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Netflix has unveiled details of its 2026 Japan slate, highlighting an expanded production footprint with Toho Studios and a strategic partnership with animation powerhouse MAPPA.
The streaming giant is marking its 10th anniversary in the Asia Pacific region with its most robust Japan slate to date, spanning live-action series, anime productions and unscripted content. The company will also livestream all 47 games of the 2026 World Baseball Classic in Japan from March 5-18, marking its first international live sports broadcast in the market.
“Over 10 years in Japan, our local team has taken on bold challenges, working closely with creators to pursue stories that go beyond imagination,” said Sakamoto Kaata, VP of content for Japan. “At the heart of this growth lies our simple, unwavering belief: creative first.”
Japanese title viewing hours reached an all-time high in the second half of 2025, driven by anime hits alongside popular live-action series including “Alice in Borderland” Season 3 and “Last Samurai Standing,” which has been confirmed for a second season.
Netflix’s partnership with MAPPA, the acclaimed studio behind “Chainsaw Man” and “Jujutsu Kaisen,” will see the companies collaborate on new projects from the concept stage. Multiple projects are already underway, spanning story development through merchandise. Sakamoto described it as evolving relationships with Japan’s leading creators and studios “into deeper, more collaborative creative ventures.”
The expanded agreement with Toho Studios will double Netflix’s production footprint in Japan and introduce large-scale soundstages, allowing for more ambitious sets and expanded production capabilities. The partnership’s first project is “Human Vapor,” a reboot with an entirely original story that unites top creators from Japan and Korea.
“By reimagining Toho Studios’ iconic tokusatsu [Japanese practical special effects] legacy and uniting top creators from Japan and Korea alongside advanced visual technology, we will present a groundbreaking series that opens a new chapter for Japanese sci-fi,” Sakamoto said.
The live-action slate includes “Quiztopia,” starring Yamada Takayuki from “The Naked Director” in an adaptation of a cult manga. The dystopian series explores desire, power and crowd psychology through a government-sanctioned quiz show where winners have any wish granted but losers face severe consequences. Based on “Kokumin Quiz” by Sugimoto Reiichi and illustrated by Kato Shinkichi, the series is directed by Yoshida Teruyuki.
“Straight to Hell,” launching April 27, stars Toda Erika as Hosoki Kazuko, Japan’s most famous fortune-teller who swept the nation with her Six-Star Divination practice. The series spans 60 years and offers an unfiltered look into the struggles and desires of this enigmatic woman. Ito Sairi plays Uozumi Minori, a writer tasked with ghostwriting Hosoki’s autobiography. Directed by Takimoto Tomoyuki and Ohba Norichika, the series is written by Monaka Manaka.
“Sins of Kujo,” launching April 2, is a live-action adaptation of Manabe Shohei’s manga about lawyer Kujo Taiza, who defends only society’s worst: thugs, yakuza and ex-convicts. Yagira Yuya stars as Kujo, with Matsumura Hokuto as elite lawyer Karasuma Shinji. The series is produced by TBS hit-maker Nasuda Atsushi, written by Nemoto Nonji and directed by Doi Nobuhiro, Yamamoto Takeyoshi and Adachi Hiroshi.
“Soul Mate,” debuting May 14, is a tender romance between two young men unfolding over 10 years. After inadvertently destroying his best friend’s life, Narutaki Ryu abandons everything and leaves Japan, where he’s saved by Korean boxer Johan Hwang. Isomura Hayato plays Ryo, while Ok Taec-yeon of 2PM plays Johan. The series is written and directed by Hashizume Shunki.
“Viral Hit,” launching May 28, stars Suzuka Ouji as Shimura Kota, a bullied high school student who discovers fighting can be profitable when a fight goes viral online. Based on the South Korean webtoon by Taejun Park and Kim Junghyun, the series marks the first Netflix collaboration from director Takeuchi Hideki and writer Tokunaga Yuichi. Mikami Ai plays Yashio Aki, while Sugou Araki appears as Kaneko Toru.
Other scripted series include “S&X,” starring Nakajima Kento as sex therapist Shimotori Ichito, based on Tada Kisei’s manga; “Plastic Beauty,” starring Matsuoka Mayu and Naka Riisa, examining Japan’s cosmetic surgery industry; and “Did Someone Happen to Mention Me?,” starring Yakusho Koji as an actor suddenly forgotten by the entire world, written by Kudo Kankuro.
The anime slate features returning franchises including “Fire Force Season 3 Part II” (Jan. 10), “Baki-Dou: The Invincible Samurai” (Feb. 26), “Steel Ball Run JoJo’s Bizarre Adventure” (March 19) and “Beastars Final Season Part 2” (March). “One Piece: Into the Grand Line” (“One Piece” Season 2) launches globally March 10, continuing the live action adaptation of the beloved manga series.
The slate also includes “Love Through a Prism” (Jan. 15), created by “Boys Over Flowers” manga author Kamio Yoko and directed by Nakazawa Kazuto, set at a London art academy in the early 20th century. Tanezaki Atsumi voices Ichijoin Lili, with Uchiyama Koki as Kit Church.
“Cosmic Princess Kaguya!” (Jan. 22) is the feature-length directorial debut from Yamashita Shingo, telling the tale of two girls who bond through song in the virtual realm of Tsukuyomi. Natsuyoshi Yuko voices Kaguya, with Nagase Anna as Sakayori Iroha.
“The Ramparts of Ice” (April) is based on Agasawa Kocha’s manga about a socially withdrawn student drawn out of her shell by three other students. Nagase Anna voices Hikawa Koyuki, with Izumi Fuka as Azumi Miki.
“Sparks of Tomorrow” (July), from Kyoto Animation, features impressionistic backgrounds bringing to life the dreams of a young boy and girl in an alternate early 20th century where technological progress evolved through steam power. Uchida Yuma voices Sakamoto Kihachi, with Amamiya Sora as Momokawa Inako.
“Today, one in every two Netflix members globally watches Japanese anime, and the total viewing hours have tripled in the past five years,” Sakamoto noted.
The unscripted slate features Season 2 of “The Boyfriend” (Jan. 13), the dating reality series that debuted in 2024 as Japan’s first romance reality show featuring gay men. The new season moves to snowy Hokkaido and welcomes 10 men with diverse backgrounds. Megumi, Horan Chiaki, Aoyama Thelma, Durian Lollobrigida and Tokui Yoshimi all return as in-studio hosts.
“Love Village” Season 3 shifts to a communal house at the foot of Mount Fuji, where singles aged 35 to 60 search for their “final love.” Tamura Atsushi and Becky return as in-studio hosts.
“Badly in Love” Season 2 returns to Okinawa with a new lineup of participants gathered through auditions across Japan. The series features contestants from unconventional backgrounds living together in pursuit of love. Megumi serves as creator/producer.
“Doors Closed, Bids Open,” Netflix’s first collaboration with Matsuko Deluxe, presents a secret members-only veiled auction show. Only select bidders are invited to this mysterious underground space.
“This is I” (Feb. 10) brings to life the true story of Haruna Ai and Dr. Wada Koji. Eighteen-year-old Mochizuki Haruki stars in his first leading role as Onishi Kenji, who becomes Haruna Ai after gender-affirming surgery. Saitoh Takumi plays Dr. Wada Koji. The film is directed by Matsumoto Yusaku.
“My Crazy Feminist Girlfriend,” based on Min Ji Hyoung’s Korean novel, stars Nagano Mei as a fiercely committed feminist ex-girlfriend who reunites with her former boyfriend after seven years. The film is written and directed by Kobayashi Keiichi.
“One Year to Live, Buy a Man” stars Shibasaki Ko as Katakura Yui, a 40-year-old single woman diagnosed with cancer who “buys” pink-haired nightclub host Sena (Akaso Eiji) for JPY720,000. Directed by Kazama Hiroki and written by Okada Yoshikazu, the film is based on Yoshikawa Toriko’s novel.
Kim Minyoung, VP of content for APAC (ex-India), said: “Our teams in APAC know what the local creative community is capable of, and they are filled with passion to take local storytelling to the next level. As each country continues to expand their variety of stories and take bigger, bolder creative risks, APAC will continue to grow its place on the global entertainment stage.“
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