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Likewise, the exhilarating air chase that capped off the anime’s pilot has been largely replaced by a nighttime shootout in a parking lot, a scene so utterly lifeless it’ll leave you begging for more of the consumer-grade CG this show busts out during the rare moments when it remembers that it’s set in outer space. For example, Faye no longer waits until the third episode to make her introduction, as she and Spike now cross paths during their first-episode pursuits of a rogue mafioso. Their adaptation recognizes the sacred nature of its source material by acting as more of a gospel to the holy book of Bebop than anything else it’s the same board you might know and love, the pieces have just been moved around a little. It’s possible that Nemec and Yost also self-doubtingly shared the internet’s skepticism that the writers of “Max Steel” and 2014’s “Teenage Mutant Ninja Turtles” could re-capture lightning in a bottle (though the decision to split these episodes between directors of “Daredevil” and “Gilmore Girls” suggests more of a doubling down), but the reality is that Watanabe’s series should never have worked so well in the first place.Īnd so rather than re-trace the original or risk telling brand-new stories in the show’s beloved sandbox, Nemec and Yost have wisely split the difference. After all, the Bebop crew had a knack for rescuing victory from the jaws of defeat, even if they usually squandered their rewards before they could spend them. To a certain extent, it seems that showrunner André Nemec and screenwriter Christopher Yost recognized the devil’s bargain of returning to “Bebop.” Adapting one of anime’s holiest cows is something of a fool’s errand - just ask the 319 directors who’ve tried to remake “Akira,” or the unfortunate souls who actually managed to shoot live-action versions of properties like “Death Note” and “Dragon Ball Z” - and in true “Bebop” fashion these guys may simply have loved the idea too much to let it go. This new show is the product of a culture that exhumes yesterday because it’s run out of fresh ideas for tomorrow, and its vision of the future is so sterile and uninspired that it often feels like nothing more than a cheap vision of the waking life that everyone in Watanabe’s original was trying so hard to sleep off. They were almost powerless to fight that feeling - everyone has to snap out of their dreams at some point - but Netflix’s “Cowboy Bebop” doesn’t have the same excuse.
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It found something immensely sad in how its characters were lured back toward their buried trauma, often at the direct expense of the found family that had shown them a way forward.
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From a certain perspective, you could even make the case that even the worst attempt to revisit “Cowboy Bebop” would honor the spirit of Watanabe’s series better than leaving it alone ever could.Īt the same time, however, “Cowboy Bebop” was also haunted by the fact that the past is full of lost things people can never get back (its story takes place in 2071, 49 years after an Astral Gate explosion cut history in half, rendered Earth almost uninhabitable, and scattered humanity across the cosmos). The live-action version of “Cowboy Bebop” exists for the same reason that so many other pieces of undead IP have been dug up and Frankensteined back to life in the streaming age, but few shows are more intrinsically sympathetic to the difficulties of letting sleeping dogs lie. 'The White Lotus': Everything You Need to Know About the HBO Series 'The Lord of the Rings': Everything You Need to Know About Amazon's Big Money Adaptation
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What Were the Number-One Movies and TV Shows of 2021? We May Never Find Out. 'Single All the Way' Makes the Yuletide Gay in Netflix's Cheesy Holiday Rom-com To quote the end scrawl from the final episode: “You gotta carry this weight…” Even in the outer reaches of Jupiter’s moons, we bring ourselves with us wherever we go. Whether paying homage to John Woo in a massive shootout on Mars or sifting through the ruins of Earth for the last Betamax player in the universe (so that amnesiac Faye Valentine might be able to watch a tape containing footage of her former self), “Cowboy Bebop” created such an ephemerally special future because it knew in its bones that people are always responding to their pasts. Watanabe took a wild slew of disparate elements and harmonized them all together into a wabi-sabi cartoon saga about the beautiful dissonance of being alive his show introduced a ship full of mangy orphans and runaways, most of whom were hopelessly tethered to the same memories they were so desperate to piece together or leave behind, and listened along for the length of a dream as these unlikely session partners made some unforgettable music together.