TOKYO MER Film Sequel Dominates Japanese Box Office
The latest cinematic instalment of the popular medical drama, TOKYO MER: Mobile Emergency Room, is proving to be a box office sensation in Japan. Released on the 1st of August, the new film, titled Nankai Mission, has captured the nation’s attention, drawing in an impressive 2.9 million cinemagoers and surpassing ¥3.9 billion in box office revenue in just 24 days.
The Genesis of a Mobile Emergency Room
The TOKYO MER series follows the high-stakes operations of an elite medical team that responds to major accidents and disasters in a state-of-the-art mobile emergency room housed within a large vehicle (the ER car). This innovative concept was conceived by screenwriter Tsutomu Kuroiwa. Although the organisation feels authentic, MER is, for now, a fictional creation.
“While I had previously adapted a novel about pharmacists for a television drama, this was my first time writing an original medical series from scratch,” Kuroiwa explains. “I had always wanted to tackle the genre, and TBS approached me with the idea of focusing on emergency and critical care. However, there are countless masterpieces in this field, both in Japan and internationally. I knew that simply creating new characters or a unique hospital setting wouldn’t be enough to stand out. A fresh angle was essential.”
Kuroiwa’s breakthrough came from shifting the setting. “The first idea that came to mind was to base the action outside the hospital. I wanted to craft a story about a team that rushes to the scene of a disaster, sets up a tent, and performs surgery right there. During my research with doctors, one mentioned that ‘something like a mobile operating theatre would be ideal.’ That was the spark. I decided to write about a mobile emergency room. When I saw the final design for the ER car, it was even more impressive than I had imagined, and I was confident we were creating a new kind of medical drama.”
A Message of Hope During a Pandemic
One of the series’ most iconic and recurring lines, “There are zero deaths,” has its roots in the COVID-19 pandemic, which coincided with the original drama’s production and broadcast in 2021.
“At the time, newspapers, television, and online news were reporting figures like ‘hundreds of deaths’ every day. I found the situation terrifying,” Kuroiwa recalls. “Behind every number is an individual’s life, their family, and their friends. There is an episode in the series where the protagonist’s sister, Suzuka, is the sole fatality in an incident. This was born from a desire to portray the profound weight of a single death. At the same time, by having the team report ‘zero deaths,’ we wanted to offer a small measure of encouragement to the world.”
Building on Blockbuster Success
The original television series was a huge success, and a 2023 feature film followed, earning over ¥4.53 billion at the box office. The immense popularity and calls from fans led directly to the production of the current hit, Nankai Mission.
For this second film, Kuroiwa felt a new sense of responsibility. “I approached it with a mindset similar to adapting a beloved original work; the top priority was not to let the fans down,” he states. “We have to meet their expectations, but simply meeting them is not enough. I felt we had to honour their expectations while simultaneously pushing beyond them. With a summer release date, the idea of the team heading to the southern seas by ship felt exciting, which led to the creation of ‘Nankai MER,’ a new team that provides medical care to remote islands by sea.”
A New Mission with a Focus on Community
In the new film, TOKYO MER’s chief doctor, Kitami Kota (Ryohei Suzuki), and nurse Kuramae Natsume (Nanao) are dispatched to mentor the newly formed Nankai MER. After six months with no call-outs, a major medical crisis erupts on a remote island, and the team is deployed to save all 79 people stranded there.
“By focusing on remote island medicine, I wanted to explore the strength of small, tight-knit communities in a way that wouldn’t be possible in a city,” Kuroiwa says. “The theme of the work really lies in seeing people come together to help one another in a crisis. Of course, it’s enough for people to enjoy it as entertainment, but I hope they also feel the power of human connection and cooperation beneath the surface.”
A Deep-Seated Respect for Medical Professionals
Kuroiwa attributes the series’ enduring appeal to the combined efforts of the cast and crew. “The director, Aya Matsuki, and the entire production team are phenomenal, but ultimately, it’s the powerful and convincing performances from the actors that have truly captured the hearts of the audience.”
A core element that resonates strongly with viewers is the profound respect shown for healthcare workers. Kuroiwa is adamant on this point. “One rule I established was to never feature a medical professional as a villain. While they have their own personalities and may clash over opinions, their fundamental desire to save lives is universal. That is a principle from which we have never wavered.”
The Hitmaker Behind the Scenes
As an acclaimed screenwriter, Kuroiwa’s original television dramas such as Grand Maison Tokyo and Last Man: The Blind Profiler are frequently adapted into successful films. His prolific career spans genres, from live-action adaptations of hit manga like Kingdom and Golden Kamuy to blockbuster anime films, including One Piece Film: Gold and One Piece Film: Red.
“It’s difficult to pinpoint a single origin for my storytelling, but the countless films I watched in my student years are undoubtedly the foundation,” he reflects. “The first Die Hard film, in particular, has a flawless script that I admire no matter how many times I watch it. I also feel that I learn more from the act of creating than from consuming. I have a strong desire to see things that haven’t been seen before, so it’s incredibly rewarding when people ask, ‘How do you come up with these ideas?’ for an original story.”
Kuroiwa finds joy in every stage of the writing process. “From the initial concept, to plotting how characters will escape a disaster, to refining the final lines of dialogue and imagining the actors delivering them—every part is challenging, but also incredibly fun. Seeing it all come to life on screen in a way that surpasses what I wrote is the greatest reward.”
As for the future of the TOKYO MER franchise, he remains hopeful. “It’s a genuine honour to be able to continue a series based on an original concept. This is only possible because the cast, crew, and audience are all on this journey with us, and for that, I am truly grateful. I don’t know what comes next, but I would personally love to see the MER team continue their work, and if the opportunity arises, I would certainly want to write it.”
Japanese Anime Sparks Debate Over Similarities to Netflix’s K-Pop Demon Hunters
New Anime Announcement Draws Comparisons
As Netflix’s animated film K-Pop Demon Hunters continues its international success, controversy has emerged following the announcement of a Japanese anime with a strikingly similar concept.
On the 28th of July (local time), the American entertainment outlet Kidscreen reported that Sony Music is collaborating with Aniplex to co-produce a new anime series closely resembling Netflix’s hit. The upcoming Japanese animation, titled SI-VIS: The Sound of Heroes, is set to air this autumn.
A Familiar Premise
SI-VIS tells the story of a co-ed pop group that tours across Japan, performing live while using the energy from their fans’ support to battle villains. This storyline bears a notable resemblance to K-Pop Demon Hunters, where the fictional girl group “Huntress” uses music and performance to fight evil spirits.
The voice acting and musical performances in SI-VIS will be handled by Sony Music artists, although the full cast will not be revealed until closer to its October broadcast on Fuji TV.
Netflix Original Sets Streaming Records
What makes this comparison more intriguing is Sony’s deeper involvement in both projects. Sony Pictures Animation, a key player in the production of K-Pop Demon Hunters, has also been linked to the Japanese series.
According to the report, K-Pop Demon Hunters—a CG-animated film—has been viewed over 106 million times globally and became the first Netflix film to top the streaming service’s viewership charts within five weeks of its release.
Fans and online communities were quick to react to the SI-VIS announcement, noting its similarities to K-Pop Demon Hunters. Comments like “This screams K-Pop Demon Hunters” and “Isn’t this just a J-Pop version?” have been circulating widely.
Billboard Success and Chart-Topping Tracks
Released on 20th July, K-Pop Demon Hunters was directed by Maggie Kang, a Korean-Canadian filmmaker, and produced by Sony Pictures Animation. The soundtrack, performed by the in-story groups “Huntress” and “Lion Boyz,” achieved major chart success, with tracks entering the Billboard Hot 100 for three consecutive weeks, underlining the film’s global popularity.
One track in particular, “Golden” by Huntress, topped the Genie Music monthly chart in July. It also held the number one spot on the platform’s daily chart for 18 days straight. Another song from the film, “Soda Pop,” also gained popularity, ranking sixth for the month.
The dominance of K-Pop Demon Hunters on the music charts slightly pushed down Drowning by Woods, which had held the number one position in May and June, now settling at second place. Singer-songwriter Maktub’s Child of Beginning maintained its third-place ranking from the previous month.
Merchandise Craze Adds to the Hype
Netflix has also capitalised on the film’s popularity with an official line of merchandise. As of 31st July, 55 different K-Pop Demon Hunters products are being sold through the streaming platform’s official merchandise outlets. Items include clothing, bags, phone cases, and necklaces.
Among the most popular is a printed T-shirt featuring the abs of Abby, a member of Lion Boyz who received admiration from the Huntress members in the film. Priced at 63,000 KRW (approx. £38), the shirt has quickly become a bestseller.
Other fan favourites include T-shirts featuring the adorable tiger character Duffy, baseball jerseys, and necklaces bearing the logos of Huntress and Lion Boyz.
Former Nativity! Star Ben Wilby Looks Unrecognisable 14 Years On
When Nativity! hit UK cinemas in 2009, it quickly became a festive favourite thanks to its heartwarming story, laugh-out-loud moments and an endearing cast of schoolchildren. Among the standout characters was Bob, played by Ben Wilby, whose comedic dance moves and charming screen presence left a lasting impression on audiences.
Fourteen years later, Ben is no longer the cheeky seven-year-old who lit up the screen with pelvic thrusts and breakdancing. Now 21, he’s grown into a confident young man with a muscular build and sandy blonde hair, though his playful smile still echoes the boy fans remember.
Recently, Ben made an appearance at the Heart Breakfast radio studio, auditioning in front of Amanda Holden for the station’s upcoming Christmas production. He follows in the footsteps of stars like Leona Lewis, Tom Fletcher, and Ashley Roberts, continuing to stay active in the entertainment world.
The original Nativity! film followed the story of a primary school teacher who gets himself in a bind after falsely claiming that a Hollywood producer is coming to watch his class’s nativity play. Rather than admit the truth, he carries on the ruse with the help of an eccentric teaching assistant. The film became such a success that it spawned two sequels: Nativity 2: Danger in the Manger! and Nativity 3: Dude, Where’s My Donkey?, all of which featured Ben Wilby reprising his role.
Ben later pursued formal training at Emil Dale Academy in Cambridge, a performing arts school known for preparing students for careers in acting. He has also found a new platform in TikTok, where he enjoys a following of over 80,000 fans. On the app, he often reminisces about his time in Nativity!, sharing behind-the-scenes insights and updates from his life today.
In one of his videos, Ben explains how he landed the role of Bob through an agency looking for “chatty kids who could dance and sing a little.” That unique blend of confidence and charisma made him an instant standout during casting.
Ben wasn’t the only young actor from Nativity! to stay in the public eye. Krista Hyatt, who played Becky, is now 25. Before the film’s release, she had already gained national attention as one half of the dance duo The Cheeky Monkeys, who reached the final of Britain’s Got Talent.
Charlie Dixon, who portrayed Thomas from the rival private school Oakmoor, also shared the screen with Krista. Meanwhile, Maeve Dolan – known for always wearing a stripy hat in the film – gave an unforgettable audition with her rendition of “Teenage Dirtbag”. Now 23, she’s reportedly studying at a university in London and regularly posts content on TikTok, where she chats about everything from knitting to Teen Wolf and university life.
While the children of Nativity! have clearly grown up, their roles continue to hold a special place in the hearts of fans who revisit the film each Christmas. And with many of them pursuing careers in entertainment, it’s clear the festive classic was only the beginning of their journey.
Ekin-Su Reflects on Her Time on Celebrity Big Brother and Personal Growth
Ekin-Su Culculoglu, a former contestant on Celebrity Big Brother, has candidly shared her thoughts about her time on the show and the personal challenges she faced during that period.
The ITV2 reality series, which concluded earlier this year with David Potts emerging as the winner, frequently placed Ekin-Su in the spotlight due to her outspoken remarks and fiery interactions with other housemates. While her stint on the show brought significant attention, Ekin-Su now reflects on how her emotional state influenced her behavior during filming.
In a recent interview on Lorraine, the Love Island alum opened up about her mixed feelings toward the experience. She admitted that, in hindsight, it was not the right moment for her to join the show, as she was in the midst of personal healing. Reflecting on her mindset at the time, she shared, “Celebrity Big Brother is a fantastic show, and I don’t regret participating. But I now realise it wasn’t the best time for me. I was healing from past challenges and wasn’t fully healed. That influenced how I came across.”
Ekin-Su described feeling defensive during her time in the house, a trait she now acknowledges was a response to her internal struggles. She elaborated, “Looking back, I hardly recognise myself. I was overly defensive, often referencing Love Island and trying to protect myself in conversations. That’s not who I am now. I’ve taken accountability for my actions and words. I’ve learned to forgive, to grow, and to move forward. That chapter is behind me, and I hold no ill feelings toward anyone. I genuinely wish everyone involved the very best.”
One of the most talked-about moments from the series was Ekin-Su’s decision not to attend the live finale. Addressing this, she explained it was a conscious choice, driven by her need to establish personal boundaries. She has since described this decision as an important step in her journey toward self-awareness and prioritising her well-being.
Despite the controversy surrounding her appearance, Ekin-Su remains reflective and optimistic about the future. Her insights serve as a reminder of the importance of timing, emotional readiness, and self-forgiveness when taking on challenges in the public eye.