
The Summer Hikaru Died – Season 1 Episode 2 Recap & Review
The Summer Hikaru Died Episode 2 lands us on a country road where police cars zip by Hikaru and Yoshiki on their bikes. On another road, Tanaka is heading toward their town.
At school, the kids are talking about the old woman who died and the amount of spooky stuff going on. One friend asks Yoshiki to walk him home through some scary bit of woods. He declines but Hikaru and some others want to join so now everyone is going. Even though it does look spooky, they arrive without incident.
Elsewhere, Tanaka reaches his destination but he's not taking it seriously enough for the men who are worried about people dying. The old lady who died had been scared of something in the mountains ever since her daughter died. But her worry may have increased its attraction toward her.
On the way back, Yoshiki sees something in the woods coming toward them. Hikaru notices it's following Yoshiki – that's not good.
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The men have moved to a safer spot at a shrine. Tanaka takes out a bag that Hikaru may have taken up the mountain the day he disappeared – they find a wooden head inside, meant to ward off evil spirits. But Tanaka thinks the evil thing has already come from the mountain to hide in the village.
Returning from the woods, the girls run off, scared of something creepy but Yoshiki takes care of Hikaru, who's fallen and gotten a nosebleed. He'd managed to eat the thing trying to latch onto Yoshiki. Hikaru reminds him not to look at creepy things, just keep his eyes on him instead. To himself, Hikaru thinks he doesn't need to take Yoshiki, as he'll follow – and Yoshiki won't let anything steal him away.
Flashback to a story Hikaru's dad told him about an agreement with an Unuki-sama to not attack their family. So, if Hikaru likes someone, he should marry her right away, as Unuki-sama takes people close to them instead.
Back at school, Yoshiki is curious about how Hikaru 'ate' the thing in the woods. Hikaru unbuttons his shirt to show a slit down his chest, inviting Yoshiki to stick his hand inside. As he encourages him to reach further, Hikaru feels Yoshiki's warmth – it's like nothing he's ever felt before. But Yoshiki jumps away when something inside Hikaru pulls him.
Heading home, Yoshiki can't stop thinking about what Hikaru's insides felt like. A woman approaches him, telling him he's getting too close to something dangerous; otherwise, he'll get 'mixed' with it. She'd been feeling a horrible wind coming from the mountain, but now it's gone, so she's been worried about where it landed. She warns Yoshiki against whatever is attaching itself to him and gives him her number if he wants to talk.
That night, Yoshiki struggles to turn off his thoughts.
The Episode Review
Ok, so maybe the new Hikaru isn't so harmless or innocent. His snickering little laugh is a bit creepy, in fact. I wonder if Yoshiki can believe his words. Do we? He seems a lot more confident than in the previous episode, so maybe he's getting comfortable with 'being' Hikaru and confident that he's got Yoshiki where he wants him.
To clarify, Unuki-sama (or Nonuki-sama) is a deity associated with the mountain. In ancient times, people were sacrificed to appease the gods. From the story his father told, it sounds like Hikaru's ancestors looked after the monster, even going so far as to make a deal with it to protect their family.
The suspense of this storyline is spot on, tempting us to where no one wants to go. What do you think? Wishing they conveniently dropped the episodes in more bingeable pairs?
Planning to watch the whole season of The Summer Hikaru Died? I'd love to hear your thoughts in the comments below.
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The Guardian
4 days ago
- The Guardian
Conclave, The Brutalist and The Thursday Murder Club: what's new to streaming in Australia in August
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The Guardian
5 days ago
- The Guardian
Casa Susanna: inside a secret and empowering cross-dressing community in the 1960s
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The original flea market collection of photos was also augmented by collections from artist Cindy Sherman and Betsy Wollheim, a daughter of one of the members of the original Casa Susanna community, and AGO launched a formal exhibition of the photos in the winter of 2024. Now the Met shares its own version of this show, featuring some 160 photos as well as material from Transvestia, a zine made by the Casa Susanna community that published six issues per year. It is a tender and necessary look at trans identity from over half a century ago. Casa Susanna was the brainchild of two women: trans woman Susanna Valenti and her wife Marie Tornell. According to Fineman, the two came together over a meet-cute for the ages: one day a nervous Valenti – dressed as a man – came into Tornell's Manhattan wig shop, supposedly to purchase a wig for her sister, but the astute shopowner was having none of it. 'Marie clocked Susanna, said I know it's for you, it's ok, let me find something that will make you look beautiful. After that the two of them quickly fell in love.' The couple subsequently decided to create a dedicated place where others like Valenti could have the space to be their true selves. 'The two of them as a couple were so extraordinary and unique for their time,' said Fineman. 'I really wish I could have met them, they seem like such incredible people.' In the 60s, very few people who wished to author the story of their own gender were able to have Valenti's freedom. McCarthyism was rampant, and most of the Casa Susanna community supported families as married men – if others found out that they liked to dress as women, they stood to lose everything. 'Most of these people were married, were professionals, doctors, lawyers, mechanics,' said Fineman. 'They were mostly white middle class men with wives and families. They had a lot to lose if their cross-dressing were to be exposed. They lived in isolation and shame.' Casa Susanna participants went so far as to learn to process and print color film on their own, in order to avoid having their photos seen by consumer labs. In spite of that intense pressure – or maybe because of it – those depicted in the Casa Susanna photos radiate intense levity and happiness. 'There's a real sense of joy, a feeling of being so comfortable in their skin,' said Fineman. 'When they were in women's clothing and in the safe space that these resorts provided them they had a sense of freedom there that they couldn't have in their everyday lives.' These photos are striking for how closely they resemble photographs shared decades later by early stage trans women in Internet-based communities. There is a similar aspirational desire to embody an ideal of middle-class, white femininity, and a sense of playful, stolen moments, an all-too brief respite of freedom, self-expression, and community, against a smothering life of forced conformity to a gender that they know is wrong. Heartbreakingly, these photos show a stage of arrested development, a time when so many closeted trans women were unable to stop living a dual life as straight men. Behind all the smiles and casual poses one can sense individuals who yearn to be free but do not feel capable of pushing past the barriers imposed by society. 'Seeing photos of themselves dressed en femme was profoundly important for these people,' said Fineman. 'They talked about this in the magazine and in other places. It was seeing an image of themselves as a woman that reflected back their desired identity to them.' Importantly, Casa Susanna puts the lie to the frequent myth that there is something new about trans women, as well as the falsehood recently perpetrated by supreme court justice Amy Coney Barrett that the US has no significant history of discrimination against trans people. 'At the time there were masquerade laws, so these people could be arrested for cross-dressing in public,' said Fineman. 'They had to be very careful, even going outside of their homes. There are accounts in the magazine of them being arrested, which involved horrible humiliation and mistreatment at the hands of the police. They could even be sent to mental institutions for what was essentially conversion therapy.' Many in the Casa Susanna community had supportive wives who would often join them in the Catskills, sometimes even penning columns in Transvestia from their perspective. In 1965, one wife named Avis wrote a heartfelt column on her struggles to understand her spouse's identity, giving some sense of the depth of commitment of those who participated there. 'Wives would come with them to these retreats and help them create their look,' said Fineman. 'One picture that I really love that shows a couple wearing matching dresses that they obviously had had made. That was something really surprising.' Some members of the Casa Susanna community, such as Virginia Prince, founder and editor of Transvestia, eventually transitioned to a woman – she lived openly as herself from 1968 until her death in 2009. Some of these women still survive to this day, and several will be present at the Met for a panel in September. The museum will also host a screening of the 2022 PBS documentary Casa Susanna, directed by Sébastien Lifshitz. Fineman sees this exhibition as a gesture of inclusion to the trans community, as well as a way of making good the history that has been lost. Museums have a particular role to play, particularly now when so many other sectors of society are actively erasing trans lives. 'I hope this offers trans people a larger sense of affirmation and understanding,' she said. 'We have a role to make these pictures and history visible.' Casa Susanna is on display at the Met in New York until 25 January 2026


The Sun
28-07-2025
- The Sun
Vicky Pattison strips to leopard print underwear and reveals ‘strong, healthy' body after heartbreaking health struggle
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