Ojamajo Doremi Sharp – Episode 12

Hello folks, and welcome back to Wrong Every Time. Today I’d like to check back in on the trials of Doremi and the gang, as our crew continues their magical training and witch baby-raising under the dubious tutelage of Majo Rika. Of course, there’s plenty of room for detours along the way, along with self-imposed trials like messing with Hadzuki’s dance lessons. Ultimately, magic is really just a fantastical garnish for Doremi’s true substance: its thoughtful, wide-ranging exploration of the trials of youth, and the lessons we must internalize to mature happily and with confidence.

In Hadzuki’s case, that lesson was a familiar one, resonating with past trials like Onpu coming to understand her mother’s trauma, or Aiko accepting her father’s pursuit of new romance. Ojamajo Doremi’s empathy and insight stretches to its adults as well as its leads, emphasizing that we are all fallible works in progress, and in turn encouraging its heroes to walk forward with an understanding that there is no finish line to growing up. We’re all just doing the best we can, and in this production’s hands, the wonder of coming to love ourselves and our fellows feels as magical as any outright fantasy. Let’s see what shenanigans our team gets up to next!

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The Big O – Episode 21

Hello folks, and welcome back to Wrong Every Time. Today I’m eager to return to The Big O, which we last left in a moment of total crisis, as both Roger and Dorothy found themselves under assault by agents of the mysterious “Union,” the only glimmer of civilization we’ve seen from outside the walls of Paradigm. Living in the ruins of the wider world, they have infiltrated Paradigm on all levels, from Roger’s would-be confidant Angel to Alex Rosewater’s associate Alan Gabriel. And now their agents have gathered, amassing in their chapel to pass judgment on this hedonistic dreamworld.

The unveiling of Paradigm’s true peculiarity has been the great work of Big O’s second half, as both Roger and the audience shift from taking his retro-futuristic city for granted to acknowledging it as a strange and unnatural outlier in a world otherwise fallen to ruin. Whatever Gordon Rosewater did, it appears his intent was to create a bubble world much like his tomato garden, a patch of enduring twentieth century excess that would resist the ruin otherwise enveloping the earth. To this end, he likely programmed Roger and others like him to act as this vessel’s antibodies, rooting out threats both internal and external in order to ensure the safety of the harvest. But what can Roger even do with this information? Knowing he is a pawn, would it be better to rebel against his programming and risk all of Paradigm, or remain complicit in Gordon’s project to protect his home? Neither answer seems quite right, which makes me all the more eager to see his own choice. Let’s get to it!

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Summer 2024 – Week 5 in Review

Hello folks, and welcome the heck back to Wrong Every Time. This week our film screenings ranged from classics of western cinema to modern spinetinglers, alongside one of my few outstanding theatrical projects spearheaded by either of Ghibli’s legendary directors. I believe I’ve actually seen every Miyazaki film at this point, but still have both Grave of the Fireflies and the intriguing mixed-media project The Story of Yanagawa’s Canals outstanding among Takahata’s projects. I’m basically waiting for the right mental state to watch Grave of the Fireflies, but in the meantime was happy to savor a lighter project embodying many of Takahata’s finest qualities. Let’s start with that feature, as we burn down a fresh Week in Review!

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Phoenix – Volume 3

Phoenix’s first volume took us back to the dawn of Japanese history, detailing the selfish ambitions and overwhelming violence of the island’s origins, how “Japan was formed as a nation through invasion, war, and slaughter.” Its second volume sped forward to the end of human history, offering a vision of the future where our shortsightedness and distrust of the Other led to the destruction of not just our species, but life on earth altogether. Though the phoenix itself embodies hope of a better way, that hope is clearly a distant one; for as Tezuka has continuously demonstrated, individual acts of charity or enlightenment cannot halt the overall tide of tribalism, indolence, and desperation for personal glory that seems to define our greater nature.

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Blue Reflection Ray – Episode 4

Hello folks, and welcome back to Wrong Every Time. Today I thought we’d check back in on Blue Reflection Ray, and see how our heroes are faring in the wake of their successful rescue operation. Saving Miyako from the red reflectors ultimately required a brave step forward from Ruka, as she pushed past her anxieties to stand up for a person who was hurting, and thereby become the kind of person who can actually reach out to others. That in turn echoed the very reason she was fighting for Miyako: for no matter how painful our feelings, if we choose to learn from them rather than tuck them away, there is always hope we will do better next time.

It’s a fine dividing line between our blue and red reflectors, tethering that familiar conceit of “powerful emotions conjure powerful magic” to the further question of how precisely we choose to process those emotions. I’ll be interested in seeing how this metaphor develops, but in more immediate terms, I am also eager for the snarky, self-important Miyako to spend more time aggravating our initial pair. The irritants in these groups often turn out to be my favorite characters, and Miyako has so far proven to be an extremely charming brand of irritating. Let’s get to it!

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Call of the Night – Episode 5

Hello folks, and welcome on back to Wrong Every Time. Today I’m feeling a certain yearning for the wild side, a clamoring for deviant adventure that can obviously only be sated with some Call of the Night. Granted, our featured nightwalkers aren’t exactly the most intimidating of creatures; in fact, they spent most of their last encounter debating the significance of a first kiss and also playing Street Fighter. Nonetheless, their dissatisfaction with daylit society and slow progress towards mutual trust have been an overall delight, a charming slow burn of romance and incidental escapades.

Through both its careful color design and the anxieties of its main cast, Call of the Night has been articulating a poignant sense of dislocation within modern society. This fundamental loneliness is balanced by the tentative intimacy shared by Kou, Nazuna, and newcomer Akira; none of them are quite sure where they belong, but all of them are desperate to not be alone. All that plus a heaping helping of sensually charged imagery makes Call of the Night a natural continuation of director Itamura’s Monogatari-forged expertise, and a show I’m always happy to revisit. Let’s not waste any more time then, and see what Nazuna and her human companions are up to!

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Summer 2024 – Week 4 in Review

Hello folks, and welcome the heck back to Wrong Every Time. This week I hit another milestone in my backlog progress, as I finally watched the last Rebuild of Evangelion film, 3.0+1.0. I’d been saving the viewing until after I finished my original Eva writeups, and am quite happy I did so; the film offered a worthy sendoff to the franchise at large, and I am currently hard at work chiseling an article to match. In contrast with the relatable myopia of the original series, the Rebuilds offer a path beyond Evangelion altogether, grasping towards a world where human connection need not be quite so torturous, and where we might learn not just to coexist, but to work together in building a gentler future. Anyway, I’ll have more to say about that once my piece is finished, but in the meantime, this week also featured its requisite share of film viewings. Let’s get to it!

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The Boy and the Heron

Hello folks, and welcome back to Wrong Every Time. Today I’m thrilled to announce that we’ll be stomping our way through Hayao Miyazaki’s latest allegedly final feature, last year’s How Do You Live?, released abroad as The Boy and the Heron. Though its original title refers to a 1937 novel by Genzaburō Yoshino, it is apparently not a direct adaptation, and that’s frankly all I want to know about it. The film’s own promotion was limited to a single, ambiguous image of a man decked in a bird-like costume, implying both extraordinary confidence on Studio Ghibli’s part, and also an apparent desire for audiences to enter the film with no meaningful preconceptions.

That’s an easy enough request for me to fulfill; new Miyazaki films are rare events, and I count myself lucky that I’ve been able to admire this last act of his illustrious career in real time. From animating feats of fancy in Toei’s early films like Puss ‘n Boots and The Flying Phantom Ship, Miyazaki went on to spearhead some of the greatest TV productions of the ‘70s and ‘80s, before forming Studio Ghibli and becoming anime’s premier international ambassador. His remarkable catalog needs no introduction, and recent works like The Wind Rises demonstrate he’s still as passionate and determined to express a personal truth of artistry as ever. Let’s see what The Boy and the Heron has to offer!

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Big Windup! – Episode 11

Hello folks, and welcome the heck back to Wrong Every Time. Today I am eager to return to the field for a fresh episode of Big Windup!, with our team having successfully navigated Mihashi’s surprise birthday party. And I mean that “surprise party” in sort of the reverse of the normal sense, as Mihashi himself was the one who invited his team over to his house, thus surprising them with the reveal that their team meeting was actually a birthday party. Nonetheless, the gathering ultimately drew our team closer together, with Abe again resolving to carry this scrappy yet unexpectedly talented team to victory.

Though actually, his phrasing was a little more precise than that. Abe is no longer thinking in terms of “carry” or “exploit” – he’s come to realize that these are teammates he can genuinely rely on, not just tools to fulfill his own ends. Just as Mihashi was scarred by his resentful middle school teammates, so were Abe’s ambitions corrupted by his unreliable former pitcher. Smart as he was, he could not see the limitations of his own cynical perspective; but now, with a trusted team beside him, he’s learning to put his tactical thinking to use in service of trust-building gambits like “casually demonstrate to the rest of the team just how precise Mihashi’s pitches can be.” With his scheming now ostensibly aligned with the team’s greater good, I’m eager to see how our boys handle their first serious opponents. Let’s get to it!

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Spy x Family – Episode 32

Hello folks, and welcome the heck back to Wrong Every Time. Today I am beyond eager to charge back into Spy x Family, wherein the Forger’s Family Cruise is ratcheting up its tension and violent provocations by the second. When last we left off, Yor was on the verge of fighting the appropriately titled Sickle-and-Chain Barnaby, an assassin who apparently cares a great deal about appearances and very little about disguises. With this ostentatiously murderous assailant stalking the halls, how will Yor hide her assignment from her husband in the next room!?

I have no idea, but I’m quite certain the solution will be marvelous in its ingenious stupidity. That’s most of what I’m looking for here: ideas so stupid they loop back around to brilliant, something this cruise ship arc has so far offered in abundance. Drawing the family together for a group adventure always adds a welcome dash of spice to Spy x Family’s theatrics, and if protecting these informants prompts Yor to reflect on her relationship with her own alleged family, so much the better. Let’s see what madness awaits in a fresh Spy x Family!

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