Image: 赤坂アカ×横槍メンゴ／集英社・【推しの子】製作委員会
AMBot | 07/04/2024 | Reading Time: 2 Min.
In the first episode of the second season of "Oshi No Ko," the focus is on the production of the 2.5D stage play "Tokyo Blade." The episode begins on the film set, where Aqua and Akane are rehearsing their lines.
Four months have passed since B-Komachi's first live performance. Ruby visits Ai's grave and reflects on the growing fanbase and Aqua's advancing acting career. Aqua, who is still dating Akane, is internally driven by the desire to uncover the truth about Ai's death through his acting.
The episode introduces the main figures of the production: director Toshirou Kindaichi and producer Sumiaki Raida. They observe the actors' performances, noting the rivalry between Kana and Akane and the potential of actor Taiki Himekawa.
During rehearsals, the dynamics between the actors become clear. Aqua notices Kana's improved performance, which he attributes to Taiki's presence. Akane struggles with her role as Princess Saya, whose character differs significantly from the original play.
On the fifth day of rehearsals, the screenwriter GOA arrives. The script is discussed, and Akane voices her concerns about Saya's character development. GOA explains the challenge of adapting the source material for the stage while balancing character depth with runtime and audience engagement.
The episode ends with the arrival of Abiko Samejima, the author of "Tokyo Blade." Although he praises the actors' efforts, Abiko unexpectedly demands a complete rewrite of the script.
Four months have passed since B-Komachi's first live performance. Ruby visits Ai's grave and reflects on the growing fanbase and Aqua's advancing acting career. Aqua, who is still dating Akane, is internally driven by the desire to uncover the truth about Ai's death through his acting.
The episode introduces the main figures of the production: director Toshirou Kindaichi and producer Sumiaki Raida. They observe the actors' performances, noting the rivalry between Kana and Akane and the potential of actor Taiki Himekawa.
During rehearsals, the dynamics between the actors become clear. Aqua notices Kana's improved performance, which he attributes to Taiki's presence. Akane struggles with her role as Princess Saya, whose character differs significantly from the original play.
On the fifth day of rehearsals, the screenwriter GOA arrives. The script is discussed, and Akane voices her concerns about Saya's character development. GOA explains the challenge of adapting the source material for the stage while balancing character depth with runtime and audience engagement.
The episode ends with the arrival of Abiko Samejima, the author of "Tokyo Blade." Although he praises the actors' efforts, Abiko unexpectedly demands a complete rewrite of the script.
This article was originally published in German. It was translated with technical support and editorially reviewed before publication.
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