Sick of Reboots, Sequels, and Extended Universes? Blame Classic Literature

We find ourselves in the midst of another summer and with it, an endless brigade of sequels, prequels, reboots, requels, and the ongoing march of extended cinematic universes. A new Mummy. A fifth Transformers. A new Baywatch. A third installment in the third imagining of Planet of the Apes. A third actor playing Spider-Man in the last decade. A sequel to the Alien prequel. Another damn King Arthur. Another three Marvel shows on Netflix springing up for every new Marvel film, perpetual menaces likes heads of the hydra.

cruise-mummy
The Mummy we deserve

And while the tastemakers and critics bemoan this ongoing onslaught of tired ideas and bloated franchises, it’s worth pausing and reminding ourselves that there is nothing novel about this. This lack of new ideas is not new. Sure, 2017 is bloated with stories and characters lacking originality, but so was 2016, 2007, 1997, and 1597.

If you’re really looking for someone to blame for these endless reboots and expanding cinematic universes, it’s not Michael Bay or Vin Diesel. Blame the real culprits: William Shakespeare, Charles Dickens, Mark Twain, and all the other writers throughout history who did the same thing we’re seeing today on the screen.

So, dear reader, it’s time for you to sit back, hold your rebuttal until the end, and consider the following list of explaining how the current “lack of originality” is neither original, nor a problem.

Sequels Upon Sequels Upon Prequels Upon Sequels are Nothing New

Surely you’re familiar with The Three Musketeers, the swashbuckling adventure novel by Alexandre Dumas. Perhaps you’ve read it, or perhaps you’re seen one of its screen adaptations, of which there have been many.

3-musketeers
But where’s d’Artagnan?

But here are a few things you might not know about The Three Musketeers and Dumas:

  • The Three Musketeers has two sequels by Dumas, Twenty Years After and The Vicomte de Bragelonne.
  • The Vicomte de Bragelonne is often published as three different books instead of one as it’s extremely long, meaning that The Three Musketeers effectively has four sequels.
  • The third part of the third Three Musketeers book is the famous The Man in the Iron Mask.
  • All of these novels were originally published in serialized form, being released in installments over time. The Three Musketeers took four months to be released, much like a television show is released today.
  • The Count of Monte Cristo, another novel by Dumas, was originally serialized in 18 parts and ran for over two years.
  • When each of these novels were released in English, they were also serialized, often seeing competing versions and abridgments being released at the same time.

Of course, Dumas invented neither the sequel nor the serial. The following authors also followed their novels with sequels that followed the same characters and cashed in on the popularity:

  • Lewis Carroll, after releasing Alice’s Adventures in Wonderland in 1865, followed it up with a sequel, Through the Looking Glass, six years later. He then wrote The Hunting of the Snark, an epic poem published in 1876 that features a few characters and creatures from Through the Looking Glass.
  • Leo Tolstoy might be famous of War and Peace and Anna Karenina, but his first published novel was Childhood, which launched him into popularity. He wrote two sequels to the novel, called Boyhood and Youth.
  • The famous novel we know today as Little Women by Louisa May Alcott was initially two different novels, called Little Women (1868) and its sequel, Good Wives (1869). Not stopping there, Alcott published another two sequels, Little Men and Jo’s Boys.
  • Sherlock Holmes might be one of the most ubiquitously adapted characters today, which certainly wouldn’t be the case if Sir Arthur Conan Doyle hadn’t cranked out sixty sequels to his 1887 success A Study in Scarlet.
  • Literary sequels to great works continued into the 20th century, including Joseph Heller writing a sequel to Catch-22 and Johns Cheever and Updike writing a few sequels of their own.

And of course, there is Mark Twain. But we are saving him for later in this list. Continue reading “Sick of Reboots, Sequels, and Extended Universes? Blame Classic Literature”

Advertisements

The World Needs Bad Men: How the Bush Era Caused the Anti-Hero Wave that Gave Rise to Trump

Toward the finale of the 2016 election, Mike Huckabee took to Fox News to give a defense of Donald Trump that I’ve been mulling over in my head ever since.

I see Trump as Capt Quint (Robert Shaw) on the boat, Orca, in the movie “Jaws.” He’s salty, drunk and says incorrect things. He spits in your face. BUT… He’s gonna save your rear. You may not like what he says but, in the end, you and your family survive.

“Vote for the fishing boat captain,” Huckabee said. “Not the shark.”

While ineloquent and muddled, Huckabee’s defense gave a great insight into why people were lining up behind Donald Trump. They saw him as a vulgar presence, but he was their vulgar presence against the greater dangers.

If Huckabee were more versed in film, literature, or television, he would have realized that there are a thousand better metaphors for who Donald Trump is: he is, in the eyes of his followers, the anti-hero of the True America.  

A different defense of Trump comes to mind, one that his followers would surely cite, had they seen the first season of True Detective:

Marty: Do you wonder ever if you’re a bad man?

Rust: No, I don’t wonder, Marty. The world needs bad men. We keep the other bad men from the door.

true-detective-anti-hero
“The world needs bad men,” from True Detective‘s third episode.

The world needs bad men. It seems like a missed opportunity that Trump’s campaign didn’t snap that up as their slogan. One can imagine Rust and Marty’s conversation rolling over footage of Donald Trump mocking Serge Kovaleski, or Rust’s defense of bad men and musings on man’s inability to love intercut with I moved on her like a bitch and you can do anything.

This is not a specific argument I’ve seen much of, unsurprisingly. It’s easy to assume that True Detective didn’t have a major following among Trump voters, particularly when one  compares one recent study on regional television viewership demographics with the breakdown of voter demographics in the 2016 election.

However, Huckabee isn’t the only pundit to notice that Trump’s appeal is not being a traditional hero, but being the scoundrel on your side.

quint
If you don’t recall, this is the character to whom Huckabee compares Trump.

You can take a look at some of the headlines to see that this has been thoroughly explored, including a) Trump and the rise of the anti-hero from CNN b) President Trump: America chooses an anti-hero from Yahoo c) The Anti-Hero Candidacy of Donald Trump from Huffington Post d) The Donald Rises: Why Republicans Want an Anti-Hero in 2016 from The Week ad e) Trump’s success as an antihero relies on the power of reality TV and drama over reality from The LA Times

At this point, I have to point out that there is nothing unique in saying that Trump is an anti-hero and our obsession with anti-heroes in our media and film is what got Trump elected. As evidenced by the articles I just listed, this has been exhaustively explored. 

What I do have is another layer to add to this: the rise of the anti-hero in our media came from the America that emerged during the presidency of George W. Bush. 

During the Bush era, America found itself in the role of the anti-hero. This is what propelled the flawed and gritty protagonist into our film and television. This is what prompted the wave of dark and gritty reboots that are still grinding today.

Art imitates life imitates art. Politics causes pop culture causes politics. Bush was our cowboy hero who became tainted, tattered, and gritty as our wars became unwinnable and our morals murky. Obama was our shining hero, our knight in shining armor, our warrior who could not be everything he wanted to be.

And now there is Trump: the gritty anti-hero, the protagonist who rapes, the populist king. He is the danger.

But, before I move forward with this argument, it’s important to pause and discuss what we talk about when we talk about anti-heroes. Continue reading “The World Needs Bad Men: How the Bush Era Caused the Anti-Hero Wave that Gave Rise to Trump”

Will True Detective’s Second Season be to True Detective as Halloween 3 is to Halloween?

Matthew McConaughey recently stirred up some folks by saying that yes, he misses playing Rust Cohle and, yes, he would consider reprising that character, if given the right opportunity.

“Would you ever consider going back,” his interviewer asked him. “Yeah, I would,” McConaughey answered

true-detective-flat-circle
Time is a flat circle = confirmed

This fueled some speculation and some argument. Questions like what would Rust Cohle do if he returned to the screen? And, is his narrative not finished?  Would it be a prequel, of his days in Alaska or Texas? The story of the loss of his wife and daughter? Or a sequel, in which he goes after the last remnants of the cult of the Yellow King? Continue reading “Will True Detective’s Second Season be to True Detective as Halloween 3 is to Halloween?”

What Should Mr. Robot Pay Homage to in Season Two?

The critically-acclaimed, award-winning cable series Mr. Robot is notable for a number of reasons, with a big twist: in the final two episodes, you realize you’ve been watching a ten hour unlicensed Fight Club reboot. One could say that the twist is “Elliot was Mr. Robot all along!” just like the twist in Fight Club is “Edward Norton was Brad Pitt all along!” but to me the twist was simply that Mr. Robot was Fight Club all along.

fight-club-ending
Where is Mr. Robot’s mind?

Some people saw the “twist” coming, but I didn’t know I was watching a Fight Club reboot until the final few episodes, when a character is revealed to be imagined, the protagonist fights himself,  and a piano cover of “Where is My Mind” plays in the background. (Probably worth noting it was the same song used in The Leftovers, which I saw first and still think used it better.) Continue reading “What Should Mr. Robot Pay Homage to in Season Two?”

What Would F. Scott Fitzgerald Say About the Ghostbusters Reboot Controversy?

If you haven’t noticed, there is a very heated and very strange argument occurring right now in certain circles of the internet. It’s about Ghostbusters.

There are two sides to this argument:

  • The new Ghostbusters is going to be the worst movie of all time. It won’t be funny and it does not honor the original two films and its very existence tarnishes and taints the original films.
  • The new Ghostbusters is going to be awesome and has a great team behind it. Also, the reason people are going so crazy over it is because they are crazy fanboys and they’re sexist.

A simple googling of “ghostbusters controversy” or “ghostbusters sexism” can tell you anything else you need to know: lots of people are choosing one side or the other, with rational people opting for the latter bulletpoint above. But to get an idea of it, without having to google, here and here and here are a few of the articles summarizing the controversy. Continue reading “What Would F. Scott Fitzgerald Say About the Ghostbusters Reboot Controversy?”

No Matter His Name (Or How Old He Gets), He’s Still Indy and They’re Not

Ever wondered what your grandpa would look like in a fedora? Well, Harrison Ford may give you a good idea. Believe it or not, another Indiana Jones movie is in the works, and, according to Steven Spielberg, there’s only one person who can carry the whip.

“I don’t think anyone could replace Harrison as Indy, I don’t think that’s ever going to happen,” Spielberg said in this interview. “There is only going to be one actor playing Indiana Jones and that’s Harrison Ford.”

indy
Pop Quiz: what’s Indiana Jones’s real first name?

While it remains to be seen what the new film will be about, what is clear is that no matter what happens, Indiana Jones has become a cinematic icon. Everybody knows him, and in the pantheon of movie characters, he’s got to be near the top. And as such, it comes as little surprise that over the years people have tried to capitalize on his likeness. While imitation is the sincerest form of flattery, these characters pretty much straight-up copied Indiana. Continue reading “No Matter His Name (Or How Old He Gets), He’s Still Indy and They’re Not”

Please, No More Origin Stories of How Evil Villains Used to be Good Guys or Children

If you haven’t heard, the latest complete failure at the box office was the flaccid reboot Pan, an attempt to create a franchise out of the Peter Pan story by starting with Mr. Pan’s origin as a young boy on an adventure to Neverland. In which the villain is Hugh Jackman as Blackbeard and Peter’s best friend is a guy named James Hook.

Okay, Hugh Jackman. You're too good to keep playing Wolverine but you'll do THIS?
Okay, Hugh Jackman. You’re too good to keep playing Wolverine but you’ll do THIS?

That’s right: in the new version of Peter Pan that you didn’t see, Pete’s best friend is a young, two-handed, two-eyed Captain Hook in his pre-pirate days. Meaning that the narrative is an origin story that includes a tragic bromance in which we watch one of the central characters become a villain.

This is the exact reboot/origin story/cheesy narrative that we do not need. And it’s a strange trend, with examples including the Star Wars prequels, Wicked, and a variety of superhero films and television shows in which the villain first appears as a classmate, friend, or family member of the hero.

It’s redundant and unoriginal and redundant.

As stated above, there is very little original left in the idea of “let’s imagine what happened in the part of the story before what we’ve seen,” whether its Pre-Pan or Not-yet-sleeping Beauty. It would perhaps be more interesting if it wasn’t so common, but there’s no longer anything unique about the idea that “what if Poison Ivy was a little girl before she became a bad guy” or “guys, maybe the wicked witch wasn’t always wicked?”

It’s sad and disturbing, but not in a compelling way.

There’s something very sad about a narrative in which we see a kid become a villain. There’s a reason that no one has made a summer blockbuster about Adolf Hitler as a kind little boy who becomes corrupted by evil. It would be disturbing and awful and sad. Although, based on the trends, I wouldn’t be surprised if someone creates an gritty origin story in which Jesus of Nazareth and Pontius Pilate are classmates who fight a battle against Herod before Pontius becomes a villain and Jesus becomes a hero.

The only good example of this trope is Rob Zombie’s Halloween reboot, because at no point is Michael Myers an innocent young boy awaiting corruption. He’s evil from the start, killing animals in his bedroom and classmates after school. This works because it’s an over-the-top absurd slasher film in which Zombie’s endgame is overwhelming the audience with a visceral, brutal experience.

Yes, I kinda liked Rob Zombie's Halloween.
Yes, I kinda liked Rob Zombie’s Halloween.

Other than that, this cheap trope of the eventual villain beginning as a child is too brutal for a children’s story and too obvious for adults. Even the Sam Raimi Spiderman trilogy was weakened by the hackneyed writing that turned James Franco from Peter Parker’s bff into Green Goblin Junior.

It paints the world in unrealistic terms.

Here is the narrative we’re given in this unneeded origin stories: “He was good, and then he became evil.” The one exception is probably that of Darth Vader, in which the narrative is “He was good, and then he became evil, but then he became good for a second right before he died and then he went to Star Wars Heaven.” Either way, it declares that the world is good guys and bad guys.

The worst part is that these narratives often pose as “darker interpretations” or act as if they’re asking poignant questions about morality and heroism, when really the only question they ask if “what’s an easy way to show a good person become a bad person?”

It eliminates suspense from the story.

“Oh, his name is James Hook? So what, he’s Captain Hook? Yep. Okay. Wait, I need to watch him become Captain Hook for the next two hours? Great. This is exciting and suspenseful.”

ivy
I wonder which Batman villain Ivy Pepper will grow up to be.

This is the trouble with prequels and origin stories. They’re often yawn-inducing, because we know exactly what’s going to happen. Even Better Call Saul, a show I kinda like that provides some good laughs, suffers from the flaw that it’s completely unnecessary and we know what the ending will be. I mean, the ending already exists. It’s called Breaking Bad.

With Pan, we have reached peek reboot. And it’s a good lesson for anyone who has plans for an upcoming reboot or origin story or prequel, whether it’s the Adventures of Young Jesus and Pontius described above or the inevitable Back to the Future reboot.

Let's hope that the Pepsi Perfect is just a fun thing that's happening, and not the first step of the Michael Bay reboot of BTTF.
Let’s hope that the appearance of Pepsi Perfect in real life (first seen in Back to the Future 2) is just a fun thing that’s happening, and not the first step of the Michael Bay reboot of BTTF.

There is only one way to make a reboot work now: you need to make anything possible. Don’t write the story into a corner in order to match the original plot points or the expectations that the audience has. Ensure suspense by making anything on the table. This is some work and some don’t. Batman Begins and its sequels gave us moments we’d never seen; Craig’s Casino Royale killed the villain and the love interest surprising, unexpected scenes; Man of Steel, on the other hand, failed because it opened with the exact same Superman origin story that we’d seen a million times, in which the baby Superman is put into a spaceship and sent from Krypton to Earth.

So, please, if you are currently hard at work on a gritty reboot in which we see a familiar villain begin life as an innocent, a hero, or a child: ask yourself if you are providing us with anything new and anything that anyone wants to see.

Why Vin Diesel Should Be the Next James Bond

We are close to the end of what is, quite possibly, the greatest franchise ever: The Fast and the Furious films.  While I initially disliked these movies, (referring to the fifth installment, prior to actually seeing it, as “more-or-less the same shitty movie they made the last four times”), I had a change in opinion after seeing Fast Five.  Sure, I’m still uncomfortable being lumped into the same category as the kinds of people who choose to see films that are fast/furious, because I drive a station wagon and because I get the impression that many of the films’ fans (although, notably, not their creators) place a higher value on people driving fast cars quickly than they do on character development, realistic dialogue, or really any aspect of films other than cool shiny fancy cars.

But all of my arguments against the Fast/Furious Films are ultimately irrelevant because of one thing: they are very, very entertaining.

Furthermore, there is nothing pretentious or forced about these films.  In fact, they’ve been (rightfully) praised for their progressive approach to race and gender (you can find good articles on the genius and progressive attitude of these films here, here, and here, among many other places) .  The Fast/Furious films feature a variety of talented actors, brilliant cinematography, and clever, straight-forward, emotionally-driven plots on par with the original Die Hard.  Additionally, while most franchises lose steam after the second or third sequel, the Fast/Furious films have both maintained all the positives of their first installment (family drama, moral conflicts, cool cars) while continually diversifying and innovating (shifting emphasis from racing to heisting, adding talented actors such as Dwayne Johnson, Tony Jaa, and Jason Statham).  And yes, I have previously written about this shift in my perspective, in the post Why Bale should be in the “Fast Five” Sequel.

Unfortunately, it seems like that Fastest Seven is the end of the franchise.  Paul Walker’s death, along with the inevitable ending of all franchises, means that the Fast and the Furious cannot exist forever.

Similarly, Daniel Craig cannot be James Bond forever.

I'm not saying this guy isn't a great Bond.  He's a great Bond.  But change is inevitable.
I’m not saying this guy isn’t a great Bond. He’s a great Bond. But change is inevitable.

While, yes, Craig will portray Bond in 2015’s Spectre, it’s unlikely that he has too many good Bond films left in him.  Audiences grow bored, actors grow stale, and the dark-and-gritty-reboot seems to be on its way out.

The next step is simple: Vin Diesel as the first American James Bond.

See, he has worn a suit before.
Here he is, in a suit.  Is it that far of a stretch?

Continue reading “Why Vin Diesel Should Be the Next James Bond”