Watching this episode is like watching people walking further and further away from the shoreline but can’t see that eventually the water line will rise above their heads. It’s like watching suicides in slow motion.
When someone beat the crap out of you the first time, you can be sure it won’t be the last if you do nothing about it. And often, it gets worse. This time around, not only does Michiru take a slap to her face, but she also suffers a blow to her psyche when she is forced to take the scissors to Sousuke’s ear. That is majorly messed up. All this because she is seen giving a haircut to a guy. How can she ever pick up a pair of scissors and cut anyone’s hair near the ear again?
But there is hope for Michiru. She finally learns that if you would just move your foot away, then other people cannot so easily step on you. Now, if she will only move herself away from Sousuke…
In Ruka’s case, it’s hard to blame her for going too far. Although I cringed when she was looking at websites on gender changing operations, I realize that it is to those who leave the shoreline and venture into the deep sea, new land are found and given. So, I can only find myself cheering her on and hope that she does not drown first.
The fifth member of shared house makes his entrance. And what a lame entrance that is. Tomohiko (Shigenori Yamazaki) can’t go home because he doesn’t want to disturb his wife with another man. This guy has the word “spineless” written across his forehead. The thing is this: the more he backs off, the more his wife looks down on him. And the more she will try to find a real man out there. A man needs to stand up and claim his woman. He is his own fault here.
Well, at least he gets hit on by a beautiful flight attendant who then takes him home. 😯 Oh I see. Perhaps that’s just his way of getting women. Damn, that’s slick.
These two girls seem to have their personalities reversed.
Usually a person like Michiru, who is brought up without much parental guidance but instead having to pay her mom’s rent, tends to take no shit from anyone and certainly does not rely on any one person like she does. On the other hand, a person like Ruka, who has an understanding and supportive father, tends to be a goody-two-shoe and unable to fend off aggressive people by themselves. But in the last scene of this episode, Ruka dives in to shield the cowering Michiru away from the chair that Sousuke is about to hurl.
I do applaud the writers for exploring this reversal. The situation: Michiru can’t ask anyone for help because no one has ever stepped in for her, and Ruka can’t reveal her true self because she can’t bear to disappoint her loving father.
Another interesting role reversal is Ruka and Takeru.
Ruka, even though a girl, takes upon a male-dominant sport because it liberates her from everything that holds her back:
When you do a jump on a bike, you’re only up in the air for a split second. But time stops. The sounds disappear. The audience disappear. The rivals disappear. Even yourself disappear. You’re no longer a man or a woman; you become just a thing in the air.
Unfortunately for her, when she returns to the ground, the audience come back, the rivals come back, her father comes back. And she is a woman once again — well, at least for now she still is.
On the other hand, Takeru must have had seen one Catholic priest too many when he was a boy. He can’t even watch a softcore sex scene. Even though a guy, he suffers from what usually afflicts a woman after a rape. How does a guy admit to Genophobia and get help?
At this point, we still don’t know why Sousuke flips personalities like a light switch. Of the entire cast, he is the most enigmatic. On a less interesting note, we still don’t know much about Eri. We just know that the other flight attendants mostly see through her as though she is invisible. Also, her character is nowhere as intertwine with the other four main characters as the rest of them. Maybe this is her solitude — away from her peers, the main cast, and even the screenplay.