The theme track, Tank! carries listeners right into a galactic space quest. If there’s one thing that did make Bebop float, it was the phenomenal action jams conducted by Yōko Kanno and performed by The Seatbelts. “Live-action adaptations aren’t necessary.” “Maybe if they made it in Japan, it would be better…right?” Kotaku detailed this in a “cross-section of comments from some of Japan’s most popular sites, including 2ch, My Game News Flash, and Yaraon Blog.” Bebop may have deserved more time, but for some Japanese fans, there was no reason to make the show in the first place.
If the tragedy that was Death Note shows us anything, it’s that translating anime can be tricky.
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“Nemec’s 10-episode series gets its sea legs after a somewhat wobbly start,” Randy Myers of the San Mercury News reported. Several critics did suggest that the show was growing (and could do a bit more) but may have been worth keeping around. Auckland aligned with the grimy, ultra-urban aesthetic the production team was going for. Radio New Zealand reported that filming took place across 185 locations in and around Auckland, New Zealand with 150 locals hired as art and construction teams. The cast initially trained with 87eleven Action Design, who also stood in as John Wick’s stunt team. Previews and hints about the show suggested something worth watching. There’s a whole lot of action, and other stretched-out, effects-laden scenes, but it’s all at the price of making its characters into people we care about watching,” Joel Keller of Decider wrote. “ Cowboy Bebop isn’t cringingly bad, but it’s also not particularly memorable either. Criticisms negative and positive coincidentally cited well-considered scenes and incredible action that invoked the original Cowboy Bebop with characters that did not. The show fell flat, despite the best of intentions and significant investment ($1.5 million was laid out for Bebop’s promo alone). “I think a lot of it was that there were so many things that work, but at the same time, not wanting to do a one-to-one translation because I wanted to be served, if I were a fan, a different meal,” Nemec told to. He also was trying to create a new within Watanabe’s world. In order to be as true to the source material as possible, Nemec brought on Shinichirō Watanabe, the director of the original anime series, as a show consultant. It could be that Nemec was doing two things at once with Bebop.
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Nemec’s previous work includes stints as a writer and producer on the sci-fi TV series Alias and the 2014 Teenage Mutant Ninja Turtles movie. This began with producer and showrunner André Nemec, tasked with bringing the 26-episode animated 1998 show to real life.
fans of the 1997 anime series breathlessly awaited the show featuring Cho as Spike Siegel, Mustafa Shakir as Jet Black, and Daniella Pineda as Faye Valentine, bounty hunters aboard the Cowboy Bebop, hunting the galaxy’s most dangerous criminals while running from their own shadowy pasts. It’s not hard to see why Netflix producers invested significant time and money into developing the show - alluring futurism shining from dark sets propping up charismatic characters and narrative that’s cast in a hard-boiled gumbo of film noir, space opera, French wave. It came from a real and pure place of respect and affection,” co-executive producer Javier Grillo-Marxuach tweeted. Now four weeks after all 10 episodes aired, and the show scores only a rancid 46% “fresh” rating among Rotten Tomatoes critics and an only slightly less-spoiled 57% with fans. Bebop garnered nearly 74 million viewing hours globally since its debut, but those numbers plunged by 59% in two weeks. Despite high anticipation for the show, the space-western flopped after its drop.
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