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The magical girl anime series Creamy Mami, the Magic Angel was spawned as the 1983 brainchild of Studio Pierrot which has proceeded to avail its mechanics with its four siblings. Concurrent to the original Nippon Television broadcast is the release of a three volume manga series for which Kazunori Itō wrote the story using Yuuko Kitagawa's illustrations featuring the designs of Akemi Takada.

Episodes

# Episode title Original air date
1 The Ship of Feather Star
"fezā no fune boshi" (フェザーの船星)
1 July 1983 {{{FirstEngAirDate}}}
The story begins with our heroine Yuu Morisawa watching the Feather Star descend for a landing oblivious to the hefty workload at the crepe shop that her parents Natsume and Tetsuo are desperately trying to resolve on their own; a clumsy stumble into her childhood friends Toshio Ootomo and Midori Kisaragi later, the panicked Yuu votes with her feet using Tetsuo's scooter into a frenzied pursuit sequence whose zenith is four police cars and a helicopter along with Toshio on a bike. Oblivious to the chaos that she has caused with her mad dash through town, Yuu is enthralled with the Feather Star as it comes in for a landing; upon learning that she can see the Feather Star, the two alien cats Posi and Nega draw Yuu aboard where there is a dysphoric fantasy dream sequence that gives way to an encounter with the grateful alien Pino-Pino. Having some family government imparted at the breech upon arriving home sets the stage for the ultimate silver lining of Yuu finding that Natsume and Tetsuo are not hostile to housing the two alien felines who later lead her through utilizing her new-found magical powers; after some cryptic and perplexing trial and error, Yuu successfully initiates her first henshin into Creamy Mami.
2 A Star is Born!
"sutā tanjō !" (スター誕生!)
8 July 1983 {{{FirstEngAirDate}}}
Undaunted by the spanking received from Natsume last night, Yuu steals out of the house early in the morning in order to test her powers as Creamy Mami; while Yuu admires herself as Creamy Mami, Nega and Posi get into a divergent concourse over who is to blame for Yuu successfully sneaking away when Mami decides to drop in for a visit to see if Tetsuo and Natsume can recognize her before flirting with Toshio as she leaves. Meanwhile, Shingo Tachibana is dismayed to have it explained that Megumi Ayase and her manager Hayato Kidokoro are stuck in traffic along with finding that he has to resolve all the office politics caused by such a development until he encounters Mami walking around; a whirlwind of customization and instruction later, Creamy Mami is enjoined for a song whose lyrics the host withholds from her. Even if Creamy Mami successfully improvises a song and escapes the stampede of her newfound fans, Yuu is still stuck with a lengthy home commute whose resolution ultimately requires Toshio as a deus ex machina -- after Creamy Mami admonishes Toshio to behave dignity and respect unto Yuu.
3 Debut! Debut!!
"debyū! debyū!!" (デビュー!デビュー!)
15 July 1983 {{{FirstEngAirDate}}}
Toshio's efforts to temper Midori's expectations of spending time with Yuu obfuscate the fact that Yuu herself is grappling with the disadvantages of being Creamy Mami -- the greatest of which is the narcissistic and fanatical Shingo Tachibana hell-bent on making Mami a star with his company as he orders his staff to find her. The panic Yuu is driven into at the sight of Toshio explaining Shingo his recent encounters with Creamy Mami while Midori tries to steal lustful glances at her illustrates the immense contention that Yuu undergoes as she tries to keep her double life as Creamy Mami a secret although Tetsuo and Natsume are picking up some piecemeal clues; nevertheless, Yuu unwisely decides to »debut« before Toshio so that she can explain things and nudge him toward the rest of his life but is shocked to find that Shingo has other ideas and is not taking no for an answer. Facing the backdrop of Shingo and Megumi ultimately having made the choice for her, Creamy Mami begins her career at Parthenon Productions in earnest.
4 Scramble Top Ten
"Sukuranburu Toppu Ten" (スクランブルトップテン)
22 July 1983 {{{FirstEngAirDate}}}
The hysterical frenzy over Creamy Mami's debut song evenly divided between people buying the album and converging on the upcoming concert obfuscates that the magical idol is actually Yuu Morisawa effecting the mirage of being infirm -- although she almost blows it at the mention of her favorite dish. Unfortunately, Yuu finds that the successful concert at Parthenon Productions as Creamy Mami does her no good against Natsume's zeal to impart her maternal perspective on her subterfuge or the impromptu test for sleeping in class; if those problems are not enough, Toshio's teasing and a collision into Midori costs Yuu her compact right when she is going to need it the most. Yuu's frantic search for the compact gets a big boost from Toshio explaining that Midori at the amusement park has it; while she successfully conquers the high-stakes aerial adventure necessary for its retrieval, Yuu ultimately ends up igniting Megumi's vendetta of Creamy Mami.
5 In Danger?! Mami's Secret!
"kiken de wa!? Mami no himitsu!" (危険では!?まみの秘密!)
29 July 1983 {{{FirstEngAirDate}}}
While watching Hayato Kidokoro tie himself in knots answering the telephones, Shingo revels in the prospect of Parthenon Productions flourishing and thriving when Nega admonishes against keeping Natsume and Tetsuo waiting for too long at home prior to reminding her about the reporters; unfortunately, it is the search for a place to cancel her henshin before beginning the home commute that Megumi obtains enough vicarious data to conclude that Yuu Morisawa and Creamy Mami are one in the same prior to taking revenge by searching for a way to prove her hypothesis. While Midori has gathered the courage to convey his affection for her the next day, he is crestfallen to have Yuu race right by him oblivious to nearly bowling over Toshio on her way to the Studio where following Posi's suggestion to kill time exploring lands Yuu right in Megumi's clutches whose plan becomes more likely to succeed by the minute along with the prospect of Megumi blowing the whistle on Creamy Mami. The ironic deus ex machina that enables Yuu to turn the tables comes in the form of Toshio and Midori finding themselves the vendetta of an unreasonable and persistent sentry whose chase ends where Yuu is being held; thanks to Posi and Nega helping with the back-end logistics, Yuu successfully extinguishes Megumi's hypothesis.
6 The Legend of the Stag
"shika no densetsu" (鹿の伝説)
5 August 1983 {{{FirstEngAirDate}}}
While Hayato and Shingo compare notes with Megumi about whether Creamy Mami will be punctual for an advertisement filming in a wilderness area reputed to have a black stag that has been visiting unto the locals bad luck, Yuu daydreams about being on a date with Toshio cured of his Creamy Mami addiction but causes a misunderstanding on the train when she speculates out loud Toshio and Midori's hidden motives for the outing; during the bus ride from the train station, Nega and Posi compare notes about the legend describing a magical stag that once resided on the Feather Star along with the pros and cons of emancipating the mystical ungulate from its subterranean prison. The astonished adoration of the black stag quickly gives way to it being time for Yuu to do her thing as Creamy Mami. The black stag's risky shortcut whose zenith is being trapped on a high rock ledge has the ironic silver lining of ultimately being the commercial Creamy Mami is to have done originally; now his former golden normal-sized self, the stag explains Mami his prologue and leaves behind the capability to manipulate the environment as he returns to the Feather Star.
7 A Bouquet for the Big Boss!
"biggu bosu no būke!" (ビッグボスのブーケ!)
12 August 1983 {{{FirstEngAirDate}}}
Parthenon Productions receiving a heartfelt letter from a boy named Kenji facing a surgery that could prove just as deadly as the disease it is meant to treat tugs on Hayato's heartstrings while Shingo sees it as a professional opportunity as he charges Hayato a schedule change for Creamy Mami. The convoy of news vans provides Kenji the perfect excuse to go investigate the hullabaloo with his derisive neighbors; while Yuu tries to give her swim coach the slip after Midori intercedes for her, the actual situation is demonstrated to be somewhat more complex than meets the eye when it turns out that it is Kenji's yakuza grandfather Tamegoro Zenigami that needs the pep talk. Shingo and Hayato have quite the imbroglio on their hands: it is a public relations disaster if it is argued they have ties to the yakuza and also if they spurn a young boy's entreaty for assistance because of what he was born into. While the mirage Creamy Mami leads Kenji and Shingo through takes care of the other reporters, the tabloid reporter known as Snake Joe is not so easily dispatched. Snake Joe's attempt to pervert Creamy Mami's humanitarian compassion to his professional advantage becomes the forum for Kenji's former detractors to ultimately show their true colors after Mami asserts her innocence; a telekinetic juggling act from Posi and Nega instigates Snake Joe's retreat and Tamegoro's successful recovery.
8 Miracle Duet on the Beach
"bīchi ni mirakuru de~yuetto" (ビーチにミラクルデュエット)
19 August 1983 {{{FirstEngAirDate}}}
Although she should be happy about its effect on the family micro-economy, the diurnal heat and a mob of impatient customers drives Natsume batty as she tries to entreat Tetsuo to take the family on a seashore vacation citing the effect it is having on Yuu who daydreams about swimming in the ocean before Nega snaps her back to reality as he and Posi prosecute an analytical concourse over the logistics and consequences of Yuu taking a vacation from her double life as Creamy Mami -- an incidence of which is that day when she has it explained that she is to conduct a joint concert alongside Megumi as Creamy Mami at Isohama complete with a brand-new high-tech mobile production van; later that evening, Yuu throws a temper tantrum in an attempt to defeat her earlier »gung-ho« exhibition about working while pointing out that Natsume was trying the same thing earlier only to have the annoyed Tetsuo affirm some very decisive family government. The road trip to Isohama the next morning becomes the forum for Yuu to ultimately learn the lesson »Be very careful what you wish for« when Natsume engages Shingo in a dangerous road race en route to the beach; if that is not enough along with the hefty workload of preparing crepes alongside Toshio and Midori without Natsume and Tetsuo to lead them through it, Yuu finds that doing her thing as Creamy Mami takes on a whole new dimension when she has to perform the joint concert not with Megumi but with her magical alter ego.
9 The spirit of summer
"natsu no seishin" (夏の精神)
26 August 1983 {{{FirstEngAirDate}}}
Creamy Crepes and Parthenon Productions behaving the proverb »Great minds think alike« on a beautiful day sets the stage for Toshio and Shingo's social missteps to get them in hot water with Yuu and Megumi. While Shingo is able to gulp down a lot of humble pie for not watching his words to Megumi, seeing past Toshio's immature human fallibility is the last thing on Yuu's mind especially when Toshio derails her concentration when jumping across a river. Be it to teach Yuu a lesson in appreciating her assets or to simply have fun, an apparition decides to envelop the sextet inside her mystic pseudo-reality of a spatially-enclosed forest with an empty house as the nexus. Yuu is shocked to find that the apparition has housed herself within Toshio to wield him as an escape vehicle only for Yuu to foil the attempted abduction; after Hayato explains her the prologue behind the apparition Andrea that abducts children that look like her late paramour, Yuu realizes the danger Toshio is in and rushes to the rescue. The ultimate silver lining during this interactive ghost story is that Andrea is merely misguided and has not a mean bone in her body although she does try her best to inhibit Yuu's proximity while she makes her escape with Toshio; all Creamy Mami had to do is to acknowledge how important Toshio is to her and understand Andrea's feelings.
10 Hello, Catherine
"Harō Kyasarin" (ハローキャサリン)
2 September 1983 {{{FirstEngAirDate}}}
A stampede of zealous fans eager to greet Megumi who is to perform a concert on the oceanliner being maneuvered into the port in preparation for docking means bad news for both Posi and Nega as the two cats are lost in the lurch during the hullabaloo; while Nega divides his energies between nursing his headache and getting his bearings as he computes his next move, a girl named Catherine successfully makes her escape from the ship much to her nanny's frustration. After explaining her prologue and her objective for being in Japan, Catherine sets course for her childhood home with Nega who tries to explain Posi the situation he is in; while Nega enjoys Catherine taking care of him in spite of the rough ride, Yuu is forced to suspend the search when it comes time for her to do her thing as Creamy Mami. The magic dream box now in hand thanks to some well-timed moves and cooperative circumstances, the problem now becomes how to smuggle Catherine back in under the nose of her very frustrated nanny; after Yuu leads the nanny on a wild goose chase, Nega and Posi explain Catherine the importance of believing in her own dreams and ultimately creating far grander dreams that transcend what can be kept inside a box as the ship sets sail.
11 Father is a Middle-Aged Motorcyclist
"Chichi wa chūnen motosaikurisutodesu" (父は中年モトサイクリストです)
9 September 1983 {{{FirstEngAirDate}}}
A typical morning of Natsume boot-strapping her family for another day becomes the forum for an adversarial divergent concourse that drives Tetsuo to storm out of the house along with having it explained that Yuu has a significant prologue of seeing her parents do this; unfortunately, Tetsuo is not merely cooling his heels as he thinks things over prior to reconciling with Natsume -- not during the calendar week in which it becomes apparent that the workload is too great for Natsume alone. Upon discovering that Tetsuo has returned to his prologue as a toushozoku, the problem is not so much the rendezvous between Tetsuo and Natsume -- nothing that an impromptu Creamy Mami concert cannot take care of -- but for the two apostate motorcyclists to see the light on the folly of their recent martial conduct. Tetsuo's intercession for Creamy Mami from some frenzied fans becomes the ultimate forum for Tetsuo and Natsume to relive their collaborative prologue as toushozoku -- and the owners of Creamy Crepes along with being Yuu's family government.
12 Blackout in the Studio
"teiden Studio de" (停電Studioで)
16 September 1983 {{{FirstEngAirDate}}}
The approach of a Category II typhoon becomes the forum of an anxious Natsume forcing the reluctant Tetsuo into an impromptu honey-do list of emergency home repairs while Yuu teases him at school commute inception; while Yuu divides her energies between the school commute and splashing through the puddles along the way, Shingo and Hayato are discussing the commercial that afternoon involving Creamy Mami when Hayato goes into a story of how there are ghosts in the studio where Megumi demonstrates some of the disadvantages of showbiz. Yuu's school cuts classes short because of the typhoon which affords plenty of time to rush to the studio where an unscrupulous news reporter named Snake Joe takes advantage of Megumi's disgust with the office politics by killing the electricity in the building; neither gets very far when a ghost panics them into fainting. It ultimately falls on Yuu to save the day by photographing Megumi and Snake Joe red-handed in the generator room prior to restoring the power; unfortunately, Yuu's courageous heroism does nothing to save Yuu from being in very choppy water with Natsume and Tetsuo being anxious for her safety.
13 Mami, Through the Looking Glass
"Mami, rukking u gurasu surū" (真美、ルッキンググラススルー)
23 September 1983 {{{FirstEngAirDate}}}
While out and about at the amusement park one afternoon, Toshio races ahead to secure the optimum perspective of the upcoming Creamy Mami concert while Yuu leads Midori through a roller coaster ride in which he faints; while taking responsibility for Midori is relatively simple and straightforward, finding a private location to conduct the henshin into Creamy Mami proves to be a challenge for Yuu -- especially when a secluded location is a house of mirrors that causes the henshin to summon a mirror image doppelganger that wastes no time causing an uproar around town. Astonished at the lack of modesty demonstrated by the doppelganger and anguished at the effect it has on Toshio who eventually begins to put two and two together, Yuu decides to get into the act herself after heeding Nega's recommendation to have a mirror on hand; a frenzied pursuit sequence later, Creamy Mami ultimately corners the doppelganger into an iconoclastic strategy that brings about her voluntary return to the mirror.
14 My Mister Dream
"Mai Misutā Dorīmu" (マイミスタードリーム)
30 September 1983 {{{FirstEngAirDate}}}
Yuu recounting a conversation with her father Tetsuo about the stars in the sky and the fable associated with the decennial Dream Comet gives way to a news broadcast about the Dream Comet as Yuu finishes making a crepe for Midori that sets the stage for Yuu to prosecute a divergent concourse regarding the existence of Mr. Dream with Toshio who plans to observe the Comet that night with Midori. Later that evening while staring up at the sky, Yuu explains her childhood prologue with Toshio whose detection of the Dream Comet becomes the forum for Mr. Dream to manifest himself before the astonished Yuu as he explains the adventure ahead of her that night. Yuu's adventure with Mr. Dream begins with some elements of »Alice in Wonderland« that enable Toshio to spot Yuu well enough to give chase after her; while unable to follow Yuu to the dimensional area where the secret clubhouse is located, Toshio's anxiety for Yuu's welfare is a potent deus ex machina that ultimately adds enough elements of »Cinderella« to bring the evening excursion to a conclusion that leaves Yuu feeling satisfied with a healthy perspective of the circumstances; even if the complex logistics of reality do not always work out in her favor, Mr. Dream leaves behind a wonderful consolation prize for Yuu: a Toshio that happily accommodates her childish dreams.
15 The Rainbow-colored Angel
"niji shoku no tenshi" (虹色の天使)
7 October 1983 {{{FirstEngAirDate}}}
The nocturnal quiescence of Creamy Gaoka is shattered when an alien known as Peeno crash-lands on Earth to begin his Woofnick genocide mission -- an arduous task that can only be accomplished on a full stomach. Unfortunately for Posi and Nega, Natsume does not understand or care that the two cats cannot have eaten the five jars of specially-made jam by themselves as she gives chase in spite of Yuu's attempted intercession; fortunately, Grandpa Yoshino is far slower in jumping to conclusions as he shares some insight as to Yuu's situation. Tetsuo and Natsume accidentally using spicy batter to make the crepes Yuu delivers as an apology obfuscates Grandpa Yoshino being in a bad way because of his identity as a Woofnick; even with Nega explaining the situation with the Woofnicks along with Peeno's goals, Yuu discovers that catching Peeno is far easier said than done even though Midori succeeds in capitalizing on Peeno's appetite. While standing guard over Grandpa Yoshino all night only to find that the damage is already done, Yuu is ultimately forced to fight Peeno as Creamy Mami to avoid becoming a Woofnick herself.
16 The Memory that Vanished into the Sea
"memori wa , umi ni kie ta" (メモリは、海に消えた)
14 October 1983 {{{FirstEngAirDate}}}
Even though he has royal responsibilities that take precedence over it by far, the prince Ayumi exerts a great effort to reconnect with his childhood friend Toshio who is practicing his soccer skills with Midori when Yuu arrives wanting to join in; unfortunately, Yuu is not as practiced in soccer as Toshio and loses control of the ball. Toshio's ball now in hand, Yuu encountering Ayumi sets the stage for a sequence of reminiscing before the sentries force the kids into a hasty retreat. Now at the wrecked ship, Yuu happily runs around exploring the ship with Midori on her heels before deciding to search for the treasure in earnest; unfortunately, things go sour when Midori inadvertently knocks the ship loose from its resting place where the waves can easily capsize it. Yuu finds Ayumi's treasure but is ultimately forced to forego it to save everybody as Creamy Mami when the ship begins sinking; as far as Ayumi is concerned, the opportunity to spend time with Yuu and Toshio is a far greater treasure than the gold statue he had intended for her.
17 The Sleeping, Timeless Forest
"nemuru , toki wo tomeru no mori" (眠る、時を止めるの森)
21 October 1983 {{{FirstEngAirDate}}}
Posi and Nega scolding a frustrated Yuu for procrastinating on an art assignment she was charged sets the stage to have explained her a forest fabled to enable anybody to draw with a great deal of skill; desperate to avoid the turbulence for not doing her homework but also curious, Yuu decides to set course for the forest where Midori explains Miya Nakahara who prosecuted a prolific year-long art career a decade ago at only 13 years old before disappearing. Upon having it explained that Miya will catalyze sincere efforts to develop the artistic skills of those that draw in the forest, Yuu races off into the forest to try her fortunes only to find that success can have far more dire consequences than failure when she encounters the Unicorn Deshi who leads her into a face-to-face encounter with Miya in a pseudo-reality that she cannot easily leave on her own when the Unicorn Meijin takes her prisoner with the exhortation to reside in its world with Miya. Even though Miya yields to her conscience and decides to help Yuu return home, it ultimately does nothing to challenge the bitter reality that Miya is in a purgatory not unlike what Nega and Posi forewarn Mami of if anyone ever pays audience to her henshin.
18 The Adventure of Zashikiwarashi
"zashiki no bōken" (座敷の冒険)
28 October 1983 {{{FirstEngAirDate}}}
While evading the wrath of the frustrated production staff for interloping onto the production set and leaving a trail of destruction as she is being chased around, Zashikiwarashi searches around for another playmate before settling upon Yuu who is having a blast. While the mythology associated with Zashikiwarashi expounds upon her bringing happiness to the homes she visits, such is a long way off when Zashikiwarashi shows up the adults who then give chase after her although Zashikiwarashi herself means no harm and has not a mean bone in her body -- not with how she behaves toward Posi and Nega along with enthralling the kids with her charisma. Galvanized by Zashikiwarashi's prologue of boredom and loneliness, Yuu lends Toshio and Midori as surrogate friends as she decides that an engagement with Creamy Mami is in order -- a decision easier said than done with having to retrieve the wand which appears out of reach. True to Hayato's anxious admonition, Zashikiwarashi does act out her impatience for Creamy Mami which interferes with the show but also has the ultimate ironic silver lining of celebrating Megumi who has been marginalized in favor of Creamy Mami.
19 Mami's Longest Day
"Mami no saichō bi" (真美の最長日)
4 November 1983 {{{FirstEngAirDate}}}
Shingo Tachibana completing his work commute excited about the debut of Creamy Mami's new song quickly gives way to neurotic despair upon having it explained that the star of the show is stranded at Atarajima with Hayato. Shingo is naturally none too pleased at the news; a caustic castigation later, Hayato finds himself led through a multi-modal tour de France across Japan that starts with a flight to Osaka and a ride on the Shinkansen that ends up at a dead end in Mishima right when Megumi successfully placates Shingo into eating lunch. Driving into the savage vendetta of a neanderthal trucker that forces them off the highway and onto a wooden bridge whose collapse gives way to a wild voyage on a passenger ferry at Hakone has the ironic silver lining of the journey ultimately getting a big shot in the arm from some kids on a field trip; a couple of well-timed henshins and Toshio performing his contingency messenger role along with a timely thunderstorm later, Creamy Mami stylishly arrives at the concert fashionably late thanks to Megumi.
20 Dangerous Gift!
"kiken na gifuto!" (危険なギフト!)
11 November 1983 {{{FirstEngAirDate}}}
The task of sorting fan mail becomes anything but a pedestrian routine for Hayato Kidokiro when he discovers a ring in a letter meant for Creamy Mami that decides upon him as a suitable beta alternative; while Hayato divides his energies between his work and removing the ring, the Tongari crown prince is led through a visit to Yuu's school where Yuu is filmed presenting flowers to his father the King oblivious that Tetsuo and Natsume would have liked to witness that event live. Toshio's zeal for a photograph with Creamy Mami becomes the forum to have it demonstrated that the Tongari crown prince is being forced to forfeit his life as a human sacrifice for having sent the ring to Creamy Mami unless the ring is retrieved -- a task that is read to mean that Hayato must lose a finger . . . and would have if not for Posi and Nega's »Stop that at once!!!« telekinetic onslaught that sends the sentries packing. Galvanized by the scope of the Tongarian cultural imbrogilo that has been visited unto him, it ultimately falls on Creamy Mami to improvise a deus ex machina as the frustrated sentries and the sinister shaman converge upon Hayato with mortal designs.
21 Cute Love Party
"kawaii rabu pātī" (かわいいラブパーティー)
18 November 1983 {{{FirstEngAirDate}}}
While Creamy Mami does her thing in the studio, Megumi wonders when the next vacation will be when Shingo's father signals an interest in returning to Japan to celebrate Shingo's birthday and address his poor marriage prospects. Megumi inquires the nature of the phone call in an attempt to help Shingo define the imbroglio he faces before leaving a »Stop being so obtuse!!!« slap across the chops as a parting gift. While Megumi computes how to wield Toshio in her counterstrike subterfuge against Mami and curry Governor Tachibana's favor in the hope of marrying Shingo, Yuu is making time with Toshio when she strikes it rich in a lottery to secure a pair of amusement park tickets; unfortunately for Yuu, the circumstances involuntarily force her into an encounter with the resentful Toshio who decided for the party after she mistakenly lashed out at him. This along with Shingo and Megumi's adversarial subterfuge ultimately ignites a three-ring circus that becomes the ironic evening entertainment much to Snake Joe's delight; while Megumi tries to salvage the damaged first impression, Toshio sees the light as he leads Yuu through the park.
22 Midori-kun and PuppuKupuu
"Midori-kun to PuppuKupuu" (みどりくんとPuppuKupuu)
25 November 1983 {{{FirstEngAirDate}}}
A chaotic circus results when the musical knave PuppuKupuu decides to practice his flute playing one night; aside from insulting the »Silence is golden« nocturnal ambiance, PuppuKupuu's flute playing has the side effect of causing all electrical and electronic devices in the vicinity to malfunction to terrifying and perplexing effect. Toshio is at a loss for why Midori has decided to help PuppuKupuu find his way home as he rushes onto the scene showing no interest in listening to no for an answer to the two boys' company with him to the upcoming Creamy Mami concert. Unfortunately, even after Yuu scathingly castigating him for disrupting the concert, neither Midori nor PuppuKupuu is able to make the cause-and-effect correlation between the flute's music and its consequences. The ultimate silver lining of the divergent concourse Midori prosecutes with PuppuKupuu over Yuu is that it leads to the use of a partially-constructed building as an acoustic amplification antenna that enables PuppuKupuu to briefly levitate in the air; a slight magical boost from Creamy Mami later, the levitation becomes a flight home.
23 Parasol of Stars
"parasoru sutā no" (パラソルスターの")
2 December 1983 {{{FirstEngAirDate}}}
While Creamy Mami's career continues to thrive and flourish, Shingo soon finds that there is a price to be paid for taking Megumi for granted when Snake Joe explains Megumi the interest in her LP Productions has taken; after observing the concourse, Yuu sets course for home where Midori explains her the idea behind hikinuki and the damage it causes alongside Toshio who adds that the whole thing is up to Megumi. Firmly resolved to extinguish Snake Joe's subterfuge, Yuu approaches Shingo with her concerns the next day only to find that Snake Joe is a step ahead of her as he forces Shingo's hand and backs him into a corner; if Shingo's complacency about Megumi's loyalty and his obliviousness to Megumi's frustration are not enough, Megumi's brinkmanship gambit to scare capitulation of Shingo ignites an adversarial divergent concourse with resolution and epilogue uncertain. While Snake Joe tries to wield Megumi's ambivalence to his advantage, Yuu finds that the ultimate deus ex machina to resolve things lies in Shingo and Megumi's collaborative prologue involving the »Parasol of Stars«; a scavenger hunt for clues across town and a magical intercession from Creamy Mami later, Megumi and Shingo reconcile their differences.
24 Bear Bear Audition
"beā beā ōdishon" (ベアーベアーオーディション)
9 December 1983 {{{FirstEngAirDate}}}
Creamy Mami has it explained that she is to audition alongside Megumi for the movie »Northern Animal Family« whose central plot is the relationship the protagonist has with a bear; if successful in acquiring the protagonist role, the actress's career is sure to flourish. The audition the next morning illustrates that Creamy Mami is excellent for the part since most of the other actresses panic near animals; while Mami does her thing at the auditions, Posi and Nega find that Maru the Bear is not in a good way since his trainer Kaoru works for people that think of Maru as a thing rather than a living creature. The stormy office politics of Maru taking an »Enough already!!!« siesta on stage prompt Kaoru to steal away into the night with the infirm ursine -- her course set for Hokkaido. The chase after Kaoru and Maru that ensues has the ironic deus ex machina of being the central plot of »Northern Animal Family«; although she has a divergent concourse with Mami who thinks that Maru should first receive medical attention before journeying to Hokkaido, Kaoru ultimately proves herself as the ideal candidate for the movie with her altruistic concern for Maru that successfully demonstrates her case.
25 Disturbance! The Pop Festival
"shōgai! poppu fesutibaru" (障害!ポップフェスティバル)
16 December 1983 {{{FirstEngAirDate}}}
A particularly busy afternoon with a bunch of impatient customers becomes the forum for demonstrating the impact of Yuu's double life as Creamy Mami visits unto Tetsuo and Natsume as they frantically endeavor to flawlessly coordinate and fulfill every permutation of crepes barked at them; while Toshio and Midori compute the exhortation of helping Yuu's parents part-time, Yuu has just finished her commute to Parthenon Productions in time for an impromptu concert as Creamy Mami that becomes the preamble for a medley of different activities that comes across as indifference. Yuu's fury at Toshio pejoratively comparing her to Creamy Mami causes Yuu to lash out at Nega and Posi before marching over to Shingo with a hasty decision to sit out the NPB Pop Festival before Megumi leads her to an autographing session followed by a »Mind your tongue!!!« spanking from Natsume annoyed at her persistent attempts to call Toshio; the next morning, Yuu acknowledges her fallibility as she rushes off to school resolving to reconcile with Toshio at the Festival where she fruitlessly searches for Toshio. Unfortunately, Yuu's fruitless search also has the ultimate irony of inadvertently leading Toshio right into the midst of her henshin to Creamy Mami.
26 Bye Bye Miracle
"bai-bai mirakuru" (バイバイミラクル)
23 December 1983 {{{FirstEngAirDate}}}
While preparing to go on stage at an awards ceremony, Creamy Mami is shocked to find that Toshio witnessing her henshin has interjected deviant diagnostics that have rendered it impossible for her to perform effectively even as she tries to forge ahead with a brave face; while Nega and Posi compute how they can help with the situation, Toshio struggles to put his feelings into perspective -- a task catalyzed by Mami's manager Hayato Kidokoro. The award that Creamy Mami won for her exhibition pales in comparison to the fact that she cannot return to Tetsuo and Natsume who are awaiting the return of their daughter Yuu Morisawa; having just now been accosted by two lechers, staying on the streets is not an option either. Pino-Pino arrives in the Feather Star with the explanation that Toshio has Creamy Mami's magic trapped within him and that it ultimately falls on Toshio to make a wish in order to dissipate it; an earnest wish to emancipate Yuu from the purgatory of a powerless Creamy Mami later, Toshio escorts Yuu home to her parents.
27 To the Feather Star
"fezā sutā ni" (フェザースターに)
6 January 1984 {{{FirstEngAirDate}}}
Natsume guiding Yuu through putting on her kimono for the New Year's shrine visit gives way to Yuu racing down the stairs past Tetsuo in her zealous bid to see Toshio -- a stark contrast to Nega who never really wanted his stewardship over Yuu and does not understand why he is enjoined to stay on Earth with Yuu whose compact begins to coruscate. After being dragged into the pseudo-reality around the Feather Star, Yuu and Toshio have it explained that there is a quest they need to undergo in order to generally set things right; upon Yuu affirming her cooperation, Yuu is sent off to practice flying while Pino-Pino explains Toshio the necessity of extinguishing his memories to restore Yuu's powers. After the nymphs' syllabus of what Yuu and Toshio have ahead of them, the two kids ultimately find that the »vicious« dragon is merely crazed with pain; a high-stakes game of tag and an incidence of high-precision archery later, Yuu has a brand-new henshin item along with a new-found appreciation for Toshio and her professional career as Creamy Mami as she prepares to begin her first concert of the new year.
28 The Mysterious Transfer Student
"nazo no tensō wa, gakusei" (謎の転送は、学生)
13 January 1984 {{{FirstEngAirDate}}}
Encountering a particularly blustery morning, Yuu remarks that something is sure to happen that day as she begins her school commute; sure enough, Yuu encounters a boy named Mamoru Hidaka that annoys her classmates with his insistence on divining the wind and repulsing all student attempts to enforce the school rules as he makes a hasty retreat. Posi and Nega set off to search for Mamoru who detects that they are not ordinary cats before Yuu comes to retrieve them; Mamoru accompanies Yuu back to her home as he explains his prologue in his hometown on Hokkaido and that he is having trouble adapting to Tokyo's urban environment over crepes -- particularly Creamy Mami. Toshio and Midori enjoying a Creamy Mami concert before they notice Mamoru's absence ultimately becomes the forum for Mamoru's perceptiveness of the local songbird species and proficiency in carpentry to make its advent along with Yuu having a new friend -- especially when she wakes up to the snowy morning Mamoru accurately predicted.
29 Ropeway Panic
"rōpuu~ei panikku" (ロープウェイパニック)
20 January 1984 {{{FirstEngAirDate}}}
As Nega is shocked to have demonstrated along with Posi, Natsume and Yuu are dangerous when they are serious about their housekeeping -- especially when it comes to their favorite TV show »Spy Hunter 0010«; while confirming her schedule for tomorrow, Yuu has it explained that she is to participate in the filming sequence much to her delight -- if the Yurigaoka Studio sentries will cooperate. After a divergent concourse with an unreasonable sentry who is not very accommodating of her childish curiosity and a henshin to Creamy Mami, Yuu finds that the director merely wishes to decide what clothes to have Mami and Megumi wear during the filming at the Nagayama Ski Resort. Toshio and Midori escorting Yuu to the Resort sets the stage for witnessing some novel off-camera insight; Yuu reads the boys' divergent concourse as her cue for a Creamy Mami henshin. Unfortunately, Nega does not realize that what he is seeing is a mirage nor that his »intercession« on Yuu's behalf will ignite Takashi Murigami's acrophobia -- a dangerous liability during the high-altitude emergency that ensues. It ultimately falls on Toshio to determine whether Creamy Mami will fall from grace or land with style along with the two actors.
30 Dear Grandma
"Aisuru O-bāchan" (愛するおばあちゃん)
27 January 1984 {{{FirstEngAirDate}}}
There is nobody in the world that does not have his own internal demons to fight nor is there an empire or double life that does not eventually implode on itself -- a bitter lesson Hayato Kidokoro realizes one night as he writes a letter to his grandmother about his fortunes in Parthenon Productions being better than they actually are. Later that night, Yuu compares perspectives with Posi and Nega over the matter to conclude that Hayato's deception to his grandmother Takeshi has the same motives as that Yuu avails for her double life as Creamy Mami; unfortunately for Mami, Shingo is too obsessed with his own issues as he charges Hayato the purchase of a quantity of star halos. If that is not enough, the office full of star halos the next morning becomes the forum for Hayato's grandmother Takeshi deciding to see things for herself. Dismayed at how poorly her grandson has managed his life, Takeshi charges Hayato the ultimatum to dispose the star halos in three days or permanently forsake his professional life in Tokyo. The ultimate silver lining of this crisis is that Hayato finds the courage to assert himself catalyzed by Creamy Mami explaining the limited utility of a strategic retreat.
31 Yuu's Flashdance
"Yū no furasshu dansu" (優のフラッシュダンス)
3 February 1984 {{{FirstEngAirDate}}}
While Tetsuo pours the crepe batter and decides what flavor to use, Natsume teases him about how he has programmed Yuu to always have male friends as evidenced by Mamoru who arrives with Yuu; it seems that Yuu and Mamoru have been charged a school essay they have no idea how to resolve. When she arrives outside with the crepes, Natsume explains Mamoru Yuu's prologue of having all kinds of adulthood aspirations before getting back to work. What Yuu is shocked to find at the dance school the next morning makes Tetsuo and Natsume's »Contain yourself this instant!!!« family government for celebrating being given the green light last night seem quite tame: the dance school expecting its students to have prior background data on several dance styles. Undaunted by the persecution, Yuu decides to defeat the dance school at its own aptitude test as she takes to preparing for it through various avenues. The ironic silver lining of Yuu unsuccessfully defeating the test is that Toshio ultimately acknowledges his human fallibility along with Yuu's efforts at refining herself while Yuu decides upon becoming a beautiful bride for her essay.
32 Valentine's Day for Just the Two of Us
"no barentain chōdo 2tsu no toiawase" (のバレンタインちょうど2つの問い合わせ)
10 February 1984 {{{FirstEngAirDate}}}
Tetsuo and Natsume look on with delight as Yuu prepares some home-made chocolate before deciding to playfully tease her as if she were a small child clumsy in the kitchen before Yuu derails them with the mention of the »ingredient of love« as she joins Posi and Nega on the roof; after the love spirit infuses her chocolate, Nega explains Yuu that the epilogue is a reflection of her efforts going forward. Galvanized by the data of home commute conclusion much to his social chagrin, Yuu races ahead to customize Toshio's room the next afternoon with Posi and Nega's help not realizing that Toshio has stopped to read the magazine on the way home. Yuu races out to greet Toshio whose preoccupation with what he thinks is a love letter from Creamy Mami ignites a divergent concourse that prompts her to repudiate Toshio in disgust and run away in tears; after commiserating with the anguished Mami Shinoda at the park, Yuu sets course for a church that is a crucial component of her prologue with Toshio who is at a loss for what he is doing wrong. Midori interjects himself as the ultimate deus ex machina for both Toshio and Yuu to see the light regarding their human fallibility at the site of Toshio's most altruistic intercession for her.
33 The »Atchoo!« of Horrors
"»Hakushon no oto!« no kyōfu" (»ハクションの音!«の恐怖)
17 February 1984 {{{FirstEngAirDate}}}
Even though he is not thrilled with having to participate in the subterfuge necessary for Yuu to manage her double life as Creamy Mami, Nega finds it no trouble at all to conduct himself like a carefree housecat -- a lifestyle that he is starting to pay for when he contracts a cold that causes his body to expand with every sneeze. Nega's speculation with Posi about why Earthlings contract illnesses that are unheard of on the Feather Star prompts the offended Yuu to offload Nega out of her cowl as she decides him a strict exercise regimen. The next morning, Yuu is shocked to find that Nega's ailment is not the straightforward matter of excessive corporeal mass it appears to be; while Yuu desperately taps Toshio and Midori for answers, Natsume panicking over Nega's deteriorating condition brings things to a head when a veterinarian decides to X-ray Nega. The skeleton key to the whole three-ring circus to secure Nega's survival from both the cold and dissection ultimately rests with Mamoru compiling the necessary reagents to prepare an herbal home remedy along with some old-fashioned and optimistic TLC from Yuu and Posi.
34 Snake Joe's Counterattack
"Sunēku Jō no gyakushū" (スネークジョーの逆襲)
24 February 1984 {{{FirstEngAirDate}}}
Fuming at having been given his walking papers, Snake Joe harbors dark feelings as he contemplates the deus ex machina that recoups his groove; meanwhile, Creamy Mami finds herself charged adherence to a strict deadline when Toshio exhorts company during the home commute on the train with Midori. Snake Joe's stakeout of Creamy Crepes pays off when Mami arrives at home to reply her parents' call; armed with the data of her response, Snake Joe then tries to capitalize upon this by conducting a »Candid Camera« exposé whose back-end logistics are a bit difficult because of his professional prologue. As the exposé begins, it appears that Snake Joe's subterfuge is right on track when Creamy Mami is shocked to see Tetsuo and Natsume but keeps composed about it until a bandit invades the store. The irony of the whole thing is that Snake Joe ultimately has it demonstrated that the success of his subterfuge can have far worse consequences than failure; while he did actually succeed in illuminating the link Creamy Mami has with Tetsuo and Natsume, Snake Joe finds that the joke is on him when the »bandit« demands his non-existent salary while Yuu learns to exercise greater discretion.
35 Tachibana-san Becomes a Woman!?
"Tachibana-san wa on'na ni naru!?" (橘さんは女になる!?)
2 March 1984 {{{FirstEngAirDate}}}
Between getting slapped by Megumi and being twisted in knots over Creamy Mami arriving at the last minute along with the strict nocturnal curfew she observes, Shingo is an absolute nervous wreck; in an attempt to set his mind at ease, he taps Megumi in prosecuting an undercover investigation to learn the data necessary to successfully summon Creamy Mami at will. Megumi counters with an admonition that Shingo should do his own dirty work before leading him through a metamorphosis into the persona Hitomi that galvanizes the chivalry and libido of every male in the vicinity much to Shingo's paranoid dismay; still, none of this compares to Shingo as Hitomi being lusted after by Hayato and his own father Governor Tachibana. While Posi and Nega divide their energies between speculating on Shingo's rationale for the transvestitism and recoiling with revulsion at the concept, Yuu decides to do some investigating of her own oblivious to the hullabaloo Hayato and Governor Tachibana are causing over Hitomi. When this chaotic circus reaches its ultimate zenith, absolutely nobody is happy -- least of all Yuu who has been forced to act as an errand girl only to be eviscerated because of Toshio and Midori's poor performance.
36 Galaxy Circus 1984
"ginga sākasu 1984" (銀河サーカス1984)
9 March 1984 {{{FirstEngAirDate}}}
After an afternoon game of tag with Mamoru who then gives chase after a flock of nightingales flying north, Yuu assuming an iconoclastic perspective for viewing the sunset before deciding to engage in some role-playing with Toshio sets the stage for the two kids to encounter Peter Lyne who leads the two kids through a tour of the Galaxy Circus. Caught up in the moment, Yuu decides for a henshin to Creamy Mami as the assistant to the circus exhibition she finds herself in while Toshio gets a big clue of a deviant diagnostic when Peter signals an interest in taking Yuu with him when the Circus leaves -- by any means necessary fair or foul. The ultimate silver lining of Yuu being hypnotized into performing on the trapeze is that Yuu realizes that she would much rather have Toshio teasing her than Peter coaxing her through difficult and dangerous circus tricks; after he explains Yuu his prologue, Peter departs with the Circus and the admonition that their next engagement will be in 1991.
37 Marian's Eyes
"Marian no hitomi" (マリアンの瞳)
16 March 1984 {{{FirstEngAirDate}}}
Upon arriving at Parthenon Productions, Creamy Mami has it explained that she is to participate in a fashion show the next day whose feature presentation is the wedding dress known as »Marian's Eyes« whose colorful prologue includes a curse that makes all the women who wear it commit suicide; after completing her henshin, Mami encounters the dress in the adjacent room with a bloodstain on it and again when Megumi is unsuccessful in fulfilling the required dimensions of the unsoiled dress. If that is not unsettling enough for Mami, Producer Todoroki signaling an interest in Kyouko Benikouji along with a postcard admonishing against wearing the »Marian's Eyes« becomes the forum for the mystery of finding a way to defeat the dress's suicidal curse. Unfortunately, the only way is to incinerate the dastardly dress -- a volition that the circumstances successfully stalemate; the ultimate irony is not that Mami is a tough customer but that the whole thing is an authentic but slightly cruel double-blind appraisal of Mami for a movie role at the hands of Shingo and Director Karatsu.
38 Heart-Fluttering Fan Club
"hāto furueru fankurabu" (ハート震えるファンクラブ)
23 March 1984 {{{FirstEngAirDate}}}
Creamy Mami enthralling her fans who admire her music with every concert she does throughout her career quickly gives way to encountering fanatics whose shouting during a concert nearly causes a riot in the auditorium and in the streets where it is explained that the »fanatics« are members of the Mami Fan Club. While Shingo panics as Hayato explains him the High Society Club along with its leader Shinosuke Hyoudou, Toshio fumes in frustration at Creamy Mami and Yuu falling into Shinosuke's sway so easily as he suspects that Shinosuke has ulterior motives -- a sentiment reflected in a phone call he makes that night. Unfortunately, Shinosuke's sinister strategy is obfuscated very poorly by his enjoinder for the Fan Club to forbid cheering during the concert much to Mami's delight. Mami accidentally leaving Nega and Posi behind in the car becomes the ironic deus ex machina for ultimately learning what Toshio and Nega have been suspecting all along about Shinosuke; an abrupt bite out of crime later, Mami daydreams about whether she will encounter true love when she is older when Hayato reminds her of the concert.
39 Jurassic Monster Ojira!
"juraki monsutā Ojira!" (ジュラ紀モンスターOjira!)
30 March 1984 {{{FirstEngAirDate}}}
A group of anglers exerting a collaborative effort to haul ashore the net with the latest bounty becomes the forum for Yuu to marvel at the beauty of the sea with both Toshio and Midori right on her heels as Shingo explains Tetsuo and Natsume that he is always searching for places to relax from the stress of showbiz. After dodging the tide a few times, Yuu playfully teasing Toshio about Mami before sprinting away sets the stage to have mentioned the monster of local legend named Ojira; after having the legend explained in more detail, Yuu eagerly wants to investigate only for Natsume to shout her down. Ironically, it is Yuu's zeal to investigate the nocturnal commotion along with Nega and Posi's anxiety that provides the only warning for everybody to flee before Ojira stomps the inn flat. Tsuyoichi Yamane's invitation to his mobile oil platform becomes the preamble for another appearance by Ojira confused by the fog; the root cause of its »aggression« now clearly understood, it is no trouble for Creamy Mami to clear up the misunderstanding and guide Ojira back to its home environment.
40 Creamy Gaoka Flour War
"Kurīmī Gaoka ko mugiko sensō" (クリーミーGaoka小麦粉戦争)
6 April 1984 {{{FirstEngAirDate}}}
Snake Joe is awakened from a sound sleep of Creamy Mami having perverted his subterfuge to his detriment once too often by Kumiko who exhorts his assistance in the synthesis of okonkomiyaki; after giving the matter some thought, Snake Joe reconsiders as he sets in motion a bid to have his revenge by attacking the Morisawa family economy. Tetsuo and Natsume have quite the imbrogilo on their hands: they do not realize Yuu has been leading a double life as Creamy Mami right under their noses; still, not yielding this data to Snake Joe will scuttle their economy. Realizing that Snake Joe will at best break even with his incumbent tactics as he washes the van alongside Mamoru who explains Kumiko's commercial prologue in Osaka, Tetsuo decides to hold a contest while Snake Joe approaches Creamy Mami with a contest challenge of his own: whichever of the two businesses Creamy Crepes or Okonkomiyari Car of Fire sells the most in a week wins. During the calendar week of the competition, both businesses employ various tactics fair and foul to build their clientele base at whose acme is Kumiko availing her father's friends from Osaka in the Car's favor; the ultimate irony is that it is Kumiko's father and his friends that also forces Snake Joe to resolve the aftermath of his earlier subterfuge.
41 Beware, Lest You Overstudy
", anata resutokado no chūi" (、あなたレスト過度の注意)
13 April 1984 {{{FirstEngAirDate}}}
The opening ceremony for the new semester sets the stage for Yuu to find herself the disciple of a freshly graduated Yuuichirou Akagi who shocks class 5-1 with a test to appraise their academic prowess; if that tactic by itself is not enough to raise red flags like with Mamoru, Yuuichirou makes a house call to the homes of the students that fail the test -- a population comprising most of class 5-1. Upon having this explained to her, Natsume decides to flirt with Yuuichirou when he comes for a visit; not long after he arrives, Yuuichirou wastes no time getting right down to business with Yuu's academic performance becoming the forum for a hard sales pitch to a cram school in which the other students are not thrilled about Yuu's presence or her affinity for pacing herself. Mamoru's concern about what the cram school will end up doing to Yuu ultimately becomes the catalyst for Natsume being forced to acknowledge her fallibility when Yuu falls ill right before a crucial exam along with having demonstrated that success has far worse consequences than failure in some cases.
42 Mama's Memory of the Stage
"sutēji no Mama no memorī" (ステージのママのメモリー)
20 April 1984 {{{FirstEngAirDate}}}
Yuu's seventh heaven as she finishes her home commute from school is obliterated at the reality of Tetsuo being forced to shoulder all the work of running the shop while the TV show »Japan Idol« prompts Natsume to enroll Yuu in the singing competition in which Creamy Mami is one of the judges; upon finding that Shingo is on auto-pilot and cannot be bothered to accommodate her, Yuu is forced into availing several different kinds of subterfuge -- all of which backfire on her. Shortly before she goes on stage for the preliminaries, Yuu encounters the host Ryan Seacrest who has a flashback of his former disciple Natsume Fujino without realizing that Yuu is her daughter; caught up in the moment, Yuu forgets about her plan to throw the preliminaries and sails into choppy water with Tetsuo when she then tries effecting the mirage of being infirm as part of her subterfuge to smuggle herself out of the house. Mamoru intercepting Posi and Nega as they prepare to orchestrate a hullabaloo to obfuscate the reversal of the Creamy Mami henshin ultimately has the ironic silver lining of Natsume resolving her childhood prologue with Ryan and demonstrating the importance of doing her own dirty work.
43 Run, Yuu, Faster than the Tortoises!
"Ran, Yū, kōsoku kame yori mo!" (ラン、優、高速亀よりも!)
27 April 1984 {{{FirstEngAirDate}}}
When he gave her directions to meet in studio 606, Hayato Kidokoro never predicted that Yuu would misread the memo as studio 909 nor that Yuu would actually find it; if that is not enough, Yuu finds herself back 11 years in time to when Natsume was still gestating her. The Keeper of Time Balibali is overjoyed to have a visitor to interact with; unfortunately, Yuu's affinity for interactive demonstration rather than passive explanation becomes the preamble for all heck to break loose when Yuu emancipates the two time tortoises Piku and Dina which waste no time in wreaking havoc that gives birth to a strange new world borne from the past and future mixing with the present. After a »Get with the program!!!« scolding from Posi and Nega to take responsibility for fixing things, Yuu races off to search for Balibali but is forced to forsake learning the identity of the groom upon finding her future self as a bride because of the dire circumstances when Piku and Dina give chase after the pair not at all keen on having their fun spoiled. It ultimately takes a blast of magic at studio 909 before Yuu successfully subjugates the renegade reptiles and sets things right.
44 SOS! Escape from the Dream Storm
"SOS wo! esukēpu kara no arashi dorīmu" (SOSを!エスケープからの嵐ドリーム)
4 May 1984 {{{FirstEngAirDate}}}
Capitalizing on a lull in the action one afternoon, Shingo decides to demonstrate his newly-endorsed helicopter piloting prowess during a flight around town much to Megumi's consternation; in contrast, Creamy Mami is in absolute seventh heaven as she enjoys the aerial perspective of the city and takes in stride Shingo losing his concentration in shock of Mami not understanding his soliloquy extolling the virtues of flight. After the circus of Megumi trying to egress the helicopter while in flight and Shingo frantically trying to regain control, Hayato relaying the call of real life sets the stage for a dream storm to swamp the helicopter into a alternate reality plane that allows Toshio to hear the helicopter but not to see it; if that is not enough, even Posi and Nega have no idea how to resolve the situation when Yuu's magic is of no utility within the alternate reality of the dream storm. Faced with being atop a crumbling mesa along with an ocean that reflects subconscious associations, it ultimately falls upon Yuu to innovate the necessary deus ex machina to escape back home before time runs out for both Shingo and Megumi along with herself.
45 The Psychic Boy of Sorrow
"kanashimi no reikon bōi" (悲しみの霊魂ボーイ)
11 May 1984 {{{FirstEngAirDate}}}
Shingo bawling out Hayato and grousing to himself about Mami's tardiness for a concert obfuscates the ironic reality that she is actually right under their noses computing how to make a flashy entrance while making a deal with the devil in the nearby park as Yuu befriends an esper named Makoto Uchiyama complete with an unlimited backstage pass to visit her at home. True to Mamoru's admonition of caution about him, Makoto wastes no time in advancing his agenda of having Yuu all to himself when he first unleashes his psychic rage unto Shingo for decrying Hayato's generosity; while Makoto is overjoyed to spend time with Yuu and even avoids wearing out his welcome that evening, Posi and Nega comparing notes about the day's events prompts Yuu to seriously consider Mamoru's earlier admonition -- especially when Makoto exerts himself in an emphatic but unsuccessful attempt to destroy her school. Frightened of there being fatalities if Makoto should ever lash out with his psychic powers regardless of its physiological cost on his body, Yuu is ultimately forced to avoid Makoto even though she does not want to; while this tactic gets his attention, it is only after Creamy Mami and Pino-Pino's collaborative intervention that Makoto sees the light and turns over a new leaf.
46 My Wonderful Pianist
"Mai Wandafuru Pianisuto" (マイワンダフルピアニスト)
18 May 1984 {{{FirstEngAirDate}}}
Yuu finds herself learning why the word »assume« is spelled as it is when Toshio gives chase after her for a half kilo-yen bracelet meant as a gift for Creamy Mami; a very vocal intercession from Midori later, Yuu races off to Parthenon Productions where a props stevedore named Takahiro is carrying an awkward payload that includes a ten kilo-yen vase that becomes the primary fatality in the ensuing collision with Creamy Mami who has to perform a talk show in which the vase is to be utilized as a prop; upon having explained the dystopian epilogue of the damaged vase, Mami accompanying Takahiro on his job of cleaning building windows becomes the forum for her to be caught up in the moment and forget about the time while falling in love for the first time. Unfortunately for poor Yuu, celebrating the discovery of her first love is the last thing on Tetsuo and Natsume's minds as their savage castigation that night instigates the question of why she cannot remain as Creamy Mami forever so that there is no need for all the subterfuge and deception endemic to leading a double life; while normally supportive of Yuu wielding her powers as per her volition, Posi and Nega are astonished at Yuu abruptly rushing off into the night without them to lead Takahiro through a sort of impromptu immersion exercise with the piano. The ironic deus ex machina that helps Takahiro ultimately recover his groove is the very bracelet for which Toshio had body-tackled her earlier; a magical incantation and innovative concert later, Takahiro boards an eastbound airliner as an aspiring pianist.
47 Mami's First Kiss
"Mami no fāsuto kisu" (真美のファーストキス)
25 May 1984 {{{FirstEngAirDate}}}
Creamy Mami is not thrilled to have it explained that she is to participate in a romance movie complete with the trademark kissing scene or that Shingo has made the choice for her to the point of having arranged an audition to that effect; about the only silver lining in this is Toshio offering himself for the male lead and the other judges taking an additional interest in him even though he ends up coming in a close second to the decided-upon male lead Masaki Shirato. Even as he tries to play it down later that evening, Toshio is just as anguished at the prospect of Creamy Mami having to kiss a stranger as part of her work while Yuu has second thoughts about her decision to go through with it that sends her racing off to Toshio in the middle of the night; while Natsume and Tetsuo divide their energies between deciding to apply some family government or to analyze the deviant diagnostic that sent Yuu into the night, Toshio confronts three girls conspiring to ruin the kissing scene the morning of the filming. Mami and Masaki now sent for a watery spill, it ultimately falls on Toshio to save the day; as an additional bonus, both Yuu and Toshio exchange their first kiss with each other.
48 Yuu and Midori's First Date
"Yū to Midori no saisho no hizuke" (優とみどりの最初の日付)
1 June 1984 {{{FirstEngAirDate}}}
Toshio pays the peckish Midori a visit to entreat his company to a Creamy Mami concert that gives way to the contest for who gets a date with Mami; unfortunately for poor Toshio, Shingo has already polluted the lottery. When Yuu offers it to him as a consolation prize, Toshio laughs at her and suggests that Midori would be better suited for such a thing; while Midori agonizes over what he should do on a date before asking Mamoru for help, Posi picks up on how Yuu is having second thoughts with dating Midori and is in anguish over how she always quarrels with Toshio. Zero hour for the date finds that both Toshio and Mamoru are uneasy about how Midori will do on a date with Yuu; sure enough, the date has barely begun and their anxieties are already proven not unfounded. Midori being quite the gentleman to Yuu who enjoys his company ultimately does not supersede that Yuu would much rather spend time with Toshio because of their prologue together; Midori comes to grips with the fact that the most mileage he will attain with Yuu is the big brother-little sister kind of love.
49 Infiltrate! The Treasure of Tachibana-san's House
"sen'nyū! Tachibana-san no ie no takara" (潜入!橘さんの家の宝)
8 June 1984 {{{FirstEngAirDate}}}
A nightmare that Shingo is having one night becomes the preamble to having it explained that Governor Tachibana has discovered a below-ground catacomb of tunnels that are reputed to house vast treasure that could greatly boost anybody's micro-economy. Shingo reads this as an opportunity to boost Parthenon Productions's economic fortunes with a TV special; while Shingo and Governor Tachibana agonize over when the actual excavation will begin before having it explained that there is a family curse associated with the estate, Mamoru gleams with the excitement of the hunt as he races off with Yuu right on his heels along with Toshio and Midori. Shingo and Governor Tachibana now caught with their pants down with the newly-arrived television crew frightened that they will have the treasure stolen from them, the excavation begins in earnest along with the filming to reveal a tunnel into which Mamoru eagerly leads the way deftly defeating the traps he encounters. The ultimate irony of the whole spelunking adventure is that there is neither treasure nor family curse; the closest thing to a curse is the 2.25 mega-yen lesson to want what you already have that Shingo is not refined enough to master.
50 Mami Disappears
"Mami ga kieru" (真美が消える)
15 June 1984 {{{FirstEngAirDate}}}
An excited Shingo racing in with the news of successfully arranging the Hong Kong locale of Creamy Mami's first anniversary concert on July 1 becomes the forum for Yuu having it explained that the arithmetic is simply not in her favor; in spite of this, Yuu decides to go through with the concert after having Shingo reschedule it in Japan much to the shock of the two cats as she goes to dinner -- a task far more easily contemplated than conducted even for Megumi who senses something off with Mami that evening; a maternal reminder about the school bag later, Natsume also senses something amiss with Yuu who seeks comfort from Toshio's aid of her school commute oblivious to the fact that somebody has already made the choice for Creamy Mami's retirement. Suspecting that the public relations media circus is Snake Joe's subterfuge, Shingo confronts him only to find that Snake Joe has decided to turn over a new leaf with Kumiko -- a penance that prompts Snake Joe into one last investigation. Creamy Mami's »kidnapping« during her home commute has the ironic silver lining of ultimately accomplishing for her what she herself could not -- a June 29 concert at the Central Horse Racing Club.
51 Toshio, Don't Remember It!
"Toshio wa, sore wo oboe te i nai!" (俊夫は、それを覚えていない!)
22 June 1984 {{{FirstEngAirDate}}}
Parthenon Productions is a flurry of activity as it divides its energies between reassuring the public and its sponsors that Creamy Mami has not dropped off the face of the Earth and arranging a concert to this end; after seeing Hayato trip over a garbage can after Shingo bawls him out, Mami agrees to cooperate oblivious to the necessary hours that she will have to keep and that Toshio is starting to make the correlation between Yuu and Creamy Mami. The Creamy Mami mirage starts coming unraveled when Yuu oversleeps the next morning and underestimates the logistics of deceiving her parents when they advise Yuu to contact Toshio about her successful home commute. True to Nega's admonition about the hefty stakes involved, things take a turn for the worse when Tetsuo and Natsume challenge Yuu about the subterfuge which they think is some immoral activity behind their backs; if her parents' lack of confidence in her is not enough, Yuu also finds it awkward to face Toshio who continues to struggle for a healthy perspective of Yuu who exhorts his presence at what could be Creamy Mami's ultimate concert as the Feather Star begins its course for Earth.
52 The Final Stage
"saishū dankai" (最終段階)
29 June 1984 {{{FirstEngAirDate}}}
The ambiance is intense as the audience awaits Creamy Mami's arrival so that the concert can get underway; upon seeing the audience population tabulation, Shingo is overjoyed as he recalls his entire prologue with Creamy Mami who wishes a solo concert much to his shock as he wonders why Mami feels the need to rush her professional career. The frustrated Megumi ironically becomes the deus ex machina that enables the concert to begin in earnest; amid short-circuiting electrical equipment that gives Shingo cause to suspend the concert, Creamy Mami sings with everything she has even though she knows the outcome along with Posi and Nega as Toshio feverishly searches for an apparatus to test his hypothesis that Yuu and Creamy Mami are one in the same. Just as Mami prepares to sing the final song, the Feather Star's descent for a landing clearly visible to everybody sets the stage for Mami to have explained to her that the deal is over especially since Toshio has remembered everything. After contributing special effects to complement Mami's final song as a final parting gift, Pino-Pino gets underway with Posi and Nega as he tells Yuu he is not hostile to an occasional visit before depositing her right where Toshio can escort her home.

Theme songs

Song Title Notes
"Delicate ni Suki Shite" Performed by Takako Ohta as the opening song for both the anime and her real-world career
"Pajama no Mama de" Performed by Takako Ohta as Ending I dedicated to Episodes 1-27 along with Episode 52
"Love Sarigenaku" Performed by Takako Ohta as Ending II dedicated to Episodes 28-51

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