Bet: The Americanized Kakegurui We Didn’t Ask For | popgeeks.com

‘Bet’: American Remake of Kakegurui Sparks Yet Another Hollywood Disaster

Oh, joy! Kakegurui, the Japanese manga and anime sensation, is getting the American remake treatment. You know, because when something’s already perfect, the only thing left to do is to reimagine it for an American audience. Enter Bet—Netflix’s attempt to take a beloved, deeply Japanese story and somehow make it, well… “better.” Spoiler: It’s already looking like another Hollywood disaster waiting to happen.

Let’s dive into the Bet trailer that’s been stirring up all kinds of “excitement” on the internet. It’s a mixed bag, as expected. Fans are shaking their heads, wondering how the Kakegurui they know and love went from psychological chaos in a Japanese academy to… whatever this mess is. What could possibly go wrong when you’ve already turned a sharp, psychologically intense gambling drama into a watered-down, culturally confused American high school drama? But hey, they’ve got diversity, so who cares about authenticity, right?

Here’s where things get interesting. Bet has made sure to cast Black and Caucasian actors in roles that were originally Asian. This is all fine and dandy if you’re one of those people who think casting any random actor regardless of cultural background is the key to “inclusivity.” But for those of us who care about the integrity of the original material and the representation of Asian characters, it’s just plain frustrating. It’s almost as if Netflix decided, “Why not take something steeped in Japanese culture and twist it into a product that fits our ‘diversity checklist’ instead?” Sure, it’s not “whitewashing” in the classic sense, but let’s be real—race-swapping characters like this is nothing more than a lazy attempt to score points with a certain political audience. Just like in those failed adaptations that tried to do the same thing before, the result is likely going to be… well, another flop.

Let’s take a moment to break down the real Hollywood disasters in this category, shall we?

Forced Diversity Casting and Whitewashing:

We’ve all seen it. Hollywood cramming in characters who feel shoehorned into a plot just for the sake of “diversity.” It’s like when Velma decided to overhaul the entire cast to be as “diverse” as possible, without any real thought behind the choices. Snow White (2023) also made sure to show how diverse they could be, even though the original story doesn’t exactly scream for it. By the way, Snow White’s name was originally a reference to her skin being “white as snow”—but now, the character is brown, and she supposedly got the name because she survived a winter when she was born. Seems like a bit of a stretch, doesn’t it? These “forced diversity” projects are the prime example of why Bet feels like a cash grab rather than a thoughtful adaptation. They prioritize ticking boxes over respecting the essence of the source material. Guess what? These films and shows flopped because audiences can tell when something’s been cynically changed to fit a diversity agenda.

And then there’s the hilarious case of gingers turned Black characters. This has been happening more and more in Hollywood—casting Black actors in roles where the original characters were white and, more specifically, where they were red-haired. It’s almost like Hollywood thinks that casting a Black actor will make the character more “modern” or “relevant,” forgetting that this practice strips away the cultural or historical significance of the original character. It’s a bizarre trend that not only lacks depth but also insults both the original creators and audiences.

But here’s the kicker: Bet has somehow managed to juggle both forced diversity and whitewashing at the same time. Talk about being woke and anti-woke in one package. It’s like Netflix couldn’t decide whether they wanted to just make a diverse adaptation or simply hijack the original story for all it’s worth. It’s a slap in the face to both sides, alienating those who wanted a faithful retelling and those who wanted something that actually embraces diversity in a meaningful way. It’s like Netflix is trying to play both sides of the fence—by making characters Black, White, and racially ambiguous just to satisfy whatever agenda they think will be popular. Guess what, Netflix? People aren’t buying it anymore.

Now, let’s talk about the obligatory “white actor quota.” Because what would a Netflix remake be without making sure there’s enough Caucasian representation in the mix? It’s almost as if they were saying, “Alright, let’s appease the MAGAs, make sure we have some good ol’ American white actors here to balance out the diversity, and—bam—we’ve got the perfect recipe for success.” If only it were that simple. But somehow, Netflix thinks the inclusion of a few white characters will give them the golden ticket to universal appeal. Spoiler: it won’t.

Whitewashing:

Let’s not forget the classic cases of whitewashing. Dragon Ball Evolution? A classic. Goku, an iconic Japanese character, played by Justin Chatwin? Oh, that worked out well. The Last Airbender (2010), anyone? We all remember how the casting of white actors as characters from a world rooted in Asian culture became a laughingstock. The backlash was real, and the film’s failure was just as loud.

Forced Diversity:

And then we have BBC Anne Boleyn, where the role of Anne Boleyn was given to Jodie Turner-Smith, a Black actress, despite the historical figure being white. This casting decision raised questions about historical accuracy and whether it was a step too far into the realm of “race-blind casting” for the sake of diversity. In these cases, it’s not about diversity in the traditional sense, but rather about making an iconically white role into something else entirely for reasons that go beyond artistic interpretation.

But hey, why bother casting actual Asian actors when there’s an entire world of talented performers who fit the “right look” for the roles, am I right? Forget about the fact that the countries producing this remake—the U.S., UK, Canada, Australia, New Zealand—have large, vibrant Asian communities with an abundance of talented actors. But nope, let’s just go with whatever makes the casting director feel good about their diversity quota. After all, who needs authenticity when you have diversity?

Let’s talk setting. Instead of staying true to the original story, which takes place in Japan at the prestigious Hyakkaou Academy, Bet shifts the action to the good ol’ U.S. of A. The academy is now Saint Domenick, a high school that apparently has more diversity than a United Nations meeting. Why? Because American high schools are where all the drama and tension really belong, obviously. Because who wouldn’t want to watch a Japanese story set in a modern-day Japanese setting get shoved into a typical American school trope? I mean, we’ve all seen those teen movies, right? Kakegurui definitely screams “American teen high school.” Sure. Let’s ignore that anime fans already watch English dubs of Japanese anime without needing it to be set in America. But hey, whatever makes the story easier for everyone to understand, right?

Now, let’s talk about the main character, Yumeko Jabami. Remember her from the original Kakegurui? She was an unpredictable antiheroine who took pleasure in chaos and gambling. She was an absolute trainwreck of a character that you couldn’t look away from, the kind of person you love to watch but would never want to be around in real life. But in Bet, Yumeko is apparently a hero now. Yes, the same chaotic, rule-bending, risk-loving character is now… a heroic figure. What a shocker. I guess Netflix felt the need to sanitize the character so she’s more “relatable” to the American audience, who probably can’t handle a morally gray lead. Forget the deep complexity that made Yumeko such a fascinating character. Let’s just make her the “good guy” so everyone can sleep easy at night.

In this new version, Miku Martineau plays Yumeko Jabami, a transfer student from Japan to Saint Domenick. According to the new plot, Yumeko disrupts the power structure of her new boarding school with her gambling skills, challenging the Student Council while also seeking revenge that could overturn the entire system. This updated version gives Yumeko an even more dramatic role as she pushes back against the establishment with the stakes now higher than ever.

Thankfully, Martineau is of Japanese descent, so there’s at least a little bit of authenticity there. But let’s be honest, the rest of the cast will likely have us questioning what part of this show even resembles the original Kakegurui.

And let’s not forget about Simon Barry, the showrunner who gave us Warrior Nun—another show that failed to ignite the kind of buzz it was hoping for. But hey, maybe he’ll work his magic here. Maybe.

In the end, it feels like Netflix is more concerned with ticking diversity boxes and chasing the latest trends than staying true to the essence of the original series. And that’s not just disappointing—it’s becoming a pattern that’s doomed to fail. Just look at their Death Note remake. Need I say more? It seems they haven’t learned their lesson at all.

So, will Bet succeed in capturing the chaotic, high-stakes energy of Kakegurui? Honestly, at this point, I’m just waiting to see how quickly this trainwreck derails. But one thing’s for sure—the conversation around this adaptation is going to be as intense and unpredictable as the series itself… and not in a good way.