TV-Series
Description
Kanae Tada, a second-year Myoudou Academy student and photo club member, sports short brown hair flipping at her shoulders, typically accessorized with a pale blue headband, and large brown eyes. She operates entirely at her own pace, especially when pursuing photography. Kanae actively seeks candid or embarrassing moments of others, convinced these images bring viewers happiness and laughter. She consistently carries camera equipment and deeply admires world-renowned photographer Kurumi Ryuunosuke, Erika Kurumi's father.
Early in her arc, Kanae interrupts judo club practice to photograph the popular Itsuki Myoudouin. Though swiftly ejected, she expresses satisfaction at securing her "scoop." Later, she presents a photo collection to classmates, featuring Erika falling while skiing, Nishihara Daiki being struck in the face by a football, and Itsuki. While Tsubomi Hanasaki compliments Itsuki's photo, Erika and Daiki react angrily to their unflattering images. Kanae defends her approach, insisting her goal is evoking smiles through humor, and reveals her ambition to photograph the Pretty Cure warriors, surprising Tsubomi.
Her philosophy faces challenge when Daiki questions if she photographs just for fun, not genuine passion. Later, during a visit to the Kurumi family's shop, Fairy Drop, Ryuunosuke critiques her work as lacking "real love," deeply hurting Kanae. Reviewing her photos while reflecting on these criticisms, she encounters the Desert Apostle Sasorina. Sasorina exploits Kanae's wilting Heart Flower—symbolized by a light blackberry representing "consideration for others"—transforming her camera into a Desertrian monster. This Desertrian attacks football players, echoing Kanae's internal conflict by demanding why she cannot take enjoyable photos if she desires. Its flash petrifies victims, including Cure Marine, until Cure Blossom uses a red Heart Seed to enhance her speed and purify the monster.
Awakening, Kanae reevaluates her photographic approach. Encouraged by Tsubomi, she resolves to capture images authentically meaningful to her. The next day, she gifts Tsubomi the photo of Itsuki as thanks. Departing, she observes Erika teasing Tsubomi in the botanical garden, recognizes genuine affection in their interaction, and photographs the scene as an embodiment of the previously absent "love" in her work.
Early in her arc, Kanae interrupts judo club practice to photograph the popular Itsuki Myoudouin. Though swiftly ejected, she expresses satisfaction at securing her "scoop." Later, she presents a photo collection to classmates, featuring Erika falling while skiing, Nishihara Daiki being struck in the face by a football, and Itsuki. While Tsubomi Hanasaki compliments Itsuki's photo, Erika and Daiki react angrily to their unflattering images. Kanae defends her approach, insisting her goal is evoking smiles through humor, and reveals her ambition to photograph the Pretty Cure warriors, surprising Tsubomi.
Her philosophy faces challenge when Daiki questions if she photographs just for fun, not genuine passion. Later, during a visit to the Kurumi family's shop, Fairy Drop, Ryuunosuke critiques her work as lacking "real love," deeply hurting Kanae. Reviewing her photos while reflecting on these criticisms, she encounters the Desert Apostle Sasorina. Sasorina exploits Kanae's wilting Heart Flower—symbolized by a light blackberry representing "consideration for others"—transforming her camera into a Desertrian monster. This Desertrian attacks football players, echoing Kanae's internal conflict by demanding why she cannot take enjoyable photos if she desires. Its flash petrifies victims, including Cure Marine, until Cure Blossom uses a red Heart Seed to enhance her speed and purify the monster.
Awakening, Kanae reevaluates her photographic approach. Encouraged by Tsubomi, she resolves to capture images authentically meaningful to her. The next day, she gifts Tsubomi the photo of Itsuki as thanks. Departing, she observes Erika teasing Tsubomi in the botanical garden, recognizes genuine affection in their interaction, and photographs the scene as an embodiment of the previously absent "love" in her work.