Successful Japanese drama adaptations in Türkiye
TV format is often described as a “recipe”. You can make some changes when preparing a meal for your family or guests according to their preferences, but you need to stick to the core elements — otherwise, the final product could turn into something totally different.
Because of this tricky aspect, format adaptation is often considered challenging, but I believe that’s what makes it fascinating. It brings together creativity from two countries, and something new is born. Format adaptation actually has a history of more than 100 years. It began in the late 1920s between the U.S. and the U.K., and since then, the business has expanded all over the world. It’s one of the main business models in the global screen industry today, writes Mayu Yamamoto, Japanese content expert
King’s College, London.
Main image above: © Nippon TV
Mother as a global hit
Mother, a Japanese TV drama originally aired in 2010 by Nippon TV, is one of the most well-travelled scripted formats in the world, with 11 international adaptations to date.
When it aired in Japan, it caused a huge sensation. I remember that every Thursday, many of my classmates would say, “I cried last night again!” (because it was aired every Wednesday night).
Written by Yuji Sakamoto, one of the most renowned scriptwriters in Japan, the story is truly unconventional. An elementary school teacher kidnaps her student to protect her from parental abuse, and the two eventually build a real mother-daughter bond.
In 2016, Mother was adapted in Türkiye under the title Anne.
Türkiye is known for its booming drama industry, with countless series airing daily across different channels. If a show fails to get high ratings, production is often cancelled. Despite this fierce competition, Anne consistently ranked at the top and became a huge hit.
Image right: © Nippon TV
Yuki Akehi, Head of Global Marketing and Communications at Nippon TV, recalls that Medyapım, the Turkish production company behind Anne, had a strong passion for adapting Mother from the very beginning. She emphasises how important it is for the adapting company to have a deep understanding and true respect for the original story. After a year of negotiations, Medyapım’s enthusiasm finally paid off, and the Turkish adaptation was announced at MIPCOM 2016.
Medyapım undertook a meticulous adaptation process to ensure it deeply resonated with the Turkish audience. Although the Turkish version expanded the original 11 episodes into 33, many of the most important scenes closely mirror those in the Japanese original version. The adaptation succeeded in adding new elements while maintaining the core essence of the story.
The success of the Turkish version went far beyond its home country. It was broadcast in over 50 countries and sparked interest in more adaptations of Mother. Most recently, in April, it was announced that the Arabic adaptation of Mother has been finalised by the same Turkish adapting company, Medyapım.
Yuki points out that the story of a woman who chooses a difficult and unconventional path because of her natural instinct to protect a child resonated deeply with both producers and audiences around the world.
The latest news of Japanese drama adaptations in Türkiye
It was announced in October 2024 that two more Japanese scripted formats were under option contracts in Türkiye: Forget Love (2002) and Tower of Sand (2016), both created by Tokyo Broadcasting System.
Forget Love is an out of the ordinary love story between a cold-hearted nightclub host who only seeks money and a blind daughter from a wealthy family who has never been loved by her father.
Tower of Sand is a suspense drama set in a luxury skyscraper condominium. Surrounded by wealthy residents with complex social hierarchies, the main character tries to protect her family from suspicious neighbours.
Kei Uno, Sales Representative of Scripted Formats at Tokyo Broadcasting System explains that a strong female lead is one of the key elements that can appeal to Turkish audiences, which could be why these two dramas were selected. Additionally, since some Japanese dramas were popular in Türkiye decades ago, people who watched them back in the day are now becoming interested in adapting them.
Kei also emphasises that many Japanese drama series have their own strong “core”, and that is the distinct feature that makes them suitable for international adaptation.
There’s more potential in the future
Although several Japanese dramas have already been adapted globally, many more still remain undiscovered. While Japanese dramas may have strong cultural elements, as long as the “core” is preserved, they have the potential to be successful and to be loved in many countries.
There is still so much room for these stories to be adapted across the world—leading to exciting new fusion “meals” on the global table.
Interview with Yuki Akehi, Head of Global Marketing and Communications at Nippon TV
Interview with Kei Uno, Sales Representative of Scripted Formats at Tokyo Broadcasting System
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