Marvelling at Disney+

This past year has been a wreck because of COVID. Whether it’s being uncertain of when the pandemic will become endemic, the mutations being more contagious, or people bickering over whether or not to take the vaccines, it seems like we’re taking two steps backward every time we take one step forward. It’s exhausting. And it’ll probably remain this way for some time.

If one area’s improved from 2020, however, it’s entertainment. Movie theatres are open again, albeit in reduced capacities, and having that part of my life back is a major relief. My Disney+ account has also been getting plenty of use, thanks to quality content that actually appeals to me. It almost makes me forgive my yearly subscription fee increasing to $132, but I digress. What I’d like to focus on is Disney+’s MCU shows, and how they’ve dominated the entertainment cycle. Be prepared for spoilers.

WandaVision-Sitcom:

Beginning the slate of Disney+ content in January, WandaVision, focusing on Wanda Maximoff and the sitcom reality she’s created, is the most unique. Sure, it has a big battle in the finale, but most of it’s a TV sitcom starring superheroes. Or, rather, it’s several TV sitcoms starring superheroes. Or maybe it jumps to several settings? Regardless, it’s not your typical MCU affair.

What makes this one stand out is that it can be enjoyed on two levels. It can be appreciated as a wacky spin-off in The MCU, a literal bubble reality, or as a weirdly charming series akin to something from David Lynch. I know that the latter comparison is overused, especially these days, but here it’s appropriate. This is, after all, a show that feels off enough to distract from its disturbing concept. That’s pretty Lynchian, no?

Once you get past the first three episodes, which I enjoyed, the series splits its attention between the world of Westview, and the “real world” of The MCU. And both are woven together nicely, highlighting how Wanda’s dream reality impacts everyone around her. Even in her bubble world, she’s taken people’s minds hostage so they can “play their parts”. That’s pretty messed up when you think about it. And yet, as we find out in Episode 8, we don’t begrudge her because we see why she created this reality. While not justifiable, we sympathize with her.

I’ve heard complaints about the finale undercutting the show, particularly from people who were mad about “Ralph Bohner”, but I think it sticks the landing. It even subverts the conventions of The MCU by having Vision win his fight with philosophy and Wanda win hers by outsmarting her opponent. It also has a heartbreaking ending where Wanda sacrifices her happiness. And all from a series where each episode uses a different, era-appropriate jingle. I can’t recommend it enough.

The Falcon and the Winter Soldier-Politics:

Moving on to the early-Spring, we have The Falcon and the Winter Soldier. Of all the MCU shows this year, it was my least-favourite. That’s not because it sucks, or because it’s boring, but because it has the most-complicated premise. This is the show that tackles the fallout from The Blip directly, so it’s a show about class politics and national borders. It’s not always successful, it misunderstands Anarchy, but if you’re looking for something akin to the Captain America movies? This is your show.

It even carries the grittier tone of Captain America: The Winter Soldier by having its threat feel grounded. This time, it’s a group of revolutionaries called “The Flag Smashers”, led by Karli Morgenthau. All they want is to unify the world, but their methods aren’t squeaky-clean. The show also has a government-anointed Captain America causing problems, especially given his more…gruesome methods. (Seriously, he decapitates someone in Episode 4.)

Despite the self-serious tone, it still retains the charm of The MCU. It has the humour and soul of their best, including a subplot surrounding Bucky’s PTSD. I especially liked the moment where he confesses to an old man he’s befriended that he’d murdered his son. It drives home the ghosts that soldiers often carry from combat, and it was treated with gravitas. If all else, that alone makes The Falcon and the Winter Soldier worth it.

I know what everyone wants me to talk about, though: Karli. Karli’s characterization has taken a beating for misrepresenting Anarchy, and I get it. But while her arc and resolution raise ethical concerns, and perhaps even some racial ones, I think people are being overly-harsh. Because she gets the conversation started about Nationalism, as well as the consequences of global superpowers not addressing the needs of refugees. If all else, that makes the experience worthwhile.

Loki-Hijinks:

Moving on, the late-Spring resolved a dangling plot thread from The Avengers: Endgame with Loki. I was skeptical of how this’d be handled; after all, isn’t Loki’s shtick that he’s a mischief maker? How could a one-note trait, even if it’s been done well in the movies, translate to a series? Well, Loki acknowledges this in its first episode, including a scene where his life gets interrogated by Morbius. It’s brutal, unapologetic and gut-wrenching. And I love it.

I, therefore, was disappointed when the rest of the show neutered Loki’s mischievousness for a Doctor Who-esque story about variants and conspiracies. It didn’t hinder it, Loki teams up with a gender-bent version of himself named Sylvie and takes on The TVA, but it didn’t feel like Loki was the same from the movies. True, Loki teamed up with Thor in Thor: Ragnarok, but that was to suit his own self-interests. Here, however, Loki’s a run-of-the-mill hero, and that’s kinda boring. But I guess we needed a straight-man to Sylvie, so what do I know?

Speaking of which, Sylvie’s a blast! Ignoring how Loki has alternate versions of himself, something that’s lamp-shaded in Episode 5, Sylvie makes Loki. She’s easily the best part, chewing the scenery whenever she’s present, and her chemistry with Loki, while unconventional, makes for great comedy and sincerity. I especially like their escape on Lamentis-1, and how it ends up not mattering. That level of unpredictability is quintessentially Loki!

If I have one complaint about Loki, it’s the finale. Because it doesn’t have one, instead leaving on a tease for a Season 2. It’s basically Netflix’s Cowboy Bebop all-over, except much better. Still, that I now have to wait another year to continue this story, which ends on a depressing note, is maddening. Oh well!

What If…?-Hypothetical:

Arguably my most-anticipated show of the Summer, What If…? is the most unique MCU series visually. It tackles hypothetical scenarios from the first three phases in a hand-drawn/CGI hybrid style of animation. All the episodes are narrated by The Watcher, a cosmic being who serves as a guide through these scenarios. Each episode’s also self-contained, so they can be watched out of order and enjoyed on their own merits. Considering I normally binge these shows leading to their finales, having an episodic structure allowed me to keep up with it weekly instead…

…Is what I would’ve said, but all that goes out the window with Episode 8. The show then pulls a two-parter that ties back to the previous episodes, as well as a hypothetical one that never aired. It’s annoying that the show does that, as I could no longer enjoy it weekly. It also brought back every focal character from the previous episodes to fight Ultron, and that was a head-scratcher. I mean, I get why it did that, it wanted a big battle, but it didn’t need it…right?

Whatever, I guess it’s this show’s Avengers-esque fight. And it’s not like everything ends up meaning nothing, as each of the prior episodes is still fun. Even Episode 7, arguably the weakest, has its moments. Though my favourite is still Episode 4, which focuses on Dr. Strange fixing the timeline so he can be with Christine, only to keep failing. It’s dark and depressing, and it ends in a dark and depressing way, even calling out The Watcher for not breaking his oath to interfere. I love it.

The other episodes are also fun! I like Episode 3 for being a whodunnit story, and Episode 1 for giving Agent Carter a starring role. But I can’t go without mentioning T’Challa as Star Lord. He’s easily the best Star Lord ever, and it saddens me that he was only theoretical. Then again, given Chadwick Boseman’s death, it’s sad that we didn’t get to see him more as T’Challa either…

Hawkeye-Festive:

Beginning with Thanksgiving and ending before Christmas, Hawkeye’s the Winter offering on Disney+. It’s quite interesting too, taking place around Christmas and focusing on Clint’s demons coming back to haunt him. And all while passing the torch to Kate Bishop, an overambitious 20-something who’s his biggest fan. It’s a buddy series, albeit with a superhero premise. I enjoyed it, but I also had some mild reservations. Though I’m getting ahead of myself.

The two best parts are Kate and the show’s antagonist. With the former, I liked her from the show’s first scene, which travels back to The Avengers. She’s dedicated, motivated, ambitious and fun to see on screen, and her optimism immediately sold me. She’s also a clever detective, and the subplot with her mother’s fiancé’s good stuff. I even liked how she took on Kingpin almost singlehandedly, beating him with her wits.

For the latter, Echo’s interesting in her own right. It’d have been easy to use her disabilities as punchlines, but the show was clever enough to not do that. She’s basically a victim of Clint’s stint as Ronin, her father having-supposedly-died at his hands, and she wants revenge. But revenge doesn’t suit her, so she’s conflicted. It’s an interesting parallel to Kate being enamoured with Clint, to the point of fixation. Plus, conversing in ASL the whole time was neat.

I guess my issue with Hawkeye is Clint. This is the third time where he was set up to die, and it copped out yet again. Not that I mind the ending, his reunion with his family was heartwarming, but considering he had Echo, The Tracksuits, Kingpin and Yelena from Black Widow after him, as well as Kate being handed the torch, it feels like a running joke at this point. Still, if it means seeing Clint console Yelena and convincing her not to take his life, which I liked, then I guess I’ll forgive it. But I really could’ve done with an emotional send-off...

And there you go: the 5 MCU shows that debuted on Disney+. I don’t know if this’ll become a recurring series, but either way, I’ll see you all in 2022!

Spider-Man's Back, Baby!

(Warning: this piece contains spoilers for Spider-Man: No Way Home. Read at your own risk.)

I saw Spider-Man: No Way Home in theatres.

Despite being packed, making me incredibly uncomfortable with COVID protocols, spending almost 2.5 hours with a nearly-full auditorium ruled. It was something I hadn’t experienced since the pandemic started in March of 2020. And you know something? I missed it badly.

I’m not kidding! Despite my issues with the modern theatre-going experience, there’s an energy that comes with watching movies with others. When they laugh, you feel it. When they cheer, you feel it. When they cry, you feel it. And when they gasp…you get the picture.

This was especially true with Spider-Man: No Way Home. MCU films are generally riveting, but this one was unique. This was Spider-Man, one of the most popular and well-known comic IPs ever. A lot of expectation was being shouldered on this film, especially as a trilogy-capper. Add in that the previous movie, Spider-Man: Far From Home, ended on a twist, a rather dark one, and the anticipation was through the roof.

Did it deliver? Yes. Which is surprising, considering what could’ve gone wrong. The premise and story-threads alone could’ve sunk it: it had to not only bring back 5 villains from 2 franchises, it also had tie up loose ends from said franchises while feeling earned and natural. And it still had to be a satisfying follow-up to The MCU’s take on Spider-Man. That’s a big ask for a movie of any kind.

I think it worked because, despite its setup, it still felt small and personal. This is a movie about a character making his life worse trying fix it. He screws up, pays for it, loses people close to him and makes difficult sacrifices. It’s all pretty heavy, but it’s quintessential Spider-Man storytelling. Because that’s what it means to be a relatable hero, right?

I don’t need to tell you this, as the audience’s energy throughout sold that. Going back to the reactions, when characters in the movie made jokes, the audience laughed hard. When Matt Murdock’s actor returned from Daredevil, or when Tobey Maguire and Andrew Garfield showed up, the audience cheered so hard I felt the ground vibrating. When Aunt May died, almost everyone cried. And when Maguire’s Spider-Man got stabbed by The Green Goblin’s glider, I heard audible gasps.

All the while, I was thinking to myself, “Spider-Man’s back, baby!”. Because while I’ve enjoyed the previous MCU Spider-Man films, they’ve also felt a little light. This one, however, had that missing ingredient from the Raimi films in the early/mid-2000’s. It was personal, intimate and, most-importantly, emotional. And that’s what I wanted.

I think that’s what other people wanted too. I know the claims of Martin Scorsese are still weighing on my mind, making me self-doubt myself for liking corporately-crafted action movies, but I don’t care. I disagreed then, and I disagree now. I think there’s plenty of merit to commercially viable franchise bait, irrespective of whether or not it crowds out smaller, more ambitious stories.

Besides, is that really the fault of a well-made movie? No. Honestly, the modern filmgoing experience is already non-conducive to attending it: the ticket prices are outrageous, the theatres are packed full of annoying people, you’re not treated with respect half the time, and the ads take up too much time. Sure, the end result’s worth putting up with that, but I’m in the minority. Many people only go to the theatre now if they feel it’s worth it, and that’s not often.

I think movies like Spider-Man: No Way Home are part of why they’d go at all. Is it another superhero blockbuster? Yes. Is it “crowding out” other movies? Maybe. Is it the best-written movie of the year? Not by a long shot!

But it doesn’t matter. Because quality isn’t the ultimate, defining factor in entertainment, and because the filmgoing experience is too subjective to fit in a neat box. As I’ve said in the past, it’s nobody’s business if you find a commercially viable, self-referential experience moving. Life’s too short and precious to be a gatekeeper.

Ultimately, Spider-Man: No Way Home’s a solid reminder of the staying power of these kinds of movies. It may not “hold up” narratively over multiple re-watches, but emotionally? I think it has that in the bag. It even utilizes the theme of redemption efficiently, reclaiming the legacies of Maguire and Garfield while also humanizing their rogues galleries. You have to know what you’re doing for that to not feel ham-fisted or lame, and this movie does!

*****

As you’ve no doubt noticed, this year I’ve cut back on my monthly content. The reason’s quite obvious: I’m working two part-time jobs, and it’s taxing mentally to focus on that and constantly put out new content. I know this means less engagement on my Blog, but I definitely think the trade-off’s worth it. Perhaps I’ll surprise you all with my final piece of the year, there’s roughly a week and a half left of 2021, but until then I’ll see you next time!

"Sayonara, Space Cowboy!"

So Netflix discontinued Cowboy Bebop.

The obvious reaction would be me yelling “Good riddance!”, but I won’t. Not only would it be petty, but it’d ignore the effort that went into it. Art isn’t 100% good or bad 100% of the time, and even trashy art has merits. Since the show was tolerable, and I feel bad for being so negative, I think it’s only fair to discuss 7 aspects I thought were decent, great, or-in some cases-an improvement over the anime. Here goes:

1. The casting:

The cast in this show either looks the part, sounds the part, or both. Even the newcomers, like The Iron Mink, are a lot of fun to watch. You can forgive a lot when a cast is trying their darnedest, and this is no exception. Because everyone seems to care, and even when a portrayal doesn’t land (like Eden Perkins as Ed), it’s clear that the actor behind it is passionate and wants to do their best. That speaks volumes.

Take the main trio. John Chu, Mustafa Shakir and Daniella Pineda, who play Spike, Jet and Faye, not only fit their roles, but elevate them beyond the material. And they have excellent chemistry, such that you genuinely feel like they’d work together. It’s enough to ignore that this version of Faye is Mexican instead of Chinese, or that Jet’s now black (not that actually makes a difference). A premise lives or dies on your protagonists, and they understood their assignments.

But it extends to the supporting cast too. The stars of Big Shot are, arguably, the most-faithful recreation of the anime, right down to the cartoonish accents they put on. And there’s plenty of diverse casting that makes this world feel lived-in. Even the aforementioned Perkins, who shows up briefly as Radical Ed, is doing their best with the material, and they also look the part. So while the show may be “bad”, you can’t blame anyone for not trying.

2. The aesthetics:

On the subject of pitch-perfect, the general aesthetic is also excellent. Netflix brought on the anime’s director, Shinichirō Watanabe, as a creative consultant, and you can tell. The general vibe has been translated to a teat, with the space cruisers looking and sounding as good as ever. Even the medicine and technology, which were important in the anime, were ported over with no hiccups, and in some ways expanded on. Again, that’s impressive.

It goes further than that, though. The original composer, Yoko Kanno, has returned, and she hasn’t missed a beat since 1998. She even, on occasion, brings new material, thanks to the episodes being twice as long. We don’t hear all of it, because the writing never lets us, but when we do…it’s great. I especially like that Julia has her own solo, something missing from the anime.

As a final note, the call backs look excellent. Are they tacked-on? Yes. Do they fall into the “have your cake and eat it too” category of fan-service? Also yes. But they’re recreated faithfully, which is hard to do when transitioning mediums.

3. Julia:

One character I think was improved on completely, right up until the finale, was Julia. See, Julia in the anime was…a plot point. She never had much to her outside of being Spike’s past fling, and her death in Episode 26, while unfortunate, held little weight because of that. It’s a shame because every other female character felt real, thanks to head writer Keiko Nobumoto lending her feminine touch, so it was jarring. I know she wasn’t important outside of the 5 story-centric episodes, but couldn’t she have been more interesting?

Well, the Netflix adaptation’s show-runners had that on their minds too. Instead of being one-note, this time Julia has depth. She’s vulnerable, she has aspirations, she’s stuck in an abusive marriage, she even plots to thwart Vicious’s goals of overtaking The Syndicate. And while some of her lines are atrocious, Elena Satine makes them work anyway. She’s easily the best part of the subplot with Vicious!

Unfortunately, there’s her conclusion. And yes, I stand by her “Girl Boss” turn being a slap in the face, even if shooting Vicious is so satisfying. Still, as with everything else, Satine sells it. That’s not easy to do, but she does. It almost makes me wish I could’ve seen more post-Season 1.

4. The premise of Episode 7:

Episode 7, minus the Vicious subplot, is easily the best. It’s not anime-levels of good, it doesn’t even compare to the anime’s worst episode, but the show-runners and writers clearly put the most effort into it. I think it’s because they merged anime Faye’s two most-important character episodes into something new, all the while staying true to their essence. This is probably the only episode I’d consider passable. I only wish the other episodes were…

For those unaware, Episode 7 reinterprets “My Funny Valentine” and “Speak Like a Child”. Those two episodes were crucial to Faye’s character development, and they’re two of my favourites. In Netflix’s version, they’re merged and tweaked. Here, Faye’s lover becomes her foster mother, and they bounce off each other really well. You genuinely believe that Faye was adopted by this woman before being abandoned, and that she’s now only agreeing to not turn her in because she needs her.

I also like how despite the ending being a nearly shot-for-shot recreation, it feels earned. I especially like the one change to the payoff, Faye finding her childhood recording stored on a VHS, as it makes more sense than the Betamax scavenger hunt Spike and Jet went on in the anime. That never fully made sense to me, feeling forced and contrived, so I’m glad Netflix’s adaptation fixed that. It’s a nice update. Hooray for small victories!

5. Faye rescuing Jet and Spike in the finale:

In another example of a change that works in its favour, we have this moment in Episode 10. Faye not chasing after Spike when he goes to confront Vicious in the anime always bothered me. I mean, she had feelings for him, and him abandoning her was hurtful, so why not? It’d not only give her an awesome moment, but it might’ve even saved Spike’s life. But I’m 23 years late on that one…

…Is what I would’ve said, until now. Because, again, the show-runners had that on their minds with this change. Could it have been foreshadowed better? Maybe. Is the line, “Welcome to the ouch, motherfuckers!” cringe-worthy? Absolutely, and I’d smack whoever thought it was acceptable. But it works.

It actually works too well, honestly. Because now I can’t go back and not picture what could’ve been. Faye saving the day isn’t only nice fanfic, it’s something I think was lacking in the anime. It’s not like Faye hadn’t done it in other episodes (see “Mad Pierrot le Fou”), so why not here? How did the Netflix series outdo the anime on that front?

6. Kimmy:

Kimmy’s a Netflix inclusion. She wasn’t a character in the anime. In fact, it was never suggested that Jet had fostered a child in the anime! He had a girlfriend who broke up with him, but the closest he got to being a “dad” was Meifa in “Boogie Woogie Feng Shui”. And that’s regarded by fans to be its worst episode.

Nevertheless, I like Kimmy. She not only adds to Jet’s character, giving him personal stakes, but the two have genuine chemistry. You feel like they want to be together, yet can’t. It’s sad, too. And that’s why it works.

I’ve heard that Kimmy’s a Cassie clone from the Ant-Man films, complete with a similar relationship to her father. I see it, but do I care? Not really. Because, to quote an old adage, “there’s nothing new under the Sun”. If the anime remixed classic film genres and made it work, then why can’t the Netflix show do the same with a character dynamic?

7. The hallway fight in Episode 9:

Finally, I want to give a shout-out to this set piece in Episode 9. The premise is that Spike has gone to a rival cartel’s headquarters to kill everyone and prevent an all-out war. The scene is several minutes long, brutal and really well-choreographed. And best of all? It’s done in one take.

I love it! Like with Kimmy, this was Netflix-only. It’s also heavily-inspired by Oldboy. But if it means getting to seeing Spike flex his action muscles, then does it matter? Remember, “there’s nothing new under the Sun”.

I want to zone-in on how difficult it must’ve been to film. Remember, one takes are exactly as they sound: they’re done in one take. A lot of preparation goes in to making them work, including factoring in room for mistakes. It’s even harder with a fight scene, which contains plenty of movement. And even knowing all of that, this was still pulled off swimmingly. If that’s not proof that someone cared while making this show, I don’t know what is.

So there you go: 7 aspects of Netflix’s Cowboy Bebop that I liked. It’s too bad the show’s cancelled, as I’m sure it could’ve expanded with another season. Oh well!

Netflix Be Boppin'?

Cowboy Bebop didn’t need a remake.

I say that not because it was “flawless”. Not only have I shared my problems with the writing before, but it also had an uncomfortable subplot that reeked of transphobia in one of its episodes. Rather, I say it because the show was lightning in a bottle, a snapshot of an era that only worked because of the right circumstances. Recreating that, aside from being disrespectful, would be a recipe for failure. But since corporations can’t say no, it got remade.

To be fair, a live-action remake had been in the works for a while. Like I said on Infinite Rainy Day, there’d been talks of one since the mid-2000’s, when Keanu Reeves was rumoured to star as Spike Spiegel. It went through delays, development hell, retools and studio changes, until it finally made its way to Netflix. So now that we have a live-action Cowboy Bebop, how is it? Is it worth the binge?

In order to answer those questions, I think we need asterisks. Because the show’s quality is lacklustre, but the final episode changes the reason why. I could easily write a rant on the finale alone, and put a pin in that, but since it’s unfair to the other 9 episodes, I should discuss my thoughts in general. Be prepared for spoilers.

Cowboy Bebop is a 10-episode series that shuffles sequences and storylines from the 1998 classic. It still follows a band of bounty hunters, or “cowboys”, and their hijinks in space, but it expands on Spike’s Syndicate past and makes it a running thread. An odd choice, especially when it focuses on the show’s antagonist, Vicious, and tries fleshing him out more. It also has a subplot about Jet’s daughter, who I’m pretty sure was invented for the Netflix series.

Right away, it’s pretty obvious what the show’s biggest problem is: it feels like two different shows vying for attention. The first is a drama about three misfits who struggle to balance their jobs with their personal lives. And this isn’t bad material! Some of it’d be, dare I say, fantastic in a different show. The struggle Jet has with his daughter, for example, is easily the best subplot!

Unfortunately, there’s a second show in here, and it’s where the experience routinely trips over its own feet. See, this is a live-action Cowboy Bebop, and it makes no secret of that. Every episode’s jam-packed with references and call backs to the anime, and it’s excessive. Each of the episodes has plenty of “remember this?” moments, except “updated” for 2021. They don’t even feel organic, instead checking off ingredients in the ‘Memberberry Soup recipe.

I feel bad pointing this out. An adaptation should be judged as its own entity. But Cowboy Bebop wants to have its cake and eat it too. So I really have no choice here, and that includes the references that make you nostalgic for the anime.

You know what doesn’t help? The writing. The original anime was notorious, even in Otaku circles, for subtlety and restraint, thanks to Keiko Nobumoto. Nobumoto, who also penned my favourite anime series ever, was a brilliant writer, and her characters often said a lot with relatively little. It was a decision partly inspired by time restraints, but it worked. (It actually might’ve worked a little too well...)

So how does the Netflix series fill its time? With padding. Aside from extra content, it also has lots of fluffy dialogue. Some of the conversations are cringeworthy, while others belong in a different show altogether. It doesn’t help that the characters swear excessively, such that it’d be too much even for Quentin Tarantino. That’s not good, and it takes you out of the experience.

This all sounds bad, but I gave it the benefit of the doubt because there was something there. Then the last episode happened, and everything changed. The show went from mediocre with occasional greatness, to flat-out embarrassing. I could stand the dialogue, the call backs and the episode padding. But I drew the line at butchering a character in service of “updating” the show.

In an interview, the show-runner mentioned that he wanted to be respectful while also giving a new spin. I can see that, and I get it, but that last episode really misses the mark. The way it resolves the relationship between Vicious, Spike and Julia, which is crucial to story, ruins what’d been established prior. Not to mention, it contradicts Julia’s arc.

It starts fine enough: Julia, who’s been placed under confinement, convinces one of the female Syndicate members to let her reunite with Spike. Spike, having been recently rescued by Faye (in a rare improvement over the anime), heads back to the church he was held hostage in to confront Vicious. He climbs to the top tower, and the two fight in a moment that hearkens back to their confrontations from the anime. Everything plays out beat-for-beat, until Julia shoots Vicious (in another rare improvement). She then asks why Spike never looked for her in the years he was presumed dead, and he has no satisfying answer.

Then the show goes all “Girl Boss”, with Julia knocking out Vicious, sending Spike through the window and claiming her place as head of The Syndicate. This makes absolutely no sense, and it’s actively frustrating. Yes, her reclaiming agency is great. Yes, she deserves a happy ending. And yes, drawing a blank at Vicious is a nice callback to an earlier episode. But Julia’s journey was about breaking free of The Syndicate. She’d never expressed interest in joining the organization that abused her before, so why now?

Seriously, I’d pull a “Tell me you don’t understand the original series, without telling me you don’t understand the original series” line, but what good would a meme do?

To top it off, the show throws in one last insult by having a drunk and downtrodden Spike meeting a hyperactive Radical Edward. And it doesn’t work. Bless Eden Perkins for trying, but the original show’s Ed, for all her quirks, knew when to show restraint. Ed was the reason I got into Cowboy Bebop in the first place, having been in a bad place in 2008 mentally and needing something to, in a weird way, keep me grounded. It’s baffling how this adaptation got Ed so wrong, especially when everyone else was done reasonably well.

But that’s the problem with this adaptation: it doesn’t understand itself. When it’s not actively pissing you off, it’s superficially reminding you what made Shinichirō Watanabe and Keiko Nobumoto’s work great to begin with. Which is a shame, as there’s potential for excellence here. The casting’s great, the chemistry’s excellent, the art and set designs are top-notch, Yoko Kanno returns with her music selections, and it manages to be more LGBTQ-friendly than the anime. Everything’s great on the surface, but the writing and story choices are baffling. That’s not a good sign for something that was stalled for over a decade.

Ultimately, Cowboy Bebop left me sad and tired. It made me miss the anime. And it made me doubt whether the anime was even good. But most-importantly, it reminded me why animation deserves more credit. Because the anime’s so good that even people who normally hate anime like it! I can’t say that here.

So yes, avoid this adaptation. Or, better yet, watch the anime! It’s currently on Netflix, and you’ll have an infinitely better time. That much I guarantee!