I love that Goto is “Samurai Policeman” and not “Flamenco Policeman”
Because all throughout the series, Flamenco has represented heroism, and the superhero ideals- whether it be Flamenco girls, the Flamengers, Flamenco Alien- the word is even specifically stated to mean much more than Masayoshi, and it’s desired by everyone as a result.
However, even when offered the title of ‘Flamenco’ (Yellow Flamenger) Goto doesn’t accept. He’s not 'Flamenco Policeman’ because he’s not there for the grandeur or the heroism or anything it could offer him.
He’s there solely for Masayoshi. And that’s beautiful.
Before I begin, a caveat: this was written while the show was in-progress; parts of this meta-analysis may be invalidated by later events. Spoilers below the cut.
When people ask me what Samurai Flamenco is about, I usually give them the synopsis of the first few episodes: Hazama Masayoshi, a model who dreams of a better world becomes a vigilante super hero, and he makes friends with a cop, Goto Hidenori. Although he starts off with litterbugs and local ordinance-flouting hooligans, he quickly works his way up to thwarting more “serious” crimes (collecting allies along the way and dodging the disapproving glares of his publicist). I think this is an accurate description of what happens in Samurai Flamenco, but it is not what Samurai Flamenco is about, and I think this most recent episode makes it painfully clear.
Samurai Flamenco is, ultimately, not about a hero, but about heroism in all its forms, and the form that it has chosen to save for last is the heroism required to face personal tragedy.