
The Shiunji Family Children Episode 8: Banri And Arata Sneak Into College—Recap, Release Date And More
In 'Surely,' Minami is missing on the day of the Inter-high final. The Shiunji siblings are left anxious until she returns home, claiming she was shopping. She reveals she was benched due to her injury. Though she hides her disappointment, Shion informs Arata of her heartbreak.
Arata convinces her to return and plead her case. Minami plays the deciding match but loses. She apologizes to Nao, who thanks her instead. Afterward, Arata comforts the smiling but grieving Minami, encouraging her to stop suppressing her emotions.
The Shiunji Family Children Episode 8 will take place a few days after the Inter-high final. While Minami accepts the outcome, Ouka will remain frustrated, believing an officiating error cost the game. The episode will likely explore the aftermath of Minami's match.
Additionally, Minami will slowly become aware of her feelings for Arata. At home, Ouka will confront Kotono to understand her stance on Arata. Meanwhile, Banri will tell Arata she left something at her nursing university and persuade him to sneak into campus at night with her.
Titled 'Since Then,' The Shiunji Family Children Episode 8 is set to premiere on May 27, 2025, at 11:00 pm JST. In Japan, the episode will be broadcast on AT-X, Kansai TV, Tokyo MX, BS11, and other local channels, with streaming available on platforms like ABEMA and d-anime Store.
International audiences can watch The Shiunji Family Children Episode 8 on Crunchyroll. Viewers in South and Southeast Asia can stream it via Bilibili Global or Ani-One Asia's official YouTube channel. In Taiwan, the episode will be available on the Bahamut Animation Madness streaming service.
For more updates from The Shiunji Family Children anime, stay tuned to Pinkvilla.
*The release dates and times provided are accurate at the time of writing and are subject to change at the discretion of the creators.
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Raghavan's recently published Rama Bhima Soma (2025) is a rigorously-researched cultural investigation of modern Karnataka, and a fantastic primer for the probing reader invested in understanding the political contestations that underpinned the emergence of Muslim women writers such as those of Mushtaq and Sara Aboobacker. The combative and multi-faceted cultural icon and writer P Lankesh first gave space to both writers in his weekly publication Lankesh Patrike. In her foreword to her reprinted Kannada collection, Mushtaq expresses gratitude to him and the Bandaya writer and veteran Baraguru Ramachandrappa for 'giving her writing a direction and expanding the boundaries of her thinking.' Mushtaq's literary expression denotes a clearing of space in the Kannada cultural sphere on many counts. As a Muslim Bandaya writer, her work is opposed not only to normative, Hindu upper-caste, male-dominated literary production in Kannada during the latter half of the 20th century, but also within the domain of political critique in and about Muslim communities in Karnataka. Her work in talking truth to power about the hypocrisies of religious orthodoxy in these communities, their oppressive and highly patriarchal religious norms, further opened a conduit to articulate a women-centric experience, which prominent male Muslim writers in Kannada also often hesitated to voice. Her call for internal reform in relation to women's rights in these spaces landed her with a fatwa in 2000, leading to her social boycott. Her activism highlights the complex socio-cultural positionality of women in these hyper-local communities. It emphasises the need both to be uncompromising about women's rights within them, while also bringing attention to how internal divisions have made them vulnerable to Hindu fundamentalism in contemporary India, in turn, causing a suppression of Islamic habits and practices. As much as her writing is politically fearless, it is also deeply personal. The title piece of her prize-winning collection, Heart Lamp, tells the story of Mehrun who tries to kill herself after her family life goes horribly wrong. She is saved in the nick of time by her daughter who senses in her demeanour that something is seriously off. This harrowing story is perhaps an autobiographical echo of Mushtaq's own brush with death after a long spell of depression post-marriage, which she has recounted with brutal honesty in a recent interview. 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