You know that trope where prostitution is portrayed as the point of a woman's story where she is at her lowest, poorest, and most vulnerable and easy to exploit? Jekyll and Hyde? Les Miserables? Moulin Rouge? Yeah. That's the 'Saul Goodman' persona to Jimmy McGill.
I absolutely love Jinshi and Maomao's relationship and that princess carry scene really embodies what I love about them. She's bleeding and being princess carried by Jinshi, a position many would die for, and she has the audacity to ask if she can have the ox bezoar.
Tbh I think charming and flirty pretty boy characters are best whenever they're exposed to someone that doesn't give a fuck and actively dislikes them. Like my ideal dynamic if I were to ship myself with a character like Gojo or Amai Mask is to deal with any of their shit with this level of hostile response any time they talk
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not to salt openly on main or anything but instead of playing up a grown adult man's ineptitude to the point where he doesn't even know how to search for the nearest children's hospital on google or recognize food in the refrigerator, they could have instead utilized the part where he tries to give miri cold medicine for adults as a visual metaphor for the fact that she has completely different needs from the two of them; it's all fine and well to be miri's video game buddy until the moment where you have to step up to be the adult in the room, which... really should have been the crux of rei's character arc imo?
rei's stunted development has always been more of an emotional issue--sure, he doesn't take care of his body all that well either, but the real impact of his upbringing is that he doesn't know how to relate to others in a more responsible manner, because he's never been put in that position before. his deal is that he "doesn't know what love is", including self-love, and love here also encompasses the capacity to care properly for others. kazuki wasn't only doing the physical housework, but also bearing the brunt of the emotional work that goes into keeping a child on-schedule and out of danger, which rei had to deal with for the first time while alone with a sick miri. instead we get about a grand total of about 2 minutes of screentime on the kind of internal turmoil this caused him ("i can't do anything...") and exactly zero minutes on the effort that he had to expend in kazuki's absence while miri needed him--all we get is the final shot of him asleep that only implies some of the work. he's not even the one who presumably takes her to hospital! what was the point of having kazuki out of the picture on his little grief journey, if not to show us the development of rei in real time?! kazuki doesn't even come home to a clean house!!!
i think my irritation with ep 7 stems mostly from the inability of the writing to address the (usually very gendered) inequality of housework and emotional load distribution within a household in any cogent or meaningful fashion, instead using it as the vehicle to explore kazuki's backstory and cut in a few comical scenes of rei in distress instead of actually taking the issue as seriously as it could have. kazuki didn't just leave the house bc he was sick of daily life, he was grieving and being devalued in his household while a 4 year-old and a 25 year-old manchild roommate were constantly testing his patience. i was really, really looking forward to some kind of significant emotional reckoning on rei's part that we got to see onscreen, one that was more consistent with his character (he was NOT this helpless before, even in ep 1 before he met miri) and that would actually mean a little more for the plot than.... honestly whatever we got in ep 7.
also, just on a personal note, as a former (and sadly ongoing) rei stan, it's not very cute to watch a grown man flounder around his own fucking house not knowing how to call a cab or fry a single egg. it's not sexy. it doesn't serve. bring back the sexy rei suwa right now or i'll storm the fucking studio with a torch.
Goa Stone and Gold Case, late 17th–early 18th century.
«Goa stones, named for the place where they were manufactured by Jesuits in the late seventeenth century, were manmade versions of bezoars (gallstones from ruminants). Both types were used for their medicinal and talismanic powers. These treasured objects were encased in elaborate containers made of gold and silver and often exported to Europe. (…)»
The Metropolitan Museum of Art
love how shows the way Maomao thinks of justice. She obviously cares about saving this anonymous person's life (there's just that one panel about regret), but she won't admit it to herself (there are more panels about the ox bezoar so she
can justify her involvement without admitting that she cares) and she definitely wouldn't admit it to Jinshi.