Hey-oh! The Sunshine Underground? Name dropping Chemical Brothers songs is a good way to earn some points with me.
We learn here that Holland and Dewey have royal blood in them, and that adds another layer of significance to their respective rebellions. Dewey’s seems to be motivated by revenge against the aristocracy that insulted his clan, while Holland’s seems to be an outright rejection of the whole system. Thus, the former comes out looking more selfish, while the latter comes out looking more heroic, and not for reasons that push on the obvious sympathy/antipathy buttons.
I’d comment on how this episode pushes the parallels that the Dominic/Anemone/Dewey triangle shares with the Renton/Eureka/Holland one, but that point has been well-established. Suffice it to say, it’s funny how the girl’s litterally go in opposite directions in this matter.
Instead, I’d like to bring up Jodorosky again, as I so often do, because the inclusion of fratricidal rituals and the variety of flashbacks makes me think of METABARONS. Flashbacks are as commonplace as close-ups, sure, but few shows have ever established as involved a lineage as this has. Like, we we’ve seen Renton as boy while Holland’s a teenager and now we’ve seen Holland as boy while Dewey’s a teenager, showing how every character in the cast evolves in relationship to one another. It’s a web that runs a bit more complex than sequel -prequel progression you usually see.
While we’re piling on pop cultural comparators, I’ve got to say that Renton and Eureka’s revelation about where they’ve found themselves amusingly plays like a kinder, gentler spin on the first PLANET OF THE APES movie’s ending. I’m sure there are going to be plenty of questions about this universe that’ll make much more sense if I ever get to re-watch the series, so it’s good to know that the crew always had an answer in mind for my confusions about the setting.