Fullmetal Alchemist: Brotherhood Episode 13: Beasts of Dublith

The curtains rise on a spotlighted Selim Bradley, who attempts to introduce the show. His true nature, the terrifying shadow tendrils of Pride, briefly emerge from behind him, a visual gag juxtaposing his innocent facade with his dark reality. He struggles with the Japanese title, 'Hagaren Yon-koma Gekijo', stumbling over the words until a buzzer cuts him off. This opening sets the tone; expectations will be subverted with a wink.

Edward Elric stands in a dark forest, contemplating Alphonse's empty armor, which is possessed by Pride. Edward declares he has a solution and begins to tickle the armor's neck joint with a foxtail plant. To everyone's surprise, a tiny, naked version of Al's soul floats out, much to the group's delight and Pride's confusion. This segment embraces the utterly ludicrous, finding humor in physical absurdity.

Selim, again as Pride, engages Edward and his teacher, Izumi Curtis, in a tense standoff. Selim uses his shadow tendrils to fire 'pew pew' beams. Edward and Izumi, not to be outdone, retaliate by weaponizing their hair antennae with their own vocal 'pew pew' sound effects. Darius and Heinkel watch, visibly bewildered, reflecting the audience's reaction to this bizarre spectacle. It's a testament to how far these shorts will go for a laugh.

Selim sits next to Alphonse's armor, bored, and begins tapping a stick against it. He smugly comments on human ingenuity, but his own curiosity gets the better of him. He starts drumming with increasing intensity, turning the armor into a makeshift drum kit. The armor vibrates violently, glowing with blue energy, as Selim looks on, slightly panicked by the noise he created. The segment playfully mocks the idea of unintended consequences.

Rebecca Catalina is shown aiming a sniper rifle, taking down military officers below. Riza Hawkeye observes stoically as Rebecca reveals her "catch": a large pile of soldiers bound by a single rope. Rebecca cackles triumphantly, proclaiming a "huge haul" of men. Riza's deadpan recollection of Rebecca's intention to "find herself a good man" underscores the literal and absurd interpretation of the phrase. It’s a witty play on common idioms.

The episode concludes with a dancing cartoon cow, Hiromu Arakawa's self-caricature, prancing across the screen as credits roll. The upbeat music and simple animation maintain the lighthearted atmosphere established throughout the shorts. The red theater curtains from the opening then close, neatly bookending the comedic performance. It’s a final, charming nod to the creator and the episodic nature of the content.