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Segodon
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Based onSegodon! by Mariko Hayashi
Written byMiho Nakazono
Directed byYūsuke Noda
Makoto Bonkabara
Takeshi Okada
Yoshimi Ishizuka
Yūsuke Horiuchi
Keisuke Ōshima
Starring
Narrated byToshiyuki Nishida
Opening theme"Segodon －Main Theme－" (「西郷どん －メインテーマ－」)
ComposerHarumi Fūki
Country of originJapan
Original languageJapanese
No. of episodes47
Production
Executive producersKen Sakurai
Sōichi Sakurai
ProducerChieko Konishi
Running time45 minutes
Original release
NetworkNHK
ReleaseJanuary 7 (2018-01-07) –
December 16, 2018 (2018-12-16)

Segodon (西郷どん; Mr. Saigō in Kagoshima dialect[1]) is a 2018 Japanese historical drama television series and the 57th NHK taiga drama.[2] It stars Ryohei Suzuki as Saigō Takamori, who has been dubbed the last true samurai.[3]

Plot

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The drama follows the life of historical figure Saigō Takamori. Born the first son of a lower-class samurai, he was exiled two times and went through three marriages. He was one of the central figures of the Meiji Restoration but later rebelled against the government over dissatisfaction with Meiji reforms.

Cast

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Saigo family

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  • Ryohei Suzuki as Saigō Takamori
    • Ao Watanabe as Kokichi (young Takamori)
  • Keiko Matsuzaka as Saigō Masa, the mother of Takamori
  • Morio Kazama as Saigō Kichibei, the father of Takamori
  • Toshiyuki Nishida as Saigō Kikujirō, Takamori's son
  • Ai Hashimoto as Suga, the first wife of Takamori
  • Haru Kuroki as Iwayama Ito, the third wife of Takamori
  • Ryo Nishikido as Saigō Jūdō, one of Takamori's brothers
    • Taiyō Saitō as Saigō Shingo (young Jūdō)
  • Mone Kamishiraishi as Saigō Kiyo, the wife of Jūdō
  • Gōta Watabe as Saigō Kichijirō, one of Takamori's brothers
    • Taketo Arai as young Kichijirō
  • Yuki Kashiwagi as Saigō Sono, the wife of Kichijirō
  • Nanami Sakuraba as Ichiki (née Saigō) Koto, one of Takamori's sisters
    • Yuki Kurimoto as young Koto
  • Yūki Maekawa as Ichiki Sōsuke, Koto's son
  • Yū Kayano as Saigō Yasu, one of Takamori's sisters
  • Kumi Mizuno as Kimi, the grandmother of Takamori
  • Kon Ōmura as Saigō Ryūemon, the grandfather of Takamori
  • Muga Tsukaji (Drunk Dragon) as Kumakichi
  • Mayuko Saigō as Saigō Sakurako
  • Maika Hara as Saigō Taka, one of Takamori's sisters
  • Yūki Yagi as Saigō Kikusō, Takamori's daughter

Ōkubo family

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Satsuma Domain

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General public
  • Rin Takanashi as Fuki
    • Rinka Kakihara as young Fuki
  • Taku Suzuki (Drunk Dragon) as Heiroku, Fuki's father
  • Sumie Sasaki as Ishi, Kumakichi's grandmother
  • Fujita Okamoto as Itagaki Yosaji
  • Toshiyuki Kitami as Ijūin Naogorō, Suga's father
  • Masayuki Shionoya as Iwayama Naoatsu, Ito's father
The people of Amami Ōshima
  • Fumi Nikaidō as Aikana, the second wife of Takamori
  • Akira Emoto as Ryū Samin
  • Midori Kiuchi as Ishichiyo Kane
  • Natsuko Akiyama as Yuta
  • Tsutomu Takahashi as Tomiken
  • Honami Kurashita as Komurume
  • Anna Sato as Satochiyo Kane
The people of Okinoerabujima
  • Renji Ishibashi as Kawaguchi Seppō
  • Yoshiki Saitō as Tsuchimochi Masateru
  • Yōko Ōshima as Tsuchimochi Tsuru

Chōshū Domain

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Tosa Domain

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Fukui Domain

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Tokugawa shogunate

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Ōoku

Aizu and Kuwana Domains

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Imperial Court

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The Government of Meiji

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Foreigners

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Others

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Production

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Production Credits

  • Narrator – Toshiyuki Nishida
  • Music – Harumi Fūki
  • Historical research – Izumi Haraguchi, Manabu Ōishi and Michifumi Isoda
  • Architectural research – Kiyoshi Hirai
  • Costume designer – Kazuko Kurosawa
  • Kagoshima dialect instructors – Takaya Sakoda and Kōkichi Tanoue

The series is based on the novel Segodon! by Mariko Hayashi which was first released in serial format starting February 2016 in the literature magazine Hon no Tabibito, and published as a book by Kadokawa Shoten the year after.

Casting

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Ryohei Suzuki was announced to portray the lead role of Saigō Takamori in Segodon on November 2, 2016.[5] The main cast for the Saigo and Okuba family were announced on March 27, 2017, which includes Eita, Haru Kuroki, Nanami Sakuraba, Gōta Watabe, Muga Tsukaji, Morio Kazama, Mitsuru Hirata, and Keiko Matsuzaka.[6] The main cast for the Shimazu family was announced on June 27, 2017, which includes Munetaka Aoki, Naho Toda, Yu Tokui, and Ken Watanabe.[7] In September 2017, it was announced that Yuki Saito would not be able to play as Ikushima,[8] and was eventually replaced by Yoko Minamino. By November 2017, Etsuko Ichihara also had to drop out as narrator of the series due to her ongoing recovery from encephalomyelitis,[9] and was eventually replaced by Toshiyuki Nishida.

TV schedule

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Episode Title Directed by Original airdate Rating
1 "Satsuma no Yassenbo" (薩摩のやっせんぼ) Yūsuke Noda January 7, 2018 (2018-01-07) 15.4%
2 "Rippa na Osamurai" (立派なお侍) January 14, 2018 (2018-01-14) 15.4%
3 "Kodomo wa Kuni no Takara" (子どもは国の宝) January 21, 2018 (2018-01-21) 14.2%
4 "Atarashiki Hanshu" (新しき藩主) January 28, 2018 (2018-01-28) 14.8%
5 "Sumō ja! Sumō ja!" (相撲じゃ！相撲じゃ！) Makoto Bonkobara February 4, 2018 (2018-02-04) 15.5%
6 "Nazo no Hyōryūsha" (謎の漂流者) February 11, 2018 (2018-02-11) 15.1%
7 "Haha no Senaka" (母の背中) Takeshi Okada February 18, 2018 (2018-02-18) 14.3%
8 "Fukitsu na Yome" (不吉な嫁) February 25, 2018 (2018-02-25) 14.2%
9 "Edo no Hie-sama" (江戸のヒー様) Yūsuke Noda March 4, 2018 (2018-03-04) 14.8%
10 "Atsuhime wa doko e" (篤姫はどこへ) Makoto Bonkobara March 11, 2018 (2018-03-11) 14.4%
11 "Nariakira Ansatsu" (斉彬暗殺) Yasuko Tsuda March 18, 2018 (2018-03-18) 14.6%
12 "Un no Tsuyoki Himegimi" (運の強き姫君) March 25, 2018 (2018-03-25) 14.1%
13 "Kawaranai Tomo" (変わらない友) Yūsuke Noda April 8, 2018 (2018-04-08) 13.0%
14 "Yoshinobu no Honki" (慶喜の本気) Takeshi Okada April 15, 2018 (2018-04-15) 11.9%
15 "Tono no Shi" (殿の死) Yūsuke Noda April 22, 2018 (2018-04-22) 13.4%
16 "Nariakira no Yuigon (斉彬の遺言) Takeshi Okada April 29, 2018 (2018-04-29) 11.1%
17 "Saigō Jusui" (西郷入水) Yasuko Tsuda May 6, 2018 (2018-05-06) 12.0%
18 "Runin, Kikuchi Gengo" (流人、菊池源吾) Makoto Bonkobara May 13, 2018 (2018-05-13) 14.4%
19 "Aikana" (愛加那) May 20, 2018 (2018-05-20) 13.7%
20 "Shōsuke no Kuroi Ishi" (正助の黒い石) Yūsuke Noda May 27, 2018 (2018-05-27) 12.2%
21 "Wakare no Uta" (別れの唄) Yoshimi Ishizuka June 3, 2018 (2018-06-03) 12.0%
22 "Idai na Ani, Jigoro na Otōto" (偉大な兄 地ごろな弟) Takeshi Okada June 10, 2018 (2018-06-10) 13.4%
23 "Teradaya Sōdō" (寺田屋騒動) Yoshimi Ishizuka June 17, 2018 (2018-06-17) 13.4%
24 "Chi no Hate nite" (地の果てにて) Makoto Bonkobara June 24, 2018 (2018-06-24) 12.2%
25 "Ikasareta Inochi" (生かされた命) July 1, 2018 (2018-07-01) 12.7%
26 "Saigō, Kyō e" (西郷、京へ) Yūsuke Noda July 15, 2018 (2018-07-15) 12.2%
27 "Kinmon no Hen" (禁門の変) July 22, 2018 (2018-07-22) 12.0%
28 "Katsu to Ryōma" (勝と龍馬) Takeshi Okada July 29, 2018 (2018-07-29) 11.1%
29 "Sandome no Kekkon" (三度目の結婚) Yūsuke Horiuchi August 5, 2018 (2018-08-05) 11.6%
30 "Kaijin Iwakura Tomomi" (怪人 岩倉具視) Yūsuke Noda August 12, 2018 (2018-08-12) 10.3%
31 "Ryōma tono Yakusoku" (龍馬との約束) Takeshi Okada August 19, 2018 (2018-08-19) 11.0%
32 "Satchō Dōmei" (薩長同盟) Yoshimi Ishizuka August 26, 2018 (2018-08-26) 10.4%
33 "Ito no Chikai" (糸の誓い) September 2, 2018 (2018-09-02) 13.2%
34 "Shōgun Yoshinobu" (将軍慶喜) Makoto Bonkobara September 9, 2018 (2018-09-09) 11.9%
35 "Ikusa no Oni" (戦の鬼) September 16, 2018 (2018-09-16) 11.7%
36 "Yoshinobu no Kubi" (慶喜の首) Yūsuke Horiuchi September 23, 2018 (2018-09-23) 11.0%
37 "Edo Muketsu-Kaijō" (江戸無血開城) Yūsuke Noda October 7, 2018 (2018-10-07) 9.9%
38 "Kizudarake no Ishin" (傷だらけの維新) October 14, 2018 (2018-10-14) 10.2%
39 "Chichi, Saigō Takamori" (父、西郷隆盛) Makoto Bonkobara October 21, 2018 (2018-10-21) 12.3%
40 "Haran no Shinseifu" (波乱の新政府) Keisuke Ōshima October 28, 2018 (2018-10-28) 11.7%
41 "Atarashiki Kuni e" (新しき国へ) Yoshimi Ishizuka November 4, 2018 (2018-11-04) 11.8%
42 "Ryōyū Gekitotsu" (両雄激突) Yūsuke Noda November 11, 2018 (2018-11-11) 11.3%
43 "Saraba, Tokyo" (さらば、東京) Makoto Bonkobara November 18, 2018 (2018-11-18) 11.6%
44 "Shizoku tachi no Dōran" (士族たちの動乱) Yoshimi Ishizuka November 25, 2018 (2018-11-25) 12.4%
45 "Saigō Tatsu" (西郷立つ) Keisuke Ōshima December 2, 2018 (2018-12-02) 11.5%
46 "Seinan Sensō" (西南戦争) Makoto Bonkobara December 9, 2018 (2018-12-09) 11.4%
47 "Keiten Aijin" (敬天愛人) Yūsuke Noda December 16, 2018 (2018-12-16) 13.8%
Average rating 12.7% - Rating is based on Japanese Video Research (Kantō region).[10]

Omnibus

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Episode Title Original airdate Original airtime
1 "Satsuma" (薩摩) December 30, 2018 13:05 - 14:05
2 "Saisei" (再生) 14:05 - 14:55
3 "Kakumei" (革命) 15:05 - 16:25
4 "Tenmei" (天命) 16:25 - 17:35

Soundtracks

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  • "Segodon" Taiga Drama Original Soundtrack I (February 21, 2018)[11]
  • "Segodon" Taiga Drama Original Soundtrack II (August 8, 2018)[12]
  • "Segodon" Taiga Drama Original Soundtrack III (October 10, 2018)[13]

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Segodon

View on Grokipedia
from Grokipedia
(西郷どん, Segodon) is a Japanese historical drama television series produced by as the 57th installment in its series, which aired weekly from January 7 to December 16, 2018. The series centers on the life of , a low-ranking from the who rose to prominence as a leader in the overthrow of the , facilitated the , and ultimately rebelled against the imperial government in the of 1877. Starring Ryōhei as Saigō (initially known as Yoshinosuke or Kichinosuke), the production draws from a by Mari Taniguchi and features a script by Miho Nakazono, with narration by Masayuki West and music composed by Harumi Saiga. It depicts Saigō's early hardships, including two exiles for political activities, his advocacy for imperial restoration amid foreign pressures on Japan, and his internal conflicts over rapid modernization that clashed with traditional values. The drama portrays Saigō as a figure driven by , familial , and a vision of compassionate , though historical accuracy is adapted for narrative emphasis on personal relationships and emotional depth. Notable supporting cast includes Eita as and Tadanobu Asano in key roles, reflecting the interconnected fates of Satsuma loyalists. While dramas like Segodon are cultural institutions for exploring Japan's feudal-to-modern transition, this entry received mixed reviews for its pacing and historical liberties, averaging viewership ratings of approximately 12.7%.

Synopsis and Themes

Plot Summary

chronicles the life of Saigo Takamori, beginning in 1828 as the eldest son, Saigo Kichinosuke (later Yoshinosuke and Takamori), of a low-ranking family in (modern ). Orphaned early, he supports his siblings through clerical work while displaying characteristic generosity by aiding the needy at personal expense, earning local renown for his upright character. During adolescence around 1840, he studies and scholarship with peers including future ally Okubo Toshimichi, and impresses , Satsuma's progressive lord, aspiring to amid domain reforms promoting Western learning and industry. Rising in Shimazu's administration, Saigo facilitates key alliances, such as escorting Satsuma's Atsuhime to wed in 1856, bolstering anti-foreign, pro-imperial sentiments. Following Nariakira's death in 1858 and succession disputes, Saigo faces in 1859 to for alleged disloyalty, where he embraces agrarian simplicity, composes poetry, and reflects on governance during a three-year isolation. A brief 1862 return attempt leads to re-exile on remote Okinoerabujima until pardon in 1864 amid national turmoil. Reinstated, Saigo emerges as a linchpin in Satsuma-Chōshū coalitions driving the , orchestrating the 1868 overthrow of Tokugawa rule and aiding Emperor Meiji's 1868 relocation to . In the nascent Meiji government, he advocates samurai interests and military modernization but clashes over rapid and the 1873 debate favoring Korean conquest, prompting resignation and return to Satsuma. There, he founds a private academy fostering values, which morphs into a dissident militia, precipitating the 1877 against central policies eroding warrior status; the uprising ends with Saigo's ritual suicide amid defeat on September 24, 1877. The narrative interweaves personal trials, including multiple marriages and family loyalties, underscoring Saigo's evolution from provincial loyalist to national iconoclast.

Central Themes and Historical Interpretations

Segodon portrays as a leader driven by deep empathy and a commitment to the well-being of common people, framing his contributions to the as rooted in fostering societal harmony rather than solely political ambition. The series underscores themes of personal resilience amid repeated exiles—Saigō faced banishment in 1859 and 1862 for alleged disloyalty—and his subsequent rise through alliances with reformist figures like , emphasizing emotional motivations over strategic machinations. This narrative highlights familial loyalty and human connections, including Saigō's relationships with his wife Ōyama Atsuhime and brothers, as pivotal to his endurance and decisions, presenting leadership as an extension of personal affection. The drama's scripting, informed by a female perspective from author Mari Rintarō and screenwriter Miho Nakazono, amplifies motifs of "overflowing love" (ai ni afureta rīdā), depicting Saigō's advocacy for Japan's modernization as intertwined with ensuring prosperity for all social strata, including lower samurai and peasants. Central to this is the tension between tradition and progress, where Saigō's promotion of Western learning in Satsuma contrasts with his later disillusionment, interpreted as protective concern for disenfranchised warriors rather than reactionary conservatism. Soundtrack elements, such as the main theme evoking expansive resolve, reinforce these ideals of collective advancement and emotional fortitude. Historically, Segodon seeks to redefine Saigō's legacy beyond the archetypal "last samurai" image of honorable defeat in the 1877 , where he commanded approximately 40,000 rebels against imperial forces, resulting in his death on September 24, 1877. By foregrounding his populist leanings—such as opposition to elite-driven centralization and support for policies benefiting the masses—the series aligns with NHK's aim to "newly draw" his statue, potentially softening the causal role of samurai privilege loss in the uprising, which stemmed from Meiji abolition of stipends affecting over 260,000 warriors. This interpretation, while rooted in Saigō's documented leniency and reflecting humanistic concerns, contrasts with primary accounts emphasizing domainal loyalty and advocacy for expansion to rehabilitate samurai, suggesting a modern lens prioritizing inspirational narrative over unvarnished class antagonism.

Historical Context

Saigo Takamori's Biography

was born on January 23, 1828, in Kajiya-chō, , the capital of the , to a low-ranking family. As the eldest of seven children—four brothers and three sisters—born to Saigō Kichibē, a retainer responsible for cemetery upkeep, and his wife Masa, Takamori (originally named Kokichi, with childhood name Kichinosuke) grew up immersed in bushidō traditions amid Satsuma's emphasis on martial discipline. At age six, he entered a local elementary school (gojū), receiving his first short sword and undergoing military and literary training that honed his physical prowess and loyalty to domainal superiors. In his early career, Takamori aligned with Satsuma's (revere the emperor, expel the barbarians) faction, advocating resistance to foreign influence and shogunal authority, which led to multiple exiles: first from to 1864 for sheltering a shogunal official's concubine amid political intrigue, and briefly in 1865. Returning to Satsuma, he facilitated the domain's alliance with Chōshū in the 1866 , pivotal for anti-shogunate coordination, and rose as a key strategist under . By 1867, his influence extended to , where he helped orchestrate the 1868 , restoring imperial rule by pressuring to resign. During the Boshin War (1868–1869), Takamori commanded imperial forces, securing victories at the Battle of Toba-Fushimi in January 1868 and the subsequent capture of (Tokyo) in 1869 without major resistance, effectively dismantling shogunal power. In the new Meiji government, he served as a councilor and army vice-minister, advocating samurai integration into modern structures while overseeing the 1871 abolition of feudal domains (hanseki hōkan), which centralized authority but eroded warrior privileges like stipends. His push for gradual modernization clashed with rapid Westernization proponents, culminating in his 1873 resignation over the debate, where he favored invading Korea to provide samurai outlets amid economic discontent, against and Ōkubo Toshimichi's opposition. Retiring to , he established a private academy emphasizing and ethics, fostering discontent among former samurai facing conscript army reforms and lost status. This unrest ignited the on January 29, 1877, when Takamori, leading approximately 40,000 rebels (many ), marched against the central government in protest of policies like the 1876 sword-wearing ban and samurai stipend cuts, viewing them as assaults on traditional honor. The conflict, marked by initial rebel successes such as the from February to April, strained imperial resources, costing over 20,000 lives and ¥42 million before government conscript forces, armed with modern rifles, decisively defeated the rebels at the on September 24, 1877. Takamori, wounded in the leg during the final assault, died that day in —accounts vary between ritual by a subordinate or a fatal —symbolizing the samurai class's eclipse by Japan's industrialized state.

Broader Meiji Era Dynamics

The , proclaimed on January 3, , marked the overthrow of the through a involving key domains like Satsuma and Chōshū, restoring practical authority to and initiating Japan's transition from feudal isolation to centralized modernization. This event followed the (–1869), a civil conflict that defeated shogunate forces and consolidated imperial control, driven by external pressures from Western powers and internal demands for reform to avert . The of symbolized these shifts, pledging deliberative assemblies, abolition of class restrictions, and pursuit of knowledge worldwide, though implementation favored elite oligarchs from western domains over broader participation. Central to Meiji dynamics was the rapid dismantling of feudal structures: in 1871, the hanseki hōkan policy compelled to surrender domains to the emperor, replaced by prefectures under appointed governors, centralizing fiscal and administrative power while eroding regional autonomy. Military reforms followed, including universal conscription in 1873, which supplanted the class's monopoly on arms with a national army equipped via Western models, exacerbating economic grievances as stipends were commuted to bonds in 1876, leaving many former warriors destitute. These changes fueled ideological tensions between advocates of rapid Westernization—exemplified by the (1871–1873), which dispatched officials to study European systems—and traditionalists wary of cultural erosion, manifesting in debates like the of 1873 over invading Korea to preserve roles. Economically, the era emphasized industrialization through state-led initiatives, such as silk production incentives and railway construction starting in 1872, alongside land reforms in 1873 that standardized revenue at 2.5% of assessed value, funding but straining rural and finances amid inflation from debased currency. Socially, from 1872 and promotion of Western dress and technology aimed at national unity, yet provoked backlash from who viewed them as threats to and status hierarchies. This discontent culminated in over 170 uprisings between 1868 and 1877, peaking with the (1877), where domain loyalists under challenged the government's conscript forces, highlighting the causal friction between top-down reforms for survival against imperial rivals and the socioeconomic dislocation of a privileged class. The rebellion's defeat, using modern against swords, underscored the irreversible momentum of modernization, unifying the state under oligarchic rule dominated by Satsuma-Chōshū alumni while quelling feudal vestiges.

Production

Development and Scriptwriting

The development of Segodon was announced by on September 8, 2016, as the network's 57th , timed to coincide with the 150th anniversary of the in 2018. The project emphasized a fresh interpretation of Saigō Takamori's life, drawing on historical records while incorporating narrative innovations to appeal to contemporary audiences. Scriptwriting was entrusted to Miho Nakazono, whose prior credits include the asadora Hana to An (2014) and commercial dramas such as Haken no Hinkaku (2007). Nakazono collaborated with author Mari Hayashi, a longtime acquaintance, to frame Saigō's story from a "female perspective," highlighting his emotional depth, familial bonds, and leadership qualities rooted in compassion rather than solely martial prowess. This approach involved reinterpreting historical events to underscore themes of courage and relational dynamics, with Hayashi providing insights into Saigō's personal life drawn from her biographical writings. Nakazono advocated for bold deviations from strict , including the addition of original subplots like Saigō's interactions with British留学生 to enhance dramatic tension and ensemble storytelling. These elements were approved by producer Norimitsu Sakurai, who noted the script's intent to balance historical fidelity with accessibility, avoiding a linear biography in favor of thematic arcs that explored Meiji-era transitions. The 50-episode script was completed prior to principal filming, with Nakazono consulting historians such as Pathologist Isoda for anecdotal details to enrich character motivations without altering core events.

Filming and Technical Aspects

Principal filming for Segodon occurred extensively in Kagoshima Prefecture to authentically depict the Satsuma domain's landscapes and historical sites central to Saigō Takamori's life. Key locations included Sengan-en garden in Kagoshima City, which served as a stand-in for Shimazu clan estates and featured in multiple scenes involving domain politics and family life. The Oka no Taki waterfall in Kimotsuki Town was utilized for opening sequences, capturing dramatic natural falls amid lush subtropical terrain to evoke the region's rugged beauty. Other Kagoshima sites encompassed Shiroyama for panoramic city views with Sakurajima volcano, Chiran Samurai District residences for samurai household interiors and gardens, and various South Kyushu areas like Kirishima for battle and training sequences. Exile episodes shifted to the , with providing coastal and rural settings such as Miyako-saki cliff for opening aerial vistas overlooking the , Ryūgaku-kan building, Saigō Kohama Park, and Aika na Izumi spring. Filming extended to Okinoerabu Island and Yamato Village sites like Saigō Nanshū Ryūsaku Trace for isolated island exile portrayals. Location shoots commenced in as early as November 2017, prioritizing on-site authenticity over studio replication for exterior scenes. Technical production emphasized high-fidelity visuals through drone cinematography, with specialist Go Nakamura handling aerial shots for the and throughout the series, including dynamic flyovers of Sakurajima's and Amami's landscapes to underscore the dramatic scale of Satsuma's terrain. These drone sequences integrated seamlessly with ground footage to convey movement and vastness, marking a departure from prior dramas' reliance on static or shots. Interior and complex action scenes were filmed in studios, featuring meticulously constructed outdoor sets that replicated Edo-period architecture for controlled environments. Overall, the production adhered to 's standard for historical dramas by combining location with advanced aerial techniques, though specific equipment details like camera resolutions were not publicly detailed beyond broadcast in HD.

Casting Process

The lead role of was assigned to , whose casting marked his debut as protagonist in a major television drama. Supporting roles were revealed progressively through public announcements starting in early 2017. On April 12, 2017, disclosed nine additional cast members for key supporting positions. A subsequent announcement on June 27, 2017, introduced further supporting actors, including in the role of Atsuhime, reflecting a second round of selections focused on prominent figures from narratives. Later additions, such as , were confirmed amid ongoing pre-production, aligning with filming commencement in summer 2017. This phased approach allowed to build ensemble depth by integrating established performers suited to the historical ensemble demands.

Cast and Characters

Saigo Family and Satsuma Allies

The Saigo family forms the core of the narrative in Segodon, depicting the humble origins of protagonist Saigo Takamori within a low-ranking household in the . Key family members include his parents, siblings, and wives, whose portrayals emphasize themes of familial loyalty and hardship amid feudal constraints. Saigo's father, Kichibei, is shown as a struggling bureaucrat, while his mother, Masako, represents resilient domestic support. Satsuma allies extend the story's focus to influential domain figures who collaborate with Saigo on modernization efforts and opposition to the shogunate, including childhood friend Okubo Toshimichi and domain lord . These characters highlight strategic alliances and ideological tensions within Satsuma's push for reform.
CharacterActorRole Description
Saigo Takamori (Kichinosuke/Gilnosuke); low-ranking who rises as a key figure, navigating exile, loyalty, and .
Iwayama Ito (second wife)Saigo's devoted spouse, providing emotional and practical support through his political upheavals.
Saigo Koto (sister)Eldest sister who manages family affairs and supports siblings amid poverty and conflict.
Saigo Judo (Tsugumichi, brother)Younger brother involved in naval reforms and family dynamics.
Saigo Kichibei (father)Gota WatabePatriarch facing financial ruin, influencing Saigo's sense of duty.
Saigo Masako (mother)Matriarch enduring family hardships and guiding .
Okubo Toshimichi (ally, childhood friend)Satsuma reformer and Saigo's rival-ally in government roles post-Restoration.
Shimazu Nariakira (domain lord, mentor)Progressive Satsuma leader advocating Western learning and industry.
Additional Satsuma allies, such as Arimura Shunsai (portrayed by Mitsushin Takahashi), depict radical loyalists aiding Saigo's anti-shogunate activities, underscoring the domain's internal factions. These portrayals draw from historical records of Satsuma's movement, though dramatized for narrative flow.

Rival Domains and Shogunate Figures

The portrayal of officials in Segodon emphasizes their role as institutional opponents to Satsuma Domain's reformist aspirations, particularly during the turbulent period leading to the . Ii , the of Hikone Domain and tairō from 1858 to 1860, is depicted as a forceful enforcer of pro-foreign policies and central authority, culminating in the that suppressed dissenters including Satsuma affiliates. This character, enacted by Sano Shiro, embodies the shogunate's authoritarian response to internal threats, with his assassination in the Sakuradamon Incident (1860) marking a pivotal escalation in anti-shogunate sentiment. Tokugawa Keiki (also known as Hitotsubashi Yoshinobu), the fifteenth and final from 1867 to 1868, is shown navigating factional intrigue and the shogunate's decline, initially as a reform-minded figure before assuming amid collapsing . Portrayed by Matsuda Shota, Keiki's arc highlights strategic concessions like the return of governing power to the emperor in 1867, yet portrays him as ultimately unable to stem the tide of overthrow, reflecting historical pressures from domains like Satsuma. Figures from domains aligned with the shogunate, such as Hikone under Ii, represent localized power bases that clashed with Satsuma's expansionist vision for national unification under imperial rule. These rival domain elements underscore domainal rivalries, where conservative han loyalties to exacerbated fractures in the feudal order, contributing to the Boshin War's outbreak in 1868. Limited depictions of other anti-Satsuma factions, including early tensions with figures, illustrate initial inter-domain hostilities before their 1866 alliance against the bakufu.

Meiji Government and Foreign Elements

Shōfukutei Tsurube II portrayed , a court noble who rose to prominence as a key advisor in the and later led the 1871–1873 to observe Western governance, industry, and military systems, influencing Japan's modernization policies. depicted (formerly Katsura Kogorō of ), one of the Restoration's architects who advocated for centralized authority and participated in early Meiji reforms before his 1877 assassination amid political tensions. Nomura Man'nojō VI played (Mutsuhito), whose 1868 ascension and issuance of the on May 5 marked the symbolic end of feudal rule and the push for deliberative assemblies and abolition of class distinctions, though actual power rested with oligarchs like Saigō's former allies. Kenta Hamano portrayed , a Chōshū who later drafted Japan's and served as the first , representing the bureaucratic shift toward Western legal models in the drama's later episodes. Hayashiya Shōzō IX embodied , a Chōshū military reformer assassinated in 1869, whose advocacy for and modernization of the army clashed with traditions, foreshadowing conflicts like the 1877 central to Saigō's arc. The series depicts these figures as embodying the Meiji oligarchy's centralization efforts, often in opposition to Saigō's emphasis on martial values and domain autonomy. Foreign elements receive minimal focus, with the narrative prioritizing internal Japanese dynamics over direct portrayals of Western diplomats or advisors, though Iwakura's mission indirectly highlights exposure to European influences.

Broadcast and Distribution

Original Airing Schedule

Segodon premiered on NHK's on January 7, 2018, and concluded on December 16, 2018, spanning 47 episodes broadcast weekly on Sunday evenings at 8:00 p.m. JST. The standard runtime for each episode was 45 minutes, aligning with the format typical of NHK taiga dramas during this period. The schedule proceeded without interruption for most of the run, but episode 37, titled "江戸無血開城" (" Surrenders Without Bloodshed"), was postponed from its planned September 30 airdate due to extensive news coverage of Trami's landfall in . This episode aired on October 7, 2018, with subsequent episodes resuming the weekly cadence uninterrupted until the finale. A planned special preview on October 14 was rescheduled to October 20 to accommodate the adjustment. Rebroadcasts of each episode occurred the following Saturday at 1:05 p.m. JST on the same channel, providing viewers an additional opportunity shortly after the premiere. The production adhered to NHK's annual tradition of year-long , marking it as the final such series to conclude within the .

Re-runs and International Availability

Segodon has undergone re-broadcasts on Japanese channels, such as Channel Ginga, which features the full series in its programming lineup. The production is also accessible via On Demand, NHK's official streaming service, allowing on-demand viewing of individual episodes within . These re-runs and digital options typically occur periodically following the original airing, aligning with NHK's practice for taiga dramas to maintain archival access for domestic audiences. Internationally, Segodon sees limited official distribution, with no confirmed broadcasts on or major global networks. Digital purchase options exist on platforms like , enabling viewers outside to access the series, though episodes remain in Japanese without official English subtitles or dubbing. , including DVD sets, have been distributed through select international retailers, further extending availability to enthusiasts. As of late 2024, no terrestrial re-broadcasts were scheduled on NHK's primary channels, and 2025 plans remain unannounced in public records.

Reception and Impact

Viewership Metrics

The taiga drama Segodon recorded an average household viewership rating of 12.7% across its 47 episodes in the Kanto region, the standard benchmark for national Japanese television metrics, as compiled by Video Research. The series premiered on January 7, 2018, with a 15.4% rating in Kanto, marking the highest for the production, while the lowest episode dipped to 9.9%. Regional disparities were pronounced, with a "western high, eastern low" pattern observed throughout the broadcast. In the , the average rose to 15.8%, and the finale on December 16, 2018, achieved 15.2% there compared to 13.8% in Kanto. Northern saw the final episode at 18.0%, reflecting proximity to the Satsuma Domain's historical heartland. In , Saigō Takamori's birthplace and the drama's cultural focal point, viewership surged dramatically, averaging over 30% for the full run and peaking at 30.0% for the finale, underscoring localized enthusiasm for the subject's regional significance. This placed Segodon among the lower-performing dramas nationally in Kanto terms, ranking third-worst in average ratings historically at the time, yet its robust western and local metrics highlighted audience alignment with thematic elements tied to southwestern Japanese identity.

Critical Evaluations

Critics have offered mixed assessments of Segodon, with praise often centered on lead actor Ryohei Suzuki's portrayal of as embodying the character's physical presence and emotional depth, drawing comparisons to historical depictions of the samurai's robust build and familial warmth. However, the series received average viewership ratings and faced criticism for inconsistent pacing, particularly in its extended focus on Saigō's early life and exile periods, which some reviewers described as overly protracted and reminiscent of lighter morning dramas rather than epic historical narrative. Scripting emerged as a frequent point of contention, with commentators noting underdeveloped supporting characters and a failure to evoke emotional investment during pivotal events like the Teradaya Incident, attributing this to weak dramatic buildup and reliance on Saigō's idealized "good man" archetype over nuanced political intrigue. The drama's omission of key historical episodes, such as the Satsuma-British War, and its simplified treatment of Saigō's motivations—portraying his as impulsive rather than strategically debated—drew rebukes for prioritizing over factual rigor, as highlighted in analyses questioning the production's historical consultations. Later episodes, encompassing the and Southwest War, were faulted for rushed resolutions and diminished tension, with reviewers arguing that Saigō's internal conflicts failed to resonate amid underdeveloped rivalries, leading to a perceived flatness in climactic battles. Aggregate scores reflect this ambivalence, including a 3.8 out of 5 on Filmarks from over 150 user evaluations and a 5.6 out of 10 on , underscoring broad consensus on entertainment value tempered by structural flaws. Despite these critiques, some evaluations commended the series' relatable humanization of Saigō's flaws and loyalties, positioning it as an accessible entry in the genre amid comparisons to prior underperformers like Yae no Sakura.

Debates on Historical Accuracy

The taiga drama Segodon (2018), centering on Saigo Takamori's life, has sparked debates among historians and viewers regarding its fidelity to historical records, with critics arguing that dramatic liberties undermine educational value while defenders emphasize its role in conveying the era's spirit over strict factualism. Historical advisor Professor Izumi Haraguchi of Kagoshima Shugaku University, tasked with verifying period details, acknowledged numerous fictional elements, stating that "historians searching for differences would find no end," yet supported the production's intent to craft a "new image of Saigo" through narrative enhancements. Specific inaccuracies highlighted include the dramatized boyhood meeting between young Saigo Kichinosuke and , which lacks historical evidence as Nariakira could not return to Satsuma without shogunal permission at that time; the series notes this as fictional in credits. Similarly, depictions of Saigo drinking with Nariakira contradict Saigo's low-rank status prohibiting such familiarity, and his personal abstention from alcohol. Spatial errors, such as portraying Saigo's and Okubo Toshimichi's residences as adjacent neighbors, ignore their actual 150-meter separation. Character relationships also diverge: Saigo's wife Ito is shown as a childhood friend, a scriptwriter's despite no historical basis, and their marriage is framed as reluctant on her part, whereas records indicate Saigo's persistent leading to her . The divorce is attributed in the drama to Ito's selfishness, but historically stemmed from her father's initiative amid Saigo's poverty during his . Romanticization of Saigo's bond with Gessho, and fictional scenes like Ito visiting Amami Oshima to confront Saigo's second wife, further prioritize emotional arcs over evidence. Events like Nariakira's domain succession, depicted with high-stakes tension akin to , simplify a mediated resolution by in 1851 without such dramatics. Critics, including bloggers and history enthusiasts, have labeled these as "fake-heavy" distortions that mislead audiences on key Bakumatsu events, potentially fostering ahistorical views of figures like Saigo. In response, production rationale, as articulated by , posits that taiga dramas function as interpretive to engage modern viewers, tolerating "lies" akin to strategic deceptions in itself—such as Shimazu Nariakira's fabricated accusations to consolidate power—provided they illuminate broader causal dynamics like anti-colonization efforts. This tension reflects ongoing NHK taiga series critiques, where entertainment imperatives often supersede verbatim accuracy, prompting calls for clearer disclaimers on fictional content.

Cultural and Educational Influence

Segodon amplified public awareness of Saigō Takamori's contributions to the , aligning with the 150th anniversary commemorations in 2018 that emphasized Japan's transition from to . The series' portrayal of historical events drew viewers into the socio-political dynamics of the late and early Meiji periods, reinforcing Saigō's image as a pivotal figure in national unification efforts. Complementing the broadcast, institutions hosted exhibitions featuring artifacts from Saigō's life and the , such as documents and revolutionary-era items, which contextualized the drama's narrative and promoted deeper cultural appreciation of regional histories. These , tied directly to the production, extended the drama's reach beyond television, encouraging visitors to explore primary sources on alliances and conflicts that shaped modern . Educationally, Segodon functioned as a supplementary tool for moral and historical pedagogy, with scholarly analyses evaluating its depiction of Saigō's character—rooted in perseverance and ethical dilemmas—as viable content for classroom discussions on personal integrity and societal duty. The drama's emphasis on Satsuma's gojū kyōiku—a communal upbringing system stressing discipline, mutual aid, and physical rigor—revived interest in pre-modern Japanese educational models, prompting reflections on their relevance to contemporary leadership training. This facet, drawn from Saigō's formative years, illustrated causal links between local traditions and national transformation, offering empirical insights into character formation absent in abstracted textbook accounts.

Music and Media

Soundtrack Composition

The soundtrack for Segodon was primarily composed by Harumi Fuuki, who served as the series' main and is noted as the youngest composer to win the Japan Academy Prize for Original Music Score. Fuuki crafted an original score emphasizing orchestral drama to underscore the historical narrative of Saigō Takamori's life, with recordings featuring the under conductor Tatsuya Shimono. Vocal elements were integrated, including performances by Anna Satō on select tracks. Avex released three volumes of the original soundtrack in 2018, corresponding to different phases of the 50-episode series: Volume I for the early episodes, Volume II with 33 tracks spanning approximately 71 minutes, and Volume III including pieces like "Kakumei no Tomoshibi" and "Bakumatsu no Nekkyō." A , Historical Drama "Segodon" Original Soundtrack THE BEST, followed on November 28, 2018, aggregating key themes such as the main title "Segodon –Main Theme–." These releases totaled dozens of cues, blending symphonic arrangements with incidental motifs to evoke the turbulent and Meiji eras. Fuuki's contributions extended to the series' signature main theme, arranged in versions like "NHK Taiga Drama 'Segodon' Main Theme," which was licensed for broader media use. The score's production involved collaboration with 's music department, prioritizing fidelity to historical sentiment through that highlighted strings and brass for tension and resolve in battle and personal scenes. No major co-composers are credited for the core , distinguishing Fuuki's singular oversight from series with divided scoring duties.

Theme Songs and Incidental Music

The primary theme music for Segodon, the 57th NHK Taiga drama that aired from January 7 to December 16, 2018, was the instrumental composition "SEGODON -Main Theme-", created by Harumi Fuuki and performed by elements of the NHK Symphony Orchestra under conductor Tatsuya Shimono. This track, characterized by its orchestral swells and evocation of determination aligned with the series' portrayal of Satsuma Domain resilience, served as the opening and closing motif throughout the 50-episode run. No vocal theme song was featured, distinguishing Segodon from some prior Taiga dramas that incorporated popular songs; Fuuki's composition instead emphasized a purely symphonic approach to underscore the narrative's historical and emotional arcs. Incidental music for the series was comprehensively composed by Fuuki, who at age 27 became the youngest winner of the Japanese Academy Prize for music composition prior to her work on Segodon. The score included over 50 original tracks across four released soundtracks, released by Avex Music Creative between February 21, 2018, and November 28, 2018, featuring motifs for key sequences such as Satsuma youth charging Shiroyama ("Kibare-! Shiroyama wo kake agaru Shonen tachi"), the domain's defiant spirit ("Satsuma Hayato no Hankotsu Seishin"), and revolutionary fervor ("Kakumei no Tomoshibi"). These pieces blended traditional Japanese instrumentation with Western orchestral elements to reflect the era's transition from Edo-period isolation to Meiji modernization, supporting scenes of conflict, exile, and clan loyalty without relying on licensed popular tracks. Fuuki's incidental cues were praised for their dynamic range, from tense battle rhythms to introspective family moments, contributing to the series' immersive historical atmosphere.

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