Tatsuhiko Inoue on NHK’s Commitment to Providing the Best Programming

Tatsuhiko Inoue was appointed president of NHK in December after over 45 years with the company. He joined the public broadcaster in 1980 as a reporter and was named head of the political news division in 2005. He was subsequently appointed head of the programming department and then executive VP. With his 360-degree knowledge of NHK, Inoue tells World Screen about its role in serving audiences the best in news, documentaries and entertainment, while acknowledging that public service media is undergoing a major transition.

WS: How has NHK’s legacy of providing Japanese viewers with high-end, informative content continued today?
INOUE: The value of public media lies in providing accurate and trustworthy information, along with rich and inspiring content to everyone at any time, without distinction. In doing so, we contribute to the healthy development of democracy and the advancement of public welfare. NHK celebrated the 100th anniversary of broadcasting last year, and throughout this century, we have upheld and carried forward NHK’s tradition by inheriting the craftsmanship, values and production principles established by our predecessors. Even as the media landscape rapidly transforms in Japan and around the world, we continue to apply this tradition to new forms of creation.

A clear example is NHK’s flagship Taiga drama series. For more than 60 years, the Taiga drama has explored the lives of historical figures across nearly 50 episodes each year, set in periods ranging from Japan’s civil war era to its modernization. Many of Japan’s most prominent actors—such as Ken Watanabe, known internationally for The Last Samurai, and Hiroyuki Sanada, recently acclaimed for Shōgun—have appeared in past series and gone on to distinguished careers. This year’s 65th installment, Toyotomi Kyodai! (Brothers in Arms), tells the story of two brothers of humble origins who, driven by hope and ambition, charge through the turmoil of the Sengoku period and ultimately rise to play a central role in the unification of Japan.

In addition to the drama quality, what sets the Taiga drama apart is the extraordinary level of care that goes into each production. Extensive time and effort are devoted to instruction in historical mannerisms and dialects, as well as consultation with experts across many fields. The series is treated not only as entertainment, but also as a cultural record—allowing the craft and expertise developed by actors and staff to be carried forward into future productions. It is this ongoing accumulation of skill and knowledge that sustains the Taiga drama tradition.

The same craftsmanship applies to our documentaries. One of NHK’s greatest strengths is its commitment to in-depth investigative reporting and patient, sincere journalism. A recent example is KAMIKAZE: An Untold History, which was broadcast internationally last year, including on the BBC. The documentary confronts the central questions of why more than 4,000 pilots lost their lives and how an intense, almost irrational fervor came to grip the entire nation. The program was the result of 15 years of interviews with former military personnel and experts in Japan and the United States, as well as the careful collection and analysis of images, letters and records left by each pilot who died.

Every year, NHK produces many programs that address the themes of war and peace—an important and ongoing responsibility for us as a public media organization. The accumulation of this kind of persistent and sincere approach to reporting and program-making is what builds trust. That trust comes not only from our viewers, but also from the people who agree to share their stories with us.

For example, Hayao Miyazaki and the Heron (2024)—a seven-year follow-up of Hayao Miyazaki during the making of The Boy and the Heron at Studio Ghibli—was possible only because of the deep trust granted to our team. The same is true for Behind the Scenes: Detective Conan (2024), which offers a rare look into the creative process of Gosho Aoyama, the globally popular creator of Detective Conan. Another example is Ryuichi Sakamoto: Last Days (2024), produced with the understanding and support of his family, who granted us special access to the composer’s diaries and private footage. The documentary carefully portrays his struggles with illness and his enduring relationship with music. It went on to receive the International Emmy Award, the Prix Italia and the Rose d’Or, earning high praise around the world.

In this way, NHK continues to create programs that only NHK can make—built on a foundation of trusted relationships, thorough reporting and strong production capabilities. This year, we have an opportunity to share that approach not only within Japan but with audiences around the world. The year 2026 marks the 100th anniversary of the death of Antoni Gaudí, and the Sagrada Família—under construction since 1882—is expected to complete its final and central structure, the Tower of Jesus Christ. NHK is the only broadcast organization in the world granted long-term, exclusive access to film the final stages of this historic construction. This was made possible through the long-standing trust our production team developed with the church and with Etsuro Sotoo, the principal sculptor, built on years of sincere reporting and program-making.

WS: Despite changes in viewership, does NHK still enjoy trust and credibility among viewers?
INOUE: The NHK Broadcasting Culture Research Institute conducts an ongoing nationwide survey on how people engage with various media services. When respondents are asked which media they trust most—whether broadcast television; online news; YouTube; social media platforms such as Instagram, X or TikTok; or newspapers and magazines—81 percent say they trust NHK. This is followed by newspapers at 71 percent and commercial broadcasters at 65 percent, showing that traditional media still holds relatively high levels of trust.

Among digital media, online news stands at 29 percent, with YouTube and other social media platforms ranking even lower. We are grateful that NHK continues to be regarded as one of the most trusted media organizations in Japan. At the same time, we do not take this trust for granted. We remain committed to listening sincerely to what people expect and need from us as their public service media.

Even as viewing habits and the media environment change rapidly, our role remains the same: to deliver accurate, timely information related to people’s safety and well-being—whether it concerns natural disasters, international affairs or issues directly affecting daily life. In fact, in an age when information is more abundant and fragmented than ever, this responsibility has only grown more important. In such an environment, the media are being tested on their ability to examine complex and often confusing information, provide context to make sense of it, and communicate it clearly. It is vital for us to ensure that our news and programs truly reach people, are understood and resonate with them. And where we find gaps or shortcomings, we must remain flexible and willing to reassess and improve.

Another important mission for NHK as a public service media is to stand by the people and their daily lives. This year marks the 15th anniversary of the Great East Japan Earthquake. Throughout these years, while NHK has continued to prioritize delivering accurate and reliable reporting, we have also sought to accompany people in times of hardship and to document the resilience shown across Japan. One example is our program The Phone of the Wind (2016). In the coastal region of Sanriku, there is a unique phone booth where people who lost family members or friends in the disaster come to speak once more with their loved ones through a receiver that is not connected to any line. Five years after the earthquake, NHK produced a program focusing on this phone booth, listening to the many quiet, unspoken feelings that visitors whispered into the receiver. The program was broadcast worldwide, and now there are similar phones that have since been installed in different countries. We learned that there are more than 500 similar phones. For one of our special programs commemorating 3/11 this year, we plan to air a program featuring these phones around the world—exploring who built them, with what hopes and what people say when they pick up the receiver while grappling with the sudden loss of someone dear.

NHK will continue to offer value that supports people’s ability to live—to be of help to people, to encourage them and at times even to save lives—through both broadcasting and digital services. In doing so, we aim to honor and sustain the trust that viewers place in us.

WS: What are some of NHK’s most valued programming genres?
INOUE: At NHK, we believe that our viewers expect two things above all: delivering accurate information that supports people’s daily lives and offering high-quality, enriching programs and content that bring meaning and enjoyment to everyday experiences. The first refers to trusted genres such as news and information programs that clearly explain what is happening in Japan and around the world—and why—as well as documentaries that offer deep insight. The second includes emotionally resonant dramas, entertainment programs that bring joy and richness to everyday life and educational content that inspires curiosity and learning for the future. We are committed to delivering a diverse range of programs that enhance viewers’ daily experiences.

A major strength of NHK is not only our ability to broadcast such programs, but also the fact that we have creative production teams in-house who develop and produce them. As the global media landscape continues to evolve, the sustainability of public media depends on our ability to strengthen content and to foster and deploy talented creators who can take on these challenges. This remains one of our most important responsibilities.

NHK produces programs across a wide range of genres and has long been active in international distribution and co-production. Internationally, the strongest demand is for drama, nature and science programming.

Our dramas, in particular, are increasingly requested for immediate post-broadcast streaming by broadcasters across Asia, and in recent years, they have also seen growing demand from European and American partners as well as global streaming platforms. This March, two NHK titles have been selected as finalists for the competition section at Series Mania. One is Queen of Mars (2025), a sci-fi entertainment drama produced to commemorate NHK’s 100th year of broadcasting, set 100 years in the future when humanity has migrated to Mars. The other is Hirayasumi (2025), a late-night drama aimed at younger viewers. Based on a globally popular manga, Hirayasumi depicts the quiet joys found in everyday life and became a major hit in Japan.

In the area of documentaries, NHK’s nature and science programs are in high demand by international audiences. For example, Wildlife, which has been produced since 2009, is one of NHK’s flagship nature series. Created by the natural history unit at NHK Enterprises, the program uses long-term filming and state-of-the-art equipment to vividly capture the lives and behaviors of animals. Several new episodes are released internationally each year, and NEP now distributes a catalog of around 150 titles.

Another key title is Satoyama, first produced in 1999, which was one of the earliest programs to explore the theme of coexistence between people and nature and received strong acclaim worldwide. Successive installments have been produced every few years, portraying Satoyama environments not only in Japan but also abroad. This year, a new installment focusing on Satoyama in Taiwan is being co-produced with Taiwan PTS.

In the field of science programming as well, NHK has earned strong recognition for works that incorporate cutting-edge research findings and advanced visual technology. One example is The Body, whose third series was released last year. Since its debut in 2017, the program has delved deeply into the question of, “What is a human being?”, and has captivated viewers around the world by revealing groundbreaking discoveries that challenge conventional wisdom, using state-of-the-art imaging techniques and high-definition CGI. The first series revealed the body’s intricate and autonomous internal information networks. The second series, released in 2019, delved into the mysteries of the genes that shape our individuality. And the most recent installment takes on one of humanity’s most fundamental questions: “What is life?”

Expanding these kinds of content and intellectual properties in diverse ways—and adapting proactively to a rapidly changing media environment—is an essential mission for us. We intend not only to continue strengthening the content itself, but also to take a more forward-leaning approach in bringing our programs to global audiences.

WS: How is NHK dealing with increasing and improving its digital and online offerings?
INOUE: Viewing habits are changing not only among younger audiences but across all age groups, as more people watch content online and use a variety of devices. In an era where the boundaries between broadcasting and telecommunications are increasingly blurred and where we compete with content from around the world, it is essential for NHK to remain an organization that viewers actively choose. To do so, we must expand our touchpoints with audiences and continually explore how to optimize both our content and the ways we deliver it so that viewers feel our programs are useful, relevant and worth their time.

As part of these efforts, we launched a new internet service for domestic viewers in October 2025 called NHK ONE.  Viewers who pay the receiving fee can access all NHK terrestrial programs at no additional cost, either through live streaming or on-demand within one week. The service is designed to work seamlessly across devices—including web browsers, smartphones and connected TVs. For international audiences, we continue to offer the NHK WORLD-JAPAN website and app, which provide English-language content and are widely used by viewers around the world.

Going forward, NHK will continue to adapt the way we deliver content in response to changes in viewing environments. In addition to news, disaster coverage, and practical information for daily life, we aim to make an even wider range of genres—such as entertainment, educational content, and sports—more accessible through our digital platforms.

WS: Tell us about “Team NHK,” and how it came about.
INOUE: In a rapidly changing media environment, fulfilling our mission as a public media organization requires the entire NHK Group to work together as one. NHK is supported by a number of group companies, each contributing its expertise in different areas to help create a rich and diverse broadcasting culture. For example, NHK Enterprises handles program development and production, international sales and acquisitions, event operations and rights management. NHK Educational brings together specialists who produce programs related to early childhood education, culture, the arts and language learning. NHK Global Media Services supports NHK’s journalism through universal services and digital distribution. And NHK Technologies provides comprehensive technical support across all aspects of NHK’s production activities. These group companies, each with its own area of specialization, work in close cooperation and draw on their individual strengths to support NHK as a whole.

The role of public service media is undergoing a major transition. For NHK to remain an essential presence in this changing environment, we must evolve into an organization that is flexible, responsive and not bound by traditional assumptions. It is vital that the entire NHK Group works across departmental and corporate boundaries, stays closely attuned to the needs of our viewers and maintains a structure that allows us to act quickly on what must be done now.

To evolve into a new kind of public media—one that can deliver value “anytime, anywhere and to anyone”—we must bring together the full collective strength of the NHK Group and address challenges as a unified team. This cross-organizational, collaborative approach is what we call “Team NHK.”

WS: Several public broadcasters are struggling to maintain their levels of government funding. Is this also the case for NHK? Are alternative funding sources possible?
INOUE: First, let me explain NHK’s funding structure. NHK is financed primarily through receiving fees, which account for roughly 96 percent of our total revenue. This fee-based system is essential to maintaining NHK’s financial independence, which in turn ensures our editorial independence and fairness. As a public media organization, our programs must remain free from government or commercial influence, and this independent funding model provides the foundation that allows us to fulfill that mission.

NHK is Japan’s public media as defined by law, and under the Broadcasting Act, every household and business in Japan that has equipment capable of receiving NHK broadcasts or online services—regardless of nationality—is required to enter into a receiving contract and pay the receiving fee.

In response to rising prices in recent years, NHK reduced its receiving fee in 2023 to help ease the financial burden on viewers. As a result, we needed to reduce our operating expenses by approximately 130 billion yen. In addition, the global increase in production costs poses a significant challenge for public media organizations like NHK, which operate within the limits of the receiving fee model. To address these pressures, we are taking a strategic approach built around three key initiatives.

First, we are focusing our management resources through a strategy of strict prioritization. This includes reviewing and postponing the timing of facility and construction investments, as well as managing the overall volume of programming by taking an organization‑wide view to reduce duplication and inefficiency across genres.

Second, we are innovating our production processes through the use of new technologies. In news production, we are introducing AI tools that automatically generate metadata for scripts and support AI‑based announcements, helping to offset labor shortages and significantly improve efficiency. In drama production, we are adopting advanced techniques such as virtual sets, which help reduce physical set construction costs while expanding creative possibilities.

Third, we are strengthening collaborations with global partners. For large‑scale, high‑quality productions, we are actively engaging in international co‑productions with overseas broadcasters and streaming platforms, allowing us to share costs while creating ambitious, high‑impact content.

We do not consider advertising or other alternative revenue sources to be appropriate for NHK. We will continue to rely on the receiving fee system as our foundation, while striving to balance viewers’ burden with sound financial management and to secure sustainable, stable funding for the future.

WS: What are the strengths of NHK WORLD-JAPAN? How is it received internationally?
INOUE: NHK WORLD-JAPAN marks its 17th year of 24-hour English-language broadcasting in 2026. While its history is shorter than that of broadcasters such as the BBC or CNN, its strength lies in being an international channel originating from Japan. As Japan’s public media service, it delivers fair, impartial and trustworthy news, along with a wide range of high-quality programming. Our content focuses particularly on Japan and the broader Asian region with which Japan has deep ties, and we present these stories from perspectives that differ from those of Western media.

Our top-of-the-hour newscasts draw not only on information from Tokyo, but also on NHK’s extensive reporting network across Japan’s regional stations and our overseas bureaus throughout Asia, the Pacific and the Middle East. This wide-ranging newsgathering system enables us to deliver the latest developments quickly and accurately.

Japan is a country prone to natural disasters, and NHK WORLD-JAPAN provides timely coverage of earthquakes, tsunamis, typhoons and other emergency events. As a result, foreign visitors and residents in Japan regard NHK WORLD-JAPAN as a highly reliable source of information during times of crisis.

In addition to news, NHK WORLD-JAPAN introduces a wide range of content that highlights technologies and research unique to Japan, emerging cultural trends and individuals who are making an impact on the global stage. These programs play an important role in deepening international understanding of Japan.

Surveys conducted by NHK among viewers around the world show that NHK WORLD-JAPAN is regarded as “a trustworthy source of news that offers balanced coverage, particularly on issues related to Asia, along with perspectives that differ from those of Western media.” We have also received comments praising our programs on war and peace for “drawing connections between lessons from the past and today’s international affairs, and helping viewers reaffirm the importance of peace,” reflecting the high educational value recognized by many audiences.

WS: Are there other international partnerships NHK is interested in establishing?
INOUE: NHK places great importance on its relationships with broadcasters and public media organizations around the world. We actively participate in various international alliances—such as the Asia-Pacific Broadcasting Union (ABU), where I serve as VP; the European Broadcasting Union (EBU); and Public Broadcasters International (PBI)—and have long contributed to the development of public media globally.

At the production level as well, we actively participate in international conferences that bring together creators from public media, production companies and platform streamers worldwide, such as INPUT (International Public Television) and the WCSFP (World Congress of Science and Factual Producers). These platforms help us build networks that lead to international co-productions and program collaborations. Many new ideas and partnerships have emerged from these settings, making them extremely valuable to NHK.

NHK also participates in Global Doc, a project led by France Télévisions in which public broadcasters collaborate to support and co-finance ambitious documentaries with universal relevance. As media environments diversify and competition intensifies, international cooperation of this kind is becoming increasingly important in ensuring that carefully researched, high-quality documentary works can reach audiences around the world.

NHK has also long operated the Japan Prize, an international competition dedicated to educational content. Since its establishment in 1965, the prize has contributed to improving the quality of educational programming worldwide by recognizing works that propose new value through audiovisual media and by encouraging deeper social and cultural understanding across borders. The Japan Prize brings together people from different countries and professional fields who share the desire to improve the world through educational content. It has become a valuable platform where participants inspire and learn from one another, and an international community is growing around it, dedicated to creating even better content for future generations.

NHK aims to further strengthen these existing networks while also actively pursuing new partnerships with countries and regions around the world. As a public media organization, we hope to broaden collaborations that allow us to learn from one another, grow together and build even more meaningful global partnerships.

WS: What other priorities do you have for the next 12 to 24 months?
INOUE: I believe that the most urgent challenges we must address in the coming months can be broadly categorized into two areas: our business structure and our financial structure.

First, regarding our business structure, the true source of NHK’s competitiveness lies in the power of our content. It is essential that we build an organization capable of consistently producing high-quality programs. The key to strengthening NHK’s long-term sustainability is a fundamental enhancement of our ability to develop content, deliver it effectively and expand it globally. We intend to take a more proactive, forward-leaning approach than ever before — deepening the integration of digital and broadcast services, developing new intellectual properties, and pursuing international expansion of our programs with a global perspective.

Second, in terms of our financial structure, a strong and stable financial foundation is essential for NHK to continue providing accurate, rich, and universally accessible public media services nationwide. It is vital that we preserve our current receiving fee system—which supports the core of our operations—and ensure its long-term sustainability. To achieve this, stabilizing our receiving fee revenue and halting its decline is an urgent priority. We will mobilize the full strength of the NHK Group to accomplish this goal, and I am determined to pursue it with unwavering resolve.

I want NHK to remain an organization that truly serves people—to be of help to them, to encourage them, and at times even to save lives—through both broadcasting and digital services. To achieve this, it is crucial that every member of the NHK Group can work in an environment where they feel safe and are able to fully demonstrate their abilities. I am firmly committed to respecting the rights and dignity of all employees across the NHK Group and to taking the lead in fostering a safe, respectful, and inclusive work environment for all.

Having served three years as VP under my predecessor, Nobuo Inaba, I am deeply familiar with NHK’s current situation and the challenges we must address. With a strong sense of urgency, I intend to tackle these management issues swiftly and decisively—mobilizing the full collective strength of “Team NHK.”