Hideki Takahashi[Broadcaster / Developmental Disability Researcher]*** There is no Masatoshi Hamada. TBS “King of Conte no Kai” broadcast on Saturday, June 12th. It is an ambitious program where the champions and excellent people of “King of Conte” who decide the best in Japan gather to make a new Tale. Masatoshi Hamada, the moderator of the main program, does not appear there. Perhaps Hamada isn’t motivated to make a tale (I think he’s had that tendency since he was young). Over the years (58 years old, Hamada), he may be aware that the instantaneous power required for Tale has disappeared. I once met Nobuhiko Kobayashi (the author of the famous book “Japanese Comedy”) and asked him about the future of downtown, which had just debuted. Mr. Kobayashi said: “Isn’t one remaining as an actor?” Hamada. “Tale is a condensed play.” However, this does not work in Osaka, especially in the Yoshimoto system. It is often understood that “Tale does strange things”. The more weird things you do, the more you can laugh. You just have to run around with a red loincloth and have a funny face. It is a way of understanding. With this, people who want to become actors do not want to do Tale. Mass-produced entertainers who cannot play. Of course there are exceptions. There is a genius who can laugh at acting in the condensed play of both the play and the laughter of Osaka. pacific saury Akashiya. Hamada wasn’t very dexterous. That’s why I don’t play Tale. Matsumoto is also resting without participating in “Don’t get caught” in “Don’t laugh”. The direction they are aiming for may have changed. No wonder. By the way, Matsumoto seems to have been dissatisfied with the audience rating of “King of Conte no Kai”. “Household ratings are 6.8%, but what TV stations now care about is not the household ratings, but the ratings of the younger generation, known as the core target,” he said. However, it is unknown whether the audience rating of the core target was higher than 6.8% because it is an internal document of the TV station and is not announced to the world. The viewing targets that each station places the highest priority on are as follows.[NTV]13-49 years old “Core target”[Fuji]13-49 years old “Key characteristics”[TBS]13-59 years old “Family core” (also reduced to 49 years old)[TV Asahi]Conventional “household viewing” Remains “rate”. Elderly people don’t buy things even if they advertise, so they don’t attach importance to it. That is the reason for the target change. It is the basic policy of each station to “do not leak audience rating information to the outside”. By the way, Video Research, the only company in Japan, has announced a survey on both household ratings and “core target” ratings. I cannot help but be surprised at the shareholder composition of this video research. All are listed below. TBS TV Co., Ltd./Nippon Television Network Co., Ltd./Fuji Media Holdings Co., Ltd./TV Asahi Holdings Co., Ltd./TV Tokyo Co., Ltd./MBS Media Holdings Co., Ltd./Asahi Broadcasting Group Holdings Co., Ltd./Yomiuri Telecasting Corporation / Kansai Television Broadcasting Co., Ltd./Chubu Nippon Broadcasting Corporation / Tokai Television Broadcasting Corporation / Nagoya Television Broadcasting Corporation / Chukyo Television Broadcasting Corporation / RKB Mainichi Holdings Corporation / Kyushu Asahi Broadcasting Corporation / Television West Japan Co., Ltd./Fukuoka Broadcasting / Hokkaido Broadcasting Corporation / Sapporo Television Broadcasting Corporation / Hokkaido Television Broadcasting Corporation / Hokkaido Culture Broadcasting Corporation / Tohoku Broadcasting Corporation / Chubu Broadcasting Corporation / Toshiba Digital Solutions Corporation / Dentsu Co., Ltd./Hakuhodo Co., Ltd./Stocks Company Hakuhodo DY Media Partners / Ohiro Co., Ltd. As you can see, TV stations and advertising agencies are investigating viewer ratings for themselves, and Co., Ltd. maximizes the interests of its shareholders. If the goal is to make it, it’s normal to think that the numbers announced must be discounted a bit. Was the “household audience rating 6.8%” there good or bad? It seems reasonable for me. Some of the conts at the beginning are quirky and interesting, which will be repelled by the elderly. But let’s judge that the audience rating was maintained. There were three good tales. “Masatoshi Hamada’s dressing room” The cleaner Robert Akiyama picks up the progress chart of Hamada abandoned in the dressing room of Hamada. There is a lot of writing on it. Hamada was the MC based on a detailed plan. Musical notes are waving in the lines of “Result Announcement”. “Yui / Fa Fruit / From Fa / Fa Table / So”. Was it / fa / fa / fa / so? This laughed. A sample of a single gag. “Live lunch broadcast” A special program is set up in which all three regulars gather for each day of the week. The floor director wants to proceed with the live broadcast, but the big host Robert Akiyama doesn’t let me talk only about the inner ring material, and it doesn’t matter what day of the week you are suitable for that inner ring material, but it’s exciting. I don’t know who is. Are you making a fool of the late “Waratte Iitomo”? interesting. A good play where Saito from Jungle Pocket and Iizuka from Tokyo 03 stand out even when this large number of people enter. The role of floor director may climb the stage, but he must not break his stance of trying not to be reflected. “Manager” The manager of the condominium (Viking Kotoge Eiji) brings hometown souvenir mentaiko to a woman living alone (Matsumoto), but Matsumoto, who is unusually cautious, says how much. Do not remove the door chain. That tendon. (Tendon is a method of escalating the same thing little by little and repeatedly laughing) If the manager of Kotoge makes a little addictive role and makes a little order, Kotoge will show only two types, strong Tsukkomi and weak Tsukkomi. The strongest if you wear the middle Tsukkomi. Matsumoto’s onnagata is dirty, so I can’t immediately understand that she is alert at the beginning, but is this okay? After all, the door chain remains closed. In the meantime, the scene changes into the room, revealing why Matsumoto is wary, using techniques like literary dramas and novels. It’s a proper play, and it’s irresistibly funny. By the way, do you need a talk by the performers between the contests? The story behind the production of Tale is interesting behind the scenes like me, but do you want to see the core target? Is it because it gets tired to see that the control continues all the time? Will the audience rating increase if there is a talk by an actor or actress in the drama? At the end. There are probably more than 10 writers in the composition, but what did this large number of writers do for the show? I wrote a lot of tales, but if the performer didn’t like it and died, there is a lot of significance in existence. However, I don’t need a writer who doesn’t come up with ideas.