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When you mention the name Shinichiro Watanabe, the first series that comes to mind is likely Cowboy Bebop. The iconic space western about a bunch of bounty hunters, outlaws, and ne’er-do-wells was a big part of the anime explosion in the West during the early '00s, standing as one of the classics of the era. So the marketing team behind Watanabe’s newest series, Lazarus, could be forgiven for trying to give the new show Cowboy Bebop vibes, but it is so much more (and less) than just a rehash of every millennial’s favorite anime.

If you’re going to emulate an anime, Bebop is a pretty good option. The show’s opening credits alone have more style than most shows, with Tank still one of the most popular anime songs in the world. Cowboy Bebop is an almost perfect mixture of genres, with just enough comedy and action to balance out the hard-hitting western-noir elements. The show is iconic for a reason, but it isn’t fair to say that Watanabe has tried to make Lazarus into Cowboy Bebop 2.0.

I will say, however, that some comparisons are justified. The opening credits for Lazarus certainly showcase Watanabe’s love of splashes of color and jazz music, along with poetic imagery that borders on the obscure. And the trailer seems determined to paint Axel as a credible stand-in for Spike Spiegel’s brash and fearless personality. Watanabe has a type and a signature style,e so there are going to be similarities between the two shows. Add in the fact that he teamed up with one of the writers of Cowboy Bebop during the initial planning stages for Lazarus, and you can see where the comparisons come from.

Where Lazarus sets itself apart from its predecessor and, if I may be so bold, surpasses Cowboy Bebop, is in the plot and story structure. Bebop’s episodic nature means that it takes 20 episodes for many story elements to come to light. Faye’s past (or lack thereof) doesn’t get a look in until the last half of the series, while Spike’s sordid history with Julia, Vicious, and the Red Dragon Syndicate doesn't get revealed until the final two episodes. The pacing is, frankly, all over the place.

Lazarus, on the other hand, frontloads you with plot, setting up the ticking clock of trying to find Dr. Skinner before the miracle drug he introduced 30 years earlier starts killing everyone on Earth. Going into the show, you know exactly what the stakes are and what to expect from the show. While there is still an episodic element to the show, each episode feels like a self-contained story that takes the team closer to tracking down Dr. Skinner and saving the world.

The result is that Lazarus feels more like a mirror image of Cowboy Bebop than a straight copy. Bebop is a light-hearted show with heavy moments, while Lazarus is a darker, more grounded show with moments of levity to keep the viewer from drowning. The real difference becomes in how the touches of light and darkness feel as a viewer. Cowboy Bebop’s key episodes hit harder because it almost feels like it comes out of nowhere; Lazarus is a bit flatter, never reaching the same highs despite feeling more coherent.

There are, of course, other ways that Lazarus falls short of Cowboy Bebop’s legacy. To me, it feels like Watanabe has been influenced by the MCU’s irreverent dialogue, with characters’ reactions feeling disconnected from the gravity of their situation. While I like the cast and I think the action scenes have benefited from the input of John Wick director Chad Stahelski, it is hard to care about the apocalyptic stakes when the characters feel so detached from them. There is still time for things to feel more real – we’re not quite halfway through Lazarus’ 13-episode run now – but it is becoming increasingly unlikely that they’ll get me invested enough in the characters.

So, despite what a lot of the marketing would have you believe, Lazarus isn’t Cowboy Bebop 2.0, and if you go into it expecting it to be you’re going to have a bad time. Just because the director has a signature style doesn’t mean Lazarus is a rehash of what has come before. The show has its flaws, but its story structure and more ambitious narrative make it feel like a distinct thing. I’m not going to argue that it is as good as Watanabe’s most iconic work, but it deserves to be judged on its own merit. 

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