Extremely Inappropriate!
不適切にもほどがある！
Storyline
The whole story, ending included.
A 1986 PE teacher time-slips to 2024 and collides with compliance culture — a musical comedy about what changed and what didn't.
1986. Ichiro Ogawa teaches PE at a junior high school in Katsushika, Tokyo, coaches its baseball team and is known as Ogawa from Hell: he smokes, shouts, hits his pupils and says whatever he thinks. A widower, he lives with his seventeen-year-old daughter, Junko, a sukeban in a long skirt. One day the bus home carries him to 2024. In his old café he meets Nagisa Inushima, a single mother and assistant producer at the television station EBS, and a hole in the café's toilet wall takes him back.
The bus turns out to be a time machine, and Ichiro rides it back and forth. In 2024 he lodges with Masahiko, a young app developer who turns out to be the son of Mutsumi, the local lad Junko likes, and becomes an unlikely counsellor at EBS, where his blunt talk cuts through the fears of staff who dare not say the wrong thing; each episode turns its argument into a song. Meanwhile Sakae Sakisaka, a feminist sociologist from 2024, and her teenage son, Kiyoshi, are living in 1986; Kiyoshi falls for Junko and coaxes a classmate who has stopped coming to school back to class.
Then Nagisa's father, Yuzuru, calls Ichiro 'Father'. Nagisa is Junko's daughter, and neither Ichiro nor Junko is alive in 2024. On 16 January 1995 Ichiro went to Kobe to make peace with the son-in-law he had shunned, missed the last train, and was killed with Junko in the Great Hanshin earthquake before dawn. The bus was built by one of his own pupils, Masakazu Inoue, Sakae's former husband. Shaken, Ichiro accepts it. He brings Junko to 2024 to meet her grown daughter, and Junko goes home, gives up the sukeban life and studies her way into university.
The project loses its funding, with fuel for one last round trip. Nagisa, suspended over a power-harassment complaint, travels with Ichiro to 1986, where Junko wipes ketchup from her mouth and calls her by name; then she and Kiyoshi ride home, and everyone returns to their own time. In 2024 the boy Kiyoshi once coaxed back to school, now a rich game developer, funds Inoue's research, and Nagisa and Masahiko start dating, their dating apps quietly rigged by Ichiro. In 1986 Ichiro finds the old ways absurd, stops hitting his pupils and tells them about the future. One night the toilet wall opens again, and an old Inoue steps through from 2054 with a tunnel to any time. Ichiro follows him in.
Starring
Sadawo Abeas Ichiro Ogawa
A widowed PE teacher of 1986, known as Ogawa from Hell, whose Showa-era bluntness collides with the manners of 2024.
Ichiro Ogawa’s story
Ichiro hits his pupils, smokes everywhere and says what he thinks. Carried to 2024 by a bus, he finds his bluntness useful: it gets him a counselling job at a television station and helps Nagisa, a worn-out single mother, win better terms at work. He is drawn to her, until a jolt stops their kiss and her father calls him Father. Nagisa is his granddaughter, and he and his daughter, Junko, will die in the Kobe earthquake of 1995. He brings Junko to meet her grown daughter, spends the last fuel on taking Nagisa to her mother, and quietly sets up her dating app. Back in 1986 he stops hitting his pupils and tells them about the future. When the elderly Inoue appears from 2054, Ichiro follows him into a tunnel through time.
Riisa Nakaas Nagisa Inushima
A single mother and television assistant producer in 2024, anxious about every rule at work, who turns out to be Ichiro's granddaughter.
Nagisa Inushima’s story
When a stranger from 1986 drinks her beer and tells her that whatever she needs done, he can do, Nagisa lets him help, and keeps her job on better terms and custody of her son. She and Ichiro are drawn to each other, until a jolt stops a kiss and her father calls Ichiro Father. Her mother, Junko, died with him in the Kobe earthquake when Nagisa was small. She shares a plate of spaghetti with the seventeen-year-old Junko in 2024. Suspended after a junior's harassment complaint, she travels to 1986, where Junko wipes ketchup from her mouth and calls her by name. Back at work, she makes her peace with the junior and starts seeing Masahiko.
Yuumi Kawaias Junko Ogawa
Ichiro's seventeen-year-old daughter, a sukeban in a long skirt, who glimpses her own future in 2024.
Junko Ogawa’s story
Junko went off the rails, smoking and drinking, to distract a father hollowed out by her mother's death. She likes Mutsumi, the local lad; Kiyoshi, the boy from 2024, falls for her. Guessing that her father has someone in the future, she tells him to go. In 2024 she meets the daughter she has not yet had, tells her over spaghetti that she loves children, stops a television taping that mocks her father, and after a row over an unpaid meal lands in a police cell. Back in 1986 she turns Mutsumi down, gives up the sukeban life and studies her way into university. When Nagisa visits, Junko wipes ketchup from her mouth and calls her by name. In the future Ichiro has seen, she dies with him in the Kobe earthquake.
Yo Yoshidaas Sakae Sakisaka
A feminist sociologist from 2024 who lands in 1986 with her son and rails against its casual sexism.
Hayato Isomuraas Mutsumi Akitsu / Masahiko Akitsu
Two roles: the 1986 lad Junko has a crush on, and his son in 2024, an app developer who takes Ichiro in.
Manato Sakamotoas Kiyoshi Sakisaka
Sakae's teenage son, who falls for Junko in 1986 and coaxes a classmate back to school.
Why it matters
Kankuro Kudo's time-slip comedy is about harassment, and it speaks the language of both sides. It sets a teacher who hits his pupils beside a 2024 workplace so afraid of giving offence it can barely speak, and lets each era expose the other. The on-screen warnings about inappropriate language, repeated in every episode, became a running joke of their own, and the last caption notes that the programme deliberately used the expressions of its time, 2024, as if looking back from the future. Its abbreviated title, Futehodo, won the 2024 prize for buzzword of the year and was applied to real corporate scandals. Under the satire sits something gentler: a man who learns the date of his own death and his daughter's, and goes home not to rage but to change how he treats the children in front of him.