Episode 7 – Apocalypse Hotel

I know I’m repeating myself, but I’m tickled that there is simply no way to predict what Apocalypse Hotel is going to do week to week. Last time, a genocidal space kangaroo swept Yachiyo off her feet and into a philosophical romp through the meaning of everything. This episode, meanwhile, is equal parts political satire and Apollo 13 pastiche, with Ponko prevailing as the cutest demagogue/rocket engineer on the planet. And Apocalypse Hotel continues to hit these wild pitches with seemingly effortless grace.

The first point this episode makes is that we can’t decouple scientific progress from humanity’s baser urges and thought patterns. This isn’t bad, nor is it good. It’s just a fact. Orb, for instance, explored how awe and theology gave birth to both scientific oppression and scientific revolution. Here, launching a rocket in order to erect an orbital advertisement is absurd, but it’s arguably no less absurd than the Cold War genital-measuring contest at the heart of the Space Race. Plenty of good modern science is done in the service of capitalism. I’d actually posit that Yachiyo’s desire to advertise the Gingarou Hotel is even purer than that—she only operates on an illusion of commerce. The hotel doesn’t turn a profit. They’re in it for the love of the game—or they’re in it due to their programming, depending on how much you want to debate Flycatcher Robot’s sentience. I know where I stand.

Ponko further demonstrates how irrationality drives human behavior. And I do mean human, because both the tanuki and the robots are humanity’s scions, sculpted through pop culture and binary code. That inheritance instills in them our tirelessly inventive spirit alongside our susceptibility to Nostradamus’ codswallop. It’s a delicate balance. While Apocalypse Hotel always aims for the absurd, this is one case where its fiction can’t quite keep up with reality. Sadly, it’s all too easy for me to imagine a scenario where a trashy tabloid spurs our current administration to construct a pointless and costly space weapon. I can picture all of the infuriatingly credulous headlines. I’m knocking on wood right now like you wouldn’t believe.

This is the deepest Apocalypse Hotel has dipped into blatant political satire, and I’ll admit that I was skeptical of its ability to do so compellingly. One of the writing’s great strengths has been its ability to do a lot with large brushstrokes. However, the series’ primary goal still ends up being an exploration of the goofiness at the heart of the human condition, so for me, it works out. It’s also impossible for me to be upset with Ponko when she’s fearmongering in the most adorable way I’ve ever seen. More seriously, I respect the writing’s acknowledgment that good intentions often quickly give rise to dangerous rhetoric and actions. Ponko’s fear of losing her home is grounded and relatable, but the short jump into a campaign for Rods from God is the real concern. Still, it’s enough to convince Yachiyo (although I’d wager that’s more a product of their friendship than of Ponko’s political acumen).

The episode’s second half is appropriately cinematic, utilizing time-tested techniques like the training montage in order to depict the Gingarou staff’s foray into rocketry. As someone who watched Apollo 13 at least a dozen times as a child, this is my element. It also just makes sense that Ponko is an expert space engineer, and it’s a good reminder that tanuki lifespans are far longer than our own. My favorite aspect of this section, though, is that it provides more proof of Yachiyo being the best boss. She’s literally willing to put her neck on the line in order to enable her employee’s growth and dream project. If only all managers could be that supportive.

Apocalypse Hotel’s ultimate trick, however, is taking a jokey premise and infusing it with real emotions. Before Yachiyo steps into the cockpit, Ponko pulls her aside to tell her that she loves her. Previously in the episode, Ponko yelled at Yachiyo for being too robotic. Now, she’s honest about her feelings. Despite the ridiculous backdrop, this scene reads as wholly authentic. It’s a touching moment. That’s the caliber of character writing and sharp direction that keeps Apocalypse Hotel at the top of its game. Another sillier example of the show’s amusing dichotomy comes through one of Doorman Robot’s lines: “All walls are ultimately doors. You just need to step through them.” That is the perfect blend of poignant and stupid. That is Apocalypse Hotel.

The final whiplash comes via the surprise cliffhanger, in which a solar flare leaves Yachiyo drifting helplessly through space while her HUD cheerfully informs her that she’s unlocked her self-destruct feature. In the middle of this, Yachiyo also recalls Ponko’s earlier words and marvels for herself at how beautiful Earth is. It’s an emotional rollercoaster, and none of it feels forced or clumsy. That’s why I love this anime. And before any grows too concerned, I’d wager there’s a 50/50 shot whether the next episode focuses entirely on her rescue, or whether it moves onto Yachiyo and the gang’s next scheme without addressing her rescue at all. The show could make either work, which is the best and funniest part.

See You Space Concierge…

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Apocalypse Hotel is currently streaming on Crunchyroll on Tuesdays.

Steve is on Bluesky for all of your posting needs. Apparently, he is ANN’s subject matter expert when it comes to anime about hotels and/or girls in the post-apocalypse. You can also catch him chatting about trash and treasure alike on This Week in Anime.