"What happens when fans of Joss Whedon grow up and start working in television and movies? Netflix’s remake of Cowboy Bebop," says Gita Jackson. "I can’t say for sure if the writers and showrunners on Bebop were, like I once was, huge fans of Buffy or Angel, the two shows that put Whedon on the map. Based on the way the characters speak, it sure sounds like it, though. Over the years, I’ve begun to notice more and more 'Whedonspeak,' as the phenomenon used to be called, in mainstream television and movies. Describing the qualities that make dialogue sound Whedonesque is now difficult though, because those qualities are ubiquitous." Jackson adds: "It’s difficult to overstate how influential that show has been, not just in terms of its portrayal of women in science fiction, but also because of the particular quirks of Whedon’s dialogue. Characters in Whedon’s shows talk a lot, and they talk in very particular ways. Characters are often imprecise in their language, letting sentences trail off as they struggle to articulate themselves. They turn nouns into verbs and vice versa. They say 'thing' or 'thingy' or 'stuff' in place of more descriptive terms. Often these characters metatextually comment on their surroundings or the environments they’re in, usually in a sarcastic or snarky way. The tone of this is pretty 'wink wink, nudge nudge,' as if the writers are speaking through the characters to the audience, rather than the characters commenting on the situation they are in...This is fine in Buffy, which is a show about teenagers in a heightened universe where vampires are real. When this style of dialogue shows up elsewhere, it’s not just incongruous, it feels lazy. The characters in Netflix’s remake of Cowboy Bebop talk in this way. It isn’t that the universe is more grim, it’s that the tone of the show, the actions of the characters, and the way that they all talk to each other don’t jive. Whedonspeak is all over Cowboy Bebop, especially whenever Faye Valentine talks. In particular, the scene when Faye is handcuffed to the Bebop’s toilet in its opening episode has that particular veneer of insincerity that is endemic to this style of dialogue, especially when it’s done badly. The characters aren’t talking to each other—they’re speaking in quips and asides, lines meant to make the audience laugh more than they’re meant to convey who these characters are."
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TOPICS: Cowboy Bebop, Netflix, Buffy the Vampire Slayer, André Nemec, Daniella Pineda, John Cho, Joss Whedon, Mustafa Shakir