Animated classics are usually best left alone. Live-action versions seldom live up to the original.

In rare cases, though, one does manage to reach that same level of brilliance. One of these is the Netflix live-action adaptation of that classic animated multi-genre space Western, Cowboy Bebop.

Cowboy Bebop only loosely follows the anime. Many characters are similar and some plot lines are repeated, but overall it can and does stand on its own. I have watched the anime (several times) and can assure you that you can go into this not having a clue as to what it’s about.

The series does not, as the name might suggest, revolve around a cowboy named Bebop. It refers to the fact that interstellar bounty hunters are nicknamed cowboys and the ship of this particular crew is called the Bebop. The initial two-man crew — Jet Black (Mustafa Shakir) and Spike Spiegel (John Cho) — are as cliché as it sounds: men on the run from their past and making a living apprehending bad guys for the fare. With limited succes. Add in Faye Valentine (Daniella Pineda), a con-girl with a spotty past and a corgi, and you get a bunch of misfits that roam human-inhabited planets fighting evil, trying to find love and often literally themselves.

All Time Travel Authorities Look the Same

Atomic

Nick OttensSeptember 8, 2021

I finally watched Loki on Disney+ (it’s hilarious) and one of the things that stood out to me was the aesthetic of the show’s Time Variance Authority (TVA). Brutalist with a mix of midcentury graphics and 1970s decor, it reminded me of the Fallout video games as well as Counterpart, the most underrated science-fiction series of recent years. The Office of Interchange in that show also uses dot-matrix printers, rotary-dial phones, old computers, typewriters, and pen and paper.

The Office of Interchange isn’t a time-travel authority. Rather it manages relations between two parallel Earths. The Temps Commission in The Umbrella Academy (our review here) is, and it too looks midcentury. So does the Federal Bureau of Control in the video game Control. Brutalist architecture and midcentury American office furniture seem to be the time traveler’s favorites.

For All Mankind

Atomic

Nick OttensAugust 25, 2021August 25, 2021

The first time I gave For All Mankind a try was not long after I’d seen Altered Carbon, and another ten episodes of Joel Kinnaman’s pent-up anger was more than I could bear.

I still find it off-putting, and his character in For All Mankind shows almost no growth over two seasons. But the rest of the series makes up for it.

It starts with the Soviet Union beating the Americans to the Moon and shows the Space Race continuing into the 1980s. Along the way, the Soviets land the first woman on the Moon, convincing the United States to train its own female astronauts; both superpowers built lunar colonies; and East-West tensions come to a head in a Panama Canal Crisis, which in this timeline is aggravated by Ronald Reagan winning the presidency four years earlier and refusing to relinquish American control of the canal to Panama’s pro-Soviet government.

Deutschland 86

Atomic

Nick OttensJune 4, 2021

Babylon Berlin is said to be the best drama series to ever come out of Germany. I disagree. My vote goes to Deutschland 83 (review here), in which border guard Martin Rauch (Jonas Nay) is recruited by East German intelligence and thrust into the middle of a nuclear standoff.

The series wasn’t hugely popular in Germany, but it found enough viewers abroad to warrant a sequel. Deutschland 86 takes place three years later. Martin has been exiled to Angola. His aunt, Lenora (Maria Schrader), who is also a spy, is working on an operation in South Africa. Naturally they run into each other again.

The ten episodes masterfully weave together the events of the time in a compelling narrative: the slow collapse of apartheid in South Africa, the civil war in Angola, Muammar Gaddafi’s support for international terrorism, the La Belle disco bombing in Berlin — all against the backdrop of the American-Soviet Cold War.

Five Came Back

Diesel

Nick OttensFebruary 19, 2021

Never Was readers may be familiar with Frank Capra’s Why We Fight series. I’ve used animations from the seven films, which were produced for the War Department between 1942 and 1945, in several stories, including “How the Nazis Planned to Invade Great Britain” and “The Rise and Fall of Japan’s Empire in Maps“.

But did you know the animations were from Disney? That Capra used Axis propaganda footage in his films? And that there were four more Hollywood directors who made movies for the war effort?

I didn’t. In Five Came Back, Francis Ford Coppola, Paul Greengrass, Lawrence Kasdan, Steven Spielberg, Meryl Streep and Guillermo del Toro tell the story of how five directors invented the war documentary.

The Alienist, Season 2

Steam

Hilde HeyvaertFebruary 3, 2021

Dr Lazlo Kreisler and his friends (most of them anyway) return to search for a sinister killer of infants in turn-of-the-century New York.

Much like Season 1 (our review here), sordid affairs hidden by members of the upper class and the — often corrupt and incompetent — police are a big part of the setting and storyline. Unlike Season 1, this does not meet expectations, which, after a strong start, were incredibly high.

Drifting Dragons

Diesel

Alexander WallaceNovember 21, 2020

I chose to watch Netflix’s Drifting Dragons practically on a whim. It had airships, and it would allow me to partially fulfill my desire to get more into anime, given how much it has influenced my social circles. I watched the whole thing in a single night, about four hours or so.

In terms of the ‘punk aspect, it is on the boundary between steam and diesel. The series is set in a fantasy world separate from our own, but the technology is familiar: you have the helium zeppelin and the small helicopter that it dispatches to fight dragons.

Given that it’s in the very title of the show, I feel I must comment on the dragons. These are not the dragons of European fairytales, nor are they the dragons of Chinese myth; these are more Lovecraftian monsters than anything else, with a sort of otherworldly horror to their design that made my skin crawl. They’re not just inhuman; they almost feel as if they were not designed by humans.

Perry Mason

Diesel

Nick OttensNovember 15, 2020

HBO has brought back the hard-boiler defense lawyer Perry Mason in a drama series starring Matthew Rhys, of The Americans fame, in the title role.

I never saw the long-running CBS drama series starring Raymond Burr (1957-66), but I did read most of Erle Stanley Gardner’s novels on which the characters and stories are based. Matthew Rhys’ Mason isn’t as smooth as the one from the novels, but this is a prequel. Set in 1932 Los Angeles, at the depth of the Great Depression, is tells the story of how Mason became a lawyer and took over the practice of his mentor, E.B. Jonathan (John Lithgow).

Like the novels, which typically feature a (female) client falsely accused of murder, the HBO series stars Gayle Rankin as Emily Dodson, who is charged with kidnapping and murdering her baby son by a district attorney played brilliantly by Stephen Root (whom dieselpunk fans may recognize as Hawthorne Abendsen from Amazon’s The Man in the High Castle).

Juliet Rylance and Chris Chalk complete the cast as Mason’s loyal secretary, Della Street, and ally, detective Paul Drake.

Enola Holmes

Steam

Hilde HeyvaertOctober 4, 2020

Sherlock Holmes’ younger sister has grown up in the country, raised by her single mother and away from her famous siblings Mycroft and Sherlock. After the disappearance of her free-thinking mother, she escapes Mycroft’s attempts to make her socially acceptable — and less of an embarrassment to him, a government official — to travel to London in search of the missing Holmes family matriarch.

On the way she gets embroiled, like Holmes family members tend to do, in the case of a missing aristocrat, has her brothers trying to find her, for various reasons, and is slowly stumbling across the plot her mother has gotten herself into.

Year Zero in The Man in the High Castle

Diesel

JamesAugust 14, 2020August 25, 2020

To the student of history, the premise of Amazon’s The Man in the High Castle (2015-19, our review here), based on Philip K. Dick’s 1962 novel of the same name, isn’t easy to accept. The United States, in the real world an industrial titan and the “Arsenal of Democracy”, is defeated in World War II and replaced by two Axis puppet states. The show justifies its alternate history with a favorite dieselpunk trope: Nazi superscience. Specifically, the “Heisenberg device” atomic bomb, which is used to decapitate the American leadership in Washington DC in December 1945.

The “history” of Nazi-ruled America is more credible. Institutions like the FBI neatly fold into the New Order. Former soldiers, like John Smith (Rufus Sewell), join the SS. Jews and other undesirables, including the mentally and physically disabled, are exterminated with little resistance.

One political aspect of the show which was very much on-point came late in Season 3, when (spoilers ahead!) the recently crowned Reichsführer, Heinrich Himmler, observes the celebrations of a Jahr Null, or Year Zero, in an alternate 1963.