Dirty Pair TV Series

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, professional and competent?

The plot is about the least stimulating the show’s been yet. This can go both ways, however: While it means the outing this time is exasperatingly uninspiring, it thankfully also means it’s not a gruesome train wreck either. It’s The Prince and the Pauper with Kei and Yuri as the pauper and the young chairman of a big important corporation as the prince. Where it goes wrong, apart from being boring, is that it has Kei and Yuri angrily complain about their working conditions and openly jealous of the luxury the chairman lives in. As working class characters, we rightly expect to see Kei and Yuri upset about the gap between the rich and poor, but framing this in a 1980s yuppieish desire to be more “upwardly mobile” is a craterous misreading of the characters. Contrasting the way Kei and Yuri are portrayed here with the girls’ eagerness to leap into any case and to make a difference, Kei’s strong belief in the power of the 3WA to bring about positive cosmic change and her gratitude for the opportunity it’s afforded her and Yuri to spend their lives together in The Great Adventure of the Dirty Pair is an exercise in anguish and frustration for me.

(Also, as an aside, I am beyond sick to death at this point of jokes about Kei and Yuri’s bonus pay and every time Gooley appears onscreen I develop an irrational compulsion to punch him.)

Like previous episodes in this particular series, “Leave It To Us! The WWWA is a Wonderful Job” is attempting to be a postmodern riff on an established stock plot to make a larger point. Sadly though, this time it’s not entirely successful. The best it can manage, and credit where credit is due this *is* somewhat clever, is to have the chairman come out at the end and say that were she to be reincarnated, the life she would choose without question would be that of a 3WA Trouble Consultant.…

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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 adventure serials, but in particular the revival of the style in the 1980s that followed the massive popularity of George Lucas and Steven Spielberg’s Indiana Jones movies. However, the problem with the Indiana Jones movies, and anything else that tried to capitalize on their success, is that they were just that: Revivals. Spielberg and Lucas (though this does seem to be mostly Lucas, given Star Wars) dug up a bunch of old film serial tropes and cliches and…did absolutely nothing with them apart from slavishly reiterating them. And the problem with that is that those old films serials tended to be appallingly racist and sexist. And, well, so is Indiana Jones because it is completely and utterly lacking in any sort of postmodern self-awareness. Indiana Jones and the Temple of Doom is rather infamous for its depiction of India, not to mention Short Round, but in my opinion it’s the best of the three because it’s actually ever-so-slightly cognizant of how silly it is: I think Raiders of the Lost Arc might actually be the worst in terms of gender roles and I find The Last Crusade to be basically unwatchable.

And Dirty Pair is *explicit* about what it’s referencing this time and what its intentions are. Grampa Joe is manifestly an Indiana Jones analog, except instead of the rugged, manly and dashingly handsome Harrison Ford, he’s an old geezer with two missing front teeth who pretends to be hard of hearing and scatterbrained just to be annoying and who eats too much garlic. When they’re in the temple, the girls even find what are obviously the skeletal remains of the *real* Indiana Jones caught in one of La Kahanga’s traps. But let’s stop for a minute: Dirty Pair is about construction and healing, not destruction and mockery. This, by contrast, should at first feel off-putting and mean spirited and perhaps not what this show ought to be doing.…

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I really, really hate it when Dirty Pairis 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 watching in the beginning of the episode, and this is all compounded horrifically by the main plot going out of its way to infantilize, belittle and dismiss the Angels in the most blatant, upfront and disturbing ways imaginable, in particular Kei.

The show attacks them at every possible level, and it’s no longer in on its own joke. Kei and Yuri ask for overtime and get brutally shouted down by Gooley, who is, need I remind you, by this point completely beyond redemption and yet is someone whom this show bewilderingly *still* thinks we’re going to sympathize with, accusing them of being spoiled, irresponsible and wasting the company’s money to the point he actually makes them cry. And the girls get *no* comeback to this-We’re not meant to side with them *at all*. This becomes a recurring theme throughout this episode, the “joke” being that Kei is apparently careless and addicted to gambling and blows all her money at the casinos and by compulsively making bets with people she can’t uphold. Yuri, meanwhile, is of course depicted as mature, responsible, demure and altogether more competent and together then her hapless partner. Aside from making light out of a kind of addiction that real people actually do suffer from, this is retrograde and wrong on a very basic and fundamental level.

It is flatly out of character for Kei to behave this way, and unlike when Yuri seemingly acted out of character several weeks back, this time it’s provably a misreading that reinforces a false notion of who these characters are and how the logic of the series works. The idea likely stemmed from Kei being Sagittarian, as Dirty Pair’s series bible is basically written out of astrological signs. Sagittarians are supposedly bad gamblers and are advised against picking it up, so what probably happened is someone took a look at that and decided to write the shittiest possible script around it.…

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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’s going on and what’s being pastiched. And Dirty Pair throws H.P. Lovecraft under the bus pretty much from the start, dispensing any and all pretenses that this is going to be some nihilistic work of cosmic horror by having the requisite Eldritch Abomination show up in the sewer under the girls’ apartment building. Not only that, but even though the episode raises the stakes every act (first there’s one monster, then a whole colony, then an even bigger monster that snackson the other monsters), it absolutely refuses to let this overwhelm the rest of the story. There’s certainly nobody driven mad from unknowable truths here: Though the smaller monsters do eat people and the big one is definitely a serious threat, everybody knows exactly who and what they’re dealing with. Kei and Yuri even spend a good amount of time doing zoological research and give the maintenance workers a briefing on the creatures’ life cycles and how to combat them.

We really shouldn’t be surprised at the tack Dirty Pair takes here. The thing about Lovecraft is, beloved and influential as he may be, there are serious flaws underlying the philosophy and worldview he explores in his horror novels. The whole impetus for Lovecraft’s oeuvre is a combination of dumbfounded, slack-jawed reaction to the vastness of the universe: The point of the Old Ones is that they’re so beyond human comprehension they could wipe out reality as we know it and there would be nothing we could do to stop it because of how insignificant and helpless we are. Combine that with the fact that Lovecraft was also demonstrably a racist and it starts to become clear how uncomfortably indebted to xenophobia his work really is. There’s also the matter of Lovecraft’s legacy among other writers: Though his actual stories weren’t expressly magickal per se, they’ve had a tremendous impact on those people who do have an interest in more spiritual and esoteric matters.…

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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 just one example. There’s an overwhelming, and unsettling, feeling of the show trying far, far too hard to be “wacky” and the whole thing just comes across as stilted.

The 3WA gets overrun by an army of mice who want to form Mouse Nazi Germany with swastikas and everything! Aren’t we clever! Mughi (who we’ve retconned from being an advanced sentient extraterrestrial being to a genetically engineered house pet) is terrified of mice! Isn’t that so funny? Let’s have Nanmo fly in at the last second and shoot some stuff to save the day because robots! Everyone in the building is shockingly cruel to Kei and Yuri, who spend half the runtime throwing temper tantrums, breaking things or talking about boys, vacations and special bonuses! Those girls sure are silly! We even have our own more-than-vaguely racist comedy relief Chinese stereotype now, who naturally will go on and on about ancestors and Chinese history and is actually named Chan, because those funny Chinese people across the pond are quirky and strange and we don’t quite understand them.

You get the picture. Frankly, fuck this.

There is, obviously, an attempt at meta-commentary about the novel and short story Flowers for Algernon here. This episode is trying to do something similar to what “Hire Us! Beautiful Bodyguards are a Better Deal” did by referencing a familiar plot, mashing it up with a mixture of different motifs and signifiers and then from there exploring themes that build off of the ones in the original work, but are fundamentally separate from them. However, it can’t even do that right, because this episode isn’t *referencing* Flowers for Algernon, it *is* Flowers for Algernon, down to the plot centring around a genetically engineered laboratory mouse with artificially enhanced intelligence who is actually called Algernon.

(The story, for those who haven’t read it, concerns a janitor named Charlie Goodwin who undergoes the same treatment as the titular Algernon, swiftly gaining and then losing remarkable intelligence, and is about how people treat him differently every step of the way.…

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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 a city by planetary armed forces. Not only does this week’s episode intuitively understand what last week’s utterly failed to, it exaggerates it beyond infinity: Our poor girls are so chronically and ridiculously unlucky they can’t even go shopping without stumbling into some gigantic disaster. A farce is such a perfect match for Dirty Pair’s setting because this is the structure it operates under already: It’s either unfathomably tragic or unbelievably funny the amount of inconceivable destruction left in Kei and Yuri’s wake, and thankfully the show went with unbelievably funny because really it all just works better that way.

Speaking of humour, it’s maybe worth pointing out the jokes here are *extremely* bawdy and sexual, more so than I think the show’s ever been before. I could see that rubbing some people the wrong way, especially in the opening scene where the girls complain to Gooley about not being able to get dates and how their interest in the party basically boils down to them being able to chase men. However, as is the case with most things on this show, it becomes in my opinion extremely easy to explain away and forgive this once you realise Kei and Yuri are making fun of themselves. My absolute favourite bit comes near the end when a despondent and exhausted Kei and Yuri, having just outwitted an entire planet’s armed forces, escaped a mob of spoiled children and singlehandedly captured the real bad guys, are desperate to take off, fearing they’ll be late for their party. Naturally, they are promptly surrounded by reporters who all want exclusive interviews with the beloved duo, and their panicky excuses to get out of doing primetime TV are pure gold: “We already have plans for tonight! We hate kids! Look! A naked woman!”.

(Also note how in an additional bit of cynical self-deprecation, the pubic personas of the Lovely Angels are shown to be idolized by children, but the kids are horrible to the real Kei and Yuri.…

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Even the best of shows can have bad days. Yes, unfortunately, it is in fact possible for Dirty Pair to go off the rails, and this is a good example of what it looks like when it does. The streak is over: For the first time, we’ve come across an episode of this series that doesn’t really work.

The basic premise is a sound enough one. Throwing Kei and Yuri into a high fantasy story and seeing what happens is an entirely reasonable idea for a Dirty Pair episode, especially in the context of the way the genres of high fantasy and science fiction have evolved over time. Though the most famous iteration of it began as technophillic futurist speculative fiction about logic puzzles, sci-fi as of the 1980s is a profoundly different thing. This is in part due to Star Wars making it OK again to do sci-fi stories on a mass-market scale not in the US Golden Age Hard SF vein, but other ways of doing high-tech stories about starships and space travel and things like that have always existed. This secondary tradition is one Dirty Pair is very much a part of, in part because of the differences between US and Japanese Golden Age science fiction, but also because Dirty Pair is the kind of sci-fi that is able to divorce a futuristic setting from futurism: This is not a series that speculates about future technology, it uses its setting as metaphor and allegory for the issues it’s trying to look at. Again, this is a hallmark of Japanese science fiction in general, but Dirty Pair takes it to its logical endpoint.

(The crowning achievement in using sci-fi settings and imagery as narrative is, of course, Nausicaä of the Valley of the Wind, the film version of which it is quite clear to me that the writers of this episode had seen, if not actually understood. More on this later.)

Because of this, perhaps counterintuitively, science fiction is uniquely suited amongst genre fiction to looking at extremely ancient and esoteric themes: Look once again at, for example, BRIAN’s role in “How to Kill a Computer”, or indeed, the resolution of last week’s episode and the Lovely Angels themselves. The Dirty Pair Strike Again effortlessly tackled really complex and heady themes about spiritual enlightenment and material social progress. High fantasy (and by this I mean the kind of tradition that sprung up in the wake of people like J.R.R. Tolkien and C.S. Lewis and that George R.R. Martin seems to be a part of), by contrast, tends to be very gritty and political, focusing on the nuts-and-bolts of human society and, due to its fixation on things like kings and queens and knights and princes, enjoys gossiping about the goings-on in the halls of power and nobility. Exploring the space between these two poles and the way the two traditions have developed the way they have is right in this show’s wheelhouse.…

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After spending the last two weeks firmly and confidently declaring what it is, what it’s about and what it can do, Dirty Pair is now free to go back to gleefully playing around with other shows. And it pulls a real doozy of a meta-romp this time: For my regular readers, one way to read “Hire Us! Beautiful Bodyguards are a Better Deal” is as Dirty Pair’s interpretation of the “Gunfighters”/”Spectre of the Gun”/”Living in Harmony” trilogy we looked at *way* back in 1968.

A brief refresher: Long about the same time in the late 1960s, Star Trek, Doctor Who and The Prisoner all did essentially the same story where the show’s hero (or heroes) became trapped in the narrative of a Western movie where either circumstances or some external influence conspire to force them into becoming killers (well, The Prisoner didn’t really as “Living in Harmony” was hastily adapted from an episode of Patrick McGoohan’s other show Danger Man, but that’s beside the point). The crux of those stories was that while each show in some way acknowledged the performative nature of its existence, the logic of a Western was in some way anathema to all of them, that this was a role they were not meant to play, and doing so would be tantamount to narrative collapse. As the ever-astute Jack Graham, friend of the blog and frequent commenter, pointed out under the entry on “Spectre of the Gun”, it’s telling this is happening against the backdrop of the Cold War, such that the “foundational myth” of the United States is transformed into something horrific, symbolizing an inexorable predisposition towards violence and self-destruction.

Dirty Pair is, of course approaching this from a wildly different perspective. It’s not even indebted to Westernism itself as a fundamental ideology, let alone any cultural-specific manifestation of it in the United States. Furthermore, the key thing about Dirty Pair is that everything here is performative: Not only is the series itself recursively metafictional to a frankly silly degree, Kei and Yuri are professional wrestlers, so any violence we see is tacitly meant to be read as make-believe, which is an extremely good thing as an entire planet gets vaporized in this one. So clearly, any criticism this episode will be making of violence is going to be coming from the outside in and localized to the plot of the week instead of being depicted as a looming threat to the show itself. The first place this is obvious is the setting, which, far from cribbing the O.K. Corral shootout event from “Spectre of the Gun” and “The Gunfighters” or the Hollywood Western movie trappings of “Living in Harmony”, is actually doing Cowboy Bebop and Sukiyaki Western Django about two decades early.

Like in the former, we get a science fiction world that, while it is equal parts cyberpunk and old west cliches, is on the whole not actually all that removed from our own: There are street food vendors, boutique shops, Jeeps, semiautomatic weapons and the two rival gangs are both corporate political bodies.…

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You would think Dirty Pair would have a hard time topping that. I mean, we’ve been on a pretty unbelievable streak since episode 3, and that’s gotta be the pinnacle, right? No show, not even one this good, can keep that kind of momentum going for any longer, especially not after what we just saw. And, truth be known, “Gotta Do It! Love is What Makes a Woman Explode” is more low-key than “Love is Everything. Risk Your Life to Elope!!” was, though there’s more property damage this time if that’s your thing.

Yeah, but that doesn’t matter. No need to worry; this is another unabashed masterpiece.

And yet I have to be extremely careful with this one. This is a story that’s at least in part about the differences between Kei and Yuri, it’s altogether too easy to pass value judgments when doing this, and plenty of people have. Yuri is without question the most popular of the two Lovely Angels, especially in Japan, and I could see a loyal Yuri fan being royally pissed off at what happens here. In approaching this piece, I have hazards of my own to navigate: I’ve made a big deal in the past about how you can’t take one Angel without the other, but even I still have a deep and personal connection with one particular character here, and that definitely shapes not only how I read this episode, but how I react to Dirty Pair in general. I’ll elabourate on this later, but the short of it is my challenge for this post is to explain how this episode remains a classic and a prime example of Kei and Yuri’s undying and unbreakable bond that transcends metafiction while the story itself still quite clearly paints one of them doing something that on the surface seems irredeemable from the narrative’s perspective.

The dilemma Yuri faces in this episode is, in truth, uniquely hers. And it’s worth unpacking this extremely carefully, because the trap she falls into here is the exact same one Kaia tried to spring on Kei in “Lots of Danger, Lots of Decoys” and that (literally) blew up hilariously and spectacularly in his face. And it’s really, really hard to not let this reflect negatively on her: After all, she spends the majority of this story perfectly willing and eager to abandon her career and life up to this point, not to mention her actual life partner and soulmate, to run off with a boy she hasn’t seen since she was seven. And she’s utterly horrid to Kei, smugly brushing off her genuine concern and feelings of heartbreak by accusing her of being jealous. Kei even rightfully points out Yuri has no idea the kind of person Billy is now, in a nice callback to what we learned last week about how people change over time. Considering Kei just recently went through a similar experience and immediately saw through Kaia’s ham-fisted attempts to mobilize one of the corniest melodrama plots in the known universe and Yuri seems completely oblivious, this is absolutely gut-wrenching.…

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An artifice is a kind of symbol, in that it is meant to stand in for something else. An artifice is a symbol that is caricatured to emphasize certain truth-facets of the thing it represents. A spectacle is a kind of artifice, but a spectacle, following Debord, is an artifice that abandons truth in favour of the hollow simulacrum of truth, that is, falseness. Vacuousness. However, an artifice that knows itself, indeed, even a spectacle that knows itself, is an artifice that invokes truth and, in so doing, thus invokes its own true self.

Goddesses and ideas live on within words.

The pipe organ towers over Clicky Goldjeff’s wedding. It is, in fact, a literal “tower”, one and the same with a skyscraper that serves as yet another defining feature of Elenore City’s skyline. It appears to rise from the Earth itself, the blinding concrete and steel as much a part of the world as any natural object. Clicky, the son of a massively powerful cruise line mogul, is being married off to at least a dozen women, with the hope this will keep his “wandering eyes” at bay. The woman at the organ is Joanca, and it’s in truth only her who Clicky has eyes for, and she feels the same way. Joanca proceeds to demonstrate this by firing blindly into the wedding reception as the male model waitstaff, dressed in skintight bunny uniforms, look on in stunned silence. Joanca shoots apart the chains with which Clicky was escorting his brides out by and the two elope together in a blimp.

Kei and Yuri are called in by the elder Goldjeff to retrieve his son, whom he claims has been kidnapped in exchange for a substantial chunk of his fortune. The girls feign interest in the mogul, as this is what male viewers of a female-led science fiction show expect to see and this is what Goldjeff’s secretary, who is giving them a tour of the company headquarters, expects them to say. In truth, Kei and Yuri are making small talk and do not like homewreckers, as they confide to each other, and by extension us, when it’s revealed the secretary is also Goldjeff’s mistress. When Kei and Yuri speak to each other in private, we know they are expressing their true selves, as this has long since become a regular motif of Dirty Pair. The girls only act infatuated when they’re with a potential client, and Kei only teases Yuri when someone else is watching. Or rather, when someone else is watching diegetically-Kei and Yuri never actually speak in complete privacy, because there is a camera on them at all times. This is, after all, a television show. But it’s a television show written and produced by Kei and Yuri, so they write these scenes in as a form of textual metacommentary. Graffiti on the fourth wall. The Angels do this as an act of love, because they love each other.…

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