<figure id="attachment_462246" class="wp-caption alignnone" style="width: 2618px;" aria-describedby="caption-attachment-462246"><a href="#" data-ident_hash="f442be11"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2026/03/fd4b901cc9252a9eafbd4e701ac984e9.jpg" alt=""></a><figcaption id="caption-attachment-462246" class="wp-caption-text">Although Hana Sugisaki stars in the drama Fuyu no Nanka sa, Haru no Nanka ne (loosely, “Something About Winter, Something About Spring”), which is approaching its final episode</figcaption></figure>
<h2>No particularly major incidents occur</h2>
Among the winter dramas, the unique series starring Hana Sugisaki (28), Fuyu no Nanka sa, Haru no Nanka ne (Fuyu no sa Haru no ne) (Nippon TV), is receiving a strong reaction on social media as it nears its finale.
This work is an original piece written by a master of romance dramas, Rikiya Imaizumi, known for films such as Ai ga Nanda (2019).
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Sugisaki plays 27-year-old Fumina Tsuchida, a novelist who has published two books so far and is currently writing her third. Influenced by various past romantic experiences, she wonders:
“Would it be better not to date someone important?”
“What is love in the first place?”
While wavering, she continues to move forward. It is a much-talked-about work depicting forms of love with no right answer.
“From episode 2 onward, as her past romantic experiences are revealed, viewers’ impressions of Fumina gradually change, and a different side of her emerges compared to what was seen in episode 1. Additionally, long, documentary-like conversation scenes are filmed in a single cut, captivating audiences. This unique approach also drew attention,” said a production company producer.
This year marks Sugisaki’s 15th anniversary since debut. In recent years, she has received high praise for appearing in memorable works such as the film Ichiko (2023) and the drama Unmet (2024), both of which left a strong impression on viewers. For Sugisaki, who has continuously updated herself as an actress, this work—her first collaboration with the visionary Imaizumi—also became a new challenge.
“Compared to conventional dramas that focus on easy-to-understand storytelling or relatability, this work features no particularly major incidents, nor does it depict character growth arcs. Instead, in everyday exchanges that might not typically become drama, the pauses between conversations and subtle emotional nuances carry empathy and poignancy, deeply resonating with viewers. The two will also team up again in Chloema (to be released on Amazon Prime Video in June), showing their strong mutual trust,” said a production company director.
In the first place, Imaizumi’s works, which depict forms of love with no right answer, have focused on struggles that exist in everyday life—issues that are rarely highlighted, yet certainly trouble many people. As such, they have challenged the audience’s ability to interpret them.
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<h2>Creating without a plot</h2>
“For example, the phrases ‘nanka sa’ and ‘nanka ne’ used in the title. On their own, they don’t carry much meaning, but the words that pass through one’s mind when saying them reveal emotions like sediment sinking deep in the heart—feelings that haven’t been fully sorted out. In other words, the true feelings of the characters who utter them can be glimpsed in the words that follow ‘nanka sa’ and ‘nanka ne,’” said the aforementioned director.
Imaizumi’s works achieve a higher level of completion by thoroughly focusing on even the smallest details, as represented by phrases like “nanka sa” and “nanka ne.” In other words, “God is in the details.”
“The way Mr. Imaizumi writes his scripts is the same as Sang-il Lee, who became a world-renowned director after sweeping film awards with the movie Kokuhō (2025). Even when working from original material, he conducts careful research and thoroughly studies materials, then begins writing the script from the beginning without creating a plot (outline). In other words, both Imaizumi and Lee decide the next scene based on what happens in the current scene as they write.
It’s like tunnel excavation work that progresses millimeter by millimeter. They keep digging, hit solid bedrock and stop for days, then persistently continue digging again. If it absolutely doesn’t work, they move to another wall and start digging from scratch. Even the writer doesn’t know when they will reach the final scene. There is no doubt that this method of writing scenarios improves the quality of the work,” said the aforementioned producer.
Of course, it is difficult to create a serialized drama without first preparing a plot and then developing the story.
However, if each episode is developed after deciding on a rough plot, it inevitably falls into predictability, making it harder for “God to dwell in the details.” There is no doubt that Imaizumi’s challenge in this work, Fuyu no Nanka sa, Haru no Nanka ne, has thrown a new stone into today’s drama world.
At last, the final episode where Fumina and Yukio (Ryo Narita, 32) face each other. One hopes for a one-of-a-kind ending—free from predictability and unbowed by conformity pressure.

 Ukon Shima (Broadcaster, Video Producer)

 Kumataro Arai

 The drama "Something in Winter, Something in Spring" starring Hana Sugisaki is one of the most unique dramas of this season. The meaning of "God is in the details" seen behind the production of such a drama can be found at ......

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