so Bebop's inconclusive ending
I actually really like how it's not just vague in the sense of how the show itself ends, but also in terms of hints throughout the show. Vicious and Spike's relationship of "each one being the only person able to kill the other" (and Vicious does almost certainly die in the end). Waltz for Venus being very easily read as a foreshadowing of things to come, with Rocco's subplot of trying to leave his gang having very obvious parallels of Spike's own attempt to leave the syndicate. Character pasts being a very thematically relevant focus, with Spike being the only one of the main cast unable to move on from his own past, and plenty of other things I'm sure I'm forgetting
But Knockin' on Heaven's Door? Takes place after Brain Scratch, right? Well supposedly yes, but....
One thing I love about the film is that it can also be read as a mental struggle of Spike confronting and finally coming to terms with his own past and self and moving on after his final confrontation with Vicious, with the golden butterflies at the beginning and end of the film separating what was and wasn't "real". Since while Vicious was very much a contrast to Spike, Vincent can be very easily read as a representation of Spike's merciless past self, with Elektra obviously playing the role of "Julia" in this case. Which would also give further reason as to why Spike is never able to really "beat" Vincent, since personal history can't exactly just be beaten down and thrown away. Plus it helps to further explain why other characters in the Bebop crew (especially Ed and Ein) aren't as relevant here beyond just "Spike's the main character, so of course he'd be most important", since if we take the plot as being a focus on Spike's own inner struggles, then of course everyone else wouldn't have near as much relevance. Spike's struggles are his own, so a story focusing on them would be far less just a story with him in it, and far more of a story about him: Both internally (his self), and externally (the world around him).
Though I can understand why they would put this where they did, since "it was all a dream" twists are kinda generally hated (and for good reason). Though I think in the case of not just being done to erase everything that happened, but something like this, where it can also advance a character, is much more serviceable. So to that end I'm always torn myself on if I prefer Spike being alive or dead by the end of the TV finale. On one hand, him being dead fits very well with the recurring themes of him being unable to move on from his past. But on the other, I absolutely love the idea of the film being the point that Spike is able to finally move on from it, even if just a little bit. With the film being made much more stronger by it as well.
Also, Speak Like a Child's finale is not just the best scene of the series, but possibly one of the best scenes of any anime period, and everyone should watch it. So for those who haven't