Devin Jacob Ballard, 20, denies charges that he fatally strangled Anna Yagi, 39, in a hotel on the island of Okinawa

Prosecutors in Japan have filed formal charges against a US marine suspected of murdering and robbing a woman while stationed on the country’s island of Okinawa, according to Japanese media.

Devin Jacob Ballard, a 20-year-old lance corporal assigned to Marine Corps Air Station Futenma in Okinawa, is charged with fatally strangling Anna Yagi, 39, at a hotel in the city and stealing from her a backpack containing a wallet, the public broadcaster NHK reported.

Season 2 of Japanese drama Vivant Photo: Screenshot from CCTV News

Global Times | October 25, 2026

By portraying Chinese characters as perpetrators of ruthless violence while casting Japanese Self-Defense Forces (SDF) intelligence operatives as defenders, the season 2 of the Japanese drama Vivant has recently drawn criticism from Chinese netizens, who argue that its depiction turns historical reality on its head while ignoring Japan’s wartime atrocities.

The TBS drama series – a spy suspense story in which an alleged unofficial intelligence unit of the SDF operates across the globe — has attracted a passionate fanbase. Its currently airing season 2 opened with a household rating of 18.8 percent, the highest for a TV drama this year, according toa commentary article by Japanese media Toyo Keizai.

What draws attention is the portrayal of the enemies in the series, the article noted. Scenes in which the Chinese organization subjects kidnapped members of the SDF unit to brutal torture are repeated with unrelenting intensity.

It is rare for Japanese TV dramas to explicitly portray a real-life country as the enemy, the article noted.

Japanese Prime Minister Sanae Takaichi also made a reference to the drama, saying that she has been recording Vivant and hopes to binge-watch it over the year-end and New Year holidays, according to Japanese media outlets.

China’s CCTV News report on Sunday revealed that the drama features scenes in which Chinese personnel cut off the fingers of and stab Japanese intelligence operatives in the abdomen. Such acts bear striking similarities to the torture inflicted on Chinese nationals by invading Japanese troops during the World War II.

The drama distorts the truth by attributing these atrocities to modern Chinese characters. Beneath the surface, it subtly glorifies Japan’s cross-border overseas operations, blurs the functional boundaries of the SDF and implicitly promotes an expansionist narrative, per CCTV News.

Following the report, the topic “Japanese drama Vivant smears China” quickly became a trending topic on Chinese social media.

One Chinese netizen Luoxuchen noted that while previous content avoided sensitive topics by setting the story in a fictional country, this season directly names China, signaling that anti-China narratives in Japanese cultural entertainment have shed their disguise and become open.

Some netizens pointed out that Japan’s acts of distorting history are commonplace. “This is a familiar tactic of Japan, and vigilance must never be relaxed.”

The drama has even drawn criticism from some Japanese netizens. One netizen and history scholar @mas_yamazaki said that while the drama explicitly names “China,” it portrays Chinese people as “cruel,” “stupid” and “incompetent,” shows viewers weekly scenes of Japanese people being brutally tortured, and then coolly depicts SDF members slaughtering dozens of the “evil Chinese.”

“TBS broadcast this kind of drama in 2026, with major companies such as Japan Airlines as sponsors. The country is sick,” the netizen said.

“I’m quietly intrigued by the process of how content like this gets approved within the framework of commercial broadcasting,” another Japanese netizen @kyou_kore_mite wrote.

In the 2026 defense white paper released in August, Japan smeared and accused China, hyped up the “China threat,” while continuously accelerating its remilitarization.

China has already repeatedly urged Japan to reflect on its historical crimes, earnestly draw lessons from history, stop making excuses for its military buildup, and not go further down the wrong path, said Chinese Foreign Ministry spokesperson Lin Jian during a press conference.

• Matthew Kelson, now 43, grew up in Michigan and opened his first cinema in his 20s.
• He went on to work for Netflix in Los Angeles before getting transferred to Japan in 2020.
• After leaving his job at Netflix in 2024, he renovated a kindergarten and founded a cinema in Japan.

This as-told-to essay is based on a conversation with Matthew Kelson, now 43, who was transferred by Netflix from Los Angeles to Tokyo and is now the founder of CineYama, an independent cinema in Uenohara, Yamanashi Prefecture, Japan. His words have been edited for length and clarity.

Japan isn't new to me. In middle school, I spent two weeks living with a host family as part of an exchange program. I returned a couple of times as an adult.

I was working at Netflix in Los Angeles when the company relocated me to Japan in 2020. I was based in Tokyo for two years before moving to Uenohara, a small town about an hour and a half by train from Tokyo. I still spent time in the capital for occasional meetings and traveled extensively across Asia for screenings. Otherwise, I worked remotely from home. After a company restructuring, I left Netflix in 2024.

I wanted to stay in Japan. My daughter was six months old when my wife and I moved, and my son was born three years later. We thought it was a great place for them to grow up. I started thinking about how I could utilize my expertise in cinema and give back to the community.

While scouting for locations, I came across an abandoned kindergarten. In 2024, I started plans to turn the old school into a cinema. And in December, I got my permanent residency in Japan through the highly skilled professional fast-track program. A year later, I formed my company and spent another year renovating before opening a cinema in March.

Building my career in film

I spent most of my childhood in Michigan, in the Detroit area. My father was a professor of international business. He traveled for work often. It got me curious about the world around me.

At 23, I came across the Detroit Film Center and took a filmmaking course. A year later, I became a teacher and worked as a projectionist there. Through that, I started working at an independent art theater in the Detroit suburbs. I started as an usher, then became the theater manager.

Within the two years of working there, I fell in love with the film world. At 25, I renovated an old school's auditorium into a theater in Michigan using my savings. The theater ran for two years, but after disputes with the landlord, it closed.

I was looking for a fresh start, so in 2011, I moved to Los Angeles. At first, I knocked on the doors of all the film distributors I'd worked with until I met some people at an independent film distribution company. I joined as an intern and worked my way up. I landed a job on Netflix's creative team two years later.

The journey to opening a cinema in Japan

Getting the permit to renovate the abandoned kindergarten was a long process. I had to negotiate with officials at city hall and the residents about how I'd use the building, establish the company, deal with fire and health regulations, and construction in a language I don't speak fluently.

I learned that pushing harder is not necessarily what gets things done in Japan. It was about patience, building trust, and showing people that I was serious and that the project wasn't going to disappear in six months.

There were days when I wondered why I had chosen to make my life so difficult. But every milestone, from getting the building, the inspection, installing the projector, and finally opening the doors, made me more determined.

When the cinema first opened, the elderly residents seemed cautious. After a preview, they told me they were impressed to see the place cleaned up and put back into use. It's important for me to have screenings that kids and families can come to and enjoy the space.

Tickets cost 1,500 Japanese yen, or about $9.50. We offer a discount to seniors and residents. I stick with showing content that is harder to find elsewhere, so that it gives viewers a perspective on other ways of life and culture.

It's mostly family-run. I manage the operations, and my wife helps out sometimes. My kids stamp the tickets when they're around.

Living up to the challenge

Opening the theater in the US was different from doing it in Japan. I was in my 20s, had little money, and was just figuring things out in Detroit. The one in Japan came after 15 years of working in film distribution, creative production, and international screenings.

It's been exciting living over here, having the cinema, and meeting people from all over the world. While life in the US would've been much easier, I like the challenges in Japan. That's why I was at Netflix for so long, because it wasn't an easy job either. I learned life in hard mode.