Tag Archives: reboot

Hollywood: The Department of Redundancy Department

Part 2 of my series “Everything Old is Old Again”

By Tom Holste

Feb. 16, 2016

In my previous column, I talked about how the word “reboot” gets misused by many in the media. However, even when the word is used right, it’s symptomatic of a larger problem: a lack of original ideas coming out of Hollywood.

The X-Files has come back to TV, and the similarly eerie show Twin Peaks is on the way. Last year saw three different film series hit their seventh installment (Rocky, Star Wars, and Fast & Furious). Jurassic Park and Mad Max got their first new movies in ages. Ghostbusters has a female-centric reboot heading our way later this year. New installments of the Predator and Alien franchises are in active development.

All of these shows and movies at least have dedicated fan bases. But when Netflix announced that it was producing a new Full House series, my reaction was: Who ever even asked for that?

fuller-house-1024

“This February: Joey will have to Cut. It. Out…one last time!”

 

In fact, I just saw a preview for Kindergarten Cop 2 with Dolph Lundgren, coming 26 years after the original. I had to double-check with a Google search to make sure this wasn’t just a FunnyOrDie.com parody.

Mind you, the concept of recycling ideas is nothing new. For instance, most of Shakespeare’s plays were stories that the audience already knew. And I distinctly remember Johnny Carson doing a routine about all the sequels coming out in the late ‘80s and early ‘90s, a time in filmmaking history that’s now greatly revered. But even with all that being said, there seems to be even less fresh material than ever before.

However, there’s a new, somewhat ironic problem: Many of these rehashes are not only popular but quite well made. Star Wars, Jurassic World and Fast & Furious 7 broke many all-time box office records, and they were highly praised by critics as well. Mad Max: Fury Road was so well-received that it got a nomination for a Best Picture Oscar. Creed (the Rocky spin-off) was adored by critics and snagged an Oscar nomination for Sylvester Stallone for playing a character he’s played six other times already.

Compare this to the late ‘90s, when Hollywood gave us reboots of Lost in Space, Godzilla, Wild Wild West, and even the old British TV spy series The Avengers. Some of them were popular (while others were not), but all of them were despised by critics and fans. None of them got a sequel. At the time, this situation seemed like the worst thing that could happen to cinema.

But now we have the ironic problem I mentioned earlier: When the sequels are this popular and this acclaimed and loved by fans, what possible incentive could studios have to keep trying new things?

In fact, last year Warner Bros. released a new movie from the Wachowski brothers (whose biggest claim to fame is The Matrix) called Jupiter Ascending. The movie boasted an original script and had some eye-catching visuals in its trailer, but the critics savaged it and audiences stayed away. I haven’t seen the film myself either; maybe it genuinely is that bad. But isn’t it heartbreaking that the studio tried to give people what they say they wanted only to have it blow up in their face? Now, you can bet that Warner Bros. has learned its lesson, and you can fully expect another dozen Hobbit and Batman sequels.

Jupiter_Ascending

Audience: “We’re sick of all these retreads.” Hollywood: “OK, here’s a movie with an original script.” Audience: “Kill it! Kill it with fire!”

In my next column (coming soon), I look at one particular set of reboots on the horizon.

 

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Everything Old is Old Again

Part 1: The Not-Really-Reboots

By Tom Holste

Feb. 15, 2016

The subject of reboots and rehashes has been coming up a lot lately. And unfortunately, the problem is that when it comes to reboots, to quote Inigo Montoya from The Princess Bride, “I do not think that word means what you think it means.”

What a reboot actually means is ignoring the previous continuity and starting completely starting over from scratch. Think of it like rebooting your computer. It’s a chance to start fresh, so that the creators and audiences aren’t weighed down with trying to remember tons of minautue to enjoy the new story, or perhaps to undo some creative decisions that the fans disliked.

DC Comics rebooted their fictional universe in the 1980s with their Crisis on Infinite Earths mini-series, and they keep rebooting every 10 years or so. When it comes to movies, Batman Begins was a reboot that dismissed the movies with Michael Keaton and company. And while 2006’s Superman Returns was a sequel to the Christopher Reeve movies, 2013’s Man of Steel is a full reboot that ignores the earlier movies.

Transformers-the-Movie

TRANSFOMERS actually needed a reboot, since the cartoon concluded in the far-flung future of…the year 2006!

So, basic concept here: If a particular piece of entertainment continues or references the established continuity, it’s a sequel or prequel, but if the old continuity is thrown out and the filmmakers treat the new story as if it were the first-ever story, then it’s a reboot.

Simple, right? Apparently not to the thousands of journalists out there covering every entertainment news story on the planet.

For example, back in November, ABC fired Bob Kushnell, the producers of the new Muppets sitcom, and brought on Kristin Newman, citing declining ratings and fan dissatisfaction. Despite the fact that the characters and premise were staying the same, every news organization said that ABC was “rebooting” the series.

Then, after David Bowie’s passing in January, news surfaced that the Jim Henson Company was “rebooting” Labyrinth, which ignited a firestorm of protests from fans of the original movie. The screenwriter currently working on the project (Nicole Perlman) had to quickly take to Twitter to explain that the movie would be a sequel or some kind of follow-up story set in the same universe, not a reboot. Furthermore, Perlman explained that she’s been working quietly on the project since 2014, so this wasn’t just a cheap cash-in on Bowie’s death.

Silver-Chair

“THE SILVER CHAIR reboots Narnia!” uninformed bloggers say. “Who will play the new Goblin King? … Oh, wait. That’s LABYRINTH.”

But the trend continued. Mark Gordon, the producer of the Narnia movies, indicated that the next film The Silver Chair would not require audiences to have seen the other movies (or to have liked them), since the story had so many new characters in it. This is in accordance with the original book, which was written over 50 years ago. Nonetheless, every news article called it a reboot of the series. The only way to reboot this series would be to make The Lion, the Witch and the Wardrobe again, or possibly to go with the prequel story The Magician’s Nephew.

However, when DC Comics announced new comic-books based on Hanna-Barbera characters that reimagined them from modern eyes, and when Universal pictures announced the desire to do a new Battlestar Galactica series that likely has nothing to do with either of its previous incarnations, not one article that I read used the word “reboot” for either property, even though in this case that’s exactly what they are! Excuse me a minute while I pound my head on the desk.

Ow. Sorry about that. Now where was I?

Mind you, it doesn’t bother me as much when bloggers write something informally and refer to everything as reboots. But when professional websites with paid writers can’t tell the difference (or choose not to, since the word “reboot” is apparently great for clickbait), that’s when I get annoyed.

At any rate, even the sheer number of sequels and other follow-ups has gotten out of hand. But so has this article, so I’ll have to continue my thoughts on the subject in my next column.

For an excellent analysis of the Silver Chair confusion, here’s the Narniaweb podcast on the subject.