Carole & Tuesday – 07 – Whatever Happens, Happens!

C&T rebounds nicely this week, thanks in part to a new, more proportionate opportunity for the girls: this time, instead of playing in front of 100,000 people, they join the 200,000 who want to be contestants on the popular Mars Brightest talent competition, a sure way to jump-start their careers.

This week also marks the first real connection between C&T and Angela’s storylines, as Tao has Angela entered as a “special guest” contestant on MB, putting her in competition with the other two protagonists. This could mean the three could be in the same room together, or maybe even talk to each other!

The main issue is Tuesday, or rather Tuesday’s status as a runaway, which she doesn’t realize until they’re already in line for the auditions (which are about as weird and woolly as one would expect from such a large pool of potentials). If her family catches her on camera, she’ll be made, and they’ll come for her. Mind you, Tues doesn’t know her bro already found her, but chose to leave her alone.

This brings us to the best part of this episode, and why it was so much better than last week’s: We don’t actually hear Carole & Tuesday sing anything. This might sound counterintuitive, but the worst element of this show about a musical duo getting their start is their music—their first guerrilla performance at the music hall being the sole exception.

Mind you, just because the songs stink doesn’t mean all the music of C&T is bad. On the contrary, the incidental score is above average, and we get a particularly nice melancholy synth suite that plays along as we watch Angela decline to move back in with her Mama (who was her Papa before gender reassignment).

Instead, Angie chooses to live alone in her sparse, modern place where she can breathe, away both from Mama and all the trappings of her past that threatened to “suffocate” her. Her annoying AI only gets four “ANGELA!s” in before she shuts him up. Somebody needs friends, and I can think of no one better suited than Carole & Tuesday, even if they’re artistic and professional rivals.

As if hearing me say “your songs are bad and you should feel bad,” after auditions Tuesday slides into a slump, brought on in part by learning more of Carole’s story as an Earth refugee and orphan who had to survive on her own.

Tuesday’s family may be loaded (with cash) but she’s also loaded—with all the problems being the daughter of an important politician and little sister of a Harvard elite. She admits she’s a little jealous of Carole’s lifelong independence and self-sufficiency.

In light of her new friend, who has helped her in this new world, Tuesday resolves to hold her head up and stop cowering in front of the cameras. If her mom finds her, so what! She’s going for it, side-by-side with Carole.

After learning that Gus spent all their modest Cydonia earnings (980 Woolong) on gambling (not a good look Gus!), he, or rather Roddy, give them the good news: They’re among the eight contestants for Mars’ Brightest! As we saw, a good portion of the competition were horrendous, but considering there were 200,000 of them to contend with, this feels a bit neat, tidy, and easily done.

But it’s not like they weren’t going to get in, because this means they’ll be facing off against Angela and Tao. Even if I’m not particularly looking forward to hearing what new syrupy-sweet drivel they’ll sing next, I think I can tolerate it for the sake of watching those four characters, who have been kept apart thus far, finally collide.

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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…

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.

Blood Lad – 01

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Charlie Staz Blood is a territory leader in the Demon World descended from vampires who loves manga, anime, and games from the human world. When a human girl, Yanagi Fuyumi, stumbles into his territory, he has his lieutenant Deku send her to him at once, and showers her with attention, even shrugging off an enemy challenge. When Yanagi herself suggests he deal with the enemy, he realizes he likes her and will do anything for her. After defeating the enemy, he returns to find she’s been eaten by a plant, with only her uniform and a skeleton remaining.

Just then, Yanagi appears naked in his bed, marked as a ghost. Staz vows to bring her back to life, and searches manga for the answer. She suggests they visit the spot where she first crossed over, a “black curtain” that leads to the human world. After sending her to Mamejirou and Saty to clear her for travel, and hires Mimic Yoshida, who can assume the form of anyone, to serve as his body double while he’s gone, Staz and Yanagi prepare to cross over to the human world.

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Soul Eater. Ao no Exorcist. Accel World. All deal with other worlds and are all big, bold, and showy, and so is Blood Lad. It’s animation is really nothing special but the colors are fantastic; it’s a vivid, fun thing to watch and that goes a long way for us. But of all those series we listed, it’s also the least serious, at least so far. The nearly constant levity could have been jarring, but isn’t. It indirectly spoofs those more serious series while surging along with its story very swiftly and confidently.

Staz is not the brightest bulb but he’s neither bland not boring. As for the girl, while we can understand her novelty from Staz’s perspective, she came off as pretty weak, helpless, and passive. That said, both the OP and ED (and a short moment in the episode) show a girl who may well be her opposite in every way; perhaps they’ll complement each other later on. We’ll also see whether Staz can really restore her life, or if her current situation becomes the new normal, and the demon world her new home.

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Rating:7 (Very Good)