Tokyo Literary Godfather

"Miss, the editor should have been killed because his head showed signs of being beaten."

"This is absolutely impossible."

"Impossible? Why is it impossible?"

"...Because when I came, the basement door was locked, and the only people who could open the door were the editor and me. Could it be that the editor accidentally knocked himself down after trapping himself in the basement?"

Guhata smiled and said: "You cartoonists have a very different way of thinking, you think [the editor is trapped first, and then someone appears and beats the editor's head], but when most people see this scene, they usually think [someone beats the editor's head] After the editor’s head was captured, he was locked in the basement].”

"..."

In the ensuing investigation and conversation, Ren Saburo Guhata found more clues and loopholes, and finally forced the murderer played by Arima Guixiang into a dead end.

In the end, the murderer admitted the fact that he had killed the deceased.

After watching the whole episode, Chiba Shinichi thought about it, and wrote on the paper: "This play adopts a very novel flashback reasoning mode, and the identity of the murderer is placed on the paper from the very beginning, so the audience does not need to bother to figure it out." Guess the identity of the murderer. Instead, I can focus on the process of Guhata's 'playing' the murderer. The logic of the reasoning process is rigorous and there are no loopholes. Although there is no amazing trick design, it is obvious that the focus of this episode is not on this. It is enjoyable to watch."

After finishing writing, Mrs. Chiba picked up the remote control and asked, "The broadcast is over, can we change the channel now?"

Qianye Shen nodded, "Yes." Then asked: "How, do you think it looks good?"

Mrs. Chiba doesn't like watching mystery dramas, but she nodded without hesitation this time: "Not bad, I think it's very interesting."

"Do you find it interesting? Can you understand how Furuhata caught the murderer?"

Mrs. Chiba asked angrily: "Are you looking down on me too much? I just don't like watching mystery dramas. Do you really think I can't understand anything? Do you think I'm a fool?"

Chiba Shen dodges his eyes and says nothing.

"Okay, you really think so. Do you think I'm a fool? I'm a college student!"

"...Don't you mean short and big?"

“Isn’t a junior high school a university?”

My wife doesn’t like to watch mystery dramas because she feels that the plots in mystery dramas are complicated and difficult to understand. But "Furuhata Shinsaburo" is easy to watch, which also shows that this drama breaks away from the "puzzle game" mode of some traditional Japanese mystery dramas, and focuses more on telling a story well and making it interesting for the audience.

If "Byakuya Walk" has a score of 98, "Genius Detective Mitarashi Kiyoshi" only has a score of 70, then what about this "Furuhata Jinsaburo"? How much can you score?

Chiba Shinichi thought for a while and wrote a number on the paper.

85 points.

But this is just the score for the first episode.

…

The ratings report for the first episode of "Furuhata Rensaburo" has been calculated, and it is as high as 28%, which is a very good result.

This result is much higher than the original version of "Furuhata Jinzaburo" in the parallel world. The ratings of the first part of "Furahata Jinzaburo" averaged only a dozen percent per episode.

It was not until the second season that the ratings suddenly rose to more than 20.

Many Japanese dramas are like this, especially Japanese dramas in the unit drama mode, a narrative mode in which different story segments are spliced ​​together. For example, "Furuhata Rensaburo" and "Victory is Justice" all fall into this category.

The results of the first season were pretty good and it built a fan base. So the creative team left the aftertaste at the end and then filmed the second season. Since they already have a fan base and the station attaches great importance to it, they will come up with various ways to promote the second season before it is officially broadcast (for example, in other programs to promote it, or create a spin-off series), and finally the ratings took off in the second season.

It is relatively rare in China that the second season performs better than the first season. Most dramas do not have a second season, and even if they are filmed, the reputation and commercial results are not as good as the first season.

The reason is that Japanese dramas are small, with only twelve episodes per season. Therefore, the first season is often finished as soon as the audience base is accumulated, and the second season soars again. But this is not the case with Chinese dramas. A TV series often has fifty or sixty episodes, which is enough time to accumulate an audience. If no one watches it, then no one really watches it. Filming a second season of a work that no one watches will serve no purpose other than money laundering.

However, Fujiwara Kei's version of "Furuhata Jinsaburo" directly omitted the process of accumulating an audience, and the first season directly reached the results of the original second season, and even surpassed it.

This is mainly due to his status as a genius mystery writer. "Furuhata Jinsaburo" has attracted much attention from some mystery lovers before it was broadcast. Coupled with the joining of Konemon Matsumoto, the father-daughter drama in the first episode is very popular. The novel narrative method... and other factors have attracted a group of readers.

The ratings for the second episode may drop, but that's okay, it's normal.

The ratings of "The Lonely Gourmet" have also begun to stabilize, but they have remained at a high level and have not dropped, which is quite good. Now that "The Lonely Gourmet" is halfway through the broadcast, the team's cooperation has begun to become more skillful. .

From the small test of "Anthropology" to the great success of "The Long Vacation", to the steady development of "The Lonely Gourmet" and "Furuhata Jinsaburo", Kei Fujiwara has made the entire broadcasting industry aware of his strength. , and slowly rolled up his sleeves, showing off his thick arms.

Even after the success of "The Longest Day Off," there are still discordant voices saying that the show's success is partly accidental.

But gradually, this voice gradually became smaller. An occasional accident is an accident, but a series of accidents are still accidents? No matter how dissatisfied you are, you have to accept reality.

Therefore, recently, people from the Fujiwara and Mizuhara factions have become more confident when entering and leaving Fukuyamadai, and they no longer need to be as cautious in speaking as before.

In the past, if employees of Shuibo Production had conflicts or conflicts with members of the production bureau, they would take the initiative to give in in order to calm the situation. But recently, gradually, some offensive and defensive positions have changed.

When encountering conflicts again, Shuibo Production would express dissatisfaction in front of the employees of the production bureau, and his arrogance gradually became arrogant. Director Kashi Yoshida now seems to attach great importance to Mizunami Production, so when Mizunami Production submits applications, he will jump in the queue, even before the production bureau headquarters.

The reputation of Mizunami Production has gradually become louder among production companies because of the appearance of Kei Fujiwara.

After another day of filming, Konemon Matsumoto suddenly found Kei Fujiwara and invited him to watch the performance of [Shiratakuya] this Sunday.

This is the 10th anniversary performance of his name [Matsumoto Konemon]. It is very important, and the tickets on that day were sold out very well. But he reserved tickets for Kei Fujiwara, Yui Mizuhara and Hideaki Shibasaki.

Shibazaki Hideaki expressed his apology to Konemon Matsumoto, because there are not many reserved films. Just in case, he will further tighten the shooting process and strive to have three episodes of reserved films on hand. There is food in the hand, but there is no peace in the heart. Shibazaki Hideaki is a hands-on director and has to sit in front of a supervisor all the time, so I'm afraid he won't have time to watch performances.

Mizuhara Yui agreed at first, but unfortunately, her grandmother in the countryside had her leg broken by a group of bosozoku boys driving a motorcycle. She had to go back to take care of her mother for a few days. The crew's affairs could be left to Fujiwara and Kazuzu for the time being. It doesn't matter to Shibazaki, but I'm afraid he won't be able to go to the show.

Konemon Matsumoto expressed his understanding and gave the ticket to Kei Fujiwara.

Kei Fujiwara writes scripts very quickly, and after finishing the script, he goes out for a walk, or visits stores with Takagi Nobu Satoshi, looking very leisurely. He said that he felt guilty even if he didn't have time.

In addition, since I came to this world, I have never seen a kabuki performance seriously, so I promised Matsumoto Konoemon that I would be there on time.