Or “it’s halfway through the new season and I still can’t think of much to say about these shows.”
The length and breadth of the Lupin III franchise means that any new instalment in it - whether series, film or OVA - has space to rearrange the tried and tested gentleman thief formula. If The Woman Called Fujiko Mine is the first Lupin III entry you’ve seen (and for anime fans of a certain age it will be more likely than not) then it may be odd to move onto the lighter, wackier offerings such as Miyazaki’s well regarded Castle of Cagliostro.
The Woman Called Fujiko Mine, a 2012 series now two movies and a television special in the past, is dark, oppressive and delves into sex, sexuality and sexual violence right from the outset. For better or worse, the series owes a debt to Cowboy Bebop: both share a smooth, sometimes discordant, jazz soundtrack (although Yoko Kanno’s offering is far and away superior), a welcomingly cosmopolitan setting, an episodic structure, and, until it is fully explored later in the series, Fujiko’s past comes off like an homage to Bebop’s Faye. Both series obviously pay their debt to innumerable other genres - film noir being just one - but it’s there that the similarities between the two series ends.