ABEMA is making a bold move. All twelve episodes of Smoking Behind the Supermarket with You (Super no Ura de Yacchau Tabako no Hanashi) drop on 3 June—weeks before the Japanese television broadcast starts in July.
Who Gets It Early
This is a premium-only, Japan-exclusive early release. If you qualify, you’re not just getting a head start. You’re getting a different experience entirely.
Exclusive Music You Won’t Hear Later
The ABEMA version features opening and closing sequences unique to this release. The production committee has confirmed these will not appear in the July broadcast.
- Opening —
Kuzuri Nen
by ZUTOMAYO, an electrifying rock track - Ending —
NIGHT DANCER
by imase, a smooth, catchy closer
What you hear during this marathon won’t be what later viewers hear on television. That’s deliberate. That’s leverage.
The Craft Behind It
Asahi Production handles the animation. Direction falls to the duo of Suzuki and Aoi Mori.
The Voices
- Takuya Sato in a leading role — known for Caesar Anthonio Zeppeli in JoJo’s Bizarre Adventure and Albert James Moriarty in Moriarty the Patriot. A voice with gravity and weight.
- Seena Hoshiki in a leading role — recognized for Riamu Yumemi in The Idolmaster Cinderella Girls. A voice with familiar brightness.
The contrast between them is already interesting. You can sense the dynamic before a single line plays.
The Story
An unusual romantic comedy built on age difference and the small, quiet moments of daily life.
Yamada is a supermarket employee. After every shift, she smokes behind the store. Sasaki, a high school girl, starts showing up during those breaks just to talk.
Here’s the complication: Yamada is hiding who she really is. She’s posing as a mysterious older woman named Tayama.
The series doesn’t chase grand gestures. It lives in relaxed chats, chance encounters, and the slow, careful development of feelings in a calm and comforting atmosphere.
The Question
Do you take the complete, exclusive experience now? Or do you hold to the old rhythm, letting the story unfold week by week as originally intended?
What does it say about our relationship with narrative when a platform offers the entire story as a single, early unit? Is the
giftof exclusivity enough to alter the communal, weekly rhythm of television? And in a story about guarded identities—how much does the timing of our own consumption shape the secrets we think we’re discovering?
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