The entertainment portal INVESTMENT he published an article stating that his live-action series had recently failed Netflix and based on the original anime Bebop bó, could represent “one before and one after“In decisions of the industry in general on”japanese american anime“.
«Earlier this month, Netflix announced the cancellation of its expensive and ambitious Cowboy Bebop series, a live – action adaptation of the influential Japanese soul of the same name. As The Hollywood Reporter noted, the hammer fell just three weeks after the series' premiere. Netflix's promotion to the premiere, leading to its rapid cancellation weeks later, raises a grim question: Why all this?».
«Netflix is in the constant and desperate pursuit of original productions to boost its content catalog. Unlike streaming companies that rely on an existing library, such as Paramount + or WarnerMedia, Netflix is flexible enough for licensing, customization and availability. And how it's more profitable to adapt IP to an existing audience than to try something new (at least if successful bets like Stranger Things and Squid Game are ignored), Netflix found its way into Cowboy Bebop, an anime that was partly loved for its content that it was a series of 26 episodes rather than an absurd 900-episode saga.».
«But Netflix has opened many wounds in the fandom of pop culture. Anime fans are fed up of Japanese anime adaptations made by Hollywood producers, because for years American creators have shown a pitiful misunderstanding of the cultural themes that make these stories special. Attempts to make an American remake of the 1988 sci-fi classic Akira sought to set the scene in New York City, despite the fact that Akira is primarily concerned with Japan's 20th-century external crisis, as evidenced by his demonstrations of civil unrest, gangs. bosozoku rampant, and prevailing nuclear images».
«While most Hollywood adaptations of anime usually show a sharp visual devotion to these stories -from the 2017 film Ghost in the Shell, staged by Scarlett Johansson, which featured some mock imitations of the 1995 anime film, they are not yet adapted to a new environment. Cowboy Bebop is the latest and greatest example. Despite the series' obvious efforts to be anime, the live-action production failed to be as lively, energetic, and rhythmic as animation. It was like looking at a faded photocopy».
«The cast further divided the audience. In the title role of bounty hunter Spike Spiegel was John Cho, the Korean-American actor whose Hollywood success has come to show something more than himself. There was also Mustafa Shakir, whose Bushmaster was revealed in Luke Cage, like the Jet Black pilot, and Daniella Pineda, an exciting new talent who wanted grit and sweetness Faye Valentine. (…) So far, the value of Bebop Cowboy for Netflix is clear. Netflix is still interested in anime (a live – action adaptation of One Piece is in development), and no one's career seems to have come to an end overnight. Certainly not John Cho’s, who has more jobs in various stages of production. People can sweat a little less because of that. But despite all this relentless talk, from the future of American anime adaptations to the “shaky fame” presented, What was the point of all this if Netflix did not commit to it?».
«If there is one drawback to the streaming age, it is impatience. Streaming companies want new series to come out in anticipation of the Game of Thrones era, but they fail to acknowledge that Game of Thrones took years to gain widespread fame. This is not to say that Cowboy Bebop deserved eight seasons, but it goes without saying that TV series would be repeated and rehearsed over time. Netflix lost Cowboy Bebop on their first take, but imagine if they had the time, space and money to try a second. But with the baggage of anime adaptations and the costly risk of different market representation, is it worth trying in the first place?».