Top 10 TV Shows of 2015

Before we start with the list, let me first present, for your reference, all the TV shows I watched and followed in 2015 but didn’t get in the top 10 --

Anime: One-Punch Man season one, Kuroko no Basuke season three (end), Haikyuu! season two, The Seven Deadly Sins season one, Your Lie in April, Assassination Classroom season one, Sound! Euphonium, Parasyte –the maxim–

Specials: The Lion Guard: Return of the Roar, Kobe Bryant’s Muse

Koreanovelas: Pinocchio; Hyde, Jekyll, Me; Kill Me,Heal Me; Healer; The Girl Who Sees Smells; Yong-Pal

TV Series: Castle, The Blacklist, Sleepy Hollow (I dropped this during the latest season), Elementary (also dropped this during the latest season), Agents of S.H.I.E.L.D., Defiance (cancelled), True Detective, iZombie, Constantine (cancelled after just one season. Bummer. At least, John Constantine showed up in Arrow), Agent Carter, The Big Bang Theory, 12 Monkeys, Supergirl, The Muppets

Now, unto my choices for the ten best things on TV in 2015…

10.) JONATHAN STRANGE & MR. NORELL

Excerpt from my review:

“Set in an alternative history around the time of the Napoleonic Wars, Jonathan Strange & Mr. Norrell focuses on the partnership of the title characters, the last two magicians of England, and then their inevitable rivalry. There’s actually something more to its premise than this, but I believe that the less information you know about it – especially if, like me, you haven’t read the book yet – the more enjoyable and fresh you will find the series to be.”

‘One-Punch Man’ Packs a Wallop

I had read some early chapters of the One-Punch Man manga, but I was mostly reserving it to watch as an anime.  The manga’s pretty great, but I felt that it’s something that would be more fully realized as an anime.  That’s why I don’t regularly check on the manga’s chapter updates.  At last, this 2015, the first season of the anime has run – and it’s tremendously enjoyable as expected.

One-Punch Man follows the adventures of Saitama, a superhero who is so immensely powerful that he can effortlessly defeat the villains and monsters he encounters with just one punch (hence, the title).   He achieved such power after training everyday for three years, but at the cost of becoming permanently bald.  He meets a cyborg named Genos, who convinces him to become his disciple, and together, they join the Hero Association.

Despite being more powerful than the superheroes ranked above him and successfully accomplishing several high-level missions, Saitama doesn’t receive the recognition and respect that he deserves.  Others even discount him as a counterfeit who only takes for himself the credit for other heroes’ achievements.  Only a handful of individuals – especially Genos, who adores him greatly – really know his capability and accomplishments.  However, he isn’t much bothered by this, for he simply does superheroing as a hobby, and is more concerned in searching for stronger opponents that he may find challenging.

Characterizations of overpowered characters tend to be one-dimensional and uninteresting.  That’s why many are bored with Superman or, at least, prefer Batman more.  But there’s nothing boring about Saitama.  He’s a very likable and appealing character.  His overpoweredness is presented in a way in which it’s as much as a disadvantage as it is an advantage, thus, making the audience sympathize for the character.  And there’s always something exhilarating and funny in how he dispatches enemies with one blow.

If the attempt is to be a satirized Japanese take on the superhero genre, the premise of One-Punch Man excellently nailed it.  Its monster-filled world, quirky characters, and over-the-top action make it constantly hilarious, entertaining, enthralling, and full of energy.  One-Punch Man is like Dragon Ball Z, Hunter X Hunter, Powerpuff Girls, and The Tick rolled into one.

One-Punch Man is probably the most popular new anime of 2015.   And rightfully so.  For it’s something original and clever – a breath of fresh air from the familiar crop of anime and superhero properties that are out there right now.

'Yong-Pal' Has Great Character Arcs and an Intriguingly Intricate Plot

Yong-Pal would be the last Koreanovela I’ve watched this year.  2015 is near its end, and there just isn’t enough time to watch one more, and there’s no Koreanovela that I feel is worth squeezing in to binge-watch.  The next Koreanovela that I’ll be watching is something that’ll be running next year.

Yong-pal tells the story of Dr. Kim Tae-hyun (Joo Won), a very talented surgeon on his third year of residency.  He is desperately in need of money to pay for his ailing sister’s medical bills, thus, he is compelled to secretly work as a mercenary doctor for the criminal underworld, adopting the code name “Yong-pal."  As his sister’s condition worsen, Dr. Kim finds himself seeking larger sources of income, which leads him to be coerced by the corrupt doctors of the hospital to partake in a shocking conspiracy: locked in a well-guarded private room in the hospital’s exclusive 12^th floor and forcibly put in a medically induced coma is Han Yeo-jin (Kim Tae-hee), chaebol heiress to the powerful conglomerate that owns the hospital.

What ensues next is an absorbing romantic story complicated by the intricate corporate power play that it finds itself in the middle of.

I find this drama series unique.  It avoids many of the clichés that I’ve constantly noticed in Koreanovelas, and employs a couple of elements that I’ve only seen for the first time in a Koreanovela.  The premise seemingly starts off as a medical thriller but then evolves into something wonderfully complex that, though not thoroughly intelligent and sometimes too convoluted for its own good, it’s intellectually satisfying.

Also, its romantic aspect is probably the most I’ve enjoyed since I Hear Your Voice (my ultimate Koreanovela standard).  Tae-hyun and Yeo-jin are both interestingly flawed characters struggling to make it work between them.  There’s something melodramatic about it sometimes, but generally, the development is organic and well-executed.  Thus, these two are my most favorite Koreanovela couple next to IHYV’s Soo-ha and Hye-sung.  And just like the IHYV couple, they aren’t just a charming couple with great chemistry, but they’re also well-written characters individually.

But that’s just the thing about Yong-pal: its characters are so well-written!  My most favorite thing about this series is its intriguing, multi-layered character arcs – not only for Tae-hyun and Yeo-jin, but for most of the characters.   These characters are coated with personality, fleshed out in depth, and developed fascinatingly well that I was compelled to get invested on them.  It’s also a big plus that the acting is so, so good (most notably, the actor that played Min Joon-gook in IHYV, Jung Woong-in, also has a role here; his performance convinced me that he’s absolutely one of Korea’s best character actors).

So, Yong-pal makes for incredible watching – for the first 17 episodes.  I was on the way of declaring that I “love” this drama series, but the final episode kind of derailed the series for me.  I really find it to be underwhelming and unsatisfying.  I guess the first 17 episodes had put me on so much high that I was expecting for a massively phenomenal finale that would make me emotionally euphoric.    And, thus, so tall was the pedestal that I had prepared, that when the finale failed to meet it, the fall was great.

That said, all in all, Yong-pal is very entertaining and fresh.  I’m really disappointed with the ending, but it’s actually not that bad – just insufficient to the standards it has set.  Still, I enjoyed it much that it’s tied with Kill Me, Heal Me as my most favorite Koreanovela of 2015.    

'Return of the Roar' Fails to Sell Me on 'The Lion Guard'

The Lion King is one of the best, if not the best, Disney movies ever.   I extremely love it, and it’s one of the movies that I never get tired of rewatching over and over again.  I also have fondness for the direct-to-video sequels, though they aren’t as profound and impactful, and the Timon & Pumba spin-off animated series, though its goofy tone is a disparate departure from Lion King.  So you can say that I have an affinity to this franchise.  Thus, it was understandable that I got easily excited when this new Lion King animated series, The Lion Guard, was first announced last year – I was really looking forward to it.

At last, after a lengthy wait, the pilot, a mini-movie titled The Lion Guard: Return of the Roar, has finally aired (the rest of its debut season will run on January 2016).  It’s set after the events of The Lion King but before the events The Lion King II: Simba’s Pride, and centers on Simba’s son, Kion, who is discovered to have the gift of “The Roar”, qualifying him to serve as the leader of The Lion Guard, the elite protectors of the Pride Lands.  He then assembles his Lion Guard – Pride Land’s “bravest, fastest, strongest, and keenest of sight” – which consists of a honey badger, a cheetah, a hippopotamus, and a cattle egret.

The Lion Guard: Return of the Roar has flashes of interesting things – like Scar’s backstory as the former leader of the Lion Guard – but I never got to completely invest on it.  The premise is bonkers, the tone is juvenile, the humor is shallow, and the characters are uninteresting.  But my biggest problem is that there are parts in the script that are noticeable products of dumb and sloppy writing.  For example, Simba is worried that Kion isn’t ready to be the leader of the Lion Guard because he is still a cub.  And yet, when he narrates the history of the Lion Guard, he tells Kion, “When your grandfather Mufasa was about your age, his younger brother, Scar, was leader of the Lion Guard.”  This means Scar was actually even younger than Kion when he was leader of the Lion Guard!  In addition, the accompanying graphics for Mufasa and Scar as Simba was narrating this account are those of adults already.  No matter how you look at it, the inconsistency is infuriating.

What bugs me further is the choice of setting begs this important question: “Where were Kion and his Lion Guard during the events of The Lion King II: Simba’s Pride?”  I think it would have been less problematic if The Lion Guard had been set after Lion King II, and Kion had been the son of Kiara and Kovu.   

The Lion Guard: Return of the Roar, for me, is an overall disappointment.  Don’t get me wrong.  I understand from the start that this new show is intended for the kids (and there’s always the possibility that it’ll prove to be a hit to that target audience).  But I was actually hoping I could get into this show regardless of this.  I was hoping it would provide something for the grownups that grew up on Lion King as well, or, at the very least, be appealing and clever on its own.  Unfortunately, that wouldn’t be the case.

Complex and Thought-Provoking, 'Jessica Jones' Is a Totally Different Marvel Franchise

Years ago, when I read the comics that first introduced the character of Jessica Jones, Alias, I thought it was set on an alternate universe altogether.  As part of the MAX imprint, Alias had more mature themes than the traditional stories set in Earth-616 – the main Marvel Universe – thus, I presumed that it was in a different universe .  It was only when I read the first issue of New Avengers (volume one) that I learned that the Alias comic was actually set on Earth-616. 

The Netflix Marvel web TV series, though set in the same Marvel Cinematic Universe as the movies and the Agents of S.H.I.E.L.D TV series, are as distinctive to the rest of MCU stories as was the MAX imprint to the Earth-616 stories – that it’s as if it’s set in a different universe altogether.  We first get a look of the gritty, noir vibes and mature content of the Netflix “world” in Daredevil, but it was only in Jessica Jones wherein these were really seem perfected, making me fully realize for the first time that the whole thing is very “different.” 

Just like Daredevil, Jessica Jones is a slow-paced but riveting “character piece” drama rather than a full-on superhero yarn.  But more so with Jessica Jones, since it lacks the thrilling fight scenes that Daredevil has.  It instead focuses more in telling a complex, thought-provoking drama that tackles dark, sensitive themes like rape and PTSD without being exploitative. 

The drama also works so well because the writing of the characters is terrifically done – not only among the main players, but among the supporting cast as well.  The characters are well-realized and well-peeled; and the actors that portrayed them did great jobs. 

Krysten Ritter is fantastic as Jessica Jones.  She is deeply flawed and an unpleasant jerk, but you get to really sympathize and understand the character that you have to root for her.  It bothers me though that the character only jumps high but can’t fly (she can in the comics).

David Tennant’s charm has made the Tenth Doctor my favorite incarnation of The Doctor so far, but his performance as Killgrave is charming in a different way.  His character is so revolting, and yet, he is enthralling to watch.  He’s such a fascinating villain that many are already saying he’s the best MCU villain ever.  Now, I won’t go that far, but I’ll give him this: he definitely has the most depth.

I was surprised that I get to like Mike Colter as Luke Cage.  My preference for the character was to have a big screen feature of his own, starring Dwayne “The Rock” Johnson.  So I was a little bit disappointed when it was announced that Luke Cage would only have a Netflix show.  Coming to this show, I was kind of prepared of hating Colter’s Cage.  But instead, I easily liked his portrayal.   Netflix Luke Cage turns out being really cool in Jessica Jones and I can’t wait to see him in his own series next year.   My biggest beef with the series though is something that happened to the character –

. . .

(spoilers)

. . .

HE WAS KNOCKED OUT BY A GUNSHOT!!!! Come on!  This is Luke Cage we’re talking about!  He’s supposed to be so bullet-proofed and super-strong that a barrage of machine-gun fire does not faze him.  That’s so stupid!

I enjoyed Jessica Jones very much, but I won’t say I don’t have problems with it.  There are moments I felt the narrative was tedious and inconsistent to MCU logic (e.g. people still have a hard time believing the existence of super-powered people), and then there were subplots I don’t think was necessary (e.g. the part with the adaptation of the comicbook character Nuke).  But all in all, Jessica Jones is a very interesting show, though I probably like Daredevil more.

I’m really looking forward to season two because whatever happens there would be quite a surprise to me.  Season one basically covers the storyline of Alias, and that’s the only comic book storyline that centers on Jessica Jones (so far – given the popularity of the Netflix show, expect a tie-up comic book to happen soon).  In the comics, after the events with the Purple Man (Killgrave), she got married to Luke Cage and closed Alias Investigations, and then became a supporting character to the Avengers (eventually becoming a member, too) and a full-time housewife/mom.  So it’s safe to expect that whatever will be done on season two is something original.  Thus, that’s something to be intrigued and excited about.

'The Seven Deadly Sins' Is a Typical, Fun Shōnen Anime

The premise of The Seven Deadly Sins (or Nanatsu no Taizai in Japanese) has plenty of familiar Shōnen tropes.  It’s an anime that I felt I’ve seen many times before.  And yet it has enough charming elements to make it a reasonably worthwhile and fun anime to watch. 

TSDS (yep, I will be abbreviating it) tells the story of the titular Seven Deadly Sins, a group of immensely powerful elite knights that used to serve the Kingdom of Liones.  However, after being accused for murdering the Great Holy Knight Zaratras and plotting to overthrow the kingdom, they disbanded and went their separate ways.  Ten years later, their present locations and appearances are unknown, becoming the stuff of rumors.  Meanwhile, the Holy Knights have staged a coup d’état, imprisoned the king, and put Liones under their despotic rule.  Desperate to free the kingdom from the Holy Knights’ oppression, Princess Elizabeth goes on a journey to find the missing Seven Deadly Sins and to solicit their aid. 

I like the “recruitment” and “reunion” aspect of its story – how they come together one by one.  I love how the plot wraps each Sin’s identity in mystery, including the fact that their wanted posters don’t match their actual appearances and that they didn’t really know each other too well, discovering certain essential things about each other only during their current reunion.  Though none of the Seven Deadly Sins are remarkable enough to make it on any of my “fictional characters” lists soon, they are generally likable and do have some cool characteristics individually.    

One thing I really didn’t like about this anime that I feel I should mention here is the character Meliodas’ fondness for groping Elizabeth.  Meliodas actually has a lot of positive traits, but though his being a pervert is done for comedic effect (this is Japan, after all), I’m uncomfortable about this side of his character.  Considering also the fact that Meliodas is thousands of years old (though he has an appearance of an adolescent), then he’s technically a D.O.M., which only makes his advances on Elizabeth creepier.

TSDS’s first season is nothing extraordinary.  It doesn’t have much depth, but it does have great action, solid plot twists, a fantastic climax, intriguing world-building, likable (though unremarkable) characters, and an overall sense of adventure and fun.  And those are enough to draw me to its second season next year.

I Adore Shantel VanSanten's Patty Spivot; She Makes 'The Flash' Much More Delightful

The Flash isn’t free of dumb moments, but it’s nevertheless the most awesome show on TV right now.  It’s a lot of fun and massively endearing.  And if the recent episodes of season two are any indication, it’s only going to get even better.

One of my most favorite things this season two, if not my most favorite, is the addition of Shantel VanSanten as Patty Spivot.  Prior this, I’ve never heard of both the actress and the comic book character before (I don’t follow the current, new 52 The Flash comics – it isn’t nearly half as good as the show.  Moreover, I grew up on Wally West as Flash, so I’m not much familiar with most of Barry Allen’s supporting cast), but I find The Flash’s version of Patty Spivot immediately likable right at her very first scene (episode 2) – and, now, three episodes later, I have grown to adore her.

Patty is basically The Flash’s answer to Arrow’s Felicity Smoak.  The parallels are there.  Both are based on some obscure comic book characters; transmuted into the small screen as well-written, extremely lovable characters – smart, attractive, full of charming personality, and wonderfully geeky.  Now, Patty stands as a terrific character by her own.  But what makes her very appealing is – like Felicity – she has this effortless romantic chemistry with Barry.

When Felicity visited Central City during season one’s fourth episode, she and Barry displayed this charming, nerdy rapport with each other.  They make an infinitely more interesting couple than Barry and Iris.  This was very apparent to fans.  Iris had improved much as a character in the latter episodes of the first season, but there’s just no spark between her and Barry – it’s impossible to root for them to be together.

But now that we have Patty, we can finally see the Barry-Felicity pairing that we’ve always wanted but won’t ever get to have now, since, you know, OlliCity happened.  

One of the things I love about The Flash’s rendition of Barry Allen during the pilot was his Peter Parker-esque nerdiness and wise-cracking.  But with each passing episode – though Grant Gustin’s Barry Allen remains nerdy, terrific, and lovable – the Peter Parker-esque element seems to have faded.  Can’t remember him making notable wise-cracks anymore (“Lightning gave me abs?”) – most of the humorous quips are being made by Cisco for some time now.  And his nerdiness has been minimally explored – again, most of the nerdy enthusiasm has been supplied by Cisco.  Barry’s charming nerdy aspect only felt active again once he began interacting with Patty.  And I love it.  I love how they feed on each other’s nerdiness – their great interest on science, the witty conversations they exchange, the nerdy pop culture references they make.  The part where they referenced Monty Python and the Holy Grail (season two episode two) was simply fantastic.  I want more of this kind of stuff – much, much more – than the cheesy romantic angle on Barry and Iris.

So I hope the writers of The Flash would opt to the pairing that works – that is, Barry and Patty (“Batty”?  “Parry”?).  Sure, Barry Allen and Iris West married in the comics, but The Flash isn’t required to follow suit.  Heck, in Arrow, the writers didn’t push for Oliver and Laurel to be together – considering that is what’s comic book-accurate – but instead, they went with OlliCity.  Likewise, The Flash can make – should make – its own liberties with the love interest.  Besides, if I get it right, in the New 52 comics, Barry’s girlfriend is Patty anyway, and Iris isn’t in the picture at all.

Simply speaking, Patty Spivot makes The Flash much more delightful.  I hope that she’s going to be permanently staying around for further seasons; hopefully being Barry’s ultimate love interest.  And, I’ll say it now, if the writers actually fail to use this character properly, I will be mightily sore.

Gotta admit it.  Their "blind" date in Ep. 5 kinda made me swoon...

Production Elements Harmonizes in 'Your Lie in April' to Deliver an Emotional Tale of Love and Loss

As far as musical anime series I’ve seen this year goes, I liked Kids on the Slope more than Your Lie in April, probably because I like jazz more than classical music; but also because I found that the former has a deeper and more meaningful drama.  But between Your Lie in April and Sound! Euphonium, the former has a far richer quality.   

Your Lie in April (also known as Shigatsu wa Kimi no Uso) tells the story of a junior high student named Kousei Arima who used to be a child prodigy in piano.  However, he stopped playing after he was traumatized by the loss of his mother (who also served as his piano teacher) to a terminal illness – which caused him to be incapable of hearing the sound of his piano playing.  A few years later, a damaged Kousei meets a free-spirited, quirky girl named Kaori Miyazono, who happens to play the violin.  And from the moment on, with Kaori as his muse, Kousei begins an emotional and colorful journey of healing, learning, coming to terms with loss, first love, and rekindling his deep affinity for music and performing.

It took me until the end of the very last episode before I could conclude that I really like this anime.  The climactic last episode really moved me and made me misty eyed, but, as all the pieces laid on place, I still needed a moment after watching it to let everything sink in… and only after some reflecting did I fully grasp how well-made Your Lie in April truly is.

The music is delightful, the animation is gorgeous, and the script is well-written.  But what makes it magical is how these three – music, animation, and script – seamlessly collaborate and complement each other in delivering an emphatic impression in every sequence and enhancing the storytelling.  It’s likely to be an indication of how great the direction is, I guess, so kudos to the director.

The romantic angles are a bit annoying at times, for it features teen romance clichés.  However, it turned out to be more profound than it was letting on, and I was satisfied on how the love story played out in the end.  However, Your Lie in April is not only “teen romance” at all; it actually explores a wide range of deeper themes, which make this anime more worthwhile and insightful than other teen dramas.

In summary, Your Lie in April is a first-rate production in all fronts.  Benefiting from strikingly vibrant visuals and eargasmic musical pieces and well-directed storytelling, it overcomes its choice of familiar teen drama tropes to tell a beautiful, tragic story with an optimistic message.

In 'Assassination Classroom', Education and Assassination Go Hand in Hand

What if you have to kill the best teacher you’ve ever had before the school year ends or he’ll destroy the world?

That’s basically what Assassination Classroom is all about.

One day, a huge chunk of the moon is obliterated, making it a permanent crescent shape.  A mysterious octopus-like creature claims credit for the deed, and threatens that within a year, he will also destroy the world.  However, he gives the world leaders a chance to prevent this from happening, he asks that he be made the homeroom teacher of class 3-E of Kunugigaoka Junior High School.  As their teacher, he promises not to hurt anyone, to act accordingly, and to teach the students not only the usual school subjects, but on the ways of assassination as well.  Furthermore, he will also give them the opportunity to attempt assassinating him as much as they can throughout the school year.  Seeing that it’s impossible to kill him by conventional means, the world governments take him on his offer.  And, thus, an unusual school year ensues.

I immediately found this anime series fresh and fascinating right in its first minutes.  At first look, Assassination Classroom being a lot of fun is seemingly guaranteed by its unique and quirky premise – and it’s indeed so.

Koro Sensei – the name that his students have given the creature, a pun of the Japanese words korosenai (unkillable) and sensei (teacher) – is a fascinatingly complex and enigmatic character.  Though he has weaknesses (which the character Nagisa is listing down), he is highly intelligent and durable.  Conventional human weapons don’t work on him, so he issued to his students special rubber knives and pellet airguns that aren’t lethal to humans but can damage his body.  His strange biology gives him several abilities, notable of which is his super-speed which allows him to move at a max speed of Mach 20.  And  though he appears goofy most of the time, it’s implied that he can become the monster that he is if he needs to be.  But above all, he is a sincere and caring teacher to his students.  In fact, if I had seen this anime sooner, he would have been part of my “top ten” list of fictional mentors/teachers.  He’s truly effective in bringing the best out of his students.

Kunugigaoka Junior High School has the reputation of having elite, high-achieving students.  However, those who don’t meet its high standards on academics and discipline are sent to Class 3-E (“E” derogatorily stands for “End Class”) whose classroom is located in a shabby, isolated school building, a mountain away from the main campus.  But under the dedicated tutelage of Koro Sensei – as he painstakingly guides each individual student depending on his particular strengths and personality – the Class 3-E students become competent in both academics and assassination.  The narrative impressively does well in juggling the character arcs of these students; it’s easy to get invested in all of them.

Koro Sensei and Class 3-E have an incredibly peculiar relationship.  Koro Sensei delights in their triumphs – even if that includes getting assassinated by them – and does everything in his power to build them up and protect them.  He genuinely cares for Class 3-E.  And yet, for mysterious reasons, he is firm in his threat that he will destroy the world once their school year ends.  Meanwhile, the Class 3-E students esteem and appreciate their teacher very much, and recognize his impact on their lives, but they are also fervent of assassinating him.  It’s a strange dynamic that Koro Sensei and Class 3-E won’t have any other way.  Thus, this makes Assassination Classroom a distinctive and very enjoyable teacher-and-his-students story.

Assassination Classroom had a wonderful debut season this 2015.  It has proven to be a fast-faced, hilarious, and extremely entertaining must-watch anime.  Moreover, despite its wackiness, it surprisingly has thoughtful insights and morals to tell as well, which I find somewhat inspiring as a teacher myself.

I love everything about Assassination Classroom, and I’m definitely along for the long ride.

Religwo, 'Defiance'

So after three seasons, Defiance gets cancelled.  And I’m split about it.

Part of me is glad that it’s over.  Don’t get me wrong.  I enjoyed this show a lot.  It’s just that I started watching Defiance when I only had three other TV series to follow.  Since then, the shows I’ve been following have exponentially bloated; now, there are just several more shows that I find better than it.  So having one less TV series that needs watching should provide more “room” in my crowded annual TV watching.  However, it’s hard to just drop it when I still think it’s a pretty rewarding watch – the curse of nerdery and fandom.  Hence, it officially ending is the best way for me to have one less series to follow.

On the other hand, part of me wished to see more of Defiance.  It has successfully created a fascinating and distinct science fiction world.  It has magnificently featured powerful moments for its collection of complex, well-developed, and engrossing characters.  Best of all, it has nostalgic elements that appeal to someone like me who have got to love old-school science fictions shows like Star Trek: Deeps Space 9, Farscape, and Firefly.  I feel that there’s still a lot to be mined from the rich mythology it has built.

I’m definitely going to miss Defiance.  But I’m not heartbroken or disappointed about its cancellation.   The season 3 finale tied up everything so well anyway.  It’s good that it finished while still on top of its game and on its own terms.  So with a satisfying and neat wrap-up, Defiance has already completed a full, well-told story – thus, a follow-up season isn’t so necessary anymore.

Defiance’s potential and aspirations were so evident from the start that I even suggested that it could be the next Firefly.  However, it hasn’t been near in achieving the heights that it had been ambitiously aiming for.  The good thing is that it has been generally entertaining.  Even though there were some moments that it was getting too bizarre and shaky, it continued to be fresh and gratifying by being consistently unpredictable, establishing legitimate stakes on each season, introducing intriguing concepts, and utilizing its characters impeccably well.  Thus, in the end, it’s delightful enough to warrant being re-watched on a binge in the future. 

P.S. By the way, in relation to the title, "Religwo" is Castithan for "goodbye" (and can also mean "hello"), I think.  Hope I got that right. 

'The Girl Who Sees Smells' Features Such a Girl Teaming up with a Man That Can't Feel to Catch a Serial Killer and to Eat as Much Delicious Food as They Can

I’ve just finished watching The Girl Who Sees Smells (also known alternatively as Sensory Couple), the fifth Koreanovela that I’ve watched in my search for the next I Hear Your Voice experience.  Well, I still haven’t found it with TGWSS (I will be abbreviating it as such).  In fact, it is probably one of the lesser Koreanovelas I’ve watched so far.   But I did enjoy it despite its problems. 

TGWSS’s plot summary:

A high school girl named Choi Eun-seol (Shin Se-kyung) arrives home to find her parents murdered by the notorious Barcode Killer (who got the name because he engraves barcodes on the wrists of his victims).  She is able to get away from the grasp of the killer, and a chase ensues.  However, she gets hit by a car, sending her to a coma for months. 

Meanwhile, another Choi Eun-seol is sent to the hospital to get treatment from minor injuries after a bus accident.  Her brother, Choi Mu-gak (Park Yoo-chun), visits her and is horrified to find her throat slit.  Apparently, in a case of mistaken identity, the Barcode Killer kills her thinking she’s the same Choi Eun-seol that has escaped him. 

A few years later, Eun-seol is now living with the name of Oh Cho-rim.  The accident has erased her memories and has mysteriously given her the ability to “see” smells (hence, the title) in vibrant shapes and colors.  In order to protect her, the lead detective of the Barcode Murders – now retired – adopts her as his own daughter and, through the witness protection program, falsifies the medical records to show that Cho Eun-seol has died while in coma.      

On the other hand, Mu-gak has become a police officer, obsessed on catching and killing his sister’s killer.   The painful trauma of finding his sister dead led to events that changed him tremendously.  Not only did his personality become deadpan and soulless, but he also lost the ability to taste, smell, and feel pain.

One fateful day, the two cross paths, resulting to the development between them of an unlikely crime-fighting partnership, friendship, and even love, as they discover the connection of their tragic pasts and work together to bring the Barcode Killer to justice.

TGWSS has a good amount of fresh and original ideas.  Despite of how much this show begs the audience to suspend disbelief (seriously, a girl gains the ability to see smells after getting hit by a car?  Come on), the absurdity does help the show avoid being boring.

The two lead characters are generally likable and fun, but I can’t say that I get to love them.   I’m mostly satisfied with their character arcs, but they aren’t really impactful characters.   The romance between them is cute and all that, but it fails to make a deeper impression on me.  Moreover, there are times that Officer Choi behaves like a jerk.  Though it’s made understandable to an extent by all the pent up anger and pain that the character has inside, the character is still unlikable during those moments.  Thankfully, he makes up for it for being one of the funniest characters in the show.  Sure, Cho-rim is the one who is a member of a comedy troupe, but it’s Officer Choi that got a lot of laughs from me.  Considering that his personality’s default mode is, at first, stoic – he becomes more light-hearted and loose as the series progresses – he’s unexpectedly and effectively hilarious whenever he has to act dumb.

The supporting characters are also a lot of fun.  I particularly enjoyed the dynamic and bond of the special investigation team – how they have each other’s backs, the bantering among themselves, and the fact that they didn’t start as a close-knit group at all and have to get there – as well as their individual colorful personalities.

The series also has a unique, complex villain in the Barcode Killer (though it’s fairly obvious for anyone who watches the show to guess his real identity, I won’t be spoiling it here).  Though not completely new, the way he conducts his murders does have layers of cunning, creativity, and originality.  He also possesses an interesting weakness (I won’t spoil what it is, but here’s a clue: it’s the reason why he killed the wrong Choi Eun-seol) that significantly boosts the novelty of the character.  I was however disappointed that there are no concrete, definite, and agreeable answers given on what turned him into the monster that he is or what drives him.  I thought that an in-depth character analysis was going to be provided because the narrative seemed to be leaning towards it.  But that never happened.  So interesting the Barcode Killer turned out to be as a character, a feeling of dissatisfaction is still left.

My biggest disappointment is its uneven script.  The series has a strong start.  Despite the absurd elements, the story flows in a satisfyingly logical and engrossing manner.  But in later episodes, there are a couple of times where this flow is interrupted by bad and lazy writing.  For example, Officer Choi, Lt. Yeom Mi, and the Barcode Killer are introduced as smart characters.  But in order to create tension or drama, all three of them have moments – some of them, more than once – where they made critically bad decisions, which made me groan since they were so unbelievably dumb.  And, thus, any tension or drama created feels exasperatingly gratuitous and artificial.

Anyway, do you know what is the most remarkable thing about TGWSS?  No, it’s not the ridiculous premise of “seeing smells.”  It’s this: every episode has made me hungry.  I’ve never had such experience with a Koreanovela – or a TV series, for that matter – before.  Strangely, TGWSS loves showcasing scrumptious Korean food.  And it’s actually not due to one of the characters being a chef.  The script just constantly makes an effort of featuring one or more scene/s wherein the characters – especially Officer Choi and Cho-rim – have to enjoy eating an appetizing meal.

In conclusion, TGWSS unfortunately has notable flaws.  And not only does it have the usual typical tropes I’ve learned to expect and tolerate (for the time being) from a Koreanovela (it has small-world coincidences once again – a lot of them.  And the lead female character also gets drunk again; the current score of such scene turning up in the Koreanovelas I’ve watched is now 6 out of 6!) but it also suffers from some insufferable cliches that typically plague awful Filipino dramas.  Nevertheless, though I think the script could have been written better, it’s a good thing that TGWSS has these: a unique premise; characters that are fun and interesting enough; syrupy but catchy music (“Honey, honey, honey…”); a decent amount of laughs; and delicious food being consistently (though unnecessarily) paraded – enough to make TGWSS pleasurable and entertaining to watch.

'Humans' Is Intelligent and Gripping; Tackles A.I. Themes in an Asimovian Manner

Despite being a dumb show, I immediately grew to love Almost Human when it started its ran last 2013, primarily because the dynamic of the lead characters – a mystery-solving duo made up of a human and an android – reminded me of the main characters of Isaac Asimov’s Robot novels (I’m a big fan of the characters, the books, and the author).  Thus, I grieved when it was cancelled last year after only getting a mere 13-episode season.

Thank God for this year’s Humans.  It’s an ample replacement for Almost Human as my favorite ongoing AI-centric science fiction show.  It isn’t as fun and futuristic as Almost Human, but it’s certainly several times more thought-provoking and riveting.  Not only did this remind me of Isaac Asimov’s Robot stories, but the plot of Humans is like something Asimov himself would write if he’s alive now.  Humans has tackled Asimovian themes on artificial intelligence more intelligently and deeply than Almost Humans ever did – or any other on screen stories focusing on artificial intelligence for that matter.

Humans (or HUM∀NS, as it’s stylized in its opening sequence) is based on the acclaimed Swedish sci-fi drama Real Humans.  It is set in a world that technologically mirrors the present real-world we’re in, but life-like androids called Synths are as predominant as cars and appliances.  Though these Synths show advanced cognitive processes, they aren’t actually self-aware or conscious, but are merely functioning in a nigh-flawless manner within the parameters of their programmed roles.  However, because of their uncannily human appearance and perfectness in performing human tasks and imitating human reactions, Synths aren’t only beginning to replace human labor, but human relationships as well.

The focal point of the story is on a suburban family named the Hawkins.  Laura, the mother, is introduced as a workaholic lawyer who is constantly away from her family.  Struggling in keeping the house and the kids in order, the husband, Joe, buys a Synth to help in the house chores.  The Synth, who is christened “Anita”, is an immediate success in bringing domestic stability to the Hawkins household.

However, different reactions arise from Anita’s arrival.  The youngest daughter, Sophie, immediately grows deeply fond of her, even preferring her to do the routines that are originally reserved for her mother.  The son, Toby, develops a crush on her.  The eldest child, Matilda, is cynical of Synths and shifts between apathy and suspicion in her attitude to Anita.  And Laura, seeing how Anita has effortlessly installed herself in the family and gaining the affection of Sophie, is distrustful and bitter.

The narrative promptly reveals that Anita isn’t an ordinary Synth.  Her real name is Mia, and she’s one of four special Synths that have consciousness – meaning they can independently think, feel, and learn like human beings!  Mia, along with others of her kind, was stolen while inactive, and was reprogrammed and fenced.  And while Mia is serving the Hawkins as “Anita”, her “owner”, Leo (whose own humanity is also implied to be in doubt) is tirelessly looking for her, driven by the desire to bring his family – these special, conscious Synths – back together.

The plot brilliantly tackles the emotional and ethical issues arising from various scenarios of human-Synth interaction.  To bring these about, aside from what has been mentioned in the synopsis above, there are various other characters and plotlines involved.  And all of these eventually converge in the last third of episodes.  It’s a complex, fascinating series.

The editing and directing seem to be untidy sometimes, but the terrific writing didn’t suffer an iota.  Character arcs are beautiful; the drama engages with ease; heavy expositions are done through powerful dialogues that come out naturally from the flow of the story; and the sequences are suspenseful and purposeful, successfully avoiding being pretentious, predictable, and gratuitous.

The acting is commendable all-around, particularly those that played the Synths.  But the most enthralling of all is easily Gemma Chan as Anita/Mia.  She’s just perfect.

Humans is a must-watch for every professing science fiction fan.  It has everything that a first-rate science fiction tale should have – smart thrills, stimulating themes, and a consistently gripping narrative.  Humans is so good that I feel that it is resonating with the same kind of appeal that made me fall in love with Orphan Black last year (Orphan Black is still the Queen, though).

Humans is surely going to end up on my year-end top 10.

‘Mr. Robot’ Is the ‘Fight Club’ of TV Cyber-Thrillers

Elliot Alderson (played by Rami Malek) is a cybersecurity engineer by day, vigilante hacker by night.  He possesses an intelligent and analytical mind, as established by his brilliant hacking skills and effortless deciphering of people as if they’re made up of computer codes.  However, he also suffers from mental illnesses, particularly clinical depression and social anxiety disorder, and an addiction to morphine, causing an extent of impairment to his thought processes (for one, he spent the story talking to an imaginary friend, who’s represented by the show’s collective viewers).  One day, he is recruited by an enigmatic, crazy anarchist named “Mr. Robot” (played by Christian Slater) to join “fsociety”, his team of capable hackers whose goal is to bring down E Corp (derogatorily called by Elliot as “Evil Corp”), one of the world’s largest – and most corrupt – conglomerates.

That’s the synopsis of Mr. Robot.  By itself, judging from the details given above, it seems an uninteresting, clichéd premise.  That’s what I thought, too, at first.  But after I get to binge-watch the ten episodes of its debut season, I discovered that a synopsis simply doesn’t give justice to the actual depth that this show has.

The themes of Mr. Robot heavily remind me of the 1999 film Fight Club.  And I guess everyone who has seen both Fight Club and Mr. Robot will feel the same way as I.  But I mean that as a good thing.  Mr. Robot has the same level of engaging narrative and thought-provocation that Fight Club has, if not superior.

Mr. Robot is smart, investing, and well-written.  It has an anti-establishment, anarchic theme but I personally don’t think that the show is purely promoting or glorifying such message.  It simply provokes deeper thought upon the issues it handles through a cathartic, realistic, and relatable tale.  That is simply great storytelling.

The way that the story unfolds is an indication of this show’s great writing.  For example, there are some parts that initially don’t hold up narratively, but when the fact that Elliot’s mental problems and drug addiction are established earlier in the story is considered, it is understood that he’s being an unreliable narrator.  Elliot’s delusions and paranoia boosts how the narrative plays out and how the plot twists are built up.

The biggest plot twist is made predictable by foreshadowing (clue: again, Fight Club-esque), but I think that’s the intention all along.  Besides, all reveals are done in an organic, well-executed manner that their impact is not diminished at all.

I was also impressed by the seemingly accurate depiction of hackers’ processes and philosophies.  I bet this show has some Anonymous hackers consulting for it.  It’s one of the most appealing aspects of this show.

But the best thing about this show is the lead character, Elliot.  The show has some fascinating, messed-up characters, but Elliot easily stands out.  I haven’t made a list for fictional hackers yet, but when I do, he’s surely going to be it.  And it’s not just because of his hacking skills.  He’s a genuinely complex, layered, and interesting character.  Elliot is on his way in becoming one of TV’s most definitive anti-heroes.

Mr. Robot is definitely the most thought-provoking, most intriguing, and most suspenseful cyberthriller in years.  Next to Daredevil, it’s my favorite new TV series that came out this year.  There are some things that I’m not satisfied with, like how I wish Elliot’s vigilantism was explored more (would love to see him take down more criminals and d-bags), but they’re minimal.  All in all, I love this show.

The first season’s incredible finale wraps up nicely but nonetheless ends with a lot of questions left in the air.  I’m excitedly looking forward to see what season two will reveal and where the story is going to next.

Despite Its Flaws, 'Healer' Is a Fun and Memorable Action Romance

Healer is a 20-episode Korean TV series that ran from December 2014 to February 2015, but I’ve just finished binge-watching it.  The TV series focuses on a young “night courier” – a sort of thief/retrieval specialist for hire – code named “Healer.”

Healer, whose real name is Seo Jung-hoo (played by Ji Chang-wook), is highly proficient in martial arts, acrobatics, and field craft.  He is the best in the business, and is highly sought by clientele.  Being an introvert and due to the nature of his occupation, Healer maintains a secluded, lonely existence – only coming out of his hideaway when there’s a job to do.  His ultimate dream is to buy his own private island where he can live alone.

But everything changes when a client, the famous reporter Kim Moon-ho (Yoo Ji-tae), commissions him to spy on Chae Young-shin (Park Min-young), a bubbly and willful entertainment website reporter who dreams of becoming a legendary journalist.  This leads to Healer going undercover in Young-shin’s workplace and adopting the alias “Park Bong-soo.”  Consequently, by being constantly in the presence of Young-shin’s sunny personality, Healer’s icy personality begins to melt and he eventually falls for her – radically changing his life goals and worldview.

As the story progresses, Healer struggles to juggle his alter egos and his feelings, while at the same time, work with Young-shin and Moon-ho in unraveling the secrets of their past and bringing down a shadowy conspiracy of powerful people.

Healer isn’t perfect, but I had a good time binge-watching it.  Despite its flaws and cringe-worthy writing in some parts, Healer has a decent amount of smarts and its narrative is generally immersive.  And though it’s not as well-plotted or intriguing as Kill Me, Heal Me, there are still a lot of moments wherein I was very impressed by the storytelling.  Furthermore, Healer is the first Koreanovela that I’ve seen wherein fight scenes are integral to the story.  They aren’t spectacular, but they’re solidly choreographed and definitely contributed more appeal to the show.

The characters are fun and amiable in general – Healer, particularly, is a cool and unforgettable “spook” character.  But there are times when I found them frustrating and inconsistent.  I was annoyed whenever a character makes a dumb decision when he or she has just made a smart one a few scenes back.

It’s the same with the editing, writing, and direction – they aren’t always good.  There are some scenes and plot sequences that I find unnecessary, pretentious, dumb, or sloppily executed.  But, thankfully, most of the time, the story does flow in a smart, organic manner, which I find extremely satisfying and worth appreciating.

It’s also with Healer when Koreanovela clichés finally made me groan.  For example, in all the Koreanovelas that I’ve watched so far, all of them require an absurd amount of “small world coincidences” to make the plot and drama work.  I’ve learned to accept and expect this from Koreanovelas, as long as they’re enjoyable enough, which Healer is, but I’m starting to get tired of excusing this cliché.  Aside from this, I’ve also noticed these two clichés in all five Koreanovelas I’ve seen: 1.) the male and female leads are acquainted during their childhood or teens; and 2.) there’s a sequence wherein the female lead gets drunk, creating a comedic moment.  Maybe it has come to the point wherein I’ve already seen enough Koreanovelas to make me sensitive of these clichés.  And, with Healer, my tolerance for them is starting to wane.  I’m still forgiving at this point, but I’m not sure I’ll still be for the next Koreanovela.

Healer’s strongest aspect is the romance.  I really like the “love triangle” approach.  And, no, it’s not among Healer, Young-shin, and Moon-ho.  Any indications in the early episodes that it’s going there are mere red herrings.  The real love triangle is made up of Healer, Young-shin, and Healer’s undercover persona, Park Bong-soo.  The whole thing is comparable to the appealing dynamic of the romance between Clark Kent/Superman and Lois Lane.  There is genuine chemistry and magnetism, and you can’t help but root for the couple.    

Lastly, another great aspect about Healer is the music.  From what I got from I Hear Your Voice – being my ultimate standard for Koreanovelas – the best drama music are those that could enhance the mood and atmosphere of the story.  And the “Healer” theme and Michael Learns to Rock’s “Eternal Love” do just that perfectly.

So to wrap this up…

Healer does have missteps, there are some frustrating and cheesy parts, and it’s not as intelligent or as impactful I wanted it to be.  But it’s fun, engaging, and memorable nonetheless, and I’m pleased with the series all in all.

(The next Koreanovela that I will be binge-watching – and then reviewing – is Girl Who Sees Smells)

BBC's 'Jonathan Strange & Mr. Norrell' TV Adaptation Seems to Have Captured the Excellence of the Novel

Sussanna Clarke’s Jonathan Strange & Mr. Norrell is among the books that I’ve been wanting to read but still haven’t had the opportunity to do so (find it difficult to find a copy).  I’ve read plenty of good things about it and it frequently pops out in many lists on greatest fantasy literature ever.  So when I learned that a TV adaptation is made by BBC this year, I became intrigued but hesitant to watch it.  As much as possible, I want to read the book first before seeing its screen adaptation (because, more often than not, the rule “the book is better than the film/TV series” holds true).  I was torn if I should watch it or wait patiently till after I get to read the book.

Eventually, my curiosity and the thought that it’s unlikely for me to read the book anytime soon overcame any wish in me to read the book first before watching this.

I’ve found the 7-episode mini-series quite enjoyable to marathon (watched the whole thing in one go).  It stars Bertie Carvel as Jonathan Strange and Eddie Marsan as Gilbert Norrell; both delivered fine performances, significantly contributing to keeping the long 7-hour narrative generally engaging and never dull.

Set in an alternative history around the time of the Napoleonic Wars, Jonathan Strange & Mr. Norrell focuses on the partnership of the title characters, the last two magicians of England, and then their inevitable rivalry.  There’s actually something more to its premise than this, but I believe that the less information you know about it – especially if, like me, you haven’t read the book yet – the more enjoyable and fresh you will find the series to be.

However, though I liked the mini-series, I did find it a bit lacking; I expected that it would have a much more lasting impact.  This might be attributed to the fault of adaptation.  Despite not having read the book yet, the way the narrative flowed made me feel that a sizable chunk of the book’s contents – as well as, possibly, its thoughtfulness and charm – didn’t translate into the mini-series.  Nevertheless, at the same time, it also left the impression that it has still given justice to the excellence of the novel – which, until now, had been considered impossible to be adapted on screen.  (I hope that this evaluation of mine makes sense.)  

Jonathan Strange & Mr. Norrell didn’t blew me away as I was hoping it would (maybe the book will do so when I get to read it) but it’s an amazing TV production nonetheless – rich in its plot, multi-faceted in its themes, gripping in its tone, and fantastic in its production quality.  Definitely among the best of this year’s small screen offerings.

Season 2 Downgrades 'True Detective'

The plot of True Detective season 2 centers on the investigation of the murder of Ben Caspere, the city manager of the fictional city of Vinci, by a task force made up of representatives of three different police departments.  The three main investigators of the case are Vinci Police Department detective Ray Velcoro (Colin Farrell), Sgt. Ani Bezzerides (Rachel McAdams) of the Ventura County Sheriff’s Office CID, and California Highway Patrol Officer Paul Woodrugh (Taylor Kitsch).  Also interested in the murder investigation is Vinci mobster Frank Semyon (Vince Vaughn) whose dream of legitimization is ruined because the late Caspere has lost his money.  But as they go deeper into the Caspere murder investigation, they also get to learn how deep the appalling tradition of corruption and depravity has rooted on the city of Vinci, antagonizing those in power.

So how did this tale compare to that of True Detective season 1?  Not so well, unfortunately.  I’m greatly disappointed and unimpressed overall.

Now, don’t get me wrong.  Season 2 isn’t necessarily disastrously bad.  It has a thoughtful and complex story.  It has fascinating messed-up characters.  The dialogue and acting are riveting.  The opening theme, camera shots, editing, and directing are gorgeously-done in general.  And it does have a couple of awesome moments – the ending of episode 2 made my jaw drop, the start of episode 3 is quirky fun, the gunfight in episode 4 is brilliantly executed, and Ani’s undercover job in episode 6 was a smart and horrifying sequence.  It has the things that made season 1 terrific.

However, the first season was a masterpiece.  And season 2, regardless if it’s good or bad, is a massive step-down of quality.  Everything about season 2 is less interesting.  And since it’s less interesting, it suffered from the slow-pace.  There were several times that I got bored.  It also doesn’t have the kind of magnetism season 1 has.  Right from that first scene in season 1, the show gripped me and never let go.  Season 2 doesn’t have that.  In fact, it took time before an episode rouse my interest (except for episode 3, the opening was perfect).

By its own, despite being actually a solid drama, I don’t think I would have bothered watching it.  But I really loved the first season, and this somewhat made me feel oblige to see this show through the end.  I was hoping that it would eventually blow me away once it wrapped up – but it didn’t.

Still, I won’t give up on True Detective yet.  I would still welcome a third season.  This show might still bounce back after all, and maybe – how I wish – even exceed season 1.  However, I’m no longer interested on following this show by watching a new episode as soon as it’s out.  I’ll let the season have its run first, then, depending on the buzz it will create, I will make my choice if I will binge-watch it or proceed to finally give up on True Detective.

'Sound! Euphonium' Is a Charming Concert Band Drama

Sound! Euphonium (also known as Hibike! Euphonium) is a 13-episode anime series that details the drama and development behind Kitauji High School’s concert band.  There are plenty of characters, but the story focuses on freshman Kumiko Oumae.  She has been playing the euphonium for seven years; however, she’s not necessarily masterful of playing the instrument nor dedicated to it.  But through the progress of the story, she gains new realizations and perspective on what it really means to belong and compete in a concert band.

At the start of the story, the Kitauji concert band is in subpar condition and has a lot of issues, much the dismay of Kumiko and the other freshmen members.  Some senior members – particularly the officers – have their hearts in the right places.  However, the culture of the club is that of laziness, apathy, and lack of focus.  Fortunately for the club, the new music teacher and club adviser, Noboru Taki, knows what buttons to push in order to motivate the members into improving themselves.  Through his strict but courteous and patient guidance, he pushes the Kitauji concert band into aiming for the Nationals competition.

Sound! Euphonium doesn’t necessarily have a lot of originality to offer.  But despite its familiar themes and tropes, it’s still pretty amiable.  The story gives a believable and engaging depiction of the emotions and conflicts happening among members of a high school concert band as they struggle towards the top.  Moreover, its fine animation helps keeping the storytelling appealing.

Having only 13 episodes makes Sound! Euphonium easy to binge-watch.  But, on the other hand, the small amount of total episodes also means that development for both its plot and its many characters is limited.  In fact, the prime fault I find in this anime is that, in my opinion, there wasn’t enough time to properly flesh out its many characters – hence, I never grew caring for any of its characters.

Another slight fault I find is that the musical pieces featured are not that interesting.  With the exception of Orpheus in the Underworld’s can-can sequence (which reminded me of how awesome that piece is) in the first episode, I wasn’t particularly drawn to any of the music (unlike with Kids on the Slope which made me immersed on its jazz music).  Still, the musical details and choices are good.  And I love how the music is beautifully synchronized with well-done animation.

As for the romance – since that’s to be expected from a high school story – well, it’s actually minimal.  Some stuff on high school “puppy love” and rejection have been touched upon, but it was pretty nigh irrelevant.  It’s also worth noting that there’s some seemingly Yuri tension (or I’m just being too malicious) between Kumiko and fellow freshman, Reina Kousaka.

Sound! Euphonium is not for everyone, but those who enjoy lovely anime visuals, music, ensembles, and slice-of-life high school drama are sure to like this.  Personally, this anime series isn’t something I’m particularly excited about, but it’s charming enough to warrant a recommendation from me (whatever that’s worth).