The Prisoner (re-boot) aired its first two episodes last night. Hope might spring eternal, but then there is that darn old reality of corporate show-business. Charlie Jane Anders mentions gonzo in reference to the original. Fair enough, the word certainly applies to the filming, budgeting, and working methods of the real one. Compare that with careful product placement, script by executive committee, and top dollar photography of the new. A great many critics (read lazy writers) have overused the word allegory, again referring again to the original. To the new one, I'd like to add slick, and telegraphing your moves. The original is labeled a cult series, (whatever the heck that means) while the new message is accessible. (corporate hipsterism, featuring individuality as represented by a fine wardrobe, kept fresh in the most difficult of situations, a romantic interest wearing flawless make-up in any close-up, a huge playing space with branded designer accoutrements, and plenty of others to cover the day to day. Buy from us kids, and you too...)
A fair question is, would the new stand on its own with a different title or conversely not having an original to re-boot? I can't say. The show-biz folks chose to ride on McGoohan's coattails. (The Pitch: we took an idea of Bill's (Gibson), mixed with a property that's come on the market, and chose fashions by Lolly, while we wrote in a star turn for the company's new line of cars) The original can best be characterized as having a time and place. Will people who weren't around then accept the new? That's up to them. I'm a tad underwhelmed myself.
No comments:
Post a Comment