Minor spoilers ahead. Don’t say you weren’t warned.
Well, that’s that. The usual last-episode dash through half a year to the end of the story came as no surprise. And I give a big tick to any series brave enough to start any scene with someone exclaiming “Iraq?!” in an unashamed attempt at getting yet more distance between our unrequited friends. Sure. Send him to Iraq. Why not? He’ll be back after a montage or two.
What was disappointing was that Peach, who’d pretty much sorted herself out by episode nine, hardly appears at all in the series finale.
What really struck me was that, only weeks after I wrote about The Boys in the Band as a curious seventies throwback, this series gives us another storyline of the gay man as “noble yet defeated”, as if he is not allowed to have a happy ending. As for Doctor’s infatuation with Haru, that petered out in a far too understanding way. I mean, he didn’t even sulk or anything.
The show ends with Eita and Juri holding hands as they run across a bridge towards their regular bar. At least they didn’t end up being brother and sister. That particular sub-plot was done away with almost as an afterthought, when Nakaji’s dad asks Haru’s mum if he was her daughter’s father. She said no. That was it. As far as economic writing goes, you’d be hard pushed to find anything more abrupt, but at least it didn’t waste any more time on an idea that had already fallen by the wayside. Plus, it meant I was spared the humiliation of choosing to watch a drama that used a plot line that hasn’t been considered clever or surprising since Ancient Greece.
But, yeah. Not bad. Ho hum.