This Week in Anime

There's Always More Drama

Coop
You know how we looked at another handful of K-Dramas a few weeks back, Sylvia? I figured it was time we took a gander at the similarly wide swathe of Japanese dramas that've found their way onto Netflix, HBO Max, and Prime Video. Over the past couple of years, Netflix has been slowly adding TBS's (Tokyo Broadcasting System, not the Ted Turner one) to their back catalog and even simulcasting some of the network's latest programs. It's crazy to think, but we're about to dive into some of the biggest J-Drama hits of the past twenty-five years.

And I wanted to peer-pressure you into catching up on everything Baby Assassins.

The mad lad Yūgo Sakamoto made a whole cour of anime, gave it a great OP, and decided that he'd just film it with actors instead. What a legend.

Joking aside, Baby Assassins Everyday! has quite a bit in common with most anime series these days—twelve, twenty-ish-minute episodes, distinct arcs, and might require a little homework before hopping into it. However, I wouldn't really describe the Baby Assassins trilogy as "homework." Each entry in the series (including the show) has amazing action direction from The Furious' Kensuke Sonomura, razor-sharp writing, and features wonderful chemistry between its two leads—Saori Izawa (Mahiro) and Akari Takaishi (Chisato).

They're so gay. I love them.

Only these two would rank underrated food while dragging a body to the public freezer.

As you said, the girls are just doing their thing amid failing structures, encroaching AI, and working with a psychopathic sales team. Not to mention that a core pillar of the series (and the third film) focuses on how the millennials in the girls' lives have failed to really protect them, and now they've got to pick up the pieces on their own. Talk about close to home.

Outside of a few other shows we'll be looking at, Everyday is perhaps on the smoothest watches of the bunch. I woofed it down in just a few days when the series randomly hit HBO Max last fall.

Also, this fight scene whips ass.

On the other hand, Unnatural's opening episode is anything but comfort food.

And before you ask, this originally aired in 2018.

Despite the heavy subject matter, Unnatural is oddly lighthearted at times—which our newbie in the lab immediately points out as suspicious. Having known someone who runs a funeral home, I've come to learn that folks who work with the dearly departed tend to rely on humor to get through the day. They're fully aware it's not the most pleasant line of work.

On another note, viewers are also likely to notice a few of Hideaki Anno regulars pop up here. Namely, Mikako Ichikawa (Shin Godzilla, Cutie Honey) as the wisecracking Yuko, and the musical styling of Kenshi Yonezu, who provides the series' ending theme "Lemon." By the way, the song's such a hit; I'd heard it in my music rotation long before I knew it was from a show. In fact, it was playing at the ramen shop I hit up a few weeks back.

Sylvia, this woman's only weapons are her medical license and her hard-earned skills. She's the lone wolf freelance surgeon, Michiko Daimon, but you already know her by her nickname...

Is Doctor-X's recent debut on US Netflix why I was so gung-ho about this column? Yes, yes, and yes.

This hospital is such a boys' club, so none of these geezers and dweebs have a clue how to deal with her take-no-prisoners attitude and intimidating aura in the office. It's so good.

She never fails, nor will she do anything that doesn't require a medical license.

While Doctor-X was still on Prime Video, I found myself zigzagging through the show's seven seasons... And while I haven't watched all of it, I quickly realized why the series has been such a long-running institution—Michiko Daimon herself, Ryoko Yonekura.

I don't mean to needlessly blow smoke, but everything Yonekura brings to the role puts Michiko right next to Columbo in my eyes. Her performance is so fleshed out (which seven seasons and a movie help), Michiko becomes one of those characters you can throw into just about any situation, and it'll be entertaining.

Like that one time she hung out with Shin-chan.

Man, what I'd give to see Michiko Daimon go toe-to-toe with Black Jack, but that's a fanfiction for another time.

Miss King's obviously dipping its toes in The Queen's Gambit pool, but you know I'm a sucker for a good sports story—an underdog sports story.

There's quite a bit of misery going around in this forty-five-minute premiere, but getting it all out of the way upfront makes for a rock-solid foundation for the series. From opening on an attempted murder, to a family crumbling apart, and the death of Asuka's mother, it's a lot to take in. However, once you know the stakes and pieces in play, Miss King doesn't let off the gas.

Again, The Queen's Gambit comparisons are right on the money—from the story elements to the top-notch production.

Ego death through classic board games.

She hopes...

Security cameras in a centuries-old building? Who knew?

Since I mentioned lesbians again, let's sprinkle a little gender on the topic, shall we? Scratch that, Cinderella Closet asks for a whole side order of gender to go with its gay.

I had a feeling that Cinderella Closet would resonate with you when I tossed it on the list. I actually watched this one as it aired with someone incredibly close to me who is trans (and comfortable with me sharing these insights), and it shook her to the core (at first). She told me that figuring out makeup at first was such a hurdle, but once she did, it felt great! We were both glad to see a series that makes it clear that, whether cis or not, everyone struggles to feel comfortable in their skin, but doesn't forget its queer lens on the proceedings. Well, until perhaps the last few episodes, but we'll get to that.

Now, that would be living the dream. Just load 'em up with cabbage.

You should get a black shirt with white impact font text that says "CABBAGE ME UP."

And to quickly cycle back around to that "last few episodes" quibble I mentioned. The end of the series sees Hikaru, the aforementioned stylist, seemingly force themselves to present masculine for the sake of their relationship. Which read as off because lemme tell you, country girl loves her tall goddess. It came off as a bit whiplash-y given how clear Hikaru's thoughts on their identity are made over the course of the series.

However, I'm not sure if this is also present in the manga this series is based on or if it's a television-only element.

Is there a dog playing shogi in Cinderella Closet? Perhaps, unfortunately.

But before your situationship does your makeup, how about we have Kimitaku give you a new do, eh?

Same. Then again, I'm a sucker for anything shot with those late 90s, early aught cameras—whether it's tokusatsu or another J-Drama.

Speaking of which, Beautiful Life originally aired just over twenty-five years ago. That's all the more shocking because, while slegdehammer-y at times, the series is surprisingly on point when confronting external and internalized ableism, the realities of being in a relationship with someone who has a physical disability, and just how inaccessible Tokyo is. Apparently it hasn't gotten much better in the quarter century since this show was made.

But to pull the focus back a little, Beautiful Life follows the budding romance between a hot shot hairstylist, Shuji (Takuya Kimura), and a snarky librarian, Kyoko (Takako Tokiwa), who uses a wheelchair. They initially meet amid a bit of road rage, which quickly evolves into a brutal trading of quips at the library. Oh, and she thinks he's building a bomb.

The expressions on Kyoko and Shuji's faces say it all.

My heart dropped in this scene. Shuji had given off the impression that he saw Kyoko for who she is, and not just her disability, but the magazine spread calls that all into question. It's even more heart-wrenching because he's fully aware of the implications of the spread and his decision to bring her on as a model. Yes, he might see her for her, but he's often oblivious to the realities involved...and doesn't realize it till it's too late.

Ha ha ha, I am so glad we were on the same screenshot and factoid wavelength at his very moment.

Our pre-Gundam Seed, "Hot Limit" hunk plays such a great "love-to-hate-them" antagonist in this show. Dude nailed the assignment.

Rikuoh's the epitome of a feel good, back-against-the-wall underdog story. Yakusho's character, Miyazawa, is the boss of an over-hundred-year-old tabi factory who's facing the slow and brutal decline of his business. He's running out of clients, and the specialized machinery he needs to craft the traditional footwear is becoming increasingly rare. However, his fortunes start to turn when a plucky finance manager recommends he apply his knowledge to something new—a running shoe.

Miyazawa's not the only one facing hard times either, as an accomplished marathon runner suffers a serious injury while in competition. And before either of them knows it, this dream of a new running shoe brings them together.

That slightly overwritten nature might make some sense since Rikuoh's based on a book of the same name, à la Run with the Wind. Though I've got to say, my brain always goes to "Kinky Boots, but it's tabi and running shoes instead" with this one.

Is sex in the midfoot strike?

Speaking of things people are saying, yes, I know both Ryōma Takeuchi and Gaku Sano are in this. The bugman curse has tasked me with pointing out lead Kamen Rider actors in other TV shows.

And much like Kamen Rider, how about those CG blorbos?

This snippet from Miyazawa's sales plea to a local school really stuck with me too—don't completely forget tradition, but don't be afraid to reinvent yourself either.

And with Rikuoh on the shoe rack, that's it for our journey into nearly thirty years of Japanese television. We've only just scratched the surface, but these are the cream of the crop. Not to mention all the powerful surgeons, lesbians, hairdressers, and dads on hard times you've been introduced to, Sylvia.

We even caught you up with the girls while we were at it.