![]() There are some real fans working on this show, and they’re swimming in garbage. Yoko Kanno came back to do the soundtrack, and Watanabe, who barely has influence here, was at least asked for his opinion. Cho said he put more thought into the character of Spike than any other role he’s ever played, and it shows. ![]() To the credit of Nemec and his two best actors, much thought and effort was put into this production. Well, Ed can no longer be an interesting well-rounded character, but at least they have pronouns. Ed is now non-binary and played by trans actor Eden Perkins. Instead, we get Gren, the non-binary, dance club-owning, sex-positive trans icon.Īfter the initial release, fans and onlookers reacted poorly to a clip showcasing the poor acting by the new version of the fourth principal character, Ed, the hacker. Gone is the tragic intersex character of Gren, originally inspired by David Bowie. Where characters had nuanced motivations, and minority characters (like all well-written humans) contained flaws, they have all been airbrushed away. Everything is now part of the grand conspiracy. Instead of self-contained stories, there are serialized plotlines. ![]() There is much “updating’ in the new “Bebop.” Gone are those paltry 20-minute episodes now we are going for 50. The production would be “updating” all offensive elements resulting in Pineda’s new “pro-female-protagonist” Faye, who has all the subtlety of a porn star and a quarter of the talent. With Netflix’s go-ahead, Pineda made sure fans knew before release she thought the original was problematic. The show’s amnesiac bounty hunter Faye is now played by Daniella Pineda. There is also an impressive Jet Black, played by upcoming MCU talent, Mustafa Shakir, but not all of the casting choices hit the mark. The new series is directed by André Nemec and features a cool John Cho as Spike. Netflix’s new “Cowboy Bebop” claims to revere the old and makes an effort to follow the original formula with ten episodes covering roughly the first half of the original show’s plot, with scenes, character names, and specific frames plucked directly from its muse. Each of the 26 episodes feels like an independent 20-minute movie, each covering different genres and styles harking to the history of film and jazz. The music by jazz prodigy Kanno, with her house band The Seatbelts, delivers an unmatched television soundtrack. Every one of the 26 episodes is a work of brilliance, carrying mountains of artistic gravitas and philosophical beauty. “Cowboy Bebop” is fun, and on a critical level, genius. One only needs to listen to the fantastic opening intro, “Tank!” which composer Yoko Kanno said she wrote “to make music which would light a fire in me,” to know that Bebop is offering you one heck of a good time.įor millennials with yellowed memories of badly dubbed episodes of “Speed Racer” or “Sailor Moon,” the thought of watching anime can elicit groans. ![]()
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