United States.-While the live-action project based on the anime series, Netflix’s Cowboy Bebop, does not yet have a premiere date, due to delays related to covid-19, and accident suffered by actor John Cho, the performer of Spike Spiegel.This time new responses arise regarding the adaptation of the series. Javier Grillo-Marxuach, the show’s writer, in an interview with iO9, reported a little bit about what he plans to do to capture the essential elements of the classic anime.
From left to right: John Cho, Mustafa Shakir, Danielle Pineda, and Alex Hassell/tarreo
For his part Grillo-Marxuach noted that in the new Cowboy series there is a rule established by the second screenwriter Karl Taro Greenfeld when it comes to adapting the series.
“We’re not playing Bebop, Bebop is playing us,” Grillo-Marxuach said. That rule came from co-guionist Karl Taro Greenfeld, and embodies the spirit of this adaptation.
But in the face of criticism that could be triggered by the scepticism of the series, thousands of fans fear that the new and live series released in 2021 will be a failure as a step with the adaptation of Dragonéalo Evolution situation that they point out could be repeated in Bebop by performing the adaptation of the iconic anime.
“You can’t look at Cowboy Bebop and say, ‘Well, it’s just a takeoff point. We’ll give them different hair and different clothes, and we’ll call it something different. And it’s going to be a loose thing,’ he said. “If you’re doing Cowboy Bebop, you’re doing Cowboy Bebop. You know? It’s like doing Star Wars.”
The production has been in controversy, after Netflix faced criticism for having a mostly white and masculine team behind Cowboy’s production of themes related to the protagonist’s origin, in which Netflix productions have been heavily criticized as a step with the adaptation of the Death Note in which it failed outright. Spike Spiegel has to be Asian. Like, you can’t Scarlett Johansson this shit, ” said Grillo-Marxuach. We are making a show that takes place in a future that is multicultural, that is extraordinarily integrated and where those things are the norm.” In conclusion, the screenwriter noted that the adaptation sought to faithfully emulate the classic anime with certain adjustments clearly aimed at adapting the live-action.
“You have a show where you have 26 episodes that are full of very colorful villains, very colorful stories, very colorful adversaries, rewards, and all that,” the writer said. “We’re not going to go one by one in all those stories because we’re also trying to tell the broader story.”
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