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I just finished this less than an hour ago and am gonna mention my general thoughts - a general thesis i took from it is that its about growing up at any age. theres a elementary schooler going into middle school, a high schooler, and someone who says theyre 19 and definitely older as main characters
and on the side you have eyebrow guy who seems to be in his late 20s/early 30s, and taro's dad whos definitely in his 40s
and despite these different ages theres no single character whos some rock or mentor or someone who delivers some masterful lecture on maturity, each character is ... immature and still doesnt "get" life. and its a wonderful way of showing that youre always still changing when you age that i havent seen in anything else.
FLCL, to me, wants to say that you're never really self actualized, and it's done beautifully.

If I were to describe this anime, I would say it's a mix of Science Saru's The Heike Story, ufotable's Demon Slayer, injected with some juicy historically accurate pederasty boys love.
I'll write a full review after it has fully aired, but this is one of the most unique anime I have ever seen. Mixing the shonen, jidaigeki, and boys love genres, with so many beautiful different types of animation, anyone from a shonenhead, to a historical nerd, or a fujoshi can have fun with this. Most people will rate this an 8/10 and maybe a 9/10 if they fit one of the demographics, but ... it's everything I love about anime I can't not give it a 10.
Also, the "I could have died" bedroom eyes stare 18 minutes and 32 seconds into episode 1 has kept me tweaking for 24 hours straight and irreversibly altered my brain chemistry.

A SPOILER FREE REVIEW OF HEIKE MONOGATARI BY A JAPANESE STUDIES ACADEMIC
As someone who has studied and read much of the Heike Monogatari, and has a very deep interest in Japanese art, history and culture, I can confidently say that this anime is a celebration of the past thousand years of Japanese art. It is artistically very unique, preferring to be faithfal to traditional arts rather than modern styles of anime that the director, Naoko Yamada, normally does.
Unlike the hard defined outlines of most anime, the character outlines are thin, imitating the styles present in Japaneses crolls. Instead of unique hair, facial, and body design ... present in most anime, the distinguishing trait between characters is their kimono or armor, as was typical in Japanese traditional art. The series continues this traditional artistic motif with the backgrounds having a rough filter looking as if painted onto wood using limited colors, identical to Japanese woodblock prints. Men are depicted with their eboshi hats and strokes of facial hair, while women are depicted with their drawn-on eyebrows, long black hair, and layered kimono. From start to finish, it presents an animated version of Japanese art techniques that is centuries old.
The story is slightly altered but the general themes and plot are all faithfully adapted. Much of the dialogue is identical to what is given in the original work, and any important scenes track with what is present in the text.
Biwa, a character not present in the original, is a wonderful addition. To those who know Heike Monogatari, like many Japanese, Biwa's existence outside of the character drama and clan politics as well as her future vision is an audience stand-in. She is viewing this entire tale from the outside, and she is aware of the ending. She understands that the ego and arrogance of the Taira will be their downfall. To her, these scenes of development and drama between all the characters feel all for naught as she know their fate. We, as the viewer feel the same. To us, like Biwa, there is an intense dramatic irony filled with dread. Their will not last, their anger will not last, their happiness will not last. As it said in the Heike Monogatari's iconic opening poem, “The sound of the Gion Shoja temple bells echoes the impermanence of all things; the color of the sala flowers reveals the truth that to flourish is to fall. The proud do not endure, like a passing dream on a night in spring; the mighty fall at last, to be no more than dust before the wind.”