BEAJ (Broadcast Program Export Association of Japan)

Unlocking Japan’s Format Creativity Treasure Box

As part of its year-round efforts to support the Japanese content creation ecosystem globally, the Broadcast Program Export Association of Japan (BEAJ) is returning to MIPCOM to host its popular Treasure Box Japan (TBJ) format showcase.

“TBJ has become one of the most important gateways for Japanese content to reach the global stage at the international marketplace,” says Makito (Mak) Sugiyama, BEAJ’s Executive Director. “Launched as a dedicated showcase of unscripted formats in 2012, its positioning on the opening day of MIPCOM is no coincidence. Each year, more than 10,000 participants from over 60 countries gather in Cannes, and buyers are especially alert to fresh opportunities during the first sessions. By presenting world-premiere titles at this critical moment, TBJ ensures that Japanese formats are not only seen but also prioritized in subsequent business discussions and negotiations.”

Indeed, the event has expanded over the years in both the scale of Japanese participation and attendance. This year, ten Japanese companies will be showcasing their highlights—Nippon TV, TV Asahi, TBS, TV Tokyo, Fuji TV Network, NHK Enterprises, Yomiuri TV, ABC TV, MBS and Kansai TV—“bringing together an unprecedented lineup of creativity,” Sugiyama says. “It is also backed by the Ministry of Internal Affairs and Communications, underscoring its role as part of Japan’s national strategy to promote cultural exports.”

Sugiyama adds, “Equally important is the participation of respected international commentators such as Fremantle’s Vasha Wallace and Small World IFT’s Tim Crescenti, whose feedback provides a global perspective and helps contextualize Japanese content for overseas buyers.”

TBJ is promising a diverse and eclectic mix this year, “underlining the creative breadth of Japanese broadcasters,” Sugiyama says. He stresses the curation process behind TBJ. “Buyers know that the titles chosen for TBJ are carefully selected for their international adaptability. Past TBJ editions have already showcased ideas that sparked co-productions and localized adaptations.”

And content discovery doesn’t end in Cannes, with the TBJ selections going into BEAJ’s extensive online Japan Program Catalog (JPC), the largest one-stop portal for Japanese broadcast content. “With more than 900 overseas buyers registered, the JPC ensures that Japanese titles are discoverable year-round and provides direct access to rights holders,” Sugiyama explains.

“This dual approach—live presentation at MIPCOM and online continuity through JPC—ensures that the excitement generated in Cannes translates into concrete opportunities,” Sugiyama says. “The 2025 lineup, with its bold mix of genres and strong international potential, embodies exactly what makes Japanese content stand out: creativity that is surprising, versatile and export-ready.”

The selection this year includes NHK Enterprises’ Just Circle It!, a visually engaging quiz; Nippon TV’s physical competition Mega Catch; Yomiuri TV’s multigenerational game show Six Genz Game; the TV Asahi dating reality show Love Time Travel; ABC TV’s comedy travel format Wait, What?; the TBS survival money game Infinite Loop; the genre-blending horror-meets-variety Reform Horror House from MBS; TV Tokyo’s SUMO KING; I Doubt it!, a psychological game show from Fuji Television; and the improv comedy The Laughing Throne from Kansai TV.

“These slates demonstrate Japan’s unique ability to combine entertainment with originality,” Sugiyama says. “There are lighthearted quiz shows, bold comedy formats, culturally rooted ideas like sumo-inspired competitions and even a horror-themed concept that pushes genre boundaries. By presenting such diversity in a single session, TBJ gives buyers an efficient way to explore multiple creative directions, all backed by the reliability and track record of Japan’s top broadcasters.”

Insights from TBJ feed into BEAJ’s year-round activities, says Masaru Akiyama, BEAJ’s Chief Executive of Business Management, “such as Drama Gems from Japan at ATF in Singapore, which spotlights scripted titles, and BEAJ’s activities at TIFFCOM in Tokyo, which engage buyers on Japan’s home turf. Through this multi-market approach, TBJ has evolved beyond a single showcase to become a flagship of Japan’s global content strategy, reinforcing the idea that Japanese creativity is diverse, innovative and ready to compete on the world stage.”

Akiyama and Sugiyama believe that content from Japan has carved out a unique identity in the global marketplace “by combining professional-driven performance, cultural distinctiveness and fearless experimentation. Unlike many international markets where unscripted formats often rely on ordinary participants, Japanese variety and entertainment shows traditionally feature professionals—comedians, actors, athletes and celebrities—who bring expertise, charisma and reliability to the screen.”

Constant innovation has also been paramount, Sugiyama continues. “Japan’s broadcasters operate in a fiercely competitive domestic market where originality is the key to survival. Producers frequently test experimental segments or quirky one-off ideas, many of which evolve into full-fledged series if they resonate with audiences. This creative cycle has produced formats that transformed the global TV landscape, including Dragon’s Den (Shark Tank), Iron Chef, America’s Funniest Home Videos and Ninja Warrior, to name a few. These shows demonstrate not only adaptability across cultures but also a capacity to inspire entirely new genres internationally.”

Plus, Akiyama says, there’s a sense of “playfulness and energy that global audiences find refreshing. As The WIT’s Virginia Mouseler, a moderator for this year’s edition of TBJ, observes, Japanese formats are ‘spontaneous, lively, colorful and uninhibited—totally in service to having fun.’ That uninhibited style has become a hallmark of Japanese entertainment, helping it stand out in an increasingly standardized global content market.”

That inherent innovation is being fused with a future-facing international strategy, Akiyama explains. “Co-developments with overseas partners, participation in events like ATF and TIFFCOM, and digital platforms like the JPC ensure that Japanese formats are not only unique but also globally accessible. This fusion of originality and strategy is what makes Japanese creativity not just different, but indispensable in today’s entertainment industry.”From its on-the-ground events at markets worldwide to its work in research and development behind the scenes, “BEAJ’s mission is not limited to promoting a few standout formats—it is about creating a sustainable ecosystem for Japanese content exports,” Akiyama says. “From TBJ’s unscripted focus at MIPCOM to ATF’s scripted spotlight and TIFFCOM’s domestic hub, our activities are designed to offer Japanese creators a wide range of opportunities to shine internationally. Each initiative reinforces the others, and together with the JPC, they create a coherent strategy that maximizes both visibility and business outcomes. In short, TBJ is a window into the diversity of Japanese creativity, but it is also a symbol of BEAJ’s commitment to building long-term partnerships and ensuring that Japan’s ‘treasure box’ of content continues to enrich audiences around the world.”

Opening Japan’s Treasure Box of Formats

On Monday, October 21, during MIPCOM, Treasure Box Japan will unveil nine new Japanese format jewels ready for international adaptations. The showcase kicks off at 4 p.m. in the Hi5 Studio in the Palais des Festivals and will be followed by cocktails and networking.

“For over five decades, Japan’s major broadcasting companies have independently pursued overseas expansion, amassing significant expertise in content distribution abroad,” says Masaru Akiyama, chief executive of business management at BEAJ (Broadcast Program Export Association of Japan). “This long-standing independence has lessened the need for these broadcasters to collaborate on events aimed at promoting Japanese content internationally. In contrast, newer entrants to the global market have quickly increased their visibility by participating in international content markets, often presenting under a unified national banner. Recognizing the growing importance of collective strength, BEAJ, in accordance with the Ministry of Internal Affairs and Communications, has been taking a collaborative approach by driving multiple initiatives to enhance Japan’s presence in the global content market.”

Among them, BEAJ actively promotes all Japanese television programs through the Japan Program Catalog, an online platform accessible to everyone. The platform allows industry professionals to log in, watch trailers and connect with rights holders of their selected titles, making it a one-stop resource for exploring a wide range of Japanese television content.

BEAJ also hosts large-scale online screenings on various international platforms, giving global stakeholders the opportunity to engage with Japanese content.

Another key effort is Treasure Box Japan (TBJ), which focuses on promoting unscripted format sales. “This year’s TBJ will feature an expanded program slate compared to last year, presenting nine titles carefully selected to meet the diverse needs of a larger pool of buyers,” says Ikuo Ichiki, executive director of business management at BEAJ. “Beyond the usual array of game shows and documentary-style location programs, the lineup includes formats that have never before been available to overseas buyers. BEAJ invites interested parties to join them at their networking event following the format presentations and to visit specific booths for more information.”

Among the projects being showcased as part of Treasure Box Japan, The Swap Project features people from different cultures with the same occupation swapping lives for a week. The format explores their challenges and experiences while highlighting cultural differences and shared human connections in a comedic and touching way.

The game show DASUNA—Don’t Show Your Pants! challenges contestants to keep their underwear hidden while competing in various tasks. The show promises fun for all ages with its playful twist.

The long-running show Treasure Appraisers, in which guests bring items to be appraised by experts, is being made available as a format for the first time. Viewers discover whether items are valuable or fake and gain educational insights into the historical context of each piece.

The immersive game show Man or Mannequin? sees celebrity contestants race against time to find mannequins hidden around the city. With increasing difficulty, contestants must distinguish between artificial dummies and humans posing as mannequins.

The large-scale KASSO features Japan’s top skateboarders competing on a unique outdoor set. It combines skateboarding with elements of physical game shows such as Ninja Warrior and Takeshi’s Castle.

In the quiz show 100 Man Power (w.t.), 100 contestants challenge an expert in themed battles on topics such as aquariums and ramen, set in locations related to the themes. The flexible format allows for various themes, settings and prize structures.

In the Middle of Nowhere investigates isolated houses in Japan. It uses satellite images to find them and explores residents’ lives through on-site reporting.

Two celebrities compete against 25 fans each (and later, against each other) in Celebrity Fight Club. Developed with Youngest Media Group, the format was inspired by Challengers on Fire.

In The Tortoise and The Hare, one team trains with unreliable online information for a week while the other gets professional instruction. Inspired by Aesop’s Fables, the program contrasts dubious versus expert training.

“In Japan, the long-standing competition among broadcasting stations for viewer ratings has fostered a vibrant ecosystem for creators to explore diverse ideas, leading to a multitude of innovative programs,” says Makito Sugiyama, executive director of business management at BEAJ. “Many shows incorporate small segments that function as testing grounds for new concepts, with the most popular ones often evolving into stand-alone series. Successful programs from this competitive landscape frequently find international success, capitalizing on their substantial achievements in key markets to garner support from global audiences.”

America’s Funniest Home Videos (You’ve Been Framed!), Shark Tank (Dragons’ Den) and Ninja Warrior are among the notable examples of Japan’s rich array of unscripted content that has garnered international acclaim, showcasing their widespread appeal. “Japan holds a remarkable record in format localization, with more than 90 titles and hundreds of localized versions based on them created worldwide,” says Sugiyama.

Following the presentations of TBJ, attendees will have the opportunity to participate in a cocktail and networking session, “allowing for the exchange of valuable information about emerging shows that are highly likely to resonate in their own countries,” adds Shunsuke Ochiai, executive director of business management at BEAJ. “This event not only facilitates connections with potential broadcasters but also empowers attendees to leverage these insights for future business endeavors, potentially uncovering the next global hit in a single comprehensive session.”