Anime
Episode 3 – Bleach: Thousand-Year Blood War – The Calamity

©久保帯人/集英社・テレビ東京・dentsu・ぴえろ
What is the quintessential battle shonen protagonist if not single-minded? Since time immemorial, your typical battle shonen protagonist has, at any given point, had one goal and one goal only—and it’s usually something along the lines of beating the crap out of whoever their enemy du jour is. To be clear, I’m not saying this is an inherently bad thing (or inherently good thing for that matter). Just that it’s one of the foremost battle shonen-y tropes, for better or for worse. But this week, I think, highlights both sides of that. Ichigo, for starters, has nothing on his mind but beating down Yhwach—he’s locked in, and ready to go like he’s never been locked in his whole life.
And speaking of his life, we learned quite a bit about that this week. I remember back in The Day, people used to joke about Ichigo that he’s part Quincy, part Hollow, part Soul Reaper, part [everything else he is; you get the idea], and all Gary Stu. And to be fair, at the time, that’s how it came off. Like Ichigo was some ultimate Franken-protag, combining every cool thing Bleach introduced into its world into one body. Even now, I’m not entirely sure if it was Kubo’s hope people would feel that way about Ichigo (I’m guessing not, but whatever), but that’s besides the point. What I’m getting at is that while it’s been a point of joking and criticism in the past, it’s good to see Bleach actually address Ichigo’s weird status as being a little bit of everything all at once. I’m not entirely sure I buy the idea that this was all machinated from the start so that Ichigo could be the next Soul King, but still. Good to see the series at least address this and bring it into its overall narrative.
Still, despite Ichigo having more than a few moments, Orihime was the star of the episode as far as I’m concerned. Battle shonen series, especially from Bleach‘s generation, don’t usually have the best track record when it comes to female characters, whether that means writing them in a way that’s lesser, or otherwise just never including them in the action. Often, both at the same time (cough Naruto cough). And while I’m not saying Bleach has an excellent track record in this regard, episodes like this remind me that in its back half, it made a lot of noticeable improvements in this department that its contemporaries don’t necessarily share. If Hueco Mundo felt like Kubo realizing he accidentally made Orihime way more powerful than he needed her to be, this feels more like him embracing that and telling the audience, “Hell yeah, I made her stupid powerful, what of it? What’s your point? What are you going to do about it?”
I think my only nitpick about Orihime in this episode is that all she seems to be thinking about is her precious Kurosaki-kun the whole time. Not to say he’s not important in this, obviously, just that when I say writing tends to be a consistent issue for battle shonen women, one of the most common ways this manifests is them having nothing on the brain but boys. It’s fine for Orihime to be worried about Ichigo; I guess I wish she would think of something else, too, while she’s trying to protect him. Say, I don’t know, the fate of the worlds and her other loved ones? In a way, this circles back to how I started this whole review: the single-minded battle shonen protagonist. When it’s a guy, it’s a battle or a big, grandiose goal. When it’s a girl, it’s just getting senpai to notice her. For better or for worse, I guess battle shonen heroes can’t have more than one thing on their minds at all times.
Still, this was a great episode all the same—a good return to form, following how underwhelming last week was. I’ve said all this, and I didn’t even mention how toward the end of the episode, we got a whole hype squad of captains—Hitsugaya, Byakuya, and Kenpachi—all ganging up on the same guy. If that’s not a recipe for a great fight, I don’t know what is.
Rating:
Bleach: Thousand-Year Blood War – The Calamity is currently streaming on
Hulu and Disney+.
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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Anime
‘Megane, Tokidoki, Yankee-kun’ Reveals Main Staff, Teaser Promo, 2027 Debut

The official website for the television anime adaptation of Naruki‘s Megane, Tokidoki, Yankee-kun (Glasses with a Chance of Delinquent) manga revealed the main staff, two teaser visuals (pictured above), and teaser promotional video on Tuesday. The anime series will premiere in 2027.
Staff
Director: Makoto Hoshino (Shin no Nakama ja Nai to Yuusha no Party wo Oidasareta node, Henkyou de Slow Life suru Koto ni Shimashita)
Series Composition: Megumi Shimizu (Tomo-chan wa Onnanoko!)
Character design: Ruriko Watanabe (4-nin wa Sorezore Uso wo Tsuku)
Studio: Studio Flad, WAO WORLD
Naruki began serializing the romance manga in Bessatsu Friend magazine in January 2021. Kodansha published the 11th volume on May 13.
Seven Seas Entertainment licensed the manga in English in June 2024 and released the seventh volume on July 14, with the eighth volume scheduled for an October 20 release.
Teaser PV
Source: animate Times
News submitted by NokkiMal
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Anime
Glasses With a Chance of Delinquent Anime’s Teaser Reveals Staff, 2027 TV Debut – News
The official website for the anime of Naruki‘s Glasses With a Chance of Delinquent (Megane, Tokidoki, Yankee-kun) manga unveiled a new teaser promotional video and visuals for the anime on Tuesday. The teaser announces the main staff and the 2027 television premiere for the anime.

Ⓒなるき・講談社/「メガネ、時々、ヤンキーくん」製作委員会

Ⓒなるき・講談社/「メガネ、時々、ヤンキーくん」製作委員会
Makoto Hoshino (DamePri Anime Caravan, Banished from the Hero’s Party, The Little Lies We All Tell) is directing the anime at Studio Flad and Wao World. Megumi Shimizu (My Next Life as a Villainess: All Routes Lead to Doom!, Banished from the Hero’s Party, The Little Lies We All Tell) is in charge of the series scripts. Ruriko Watanabe (DamePri Anime Caravan, Banished from the Hero’s Party, The Little Lies We All Tell) is designing the characters.

© Naruki, Kodansha, Seven Seas Entertainment
Seven Seas Entertainment is releasing the manga in English, and it describes the story:
Momose has always longed for a peaceful high school life. She wants nothing to do with hoodlums, delinquents, or troublemakers. When she meets Ichikura, an inconspicuous black-haired boy with glasses, he looks like a normal, nice guy. But it turns out that back in junior high he was a nefarious delinquent!
He keeps assuring her that he’s changed his ways, but he’s still pretty quick to pick fights! Has Ichikura really turned over a new leaf? And will Momose keep quiet about his rowdy past?
Naruki launched the series in Kodansha‘s Bessatsu Friend magazine in January 2021. Kodansha shipped the manga’s 11th compiled book volume on May 13. Both Kodansha‘s K MANGA service and Seven Seas Entertainment are releasing the manga in English, with K MANGA offering the manga digitally simultaneously. Seven Seas Entertainment released the manga’s seventh volume on July 14.
Sources: Glasses With a Chance of Delinquent anime’s website, Comic Natalie
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Anime
Rumiko Takahashi, Junji Ito Meet for Viz’s Teatime for Two – Interest
Viz Media released a new English-subtitled video on Saturday featuring legendary manga creator Rumiko Takahashi (Inuyasha, Ranma ½) and renowned horror manga creator Junji Ito (Tomie, Uzumaki). Titled “VIZ Teatime for Two with Rumiko Takahashi and Junji Ito,” the two manga creators spoke about their impressions about each other, their works, what kind of manga they would create if they collaborated on a short, and how the manga industry has changed since their respective debuts.
On what sort of manga the two would create if they collaborated, Ito states that Takahashi has created several different stories, but he would like to lean towards horror. “She can write anything. So perhaps we should lean toward horror,” Ito states.
Takahashi, in turn, praised Ito’s style of horror saying it “has a freshness that I believe changed the world of manga.” Takahashi then agreed a horror manga would be best.
When digging further into a concept the two spoke on capturing the “minds of older men” and the “Ito calamity attacking a middle-aged man”. Takahashi concluded the segment joking, “We wouldn’t do it though.”
Following the release of the video, Ito shared the video to his X (formerly Twitter) account. In his post, the horror icon stated that he met with Takahashi in San Francisco in January for filming. As of press time Ito’s post has over 7,900 likes and 15 comments.
Since making her debut in 1978, Takahashi has created such manga as Urusei Yatsura, Maison Ikkoku, Mermaid Saga, Rumic Theater, Ranma ½, One-Pound Gospel, and Inuyasha. In her career of over four decades, many of her works have become internationally popular and inspired anime and live-action adaptations. Takahashi was inducted into the Harvey Awards’ Hall of Fame in 2021. She was similarly inducted into the Will Eisner Comic Awards Hall of Fame in 2018.
The Will Eisner Comic Industry Awards inducted Ito into the Will Eisner Comic Awards Hall of Fame in July 2025. Ito previously won Eisner Awards for Lovesickness, Remina, Venus In The Blind Spot, and “Frankenstein.” Comic-Con International in San Diego awarded its Inkpot Award to Ito 2023. Junji Ito Maniac: Japanese Tales of the Macabre, an anime based on 20 different Ito stories, debuted worldwide on Netflix in January 2024. Ito’s Uzumaki manga also inspired a four-episode anime mini-series that premiered on Toonami in September 2024. Junji Ito “Collection”, a previous television anime of manga by Ito, also adapted stories from the Itō Junji Kessaku-shū collection, as well as the Fragments of Horror book. The anime premiered in January 2018 and had 12 episodes.
Sources: Viz Media‘s YouTube channel, Junji Ito‘s X/Twitter account
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