Anime
The Super Mario Galaxy Movie Opens at #1 in Japan, Sound! Euphonium, The Final Movie Part 1 Anime Opens at #4 – News
© 2026 Nintendo and Universal Studios
The Super Mario Galaxy Movie — Nintendo, Illumination, and Universal Pictures‘ sequel to The Super Mario Bros. Movie — opened at #1 at the Japanese box office. The film sold 1.121 million tickets and earned 1,601,093,600 yen (about US$9.96 million) in its first three days.
The film opened in the United States and the United Kingdom on April 1, in other select territories on April 3, and in Japan on April 24.
Illumination founder and CEO Chris Meledandri and Nintendo representative director and fellow Shigeru Miyamoto again produced Illumination and Universal Pictures‘ new film. Directors Aaron Horvath and Michael Jelenic and screenwriter Matthew Fogel returned from the previous film for the new project. Brian Tyler returned to compose the soundtrack.
Brie Larson (Captain Marvel, Scott Pilgrim Takes Off) joined the film’s cast as Rosalina, while Benny Safdie (Oppenheimer, director/writer of Uncut Gems) played Bowser Jr. Donald Glover voiced Yoshi. Issa Rae joined the cast as Honey Queen, and Luis Guzmán played Wart. Glen Powell joined the film’s cast as Fox McCloud from Starfox. Returning cast members include Chris Pratt as Mario, Charlie Day as Luigi, Anya Taylor-Joy as Princess Peach, Jack Black as Bowser, Keegan-Michael Key as Toad, and Kevin Michael Richardson as Kamek.
The Super Mario Bros. Movie opened in the U.S. and in over 60 markets worldwide on April 5, 2023. The film earned an estimated US$190,053,455 in its first five days in North America to open at #1. It earned an estimated US$372.5 million worldwide in its first five days. The film crossed a cumulative total of an estimated US$628,765,135 worldwide after its second weekend. It became the second biggest film worldwide so far this year, coming in behind the Chinese film Pegasus 3.
Deadline puts the movie’s estimated US$377,628,865 opening worldwide as the highest-earning all-time worldwide opening for an animated film, beating Frozen II. (Frozen II opened over a regular three-day frame, as opposed to The Super Mario Bros. Movie‘s five-day frame.) The film is also the highest-earning video game adaptation in history.
The Super Mario franchise‘s first-week earnings for both films make it the only animated franchise to have two films open with US$350 million worldwide, and joins Shrek, Toy Story, and Minions as the only animated franchises to have two films open to more than US$100 million for three days in North America. The Super Mario Galaxy Movie also has the highest worldwide and North American openings for a 2026 film so far, and has the fifth highest worldwide opening earnings for an animated film ever.
The film’s other milestones include the second highest worldwide opening for Illumination, the second highest worldwide opening for a film based on a video game (both next to the original The Super Mario Bros. Movie), the fifth highest worldwide opening for Universal Pictures, the fourth highest five day opening in North America (and the highest since Moana 2), the fourth highest Easter weekend earnings in North America, and the third highest weekend opening in North America for a film based on a video game, among others.
© 2026 青山剛昌／名探偵コナン製作委員会
Detective Conan: Highway no Datenshi (Detective Conan: Fallen Angel of the Highway), the Detective Conan franchise‘s 29th film, dropped from #1 to #2 in its third weekend. The film sold 674,000 tickets and earned 1,001,544,900 yen (about US$6.23 million) from Friday to Sunday. The film has sold a total of 5.33 million tickets and has earned a cumulative total of 7,986,490,200 yen (about US$49.70 million)
The film sold 2,318,009 tickets and earned 3,502,137,800 yen (about US$21.9 million) in its first three days, making a new opening-weekend record for the franchise, and debuting at #1 at the Japanese box office.
The new film centers on the character Chihaya Hagiwara, member of the Kanagawa Prefectural Police and the leader of its motorcycle division. Miyuki Sawashiro now voices the character, replacing the late Atsuko Tanaka. The movie also features Kanagawa inspector Jugo Yokomizo, teenage detective Masumi Sera, Chihaya’s late younger brother Kenji Hagiwara, and Kenji’s Police Academy classmate Jinpei Matsuda.
Takahiro Hasui (Detective Conan: The Black Iron Submarine) directed the film, and Takahiro Ōkura (Detective Conan: The Crimson Love Letter) wrote the script. Yūgo Kanno (Detective Conan: One-eyed Flashback) composed the music for the film. Misia performs the theme song “Last Danced Anata to” (Last Dance With You).
©Ayano Takeda,TAKARAJIMASHA/Hibike Partners2024
Sound! Euphonium, The Final Movie Part 1 (Saishū Gakushō Hibike! Euphonium Zenpen) opened on Friday
in 201 theaters across Japan at #4. The film sold 77,000 tickets and earned 125,819,900 yen (about US$783,000) in its first three days.
The film includes a newly animated performance scene from the “Sunrise Festival,” the annual in-story marching band event. Additionally, the film features a new scene of Kumiko Oumae as she “takes on the great responsibility of becoming club president.”
TRUE performs the theme song “ToCoda.” TRUE has performed theme songs for the three previous seasons of the anime as well as Sound! Euphonium The Movie – Our Promise: A Brand New Day and Sound! Euphonium: Ensemble Contest Arc.
Taichi Ogawa is directing the anime, and Tatsuya Ishihara is the chief director. Jukki Hanada is in charge of the script and series composition. Character designers include Shoko Ikeda and Kazumi Ikeda, and Kazumi Ikeda is also the chief animation director. Akito Matsuda is composing the music at Lantis and Heart Company, with music cooperation by Senzoku Gakuen College of Music.
© コロリド・ツインエンジンパートナーズ
Shingo Yamashita‘s Cosmic Princess Kaguya! (Chō Kaguya-hime!) anime film stayed at #5 in its 10th weekend after the film’s limited one-week theatrical screening run in Japan was extended. The film earned 81,339,200 yen (about US$506,100) from Friday to Sunday, and has earned a cumulative total of 2,161,559,500 yen (about US$13.45 million).
The film’s limited theatrical run started on February 20. Tickets quickly sold out, with some theaters having to increase the number of screenings to more than 10 times a day. The film earned a total of 223,485,400 yen (about US$1.43 million) in Japanese theaters in its first three days after its run was extended.
Netflix began streaming the film on January 22.
Yamashita (Pokémon: Twilight Wings, opening animation for Jujutsu Kaisen, Chainsaw Man, 2022 Urusei Yatsura) made his feature-length directorial debut with the film in a collaboration between his Studio Chromato and Studio Colorido. Hechima (The Idolmaster Gakuen) and Akihiro Nagae (Drifting Home) designed the characters, with the former in charge of the Tsukuyomi designs and the latter handling the real-world character designs.
The film features songs by Vocaloid producers Ryo (supercell), kz (Livetune), 40mP, HoneyWorks, Aqu3ra, and yuigot.
© 藤子プロ・小学館・テレビ朝日・シンエイ・ADK 2026
The 2026 Doraemon film, Eiga Doraemon: Shin Nobita no Kaitei Kiganjō (Doraemon the Movie: New Nobita and the Castle of the Undersea Devil), dropped from #4 to #6 in its ninth weekend. The film earned 37,216,400 yen (about US$231,600) from Friday to Sunday, and has earned a cumulative total of 4,066,334,250 yen (about US$25.30 million).
The film opened on February 27 and ranked at #1 in its first weekend. The film sold 621,000 tickets and earned 779,681,350 yen (about US$4.96 million) in its first three days. The film ranked at #1 for six straight weekends.
The 45th 2D anime film (not counting the 3D CG Stand By Me Doraemon films) remakes the classic 1983 film Doraemon the Movie: Nobita and the Castle of the Undersea Devil.
Tetsuo Yajima (Pokémon the Movie: Secrets of the Jungle, Pokémon the Movie: The Power of Us, Pokémon XY) returns after directing episodes of the Doraemon television anime and contributing in other capacities to Doraemon the Movie: Nobita’s New Great Adventure into the Underworld, Doraemon the Movie: Nobita and the Steel Troops: The New Age, and Eiga Doraemon: Nobita no Chikyū Symphony. Another veteran of the television anime, Isao Murayama (Witchy Precure!, Star Twinkle Precure, Bakugan), wrote the new film’s screenplay.
The live-action film based on Kureha‘s The Ogre’s Bride (Oni no Hanayome) light novel series dropped off the top 10 in its fifth weekend.
Golden Kamuy: Abashiri Kangoku Shūgeki-hen (Golden Kamuy: Attack on Abashiri Prison Arc), the second live-action film based on Satoru Noda‘s Golden Kamuy manga, dropped off the list in its seventh weekend. The film still earned 21,951,100 yen (about US$136,600) from Friday to Sunday, and has earned a cumulative total of 1,429,631,600 yen (about US$8.89 million).
Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe (Kidō Senshi Gundam: Senkō no Hathaway – Circe no Majo), the second film of the Mobile Suit Gundam Hathaway (Kidō Senshi Gundam Senkō no Hathaway) anime project, has sold 1.59 million tickets to earn 2.7 billion yen in its 14th week at the box office.
Sources: Kōgyō Tsūshin (link 2), Anime Anime, comScore via KOFIC
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Viz Media revealed a new teaser trailer, a new key visual, and the cast for the anime of Keigo Shinzō‘s Hirayasumi manga (a co-production with Shogakukan-Shueisha Productions Co., Ltd and Production +h.) on Monday.
© Keigo Shinzo/Shogakukan/Hirayasumi Project
Yūma Uchida stars as Hiroto Ikuta, Mayu Takahashi as Natsumi Kobayashi and Rikako Aikawa as Hanae Wada.
© Keigo Shinzo/Shogakukan/Hirayasumi Project
Viz describes the human drama story:
At 29 years old, carefree Hiroto Ikuta doesn’t have a girlfriend, a full-time job, or a plan for the future—and he couldn’t be happier. Hiroto’s breezy attitude isn’t easy for everyone to understand, though. In a world filled with anxiety, confusion, and grief, Hiroto and the people around him are all just doing their best to figure out this thing called life.
Kei Suezawa (Fate/Grand Order The Movie Divine Realm of the Round Table: Camelot – Wandering: Agateram, FLCL Progressive) is directing the anime at Production +h. Naoyuki Asano (Urusei Yatsura, Keep Your Hands Off Eizouken!, Mr. Osomatsu) is designing the characters. Mika Nishimura (Dead Dead Demon’s Dededede Destruction, Typhoon Noruda) is the art director. Kaori Sawada (What Did You Eat Yesterday?, When Spring Comes) is composing the music.
The anime will premiere in January 2027 in Japan on the NHK General channel. Viz Media also announced in English a 2027 release.
Viz Media and Japan Society are also hosting the world premiere screening of the first episode at Japan Society’s location in New York City on October 7 at 7:00 p.m. EDT. Composer Kaori Sawada and producer Junichi Katsutani will be in attendance with Viz Media‘s Community Manager Godswill Ugwa as panel host.
Shinzō launched the manga in Shogakukan‘s Weekly Big Comic Spirits magazine in April 2021. Shogakukan published the manga’s ninth compiled book volume on July 30, and the series has over 1.1 million copies in circulation worldwide. The manga was nominated for the 15th Manga Taisho awards in January 2022, ranked #18 in the 2023 edition of Takarajimasha‘s Kono Manga ga Sugoi! (This Manga Is Amazing!) guidebook in December 2022, nominated for the 27th Annual Tezuka Osamu Cultural Prize in February 2023, and nominated for Best Continuing Manga Series in the 2nd American Manga Awards.
The series also inspired a live-action series, which premiered on NHK in November 2025.
Denpa has licensed Shinzō’s Holiday Junction collection of short manga. The book contains seven one-shot
manga. Shogakukan shipped the book in Japan in July 2016.
Source: press release
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The official website for the television anime adaptation of Keigo Shinzou‘s Hirayasumi manga revealed the main cast, a main visual (pictured) and a teaser promotional video on Tuesday. The anime is scheduled to premiere on NHK in January 2027.
Cast
Hiroto Ikuta: Yuuma Uchida (Fruits Basket 1st Season)
Natsumi Kobayashi: Mayu Takahashi (Long Zu II: Daowangzhe Zhi Tong)
Hanae Wada: Rikako Aikawa (Pokemon Sun & Moon)
Kei Suezawa (Fate/Grand Order: Shinsei Entaku Ryuoiki Camelot – Wandering; Agateram) is directing the anime at Production +h and handling the series composition and script with character design by Naoyuki Asano (Eizouken ni wa Te wo Dasu na!) and Mika Nishimura (Dead Dead Demons Dededede Destruction) serving as the art director. Kaori Sawada (Gakkougurashi! ending theme performance) is composing the music.
Shinzou began drawing the manga in Big Comic Spirits in April 2021. Shogakukan published the ninth volume in July 2025, with the tenth volume going on sale on April 30.
VIZ Media licensed the manga in English in October 2023, with the latest ninth volume released on May 19.
Teaser PV
Source: Animate Times
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©Kocha Agasawa/SHUEISHA, You and I Are Polar Opposites Committee
The show’s actual finale might be next week, but you sure could have fooled me into thinking otherwise. For all intents and purposes, a lot of this episode feels like it’s barreling straight towards an ending, and while only two out of the three couples get any focus, what we get with them feels conclusive enough that the show probably could have stopped here if it wanted. I’m certainly not gonna say no to more, though, because while this episode does put these pairs in a much healthier spot than they were before, the path to getting there is nothing short of an emotional rollercoaster.
The bulk of that ride goes to Tani and Miyu, who at first seem to be in a pretty good spot in their relationship despite Miyu’s previous threat to split up if Tani didn’t consider all his options for where to go to college. However, while they might be hanging out more, there’s still a bit of tension lingering in the air as they both know they’ll see each other less after high school, and it is becoming increasingly apparent to Miyu just how much Tani is straining himself to make time for her. Only when Miyu talks to her friends about it does she realize that while she wasn’t wrong to tell Tani to prioritize himself over her, doing so has inadvertently put a lot of pressure on him to avoid showing any signs that he’s struggling. Fortunately, it doesn’t take too long for Miyu to correct this mistake, and she reminds Tani that even if she can’t exactly help solve all his problems, she can at least be a shoulder for him to lean on, which gets him to finally admit to feeling exhausted. While the framing here is mostly as good couple advice, even without that angle, it’s still a good reminder that there’s nothing wrong with having someone to lean on when you need it, and we all need to let ourselves be vulnerable every once in a while.
With that whole situation resolved, that just leaves the 2000-pound elephant in the room that is Taira and Azuma, and to be honest, it really wasn’t looking good for these two. For one thing, the second half of the episode flash-forwarded to spring, with still no tangible progress between them, meaning any chance of seeing them as an actual couple on screen before the end of the show was basically nonexistent. Not only that, but it even skipped straight to graduation day, meaning that the only resolution we could really hope for with these two that could still feel a little romantic would be a last-minute love confession where they don’t start dating, but express their feelings clearly enough to have grown from the experience.
Alas, even that was starting to look unrealistic, as even when the two of them manage to be alone and cry over how much they enjoyed their high school experience, Azuma decides to herself that she’d still rather keep her feelings to herself, under the mindset that without having any kind of defined romantic relationship, she still found joy in their time together. It’s a fairly mature way of looking at the experience that would have made sense for these two, and while going that route with them would have only made the constant will-they-won’t-they of their relationship more aggravating, that really looked to be where the show was going, so I was about ready to finally throw in the towel here. That made me just as surprised as Azuma when Taira stopped her from walking off by asking if they could still see each other after high school, and I’m equal parts thrilled and angry at just how effective this rug pull was since the show really did have me on the edge of my seat here the entire time leading up to it. It’s certainly not how I was expecting things to go with these two, but all things considered, it’s a pretty solid resolution.
The Taira of old would have never gotten out of his head long enough to ask Azuma that question, and even without giving a direct confession, going out on that much of a limb still indicates how much she’s come to mean to him. Of course, going this particular route means we’re unlikely to see them ever confessing to each other on screen even in next week’s finale, but leaving their relationship open-ended in such a way makes it easy enough to imagine that they’d likely just casually hook up at some point later in life, and in that sense, it doesn’t feel strictly necessary to show it. At the same time, though, there’s every chance that whatever we get in the final episode could undo that ambiguity for the worse by having their relationship stay unchanged in the future, so in that sense I’m a little worried about what we’ll be getting out of it. Frankly, I’m not entirely sure what another episode could offer beyond seeing what all these characters are like as adults, and while I can’t say I’m not curious, it is hard to imagine that sort of epilogue being worth a full 20 minutes. Still, as I said before, though, I’m not gonna turn my nose at getting to spend a bit more time with this cast, so whatever lies in store for the actual end of this show, I’m certainly down to find out.
Rating:
You and I Are Polar Opposites Season 2 is currently streaming on
Crunchyroll.
The views and opinions expressed in this article are solely those of the author(s) and do not necessarily represent the views of Anime News Network, its employees, owners, or sponsors.
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