I was expecting more of a drastic time-skip than a few weeks, but Book Three: Change picks up essentially right where Book Two: Spirits left off. Republic City is facing the tumultuous aftermath of the epic Harmonic Convergence face-off, with spirits and mystical vines alike spreading across town. With this, we have not only the brewing relationship between humans and the spirits (that they can’t even directly communicate with), but of course also the dynamic of the Avatar as the balance-restoring mediator. The season premiere brings back what can be considered The Legend of Korra’s greatest points, as well as its lowest points, in my opinion.
I’m thankful to have gotten exactly what I wanted out of this episode within the first four minutes. Judging from the most previous episodes, I never would have expected the sisterhood amongst the four girls to resurface as heart-warming as it was back in that endearing end-of-the-episode, late-night, little-rapscallion debauchery scene from the series’ premiere episode. And as if that wasn’t enough, the show-runners decided to, as per the first episode, dish out a cornucopia of friendship farewells and have us, once more, teary-eyed.
I had way too many ideas I wanted to use as openings for this review whilst watching the episode itself, so humor me and let me just let out with all of them so we can move right on: Oh man, I never thought I would tear up in such a way while looking at a poster of Angelina Jolie and Brad Pitt. I’d say what we have here is a good ol’ fashion Mexican standoff for parental rights (the father here even bears a sort of facial recognition to the spaghetti Western icon himself). Now that’s what I call family! A winged victory for the sullen. And then there were two…
Enter, again, all-around savior Posuto. Posuto is doubling up on her humanitarian roles this week, commiserating with dear friends and casual acquaintances alike; while Donki continues her plummet into malice as she betrays her own friend and throws the whole household of Kogamo no Ie into a state of disarray.
明日、ママがいない 第6話 「物言わぬ少年へ。愛と魂の大演説を聞け」 Ashita Mama ga Inai #06. 「To the young boy with things left unsaid. Listening to a fervent speech on love and soul」 Screenwriter(s): Matsuda Saya (松田沙也) Chief Producer: Ito Hibiki (伊藤響) Producer(s): Fukui Yuta (福井雄太), Namba Toshiaki (難波利昭) Director(s): Inomata Ryuichi, Naganuma Makoto, Suzuki Yuma (鈴木勇馬) Music: Haketa Takefumi A new addition to the orphanage, a close character dying, and Maou crying, three things I never would’ve expected from this series, at least not as early as episode six. Synopsis: We begin…
An all-inclusive episode for our characters this week, and boy do I mean that – from the main cast of girls, Posuto, Donki, Piami, and Bonbi; to the side-characters, Pachi, Locker, Maou and Kana; to the even more side-casted and arguably inconsequential characters, Han and Ryu (the twin-brother of Kogamo no Ie who have essentially been background props up until now) and the infamous Japanese Joripi; it’s the whole cast shebang this time around.
明日、ママがいない 第4話 「少女の悲しいヒミツ母親の幽霊は語る…」 Ashita, Mama ga Inai #04. 「The Ghost of the Sad Secret Mother of the Girl Speaks…」 Screenwriter(s): Matsuda Saya (松田沙也) Chief Producer: Ito Hibiki (伊藤響) Producer(s): Fukui Yuta (福井雄太), Namba Toshiaki (難波利昭) Director(s): Inomata Ryuichi, Naganuma Makoto, Suzuki Yuma (鈴木勇馬) Music: Haketa Takefumi Bit by bit, this show is losing its initial luster and seems to be falling into a slate of comfortable story-telling. We finally get coverage of Bonbi beyond her obsession with the Japanese Joripi this week, but the episode leaves a…
For the episode with the viewership highest rating thus far, the writing sure took a pretty noticeable slump, I thought. That’s what I wanted to assuredly say, that is, until the last ten minutes or so of the episode, which wrapped things up quite beautifully.
I’m starting to accept Ashita, Mama ga Inai as a drama in the full sense of the word. Just by paying a modicum of attention to how the background music is timed or how the child actors are seemingly instructed to act out certain scenes, it becomes pretty clear that the sinister bastards behind this show are utilizing every chance they get to breach the viewers’ emotional exteriors and have us tear-bound.
Ashita, Mama ga Inai isn’t the first drama series I’ve watched, but I’ve resolutely decided that it will be the first one I watch from beginning to end.