Self
Yo Oizumi
Self
Overview
How do you like Wednesday? was a Japanese television variety series that aired on the HTB network in Hokkaidō, Japan, and on other regional television networks in Japan. The program debuted on HTB on October 9, 1996. The series was one of the first local variety programs to be produced on Hokkaido; prior to this series' launch, local variety programs in Hokkaidō were virtually non-existent. The program also had a significant influence on other local programs in other regions in Japan, most notably Kwangaku! in Kansai and Nobunaga in Tokai. The series achieved a record 18.6% viewing share on December 8, 1999, the highest share for a late-night program on a local TV station. Production of the weekly regular series ended in September 2002, though new limited-run series were produced on average of every 18 months; the latest series was shown on HTB in late 2005, eight episodes in length. Most of the series have been rerun under the names of Dōdeshō Returns and Suiyō Dōdeshō Classic.
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Reviews
✦ AI-generated review
The Feather and the Storm
Thirty years on, people still argue about *Forrest Gump* like the movie owes them a final ruling. For some, Robert Zemeckis’s 1994 epic is warm Americana. For others, it’s a slick fantasy that pats obedience on the head and sneers at the counterculture. Watching it again, I cared less about either camp than about the film’s stubborn resistance to cynicism. Strip away the culture-war noise and what remains is a story about a man who moves through history without trying to conquer it.
Zemeckis has always loved the nuts and bolts of filmmaking. Here he uses early digital effects to slide Forrest into footage with JFK and John Lennon, but the bolder move is making the whole sprawling movie hang on a man at a bus stop. Tom Hanks reportedly wondered during production whether anybody would care about "this nut sitting on a bench". That doubt turns out to be the engine. The film keeps smashing the stillness of that bench against the violent sprawl of the American century, and the contrast gives the whole thing its pulse.
Hanks does the hardest thing in the movie by never turning Forrest into a bit. His back stays straight, chin slightly lifted, as if he’s always waiting for the next instruction. Even the voice has a rooted, specific feel because Hanks adapted it from Michael Conner Humphreys, the child actor playing young Forrest. That choice keeps the character from drifting into cartoon territory. He sounds local, stubbornly physical, like somebody from a place instead of a symbol wandering through it.
If Forrest is the anchor, Lieutenant Dan is the wound. Gary Sinise drags the film into murkier territory, and the hurricane sequence still hits like a punch. Zemeckis plants the camera low on the tossing shrimp boat, looking up at Sinise tied to the mast, his body ravaged by war and his anger filling the frame. He screams into the storm like he wants God to answer him. Then the movie does the smartest thing possible: it gets quiet. The waters flatten, the frenzy drains out, and Dan slips into the ocean to swim. No speech, no underline. You just know something inside him has finally unclenched.
Jenny’s tragedy works on a lower, sadder frequency. I’ve never bought the idea that the film simply punishes her for being a liberal while rewarding Forrest for following directions. Watch Robin Wright closely and you see a woman fleeing an abusive childhood, not a cautionary emblem for the 1960s. Every time she returns to Alabama, her body gives her away—shoulders tight, eyes looking for the nearest exit. She keeps trying on new identities because she is desperate for something, anything, that might cover the damage.
Maybe the movie asks for a leap of faith. It wants us to believe innocence can move through some of the ugliest decades in modern American life and remain essentially intact. You can call that sentimentality if you want. Sometimes it is. But Zemeckis builds the illusion with such care, and the emotion under the glossy surface runs deep enough, that I go with it anyway. You can see every string being pulled. The tug still lands.
Thirty years on, people still argue about *Forrest Gump* like the movie owes them a final ruling. For some, Robert Zemeckis’s 1994 epic is warm Americana. For others, it’s a slick fantasy that pats obedience on the head and sneers at the counterculture. Watching it again, I cared less about either camp than about the film’s stubborn resistance to cynicism. Strip away the culture-war noise and what remains is a story about a man who moves through history without trying to conquer it.
Zemeckis has always loved the nuts and bolts of filmmaking. Here he uses early digital effects to slide Forrest into footage with JFK and John Lennon, but the bolder move is making the whole sprawling movie hang on a man at a bus stop. Tom Hanks reportedly wondered during production whether anybody would care about "this nut sitting on a bench". That doubt turns out to be the engine. The film keeps smashing the stillness of that bench against the violent sprawl of the American century, and the contrast gives the whole thing its pulse.
Hanks does the hardest thing in the movie by never turning Forrest into a bit. His back stays straight, chin slightly lifted, as if he’s always waiting for the next instruction. Even the voice has a rooted, specific feel because Hanks adapted it from Michael Conner Humphreys, the child actor playing young Forrest. That choice keeps the character from drifting into cartoon territory. He sounds local, stubbornly physical, like somebody from a place instead of a symbol wandering through it.
If Forrest is the anchor, Lieutenant Dan is the wound. Gary Sinise drags the film into murkier territory, and the hurricane sequence still hits like a punch. Zemeckis plants the camera low on the tossing shrimp boat, looking up at Sinise tied to the mast, his body ravaged by war and his anger filling the frame. He screams into the storm like he wants God to answer him. Then the movie does the smartest thing possible: it gets quiet. The waters flatten, the frenzy drains out, and Dan slips into the ocean to swim. No speech, no underline. You just know something inside him has finally unclenched.
Jenny’s tragedy works on a lower, sadder frequency. I’ve never bought the idea that the film simply punishes her for being a liberal while rewarding Forrest for following directions. Watch Robin Wright closely and you see a woman fleeing an abusive childhood, not a cautionary emblem for the 1960s. Every time she returns to Alabama, her body gives her away—shoulders tight, eyes looking for the nearest exit. She keeps trying on new identities because she is desperate for something, anything, that might cover the damage.
Maybe the movie asks for a leap of faith. It wants us to believe innocence can move through some of the ugliest decades in modern American life and remain essentially intact. You can call that sentimentality if you want. Sometimes it is. But Zemeckis builds the illusion with such care, and the emotion under the glossy surface runs deep enough, that I go with it anyway. You can see every string being pulled. The tug still lands.