The Glass Teat

Neo-Galactica, Part 1

I’ve thought a lot over the past few weeks about remakes, or “reimaginings,” as TV and movie producers have pretentiously taken to calling them. They’re nothing new, of course — updating older entertainment properties for a new generation has been a common industry practice since at least the early sound era, when a number of prominent silent films were redone as talkies. These days, however, there seem to be a lot more of them being made than there used to be. A recent TV Guide article listed about a dozen old TV shows that are currently being transformed into feature films. I imagine most of these will probably be of the smug, let’s-make-fun-of-the-entertainment-of-our-youth variety that’s been so popular recently. I hate those treatments, myself. I don’t see any reason to mock things simply because they’re a couple decades removed from the cutting edge. The thought of Jim Carrey as The Six Million Dollar Man, or greasy, potty-mouthed Colin Farrell filling Sonny Crockett’s shoes in a new Miami Vice makes me want to hurt someone. Badly. (By the way, I didn’t make up those projects or attach those names to them. They’re both for real, at least according to the aforementioned article.)

As much as I despise those disrespectful parodies, though, they’re generally easy to dismiss. They tend to have short lives at the box office and are quickly forgotten, while the original properties live on in the memories of those who love them. Sometimes the remakes even help the originals because a DVD release of the old frequently goes along with the marketing of the new. But what happens when the remake is no parody? What if the new version is a serious attempt to update and improve upon a property that was badly flawed, despite its charms? What’s the loyal fanboy to do when it turns out the remake actually is better than the original in many respects, and even seems poised to eclipse the memory of the original in the minds of the general public?

That’s the quandry I’ve been struggling with ever since the premiere of the SciFi Channel‘s new version of Battlestar Galactica.

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Heeeeeeeere’s… Well, You Know

I suspect that the passing of former Tonight Show host Johnny Carson hasn’t generated much grief in folks my age, and certainly not in those younger than thirty. It’s not that Gen-X has anything against Johnny; it’s just that he was, well, a little before our time. He was an icon for our parents, of course, but for those who didn’t start watching late-night programming until the late ’80s or so, his show always had the slightly stale whiff of a by-gone time about it. I used to think that Johnny’s Tonight Show felt like something Ward might’ve watched after putting Wally and the Beav to bed. It was strictly squaresville, daddy-o. I much preferred the in-your-face, absurdist quality of David Letterman, or even the youthful energy of Johnny’s replacement, Jay Leno. Today, Leno and Letterman have become the old-timers and the kids have got Conan and Jimmy Kimmel and probably others that I’ve never heard of, and they think they’re da bomb, or whatever the current trendyspeak for “cool” is. And you know what? They’re wrong. I was wrong back in the ’80s. The fact is, Johnny was better than all of them. Johnny was the epitome of cool. I was just too damn young and dumb to realize it.

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Programming Note: The Return of the Race

Just a reminder that the Best Reality Show on Television, the Emmy Award-winning Amazing Race, kicks off its sixth run tonight at 8 PM, MST. As I’ve mentioned before, I generally despise reality TV, but The Amazing Race is different. Instead of wallowing in the worst of human nature and finding ever-more disgusting ways to break people’s spirits (Fear Factor, I am talking to you), this show is a celebration of all the cool stuff the world has to offer as well as a generally positive portrayal of how people can overcome their own limitations.

This new Race cycle promises to be especially interesting for my fellow Utahns, as it includes a pair of sisters from the next county south of mine. Tune in tonight and show a little hometown spirit!

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How Goes the Race?

It was a real heartbreaker this week on The Amazing Race when Charla and Mirna, who have been among my favorites in this year’s competition (well, maybe not Mirna, but I liked Charla), became the sixth team to be eliminated after falling behind during a Roadblock challenge. If you don’t know what I’m talking about, then obviously you haven’t been watching the show, and if you haven’t been watching the show then my question to you is, “Why the hell not?”

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Randomness

This is one of those days when I have a lot of things I’d like to blog about and little time to do any of them justice, so I apologize in advance for throwing out a bunch of unconnected (and unedited) nuggets:

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Frasier Has Left The Building

As a rule, I really don’t care for television comedies. Most of them are too dumb, too snarky, too loud, or I find that I simply can’t identify with their premises or characters. But every once in a blue moon, a sit-com emerges that has charm and wit enough to draw my interest. One of those rare gems has just ended its long run, and I’m not talking about Friends. (Full disclosure: I never understood the fuss over Friends. I know that show has its fans — one of whom is my own Anne — but I just never could get over the fact that these supposedly-struggling twentysomethings lived in apartments as large as my parents’ house, in Manhattan no less. And I just never thought it was that funny. No accounting for taste, I guess.)

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Stupid TV Executives

Remember how only a few days ago I was grumbling that TV networks no longer give new series a chance? Well, here’s proof of my point: CBS has cancelled the promising new science fiction/legal drama Century City after a mere four episodes.

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The Demise of the Traditional TV Season

There’s a column in today’s Salt Lake Trib in which television columnist Vince Horiuchi comments upon the decline of the traditional TV “season.” If you’ll cast your mind back to the Good Ol’ Days™, you may recall that new programming used to run in one big consecutive block that lasted, roughly, from fall through spring, with re-runs airing during the summer. That’s no longer the case, which Horiuchi thinks is a good thing. I’m not so sure myself.

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