This review may contain spoilers
A high-concept asadora let down by subpar writing
The grand idea of this series was to have an asadora that would span 100 years of Japanese history through the stories of the lives of three generations of women: Yasuko born in 1925 who is the mother of Rui born in 1941 who is the mother of Hinata born in 1965.Yasuko's story (episodes 1-35) is actually quite good if utterly tragic. She is born into a family of confectioners in Okayama, and at age fourteen falls in love with a rich college student. But, don't worry, she isn't married and pregnant until age 16. All of her blood relations (except her unreliable older brother) as well as her husband are all killed in the war, and her mother-in-law irrationally blames Yasuko for her son's death in combat and chases her out of the household. Yasuko tries to raise Rui alone by selling sweets on the streets of Osaka, but when she breaks an arm in a traffic accident she's forced to return to the mansion of her dead husband. A rather ineptly written love pentagram results in her older brother absconding with her savings and fleeing to Osaka chased separately by Yasuko and, yes, independently 6-yearold Rui. Both return return to the mansion in Okayama where Rui tells Ysauko "I hate you" and so Yasuko flees to America with a tall blond officer from the American occupying forces. No, none of that week's episodes make any sense at all.
Rui's story (episodes 36-77) begins after a time leap to her adulthood where with no motivation given whatsoever she leaves the rich household and cuts off all ties with her family. The generation that chased her and her mother out of the house are now dead and she has a perfectly fine relationship with her uncle who is now the head of the household. In Osaka she finds new joy as a laundress, and falls for customer who is a jazz trumpeter, Joe. He wins a bizarre one-off trumpet competition and lands a recording contract in Tokyo. But, unfortunately, his lips break while recording his debut record (as a former trombone player, I have to say that this plot point is utterly bizarre). He distances himself from Rui, and tries to end his life, but she saves him through the power of Satchmo. They get married, move to Kyoto, obviously, and start a shop that only sells kaiten yaki since that's the only recipe she managed to learn from her mother, and, apparently, it's impossible in the 60s to learn any other recipes. They have Hinata and later her brother Momotaro. Joe is happily unemployed for 20-odd years until he suddenly has the bright idea of trying to play another instrument. No, that does not make any sense at all.
Hinata's story (episodes 78 - 112) has her finding a love of samurai dramas as a child and becoming an employee at a local studio's tourist trap where she is given the mission to "save period dramas" in Japan. She has an extended courtship with a samurai drama extra which does not work out after an 8 year time leap in which nothing changed whatsoever in their relationship. Eventually, an American film company comes to town looking to make a big budget Hollywood film in Japan and so Hinata saves the period drama in Japan by serving snacks like any good office lady and speaking the English she has learned via the same radio show that Yasuko and Rui used to study English. The final two weeks of episodes bring all three of women back together in a way that makes even less sense than the rest of the series.
A "drama that spans a century" seems like a solid concept, but the writing utterly fails the concept throughout this series. Like most asadoras there are many fun and interesting side characters, and the performances of the actors are up to the usual high standards for these productions. But the motivations of the characters for the various plot points are FREQUENTLY incomprehensible or non-existent throughout this asadora, and the necessary time leaps almost always reveal zero change in the characters lives in the intervening years. Much of what happens throughout would make sense if the particular arc took place over a year or two, but absurd plot points are spread out sometimes over decades in ways that truly ruin this series.
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A Quality Survival Show
The Nizi Project is a survival show made in collaboration by JYP Entertainment and Sony Music Japan to create a "global" girl group by which they mean a Japanese girl group that they hope to market internationally. The idea is to create a J-Pop group using the training methods, aesthetics, and standards of K-Pop. This 10 episode series is the first of two which resulted in the creation of the group NiziU ("Needs(y) You"). This first series is mostly set in Japan and covers auditions in 8 cities in Japan, an audition in Hawaii and one in Los Angeles as well as a subsequent elimination process to select a group of trainees to be sent to Seoul for the second series of the show.The host and only vote which matters for this show is JYP himself, Park Jin-Young. He does take care to listen to his staff, but at each step of the process, it's pretty clear that he is the one who will be making the decisions, and, ultimately, choosing who will go on to Seoul for training (and, in the second series, who will be in NiziU).
Each of the women who pass the audition episodes are given a necklace with four slots for bedazzled puzzle pieces. Filling all four slots will result in the women being sent to Seoul, but the gimmick is pretty pointless since JYP can grant additional puzzle pieces to the women pretty much whenever he wants to. The necklace does, however, serve to frame for the viewers the four abilities that the women are to be judged upon throughout both series: singing, dancing, variety show skills and likability/cooperation/discipline.
Unlike many shows in this genre, the focus is almost entirely on preparation and performance. Very little time is spent on the women's background stories, dorm-room interactions or variety show games. Furthermore, I do not believe there were any product placement segments at all (other than the music used for the performances - you will hear a lot of JYPE's TWICE and ITZY) in either series.
JYP is charismatic and knowledgeable, but he can be capricious in his criticism occasionally lambasting the individuals for being outside the narrow scope of what he considers the essential standards of K idols even when the performances are good.
The candidates themselves are the usual mixture of pop-star wannabes of various levels of skill and and training with a few ringers who have already been training at JYPE for years. There is not much tension for a few of the women who probably should have debuted a year or two ago, but, nevertheless, it is very fun to meet all the candidates and see what they can do.
The fact that there are no live audiences and no viewer input whatsoever is probably why this is one of the best singing competition shows ever produced. There can be no accusations of vote rigging or producer manipulation of audience voting via wildly disparate allocation of screen-time when there is only one voter who is not even seeing the final edit of the show. If you always wanted a singing and dance competition where the focus is entirely on, you know, the singing and the dance, then this is the show for you.
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Sono “Okodawari”, Watashi ni mo Kure yo!!
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It's mostly cringe humor a la The Office or Christopher Guest films like A Mighty Wind or Waiting For Guffman. It's unclear the extent to which the scenes are improvised, but they might well be. You might think after you've watched the first four episodes, that you know how this show will go with each episode featuring a different strange obsessive, but then the series becomes more about Matsuoka and Ito's approach to the show and life in general and begins to tackle themes of how people create personas for themselves on screen and what it means to be authentic in the kinds of bizarre and scripted situations that crop up on variety shows. And the show does so while largely staying funny.
There are some mild twists, and a really silly denouement. There are a couple of plot points that are made and then immediately forgotten about. I'm not quite sure that it nails the landing or satisfactorily concludes its theses, but the mere fact that it attempts to address the issues of persona and performance in variety shows is surprising and interesting.
Under-girding the whole show is the delightful chemistry between Matsuoka and Ito. Who knows if they are as close friends in the "real world" but the friendship as its portrayed feels authentic, and provides a lovely foundation for the show.
It's a show that has not had many viewers, but is, nevertheless, well worth checking out.
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This review may contain spoilers
This asodora has some unexpected twists in the last 25 episodes when the land lady, Tomo, reveals her Force power, the protagonist Mineko turns out to be a Tanuki robot from the far future (2017) and a group of the characters band together to execute a daring rescue mission.Before that it's warm story taking place between 1964 and 1968 examining the migration of workers from rural provinces like Ibariki to urban centers like Tokyo. The spine of the plot is centered, lamentably, on an amnesia trope (a lame trope or the lamest trope?), and everything about one of the associated characters, Kanamoto Setsuko, makes no sense whatsoever. But that's about the sharpest criticism that can be leveled against this otherwise uniformly delightful morning drama.
The main character is charming enough, but the really great moments of the series fall to several of the tertiary characters who are still dealing with the consequences of WWII. The rapid changes of the 60s form the backdrop, and the Tokyo Olympics, Beatlemania, miniskirts and Twiggy all play a role in the lives of these characters.
Special mention also must be made to two of actresses, Sakuma Yui and Ito Sairi, who were in Transit Girls together a few years before. Sakuma's role is quite substantial as Mineko's best friend Tikiko who goes to Tokyo at the same time as Mineko and seeks to become an actress. Ito's role is much smaller but recurring, and the two do get a few scenes which had me as a fan of Transit Girls wishing for them to kiss (again).
As a whole, it's the usual high quality that one expects from an NHK asadora though personally I think Amachan deserves the higher rating between the two.
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An Interesting Alt History of Edo Period Japan
I will preface this review by saying I have not read the manga which ran for 17 years, nor watched this year's anime on Netflix, nor seen the prior drama series from 2010, nor the prior two movies. I imagine that one's experience of this series could vary widely based on how much of the prior material you have encountered.The premise of this drama is that Japan experienced an on-going plague starting in the reign of 3rd Tokugawa Shogun in the early 1600s that reduces the population of men to one quarter of that of women. Thus, part of what Ooku explores, in general, is what that change in demographics might mean to the roles of men and women. What would Edo-period Japan have been like if women were in charge?
This drama is roughly divided into three chunks covering incidents in the lives of the woman who took over the role of the 3rd Shogun, and then 5th and 8th Shogun. The 8th Shogun serves as wrapper for all the episodes as she reads about the lives of these prior two Shoguns. The manga continued through the 14th Shogun, and so this drama does not attempt to cover the entire run of the manga, and, indeed, one presumes Season 2 will cover more of underlying material. Nevertheless, this series (like many other manga and novel adaptations) does suffer a bit from trying to cover too much of the original material.
The cast is huge and the production fairly lavish though we comparatively rarely see what life is like outside of the Shogunal residence in Edo. Like many Roman and Chinese emperors, the Japanese Shoguns in this period seem to be fairly isolated within a system meant to protect them and insure the continuation of their dynasties. And, indeed, the Ooku was the quarters for the Shogun's concubines during the Edo period, and so becomes the quarters for the male concubines in this alternative history, and so part of what the series explores why and how men come to serve as concubines, and how the system works (and sometimes fails) to produce heirs to the Shogun.
The series does address some interesting and perhaps surprising issues over the course of this season, but I do think the quality and interest of the three sections are fairly even though they cover entirely different themes and have have mostly different casts of characters. There are some striking moments scattered throughout the series, and the performances vary from solidly professional to quite good. If you enjoy alternative histories and Japanese period dramas, it's well worth watching.
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Chanmina's Girl-Group Survival Show
Here's an idea: let's take all the budget for a girl-group survival show and allocate as much of that budget as we can on the finale and hold that finale in a packed 20,000-seat arena. We won't have a host or a narrator. All the earlier rounds will be filmed in various rooms around the agency, plus, maybe a small gym for one performance round to hold an audience we won't even bother to show on camera.Honestly: it's great.
The popular rapper Chanmina and SKY-HI, the head of the agency, do all the work as hosts and judges, but even SKY-HI's role is primarily to echo the things Chanmina says and leave the production in her capable hands. There are a few choreographers and a solid vocal coach, but this series is primarily Chanmina's show.
Chanmina's idea for the group is to provide an opportunity for and develop the talent of women who have been rejected repeatedly by the industry. And she is wholly committed to the project. After the initial auditions and cuts take the candidate pool down to 30, she bleeds at every further cut, and so tries to do so as compassionately and transparently as she can. Unlike most other survival shows, there is no audience voting, and the cuts are decided wholly by Chanmina and SKY-HI.
The show is otherwise pretty standard: the women are divided into groups and given pieces to perform over a few rounds to display their skills in singing, rapping and dance. However, whereas every survival show I've seen stops at the final selection of the members of the new group and announcing its name this series gives us one more episode to reconnect with every single member of that initial 30. And while the editorial choices in that final episode are unusual - we step back in time before the arena show for 45 minutes of the 80 minute episode before getting snatches of the other woman's performances in front of the stadium audience - the climactic performance of Sad Song by the top 10 and Chanmina is one of the most moving moments I have seen on any survival show.
Most of this series was filmed in August of 2024, and in an another interesting production choice, the final 10 are given 5 months to prepare for the arena show. Of course, the real reason for that long preparation is that Chanmina was pregnant, and she had her baby in November. The only mention of that fact occurs in the last 10 minutes of the final episode when Chanmina says that she now has seven daughters ... and her daughter. But, in terms, of appropriately assessing talent, it is hard to imagine a more fair way than giving candidates that kind of stage including all the stagecraft, back-up dancers and musicians as well as that much preparation time to really show what they are capable of. I can't imagine we would ever see its like on any future survival show, and the results are pretty spectacular.
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A Good, Solid High School Romance
I have not read the manga nor seen the anime, and so I cannot speak to the faithfulness of this adaptation. Nevertheless, this live action series is better than I expected. It is a very typical high school romance given a bit more life than usual through by focusing on the two leads entering the world of cosplay, and by the performances of its two young leads, Nagase Riko and Nomura Kota.Nomura's Wakana is shy and introverted, and so I'm sure you'll be shocked to learn that Nagase's Marin is outgoing and extroverted. The roots of Wakana's social isolation is absolutely absurd - he was teased as a youngster for liking dolls which, you know, gender stereotypes, but the thing is that his family's business is handcrafting ... dolls and so you'd think at some point before his second year of high school he'd have mentioned that fact to, I don't know, ANYONE AROUND HIM, and accepted and owned the fact that he likes making them. Instead, we have Marin breaking into his bubble of isolation to avail herself of his sewing skills as she begins to explore her new interest in cosplay.
An uncharitable reading of this series might be that Marin is just yet another MPDG dragging a socially delayed Wakana out into something like a wider range of interests and social interactions. And as always YMMV as Marin perpetually grins and invades everyone's personal space in what I assume is genkiness straight from the pages of the manga. But I do think these tired tropes are redeemed a bit by what's happening romantically within the characters, and the fact that the resolution (at least in this season) is not exactly what you might expect given the set up.
Both Wakana and Marin have very small families for reasons that are never touched upon let alone explained: Wakana is being raised by one of his grandfathers, and Marin is largely living alone occasionally visited by her father who is frequently away on business. The series thus focusses entirely on the joint creative adventures that the two share as Wakana makes costumes for Marin. And I do think the series shines as Wakana discovers that his skills are valued in that community and as Marin receives well-deserved attention for her presentation and performances of the characters she loves and brings to life. And I do think both Nagase and Nomura portray their enjoyment of this shared interest quite well.
I also must shout out Ikeda Akana in the small secondary role of Sajuna, a more experienced cosplayer. She plays the role with a very deft deadpan that brings an unexpected and much-needed touch of humor to the series.
My one slight, genuine negative note about the series is purely cinematographic. The production clearly intentionally went for a wide-aperture, utterly washed out look throughout the series. Were they trying to hide acne on the young actors? Neither Nagase nor Nomura seem to need that. Were they avoiding having to clean up exteriors for the MANY shots of the characters backlit by bright windows? Who knows, but at times the feel of the series is that all of this is taking place on the surface of the sun.
But that niggle aside, I do recommend this series as a light high school romedy that does not have much to say, but is a cheerful diversion nonetheless.
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A Chill Sci-fi Web Series Available On YouTube
Three aliens from billions of light years away on the planet Skuld land in Tateyama, Japan having intended to land in Southerland, Scotland. They are beings of pure data and are here to learn about Earth and meet Remi, a part-time property manager, and her friend Ryo. The brief episodes touch upon life and love and art from the three's alien perspective. The stakes remain relatively low throughout, and the script could use some tightening. But the performances are good from the young cast, and the drama is quite well shot and edited. The series is ultimately sweet, but probably not all that memorable.Was this review helpful to you?
More Yokai Sharehouse
If you've seen the previous two series, then you know the drill. Mio struggles with self esteem while saving the world with her loyalty and steadfastness and, of course, the support of the monsters in her sharehouse. I strongly disliked S2 because it immediately undid all her character growth from S1, and never even brought her back to the same level of maturity she reached at the end of S1. However, the movie here is somewhere in between the two seasons for me in terms of how much I enjoyed it. It's framed around a topical albeit tepid plot about how AI might reshape our world, and kudos for getting this movie out maybe 9 months after the news about chatGPT and AI art generators were breaking news.All the usual suspects are here in addition to the five principal characters. Many of the major secondary youkai from the series show up for at least a cameo. The acting remains broad and OTT like the prior series, but Koshiba as Mio anchors the chaos as always and has some moments to shine. The new ML for the movie, Mochizuki Ayumu as Aito, does as well as one could expect in the tropey AI learns what it means to be human role.
If you liked either of the previous series, it is worth checking out, IMO. And if you just want to sample the world, it is comparatively standalone, though personally I would recommend the first season over it.
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Slightly sweet, slightly sad but very formulaic
Wada Masao is the bass player for the popular rock fusion group Gesu no Kiwami Otome under the stage name Kyūjitsu Kachō (Weekend Manager). In 2018 he appeared on the Netflix reality show Terrace House for the end of its Opening New Doors series where he wooed one of the housemates by making his clam curry for her. In 2020 he released a cookbook which formed the basis for this series.Each episode follows the same structure. The show begins with a cold open of the young salary man Wada Masao at work or rehearsing with his band. He then goes to the local grocery when its about to close where he encounters a sales clerk and a stock boy (played by the real Wada Masao who has, maybe at stretch, a dozen lines over the course of the series). Back at home he prepares a meal. Most of the ingredients and timings are mentioned, but I'm doubtful that these scenes would suffice for someone to execute the recipes. At that point, a woman who he has encountered recently appears at his apartment, eats the meal with him and praises his cooking ... and then disappears because these nightly fantasies are all he has going at this point. He then calls his childhood friend Tomoko who is working in New York and there are some final credit scenes with his band or work.
So, in part, this series is about the formation of Gesu no Kiwami Otome. (The diegetic music played by the band is a couple of their songs though Masao's other band Dadaray provides the title and credit tracks for the series.) And, in part, the series is about Masao becoming more assertive, deciding what he wants to do with his life and choosing between a conventional work life and pursuing music more seriously. The series has a few good moments and the last couple of episodes work quite well. The acting is mostly understated and the vibe of the series is quite chill. (You were expecting action scenes in a series based on a cookbook?) All in all, I found the series mildly enjoyable, and the series ends with a nice little crescendo.
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One of the weakest asadoras in the past decade
Mai Agare! was the winter asadora which started in the fourth quarter of 2022, and is the fictional account (as opposed to a fictionalized biography) of Mai who aspires to soar into the sky. She makes a lot of progress towards doing so in the first half of the series in which she grows up and heads to college where she becomes the pilot for a club which works on building human-powered aircraft, and then shifts to flight school where she successfully graduates and is all set to become a commercial pilot in Japan.And so, naturally, at that point the script turns abruptly from the exciting world of piloting to ... the manufacturing of screws and the plight of small production factories in Osaka.
Look. I'll spare you all the details, but I'm entirely the target audience for the second half. My Dad engineered parts for the B1 bomber in the 70s and the Boeing 767 and 777 jets in the 90s. He had his name on several process patents for the use of titanium. I have written tons of poetry. All of those things touch directly on plot points in this series. I should be the one person who should be eating up everything being served by this series in the second half, but let me tell you: the storylines in the second half are ... just ... so ... boring.
The scripts also suffers from tepid or nonexistent resolutions to many of the running story arcs. Are the Goto islanders able to recruit young people to establish lives in the islands and revitalize the community? Does Mai's brother face any real long-term consequences for his illegal investment activities? Can Takashi overcome his writer's block? Can local Osaka machine shops and factories band together to bring in more business opportunities? The answers will not surprise you, and are presented in ways that might well be a cure for your insomnia.
As other reviewers have noted, there also seemed to be real issues in the production budgeting for this series with no expenses being spared for the first half including at least one aircraft apparently specifically built for the production and lots of shots on location at a fight school and also at the reasonably distant Goto islands. After that the story is stuck in a handful of sets including the Iwakura family house which miraculously expands as needed over time. They splurged a bit more for the final two weeks where they still mostly skip over what would probably be a much more interesting plot than the rest of the second half with a couple of multiyear time jumps.
On the other hand, the cast consists of good, solid acting professionals doing what they can with the material. I have enjoyed Fukuhara Haruka in several other things, and would even recommend her turn in her two seasons of the live action Yuru Camp even though those series have even less plot than this one. Here she plays Mai as persistent and cheerful, and she handles the narrow range of emotions required for the role perfectly well. She has little to no chemistry with either of her love interests, but, to be fair, all sexual chemistry is apparently against the asadora style guide in general.
If you enjoy the asadora format, this series is one. If you've never tried an asadora, there are many I would recommend before watching this one with Amachan still being the best pure fiction series and the recent Tora ni Tsubasa being the best fictionalized biography in my experience and opinion.
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Non's Sophomore Effort Is Slow But Charming
This is Non's second film, and this time she "only" wrote, directed, edited and starred in it. It's an art film about art which is always dicey territory, but Non manages to keep the story from being pretentious or self-indulgent by grounding the narrative in the mundane lives of its characters while limiting her representations of the impulses of creativity to brief but necessary moments of cgi and practical images of ribbons.Set at the beginning of the COVID pandemic, it captures the stress of the time and the way it forced us to isolate. Here the stress is compounded for Non's character Itsuka and her friend Hirai as their art school is being put on hiatus right before their graduation and their final projects and exhibitions are canceled. Itsuka shelters in her apartment alone and utterly fails to find a way to continue painting even though she routinely had done so there in the past. It is a story about reconnecting to that creative impulse through the not always welcome intrusions of friends and family.
The film has a larger budget than her first film, Get To The Punchline, and her editorial skills have improved, but the film is a bit slow and probably does not merit it's 2 hour runtime. That being said, it has some solidly funny moments, a beautifully moving climax and a satisfying denouement. The cast is solid and Non exhibits a greater range as an actress than she has in her prior roles.
All in all, it's a good journeyman effort and a surprisingly satisfying next step for this interesting young filmmaker.
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The agency is presented as a quirky and mildly dysfunctional little family that works pretty diligently to keep the business going and the girls safe. The characters at the office are reasonably likable and the actors do a decent job with the material they are given. The story of the day-to-day operations of the agency seems to be a reasonably sober and accurate if slightly gritty depiction of this side of the sex industry in Japan. There is a bit of humor that does land throughout the series, and rather more banjo in the soundtrack than one might expect.
The show is fairly sex-positive but the tone of the production is definitely not approving of the call-girl business in general. Nor is there any fan service here: the women and what they do with their clients is presented in a matter-of-fact manner, and while several gorgeous actresses are part of the cast, they are not presented for the male gaze even in scenes with their clients.
The failure of the series is inherent in its set-up: the show is about Sakita coming to terms with his new job. The arc of the series centers on his repeated failures to be a white knight for the woman at his agency. And so while two of the women he works with are almost certainly raped (trigger warnings for episodes 3 and 12), two of them are kidnapped, and one is physically abused at a rival agency the story only focuses on how those incidents affect him. I think we're supposed to be cheering the fact that Sakita genuinely cares for the women he works with but the series itself really does not.
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Great actors in a tokusatsu? Why not?
I have not read any of the manga nor seen either season of the anime, and so I cannot speak the faithfulness of the adaptation or the film's consistency with the rest of the franchise.The film is an all-ages dive into the human body from the POV of blood cells where the red cells transport oxygen and CO2 and various other cells fight off injury, illness and the occasional inconvenient bowel movement. The bad guys are infections and stray mutations played as OTT as any villain in every afternoon television tokusatsu from Kamen Rider on. And so the question naturally arises: is this film worth seeking out if you're over the age of, say, 10?
For me the answer is an unequivocal yes largely because the casting and the performances elevate the material substantially. Look. They cast Nagano Mei AND Ashida Mana. Based on everything they've ever been in you know their characters will be crying. In this film Nagano is a red blood cell in Ashida's body. In the first two acts, Nagano's character is new on the job and never knows her way around; frequently straying into unsafe places where she is inevitably saved by a white blood cell played by a brooding and cool Satoh Takeru. The film to that point is a light action comedy.
However, the stakes are raised significantly in the final third of the film, and the performances both within and outside the bodies get darker and more real. I do think the film walks the line of how to address illness and death extremely well, and you will be perfectly safe watching it with kids. I must particularly shout out Fukase Satoshi as the final boss for bringing some depth to his performance that gives Nagano and Satoh something to work with that's a bit more real than your usual tokusatsu villain.
Abe Sadawo is along for the ride as Ashida's single, out-of-shape and overworked father and raising the question of just how many times he will play Ashida's father. He brings his usual comedic flare, and easily keeps up with Ashida and Nagano when the film turns darker.
The special effects, huge crowd sequences and fight scenes are all top notch as these things go. The environments inside the body are all creative and fun while still providing a solid metaphorical understanding of how cells in the body work to resist illness, fight infections and heal.
All in all, Cells At Work! is a quality live-action adaptation and an enjoyable way to spend a couple of hours.
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