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News Live-Action ‘Cowboy Bebop’ tv series in the works

I don't remember a single show produced by Netflix which did the jump to another streaming service.

I'm wrong?
 
Simple numbers game. How many watch it, how many subscribe un subscribe etc. If it cost 100 million and it's not getting enough eyeballs.. Then why throw more good money away.
After 3 weeks, they seen it wasn't going to do the numbers they wanted so.. Axed.
So don't blame Netflix.. They okayed a director/showrunner , gave them money and hoped for the best. Didn't work out this time because the show was poop.
 
https://twitter.com/i/web/status/1469349705733836803


Keiko Nobumoto, scriptwriter behind popular anime titles such as Cowboy Bebop, Wolf's Rain and Tokyo Godfathers, passed away on December 1st. She was battling esophageal cancer. May her soul rest in peace.

Friday was not a good day for Cowboy Bebop fans. There were even detractors of the live-action adaptation said stuff on social media such as "she died because of how awful the show was" and so on.
 
I honestly don't mind it I like it. After watching this I dug out Killjoys for more fun
I miss Killjoys!

We finished all 10 episodes and I really enjoyed them. I thought the show got better as it progressed and I loved the chemistry among our leads. I'm disappointed we won't be getting a second season, as I was looking forward to seeing where they would take the characters from this very different ending.

I'm not sure why so many of you hated Vicious. I thought the actor did a great job, and I welcomed the depth given to the character.

Episode 7: A very different approach to the exploration of Faye's backstory, but an effective one. Whitney is changed from a love interest to a fake mother, a charming con artist who upends the crew's lives. It was a fun ride, as long as I don't think too much about all the henchmen who were killed in what turned out to be just a kinky roleplay between the Mink and Whitney. A lot harder to sympathize with Whitney given that. Although I guess at that point we weren't supposed to.

Although I liked the bit where Jet was watching Kimmie's recital by telepresence while Spike was fighting goons in the background. That felt very Bebop-worthy. I do wonder how the holotechnology works, though. How was Jet seeing the recital? There was no reciprocal holo on his end.

So Faye finally gets her ship, which has been in the titles every week, so I was wondering when it would show up. And she finds the videotape as well. Interesting how they changed things -- instead of Jet and Spike having to go to extreme lengths to find a compatible player and then getting the wrong one, here Jet already has one, because he's been established from the start as a connoisseur of old media like phonograph records. It's different, but it works. And the part they kept the same -- young Faye's video -- was just as moving here as in the anime. Brought me to tears both times.
<snip>
Much less use of John Noble than I would've expected in the Vicious stuff. Also, if Vicious is the son of the Syndicate's head, why would he need to stage a coup? Wouldn't he already be the heir apparent? It's an odd change.
I *loved* this ep! Whitney was a terrific character and the recital/fight juxtaposition was fantastic. And, yeah, just like the original, I cried at the ending. Perfect.

Vicious' coup had to do with hating his father, not with needing to stage one.

The major change in Julia's story arc was interesting. On the one hand, I'm glad to see her given a chance to become more than just a love object and a trophy for male protagonists and seize her own agency. On the other hand, the path she's chosen to follow tarnishes her as a character, and basically reveals that she was never the ideal Spike imagined her to be. So I'm not sure I like her making that choice, though I understand it given everything that happened in the narrative.
I *really* liked this change. I think it made her more human. They weren't together long enough to see the less ideal parts of each other. But Julia - who started as a naive makeup artist then singer - went from thinking she needed Vicious to be "safe", then proving to be pretty smart, then realizing she doesn't need him at all.

I was just looking through the "coming soon" books on Amazon and stumbled across this and this, and already added them to my Google Play wishlist.
Thanks!

Damn. I liked the show, for the most part. The core cast was terrific. And there were threads I was hoping to see resolved, like the Cherious Medical backstory given to Ein. Plus I would've been curious to see how they'd tackle adapting stories like "Heavy Metal Queen" or "Toys in the Attic."

Well, I hope at least the actors bounce back and get other work. I've felt for a long time that John Cho deserved to be a leading man, but he can't seem to get a starring role in anything that lasts. (The only previous series lead role he had that I know of was in a terrible 2014 sitcom called Selfie with Karen Gillan. They both deserved much better.)
Agreed on all points.
 
Netflix is far too 'cancel-happy' when it comes to its original live-action programming for me to want to give any of it a watch.
This is the exact opposite of how you should handle this situation, if you are frustrated by them cancelling stuff, then you should make a point of watching stuff that interests you and encourage other people to watch it too. The idea is for more people to watch their stuff, not less.
Is Netflix really that much more "cancel happy" than the networks and cable channels?
 
Is Netflix really that much more "cancel happy" than the networks and cable channels?

True. Cancellation is always the more likely fate for any new show, on any network. It has always been thus. TV is a competitive, expensive business; success is never guaranteed.
 
I miss Killjoys!

We finished all 10 episodes and I really enjoyed them. I thought the show got better as it progressed and I loved the chemistry among our leads. I'm disappointed we won't be getting a second season, as I was looking forward to seeing where they would take the characters from this very different ending.

I'm not sure why so many of you hated Vicious. I thought the actor did a great job, and I welcomed the depth given to the character.


I *loved* this ep! Whitney was a terrific character and the recital/fight juxtaposition was fantastic. And, yeah, just like the original, I cried at the ending. Perfect.

Vicious' coup had to do with hating his father, not with needing to stage one.


I *really* liked this change. I think it made her more human. They weren't together long enough to see the less ideal parts of each other. But Julia - who started as a naive makeup artist then singer - went from thinking she needed Vicious to be "safe", then proving to be pretty smart, then realizing she doesn't need him at all.


Thanks!


Agreed on all points.

What is really interesting is how much vicious seems to be motivated by protecting Julia from others. In a bad way sometimes, tied absolutely to his own ego. He *is* twisted. But so is basically everyone in that syndicate world and beyond. Jet being so straightforward in a world of corkscrewed people is outright dangerous to him, and he doesn’t get it until the end.
Faye also is sort of naive in that sense, but has defaulted to basically trusting no one as a defence, whereas Jet has misplaced loyalty repeatedly based on surface info.
Seeing how all that unwinds, all those loyalties — particularly spike who was loyal to his ‘brother’ until the scales fell, then loyal to Julia until he realised she wasn’t what he thought… basically there’s a through line of people believing in the idea of a person and refusing to see the reality.
It’s front and centre with Faye’s ‘mum’ and her arc.
It is also quite cheeky, for an adaptation to be so much about ‘you thought you knew this person, and you don’t really’.
I really really wanted a season two to finish those up, possibly on a more positive note, and the retro-future stuff was beautifully done.

But yes, a certain contingent of anime fans (younger ones) don’t really get things. Annoying. First GiTs, now this. Always stuff older anime fans like me were really interested in. Alita too, I suppose.
 
Is Netflix really that much more "cancel happy" than the networks and cable channels?


See, the thing is, it feels too much like a knee-jerk reaction to the poor ratings. I can maybe understand a month or two later, but just a few weeks later? It's one of their more expensive shows, one that I'd think they would be hesitant on cancelling so soon. I find that using the data from the first few weeks makes for a wrong assumption in an age where the whole concept is of being able to watch wherever and whenever we want. And there's a sort of double-standard in that too. What of the popular shows that go through periods of slow viewing actvity and binges when a new season is about to be dropped? Sometimes people discover them for the first time after promotions are renewed or simply want to rewatch, which proves that interest goes in waves. The fact that it got cancelled so early leads me to believe they didn't have full confidence in it to begin with, not to mention that to those who worked on it, it must feel psychologically damaging. "We pulled your show after two weeks" is probably not something you'd want to hear.
 
See, the thing is, it feels too much like a knee-jerk reaction to the poor ratings. I can maybe understand a month or two later, but just a few weeks later?
They likely had a contracted date by where they had to yay or nay a second season. Actors are booked for specific periods. You can’t just wait and see if there is an imminent renewal date.

None of us are privy to Netflix’s own data or market research. It could well be that their experience demonstrates that shows that tank on launch never or rarely ever build an audience later. A show that is so badly received that it (supposedly) has a 59% audience drop for its second episode and terrible word of mouth would seem a risky gamble to pour more money into.
 
They did it with that super hero one, except that show was pretty awful, honestly - I kept waiting for a twist that never came, it was played straight. But I was enjoying Bebop, now I'll probably never finish it cause they pulled the plug so quickly. I prefer Amazon Prime and I might give Disney+ a go.
 
They likely had a contracted date by where they had to yay or nay a second season. Actors are booked for specific periods. You can’t just wait and see if there is an imminent renewal date.

Oh, that I don't doubt. I mean, there's a reason for everything. But at two weeks? That's just awful, and it kind of feels mean-spirited. And it feels like awful planning on their part if that date is so close to their release date. "Yeah, we released it. But we're so sorry to have to tell you we cancelled it."

I'm currently watching Marco Polo, a show that was cancelled in 2016 after only 2 seasons, and I had originally given up on it early in season one, but I'm finding it much better than I originally felt about it.
 
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See, the thing is, it feels too much like a knee-jerk reaction to the poor ratings. I can maybe understand a month or two later, but just a few weeks later? It's one of their more expensive shows, one that I'd think they would be hesitant on cancelling so soon. I find that using the data from the first few weeks makes for a wrong assumption in an age where the whole concept is of being able to watch wherever and whenever we want. And there's a sort of double-standard in that too. What of the popular shows that go through periods of slow viewing actvity and binges when a new season is about to be dropped? Sometimes people discover them for the first time after promotions are renewed or simply want to rewatch, which proves that interest goes in waves. The fact that it got cancelled so early leads me to believe they didn't have full confidence in it to begin with, not to mention that to those who worked on it, it must feel psychologically damaging. "We pulled your show after two weeks" is probably not something you'd want to hear.
Them cancelling shows so soon after they drop isn't really that different from regular TV networks and cable channels canceling a show after one or two episodes. Even with them there's always a chance it could build more of an audience as the season goes on, especially now that you can usually go onto the app/website or a streaming service to watch at least the last handful of episodes, if not the entire season.
 
They did it with that super hero one, except that show was pretty awful, honestly - I kept waiting for a twist that never came, it was played straight. But I was enjoying Bebop, now I'll probably never finish it cause they pulled the plug so quickly. I prefer Amazon Prime and I might give Disney+ a go.
I recommend watching the anime series and, optionally, the movie and forgetting the live-action version exists.
 
They did it with that super hero one, except that show was pretty awful, honestly - I kept waiting for a twist that never came, it was played straight. But I was enjoying Bebop, now I'll probably never finish it cause they pulled the plug so quickly. I prefer Amazon Prime and I might give Disney+ a go.

It fortunately has an ending in the season finale, and it’s a down note, but that’s sort of in keeping with the original really. I found the live action was actually better for holding my interest than the original anime, and that’s unusual. Especially as the original isn’t exactly unknown or unloved by me.
One reason for this might be that a mostly-American riff on an anime that was steeped in a certain kind of Americana in the first place makes a certain kind of sense.
 
Them cancelling shows so soon after they drop isn't really that different from regular TV networks and cable channels canceling a show after one or two episodes.


Ok, maybe not. But, there's still a difference in that on Netflix, most of their shows' seasons drop all at once, so I'd argue the effect is felt even moreso, kind of like whiplash. Because why spend all that money on a show that they won't commit to?
 
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