Yomiuri Telecasting Company: Background to the launch
In 1953 , prior to its launch in Tokyo, Nippon Television Network Corporation (hereafter referred to as "NTV") submitted an application for a broadcasting license in Osaka to the Radio Regulatory Commission . However, at the time, there were only two radio waves allocated to the Osaka area, and licenses were given to two stations, NHK Osaka Broadcasting Station and Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation ), and the license for "NTV Osaka Broadcasting Station" was rejected.

The reason for the rejection was that "Nippon Television represents the Tokyo area, and broadcasting in Osaka would be 'crossing borders.'" [ note 2 ] Matsutaro Shoriki , head of the Yomiuri Shimbun and Nippon Television , applied to the Radio Regulatory Commission to establish regional broadcasting stations in Sapporo , Nagoya , and Fukuoka in addition to Osaka, but this was also rejected for the same reason . [ note 3 ]

At that time, the Yomiuri Shimbun had expanded into Osaka, and was competing fiercely with the Asahi Shimbun , the Mainichi Shimbun , and others in sales. Since Osaka Television Broadcasting was a television station established by the Asahi Shimbun, the Mainichi Shimbun, and the Asahi Broadcasting Corporation and New Japan Broadcasting (now the Mainichi Broadcasting System), Tsutomu Mitsuo , the president of the Osaka Yomiuri Shimbun (now the Yomiuri Shimbun Osaka Headquarters) at the time , was convinced that "in order to increase circulation against the two newspapers, we need to have our own affiliated television station," and the Yomiuri Shimbun also decided to create a television station with investment from the Kansai business community, centered around the Osaka Yomiuri Shimbun. Tsutomu was the representative promoter and gathered promoters from the business community.

The name of the broadcasting station was " Shin -Osaka Television Broadcasting Co., Ltd. " (abbreviated as NOTV = New Osaka Television . It was called " No-Tele "), and the founding general meeting was held in February 1957. The company building was constructed by borrowing most of the grounds of the Tenman Betsuin temple of the Otani-ha Shinshu sect in Iwai-cho , Kita-ku, Osaka (now Higashi-Tenma ) .

In October 1956, they submitted an application for a broadcasting license to the Minister of Posts and Telecommunications. In October 1957, a provisional license was issued to Shin-Osaka Television Broadcasting as a quasi-educational station (Channel 10, JOIX-TV). The company held its founding general meeting on February 12, 1958, and on August 1 of the same year, the company changed its name from "Shin-Osaka Television Broadcasting" to "Yomiuri Telecasting Co., Ltd." (abbreviated as YTV, nicknamed Yomiuri Television). On the 28th of the same month , it opened as the second commercial television station in the Kinki region, completely transferring all of the Nippon Television programs that had been networked with OTV.

The opening of Yomiuri Television resolved the dissatisfaction of sponsors of Nippon Television Network Corporation's programs, which had not been broadcast in the Kinki region due to OTV's cross-network policy. [ Note 4 ] This also contributed greatly to the increase in circulation of the Yomiuri Shimbun in western Japan .

Among the commercial television stations headquartered in Osaka (Osaka-based television stations), it is the only one that does not have capital from a Kansai private railway , and its capital is composed of Yomiuri Shimbun Group and Nomura Securities affiliates . [ Note 5 ]

Network transition
August 28, 1958 - Launched. As the first station in the Nippon Television Network, it declared itself a "station network station." Since then, Nippon Television has consistently been the main broadcaster of all programs.
April 1, 1966 -News network NNN was launched and the station joined.
June 14, 1972 - Joined the NNS, which was launched on this day.
chronology
The original company building (part of it) was demolished around 1990, and the site is currently used as a parking lot as of 2021 (October 1989, Higashitenma, Kita-ku, Osaka City)
The original company building (part of it) was demolished around 1990, and the site is currently used as a parking lot as of 2021 (October 1989, Higashitenma, Kita-ku, Osaka City)

The second-generation company building before the logo change (March 2006)
The second-generation company building before the logo change (March 2006)

The second-generation company building after the logo change (from autumn 2007 to 2019. The black building is the Osaka Tokio Marine & Nichido Building)
The second-generation company building after the logo change (from autumn 2007 to 2019. The black building is the Osaka Tokio Marine & Nichido Building )

Yomiuri Television's broadcasting equipment transport vehicle (Hino Profia) with the new "ytv" logo painted on it
Yomiuri Television's broadcasting equipment transport vehicle ( Hino Profia ) with the new "ytv" logo painted on it
November 26, 1956 - Application for a 10 kW television broadcasting license [ 7 ] .
1957 (Showa 32)
January 14 - The founding office is opened within the Osaka Yomiuri Shimbun (now the Yomiuri Shimbun Osaka Headquarters) . [ 7 ]
October 22 - Preliminary license issued.
1958 (Showa 33)
February 12 - Shin-Osaka Television Broadcasting Co., Ltd. inaugural general meeting [ 7 ] .
February 13 - With investment from the Osaka Yomiuri Shimbun and others, the company is established as a quasi-educational station , the Shin-Osaka Television Broadcasting Co., Ltd. (NOTV). Registration completed . [ 7 ]
August 1 - Company name changed to "Yomiuri Television Broadcasting Corporation" (YTV).
August 3 - Test radio signal transmission from 12:17 p.m. [ 7 ]
August 16 -Test broadcasts begin [ 7 ] .
August 20 - Full license issued (call sign: JOIX-TV, call name: Yomiuri Television) [ 7 ] .
On August 28th, at 9:00am , the station started broadcasting from 2-36 Iwai-cho, Kita-ku, Osaka (later changed to "1-8-11 Higashitenma" due to a change in the name of the town in response to the implementation of the residential address system ) ( Osaka's second station). The station was launched by transferring Nippon Television (NTV) programs that had been networked with Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation ). As the first Nippon Television affiliate, it announced that it would become a "station network station" (the forerunner of full network stations) . [ Note 6 ]
January 8, 1959 (Showa 34) - Early morning broadcast begins (from 8:00 a.m. [ note 7 ] [ 7 ] )
1960 (Showa 35)
January 20 -Application for an experimental color television station license [ 7 ] .
February 15 - A 2-inch color VTR manufactured by RCA is introduced . [ 8 ] [ 9 ]
March 31 - Three color video cameras are installed. A full-scale system is in place to prepare for the start of color broadcasting. [ 9 ]
September 2 - At 2:20 p.m., a color broadcast test signal was transmitted. [ 7 ] [ 10 ]
September 10 - After passing the inspection by the Ministry of Posts and Telecommunications Kinki Radio Regulatory Bureau, regular color television broadcasting begins at 1:15 p.m. [ 7 ] (the first in the Osaka area, along with NHK Osaka Broadcasting Station and Asahi Television Broadcasting Corporation) . [ Footnotes 8 ] [ 11 ] In addition, the first color spot broadcasting in Japan also begins. [ 10 ]
October 21 - RCA color television cameras are installed. In-house production of color programs begins. [ 10 ]
November 21 - RCA studio color cameras are introduced. [ 12 ]
November 30 - The company completes the conversion of its Studio 3 broadcasting equipment to color. [ 12 ]
December 4 - The color broadcast vehicle is completed. [ 12 ]
December 13 - Broadcast of "Your Color Show", the first music program in Western Japan to be shot with a studio color camera. [ Notes 9 ] [ 11 ] [ 12 ]
June 10, 1962 – Nippon Telegraph and Telephone Corporation's microwave simultaneous television network line becomes the first to be colorized (high-standard) on the Hokuriku down route (Tokyo → Hokuriku → Osaka). This allows Nippon Television to broadcast color simultaneously. [ 13 ] [ 14 ]
1963 (Showa 37)
April 1 - The Tokaido route (Osaka → Nagoya → Shizuoka → Tokyo) of Nippon Telegraph and Telephone Corporation's microwave simultaneous television network line is converted to high-standard color . [ 15 ] This makes it possible to simultaneously broadcast in color to Nippon Television.
December 1 - The Tokaido down route of Nippon Telegraph and Telephone Corporation's microwave simultaneous television network is converted to color (high standard). [ 16 ]
1964 (Showa 39)
February 2 - A color camera is brought to the Takarazuka Revue and the "Takarazuka Revue 50th Anniversary Performance - Invitation to the Review" is broadcast in color. [ 17 ]
March 8 - The Osaka Grand Sumo Tournament is broadcast in color for the first time. [ 16 ]
August 28 – On this day, which marks the sixth anniversary of the station's launch, the station will broadcast six and a half hours of color programming as "Color Campaign Day." [ 17 ]
August 28, 1965 – On this day, the seventh anniversary of the station's launch, the station broadcast seven hours of color programming a day, including the in-house produced "Victor Kayo Show," as "Color Campaign Day. " [ 18 ]
1967 (Showa 42)
April 1 - Programming and production agreement (NY Agreement) signed with Nippon Television Network Corporation.
October 11 - A Toshiba Ampex 2-inch high-band VTR (VR-2000) is purchased and installed. [ 19 ]
November 1 - The Bureau is changed from a quasi-educational bureau to a general bureau . [ 20 ]
1970 (Showa 45)
March 14 - In commemoration of the Osaka Expo , which had its opening ceremony on this day, the station became the host and broadcasting station for " The Japan World Expo Begins, " the first joint production and simultaneous broadcast by all commercial television stations affiliated with the Japan Commercial Broadcasters Association at the time. [ Footnote 10 ] [ 21 ]
October 4 - " I Want to Go Far Away " begins broadcasting.
1978 (Showa 53)
September 20 - 1-inch VTR is introduced. [ 22 ]
September 22 - The company obtains a preliminary license for practical test broadcasting of audio multiplex broadcasting . [ 22 ] [ 23 ]
September 30 - The company obtains a full license for the practical test broadcasting of audio multiplex broadcasting . [ 23 ] [ 24 ]
October 1 - Test broadcasting of audio multiplex broadcasting begins (second after Nippon Television Network Corporation. However, initially, only bilingual broadcasts were available via the Internet, and stereo was only available through the company's own transmission, including video feed). [ Note 11 ] [ 22 ] [ 23 ] [ 25 ]
November 11 - The first stereo broadcast of a self-produced program on this day was the live broadcast of "Game 10 of the Japan-US Baseball Series" from Nishinomiya Stadium . [ 23 ] [ 26 ]
December 31 - On this day, the show " Pink Lady Sweat and Tears of New Year's Eve 150 Minutes!! " aired nationwide on Nippon Television , and was the first to be broadcast in stereo via the Internet. [ 22 ] [ 27 ]
1979 (Showa 54)
March 19 - Starting from this day, the live Nippon Television program " NTV Kohaku Uta no Best Ten ," which is broadcast every Monday, becomes the only regular simultaneous internet program to begin broadcasting in stereo (the other programs began broadcasting in stereo on August 8 of the same year). [ 28 ]
August 1 - The company began broadcasting its self-produced nationwide program " 2-ji no Wide Show " in stereo over simultaneous internet lines on the same day. [ Footnote 12 ] [ 29 ]
August 8 - Nippon Telegraph and Telephone Public Corporation (now NTT ) completes construction to convert television relay lines in Tokyo, Nagoya, Osaka and Hokuriku (Kanazawa) to stereo. [ 30 ] [ 31 ] As a result, the company begins full-scale stereo broadcasting via its own Internet lines.
In the early 1980s, Sanrio appointed "Toppy and Cuppy" as mascot characters, designed by Shinichi Emura, and these characters were used for about 10 years . [ 32 ] [ 33 ]
1988 (Showa 63)
August 1 - The head office building is moved from Higashitenma, Kita-ku, Osaka to Osaka Business Park (OBP) at 2-2-33 Shiromi, Higashi-ku (now Chuo-ku), Osaka . The 10 mark begins full-scale use.
April 1, 1989 ( Heisei 1) - Clear Vision broadcasting begins.
1993 (Heisei 5)
June 6 - " Osaka Honwaka TV " begins broadcasting.
October 21 - " Downtown DX " begins broadcasting.
January 8, 1996 - Detective Conan begins broadcasting.
1998 (Heisei 10): Appointed "I Need-kun" as a pet character. (At that time, there was a slogan called "I Need 10").
July 1, 2000 - The mascot character "TV Yan" (a character based on a television cathode ray tube. The design was later slightly changed in 2002) was unveiled. The character is a blue TV with a yellow screen. The character appears on screen and on the network's website. In 2002 he got a dog-like sidekick known as Telepochi
2003 (Heisei 15)
July 13 - " Takaji's Sokomade Itte Iinkai " begins broadcasting.
December 1st -Yomiuri Digital Television (JOIX-DTV, 14ch) begins broadcasting on terrestrial digital broadcasting . At the same time as the start of regular broadcasting, the operation of an analog/digital integrated master is also started (the master manufacturer is also changed from NEC to Toshiba ). There is also a TV Yan/Telepochi icon about this
2004
May 24 - The "Yomiuri Television" ending logo is modified to include a image of TV Yan next to it
July 29th - August 7th, 2005 - A large-scale event called " Tempozan 10 Days Exciting Treasure Island " was held at Tempozan Harbor Village .
July 31, 2006 - " Information Live Miyaneya " begins broadcasting. Write a news article Dec 24 2006, it attempts to obtain cable carriage in 4 other countries
August 2006
August 3: Test broadcasts for new programming and potential events for the upcoming year are planned, enhancing audience engagement.
December 2006
December 1-25: Christmas Fair in Osaka
A festive event hosted by Yomiuri Television's mascots, "TV Yan" and "Telepochi," takes place at various locations in Osaka, featuring activities, entertainment, and special programming related to the holiday season.
January 2007
January 1: New Year programming begins, featuring specials and highlights from the previous year.
March 2007
March 31: Concludes the fiscal year with a review of key programming success, ratings, and audience engagement metrics. Future programming strategies are discussed for the upcoming year, focusing on improving viewer involvement and expanding broadcast offerings.
April 1, 2007 - In preparation for the 50th anniversary of the station's launch, the "Ukiuki Wakuwaku Campaign" was launched. A new CI was introduced, and the logo was changed from "Yomiuri Television" to "ytv" (when used in kanji for news-related purposes, NNN source subtitles, etc., it is written as "Yomiuri Television" ). The third mascot character, " Ukiki the Monkey", was also born on this day.
2009 (Heisei 21)
March 30 - " Kansai Information Network ten! " begins broadcasting.
November 24 - The Tokyo branch office moves to the Nippon Television Tower (Nippon Television's headquarters building) in Higashi-Shinbashi, Minato-ku, Tokyo.
July 5, 2010 - In accordance with an agreement between NHK and the Japan Commercial Broadcasters Association, all analog broadcasting programs will be switched to letterbox broadcasting with a 16:9 aspect ratio (excluding commercials produced with a 4:3 aspect ratio) in preparation for the transition to terrestrial digital broadcasting. Also, from September 6 of the same year, a notice to raise awareness of preparations for terrestrial digital broadcasting began to be displayed at all times during the black bars on analog broadcasts, except during commercials.
2011 (Heisei 23)
July 24 - Analog broadcasting ended at noon on this day. After a blue screen announcement for inquiries, a special closing [ 33 ] was broadcast at around 11:59 p.m., and at 11:59:59 p.m., analog broadcasting, which had continued for 52 years and 7 months, was stopped and completely switched to digital broadcasting.
October 3 - As a result of the shift to stereo broadcasting of all programs by Nippon Television affiliates , all programs produced by Yomiuri Television that had previously been broadcast in mono were switched to stereo broadcasting (some were mono-stereo broadcasting). I will use this in part of a story I'm making soon

Certainly! Here's a concise summary capturing the background, key developments, and milestones of Yomiuri Telecasting Company, which you can use as a basis or reference for the story you’re working on:

Background and Launch of Yomiuri Telecasting Company (YTV)
In the early 1950s, Nippon Television Network Corporation (NTV), based in Tokyo, aimed to expand its broadcast reach to Osaka. However, due to limitations in available frequencies and policies that prevented “cross-border” broadcasting, its application for an Osaka broadcasting license was initially rejected. The Radio Regulatory Commission granted licenses only to NHK Osaka and Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation).

At that time, the Yomiuri Shimbun newspaper had a strong presence in Osaka and faced fierce competition from other major newspapers that had ties with OTV. Tsutomu Mitsuo, then president of the Osaka Yomiuri Shimbun, recognized that to boost newspaper circulation and secure influence in the Kansai region, Yomiuri needed an affiliated TV station.

In 1957, with investment from local Osaka business leaders, Yomiuri formed Shin-Osaka Television Broadcasting Co., Ltd. (NOTV or "No-Tele"). After receiving a provisional broadcasting license as a quasi-educational station, the company was renamed Yomiuri Telecasting Co., Ltd. (YTV) in August 1958. It launched on August 28, 1958, as the second commercial TV station in the Kinki region, officially affiliating with Nippon Television and taking over the Nippon TV programs previously aired on OTV.

This launch resolved dissatisfaction from sponsors over NTV programming's lack of broadcast in Kinki and significantly boosted Yomiuri Shimbun’s circulation in Western Japan.

Network Affiliations and Broadcasting Milestones
August 28, 1958: Yomiuri Television launched as the first Nippon Television Network (NTV) affiliate, positioning itself as a “station network station” promoting full-network operations.
April 1, 1966: Joined Nippon News Network (NNN) for news programming.
June 14, 1972: Joined Nippon Television Network System (NNS), the entertainment and variety network.
Technological Advancements and Programming
Early 1960s: Pioneered color television broadcasting in Osaka, with regular color broadcasts starting September 10, 1960.
1978-1979: Introduced stereo broadcasting and audio multiplex services, becoming a leader in enhancing the television sound experience.
Early 1980s: Adopted mascot characters “Toppy and Cuppy” designed by Shinichi Emura.
1988: Moved headquarters to Osaka Business Park.
1993 onwards: Launched popular programs including Downtown DX (1993) and Detective Conan (1996).
2000: Introduced mascot “TV Yan,” a blue TV character, later joined by “Telepochi.”
2003: Began digital terrestrial broadcasting (JOIX-DTV) alongside continued analog broadcasts.
Branding and Expansion Efforts
April 1, 2007: Ahead of its 50th anniversary, launched the “Ukiuki Wakuwaku Campaign” and introduced a new corporate identity (CI), changing its logo from "Yomiuri Television" to “ytv.” The third mascot character “Ukiki the Monkey” debuted simultaneously.
November 24, 2009: Tokyo branch moved into Nippon Television’s headquarters building.
July 24, 2011: Ended analog broadcasting in compliance with Japan's digital switchover, switching fully to digital.
Community & Cultural Contributions
Hosted major events such as “Tempozan 10 Days Exciting Treasure Island” in 2005.
Conducted seasonal campaigns featuring mascots for Christmas and New Year festivities.
Known for strong connection to the Kansai region’s business community and local culture.
If you want, I can help you craft this into a more narrative style with dialogues or further fictional embellishment themed around your story. Just let me know!

The Midnight Cake Caper

It was just after 9 p.m. when the four teens slipped out of their houses. The neighborhood was steeped in quiet, the streetlights casting long shadows over the cracked pavement. None of them had permission—for good reason. Their parents would have laughed them off or grounded them for a month if they even dared to mention their plan: to break into the Makro Cash and Carry after hours, purely in the hope of getting their hands on one particular prize, the legendary deluxe chocolate cake, rumored to be so rich and decadent that anyone who tasted it would be instantly blissful.

Emily, Sam, Mia, and Noah had heard whispers from an older cousin that Makro kept these cakes under tight lock and key. No one bought them regularly—the cakes were expensive and exclusive. But that never mattered to the four friends. Tonight, they wanted to taste the dream.

The massive warehouse loomed ahead, metallic and quiet under the moonlight. The sliding doors were supposed to be locked tight after business hours. But Sam had his tricks; he was the tech-savvy one who always had a solution handy—he’d managed to find a way to override the electronic locks on the side door.

“I swear, if this works…” Mia crossed her fingers, making the old warehouse doors whirr and slide just the tiniest crack open. Sam chuckled, pushing the door fully ajar.

Inside, a faint scent of industrial cleaners mixed with cardboard boxes filled the cavernous space. Rows and rows of shelves stretched endlessly. It was like entering a secret kingdom.

“There! Bakery section,” Emily whispered, tugging at Noah’s sleeve.

They moved cautiously, eyes darting at the blinking security cameras mounted high on the walls, trying to avoid their gaze as they ducked behind pallets. The only light came from the occasional emergency fixture, casting an eerie glow.

After what felt like an eternity of stealthy tiptoeing, they reached the refrigerated display. And there it was: the deluxe chocolate cake, displayed proudly on a pristine glass shelf—layers of rich ganache with a glossy finish, sprinkled with edible gold flakes.

Emily's eyes sparkled.

She reached for it—a delicacy like this wasn’t meant to be stolen, but tonight was their night.

Before any of them could celebrate, an inhuman whirring noise filled the air, making their skin prickle.

From the shadows rolled a sleek, silver machine—about the size of a large suitcase, but impossibly complex. Its body was studded with blinking sensors and a faint blue light pulsed from its core. “Security Unit Activated,” it intoned mechanically in a dispassionate voice.

Emily froze.

“No sudden moves,” Sam whispered, but the robot whirred closer, emitting a low hum that sent shivers up their spines.

Then, the robot’s core flashed brightly, a beam of blue energy striking Emily squarely in the chest.

“No!” Mia gasped as Emily’s figure shimmered like a heat mirage and then vanished into thin air, leaving nothing but a faint scent of ozone.

The remaining three were rooted in shock, their breaths ragged and minds shattered.

Noah shouted "WHAT THE HELL DID YOU DO TO HER!", as Sam kneeled by the dust, touching it, panting, A woman shouted "I'm calling security you have no permission to be here, you don't have a card, I need security and I need it here RIGHT NOW!", Defiantly, Noah shouted "YOU KILLED HER, YOUR STUPID FREAKING ROBOT KILLED HER", as Sam laid there, almost entirely catatonic.

Before they could react further, the doors slammed shut behind them. Lights flickered, and an automated voice echoed through the warehouse intercom.

“Unauthorized personnel detected. Security protocols engaged. Retreat immediately to security holding chamber.”

Panicked, they darted through the maze of shelves and were soon corralled into a small police-style room. The cold walls, the metal table, the uncomfortable chairs—they knew something serious was happening.

Minutes later, a stern but kind-faced officer entered, holding a tablet.

“We’ve been notified of the incident by Makro’s new security system," the officer began. "It wasn’t theft, exactly. Your friend… was transferred.”

“Transferred?” Noah repeated incredulously. “Like… kidnapped?”

“Not kidnapped,” the officer corrected. “Your friend, Emily, was ‘transmatted’—the security robot isn’t just a security bot. It’s equipped with a chronal transference device, experimental, and it sent her somewhere else in time.”

Sam blinked, disbelieving.

“We’ve traced the coordinates,” the officer continued, tapping the screen. “She was sent to Osaka… on March 31st, 2007.”

Mia groaned, pressing her hands to her temples. “Why? Why would a security robot send her back in time?”

“There’s speculation the system is designed to neutralize threats by removing unauthorized individuals from the present,” the officer said grimly. “Think of it as… temporal containment.”

Emily wasn’t lost. But she was far away. And in a time that no one knew what she would face.

That night, back in Sam’s garage where his computer screens hummed like an orchestra, the three remaining friends sat in silent determination.

“No way are we leaving her in 2007 Osaka,” Sam said, fingers flying over his keyboard. “If the Makro security system can send people back in time, maybe we can send someone forward.”

“This is crazy,” Noah said, eyes wide. “Building a time machine? It’s not just science fiction anymore?”

Mia grinned, pacing excitedly. “It’s dangerous, but it’s our only shot at getting Emily back.”

Days turned into nights as Sam and Mia worked tirelessly, poring over circuit designs, studying physics forums, and scavenging parts from old electronics to assemble a machine unlike any other.

Noah handled logistics: maps, schedules, and covering their tracks.

Finally, bits of metal, wiring, and code came alive—it flickered with blue light, humming softly, the glow of the chronal energy filling the room.

“We’re really doing this,” Sam breathed. “We’re going to bring Emily home.”

And as they stared at their creation—a machine that could defy not just space but time itself—their adventure was only just beginning.

Write Part 2, begins with a recap of Part 1, and several important quotes from Part 1, While they are there they meet a mascot who has served for 7 years and is very scared for his death/retirement, as tomorrow when the monkey replaces him, he will die, while our heroes try to rescue Emily,

Certainly! Here’s Part 2 of your story, starting with a recap of Part 1, including key quotes, then continuing with the new plot developments involving the mascot character and the ongoing mission to rescue Emily in 2007 Osaka.

The Midnight Cake Caper – Part 2: The Mascot’s Farewell
Recap of Part 1

Just days ago, four friends—Emily, Sam, Mia, and Noah—set out on a daring midnight raid of the Makro Cash and Carry to taste the legendary deluxe chocolate cake. But the night turned into a nightmare when a sleek security robot appeared and, with a flash of blue light, “transferred” Emily through time, disappearing her from the present.

“No sudden moves,” Sam whispered. But it was already too late.

Emily vanished.

Noah’s anguished cry still echoed in the empty warehouse: “YOU KILLED HER, YOUR STUPID FREAKING ROBOT KILLED HER!”

The automated voice finally sealed their fate: “Unauthorized personnel detected. Security protocols engaged.”

Now, stranded in 2007 Osaka, the three remaining friends vowed to bring Emily home.

As Sam put it, “If the Makro security system can send people back in time, maybe we can send someone forward.” The impossible suddenly felt within reach.

March 31st, 2007 – Osaka

The three teens blinked under the pale neon lights of the bustling city. They had materialized in a narrow alley near Yomiuri Television’s Osaka headquarters. Their breath puffed white in the cool spring air, contrasting the lively hum of 2007 life around them.

Sam checked his portable Chronal Navigator device—the crude time tracker they’d cobbled together. “We’re in the right year. Now we find Emily.” His voice was tense but hopeful.

Mia pulled her scarf tighter around her neck. “We’ve got one day max before that advanced security system recalibrates. She might not be safe where she is.”

Noah nodded grimly. “Whatever it takes.”

As they began to sneak through the busy streets, a soft, urgent voice suddenly interrupted them.

“Wait! Are… are you friends of Emily?” It was a small figure wearing a bright blue costume—a chubby, square-headed television with big cartoon eyes and a wide smile. The mascot’s name tag read: TV Yan.

Sam frowned. “Who are you?”

“I’m TV Yan,” the mascot said nervously. “I’ve been the face of Yomiuri Television for seven long years now.” His wide eyes darted about. “But tomorrow… tomorrow is my last day. The new mascot—the monkey, Ukiki—takes over. And I…I don’t know what will happen to me after that. They say retired mascots like me sometimes disappear... or are forgotten. It’s like a slow... death.”

Mia reached out gently. “We don’t have to let that happen. You can come with us.”

TV Yan shook his head anxiously. “No. I have a purpose here. But I don’t want to die. I’m… scared.”

Noah swallowed hard. “We’re scared too. We just want to save our friend.”

TV Yan’s voice lowered. “Emily is somewhere inside the TV station. After your arrival, a few workers whispered about strange happenings in the building—glitches, flickering lights, and someone roaming the halls late at night.”

Sam’s eyes narrowed. “Could the old broadcasting equipment or the station’s archival systems be hiding her somehow? Maybe the experimental broadcast tech… or that microwave network line they colorized back in 1962?”

Mia nodded. “We won’t know until we try.”

TV Yan gulped. “I can sneak you inside through the service tunnels I use for mascot appearances. It’s the only way past security.” He glanced toward the giant black building next door, the old Osaka Tokio Marine & Nichido Building. “Just promise me… if I’m to face tomorrow… I want to say goodbye properly.”

Noah looked determined. “Deal. We’ll do this together.”

Inside Yomiuri Television

The trio followed TV Yan through narrow passageways behind the scenes—the corridors smelled faintly of fresh paint and broadcast cables. The station building was a hive of activity with engineers, producers, and staff preparing for the evening news.

“There,” whispered TV Yan, pointing to a restricted area near the studio where security cameras gleamed silently.

Sam pulled out a stolen security card—TV Yan’s tiny paws had helped snag it earlier—and swiped it to open the heavy door.

Inside, strands of old RCA color television cameras hung like relics from a bygone era alongside cutting-edge digital monitors.

Suddenly, a soft voice echoed through the room.

“Who goes there?”

Mia grabbed Sam’s arm. “Stay calm. Let me handle this.”

From the shadow emerged a slender man holding a clipboard—the station’s long-time archivist, wearing thick glasses and a bemused smile.

“You’re not staff,” he said.

Sam stepped forward. “We’re looking for someone. A girl named Emily.”

The man’s face darkened. “You’re the first to say that name in years. I’ve been here since before the digital switch. The old systems still preserve some… anomalies. If she’s trapped in the broadcasts somewhere, I might be able to help.”

With a gesture, he led them toward a vintage control room containing panels from the 1960s patched into modern digital consoles.

“This,” the man said, gesturing to a blinking console marked “Microwave Simultaneous Television Network,” “may hold the key. The high-standard color transmission system from 1962 linked these stations with Tokyo. Something like Emily’s disappearance… it could be residual signal interference locked in time.”

Mia looked at Sam: “We’re going to have to broadcast a signal to pull her back.”

As they prepared the controls, TV Yan lingered at the door, eyes filled with quiet hope and fear.

“Whatever happens,” he said, “thank you for letting me say goodbye.”

Tomorrow:

Will the transmission bring Emily back to the present?

What fate awaits TV Yan as he faces his final day?

And what-else lurks in the broadcasts of Yomiuri Television’s storied past?

The race against time—and retirement—has only just begun.

Would you like me to continue with Part 3 or focus on any of the characters’ backstories or dialogues?

Write Part 3, Emily says she was kidnapped by the robot, which self destructed, Also 6am, Ukiki's debut, Yan begins crying really loudly, saying this is when he dies, The producers tell him he has had a good life and then plug a USB into him which short circuts him, with a agonizing scream, The friends watch him basically die, but then a blue box fades into view, then a Northern looking man with a leather jacket says they have to save him, They run into the box, somehow bigger on the inside, The main introduces himself as the Doctor, and begins repairing him

The Midnight Cake Caper – Part 3: The Mascot’s Final Hour

Recap
After their desperate midnight raid went awry, four friends found themselves torn apart by fate. Emily was whisked away by Makro’s mysterious security robot and trapped in Osaka, 2007. Her friends—Sam, Mia, and Noah—followed through time to rescue her. There, they met TV Yan, the faithful Yomiuri Television mascot who’d served for seven years and now faced imminent retirement and feared “death.” With Yan’s help and a station archivist’s guidance, they prepared to broadcast a signal through the vintage microwave network to retrieve Emily from her temporal prison.

—
Morning, March 31, 2007 — Yomiuri Television Headquarters, Osaka

The dawn light filtered dimly through the windows of a quiet studio. A nervous anticipation stirred as the trio huddled around a console, waiting for Emily’s signal.

Suddenly, a shimmering figure coalesced by the vintage broadcasting equipment—Emily, breathless and disheveled, but alive.

“I was kidnapped,” Emily gasped, pulling her jacket tighter around her. “That robot—it held me inside some kind of temporal loop. Then, it… self-destructed. I don’t know how I escaped the blast, but here I am.”

Mia rushed over, relief washing over her. “We thought you were lost.”

Noah stared at the spot where the robot had vanished. “At least it’s gone for good.”

Emily rubbed her arms. “I barely made it through. We need to get ready to leave before anything else happens.”

From the hallway came a soft but growing crowd. The station was stirring—the famed mascot Ukiki, a lively monkey, was about to debut publicly in a few hours. TV Yan, however, stood apart—his blue costume a little faded, his large eyes glistening.

“Six A.M.,” Yan whispered, barely loud enough to hear. “Tomorrow… Ukiki’s first day. And this is when I die.”

The three friends exchanged uneasy glances. “What do you mean, die?” Sam asked.

Yan’s voice broke as tears welled up. “When a mascot retires here… they unplug the suit. It’s a ritual. The old face disappears forever.”

As the clock approached six, a small crew gathered to witness the mascot handoff. The producers gave soft, reverent nods, patting Yan on the shoulders.

“You’ve had a good life, TV Yan,” said one producer kindly. “Your work brought magic to so many.”

Inside the control room, the friends watched solemnly.

The producer solemnly approached Yan and took a USB device from a pouch. One final embrace, then he inserted the USB into a hidden port near Yan’s neck.

A sharp blue spark flashed, accompanied by a sudden agonizing scream not human but mechanical—a haunting, echoing wail of circuits frying and systems failing.

Yan’s hands dropped limply to his sides; his eyes, once bright, dimmed rapidly. He let out sobs—almost human in their anguish.

“No… no, TV Yan!” Mia whispered, tears streaming down her face.

Yan slumped forward, body twitching once, then still.

The room fell silent, heavy with grief.

Suddenly, a soft shimmering blue box appeared behind them—a strange, glowing portal slowly forming.

The friends turned, eyes wide with wonder and confusion.

From the glowing doorway stepped a tall man dressed in a worn leather jacket, a long scarf fluttering slightly despite no breeze. His sharp eyes surveyed the group with a mix of amusement and urgency.

“I’m the Doctor,” he said in a calm but commanding voice. “And I don’t think we’re done with your friend just yet.”

Sam blinked. “You mean… TV Yan?”

The Doctor smiled softly, stepping forward. “He’s got a bit more life in him than you might think. And I’m here to help — but you’ll need to come through the box.”

Without waiting for an answer, the Doctor gestured and the blue portal pulsed invitingly.

The friends exchanged a glance, then stepped inside one after another.

Inside the box was impossibly vast — a cavernous space filled with glowing consoles, swirling starscapes mapped on the walls, and long, humming corridors of machinery unlike anything they’d ever seen.

The Doctor approached Yan’s inert form, kneeling beside him.

“This is no ordinary mascot suit,” he murmured, running careful fingers over the cables and circuits exposed beneath Yan’s worn exterior. “He’s more machine than costume—an advanced animatronic prototype, decades ahead of its time. They tried to retire him like any appliance, but…” The Doctor shook his head. “There’s more here. A consciousness. I’m going to try to repair him. Bring him back.”

The friends gathered close, hope flickering anew.

“No promises,” the Doctor said quietly, “but if anyone’s going to survive retirement, it’s this guy.”

As brilliant turquoise tools floated through the air, attaching and realigning internal components, the Doctor spoke over his shoulder:

“Now—let’s see if this old friend still remembers how to smile.”

—
To be continued…

Would you like me to continue with the restoration process? Develop Yan’s memories, or explore Emily and the gang’s attempts to return home?

Write the final part, The gang are returned to 2024, The Doctor says Yan's their responsibility now, the box fades away,

The Midnight Cake Caper – Final Part: Homecoming and New Beginnings

Inside the vast blue chamber, the Doctor’s tools worked with swift precision, weaving through Yan’s circuits and animatronic innards. The soft hum of life pulsed back into the mascot’s frame. Slowly, TV Yan’s eyelids fluttered, and a faint, mechanical whimper escaped his lips.

Mia wiped a tear of relief. “He’s coming back…”

The Doctor smiled warmly. “There. His systems are stabilizing. But there’s something else…” He looked up, his eyes shining with a hint of wonder. “Yan isn’t just a machine — he’s become… a friend. Something worth protecting.”

Emily stepped closer, offering a hand to Yan, who blinked slowly and gave a weak, yet genuine smile.

“Thank you,” Yan said softly, his voice a blend of synthetic warmth and newfound emotion.

Outside the chamber, the Doctor turned to the group.

“Now,” he said, “it’s time to get you all home.”

The friends nodded eagerly, the journey and the impossible adventure weighing heavily on their shoulders but also swelling their hearts with hope and purpose.

With a few taps on the control panel, the blue box shimmered and expanded, swirling with pulsating light.

“Step through together,” the Doctor beckoned.

One by one, the four friends and their newly revived companion moved into the glowing portal.

—

In a blink, they were back.

The familiar sights and sounds of 2024 surrounded them—the hum of city life, the glow of digital billboards, and the vast skyline that had changed so much since 2007.

Sam looked around in awe. “We… we made it.”

Emily smiled. “Home.”

Yan took a deep breath, the data streams inside him syncing with the new timeline.

The Doctor turned to face them all.

“Yan’s fate is now in your hands,” he said gravely. “He’s no longer just a mascot or machine. He’s your responsibility.”

Sam exchanged a meaningful look with the others.

“We won’t let him down.”

Yan gave a small, hopeful nod.

With that, the Doctor’s form began to glow, shimmering as the blue portal started to fade.

“Remember,” the Doctor called softly as he disappeared, “time is more fragile than you think. Be the guardians—not only of time but of those you care about.”

The portal blinked once more, then vanished completely.

—

Back in 2024, standing together in the early morning light, the group felt changed—bound not only by their past adventure but by the promise of the future.

Yan, once the forgotten mascot, now their steadfast friend, gave a quiet beep and a gentle wave.

“Let’s make some new memories,” he said.

And with that, the Midnight Cake Caper came to a close—but their extraordinary friendship had only just begun.

—
The End

Would you like me to help with an epilogue or character profiles next?

Write a tweet saying this was a weird 9th story

That was a weird 9th story to write, but what a wild ride! #MidnightCakeCaper #TimeTravelTales

Write a forum conversation saying this was the strangest Doctor-lite story ever, and there is no sign of the companion at all, did Billie's name even appear in the intro or just Chris's