Category: Pilots (Page 8 of 14)

15 Movies That Were Almost Turned Into TV Series

If you’re not an ABC Family aficionado like myself, then you may not be aware that the often-underrated network is preparing to launch a new series on July 7th: “10 Things I Hate About You,” based on the film of the same name. It’s hard to say whether this is a good idea or not, though the fact that Larry Miller has carried over his character from the film – patriarch Walter Stratford – is certainly a step in the right direction, but we can say one thing: there have been worse ideas. It’s been a television staple to transform motion pictures into weekly TV series, but not every attempt actually makes it to the airwaves. Here’s a list of 15 such swings and misses, many…okay, most of which deserved to fail.

1. “The African Queen” (“The African Queen,” 1962 & 1977) – It seems only appropriate to start this list out with an attempt at transforming a classic film into a TV series. The first time around was in 1962, when James Coburn took on the role of Cap’n Charlie Allnot, while Glynis Johns played the Hepburn role of missionary Rosie Sayer, but although it aired as an episode of NBC’s “The Dick Powell Theater,” it never made it any further. Fifteen years later, CBS took a stab at it, with the leads played by Warren Oates and Mariette Hartley. No dice. If the actual movie ever makes it to DVD (can you believe it’s still unavailable?), perhaps one or both of these pilots will be included as part of the bonus material.

2. “Breakfast at Tiffany’s” (“Holly Golightly,” 1969) – It sounds nuts, right? Granted, if there was anyone in the late ’60s who was the TV equivalent of Audrey Hepburn, it was probably Stefanie Powers, but Hepburn’s performance was so iconic that it’s hard to even wrap your head around the idea of anyone else playing the role of Ms. Golightly. As it turns out, the original author of “Breakfast at Tiffany’s” – Truman Capote – didn’t like the movie, either, calling it “a mawkish valentine” to Hepburn, so he was even less ecstatic about the idea of a TV series. In an interview with Time Magazine, Capote predicted that the show would be even more “jerky” than the film and that he would not stand for the TV version “if they give me all the money in Christendom.” One doubts that his position on the matter had anything to do with the series not being picked up, but the end result no doubt pleased him, anyway.

3. “Diner” (“Diner,” 1983) – This one had a lot of potential, with the film’s writer/director, Barry Levinson, doing the same duties on the pilot. There was only one original cast member willing to return, however, but, hey, at least it was Paul Reiser (Modell). Plus, Mickey Rourke (Boogie) and Kevin Bacon (Fenwick) were traded out for Michael Madsen and James Spader, respectively, which ain’t half bad, really. In an interview with Venice Magazine, Levinson said, “We had a great cast, but CBS thought otherwise. They thought it wasn’t compatible with the current programming line-up they had.” The fools!

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Greetings to the New Show: “Kings”

Mark my words: you need to tune in for the premiere of “Kings” tonight. It’s an epic drama with the kind of scope that you rarely see on television in series form – executive producers Michael Green, Francis Lawrence, and Erwin Stoff have literally created a new world, one which provides them with the opportunity to offer tales of war and love without offending any existing countries – and it needs to be a hit right out of the box, lest it be canceled without ever having a chance to build on its concept.

If you’ve seen the commercials for the series (and if you’ve watched NBC for more than about fifteen minutes at any point in the last few months, you surely must’ve caught at least one), then it’s probable that at least one familiar face has leapt out at you: Ian McShane, late of HBO’s “Deadwood.” McShane plays King Silas Benjamin, leader of a land known as Gilboa, which, despite being an obvious monarchy, looks suspiciously like America. When “Kings” opens, Silas is preparing to address his subjects, and when he embarks upon his speech, we’re introduced to some of those who are watching it at home, including a young man named David Shepherd (Chris Egan). Unfortunately, despite the optimism within Silas’s speech, we soon fast-forward to two years later, when David and many other men of Gilboa are in the midst of fighting in Gilboa’s war against the neighboring nation of Gath.

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Greetings to the New Show: “Castle”

Nathan Fillion is one of those actors who just about everyone loves. There are exceptions to this, I’m sure, since nobody is universally adored, but based on my experience, girls tend to think he’s hot, most guys think he’s pretty cool, both genders think he’s funny, and just about everyone can imagine having a drink with the guy. That’s why we hate it when he ends up on a show that deserves to succeed but doesn’t (“Firefly,” “Drive”) or, worse, find himself within a series that isn’t nearly as good as he deserves…like, say, “Castle.”

Given that the guy’s coming off a relatively successful stint on “Desperate Housewives” as well as a phenomenal re-teaming with Joss Whedon (“Dr. Horrible’s Sing-Along Blog”), you’d think that Fillion would be looking for the best of all possible projects, in order to build on his career momentum. Unfortunately, there’s just no way “Castle” is going to be that project.

Brought to you by Andrew W. Marlowe, a man responsible for writing flicks like “Air Force One,” “End of Days,” and “Hollow Man,” the premise of “Castle” sounds like something that would’ve emerged during the 1980s. Famous mystery novelist Richard Castle (Fillion) is called in to help the NYPD solve a copycat murder based on his novels, and after teaming up with attractive young detective Kate Beckett (Stana Katic), he decides to write a new series of novels using her as the basis of the lead character…and given that he’s friends with the mayor, it’s easy for him to pull a few strings and be allowed to work alongside Beckett when she’s on a case.

The semi-good news? The premise allows for gimmicky cameos by famous authors such as James Patterson and Stephen J. Cannell, both of whom turn up as Castle’s poker-playing cronies in the first episode, and provided you remember that most authors aren’t going to be great actors, it’s a fun idea.

The bad news? Nothing else in “Castle” is nearly as much fun.

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Greetings to the New Show: “Eastbound and Down”

I’ve never actually seen “The Foot Fist Way,” the motion picture which really served to bring Danny McBride to prominence (he wrote and starred in the film), but when a review written by someone whose opinion you trust opens with the lines, “The first 30 minutes of ‘The Foot Fist Way’ are as intolerable as anything released in the last ten years,” it’s the kind of sentiment that keeps a movie from working its way up the hierarchy of your Netflix queue. I have, however, seen and loved “Tropic Thunder,” and I’ve heard a lot of good things about “Pineapple Express,” so I do still have a certain degree of respect for Mr. McBride. Therefore, when I heard that he was going to be starring in a new series for HBO that would be executive-produced by Will Ferrell and Adam McKay, the duo who have brought us “Anchorman: The Legend of Ron Burgundy,” “Talledega Nights: The Ballad of Ricky Bobby,” and “Stepbrothers,” there was every reason to believe that the combination would prove to be a successful one.

“Eastbound and Down” certainly starts promisingly, with a flashback laying out the career of Kenny Powers, a major-league baseball player who has seen the highest heights one can reach in the sport, including cover stories for every magazine from Highlights to Cat Fancy to American Woodworker. “Everyone wanted a piece of my shit,” says Powers, in a voiceover, describing himself as a man with “an arm like a fucking cannon.” Unfortunately, as with so many athletes who get a taste of glory and then dive headlong into the trough, Powers’ ego expands to a size far larger than his home state of North Carolina. He begins to blame his failures on his team, so he leaves Atlanta, becomes a free agent, and starts a career freefall which seems him moving from New York (“You mean Jew York?”), Baltimore and San Francisco (“I gotta tell ya, I thought the blacks in Baltimore were bad, but it turns out they’re nothing compared to these fags they got in San Francisco”), Boston, and Seattle.

Seattle, however, proved too much for the man, and after proving directly responsible for the team’s devastating loss against Los Angeles, things fade to black for Powers, and after a caption which reads, “Several shitty years later,” he find that he’s now out of baseball and has carried his remaining belongings back home to the state known as North Kakalaki to work as a middle-school substitute teacher…and it’s at this point that feelings about “Eastbound and Down” will begin to vary wildly.

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Greetings to the New Show: Dollhouse

“Hi, I’m Joss Whedon. You may remember me from such shows as ‘Buffy the Vampire Slayer,’ ‘Angel,’ and ‘Firefly.’ Or perhaps my internet sensation, ‘Dr. Horrible’s Sing-Along Blog.’ Or, of course, my role as Douglas the car rental clerk in the famous ‘Rat Saw God’ episode of ‘Veronica Mars.’ And let’s not forget that I also wrote the screenplay for ‘Toy Story.’ Basically, what I’m trying to say is that I’m awesome, and you should watch my new show, ‘Dollhouse,’ because I created it, and everything I create is genius. And also because Eliza Dushku is hot.”

The above is, in fact, not an actual quote from Joss Whedon. It is, however, a nice summation of the things that Fox is hoping you’ll remember and keep in mind when tuning into “Dollhouse.” There are a lot of rumblings about how the show is only “meh,” and how if it was by anyone else, it wouldn’t inspire anyone to watch beyond the pilot episode. I’m here to tell you that this isn’t…well, okay, I can’t say it’s completely untrue. In fact, there’s some stuff that goes down during the first 15 minutes of the episode that will make you feel like you’re being hit over the head with a hammer, so obvious is it attempting to set up the show. Survive beyond that, however, and you’ll probably find yourself intrigued enough to come back next week.

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