novelraw Chapter 260: The Price! The Anger of the Kanto TV Crew!
Chapter 260: The Price! The Anger of the Kanto TV Crew!
On Monday morning at TV Tokyo, the office building was already filled with the sound of hurried footsteps.
Wearing a dark suit and holding the conclusion summary report for "A Bite of Neon," Nohara Hiroshi walked into the top-floor meeting room.
By this time, Sakata Nobuhiko, Takada Toshihide, and Asumi were already sitting at the table, on which documents from Kanto TV lay—today was not only the day for Nohara Hiroshi's work report but also the day for the Kanto TV management to come to TV Tokyo to synchronize work progress.
"Hiroshi-kun, take a seat." Sakata Nobuhiko looked up at him, gently tapping the table with his fingers. "How is the wrap-up work for 'A Bite'? Has there been any news from Section Chief Hashimoto Ichiro regarding the subsequent overseas promotion plan?"
Nohara Hiroshi sat down, pushed the report in front of the three of them, and spoke in a steady tone: "Bureau Chief Sakata, post-production for all eleven episodes of 'A Bite' has been completed. The rough cuts for the eighth episode, 'Mito Natto,' and the ninth episode, 'Matsusaka Umeboshi,' were sent to NHK's Department Manager Miyazawa yesterday. His feedback was that they can be included in the first batch of recommended films for 'Cultural Export.' Section Chief Hashimoto's side is currently interfacing with television stations in Southeast Asia. Channels in Thailand and Malaysia have explicitly expressed the desire to broadcast them simultaneously at the end of this month."
Takada Toshihide picked up the report, turned to the "Economic Benefits" page, and a smile appeared on his lips: "Pre-sales for Mito Natto have increased twofold, and orders for Matsusaka Umeboshi are fully booked until next March? Hiroshi-kun, this documentary of yours has genuinely boosted the local economy. The Ministry of Education even called yesterday, asking if we could shoot another season of 'Kansai Cuisine.'"
Asumi added: "Also, regarding Kanto TV, Matsui Yuichi called me this morning saying that the two proposals you previously guided, 'Ibaraki Lacquerware' and 'Chiba Fishing Port,' have passed preliminary reviews, and they want to start field research next week. However, they also brought up a request—hoping you could take some time to review Kanto TV's shooting equipment inventory. Some old machines really need to be replaced."
Just as he finished speaking, the meeting room door was pushed open, and Suzuki Kiyoto walked in with Matsui Yuichi and Yamada Takashi.
Matsui Yuichi held Kanto TV's monthly work report. He still had that stubborn expression on his face, but it was much gentler than the last time they met: "Bureau Chief Sakata, Executive Director Takada, Deputy Director Asumi, this is Kanto TV’s production progress and advertising revenue statement for last month. Thanks to Hiroshi-san, the number of our documentary proposals has doubled compared to the same period last year, and advertising revenue has increased by thirty percent."
Suzuki Kiyoto sat down beside him, rubbing his brow with his fingers: "The main reason is that the driving effect of 'A Bite' is too obvious. Before, the 'Asakusaya' sushi shop was skeptical about documentary advertising with us. Now, not only have they signed an annual contract, but they also proactively added two million yen in sponsorship, saying they want to add the slogan 'Supporting Traditional Handcrafts' at the end of the show."Sakata Nobuhiko flipped through Kanto TV's statement, looked up at Nohara Hiroshi, his tone full of admiration: "Hiroshi-kun, your 'A Bite' has really started things off well. In the past, we always felt that no one watched traditional cultural documentaries. Now it seems that as long as we find the right 'human touch' angle, the audience will buy it more than anyone else. Tell me, how should Kanto TV's upcoming documentaries maintain this style?"
Nohara Hiroshi thought for a moment and replied: "Bureau Chief Sakata, I think the core is still 'using people to carry the craft.' For example, when filming 'Ibaraki Lacquerware,' don't just film the craftsman's varnishing steps. Film how he teaches his son to identify lacquer trees, and how he restores the old lacquerware left by his grandfather—these details of family inheritance are more touching to the audience than a simple display of craftsmanship. Matsui-san, the idea of 'collaboration between young designers and veteran craftsmen' that I mentioned to you last time, has it been added to the proposal?"
Hearing this, Matsui Yuichi pulled out a revised proposal from his document bag and handed it over: "It's added. Yamada Takashi talked to the lacquerware craftsmen in Ibaraki, and they are willing to cooperate with design studios in Tokyo to make a batch of 'lacquerware coffee cups.' However, the craftsmen also made a request—the traditional 'Chinkin craftsmanship' cannot be changed;
modern adjustments can only be made on the patterns."
"That's right." Nohara Hiroshi nodded. "The soul of traditional craftsmanship cannot be lost;
innovation is only to make it integrate better into modern life. Like the proprietress of Matsusaka Umeboshi, she also didn't abandon the old method of hand-pickling vegetables;
she just printed cartoon patterns that young people like on the packaging, and didn't the sales go up?"
Takada Toshihide put down his coffee cup, his tone solemn: "Hiroshi-kun makes sense. Moving forward, the other directors at TV Tokyo should also learn from this mindset. Ashikaga Takashi's period films, Asano Takata's heartwarming films, can all incorporate some traditional elements—such as filming 'the underlying stories of kimono patterns' in period dramas, or 'the dilemma of legacy for old shops' in heartwarming films. This will not only enrich the content but also form a synergy with your 'A Bite.'"
Asumi echoed: "I have already communicated with Ashikaga-san and Asano-san, and they are both willing to try. Asano-san even said he wants to add a scene of 'a mother learning to make handmade pickled vegetables' in 'Mother's Bento.' It perfectly fits the family theme and echoes the content of 'A Bite.'"
Just as everyone was deeply engaged in a heated discussion, Suzuki Kiyoto suddenly frowned and clenched his fists under the table.
He glanced at Matsui Yuichi, hesitated for a moment, but still spoke up: "Everyone, there's something I need to mention—recently, several of the subjects filmed in 'A Bite' have encountered trouble. Sato Kenichi of Mito Natto was blocked at the door of his workshop by a delinquent gang last week, saying they wanted to collect 'protection money';
Matsumoto Sumie of Matsusaka Umeboshi also said yesterday that someone splashed paint on her shop's door and left a note telling her 'to stop working with TV Tokyo.'"
These words were like a bucket of cold water, instantly extinguishing the relaxed atmosphere in the meeting room.
Sakata Nobuhiko's face darkened, and he tapped the table heavily: "Suzuki-kun, is what you're saying true? Did Sato-san and Matsumoto-san report it to the police?"
Matsui Yuichi took over the conversation, his tone carrying anger: "They reported it, but the police said they couldn't catch them in the act and could only increase patrols. Now Sato-san has to lock the workshop door every day, and Matsumoto-san is so scared she doesn't dare let her apprentices watch the shop alone. Those people obviously came prepared, specifically targeting the shops filmed in 'A Bite'. There must be someone orchestrating this behind the scenes!"
Yamada Takashi supplemented: "There's also Nomizu Masayasu from Chiba Fishing Port. He called me yesterday saying that several strange men went to the pier and asked him 'whether he's very familiar with Nohara Hiroshi from TV Tokyo,' speaking in a fully threatening tone. Nomizu-san now has to bring several fishermen along when going out to sea, for fear of accidents."
Hearing this, Nohara Hiroshi frowned tightly, his fingers gently tapping the table.
He remembered the delinquent gang that Future Comic Club encountered yesterday, and his expression turned serious: "Suzuki-san, Matsui-san, actually, my Future Comic Club encountered a similar incident yesterday. A group of people came to collect protection money and even knocked down easels. Fortunately, a friend passed by and stopped them, so it didn't cause much loss."
"Future Comic Club was targeted too?" Sakata Nobuhiko's tone was full of surprise. "Then this isn't a coincidence. Hiroshi-kun, your manga club's address is rarely made public. Unless someone deliberately investigated, it's impossible to find."
Takada Toshihide's eyes grew gloomy, and he tapped his finger on the table: "Who could it be? We haven't offended anyone recently. The only competitor... is Tokyo City TV."
Asumi immediately nodded: "Executive Director Takada is right. Kamiki Shunsuke of Tokyo City TV previously stated publicly that 'they would teach TV Tokyo a lesson' because 'Kasou Taishou' snatched the viewership ratings away from their variety show. Moreover, Sato Tokugawa is the Chairman of the Kirin Group, holding many real estate projects, and his relationship with the yakuza has always been murky."
Matsui Yuichi said through gritted teeth: "I always felt that Tokyo City TV was fishy! Last time, they tried to poach a director from our Kanto TV. After being rejected, that director received an anonymous threat letter. Thinking about it now, it must be Sato Tokugawa pulling the strings behind the scenes!"
Suzuki Kiyoto sighed: "Sato Tokugawa's real estate projects have recently encountered resistance in Tokyo Bay—due to the influence of 'A Bite,' the Ministry of Education wants to designate part of the sea area as a 'Traditional Fishery Protection Zone,' which directly affects his land reclamation plan. Could he feel that Hiroshi-kun's documentaries are standing in his way, so he intentionally sent people to harass them?"
Nohara Hiroshi remained silent for a moment before speaking up: "It's possible. Last time at the NHK symposium, I mentioned the viewpoint of 'protecting traditional fishery resources.' Sato Tokugawa's assistant was also present at the time, and his expression was very ugly. Furthermore, Takahashi Kazuo of Tokyo City TV was previously under Mayor Tanaka Mikami. And Mayor Tanaka has always been an ally of Sato Tokugawa—they probably joined forces, intending to use harassment to force me to stop filming related subjects."
Asano Takata happened to push the door open to deliver documents. Upon hearing this, he immediately stopped in his tracks: "Everyone, let me add a sentence. Last week when I attended an industry conference, I heard people from Tokyo City TV saying privately, 'We need to let Nohara Hiroshi know what he should film and what he shouldn't.' I didn't pay attention to it at the time, but looking back now, this has been premeditated for a long time!"
Sakata Nobuhiko slammed the table so hard that tea splashed out of his cup: "This is outrageous! Does Sato Tokugawa think he can stop us from spreading culture by relying on some yakuza tactics? I'll go report to Publicity Manager Hattori Tadashi tomorrow, asking him to step in and coordinate with the police to strengthen the protection for those craftsmen!"
Takada Toshihide's face was also very unsightly, his knuckles white from gripping too tightly: "And Tokyo City TV, if they dare to pull any more petty tricks, we'll gather evidence and submit it to the Broadcasting Association! I don't believe they can cover the sky with one hand!"
Asumi said calmly: "The most crucial thing right now is to fight back. On one hand, we need to interface with the police and have them increase patrols, especially in filming locations like Mito, Matsusaka, and Chiba;
on the other hand, we can add subtitles at the end of 'A Bite' saying 'Protect Traditional Craftsmen, Boycott Violent Threats,' letting the audience know the truth—public pressure is sometimes more useful than police intervention."
However, Suzuki Kiyoto gave a bitter smile and shook his head: "Deputy Director Asumi, we all understand the reasoning, but the problem is there's no evidence. Those delinquent gangs are all temporarily hired. They finish the job and leave, so we can't catch them at all;
Sato Tokugawa and Kamiki Shunsuke are hiding behind the scenes, not even leaving a written instruction. Even if we report it to Manager Hattori, without solid evidence, the police can only do superficial work."
Sakata Nobuhiko's frown deepened, and his tone softened: "Suzuki-kun is right. Now is a critical period for Former Station Chief Shimazu's campaign for Mayor of Tokyo City. Tanaka Mikami has always wanted to find an opportunity to smear us. If we publicly accuse Tokyo City TV without conclusive evidence, they might turn the tables and accuse us of 'malicious competition' and 'interfering with the election.'"
Matsui Yuichi couldn't help but say: "Then do we just watch them bully people helplessly? Sato Kenichi doesn't even dare to open the door to his workshop now, and Matsumoto-san's shop has lost half of its customers. If this continues, we won't be able to shoot our documentaries anymore!"
Yamada Takashi also chimed in: "Yes, Bureau Chief Sakata, we can't just let this go! Those craftsmen trusted us and were willing to cooperate with the filming. If we can't protect them, who will dare to cooperate with us in the future?"
Nohara Hiroshi looked at the agitated group and said: "Everyone calm down first. A head-on clash is not the best approach right now. I have a proposal—we can have the craftsmen secretly install audio recording equipment. If they are harassed by delinquent gangs again, they can record their conversations. At the same time, we'll have Section Chief Hashimoto investigate Sato Tokugawa's real estate projects to see if there are any regulatory violations—since he dares to use yakuza methods, there must be something shady about his projects. Finding a vulnerability will allow us to counter-restrain him."
Takada Toshihide nodded: "This is a good idea! Hashimoto Ichiro is very experienced in intelligence gathering. He is the most suitable person to investigate. Besides, we can also tip off Former Station Chief Shimazu's camp. Sato Tokugawa is Tanaka Mikami's financial backer. If we can find evidence of illegal benefit transfers between them, it will also assist Former Station Chief Shimazu's election."
Sakata Nobuhiko remained silent for a moment before finally making a decision: "Let's do as Hiroshi-kun and Takada-kun suggested. But there is one thing that must be clear—all work now must revolve around Former Station Chief Shimazu's election campaign."
He looked at Nohara Hiroshi, his tone solemn. "Put aside Kanto TV's equipment review and proposal guidance for now. Over the next two weeks, you will focus on helping Former Station Chief Shimazu refine the promotion plan for the 'Information Cocoon' strategy, and then shoot a short campaign promotional video—the content should center on 'cultural inheritance' and 'economic transformation,' highlighting the results of his cooperation with us at TV Tokyo."
He paused and added: "As long as Former Station Chief Shimazu successfully gets elected as Mayor of Tokyo City, Tanaka Mikami and Sato Tokugawa will lose their biggest backer. By that time, from the Tokyo Metropolis to Tokyo City, we will be able to clear all relationships. It won't be too late to deal with them then."
Asumi agreed: "Bureau Chief Sakata is right. The election is the top priority right now. Hiroshi-kun, your promotional video is very important—the audience of 'A Bite' spans all age groups. Your work can let more people understand Former Station Chief Shimazu's philosophy. Furthermore, the 'Information Cocoon' strategy you designed earlier has already increased Former Station Chief Shimazu's approval rating by five percentage points. With another push, we might just be able to widen the gap."
Nohara Hiroshi nodded, his tone firm: "Bureau Chief Sakata, Deputy Director Asumi, I understand. I will talk to Matsui-san and Yamada-san regarding the Kanto TV matters and tell them to push forward according to the previous plan first. If they encounter problems, they can call me at any time. I will start preparing the election promotional video tomorrow and aim to finish the script within three days."
Although Matsui Yuichi was still somewhat unwilling, he also knew the importance of the election, so he could only nod: "Hiroshi-san, go ahead and focus on the election. We will keep a close eye on Kanto TV's proposals. If we face problems that we can't solve, we'll look for you."
Suzuki Kiyoto patted Nohara Hiroshi's shoulder: "Hiroshi-kun, thanks for your hard work. When the election is over, we will properly settle this score with Sato Tokugawa. We will arrange personnel to secretly protect the safety of those craftsmen. We won't let them suffer grievances again."
When the meeting ended, the sunlight outside the window had already risen high.
Holding the meeting minutes, Nohara Hiroshi walked out of the meeting room. He knew clearly in his heart how busy the next two weeks would be.
On one side was Shimazu's election campaign;
on the other was protecting the craftsmen's safety, as well as the undercurrents behind Sato Tokugawa—but he was not panicked. Just like when facing the bullies while filming "Seven Samurai," the more complicated the situation, the more calmness and strategy were needed.
And he already possessed a plan in mind. He aimed to not only assist Former Station Chief Shimazu in securing the election but also assure those hidden masterminds manipulating behind the scenes reimburse the appropriate price.
(Chapter Ends)