Jeanne’s attempt at a dramatic rescue mission lasted about forty seconds before soap happened.

The opening of episode 10 wastes no time deflating its own tension. Jeanne arrives in Hell with a deadly serious expression, announces she’s come for Kyougi Youji-san, and immediately gets derailed by the twins noticing she looks different. Not thinner in a heroic way, but thinner because she finally bathed. The joke isn’t just that she went months without washing. It’s that her previously “frizzy hair” and “extra layer of blubber” were apparently accumulated human-realm filth, and one proper bath with soap restored her to what she calls “100% pure, unsullied Jeanne.” The twins’ deadpan “Soap?” in unison is the exact right reaction to a holy apostle explaining her physical transformation through hygiene.

And then Ami hands her one of Hell’s Sinfully High-Calorie Super-Sweet Macaron Sandwiches.

The fat returning immediately with a soft pop, Jeanne’s tearful “So sweet!” and the twins’ synchronized “Oh, her fat returned” is the kind of visual comedy this show has perfected. Jeanne cannot hold onto her saintly dignity for more than a scene. She knows she shouldn’t eat it. She announces saints cannot be bribed. She eats it anyway. She accuses them of trying to corrupt her again while still chewing. It’s a perfect Jeanne loop: resistance, collapse, self-awareness, collapse again.

What makes this work beyond the obvious gag is that Jeanne remains genuinely likeable even when she’s being the butt of the joke. Her earnestness isn’t fake. When she begs for death after being humiliated, she means it. That sincerity is what keeps her from becoming just a walking punchline.

The Accusation That Breaks Jeanne

The main farce of the episode kicks in when the Head Maid arrives to arrest Jeanne for stealing Kanan’s underwear. The punishment? Public execution. Jeanne’s escalating panic, the stuttering “p-p-panty theft,” the repeated “What? What?!” is pure slapstick, but the Head Maid’s utter seriousness sells it. “For those disrespectful enough to steal our beloved Lady Kanan’s underwear, the flames of Hell are too mild.” The maid isn’t joking. She’s furious. And her indignation isn’t about theft in the abstract. It’s specifically about Kanan’s underwear being “drool-worthy.” The hierarchy of crimes in Hell apparently puts panty theft above everything else.

Jeanne’s defense collapses spectacularly when the maid strips her to check. Not only is she not wearing the stolen underwear. She’s not wearing any underwear at all. The maid’s shocked “I didn’t know you went commando” and Jeanne’s desperate explanation that she forgot to bring spares and couldn’t wear someone else’s makes everything so much worse for her. “It’s a fine kink to have,” the maid offers, which is absolutely not the reassurance Jeanne needs. Her repeated “Just kill me!” becomes almost a mantra by this point, and honestly, at this level of humiliation, you understand why.

The physical comedy of Jeanne getting stuck in the bathroom doorway, rear-first, while Milch calls everyone to come look is the kind of undignified situation that shouldn’t work on a character we’re supposed to take at least somewhat seriously as a holy warrior. But it works because the show never lets Jeanne’s suffering feel mean-spirited. She’s ridiculous, but she’s never pathetic in a way that makes you look away. She just has absolutely terrible luck and no ability to control a situation once it starts spiraling.

Kyougi's Accidental Detective Work

While Jeanne is being publicly humiliated, Kyougi stumbles into the episode’s real emotional core. After Kanan casually identifies Milch as the likely culprit, Kyougi goes looking for the little sister and ends up hiding in what turns out to be Milch’s secret room. What he finds reframes every bratty interaction Milch has had so far.

The room is filled with Kanan merchandise. Figures, outfits, collected items. All handmade by Milch herself. Kyougi’s reaction isn’t horror or judgment. It’s genuine admiration. He marvels at the craftsmanship, the careful observation required to get the proportions right, the sheer volume of lovingly created tributes to her big sister. “This room is brimming with love,” he tells her, completely sincere, and you can see Milch’s entire defensive structure crack.

This is where Kyougi’s weaponized sincerity, the trait that keeps disarming Kanan, proves it works on other devils too. Milch has been hiding her feelings behind bratty antagonism for so long she doesn’t know how to receive genuine understanding. When Kyougi points out that the underwear she’s gripping like it’s precious is proof of her love, she crumbles. Not dramatically. Just a quiet “I’m an idiot. I’m finished.”

The flashback sequence that follows, showing young Milch adoring Kanan and then growing lonelier as Kanan got busier with studies, gives weight to behavior that previously just seemed like standard little-sister trolling. She steals Kanan’s things because it makes Kanan chase her. She provokes because it makes Kanan focus entirely on her. “That face you’ve shown to no one but me. I’ll just want to see it more and more.” It’s a surprisingly tender admission for a character who’s spent most of her screentime calling people pigs and losers.

The Confession That Backfired

Kyougi’s solution to Milch’s dilemma is, in classic Kyougi fashion, devastatingly straightforward: just tell Kanan how you feel. He arranges the meeting, stands there beaming as Milch panics internally (“it’s centuries too late for that!”), and watches his plan unfold.

And Milch almost does it. She stammers, she stalls, and then Kanan, with the casual insight of someone who knows her little sister better than anyone, says it first: “When it’s being done by the little sister I love, I can’t help but find it kind of cute.”

Milch breaks. She throws herself at Kanan, sobbing about being lonely, about just wanting attention. It’s the kind of emotional release the episode has been quietly building toward beneath all the panty-theft chaos. And then, because this is Milch and she cannot let a sincere moment stand, her mouth immediately starts running on its own again. “Did you really think I meant that? You’re so gullible, Onee-sama!” She’s horrified at herself even as she says it. The bratty persona is so deeply ingrained she can’t stop it, even when she wants to.

Kanan’s response is perfect big-sister energy: she puts Milch over her knee and spanks an apology out of her. And Milch, even while getting spanked, can’t resist one more jab about how Kanan must enjoy getting to spank her cute butt. The “I’m sor… I’m sor… I’m sorry!” through the spanking is the right mix of genuinely contrite and comedically reluctant.

A Brief Return to the Jeanne Situation

I should note that Jeanne’s subplot resolves with the maid simply accepting that if Milch is the real culprit, there’s no need for execution. The maid’s casual “Well, I guess if it was Milch…” suggests this kind of thing is just expected from the younger sister. Jeanne, having been stripped, stuck in a doorway, and publicly exposed as going commando, is left with nothing but her repeated plea to be killed. It’s a rough episode for her, but her suffering fuels some of the best physical comedy the show has done.

The post-credits bit with Milch threatening to steal Kyougi next, just to see what face Kanan would make, is a perfect tag. Ami’s “Chill!” and the immediate sting of whatever punishment follows keeps Milch’s bratty antagonism alive while confirming she’s not going to suddenly become sweet. She’s just added “making Onee-sama jealous” to her repertoire of attention-seeking tactics.

Where This Lands

Episode 10 is a Milch episode wearing a Jeanne episode as a disguise. The panty-theft farce and Jeanne’s humiliation are the loudest, most immediately funny elements, but the actual story is about a little sister who turned her adoration into antagonism because negative attention was still attention. Kyougi’s role as the catalyst who pushes Milch toward honesty works because he doesn’t do anything special. He just sees the love behind the behavior and refuses to treat it as creepy. His insistence that Milch’s handcrafted shrine to Kanan is “wonderful” and “the ultimate expression of love” is exactly the kind of non-judgmental acceptance that keeps disarming every devil he meets.

The sisters’ reconciliation isn’t dragged out or milked for drama. Kanan already knew. She just needed Milch to say it, and Milch needed someone like Kyougi to create the opening. The spanking scene that follows undercuts the sweetness just enough to keep it from feeling saccharine, which is this show’s instinct in a nutshell. Any moment that might become too sincere gets punctured by a bratty one-liner or a perfectly timed “loser,” and the balance keeps everything feeling light even when the emotions are genuine.