I've been eagerly anticipating this work, and it's finally been released—it's this title "SODSTAR×SENZ-セックスが溶け込んでいる日常- 常に性交美容室 表●道人気店 小倉由菜×唯井まひろ (START-368)". Upon seeing "常に性交", old hands should know that this is one of the classic series from "SOD", as it's incredibly evergreen, having been around for thirteen years since its first release. This installment also marks the first time bringing together two major aces, Yua Ogura and Mahiro Tsubasa, making it a dream team. In this work, they perform a bizarre yet captivating scene in a fashionable hair salon in Omotesando, where sex is seamlessly integrated into everyday life. As a fan of AV culture, and here's a key point I wonder if everyone has noticed—the "SODstar" in the title? That means we'll see more "SODStar" actresses appearing in "常に性交" series, and that's what excites me the most! As mentioned earlier, "常に性交美容室" is primarily set in a high-end hair salon in Tokyo's Omotesando, where the two stylists (Yua Ogura and Mahiro Tsubasa) "ignore" sexual acts while working. This concept of "sex coexisting with daily life" stems from the classic techniques of the "SENZ" series, which liberates sexual behavior from private spaces and incorporates it into public everyday scenarios, creating a strong aesthetic of contrast. This setup inevitably reminds one of the French philosopher Michel Foucault's ideas in "The History of Sexuality," where he argues that sex is not merely a physical act but a phenomenon constructed by social norms and discourses. In this work, sex is "de-tabooed," becoming just another part of the hair salon's daily routine, yet it's deliberately "ignored," creating a contradictory effect that builds absurd comedic tension. The conversations between customers and stylists, along with the professional actions of cutting and styling hair, form a stark contrast with the sexual acts in the background, prompting viewers to reflect in surprise: When sex is normalized to the extreme, does it lose the allure of its taboo? This setup echoes Japanese AV culture's deconstruction and reshaping of "everydayness" (nichijōsei), challenging audiences' perceptions of the boundaries between sex and work. The two leads in this work—Yua Ogura and Mahiro Tsubasa—are undoubtedly top-tier talent from SODSTAR. Yua Ogura, with her fresh and sweet appearance and natural acting, successfully portrays a professional yet playful stylist; Mahiro Tsubasa, with her nuanced emotional expression and fluid body language, adds a touch of innocent seduction to her role. Despite it being their first collaboration, they display remarkable chemistry, whether in their smiling interactions with customers or their composed "ignoring of sex" performances, which are nothing short of impressive. This performance style reminds me of Japanese author Osamu Dazai's depiction of "performing life" in "No Longer Human": "I always play the role that others expect, yet I've never found my true self." Under the "常に性交" setting, Yua and Mahiro's characters must maintain a "feigned indifference" between sex and work, a level of performance that not only tests their acting skills but also reveals the depth of AV as a performance art. Throughout the 134-minute continuous scenes, they strike a perfect balance between professionalism and sensory stimulation, allowing viewers to both appreciate the absurdity of the plot and immerse themselves in visual pleasure. As part of the "SENZ" series, "常に性交美容室" continues its satire of Japan's "overwork culture" and "sexual repression." In Japan, being a hairstylist is a high-pressure profession that demands extreme professionalism, yet it's often romanticized as a symbol of fashion and beauty. This work mocks this superficially glamorous image by incorporating sex into the salon, while also metaphorically representing the dual pressures of sex and work in modern life. As Japanese sociologist Chizuko Ueno states in "Patriarchy and Capitalism," "Sex and labor are strictly divided in modern society, yet they mutually permeate." This work exaggerates this permeation into a tangible form, provoking viewers to reflect on sex, labor, and everyday life. Furthermore, the "表●道" setting is quite meaningful. Omotesando, as a symbol of Tokyo's fashion and high-end consumption, represents urban prosperity and vanity. Placing sex in this context not only deconstructs urban culture but also creates a sense of defamiliarization for viewers in a familiar setting, embodying the "estrangement" (ikare) aesthetics in Japanese AV culture.