A lukewarm family drama with highs and lows. Oh, Dad!—or, if you’d prefer its Japanese title, “Oyaji”—follows the Kanzaki family, headed by the traditionalist motormouth pediatrician Kanichi (the eponymous “oyaji”). The plot centers on the personal crises faced by each member of the family, usually spurred on by a quotidian (if major) life change, and how they choose to be true to themselves in the face of adversity. There isn’t much to it—no surprises, twists, or revelations, and the theme isn’t even particularly special. That said, this is an easy, unobtrusive, feel-good drama which might suit perfectly as a palate cleanser after something more intense.

Standouts include Tamura Masakazu as Kanichi, whose breathless rants are definitely a highlight. Tamura pivots between loud and overbearing to warm, tender, and wise with an ease that is stunning. Though his character’s subplot with Ishida Yuriko’s Machiko is the drama’s biggest stumbling point, it was a lot of fun to watch him interact with pretty much anyone. An honorable mention to extremely young Okada Junichi, whose Kanzaki Tadashi is cut from the same cloth as his father—it’s pretty obvious he was always destined to grow into the strong actor that he is today. He draws the eye despite the extreme focus on his sisters (particularly Hirosue Ryoko’s Suzu, whose storyline is a bit of a mess). Everyone else more or less does their part, though some of the characters are bit superfluous; honestly, I could have done without the gyaru-culture caricature that is Sumika.

As for the music, nothing was memorable aside from the theme song, "Sayonara, Daisuki na Hito (Goodbye to the one I love most)" from Hana*Hana. It’s a bittersweet ballad with delicate vocals that sets the stage for the growth undertaken by the cast.

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Chilling in light of current affairs; keeps viewers on edge

"You see, it’s the cash flow that reflects the naked truth.”

Parallel Tokyo, while intense and frightening in its own right, now seems to glimmer with a chilling prescience in light of COVID-19. Though it explores the aftermath of a catastrophic earthquake in the heart of Tokyo, its themes are still starkly relevant. Here is a tragedy that nobody could have truly prepared for, even though there were signs. Reporters are asked to put the integrity of their corporate sponsors above unvarnished truth and public wellbeing. Misinformation runs rampant online, making it difficult to determine what’s real and not. Even when danger passes, the world is changed forever, in unforeseeable ways.

Centering the action on a broadcasting studio and its employees was an excellent choice. This allows the viewer both distance from the action and constant input, keeping the plot moving organically. Takahashi Katsunori catches the eye as the chief editor of the news station, often the vehicle for the themes conveyed by the drama. Koshiba Fuka turns in a solid performance as Kuraishi Mika; her portrayal of a vulnerable everywoman who manages to conjure inner strength in the face of adversity is believable and helps the audience settle into the story easily. That said, the strongest point of this drama is the script and pacing. Not only does Parallel Tokyo keep you on the edge of your seat, it also has a lot to say. Everything else seems a bit secondary, although in this case, I wouldn’t call that a bad thing.

Remember this, if nothing else: In times of great tragedy, all we have is each other.

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