Hello folks, and welcome back to Wrong Every Time. Today I’d like to take a stroll back to the delightful drama of Skip and Loafer, as our two charmingly mismatched leads muddle their way through the school festival. Through the combined pressures of Mitsumi’s self-assigned responsibilities and Shima’s participation in the class play, the two are each essentially revisiting their childhood dreams, seeing how their old ambitions fit them, and where their new feelings might lead.

This process has prompted some good, productive friction for both of them, as Mitsumi reaches the limits of what she can do alone, and Shima grapples with his complex feelings regarding stage performance. But regardless of their personal journeys, what has been made abundantly clear is just how much they care for each other, and desire to keep each other from harm. Shima expresses this concern through his attempts to shield Mitsumi from disappointment, while Mitsumi pushes Shima to embrace uncertainty, knowing he is strong enough to pick himself back up. Let’s see how their dance continues as we return to Skip and Loafer!

Episode 11

We open by panning down over the festival’s roadside entrance, as if we’re visiting as guests ourselves. A fine way to combine establishing and perspective shots, making us feel more like we’re actually in the crowd ourselves

These school festivals seem like an excellent way to ensure theoretically isolated school clubs all feel like part of the same larger community, both within their school and as a part of their town. It makes sense for Japan’s generally community-oriented perspective, in contrast with the frequent framing of American school clubs as rivals or antagonists

Our student council president Kazakami chats comfortably with prospective students, until Takamine angrily informs him he is needed back at the orientation table. The difference in their perspectives embodies how they are each best for their assigned role – Kazakami can make the student council seem approachable, while Takamine is the unpersonable backbone making sure the work gets done

“This event’s such a big deal, some students risk their college chances to participate.” Of course, Mitsumi sympathizes with how Takamine is only being so serious because the fortunes of other students depend on her taking this seriously. The student council pair mirror Mitsumi and Shima quite well

“I’m sure she must want to be president more now than ever.” And as Mitsumi’s mirror, Takamine offers an early demonstration that all the preparation and suitability in the world won’t necessarily ensure you follow a frictionless road to your dreams. Mitsumi claims she is good at picking herself back up, but she hasn’t fallen that hard yet, certainly not on the scale of someone like Shima

We get a brief montage of their class play, holding for the key line “Johan, you must choose how to live your own life”

There is no happy ending for Johan, but his uncertainty ensures the rest of the family lives peacefully. Basically the role Shima has accepted in his own life

Mika asks if Nao is stopping by, a welcome indicator that Nao has continued to serve as Mika’s confidant. Mika could certainly use a friend who understands the ungenerous feelings of youth

Seeing all her classmates meeting up with old friends, Mitsumi suddenly feels isolated, thinking of how everyone she used to know is a world away

Meanwhile, Yuzuki’s showing off her painting skills at the art exhibition. I appreciate all these small flourishes of texture we’re receiving regarding the secondary cast, as the school festival offers them a chance to show off their other interests

Mitsumi briefly perks up at the thought of that grump Makoto also being a loner, but it turns out even she has friends from middle school here. Brutal, Mitsumi

Yuzuki is tired of being hit on by people who aren’t even interested in her work. “They pay no attention to something I poured my heart and soul into, then turn around and tell me they’re interested in me? Is that supposed to make me happy?” It’s all a superficial dance to her suitors, the pleasantries you dispense with in order to ask a girl out. They are interested in her as an object, not as a person, and she is tired of playing that game

“Everyone has their own issues,” Mitsumi reflects. Yuzuki’s appearance means she is constantly being engaged by people who have no interest in her thoughts or passions, and must maintain a certain degree of cynicism regarding new connections

Mitsumi and Yuzuki run into Makoto and her middle school friends, who are both low-energy loners like Makoto, and have a difficult time dealing with Yuzuki’s energy. Yuzuki’s in a frustrating spot where her natural look and affectation means she frequently attracts people who just want something from her, while others often judge and discount her from the start

But Makoto sees this, and refuses to let it happen, swiftly rambling about all of Yuzuki’s genuinely admirable qualities to her friends. She’s become such a loyal friend!

“They’re good girls once you get to know them.” It’s actually Makoto who ends up apologizing for her friends. The personas we set up as insecure adolescents often serve as barriers to true connection, but with as earnest a person as Mitsumi tying them together, Makoto and Yuzuki were able to find all these things to appreciate in each other

“We don’t feel like it’s only been six months, right?” Yuzuki can only marvel at how short a time she’s spent with Mitsumi, Mika, and Makoto – their barriers dropped so quickly, and though they’re such profoundly different people, they can talk as if they’ve known each other forever. That Mitsumi magic at work

The girl Kazakami was advising stops by the info booth, grateful for how much he calmed her nerves. Another affirmation that Kazakami is a perfect front-facing leader; though he might not understand all the details of his job, he understands how to comfort people when they need assurance

But here’s trouble brewing in the distance, as Ririka learns about the school festival!

The next day, the girl beside Mitsumi at the info desk starts talking about new festival romances, basically just priming us for a future romantic confrontation

Then Kanechika shows up, looking like a cross between a Hollywood talent scout and a Miami hitman

Kanechika begs Shima to come watch the drama club’s performance, to which Shima responds by asking Kanechika what is his endgame is regarding all this passion for performance

“Is there really an endpoint for daily routines like eating and going to work? I can’t think of it yet.” There is no cost associated with Kanechika’s passion at the moment, so he’s free to embrace it without thinking about what tomorrow will bring. He cannot relate to Shima’s obsession with consequences, his choice to hold back from full, potentially “selfish” engagement with the world, simply because it might result in others getting hurt

Elsewhere, a young boy named Kei-chan is separated from his mother

Ah, of course, it’s Shima’s little brother. Those potential consequences coming home to roost

Kanechika’s play offers an explanation for his outfit – he’s actually playing a debt collector

“It was so good!” “Really? Of course it was.” Lovely seeing Kanechika transition from genuine vulnerability, feeling bowled over at the idea that someone else might truly connect with his work, to his usual lighthearted confidence. This performance meant a lot to him, and there’s nothing like seeing something you poured your soul into truly resonate with your audience

The rest of the world desaturates as Shima looks at Kanechika, embodying how all else fades away in this moment of reconnection with the passion he’d forgotten

Unfortunately, Shima is informed of his brother’s situation before he can actually talk with Kanechika

On the way, Shima admits that he just doesn’t know how to deal with his stepbrother, and thus generally avoids him. Once again, it takes someone else to remind him that yes, little brothers generally care about their older brothers’ attention and perspective

“I guess my Mom came to see the class play. But why?” Man, was he ever scarred by his prior experiences. The fact that his performance couldn’t save his parents’ marriage as a child seems to have convinced him that his mom would have no interest in seeing him perform

The brothers come face to face and Keiri immediately bursts into tears, proving what a brave face he was putting on before. But his love and trust in his brother is clear in his willingness to embrace his true feelings

Shima’s classmates point out an obvious truth he was never able to put together himself: his brother has always been acting considerate of him, and too shy to express his genuine interest in spending time with Shima, much like how Shima himself often acts. It is the qualities they share that have kept them apart

But what’s this? Shima’s mom runs into Ririka!?

And Done

Whew, we are really moving now! With both the season and festival nearing their end, we’re barreling through a much-anticipated series of referendums on how much the past still haunts Shima, how far he has come since his anxious younger days, and where exactly he wants to go now. Shima’s “crimes” have been restricting him ever since he abandoned acting, as he clearly blames himself not just for Ririka’s scandal, but also for the division within his family. But with friends like Mitsumi and Kanechika demonstrating the rewards of truly committing yourself to your passion, even if you stumble along the way, it seems he might be ready to forgive himself and move forward, aspiring to live as earnestly as the brilliant Mitsumi. I eagerly await the final performance.

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