Ena vacillates, wavering back and forth in hesitation and dread, until she finally realized there can be no other way. She went from literally melting at Seiichi's womanizing touch, to being able to hold her own against him in episode 10. Big props to Suzuki Ryohei for bringing the stereotypical Showa-era TV dude, and Masami for bringing the stereotypical Showa female character who got manhandled and wept.
This is currently my favorite drama in the 2020s. It's so over-the-top zany in a fabulous way. It's the best show in its time slot since Jikou Keisatsu (where Aso Kumiko was the female lead - I'm very glad she did not retire from acting lol).
My favorite thing since sliced bread. It's also a great Japanese take on the "screwball" comedy. For instance in ep1 she's just suddenly stuck in a pit wearing Gucci and one husband just happened to walk by and got her out...
Both this and Quartet were explicitly written as "vehicles" for Matsu Takako, and the story revolves around her. In Quartet the other three realized who she's been and what she's done don't matter, they just wanted to be with her. Here the three exes come to the same conclusion. On the same slope where Odagiri Joe walked away from her without even a backwards glance, the three of them just kept running after her...
The name Omameda Towako is literally "soybean fields forever," a riff on "strawberry fields forever," and if you look up what that song means you'll see this is where they want to dwell, forever.
The only complaint I have is, given such a soft, touchy-feely show, the two villains and what they did to her company were too jarring.
Tsumabuki Satoshi is like the go-to spare tire for TBS Sunday Gekijyou. When he's wheeled out you can kinda infer TBS couldn't figure out a bigger, better project for its flagship drama slot, so boom, there he is. The last time TBS summoned this spare tire was Kiken na Venus, and that show almost worked, because it was very natural for him to extend his niceness into whipping boy, deer-in-headlights territory for that character.
Get Ready's theme is quite outlandish and yet it falls utterly flat, the exact opposite of Keizoku where utterly mundane scenes felt outlandish and surreal. Then it cast the two male leads in each other's typical role. So Tsumabuki goes around being the storm with a RBF, and Fujiwara goes around being Mr. nice guy. This just doesn't work. The patisserie scenes look like the girl's dropping by to give him some Borraginol.
Get Ready! is however fabulous for one thing - it's the first drama that gave Matsushita Nao a proper character worthy of her talent. She's no longer a spare tire for shows too cheap and mundane to hire Matsushima Nanako. (remember Red Eyes?) Here, although not quite a Queen, she's properly humanized and wonderfully spunky, holding her own against all the men.
This is the best thing CH3 has done in a long time. 3 Leo male leads (especially Punjan lol) make for a lot of drama. And, if you know Bangkok well, you can easily picture all of these people, they are real. Most of them are above a certain social class (even Baralee, she was white collar! Look at her family home) and this show does the signature trick of all Thai Lakorns - to really ameliorate and cancel out the idea that the wealthy are better off or above karma. They're just like you and I.
Watch carefully how Madame G pretends to be the victim, then turn on the news in your country and look for people who act that way lol.
This was a great show to watch, lots of fun. I'm glad they went with Luke and not Joss. This is the show I pick up when I don't know what to watch. It's fun and it's a screwball, rollercoaster ride. Pacing is good for GMM - if you think this pacing is bad, you haven't seen the Sanaeha Diary series trying to drag a 4-episode story out to 10 episodes and half of an episode is just in the fire exit staircase, lol. But anyway.
Speaking as LGBT myself, people need to lighten up and stop obsessing about the drag, trans terminology thing. Thailand has been very accepting of men who feel they should be women, to the point that Bangkok (no pun intended) s the reassignment surgery capital of the world. You don't just railroad other people's acceptance with a militant, violent "well you're still not accepting enough," that's no way to be human. That's a huge problem with Western woke culture, it conveniently ignores all the acceptance and equality that has in fact existed before, and pretend it's the most benevolent thing since sliced bread. It pretends it has a cause to shout out loud when it's just misappropriating other people's kindness.
I grew up in Bangkok in the 90s, and it's a place where the department store make-up counter ladies are often trans, they're welcome to these jobs. Do they get to do this in your country?
p.s. I remember going to the Alcazar show in Pattaya in 1989 or 90, and the finale/climax was a performer singing "you're a one-man woman but I'm a two-timer man" dressed as half male, half female. That has to be the origin of the Pla/Too character lol.
They really upped the quality this season, great camera work and there's Momoi Kaori's guest-starring turn. However my beef with Kintori is, it makes la Amami play a fairly two-dimensional character - she's always lecturing criminals on how crime is wrong, and the team camaraderie chiefly makes the men look good.
I'm not a Kame fan but I feel very bad for him, that NTV gave him this great show in 2016 and only 5 years later was making him do low-rent bleep like Red Eyes. NTV dramas tend to be a little subpar (plot always disintegrates towards the end) but this is probably the absolute best they've produced in the 21st century, even with the Nikita (man-kita?) revelations lol.
The MVP of this was Nanao who was awesome playing stupid to try and approach Narimiya.
This was much less than the sum of its parts. Amami deserves much better.
A HUGE point of the setup is Amami's highfalutin lawyer was banished to have to live and function in the seedy underworld of Shinjuku. I'm a big City Hunter fan and just like with City Hunter, the fact that Shinjuku and specifically Kabukicho is kind of where Tokyo's unwanted gather, is a very big deal for the richness of the story. However Shinjuku constantly gets gentrified, in the anime versions of City Hunter, in Shinya Shokudo, and now in this show that needs Shinjuku's fringe-ness most desperately. When their rundown old crappy office looks like it's in Setagaya, there's very little Amami and Matsushita can do to turn it around.
This is excellent because of Sota, and because I suspect it tried very hard be Avalanche on purpose, down to the old van... You can very easily think of it as an Avalanche spin-off (from two different networks lol). Sota fans should watch his Another Sky back-to-back with this show :D
Anyone know what happened to the CN and KR versions of this?https://japantoday.com/category/entertainment/simultaneous-production-of-fuji-tv-drama-begins-in-japan-china-and-s-korea
Late comment: I believe Fuji lied about having a CN and KR in the works because they never mentioned who exactly in Korea and China were the local partners. That's very unusual if you have such a big IP, you're going to be very high-profile. So, after ruminating on this for years, I feel like this was the big con lol - this may have been just to cover up for the fact that they must add "JP" to the title, likely because confidenceman may have been registered elsewhere as a trademark (by the hollywood film?)
I'm fine with all the plot twists because I'm just here to watch Kanno Miho act all dramatic... but then I heard about a certain diagnosis and that was one twist too far. I was like, do I want to keep watching? lol :D But this is quite the old school Jdorama. If someone made this 15 years ago it would've been lauded to hell and back.
You know, I have a question. Why don't they mute the phone camera? It's like, you're in an empty room and there's…
I have a Japanese spec smartphone and the camera click cannot be muted except via apps that are probably illegal. I believe that's how they're set in the JDM market - it can be muted in the export version of the same phone :)
It's a hybrid of NCIS:LA and Person of Interest. They even have Izawa wear a waistcoat the way Callen did in NCIS:LA. However this (and season 4) is one show I kept coming back to over the years. Pretty good quality and intrigue compared to some later shows in the time slot. They also did a very elegant guest arc with Sodastream lady, Ueto Aya, to tie this to the two seasons prior.
This had so much promise. If you are in pain from an ailment, you know how being Mutsu (painless) is such a forbidden fruit. The promises of platitude can greatly distort the mind... But as filmed, it's mostly the off-screen friendship between Nishijima and Ito (Atsushi) coming through. If you like these two they'll keep you watching, to a point.
Sorry, can someone explain why Aoi is shown living with the family in the end? Is it some replacement goldfish…
Kazuha chose not to kill Aoi because it's a better revenge to let Aoi live as if she's Riria's replacement. Not because Kazuha needs a replacement, Riria is irreplaceable... But just to let her stew all day everyday in the fact that she killed Riria. Kazuha did say at some point in the finale: let's see if you can do some good with this life of yours in a few years, and if not, I reserve the rights to kill you myself.
If you have seen IQ246, this is what that show's faux Sherlock Holmes did to his faux Moriarty - it's more than punishing/humiliating enough to have her live-in as a pet of sorts.
Both this and Quartet were explicitly written as "vehicles" for Matsu Takako, and the story revolves around her. In Quartet the other three realized who she's been and what she's done don't matter, they just wanted to be with her. Here the three exes come to the same conclusion. On the same slope where Odagiri Joe walked away from her without even a backwards glance, the three of them just kept running after her...
The name Omameda Towako is literally "soybean fields forever," a riff on "strawberry fields forever," and if you look up what that song means you'll see this is where they want to dwell, forever.
The only complaint I have is, given such a soft, touchy-feely show, the two villains and what they did to her company were too jarring.
Get Ready's theme is quite outlandish and yet it falls utterly flat, the exact opposite of Keizoku where utterly mundane scenes felt outlandish and surreal. Then it cast the two male leads in each other's typical role. So Tsumabuki goes around being the storm with a RBF, and Fujiwara goes around being Mr. nice guy. This just doesn't work. The patisserie scenes look like the girl's dropping by to give him some Borraginol.
Get Ready! is however fabulous for one thing - it's the first drama that gave Matsushita Nao a proper character worthy of her talent. She's no longer a spare tire for shows too cheap and mundane to hire Matsushima Nanako. (remember Red Eyes?) Here, although not quite a Queen, she's properly humanized and wonderfully spunky, holding her own against all the men.
Watch carefully how Madame G pretends to be the victim, then turn on the news in your country and look for people who act that way lol.
Speaking as LGBT myself, people need to lighten up and stop obsessing about the drag, trans terminology thing. Thailand has been very accepting of men who feel they should be women, to the point that Bangkok (no pun intended) s the reassignment surgery capital of the world. You don't just railroad other people's acceptance with a militant, violent "well you're still not accepting enough," that's no way to be human. That's a huge problem with Western woke culture, it conveniently ignores all the acceptance and equality that has in fact existed before, and pretend it's the most benevolent thing since sliced bread. It pretends it has a cause to shout out loud when it's just misappropriating other people's kindness.
I grew up in Bangkok in the 90s, and it's a place where the department store make-up counter ladies are often trans, they're welcome to these jobs. Do they get to do this in your country?
p.s. I remember going to the Alcazar show in Pattaya in 1989 or 90, and the finale/climax was a performer singing "you're a one-man woman but I'm a two-timer man" dressed as half male, half female. That has to be the origin of the Pla/Too character lol.
The MVP of this was Nanao who was awesome playing stupid to try and approach Narimiya.
A HUGE point of the setup is Amami's highfalutin lawyer was banished to have to live and function in the seedy underworld of Shinjuku. I'm a big City Hunter fan and just like with City Hunter, the fact that Shinjuku and specifically Kabukicho is kind of where Tokyo's unwanted gather, is a very big deal for the richness of the story. However Shinjuku constantly gets gentrified, in the anime versions of City Hunter, in Shinya Shokudo, and now in this show that needs Shinjuku's fringe-ness most desperately. When their rundown old crappy office looks like it's in Setagaya, there's very little Amami and Matsushita can do to turn it around.
If you have seen IQ246, this is what that show's faux Sherlock Holmes did to his faux Moriarty - it's more than punishing/humiliating enough to have her live-in as a pet of sorts.