TBS outlines Legendary and CJ ENM partnerships at TIFFCOM in Tokyo
At a TIFFCOM session in Tokyo on 29 October, TBS Holdings executives explained its $150M stake in Legendary Entertainment and its Studio Monowa venture with CJ ENM. They said the aim is to make Japanese content a global genre like K-drama.
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The story, neutrally told
Mixed · 2TBS Holdings executives presented the Japanese broadcaster's strategy at TIFFCOM, the content market of the Tokyo International Film Festival, on 29 October, focusing on its tie-ups with Legendary Entertainment and South Korea's CJ ENM. DeadlineN “TBS Holdings executives outlined the strategy behind the Japanese broadcaster’s tie-ups with Legendary Entertainment and Korea’s CJ ENM in a TIFFCOM presentation today.” Read at Deadline ↗ VarietyLC “A Thursday morning session at TIFFCOM, the content market of the Tokyo International Film Festival” Read at Variety ↗ Mixed · 2Deadline reports that in January 2026 TBS acquired a $150M minority stake in Legendary and signed a non-exclusive agreement to source and develop Japanese IP; Variety describes it as a $150 million equity investment earlier this year. DeadlineN “In January 2026, TBS acquired a $150M minority stake in Legendary and entered into a non-exclusive agreement” Read at Deadline ↗ VarietyLC “noting its $150 million equity investment in Legendary Entertainment earlier this year” Read at Variety ↗ Mixed · 2Katsuaki Setoguchi, executive officer of TBS Holdings' global business division, said the two companies' "needs matched each other perfectly": Legendary is watching Japanese IP closely and is willing to fund big-budget live-action adaptations, while TBS has long-standing relationships with creators and says its relationships with major Japanese publishers are "neutral". DeadlineN ““Why did we partner with Legendary? Our needs matched each other perfectly.””“TBS has “neutral” relationships with all the major publishers in Japan” Read at Deadline ↗ VarietyLC “TBS is to “play the role of cultural translator” for Legendary.” Read at Variety ↗
Centre · 1Deadline lists Legendary's Japanese-IP projects as including Godzilla, Street Fighter, Gundam and Drops of God Season 2, and says that from this month TBS staff will work from desks in Legendary's Los Angeles offices. DeadlineN “including Street Fighter, Gundam and Drops Of God Season 2”“starting this month, TBS employees will be setting up desks in the Legendary offices in Los Angeles” Read at Deadline ↗ Mixed · 2In Asia, TBS has launched a production joint venture, Studio Monowa, with CJ ENM and Japanese streamer U-Next; Deadline says announcements on the first projects are expected soon, and Variety says it combines TBS with CJ ENM's "global standard production capabilities". DeadlineN “launching a production joint venture Studio Monowa with Korea’s CJ ENM and Japanese streamer UNEXT, with announcements on the first projects expected soon” Read at Deadline ↗ VarietyLC “combined with CJ ENM’s global standard production capabilities” Read at Variety ↗ Mixed · 2Setoguchi said the goal is to lift Japanese live-action drama to the global recognition of K-drama, noting that anime and manga are popular worldwide but J-content is not accepted on the same level. He said he sees his mission as establishing a new genre of J-content rather than generating profit for TBS. DeadlineN “We feel our mission now is to create a new global genre of J-Content.” Read at Deadline ↗ VarietyLC ““instead of working to generate a profit to TBS, I would be working to establish a new genre of J-content.”” Read at Variety ↗
Mixed · 2He recalled that Japan's drama industry was once far stronger than Korea's, citing the 2002 TBS–MBC drama Friends, and said Japan chased domestic ratings while Korea looked to global markets; Variety quotes him saying that, "to my embarrassment," he had not foreseen Korea's influence. DeadlineN “Japan pursued domestic viewer ratings, while Korea looked at global markets, and those decisions have shaped today’s reality.” Read at Deadline ↗ VarietyLC “to my embarrassment,” he had not anticipated the now vast influence of Korean cultural output” Read at Variety ↗ Mixed · 2The session also covered the Ninja Warrior format. Variety, citing Shinya Watanabe, president of TBS Holdings' global business division, reports local adaptations in 25 countries, reach in 170 countries, and American Ninja Warrior renewed through Season 20. Partners Banijay, ITV Studios and RTL spoke by video, and Banijay's James Townley said the show would be a major focus across Europe next year. VarietyLC “local adaptations in 25 countries. They include NBC’s “American Ninja Warrior,” which is in its 18th season, with Seasons 19 and 20 already greenlit.”“The show now reaches 170 countries.” Read at Variety ↗ DeadlineN “will be a major focus for us across Europe next year” Read at Deadline ↗ Mixed · 2Variety adds that TBS is developing new IP such as the skateboarding show Kasso, has ambitions for The Seven studio through 2030 and 2040, including in Africa, and plans European bases. TIFFCOM runs 28–30 October at the Tokyo Metropolitan Industrial Trade Center. VarietyLC ““Kasso,” a skateboarding-focused spin on the same sports entertainment game show formula.” Read at Variety ↗ DeadlineN “TIFFCOM is running for three days (October 28-30)” Read at Deadline ↗
Every sentence links to the reporting it rests on. The pill in front of each says where its sources sit: Left, Centre or Right when one side supplies at least half of them, Mixed when they are evenly split. The number is how many outlets it cites.
Left1 outlet
- Framing
- Variety presents a detailed session report, with Ninja Warrior as a template for Japanese IP and TBS's global ambitions.
- Emphasis
- Ninja Warrior reach (25 countries, 170 countries), Kasso, The Seven's long-term ambitions including Africa, and Watanabe's remarks.
- Leaves out or plays down
- Does not mention the Legendary projects (Street Fighter, Gundam, Godzilla), the LA desks, or the 2002 Friends drama.
- For example
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““Ninja Warrior” is providing something of a template for new IP such as “Kasso,”” — Variety
Centre1 outlet
- Framing
- Deadline leads on the deal strategy: why TBS partnered with Legendary and CJ ENM, and the Japan–Korea history.
- Emphasis
- Legendary's Japanese-IP slate, TBS staff in LA, the Friends history, and the Japan versus Korea comparison.
- Leaves out or plays down
- Leaves out Watanabe's Ninja Warrior figures, Kasso and the African ambitions.
- For example
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“Japan pursued domestic viewer ratings, while Korea looked at global markets, and those decisions have shaped today’s reality.” — Deadline
Right0 outlets
No right outlet in our sources has covered this story yet.
What every side reports
- TBS holds a $150M stake in Legendary Entertainment.
- TBS, CJ ENM and U-Next formed the joint venture Studio Monowa.
- Setoguchi said the aim is to make J-content a global genre comparable to K-drama.
- Banijay, ITV Studios and RTL appeared by video to discuss Ninja Warrior.
TBS Holdings organisation
TBS presents the partnerships as a way to make J-content a global genre, with Legendary providing investment and reach and TBS acting as cultural translator.
“TBS is to “play the role of cultural translator” for Legendary.” — Variety
“We feel our mission now is to create a new global genre of J-Content.” — Deadline
Legendary Entertainment organisation
As described by TBS, Legendary is watching Japanese IP closely and is willing to fund big live-action adaptations; Legendary itself is not quoted.
“are willing to invest in big-budget live-action adaptations” — Deadline
Left1 article
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Neutral Trade session recap covering the partnerships and the Ninja Warrior franchise.

Centre1 article
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Neutral Trade report of the deal strategy built around Setoguchi's quotes.

Right0 articles
No coverage yet.
- 29 Oct 09:23 First DeadlineN TBS Unpacks Collaborations With Legendary & Korea’s CJ ENM: “We Want To Make J-Content A Global Genre”
- 29 Oct 09:59 +36m VarietyLC ‘Ninja Warrior’ Maker TBS Tells Tokyo Market How Legendary, CJ ENM Alliances Fit Its Push to Make J-Content the Next K-Drama
Times are when each article was published, or when we first saw it if the outlet gave no time.
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