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Cowboy Bebop 

Kaubôi bibappu (original title)
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The futuristic misadventures and tragedies of an easygoing bounty hunter and his partners.
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929 ( 43)

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1  
2002   2001  
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Cast

Series cast summary:
Kôichi Yamadera ...  Spike Spiegel 26 episodes, 1998-1999
Unshô Ishizuka ...  Jet Black 26 episodes, 1998-1999
Steve Blum ...  Spike Spiegel 26 episodes, 1998-1999
Beau Billingslea ...  Jet Black 26 episodes, 1998-1999
Kevin Seymour Kevin Seymour ...  Additional Voices / ... 26 episodes, 1998-1999
Wendee Lee ...  Faye Valentine 25 episodes, 1998-1999
Megumi Hayashibara ...  Faye Valentine 24 episodes, 1998-1999
Isshin Chiba Isshin Chiba ...  Man 2 / ... 17 episodes, 1998-1999
Melissa Fahn ...  Edward Wong Hau Pepelu Tivruski IV 16 episodes, 1998-1999
Aoi Tada Aoi Tada ...  Edward Wong Hau Pepelu Tivruski IV 16 episodes, 1998-1999
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Storyline

Spike Spiegel is a bounty hunter in the far future with an easy going attitude and some deadly skill at martial arts. Together with his partners, Jet Black, and later Faye Valentine as well, they go from job to job across the galaxy looking for the high priced fugitives to bag. Written by Kenneth Chisholm <kchishol@execulink.com>

Plot Summary | Add Synopsis

Taglines:

See You Space Cowboy... (ending tagline) See more »


Certificate:

TV-MA | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Japan

Language:

Japanese | English

Release Date:

2 September 2001 (USA) See more »

Also Known As:

Cowboy Bebop See more »

Filming Locations:

New York City, New York, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | Dolby (Dolby TrueHD 5.1) (Blu-ray version)

Color:

Color

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

The fight on the bridge between Spike and Abdul Hakim in Episode 2, "Stray Dog Strut," is a homage to the fight scene in Game of Death (1978) between Bruce Lee and Kareem Abdul-Jabbar. All of Spike's fights feature the use Bruce Lee's "Jeet Kune Do" style of fighting. See more »

Goofs

Spike's hair changes from green to black repeatedly throughout the show. See more »

Quotes

Jet Black: When you and I first met, you told me something. You said that you had died once, that you had seen death. Why can't you just let it go? Forget the past.
Spike Spiegel: There was a woman, first time I'd found someone who was truly alive. At least, that's what I thought. She was... the part of me I'd lost somewhere along the way, the part that was missing, that I'd been longing for.
See more »

Crazy Credits

In "The Real Folk Blues, Part 2", a black screen with the Cowboy Bebop logo begins the episode instead of the usual opening title sequence. See more »

Alternate Versions

In 2001, director Shinichirô Watanabe supervized the re-mixing of episodes Asteroid Blues, Ballad of Fallen Angels, and Wild Horses. All 3 episodes were re-mixed in Dolby 5.1 with several new sound effects and an improved musical score. Later that year Watanabe released a second set of episodes which consisted of Waltz for Venus, Mushroom Samba, and Hard Luck Woman. These were also re-mixed. For the U.S. release the episodes were released as one two-disc set and re-mixed into a Japanese DTS 5.1 soundtrack. An English and Japanese Dolby 5.1 soundtrack was also included. See more »

Connections

Referenced in Cowboy Bebop: The Movie - Featurettes (2003) See more »

Soundtracks

Blue
by Seatbelts featuring Mai Yamane (ep 26)
See more »

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User Reviews

Every good movie you've ever seen in one show.
30 December 2002 | by wilko_3000See all my reviews

Cowboy Bebop is a truly post-modern show. Not in the tired "Scream" sense of self-awareness, but in its willingness to mix genres and blur boundaries. At the most basic level it's a Space Western. But Bebop is not content to be merely that, so there are added dashes of film noir, gothic horror, creature-feature, black comedy, screwball comedy, spy action, crime, romance, tragedy, action, philosophy, science, spirituality, fatalism, optimism, buddy-buddy stories, slapstick humour, parody-- just about every type of tale under the sun appears in some shape or form during Bebop's run. It's a show where each episode really is different from the last. Were it not for the recurring characters, it would be hard to believe that the brightly-coloured blaxploitation parody "Mushroom Samba" could possibly come from the same series as the bleakly violent "Real Folk Blues".

The world that the series inhabits is distinctly post-modern, too; space ships fly through hyperspace gates, but once on the ground their pilots fight with twentieth-century handguns. Scenic bays would look for all the world like they were taken from modern-day Japan were they not dwarfed by Jupiter, the enormous gas giant looming in the sky like some enormous benevolent god.

And the music - tribal drums and chants give way to electronic pulses that give way to jazz sax and trumpets that give way to rock guitars that give way to blues harmonicas... composer Yoko Kanno faultlessly turns her hand to an eclectc selection of genres and instruments, ably backed up by her band, "Seatbelts".

All of which sounds terribly impressive, but why on Earth should you watch it? Because, buddy, it's one of the finest television shows ever made.

I have to admit I'm not a big anime fan. Most anime that makes it over here seems to be either about schoolgirls with supernatural powers who battle evil, or adolescent boys who - for some convoluted reason - wind up having to pilot big giant robots. And whilst I'm assured that shows such as Escaflowne (schoolgirls and magic) and Evangelion (boys and robots) are actually rather good, they completely fail to get my blood pumping.

Enter Bebop. Ultra cool Spike, grumpy strategist Jet, trigger-happy Faye, nutball Ed and intelligent dog Ein are as far away from the usual brats and bots anime as you can possibly get. Their motivation, too, is far from the usual anime fare. These guys aren't bounty hunters because they want to fight crime and keep the peace - all they want is a wad of cash, and bounty hunting seems like the best place to make big money fast. Although they will do the right thing when pressed, they rarely forget their true motivation - and if they do, their perpetual lack of food will soon remind them. Life isn't easy, and when you're a bounty hunter it's even harder.

Not that the crew of the spaceship Bebop are one-note characters. As the series progresses, our initial assumptions about the characters are overturned. At first Spike appears to be the cliched laid-back slacker (who just happens to be a mean jeet-kun-do fighter), but we then learn of his fall from the criminal underworld and of a loss that killed him emotionally. Jet's the obvious gruff authority figure, until we realise that he actually cares for the crew of the Bebop as if they were his kids (and seems to have dabbled in pot and psychadelic drugs when he was a teenager). Faye's the usual feisty stand-offish female lead but only because her amazingly tragic past makes her push away friends for fear that she'll become attached to them. Ed's just some nutty kid until we meet her crazy father and realise that it could well be her deprived childhood that sent her over the edge. And Ein? Well sometimes it's hard being a super intelligent Welsh Corgi on a ship where nobody appreciates you, you know?

But not every episode is deathly serious - the character development is mixed in perfectly with humour (both light and dark), fistfights, shoot-outs, car chases, aerial fights, space battles and some of the lushest animation you'll see in an animated TV series. And all of this spread over only 26 episodes.

Yes, many people espouse the old "leave 'em wanting more" line, but so few of them actually do it; Buffy the Vampire Slayer is the perfect example of a series that spends three or four years being top-notch TV then freefalls due to apparent apathy from both the cast and writers. Bebop avoids this by wrapping every dangling plot thread up in just one season of television. And after the final jaw-dropping episode it's quite clear that the series is most definitely over.

Never before or since have I seen a series of such astonishing variety, intelligence and style. Ten out of ten.


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