 | Akatsuki starts Limited Tsukuyomi, while Naruto gets caught peeping in the girls' bathroom - Naruto Shippuden 311 plot May 8th 2013, 09:17  * It's a day off for Naruto and his friends. They all decide to take a bath, when someone decides to take a peek to the girl's side... Good with the bad and funny, Naruto realizes he has friends. Madara in the meantime is kicking off his Limited Tsukuyomi and Naruto is the chosen one to practise on. Watch with us this upcoming Naruto Shippuden 311 right here on TailedFox! The title of next Naruto episode is "Prologue to Road to Ninja" as it is an episode leading up to Naruto Shippuden movie 6. See us in Naruto forum to share your opinions and predictions. You can also download Naruto Shippuden 311 in high definition.  Madara is standing around with Black Zetsu at a place called "Training Cave" talking about Limited Tsukuyomi. Madara pulls out a glass sphere prototype of "Infinite Tsukuyomi" to demonstrate the meaning of "Limited". Then he explains that you need to find out desires of the target. At this moment stone face statue of Minato shows up inside the sphere. It's a day off for the ninjas in Hidden Leaf. Naruto tries hard not to be bored by playing cards with his clones, Sakura battles parents about the house chores, Choji would prefer an all-you-can-eat meal, while Shikamaru yearns for a nice bath. Tenten and Neji are heading to the bathhouse for much deserved R&R. Lee likes the idea as he takes it up on himself to shout it from the rooftop, "let's all go to the bathhouse!". Above ladies' bathhouse Lee is counting his single hand jumps. He is at 2998 and going.  Shino commented on Lee's diligence and reminded Kiba and Naruto that they should see their comrades in more positive light. Naruto looks down and sees a large larvae in Shino's groin. Akamaru transformed into Kiba (no dogs allowed in bathhouse) refreshed Naruto's memory about Shino being an insect guy.  Choji slipped on soap and rolling down the bathtub as a boulder, he managed to spill out most of the water. Shikamaru asked him to use an expansion jutsu to refill the water, everyone laughed and Naruto realized he likes being with his friends. He also thought of Sasuke and how he changed. He was deep in his thoughts when Neji came to him and warned him not to "peep" in the girls room. As if Naruto would… Rock Lee didn't get a chance to finish his 3000 jumps. His shirt caught a loose nail and he crashed right inside the girls room. Naruto being just outside the door heard a loud crash and as debris fell all around, and so did a bra falling accidentally behind Naruto's towel.  Ino grabbed Lee by his throat pissed as she could be, violated and insulted. How dare Lee peeping in on the girls!? She was ready to beat the living crap out of him, but Sakura stepped in questioning whether or not this really could have been an accident. Naruto jumped in to have Lee's back as well. "Trust your comrade!" he says. Naruto turned to Lee, revealing the bra that got stuck in his towel. The hell broke loose and Naruto got his well deserved beating courtesy of Sakura. Later that night trying to fix his broken face, Naruto thought of what happened earlier, the mistake he made … although with not too much remors. His thoughts are interrupted with a knock on the door. All the guys are there as Lee insisted. Naruto was only too happy to invite them in. They had few laughs as they played poker. It was a good fun day and when everybody left, Naruto felt alone and hoping they had stayed longer.  Madara talking to his evil comrades, understood what's inside Naruto's heart as he started the Limited Tsukuyomi.  Master Chen appears and Rock Lee is especially honored. Lee will never forget the Dragon Eye. The title of next Naruto episode is "The Old Master and Dragon's Eye". Watch Naruto Shippuden 312 right here on TailedFox on Thursday at 4AM PST. | | The Rose of Versailles [Part 1] – Review May 8th 2013, 00:04 
Set in the latter half of the 1700's, Rose of Versailles revolves around the character of Oscar Francois de Jarjayes who is assigned as guard to the newly arriving Marie Antoinette whose marriage is supposed to bring peace between France and Austria and provide for the continuing lineage of the Bourbon lineage on the French throne though the annals of history have shown that the families power over the throne was not to last out her husband's reign. While the story of Mari Antoinette may be at least of passing acquaintance with most people (or at least the quote about cake that is attributed to her though there is little proof she actually said it), the story of the turbulent fall in popularity of a royal couple that were initially warmly received by their subject is told throughout the years with Oscar often serving as a voice of reason and conscious to try to get the queen to realize the impact her actions have on the populace but her advice often falls upon ears that aren't unconcerned exactly, more that the queen just doesn't comprehend the entirety of events and so the story unfurls toward the inevitable ending that history has recorded. Using the setting of the French aristocracy just before the French Revolution turns out to be one filled with a bounty in characters to use and plots to exploit that would make the most melodramatic soap opera blush as the figures continually clash in secret schemes and power struggles with multiple issues involving unfaithful spouses and the lovers they have on the side, children who have hidden parentage just to have the most incredible twists happen while often focusing around the queen and presenting challenges that Oscar will have to help clean up. Of course Oscar has a wealth of issues of her own to be explored as she is a young woman who was raised as a man by a father desperate for a male heir and she now stands precariously at a turning point of history with her loyalties to her love of country, love of the woman who is her queen and friend as well as pain at seeing the suffering populace weighing down on her small yet strong shoulders. 
The idea of placing a fictional character into a position to be near the center of events turns out to be an absolute stroke of genius as it allows the writer to use her as needed to bridge the gaps between rich and poor in a way that an actual historical person may not have been able to accomplish while trying to keep a character as close to a historical fiction as can be, though likely some fair liberties are taken with some of the ones who are present and based off of real people as well. Oscar turns out to be a perfect character in a number of ways as her unique perspective on life that comes from her upbringing. For starters her being raised as a man by her father gives her character a bit of an androgynous flavor that seems to allow her to take a bit of a neutral position when it comes to various gender stereotypes and it allows her what seems to be a rather unbiased viewpoint as she watches some of the interactions that go on between the sexes, particularly between Antoinette and a young man she comes to favor which plays into Oscar's role as an almost Cassandra like figure who sees disaster coming and tries to warn the queen away from it but who almost always is left saddened when her notice is left unheeded. Her somewhat dichotomic nature also allows for plenty of issues to revolve around her as well as she is quite a beautiful woman and her looks are such that she attracts attention from both men and woman with at times some of the interest being obvious while at others there is some ambiguity as to the exact nature of the feelings that may be exchanged between different parties allowing for the viewer to ask their own questions at times as to just what some of these situations may be suggesting in terms of relationship pairings, opening up a door on the question of sexuality and love that many shoujo series have built upon since. 
While much of the setup here is appealing, there are places where things feel a bit out of place and just over dramatized almost to the point of parody at times, chiefly when it comes to many of the antagonists who appear and attempt to gain some measure of power one way or the other as many of them lack only the subtlety of twisting a handlebar mustache to complete the single dimensional villain role that they have been assigned. While this construction works well from the melodrama aspect at times it can become somewhat tiring and make it difficult to really get into the series for a substantial number of episodes at a time as the sometimes overdramatic events and schemes can be so thick it creates a need to take a break to process it or just before being able to take in more of it. On top of that the episodes can have rather large gaps of time between them which, when combined with dealing with the current scheme, can leave precious little time for deep character building and thus grand gestures and emotions appear far more often than subtle ones to stand in for character development and it can create a presentation that is often bold but which suffers from a lack of being able to use variances in tone and ideas to truly bring out the full measure of power available in the material which can also make getting into the flow of the series more difficult as it makes establishing a connection a bit harder when years can pass between some episodes. http://www.youtube.com/watch?v=AbSD5EIkMCo Still for a series that is over 30 years old it is easy to see just how it has gained its reputation as many of the ideas here have been used (and often refined) in the following decades as the power of the ideas is on full (if slightly cheesy at times) display which shows off just what emotions can be mined with tales of backstabbing and power hungry pursuits. There is also a bit of an intriguing point on how Antoinette is pictured as for the most part history (or he popular version of it) tends to look upon her badly while this series neither tries to make her a tragic heroine nor villain but more woman who was well meaning but seriously over her head which juxtaposes well with her loyal subject Oscar who may in some ways match her queen as her attempts to balance the different facets of herself in her personal life aren't always supremely successful as she has few problems seeing how events and feelings are building for those around her but seems to have a large blind spot when it comes to herself as she has an easier time thinking of her country and its needs first. While the series may have some pieces that make it a bit harder for all modern fans to get into, Rose of Versailles is a stunning masterpiece that uses a very powerful backdrop to tell a story that is both at times personal and which has sweeping consequences for an entire nation in a compelling way that may make viewers wonder why it is their history books couldn't bring such a remarkable era to life in such a mesmerizing way. When combined with an amazing (though not quite perfect) re mastering of the materials and a bit above average encode as well as a beautiful packaging, the series release is an amazing value for the money and is overall it is one that deserves consideration to be on almost any anime fans shelf and those who love some historical fiction would be well advised to give it a look even if anime isn't typically their cup of tea.
 | | A Sun-Tribe Myth from the Bakumatsu Era – Review May 8th 2013, 00:02 
Centering around an 1862 Shinagawa brothel, Kawashima’s film reminds immediately of one-location madcap comedy, with the opening to 1964′s A Shot In The Dark proving a particularly vivid comparison. The first expository reel where Kawashima puts all the plates spinning is breathtakingly relentless. Doing comedy right so it’s funny enough but doesn’t lose steam is as difficult as it gets. The best comedy, in my mind, injects the whole world and how that world functions with a sense of the askew, after which basically anything can happen, even when on face value what is seen appears “normal”. The comedy then arises spontaneously as the characters interact with the world, the narrative sometimes ebbing towards drama, sometimes flowing towards bursts of comedy. A familiar tribe of characters – two warring prostitutes, a ‘grifter’ who cannot pay for his stay, the owners, a young cook and a band of revolutionary samurai – rotate around the upstairs, downstairs and outside of the house, as all manner of tomfoolery ensues and the score lurches somewhere in search of Benny Hill. Bakumatsu is, as the above may sound, a surprisingly broad experience, singularly unafraid to include endless slapstick, or one-off scenes of stand-alone jokes. It is a remarkably fun film, given the Shogun-setting. Of course it helps how cunningly Kawashima connects all this to then-modern times. The narrator towards the beginning says the film is not about modern Shinagawa and the changes to prostitution, then proceeding to tell us what we need to know about the period (it’s set in the second year of the Bunkyu Era, in 1862, six years before the fall of the Shogun) but then keeps reminding us of the parallels constantly. 
There’s a very interesting remark made by Fujimoto Giichi concerning Kawashima’s working methods, quoted by Frederick Veith in the essay “Bakumatsu taiyô-den”: “First he would visualize everyone’s movements in the film by drawing lines on a plan of the set. Only then did he think about their characters and situation. But it was more important to him to determine what kind of places people were moving in and out of, rather than what they actually did in them.” I think you can see this in the film, and it’s very enjoyable. I’ve now seen this twice, spending some time with this notion the second time. The lively ensemble cast are an absolute joy, with the perennially cheerful Frankie Sakai coming close to stealing every scene he appears in and only prevented from doing so by the cheerful vitality of his fellow performers; even the bit parts have been cast with care and given amusing bits of business to ensure that they register. http://www.youtube.com/watch?v=yLVzpQbGuyY Want to know the worst part about this film? Nobody knows about it. Not even our resident classic film reviewer Deck has breathed a word of this film and he knows about all the obscure Japanese films. All of which begs the obvious question: how on earth has such a technically accomplished, critically lauded and richly enjoyable film managed to remain almost unseen outside of its home country for a seemingly impossible fifty-six years? As contextualised by Frederick Veith, also in the accompanying booklet, these notions are almost certainly a reflection of the films which influenced Bakumatsu, and of the reaction generated by those very films. In newly post-war Japan, the upcoming young generation were seen as a great hope but also as a potential threat to traditional values. Veith’s piece, which takes in all of this and more, is an essential accompaniment to what, at times, can seem be a deceptively light-hearted experience.
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