Galilei Donna: Episode 10

Actually still better than the DaVinci Code, take that as you will.


This week was rather touching.  I don’t really know how to get into it though without ruining it or making it sound really, really dull.

Now, getting this out of the way: While there is a little creepiness in crushing on your descendants…keep in mind you genetically probably have more in common with your current spouse than your great-great-great-great-great-great-great-grandfather. That’s just the odds. You probably share a more common ancestor than that far back (such as, real world example of ancestry, Dick Cheney and Barack Obama share an ancestor of some 180 years ago.) So I personally don’t find it all -that- creepy but it is rather odd it’s a plot point.

But believe me it was not boring. We got to observe Galileo and Hozuki working on projects together, finalizing the design for the first of the airships that would come to dominate the skies in Hozuki’s time.  They share a livelihood in their engineering.  Galileo’s true function, I believe here, is to give a voice and articulate what has always driven Hozuki. He speaks of how his dreams are fantastic, and through math and science he can turn them into reality. The first minutes are essentially a training montage of their engineering skill.  Of note: Galileo references his struggle to prove heliocentrism, which at this point in “history” is still just a theory he’s hammering out, still collecting data on.  But his words mirror those of Roberto’s.  When confronted a few weeks ago he told the girls that without Adnimoon’s resources, even if they did discover a new energy source, it would be useless to them. They wouldn’t be able to manufacture it.  They wouldn’t be able to sell it, to break the cycle by themselves, especially as they are still technically criminals.  Galileo parrots how difficult it is to take on the establishment. But he concludes that it is his duty to try and break the accepted truths if he can prove them wrong, which can be interpreted as “breaking” the “adult world” Roberto warned her about.

Oh, and she gives him a little goldfish….a little metal goldfish that is her pet…? Uh…k. I’ll buy that show, but only because I can’t be bothered. It does actually make some sense now why Galileo adorned each sketch with a goldfish.  Still I’m confused why her goldfish was made of tin…or whatever it was made of. Like…it needed water and everything to live before, didn’t it? Or is every fish she owns a Picco Rosso (the real fish, the ship, and this good luck charm)?

But the real thrill of this time travel stuff comes in the second half, when they’ve finally taken off.  And Galileo tosses off a few nice words at Hozuki as he prepares to say goodbye to her, with her in the backseat.  Her expression is priceless. It is…a sense of wonder, humility, and realization as she finally understands.  They are the words of the sketches. The romantic letters that Hozuki felt a warm glow reading back on her version of the Galileo, the words that spoke so clearly to her heart. They were about her all along.

And in that realization, Hozuki’s face betrays a bitter sadness.  No longer is that figure who inspired her great ancestor a faceless companion.  She found the sketches in his workshop. They were all blank.  He has yet to write them. Her eyes betray that she knows they are letters to a love that will never come back again. She even tries to deflect it that he will one day find happiness.

And there was a particularly heartbreaking moment for me when Hozuki was reciting the letters she knew in her head. There was the line about goodbyes, and “When I touched you, I reached a decision, to make your dreams come true.”  In my head, I was thinking “wait, they haven’t really touched since taking off.”  Trying to play the script game I was playing back in the first half of the series, I figured they might go for some cute hand-holding, maybe even a kiss on the cheek.

But no, that would be happy. And this is Galilei Donna, where happiness comes to die. I feel foolish for thinking it now.

No, the real hard part, is when Hozuki gets sucked out of her seat (guess they haven’t needed seatbealts in the 1500s), and Galileo reaches out to save her, hanging onto her as she gets swallowed by the Tesoro back to her own time. He can’t even finish his last sentence.

Damn. This show doesn’t fuck around. And I adore it for that.

Hozuki arrives just in the nick of time, watching the last of the sand in the hourglass engine of the Tesoro disappear.  She’s stuck in the future now.

Fuck, show, give me like, twenty seconds to recharge or something.

Of course she can’t do anything about the missiles still heading for her and her sisters.  Fortunately, the Black Ganymede intervenes.  they cover the Ferrari’s escape, but it’s short lived. They fly for about thirty seconds before Interpol ships take down the Galileo.

Mind, the logic in all this time travel stuff isn’t flawless, but since the show has been handling itself like an adult, I am willing to give it faith. Whether that faith is unjustly placed…well…that’s something we’ll only know before the end.  I hope so.

Time to wrap up the series. Will they make it? How will our hearts be crushed this time? Hopefully in new and painful ways I haven’t even considered.


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