Oh boy… oh boy…
As if to show that this show really is “operatic” in every sense of the term, Janice has come to give everybody in the Ruin a reason to live on with her absolutely infectious brand of R&B adult contemporary. I suppose it was only a matter of time before the gap between CASSHERN SINS and Mozart’s THE MAGIC FLUTE was narrowed, right?
Yes, just as you lunatics warned, her performances were some real snicker-inducers. I was waiting for Casshern to start snapping his fingers to beat and thusly complete the slow jam groove. If this series had otherwise been as colorless and mirthless as those pseudo-intellectual cyber punk thrillers which I so regularly deride, then this episode really could’ve been the shark jumper. I can so very easily picture some self-serious “mastermind” director pushing insistently to include a musical number in his otherwise dour opus; stubbornly ignoring valid objections from his staff over how it’d absolutely murder the mood.
(I imagine the happening behind the scenes of EVANGELION 2:22’s sonorous climax).
Honestly, I was bracing myself for that exact lack of self-awareness here but, to my great surprise… this pop diva and her ballads kind of actually work. Oh, I was still laughing at them, not with them, and I’m sure the comedy floating around them was largely unintentional. However, as I’ve said, the show’s firmly established itself as being abstract enough as to get away with a towering pile of absurdity and still manage to make some serious points.
Indeed, the probing dialogs about these two robots’ designed natures - - “You were built to kill. I was built to sing.” Or some such - - manages to be rather profound, even as it sounds a touch hokey. Maybe I shouldn't really be surprised when a show about robots starts crossing the wires in my brain like this episode did?