I wasn't expecting to cry at the 3rd episode, but the story hit close to home. It's always nice to discover how much heart can be hiding behind a comedy.
So much to say for a series that tackled so much. I'm still processing. Right now, let me just say: what a beautifully told story about trauma and grief—and surviving it.
I have mixed feelings about this show, stemming from the show itself feeling confused about its own identity. Is it a sitcom where a bumbling out-of-depth hotelier acclimates himself to the world of quick service ? Is it an underdog narrative where a snob and his motley crew of part-time workers band together to save their jobs?
I'm partial to the latter idea. Just few fixes and it could work. Simply introducing the conflict of the closure as early as the 1st episode would have at least framed Akamatsu's attempts as earnest rather than frustrating. It would have given us something to root for. In the end, a missed opportunity.
The characters want to be listened to and heard, thus their "healing" comes in a form of being heard and not necessarily…
Yes, I think that's what makes this drama stand out from others of its kind. Toko is not giving out advice nor do the customers need it. They're just frustrated with their day-to-day. All they need is a comforting meal and a space to vent—which is what snack bars are for.
Best drama of the summer for me. The finale really exemplified why it was perfect for the season—we spent the whole series making some of the best memories with these characters, and even though that moment is fleeting, we were lucky to have them happen to us and now we can carry them forever. Thank you to the characters for the fun time! And thank you to GEO9875 for picking up this lovely drama. :)
When Yukiko's sister confronted Kurokawa in ep.2 I got flashbacks to Nao and Sugino playing a couple in Love Stories from Fukuoka lol. Coincidentally Nao played a deaf character there.
Interesting screenwriter + director pairing. Haven't read the novel but I want to see Sakai Mai give this one some gravitas. Also, Hagiwara Riku is underrated among his peers. Glad he's getting main roles.
(Also, if this is popular I wonder if they will adapt the sequel novels. Especially as Nagira Yuu is about to have a big 2022 with the Wandering Moon film adaptation.)
EDIT: Okay, having dug a little deeper into the novel, I think Sakai Mai is a good choice. I could see her giving it the same treatment as AraOto.
All 6 episodes are great but I have to shout out episode 5. Great use of a kishotenketsu structure. On the first scene alone I could tell there was something different and it's great to the end. A definite stand out.
Given this is now a three-year long franchise, it’s nice to see everyone here just playing. The jump from campy political satire with a sexual undercurrent to action thriller flirting with ideas of tactical warfare and domestic terrorism also ensures that this entry isn’t just a retread.
If I have one gripe, it’s that the battles aren’t quite as cerebral as its predecessors. However, if you imagine them as parallels for post-Bourne action set pieces then the dumbing down feels deliberate.
That the film does all of this and still feels like it hasn’t completely jumped the shark (though a brief respite where it turns into an ALW musical (!!!) had me questioning so) is honestly a miracle. Maybe it's just that lucky.
When I thought I couldnt love this series more, Week 16 hit like a ton of bricks. The dialogue scene in episode 78, in particular, was powerful. Adachi Naoko knocked it out of the park.
One of the best dramas of the year. Certainly one of the best final episodes I've seen ever. There was so much care put into every aspect—from the story, the acting, the direction. It imparts a lot on its audience even in its silence.
I'm partial to the latter idea. Just few fixes and it could work. Simply introducing the conflict of the closure as early as the 1st episode would have at least framed Akamatsu's attempts as earnest rather than frustrating. It would have given us something to root for. In the end, a missed opportunity.
(Also, if this is popular I wonder if they will adapt the sequel novels. Especially as Nagira Yuu is about to have a big 2022 with the Wandering Moon film adaptation.)
EDIT: Okay, having dug a little deeper into the novel, I think Sakai Mai is a good choice. I could see her giving it the same treatment as AraOto.
If I have one gripe, it’s that the battles aren’t quite as cerebral as its predecessors. However, if you imagine them as parallels for post-Bourne action set pieces then the dumbing down feels deliberate.
That the film does all of this and still feels like it hasn’t completely jumped the shark (though a brief respite where it turns into an ALW musical (!!!) had me questioning so) is honestly a miracle. Maybe it's just that lucky.