YMMV / Sera Myu

  • Acceptable Targets: Use of the term "okama" (a derogatory word for male transvestites or crossdressers), has been played for laughs on multiple occasions. It hasn't aged well.
  • Anvilicious: Aaron and Manna's subplot from Black Lady is An Aesop about the treatment of mixed-race children. It can be a mild case of Culture Clash for viewers not aware of the level of discrimination and bullying that mixed-race children face in (relatively heterogeneous) Japan.
  • Ascended Extra: In Shin Kaguya Shima Densetsu, Cern, Serpen, and Kraken gain another compatriot in Selkie, the four play a more important role in the story's inciting incident, and they are given more character development.
  • Big Lipped Alligator Moment: The use of "Chou Bi! Uranus to Neptune (Super Beauty! Uranus and Neptune)" seems to stick out during Last Dracul Jokyoku. The lyrics include references to searching for the third Talisman and the Holy Grail, despite them knowing Pluto at the start of the story and the Holy Grail being completely uninvolved in the plot. The only change to the lyrics was the removal of a reference to Infinity Academy.
  • Broken Base: A relatively small one. Surprising, especially given the amount of guard changing throughout the years. Asking who is the best Sailor Moon is the most likely to lead to this, though.
  • Captain Obvious Reveal: Kurotsuki Hikaru in Ai No Sanctuary is a past version of Prince Demand. Let's see here...a white haired young man in a white suit who knows the Senshi's civilian identities and the names of their attacks and whose name means "Light of the Black Moon"? Nope, couldn't be anyone we're familiar with!
  • Crowning Moment of Awesome:
    • The Super S Kaiteiban features Queen Nehellenia flying with her long gown trailing behind her during "La Moon".
    • The beginning of "LINK" from Kaguya Shima Densetsu (see it here).
    • "FIRE" from Death Vulcan features Princess Serenity flying down during the final chorus. Her facial expression as she walks around the stage during the outro instrumental is fantastic.
  • Crowning Moment of Funny:
    • Sailor Moon confronting vampires with the ultimate weapon: milk.
      • Count Dracul proceeding to school the Inner Senshi on their misconceptions about vampires as they sit in a circle around him.
    • The Sailor Moon stage musicals are littered with hilarious puns. If you don't speak Japanese, you probably won't get them, as they aren't always translated well in fansubs.
    • Almost everything that the First Stage Starlights do, especially the word association bit from Eien Densetsu Kaiteiban.
    • Kurotsuki Hikaru demonstrating punny versions of the Senshi's attacks in Ai no Sanctuary, including "Aqua Beauty Shop!" (Love and Beauty Shock), "Shrimp mo takusan da! (Too much shrimp!)" (Supreme Thunder), and "Running Ghandara!" (Burning Mandala). It's made even funnier by Ono Hikari's over-the-top delivery.
    • In Petite Etrangere, Sailor Moon's reaction to finding out that Chibi-Usa is her daughter is priceless.
    • At the end of the final performance of Petite Etrangere in Japan, Erika Mahiro (Prince Demand) says she's sad it's the final performance because "[she] won't get to straddle Usagi anymore" and Satomi Ookubo (Usagi) runs over to hug her.
  • Crowning Moment of Heartwarming:
    • "Double Moonlight Romance" from the end of the Final First Stage Senshuuraku. Watching the actors struggle to sing through their tears also puts this into Tear Jerker territory.
    • "Minna Dareka ni Aisarete" from the Kaguya Shima Densetsu kaiteiban when Loof Merrow is brought back in her princess outfit and the the children are seen in forms similar to their mothers'.
    • "Over The Moon" from Ai no Sanctuary, led by Sailor Venus. It was a feature for her actress, Murata Ayumi, who graduated after the show's run.
  • Crowning Music of Awesome: Well, they are musicals. A few songs usually mentioned in passing include Innocent Demand, La Soldier and Drive Me the Mercury.
    • Petite Étrangère gives us "Chronos Guardian (Who Goes There?)", a chilling introduction for Sailor Pluto.
  • Damsel Scrappy: Chibi-Usa. In just about every. single. appearance.
  • Darker and Edgier: Petite Etrangere compared to Tanjou! Ankoku no Princess Black Lady. Both are fairly faithful to the tone of the manga version of the story (which already got a Lighter and Softer adaptation in the '90s anime), but Petite Etrangere does not soften the edges of Prince Demand's interactions with Usagi. This is likely because it was significantly less squicky for 19-year-old Ookubo Satomi to be in those scenes than 12-year-old Kuroki Marina.
    • Similarly, Un Nouveau Voyage compared to Mugen Gakuen - Mistress Labyrinth. Un Nouveau Voyage shows the audience Hotaru's scars (and generally spends more time on her angst), a reenactment of of the fateful lab accident, and spends time on Professor Tomoe's desire to create transhumans. The tone of the final battle with Pharaoh 90 is considerably lighter in Mugen Gakuen (particularly in the kaiteiban, which sets it to "Pinky Typhoon").
    • Amour Eternal compared to Yume Senshi. The Amazon Trio looking into the Inner Senshi's dream mirrors is uncomfortably close to sexual assault (and unlike the anime, it's being acted out in real time by real people). Nehellenia manages to capture Pegasus and turn a nightmare-corrupted version of him against the Senshi.
  • Ear Worm: "La Soldier" is insanely catchy.
    • "Chasin' After You" is definitely an Ear Worm candidate.
    • "LINK" is also ridiculously catchy.
    • "Ai no Starshine" is a relative newcomer, but a strong contender nonetheless. It's one of the catchiest songs from the new Myu.
  • Ensemble Darkhorse: The Black Moon Clan was very popular with audiences in Black Lady, so much so that "Kekki! Hangyaku Ichizoku (Rise Up! Rebel Clan)" was performed as a service number during the senshuuraku. This may or may not have something to do with Ono Hikari playing Demand.
  • Fandom Heresy: Saying you liked Shin Densetsu Kourin.
  • Fan Nickname: Sera Myu comes from ミュージカル美少女戦士セーラームーン (Myu-jikaru Bishoujo Senshi Se-ra- Mu-n), the Japanese name for the stage musicals. Also the Fan Kan events held to promote the musicals (and often preview new songs), comes from the term Fan Kansha, (literally "fan appreciation").
    • Actresses Takagi Nao and Asami Yuuka are referred to collectively as "NaoYuuka".
  • Fashion-Victim Villain: Some might qualify, but Sera Myu's most notorious example is Queen Beryl in the first musical. Fans call her "Christmas Tree Beryl" for a reason.
    • The Death Mannetjes from the First Stage Sailor Moon S musicals qualify with their shiny silver jumpsuits, codpieces (why?), and strange bumpy protrusions on their heads.
  • Fridge Brilliance: In Un Nouveau Voyage, the lyrics of "Hitosuji no Hikari (A Ray of Light)" and its reprise during the final battle use the metaphor of Sailor Moon using the light that her friends give her to shine. That's basically how the moon works in real life ("moonlight" is actually a combination of sunlight, earthlight, and starlight reflected by the moon).
  • Gratuitous Special Effects: The new musicals use more and more projection and lighting effects with each production. They're probably the most noticeable in Amour Eternal.
  • Les Yay: The longest running Uranus and Neptune actresses, (Nao Takagi and Yuuka Asami, respectively), have stated that scenes were written just for them, likely for this reason. They even shared a quick kiss in character during a curtain call.
    • To be expected in La Reconquista, since all of the characters (including the male love interests) are played by women.
    • Shiotsuki Shuu and Fujioka Sayaka, the current Uranus and Neptune, respectively, have taken up the mantle and run with it.
  • Memetic Badass: Space Knight.
  • Recycled Script: Queen Beryl coming back seven times.
    • The Stars arc is heading for its eighth incarnation as of this year (Sailor Stars, Stars K, Eien Densetsu, Eien K, Shin Densetsu Kourin, Starlights - Ryuusei Densetsu, Kakyuu-Ouhi Kourin, and Le Mouvement Final).
  • Rescued from the Scrappy Heap: Chibi-Usa in the new musicals. She plays a substantial role in every show she has been in so far and has a traceable character arc within each of those shows. Also, she is no longer pigeonholed into plotlines involving other child characters and/or performing cutesy numbers (e.g. "Pinky Typhoon").
  • Squick: Starlights - Ryuusei Densetsu pairs the teenage Inner Senshi with the adult Shitennou (compare with Gaiden and La Reconquista, where they are established or at least look like they're in the same age range).
  • Surprisingly Improved Sequel: Petite Etrangere to La Reconquista.
  • Tear Jerker: Most deaths end up being this. Also, if Prince Demand's monologue-thing near the end of Ankoku no Princess Black Lady doesn't make you cry, you're a pretty tough cookie.
    • "Sorezore no Elegy" from Sailor Stars. Usagi's scream of anguish is nothing short of heartbreaking.
    • "Tabidachi", originally from the Sailor Moon S musical, takes a level in Tear Jerker-dom in Eien Densetsu because it goes from being about leaving to study abroad to going on what amounts to a suicide mission.
    • The Final First Stage Senshuuraku, full stop.
    • Most of the fandom had this in spades when Miyuki Kanbe died.
    • In La Reconquista, Zoisite and Ami actually develop romantic feelings for one another...and then in a flashback to the Silver Millenium, we see that they were in love back then too, and Zoisite warned Mercury that Earth was planning an attack on the Moon Kingdom, and told her to go warn the others. He ended up being stabbed to death by his own teammates moments later, and died whispering Mercury's name. And then the same thing happens in the present day.
    • Petite Étrangère manages to one-up Sailor Pluto's death scene from the manga by having Chibi Moon cradle her Garnet Rod.
    • The Inner Senshi singing "Un Nouveau Voyage" through their tears in their last performance together.
    • Haruka, Michiru, and Setsuna's bittersweet reactions to Hotaru's rapid age-up and awakening in Amour Eternal.
  • They Changed It, Now It Sucks: Amazingly averted in most instances. Some later actors are even considered on par or better than their predecessors. That said, there are a few performers/performances that aren't looked on so fondly by the fanbase:
    • Enomoto Yuuta as Tuxedo Mask in Shin Densetsu Kourin
    • Shimada Sara as Sailor Neptune in Kaguya Shima Densetsu
    • Izawa Mariya as Sailor Mercury in Transylvania no Mori
    • Sugimoto Ayano as Sailor Jupiter in Black Lady
    • Sakata Kaori as Sailor Jupiter in Ai no Sanctuary
    • Pretty much anyone who played a character originated by Ono Hikari.
  • Villain Decay: Queen Beryl. Going from "Lovelorn Sadistic Queen of the Dark Kingdom" to "Lovelorn Statistic on Galaxia's Sorting Algorithm of Evil" must not be a pleasant experience.
    • Mistress 9 between Mugen Gakuen and Un Nouveau Voyage. In the latter, she doesn't get her own song (much less one as creepy/cool as "Seijaku no Hostie"), she plays a relatively smaller role with less interaction with the other Death Busters, and she is defeated somewhat unceremoniously.
  • WTH, Costuming Department?: Queen Beryl in Gaiden. Her dress was decked out with tinsel that would look better on a Chrismas Tree than her, complete with a matching tinsel crown. When Beryl returned in Eien Densetsu (with the same actress), all the extra trimmings were removed and the dress was much closer to the source material.
    • The first musical as a whole gets this. Usagi's hair looks like it's made of yarn at points and the Senshi's civilian outfits are bland off-the-rack items (Usagi's huge overalls are probably the most unfortunate of the bunch). The senshi outfits are also covered in bits and bobs that were removed in later musicals. Endymion and the Shitennou have some disproportionately huge shoulder pads (even by early '90s standards).

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