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Times
2 days ago
- Times
17 of the best hotels in Tokyo
Tokyo doesn't ask visitors to understand it — it dares them to keep up. No one who's ever spent any time in Japan's sprawling, neon-lit capital will wonder why it was once nicknamed 'the city of 808 villages': one minute, it seems, you're sipping single-origin espresso in Shimokitazawa; the next, sampling exquisite sushi in Golden Gai, or getting lost in the silence of an ancient Shinto shrine, or gazing in awe at the Imperial Palace (while perhaps wondering if it's too soon to eat again). With so much to take in and so many diverse neighbourhoods to explore, choosing the right base is key. It might be that you're drawn to a gleaming, high-tech tower overlooking the financial district; a hip reimagining of a capsule hotel in lively Shibuya; or a family-friendly crash pad in Akihabara, aka Electric Town — where thousands of computer games beep and flash in giant arcades. Whatever your dream bolt hole looks like, you'll find something to suit. This is our pick of Tokyo's best hotels. This article contains affiliate links, which may earn us revenue £££ | SPA | POOL | Best for ultra-luxe living This six-floor behemoth in the upper echelons of Tokyo Midtown Yaesu tower gives guests another tempting option near the already in-demand Ginza district. Coursing through the decadent spa (treatment rooms have floor-to-ceiling windows displaying gorgeous city views), intricately lacquered bedrooms and expansive roof terraces is a pleasing marriage of Japanese courtesy and Italian exuberance. Everything is meticulously placed, from the gold and green mosaic tiles of the 40th-floor swimming pool to the Bvlgari bedside lamps. As with anything gem-encrusted, it's not cheap, so expect to splurge for the pleasure. • Discover our full guide to Japan£££ | SPA | POOL | Best for luxury The top six floors of the 38-storey Otemachi Tower provide the unlikely home of the Aman Tokyo, found in the city's slick financial district. Decor is inspired by the country's heritage, with stone, washi paper and wood all adding to the understated design. Each of the 84 ryokan-inspired bedrooms is a delight, with low beds and stone bathtubs; while the spa, spanning two floors, has an onsen-style tub to soak in and a 30m pool where you can peer out across the city through floor-to-ceiling windows as you rack up some lengths. Dine at the sushi restaurant where fish is sourced daily from the Tsukiji Market and rolled by the dedicated sushi chef — or pull up a seat at Arva, an Italian-inspired restaurant with a show kitchen. Book ahead for afternoon tea: the pastry chef's creations have become so popular that the hotel has opened a shop in the subway station downstairs.£££ | SPA | Best for foodies This is a hotel made for foodies, who can dine at the flamboyant eight-seat Tapas Molecular Bar, the upscale Cantonese restaurant Sense, or the French fine-dining option Signature, which has sensational views across Tokyo to match its cuisine. The stylish 179 rooms (including 22 suites) also have similarly dramatic panoramas (binoculars help Fuji look even closer), bespoke MO smellies, and in the slick spa there's a hot tub guests can soak in for a small additional cost. Back on street level, you will find yourself in the Nihonbashi district, one of the more historic neighbourhoods to survive downtown.£££ | SPA | POOL | Best for cityscapes Views of the biggest city in the world don't come better than those at the Ritz Carlton. By day it's your perch from which to wonder at Mount Fuji, by night a front-row seat for watching a sea of city lights sparkle. Its never-ending rooms are as sleek and contemporary in design as they are vast in space; rich grey fabrics, floor-to-ceiling windows and lavish marble-clad bathrooms. The hot tub and pool feel equally indulgent and you can dine at one of seven restaurants, choosing between sushi, kaiseki, tempura and teppanyaki at Japanese restaurant Hinokizaka.£ | Best for hipsters If you thought that Shoreditch and Brooklyn were full of hipsters, brace yourself for the mad world of the Harajuku district. For some young Tokyoites, every day is Halloween here — no costume is too wacky, and no style is too strange. Matching this outlandish locale, the Millennials Shibuya offers a new high-tech take on the famous capsule hotel model, with beds that morph from seats to beds in front of their own projector TVs. They also have a (very) happy hour every day, with free beer for all guests.£££ | SPA | POOL | Best for Imperial Palace views It's hard to beat Palace Hotel Tokyo for location — sitting adjacent to the Imperial Palace and overlooking its gardens, its 1-1-1 Marunouchi address is among the most expensive in Japan. The rooms are remarkably spacious, especially the Premier Suites. Tradition is key here and is what draws its often kimono-clad guests. Afternoon tea is served on lacquerware stands while its Japanese restaurant Wadakura has private rooms with tatami flooring. Esterre, the Michelin-starred collaboration with legendary French chef Alain Ducasse, has handmade washi paper adorning its walls.£ | Best for families For some, visiting Akihabara will be a trip to the Tokyo of their imagination. Once dubbed Electric Town, today it's the heart of the city's nerd (or otaku) culture, with thousands of computer games on offer in colossal arcades, a dizzying selection of tech shops, manga and anime meccas and (in)famous maid cafés. Leaning into its unsubtle surroundings, the BnA STUDIO is a loud art hotel in the heart of the action. Rooms are designed by local Japanese artists, including one by the wonderfully named collective 81 Bastards.££ | SPA | POOL | Best for restaurant choice If hotels are supposed to match their surroundings, the Grand Hyatt in Roppongi Hills fulfils the brief admirably. This huge, stylish hotel is cool enough to tempt well-to-do residents from this much-envied postcode to join hotel guests in dining here (there's a choice of ten excellent restaurants). Any first-time visitors to the city will be able to begin their sushi journey at Roku Roku, while Shunbou offers much more elaborate kaiseki menus. For anyone who can't be bothered to leave their room, it's possible to get room service delivered to your balcony. £ | Best for old meets new While super-traditional ryokans are rare in Tokyo, modern takes on the historic Japanese inn formula have become more common. Few do this better, or for a more reasonable price, than Andon Ryokan. Instead of hot baths there are hot tubs, and there are plenty of western dishes alongside Japanese options at breakfast. That said, guests can still participate in authentic tea ceremonies, while it's futons rather than four-poster beds in the rooms. Anyone staying here will also be walking distance from the Kappabashi district, renowned for expertly crafted tempered steel kitchen knives.££ | Best for couples There are many fine hotels close to the Imperial Palace gardens but none quite like Hoshinoya. At once a modern luxury hotel, ryokan and skyscraper, it offers a uniquely Japanese experience in the heart of Tokyo that begins with the impossibly enthusiastic greeting. Incredibly, there's an onsen on the 17th floor, allowing guests to unwind in hot spring water at an improbable altitude. The decor is authentic and practical, with tactile touches tempting you every few yards as you pad around in your yukata and slippers. In the low-lit, wonderfully pared-back basement restaurant you will be served exquisite French-Japanese creations; factor in the whole evening for dining because you will spend plenty of time lingering over each dish before reluctantly compromising the quite extraordinary presentation.££ | SPA | POOL | Best for location The Conrad may not be the most imaginative hotel in Tokyo but its service is first-rate and it has an enviable location in Ginza. A host of Japanese artists have contributed to works around the property too, while its position — spread over ten floors of a 37-storey skyscraper — afford it superb city views. The five restaurants on site are worth considering but for gourmands, the fact that the property is within walking distance of Michelin-starred restaurants will alone justify the reservation.£ | Best for nightlife Tokyo has more oddities than most cities, and not just because of its colossal size. It perhaps shouldn't be surprising, then, that one of the most popular experiences is simply crossing a road. Thousands of pedestrians simultaneously cross Shibuya Junction during rush hour and this intense activity has resulted in it being featured in dozens of films. The Shibuya Stream Hotel is remarkably close to this curious attraction, and all of Shibuya's great nightlife. The decor inside is western in style, with exposed brick and polished woodwork to the fore, and the Torrent Bar is ideal for a couple of looseners before heading out into Shibuya's sea of neon in the evening. £££ | SPA | POOL | Best for guests with tattoos A hotel with a pool is virtually useless in Japan if you have tattoos; while no longer illegal, body art is still frowned upon due to their association with the yakuza (the Japanese mafia), with guests often asked to leave gyms, pools and bath houses. Not so at the Tokyo EDITION, where cocktail maestros in the edgy Gold Bar proudly sport them. Modernity streaks through the rest of the property too, from the indoor jungle that's the lobby to the spacious rooms in muted colours reminiscent of Scandi-chic and Japanese minimalism.£££ | SPA | POOL | Best for early check-in/late check-out With a dedicated exit from Hibiya Station, the Peninsula Tokyo is all about thoughtful extras. Take the dressing tables for example, where a discreet fan exists solely to dry your nail polish. Need to send something to the laundry? There's a dedicated cubby where you can leave items for your valet and vice versa. Even the smallest rooms resemble suites, with their own seating area and double-sinked bathrooms. But perhaps best of all is Peninsula Time — you can check in from 6am on arrival and enjoy a late check out of 10pm if you book direct. | Best for your own private world The geisha districts in Kyoto and Kanazawa may be more famous but Tokyo's Kagurazaka was once renowned too. Opened in 2019, Trunk (House) has been built inside an old Geisha house. The novelty doesn't stop there — it has just a single room and, intriguingly, a miniature nightclub as well. Karaoke is available on request but such is the bijou nature of this unique boutique property that you won't have to worry about a big audience. The decor is a clever blend of traditional Japanese and western, while the cypress-wood bath will feel like a treat for anyone who makes time for it. £ | Best for tradition While ryokans are more typically associated with Kyoto and rural areas of Japan, Tokyo has managed to retain a few amid its rampant growth over the past 70 years. Few are more popular, or offer a more traditional Japanese experience, than Ryokan Sawanoya. Guests will be expected to leave their shoes at the door and wear yukatas (cotton kimonos) inside. Nights are spent sleeping on futons rolled out on the tatami mat floors, while the staff do their utmost to make sure you're comfortable. Even their website feels traditional, having been designed in the 1990s and stayed almost heroically lo-fi ever since. ££ | SPA | Best for peace and quiet Serene spaces are few and far between in Tokyo's heady metropole, but this blissful blend of neat Japanese design and sleek, modern touches may just mark the start of a new trend. Skirting the edge of the funky Shimokitazawa neighbourhood, Yuen Bettei Daita is a hot spring onsen, ryokan and tea house all rolled into one. Designed in the style of a spacious Japanese house, this stone, wicker and wooden property oozes tranquillity; voices involuntarily drop to near whispers on entry and heart rates plummet in the warm, alkaline-rich waters of its many baths. • Best things to do in Tokyo• Best things to do in Japan Additional reporting by Lucy Perrin, Qin Xie and Julie Alpine
Gulf Insider
18-07-2025
- Entertainment
- Gulf Insider
‘Art of the Kingdom' Exhibition Opens in Beijing July 30
The Museums Commission announced that the traveling exhibition 'Art of the Kingdom: Poetic Visions' will open at the National Museum of China in Beijing on July 30, marking a cultural milestone in celebration of Saudi Arabia and China's diplomatic ties under the 'Saudi-Chinese Cultural Year 2025' initiative. This exhibition is the first of its scale to showcase contemporary Saudi artists abroad and features more than 30 artists of diverse backgrounds and styles. It offers a platform to explore bold themes such as identity, memory, tradition, and transformation — through painting, installation, video art, and multimedia works — presenting a powerful portrait of Saudi Arabia's evolving creative landscape. The show follows previous stops in Rio de Janeiro (November 2024) at the historic Imperial Palace and Riyadh (early 2025) at the Saudi Museum of Contemporary Art in JAX. Its arrival in Beijing marks the third leg of its international tour. Among the featured artists are renowned names such as Manal AlDowayan, Muhannad Shono, Lina Qazzaz, Ahmed Mater, Ayman Yossri Daydban, Dana Awartani, and Shadia Alem, offering visitors an in-depth journey through Saudi Arabia's visual culture and artistic narratives. The Beijing edition also includes a new section honoring Saudi modern art pioneers from the 1960s to 1980s, alongside curated selections from the Saudi Ministry of Culture's collection. Focusing on the desert and cultural heritage as its twin themes, the exhibition invites audiences to engage with the region's evolving visual identity while sparking dialogue on contemporary Saudi life. The exhibition exemplifies how cultural diplomacy can strengthen mutual understanding between nations. It also reflects Saudi Arabia's ongoing cultural transformation and international outreach as Saudi artists increasingly gain visibility on the global stage. Also read: Commerce Ministry Names Violator for Selling Non-compliant Electrical Products in Khamis Mushait
Yahoo
11-07-2025
- Politics
- Yahoo
The Food Melania Trump Absolutely Refuses To Eat (Even When Visiting Foreign Leaders)
We may receive a commission on purchases made from links. The role of the First Lady in American society ranges from cultural influencer to social advocate, with variations as diverse and distinct as the people who held the title. Accompanying the Commander-in-Chief to official dinners held by foreign leaders is another duty assigned to this prestigious position, and First Lady Melania Trump has a strict rule about what she's willing to eat during these auspicious occasions. In "Melania," the First Lady's 2024 memoir, Trump provided a directive to the chefs at Japan's Imperial Palace in 2019. "I made it known that I do not eat raw fish," said Trump (via Hola!). Despite her refusal to consume raw fish — which is commonly enjoyed in Japan — Trump claimed, "I still made an effort to try local cuisine whenever possible." She went on to praise the "delicious blend of flavors and textures" of the foods she was willing to eat during her dinner with the Japanese Imperial Family. While some might question the First Lady's stance, at least it didn't lead to the kind of mishap that befell a different White House occupant. Famously, President George H.W. Bush vomited into the lap of then Prime Minister Kiichi Miyazawa in Tokyo. The cause was later determined to be a bout of acute gastroenteritis, a temporary stomach ailment that often results from bacterial and viral infections. Read more: 12 Cheap Fish You Should Absolutely Never Eat Melania Trump's memoir is brimming with personal insights straight from the unfathomable mind of the First Lady, but it doesn't appear that Trump ever explains her distaste for raw fish. That leaves us to speculate why she might avoid such preparations. For example, concerns about food safety are common when it comes to all types of uncooked items. While some of us at Mashed (i.e., me) have a huge affinity for raw fish (and aren't afraid of questionable gas station sushi), improperly prepared foods can cause severe bouts of foodborne illness in vulnerable people, such as those over 65 and people with compromised immune function. While healthy people face a relatively low risk, they can still experience symptoms like diarrhea and vomiting should they encounter a bad piece of fish. To many people, the tender, toothsome texture of raw fish is one of its biggest selling points, but others find it off-putting. There's no way to tell whether Trump falls into the latter camp, but it's worth considering what we know about the First Lady's preferred foods. It's been reported that she is a fan of breakfast smoothies, Diet Coke, and entrees like chicken Parmigianino. So perhaps her tastes simply veer away from dishes like sushi, sashimi, and ceviche. Read the original article on Mashed.
05-06-2025
- Entertainment
Japan's National Theater at the Crossroads: Stalled Redevelopment Leaves Performers, Fans in Limbo
The National Theater has been the home of traditional Japanese performing arts since its opening in 1966. Now the aging complex has closed its doors, and a controversial redevelopment plan has stalled, raising questions about cultural policy and the future of the performing arts in Japan. The iconic stage at Japan's National Theater, renowned for its Japanese cypress boards and elaborate stage machinery, has fallen dark. Performances at the aging theatrical complex in the heart of Tokyo came to a halt in October 2023, and plans to redevelop the site in collaboration with the private sector have stalled, leaving practitioners and fans of Japan's traditional performing arts in limbo. Origin and Mission of the National Theater The National Theater, located just opposite the Imperial Palace in central Tokyo, was established in 1966 for the purpose of 'preserving and promoting Japan's ancient traditional performing arts' by 'presenting performances, training successors, and conducting research.' The proposal for a national theater in Japan has been through various iterations since the early years of the Meiji era (1868–1912), each reflecting the national aspirations of the time. In the Meiji, such a theater was promoted in the context of the government's Westernization drive. After World War II, it was re-imagined as a symbol of Japan's rebirth as a 'cultural state.' But the groundwork for such a program was not laid until 1954, with the revision of the Law for the Protection of Cultural Properties. The revised law instituted a system for the preservation of 'intangible cultural properties,' including traditional crafts and performing arts. This paved the way for the establishment of a central institution tasked with advancing a comprehensive national policy for the performing arts. At the National Theater, established professionals in the traditional Japanese performing arts have had the opportunity to explore and study artworks in depth and produce polished performances that captivate audiences. At the same time, the National Theater has provided broad-based support for the growth of the performing arts at the amateur and semi-professional levels by opening up its theatrical facilities to a wide variety of independent performers. Among the National Theater's core functions is the training of young performers to carry on Japan's performing-arts traditions. Kabuki has traditionally been dominated by established families, in which skills are passed down lineally, from generation to generation. Yet today, graduates of the National Theater's training program account for about 30% of all active kabuki actors and almost 90% of the art's narrators and musicians. In 2019, Takemoto Aoidayū, a product of that training program, was designated a living national treasure. The National Theater's raison d'être lies in its steady support for critical aspects of cultural preservation that cannot be left to the private sector because they cannot be relied on to generate short-term profits: the presentation of authentic classical works in their original form and the cultivation of young practitioners to carry on the traditions of Japan's performing arts. That said, there is no denying the fact that the National Theater's devoted audiences, much like its performers, are showing their age. Hobbled by its 'highbrow' image, the theater has failed to attract younger patrons in significant numbers. With this in mind, government policy makers hammered out a new vision for the National Theater of tomorrow. While built on the same site and reaffirming the institution's core commitment to the traditional performing arts, the new National Theater would be an open, accessible, and lively hub that would also function as an international center of cultural tourism. It was to open by the autumn of 2029. But two successive invitations to tender (ITTs), in 2022 and 2023, failed to yield a qualified bidder. As a result, the aging National Theater closed its doors in October 2023 with no clear prospects for reopening. Hurdles to Private Investment The redevelopment of the National Theater complex has been presented as a major state initiative involving multiple agencies, including the Ministry of Education, Culture, Sports, Science, and Technology (MEXT), the Agency for Cultural Affairs, and the Ministry of Land, Infrastructure, Transport, and Tourism. Responding to questioning in the House of Councillors Budget Committee in March this year, Prime Minister Ishiba Shigeru called the National Theater 'the face of the arts in Japan' and made it clear that he considered the current impasse unacceptable. Yet the project remains stalled. Several factors have contributed to the failure of the government's ITTs. Foremost among these are the labor shortage attending the sudden resumption of construction projects after the COVID-19 epidemic and the rising cost of materials resulting from the weak yen and the war in Ukraine. These problems are not unique to the National Theater project; indeed, the media have been rife with reports of failed ITTs for new hospitals, schools, and construction in disaster-hit communities. But there are additional factors that have soured private developers on the National Theater project. To begin with, the architectural and engineering demands are daunting. Japan's traditional performing arts have unique staging requirements that must be built into the theater. Kabuki stages, for example, typically feature a hanamichi, a raised runway by which characters enter and exit through the audience, and many plays require a revolving stage, elevators, and other complex machinery. The National Theater at the time of its completion with a view of the stage from the audience (top). The 20-meter revolving stage has 16 movable platforms (bottom) allowing for a range of complex effects. Photographs taken in October 1966. (© Jiji) The National Theater was equipped with the largest revolving stage in Japan, with a diameter of 20 meters. The kabuki stage also has 16 platforms that can be raised and lowered individually. The machinery that controls these effects extends roughly five stories below ground level and weighs about 300 tons. There are no engineers or artisans living today who can share the lessons learned from the National Theater's construction six decades ago. It will take considerable time and expertise for designers to work out the best approach, keeping in mind the Metropolitan Expressway that runs beneath the site. Moreover, in earthquake-prone Japan, public buildings must comply with strict safety standards that have grown tougher and tougher over the years. (One reason the decision was made to demolish and rebuild the National Theater, instead of renovating the existing complex, is the extent of structural changes required to bring the buildings up to code.) Limits of the PFI Model Also at issue is the private finance initiative method that the government has chosen to implement this ambitious project. In a PFI, the government enters into a long-term contract with a private company to build and operate a public facility. The terms of the contract are meant to prevent the cost to the government from ballooning by ensuring that considerations of cost-efficiency and profitability are incorporated into the process at each stage, including post-construction maintenance and management. Since the early 2000s, PFIs have accounted for a growing share of public infrastructure projects. It is easy to understand why the Japanese government would embrace this model for the new National Theater. Demographic aging and population decline are causing Japan's social security expenditures to balloon even while the tax base shrinks, putting the government in a fiscal bind. However important the center's role as 'the face of the arts in Japan,' it is hard to justify using taxpayer money to build an expensive facility that critics may say will only benefit a very privileged portion of the population. With this in mind, the government opted for a PFI project aimed at developing a multipurpose complex that included such privately-owned, revenue-generating facilities as hotels, restaurants, and cafes, alongside the theaters themselves. The idea was to create a public space used and loved by a broader cross-section of the population, even while maintaining the National Theater's core functions, and at the same time minimize the impact on public finances. But prospective bidders were deterred by the risks of the scheme, which called on the winner to manage and maintain the facility for 20 years after completion while paying the state for use of the land (with rent initially calculated at ¥965 million annually). If revenues fell even slightly short of projections, the company would be saddled with long-term losses. Last February, policy makers announced plans to make the project more palatable to private developers, including lowering the rent and dropping some of the initial requirements, such as the inclusion of a hotel in the complex. The government has now allocated about ¥102 billion for construction, including supplementary funds to cover rising costs. Yet there is still no word on the timetable for a third ITT. Dwindling Spaces, Endangered Traditions Despite the closure of its performance spaces, the National Theater has not shut down its operations entirely. Some of the teaching and practice facilities within the complex are still usable, and training for young artists continues there and at the National Olympics Memorial Youth Center in Shibuya. But as professionals will tell you, 'one performance is worth a hundred rehearsals.' The loss of opportunities to perform in front of a live audience for a period of five years or more could stunt or even end budding careers. Aware of this danger, the National Theater has made efforts to secure alternative venues. But according to a survey by Geidankyō (Japan Council of Performers Rights & Performing Arts Organizations), the number of kabuki and bunraku performances scheduled by the National Theater in 2024 was down 42% and 5% respectively from 2019. A decline of this magnitude jeopardizes the very survival of kabuki as a living art form. A big part of the problem is the shortage of theaters in Tokyo. Even before the National Theater closed, the closure of theaters for renovations or financial reasons had created fierce competition for the remaining spaces. The public halls run by local governments operate on the principle of equal access for all members of the community, with little or no regard for whether artists rely on public performance to earn a living. But another issue is the relationship of the performers to the National Theater. Most European national theaters have their own resident companies and employ the performers and directors as part of their regular staff. If such a theater were to cut back on performances, leading to lower compensation, it could be subject to union action or administrative lawsuits. For this reason, when a European national theater is scheduled to close for renovation, the managing entity works proactively to secure alternative performance opportunities, as by arranging world tours. Japan's National Theater does not employ performers or directors on an ongoing basis. When opportunities to perform in National Theater productions dwindle, the onus is on the performers to compensate for the loss of income by raising funds and creating their own performance opportunities. For this reason, National Theater performers have banded together to apply for grants, organize fundraising events, plan programs, and arrange independent performance opportunities, including domestic and international tours. But it has been an uphill battle owing to the intense competition for funds and performance space. Clarifying the Mission The plan to redevelop the National Theater has provoked a good deal of debate over such nuts and bolts as the location of the complex and the method of financing. But the key issue is the fundamental question of what the public and the performers expect from Japan's National Theater. National theaters first appeared in Europe, where their emergence coincided with the rise of civic life in modern nation-states. Japan's historical background was quite different, as was the cultural milieu into which this foreign model was transplanted. Japan already had its own system with separate theatrical and dance troupes—each with its own established traditions, methods, and performance styles. Grafting a European-style national theater onto this smoothly functioning system inevitably raised problems. It is all the more important, therefore, that we begin this historic redevelopment project by clarifying the purpose of the National Theater and its place in the lives of the Japanese people. Does anyone really believe that the deliberations and discourse carried out to date have been sufficient to accomplish that? This unanticipated hiatus in the National Theater's operations is an unlooked-for opportunity to formulate a blueprint for the next 100 years, and it would be a shame to waste it. We should also seize the occasion to reassess Japan's cultural policy vis-a-vis the performing arts. This country lacks a stable cultural infrastructure where professional performers can securely train, explore their art, and earn a living. This requires the construction of multiple public theaters tailored to specific uses but available for sharing when one or another facility closes for renovations. The government needs to start looking at the performing arts as an industry, not a hobby, and implement policies that provide a sustainable working environment for the individuals and groups who rely on public performance to make a living. The search for optimal design solutions should proceed with this premise in mind. (Originally published in Japanese on May 15. Banner photo: The National Theater in Tokyo. © Jiji.)
The Independent
01-05-2025
- Business
- The Independent
Palace fires employee for stealing cash from Japan's royal family
The Imperial Palace in Japan has fired an employee for stealing cash totaling 3.6 million yen ($24,900) from Emperor Naruhito and his family over more than a year. In an announcement on Thursday, the Imperial Household Agency identified the suspect as an employee in their 20s who was one of about 80 attendants assigned to the palace or the agency building to serve the daily needs of Naruhito and his family. The case came to light in March during an internal investigation by the IHA that started in January when an assistant manager of the department noticed a discrepancy between the cash in the safe and the accounting book. When an agency official detected the loss of 30,000 yen ($207) in late March, the suspect, who just ended an overnight duty, was asked about the matter. He admitted stealing cash due to financial difficulty, the Imperial Household Agency added. The employee admitted to stealing a total of 3.6 million yen on a number of occasions from November 2023 to late March this year. He later returned the money by mid-April. The theft is an embarrassment for the royal household and officials said it's been unheard of in modern history. The money was part of a 324 million yen ($2.24 million) annual budget allocated as living expenses for the emperor, his wife Masako, their daughter Princess Aiko and Naruhito's parents — former Emperor Akihito and Empress Michiko. The IHA said it had filed a criminal complaint to the palace police and formally dismissed the employee. The assistant manager in his 40s, who initially noticed the cash irregularity in January, was given a one-month salary cut over his lax accounting management, the IHA said. IHA chief Yasuhiko Nishimura said the theft by the employee as a public servant and a staff serving the Imperial family was 'unthinkable' and 'extremely regrettable,' and apologized to the emperor and his family, NHK public television reported. He pledged to tighten discipline among the palace staff, according to media reports.
