Showing posts with label Winter 2025. Show all posts
Showing posts with label Winter 2025. Show all posts

Monday, June 09, 2025

Understanding "Kasumigaseki Bungaku" through TBS Winter 2025 drama "Mikami-sensei"


If you have watched "Mikami-sensei", you would have heard this term "Kasumigaseki Bungaku" being mentioned multiple times throughout the entire drama. So what is "Kasumigaseki Bungaku" and why was this being featured prominently in the drama?

To begin with, the literal translation of "Kasumigaseki Bungaku" / 霞が関文学 is Kasumigaseki literature. As you may already know, Kasumigaseki is a district in Chiyoda Ward, Tokyo, where most government ministries are located so the place name is often used as a metonym for the Japanese bureaucracy. Likewise, the term Nagata-cho is used to refer to the elected government or legislative branch since the Diet of Japan and the Prime Minister's residence are located here.

While the exact origin of Kasumigaseki Bungaku is not known, what sets this form of word usage apart from daily Japanese speech is the use of terms which on their own, are easy to understand but when pieced together becomes ambiguous, difficult to comprehend and often sounds ridiculous. As such, the term Kasumigaseki Bungaku actually contains a certain degree of mockery to mean that bureaucrats often speak in a hard-to-understand and somewhat unfeeling/robotic manner to complicate simple things. On the surface, they give the impression that things are progressing smoothly but nothing is said clearly so that they wouldn't be held responsible for their ambiguous words. This is said to be reflective of the bureaucrats' mindset of always looking for a way out in case things go wrong and their tendency to avoid having their mistakes being pointed out. 

Key characteristics of Kasumigaseki Bungaku speech include:
  • Only answering things that they are asked
  • Answering only the bare minimum and avoiding elaboration/clarification
  • Using ambiguous expressions in written form which could be interpreted in various ways
  • Making the subject vague, or in some cases omitting the subject, and obscuring who is responsible

Similarly, Nagata-cho Bungaku / 永田町文学 can be said to be the politicians' version of Kasumigaseki Bungaku. However, it is also said that Nagata-cho Bungaku is heavily influenced by the latter since a lot of ministers speak using scripts and statements prepared by bureaucrats in their ministries and heavily rely on them for advice since they are the subject matter experts. Over time, the use of Kasumigaseki Bungaku terms sort of "flowed over" to the political circle. Inevitably, both types of literature have identical characteristics i.e. complicated, ambiguous and unclear responsibility. 

Here are some examples of simple terms vs. their complicated versions in Kasumigaseki Bungaku style:

Rubbish / ゴミ ----> General waste / 一般廃棄物
Business District / ビジネス街 ----> Specified commercial cluster / 特定商業集積
Mother Complex / マザコン -----> Excessive mother-child contact / 過度な母子の密着
Boom in learning foreign languages /  外国語ブーム ----> Increased motivation to learn languages / 語学学習意欲の高まり

For those who may be interested in knowing more about Kasumigaseki Bungaku, you can read this article from NHK.

In "Mikami-sensei", the lead character Mikami Takashi played by Matsuzaka Toori is a bureaucrat from the Ministry of Education, Culture, Sports, Science and Technology who is dispatched to a senior high school to be a teacher for a designated period of time. Given his background, it is no wonder that the things he said were sometimes or rather often delivered in the Kasumigaseki Bungaku style especially in the earlier episodes. For example, you may have remembered the following:

If my memory is correct - 僕の記憶が確かならば
It is the result of my immorality - 不徳の致すところです (used when apologising for one's mistakes)
I cannot answer anything beyond this - これ以上はお答えできません
As I do not remember, I cannot say anything beyond this - 覚えておりませんので、これ以上のことは申し上げようがありません
We will continue to improve every day - 日々、精進してまいります

From these examples, it is quite clear that while some things can be spelled out more directly and clearly, the use of Kasumigaseki Bungaku actually muddles the meaning and where responsibility lies. It can also be difficult to say and understand even when compared to business-style formal speech.

Just as the picture in this post states, Kasumigaseki Bungaku is a literary form created by bureaucrats for bureaucrats to use. While it can difficult to make sense of it at times, hopefully you will be able to appreciate the nuance and hidden meanings better when you watch a drama/movie that features bureaucrats.

Thursday, May 29, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Drama


Overall Ranking Top 3
1) Mikami-sensei
2) Hotspot
3) Tokyo Sarada Bouru

Voters Ranking Top 5
1) Onzoushi ni koi wa muzusugiru
2) Apollo no uta
3) Mikami-sensei
4) Nipponichi no saitei otoko
5) Madoka 26-sai, Kenshuui yattemasu!

TV Reporters Ranking Top 5
1) Hotspot
2) Mikami-sensei
3) Tokyo Sarada Bouru
4) Kujaku no dansu, dare ga mita?
5) Madoka 26-sai, Kenshuui yattemasu!

Judges Ranking Top 5
1) Mikami-sensei
2) Hotspot
3) Tokyo Sarada Bouru
4) Nipponichi no saitei otoko
5) Bansan Blues

Source: The Television

Wednesday, May 28, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Leading Actor


Overall Ranking Top 3
1) Matsuzaka Toori - Mikami-sensei
2) Matsuda Ryuuhei - Tokyo Sarada Bouru
3) Katori Shingo - Nipponichi no saitei otoko

Voters Ranking Top 5
1) Nagase Ren - Onzoushi ni koi wa muzusugiru
2) Matsuzaka Toori - Mikami-sensei
3) Sato Shouri - Apollo no uta
4) Katori Shingo - Nipponichi no saitei otoko
5) Fujiwara Joichiro - Boku no asadoi motokano from Asadokute nani ga warui no?

TV Reporters Ranking Top 5
1) Matsuzaka Toori - Mikami-sensei
2) Matsuda Ryuuhei - Tokyo Sarada Bouru
3) Katori Shingo - Nipponichi no saitei otoko
4) Inowaki Kai - Bansan Blues
5) Kaneko Daichi - Bansan Blues

Judges Ranking Top 5
1) Matsuzaka Toori - Mikami-sensei
2) Matsuda Ryuuhei - Tokyo Sarada Bouru
3) Katori Shingo - Nipponichi no saitei otoko
4) Kamikawa Takaya - Mondai Bukken
5) Kaneko Daichi - Bansan Blues

Tuesday, May 27, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Leading Actress


Overall Ranking Top 3
1) Ichikawa Mikako - Hotspot 
2) Nao - Tokyo Sarada Bouru
3) Hirose Suzu - Kujaku no dansu, dare ga mita?

Voters Ranking Top 5
1) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!
2) Hirose Suzu - Kujaku no dansu, dare ga mita?
3) Ichikawa Mikako - Hotspot
4) Takaishi Akari - Apollo no uta
5) Kawaguchi Haruna - Ensemble

TV Reporters Ranking Top 5
1) Ichikawa Mikako - Hotspot
Nao - Tokyo Sarada Bouru
3) Hirose Suzu - Kujaku no dansu, dare ga mita?
4) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!
5) Takaishi Akari - Apollo no uta

Judges Ranking Top 5
1) Ichikawa Mikako - Hotspot
Nao - Tokyo Sarada Bouru
Hirose Suzu - Kujaku no dansu, dare ga mita?
4) Yoshine Kyoko - Madoka 26-sai, Kenshui yattemasu!
5) Renbutsu Misako - Vanilla na mainichi

Monday, May 26, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Supporting Actor


Overall Ranking Top 3
1) Kakuta Akihiro - Hotspot
2) Okudaira Daiken - Mikami-sensei
3) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?

Voters Ranking Top 5
1) Nishihata Daigo - Onzoushi ni koi wa muzusugiru
2) Matsumura Hokuto - Ensemble
3) Shison Jun - Nipponichi no saitei otoko
4) Kakuta Akihiro - Hotspot
5) Okudaira Daiken - Mikami-sensei

TV Reporters Ranking Top 5
1) Kakuta Akihiro - Hotspot
2) Okudaira Daiken - Mikami-sensei
3) Isomura Hayato - Kujaku no dansu, dare ga mita?
4) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?
5) Okada Masaki - Mikami-sensei

Judges Ranking Top 5
1) Kakuta Akihiro - Hotspot
2) Matsuyama Kenichi - Kujaku no dansu, dare ga mita?
3) Okudaira Daiken - Mikami-sensei
4) Okada Masaki - Mikami-sensei
Kitamura Kazuki - Mikami-sensei

Sunday, May 25, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Supporting Actress


Overall Ranking Top 3
1) Shibuya Nagisa - Jigoku no hata made tsureteiku
2) Hiraiwa Kami - Hotspot
3) Suzuki An - Hotspot

Voters Ranking Top 5
1) Yamashita Mizuki - Onzoushi ni koi wa muzusugiru
2) Yoshioka Riho - Mikami-sensei
3) Hotta Mayu - Mikami-sensei
4) Tominaga Ai - Nipponichi no saitei otoko
5) Naka Riisa - Omusubi

TV Reporters Ranking Top 5
1) Shibuya Nagisa - Jigoku no hata made tsureteiku
2) Hiraiwa Kami - Hotspot
3) Yoshioka Riho - Mikami-sensei
4) Suzuki An - Hotspot
Hotta Mayu - Mikami-sensei

Judges Ranking Top 5
1) Tokiwa Takako - Mikami-sensei
2) Shibuya Nagisa - Jigoku no hata made tsureteiku
3) Uchida Rio - Mondai Bukken
4) Hiraiwa Kami - Hotspot
Takiuchi Kumi - Kujaku no dansu, dare ga mita?

Saturday, May 24, 2025

The 123rd Drama Academy Awards (Winter 2025) - Best Theme Song


Overall Ranking Top 3
1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)
2) Elf - Ado (Kujaku no dansu, dare ga mita?)
3) Koe - Hitsujibungaku (119 Emergency Call)

Voters Ranking Top 5
1) HEART - King & Prince (Onzoushi ni koi wa muzusugiru)
2) Circus Funk (feat. Chevon) - Katori Shingo (Nipponichi no saitei otoko)
3) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)
4) Eureka - Hoshino Gen (Madoka 26-sai, Kenshui yattemasu!)
5) Cinema - aiko (Ensemble)

TV Reporters Ranking Top 5
1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)
2) Elf - Ado (Kujaku no dansu, dare ga mita?)
3) Koe - Hitsujibungaku (119 Emergency Call)
4) Eureka - Hoshino Gen (Madoka 26-sai, Kenshui yattemasu!)
5) Illumination - B'z (Omusubi)

Judges Ranking Top 5
1) Puppets Can't Control You - ONE OK ROCK (Mikami-sensei)
2) Elf - Ado (Kujaku no dansu, dare ga mita?)
3) Iris - BUDDiiS (Himitsu ~ THE TOP SECRET ~)
Koe - Hitsujibungaku (119 Emergency Call)
5) Circus Funk (feat. Chevon) - Katori Shingo (Nipponichi no saitei otoko)

Thursday, May 22, 2025

Quick Review #128: Bansan Blues - Winter 2025


Title: Bansan Blues / 晩餐ブルース             

Rating: 7 / 10

Recommended for
For those who want to watch a healing show featuring food and friendship amid the struggles of life

* Potential spoilers ahead!

Liked:
- What really left a deep impression on me was how well the cooking scenes were done. While it may feel like I was watching "Kinou nani tabeta" at times, the style here was a lot more "calming and comfortable" because there was hardly any narration nor loud BGM to explain the steps involved in the cooking process. As such, I managed to focus more on the visuals of the food and natural sounds from the cooking steps which somehow felt very therapeutic to watch. Be warned though, don't watch this while hungry because it can be quite torturous to see the delicious dishes on display and the cast indulging in the food.

- The "blues" part of the story was handled with the right amount of heaviness and did not make the whole drama feel like a depressing tale. The struggles felt by the key characters in this drama were relatable and very real. As the story progressed and the trio rekindled their friendship through sharing dinner, the whole atmosphere became a lot more positive and hopeful even though there wasn't any definite or long-term solution given. This transition coincided with the season setting in this drama i.e. from the cold and bleak winter to a warmer and brighter spring.

- Inowaki Kai and Kaneko Daichi were very good in their respective roles. Inowaki managed to convey the lethargic and somewhat brooding character especially towards the end. As for Kaneko, I thought that he did the cooking scenes really well and showed the depressed side of his character with precision without going overboard. I must say, this drama has also changed my impression of Kaneko to a large extent because I honestly didn't remember much of his past performances in supporting roles even though he is a familiar face to me.

Disliked: 
- While it was good that the episodes were less than 30 mins long, I thought that it could have been a bit shorter because the pace was a bit draggy towards the last few episodes. This probably coincided with the twist in Yuuta's (Inowaki) psychological state because he had been the one who was more "cheerful" at first so the atmosphere became a lot more heavier compared to when it was Kousuke (Kaneko) who was in the doldrums. Perhaps keeping it to between 6 and 8 episodes might make the story a bit more succinct.

- As I pointed out above, I liked the cooking scenes for being "no-frills" which allowed me to enjoy them more. Towards the end when more people started to cook with Yuuta, it got a lot more noisier and there were some parts which had narration so I didn't quite like this change.  

Monday, April 28, 2025

Keeping things platonic: The "strictly business" mixed-gender work partners in Japanese dramas


While Japanese dramas featuring male-female partners at work are commonplace, this article highlights an interesting phenomenon in the Winter 2025 season - there are as many as 5 titles featuring such combinations and 3 of them involve lawyers*:
  • "Tokyo Sarada Bouru" - Nao x Matsuda Ryuuhei
  • "Mondai Bukken" - Kamikawa Takaya x Uchida Rio
  • "Houtei no Dragon" - Kamishiraishi Mone x Takasugi Mahiro *
  • "Ensemble" - Kawaguchi Haruna x Matsumura Hokuto *
  • "Kujaku no dansu, dare ga mita?" - Hirose Suzu x Matsuyama Kenichi*
The nature of the relationship between the pairings and the storyline pretty much determine if romance will be in the picture. On one end of the spectrum, "Kujaku no dansu, dare ga mita?" features the "client" i.e. Komugi who approaches a lawyer Matsukaze to help her in the investigation of her father's arson-murder case. Considering their business-only relationship and that the story has a strong mystery/suspense angle, there is no room for romance to bloom between the characters. On the other hand, "Ensemble" features the leads as colleagues in a budding romantic relationship with a love triangle thrown in from the start due to the appearance of the female lead's ex-boyfriend.

Looking back at the past mixed-gender pairings in the past, while there were some workplace pairs who eventually became lovers onscreen, there were also quite a number of dramas with such pairings that either had no romance or a comparatively faint/hinted romance angle:

  • "Keizoku" - Nakatani Miki x Watabe Atsuro
  • "Trick" - Nakama Yukie x Abe Hiroshi
  • "HERO" - Kimura Takuya x Matsu Takako
  • "Galileo" - Fukuyama Masaharu x Shibasaki Kou & Yoshitaka Yuriko
  • "SPEC" - Toda Erika x Kase Ryo
  • "Legal High" - Sakai Masato x Aragaki Yui
  • "Ishiko to Haneo" - Arimura Kasumi x Nakamura Tomoya
  • "Unfair" - Shinohara Ryoko x Nagayama Eita
  • "Jikou Keisatsu" - Odagiri Jo x Asou Kumiko
  • "Strawberry Night" - Takeuchi Yuko x Nishijima Hidetoshi
  • "Liar Game" - Toda Erika x Matsuda Shota
  • "Kyousou no bannin" - An x Sakaguchi Kentaro
  • "RoOT" - Kawai Yumi x Bandou Ryouta
  • "Okuto" - Iitoyo Marie x Asaka Koudai
  • "Invisible" - Takahashi Issei x Shibasaki Kou
  • "Motokare no Yuuigonjou" - Ayase Haruka x Ooizumi Yo
  • "Tengoku to Jigoku" - Ayase Haruka x Takahashi Issei
As seen from the list above, a large number of these platonic pairings appeared in investigative/legal/suspense stories. Over time, the stories would show the gradual development of the characters' relationships as they solved cases or dealt with issues together. A reason cited in the media for the inclusion of romance for such mixed-gender pairings was said to be related to the viewing preferences during the "trendy dramas" era i.e. late 1980s to early 1990s. Back then, "squeal-worthy" scenes featuring popular actors and actresses who played characters transitioning from colleagues/buddies/enemies/rivals to lovers were pretty well-received and in demand. As such, it became sort of a standard formula for such relationships to head towards the romance direction rather than keep things strictly professional.

However, as times have evolved, there are more titles these days featuring platonic working relationships for such mixed-gender pairings. While it is perfectly normal for love to blossom when people work together, it is also natural for mutual respect rather than romantic feelings to be developed between such pairings. As such, when such dramas do not add in romance in an "artificial" or "unnatural" manner, they are generally well-received and readily accepted as the norm reflective of current times. 

In recent years, I would say that "Ishiko to Haneo" was one of the more successful examples at eliminating the romance factor from the leads' relationship. Frankly speaking, I didn't expect this initially since there was no indication pre-season that the work buddies would have no romantic feelings for each other. In the end, the female lead ended up with the second male lead rather than her partner at work which was unexpected and somewhat unconventional but I really liked this arrangement.


On the contrary, there have been examples where adding romance when it's unnecessary or illogical can backfire. For example, "Mystery to iu nakare" depicted Ito Sairi's police detective character having feelings for the lead played by Suda Masaki. This went against the nature of their relationship described in the original manga and attracted criticism from viewers.

Personally, I am more inclined towards the notion of keeping things platonic for mixed-gender pairings especially if the drama is not positioned to be a romance-themed one. While I get it that some viewers may like to see their favourite pairings engage in a romantic relationship onscreen, the manner of how this develops is crucial. As such, keeping it naturally-flowing and not forcing things to head towards the romantic genre would be the best. Especially when dealing with stories based on original material like novels and manga, it would be simply reckless and foolish to spoil the relationship dynamics crafted by the original works' authors for no apparent or justifiable reason.

Do share with me your favourite mixed-gender work partners in J-dramas and movies and let me know if I've missed any significant/popular examples from my list above!

Sunday, April 27, 2025

Quick Review #112: Private Banker - Winter 2025


Title: Private Banker / プライベートバンカー

Rating: 6 / 10

Recommended for
Those who are interested in a finance & investment-themed drama with mind-boggling concepts packaged in easy-to-understand formats, want to see a family fight over their fortune and inheritance and/or are fans of Karasawa Toshiaki and Suzuki Honami

* Potential spoilers ahead!

Liked:
- I liked how the drama managed to break down very difficult and complicated financial and investment concepts into very easy-to-digest and perfectly understandable titbits while not sacrificing the entertainment factor. While I already knew most of the topics mentioned in this drama, it was refreshing to see them explain things in this manner so you will still pick up some knowledge and new understanding of the things you may already know very well.

- Karasawa Toshiaki's acting as Anno was very interesting on various levels because he could be dorky, charming, serious yet somewhat sinister and switch between these facades at ease. His chemistry with Suzuki Honami who was like his mentee and assistant throughout this drama was intriguing and fun to observe from the sidelines. Her character also served as a representative for viewers and asked seemingly silly but very useful questions to make the financial explanation parts flow more naturally. I also thought that the parents of the Tenguuji family played by Hashizume Isao and Natsuki Mari were especially brilliant and definitely carried the family feud part of the story very well. 

Disliked: 
- Due to the fact that the family feud part of the story took up a significant share of the airtime, it was essential that this had to be exciting enough to hold the viewers' attention. Unfortunately though, it was not meant to be and the way things were going, it was easy to see where it was heading towards i.e. nobody in the family would win the fight. The sole saving grace was seeing Suzuki's character Iida Kumiko i.e. the unexpected outsider taking on the role of being the new president of the company which I thought was a nice ending note to a somewhat meh part of this drama. It would have been disastrous if Anno ended up taking this post for himself because that defeated his purpose and mission as a private banker.

- While Hashizume and Natsuki were great in their roles, their children and the actors playing them were comparatively weaker both in terms of onscreen presence and within the story. It would have been better if the kids gave the parents a run for their money instead of being overpowered completely since this would have provided better dramatic effect to last the entire season. A tug-of-war featuring equally matched-sides is better than an one-sided affair where the winner is clear from the start. Nonetheless, I liked Tamaki Hiroshi's guest appearance as the meek son-in-law who stood up for himself in the end but it was too bad he only starred in one episode.

- Given that Anno is a key figure in this story, I was disappointed to see that there was very little about his background and his motivation for being a private banker. At the end of the story, there was a hint suggesting that he works for someone even more influential and has darker motives when compared to the Tenguuji patriarch. It looks like TV Asahi is leaving the possibility of a sequel or SP open for now depending on the response to the drama series but the incompleteness of Anno's narrative left much to be desired, at least for me personally.

Saturday, March 29, 2025

Quick Review #110: Kujaku no dansu, dare ga mita? - Winter 2025


Title: Kujaku no dansu, dare ga mita? / クジャクのダンス、誰が見た?

Rating: 2 / 10

Recommended for
Those who are fans of the cast and don't mind watching a frustratingly slow and illogical suspense-mystery

* Potential spoilers ahead!
* Disclaimer: I have not read the original manga

Liked:
- I admit that my primary motivation for watching this was Matsuyama Kenichi and as expected, I felt that he did a decent job as Matsukaze. Surprisingly, I enjoyed his interaction with Hirose Suzu as their characters developed a comradeship which somehow evolved to being that of a father-and-daughter dynamic with some funny and heartwarming moments.

- The part when the Endo father-and-son pair were reunited after 22 years was so bittersweet but such a joy to watch because of Sakou Yoshi and Narita Ryo's acting. I also liked their interaction with Kamii (Isomura Hayato) who was a key driver of their hard-to-come-by reunion.

Disliked: 
- I certainly did not expect to give such a low score to this drama because it did start off pretty promisingly - at least up to Ep 2. However, things spiraled downwards really quickly as the subsequent episodes felt like teasers with some miserable bread crumbs dropped along the way but nothing major or significant ever happened. This was further aggravated because of the fact that I was watching this one episode at a time and had to wait an entire week for each new release. If not for the fact that I really wanted to find out what was the truth and for the sake of watching Matsuyama, I would have dropped this around Ep 5 or 6. The pace then picked up considerably, in fact it felt like information overload in Ep 9. And yet, the ending was so underwhelming. How boring to learn the truth in this manner! What was even more damning was that there were so many questions which I felt were not properly addressed or the explanation felt unconvincing. This may have to do with the fact that the manga had not been completed until recently. 

Just to name a number of them:
  • Why on earth and how did Haruo even get started to re-investigate the old case and arrive at his conclusion that Kyoko was involved? In order to live as a father with pride and not lie to Komugi anymore?
  • The Hayashikawa family murders - even though this case was a key event that set a lot of things going wrongly, what and how it happened felt like an afterthought from how the truth was presented in the last episode.
  • Same thing goes for Matsukaze's father Kuze - was that all to it? Nothing to do with the family murders?
  • Why did Endo Tomoya not reveal that he was called to go to the scene of the arson when he was arrested? And why did he do that anyway?
  • Why did Haruo move the baby to the second floor and hide this fact from his colleagues? The action itself wasn't bad or wrong so I fail to understand why.
  • Endo Rikiro could hear the baby's cries from outside the house but didn't hear the commotion between the Hayashikawa couple and Kyoko? Seriously?
  • How on earth did Akazawa know nothing about Kyoko's secret life? She set up a company, probably put her baby son in childcare, became pregnant with another man's child and disappeared for a while to give birth! By the time she brought the baby Uta to the Hayashikawa residence, that was 6 months after her birth. That means she must have been living apart from Akazawa for at least a year or so. Wouldn't Akazawa have attempted to see his son during that period and simply let her do what she wanted? And if she was still legally married to Akazawa, what about the birth registration of Uta?
  • I didn't quite get how Haruo managed to adopt Uta who was in a welfare home before she was about to be adopted by her money-crazy uncle. If there was a family member or relative, I struggle to understand how Haruo could have adopted Uta legally even with the forged birth papers because he was effectively a stranger. And wouldn't the fact that he was an interested party i.e. one of the investigators of the case make his adoption act seem a bit questionable? The police had no idea on the whereabouts of Uta who was the survivor of such a serious crime?
  • Where and how did Kyoko and the lawyer Narukawa link up? Did I miss something?
  • What was the reason for that letter Haruo left for Komugi? He foresaw that he was going to be killed for re-investigating the old case and wanted Komugi to expose her birth mother? Seriously?
In view of the above, unless you are going to watch when all the episodes have been released and don't mind the suspense being so half-baked, I would really suggest that you steer clear of this drama.

- Given that there was such a star-studded cast, I felt that the story did not allow them to shine as much as they could. It felt like a total waste of talent other than making everyone look suspicious up to Ep 8 but the ending was such a letdown. What was all that hoo-ha about if there wasn't really a mastermind or big baddie at the end of this journey?

- Nowadays, many dramas do not have a separate credits roll and simply integrate that into the ending scenes of an episode. The problem with doing this with this drama's theme song playing in the background was that the volume was not adjusted properly and often interfered with the scenes when characters were still speaking. The part when the singer was hitting the high-pitched notes simply was jarring to the ears. This really got into the way when viewing the episodes and inevitably caused me to be quite annoyed. That was a pity though because I do like the theme song itself but not when it prevented me from hearing what the characters were saying.

Monday, March 24, 2025

Quick Review #108: Mikami-sensei - Winter 2025


Title: Mikami-sensei / 御上先生

Rating: 9 / 10

Recommended for
Those who want to watch an unconventional school drama with suspense elements and great acting from both the adults and "students"

* Potential spoilers ahead!

Liked:
- Unlike many school dramas to date, this story stood out for its unconventional and brutally honest take on various issues - some longstanding while others were more recent ones in this current age. Honestly speaking, there were quite a number of times when I wondered if TBS would get into trouble for being so point blank and critical with these viewpoints. At the same time, I also chuckled at how it poked fun at itself and others at times e.g. the Kinpachi-sensei style of passionate teacher being not so suitable for the current era. For the first time in a long while, there were no raised voices, incessant preaching or shouting matches and physical clashes between teachers and students but this didn't mean that there were no sparks flying within the classroom. Most importantly, the drama did not try to shove standard, right or single answers down the viewers' throats and kept emphasizing how important it was for us to think about issues and decide for ourselves only after knowing or finding out more about these topics. As such, this was reflective of how life should be - there are no best or single answers, what's good for you may not be for me and that we can all make informed decisions by not relying on others to think on our behalf or simply relying on groupthink.

- With regard to the suspense element, I thought that the story was pretty good at weaving seemingly unrelated events together to form a grand scheme of things naturally. Frankly speaking, while I thought that the bribery-rigged entry into Rintoku part was kind of predictable and a bit underwhelming towards the end, the other elements such as how one's action gave rise to unexpected events e.g. Kanzaki's "harmless and self-righteous reporting" setting off a fatal stabbing incident unwittingly were comparatively gripping and very engaging to watch. 

- Another thing which sets this drama differently from many of its predecessors was the positioning of Mikami-sensei (Matsuzaka Toori). While the drama's title was as such and that you couldn't ignore the fact that his presence was a huge factor in setting things into motion, he was never hogging the limelight and the people around him actually all had their moments to shine. As such, nobody really felt like an outsider or afterthought as the story progressed and really brought home the message that nobody and nothing is unimportant. One line that appeared in the drama had a similar nuance with this - "even though you said that now is an important period of life, is there really a period of time in life which is unimportant?".
Many a times, school dramas tend to focus a lot on the adults or teachers rather than the students especially for stories like this which dabble in revenge and revamp of the school or education system. However, I felt that the actors who played the students this time actually stood out more than initially expected and gave their seniors a run for their money. Perhaps it had to do with the fact that their popularity and name value were secondary in the selection process which was done via auditions and their suitability for their roles was the key deciding factor. As such, it felt like some of them were especially fitting for their characters and really brought their roles to life - my favourites were Okudaira Daiken, Makita Aju, Kubozuka Airu, Kiryu Sakura and Kageyama Yuka. On the adults' side, Okada Masaki, Yoshioka Riho, Tokiwa Takako and Hotta Mayu were really brilliant in their acting alongside Matsuzaka.

Disliked: 
- Perhaps the biggest issue with this drama was how emotionally charged and heavy the story was. As I outlined above, while the drama may not have very dramatic moments like shouting, raised voices, passionate expressions and the like, there were a lot of undercurrents and emotions boiling underneath the calm facade. This made me feel quite drained emotionally after each episode and certainly not the kind of mood I would like to be in on a Sunday evening with a new week ahead.
Likewise, the huge number of lines and a lot of content to consider and think about in the story created much work and overloaded my brain. I think you really need to be in the mood to savour the good things in this drama and pace yourself rather than attempt to binge-watch this.

Saturday, March 15, 2025

Quick Review #106: Tokyo Sarada Bouru - Winter 2025


Title: Tokyo Sarada Bouru / 東京サラダボウル

Rating: 8.5 / 10

Recommended for
Those who are keen on a crime suspense story related to issues surrounding foreigner integration and prejudice in Japanese society and/or are fans of Nao and Matsuda Ryuuhei

* Disclaimer: I have not read the original manga.
* Potential spoilers ahead!

Liked:
- This drama was unexpectedly very upfront and frank about the issues pertaining to foreigner integration and prejudice in Japan which is a largely homogenous society. Especially since this drama was made by the national broadcaster and issues about foreigners can be quite sensitive and touchy, I was surprised by how these things supposedly taboo so far that were brought up for discussion in the story. One of the lines which left a huge impression on me was when one interpreter said that you don't have to love/like the foreigners around you but you have to realise and accept that these foreigners have helped to sustain the modern Japanese society in many ways which you cannot imagine or haven't realised or choose to ignore. As the world becomes more mixed like a salad bowl, the topics raised in this story are definitely food for thought for everyone regardless where you come from and whether you are in your home country surrounded by foreigners or a foreigner in another country.
One good thing was that the story didn't try to be overly dramatic and underlying emotions were conveyed in a relatively subtle manner. As such, it didn't feel too heavy and had the right amount of drama without feeling like a strictly-business suspense story. The downside to this was that you probably have to pay close attention to the story as some answers to questions were hinted at or went by in a fleeting moment e.g. why Kouda Mari's hair and clothes most of the time were in green and the significance of this colour to her.

- I liked the story's focus on interpreters and how communication can be facilitated or hindered due to the different languages we speak and whether there are interpreters to break down the barriers in communication. While I cannot comment on the quality of the interpretation of languages which I do not understand, I thought that the English (Sekiguchi Mandy) and Chinese interpreters were quite decent. 
In Matsuda Ryuuhei's case, I remember reading an interview that he did not know Chinese at all and had to learn from scratch to speak his lines. However, he sounded pretty natural 80% of the time so that's a reflection of how much his hard work had paid off. It's just that when he was speaking multiple lines or long lines at one go, the intonation tends to drift a bit and in Chinese, once the tone differs, the words can come across quite differently. On the other hand, Mikami Hiroshi's diction and intonation was quite spot-on so I could understand him a bit better in comparison. It probably also helped that he had lesser lines than Matsuda.

- Nao delivered a great performance as Kouda Mari, not just in terms of her green hair which was very eye-catching but also how she managed to convey the emotions of her character beneath that cheery facade. Her chemistry with Matsuda Ryuuhei was such a joy to watch especially in the later episodes when they bared their souls to each other and shared their traumas and painful pasts. Likewise for Matsuda, I think this was the first time I saw him looking pretty "normal" and suave because many of his characters I saw to date were either nerdy or on the eccentric side. While he maintained a straight face most of the time, I liked how he handled Arikino's emotional scenes and when he appeared vulnerable in front of Kouda.
Another surprise this time was Mikami Hiroshi who I had not seen on screen for a long time. While he may not have appeared a lot in this drama, his screen presence and suitability for his role Agawa was certainly impressive.

Disliked: 
- Frankly speaking, I didn't think that the suspense element of this drama was strong and the cases featured were somewhat straightforward. Other than the central theme of seeking out "Volunteer" and finding out the truth behind Oda's demise, there really wasn't much going on in the individual cases. As such, it can feel somewhat underwhelming for those who are in this for the suspense since the drama was more skewed towards the humanity side of things.

Sunday, March 09, 2025

Behind-the-scenes of TBS Winter 2025 drama "Mikami-sensei" and about its scriptwriter Shimori Roba


As "Mikami-sensei" continues to gather attention for its unconventional take on Japan's education system and various social issues, there have been a number of articles discussing its unique approach unlike other school dramas to date and its scriptwriter Shimori Roba. Read on for the behind-the-scenes trivia about this drama which will wrap up by the end of this month!

  • "Mikami-sensei" is Shimori's first solo script for a private network drama. To date, most of her writing work was for stage productions. Due to the reputation of TBS' Sundays 9pm timeslot and the scale of the production, she was worried if she could do a good job as she was pretty much a newbie at everything.
  • The first time she wrote a script was when she was in primary school.
  • Shimori revealed that it was only until the last ten years or so that she finally earned enough to survive solely on writing. For a very long time, her main income was from non-theatre work so she had extensive working experience in various industries. As such, many of her works are related to or set in the workplace and she credits those days as pivotal to her writing.
  • She founded the theatre group "Fuukin Koubou" in 1993 and began her activities with "serial number" since 2018. She admitted that as it can be difficult to survive solely on productions for her own company, she managed to grow her career by doing writing and directing for external productions.
  • Shimori is known for being good at writing scripts based on actual events and historical facts through interviews and extensive research. As such, her stories tend to be a mix of real social issues and fiction. To date, she has created more than 100 works.
  • The producer of "Mikami-sensei" i.e. Iida Kazutaka knew Shimori through a mutual acquaintance and had been to her stage plays from time to time. He then approached her to work on "Mikami-sensei" in spring 2020 after Shimori gained recognition and attention with her award-winning movie "Shinbun Kisha". As she believes that education is an important topic especially for the younger generation since they would be more receptive to new ideas and their thinking can be molded more easily to learn the right values and that she had never written about this genre in her plays, she told him that she was keen on this offer. 
  • Through repeated discussions with Iida and Shimori's research, she found out that the Ministry of Education, Culture, Sports, Science and Technology (MEXT) does have a system of dispatching its bureaucrats to schools to be teachers for short stints. Since many people would have the impression that most civil servants are diligent but find it difficult to do as they wish in the public service, this conflict was seen as something which could provide interesting viewpoints in the story. Besides, bureaucrats in areas such as education and culture have been seen as somewhat "weaker" in terms of influence and power compared to those in other ministries. As such, she raised the idea of doing a story about a bureaucrat-cum-teacher sent from MEXT to a public school and Iida liked the suggestion. However, the proposal did not get approved eventually and was put on hold. 
  • On hindsight, Shimori said that it was actually better that the proposal didn't go through back then because she felt that it would have flopped due to her inadequacy as a writer. She did not have a TV at home for about 15 years then and didn't even have the habit of watching dramas. After the proposal was turned down, she started to watch lots of dramas and movies in order to understand how dramas were made and what made a drama a success or a flop. That was how she finally built up her theory of what works or not through research and analysis of other people's works. She also credits her first foray into TV work such as being a co-scriptwriter for NHK's dramas "Gunjou Ryouiki" and "Kono hanasakuya" as being important in gaining actual experience.
  • In 2022, Iida suddenly sent Shimori an email and said that he still hadn't given up on their project. She was happy to hear about the revival of the plan and looked forward to working with Iida. As such, they renewed discussions and decided on the story's direction to be that of solving the students' problems one by one which would eventually lead to the resolution of a big issue in the country at the end. In addition, unlike most school dramas where teachers and students were pitted against each other, they would unite to fight against the greater evil in this drama. While Iida liked the idea, Shimori started to self-doubt when she returned home after the meeting and wondered if this plan would actually work. Nonetheless, she had faith that Iida would make this drama a reality because he was extremely motivated to make a education-themed drama due to his original dream of becoming a school teacher. She also felt that she couldn't turn in a half-baked piece of work and needed to match up to his passion in the project.
  • With regard to her original draft for Ep 1, Iida commented that they needed to start things off with a stronger impact. Just then, she was reminded of the stabbing incident involving entrance exam candidates outside the University of Tokyo in 2022 which was seen as a sign of societal stress surfacing in Japan. After making some adjustments to the settings, she incorporated a similar development in the first episode.
  • While Shimori prides herself as someone who has read lots of good mystery stories to date, things felt different when she was the one writing it. As such, rather than focus on surprising people with revelations, she decided to focus on making her story as logical and believable as possible.
  • When designing the character Mikami Takashi, Iida told Shimori that it would be good to make Mikami a dark hero. At that time, TBS was showing "Anti Hero" so she agreed that this might be a great idea. However, she didn't think that she could come up with a character like that. And besides, Mikami was not meant to be a hero but rather a new type of teacher. 
  • Shimori praised Matsuzaka Toori for being a perfect hit for Mikami since the first script reading session and was very happy that he brought this character to life. Although Matsuzaka had starred in the movie "Shinbun Kisha" which was also written by Shimori, they didn't really have much direct interaction back then since the script was adjusted along the way with the producer and director. And since Matsuzaka's character in the movie did not actually achieve what he intended despite summoning his courage to do so, Shimori really wanted Mikami to be able to realise his goal this time. In addition, she has been a follower of Matsuzaka's works and watched most of them so she felt confident that no matter what she writes, he would be able to deliver. The fact that this is their second collaboration gave her the confidence that he could do it.
  • In theatre, the playwright's writing style can be quite distinct but Shimori had to tone down a bit in this respect for the drama. As such, she didn't want to focus too much on the lines but instead tried to use other ways to convey the intended messages. For example, she quoted the scene in Ep 2 when Mikami gave Kanzaki a light push in the back and walked with him into the school which was filled with reporters at the gate rather than use words to illustrate the significance of this action.
  • Since Shimori had been cooped up writing the script, she decided to attend the auditions for the student characters so that she could "get out of the house to meet people". However, she did not participate in the selection process. The experience was useful for her to see for herself who was chosen to play what character and how these actors are like because it would be impossible to watch all of their prior works. She was very impressed with the casting choices as some of the actors did not actually look or feel like the characters they were playing but after the necessary styling and make-up, they were transformed accordingly to look the part. She also expressed amazement at the pool of talent they managed to secure and looks forward to seeing how these young actors will grow in time to come. Among them, she cited Okudaira Daiken as being really impressive to manage a difficult role like Kanzaki.
  • Amid her wide range of stories written to date, Shimori revealed that the common theme in them was to convey the message that people still have to live on despite what happens. As such, the importance of life and using culture and arts to protect lives are what she considers as extremely crucial themes.
  • Shimori revealed that coming up with names in the story was very challenging because she had to avoid having similar-sounding names for the characters. Even the school's name Rintoku Gakuin was finally decided after a while because it would be best not to overlap with an actual school's name. While writing the script, she also had a table with the characters' names and the cast members' photos which helped her imagine who would say what line. As for other details in the character settings, those were decided together with the production team.
  • As for the theme of "The personal is political" which gets repeated in the drama, Shimori revealed that this came from the feminism and student activism movements and she heard about it while doing research for another LGBTQ-themed story in the past. Although she had always thought that personal and political problems were unrelated, the idea that making it easier to live on a personal basis could change the political and social systems as well became apparent to her. As such, she really wanted to incorporate this belief in the story and was glad that through this drama, many people had become more aware about this.
  • Through this drama, Shimori hopes that viewers will be able to see that there is hope in things changing in the future as long as one continues to live, no matter how unlikely it may seem right now.

Friday, February 21, 2025

Romaji lyrics and translation of "Puppets Can't Control You" by ONE OK ROCK (Japanese version) - Theme Song of TBS Winter 2025 drama "Mikami-sensei"


Title: Puppets Can't Control You
Artist: ONE OK ROCK
Written by: Taka / DAIDAI / Gianni Taylor / Dru Decarro / Derek Tyler Carter
Theme Song of TBS Winter 2025 drama "Mikami-sensei"

* Since the song lyrics are in English except for the opening verse, the romaji lyrics and translation (in brackets) will be for the Japanese section only. Note that the English version's opening verse is not the same as this.

senkou ka koukou de kimaru you na 
bakageta petenshi no geemu ni
jissai odorasarete kuruwasare
damasareta ageku
They want to make us pick a side

(It seems like it's been decided whether you go first or second
A stupid trickster's game
After being manipulated, driven crazy and cheated
They want to make us pick a side)

Damned if I do
It's way too late to fix it
I'll be damned if I don't
The bane of my existence
They said damn kid you gotta try
Even if you never win
You can't pretend
You'll never be happy again

Clip his wings he don't deserve that halo
I'm losing faith in everyone again
If the TV stations sell their lies on cable
Then we're so blind that we'll be tuning in
But I don't know where to start

Damned if I do
It's way too late to fix it
I'll be damned if I don't
The bane of my existence
They said damn kid you gotta try
Even if you never win
You can't pretend
You'll never be happy again

Holding on to nothing
Till it turns into something
Don't like who I'm becoming
I can't keep running
Searching for an answer
Re-reading every chapter
There's no happy ever after when it's over

Damned if I do
It's way too late to fix it
I'll be damned if I don't
The bane of my existence
They said damn kid you gotta try
Even if you never win
You can't pretend
You'll never be happy again

Thursday, February 20, 2025

Highlights from the chat session between ONE OK ROCK's Taka and Iida Kazutaka (producer of "Mikami-sensei")


There was a chat session featuring Iida Kazutaka i.e. producer of TBS Winter 2025 drama "Mikami-sensei" and Taka i.e. vocalist of ONE OK ROCK which sings the theme song "Puppets Can't Control You". In the two-part article, they talked about various things such as the story leading to their collaboration and the message they want to convey in the theme song. Given the length, I have extracted some highlights pertaining to the drama and theme song as shared below:
  • Iida first came into contact with ONE OK ROCK's music in 2013, thanks to Sato Takeru's recommendation. He watched the 2016 concert "18 sai" during the COVID-19 pandemic and was deeply moved by the embedded messages of respect and encouragement which transcended the boundaries between adults and youngsters at the age of 18. With the intention to showcase a similar story like this, "Mikami-sensei" materialised after 5 years.
  • Iida already had the intention to get ONE OK ROCK to sing the theme song although he wasn't confident that the band would accept his offer. 
  • In response, Taka said that it was rare for such an offer to come to them. He explained that the band tends to touch on supposedly taboo or controversial themes in their music so there is this perception of dealing with them can be troublesome, whether it is justified or not. As such, they were really happy to have received this offer.
  • Taka revealed that on a personal level, he is not so receptive to the idea of working with TV since young. As such, under normal circumstances, he would have said no to such an offer especially since his utmost priority is to uphold the band's policy.
  • In the US, it is common for them to bring in several staff members for music playing sessions with the band when making music. Through this process, it allows the band to bring in fresh ideas from different people through a trial-and-error process and identify those whose values and ideals are in sync with them vs. those who just want to make use of and tap on the power of their brand. However, this is not something that's usually practiced in Japan and the system can only work if there is mutual respect between both parties and a relationship that's geared towards making the best stuff. 
  • Iida shared that in the world of making dramas, there is also a difference in practices between the US and Japan. In the US, it is common to have multiple scriptwriters work on a single drama and the story is crafted through feedback along the way. However, in Japan, the standard practice is to have one scriptwriter be responsible for the entire drama. While Iida said that he hopes to bring in a more consultative process in making Japanese dramas going forward, he felt that he can also learn from the band's experience but acknowledged that it does take courage to adopt the input of others and be receptive to change.
  • Both of them highlighted the importance of communication and how it can foster understanding and convey thoughts accurately. Even through a fictitious work like this drama or music, viewers can draw parallels between the story/lyrics and their lives which will give rise to new energy and create opportunities for discussion.
  • At the time when ONE OK ROCK received the proposal for the theme song, they were in the midst of making their album "DETOX" and felt that the drama matched its theme. However, they were worried initially about how far they could go for the song to portray the drama's key theme.
  • The word "puppets" in the title does not refer to just its literal meaning but also those who step up to take responsibility whenever things happen such as the president of a country or company. The thing is, there are usually bigger and stronger powers behind these figures. As such, the meaning that they want to convey through this song is that, "no matter how many puppets you change to make the public's anger go away whenever there's a crisis, we will no longer be deceived by this rigged system and listen to these puppets put up by the larger powers". Taka joked that this might come across very strongly in Japanese but the interpretation of the message should differ to a certain extent since the lyrics are in English.
  • The song was written entirely in English at first. Since there was feedback that there should be some Japanese lyrics given that this is still a theme song for a Japanese drama, they wrote the lyrics in Japanese for the opening verse in the Japanese version while keeping to all-English lyrics in the original version. Taka said that it's rare for the band's recent songs to begin with Japanese and felt that it was a good idea to do this after all.
  • Taka also revealed a funny anecdote about the song which he let close friends hear before the tie-up with the drama was announced. However, the feedback he got was that it was difficult to appreciate what the song was trying to convey if you just heard it on its own. Once the song was played during the ending credits of "Mikami-sensei", those friends came back to tell Taka that they finally understood what the song was about and praised its compatibility with the drama. Taka himself was convinced by what they said when he watched the ending credits and realised that the song turned out to be better than he thought.
  • Iida said that it was a deliberate decision to choose a hard rock song for the drama since it is positioned as one which would break stereotypes in the TBS Sunday drama timeslot.
  • Taka shared that he doesn't have a TV at home and hasn't watched a TV show in more than 10 years. However, he does watch Netflix at times. This is the first time in a long while that he finds himself "hooked" to a TV drama and is surprised by how unconventional and edgy the story is especially considering that this drama is shown on a terrestrial TV network and not an international OTT platform.

Tuesday, February 18, 2025

A look at the reasons for Yokohama City Fire Department's decision to continue supporting "119 Emergency Call" behind the scenes


Due to the controversy over FujiTV's role in the Nakai Masahiro incident, many companies and government organisations have put on hold or cancelled their collaborations and/or business relations with the TV station while waiting for its third party committee investigation to conclude before deciding on the path ahead. In the midst of this, Yokohama City Fire Department's decision to help with the filming of Winter 2025 drama "119 Emergency Call" behind the scenes while removing any mention of its name in the credits was met with mixed reactions from the public.

According this article by Toyo Keizai, while it was avoidable that some had criticised the fire department for using taxpayers' money to provide support to the production of this drama and being seen as "endorsing" FujiTV's perceived enablement and abetment of Nakai's action and compliance violations, there were also others who were worried about whether the drama would make it till the end of the season if the fire department had pulled the plug on supporting the filming. 

Of course, the city government and the fire department would have definitely expected some degree of backlash regarding their decision even with the removal of their names in the credits. While there was no mention of a detailed analysis on the responses and comments posted on social media and articles with regard to this, Toyo Keizai noted that many of the negative comments called for the withdrawal of support mainly to show a firm stand against FujiTV's failings in the incident and the handling of the aftermath. And due to the nature of the Internet and social media, it was more likely that those who felt strongly against the collaboration would tend to speak out as compared to those who were on the fence or had positive sentiments towards the drama. Perhaps this was also why that those in favour of the decision tend to cite specific reasons and personal examples explaining why this drama would be useful and informational to the public such as knowing how to provide useful information in a calm manner to the emergency hotline officers and being able to appreciate and understand the value of the important work done by the command centre officers who are largely "unseen" by the public. It certainly does take a lot more effort to write praise as compared to dishing out criticism online.

As seen from the positive feedback from the public, it seems that the three aims of the fire department in supporting such a drama have indeed been met to a certain extent:
  1. Promoting the understanding of the fire department's work: Through the drama, the public can understand how the fire department's teams work together, how to make 119 emergency calls and the challenges in its inability to dispatch fire engines and ambulances "immediately" during certain situations. In this drama, the command centre officers do not actually go out to save lives but have an important role in "passing on the baton" to those on the ground and are equally pivotal to their other colleagues in the process of saving lives. 
  2. The potential of positive spillover effects to fire departments nationwide: While this drama is set in Yokohama City, the importance of the work handled by the fire department's control centre would be the same anywhere else. As such, in order to convey this and boost understanding of their work, giving up on the collaboration with FujiTV so easily will no doubt be counterproductive to their efforts so far.
  3. To enhance the public's safety and boost awareness: As featured in the drama, most people who call the emergency hotline would tend to be nervous and in a panic mode thus cannot provide details or comprehensive information to the command centre's officers. This no doubt delays the speed of dispatching appropriate resources to deal with the situation and creates the inability of on-the-ground emergency personnel to handle the matter in the best way possible. This is when useful tips such as how to stay calm, speak succinctly yet being detailed would be of value to those reporting cases to the emergency hotline. In addition, making the public be aware of when to call the hotline such as those who can go to the hospital themselves shouldn't be calling for ambulances or showing how prank calls can waste time of the officers who should be working on the true emergencies are expected to boost safety for themselves and others since nobody would know when they might be the ones who require help one day.
On the other hand, there could be potential benefits to the fire department itself since it doesn't really have to spend extra money for its collaboration with FujiTV. From what is known so far, the support provided includes training and acting guidance during filming and lending of fire engines and uniforms. Through fostering understanding of their work, the fire department may also be able to achieve better optimisation of their operations through the reduction of waste and resources caused by non-emergencies and other situations like prank calls. In addition, the spotlight shone on the command centre officers might create a "career boom" as more children and youngsters get inspired to join this line which will help in the uncovering and development of future talent. And since the lead character was someone who switched jobs from a bank to the command centre, it is also hoped that adults may be encouraged to do the same and consider this occupation which was relatively unknown until this drama. Last but not least, this drama might also help to increase the motivation of current command centre officers who hardly get any recognition and praise for the work they do.

The article also mentioned how the drama already had its fair share of difficulties right from the start such as when the broadcast of Ep 1 was interrupted due to the earthquake in Miyazaki Prefecture on 13 Jan or that its Ep 3 broadcast was cancelled at the last minute due to the over-run caused by FujiTV's marathon press conference about the Nakai incident. Despite these and the sponsor fallout, the drama is still staying its course and has been praised in the media. While it remains to be seen if anything else might happen to cause any changes, it will certainly be good for the drama to finish its run successfully and deliver its intended objectives as planned.

Monday, February 17, 2025

The secrets hidden in the sponsor credits section of TBS Winter 2025 drama "Kujaku no dansu, dare ga mita?"


Apparently, there is a secret hidden in the sponsor credits section of TBS Winter 2025 drama "Kujaku no dansu, dare ga mita?"

At the top and bottom of the screen, there were some dots and dashes which resembled the Morse code. After deciphering them, they supposedly contained statements which are now widely seen as clues to solve the mysteries in this drama especially since they correspond to key developments in the respective episodes:

SPOILERS AHEAD! Proceed with caution ~

Ep 1: 私の声に気付いてますか (Have you noticed my voice?) -> not sure whose voice this is referring to though.

Ep 2: 俺はあの時から真実を探してる (I have been searching for the truth since that time) - most likely referring to Komugi Papa i.e. Detective Yamashita Haruo (Lily Franky) who had been re-investigating the murder case from 22 years ago.

Ep 3: 光の中のあの人は何を隠してる (That person in the light is hiding something) - most likely referring to the mysterious man with the backpack and carabiner whose face keeps getting blocked by light.

Ep 4: 真実の鍵は水の中 (The key to the truth is in the water) - the mystery water which Detective Akazawa (Fujimoto Takahiro) was told by his wife (Nishida Naomi) to drink or Someda (Sakai Toshiya) found dead in the water?

While I did notice these symbols on screen since I'm watching the TVer version (not sure if it does appear in the Netflix version though), they never struck me as potential clues especially since I do not know how to decipher the Morse code in the first place. Looks like there is one more thing to pay attention to while watching this drama. 😁

Interestingly, Hirose Suzu was so excited to find out about this when her manager forwarded the article to her and even tagged her co-star Matsuyama Kenichi in her post on X. In response, he "complained" that the staff had hidden yet another thing from the cast and that some "gimmick genius" must have come up with this idea.

Behind-the-scenes trivia from TBS Winter 2025 drama "Mikami-sensei"


TBS Winter 2025 drama "Mikami-sensei" held an event on 15 February 2025 for 40 senior high school students where the producer Iida Kazutaka, director Miyazaki Yohei and cast members Toyoda Yuudai and Yamashita Kouki appeared. During the event, they shared behind-the-scenes trivia with the audience including:

- The theme song "Puppets Can't Control You" by ONE OK ROCK was kept as top secret from most of the cast and staff members until it was finally revealed in the ending credits of Ep 1's broadcast.
  • According to Iida, a hint was actually dropped to everyone when they started filming the classroom scenes in December. 
  • A sacoche bag which is the size of their script, was handed out to everyone at that time. On it was an English phrase which is taken from the lyrics of the song.
  • During a briefing with cast members, Iida mentioned that this drama was conceptualised after he heard the song "We are" from ONE OK ROCK.
  • This led to Okudaira Daiken who plays Kanzaki Takuto, to guess correctly then that the English words on the bag should be song lyrics.

- Iida revealed the roots of how this drama came about. He used to aspire to become a teacher after he saw the 5th season of "3 nen B gumi Kinpachi" sensei in the final year of his senior high school. However, he failed his university entrance exams and repeated a year before he finally entered Waseda University's School of Education. He even obtained the English teaching license for junior and senior high. 
It was then when he felt that he would not be able to teach his students well if he had no prior working experience so he applied to join TBS instead of becoming a teacher. While in TBS, he kept thinking of making a drama about teachers one day and finally realised his dream through "Dragonzakura" in 2021. 
Just when he wanted to do an original story about teachers and felt that there was a lot of pent-up frustration in society due to the COVID-19 pandemic, he happened to see a video of ONE OK ROCK's 2016 concert in 2020 and felt the youthful energy and brilliance through it. As such, he started to plan for a school drama which ultimately became "Mikami-sensei" 5 years later.

- Unlike many school dramas to date, "Mikami-sensei" emphasizes the need for teachers and students to think together rather than teachers telling the students "how to think". With regard to this point, there was a mutual understanding with scriptwriter Shimori Roba that they didn't want this drama to be preachy and instead reflect the need to change the perception of teachers as times have also changed. It was important to emphasize that while one may be passionate about something, conveying it in a calm manner with only the necessary words is probably the best way going forward. This was unlike past dramas which tended to show passionate teachers lecturing their students with grand words and long arguments just to get their viewpoints across.

- There is also a conscious attempt to shine the spotlight on social issues of today despite this drama being entertainment and make it easier for the general audience to understand and appreciate. This was something that may not be easily done in political or social dramas meant for the adult audience.

- All 29 student actors were chosen through an audition. Contrary to the tendency to choose only popular or well-known actors to play students in school dramas so as to attract the viewers' attention, it was extremely important for the selected student actors to be able to convey the key messages in the story. In this way, the story would be able to make a lasting impression on the audience rather than be a once-off thing.

- The positioning of the Sunday drama timeslot is that it provides entertainment which can provide viewers with the motivation and encouragement to work hard again at the start of a new week. As such, while keeping this in mind, the intention of this drama is also to encourage viewers to start thinking about issues and be kinder to the people around them. This will hopefully bring about more positive effects to the society at large.

Saturday, February 15, 2025

Romaji lyrics of "Elf" by Ado - Theme song of TBS Winter 2025 drama "Kujaku no dansu, dare ga mita?"


Title: Elf
Artist: Ado
Written & Arranged by: Teniwoha
Theme song of TBS Winter 2025 drama "Kujaku no dansu, dare ga mita?"

hashirinasai hayaku motto hayaku 
kanashimi ni oitsukarenai you ni
sagashinasai akari no tomoru michi wo
sore wa sore wa mabayui deshou

idominasai kimi no utsukushisa ya toutosa wo kizutsukeru mono ni
nemurinasai tsukaretara nemurinasai
shinwa wo motanai ano seiza no you ni

te wo hanashita ato 
kimi wa kizuku darou
yubi no katachi taion
sono nagori ga mune wo sasu

wasuretakoto mo wasureteshimae
kanashimi mo nukumori mo kieteshimae
saredo ima mo mimi ni nokoru wa
kataku saikai wo negau you na
[Sayonara]

Adieu Adieu
Love You And you?

odorinasai dare ni warawaretemo
awayuki wo harau eda no you ni
sakebinasai kokoro kara sakebinasai
koko ni tashika ni itanda to hibikasete

yukiai no sora ni touhanabi ga nijimu
kaerubeki ie wo sagasu
nagai nagai tabiji wo iku nara

takaraka narase sono shinzou wa 
saigo no hitouchi made kimi no mono da
namida namida afureru ga ii
furu shizuku ga kimi no mori wo sodateru darou

sore wa sennen no houmushikku deshita
mugen sae mo kazoe oete
kaibutsu no you na sekai no sumikko de tatakai tsuzukeru hito
kimi wa erufu erufu

(itoshiki) tabi wa tsuzuku

wasuretakoto mo wasureteshimae
kanashimi mo nukumori mo kiechimae
saredo ima mo ima mo mimi ni nokoru wa
kataku saikai wo negau you na
[Sayonara]

Adieu Adieu
Love You And you?
Adieu Adieu