My Sweet Marriage to My Ex-Nemesis is getting a TV anime
Kadokawa announced the television adaptation on 3 October at Dengeki Bunko Fall Festival Online 2026, with Atsushi Nigorikawa directing at Ankichi Kobo.
Kadokawa confirmed on 3 October that My Sweet Marriage to My Ex-Nemesis, the light novel series by Toshimichi Uzo, is being adapted for television. The announcement arrived during Dengeki Bunko Fall Festival Online 2026, the publisher's annual stream for its Dengeki Bunko imprint, and came with character line art and a celebration illustration from the novels' illustrator, Kewi Hayashi.
What the series is about
Roshi Saigawa and Ritsuka Nagira used to be sworn enemies, two superpowered warriors scrapping for supremacy inside rival organisations. Duels, schemes and a rivalry that looked unsalvageable somehow gave way to marriage. The comedy now runs on newlywed chaos, resurfacing old grudges, and the quiet suspicion that neither of them has fully stopped competing.
Who is making it
Atsushi Nigorikawa is directing at the studio Ankichi Kobo, with Keiichiro Ochi overseeing the series scripts and Yuki Nakano designing the characters. Nigorikawa's recent work includes A Journey Through Another World: Raising Kids While Adventuring, while Ochi has written for The Quintessential Quintuplets and Summer Pockets.
Where the books stand
Uzo began publishing the novels in October 2023 under Dengeki Bunko, with illustrations by Kewi Hayashi. The fourth volume shipped in August 2025 and the fifth is due on 10 November. Shime launched a manga adaptation in Kadokawa's Dengeki Maoh in November 2024, and the second collected volume followed on 27 July. One Peace Books licensed the manga for English readers in May and will release the first volume on 16 March 2027.
Our opinion
Enemies-to-lovers is the most efficient engine the light novel market has ever built, and this one knows exactly which lever to pull: the couple are already married before the first episode, which kills the will-they-won't-they and forces the show to find its comedy in the aftermath instead. That is a harder trick than it looks, and it is why the staffing matters more than the premise. Nigorikawa and Ochi have both spent recent years handling comedies with crowded ensembles, and Ankichi Kobo is a young studio with little to prove and everything to gain. The real risk is not the romance. It is whether the rival-organisation backstory gets enough room for the superpowers to justify themselves at all.