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Re: [probe_control] Re: Apollo carrotts

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  • LambuLambu@aol.com
    Geoff, Yes, I have noticed that. Even our own remakes fail miserably, depending on the network and who is at the reins. In the late 80s we had a writers
    Message 1 of 40 , Nov 3, 2010

      Yes, I have noticed that. Even our own remakes fail miserably,
      depending on the network and who is at the reins. In the late '80s we had a
      writers' strike which made the fall '88 season hideously dead. So someone hatched
      a plan to put a "new" "Mission: Impossible" cast together, and use the
      scripts from the original series to create "new" episodes without violating the
      writers' union agreement. Well, something shook the writers' world because
      they ended their strike, and the producer went ahead with the new M:I
      series anyway. The first season had strong enough ratings that it was renewed
      for a second season, but the network moved it around the time slots so much
      with so little notice that it was a truly impossible mission to find the
      show. Ergo, the ratings went into a death spiral and the show was cancelled.

      The series remake of "The Fugitive" didn't last very long. The
      "re-imagined" "Bionic Woman" (which I found very interesting and enjoyable)
      failed, but that may because it fell victim to another writers' strike, which
      killed several promising shows. "Dark Shadows" of the early '90s didn't last
      very long, and it was rather good with Ben Cross as Barnabas Collins,
      whereas the original in the '60s, complete with horrible bloopers such as wobbly
      set walls and badly flubbed (and delivered) lines lasted for seven years.
      Even the recent "Knight Rider" sequel series (not a remake) didn't finish
      its full season run, with its last five episodes having their plug pulled. The
      only remake of which I am aware that succeeded was "Battlestar Galactica".

      And you're also right about how our producers treat successful British
      shows when they make "Yank" versions of them; they can't quite grasp that
      little piece that made the British originals work so well. They failed with
      "The Prisoner". (That one got horrendous reviews and horrid ratings.) We
      already mentioned the American version of "Coupling". The blitheringly
      obnoxious "What Not to Wear" seems to keep going, though I can't understand why.
      The UK version an interesting, almost relaxing watch, perhaps because the
      presenters didn't EXCLAIM nearly every comment they had.

      What's happened, at least IMHO, is that most of our Hollywood
      producers are either too young and have no clue as to what they're doing, or
      they've gone beyond their years and have run out of ideas. We lack the "middle of
      the road" people who have good ideas and know how produce them, and the
      ones we do have are saving their skills for the big silver screens (like with
      the new "Trek" movie that was released last year).

      Now, the SciFi (or as they're known now, SyFy) Channel has come up
      with some original programming that's stood the test of time with many series
      lasting several seasons. It seems to be our major networks that have simply
      copying each other, with each having the same programming: some sort of
      "CSI"-type show, mindless sitcoms with little plot and enough overly dramatic
      elements to classify them as "Dramadies"; many of these have some sort of
      ethnic tone to them and so target only a certain group of people whereas the
      older sitcoms targeted everyone.

      Go back even into the late '80s and you had sitcoms that were what
      they were supposed to be: situation comedies; they made you laugh because the
      stories placed the characters in absurd situations. Cop shows? Sure, there
      were some great ones, and each had its own style. Legal shows in the vein
      of "Perry Mason" were around, and like the cop shows, in the end the bad guys
      got caught and the good guys won out. Not so with today's shows, and like
      I mentioned, they're almost carbon copies of each other.

      A long ramble, I know, but venting aside, I agree with you. That's why
      if it's not an educational channel (History, History International,
      Discovery, et al), or "SyFy", our house is watching British programming either on
      our PBS station, or BBC America. (We just wish BBC America showed British
      adverts rather than the American ones.)


      In a message dated 11/2/2010 3:43:48 P.M. Eastern Daylight Time,
      gfwillmetts@... writes:

      Hello Dino

      Do you find that originality is dying out in American TV and films.
      Notice, I said dying not totally dead yet. When adaptations are made by British
      shows your side of the pond there’s a tendency to not see what made the
      shows work in the first place and what is often changed is the prime


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    • David Marks
      Yes, in The Six Million Dollar Man - Wine, Women, and War follow-up movie Oscar Goldman began as a stiff character exerting his power on Austin.  Rudy Wells
      Message 40 of 40 , Nov 9, 2010
        Yes, in "The Six Million Dollar Man - Wine, Women, and War" follow-up
        movie Oscar Goldman began as a stiff character exerting his power
        on Austin.  Rudy Wells explains that Goldman was really a good man,
        and Steve should give him a chance.  It was later that Goldman learns
        to play it more straight with Steve rather than being duplicitous after
        one particular altercation.

        --- On Tue, 11/9/10, LambuLambu@... <LambuLambu@...> wrote:

        From: LambuLambu@... <LambuLambu@...>
        Subject: Re: [probe_control] Re: Apollo carrotts
        To: probe_control@yahoogroups.com
        Date: Tuesday, November 9, 2010, 11:54 AM


        I stand corrected. After all it was a long time ago since I saw the pilot
        (and I think only once). I also seem to remember in the follow-on movie (and
        please correct me if I'm wrong again) the Goldman character was also a
        little on the callous side, though not as bad as in the pilot, and it was only
        after the series episodes started that he was "softened up" to someone who
        regarded Steve Austin more as a friend, and not just a piece of technology
        for his use.

        I do remember that someone else played the "head honcho" in the pilot, and
        like "Face" from "The A-Team" pilot the actor didn't want to commit to a
        series. I just didn't remember it was our future "Night Stalker" Darin
        McGavin, or that his character wasn't Goldman.


        In a message dated 11/8/2010 3:40:03 P.M. Eastern Standard Time,
        worldsecanalyst@... writes:

        In the pilot for "The Six Million Dollar Man" there was no
        Oscar Goldman although he was a minor character in
        Caidin's book "Cyborg". Darren McGavin played
        Office of Stategic Operations (OSO) director Spencer.

        It was seen that Spencer was too callous and probably
        both ABC and Universal wanted to hold McGavin on
        reserve for the hoped-for "Night Stalker" series
        for the 1974-1975 TV season. In the ninety minute
        follow-up movie "Wine, Women, and War" Oscar Goldman
        was introduced with Austin reassigned to the Office
        of Scientific Intelligence (OSI). This episode featured
        Eric Braeden, David McCallum, Britt Eckland, and
        Earl Holliman.

        David in MA

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