Man, itโs a good time to be a Dorama fan. Netflix’s catalogue of J-d(o)ramas becomes bigger and bigger by the day. Last month, it was Tokyo Swindlers. This month, the newest Netflix original Chastity High is coming out on the 29th. As well as Netflix originals, we also have the good ol’ network J-dramas being added into the mix. In April, we had TV Asahi’s Destiny, while in May, TBS’s Anti Hero. Japanese legal dramas continue to come in all shapes and sizes. But among the Netflix realm of legal dramas, Ishiko and Haneo – You’re Suing Me? (็ณๅญใจ็พฝ็ทโใใใชใณใใง่จดใใพใ๏ผโ) stands out with its heartwarming script and exceptional leads.
Written by Nishida Masafumi (from Fuji TV’s Nobunaga Concerto) and exceptionally directed by Tsukahara Ayuko (from TBS’s MIU 404 and Unnatural) and Yamamoto Takeyoshi (from TBS’s My Second Aoharu), Ishiko and Haneo was originally released by TBS in 2022. However, it was only added to Netflix late last year. Led by Arimura Kasumi and Nakamura Tomoya, the show follows Ishida Shoko (Arimura), a bright paralegal who works at her father’s law firm. One day, her father hires the equally bright Haneoka Yoshio (Nakamura), an unconventional, flamboyant lawyer who seems at odds with Ishida’s strong-willed, decorous personality. They have to learn to work together to solve their clients’ problems.
So far, so straightforward, right? But this show was devised with such charm, combining a polished script, excellent performances, and a human theme, that you won’t be able to let it go. Most importantly, thanks to Arimura and Nakamura’s electric chemistry, Ishiko and Haneo is an absolute joy to watch.
No major spoilers ahead. Enjoy! But if you don’t have time to read the entire review now, you can pin our summary at the bottom too!
Ishiko and Haneo: More Slice-of-Life, Less Complicated Legalese
The legal setting only creates a background to a more human, slice-of-life drama, trying to deliver a simple, but powerful message: to overcome adversity, there’s got to be open communication. People need to speak up for themselves and speak with each other to find the solutions they need.
Ishiko and Haneo is an episodic drama. That is, every episode presents us with a problem and by the end of each hour, everything is tidily wrapped up. The theme of the show and the underlying character arc for our two main characters give the series consistency and harmonious unity.
The script excels when dealing with everyday issues. The stories are easy to understand, without overly complicated jargon, but not in a way that talks down to the viewer. Their complexity comes from the intricacies of our personal lives: everyone has an entire web of connections, daily obligations, dreams, and objectives that unexpected, sometimes seemingly trivial problems might hinder. Every single one of their clients is more than a “guest” or “supporting” role. They have a beating heart and something (or someone) to protect โ and it’s our protagonists’ goal to assist them in protecting it.
How Ishiko and Haneo’s Unique Visual Storytelling Contributes to the Script
That’s where Ishiko and Haneo‘s unique visual storytelling comes into play. The show presents the issues as seen through the two main charactersโ perspectives. This is because, to Ishida, her father, and, eventually, Haneoka, their clients should always have the spotlight.
Every episode starts with a skit in a cold opening, in which the case in question is initially shown in a more comical light, using our main characters as victims and perpetrators. Then, the show wastes no time in immediately exposing the client’s background story. To avoid the boredom of exposure, the situation is visually recreated โ not through flashbacks, but through creative montages and special effects. Adding to the theatricality of the opening skit, these montages represent how our main characters imagine the situation rather than how things actually happened. This gives Ishiko and Haneo a very specific style, providing the show with a more detailed, more comprehensive personality. Within the first five minutes, you already know who the victim is, what their problems are, and Ishida and Haneoka’s initial approach.
A Healthy Dose of Mystery
From there on, the viewer follows the story along with our protagonists. The audience is never introduced to a solution or the truth before they are, making it more of a “mystery” and leading to a more engaging resolution. Each case is particular and, thanks to the structure of the script and the cinematography, the supporting and guest characters are easy to relate to. Besides, Ishiko and Haneo helps us understand the relationship between the Japanese and the law, which is completely different from the legal Western (even Korean) shows that you might be used to watching.
The show establishes and follows its own rhythm for eight solid episodes, consolidating this universe and its characters. That being the strength of the series, the last two episodes, which try to cover a higher-risk case, feel incoherent in comparison. As they address heavier themes, such as murder and fraud involving politics, the development of the case and its conclusion are rushed, and what seems to be almost “miraculous” solutions are taken advantage of. Those episodes don’t define the show, however, which is still very much worth a watch.
A Show About Ishiko and Haneo: The Power of Arimura and Nakamura’s Chemistry
The dialogue, especially between Ishida and Haneoka, is witty, sharp, and dynamic. Arimura and Nakamura’s performances are so in sync, their timing so perfectly aligned, that you could watch them bicker and support each other all day. Their chemistry is effortless โ and absolutely mesmerising to the audience. They pull you in, and their perspectives, of each other and of the world around them, define the script. The show shines when focused on the two of them and how they support and help each other to grow and overcome their own struggles.
Despite the show’s episodic format, there’s an overarching narrative for both Ishida and Haneoka, which is less plot-dependent and more about their characters’ arcs.
Since the episodes are all about the victims’ stories, Ishida’s and Haneoka’s character arcs are developed in between. The little moments throughout the day, from phone calls to dinners, bring them together. That’s what makes the show feel so natural: Ishida and Haneoka grow organically.
From the start, Ishida’s strength is Haneoka’s weakness and vice versa. Together, they complement each other, establishing a strong rapport that proves that, as partners, they can go much further and do much more than they could on their own. Once again, cinematography works to show how Ishida and Haneoka become “one”: the denouement always arises from their collaborative effort. As such, editing and cinematography make sure to visually deliver the conclusion through both Ishida (in the background) and Haneoka (the lawyer in court, in the foreground). Between the two of them blossoms a beautiful, compelling friendship that is the real heart of this show.
The Only Flaw in TBS’s Ishiko and Haneo
ATTENTION! Mild spoilers below!
Ishiko and Haneo has only one flaw: a romantic subplot between Ishida and Oba Ao (Akaso Eijii), Ishida’s high school classmate. Maybe the writer wanted to avoid the clichรฉ and have the “typical second male lead” end up with the girl. Maybe they wanted to prove that it’s possible to have and maintain a healthy friendship between a man and a woman. I really don’t know. The romantic subplot adds absolutely nothing to the main plot.
If you need convincing, try to watch Ishiko and Haneo by skipping the so-called “romantic” scenes (which are very few and have nothing particularly swoon-worthy about them). You’ll see that nothing changes. You can still follow the story with ease, and the relationship in question doesn’t contribute to Ishida’s character arc at all.
The renowned American director Alexander Mackendrick used to say, “If it can be cut out, then cut it out. Everything non-essential that you eliminate strengthens what’s left.” And this couldn’t be truer for Ishiko and Haneo. Considering that the chemistry between Ishida and Haneoka is so incredibly strong and that their character arcs depend on one another, the romantic subplot with Oba is forced, superficial, and artificial. As you can imagine, that goes completely against the entire set-up of the show. Besides, with such a well-crafted script, this subplot is a loose thread in a well-woven piece of fabric.
I’m not saying that a romance between Ishida and Haneoka was needed. Not at all: I believe the show would’ve been perfect without any romance at all. The camaraderie between all three of them โ Ishida, Haneoka, and Oba โ would’ve been more than enough.
The Care and Creativity on the Technical Side
Just to wrap it up, the cinematography and editing in Ishiko and Haneo is almost flawless. The colours are vibrant, the compositions are beautiful and always established wisely, and the montages are creative. Masahiro Tokuda’s score represents and completes the show. His songs are fun, a bit extravagant at times, but always perfectly dramatic when needed. RADWIMPS lends “NINGEN GOKKO” to the show as its theme song, highlighting the series’ argument once again: Ishida and Haneoka fight to have their clients’ voices heard. You can find both on Spotify.
You can watch Ishiko and Haneo on:
No time for the full review? Here’s a quick summary! Click it to pin it!
Ishiko and Haneo is a fun, enthralling, and uplifting journey through the Japanese legal system with two endearing, captivating lead characters. With excellent pacing, well-developed stories, and airtight character development, this is a recommended watch to all dorama fans out there.
Have you watched Ishiko and Haneo? Run to Netflix to check it out and share in the comments what you think of it!
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