“Carole and Tuesday” Brings Pure Joy and The Best Soundtrack of the Year to Your Streaming Device

Last Friday, Netflix finally decided to grace U.S. audiences with Part 1 of Carole and Tuesday, one of my most anticipated series of the year based on the creators’s pedigrees and the pitch. The series is directed by Shinichirō Watanabe (creator of perennial favorites Cowboy Bebop and Samurai Champloo as well as the much more niche Space Dandy) and produced by Bones (the studio that has produced series like Eureka Black, Darker than Black, Soul Eater, both adaptations of Full Metal Alchemist, and My Hero Academia). If somehow none of those names have you at least interested in Carole and Tuesday, maybe the synopsis can convince.

Synopsis Set an indeterminate amount of time in the future, Mars has been terraformed and most of the entertainment industry has defaulted to using Artificial Intelligence to write and compose all of the music for human artists/puppets to perform. Amidst the day-to-day life of Alba City, Carole is a simple orphan trying to make ends meet and Tuesday is a runaway with nothing but a Gibson acoustic guitar after her single suitcase gets stolen. After fate draws Tuesday to Carole’s keyboard on top of a bridge, the two begin their strange ascent into the music business on purely their own merit. After waiting the excruciating long months for the first twelve episodes, and while I’m not a fan of waiting another several months for the back half of the series, I am very happy to report that the series, while not perfect, brings an unadulterated joy and a cle…