Galilei 9-10, Kill and Asukara 11

For the past couple weeks I kept thinking: do I really want to watch another episode of Galilei Donna? Not really, but I did anyway. Happily, episodes 9 and 10 aren’t as bad as I had feared. Just a little stupid, is all.

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First, Anna’s treachery has to come out. There’s the usual gasping and “No!” business. Then, for reasons unknown, Roberto decides to have Anna shoot the girls herself, with his help, and we have the face-turn we all expected. And we learn that Hozuki had switched the sand in her hourglass, which makes me rather happy. When Roberto had announced that the one he took was a fake I thought maybe he just couldn’t get it to work, meaning Hozuki had some cosmic thingy in her. That would push the show’s impulse toward science and discovery further off the cliff than it already was. Well, it was off the cliff already, but at least the show tried from time to time.

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In the middle of a big, well-done battle, we, alas go further off the cliff as Hozuki is transported back in time to Italy where she meets the young Galileo himself. It’s basically a bad “You were There” episode from here, as Galileo talks about his already-formed theories at length and Hozuki helps him build another flying machine (and after she leaves he never builds another one). He even has a telescope already! Meanwhile, Hozuki acts as a confidant and muse, and while they build together, in order to fly into the next angry cloud-thing that sent her there in the first place, she becomes the girl mentioned in the sketches. Since she’s a direct heir and much younger than him, there’s something insular and not a little creepy about this, but it does bring everything together.

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In fact, it leads to a couple of nice scenes in episode 10, one on a rooftop, the other as they fly toward the cloud. The latter is especially nice because it’s basically two people who have grown to like each other and are about to part company for good, talking about their dreams and futures, with nothing but rushing wind and some unobtrusive piano music. But then that’s over, we’re whisked back to the future and another miraculous rescue and escape, only to be shot down by Interpol. Interpol? Who’s side are they on, anyway?

Kill la Kill 11 has the show finally bursting out of its Deva-of-the-week format, giving us something that even Satsuki didn’t anticipate.

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This new girl, Harime Nui, floats in, Poppinslike, just as Ryuuko was about to bash into Uzu in their much-anticipated rematch, she then proceeds to dispatch Uzu while barely trying. This is the Uzu who almost wiped Ryuuko off the map the first time they fought. But she has the ability to locate the “banshi” of any life fiber uniform and unravel the whole thing. She is also Satsuki’s grand couturier, and doesn’t give a shit about anyone. As Senketsu whispers to Ryuuko, I’ve got a bad feeling about this. So do Mikisugi and Kinagase, who worriedly watch from a distance, and Satsuki, who leaves what’s left of the ring. I have a couple questions.

I like Mako's description of the banshi better.
I like Mako’s description of the banshi better.

First off, I thought Uzu’s ability was to see everything, so why was he charging madly at Ryuuko the same way she was rushing at him? Well, silly question. So they can do exaggerated screams to heighten the anticlimax of Nui’s entrance, but beyond that, why couldn’t he see all this happening. And if Nui’s ability means only stripping away the uniform, and she’s not wearing any weaponry of her own, why can’t Ryuuko (or why didn’t Uzu) just take theirs off? Well, we haven’t gotten to Nui and Ryuuko’s fight yet, because they’re saving it for next week.

Earlier in the episode ...
Earlier in the episode …

Also, Nui pulls out a half-pair of scissors of her own. And she claims she killed Ryuuko’s father. I don’t buy it. The retreating silhouette in the flashback looks like Satsuki to me, and her half-scissors is purple. On the other hand, she has motive. Ryuuko’s father might have been a clothes-making rival. A lot of stuff going on here. Oh, and Ryuuko defeated Jakuzure thanks to tuning her mind to her own something or other, thus spoiling the Beethoven Jakuzure was throwing at her.

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As for Nagi no Asukara, I’m almost past caring. In episode 11, Kaname’s confession to Chisaki brings up a yawn. So do most of the other couplings and relationships. An exception might be Miuna, since she’s a little confused about her wants and too young to know what to do about it. The scene where she insults Akari to drive her back to the sea (where she’ll live) was dumb but sweet. Her crying jag later just felt maudlin. Akari’s request to combine the boatdrift ceremony with her wedding, and replacing the wooden sacrifice with herself was a nice idea and could go deliciously wrong if she actually does become a sacrifice. It would also be appropriate because these gods and priests they’re all worshiping seem like a callous, selfish lot, like all gods, actually, and it would be appropriate if the sea god decided to come out of its realm and devour her. It would liven up this episode where a lot of decisions are made, only none of them matter.

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