Format

At MIPLondon, Virginia Mouseler, co-founder of The WIT, dedicated a special session to Japan, offering a data-driven overview of the country’s role in the global format ecosystem and highlighting some of the most distinctive new titles emerging from the market.

The presentation confirmed a familiar paradox: Japan remains one of the most original and influential creative territories in the world, while continuing to operate largely as a self-contained market.

One of the key indicators of Japan’s international relevance is its presence among the most adapted formats worldwide. Over the past year, a Japanese title ranked among the Top 3 most adapted formats globally, alongside major international hits such as The Floor, The 1% Club and The Traitors.

In terms of format trade, Japan currently ranks as the seventh largest exporter, at a level comparable to South Korea.
Among the most internationally adapted Japanese titles are:

Dragon’s Den – the long-running entrepreneurial pitch format (originated in Japan as Money no Tora)

Documental / Lol– comedy formats built around endurance and performance

Freeze – the physical comedy competition created by Hitoshi Matsumoto

Run for Money – the large-scale chase game, recently revived globally through a Netflix version

These titles illustrate Japan’s strength in high-concept entertainment, physical challenges and distinctive comedic tone, elements that travel well internationally.

A Market That Rarely Imports
If Japan is an active exporter, it remains a very selective importer.
According to the WIT data, the country ranks only 15th worldwide for format imports, reflecting a long-standing preference for domestic development.
The figures are almost symbolic: after importing no foreign formats the previous year, Japan adapted just two international titles over the last 12 months — a minimal increase that still represents a notable change in such a closed market.

The two imported formats were:
Wedding Wars – a South Korean relationship competition (based on Wedding Fighter), released on the streaming platform Abema in April
Who Wants to Be a Millionaire? – rebooted in Japan 26 years after its original launch

Revival culture is also strong within the domestic market. One of Japan’s most iconic variety franchises was rebooted in January, 30 years after its original debut, demonstrating the enduring value of legacy entertainment brands. This strategy reflects a broader industry logic: in a highly competitive environment, familiar IP offers both audience trust and cross-generational appeal.