Carole & Tuesday – 12 – Setting the Stage to Stardom

As a dejected Carole tells Gus and Roddy what just happened, Tuesday is briefly scolded by her mother upon returning to her mansion. Her mom couldn’t give to shits about her beyond how her actions reflect on her, and she basically says as much before locking her daughter in her room for a week.

You’d think for a politician worried about the scandal of a runaway daughter, subjecting that daughter to solitary confinement might not be the best look! Anyway, what follows is an effective montage of the two girls suddenly ripped apart becoming more and more morose. They are both The Loneliest Girl all over again.

Gus, who had a similar falling-out with a loved one that in hindsight he believes he could have salvaged, offers some sage advice to Carole about not letting things fester too long without making amends. Carole, eating her feelings in the form of a double Whopper, is way ahead of him: She needs Tues, and she thinks Tues needs her. Gus agrees, which means it’s time to plan the rescue mission—which, yes, may technically involve kidnapping!

Meanwhile, Tuesday’s only non-robot visitor is Spencer, who is as supportive as Gus about getting the duo back together, and letting his sister pursue her dreams. He reveals to her he saw her in the club, and while he admits he never thought his sis was capable of running away to the big city or getting into music, he can relate (having once pursued music but gave up, likely under pressure from mom).

I like Spencer. He’s a good brother! He didn’t give in to their domineering mother when it mattered most. Mom’s too self-involved and distracted by politics and toy boys to realize her hold on him is not as strong as she thinks. And while he couldn’t make it, he can tell she’s got what it takes, and so will do everything to free her from her gilded prison.

That night—the night before the finals, as Carole, Gus, Roddy take the train to Tuesday’s district—Angela is at the Artience Lab with Tao, asking him why the AI lyrics seem to be almost reading her mind. His answer is that, well, the lab itself has been reading her mind all along, as well as her body. It’s been listening and watching and writing, and perhaps even drawn out words from her subconscious she’d never be able to draw out alone.

In this regard, Angela is not a solo act, despite appearing alone on stage. Tao is her collaborator, since he’s the one who developed the AI. After getting into singing to please Dahlia, she can’t sing the final song to her Mama, so she asks Tao to indulge her and look at her and only her throughout the performance.

Tao agrees, but only this once. Like Carole and Tuesday, there’s nothing overtly or explicitly romantic in play here, but it’s also not like there’s nothing there.

The next morning, the rescue attempt, in which Spencer aids Carole, Gus and Roddy without even knowing it by unlocing her door and holding back a security robot so she can run away in her very inappropriate-for-running fancy shoes. They also catch a bit of luck when a driver in a car that’s faster than the cops recognizes them and offers them a ride to the station.

Gus and Roddy are arrested, but the mission is complete: Carole & Tuesday are on their way to their destiny. On the train, Carole apologizes to Tues for the things she said, and the two make it clear to each other that they want nothing more than to by each other’s side. Carole also finally manages to give Tues her birthday gift: a shiny acoustic guitar pin.

When the two return to Alba City, the grandeur of the first episode in which Tuesday arrives for the first time returns, only now she’s not alone and unknown, but running hand-in-hand with her new bestie as the throngs of people recognize and cheer them on. The only problem is, they’re very late; the season finale of Mars Brightest has already started, and as promised, Tao is in the back of the hall, his gaze locked on Angela.

Angie takes that gaze and runs with it, turning in another lovely performance. The vocals are good, but as usual I’m just not that impressed with the lyrics. She sings two identical verses without any change, which makes me wonder, are they that deep and sophisticated as to make Angela believe the AI was reading her mind? I don’t know, but as usual I have to grade on a curve and for this show, it’s a damn good song, well performed.

The judges agree, and are ready to crown Angela a winner until the sudden belated appearance of Carole & Tuesday. Catherine whips out the rulebook and states that any performers not present at the start of the show will be disqualified. Despite this, Carole, Tuesday, Benito, the crowd, and even Angela all compel her to allow them to perform anyway.

Since they had no time to write or practice a new song, they go with their very first song, Loneliest Girl, the song that marked the beginning of their friendship, the end of their loneliness, made them a viral sensation (thanks to Roddy) and put them on the road to musical greatness.

While we’ve heard the song a few times throughout the series, it’s never been performed so powerfully as this time, and with both this and Angela’s finals performance, Mars Brightest finally sounds and feels like a genuine reality TV competition, breaking through the walls of mere imitation.

That’s carried forward with the deliberation of the judges afterwards. Even DJ Ertegun is moved to tears! Catherine initially holds her “rules are rules” ground, but allows an exception that satisfies everyone from the crowd, to Angela (who wanted a fair-and-square fight) to Gus and Roddy (still stuck in jail): Angela is the official winner, but both acts will be permitted to make their pro debuts.

They earned it, and Angela is cordial in congratulating them. She, Carole and Tuesday have come a long way, and many challenges remain. Will their continued chilly rivalry curdle into outright hostility? Will Cybelle break out of prison and finish what she started? Will Tues’ mom take harsher measures, despite the blowback from the duo’s growing legion of fans? We’ll find out in the second half of the series. I’ll be on board!

Fruits Basket – 05 – Rescuing the Princess

This episode’s cold open moved me to tears. Tooru’s grandfather has informed her that his house is sufficiently ready for them to move back in. Just like that, her new life with her unique new friends has been snatched away from her.

There’s a palpable atmosphere of gloom and emptiness to the scene in which she tells the others, before realizing she hasn’t started dinner. Then, while in the kitchen, her mom suddenly walks in the door, and she’s in her old kitchen, making dinner despite suffering a fever.

When she tells her mom she couldn’t just stay in bed while she’s working so hard, her mom simply hugs her, and says sometimes it’s okay to be discouraged or selfish, once in a while. It’s as if she almost did too good a job raising her daughter!

When the kettle whistles she’s brought back to the Souma house, and declares that no, she’s okay. It doesn’t matter if she can get discouraged, she won’t get discouraged. Gramps’ newly renovated house may well be fine; and definitely better than her tent!

But for someone who’s come so far in so short a time, it feels like moving backwards, and that she’s deferring her happiness in order to go with the flow. Trying to convince herself she and the Soumas can’t be family when they already are just that.

It’s heartbreaking and yes, tear-jerking. It remains so as she tells herself she was never the brightest bulb, hearkening back to grade school when she played in the “Fruits Basket” game that gives this series its name, and in which she was cruelly excluded by being declared an onigiri.

She declares it foolish to ever believe she could join the Fruits Basket group of Zodiac animals that is the Souma clan. But she’s wrong, you see. She’s foolish to think she was or is foolish. It’s when she’s welcomed “home”, where her grandfather can’t even get her fucking name right, when I thought to myself it can’t end this way.

I’m not alone, as a melancholy Yuki and Kyou recall all the good times they had with their dear friend Tooru, whom they allowed to depart without any resistance, and suddenly sport defiant looks on their faces. They’re on my side; they’re not gonna let it end this way.

Every second Tooru is in that hellish house with those trash people, it made my blood boil. Being asked to hurry up and unpack her meager two shopping bags of effects. Her mother’s older sister hiring a P.I. to investigate where Tooru was living to protect her son, who’s going to be a police officer and can’t have any bad apples in the family mucking that up. Calling her sister a bad seed and declaring “like mother, like daughter.” Tooru’s asshole of a cousin, leering at her while asking if the men she lived with did anything indecent.

Gramps may confuse Tooru with his daughter, but he’s still sharp enough to slap his would-be cop punk of a grandson for speaking to “Kyouko” that way, and condemning his family as a bunch of “unpleasant people”…which they most certainly are! Go Gramps! He concedes that he has to put up with them, but tells her that she doesn’t. Her late father said Kyouko deserved to live where she could “spread her wings,” so if there’s a place where she’s happier, she should go there.

Still, Tooru resists. She doesn’t deserve “more.” She has to be grateful with what she has. She’s “blessed”. She shouldn’t say “I want to go home,” and home not be her gramps’. She can’t say “I didn’t want to leave!” If she did, that would be selfish, and mean she’s too soft on herself? “Yes,” replies Yuki, suddenly in the living room, dazzling the stage.

Flashback to before his surprise appearance; he and Kyou are taking out their frustration on each other, as per ususal, with Shigure in the middle. Yuki notices the note with Tooru’s address on the table, and excuses himself to take a walk. Kyou has the same thought, but is just a step behind.

He catches up, and after walking around in circles, remember the exterior walls of the house aren’t finished. They knock on the door but no one answers, then watch the scene we just saw unfold and wait for the right time to swoop in. When that moment arrives, Yuki is there, followed closely by Kyou, who escorts her out while Yuki grabs her things and calls her cousin a lowlife.

Kyou tells her he’s been on edge since the moment she left, and now knows why: she didn’t want to leave. It’d piss him off to indulge someone’s daily selfishness, but in Tooru’s case, it’s okay once in a while, repeating the words her mother said to her. So she finally lets herself be selfish, and declares she wants to go home to where he and Yuki and Shigure are.

Yuki and Kyou take her hands and do just that. Finally, in the Fruits Basket game of her life, the onigiri has been chosen. Her new tribe may not be perfect, and their house always on the verge of being destroyed by familial strife, but she’s home, with her family, where she belongs. As the cameras pan up from the exterior of the house to the dusk sky, it’s never looked more beautiful.

Banana Fish – 11 – Ashilles Heel

Turns out leading a gang is like riding a bike: you never really forget how to do it. Ash slides right back into his simpler life, and Eiji sees, for the first time, Ash the Leader, and how all his subordinates hang on his every word and breath.

They’re also impressed that Eiji isn’t scared of waking Ash up from a two-hour nap. But once Ash is up, he sends them all off on an intelligence-gathering mission, leaving him and Eiji alone to enjoy a simple meal of takeout together.

It’s there that Eiji sees yet another side of Ash, as for the first time ever in their friendship they can just relax. He also learns that Ash has cucurbitophobia (fear of pumpkins) and teases him for it, eliciting a very boyish pout.

That night we see the contrast between the two young men: Eiji sleeping soundly and Ash waking up from nightmares that will probably never go away. Ash lets himself be vulnerable with Eiji and cries into his lap; it’s how they both end up falling asleep.

Ash gets up at dawn, letting Eiji sleep in, and sets to work on his laptop. Having spent his jade earring buying guns from “The Fly” yesterday, Ash hacks into Golzine’s stocks, using the spyware he implanted on Dino’s computer while Dino was having fun with him.

So not only is Dino’s favorite mansion in ruins, but so are his finances, and those of the mafia organization he’s a part of. He’ll have to answer to the dons now, which means his life is a lot more complicated and fraught with danger. From what we know of Dino, no one deserves it more…though Arthur is trying to make a case for himself.

Ash uses his influx of cash to buy an $8 million condo right next to a building owned by the Corsican organization, showing he’s still a fan of bold moves. He has Max pretend to be his dad to cosign on the purchase. But Max is worried that for all Ash has accomplished since gaining his freedom, he still has one potentially crippling weakness: Eiji.

Banana Fish – 10 – Wounded Tiger

The youngest Lee brother sat out last week’s unpleasantness, but returns to Ash to tend to his wounds and also decides to lend him a hand in escaping from Dino’s mansion. Dino is away for the night demonstrating Banana Fish on a woman who is forced to kill her husband, a presidential candidate. Meanwhile Ash’s gang has joined forces with Shorter’s Chinese crew, led by Sing, and after gathering some intel, they hit the mansion the same night Dino is out.

Ash makes use of the key Lee slipped him by doing a bit of gymnastics, then frees Max and Ibe, head to the armory full of military-grade weapons. From there, Ash becomes the “devil himself”, mowing through Dino’s men on one side of the house while his allies burst in and take care of business from the other. Lee leaves Ash with one more gift: injecting Abe Dawson with a paralytic.

That means, after meeting up with his men, Ash tells them to all get the hell out before Dino’s cavalry arrives, then heads down to the lab, where Abe had been busy extracting Shorter’s brain. Dawson begs for his life, but Ash responds by emptying a mag into him, then burns Shorter’s body so he can pass over in peace.

That gesture leads to a misunderstanding with Sing, Shorter’s subordinate, who heard that Ash killed Shorter (but doesn’t know why). He picks the wrong time to demand vengeance against Ash, who makes quick work of Sing, but lets him run away.

Sing ends up running right into Lee, who takes him away in a helicopter and spots Ash in his red Italian sports car heading back into Manhattan. It was an ugly one, and came at a high cost, but it was good to see a win for Ash, even if it just meant getting his freedom back.

Macross Delta – 21

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The HayMirFre triangle was set aside entirely this week; instead the episode focused on Kaname and the roots of Walkure, starting all the way at the beginning. It’s a long story, but the ladies are incarcerated until further notice, so there’s time to tell it. It’s a story that was only hinted at before, and digging deep into the group’s history mitigates the fizzling out of suspense from last week’s infiltration.

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The last couple of episodes have been full of uncertainty for all, but the flashbacks this week are instrumental in showing that this has almost always been the case. When Kaname was first hired by Chaos, nobody knew what they were doing. Once idols with fold receptors were collected, their first “shows” were utter failures. Even Makina and Reina don’t get along for a long time. Two other Walkure members quit due to stress.

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It’s also instructive to see just how ragtag Chaos was long before Hayate and Freyja joined it. Kaname was simply a survivor on a war-torn planet; Makina from a family of skilled mechanics and engineers; Reina is a genius hacker. None were born idols; they grew into it, as did the symbiotic relationship between Walkure and the Delta Platoon, leading to the rescue of a young pilot named Messer from a battle on Alfheim.

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Of course, one member of Walkure was born an idol, with no other dream but to sing. That, of course, is Mikumo, who was introduced to the others quite suddenly after Claire quit, and has a powerful and immediate impact on them all.

Even Reina and Makina bond over her transformative power of song, which she uses to introduce her self rather than, you know, speaking to them. When Mikumo is suddenly singing in the brig where the others are being held, it’s a neat (if somewhat jarring) segue out of the flashback and back to the present.

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Back on Windermere, Lloyd has Heinz use his newly amplified song to put thousands on Al Shahal in a coma to do research, but Heinz’s frail body can’t take the strain. When Keith discovers the Heinz is riddled with the same frozen malady that claimed his father, only far earlier in life, he is furious, and confronts Lloyd, who pretty much confesses to murdering King Gramia (to east his suffering), and that he and Keith cannot “fly in the same skies”.

Lloyd goals are about far more than preserving the fatherland and expanding the empire. As Berger finds out, he may be after the ability to join the minds of all mankind into a network; unlocking perhaps the most powerful ability of the protoculture. If Gramia, Heinz, and even Mikumo or Freyja are the eggs he has to break, so be it; he must have his omelette.

But he’s running out of time. Mikuno’s “issues” were fixed aboard the medical frigate, and while she now knows she has no childhood memories because she’s a genetically engineered clone, she’s no less committed to singing for the cause she was created to serve.

Delta and Walkure are headed to Windermere. Whatever anyone’s personal issues or doubts, there’s a galaxy out there that needs saving. Time to get to work.

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Macross Delta – 20

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I was wondering how Delta would follow up an episode that was 9/10ths an advertisement for other Macross series (some worse but most better than Delta), and 1/10th nice character work between Mirage and Hayate, which for me saved it from a 6 (not recommended).

Turns out this episode was a lot more like the last 1/10th of last week, only with a lot more action, which pleased me. For once, though, the action doesn’t predominantly serve the plot; the status of the war remains unchanged.

Instead, all the action is character-driven, not a bad way to go for a show whose characters have too often felt like little more than props (or shadows of aforementioned better shows). Forget the war, we’ve got more basic problems: Freyja can’t sing, Hayate can’t fly, and Mikumo is God-knows-where.

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Everyone is full of doubt and uncertainty, even in Windermere, where Heinz is definitely spooked by the fact his song was overpowered by Mikumo’s. His brother Keith (who has had very little to do since losing an eye) seems to want to know more about Heinz’s specific medical problems, all while wondering what the heck is going on with Lloyd, who he thought he used to know well.

Lloyds reassurances to Heinz that his voice is peerless, and to Keith that all will be well, aren’t received with enthusiasm by either Windermere. Cassim is also still walking around looking lost; the only ones who aren’t are content to blindly follow the most powerful authority.

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Things can’t stay this way for the main players on both sides of the war, so it falls to the second tier of the cast to bring about some kind of change. Makino and Reina start prodding the medical frigate’s security for weaknesses, and when Kaname catches them, they convince her to join their cause, even if it’s against the rules, because they love Mikumo.

Hayate and Freyja actually manage to sit at a table together, but only to exchange unilateral life-altering/ruining decisions. Hayate wants to quit flying so Freyja can keep singing; Freyja wants to quit singing so Hayate can keep flying. Their affection for one another precludes doing anything that might hurt one another.

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Enter Mirage, who does a far better job than Lloyd to, well, not so much reassure them as knock some sense into them with harsh words. She considers both their offers unacceptable; Hayate has to fly and Freyja has to sing; that’s what they were frikkin’ born to do.

And she’s not even going to give them the choice to give up on their dreams, because she loves them too much. There; she finally said it, only two both of them and not simply Hayate. Better than nothing, I guess. Mirage (and Seto Asami) do great work here.

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While Mirage puts her heart on her sleeve to help the comrades—the friends—she loves, Kaname, Makino and Reina potentially put their careers, freedom, and lives on the line for their comrade Mikumo. Reina’s hacking isn’t pefect, but Kaname doesn’t give up when the other two are arrested, running through corridors and belting out song until she reaches Mikumo, who despite being in a stasis tank, sings along.

And that’s it for episode 20. With six episodes left, the sing-and-fly formula of earlier episodes has been immensely disrupted, and we’re left wondering what will become of the singers of Walkure, the pilots of Delta, and the overdressed tools of Windermere.

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GATE – 24 (Fin)

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Rescuing Pina and the Emperor from Zolzal felt like a couple of loose ends to tie up, since there was never any doubt about Itami, reunited with his original Recon Team and his girls, were going to be successful. This, the final episode, seems to understand this, and doesn’t draw out the rescue needlessly, but has fun with the relative ease of the operation.

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Basically, Itami has Rory, Lelei, Tuka, Yao, and his team, which makes him all but invincible. All he has to do is talk when they enter the throne room. Zolzal sics a particularly ill-fated ogre on them, but Rory and Lelei dispatch it with ease—did Zolzal forget these guys brought down a Fire Dragon? 

His meager guards, who don’t particularly want to mistreat Pina or fight Rory the Reaper, are absolutely no match. Zolzal doesn’t try going out in a blaze of glory—he’s too much of a coward. Itami plays with his fear by adding paranoia to his problems: pointing a sniper at him, telling him he’ll be watched from now on.

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The conditions Itami gives him for not getting a bullet in the head are simple and non-negotiable: Pina goes with him; the emperor too; and Lelei’s assassins are called off. All Zolzal can do is accept, bitter as he is, he’s powerless here, and it’s particularly satisfying to watch (though I was kinda hoping he’d resist a little more so Kuribayashi could have at him).

After that, all Itami & Co. have to do is get out of the palace and city walls before they’re all closed, and this too proves not very difficult, thanks to the speed of their vehicles and a helping hand from a friend with a LAV, a bazooka, and a mined entrance that blows behind them, taking out all horsebound pursuers. Mission Complete.

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Pina, who clearly likes her shining knight Itami but isn’t too overt about it (note how she got self-conscious about her skimpy burlap shift when he showed up), but she also has bigger matters than romance. Her father wakes up, not the worse for wear, and declares her crown princess, giving her the mandate to steer the empire where she will, whether towards peace or to civil war with her brother.

It would have been nice if Itami’s crew had, you know, captured the leader of a potential resistance against the legitimate government, but they leave Zolzal alone, which was the one problem I had with the operation, considering how easily they could have taken him into custody/killed him.

But that’s no big deal; whatever he scrounges up won’t be any more of a match against the SDF-backed pro-peace faction than the Special Region ever was against the might of the modern Japanese military.

As for Tyuule, we see she’s not crazy after all; just unfulfilled. She suffered and schemed so mightily and actually got the empire to fracture, and yet tears fall from her face. I guess it wasn’t quite worth it.

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With that, we have a nice little crowning ceremony for Pina, after which all of the various guys show off their new girlfriends / lovers / caretakers / fiancees, to Kuribayashi’s shock and Shandy’s envy.

Itami doesn’t attend that ceremony, because he’s done enough, and now he just wants to go to the doujinshi convention in Tokyo, putting his hobby ahead of his work as usual. I like how he places equal importance on his affairs in otakudom than he did with all the various adventures in the Special Region.

But it isn’t long before his three girls track him down, all with their own Tokyo plans for him. The masses notice these idols and crowd around them in adoration, and a cop sneaks them off in his squad car, even though Itami doesn’t want to leave the convention.

And there you have it, a usually lush and diverting story of our world connected to another one, where the JSDF fought, and fought well.

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Ai Tenchi Muyo! – 33

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Hachiko and Hana take on Gouriki, demonstrating that x-acto knives and wooden swords are curiously effective against killbots while allowing Momo and Touri to get to the caves.

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Down there, the Science Club and Tenchi’s crew join forces to try to find the treasure, whatever it is. Yuki points out that while she just wants money, the treasure is more important to Beni. Also, as things would work out, Momo happens to land her tush on Tenchi’s face and bounce into Beni’s arms.

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Above ground, Ryouko and Ayeka take up arms against Hachiko and Hana in Tenchi’s name, and Hana even pisses off Ayeka by calling her ‘Auntie’. Down below, having seen the photo of Tenchi and Sasami, Touri throws the smartphone at Tenchi, but misses. It ends up in the hands of Momo and Beni, who start to glow, then Washuu elatedly reports that “It’s happening!”

What’s happening? Not sure. Temporal re-alignment? The reveal of the treasure? We must watch on to find out.

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Ai Tenchi Muyo! – 32

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Another piece of the puzzle falls into place, as Mihoshi explains her reason for being in the mines: she came to investigate a possible time crime, and decided to give Yuki a hand trying to find a treasure, even though she doubts there’s anything there.

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Yuki begs to differ, and flanked by Beni, Rui, and Gouriki, offers to show Tenchi and the others proof. Meanwhile, Touri, Hachiko and Hana are convinced Tenchi was taken away for nefarious purposes and formulate a rescue plan as an incredulous Momo looks on.

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Yuki produces a smartphone that was found deep in the caverns and has determined it is from 1,300 years ago, making it an OOPArt (not ‘oppai’, Ryouko. That was too easy). This, of course, is the phone Tenchi dropped into a chasm when he was in the past.

When Yuki switches it on, everyone is less shocked that Tenchi is on the 1,300 -year-old wallpaper than they are skeeved out by the fact he’s posing shirtless with a loli swimsuit-wearing Sasami.

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Up above the caverns, Touri, Hachiko and Hana begin their mission, starting with getting past an improved Gouriki. How far will they go before they realize they’ve got the wrong idea?

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Ai Tenchi Muyo! – 05

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Momo, Touri, Hana and Hachiko arrive to rescue Tenchi from the science club. As Hachiko battles Kinojou, Momo frees Tenchi, who saves her from falling rocks as the caves start to collapse. Everyone makes it back to the surface safe and sound.

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That’s more like it: a short, sweet, daring, action-packed rescue mission, made possible by the tracking device in Tenchi’s Gentleman’s Area, presumably put their by Touri. Momo and the StuCo prevail, ending up with Tenchi, who shows he can be heroic in a pinch, but we’re sure the tug-of-war (with him as the rope) has only just begun. Oh, and the dress code at this school is appallingly loose!

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Space Dandy 2 – 13 (Fin)

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The long-standing criticism of Space Dandy’s M.O. of hitting the reset button after every episode, thus limiting its momentum across the entire run, is fearlessly addressed (and IMO officially debunked) this week, as just about every major serial element is brought into play for one hell of a satisfying grand finale.

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First of all, the show finally, finally lets Dr. Gel get his hands on Dandy, ambushing him as he’s walking out of the courthouse (Dandy is definitely a victim of publicly-televised trials in this case.) Not wanting Dandy to die at the hands of Gogol, Honey and Scarlet join Meow and QT on a daring rescue mission.

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That’s not a bad rescue party at all. Meanwhile, Commander Johnny (now a full-time general) learns from the Jaicro expert witness just how dangerous Dandy would be in the hands of Gogol, and launches an all out assault on the Gogol homeworld. That means the Aloha Oe warps right into the middle of a stellar pandemonium.

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The battle is fantastic, and made all the better by the funky soundtrack. Then, in a stunning turn of events, Bea reveals himself as Jaicro spy, betrays Gel, then betrays Jaicro, taking Dandy’s pyonium—and the promise of universal domination—for himself.

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Bea has shown signs of competence and initiative in the past, but never villainy until now, but hey, he’s ready to be his own boss, and certainly cuts a villainous figure with his popped collar and smirk. His only mistake was not making sure Gel was dead, and that proves fatal.

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After a harrowing journey aboard Aloha Oe than surfing in Little Aloha girls, robot and cat reach Dandy and free him from his chains, only to have to see his back once more as he volunteers to take Gel’s ship and destroy the berzerk superweapon before it destroys the universe.

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That’s when things get baroque: Dandy is ejected naked from Little Aloha and seems to merge with the core of the weapon, destroying everything and everyone we know.

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He ends up in some kind of purgatory and is approached by who else but the narrator, who is essentially God. Since Dandy is the only other being able to traverse dimensions without losing his memories (as demonstrated in many episodes), God wants him to be his successor once the multiverse is reborn.

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But it’s a sore deal from Dandy’s perspective. Being infinite and eternal and beyond all matter is all well and good, but he wouldn’t be able to flirt with Scarlet at the alien registration office or hang out with Honey at Boobies. That renders God’s offer moot. Dandy refuses, the multiverse as it was collapses on itself.

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We emerge back at the first episode of the series, with Dandy discussing boobs with a disinterested QT. There’s no narration, as God is gone and wasn’t replaced, but otherwise everything seems to be back to normal yet again. Then the credits roll, accompanied by a great pan through of the entire Dandy universe, and one more new, fantastic piece of music.

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This finale wasn’t just a tying up of all the loose threads the show had generated, but a love letter to all of its fans who always wanted to see Gel bag Dandy, Scarlet and Honey team up, a big decisive battle between empries, and finally, Dandy turning down godhood. I for one loved it.

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Weekly OP: Bleach (2)

Every Monday we share a video of Weekly OP or ED that we like. It could be from a show we’re currently watching, watched long ago, or never watched. Note that the videos may not hang around forever, since we have no control over them.

How did we find out about Bleach? By opening up the Baltimore Sun to a story about Otakon in 2005, where we saw a pretty good Rukia and Ichigo with his giant sword thing. Bleach would become the first show we watched regularly,  and ultimately watched it longer than we should have.

The first 26 episodes actually weren’t that bad. The world-building, character design, music, and comedy were imminently watchable, but the thing is we just hadn’t watched that much other anime, and so couldn’t compare it to anything. In any case, we liked the shinigami/hollow mechanics of the show, and were immediately charmed by Rukia, the death god who became a transfer student.

By the time this OP came along, Rukia had been taken captive and it was up to her human friends to save her. The first OP was very light-hearted, hip, and playful, but this one is all business, successfully capturing the urgency of the rescue mission and all the new characters who would stand in the gang’s way.  Our first glimpse of many shinigami captains and lieutenants whose lives we’d follow for years came right here.

Unfortunately, the mission, like the show itself, didn’t have the same urgency as this OP, perhaps because the anime was rushed out before adequate source material was published, resulting in lame filler arcs. But for a while there, Bleach was good watching, as long as you cared about the characters, which we did.

Love Lab – 09

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When they learn that Nana inadvertently got Sayori in trouble and that she’ll be forced to leave the student council, Maki, Riko, Suzu, Eno, Nana and Momo formulate a “rescue operation.” They collaborate to clear Sayo of wrongdoing by telling the teachers it wasn’t a boy she was meeting with, but Maki, dressed as “Makio Evolved”. By having the trustworthy Maki at point and peppering their lies with kernels of truth, they’re able to pull it off. Maki’s stock falls, but Sayori’s rises and she’s able to stay on the council.

Riko may not care for Sayori’s tendency to go after peoples’ weak spots (in Riko’s case, the lie about her being a love expert), but she, Maki and Suzu had grown accustomed to her in the student council, and obviously she and Eno are attached at the hip as they’ve always been. So when she gets into a spot of trouble and says she won’t bother fighting it, they do what any real friends would do and step up and fight for her. Even if their efforts cost them their own reputations, losing Sayori would be a bigger blow to them.

Similarly, we’re so used to Maki acting nutty – and she’s so used to acting nutty in the council office – we initially forget that the newspaper association is sitting right there, and they’re seeing her like that for the first time (Momo’s impressed, but Nana’s a little scared). Their plan is far-fetched, but they make sure to get all the details right – like the fake mole on Maki’s face; mix the truth in with the lies, and rely on Maki’s substantial political capital with the teachers to rescue Sayori from exile, and they succeed! It was nice to see everyone putting the past behind them and getting along in order to save her.

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Rating:7 (Very Good)