The Apothecary Diaries Movie Trailer Drops, and Kenshi Yonezu Wrote the Theme Song

TOHO animation's official channel dropped the theatrical trailer for the first Apothecary Diaries movie, confirming its December release and revealing who wrote the theme song: Kenshi Yonezu. Japanese fans weren't really talking about the trailer's footage -- they were talking about Yonezu.

The reaction isn't debate so much as a long list of receipts: commenters started naming every past anime and movie theme Yonezu's written, pointing out that his sound somehow fits a mystery-and-poison period drama just as well as it fit a chainsaw-wielding action film or a Studio Ghibli epic.

TOHO animation's official channel dropped the full theatrical trailer for the first Apothecary Diaries movie, confirming the December theatrical release date and revealing who wrote the theme song: Kenshi Yonezu. The comment section barely touched the trailer's visuals. Almost every reply was about one thing -- that one of Japan's biggest working songwriters had signed on for yet another anime project, and that his sound already matched the show's mood before anyone had even heard a full verse of the new song.

What kept coming up wasn't "is this song good," it was "of course it's good, it's him." Commenters pointed to Yonezu's growing list of anime and movie theme credits -- Chainsaw Man, 5 Centimeters per Second, and Kingdom among them -- as proof he reliably writes something that fits whatever world he's handed, mystery-and-poison period drama included. A couple of replies went further back, bringing up his Jujutsu Kaisen movie theme from the year before and his theme for The Boy and the Heron, framing the new announcement as the same pattern repeating itself, show after show, without him ever settling into one signature sound.

Not everyone saw it coming, though. Several commenters admitted they were caught off guard that Yonezu specifically was attached to a series built around poisons and court medicine, and more than one joked that a gentle love-song title landing right after a poison-soaked mystery series felt almost too fitting for its own good. One reply couldn't square those soft new lyrics with the far blunter ones Yonezu's written for other projects, and said so outright, half-laughing at the contrast.

By the end of the thread, the discussion wasn't really about this one movie anymore. It had turned into a very familiar bit on the Japanese side of the internet: marveling, once again, that this one songwriter keeps doing this, project after project, genre after genre, without ever once landing on the wrong note for the room.