Five years ago, Lost in Translation reviewed the animated adaptation of Watership Down. The film’s limitation was length, unable to get everything in from the original novel by Richard Adams. The art was gorgeous and the film covered most of the beats.
Watership Down, of course, is the story about a group of rabbits who search for a new home after their original warren is destroyed by men. The journey is hazardous, with weather, predators, man, and other rabbits providing dangers along the way. Hazel, the rabbit who gets the survivors together, does get to found Watership Down, the new warren.
In 2018, Netflix and the BBC co-produced a mini-series based on the novel, using CG animation. The cast includes Ncholas Hoult as Fiver, James McAvoy as Hazel, John Boyega as Bigwig, Freddie Fox as Captain Holly, Olivia Colman as Strawberry, Gemma Arterton as Clover, Rosamund Pike as the Black Rabbit, Peter Kapaldi as Kehaar the seagull, and Ben Kingsley as General Woundwort. The four-part mini-series is CG animated, with the rabbits given details to tell them apart beyond just voice. As with the the 1978 animated adaptation and even the original novel, the mini-series is not for young children; Netflix shows the rating as TV-PG.
The four parts of the mini-series break down logically. “The Journey” covers Fiver’s visions of the old warren’s destruction, the escape by a handful of rabbits, their encounter with a warren that has forgotten the old ways, and the founding of Watership Down well away from man. “The Raid” picks up with the problem the new warren has, a lack of does, and the work done to rectify that; Hiver going off to rescue hutch rabbits from a farm and another group going to a large warren to see if any it can spare any does and even bucks, with both enterprises failing. “The Escape” picks up with Clover, Fiver, and Bigwig finding a wounded Hazel, and Bigwig going to the large warren to rescue the Watership Down rabbits from General Woundwort. “The Siege” ends the series with General Woundwort’s assault on Watership Down and the valiant defense by Hazel and his rabbits.
The first thing the audience sees is a CG field so real, it triggers hay fever attacks. The animation is lush, the rabbits detailed with expressive faces while still being rabbits. Members of the Owsla, like Captain Holly and Bigwig, and characters injured in the run of the story all have scars appear. General Woundwort shows a lifetime of battles on his body. Like the animation in the 1978 film, the mini-series’ is lush and adds to the tone of scenes.
Casting is also well done. Ben Kingsley when he phones in a performance is worth watching; he is not phoning in his performance as General Woundwort. He provides a menace to the character without having to yell. The rest of the characters are also well cast, with Boyega bringing out Bigwig’s hotheadedness, McAvoy shows Hazel’s growing weariness with life as chief rabbit, and Hoult brings out Fiver’s nervousness and hesitation. Capaldi’s Kehaar sounds like the brash seagull the character is.
With a combined runtime of 203 minutes, the mini-series has more time to delve into the rabbit culture, from their beliefs to their day-to-day lives. The result is a more intense story, with the fate of Watership Down and its inhabitants unknown to audiences who haven’t read the book. The mini-series does cover the novel, keeping the perspective to what the rabbits know of the world, just like the original. The worldview presented is from the rabbits.
In the end, the series adapts the original well. The quest of the surviving rabbits from Stableford to find a new home remains intact, the highs and the lows. Richard Adams’ tale makes the transition from print to television intact, with the characters unchanged. The cast, crew, and writing staff of the mini-series put in an effort to keep true to the original novel, and the results show it.
Comic book universes tend to grow. New characters get created, make guest appearances, get spun off into their own titles, then crossover everywhere. Some characters are popular but not enough to maintain a title. Others work better on a team than solo. When a large number of solo characters are popular, editorial toys with teaming them up. Both the Avengers and the Justice League came about for that reason – popular solo characters brought together in a new title to take advantage of the popularity.
With DC Comics, the characters include sidekicks to the main heroes. Batman has Robin. The Flash has Kid Flash. Green Arrow has Speedy. Aquaman has Aqualad. To complicate matters, Superman and Wonder Woman both had younger versions, Superboy and Wonder Girl. DC discovered that the younger characters drew younger fans; naturally, the company released a title to feature them, /Teen Titans/.
First appearing in The Brave and the Bold #54 in 1964, the original Teen Titans roster consisted of Dick Greyson’s Robin, Aqualad, and Wally West’s Kid Flash. In issue #60, the roster expanded to include Donna Troy as Wonder Girl. After one more appearance, this time in Showcase #59, the Teen Titans received their own title in 1966, picking up Roy Harper’s Speedy as a guest hero. The title ran until 1978, with a three year interregnum between 1973 and 1976.
In 1980, Marv Wolfman and George Pérez created The New Teen Titans. The roster this time around included Dick Greyson’s Robin, Donna Troy’s Wonder Girl, Wally West’s Kid Flash, Gar Logan as Changeling, Cyborg, Raven, and Starfire, expanding the original roster. This team came together to deal with Raven’s father, Trigon, a demonic lord of Hell who has enslaved countless worlds. With the threat defeated, the team remained together, facing off against Deathstroke the Terminator next. The title ran until 1996, spawning the concurrent spin-off Team Titans. The Titans followed two years afterwards, with Dick Greyson now as Nightwing, Donna Troy using no heroic ID, Wally West now as the Flash, Starfire, Cyborg, Gar Logan now going by Beast Boy, Roy Harper as Arsenal, and new member Damage. This title ran for three years, ending in 2002.
Comics pick up continuity the longer they run. DC’s main universe has been around since Action Comics #1, Characters develop and grow, whether editorial wants that to happen or not. DIck Greyson started as Robin, then left being Batman’s sidekick to go be his own hero as Nightwing, moving to Bludhaven. Wally West started as Kid Flash, then took over the mantle as the Flash. Donna Troi went through a few heroic identities, getting caught up in a continuity snarl during DC’s Crises. Gar Logan started as Changeling, changed his name to Beast Boy, and has been a member of both the Doom Patrol and the Titans over the years. The Titans may have only been around as a team since 1964, but they do have a history.
With the success of Arrow. The Flash, Supergirl, and Legends of Tomorrow on television, the creative team behind the shows teamed up with Netflix to create Titans in 2018. The series adds Geoff Johns, former Chief Creative Officer at DC Comics and writer on a number of titles, including a Beast Boy miniseries and Teen Titans volume 3. The series stars Brenton Thwaites as Dick Greyson, Anna Diop as Kory Anders, Teagan Croft as Rachel Roth, and Ryan Potter as Gar Logan. The show also has some key recurring characters, including Hawk and Dove (Alan Ritchson and Minka Kelly), a young Dick Greyson (Tomaso Sanelli) for flashbacks, and Conor Leslie as Donna Troy.
Titans begins with the death of Rachel’s adoptive mother, Melissa Roth. Detective Dick Greyson of the Detroit police department picks up the case and tracks down the girl, though not before a cult picks her up. Rachel’s dark side, though, turns the tables on the cultists, killing them. In Austria, an amnesiac Kory Anders finds herself in a gun battle and escapes, incinerating her pursuers. And in Covington, Ohio, a green tiger steals a video game from a electronics store.
Through the first season, the core team – Dick, Rachel, Kori, and Gar – come together. Each has their own story arc. Dick, despite having left Batman to go on his own, is still wearing the Robin costume when he stops crime the police can’t. Dick’s past comes out through flashbacks, painting why he’s having problems today. Not helping is meeting the new Robin, Jason Todd (Curran Walters). Rachel is having family trouble. Her father, Trigon, is looking for her, using a cult. Her main hunters are the Nuclear Family – Dad (first Jeff Clarke, then replaced by Zach Smadu as the character is replaced), Mom (Melody Johnson), Sis (Jeni Ross), and Biff (Logan Thompson) – who use drugs to augment their physical abilities. Kory is trying to figure out who she is and why she has to find Rachel, aka the Raven. Gar may be the most well adjusted of the group, a vegan who shapeshifts into a tiger. Even he has a few skeletons in the closet in the form of the Doom Patrol.
The first season deals with Trigon as the main plot, though his name doesn’t get mentioned until late in the run. This is the same plot that the Wolfman-Pérez The New Teen Titans began with. The take, though, is darker. The creators are taking full advantage of not being on a broadcast network. Netflix has its own standards and practices, so the language is far saltier than could be allowed over the air or even in the comics. At the same time, it’s not all dark all the time. There are light moments, coming from the characters. The tone is serious, but with light moments. Again, Gar is a point of light in the series. He’s better adjusted than the rest of the team.
The new series is taking the characters from the comics and bringing them into the same televised multiverse the other DC shows are in. It’s likely that Titans, like Supergirl, is in its own universe because it’s on another network. This gives the show room to maneuver when it comes to interpretations. The characters are recognizable, but Titans is putting its own spin on them, something to be expected in a cinematic universe. The costumes for Robin, Hawk, and Dove match what was seen in the comics. Rachel’s outfits hint at Raven’s costume; when she wears a hoodie to cover her head, the silhouette matches her comic counterpart. Kory, while not yet Starfire, wears a purple outfit that reflects the costume from the comics. Gar is the lone outsider here, possibly due to budget and time restraints. While his tiger form is green, Gar only has green hair when he’s human instead of being all green.
Titans may not be accurate to the comics. The series is taking its cue from the comics, though. Characters are recognizable to long-time fans without losing newcomers to continuity lockout. As such, it fits in with the rest of the DC television series.
Most entertainment reflects the time it was created in, even if the creators were aiming for something timeless. With sitcoms, the series can act as a snapshot of its era, even if the show was set in a different time. Most sitcoms are set in “now“, concurrent with its airing. As a result, some of the humour can start to look dated, especially if it’s topical. A joke about Ronald Reagan’s hair in 1985 may get a different reaction today than it did then. Such is the nature of the passage of time; things change.
Of course, as things change, what was once considered boundary-pushing might look quaint decades later. Society changes. Sometimes television pushes the change; sometimes it follows. Norman Lear made a career out of pushing boundaries, producing a number of series that explored subjects that, while possibly not taboo, weren’t part of day-to-day discussions or lives. All in the Family, running from 1971 to 1979, then continuing until 1983 as Archie Bunker’s Place, humanized a working-class bigot, giving him depth so that his beliefs could be understood without necessarily agreeing with them. The show also touched upon rape and how it affected the victim.
All in the Family had several spin-offs, each of those pushing boundaries as well. The Jeffersons featured the Black version of Archie in George Jefferson, again, showing why George held those beliefs and showing that he could grow from there. Maude featured an ultra-liberal woman and had an episode that dealt with abortion, two months before Roe v. Wade legalized the procedure. Good Times, spun off from Maude, showed the struggles of a working-class Black family.
In the Seventies, divorce wasn’t quite off-limits, but as the rates rose, especially in California, attention wasn’t called to it. Divorce was still seen as a failure in a marriage. Single parenthood was, and in many ways, still is something that society doesn’t want to touch. Single parents in sitcoms tended to be widowers, not divorcées. In 1975, Lear and his studio produced One Day at a Time to bring the tribulations of single motherhood into the limelight.
One Day at a Time starred Bonnie Franklin as Ann Romano, a recent divorcée who moves to Indianapolis with her daughters Julie (played by Mackenzie Phillips) and Barbara (Valerie Bertinelli) Cooper to an apartment building tended to by handyman Dwayne Schneider (Pat Harrington, Jr.). Over nine seasons, the series showed how Ann and her daughters coped as life happened to them. Schneider was on hand as a male role model for the girls, not quite a father figure but there if they needed him. As the series progressed, the cast grew to include Ann’s mother, Katherine (Nanette Fabray), adding a generational conflict to the series.
The show was a product of its time, dealing with events of the mid-Seventies to mid-Eighties during its run. Schneider was a parody of Seventies masculinity, a over-the-top portrayal, with a sleeve of his white T-shirt rolled up to carry a pack of cigarettes and the omni-present tool belt. Both Julie and Barbara grow up, get married, and become mothers themselves. While The Mary Tyler Moore Show showed that women could have careers, that series was also pushing boundaries.
The nature of television has changed since 1984, when One Day at a Time ended. Divorce became less a shame than it had been and was an acceptable way to end a marriage that wasn’t working, especially with no-fault divorce available. That boundary has been pushed back, with thanks in part to /One Day at a Time/, which led the way for sitcoms like /Golden Girls/ that featured divorced women as leads. The way television is delivered has also changed in the same time, going from over-the-air broadcast to cable delivery to Internet streaming. The former three-channel universe now has so many ways to deliver programming, networks and cable companies need to produce an overall higher quality of TV show just to get an audience.
Enter Netflix. Originally a way to rent movies over the Internet in 1997, Netflix has grown, offering streaming of theatrically released movies, classic TV series, and its own content, including She-Ra and the Princesses of Power, Blazing Transfer Students REBORN, and the Oscar-nominated Roma. One of the companies bigger hits is its One Day at a Time remake. Working with Norman Lear’s company, Act III Productions, Netflix updated the TV series for today. If divorce is more-or-less fact of life today, then what boundaries are there to be pushed?
The first update was to change the nature of the family. Instead of Italian-American Ann Romano, the new series stars Justina Machado as Cuban-American Penelope Alvarez, a divorced single mother who is also an Afghanistan veteran with both physical and mental wounds from her time serving as a US Army nurse. Penelope and her two children, Elena (Isabella Gomez) and Alex (Marcel Ruiz), live with her mother, Lydia (Rita Moreno) in an apartment maintained by Dwayne Schneider (Todd Grinnell). Like the original series, the show has how Penelope and her family cope with what life throws at them.
The first difference is obvious, the change of the core cast to Latinx, allowing an exploration of life of Hispanic Americans, including racism. With Penelope having PTSD as a result of her time in Afghanistan, the series can explore how veterans and how people with mental illnesses are treated. Since the series isn’t on a network that survives through paid advertisements, it can also delve into areas that would normally create boycotts. Unlike Julie and Barbara, Elena isn’t sure of her sexuality and realizes that she’s a lesbian during the course of the first season. Not all of her family is supportive, either; her father takes the news poorly. The series continues the tradition of Norman Lear shows pushing boundaries. Along with the elements mentioned above – veterans, mental illness, racism, and homophobia – the show examines religion, sexism, and immigration, all while treating the characters as human beings with motives, beliefs, fears, and hopes.
Unlike the original, the remake takes time to show Penelope at work. The only sane woman there, Penelope manages to keep Dr. Berkowitz (Stephen Tobolowsky) and his office from floundering. Dr. Berkowitz may also be the only person who knows how much Penelope’s time in Afghanistan is affecting her. The rest of her coworkers, Lori (Fiona Gubelmann) and Scott (Eric Nenninger), are unaware of the effort Penelope puts in.
One other change is how Schneider is portrayed. While still the building superintendent, the new Schneider reflects today’s masculinity. The remake’s Schneider comes from a dysfunctional family, having many stepmothers, and is recovering from substance abuse. He still fills the same role in the show, the male role model that really isn’t needed but is still a friend of the family.
With so much changed, is the new series a remake or its own show reusing a title? Keep in mind that the changes updated the show while keeping the premise, a single mother trying to raise two children. Like other series produced by Lear, the One Day at a Time remake brings to light issues that are lurking beneath society’s surface, issues that families are facing, while treating the characters with respect instead of using them as the jokes. The reactions and the interaction between characters are funny; the characters themselves are human.
One Day at a Time isn’t about the Romano/Cooper family or the Alvarez family, but what they go through. The remake brings the concept to today, with today’s problems, much like the original was about the today of the Seventies. Much of what Ann Romano went through then is out in the open now, but as times change, the problems families face evolve, which is what the One Day at a Time remake did to keep pace.
The dam broke. News just keeps flowing, with nothing outside consideration. Let’s get started on the March news roundup.
Catan TV and movie rights purchased.
Gail Katz, producer of /The Perfect Storm/, has bought the rights to the board game, The Settlers of Catan. While the purchasing of rights is just the first of many steps to get a movie or TV series made, it’s not a guarentee. Catan also has the interesting problem of having no set plot. Instead, players are in competition to settle the land of Catan, but may also trade with each other. The trading is the source of endless “wood for sheep” jokes amongst the game’s players.
Jim Starlin’s Dreadstar becoming TV series.
Starlin, creator of Guardians of the Galaxy, will also be the executive producer of the TV series. /Dreadstar/ will follow Vanth Dreadstar, sole surviror of the Milky Way galaxy, as he tries to end an war between two empires. No casting has been announced.
Fox greenlights Sandman spinoff.
Lucifer, a spinoff of Sandman, has been ordered by Fox. The original Lucifer had the lord of Hell giving up the title and moving to Earth to run a piano bar while interacting with other religious figures. The Fox series, though, has Lucifer assisting the Los Angeles police department in solving crimes.
New Alien movie to be directed by Neill Blomkamp.
Blomkamp, who directed /District 9/, has a deal with Fox to film a new /Alien/ movie. This film is separate from Ridley Scott’s Prometheus 2. Blomkamp’s movie will be a sequel to Aliens, and will bring back Sigourney Weaver as Ripley.
EL James to write script for 50 Shades sequel.
James, who wrote the 50 Shades trilogy, is exerting ownership and control and will be the scriptwriter for the next movie in the series. The sequel may be delayed as a result; James has not written a script before and the Valentine’s Day 2016 release date may not be possible. The sequel also needs a new director; Sam Taylor-Johnson will not be back after numerous fights with James on set during the filming.
MacGuyver may be getting a reboot TV series.
Lee Zlotoff, the creator of the original MacGuyver TV series, is working with the National Academy of Engineers on a crowdsourcing competition to find the next MacGuyver. The challenge – the new character must be a woman, who doesn’t necessarily need to be named MacGuyver. The prize is $5000 and working with a Hollywood producer to develop the script.
Netflix to make new Inspector Gadget, Danger Mouse series.
Netflix is becoming the newest source for series. Besides the Marvel offerings, Netflix will be adding animation to the lineup. First, Inspector Gadget, a 26-episode reboot of the classic cartoon, will start in March in the US and in other countries later. A revival of Danger Mouse, will follow.
Not to be outdone, Disney brings back Duck Tales.
Duck Tales, a staple of the late 80s and early 90s, is returning with new episodes on Disney XD in 2017. The same characters from the original will be in the new show.
The Search for More Money may become a reality.
Mel Brooks has said he wants to make Spaceballs: The Search for More Money. Nothing is confirmed, but the idea is to have the sequel come out after Star Wars: The Force Awakens.
Alfred Bester’s The Stars My Destination may be adapted in near future.
Paramount Pictures may be signing a deal the lead the way to a movie adaptation of the novel. The novel’s been in development hell for twenty years, with Richard Gere and Paul W.S. Anderson being attached to the project. Talks are still early, though.
Electra Woman and Dyna Girl getting remade.
Taking the titular roles are Grace Helbigg and Dana Hart, both of whom are known through their work on YouTube. The original Electra Woman and Dyna Girl was a 1976 Sid and Marty Krofft series and starred a pre-Days of Our Lives Deidre Hall.
Adventure Time to become feature film.
Cartoon Networks’ Adventure Time is in development for an animated film. Chris McKay and Roy Lee, producers of The LEGO Movie and the upcoming The LEGO Batman Movie will produce the film.
John Barrowman to develop project from Heavy Metal.
Barrowman, known for his role of Captain Jack Harkness on Doctor Who and Torchwood, will produce and star in The 49th Key, a miniseries based on a story by Erika Lewis that just started in the magazine, Heavy Metal, as of issue #273.
Mrs. Frisby and the Rats of NIHM being remade.
MGM will adapt the book by Robert C. O’Brien as a mix of live action and CGI. Adapted once before by Don Bluth as The Secret of NIHM, Mrs. Frisby and the Rats of NIHM is about a widowed mouse who gets help from escaped lab rats to save her home and her son.
Valiant Comics bringing their characters to the movies.
DMG Entertainment of Beijing has invested in Valiant Comics and wants to bring the Valiant characters to the silver screen and television. Valiant has Bloodshot, Shadowman, and Archer and Armstrong already in development.
Live action Akira film delayed again.
The director attached to the project, James Collet-Serra, is taking time for himself after making the movies Non-Stop and Run All Night back-to-back. The fate of the adaptation is back in the hand of Warner Bros. The studio has been trying to cut the budget from the initial $180 million estimate down to between $60 and $70 million to offset the fan backlash currently happening. Warner has had the Akira adaptation in some form of development since 2002.
Sony working on an male-driven Ghostbusters remake.
The male-driven remake/reboot is being developed in parallel with the female-driven version. Sony is hoping to expand the franchise. Maybe the best approach for the movies is to borrow from the West End Games Ghostbusters role-playing game and set each movie as a separate Ghostbusters International franchise in different cities. Ghostbusters Tokyo: The Anime anyone?
Three Days of the Condor becoming a TV series.
The conspiracy thriller of the 70s is being developed for TV by Skydance and David Ellison. The original movie was itself adapted from the book, Six Days of the Condor, and involved a a CIA operative whose co-workers were murdered as part of a government cover-up.
Archie getting a reboot, new look.
In a possible first for the publisher, Archie Comics is getting a reboot and a new #1. Mark Waid and Fiona Staples will helm the title and will bring Archie to the 21st Century in appearance without taking away from what makes the character who he is. The re-imagining comes with Archie’s 75th anniversary and follows such works as AfterLife with Archie and the announced Riverdale TV series.
A third Tron movie is in the works.
A sequel to Tron: Legacy will be directed by Joseph Kosinski, who directed the previous Tron movie. The movie should follow from events in Legacy.
Marvel Comics had several big announcements since the last news round up. Let’s get to what’s being adapted and by whom.
Marvel and Sony come to a deal over Spider-Man.
Spider-Man is moving into the Marvel Cinematic Universe, joining the likes of the Avengers. Sony Pictures still has the rights to create movies with the character, but the deal should allow Marvel to use elements from the Spider-Man comics such as the Daily Bugle in its own releases. Marvel has shuffled its release schedule to bring the next Spider-Man movie out without competing with the Marvel Studios releases.
X-Men TV series in the works.
Fox has confirmed an X-Men TV series is in development, pending Marvel’s approval. Little of what the series would entail has been revealed.
Casting for AKA Jessica Jones announced.
David Tennant joins the cast as the villainous Zebediah Killgrave, also known as the Purple Man. Tennant joins Krysten Ritter as Jessica Jones and Mike Colter as Luke Cage.
Who you gonna call?
Meet the new Ghostbusters for the gender-flipped remake. Melissa McCarthy has signed on while negotiations with Kristen Wiig, Leslie Jones, and Kate McKinnon are ongoing.
Fushigi Yuugi gets stage treatment.
The manga and anime, Fushigi Yuugi is making the transition over to the stage. Fushigi Yuugi, which translates as Mysterious Play, follows the adventures of Miaka as she falls into another world filled with magic and danger.
Indiana Jones reboot may be in works.
Disney bought the rights to the Indiana Jones franchise and are looking at Chris Pratt as the eponymous hero. Pratt is going to be busy…
Chris Pratt in talks for The Magnificent Seven remake.
The remake of The Seven Samurai is being remade. Denzel Washington has already signed on for the remake.
Harper Lee releasing a follow up to To Kill a Mockingbird.
The sequel, Go Set a Watchman, features Scout Finch as an adult. The novel had been written during the 1950s, but was set aside on the advise of Lee’s editor at the time. The new novel will hit bookstores mid-July.
LEGO announces next licensed set, featuring Doctor Who.
Everything is more awesome in LEGOland as the Doctor and his companions join the massive LEGO line up. The project just left the judging phase, so it may take some time before the LEGO TARDIS hits the shelves. Also announced, a LEGO Wall-E set, with the submission made by one of the movie’s crew members.
Stargate reboot movie signs writers.
Roland Emmerich’s reboot/remake of the original Stargate movie has signed Nicholas Wright and James A. Woods as screenwriters. Emmerich will direct and co-produce, along with original co-writer Dean Devlin.
The Man from UNCLE trailer now out.
The first look at Guy Ritchie’s take on the TV series, The Man from UNCLE, is now out. The movie stars Henry Cavill as Napoleon Solo, originally played by Robert Vaughn and should be out in August. Armie Hammer is on board as Illya Kuryakin, previously played by David McCallum.