Buoyed by their impromptu live performance as JELEE “impersonators”, Kano wants to move forward with a real debut live show featuring all of them in masks on Halloween. It’s a large undertaking: songs have to be written and practiced; outfits, the stage, a poster designed, and social media needs to be utilized in order to muster their fans to the event. The girls plan all of this at a getaway at an underwater-themed love hotel room booked by Mei over, presumably, a weekend, since Mei and Mahiru have school.
Things are proceeding along, er, swimmingly when suddenly a bombshell drops that threatens to torpedo the entire exercise: a cartoonish meddling SunDolls otaku (who is so evil his lair is bathed in red light) exposes the artist formerly known as Nono-tan as the girl who performed at the Tornado. This creates quite a bit of online stir, since a not-inconsequential number of people online have a problem with a “violent” idol suddenly trying for a comeback without proper atonement, or something.
Kano apologizes to the others for causing this mess and dragging them into such a cockamamie project, but Yoru, Mei, and Kiui no longer believe she’s dragging them anywhere. They want to make her dream of a live show bathed in blue light a reality. It’s no longer just her dream, but one they all share and have sweated over. When the Tornado manager says the show is cancelled due to potential threats, Mei slaps down an envelope of money as collateral.
But while money talks, ultimately it’s Kiui who finds an ideal solution: have no real audience present, except online. They livestream the performance to their entire follower base, and Kiui also prepares a projector that projects a host of fan art made under the hashtag #JeleeIsThisGirl, with the idea that the real face behind the character doesn’t matter. The livestream sufficiently anonymizes the members. What matters is the music and the JELEE and jellyfish imagery.
Pulling off the project leaves all four girls exhausted to the point of collapsing in Tornado’s green room. They pulled this off, but Kano wants to use the momentum they’ve gained and keep going, putting out another big presentation that is the culmination of all their work on New Year’s Eve.
Unfortunately, her mom was among those watching the livestream, and reaches out to Yoru to commission art for the current SunDolls. Whether she truly likes Yoru’s art or is just trying to screw with Kano by driving a wedge between her and her new girlfriend. Either way, I’m going to assume Hayakawa Yukine’s intentions are neither pure or noble.
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The online hate Kano experiences is very similar to the online hate Aya Hirano faced (and still faces at times) when the scandal surrounding her became public. I like how Jellyfish uses its story to obliquely critique some aspects of the popular culture its characters are immersed in. Both Aya and Kano are idols that crossed a line drawn by their rigidly thinking fan base. Perhaps though, as anime about popular arts tend to do, the resolution for Kano was a little too easy, compared to real life, where Ms Hirano still faces high levels of hostility, (including death threats) from some online individuals who still won’t forgive her fourteen years later.
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