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Post by jensaltmann on Nov 14, 2008 13:02:05 GMT -8
Simply this: wednesdayshaul.com/wordpress/2008/11/13/consolation-prize-pushing-daisies-the-comic/"The other problem I have is the seeming attitude of if it fails as a television show, there’s always comics to fall back on. When did comics become television’s backup? There have always been adaptations of television shows but when did it become “if my show is cancelled, I’ll go to comics?” There are plenty of comics out there more interesting than a failed TV show. If Fuller does this, just remember that comics will now become the consolation prize to failed television writers (henceforth called “The Loeb Factor) and we’ll be around for them until the next great television show pops up on their radar and they run back to ABC or NBC or CBS." |
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Post by K-Box on Nov 14, 2008 17:47:37 GMT -8
I would assert that the corrolary to this is "the Millar factor," in which a comic book is only produced for the purpose of being turned into a TV show or movie (see also: Wanted and Kick-Ass).
But, yes, well caught.
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Post by michaelpaciocco on Nov 14, 2008 18:26:29 GMT -8
"See Also: Whedon, Joss, Vaughn, Brian K., Smith, Kevin, Winnick, Judd, Bendis, Brian M., ...." yeah, it gets longer, just lump in half of modern comic writers for the big two.
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Post by lostphrack on Nov 14, 2008 23:35:06 GMT -8
"See Also: Whedon, Joss, Vaughn, Brian K., Smith, Kevin, Winnick, Judd, Bendis, Brian M., ...." yeah, it gets longer, just lump in half of modern comic writers for the big two. Don't forget Templesmith and Niles! 30 Days of Night came from their rejected movie pitch afterall. |
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Post by K-Box on Nov 15, 2008 0:10:31 GMT -8
Don't forget Templesmith and Niles! 30 Days of Night came from their rejected movie pitch afterall. Templesmith and Niles are a Loeb factor and a Millar factor all in one, since their failed movie pitch became a comic book, and the comic book was in turn adapted into a movie after all. For added lulz, several critics said that the movie adaptation of the comic book "lacked the strength of the original material," even though the "original material" was always intended to be a movie first. |
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Post by jensaltmann on Nov 15, 2008 3:14:27 GMT -8
Or The Middleman. Rejected TV-pitch, became comic book, was adapted into TV show.
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Post by jarddavis on Nov 19, 2008 8:27:41 GMT -8
Don't forget Templesmith and Niles! 30 Days of Night came from their rejected movie pitch afterall. Templesmith and Niles are a Loeb factor and a Millar factor all in one, since their failed movie pitch became a comic book, and the comic book was in turn adapted into a movie after all. For added lulz, several critics said that the movie adaptation of the comic book "lacked the strength of the original material," even though the "original material" was always intended to be a movie first. I think that says more about the Television and Movie industry more than the Comic industry. The criticism of the comic writers falls short in light of Knight Rider redux, Beverly Hills 90210 redux, American Idol, Dancing with the stars, et al. These people have no idea how to come up with new concepts. Heroes, which I still have not seen an episode of yet, was apparently the second coming for awhile until the strike. Now it's apparently on it's last legs. So of course they're going to the comics industry and going after stuff that was originally pitched as movies. Because they screwed it up the first time. Remember, these people have the same mentality of the guys who cancelled Firefly. These are the same morons who cancel the top rated show on the CW, Smackdown, because they all of a sudden want to target a different audience, and come up with rehashed trash like 90210. It's like Chaykin said. His generation doesn't write novels, they write screenplays. |
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Post by michaelpaciocco on Nov 19, 2008 9:51:36 GMT -8
and according to the latest "Lying in the Gutters", DC is going to be actively courting more TV and film writers to their books, ala Kevin Smith.
That's write, they want more Kevin Smiths. In comics.
It's like these people are trying very very hard to crash DC and Marvel.
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Post by Anders on Nov 19, 2008 9:52:24 GMT -8
I liked Heroes at first, but it got very old very quickly. There are too many main characters competing for attention, they refuse to let anyone stay dead and there is only one mood - Everything Is Vitally Important And We Must Do... Something!
More and more I appreciate the shows that are able to vary between different moods - yes, Firefly and Buffy, but even Friends could do it. Most of the time it was standard sitcom, but occasionally they'd get serious, and that's what made it good for me.
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Post by jarddavis on Nov 19, 2008 11:22:20 GMT -8
"More and more I appreciate the shows that are able to vary between different moods - yes, Firefly and Buffy, but even Friends could do it. Most of the time it was standard sitcom, but occasionally they'd get serious, and that's what made it good for me."
Two of the best sitcoms ever for doing that were Barney Miller and WKRP in Cincinatti.
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Post by Anders on Nov 19, 2008 13:23:14 GMT -8
I'm afraid I've never heard of either.
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Post by jbhelfrich on Nov 19, 2008 14:01:21 GMT -8
I'm afraid I've never heard of either. Barney Miller ran from 75-82; WKRP from 78-82. I watched both, though I remember Barney Miller better; that probably has to do with the fact that it is one of the two cop shows that my father has ever liked (the other being Leary's The Job) and its iconic set that was the center scene, if not the only scene, of every episode. It was an odd combination of sit com and police procedural--not the high tech and investigative side of the job though; it was more about the drudgery. WKRP...the best way I can think to describe it is to describe News Radio as a derivative, if that makes any sense, but I'm sure someone who watched it more can offer a better one. (OK, this is a completely crazy idea, but I can't shake it. WKRP = News Radio + PVP) |
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Post by paulpogue on Nov 19, 2008 14:20:18 GMT -8
My uncle, a 35-year veteran cop, says that Barney Miller is the most realistic police show ever made, and he made a point of telling that to every police academy incoming class he taught -- at least until the early 1990s, when they stopped knowing what he was talking about  . I can believe it; comedy has a way of getting at truths in a way drama can't. I've also heard low-ranking attorneys working in the public system claim that, if you put aside stuff like the Road Runner showing up, "Night Court" was an amazingly accurate rendition of the regular day-to-day court system. |
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Post by jbhelfrich on Nov 19, 2008 15:21:08 GMT -8
My dad says the same thing about Barny Miller; interestingly, Night Court was created by one of the writers of Barny Miller.
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Post by jarddavis on Nov 19, 2008 15:54:39 GMT -8
I'm afraid I've never heard of either. Barney was ahead of it's time. Hal Lindin as Barney Miller, with other notables as Abe Vigoda, Jack Soo, Steve Landesberg, Ron Glass, who kind of disappeared for awhile doing a few short series until he eventually became Shepard Book on Firefly, Max Gail, and a few others throughout the years. Day to day life in the 12th precinct, and all of the various wackos that run the streets of new york, but occasionally they'd touch on some serious items, with Chano once shooting a kid, Fish's forced retirement, Jack Soo's character, whose name I forget, meeting a woman he liked only to find out she's a hooker, Barney getting jailed for contempt of court, Deitrich getting arrested for protesting, and the two parter where Inspecter Luger gets the squad reassigned to Homicide... WKRP had Howard Hessman, Gary Sandy, Gordon Jump, Frank Bonner, and of course, Loni Anderson. Dealt with things such as Venus' Flytrap being a deserter from the Vietnam war, Andy doing all sorts of back alley deals with Carlson's mom to keep the station alive, the mad bomber, the concert that the who played where a lot of people got crushed because it was cold outside, and there was a stampede after the crowd had been outside for over an hour. Bailey making up a news source to draw attention to the plight of some kids in a burn unit. Herb selling ad time to one of those over the counter quick energy boost things they had back in the 80's only to have a kid pass out from overindulging them, and his on-air apology. WKRP also has one of the single funniest scenes to ever be filmed, as the station makes an attempt at a Thanksgiving Promotion and drops about a hundered turkeys out of a helecopter only to find out at the moment that Turkey's can't fly. From Les Nessman describing the entire thing as if it was the Hindenberg explosion ("Oh the Humanity!") to Carlson's very anxious but sheepish admition "As God is my witness... I thought Turkey's could fly." |
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