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Can A Boy-Girl Friendship Survive? Episode 8: Shinji's Debt To Rion Explored; Recap, Release Date And More

Can A Boy-Girl Friendship Survive? Episode 8: Shinji's Debt To Rion Explored; Recap, Release Date And More

Pink Villa20-05-2025
In 'The Cracked Crocus,' Yu is approached by Mao and Azu for anniversary jewelry. This prompts his first attempt at men's designs using the Japanese Cornel motif. Concerned about the cost, Yu hesitates. Trouble arises when a rumor spreads that his custom pieces cause romantic success.
Overwhelmed by demand, he rents space at Himari's house. After a girl falsely accuses him of manipulating customers, the school halts his business. Himari is enraged, and while Yu breaks down, Rion steps in to comfort him.
Can A Boy-Girl Friendship Survive? Episode 8 will likely explore how Yu, Himari, and Rion respond to the scandal affecting their jewelry venture. With their business halted and reputations damaged, each of them may have to confront emotional and personal dilemmas before continuing forward.
The episode may also address Shinji's intentions, clarifying why he provoked the situation despite foreseeing its impact. Fans can expect the truth about the favor he owes Rion to be revealed, as well as how this influences his actions. It is likely this will only complicate group dynamics further.
Can A Boy-Girl Friendship Survive? Episode 8, titled 'Zinnia and the Whereabouts of Passion,' will be airing in Japan on Friday, May 23, 2025, at 10:30 pm JST, beginning with broadcasts on Tokyo MX and AT-X. Additional airings will follow on BS Asahi, Kansai TV, and TV Miyazaki at a later time.
The episode will also be accessible on streaming platforms like ABEMA, d Anime Store, U-NEXT, Lemino, and Bandai Channel. For international audiences, Can A Boy-Girl Friendship Survive? Episode 8 will be available on Crunchyroll with English subtitles.
For more updates from the Can A Boy-Girl Friendship Survive? anime, keep up with Pinkvilla.
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Around Town: London's famed Wagamama lands in Mumbai, here's what to expect at this ramen giant
Around Town: London's famed Wagamama lands in Mumbai, here's what to expect at this ramen giant

Indian Express

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  • Indian Express

Around Town: London's famed Wagamama lands in Mumbai, here's what to expect at this ramen giant

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Very surreal: Rebecca Romijn on returning as Mystique in Avengers: Doomsday
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Very surreal: Rebecca Romijn on returning as Mystique in Avengers: Doomsday

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The third season of 'Star Trek: Strange New Worlds" also stars Ethan Peck, Jess Bush, Celia Rose Gooding, Melissa Navia, Martin Quinn, and Babs Olusanmokun. PTI RB BK RB view comments First Published: August 02, 2025, 11:30 IST News agency-feeds Very surreal: Rebecca Romijn on returning as Mystique in Avengers: Doomsday Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.

A manga artist from Kyoto is winning praise for her delicate drawings of Goa's stately mansions
A manga artist from Kyoto is winning praise for her delicate drawings of Goa's stately mansions

Scroll.in

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A manga artist from Kyoto is winning praise for her delicate drawings of Goa's stately mansions

In 1990, when Japanese manga artist Akeru Barros Pereira visited her husband's ancestral village of Cansaulim in Goa, she was captivated by everything she saw. 'I'd walk around the quiet village with my baby on my back,' she said 'I had a camera and was fascinated by the village scenes – especially the houses around.' She was so charmed by stately Goan houses, she took pictures of them even as the family drove to the airport to return to Japan. A few years later, when their children had finished high school, her husband, Joao Barros Pereira, a university professor in Kyoto, encouraged her to start drawing again. In the 1970s and '80s, as an undergraduate at Nara University, Barros Pereira had drawn 13 books of manga – the distinctive Japanese style of comics and graphic novels. She had published them under the pen name Toto Akeru. She had stopped when their first child was born. But now, with more time on her hands, Akeru Barros Pereira decided to get going again. 'I remembered those pictures taken all those years ago, and based on those pictures, I began drawing Goan houses,' she said. Using colour pencils, water colours and fountain pen, sitting in an apartment in Kyoto, Barros Pereira began to make her drawings on Japanese paper. In her work, she recreated all the graceful elements of the Goan house – the elegance of cornices and pilasters, plinths and pediments, ornate stucco work, arched doorways, sloping red-tiled roofs, finials, balcaos, decorative gate posts, oyster shell windows, eaves boards, corbels and wrought iron railings. The contrast between the homes in Japan and Goa could not be more striking, the artist said. Rural homes in earthquake-prone Japan are built of wood and paper screens, while the apartment blocks in space-starved Japanese cities are compact. They are quite different from the stone and lime plaster structures of Goa. Her pictures are enveloped with coconut trees and dense foliage. They attest to her fascination with Goan flora and give her works an ethereal, mysterious air. The drawings were so atmospheric, architect Gerard da Cunha decided to publish them as a book in 2013. The Indo-Portuguese House, with text by da Cunha, features 50 of Barros Pereira's works. 'The Indo-Portuguese house is the richest legacy of Goan society,' the book declares. 'It is the result of European rule and all its cultural influences melding with its Indian subjects and their sensibilities, creating an extraordinary house. A house which is neither Western nor Indian, but having the attributes of a well-developed style, as rich and independent as any in this world.' Da Cunha's professional association with Barros Pereira predates the book. In 2008, he bought some of her drawings at an exhibition at the Kala Academy in Panjim to display in his highly regarded Houses of Goa Museum in village of Torda. In the preface to the book, da Cunha explains why he admires Barros Pereira's work. 'Here was somebody who really understood the nuances of the Indo-Portuguese house and could capture its many forms,' he writes. '…Akeru's paintings of the Goan house have been taking up an important corner of my Museum for the last five years and it has helped explain this wonderful house in a way I never could. It has also brought great pleasure and understanding to all who visit.' What makes her work so remarkable? Perhaps it is because she has the keener eye of the outside observer? Sitting in the airy, light-filled antique drawing room of the Barros Pereira mansion in Cansaulim, with an array of French windows opening onto a wrap-around verandah, it is easy to understand Barros Pereira's enchantment with the architectural style. All around are similar manors, all equally grand, all seeped in centuries of family histories in rural Cansaulim. Barros Pereira, who studied mathematics and philosophy, is a self-taught artist. Publishing manga at university honed her skills, she said, though those comics used only pen and ink. The 1970s and '80s were considered the Golden Age of manga, with dozens of magazines being published in a range of genres, aimed at a variety of demographics. 'In every elementary, junior high school, there'd be one or two manga writers or anime style artists,' Barros Pereira said. 'Everybody wanted to become a manga writer…' Her own fantasy genre manga novels were set in a fictional country, definitely Eastern. 'I wanted to introduce Japanese young women and girls to countries other than Europe and the US, which held steady appeal at that time,' Barros Pereira said. Since she began drawing Goan houses around 2005, she almost never created her work in Goa. Two- or three-week annual vacations to the state after a 24-hour journey there made it too hectic for anything more than site visits, she said. Instead, she would take lots of photographs and begin work when she was back in Kyoto, as time permitted. Her work is lent some of its uniqueness from the ultra-thin Japanese paper she uses: it crumbles when wet and is usually mounted on board or cloth or ready purchased as pre-mounted shikishi boards. There are many varieties of Japanese calligraphy paper, each of which gives the work a different effect, she said. 'Japanese calligraphy paper works amazingly well with colour pencils,' Barros Pereira said. She says it adds a soft tone to the colouring that gives it the stand-out effect that characterises her work. She has experimented with pens, using a fountain pen earlier, and more recently switching to a calligraphy pen that does not fade as easily. Over the years, Barros Pereira has drawn more than 200 Goan houses. But she avoids drawing derelict houses, or ruins – preferring to present houses as they are meant to be, renovating them in her paintings, even if the structures she has shot require a little maintenance. 'These houses are living entities, heaving with the family histories and dramas of generations past,' said Barros Pereira. 'I like to capture the hope and promise that they will live on, with new generations.'

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