Bloom Into You – 13 (Fin) – Right Now Is Different

As she visits her family grave, Touko remains determined to “see things through” and put on the stage show in her sister’s place. And that’s all fine and dandy…for the present. But what about when the show is over? Who is she, who does she become once there’s nothing left to do in her sister’s name?

Miyako’s Café Echo is a quiet and intimate place that draws both Yuu and Kanou (to start the process of re-writing the play’s ending) and Touko and Sayaka. While the latter two are there, Miyako and Sayaka share some knowing glances and phrases, and Sayaka finally asks Touko about her sister: What was she like?

Touko is somewhat hesitant to answer, as she’s realized the Mio she knew wasn’t the whole picture. Sayaka responds that just because what she knew of Mio wasn’t complete doesn’t mean that part wasn’t a real and legitimate part of who she was—and a part about which Sayaka wants to hear.

Talking about her sister puts Touko back in a forlorn, uneasy state, and she just wants to see Yuu at times like that, to simply exist with her in the right now. Yet even though she’s been told she’s allowed to “indulge herself” Touko still hesitates to send a text…until Yuu sends her one first, inviting her to hang out.

Just that one simple little text completely changes Touko’s right now. Back at the cafe, Riko arrives, and Miyako asks her if she prefers men or women; a kind of loaded question. Riko admits, she’s not especially attracted to women, but right now, she’s dating one: Miyako. Life is full of exceptions, contradictions, and imperfections. They can or can’t be explained, and can only either be accepted or not.

Yuu and Touko go to Aqua World and have a blast, and I couldn’t be happier. I’d much rather the series end on a lovely date that explores where they’re at in their relationship right now, rather than focus on the festival and stage play. I’m far less interested as a play than as a mirror to who Touko “is.” I shouldn’t, then, be surprised that Bloom Into You gave me what I wanted.

What I also didn’t want, and thankfully didn’t get, was a confession or “awakening” from Yuu. What I did get was Touko explaining why she says I love you so easily and often to Yuu. Regardless of how Yuu reacts, simply saying it makes Touko feel relieved. Relieved that she can actually fall in love with someone, something the sister she knew never did (as far as she knows).

That means that she’s not falling in love simply to check off another box on the list of things her sister did. It’s something that happened to her, Touko, organically and without influence. And however much of who she is is only a lie or an emulation of Mio, the part of her that likes Yuu is most assuredly neither. It’s real, and it’s relieving.

She admits that sounds self-contradictory, but Yuu further comforts her by stating what she believes: that it’s perfectly fine to be self-contradictory. To be so is to be human.

While outside before the penguin march, Yuu starts performing the play, and Touko joins in once she realizes there’s no one else around. When Yuu changes some of her lines from the script, she says she’s improvising, that Touko follow suit, and that Kanou is changing things up because she wasn’t satisfied with the script as-is.

When the part comes when Touko’s character is apprehensive about which person she should choose to be based on the different stories she’s received, Yuu asks why she needs to make a choice at all. “I don’t know anyone aside from ‘you'”,  Yuu’s nurse character says. It’s not like Touko’s character has no memories, she’s gained enough during the hospital stay to lay out the groundwork of who she is right now, not who she might’ve been.

The penguin show interrupts their rehearsal, and the two continue to enjoy the aquarium. Eventually Yuu takes Touko by the hand and leads her through the transparent underwater tunnels, to other exhibits, and to the gift shop. Touko wishes this would never end, but the exit approaches … they’re there already; too soon for her taste.

On the train home, both Touko and Yuu are sleepy and close to drifting off. Yuu tells Touko she can, and she does, leaning her shoulder and head against her. In idea for the title of Kanou’s play comes to Yuu: “Only You Know.” She takes the sleeping Touko’s hand and draws nearer, gently waking her and saying they need to change trains…

…And that’s it! Such a quiet, delicate ending full of warmth and love. Do I wish we got to see more of Touko and Yuu’s relationship blooming, and possibly Yuu eventually figuring out that what she feels for Touko is indeed a kind of love? Sure, and in that regard, this series has left us with naught but an elipsis, and a second season has not yet been confirmed.

So Like Touko with her memories of her sister, we have to be content with what we have and the fact that it’s not the whole picture…though I hope we get a little more down the road.—sesameacrylic

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Bloom Into You – 12 – Changing the Ending

Actors put draw from personal pain to express pain in their performances, but in light of what Ichigaya told her about her sister, the line between performance and real emotion is perilously thin. Sure, Touko blows everyone away with her line-reading, but they don’t know that almost all of those lines could be said about her!

Everyone, except for Yuu and Sayaka. But all throughout camp, just as Yuu’s affection for Touko seems to be growing, the combination of Touko’s promise to hold back and Sayaka assigning herself in charge of “looking after” Touko, you can see Yuu grow increasingly lonely and frustrated. Yuu knows that Touko wasn’t acting when talking about who the “real her” was.

After Sayaka dismisses Yuu’s concerns (and frankly doesn’t see the need to discuss it with a kohei at all), Yuu seizes an opportunity when she and Touko are alone and all but orders her to walk her home. She asks about Touko and her family’s further Summer plans. She stops at the railroad crossing and remembers the kiss Touko gave her.

Then, she takes the initiative once more. When Touko’s about to go her separate way, Yuu invites her to her room, and is honest about why: if they part there, they won’t see each other for a while, and she doesn’t like that. She wants Touko to have more faith in her, for she’s holding up her end of the bargain, neither loving nor hating her. Touko accepts, but warns Yuu that she’s going to “indulge” herself.

What ensues is the steamiest scene between the two yet, and another demonstration of how Yuu is probably not being fully honest with herself when it comes to how she feels about Touko.

The show pulls no bush-league parent barge-ins; the two have each other all to themselves, and spend it on the bed until dusk. Kudos to the sound designer and the voice actors for the very immersive blowing fan, as well as the extremely subtle sound effect of the girls’ lips meeting. Touko’s flowing hair is also impressively handled.

During that time, Touko opens up to her about why she’s upset, just as she hoped she would. She expresses how lost and aimless she feels now that her idea of who her sister was might not be remotely accurate. Yuu asks why she needs to “become” someone other than who she currently is.

Again, Touko’s self-loathing surfaces in response. Assuming (perhaps wrongly) Yuu feels nothing for her, she questions why she’d stay the way she is. Then, after getting on top and kissing Yuu some more, Touko whispers in her ear “Don’t fall in love with me. Because, you know, I hate myself. And I can’t be in love with someone who likes the things I hate, right?”

Well, wrong, Touko! Staking her love entirely on the person she loves never loving her back just…that’s not how this works! That assumes Yuu’s feelings will never change no matter what, even as Touko insists upon changing into someone better than she is.  Like she can evolve, but Yuu can’t. It’s unfair, selfish, and utterly misguided. But it’s also what you’d expect of someone with Touko’s experiences.

Yuu agrees with me, in that just because you can logically explain why Touko feels this way doesn’t mean you have to accept it. And Yuu won’t. She yells “Senpai, you idiot!!” when they part, hoping Touko heard her. After spending some time alone with her thoughts, she calls Kanou: she wants to change the ending.

She runs to Kanou’s house to explain, and ends up drawing out the very reason Kanou was so frustrating with the ending as she wrote it (the girl ends up becoming the person her lover remembers).  It all comes down to why the character would pick that version of her: the motivations are totally couched in the past, rather than in the present duration when she’s lacked memories but gained insights from three different people.

The need to choose one and only one of the three version to “become” was always a false one; both Kanou and Yuu see this strongly implicitly. Realistically, there’s a fourth way to go, an ending where that false choice isn’t made. But Yuu doesn’t simply seek to change the play’s ending. She wants to change Touko herself; to somehow get her to see that there’s no single answer. She doesn’t want Touko to hate herself.

It may be selfish or arrogant (and her gaze into the stars of the mini-planetarium do give her a very imperious bearing), but it’s what she’s setting out to do. Hopefully, she’ll take a second at some point and figure out why she has to…though something tells me she already knows.

Durarara!!x2 Ketsu – 06 (30)

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This relatively spare (and almost entirely supernatural-free) episode focuses on the major players once more: Mikado, Masaomi, Anri, and Izaya, with Chikage narrating as he learns more about the state of things in Ikebukuro.

While much of that state can be attributed to Izaya, who has Chess, Shoji, Go, and Othello pieces scattered on his game board as he builds a house of tarot cards (a bit too much game imagery here, frankly) he’s correct in stating no one person is to blame, because everyone played little roles that added up.

At this point, he’s super-excited about Mikado’s state in particular, and interested in what he’ll do next, even if it means he himself becomes a pawn. He also wants this to be a humans-only game from here on out, which means taking Anri, Kasane, Celty and Shizuo out of this stage.

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Still, it’s Anri’s human side that shines in her first meeting with Mikajima Saki, which cam as a surprise to me, considering how long this show has gone on. Saki has come prepared for war if Anri was to express feelings for Masaomi. While she heard from her boyfriend that Mikado was crazy about Anri, she wanted to meet her one-on-one to get her own impression of her.

What she finds is a cute, charming, mild-mannered young lady who has convinced herself that she’s a parasite who neither knows how to love anyone nor believes she deserves to love or be loved. It’s a much more nuanced situation than Saki imagined. The reality is, she’s no more certain of what love is than Anri, but being a parasite (or a puppet, as she once was) doesn’t automatically disqualify them from love and happiness.

Mika decides to further explain her relationship with Masaomi by going into her past with him; to a time Anri wasn’t present for. Despite having made a promise to the guys that they’d reveal their respective secrets upon meeting again, Anri is intrigued and lets Mika proceed.

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Izaya’s efforts seem intended to pare down the players, especially limiting them to those who are only plain old flesh-and-blood humans. Mika’s efforts seem intended to enlighten her about the love triangle in which she’s been the fourth vertex for long enough.

And then Chikage, who is titularly “in for a penny, in for a pound”, breaks Masaomi’s dilemma down to brass tacks: He wants to see Mikado and save him (either by punching him or being punched, in the simplest possible terms). Blue Square is in the way, so Chikage will help Masaomi get close. If Mikado won’t answer a call from Masaomi’s phone, then Chikage will call him on his. Easy peasy, right?

…Perhaps not. Izumii Ran visits Mikado (much to Aoba’s consternation), they proceed to have a very civil conversation, Izumii gives Mikado some kind of “gift” hidden in his arm sling, and then leaves in the car of Awakusu’s Aozaki, activity that Aozaki’s rival Akabayashi learns about pretty quickly.

These are presumably the “grown-ups” Chikage is worried about getting tangled up with. His basic plan could work if he could just get two old estranged friends in the same room together to hash it out, but with an apparently important object now in Mikado’s possession that probably wasn’t given to him so he could pull out of his tailspin, it may already be too late for basics.

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Durarara!!x2 Ketsu – 05 (29)

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I misread Kasane’s intent last week: she didn’t come to Shinra’s intending to make a deal. Instead, she’s only implementing the next step in her comprehensive Celty research. She takes control of Shinra with a long kiss, plucks him out of his wheelchair and jumps out the window into the night.

Celty goes berserk, transforming into a big black ball of rage and gives chase just as Kasane intended. We see a lot of emotions going through the darkness of Celty’s mind, but the one that stands out the most is Shinra, Shinra, Shinra. And so her body moves instinctively to retrieve him.

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As Varona stands by a car with Celty’s head inside, Kasane leads Berserk Celty through the skies of Ikebukuro, periodically firing blades to slow her down. Meanwhile, Chikage accompanies Masaomi to his Yellow Scarves hideout after saving him from Izumii earlier in the day, putting their fight on hold for now.

Masaomi, for his part, is shocked to hear Izumii is fighting on Mikado’s behalf as a member of the Dollars, while Chikage wonders what version of the Dollars he’s encountered truly represents them.

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Kasane eventually meets up with Varona, who is this week’s narrator, and unlike everyone else running around this week has a lot of time to think about things. She admits she felt the euphoria that comes from gaining power when she stole the head; but it didn’t last long, and she realizes that it’s because her cover was blown instantly, and by Shizuo, no less.

Varona remains a deeply wounded and scarred young woman, but Ikebukuro and Shizuo have definitely had a profound – and I believe positive – effect on how she looks at the world and her role and values in it. She isn’t denying her feelings, only trying to figure out what they are and why she has them, and it all comes back to Shizuo and the peaceful daily life she enjoyed. She concludes it’s too late to go back now; that life is gone. But is it?

As chance would have it, after teaching some punk kids a lesson, Shizuo ends up with another bike on his shoulder when he encounters Celty’s horse. In the funniest and coolest scene of this entire Ketsu arc, the horse goes through various forms of transportation for Shizuo to ride it until settling on the bike, which he mounts and is then propelled at very un-bike-like speed.

While I’m unsure how interconnected Celty and her horse are, or whether they’re one and the same, it did seem like the horse was acting more reasonably than the mindless black ball of rage being messed with by Kasane. Whatever the case, it’s a given that the horse and Shizuo are on a direct course to the car with both Shinra and her head in it, which just so happens to be driven by his former adoptive protege.

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Durarara!!x2 Ketsu – 04 (28)

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Chikage’s confrontation with Masaomi and the Yellow Scarves looked like bad news, but he’s only there on behalf of himself, and wants to use them to smoke out the “purge” Dollars who hit Kodata. But because this is a meeting of gang leaders who don’t mind the occasional rumble, it comes to fisticuffs, and we see Masaomi in actual action for the first time in a long while.

I assumed he had some skill to be the leader of a color gang (even one as wishy-washy as the scarves), but I didn’t expect him to hold his own so well against Chikage (though he isn’t able to do any damage, he’s able to dodge his attacks well enough). Still, the “blood is thicker than water” title/theme applies here, as Chikage is loyal to Kodata through the bond they forged in righteous, honorable combat.

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The Saika family reunion continues, with Anri stating her reservations about manipulating people she holds dear with Saika as Haruna does. It comes down to them having different values. Kasane lays it out thusly: one can either entirely enslave their Saika or allow their Saika to entirely enslave them. Anri is trying to be nice to “both sides”, which Kasane believes is untenable.

Of course, she’s driven by the desire to acquire Saika from Anri, which would mean extracting her, but that can only happen if Anri truly doesn’t want Saika anymore. Anri still feels she owes Saika for saving her from her father, among other things. But Kasane remarks that Anri is too hard on herself for believing herself a parasite, or somehow not or less than human.

Letting go of Saika could perhaps mean returning to “normal” humanity in a biological sense, but she’ll always be one of the “family” by virture of her flesh, her blood, and her past. It’s a fascinating discussion between three very different personalities. Erika lightens the mood effectively both by inviting Kasane to a cosplay event and announcing Dotachin has come out of a coma and can see visitors tomorrow.

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Masaomi and Chikage’s duel continues, with Chikage ending up falling off the building when Masaomi bails out. Just then, Izumii Ran shows up with a gang of men and his mallet, looking to continue his revenge tour.

His taunts easily provoke Masaomi into attacking him, but a fierce punch to Izumii’s head only results in Masaomi breaking his hand. Will Chikage, who was just fighting Masaomi, get back up to that roof and help him stay alive against another superior opponent?

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Like Dotachin, Shizuo has been mostly an inert element this cour, as he’s in jail after a woman pressed charges against him for assault. An obvious Saika plant in the cell neighboring him wants him to tear up the joint so they can make off with the head in the commotion, in exchange for the charges against him being dropped.

However, this Saika plant seems to be too late with his proposal, as Shizuo is released without having to do anything after the woman drops the charges. No sooner is he free to go than some kind of rocket or missile hits the police van carrying Celty’s head. Varona of all people makes off with it, staring down Shizuo momentarily before zooming off on her bike. Shizuo assumes this is more of that wretched Izaya’s handiwork.

Prior to this to-do, around dusk, presumably after Haruna left Kasane and Anri, she is kidnapped by a Saika slave and brought to her former boyfriend Takashi, who has plans for her, none of them good.

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All the news of Celty’s head being out there, exposed to the world, causes her nightmares. She wakes up to find an understanding and supportive Shinra, who has spent the day trying to deal with the Yagiri siblings under control (mostly through sedation).

When Emilia says a girl with glasses is at the door, Shinra assumes it’s Anri, but it’s not; it’s Kasane, who is apparently not done wheeling and dealing. In fact, I wouldn’t be surprised if she was the one who hired/compelled Varona to snatch Celty’s head.

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Durarara!!x2 Ketsu – 03 (27)

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Mairu and Kururi sorta narrate this episode, but only sparingly, but they have a couple funny moments despite never appearing in the episode (even through chat): First, Mairu interrupts just before a masked man tells Shijimi his name. Second, Mairu wonders if some kind of world revolution is afoot, and Kururi calls that “a stretch.”

That’s certainly true, since Durarara!! has virtually strayed outside Ikebukuro’s borders, nor has there ever been any indication that the things that go on there have any effect on the outside world. But what if Ikebukuro was the world, in it’s entirety, as for all intents of purposes, it is in the show? It would mean the world really was in the midst of upheaval.

All the characters who dot Ikebukuro’s landscape are the players who shape Ikebukuro World. Rather than gangs, the Dollars and Yellow Scarves and mafia are nations; their leaders world leaders. And Saika isn’t just a parasitic demon, but an ideological movement. Anri, Niekawa Haruna, and Kujiragi Kasane are three different “schools” of Saika, and those schools butt up against each other this week.

Ever since Anri cut Haruna, there have been two Saikas inside her mingling, and since Anri’s Saika is older, it’s a form of control that’s also opened Haruna up to other emotions and ways of thinking – as well as Anri’s confused feelings for Mikado and Masaomi. Haruna wants to join forces – Anri will help her attain “real love” with Takashi; and in return she’ll help Anri with her romances.

 

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Anri declines, because she doesn’t want to use Saika for nefarious purposes, only to protect; which provokes Haruna into fighting her. That’s when Kasane, who was hanging out in the park the whole time, neutralizes and chastises the “daughter” Haruna for raising a hand to her “mother” Anri (speaking in Saika terms, of course.)

Of course, this doesn’t mean Kasane is on Anri’s side. In fact, Kasane is somewhat surprised by how little Anri has mastered or even used Saika; which frustrates her more now that she knows how good having freedom feels. So she breaks out a proposition, just as Haruna did. No joining forces; rather, she’ll take Saika off Anri’s hands for a handsome, fair sum. I mean, if she’s using it so little, she doesn’t really need her, right?

The only problem is, while Anri certainly hasn’t mastered Saika, she has more or less accepted her as a part of her, not to mention relied on her in times of trouble; she’d likely be dead without her. Losing her wouldn’t necessarily make her human (a human would never have had Saika to begin with), so I’m doubtful she’ll make the deal. However, I’m also doubtful Kasane will give up easily.

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Despite the rarity with which she needs or uses it, Anri has become dependent on Saika as a form of defense in a dangerous Ikebukuro World; a weapon to keep sharks off her in that world’s roiling waves. Meanwhile, Mikado tells Izaya in a lengthy but wonderful phone call that he wishes to remain in a boat, detached from those waves, but able to watch them ebb and flow and be entertained.

That’s the “interesting world” he first sought when he arrived in Ikebukuro World (an arrival akin to a birth). It’s why he founded the Dollars. And it’s why he’s evolved into someone who isn’t the slightest bit surprised by the face Celty’s head is in a bush (though he is relieved by Mika’s hilarious voicemail message about it not being her head).

Now he’s put himself in a position to press the reset button on the Dollars, hoping he’ll catch lightning in a bottle once more. He and Izaya are revealed to be a lot more alike than I ever considered, as the two may use different metaphors, but both seem willing to act as both arsonist and firefighter in order to mold the world into something interesting.

I’d say Mikado differs in that he has empathy for humans and has a few he actually cares about and doesn’t want swept up in those waves…but I doubt Izaya wants his sisters hurt, either. It’s also interesting in this particular situation, that Mikado knows something – that Celty’s head was found in the park – before Izaya.

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That’s a rare moment of someone having the upper hand over Izaya, which is always nice. And knowledge is definitely power in Ikebukuro World; just look at which Saika dominated the other two, and why. That being said, there’s nothing Izaya adores more than humans acting unpredictably.

The Saika trio and Mikado-Izaya phone call are the A/B plots, but the episode still managed to fit in a C and a D: There’s the hiding Shijimi, who is approached by a masked man who was in the passenger seat of the car that hit Dotachin, offering to bring him in on some kind of heist of Yadogiri Jinnai’s fortune.

Then there’s Chikage confronting Masaomi and his Yellow Scarves, 1 on 8, and giving them a choice: let themselves be taken over, or be destroyed. And we know there’s no one among those 8 scarves who is a match for Chikage alone. Mairu is right: the time of revolution, war, and global upheaval is nigh in the Ikebukuro World.

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Oregairu 2 – 13 (Fin)

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My, how time flies when you’re engrossed in a long-standing love triangle of friends! Oregairu wisely pared down its cast to just the main three this week, and gave those three an arresting send-off in more or less the same awkward state they’ve been in for most of the season, but at least knowing where they can, if not should go, along with where they’ve been and where they shouldn’t go.

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Ah, Haruno-chan. The lighting, BGM, and close-ups always seem to cast her as the villain, an interloper who likes watching the world burn. But more than a force of malevalence, she’s an agent of change, for Yukino if not herself (her own personal and emotional issues are not a big focus of this show, which is both a shame and a relief). The time is soon coming for Yukino to make her own choices in life. If she doesn’t, her mother and Haruno will make them for her. Will she let herself be washed along in the current, or swim against it?

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For now, she seems to be caught in some netting cast out by Yui and Hikki, not to catch and eat her, but to keep her in the pleasant stasis Yui wants to keep going on forever but knows it won’t.

Outmatched outside the school, when Yukino calls Haruno, she decides not to lend her more potential ammunition, and instead parrots what Hikki told her: neither sister is thinking clearly, and a night apart is indicated.

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Throughout Oregairu Yui has indicated on numerous occasions that she wants to “make a move” vis-a-vis Hikki at some point, but this isn’t that time. Instead, she invites both Hikki and Yukino to a date at the aquarium.

Hikki isn’t the sort of guy you’d expect to be on a three-way date, but it’s not like this is going to be The Episode Where One Girl Gets Dumped so that a couple can emerge and progress into adulthood.

Rather, the aquarium trip is billed as a kind of last hurrah for the trio in their current state, a nostalgic look back before turning towards an uncertain but increasingly close future where stuff like this is not guaranteed.

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Thus follows a sequence of the three making comparisons between the traits of aquatic wildlife and themselves, with the metaphors flowing wildly. The camera’s insistence on shoving that sign with the mated pair of penguins, the fish in the muddy water, being contained, and the life-partner penguins grooming each other—all of it reminds them of what they are.

But an aquarium is a place that doesn’t exist in nature: a kind of training center where one learns about the ways of the aquatic world, the world humans left when they exchanged gills for lungs and fins for legs. The parallels are never not on-the-nose, but not obnoxiously so, and they also happen to all ring true.

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The Deadman Wonderland Ferris Wheel the three ride is one last elemental symbol that the three of them are spinning their own wheels. They feel like they’re going somewhere, but always end up at the same place in the end; the progress is an illusion—just like the “world where nobody gets hurt” Hikki believed he’d created back at the season’s start.

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Pretty soon that ride has to end. When it does, the Service Club might be toast. But if you wanna make a life omelette, you gotta break some eggs. Yui, who has thought all of this through, thinks she knows how to help Yukino with her family issues, and brings up the bet that, if she wins, she gets to “take everything.” She almost gets Yukino to go along, just as she appropriated Hikki’s words to Haruno.

What Yui seems to be suggesting is that things continue going on, finding answers for one another, like three penguins grooming one another (which I doubt happens often in the wild). But Hikki intervenes before Yukino goes along with it he thinks Yukino should find her own solutions or she’ll grow, and neither will he or Yui.

Now, I knew going in this wasn’t the kind of show that would rush into confessions. It did come close with its many confession-friendly atmospheres set up this week, but what with three people present there were never going to be any. But everyone’s eyes are open now, both to what the three of them are and that they have to choose between stepping back on the Ferris Wheel together, or starting off on a long road they won’t necessarily be able to share.

This felt like so much more emotionally complex a show than the first season, and I imagine if there’s a third it will grow even more so. But even if there isn’t one, I’ve really enjoyed the run, and content with the open ending.

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