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Ippo watched as the match ended in Imai's victory in the first round by knockout. Ippo and Itagaki met Sendō at the corridors, where Sendō informed them that his match against Ricardo has been finalised. The three head to Fujii and Mari for details, however, the reporters revealed to them that Ricardo called a press conference for his next match, but his next opponent isn't Sendō, and the match is already in contract, so Sendō isn't able to stop it. Ippo was shocked and excited to learn from the reporters that the opponent is the third ranker in the WBA and former Indonesian champion Wally. A week before Mashiba's world title preliminary match. Ippo did roadwork with Taihei and Kintarō. Ippo, having learned that Wally has teamed up with Volg in his training for his title match against Ricardo, thought that it was a great idea. Ippo getting a call from Sendō to go with him to Mexico to see Wally and Volg's matches. On the day of Mashiba's world title preliminary match, which Itagaki's match against a Filipino ranker is the semi-final of, Ippo went to the Kōrakuen Hall. Ippo was the second of Itagaki during his match, and he kept giving Itagaki advice that contradicted Shinoda's, making Itagaki confused. The match ended in Itagaki's victory by decision. While the season frequently breaks the promises of its cliffhangers, its narrative still feels more incisive than Part 1. “Diop and Pellegrini’s dueling revenge ploys unfold during a string of charity events organized by Pellegrini’s foundation. While these parties and concerts function mostly as backdrops, they continue to imbue the series with relevant subtext (in this case, about the perils of billionaire philanthropy). Where characters like Diop continue to shoulder the real brunt of systemic racism — his father, falsely accused of jewel theft, was an easy target in Pellegrini’s insurance scam — the show’s wealthy villains use philanthropy towards less-fortunate, non-white peoples both as their public-facing personas and as money-laundering schemes. Lupin Part 2 Images17 ImagesThe challenge with a villain like Pellegrini is that he makes it damn near impossible to speak truth to power since he owns so much of the police force and can so easily have dissenting journalists killed. He’s an embodiment of systemic rot, and Hervé Pierre personifies his power in delightful fashion; the stench of his arrogance is nauseating, even when the character doesn’t speak. However, Pellegrini’s all-encompassing menace doesn’t often push Diop or the show to find innovative solutions. More often than not, the season’s ideas feel like variations on things Diop has already tried. Part 2 lacks the slickness and novelty of Part 1’s episodic heists, but its story moves smoothly along a linear path, rarely meandering like its predecessor, and always twisting its narrative screws. The directorial duties this time are split between Ludovic Bernard (Chapters 6-7) and Hugo Gélin (Chapters 8-10), who help make the season more visually and emotionally engaging overall. The color palette rarely escapes Netflix’s all-too-frequently washed-out look, but the camera often matches intense moments with tight, unsettling framing, and romantic moments with telephoto portraits in free-flowing motion, all tied together by Mathieu Lamboley’s playful, jazzy score.