Viewing posts tagged Dirty Pair TV Series
Yup, it's not so hot.
Although, we do seem to be experiencing a kind of averaging-out of the show's quality. There are numerous good bits intermingled with more then enough not-so-good bits to land this one at decisively mediocre, but at least it's not another catastrophic derailment. The girls aren't really right again, landing more often then comfortable in a depiction that reinforces their inaccurate pop stereotypes, though there are a number of scenes that do balance this out some. Much like last time, the show is trying to combine slapstick humour with a darker and more serious tone, but its not as effective here. There are specific moments that really stand out, like the comedic shootout in hotel in the first act, which contrasts with the dramatic storm on the police station at the end where Gooley is gunned down by the crooked chief who set the 3WA up, but this episode can't mode shift to the same degree last week's could, and this ends up giving the impression of a story that, in spite of its individual successful setpieces, never really comes together in ...
Predictably, given the way this show works now, “Come Out, Come Out, Assassin” is another good one. I have a few issues with it that keep it from, in my estimation, quite reaching the same heights as some of the masterpieces Dirty Pair
has done in the past, but it's still a welcome rebound that reminds us what the series is capable of.
And if nothing else the opening scenes are absolute knockout works of art. The 3WA loses one of its own, gunned down in a dark and rainy alley during a flashback Kei solemnly narrates over. Not since “Criados' Heartbeat” immediately followed “The Chase Smells Like Cheesecake and Death” has the show pulled a mood whiplash this severe on us. It would be even more so if you were to, as I would suggest, skip last week's episode entirely such that this follows the goofy Indiana Jones pastiche instead
. I must confess I do usually enjoy it when Dirty Pair
takes itself just a *little* bit more seriously, and I will say it brought a smile to my face to see Kei make her triumphant return to the ...
Well, it's not *as* bad as the last time this show went off. That's a positive sign at least.
But it's about the best I can come up with to say about “Leave It To Us! The WWWA is a Wonderful Job”, unfortunately. Once again, it's not terribly funny. Once again, the Chinese are worryingly othered. Once again, the girls are written basically wrong, though there are some nice scenes near the end that hedge against this somewhat. Kei in particular is pretty bad, though thankfully not the extent she was two weeks ago: She basically drops out of the plot after the commercial break never to be seen again until near the denouement so Yuri can get an extended scene of ass-kicking. When Kei does come back she's at least the Kei we recognise instead of some buffoonish clown, so the episode's got that going for it. And, while I do enjoy seeing Yuri get to be unequivocally awesome, I still wish it wasn't done at the expense of her partner. Really, Sunrise, how hard is it to depict *both* Lovely Angels as likeable ...
Oh Thank God. Dirty Pair
hasn't quite managed to self-destruct just yet. This is brilliant. Returning to the motifs of “Hah Hah Hah, Dresses and Men Should Always Be Brand New”, the Angels are once again on vacation, which means some random ridiculous other story has to crash headlong into them. This time, it's a wizened prospector by the name of Grampa Garlic Joe, who crash-lands into Kei and Yuri's hotel swimming pool trying to evade the Blues Brothers
goons from “The Chase Smells Like Cheesecake and Death”. I could criticize the show for recycling motifs from earlier episodes, but I'm not going to firstly because even in spite of the missteps, this has been an absolutely phenomenal run of fifteen weeks for a scripted genre fiction series, and secondly this isn't what the show is doing. This episode recognises Dirty Pair
's by now familiar and signature themes and continues to build on and extrapolate them. And better yet, it's another comic masterpiece.
On the surface, this is another “Dirty Pair
does a genre romp” story. The genre in question this time is pulp ...
I really, really hate it when Dirty Pair
is bad. Probably more so then in any other series. And this one is really, really bad. As in, actively unwatchable. This episode gets pretty much everything wrong it was possible to get wrong, and is a serious contender for the worst Dirty Pair story ever
I'm not going to waste any more time on this then strictly necessary because this one genuinely, properly makes me angry and offends me on a personal level. The plot is boring crap about a possible assassination attempt on a presidential candidate due to give a speech at the 3WA headquarters. There's a modicum of interesting content here about there being two ways to disappear a person, physically killing them and erasing their social records such that they're no longer part of the capitalist system and thus never existed, but it's never developed upon enough to merit pursuing it to any serious degree and I honestly don't care enough to make the effort. Racist Chinese Chef Stereotype shows up again, as does a particularly shocking blackface character in the soap opera Kei is ...
Perhaps, ironically enough, because it is so reminiscent of the original light novels, this is one of my favourite Dirty Pair
episodes we've seen so far. The girls are actually solving a proper mystery that has real cosmic ramifications for the first time since the beginning of the series. As a result, it's tight and engrossing in a way the show hasn't quite been lately, largely because it takes itself quite a bit more seriously then it has in the past. That ends up being *really* cathartic, especially after what we've seen the last couple weeks. Don't worry though, Dirty Pair
hasn't lost its sense of humour: In fact, the entire episode is one of it's most elabourate and clever jokes yet.
Once again, the show is being rather blunt and upfront about what it's doing here. However, unlike the Mouse Nazis, this time it largely doesn't feel the need to scream this in our faces every five seconds, for which I am extremely grateful. That the monsters-of-the-week hail from the “Lovecraft Galaxy” basically tells you everything you need to know about what ...
There is, believe it or not, an upper limit to how much forced zaniness I can handle in Dirty Pair. As it turns out, that tolerance threshold is somewhere around “Mouse Nazis”.
This episode is pretty much the inverse of “What? We're Heinous Kidnappers!”. Like the earlier story, this absolutely doesn't work in any conceivable respect, except this time it's the first half that's an unwatchable disaster and the second half that features one or two intriguing bits of erudition. Let's just get the big one out of the way right off the bat: The plot is, ironically enough, insufferably dumb and idiotic. There's a very fine line between “offbeat and clever idea” and “unbelievably annoying idea”, and this episode leaps across that line with boundless enthusiasm. For the first time on Dirty Pair
, absolutely none of the humour feels natural or appropriate: Kei and Yuri's incessant quips about vacations and bonus pay, disarmingly cute and endearing in “Lots of Danger, Lots of Decoys” and “Hah Hah Hah, Dresses and Men Should Always be brand New” now just feel strained and overused, and that's ...
Thankfully, it doesn't take long for Dirty Pair
to get back on its feet.
“Hah Hah Hah, Dresses and Men Should Always Be Brand New” is a proper farce, and one of the most memorable episodes in the series yet. The show's rapid-fire humour and beat-perfect comic timing is the best it's been since “The Chase Smells Like Cheesecake and Death”, a story which this outing is definitely in company with. This time, though, the show doesn't need to evoke any external works to make its point: This episode works purely on Dirty Pair logic and Dirty Pair logic alone. And, if you can keep yourself together through the manic assault of comedy, you might just notice the series has gone and said something really profound about the nature of narrative and the roles of protagonists.
“Hah Hah Hah, Dresses and Men Should Always Be Brand New” is a story about Kei and Yuri trying to get ready for a party. It is also a story about Kei and Yuri being mistaken for 50-year old bank robbers, accidentally kidnapping a group of schoolchildren and being chased all over ...