Back to the airing list Read 2026-09-19 14:59 UTC
Summer 2026 · what the scores say

The Narrow
Band

Risograph print: a row of five equal five-pointed stars, the first two filled solid and the last three left as outlines.
Most listed this season
  1. 1Saga of Tanya the Evil II
  2. 2Mushoku Tensei: Jobless Reincarnation Season 3
  3. 3Puella Magi Madoka Magica the Movie -Walpurgisnacht: Rising-
  4. 4Sparks of Tomorrow
  5. 5Smoking Behind the Supermarket With You
  6. 6Trapped in a Dating Sim: The World of Otome Games Is Tough for Mobs Season 2
  7. 7BLEACH: Thousand-Year Blood War Part 4 - The Calamity
  8. 8Skeleton Knight in Another World Season 2
  9. 9BLACK TORCH
  10. 10Chainsmoker Cat
  11. 11THE GHOST IN THE SHELL
  12. 12Clevatess: The King of Devil Beasts Season 2

Most of this season has no score at all. The rest sit in a band so narrow that telling two shows apart by it is mostly wishful thinking.

How much of the season is blank

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Every score, drawn on the scale it claims to use

Scores here run 0 to 100. That is the axis below, all of it. The columns are the titles that have a score, one column per whole point.

The distribution of scores across the full 0 to 100 scale.

—Set the bar here

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The ones that do have a score

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    What it takes to get a score at all

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    Titles grouped by how many people list them.
    Each bar is as long as its group is large, so the longest bar is the group holding the most titles — not the one doing best. The solid part is how many titles in that group have a score.

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    What the word “season” is counting

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    Each format’s share of the season’s titles and of its list entries.
    The top bar in each pair is that format’s share of the titles airing. The bottom bar is its share of every list entry those titles hold between them — roughly, of the attention. A format can be a fifth of the list and a three-hundredth of the watching.

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    The audience decides whether there is a score, not what it says

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    Listings against score, with the unscored titles on a strip below the axis.
    Dots above the line have a score. The strip underneath holds the titles that have an audience but no number — they have a position left to right and nothing to plot upward. Everything above the line lands inside one thin ribbon.

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    How this page was built

    1. The scores are Kitsu’s average rating, on its own 0–100 scale, read at the timestamp in the top right. They are an average of what that site’s users typed in, which is not the same thing as a review and not the same population as the people watching in Japan.
    2. A missing score is left missing. We do not fill it with a zero, an average or a guess. How much of a season arrives with no score is one of the two things this page is about, and any filled-in value would erase it.
    3. Percentages are taken against both denominators, deliberately. “Eleven of forty-one clear the bar” and “eleven of a hundred and forty-four clear the bar” are both true and they feel completely different. Quoting only the first is the ordinary way this kind of number gets oversold.
    4. The axis is drawn 0 to 100 rather than cropped to where the data sits. Cropping would fill the picture edge to edge and make an eighteen-point spread look like the whole range — the numbers would still be true and the picture would still be a lie.
    5. Every figure here is computed in your browser from the same rows the airing list uses, which are written into this page’s source at build time. Nothing is fetched while you read, and nothing about you is measured.
    6. A score built on a handful of ratings is not a measurement. This page cannot see how many people rated each title, so a score with twenty voters and one with twenty thousand sit in the same column. Treat the band as a fact about the scale, not as a ranking of the shows.
    7. “Listings” is not “ratings.” The last three sections weigh titles by how many people have them on a list, because that is the only audience figure in the data. It is a different count from how many people left a score, and nothing on this page can separate the two. Where that distinction would change a conclusion, the section says so rather than quietly leaning on it.

    Elsewhere on the index