![]() Like fame, the ‘model minority’ myth can provide the illusion of ‘raceless-ness.’” One moment we are Americans, the next we are all foreigners, who ‘brought’ the virus here. In the piece, he wrote, “The pandemic is reminding us that our belonging is conditional. Last April, he wrote an op-ed for the Los Angeles Times about the surge in violent attacks against Asian Americans. The pandemic then created further delays. He then tore his ACL while filming, which set production back by eight months. “Cowboy Bebop” began filming in New Zealand in 2019, where Cho relocated with his family temporarily. Overall, it’s been an eventful two years for Cho. And they want to try it on for size and see what their interpretation does to the song, and expand the meaning of the song-give it another flavor.” He then adds, “What we’re doing is adding, not replacing.” ![]() “Why do people record his songs? There’s already a recording,” he posits. In describing the new show, Cho compares it to covers of Bob Dylan’s music. And a pivotal fight between Spike and his nemesis, Vicious, begins in the same way that it does in the anime. The characters have expanded backstories: Jet Black is a father with a daughter, Faye Valentine is now bisexual, Spike’s love interest Julia is more fully developed and appears more frequently. Though there are certain shots and story beats that are inspired by the original anime, the live action show also charts its own narrative path. And I think part of our season one is them finding some purpose, be it passively or actively.” adrift and, to some extent, purposeless their purpose is survival. “ Israelites before they were in Canaan, they’re wandering,” he says. To him, the new show expands on the anime by exploring more of the characters’ personal histories. They are tied together by a sense of loss: either of family, loved ones, or even their memories. ![]() Likewise, the characters of “Cowboy Bebop” don’t have a home and they float adrift, in space, on the Bebop. from Seoul, his family moved around frequently, living in Houston, Seattle, then hopping around California to Daly City, San Jose and Monterey Park, before settling in Glendale. “As soon as I saw, I was a fan,” he said.Īs a kid, after moving to the U.S. Cho was aware of all of this, which made the project all that more intimidating. So there were high expectations for the live action remark. “It’s definitely fun to do all of the above at once,” he says.The original “Cowboy Bebop,” which premiered in Japan in 1998 and in the United States in 2001, is considered an anime classic, with legions of fans attracted to its stylish imagery, jazz-infused score, sense of listlessness and ennui. In the 10 episodes of the first season of the show, he does everything from hand-to-hand combat and gun slinging, to cracking jokes and being a romantic lead - it’s equal parts drama, action, and comedy. But “Cowboy Bebop” has allowed him to stretch himself as an actor in ways he hasn’t before. “And that was the attraction of it: I can do a Western, a screwball comedy, a buddy-cop movie, noir and an action film all in one.” Mustafa Shakir as Black Jet and John Cho as Spike Spiegel in "Cowboy Bebop." Geoffrey Short / NetflixĬho is no stranger to space narratives (he did play Sulu in the “Star Trek” reboot, after all). “The show is such a mixture of disparate genres,” Cho says. The hero of the show is space cowboy Spike Spiegel (played by Cho), a bounty hunter who captures criminals with his partners, Jet Black (Mustafa Shakir) and Faye Valentine (Daniella Pineda), aboard the spaceship Bebop. It takes place in the future where the Earth is uninhabitable and mankind has created colonies on other planets. “Cowboy Bebop,” based on the anime series of the same name from Japan's Sunrise animation studio, is available to stream on Netflix.
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