No-men Prosecutor (Episode 7): It is too dangerous for a world where criminal groups can move against the prosecution...

Atom Shukugawa, who has been playing the culprit since the last episode, takes the role again. It is a relatively rare impression to see him play a criminal, but he skillfully expressed a desperate psychological state. In recent years, there are fewer actors with the specific atmosphere often called a 'criminal face,' so it is possible that offers for him will increase in the future. The story develops further from the previous act of terrorism, escalating this time to a 'bomb-wielding hostage-taker at the Public Prosecutors Office.'

The setting is that although the culprit underwent a baggage inspection at the entrance of the government building, he was not discovered because he had the bomb strapped to his body. His motive is based on a grudge that his younger brother was forced to work under unreasonable conditions and died. However, the investigation reveals that the brother was actually working to earn money of his own volition to start a full-scale gardening business independently. Therefore, Shukugawa's terrorism is poorly grounded, and the prosecutor played by Takaya Kamikawa confronts the bomber unarmed. While this would normally be an extremely difficult act, it can be said that his portrayal of a prosecutor with a 'mask-like expression' provides the necessary credibility. Furthermore, Shukugawa demands the release of Junpei Yasui in exchange for the hostages. While it is suggested that he may be a member of 'Lost Ressentiment,' it is also shown that there is a chain of command behind him, and it was not made clear in this episode whether Yasui himself is involved.

Meanwhile, in the hostage situation, the surveillance cameras are destroyed, and Alisa Mizuki attempts to convey the situation inside to the outside using her smartphone. However, this action is extremely dangerous, and one cannot deny the possibility that a brave amateur might take similar actions in a real-life situation. Even in modern times, where counter-terrorism is frequently discussed, the situations that arise on the ground often exceed expectations. Japan, in particular, has been criticized for its lax approach to crisis management, and this work highlights that awareness of the issue.

The story finally comes to a close with the arrest of Shukugawa. However, there is no major progress, and the subsequent development is rather shocking. When Kamikawa tries to accompany Ayako Yoshitani home out of concern for her safety, he himself is stabbed. This is the second attack in this drama, and it seems that Kamikawa's pursuit of the truth is what the culprit finds most troublesome.

It remains unclear whether the assassin is the mastermind behind the scenes, but the structure of gathering those who harbor dissatisfaction with society and threatening society in the form of revenge is something that could well happen in modern Japan. Such collective crimes are characterized by the difficulty of grasping their overall picture and structure. There are overlapping elements with the 'station occupation' drama airing on another channel during the same period, and while I pray that such things do not happen in reality, it reflects the fact that there are still many people who cannot speak out strongly unless they gather together. This situation shows the complexity of the 'Reiwa Japanese,' and if foreigners were to join in, the situation would become even more complicated. That is precisely why attitudes of discrimination or prejudice should be avoided. This is because the blade is highly likely to turn against those who practiced such discrimination themselves.