Carole & Tuesday – 06 – Kicked Up to the Big Stage

Right off the heels of their first sparsely attended gig, Gus has a second one for them, courtesy of Hofner (through Beth). They’ll be backing up Omega—and their notoriously flaky drunk frontman—at Cydonia, one of if not the biggest concert on Mars. They’ll be playing to one hundred thousand fans who wanted to hear Omega. The prospect of all those hostile people “breaks” Tuesday.

Oh yeah, the show’s tomorrow, so they have to spend part of the night and the train ride there writing and practicing a song. Everything about this gig is already ridiculously implausible…and I’m not talking about them being on Mars! Even with the explanation that no other band would bother if there’s a chance Joshua will play, it makes no sense for Hofner to not already have a list of professional bands eager for their shot backing up Omega.

But whatever, Carole and Tuesday are super-lucky! Fine. And the place is pretty cool; we finally get a good look at Mars’ rolling red hills and valleys, and Cydonia looks kinda like a Burning Man-style oasis in that wasteland.

Carole and Tuesday have some time before they go on, so they soak it all in, including, hopefully, some of one of their favorite singer Crystal’s air. Meanwhile Roddy does his job as DJ Ertegun’s AI operator, and Ertegun plays the same track we’ve heard to a delirious crowd.

That crowd’s reaction is somewhat outsized for what sounds like someone hitting a 2003 Casio keyboard’s DEMO key, but again, whatever.

Joshua arrives, and there’s a funny sight gag where he seemingly steps surefootedly out of the car, only to crumple into a human slinky; dude is tossed, which means C&T are most likely on. Panicking in their trailer, they eventually go outside, only to run into Roddy and Ertegun.

They run and hide—because he can’t press charges if he can’t catch them, I guess?—and end up in the smoke-filled trailer of “Skip”, who is very spooky and threatening at first, but gives them the most uninspiring inspirational speech before going on stage and performing what was actually the best piece of music in the episode, but which was still pretty bland, with lyrics that might be forgivable if written by a middle schooler.

When Joshua can’t take the stage due to some kind of “Beetle” problem (or is it “Beatle”?), C&T take the stage for him, with the reception you’d expect from people who paid good money to see Omega, not two amateurs with one official gig under their belts.

If I’m sounding overly harsh about this episode, it’s because this episode was harsh. Also, because the show believes C&T to be some kind of generational world-changing talent. But I’ve reached my limit.

Here’s the thing: the “Dancing Laundry” is vapid trash. I wouldn’t throw trash at them if they played it at a concert I attended—that would be despicable—but I would probably walk away to buy some beer or get in line for the toilets…anything to get away from that.

But here’s another thing: C&T actually are good by the standards of music in this world. Ertegun is a hack, Skip is inskipid, and the less said about Omega, the better. The duo still took the stage, played as hard as they good, and endured the abuse of the crowd until Omega took over.

I just couldn’t feel that bad for Tuesday crying afterwards, because from my ears they did nothing to turn that crowd around, and as unfairly impossible as a feat as that might have been, if C&T are as good as everyone says, then why not have them win that crowd over? They like all the other crap we had to listen to!

The last nail in the coffin of this stinker of an episode is Crystal, who to her credit seems like a nice lady, comforting the duo and giving them kudos for persevering in front of such a hateful crowd. But even the mega pop star can’t help but sing lyrics that sound like they were generated by a computer algorithm…a bad one.

Carole & Tuesday draws you in with its lush and intricate setting, warm, likable protagonists, and game supporting cast. But then somebody starts singing and you have to turn down the volume and hope it stops soon, and all the show’s goodwill is spent. It’s a big problem. In the future, on Mars, music is apparently terrible.

Cowboy Bebop and Samurai Champloo featured good music from real artists, and neither of those Watanabe shows were even about music! How could the ball have been dropped so badly here? MAL doesn’t even list anyone on the staff as responsible for music. Maybe computers really did make it…

Advertisements

Carole & Tuesday – 05 – The Trees in the Wind Will Lead the Way

After burning down a famous DJ’s house and getting taken in by a scambot, the C&T Dream Team needs a win desperately…not to mention some scratch to keep the lights on! So Gus and Roddy set out to meet with their connections in order to arrange the duo’s first gig.

On the Angela front not visited last week, Mama comes to her daughters defense, accusing Tao of treating her like a lab rat due to his background in neuroscience. Tao’s rejoinder is to bring up Mama’s assault charges…and her apparent “androgynous” status.

Finally, Tuesday’s brother has arrived in Alba City, determined to find his sister and bring her home as per their Mama’s orders.

Upon trying to meet with his old pal Hofner without an appontment, Gus is met by stubborn guardbots, whom Hofner himself orders to stand down, after which Gus is able to voice his intent to do business.

Tao takes Angela to Schwarz, an investor at Intergalactic, and asks her to sing an a capella song she learned during the car ride to convince Schwarz to invest 12 million Woolong.

Roddy meets his friend Beth, who owns one of the last independent clubs, and asks her for a slot for C&T. The overarching theme here is, in order to make it big, you’ve got to put in the legwork, and connections are key.

C&T’s only connections are people with connections, who happen to have faith in their talent and charisma. As for Angela, she sings well (though I’m not a fan of the lyrics) and gets the 12 mil…but like us is still unclear exactly what Tao has in store for her.

Tuesday’s brother finds Carole’s landlord utterly unhelpful in positively identifying his sister, who gets a job as a poster girl for a food truck while Carole unsuccessfully walks AI pets. On the bright side (literally) the lights come back on and Carole’s AI suitcase finally makes it back to her.

Finally, there’s C&T’s first gig where they knew they were being watched. Despite the somewhat dingy digs and just ten people in the audience including him, Roddy considers this a seminal moment, the genesis of what will become a great musical duo, where those ten people will be able to say “I was there.”

Mind you, Roddy is pretty much in love with C&T at this point, so he might be biased. I for one found the song perfectly inoffensive but the lyrics were trite and cloying. It’s hard not to be harsh on the pedestrian nature of their tunes when the entire premise is that the duo are some kind of rare and monumental talents that will literally change the world with their music.

But if those in the world of the show say they’re really good, that’s I guess all that really matters. Watching Tuesday perform is enough for her brother to seemingly give up his search and let her be, despite the blowback he’ll get from Mom. I just wish their songs were amazing full stop, not just “amazing” in the context of the show.

Carole & Tuesday – 04 – Caveat Emptor Robotus

Unsuccessful in collabing with DJ Ertegun, Gus presents his second idea for Carole & Tuesday making it big: a music video. Despite my initial suspicion that they’d try to make it big without AI, they end up buying a 19-Woolong robot who will direct, film, and edit.

The low, low price immediately threw up a red flag for me, but the crew presses forward, throwing out a king’s ransom in pop culture references from Thriller to The Avengers, which the robot somehow manages to make sense of, and then provides a list of required things.

Gus meets with his stylish ex-wife Marie for her know-how with hair, makeup, and wardrobe. Perhaps impressed he’s off the bottle and serious about helping some new talent soar, Marie agrees, despite no upfront payment.

The SpielbergBot, AKA IDEA, turns out to be a beer fanatic in the vein of Futurama’s Bender, and mostly lazes around watching TV as C&T write a new song for the video (incidently, the one that plays over the end credits).

Meanwhile, Roddy manages to score an expensive car courtesy of DJ Ertegun. When Roddy is initially dishonest about knowing the girls, Ertegun flashes a number of looks at him—accompanied by hilarious EDM sounds—but ultimately helps his young friend out.

C&T meet Marie’s wardrobe friend and lover, then try on a number of outfits in another montage as Roddy practices his dance moves. When he shows up in the car all debonair an’ shit, the girls aren’t interested in him at all, only the car itself. Roddy also provides the “giant robot” in his ultra-rare limited-edition resin models, which IDEA will scale up in post.

The day of filming begins, and it’s a bit chaotic; befitting all the myriad ideas everyone threw out at the beginning. C&T jump from setting to setting and costume to costume with no real consistent narrative or theme, and from the look of Roddy by the end, something terrible happened to Ertegun’s car.

We then learn while IDEA is having a bath back at Carole’s place that he’s running some kind of scam on the humans, insulting their intelligence and threatening Carole’s owl alarm clock not to snitch.

Gus and Marie have a drink to celebrate the wrap of the video, and both admit to how much goshdarn fun they had getting back in the game like that. Marie even wonders what went wrong with their marriage, insinuating it wasn’t all Gus’ fault, then tells him she’s getting remarried to an amazing woman.

When IDEA is done editing, Carole, Tuesday and Gus prepare to watch with baited breath, while Roddy stays home and finds out on the news that IDEA is an AI scammer. It’s news delivered far too late, as after they watch his train wreck of a video (most of which isn’t even in focus), C, T, and G all glare menacingly at IDEA before boxing him up and sending him back to the fulfillment center.

After two episodes of relative realism (aided by coincidence and fate, but still realistic), C&T gets a little more madcap and cartoonish, and everyone is a little dumber for one episode as they put their complete trust, time, and effort in a totally dubious mechanism. Their “guerrilla” performances at the music hall and laundromat feel at once more effective and more sincere than any cut-rate video production anyway. When you’re broke, elegant minimalism is key. This was all too baroque.

Attack on Titan – 50 – Keep Hope Alive

Part Two of Titan’s third season picks up where Part One left off: Eren, Mikasa, Armin are part of a force of 100 scouts led by Erwin, Hange, and Levi, tasked with nothing less than retaking Wall Maria, starting with Shiganshina.

On the way they encounter a motionless Titan that is apparently asleep, but they have no way of knowing for sure, do they? It’s only the latest instance of them having to do the best they can with the information they have…which still isn’t much, and may never be anywhere near as much as they know about humans.

Eren, Mikasa and Armin note the reutrn to their hometown for the first time since they were forced to flee and eventually joined the Scout Regiment that brought them back. But there’s no time for reminiscing (or checking out basements yet); they now stand in enemy territory, and the mission takes precedence. Besides, they’re responsible for preserving humanity’s hope it can survive and be free.

It’s a simple matter of plugging both the inner and outer gates of Shiganshina, then mopping up the Titans within. Throughout the trip there Eren remained dubious of his abilities and usefulness, but his two best mates help get him through that apprehension, and he successfully seals the outer gate with his Titan hardening ability.

Mikasa has steady praise for Eren as they move on to the next gate, but something isn’t right; Armin found signs that people were camping, but they had more than enough time to prepare for an attack…so where are they?

To answer that question, Erwin puts Armin in charge of a whole squad of scouts, confident that Armin has proven himself capable of leading men and women in the field. While initially nervous and hesitant (and far too polite to subbordinates), Armin grows more and more confident in himself as he runs through all the possible ways the Titans could be messing with them this time.

Remembering the Titan-in-the-wall, Armin orders everyone to inspect the wall for hollows. Once scout strikes paydirt, only to be killed by Reiner emerging with sword drawn. Levi in turn swoops down and delivers what would have been a couple of fatal blows to anyone but Reiner, who transforms into the Armored Titan upon hitting the ground.

Thanks to Armin, the enemy has revealed itself sooner than it had planned, but that’s not exactly a good thing for the scouts, as Reiner’s reveal spurs the teleportation of the Beast Titan and a host of other Titans who had been hiding nearby.

With that, the battle for Wall Maria—and indeed for the survival of humanity itself—begins in earnest. With just Eren the only one on the good guys’ side able to transform, and the need to plug that second gate, this is not going to be an easy fight. And there are sure to be more curveballs in store for the scouts courtesy of the kooky Titans.

Senryuu Shoujo – 04 – A Very Sketchy New Friend

Eiji gets the feeling he and Nanako are being followed. When Amane suggests it could be a cute girl stalking him, Nanako springs into action to “protect” him. Turns out Amane is half-right: it is a cute girl, but she’s not stalking Eiji. She’s been trying to return his student handbook, but could never find the right time to approach him.

Making matters trickier? Kino, like Nanako, is too shy to talk, but instead of senryu, she draws what she wants to say, like a live manga. The ensuing totally silent conversation between Kino and Nanako is a delight to behold, and Kino turns out to be quite the chatterbox (speaking abstractly). Her inner voice is provided by the immensely talented Kuno Misaki, making this a mini-reunion of Kawamoto sisters.

Because Kino makes it look so fun (not to mention easy due to her skills) the whole club has a drawing session, and we learn the sketching styles of Amane (everything is naked), Eiji (everyone looks sinister) and Nanako (everyone looks adorable).

When Eiji stares at Nanako to draw her she becomes bashful, but when she tells him she hardly has to look up from her sketchbook because she knows his face so well from seeing it every day, he gets bashful, much to Amane’s amusement!

Carole & Tuesday – 03 – ASCENSION!

After a rough first impression (I believe accusations of cyberstalking are leveled), Gus Goldman introduces himself to Carole & Tuesday, dropping names left and right. Unfortunately, the pair is #notimpressed because they don’t remember Bruno, Justin, or Brian Epstein—being from a much younger generation.

Brass tacks: Gus knows talent when he hearts it, and if they want to do what they do for more than just fun, he wants to be there to help them. His enthusiasm and earnestness make up for his underwhelming Wikipedia page. But since nobody’s become a commercial hit quite yet Gus has to insist his talent pay for their own Margherita.

Meanwhile, Tuesday’s mother leaves getting her back to her son—lest police involement sully her campaign—then (presumably) retires to the boudoir with her toyboy. How I hope Tuesday’s bro doesn’t try to drag her back to this horrid gilded cage.

As Angela is asked 37 questions on some kind of vlog of her life (and introduces her extremely annoying AI pet rabbit Aladdin), C&T are at the laundromat waiting for their clothes to be done.

Tuesday likens the still, then suddenly-spinning clothes as mirroring the two of them, and Carole starts stomping and clapping out a beat, with Tuesday joining in and the two starting to sing an impromptu song (albeit one that is not clandestinely recorded).

Just messin’ around in the laundromat is a kernal that germinates as the two refine the music and lyrics, and their song is the soundtrack for a montage of their day in the life in Alba City, all gorgeously rendered and adding to the lush textures of both the sprawling city and their digs.

As for Gus, he vows to lay off the sauce now that he has a new client. Whatever his reasons for copying Motörhead in the past, he seems genuinely determined to put a human musical duo on the map—no small feat in a Martian cultural continuum in which AI has taken over so much of the creating.

What was billed as a trip to a voice coach friend of Gus’ turns out to be…something else entirely: a SPACE YOGA session so bizarre to Tuesday’s sheltered psyche she fears she’ll have nightmares about the experience.

Angela’s experienced at Artience is no less nightmarish. When she can’t hit a high note, Tao activates her restraints and deploys all manner of nasty-looking torture instruments, all an elaborate artifice in order to goad Angela into screaming…and hitting that high note she thought impossible.

She still voices her complaints to her mother, a former child star herself. But her mom insists she keep at it, lest she become as forgotten as she now is due to people moving on and her career not moving on with it. This looks like a classic vicarious parent situation. I hope Angela actually wants to continue as Tao’s guinea pig for her own sake, not just Mom’s.

Thanks to Roddy, C&T score a meet with the famous celebrity DJ Ertegun, whose sold-out megashows are the toast of the town. When they arrive at his waterfront mansion, Gus is prepared to make the pitch, but he’s held back by Ertegun’s security, leaving C&T on their own among the tacky pop art, including Banksy’s self-destructing painting!

Ertegun makes them wait as he talks on the phone by the woman-filled pool, but when he finally comes in, he initially scares the shit out of them by seemingly stripping in front of them; mercifully, he’s got boxer briefs on, and merely shed the robe so he could do some push-ups while he raps with them.

Either Roddy didn’t explain why C&T wanted to meet with Ertegun, or Ertegun didn’t listen to him (probably the latter), because Ertegun doesn’t know why C&T are there: he assumes they want autographs, selfies, or…him (Gus warned earlier them not to give him a leg massage).

When he learns it’s a pitch, he immediately shuts them down, rejecting them without so much as listening to a single bar. Why is he so confident they’re boring generic trash? Well, for one thing, “he’s DJ Ertegun,” which is apparently sufficient explanation. But for another? Because they’re not AI. Like Tao, Ertegun doesn’t trust humans to make good music, except through technology.

Tuesday wigs out and burns their lyrics with the DJ’s cigar lighter, setting off the sprinklers before running away. Ertegun doesn’t seem particularly miffed that all his goofy art is getting doused, but I imagine T&C left an stronger impression on him!

Senryuu Shoujo – 03 – Bemusement Park

President Amane is all about trying to get Nanako and Eiji together, which includes eavesdropping on a truly bizarre game of charades in which Nanako somehow makes the upward wind you get on a roller coaster. I would have barged in too…where did that come from?

It’s a 4-koma kind of playful comedy that doesn’t always have to, say obey the laws of physics. Or something absurd, like when younger Nanako had temper tantrums, she still wrote senryuu to express herself. Amane’s challenging of Eiji asserting what a “manly man” he is was also amusing.

This all leads to the three making plans to go to an amusement park, but Amane bowing out at the last second in order to make it a date for Nanako and Eiji. The latter is your typical mostly-oblivious fella, who is almost appallingly late on the uptake despite the fact Nanako is flirting with him in writing.

I enjoyed the little white lies Nanako employed to try to get a little closer, whether with the shared soda cup or informing Eiji that her shoelaces broke, possibly implying that the only way for her to go home would be if he carried her.

Alas, Eiji notices she’s wearing shoes that don’t have laces. As with Nanako’s inexplicable wind-summoning, Amane can’t help but spring out from her hiding spot to protest Eiji’s denseness.

Carole & Tuesday – 02 – Discovered by Fate

The narrator again refers to the “Miraculous 7 Minutes” before we return to the story of how Carole & Tuesday got there, starting with Tuesday’s first morning waking up somewhere other than her mansion. While Carole is out of there not long after 7, it takes much longer for Tuz to wake up, and when she does, immediately demonstrates her utter ineptness when it comes to cleaning.

Meanwhile, Angela finishes up a photo shoot at a studio where everyone applauds and gushes over her, something she’s obviously taken for granted all her life. When she arrives at Artience Lab, she doesn’t get that treatment she’s so used to. If anything, Tao (voiced most imperiously by Kamiya Hiroshi) treats her like a nuisance. But as long as he creates the perfect song for her, she doesn’t care.

If Tuesday is terrible at cleaning, Carole proves equally terrible at holding down jobs. Hired as a professional mourner at a funeral, she ends up laughing hysterically when a butterfly lands on the priest’s head, earning her her second pink slip in as many days. It’s clear if Carole can catch a break with her music, she’d be a better fit for that than either crying or serving burgers to misogynists.

That night, Carole remarks that if she goes to bed in the wrong state of mind she’ll have nightmares, so she and Tuesday exchange mentions of things that they like, and find they’re both big fans of both Cyndi and Crystal. Carole also learns Tuesday is a total rich girl, complete with a limitless black credit card—but Tuz can’t use it or her family will find her.

The next day, Carole and Tuesday are out on the town on a mission: use the real grand piano at the Martian Immigrant Memorial Hall’s main stage, where DJ ERTEGUN is already setting up a future show with one of his producers, Roddy.

On the way, Tuesday sees her mom on TV—turns out she’s the governor of Herschel state, and potentially running for president—but doesn’t let Carole in on that nugget of information.

Back at Artience, the rocky road continues as Angela is subjected to a mechanical chair of torture as she sings scales for Tao to analyze. When she hits the chair in anger, Tao seems to have more compassion for the machinery than her, whom he calls “a bigger piece of junk than expected” under his breath but over enough for her to hear.

When she asks if he’s really human an AI, he replies that he gets that a lot, then gives her a bone-chilling smile that proves her point all the more. This is a dude who has been surrounded by technology, he’s basically lost the basic skills that make us a social species. At the same time, he’s not wrong that 99% of music is AI-generated and most people can’t tell the difference, so Angela is at a distinct disadvantage trying to force her way into the industry.

C&T arrive at the music hall, and when they’re turned away by an assistant, they barge in anyway, take the stage, tune up, and play their first song, “Lonliest Girl,” with full lyrics and much grander acoustics. It’s a lush, soul-stirring sequence, reminding me of the performances in Your Lie in April. The animation is G.O.R.G.E.O.U.S. Like the OP, it gave me goosebumps.

More importantly, it pretty much destroy’s Tao’s assertion about “the warmth of humanity” being a lie. Roddy records the guerrilla performance on his phone, basically falling in love with the duo in the process. Moments after they finish, security starts to chase them around the hall, and Roddy captures that too! None of Tao’s fancy AIs can hope to replicate the anarchy or spontaneity of two young women eager to make a name for themselves.

Running off once more, C&T have no idea what just happened, but are simply enjoying the adrenaline rush of getting in, playing on the big stage, getting out, and getting away with it. Roddy uploads the footage of them, and the video quickly goes viral, making me wonder when Tuesday’s brother will see it (because there’s no way she’s going to stay hidden from them for long).

Even the drunken ex-music producer hears it. He’s so drunk, he initially yells at the woman at the bar to shut it off, and very nearly gets into a fight with her man. But when he stops and listens some more, he’s absolutely smitten, and apologizes for his behavior before running off and getting his old friend Roddy on the horn.

Through Roddy we learn this guy’s name is Gus, and he wants to know who those two girls were. Thankfully for him, Roddy has The Mad Internet Skillz, and in less than half a minute has not only found C&T’s Insta, but pinpointed their address as well, as the location data of their rooftop photo wasn’t hidden. Oops!

The next morning unfolds much like the previous one: Carole getting up and Tuesday…not. Carole punishes her laziness by placing guitar picks on her eyes, but before she can snap a funny photo Gus starts trying to knock her front door down, bellowing like a loon about the “gig being up” and ordering them to let him in.

Turns out this is yet more evidence that not everyone in this world knows how to properly express their intentions, as he ends up coming off as way more of a threat than a boon to the girls, who are scared out of their wits until he mentions he’s their new manager, and their fear instantly turns to bewilderment. And that’s how Carole & Tuesday were discovered! It happened pretty damn fast too, considering there’s twenty-two episodes remaining! This is going to be epic.

Carole & Tuesday – 01 (First Impressions) – Looking for What’s Missing Together

Tuesday is sick of feeling alone, unfulfilled, wasting away in her family’s massive manse in Herschel. She wants to make music, so she packs up her Gibson guitar and autonomous suitcase, slips out the window, and hops on the midnight train to Alba City.

It’s an elegant opening sequence that shows us everything we need to see without excessive exposition, and shows us the details of this intriguing future civilization on Mars, full of nifty tech and gleaming buildings, but also goats. There will always be goats.

The moment she wakes up and lays eyes on the city for the first time is also very well done. I was a little worried for Tuesday doing what Cyndi Lauper did and going for broke on a dream, but also immensely excited.

Meanwhile, in Alba, it’s hard for Carole to go for broke when she’s just flat-out broke. She at least has an awesome loft thanks to a kindly landlord, as well as a nifty uni-hoverboard to weave through the city churn to her awful fast food job where she’s berated and propositioned in equal measure.

Like Tuesday, we learn a lot about who Carole is not merely by listening to her monologue, but by watching her live. I also love her robotic pet/alarm clock owl, Ziggy, as well as her take-no-shit face upon being hit on by a rude customer.

Tuesday’s great first day in the big city goes about as well as you’d expect; her luggage is quickly swiped as she stands still taking everything in, just after Carole tells us that Alba is a city that will chew you up and spit you out if you don’t stop moving. Incidentally, after two customers spit out food Carole served up as a measure of revenge, the restaurant spits her out, and she’s suddenly jobless…and not for the first time.

As perky on camera as she’s surly off, Angela fires her human manager for booking her nothing but shit jobs like dressing up like a giant durian for a soda ad. She feels she’s above such bullshit, and like Tuesday is trying to take the next step.

After a shit day, Carole sets up her Nord keyboard on a bridge and starts tapping and humming out a pretty, sad, lonely little melody to complement the sunset, assured that no one will stop, listen, or be moved.

So it is most fortuitous that Tuesday finds herself on that bridge just as Carole is playing, and she stops, listens, and is moved. She even comes up with lyrics for it on the fly, which Carole likes.

When a cop shows up to break up her busking, Carole splits, and Tuesday follows. They introduce themselves, and perhaps a part of both of them know right then and there that their lives have been changed forever by their meeting.

As Tuesday’s emotionally distant workaholic mother delegates Tuesday’s running away to her son and gets back to whatever work she does that makes them so rich, Angela’s battleaxe of a mother and manager takes her to see Tao, a music producer who has only worked with AI “talent” until now. If Tuesday feels lonely and Carole feels trapped, Angela is straight-up bored, both with her career and her life. Tao’s warnings don’t deter her from persuing a singing career by any means necessary.

We’re then introduced to the first male character, a former music industry participant (performer? producer? both?) drinks himself into a stupor, asks for the music to be shut off, then promptly passes out on the floor.

At Carole’s super-cool crib, something magical happens. Tuesday whips out her guitar, and Carole her keys, and the slowly, tentatively start dipping their toes into the pool of musical collaboration.

It’s a wonderous thing to see unfold, and like Tuesday’s runaway scene, it’s a picture of narrative elegance and purpose. As they get more and more comfortable singing and playing together, they emit an aura of rising warmth. And they feel it too: this is what both of them were missing: each other.

Carole takes Tuesday to an utterly gorgeous city vista on the rooftop, where they make their first collab official by taking a selfie and posting it to an Instagram story called “Carole & Tuesday”, which is a great name for a musial duo. They’re going for it, and one more look at our drunken ex-music producer suggests that he’ll be instrumental in helping them climb out of obscurity and into the big time, just as Angela is entering a new chapter of her life in that same space.

In the first truly excellent episode of the Spring, Bones, Wantanabe Shinichiro, seiyus Ichinose Kana and Shimabukuro Miyuri, and the all-important Wantanabe anime element of richly-integrated music (which doesn’t skimp on the always-lovely diminished sevenths) all conspire to create a epic, heartfelt genesis of a friendship, partnership, and evolution of the lives of two young women who, as Cyndi said, Just Wanna Have Fun. And I am here for it!

Senryuu Shoujo – 02 – Close Enough

The Lit Club begins an initiative aimed at improving Eiji’s bad-boy image with the rest of the school, though Nanako likes him the way he is, even when his eyes roll back in his head when he’s deep in thought! That’s when Eiji’s beautiful “big sis” Ootsuki Koto shows up to thank Nanako and Amane for taking care of him. Turns out she’s just his childhood friend two years his senior. Then, while having a meal together, Eiji notes how much Nanako eats—not with malice, mind you—and Nanako starts to fear she’s gaining weight.

When her little brother teases her for eating as much as a sumo wrestler, Nanako resolves to go on a diet, but Koto offers to train her instead, using her military self-defense skills to whip her into shape. Time passes, and an excited Nanako takes Eiji’s hand and places it on her stomach…which would be quite forward if we didn’t know her true intentions were honorable. Instead, Eiji has to mention how he’s never felt a girl’s stomach and thus has no basis for comparison for Nanako to realize her faux pas.

Still, one think Nanako shouldn’t be ashamed of is that she likes Eiji—a genuinely nice guy—just the way he is. If others get to know him, they’ll learn the same thing. Koto already knows this, but when Amane asks if she likes anyone (if she had to give her a name, it would be Eiji), she says she doesn’t; not the way Amane means, anyway. Koto is fine with her and Eiji just the way they are, even if it means him getting closer to Nanako.

As it is, SS is a school slice-of-life with romantic undertones that just happens to integrate haiku wherever it can. And like that show about women enjoying various alcoholic beverages after work, it succeeds at its limited domain just as much as it needs to—which is to say, it’s fine.

Senryuu Shoujo – 01 (First Impressions) – Five by Five, With Seven in Between

Senryuu Shoujo is a tonic for a long, stressful day. Its heroine Yukishiro Nanako is also the antithesis of the non-studying Ao-chan, the first episode of which was most notable for its catchy OP. Rather than assume the worst of anyone, Nanako embraces her classmate Busujima Eiji, a nice book with a rough cover, as a fellow devotee of senryuu, a kind of haiku.

Unlike Eiji, Nanako doesn’t talk. We hear Hanazawa Kana’s voice, but it’s only in Nanako’s head. She communicates with senryuu, gestures, and body language…and gets by pretty well! The idea of someone developing senryuu as a means of organizing one’s thoughts and expressing them with a manageable, reliable structure, is an enticing one.

But more than that, Nanako is just adorable as all get out, and her unlikely friendship with a former delinquent—who got his scary face bandage from his cute little sister—is most endearing. And at an economical twelve minutes, we may have a lightweight slice-of-life keeper here.

SSSS.Gridman – 12 (Fin) – Power of the Finite

“Anyone who can make kaiju is a kaiju themselves,” says Alexis Kerib, after transforming Akane herself into an enormous monster that wails out a terrible lament as it destroys what’s left of the city. Still temporary allies, Gridman (dwelling in Yuuta) asks Anti to deal with the Akane-kaiju, as he and Rikka have something else they need to do.

Akane isn’t feeling particularly good about herself, which is probably what enables Alexis to transform her and control her so easily: he thrives in the corruption of the heart, in hatred, disgust, and aloofness. He chortles when Rikka calls Akane “her friend” not because Rikka is only Akane’s programmed creation, but because he doesn’t believe there even is such a thing as friends.

Right on cue, Rikka’s friend Yuuta-Gridman picks her up in Sky Vitter (to Alexis’ bemusement), and they return to the hospital to snap Shou out of his funk. Regardless of how useless or normal he thinks he is, Yuuta tells him that Junk needs everyone there to work. The Gridman Alliance is more than just a cool nickname for their little circle, it’s the key to unlocking Gridman’s full power.

Anti succeeds in freeing Akane from her kaiju prison (which seemed to be filled with some kind of clear LCL), but Akane wonders why he bothered with someone as terrible as her. Anti fully owns his “failed creation,” since the fact he failed meant he’s more than just a kaiju, but a human.

Alexis makes no distinction between kaiju and human, or anything else, since to him it’s all below him. Because Akane is still in a bad state, he exploits her negative emotions and literally consumes her to become a kind of “Alexisman”—but the Alliance are back at the Junk Shop, and when they activate the new acceptors that appear on their wrists, a new, final form of Gridman appears: less armored and more like, well, a giant guy in a suit.

This new Gridman fights Alexis in order to free Akane once more, and has some success…until the halved Alexis simply auto-repairs. He is immortal and infinite, so however many times Gridman tries to destroy him, he will just keep coming back forever. Since Alexis has everything “of value” in Akane’s world—that is, Akane herself—he decides to head back to his realm…after killing Gridman.

But before he can skedaddle or kill Gridman, Gridman discovers a new power, and possibly his most important: The pink Grid Fixer Beam, which repairs not only the city Akane created and then destroyed, but succeeds in rescuing Akane’s heart from Alexis’ clutches. The Fixer Beam basically deletes him from the world.

Finally, free, Akane worries about what comes next. “A big world’s too much for me!” she laments, because she’s such a weak, pathetic coward. Rikka, Yuuta, and Shou tell her that no one’s perfect, which is why they—which is why everyone—relies on others.

Her world afforded her godhood and a kind of immortality, but it’s run it’s course, and now it’s time to return to the world of mortality and the finite. Akane’s grateful to Rikka for saving her, but also wracked with guilt over the things she’s done that cannot be undone with any Fixer Beam.

Rikka tells her not to sweat it, and gives her the gift of a wallet that matches her own (and also happens to be the same color as Akane’s hair). Rikka wants Akane to stay in the world and be together with her, but tells Akane not to let that wish come true. No one can force Akane to leave; she has to want to do it; to return to her real life.

With that, Akane disappears from Rikka’s side. Gridman & Co. say their goodbyes to Rikka and Shou before returning to the Hyper World, and not long after that Yuuta wakes up in the junk shop, the Gridman Alliance now just a friendship of three kids. The puckish humanoid kaiju who once guided Yuuta heals Anti, who is grateful, and now sports both a human and a kaiju eye—his past and present.

Finally, in the real world—as in, a live action world—a girl with long black hair much like Rikka’s slowly wakes up and rises from the bed, the Akane-colored wallet on her dresser. This, it seems, is the Real Akane, who left the world where she was a god (i.e., her dreams) and returned to the world she thought she couldn’t handle.

Now the ending with Rikka and Akane makes more sense: Akane made the purple-haired Akane to be her ideal avatar, and made Rikka, who more closely resembled her real-life self, to love her. Ergo, in her world, she loved herself. But Rikka taught her the power of friendship, and the need to wake up from dreams and not sink into Alexis-like abysses of darkness and despair.

A lot of this might sound corny, but the show expresses these well-worn ideals so earnestly and powerfully, it all comes together and works pretty well, which can be said of the show as a whole. Despite only catching a tiny portion of the references to Gridman and Gridman-esque works, SSSS was never not a pleasure to watch and listen to.

The ending could be said to be too neat and tidy, squandering a universe of potential alternate directions. But at the end of the day the lesson holds: just as friendships have value because we aren’t infinite or immortal beings, an imperfect finite ending will do just fine.

SSSS.Gridman – 09 – Don’t Wake Up! , Or: The Intolerable Dilemma of Shinjou Akane

This week things start out different…and weird. Well, weird-er by SSSS standards. A new kaiju appears in the city, from the POV of a random passerby on the phone. We know there’s something fishy going on when Yuuta wakes up in Rikka’s apartment and Akane is there instead, even calling Rikka’s mother her’s.

There’s too much fog; too little activity; and in the glare of many a shiny object, Gridman can be seen for an instant, but goes unnoticed by a confused, amnesiac Yuuta, who at first takes it on face value that he and Akane is dating.

Meanwhile, at school, Rikka goes to the nurse’s office to find Akane already there. The two are friendly together, as friends are (and much like the end credits unfold), then Akane takes her to her house, as friends do. There are no parents, just Alexis, whose odd appearance Akane explains away as elaborate cosplay.

Then, in a repeat of an older scene, Akane strikes up a conversation with Shou in the bookstore about mecha and kaiju and the two hit it off, much to Shou’s delight. While walking home to or from school, we see Akane happily walking with Yuuta, her watch on his wrist. She leans in to hold his hand…and everything pauses.

These three scenarios involving Akane and the three members of the Gridman Alliance are all occurring in dreams. In “real life” (whatever that is) the three are unconscious on the couch in the junk store. The kaiju stands menacingly outside, striding about, but isn’t destroying anything.

As Anti learns when he tries to attacking it (being told by Neon Genesis that its keeping Gridman from appearing), it is a kaiju out of phase: unable to affect anything; unable to be affected. Akane is atop a construction crane with Alexis, watching the dreams…and hoping.

Not hoping to defeat Gridman, or kill someone she doesn’t like…but hoping these three can be re-made to be her friends, as they were originally programmed by her to be.

But the longer the three dwell in the dream, the more they feel like something’s not right. In a graveyard, in the glint of the gravestone of the family of one of the classmates Akane killed, Gridman appears again. In a flash, Yuuta’s memory has returned; at least the bit where he can be confident he’s currently in a dream.

After showering him with attention and rare swag, and about to be invited to Akane’s place to spend the night, Shou also snaps out of it; this is all just too good to be true; too ideal. On the bus, Rikka also quietly comes to the realization she’s not on a real bus and this isn’t her real life…and Akane just might not be a real friend.

She pleads for all three not to wake up; not to go. But they go. Three times she must watch someone get up and three times she must hear the sound of receding footsteps. Three times she’s left alone. Three times her hopes are shattered. The friends she made for herself have abandoned her and allied with each other. No matter what she tells them, or what she gives them, they’ll leave her for each other.

As the kaiju materializes and begins its march of destruction in the real world, the three friends run toward one another, and towards Gridman, in his time of need. Neon Genesis mobilizes on their own, de-scaling and combining into a kind of “substitute hero mecha” to bring down the kaiju.

What’s left is a cloud of dust, and Akane, in her created world, still profoundly, intolerably alone. She asks no one in particular what she should do before jumping from the tower and plummeting hundreds of feet. She lands on her feet, physically unharmed but clearly mentally spent.

At first, Akane was a one-dimensional villain: create kaiju to defeat Gridman every week. But after who-knows how many iterations of that scenario, Akane seems tired, worn out, and above all, lonely and miserable. If it was Alexis who gave her the powers she possesses, perhaps she was excited about having them….at first.

But now those powers have created a cycle without end with no friends to comfort her. A dream from which she cannot wake. A prison from which there is no escape—not even suicide.

As Yuuta, Rikka, and Shou wake up in the shop, and thank Gridman for bringing them out of their dreams, Gridman informs them there’s still a fourth human who must wake from their dream. Then Rikka tells everyone there’s something she wants them all to hear. I for one can’t wait to hear what that is.

So ends the best Gridman episode to date; one that harkens to the weirdest headspaces and corners of Evangelion (the background sound of clanging we hear at one point is straight from Rei’s ‘hood); and even one that seems to take some steps in its own directions after drawing from Gridman lore for so long.

Even if this is more of that borrowed and reimagined mythos, you couldn’t ask for a more gorgeous, cerebral, unnerving, and ultimately  heartbreaking execution. I’ve never felt more for Akane’s plight than I do now, which is quite a feat considering the wrongs she’s committed. And I hope that Rikka, Yuuta and Shou can help her escape her prison and wake from her dream.