Episode 7 “Show me The Way” [from the same name as the Peter Frampton song]

Production Details

Episode Director: Satoshi Takato [Script on Gokyodai Monogatari film / Series Composition and Script on Kuromajyo-san ga Toru!! / Screenplay on Little Witch Academia Episodes 3, 7, 8, 14, 16, and 22 / Script on Mysterious Joker Episodes 2,4,7,10,12 / Script on The Royal Tutor film and series’ episodes 1,2,5,6, 11, and 12 / Script on Space Dandy Episodes 3, 4, 7, 10, 12, 14, 20, and 23 / Script on Space Patrol Luluco Episodes 8 and 10 / Script on Zumomo to Nupepe Series]

Script: Kimiko Ueno [Script on Gokyodai Monogatari film / Series Composition and Script on Kuromajyo-san ga Toru!! / Screenplay on Little Witch Academia Episodes 3, 7, 8, 14, 16, and 22 / Script on Mysterious Joker Episodes 2,4,7,10,12 / Script on The Royal Tutor film and series’ episodes 1,2,5,6, 11, and 12 / Script on Space Dandy Episodes 3, 4, 7, 10, 12, 14, 20, and 23 / Script on Space Patrol Luluco Episodes 8 and 10 / Script on Zumomo to Nupepe Series]

Storyboard: Takaharu Ozaki [Storyboard on Amnesia Episodes 5 and 6 / Storyboard on Banana Fish Episode 17 / Director on Berserk Golden Age Arc Films 1 and III / Storyboard on  Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Episodes 7 and 11 / Storyboard on Card Captor Sakura Episode 63 / Storyboard on Concrete Revolutio: The Last Song Season 2 Episode 24 / Director on Dead Girls OAV / Storyboard on Hisone to Masotan Episode 6 / Storyboard on Ergo Proxy Episodes 10 and 18 / Episode Director on Freedom Episode 4 / Storyboard on Gungrave Episodes 3,9,15, and 21 / Storyboard on Sakamichi no Apollon (Kids on the Slope) Episode 7 / Director, Screenplay, and Storyboard on Kure-nai Series / Storyboard and Episode Director on Master Keaton Episode 15 / Sound Director on Gekkou Shoujo Nozaki-kun (Monthly Girls’ Nozaki-kun) Series / Storyboard on Boku no Hero Academia (My Hero Academia) Episode 6 / Director, Script on Natsuyuuki Rendezvous / Unit Director on Perfect Blue film / Director and Storyboard on Red Garden / Storyboard on Zankyou no Terror (Terror in Tokyo) Episode 6 / Storyboard on SHIKI Episode 16 / Voice Actor in Red Garden Episode 7 as Kou-sensei]

Chief Animation Director: Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

• Keichiro Honjo
• Eiko Saito
• Nayumi Ogashiwa
  

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The American idol of anime and this episode uses that to its advantage. Not only that but Carole & Tuesday charms its way into giving us more information about the girls–specifically Carole. Director Watanabe certainly knows how to create these small self-contained situations and build them up in extremely subtle ways. Carole and Teusday get ready for the Mars Brightest comeptition, much like American Idol, where aspiring singers/musicians come together, compete and try their hardest to make it big. As before, we know that Carole and Tuesday are from entirely different backgrounds, their chemistry together makes them a joy to watch because of this and here is where we get to see that pay off wonderfully. I am actually really glad their song for the audition is shown because we get a lot more focus on the personal relationships between them. The auditions is where the comedy of this episode shines– the reference to Vistas The 7th Element song comes out of nowhere and lands perfectly! Some extremely varied performers here–the grandmother’s chicken-esque dubstep, the return of IDEA from episode 4, the samurai’s

From what we gathered before Carole is from a refugee camp, raised in a church orphanage never having known her parents from Earth and the creators delicately put this in during their audition creates this huge impact on Tuesday. We know that Tuesday is from a wealthy family, and running away from a rich and sheltered lifestyle says a lot about her. The discovering of Mars and a life she could be living. She’s never had it hard and she’s just discovering that from the first episode of the series.

This part of the story, specifically this episode with having learned of Carole’s past for the first time shows us that there are people out there that are have had a more difficult time living. Tuesday can’t seem to wrap her head around that just yet. The respect she has for Carole stems from her staying true to herself, never backing down and never ever giving up–something of which Tuesday wishes she’s had all along. She sees how loving Carole can be and for Tuesday finding that warmth inside of her is quite difficult because she is so wrapped up in herself, from running away, keeping her identity a secret, that she lacks confidence that ultimately presents the selfish jealous side towards Carole. It is towards the end of this episode that we get a full view of how inspirational and influential these two can be towards each other. A rock to lean on one another–Tuesday doesn’t recognize the happiness she’s found within herself about singing and playing the guitar because she’s scared of seeing where it might lead. Carole reminds her of this in an honest and heartfelt way that it ultimately leads to Tuesday sharing a bit more of herself. I really am glad to see this happen so early on for the reason that we’ve focused on the music portion and what makes them special together and now we’re seeing this realistic portrayal of friends outside of their element. It’s refreshing.

Then there is Angela Carpenter. We’ve seen much earlier on that she’s been living alone, she’s been invited back home by Mama Dahlia but it’s clear now more than ever that she doesn’t miss her home life–the eye-catches of the family photos, the dry blood on the wall, and most importantly Dahlia’s side-effects to the drugs (presumably from transition) represents the aftermath that left Angela’s sweet and accomplished child-star life in shambles. This causes her to lash out at others and her approach of “I won’t loose to some amateurs”.

Influence seems to play a lot in this show–we’ve had Roddy and Gus become the stepping stones in to getting their music out there, Carole’s landlord becoming understanding of Tuesday’s situation with their first gig and now the guy from the laundrymat during their song “Round & Laundry” from episode 3 shows up randomly.  This creates this influence I mentioned earlier–these girls are slowly building a name for themselves in the smallest of ways. Great moment!

Anyone catch the Cowboy Bebop reference towards the end? “Whatever happens, happens”

OVERALL IMPRESSION: 10/10

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Episode 6 “Life is a Carnival” [from the same name as The Band song]

Production Details

Episode Director: Shohei Miyake [Episode Director on A.I.C.O. Incarnation ONA series Episodes 9 and 12 / Episode Director on Hisone to Masotan Episodes 1,6, and 12 / Episode Director on Mob Psycho 100 II Episode 4 / Setting Production on Noragami and season 2 Aragoto / Production Advancement on UN-GO Episodes 3 and 7]

Script: Yuichi Nomura [Series Composition on A.I.C.O Incarnation ONA series / Script on Area 88 / Script on Buddy Complex Episodes 2,6, and 10 / Screenplay on Code Geass: Lelouch of the Rebellion Episodes 17, 20, 24, 25, and 26 / Script on Darker than Black Episodes 3, 4, 15, and 16 / Scenario and Story Cooperation on Freedom OAV / Script on The Girl Who Leapt Through Space Episodes 18, 21, and 24 / Main Writer on Bounen no Xam’d (Xam’d Lost Memories)]

Storyboard: Kou Matsuo [Storyboard on Amnesia Episodes 5 and 6 / Storyboard on Banana Fish Episode 17 / Director on Berserk Golden Age Arc Films 1 and III / Storyboard on  Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Episodes 7 and 11 / Storyboard on Card Captor Sakura Episode 63 / Storyboard on Concrete Revolutio: The Last Song Season 2 Episode 24 / Director on Dead Girls OAV / Storyboard on Hisone to Masotan Episode 6 / Storyboard on Ergo Proxy Episodes 10 and 18 / Episode Director on Freedom Episode 4 / Storyboard on Gungrave Episodes 3,9,15, and 21 / Storyboard on Sakamichi no Apollon (Kids on the Slope) Episode 7 / Director, Screenplay, and Storyboard on Kure-nai Series / Storyboard and Episode Director on Master Keaton Episode 15 / Sound Director on Gekkou Shoujo Nozaki-kun (Monthly Girls’ Nozaki-kun) Series / Storyboard on Boku no Hero Academia (My Hero Academia) Episode 6 / Director, Script on Natsuyuuki Rendezvous / Unit Director on Perfect Blue film / Director and Storyboard on Red Garden / Storyboard on Zankyou no Terror (Terror in Tokyo) Episode 6 / Storyboard on SHIKI Episode 16 / Voice Actor in Red Garden Episode 7 as Kou-sensei]

Chief Animation Director: Naoyuki Konno (Character Designer and Chief Animation Director on Concrete L / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

• Satomi Kani: [ Key Animation on Ayakashi Samurai Horror Tales Episode 1 / Key Animation on Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Opening and Ending Sequences and Episode 12 / Key Animation on Eureka Seven OAV Opening Sequence / Key Animation on Halo Legends “The Babysitter) / Key Animation on Mob Psycho 100 II Episode 1 / Key Animation on Space Dandy Episode 17 / Key Animation on The Tatami Galaxy Episode 5]
• Kenji Mizuhata [ Key Animation on A.I.C.O. Incarnation Opening Sequence and Episodes 1 and 8 also was the Animation Director on Matter on Episodes 6 and 12 / Key Animation on Angelic Layer Episodes 23 and 26 / Key Animation on Dog of Flanders film / Episode Director on Eureka Seven Episode 14 also Animation Director on Ending Sequence three / Key Animation on Japan Animator Expo “The Ultraman” ONA Episode / Key Animation on Macross Plus Movie Edition / Assistant Animation Director on Michiko e Hatchin Episode 14 / Key Animation on Samurai Champloo Episode 21 / Key Animation on Space Dandy Episode 26 / In-Between Animation on Urusei Yatsura OVA Series Episode 5 / Key Animation on Wolf’s Rain Episode 1 OAV / Animation Director on Bounen no X’amd (Xam’d Lost Memories) Opening Sequence and Episodes 3,8,15, and 24]
• Kenichi Onuki (Key Animation on Blood+ Episode 30 / Animation Director on Zetsuen no Tempest (Blast of Tempest) / Design on Cheating Craft / Character Designer on Dark Warrior OAV / Key Animation on Darkside Blues film / Animation Director on Dirty Pair Episodes 4,7,16, and 20 / Original Character Design on Hana no Mahōtsukai Mary Bell (Flower Witch Mary Bell) / Character Designer on Golden Kamuy / Character Designer on Gundam Build Fighters series / Key Animation on Jyu-Oh-Sei Episode 10 / Character Designer on Major Series / Character Designer on Samurai Gun / Assistant Character Animation Director on Star Blazers 2199 Episode 5 / Key Animation on Urusei Yatsura: Remember My Love film / Animation Director on X Episode 17]
• Satoshi Ishino [Character Designer, Chief Animation Director on Akahori Gedo Hour Rabuge / Key Animation on Alien Nine Episode 2 / Key Animation on Banner of Stars Episode 7 / Key Animation on The Big O Episode 2 / Key Animation on Zetsuen no Tempest (Blast of Tempest) Second Opening Sequence, First Ending Sequence, and Episodes 1 and 13 / Storyboard on BLEACH Second and Sixth Ending Sequences / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Opening Sequence / Character Designer, Chief Animation Director on Captain Earth / Character Designer, Chief Animation Director on Classroom Crisis / Character Designer and Chief Animation Director on Date a Live / Character Designer on Excel Saga]

Song Performances:

1. [Who am I the Greatest]
   • Performed by: Ertegun
   • Composed by: Taku Takahashi (m-flo)
2. [Round & Laundry]
   • Vocalists: Carole and Tuesday (Nai Br. XX & Celeina Ann)
   • Composed by: Benny Sings
3. [unrequited love]
   • Vocalist: Skip (Thundercat)
   • Composed by: Flying Lotus and Thundercat
4. [Unbreakable]
   • Vocalist: Crystal (Lauren Dyson)
   • Composed by: Evan Bogart and Justin Gray

A practice performance at the music hall, a zombie-esque Ah-Ha music video, and their first gig at the Mars Lounge they finally receive a chance of a lifetime–to become backup performers at the popular Mars’ Music Festival Sidonia. This festival reminds me a lot of the Monegros Desert Festival in Spain. The biggest electronica and rave festival in Spain.

Last time this show points out that there aren’t necessarily evil people in this show, just that these people have real human emotions trying to attain something out of life. Ertegun is a prime exampe of this. He’s clearly in a league of his own in terms of musical style (Thanks to M-flo’s superb Taku Takahashi, the composer for the main soundtrack to Space Dandy) but with a superficial personality that sceams he HAS to be at the center of everything. A man wrapped up in his own head about how important he is and that he’s extremely crucial to Mars’ music industry. He is quite the contrast to our lead girls Carole and Tuesday. They just want to share their music with the people of Mars.

This episode defines the path these girls were on and where they are headed. We’ve seen a few times where Tuesday can’t process things well when it comes to her emotions–pointing to us that she’s lived quite the sheltered life of luxury. Having confronted Ertegun out of anger, burning up their sheet music, she dissociates with society. And from the get-go in this episode receiving news that they might take over for the performance slot from Joshua’s injury she faints, gets sick, and becomes deathly worried about finally getting that chance to be in the spotlight.  Carole is her rock–and it now makes sense if you go and rewatch the first two episodes. She’s stands firm in her beliefs and how she should be true to herself and this definitely comes out in their music. A solid balance of the two and this episode defines the strength these two share between each other–they even go to play their pop song “Round and Laundry” at a rock concert! What drive these two have! The performance is good on a multitude of levels–the faster tempo, the angry fans throwing things at them is just another way to establish disparity between their music and the top musicians of Mars.

Speaking of differences I am really glad that the creators decide to showcase a few different styles of music and personalities here. Skip has this smooth, Skip, Joshua’s band Omega (reminds me a lot of Yoshiki, (sharing the same birthday and the singer for last year’s season 3 opening of Shingeki no Kyojin (Attack on Titan) where he drinks, uses foul language and falls off stage, a comical and somewhat crazy musician!  Then there is Crystal, the Beyonce of Carole & Tuesday. Skip has some past with Crystal and I really like how this translates through their music–they both long for each other but with time has changed them in ways. They’re singing about their past and what they want out of their futures. I hope to see more of them in upcoming episodes! It is good to see Carole and Tuesday relate with the encouraging words from Crystal–you can have ups and downs when it comes to music but she shares with them that their courage (songs) can help reach people even if they don’t feel they did a great job. Classic fans in a nutshell–Carole and Tuesday bounce right back after seeing one of their idols cheer them on.  Skip’s encouragement says a lot about this show’s regular music performers–that you can’t lose sight of what made you love playing music in the first place.

OVERALL IMPRESSIONS: 10/10

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Episode 5 “Every Breath You Take” [from the same name as The Police song]

Production Details

Episode Director: Noriyuki Nomata [ Animation Unit Director on Danganronpa The Animation (Episodes 1,3,5,7, and 9 more specifically the Animation Punishment Movie) / Episode Director on Baby Steps Episode 13 / Episode Director on Hitsugi no Chaika (Chaika The Coffin Princess) Episode 5 / Episod Director on Cross Ange Episodes 4 and 11 / Episode Director on Flip Flappers Episode 2 / Episode Director on Misone to Hasotan Episode 11 / Assistant Episode Director on Monsuno Episode 16 / Episode Director on PSYCHO-PASS Episode 17 / Episode Direction Cooperation on Kuzu no Honkai (Scum’s Wish) Episode 8 / Episode Director on Show By Rock!! Episode 11 / Episode Director on Show By Rock!! Season 2 Episode 10 / Episode Director on Star Blazers 2199 Episode 25 / Episode Director on Unbreakable Machine-Doll Episode 2]

Script: Deko Akao (Script Writer and Series Composition on Akagami no Shirayukihime episodes 1, 2, 4, 8, 9 and 11 / Series Composition and Script on Etotama / Series Composition and Script on Amanchu! / Script Writer on Tonari no Kaibutsu-kun episodes 5, 8 and 10)

Storyboard: Manabu Okamoto [Storyboard on Akame ga Kill!’s Ending Sequences / Episode Director on Akame ga Kill! Episodes 6 and 17 / Director and Script on Gamers! Episode 12 / Episode Director and Storyboard on The IDOLM@STER Cinderella Girls Ending Sequence for Episode 8 / Storyboard and Unit Director on Matoi the Sacred Slayer Episode 6 / Storyboard on Qualidea Code Episode 11 / Storyboard on ReZero: Kara Hajimeru Isekai Seikatsu’s  Second Ending Sequence and Episode Director on Episode 8]

Chief Animation Director:  Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

• Koichi Horikawa [Animation Director on A.I.C.O. The Incarnation ONA series Episodes 3, 8, 9, and 12 / Animation Director on Ayakashi Ayashi Ayashi Divine Comedy Episode 1 / Animation Director, Key Animation and Design Cooperation on Kekkai Sensen Episode 2 / Key Animation on Bubblegum Crisis Episode 6 / Key Animation on Carol OAV / Key Animation on Cowboy Bebop Episodes 1,3,5,7,9, 10,13,15,17,18,19,20, 22,24,25, and 26 / Key Animation on Crusher Joe: The OVAs Episode 2 / Animation Director on Hisone to Masotan Episodes 1,4,6,9,10,11, and 12 / Key Animation on Eikyuu Kazoku (Eternal Family)  / Animation Director on Eureka Seven Episodes 8, 16, and 23 / Assistant Animation Director on Eureka Seven Good Night, Sleep Tight, Young Lovers film / Animation Director on Eureka Seven AO Episodes 2,7,11,14,20, and 23 / Animation Director on Hagane no Renkinjitsushii (FullMetal Alchemist BROTHERHOOD Episodes 57 and 64 including Episode 1 OAV / Animation Director and Key Animation on Ghost Slayers Ayashi / Animation Director and Key Animation on GOSICK Episodes 8, 16, and 22 / Animation Director on Boku no Hero Academia (My Hero Academia) Episodes 2, 9, 12, 38, 54, 59, and 63 (Key Animator) / Animation Director on Noragami Episodes 2, 8, and 11 / Animation Director on Noragami Aragoto Episodes 4, 10, and 13 / Animation Director on RahXephon / Key Animation on Scrapped Princess Episodes 21 and 24 / Animation Director and Key Animator on STAR DRIVER Episode 7 / Animation Director and Key Animator on UN-GO Episode 2 / Key Animation on Witch Hunter Robin Opening Sequence / Animation Director on Wolf’s Rain Episode 2 and Key Animator on Episodes 1 and 4]
• Shinya Yamada [Key Animation on Koi wa Ameagari no You ni (Episode 3) / Animation Director on Amanchu! Episodes 5, 10, and 12 also Key Animator on Episode 2 / Key Animation on Shingeki no Kyojin Episode 22, 25, and 28 / Key Animation @ Seigasha on Beck: Mongolian Chop Squad Episodes 2 and 13 / Key Animation on Bungo Stray Dogs Episode 2 / Web Production on Kekkai Sensen / Animation Director on Kekkai Sensen BEYOND Episodes 5, 9, and 11 / Key Animation on Code Geass: Akito The Exiled OAV Episode 1 / Key Animation on Mobile Suit Gundam AGE Episode 31 / Key Animation on Nodame Cantabile / Animation Director on Nodame Cantabile Paris-hen (2nd Season) Episodes 3 and 8 / Animation Director and Key Animator on Nodame Cantabile FINALE (3rd Season) Episode 6 / Key Animation on Mawaru Penguindrum Episode 15 / Key Animation on Subete ga F ni Naru (The Perfect Insider) Episode 1 / Key Animation on Puella Magi Madoka Magica Episode 6 / Key Animation on Ristorante Paradiso Episode 1 / Key Animation on Samurai Champloo Episode 23 / Animation Director on Shimoneta Episodes 5 and 8 / 2nd Key Animation on STAR DRIVER Episode 9 also a Key Animator on Episodes 12, 18, and 20 / Character Designer, Chief Animation Director and Animation Director on Trickster Episodes 1 and 24 and the show’s opening sequence / Key Animation on Yuri!!! on Ice! Episode 1 / Key Animation on Yurikuma Arashi Episodes 3, 7, and 11 / Animation Director on Shigatsu wa Kimi no Uso (Your Lie in April) Episodes 4,7, 16, 19, 20, and 21]

The animation is a bit off at times but nonetheless another marvelous episode. While last week was filled with comedy this episode pushes the story further along in a more serious matter and still these girls are an absolute joy to watch! Now is where we can finally see how realistic this show is–Carole’s power gets cut off at the apartment and the girls have to look for jobs to stay afloat. While many shows would neglect these details it’s great to see an anime series handle this realistically.

With Roddy’s efforts to get the girls a gig through Beth the owner of the Mars Lounge club, unlike previous episode have taught us about Carole and Tuesday wanting to become famous it is clear now more than ever that even if these girls don’t make it big they would still jam together with no one around to hear it.

Like in the episode’s title, the focus here is undoubtedly what the voice can do and how it can reflect an overall song. In order for Tao to gain the 12 million woolong he brings Angela along to investor Schwartz. This says a lot about Tao– in order to get the upper hand on Angela’s mother Dahlia and secondly gain more money for his research in mind control. He goes to quite lengths especially here–does background on Dahlia, Angela’s acapella performance shows that Tao is putting faith in Angela’s voice. Another method in getting Angela to trust him more. Still though, with Dahlia’s past slowly revealing itself and her having been angered by it you have to wonder how long it will be until she snaps and Tao’s true colors are shown.

Carole & Tuesday would probably be an average show if it were set in today’s world however with this anime set on Mars the story becomes something special. An over-arching theme of accomplishing your dreams in a world of AI culture and the fight to create something for yourself (and if you can let it out for all the world to see and hear).

Spencer Simmons. We have only seen him a few times and after seeing the preview with him in this episode I was extremely worried we would get some huge falling out between him and Tuesday’s love for music during the gig. An amazing tender song about finding your journey and never be scared of where you are headed. At the very beginning he is determined to bring Tuesday back but then towards the end he finds her by chance, performing at a small club. There are a lot of things that could have happened–Spencer  disrupts their performance ruining any chance Carole and Tuesday have at their first gig but he doesn’t. He listens to it, accepts what she is doing and leaves. Instead of following his mother he believes in his sister and supports her. This show is so fantastic because there hasn’t been anyone particularly evil and this episode reminds us of that.

OVERALL IMPRESSION: 10/10

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Episode 3 “Fire and Rain” [from the same name as the James Taylor song]

Production Details

Episode Director: Satoshi Takafuji [Episode Director on Kiznaiver Episode 10 / Episode Director on Boku no Hero Academia (My Hero Academia) Episodes 21, 25, 30, and 36 / Episode Director on PSYCHO-PASS 2 Episode 4 / Assistant Episode Director on Ring ni Kakero 1: Shadow Episodes 2 and 4 / Episode Director on Yozakura Quartet -Tsuki ni Naku OAV 3]

Script: Yasuhiro Nakanishi [Series Composition on Kaguya-sama: Love is War / Script on Iroduku Episodes 7, 9, and 10 / Story and Art on Shiawase Restaurant Manga / Screenplay on Shouwa Genroku Rakugo Shinju Episodes 4, 7, and 11]

Storyboard: Naomi Nakayama [Storyboard and Episode Director on Kekkai Sensen (Blood Blockade Battlefront) Opening Sequence and Episode 9 / Storyboard on Casshern Sins 2nd Ending Sequence / Setting Production on Casshern Sins / Storyboard on Arslan Senki First Ending Sequence / Episode Director on Arslan Senki Episode 24 / Setting Production on Kemonozume / Storyboard on Boku no Hero Academia (My Hero Academa) Ending Sequence / Series Director on Orange / Storyboard on Shouwa Genroku Rakugo Shinju Episode 6 / Storyboard on Steins;Gate 0 First Opening Sequence]

Chief Animation Director:Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

• Atsushi Hasebe [Chief Animation Director on Black Bullet Episodes 1-7 / Animation Director on Kekkai Sensen (Blood Blockade Battlefront) Episodes 5, 11 and 12 / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Episodes 10 and 12 / Animation Director on Bungo Stray Dogs 2 Episode 10 / Assistant Animation Director on Cardcaptor Sakura: The Movie / Animation Director on Concrete Revolutio: The Last Song (second cour [Season 2]) Episodes 15, 21 and 24 / Animation Director Support and Key Animation on Cowboy Bebop: The Movie Knockin’ on Heaven’s Door / Key Animation on Escaflowne the Movie / Animation Director on Eureka Seven Episodes 19, 25, 27 (assistant to animation director) and 33 (as mechanic designer) / Key Animator on Eureka Seven First Opening Sequence / Key Animation on Planetes Episode 18 / In-Between Animation on Porco Rosso film / Key Animation on Scrapped Princess Opening Sequence / Animation Director on Soul Eater Episodes 11, 20, 30, 39, 47, and 50 / Series Key Animator on Soul Eater / Animation Director on STAR DRIVER Episode 23 / Animation Director and Key Animation on UN-GO Episodes 7 and 11 / Key Animation on Wolf’s Rain Episodes 2 and 10 / Animation Director on Yuyushiki Episodes 4, 8, and 12 / Eyecatch Animator on Yuyushiki Episode 9 / Key Animator on Yuyushiki Episode 1]
• Haruka Iida [Key Animation on 91 Days Episode 8 / Animation Director Assistant on Boku no Hero Academia (My Hero Academia) Episode 35 / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Episodes 8 and 12 / Animation Director on Shouwa Genroku Rakugo Shinju Episode 7 / In-Between Animation on Kizumonogatari Part 1: Tekketsu film / 2nd Key Animation on Kizumonogatari Part 3: Reiketsu film / 2nd Key Animation on Tokyo Ghoul Episodes 4 and 5 / Key Animation on Tokyo Ghoul:re Opening Sequence and Episode 8]

The universal Shinichiro Watanabe trademark of his shows makes an appearance in Carole & Tuesday–the woolong currency. When we get a new Shinichiro Watanabe series I am giddy with excitement. All of his works are so good! Carole & Tuesday is shaping up to be a spectacular series especially with its two lovable lead characters Carole and Tuesday.

Gus Goldman, whom we’ve seen at the bar drinking his sorrows away for the past two episodes finally gets a chance to shine in this episode. It’s great to finally get to see this guy in action–he was super funny at the end of the previous episode (with that nod to the film The Shining) so I was eager to see how he would handle becoming their manager.

While Carole & Tuesday’s song (Loneliest Girl) gets the attention of A.I. technician Roddy (along with many of his Instagram followers) this episode points out to us that these girls still have a long way to go if they want to make it big in the music industry. This entire episode teaches us that not everything cannot go the way as planned.  I get the feeling that Gus is traditional with his methods–he’s qualified (supposedly according to Wikipedia) having been in a band and we clearly can see this as he’s meeting the girls for the first time at a restaurant. He fell to alcohol finding new hope with unknown talents.  Boasting about familiar artists (name dropping left and right) he has worked with in the past is a bit too hard to believe however his passion and determination make up for it. Especially when it comes to helping these girls get their songs heard– he is admirable and honest from the get-go.  This is big here because it establishes this disparity between independence and reliance. In the first episode, Angela becomes this puppet under the management of media mogul Tao. It’s where we get to see how A.I. systems neglected Angela from the very moment they met and their relationship isn’t exactly great. The restaurant scene here is where we have genuine interactions between the talent (Carole and Tuesday) and the management team (Gus and Roddy) A nice touch is the mention of the tomatoes on their pizza are grown above the restaurant.  Drives home how real Carole and Tuesday are to themselves and how their music is particularly old-fashioned, in the sense of this world’s A.I. defined culture. A strong way for the anime’s creators to depict that even though they live in a society structured around A.I from its products to its entire way of life that there are and still can be places on Mars living in the old ways that don’t have technology do everything for them. It is back to that whole “reliance” idea I spoke about earlier.

I am so glad they waited for three episodes to do this for two reasons. They didn’t cram so much in the premiere episode by introducing us to too many characters for the girls to meet. Secondly, these girls can’t have it happen in a flash. They have to work hard for what they are trying to do with their music. It takes a lot to build a reputation and Roddy’s happenstance gives us a better idea of the world.  While this show is built with a futuristic setting, Carole & Tuesday still holds onto a lot of common themes around pop culture. The use of social media (Instagram, Wikipedia, etc.) These are lots of avenues to take to become successful and this anime uses that to its advantage by giving us a “What if” scenario — Music was written by people has been long gone and with it so has people’s appreciation for it.

Speaking of appreciation, how about that new song “Round&Laundry”? Fantastic. What makes this song even better is its build up. Finding inspiration all around them (hence the title). Heck, even the random guy sitting between them joins in for the beat drops! So authentic! The scene plays like a music video illustrating Carole & Tuesday’s friendship a bit more. Which I certainly hope we get to see more of in coming episodes! This segues nicely into a practice session toying with this idea that the artists of this world might not be happy with A.I. inventing their own music. Especially Angela. Angela’s mother is living vicariously through her daughter and so far it looks like with the best of intentions. he 37 questions is a nod to Vogue’s “73 Questions with Hailey Bieber”  I can really see her performing with the girls in a future episode!

As far as performers go we got a glimpse of DJ Ertegun in the previous episode but it isn’t until now that we can see the hold A.I. can have on its artists and their fans. Ertegun is obsessed with being rich and his image as a DJ. He’s arrogant, patronizing and quite the playboy. His apartment tells a lot about his personality not to mention how muddled the artistic expression has become. The shredded painting on the wall is an obvious reference to Banksy’s “Girl with the Balloon” plus the emphasis on the way it is shown was another homage to the hot topic last year of the same painting presented at an auction. The shredding of the “Girl with the Balloon” which we see in the anime is actually what happened in real life to the popular work (by Banksy himself) after it was successfully bid on. If you are interested in the story you can read about it here.  This really shows us how well-researched this show is even with its visual details. The rest of Ertegun’s apartment is wildly modernistic–the emoji’s stacked together says a lot of about artistic freedom. Ertegun’s narcissistic behavior towards the girls isn’t exactly positive for them–leaving them a bit on edge.  It makes sense why he doesn’t appreciate Carole & Tuesday stepping on his business. He is well-known and appreciated and wouldn’t want to have anyone rising above him. He’s insecure about his own music from the looks of it and wants to maintain his appearance and his “own” music as he says– in the world that doesn’t accept music made by people instead of A.I makes Carole and Tuesday’s songs to be rarer than anything he’s probably heard before. He doesn’t even take a glance at their music! This adds more fuel to the fire that even if others (like Ertegun) shoot down their music they will get up again and play because it’s what they are passionate about. They are two entirely different people that share the same level of enthusiasm and love for music, which is why they have great chemistry together on screen! Like I said before they play to express the emptiness they feel inside. To create something miraculous out into the world even if no one is listening.

I hadn’t noticed it before until I re-watched the last couple of episodes but the lyrics from the episode titles are very much in tune to what is happening in each episode. Last time, the song “Born to Run” by Bruce Springsteen has the following lyrics:

Oh, someday girl I don’t know when
We’re gonna get to that place
Where we really wanna go
And we’ll walk in the sun
But till then tramps like us,
Baby we were born to run

and taking a look back at that particular episode we see that Carole wants to play on a real piano so they sneak into a concert hall where their song is recorded and becomes viral. And then the final lyrics here “Baby we were born to run” — they ran from the police in the first episode after Carole is seen playing real music on the bridge and then in the second episode we see them running again on the same bridge after their session in the concert hall. This third episode follows this trend a little bit with the James Taylor song “Fire and Rain”.

Just yesterday mornin’, they let me know you were gone
Suzanne the plans they made put an end to you
I walked out this morning and I wrote down this song
I just can’t remember who to send it to
I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you again
Won’t you look down upon me, Jesus
You’ve got to help me make a stand
You’ve just got to see me through another day
My body’s aching and my time is at hand
I won’t make it any other way

These lyrics follow towards what happens in this episode. Tuesday had been lonely all this time which is probably why she has run away from home. The sunny days refer to her time with Carole and all the fun they are having even outside of their element of music. Making a stand probably refers to Gus Goldman’s management help. We see the Simmons know that Tuesday is in Alba City and her mom not allowing the police to get involved illustrates the mother/daughter relationship is less important than her political PR campaign. The reversal here is Angela’s mother wants the very best for her but with Tuesday it’s the opposite she thinks this is just some kind of phase and she will be coming back. Carole and Tuesday go to this weird religious cult-like place that isn’t at all what the girls nor Gus would imagine voice training would be correlates to the title’s verse “Won’t you look down upon me, Jesus”.

Personally, I think it would be very funny if this entire show is just one long Space Dandy episode. A spin-off from multi-verse episode in Space Dandy episode 14 (you can read my review on that specific episode here) and it would add even greater comedy if the big reveal is that Tuesday is Honey’s character. I am just waiting for the Dropkix to show up! Just wishful thinking!

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OVERALL IMPRESSION: 10/10

Also if you want some more information about this series, The staff has released “Making of videos” entitled Making of a Miracle into three parts. You can view these below. They are in Japanese only and do not contain any English subtitles.

Part 1

Part 2

Part 3

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If you want to support this show, the first Vocal collection album is up for preorder, you can find it here, and it’s opening/ending CD single can be preordered here with an Amazon Japan bonus (also available on vinyl)  both of these albums release on May 29th.

Episode 2 “Born to Run” [from the same name as the Bruce Springsteen song]

Production Details

Episode Director: Shōhei Miyake

Script: Deko Akao

Storyboard: Manabu Okamoto

Chief Animation Director: Naoyuki Konno

Animation Directors:

• Kenichi Ohnuki
• Kenji Mizuhata

Marvelous. This show is really something special. The amount of production that have gone into these first two episodes has been spectacular–Shinichiro Watanabe got a lot of talent even from his days on Cowboy Bebop, including sound effects by Shizuo Kurahashi! I really can’t see how Studio BONES can maintain quality each episode on a show like this, it looks so beautiful. On top of that they’ve been producing a lot of animation for quite a few anime series as of late. From Mob Psycho 100 Season 2, Bungo Stray Dogs Season 3, and in the Fall 2019 Boku no Hero Academia Season 4. But then again it’s clear they have a lot of talent at their disposal. BONES has 5 sub-studios that work independently of each other where the staff  (which a lot of them are freelance animators) very rarely crossover for anime produced by BONES.

The runaway Tuesday ends up staying at Carole’s apartment and we get a small view of life outside of the introduction from the previous episode. When it comes to Carole and Tuesday you can clearly see a big gap between them. Tuesday is a rich girl and it is apparent in this episode where we see her mention that her maids cleaned the mansion for her and the effects of this are quite humorous. On the other hand, Carole is already showing signs that she’s gradually growing up. Love the reactions she gives Tuesday after she tries to clean the apartment. At least she tried. That’s what counts, right?

There is a lot of influence when it comes to pulling together in episode with director Shinichiro Watanabe. A perfect example of this is Angela’s fashion shoot. Everything was timed perfectly using the camera shots as the downbeat! Mocky’s score gives off this 80’s feeling and it’s great to see a cast of characters that aren’t in the same clothing all the time. From Angela’s modeling job to Tuesday’s comedic cleaning it is nice to see that this show isn’t heavy on the music so early on. We actually can see these characters have lives way before this show even began. Heck, even Carole attending a funeral not to mention a lot of the people that were hired to attend by the client (which in this case is actually the deceased) drives home this fact that life can become very automated and we just have to go with the motions by behaving a certain way. The manager’s performance so to say is a tried and true example of the saying “putting on airs”. It’s in this moment that we get to see a part of Carole’s childish behavior and that there is still quite a bit she doesn’t know about being an adult. A nice strong lead in to that is we get to see a little bit of her past.

From the get-go, this Tao guy seems to be a bit misguided when it comes to people–he’s surrounded or rather isolated himself with AI and computers to guarantee success when it comes to producing music. Creating that perfect song by using older songs and emulating famous artists. This show carries a lot of warmth to it especially with Carole and Tuesday–most of which their scenes have these lighthearted guitar pieces and piano chord progressions–especially in this episode with the girls at the apartment. Is it just me or does her place look a little like the Bebop from Cowboy Bebop? The couch totally reminds me of it! Like I said before, the two girls have a lot of warmth in their scenes and in their music I am glad by this second episode that it’s effectively noticeable between Tao’s dull lab. From the moment I saw Angela I can tell she’s being held back but wants to be the best there is, at least have the best song there is that speaks to her. She will use anything at her disposal to make that happen and with this world set in the future it’s no wonder that Angela might have bitten off more than she can chew with her agreement in working with Tao on her songs. That chair looks terrifying!

When it comes to music and reminding us that this is just the beginning, Watanabe certainly took his time with his staff to ensure they spend a lot of authentic “practice” time with Carole and Tuesday. They played the song once at Carole’s apartment in the previous apartment and out of excitement we get to see how far they will go in wanting to practice on a larger scale! This is evident after their song The Loneliest Girl receives quite the attention from various people at the stage. One in particular, Roddy and the eventual introduction of that guy at the bar from last episode, Gus. Oh my gosh! That ending really reminded me of Bebop! Too funny!

Since this is a show about music, (the girls made a few name drops including Cyndi Lauper) and Carole’s favorite Crystal (shown in the cast as voiced by Maaya Sakamoto!) Speaking of music, the soundtrack in this episode is absolutely shining. I’ve been listening to Mocky’s previous albums, etc. and I can see why they picked him to do the score. He’s ambitious. A multi-talented instrumentalist that has a wide range to work with. It’s as if Nujabes collaborated with Michiko to Hatchin’s composer Kassin to create this psychedelic collection of texturized sounds, a blend of guitar pop sound riffs, and smooth hip hop keyboards layered onto thick drum beats. It doesn’t stop there because he’s been able to effectively capture each scene nicely–from the church to Carole’s apartment, the DJ’s techno/electronica performance (while at first seems ridiculous) however it illustrates how dependent music can become with technology and then that incredible scene right after the girls practice on stage! Loneliest Girl is without a doubt one of the most beautiful songs I’ve heard in an anime and it’s still being fine tuned by them!

I really want to see the Dropkix (Dandy and Johnny’s band from episode 20 of Space Dandy) make an appearance. That would be icing on the cake for me!

OP: “Kiss Me” by Carole & Tuesday (by Nulbarich feat. Nai Br.XX & Celeina Ann)

Directed by: Bahi JD

Storyboards: Bahi JD

Concept Art: Tadahiro Uesugi

Backgrounds: Jun Kumaori

Animation Supervisor: Bahi JD

Key Animators:

• Jonathan Djob Nkondo
• Till
• Chengxi Huang
• Spencer Wan
• Yuuki Yonemori
• Hakuyu Go
• Masami Mori
• Takashi Mitani
• Takafumi Hori

What a powerhouse staff that worked on this opening! And a positive vibe this opening gives us. Based on image board art by Tadahiro Uesugi by blending this style of 18-century and urban city life with an edginess that holds a lot of heart and warmth. You can see a few of them below. 

Especially in the movement of its characters. I absolutely adore the color choice in this. We shift from the 18th-century that carries shades of blues and off-white to an urbanized city-life with Carole’s side that holds a lot of different colors. Overall the visuals have this chalky feel to it.

Awesome! We finally get to see the band Nulbarich’s work on this show! The music takes this effect from the very start with a light guitar and shifting with small hip-hop beats. The dance sequence with the girls (and the eventual crowd) is an attractive way for this show to lure the viewer with its music performances. Great tie-in to the overall encompassing theme about “creating music for yourself” and it’s very strong at the end of this incredibly animated opening sequence! I really like the flow of this entire sequence, from the character animation right down to the song, just everything is so smooth! These worldwide auditions paid off. Nai Br.XX and Celeina Ann were great choices for this as their voices in this work together beautifully!

OVERALL IMPRESSION: 11/10

And it’s certainly NOT A TYPO! THIS EPISODE WAS PHENOMENAL!