novelraw Chapter 244: Everyone is Watching! Everyone is Paying Attention!
Chapter 244: Everyone is Watching! Everyone is Paying Attention!
The day after the rough cut of the first episode of "A Bite of Neon" was completed, Nohara Hiroshi led his team to rush towards Gunma Prefecture. The theme of the second episode was set as "Warmth of the Streets," filming a Soba shop that had been open on an old street for thirty years.
As soon as the car drove into the boundary of Gunma Prefecture, Matsui Yuichi couldn't help but flip through the shooting list, his tone carrying a bit of excitement: "Hiroshi-kun, are you sure we don't need to reconfirm with the shop owner in advance? Last time we filmed Nomizu-san in Chiba, scouting the location beforehand saved a lot of trouble. This time we only made a phone call, could we miss some details?"
Hiroshi was looking down, modifying the storyboard draft. Hearing this, he looked up and smiled: "Don't worry, Matsui-san. Yesterday I had Honda-chan chat with the boss for half an hour, and even recorded his habit of grinding buckwheat flour at 4:00 AM. Our focus this time is filming 'Inheritance'—the argument between the boss and his son, the habits of the regular customers, these are more important than simply filming the process of boiling noodles."
Honda Sakurako, sitting in the passenger seat, immediately took out her notebook and pointed to one of the pages: "Matsui-san, look, I've noted it all down. The boss's name is Sato Kosuke, fifty-eight years old this year. His son, Sato Kenta, is twenty-five and wants to turn the Soba shop into a Western-style cafe. The father and son have been arguing for nearly half a year. Then there are the regular customers who come often, like Granny Tanaka who lives next door. She comes every day at 3:00 PM for a bowl of tempura Soba, and she even brings her own pickled vegetables."
Saito Shigeru, sitting in the back row clutching the camera, suddenly spoke up: "The light on the old streets of Gunma is darker than in Chiba. After 4:00 PM, there will be tree shade blocking the light, so we have to prepare fill lights in advance. Also, the steam from boiling the Soba easily fogs up the lens. I brought an anti-fog spray;
we'll have to wipe the lens every ten minutes of filming."
Hiroshi nodded: "Saito-san's considerations are still the most detailed. When we get to the noodle shop later, first film a close-up of Sato-san grinding the buckwheat flour, using side light to highlight the graininess of the flour. Then film the calluses on his hands—unlike Nomizu-san's hands, his finger joints are thicker because of kneading dough all year round, and there are calluses worn out on the purlicue."
The car parked at the entrance of the old street exactly at 10 AM. Sato Kosuke's Soba shop was situated midway down the street. The wooden signboard was engraved with the three characters "Satoya". Two pots of hydrangeas sat at the entrance, their petals still dotted with dew.
Seeing Hiroshi's entourage, Sato Kosuke immediately came out to greet them, still holding a flour-dusted rag: "Nohara-kun? I heard from Honda-chan that you were coming today, so I specially cleaned the grinder early."
"Sato-san, we've troubled you." Hiroshi bowed in greeting, his gaze falling onto the grinder inside the shop—it was an antique from the Showa era, its brass components gleaming. "We'd like to film you grinding the buckwheat flour first, is that convenient for you now?"
"Convenient! Convenient!" Sato Kosuke nodded repeatedly, turning to walk into the shop. "I grind the flour I use for the day at this time anyway, film whatever you like, don't mind me."Saito Shigeru immediately set up the camera, while Matsui Yuichi adjusted the fill light next to it.
Sato Kosuke sat in front of the grinder, grasped the wooden handle with both hands, and slowly began to turn it. Buckwheat kernels fell from the funnel, turning into fine flour that settled in the bamboo sieve, the rustling sound exceptionally clear.
Hiroshi stood nearby, instructing Matsui Yuichi: "Close-up on his shoulders, the rise and fall of the muscles as he turns the wooden handle—those are the traces of thirty years of persistence;
they are more persuasive than any narration."
Matsui Yuichi adjusted the lens immediately. In the frame, Sato Kosuke's shoulders rose and fell slightly with the turning of the wooden handle, and the blue veins on his neck, exposed by his collar, protruded due to exertion.
Honda Sakurako crouched next to him, asking softly, "Sato-san, are there any particular rules when you grind the flour?"
Sato Kosuke smiled and answered: "There are many! The buckwheat kernels must first be sun-dried for three hours, and the grinding speed cannot be too fast, otherwise the flour will heat up and affect the taste—this is how my father taught me back then, and it hasn't changed for decades."
Just as he was speaking, a young man wearing jeans walked in holding a cafe design draft;
it was Sato Kenta.
Upon seeing the camera, he froze for a moment, an impatient edge to his voice: "Dad, how many times have I told you? Stop with this useless filming and just sign the shop transfer contract. The investors are waiting."
Sato Kosuke's expression darkened instantly, the wooden handle in his hand coming to a halt: "I won't sign! This shop was passed down from my father. If you want to change it into a cafe, you'll have to do it over my dead body!"
The atmosphere instantly stiffened, but Hiroshi's eyes lit up. He said to Matsui Yuichi, "Don't stop, keep filming! Capture their expressions, especially Sato-san's eyes—there's anger, and also grievance."
Matsui Yuichi immediately focused the lens on the two. Sato Kosuke's lips were pressed into a thin line, the rims of his eyes a little red.
Sato Kenta frowned, his grip on the design draft crumpling the paper.
Honda Sakurako took the opportunity to ask: "Kenta-san, why do you want to change the shop into a cafe?"
"Why?"
Sato Kenta sneered. "Who eats old-fashioned Soba anymore? Young people all love to go to cafes;
it's trendy and profitable. The cafe my classmate opened makes more money in a month than this broken-down shop of my dad's makes in a year!"
Sato Kosuke stood up abruptly, his voice trembling: "Broken-down shop? This shop has fed our family for three generations! When you were sick as a child and we had no money for a doctor, it was the money from this shop that we relied on—and now you call it a broken-down shop?"
Sato Kenta's expression shifted, but he remained stubborn. "That's all ancient history! Times are different now, Dad. Don't always live in the past!" After speaking, he slammed the design draft onto the table, turned around, and left.
Watching his receding back, Sato Kosuke sighed, sat back down, and slowly turned the grinder.
Hiroshi walked over and handed him a glass of water. "Sato-san, don't take it to heart. Kenta-san also just wants the family to have a better life, just in a different way."
Sato Kosuke took the cup and smiled bitterly. "I know. But this shop is my life. If it's changed, I would be letting down my father."
Hiroshi patted his shoulder. "When we film today, we will capture your persistence. Maybe if Kenta-san sees the film, he'll understand your sentiments."
The subsequent filming went very smoothly.
During the lunch hour, regular customers trickled into the shop. Granny Tanaka appeared punctually as expected, holding a small bamboo basket containing pickled radishes. "Kosuke-kun, boil the Soba a little softer today, my teeth aren't good."
Sato Kosuke immediately agreed with a smile, "Understood, Granny Tanaka. It'll be ready right away."
His technique while boiling the noodles was exceptionally skilled. After the Soba went into the pot, he stirred it gently with chopsticks. He scooped them out when they were about eighty percent cooked, rinsed them in cold water, and then poured over the special sauce.
Matsui Yuichi's camera followed his hands the entire time, from boiling the noodles to pouring the sauce, capturing every movement in fine detail.
Hiroshi reminded from the side, "Capture Granny Tanaka's expression while eating the noodles. When she takes the first bite, her eyes will light up—you must grab this detail."
Sure enough, Granny Tanaka picked up a chopstick-ful of noodles, put it in her mouth, and her eyes instantly lit up: "Kosuke-kun's boiled noodles are still the best, much more authentic than the Soba my daughter eats in Tokyo."
Filming continued until dusk. As they wrapped up, Sato Kosuke insisted everyone stay for Soba.
Looking at the noodles in his bowl, Hiroshi suddenly said, "Sato-san, tomorrow we want to film you having a chat with Kenta-san. Just talk about when your father opened the shop back then—maybe it can untie the knot between you two."
Sato Kosuke was taken aback for a moment, then nodded. "Okay, I'll try talking to him."
The next morning, Sato Kenta indeed came. Although his expression was still unpleasant, he didn't throw a tantrum like the day before.
When Sato Kosuke brought up how "Father braved the typhoon to restock supplies back then, returning soaked to the bone but keeping the buckwheat flour perfectly safe," the rims of Sato Kenta's eyes slowly reddened.
Hiroshi took the chance to have Matsui Yuichi film this scene. Through the lens, the distance between father and son slowly closed, the previous estrangement seeming to fade a little.
After filming the second episode, the team rushed non-stop to Saitama Prefecture. The third episode, "Taste of Home", filmed an ordinary family's New Year's Eve dinner. They chose the Takahashi family living in Saitama Prefecture. The hostess, Takahashi Keiko, cooks different home-style dishes every day. Her husband is an office worker, and her son is in high school.
On the day of filming, Takahashi Keiko was busy in the kitchen early in the morning, frying tempura, boiling oden, and steaming salmon. The kitchen was filled with appetizing aromas.
Hiroshi had Matsui Yuichi shoot close-ups of her chopping vegetables. Takahashi Keiko's hands were very nimble;
carrots were cut into the shape of little flowers, and potatoes were sliced into even, thin pieces.
"Keiko-san, why do you make so many dishes every day?" Honda Sakurako asked curiously.
Takahashi Keiko smiled and said, "My husband works hard, and my son gets tired from studying. Cooking a few more dishes makes them happy, and that makes me happy. My mother-in-law used to be like this, waiting for us to come home for dinner every day. Now she's gone, so I continue to do it."
At dusk, the Takahashi family's husband and son returned.
As soon as their son, Takahashi Kenichi, put down his schoolbag, he approached the kitchen door: "Mom, do we have tempura today? My classmates said they want to eat the tempura you make."
Takahashi Keiko smiled and nodded: "Yes, just fried, go wash your hands and eat."
The family sat at the dining table, bathed in warm light. Takahashi Kenichi picked up a piece of tempura and handed it to his father: "Dad, try it, the tempura Mom fried today is especially crispy." The father took it, put it in his mouth, and nodded: "Mm-hmm, your mom's cooking is still the best, more fragrant than outside restaurants."
Hiroshi had Matsui Yuichi shoot this scene from the side, the lighting falling on the three faces, full of warmth.
Saito Shigeru deliberately dimmed the background to focus attention on the dishes on the table and the interaction between the three.
After wrapping up, Matsui Yuichi flipped through the footage, unable to hold back his praise: "Hiroshi-kun, these three themes you chose are fantastic! Freshness of the Seaside, Warmth of the Streets, Taste of Home—they perfectly encapsulate Japan's cuisine and human connections. Especially the Takahashi family's New Year's Eve dinner, watching it made me homesick."
Hiroshi smiled and nodded. "This is exactly the effect I wanted. Food is merely the vessel;
the human connection is the core. When the audience watches the film, if it evokes memories of the people around them, or of old flavors they've tasted, then this film is considered a success."
While Nohara Hiroshi's team was busy shooting the second and third episodes, Tokyo Station's promotional campaign was also in full swing.
The entertainment section of the Asahi Shimbun dedicated half a page to "A Bite of Neon," with the headline screaming "Nohara Hiroshi's Brand New Masterpiece! Using Food to Tell the Stories of Japanese People," accompanied by a photo of Nomizu Masayasu hauling in his net.
Tokyo Station's prime time program "Tokyo Tonight" also dedicated a special segment for promotion. The host held the trailer for "A Bite of Neon" and addressed the audience: "Does everyone still remember the heartwarming oden in 'Midnight Diner'? This time, Director Nohara Hiroshi takes us into Chiba's seafood market, Gunma's old streets, and ordinary families in Saitama, using the lens to record the most authentic Japanese food and human connection. Next Saturday at 8 PM, tune in to Kanto Station, you definitely wouldn't want to miss it!"
Hattori Tadashi also coordinated Tokyo's subway advertising spaces. The light boxes in bustling subway stations like Ginza and Shinjuku were all plastered with posters for "A Bite of Neon"—the posters lined up Nomizu Masayasu's hands, Sato Kosuke's grinder, and the Takahashi family's dining table, with the words "October 15th at 8 PM, Taste the Warmth of Japan" written below.
Kanto Station wasn't idle either, seamlessly inserting thirty-second promotional spots into their local news broadcasts every day.
Fujishita Ken also contacted local TV stations in Chiba, Gunma, and Saitama prefectures to enlist their help in broadcasting the trailers. In exchange, Tokyo Station would embed cultural and tourism promotional information for the three prefectures into "A Bite of Neon".
For a time, the entire Kanto region was blanketed by commercials for "A Bite of Neon."
In an office building in Shinjuku, Tokyo, during lunch break, office workers were all discussing this documentary.
"Have you read the Asahi Shimbun? Nohara Hiroshi has a new work out, this time it's a food documentary!" Yamada Ichiro, who works in a trading company, said to his colleagues while holding the newspaper.
Sato Kenta, sitting next to him, looked up with shining eyes: "Nohara Hiroshi? The director who filmed 'Seven Samurai' and 'Midnight Diner'? The documentary he shoots is definitely good! When I watched 'Midnight Diner' before, I cried every time because of the stories inside."
Another colleague, Suzuki Hanako, also nodded. "My mom told me yesterday that the oden in 'Midnight Diner' was exactly the same as what she made when she was young. This time Director Nohara is filming a food documentary, I must have my mom watch it too, maybe she'll see familiar old tastes."
In a classroom at the University of Tokyo, during a break between classes, students were also chatting about "A Bite of Neon".
"I heard Nohara Hiroshi filmed the tuna auction in Chiba this time. I've never seen a tuna auction before, I definitely have to watch it!" said Junior Watanabe Toru excitedly.
His classmate Yamaguchi Keiko smiled and said: "I'm more looking forward to the Soba shop in Gunma. My grandmother's home is in Gunma, and every time I go there, I have to eat the Soba on the old street. I wonder if it's the same shop Director Nohara filmed."
Tanaka Kenichi beside them pushed his glasses. "Director Nohara's works never disappoint. 'Yamishibai' made urban legends so scary, 'Kasou Taishou' made everyone willing to interact. This time's documentary will surely have different surprises."
In the Tokyo subway, passengers saw the posters on the light boxes and couldn't help but start discussing.
"This poster is shot really well;
look at those hands, you can tell they have a story at first glance." A middle-aged man pointed at Nomizu Masayasu's hands on the poster and told his wife beside him.
The wife nodded, "Things directed by Director Nohara Hiroshi are always full of warmth. Last time we watched 'Midnight Diner,' you even said it reminded you of the miso soup your mom made! Next Saturday at 8 PM, let's not forget to watch."
In a ramen shop, the boss was holding a newspaper, chatting with customers about "A Bite of Neon."
"I'm telling you, the documentary filmed by Director Nohara Hiroshi is definitely top-notch!" The boss said while boiling ramen. "When I watched 'Seven Samurai' before, I specifically went to the theater three times to watch it. The rice field battle in it was so shocking. This time he's filming food, he can definitely capture a different feeling."
A regular customer smiled and said: "Boss, how about we come to your shop and eat ramen while watching it then? The TV in your shop can receive Kanto Station just fine."
The boss immediately agreed: "Sure! I'll prepare some more side dishes then, and we can watch it together!"
Besides the Kanto region, TV stations in other prefectures and cities also received news about "A Bite of Neon."
In Osaka, at an editing meeting for Yomiuri TV, the Director held promotional materials sent by Tokyo Station and addressed his subordinates: "Look at this, Nohara Hiroshi is venturing into food documentaries. This individual is not simple;
everything he produces becomes a hit. We must pay close attention and see what new tricks he'll bring this time."
The subordinates circulated the materials. A young director suggested: "Director, should we produce a similar program? Osaka has abundant culinary offerings, such as Okonomiyaki and Takoyaki. If executed well, it could potentially be a hit."
The Director shook his head. "Don't rush it. Let's wait until Nohara Hiroshi's film airs and gauge audience reaction first. His filming techniques are very distinct;
we must thoroughly analyze them before acting;
there's no hurry."
In Nagoya, in a Chubu-Nippon Broadcasting conference room, directors were also discussing "A Bite of Neon."
"To think Nohara Hiroshi dares to film a documentary, especially regarding food, his audacity is immense!" one director remarked. "The food documentaries previously produced by NHK had abysmal ratings. Is he not afraid of ruining his reputation?"
Another director retorted: "What do you know? Nohara Hiroshi specializes in making unpopular subjects a hit. Take 'Yamishibai' for example;
who was optimistic about late-night anime? Yet it breached a 12% rating. This documentary might just create another miracle."
The Station Chief rapped his knuckles on the table. "Alright, cease contending. Starting next week, closely monitor the ratings and word-of-mouth for 'A Bite of Neon.' If the reception is positive, we will contact Tokyo Station regarding acquiring broadcast rights, or propose an collaboration to film a Nagoya food special."
In Sapporo, Hokkaido Broadcasting's directors were similarly attentive to "A Bite of Neon."
One director observed: "Nohara Hiroshi filmed Kanto's cuisine, effectively, our Hokkaido seafood is also renowned. If his documentary is successful, we could initiate a Hokkaido food documentary;
it might potentially stimulate the local tourism industry."
Another director nodded in agreement: "I've heard Nohara Hiroshi also designed the Kumamon and Akita Inu mascots, thereby bolstering local tourism revenue. If our documentary intertwines with tourism, we'll undoubtedly secure government support."
Simultaneously, television stations across Japan were monitoring "A Bite of Neon," all anticipating whether this young director, responsible for countless miracles, could shatter records once more, elevating the niche documentary genre to unprecedented heights.
At this moment, within Tokyo City TV, Takahashi Kazuo's complexion darkened as he read the report provided by the City TV Intelligence Department.
The report read: "Pre-broadcast promotion for 'A Bite of Neon' yielded remarkable results, Kanto region audience anticipation reached 78%. Marui Soy Sauce secured exclusive sponsorship, totaling twenty million yen."
He slammed the report onto his desk, bellowing at Yamada Jun and Sato Takashi: "Look at this! Nohara Hiroshi's documentary hasn't even aired, yet it secured twenty million in sponsorship! Our 'Tokyo Suburbs Visit' has been promoted for so long, only gathering thirty million, and all from minor advertisers! How exactly are you operating?"
Yamada Jun and Sato Takashi lowered their heads, not daring to speak.
Takahashi Kazuo inhaled deeply, his tone marginally softer: "Now is not the time for anger. Immediately revise the promotional strategy. Advance Kamiki Shunsuke's fan meeting, and contact several fashion magazines to arrange more exclusive interviews—we must reclaim audience attention prior to the broadcast of 'A Bite of Neon'!"
"Yes!" Yamada Jun and Sato Takashi hurriedly agreed, turning to leave.
Watching their retreating backs, Takahashi Kazuo picked up the "A Bite of Neon" promotional poster on his desk, his eyes full of wariness.
He knew that this competition for prime time was going to be even more intense than he imagined. And Nohara Hiroshi, this 23-year-old director, had already become his biggest threat.
At the same time, Nohara Hiroshi's team had just finished shooting the third episode and was preparing to return to Tokyo.
Driving on the highway, Honda Sakurako looked at the night scenery outside the window and suddenly said, "Hiroshi-kun, do you think our film will really drive local tourism after it's broadcast, just like Hattori-san said?"
Hiroshi smiled and nodded, "It definitely will. Look at Nomizu-san's fish shop. There are already diners from Tokyo driving to Chiba specifically to eat sashimi. Once the film is broadcast, Gunma's old street and ordinary families in Saitama might all become places where tourists come to check in."
Matsui Yuichi also chimed in, "If that really happens, we would have done a good deed. We shot a good film and also helped the local people—it's much more meaningful than those variety shows that only chase ratings."
Saito Shigeru sat in the back row, a rare smile appearing on his lips. He looked at the streetlights flying past the window, suddenly feeling that shooting films with Nohara Hiroshi was much more interesting than shooting those boring local news at Kanto Station before.
The car continued forward, heading towards Tokyo. The night scenery outside the window became brighter and brighter, just like the future of "A Bite of Neon", full of hope.
Hiroshi looked down at the storyboard draft in his hand. What was drawn on it was the content for the fourth episode—filming an old-established traditional Japanese sweets shop in Kyoto.
The story of this documentary has only just begun.
What he must accomplish is meticulously translating these heartwarming chronicles for the audience, thereby allowing a wider populace to experience the warmth of Japan.
...
In the conference room of Tokyo City TV, the air felt as heavy as lead.
Takahashi Kazuo slammed the Asahi Shimbun in his hand onto the table, the impact creasing the edges of the paper white. He glared at Yamada Jun and Sato Takashi opposite him, his voice barely suppressing a fiery rage: "Look at this! Nohara Hiroshi's documentary hasn't even premiered, yet the subway light boxes and newspaper spreads are saturated with his promotions! Now consider our 'Tokyo Suburbs Visit'. Aside from discussions within Kamiki Shunsuke's fanbase, does the general audience even care?"
Yamada Jun tightened his grip on his pen and mumbled, "Executive Deputy Station Chief Takahashi, we've already contacted three fashion magazines. Next week they will publish exclusive interviews with Kamiki Shunsuke, and we also plan to hold a fan autograph session at Senso-ji Temple—"
"It's not enough!" Takahashi Kazuo cut him off, drumming his fingers forcefully on the table, "Nohara Hiroshi secured the prime time slot on October 15th, therefore, we alter ours! Advance Kamiki Shunsuke's program, 'Shunsuke's Tokyo Roaming'. We oppose 'A Bite of Neon' directly—same day, same time slot!"
Sato Takashi was taken aback, hastily replying: "But Executive Deputy Station Chief, 'Shunsuke's Tokyo Roaming' was originally scheduled to premiere in November, and the footage hasn't been fully edited yet. If we change the schedule now, won't it be too rushed?"
"Rush or not, it must be done!" Takahashi Kazuo stood up, walked to the window, and stared at Tokyo Tower outside. His tone carried the desperate resolve of a final gamble. "Mayor Tanaka didn't entrust City TV to me just to lose to a 23-year-old upstart! Kamiki Shunsuke is the Kirin Group's key promoted artist, with a massive fan base. Are you telling me he can't beat a documentary that no one watches?"
He turned around, pulled a proposal from a drawer, and threw it to the two men: "This is the new proposal: have Kamiki Shunsuke film at viral Tokyo restaurants, interacting with the owners in each episode, followed by an impromptu vocal performance—young demographics favor this approach! Inform Kamiki Shunsuke: if he can surpass Nohara Hiroshi this time, City TV will launch a solo variety show for him next year!"
Yamada Jun and Sato Takashi exchanged glances, compelled to nod in agreement: "Yes! We will proceed to coordinate with Kamiki-san's manager immediately."
The news spread like wildfire, permeating the entire Japanese broadcasting industry that very afternoon.
In the pantry of Tokyo Station's Production Bureau, several directors gathered around the microwave waiting to heat their meals, the conversation invariably gravitating toward this "prime time showdown."
"Did you hear? City TV is throwing Kamiki Shunsuke into a direct clash with Hiroshi-kun!" A young director murmured, excitement gleaming in his eyes. "This is an overt declaration of war!"
Another veteran director took a sip of tea, shaking his head with a chuckle. "Takahashi Kazuo is just panicking. I've viewed the sample footage for Kamiki Shunsuke's program;
it's entirely staged interactions. It's fundamentally disparate from the humanities documentaries Hiroshi-kun produces—he expects to win relying solely on an idol's face?"
Asano Takata, currently cleaning cups nearby, overheard and interjected: "When Hiroshi-kun directed 'A Bite', he meticulously calculated the optimal lighting angle for the rotational speed of Nomizu-san milling buckwheat flour. Conversely, Kamiki Shunsuke filming in a restaurant merely flashes a V-sign at the camera. The audience isn't foolish."
These remarks swiftly circulated to other broadcasters. During a production meeting at Yomiuri TV in Osaka, the Director brandished City TV's revised broadcast schedule, jesting with his subordinates: "Tokyo City TV is clearly feeling the pressure, utilizing an idol variety show to combat a humanities documentary. Is this not akin to striking a stone with an egg?"
The subordinates chuckled, and a director noted: "The primary factor is the unassailable reputation of Nohara Hiroshi. The pedigree of 'Seven Samurai' and 'Midnight Diner' establishes audience trust. Beyond scandals and fan support, what discernible artistic merit does Kamiki Shunsuke possess?"
In the conference room of Chubu-Nippon Broadcasting in Nagoya, the Station Chief reviewed the viewership projection report, addressing the directors: "Monitor the rating data on October 15th closely. I am intensely curious to observe if Nohara Hiroshi can orchestrate another miracle—if victorious, we shall negotiate with Tokyo Station to acquire broadcast rights for 'A Bite of Neon'."
It wasn't just television stations;
tabloid newspapers also caught the scent and swarmed. The front page of "Tokyo Entertainment Weekly" used over-sized font—'Prime Time Showdown! Nohara Hiroshi VS Kamiki Shunsuke, Winner to be Decided October 15th'. Below were two photos: on the left was the focused profile of Nohara Hiroshi reviewing footage at the Chiba pier;
on the right was Kamiki Shunsuke flashing a V-sign at a fan meeting, a dazzling smile on his face.
The publication furthermore detailed an 'industry leak', alleging that to secure victory, Takahashi Kazuo augmented Kamiki Shunsuke's budget threefold, even airlifting restaurant ingredients from France—the subtext was saturated with mockery.
Come evening, the Izakayas in Shinjuku were even more lively.
A cluster of film critics encircled a low table laden with grilled Pacific saury and draft beer. The discourse, from inception, remained anchored on the impending showdown.
The silver-haired Saeki Akira lifted his glass, taking a sip of beer, and chuckled. "In my thirty years in the industry, this is the first time I've witnessed an idol variety show pitted against a humanities documentary—Takahashi Kazuo has thoroughly embarrassed City TV."
Yamada Keisuke, a young film critic beside him, echoed, "Exactly! When Nohara Hiroshi directed 'A Bite', he conversed with Nomizu-san regarding fishing techniques for three hours. Conversely, Kamiki Shunsuke filming in a restaurant can't even distinguish fish species, merely uttering 'how delicious'. Is there any basis for comparison?"
Another film critic, Sato Kiyoshi, set down his chopsticks, his tone tinged with disdain. "Contemporary idols possess nothing beyond superficial appearances. Last year, an idol hosting a culinary program misidentified miso soup as soy sauce soup, declaring, 'it's all salty anyway'—content produced by such individuals degrades younger demographics. Consider Nohara Hiroshi, who cultivated community interaction with 'Kasou Taishou' and evoked nostalgic familial memories with 'Midnight Diner'. This constitutes genuine, substantive content creation."
Saeki Akira placed his glass down, rapping his fingers on the table. "I've already communicated with the review editors across several newspapers. Irrespective of the inducements City TV offers, I am committed to scoring 'A Bite' highly—as film critics, we must uphold ethical standards;
we cannot compromise our integrity for monetary gain."
"Saeki-san is correct!" Yamada Keisuke nodded enthusiastically. "I've finalized my preliminary draft, prioritizing the humanistic subtleties within 'A Bite'. Consider the profundity in Nomizu-san's gaze while hauling the net, or the antique machinery Sato Kosuke employs for milling buckwheat flour—these components evoke profound emotional resonance, possessing markedly more substance than Kamiki Shunsuke's fabricated smile."
Sato Kiyoshi added: "I intend to interview several industry professionals who have previewed the sample footage, highlighting the cinematic language employed in 'A Bite'—the lighting calibrated by Saito Shigeru renders the tuna's texture luminous. Such professionalism is utterly absent from City TV’s programming."
The owner of the Izakaya, walking by with a tray, overheard their conversation and couldn't help but chime in: "Respected critics, I also support Director Nohara! My daughter is 18 years old this year and usually only follows idols. After seeing the trailer for 'Midnight Diner' last time, she actually told me, 'I want to try the oden grandma makes'—these kinds of films that bring families closer are much better than those idol programs that only make young people scream like crazy!"
Saeki Akira chuckled, raising his glass: "Come, a toast to Nohara Hiroshi's 'A Bite'! I hope that on October 15th, more people will realize that excellent content is never sustained merely by a pretty face!"
"Cheers!" The sound of clinking glasses rang out clear and sharp. Beer foam splashed onto the table, quickly wiped away by the smiling owner with a towel.
Meanwhile, inside the talent agency offices at the Kirin Group, Kamiki Shunsuke was practicing his smile in front of a mirror.
He was dressed in the latest Armani suit, his hair impeccably styled with gel. His manager, Yamaguchi Keisuke, stood nearby holding the new proposal from City TV.
"Shunsuke-san, City TV said that as long as the viewership surpasses 'A Bite of Neon' this time, they will launch a solo variety show for you next year, and they will also invite top music producers to help you make an album."
Kamiki Shunsuke raised an eyebrow at his reflection, a smug smirk curling his lips: "Surpass Nohara Hiroshi? It's too easy. Who besides old men and women watches those old fishermen and old shops he films? If I shoot at viral restaurants and sing a song, my fans will definitely stay glued to the TV—when the ratings come out, let's see if Takahashi Kazuo still dares to underestimate me."
Yamaguchi Keisuke hesitated for a moment before saying: "Shunsuke-san, Nohara-kun's reputation is very strong. The audience base from 'Seven Samurai' and 'Midnight Diner' is solid. We'd better be careful—"
"Careful of what?" Kamiki Shunsuke spun around, impatience clear in his eyes. "He's just a guy who only knows how to film outdated subjects! I am a key artist for the Kirin Group. Even President Sato has to yield to me somewhat. What is he, Nohara Hiroshi?"
He snatched up the diamond-encrusted cellphone from the table, scrolling the chat history with Watanabe Toru, a sinister sneer appearing on his lips: "Furthermore, I harbor an alternate strategy. Should viewership certainty falter, I will instruct Watanabe Toru to disseminate damaging information—for instance, alleging that Nomizu Masayasu's fish shop violates sanitation standards, or that Sato Kosuke's buckwheat flour is expired. Let’s observe who dares watch his documentary then."
Yamaguchi Keisuke's heart clenched, but he didn't dare say more—he knew Kamiki Shunsuke's temper too well. If he argued, things would likely be thrown again.
Meanwhile, in the editing room at Tokyo Station, Nohara Hiroshi and Hashimoto Ichiro were watching the rough cut of the second episode of "A Bite of Neon".
On the screen, the image of Sato Kosuke turning the grinder slowly flashed past. The rustling sound of the buckwheat flour falling into the bamboo sieve was clearly audible. Hiroshi pointed at the screen and said: "Make the background music here a little softer to emphasize the sound of the grinder—this is the sound of traditional craftsmanship;
it holds more power than music."
Hashimoto Ichiro nodded and noted it down. Suddenly remembering something, he asked with a smile: "Hiroshi-kun, everyone outside is saying City TV is having Kamiki Shunsuke clash with our time slot. Are you not worried at all?"
Hiroshi looked up, his eyes devoid of any ripples. He picked up the coffee on the table and took a sip: "Worried about what? The audience wants to see good content, not a star's face. As long as we make a good film and let the audience see Nomizu-san's dedication and Sato-san's perseverance, that's enough."
Honda Sakurako, holding her notebook, leaned in from the side, saying excitedly: "Hiroshi-kun, I just received a message from the Chiba Prefectural Office. Nomizu-san's fish shop recently attracted many diners from Tokyo, all saying they are waiting to watch our film! As for the old street in Gunma Prefecture, travel agencies have already contacted the prefectural office to organize 'Soba Culture Tour' routes!"
Hiroshi smiled, his eyes softening. "See? Good content naturally earns recognition. Kamiki Shunsuke's variety show might attract temporary traffic, but what the audience remembers are always those stories with warmth."
At that moment, Hiroshi's phone rang. It was Hattori Tadashi.
He answered the phone, and Hattori Tadashi's voice came through the receiver: "Hiroshi-kun, I just negotiated with the Tokyo Subway Company. Starting October 10th, 30-second trailers for 'A Bite' will play inside the subway cars, and the shot of Nomizu-san hauling the net will roll on the electronic screens on the platforms—we need to let more people know that there's a documentary worth watching on the evening of the 15th."
"Thank you, Hattori-san." Hiroshi's tone carried gratitude, "Sorry for the trouble."
Hanging up the phone, Hiroshi looked at the image of Sato Kosuke and his son reconciling on the screen. He suddenly understood very clearly—this prime time showdown was never a contest between him and Kamiki Shunsuke, but a contest between "content with warmth" and "traffic gimmicks." And he believed that the former would always emerge victorious.
On October 10th, more trailers for "A Bite of Neon" appeared on the Tokyo subway as expected.
During the morning rush hour, a suited office worker stared at the screen. Seeing the shot of Nomizu Masayasu hauling the net, he couldn't help but say to the colleague beside him: "My grandfather was also a fisherman, just like Nomizu-san, always saying 'the sea never lies'—I have to go home and watch this film on the night of the 15th."
A female student nearby leaned in and contributed: "My mom read the newspaper yesterday, stating she wants to observe the Soba shop in Gunma, noting it strongly resembles the old street from her childhood."
Over at City TV, promotions for Kamiki Shunsuke's "Shunsuke's Tokyo Roaming" also commenced.
At a fan meeting, he held a microphone, shouting to the fans below the stage: "On October 15th at eight o'clock in the evening, I'll take everyone to eat at Tokyo's most delicious viral restaurants, and I'll even sing a new song for you—be sure to watch on time!"
The fans below the stage screamed and held up support signs, the scene very lively.
However, within the discussions amongst standard demographics, the prevailing sentiment remained: "Nohara Hiroshi's documentary seems remarkably engaging, I anticipate viewing it on the evening of October 15th."
October 15th was getting closer, and the air all over the Kanto region was filled with anticipation.
In the Production Department of Tokyo Station, Matsui Yuichi had polished his camera until it shone, ready to go to Nomizu-san's fish shop on the broadcast day to document audience reactions.
Honda Sakurako impeccably organized all interview logs, proactively anticipating the post-broadcast promotional campaign;
Saito Shigeru meticulously verified the broadcasting equipment comprehensively, ensuring operational infallibility the night of the premiere.
As for Nohara Hiroshi, he remained immersed in the editing room every day, diligently calibrating the pacing to every shot.
Hashimoto Ichiro would occasionally ask him: "Hiroshi-kun, do you want to watch the sample from City TV?" He consistently shook his head: "Unnecessary, our focus is entirely on perfecting our own endeavor."
Everything was advancing towards eight o'clock in the evening on October 15th.
And this was Nohara Hiroshi's "A Bite of Neon", a humanities documentary broadcast in prime time on Kanto TV.
PS: Thick-skinned asking for tickets.
(Chapter Ends)