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Cowboy Bebop it was not like anything else when it started twenty years ago. It was a neo-Western set in space; a noir thriller alongside a martial arts show with John Woo-esque shooting; a living vision of a broken future where the characters are forced to live their broken lives. And on top of all that, it was driven by clear vocals that dance easily among the colors. We didn’t have much time in Bebop-verse – only 26 episodes and video – so every second seemed like a miracle. How can Netflix’s lifestyle change achieve this?
In short, it does not. Although the original show was a romantic letter to cinema and pop culture, produced by a dream team (director Shinichiro Watanabe, composer Keiko Nobumoto and songwriter Yoko Kanno), Netflix remix is very popular Cowboy Bebop. It wants to remind us of the anime, so it just takes a lot of the shots that shoot, but it doesn’t connect with what made it so special. They sing songs, but they have no spirit. It’s an empty song that likes to start straight back, like Star Wars: The Force Awakens and Ghostbusters: After Life, and it almost always hinders them.
Almost any measure, I have to hate it Cowboy Bebop of Netflix it is passion. But, it is proof to the theater talent involved that I am not. John Cho would not have been my first choice to play the coolest Spike Spiegel (which could be Sung Kang, Fast and Furious’s swagger Han), but he tries to imitate his charm. Mustafa Shakir easily carries the fun but lovely Jet Black culture. And Faye Valentine Daniella Pineda is the master of ceremonies.
But this talented group has failed miserably, making it often look worse than Doctor Who’s cheaper version. Some sets look like they were made of cardboard and spray paint, none of which give the beauty of an anime well-painted. There’s a bright light, to make it sound good, but mostly it comes from digital objects that often take a shot from the original series. Sometimes, Bebo wants to compare the latest seasonings from Wachowski that have not been voted out Speed Racer. Then, sometimes, it just has a neon “PORN” sign on the back, as if it was enough to indicate the spread of the surrounding area.
Geoffrey Short / Netflix
Where did it all start wrong? As with nostalgia reboots, it often comes down to writing. Netflix is Cowboy Bebop created by Christopher Yost (Thor: Ragnarok, Star Wars Rebels) and include skills such as Javier Grillo-Marxuach (Lost, Beloved). Their combined appreciation gave me hope that the show could be more than just an anime image, but instead a confusing mishmash of nostalgia worship and more and more stories.
Instead of being a strange killer, Vicious the villain comes as a Eurotrash terrorist. Instead of struggling with excessive self-defense, Jet finds a distant daughter and his ex-wife. And even worse, Julia’s Spike curiosity loses her interest, and instead she lives with another beautiful suffering girl. We’ve seen all of these stories before, so instead of feeling like a “new genre for themselves,” the bold anime announcement made in each episode, it all just feels like “I’ve been, I’ve done it.”
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