We’re entering new territory with this adaptation for me. Because it’s not new territory, ironically enough. As I noted last week the anime and live-action swapped two arcs, the Kokoryuu “proposal” and Trillion TV. As such I kind of know where this storyline is headed, assuming the anime doesn’t change the plot (or that the drama did, for all I know). I’ll just say this is going to be quite a ride if it plays out the same way, and pretty edgy content-wise for anime. Not in a sex or violence sort of way, but editorially. We shall see…
Streaming is the name of the game here. You have to feel bad for the gaming group, because they’re pretty much leverage to Haru in the larger scheme. First as a disposable front that only managed to become profitable thanks to Gaku. Now, as a profit-generator for Haru’s next big all-in gamble. As long as Hebijima and the gang all get paid well – as indeed they did after “Pop-Pop Land” hit big – it’s fair game. Still, it’s a reminder that apart from Gaku and debatably Kedouin and Rinrin, personal loyalty ranks pretty far down the list for Haru.
This is Haru time, make no mistake. Gaku does very well with Sumaragi-san on the golf course, proving he’s been paying attention to what Haru does by executing an excellent bluff. But Haru is the one driving the action in this arc. With God Promotion’s talent bank Trillion TV is off to a good start, and getting Sumaragi on-board levels them up. But of course Dragon Bank isn’t getting to take this lying down, much less immediately after being rejected. They promptly buy a controlling stake in an American streaming service called “D-Rex” (the branding even matches up), and of course you realize, this means war.
Kirihime is made the president of the new D-Rex, and walks in guns blazing. But the old hacks in the boardroom immediately dismiss her as a naive little girl who just needs to be snowed (one even suggests he’ll get ahead by screwing her). Kirihime is anything but a fool but it’s hard to overstate just how massively chauvinistic and sexist corporate Japan (and Japanese politics) is. She immediately touts a plan to make a splash by storming the terrestrial TV market. And indeed, old-school TV (like vinyl and fax machines) remains a a force in Japan. Everyone in the room blows smoke up her ass, telling her it’s a great idea.
In fact, only Hikage-san (the superb veteran Yanaka Hiroshi) speaks truth to power. He cautions Kirihime that her plan is unrealistic because terrestrial TV stations have their own streaming services, and won’t allow their content on any others. And because (fascinatingly) there’s an unspoken agreement among Japanese terrestrial networks to freeze out “disruptors” from foreign countries trying to shake up (or modernize) the business (let’s not forget that Madhouse is owned by one of those networks). This being Japan, I totally buy that. Everyone – including Hikage – assumes he’s toast. In fact Kirihime, to her immense credit, makes him her VP and demotes everyone else (she fired them in the drama).
Kirihime’s tactic here is no less fascinating. She proceeds to buy a stake (7% on average) in several networks using Daddy’s seemingly bottomless pockets. She then turns around and strongarms them into investing in D-Rex, under threat of buying up even more of their shares herself. Dragon Bank doesn’t need the money – the shares themselves are trivial. But now those networks are part-owners of D-Rex, and thus have no basis by which to refuse to allow streaming of their content. I have no idea if that could work in real life, but it certainly does here. And D-Rex takes off like a bullet.
That puts the ball back in Haru’s court. And he only knows one play – you go big, we go bigger. The only way to avoid getting crushed by Kirihime, Haru says, is to crush her first. Which seems easier said than done, charitably. But balls of steel and all that – Haru always has a plan. This time around it’s news – though it’s not immediately clear to Gaku or Kedouin-san (nor indeed was it to me) just how that would turn the tables on D-Rex.
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