very talented. You could also try creating some short manga that incorporate traditional Japanese culture, such as stories themed around wagashi (Japanese sweets) and kimonos, which would be more easily accepted by overseas audiences.”

Misae's eyes lit up. Although she didn't quite understand, seeing Hiroshi Nohara's serious expression, she immediately nodded vigorously: "Okay! I'll talk to the people in the company tomorrow! Although I don't really know how to promote it overseas, I'll learn from you and definitely won't hold you back!"

Seeing her earnest expression that said, "I don't understand, but it's amazing," Hiroshi Nohara felt a warmth in his heart. He put down his chopsticks and reached out to ruffle her hair. "No rush, take your time. After we finish eating, let's 'exercise' a bit to relax."

"Sports?" Misae paused for a moment, then realized what she meant. Her cheeks flushed red to her ears, and she gripped the tablecloth tightly, muttering softly, "Hiroshi-kun... why did you suddenly bring this up..."

Hiroshi Nohara couldn't help but laugh as he looked at her shy expression. He reached out and took her hand, saying, "You'll see after we eat. I guarantee it's a sport that young people will enjoy."

The night outside the window grew darker, and the warm light from inside the apartment cast their shadows on the two of them, the aroma of food mingling with soft laughter.

……

At nine o'clock in the evening, the warm lights in the apartment were still on. Hiroshi Nohara leaned back on the sofa, holding Misae Koyama in his arms.

The girl's hair was loose on his arm, carrying a faint scent of shampoo, and the two chatted casually.

“Hiroshi-kun,” Misae suddenly looked up, her eyes sparkling, “Next month at the beginning of the month is my sister Masae’s engagement party. We should go to Kumamoto Prefecture early then. Mom called yesterday and said that Fujiwara Isshin-kun’s family will also be coming, and they’ve specially prepared some Kumamoto specialties for us to try.”

Hiroshi Nohara lowered his head and ruffled her hair, nodding with a smile: "Of course I'll go as soon as possible. It just so happens that I want to learn more about the situation in Kumamoto Prefecture—such as the industries related to Kumamon and the current state of traditional handicrafts. Maybe I can find some material for the subsequent filming of 'A Bite of China'."

He paused, his tone tinged with weariness, "I've been busy filming documentaries for Kanto TV lately, as well as doing post-production for 'A Bite of China,' and helping them organize their creative ideas. It's been quite tiring. Once I'm done with this, I can finally get a good rest for a couple of days in Kumamoto."

Misae quickly reached out and gently massaged his shoulders, saying, "Then you should get some rest today and not think about work all the time. I've already prepared the ingredients for tomorrow's breakfast: your favorite natto with rice and pickled cucumbers."

Hiroshi Nohara held her hand, feeling a warm glow in his heart.

The two chatted for a while about Maya and Fujiwara Isshin's daily life. As they talked, drowsiness gradually crept in, and they eventually leaned against each other and drifted off to sleep.

The next morning, Hiroshi Nohara woke up before the alarm clock even went off.

He tiptoed to get up and prepare breakfast. Just as he finished mixing the natto, Misae came out rubbing her eyes: "Hiroshi-kun, why are you up so early?"

"I wanted you to sleep a little longer." Hiroshi Nohara set out the bowls and chopsticks. "Come and eat, and I'll take you to the manga club after you're done."

The two sat at the dining table, quietly eating their breakfast.

Sunlight streamed through the window, falling softly on Misae's hair.

After finishing his meal, Hiroshi Nohara went to the garage to get his car, while Misae stood waiting at the door, carrying snacks for the manga company employees.

After getting into the car, Hiroshi Nohara looked at Misae in the passenger seat and suddenly said, "Misa, I think you should get a driver's license, and I'll help you buy a car. That way, you won't always have to wait for me to take you to the manga studio or visit your parents, which will be more convenient."

Upon hearing this, Misae's cheeks flushed instantly, and she quickly shook her head: "No! I... I still want to ride in Hiroshi's car. Besides, I get nervous driving alone, and I only feel at ease when you're by my side." As she spoke, she reached out and grabbed Hiroshi Nohara's arm, her tone filled with dependence.

Hiroshi Nohara couldn't help but laugh at her shy expression, and patted the back of her hand: "Okay, whatever you say. If you want to drive again in the future, just let me know."

The car drove smoothly down the street, and the two chatted occasionally about the comic book club, creating a relaxed and warm atmosphere.

When they arrived at the "Future Comics Club" building, Misae reminded them before getting out of the car, "Hiroshi-kun, don't overwork yourself in Kanto-dai, remember to eat lunch."

"I understand, don't worry." Hiroshi Nohara nodded, watched her walk into the building, and then drove towards Kanto-Dai.

When Hiroshi Nohara arrived at the Kanto office, the meeting room was already full of people.

Middle-level executives such as Yuichi Matsui, Takashi Yamada, and Ken Fujishita sat in the front row, while young directors such as Sakurako Honda sat in the back row. Each of them held a thick proposal in their hands, their eyes full of anticipation.

"Hiroshi-san, you've arrived!" Matsui Yuichi was the first to stand up. Although he still harbored resentment towards TV Tokyo's acquisition, he highly recognized Hiroshi Nohara's talent. "Everyone is waiting for your guidance. This time, the number of documentary proposals submitted is more than double that of the last time."

Hiroshi Nohara nodded and walked to the head seat to sit down: "No need to be so polite. Let's treat today like a defense. Everyone should explain their project ideas, core concepts, and subsequent filming plans. We'll solve any problems together. Let's start from the left."

The first to stand up was Takashi Yamada, holding a proposal for "Kanto Traditional Lacquerware." His tone was earnest: "Hiroshi-san, I want to make a documentary about Kanto lacquerware. There are fewer and fewer artisans who know this craft now, and I want to record their production process, as well as the family stories behind the lacquerware. The core theme is 'the dilemma of passing on traditional crafts.' My plan is to first conduct research in lacquerware workshops in Ibaraki and Tochigi prefectures, and then select three representative artisans to follow and film." Hiroshi Nohara listened attentively and asked, "Yamada-san, have you considered how to make lacquerware interesting to young viewers? Just filming the production process might seem dry."

Takashi Yamada paused for a moment, then shook his head: "This... I haven't thought about it too much. I think as long as I can show my skills clearly, the audience will naturally appreciate it."

“Actually, we can incorporate elements of ‘modern integration’.” Hiroshi Nohara took out a pen and drew a simple framework on a piece of paper. “For example, we could film artisans collaborating with young designers to turn lacquerware into tea sets and jewelry that modern people like; or we could film young people learning the craft of lacquerware, showcasing ‘innovation within tradition’. This way, older viewers can see tradition, and younger viewers can find common ground. This is a common ‘breaking the circle’ approach used in documentaries in 2025, the core of which is to connect tradition with contemporary life.”

Takashi Yamada's eyes lit up, and he nodded quickly: "Yes! How come I didn't think of that! This will broaden the film's audience considerably, thank you Hiroshi-san!"

Next up is Ken Fujishita, whose project is "The Transformation of Fishing Ports in the Kanto Region": "Hiroshi-san, I want to film fishing ports in Chiba and Kanagawa, documenting the changes in fishermen from traditional fishing to seafood processing. The core theme is 'the transformation of the fishery economy.' The subsequent plan is to spend six months following and filming three fishermen's families, recording their daily lives and difficulties."

Hiroshi Nohara asked, "Fujishita-san, how do you plan to showcase this 'transformation'? Will it be through narration or through character stories?"

"I plan to use narration to explain the policies and data related to the transformation," Kenji Fujishita replied.

“Actually, you can weaken the narration and use ‘detailed contrast’ to show it,” Hiroshi Nohara explained. “For example, film an old fisherman still using traditional fishing nets, while his son uses satellite positioning to find schools of fish; film the fishing port where there used to be only fish stalls, but now there are seafood restaurants and seafood processing plants. These scenes themselves have the tension of ‘change’, which is more impactful than narration. In addition, you can add ‘the fishermen’s real thoughts,’ such as the old fishermen’s reluctance to give up tradition, and the young people’s confusion about the future. These emotional details can make the film more heartwarming.”

Fujishita Ken suddenly realized what he meant and quickly jotted it down in his notebook: "I've learned a lot! Hiroshi-san, your idea is so useful!"

When it was Honda Sakurako's turn, the girl stood up nervously, clutching the "Old Street Exploration" proposal tightly in her hand: "Hiroshi-san, I still want to film old streets... such as the old streets in Tokyo like Tanine Sen and Kagurazaka, to record the old shops and residents, with the core theme of 'preserving memories in urban development.' The subsequent plan is to select two old shops with stories in each old street, follow and film their daily lives, and also the controversies surrounding the demolition of old streets."

Previously, Yuichi Matsui rejected her proposal because he felt that "the old street was not interesting." At this moment, Yuichi Matsui couldn't help but speak up: "Sakurako-chan, the story of the old street is too ordinary. The audience will not like it."

Hiroshi Nohara interrupted him, saying to Sakurako Honda, "This project is excellent, and its core is very valuable. You can add 'the bond between people and the old street' to 'memory preservation.' For example, you could film the reasons why old shop owners persevere—perhaps to wait for old customers, or perhaps to pass on their fathers' crafts; or film why old residents oppose demolition—not because they resist development, but because they can't bear to part with their neighbors. In addition, you can use 'seasonal changes' to connect the film, such as filming the cherry blossoms in the old street in spring and the fireplace in the old street in winter, making the scenes more atmospheric. This is also a kind of 'sensory narrative,' which makes it easier for the audience to empathize."

Sakurako Honda's eyes instantly reddened, and she bowed excitedly: "Thank you, Hiroshi-san! I was always worried that the plan wouldn't have any highlights, but now I finally know how to revise it!"

As Matsui Yuichi watched Nohara Hiroshi's explanation, he secretly admired him. He had previously thought these projects were either boring or ordinary, but after Nohara Hiroshi's guidance, they all came up with brilliant ideas.

The defense session lasted until noon, and each director's project received detailed guidance.

Everyone crowded around, expressing their gratitude in unison, their eyes filled with admiration: "Hiroshi-san, your thinking is amazing! I was always trapped in the framework of traditional documentaries before, but now I've finally opened up my mind!"

"If there's anything I still don't understand, may I ask you for help again?"

Hiroshi Nohara smiled and nodded: "Don't be shy, everyone. Feel free to ask me any questions. When we make documentaries, we need to constantly communicate and make adjustments in order to create a good film."

Just then, Kiyoto Suzuki walked in, leaning on his cane, and said with a smile, "Hiroshi-kun, let's not keep discussing this. I'll treat you to lunch. Let's go to the izakaya next door to grab something to eat and chat."

Everyone responded, except for Hiroshi Nohara, who was pulled aside by Kiyoto Suzuki.

The two entered the izakaya and found a seat by the window. The waiter quickly brought out sashimi, grilled mackerel, and a pot of sake.

"Hiroshi-kun, thank you for your hard work these past few days." Suzuki Kiyoto poured Hiroshi Nohara a glass of wine, his tone full of emotion. "The creative atmosphere that Kanto TV has now is all thanks to your help. Before, Matsui and the others were resistant to TV Tokyo, but now they admire your talent and are willing to work with you to make documentaries."

Hiroshi Nohara picked up his glass and took a small sip: "Suzuki-senpai, you're too kind. The Kanto TV team is very promising; I just helped them organize their thoughts. Besides, being able to participate in the creation of so many documentaries about traditional crafts and local culture is also a learning process for me."

Kiyoto Suzuki smiled and changed the subject: "By the way, Hiroshi-kun, there's something I'd like to discuss with you. TV Tokyo has already discussed it and they're thinking of promoting you—you're currently the head of the Nohara Independent Production Department, a Level 3 director, and this time they'd like to make a special exception to promote you to Level 2 director, while also appointing you as the deputy director of the Kanto TV Production Bureau."

Hiroshi Nohara paused, somewhat surprised: "Deputy Director? But I've never held a management position before, and the daily affairs of Kanto TV..."

"Don't worry, I'm not the executive deputy director, so I don't need to worry about too many administrative affairs."

Kiyoto Suzuki quickly explained, "The main reason is to give you a more suitable title so that you can better oversee the documentary production at Kanto TV. As you know, you're too young. If we give you a high position directly, some people will inevitably be dissatisfied. Giving you the title of deputy director first will allow you to carry out your work more effectively and also give the outside world a buffer. The station's idea is that we hope you will focus on your work and take your political future with you. There's no need to rush to take on too much management responsibility."

Hiroshi Nohara then understood and breathed a sigh of relief.

He never wanted to put too much energy into administrative affairs; being able to continue focusing on his creative work while also having a suitable role to coordinate resources was naturally the best option. He raised his glass to Suzuki Kiyoto: "Thank you, Suzuki-senpai, and thank you for the station's trust. I will do my best and live up to everyone's expectations."

“That’s right.” Suzuki Kiyoto smiled with relief. “I’m relieved that you have this kind of thinking. Nowadays, many young people, once they get promoted, think about management and power, and forget about their greatest strength: creation. It’s more important than anything else that you can stay true to your original aspirations.”

The two then reminisced about the past—from when Hiroshi Nohara first joined TV Tokyo and worked with Seito Suzuki on the planning of "Yamishibai," to when TV Kanto faced a crisis, and Seito Suzuki, against all odds, recommended Hiroshi Nohara to guide the creative process.

"Do you remember the first time you met Matsui?" Suzuki Seito recalled with a smile. "Matsui was very rude to you back then, saying that you were 'so young, what do you know about traditional crafts?' But you immediately started talking to him about the history of Kanto lacquerware and the changes in fishing ports, leaving him speechless. Looking back now, I knew then that you were destined for great things."

Hiroshi Nohara laughed as well: "I was a little nervous at the time, afraid that Matsui-senpai wouldn't cooperate. But later I found that although Matsui-senpai is stubborn, he still wants to make good programs, he just needs someone to enlighten him. Now he can take the initiative to discuss creative ideas with young directors, he is much more open-minded than before."

The two ate and chatted, talking about everything from work to life, from documentaries to the preservation of traditional crafts. Before they knew it, a pot of sake had been emptied.

The sunlight outside the window gradually slanted westward, shining on the two people's faces, filled with warmth and emotion.

"Hiroshi-kun, I'll be counting on you to take care of Kanto-tai from now on." Suzuki Kiyoto patted Nohara Hiroshi on the shoulder, his tone full of expectation. "I'm getting old, but I'm already very satisfied to see Kanto-tai revitalized and to see young people like you taking on the responsibility of cultural inheritance."

Hiroshi Nohara nodded solemnly: "Mr. Suzuki, rest assured, I will continue to work hard to make more documentaries that can record culture and touch people's hearts. Whether it's Kanto TV or Tokyo TV, we will work together to spread the good stories and crafts of Japan."

The door of the izakaya swayed gently in the wind, and the laughter of the two people mingled with the noise of the street outside, creating a warm scene.

……

In a private room at the "Matsuha" club in Ginza, Tokyo, tatami mats are covered with patterned cushions, fresh calamus is placed in a celadon vase in the corner, and a faint aroma of matcha wafts in the air.

Nobuhiko Sakata sat upright in the main seat, holding a warm teacup in his hands, his gaze fixed on the view outside the window—the street below was bustling with traffic, and the neon signs were gradually lighting up, making his profile appear exceptionally calm.

Asumi sat on the left, her fingers gently stroking the rim of her teacup, her tone tinged with a hint of helplessness: "Director Sakata, Director Takata, I still feel that Hiroshi's promotion to Level 2 Director and concurrent appointment as Deputy Director of the Kanto Station is a bit rushed. He's only 23 years old this year and has been with the station for less than two years. Even if he's exceptionally talented, such a rapid promotion will inevitably cause some resentment among the other veteran employees."

He paused, then added, "Now that Guangzhi has jumped directly from a level three director to a level two director and also serves as the deputy director, I'm afraid some people will gossip about 'the station showing favoritism'."

Takada Toshihide, sitting on the right, put down his teacup upon hearing this, a faint smile playing on his lips: "Asukai-kun, you're wrong about that. In the television industry, we value ability, not seniority. Hiroshi-kun's achievements speak for themselves—'Yamishibai' pioneered a new genre of urban fantasy anime, achieving a viewership rating of over 25%; 'Super Transformation' changed the neighborhood atmosphere in Japan, and even the Cabinet wanted to promote its format; 'Seven Samurai' was hailed by the industry as a 'new benchmark for samurai films,' and its overseas rights were sold to more than a dozen countries. Based on these achievements alone, let alone being promoted to a second-level director, even if you were given the title of first-level director directly, no one could say a word."

Nobuhiko Sakata nodded slightly, put down his teacup, and spoke in a calm but undeniably authoritative tone: "Takada-kun is right. The Japanese film and television industry should have broken away from the seniority system long ago. In the past, many talented young people at TV Tokyo were held back by seniority, and eventually either left or had their edges worn down. Hiroshi-kun is different. He not only has talent, but also the ability to lead the entire team. Look how long he's been at TV Kanto, and even someone as stubborn as Yuichi Matsui has been convinced. The creative enthusiasm of young directors has also been aroused. Even the previously rejected 'Old Street Exploration' and 'Lacquerware Heritage' projects now have some refreshing ideas."

Upon hearing this, Mingri Hai remained silent for a moment before slowly nodding: "I understand what you're saying, but after all... he's too young. Management positions aren't just about talent; they also require coordinating relationships with various parties and handling administrative affairs. Guangzhi has always focused on his creative work; will suddenly appointing him as deputy director affect the quality of his subsequent works?"

"I've already thought about that."

Nobuhiko Sakata picked up his teacup and took a small sip. "The main reason for giving him the title of 'Deputy Director' this time is to make it easier for him to coordinate the documentary production at Kanto TV, without having to worry about daily administrative affairs. The administrative work of Kanto TV will still be handled by Yuichi Matsui and the others. And don't forget, Hiroshi-kun also has several capable section chiefs around him, such as Ichiro Hashimoto and Takeshi Yamamoto, so he doesn't need to worry about the daily management of the production department at all. What he needs to do is to grasp the creative direction and produce good works—that's what he's best at."

Takada Toshihide picked up the conversation, his tone tinged with emotion: "Speaking of which, Tokyo TV's current situation is all thanks to Hiroshi-kun. When Kanto TV was acquired, there was a lot of anxiety within the company. Veteran employees were resistant, new employees were confused, and even Fujishita Ken from the advertising department was losing sleep, worried that clients would withdraw their investment. But then Hiroshi-kun came along, first stabilizing advertisers with the high ratings of 'A Bite of China,' and then helping young directors to organize their creative ideas. Now, Kanto TV's documentary projects are already booked until the second half of next year. Giving someone like him the right role sooner rather than later will allow him to better utilize his abilities."

Asumi thought about the recent changes at Kanto TV and had to admit that in the past, Kanto TV's programs were either old-fashioned political news or variety shows that imitated TV Tokyo, lacking any distinctive features. Now, a number of in-depth documentary projects such as "Changes in Fishing Ports," "Traditional Lacquerware," and "Memories of Old Streets" have emerged, and even NHK has taken the initiative to inquire about cooperation. All of this is indeed inseparable from Hiroshi Nohara's contribution.

He picked up his teacup and raised it to Nobuhiko Sakata and Toshihide Takada: "I was overthinking it. Hiroshi-kun is certainly qualified for this position, and I hope he can continue to create more value for the station."

Nobuhiko Sakata looked at him with a relieved smile: "Asuka-kun, it's good that you understand. As leaders, we need to see not only the current controversies, but also the long-term future. Talented people like Hiroshi-kun are hard to come by, maybe once every ten or even twenty years. Giving him enough space and resources now is not to let him fight for power and profit, but to let him focus on his creative work and lay a more solid foundation for TV Tokyo."

He paused, his gaze deepening.
"Think about it, the Japanese film and television industry today appears prosperous on the surface, but it is actually fraught with crises. TV stations are all following the trend of making idol dramas and entertainment variety shows, and there are fewer and fewer works with real cultural value that can be passed down. The economic bubble will burst sooner or later, and those programs that rely on traffic to support them will soon be abandoned by the audience. But Guangzhi's works—'A Bite of China' records traditional crafts, 'Seven Samurai' explores human nature and class, and 'Midnight Diner' conveys warmth—these are all 'hard currency' that can stand the test of time."

Takada Toshihide wholeheartedly agreed: "Director Sakata is absolutely right. Last time I attended an industry conference, the leaders of other TV stations were all complaining about 'no one watching the programs' and 'advertisers withdrawing their investments.' Only our TV Tokyo, because of Hiroshi-kun's works, not only saw its advertising revenue increase by 30%, but also received the Ministry of Education's 'Special Fund for Cultural Heritage.' Even if the economic situation is not good in the future, as long as Hiroshi-kun is still around, our TV Tokyo will be able to maintain its footing."

Looking into their determined eyes, Asumi felt completely relieved.

He recalled the last time he discussed the filming plan for "The Taste Across Mountains and Seas" with Hiroshi Nohara. When the young man talked about promoting Japan's traditional crafts to the world, the light shining in his eyes was a love for creation and a reverence for culture. It wasn't for fame or fortune, but for doing something well.

"I understand."

Asumi said firmly, "From now on, I will fully cooperate with Hiroshi's work on Kanto TV. Whatever resources he needs, whether it's equipment or personnel, I will coordinate them as soon as possible. I hope he can continue to produce good works and make more contributions not only to TV Tokyo but also to the cultural heritage of Japan."

Nobuhiko Sakata nodded in satisfaction, picked up his teacup, and said, "Alright! Let's drink tea instead of wine today, wishing Hiroshi-kun to create more and better works in the future, and wishing Tokyo TV to go to a longer future under his leadership."

The crisp sound of the teacups clinking together faded away, and Nobuhiko Sakata put down his cup.

He tapped his fingers lightly on the edge of the tatami mat, his tone becoming more serious: "Actually, there's a deeper consideration behind promoting Hiroshi-kun this time—the economic situation is becoming increasingly uncertain, and Sato Tokugawa's real estate bubble will burst sooner or later, affecting the entire Japanese industry. If our TV station wants to stay afloat, we can't rely solely on advertising and ratings; we need 'hard works' with cultural value."

He looked at the two of them with a sharp gaze: "Hiroshi's works are precisely the 'ballast' that can withstand risks. 'A Bite of China' can drive the revival of local tourism and traditional crafts, and the Ministry of Education will continue to support it; 'Tales of the Unusual' can attract a stable audience, and even if the economy declines, people still need spiritual comfort; if 'Taste Across Mountains and Seas' can do a good job of cultural export, it can also get special funding from the Cabinet. With these works, even if advertising revenue declines in the future, we will have the confidence to survive."

Takada Toshihide immediately chimed in, tapping his finger on the table: "Director Sakata is right. I calculated with the finance department before, and the related collaborations driven by 'A Bite of China' alone—such as co-branding local specialties and licensing documentaries about artisans—can bring the station nearly 500 million yen in extra revenue every year. If Hiroshi-kun could also serve as the deputy director of the Kanto Station and integrate the traditional craft resources of the Kanto region, this revenue could double. Compared to those variety shows that rely on popular celebrities to boost their popularity, this is a long-term solution."

Asahi finally understood their plan, and a knowing look appeared on his face: "So you had already considered the economic risks... I was only worried about the feelings of the older employees before, and I overlooked this aspect. In that case, Hiroshi's promotion is not only a recognition of his personal abilities, but also a strategic move for our station to deal with future crises."

"Yes."

Nobuhiko Sakata nodded, his tone tinged with emotion, “We’ve been in the television industry for decades and have seen too many ups and downs. We used to think we could rely on policies and resources, but we’ve come to realize that what truly makes a television station last is good works that can retain people’s hearts and preserve the culture. Hiroshi-kun is just able to do that. His talent and vision are the guarantee for our station’s next thirty years.”

As night deepened, the aroma of matcha in the private room grew even stronger.

The three of them said no more, but they all understood each other perfectly—Hiroshi Nohara's promotion was never a simple job change, but rather a seed of hope planted by TV Tokyo in order to cope with the turbulent times.

As long as this seed continues to grow, TV Tokyo will be able to stand firm amidst future uncertainties and become a cultural brand that will never fade in the Japanese film and television industry.

P.S.: I'm shamelessly asking for more recommendation votes and monthly tickets. Thank you all!

(End of this chapter)