To reboot or not to reboot? That is the question. And for some reason has been, for as long as I can remember. Each of the various superhero universes. Every. Single. One. of Disney’s classics. And, of course, any 90s-00s TV show popular in America has gotten the technology age treatment.
Are they all bad? No. Are they all necessary? Also no. Did I really need to know what Rory Gilmore’s life was like after she graduated from college? I had not thought of any of The Hills stars since my last summer binge in high school. Why can’t the kids of the late 20-teens just watch The Lion King the way it was beautifully illustrated the first time? Most importantly: who asked for Cats to be made into a movie? I just want to know.
Why are producers and studios so hung up on nostalgia when there are thousands of people with brilliant ideas that could touch hearts and become cult classics (see: Insecure, The Good Place, This is Us, Black Mirror) writing screenplays every single day?
I know why. We all know why. The money, time, and effort put into a project that may not be a sure win are risky, especially if you could just tell Netflix: “it’s the same show, but now we acknowledge diversity occasionally and also have cell phones!”
What’s more, the American conscience needs a break from the constant onslaught of pain and uncertainty it must face every day. It’s nice to snuggle up with your favorite snack and wonder “whatever happened to predictability?” Or see how actors have grown their talents since their first big break. It eases the mind to watch the Jersey Shore cast continue to act like they’re still in their twenties even though they are millionaires with families.
When did people- especially people who create for a living- become afraid of a big risk? If you told anyone 25 years ago that a fantasy show about the battle for power between magical noble families would win 47 Emmy Awards and unify the globe for eight years, they would have told you that Matilda was as close to magical (non-super) powers as they needed to get.
But there must be stories to tell that can give us the hope, inspiration, or just plain old escape from reality that we deeply crave. Someone must be writing something that allows actors new and veteran alike to show their skills for more than a couple of seasons without being pushed into the void of 10 million streaming channels.
Perhaps it is up to the audience to seek out the television, film, and theatre that can push its way to the surface despite the era of the reboot. Perhaps the audience must do the legwork that the advertising budget would not allow for to bring it to the forefront in the ultimate organic publicity campaign.
Perhaps.
But as one begins to gather the support for that undertaking, I implore the entertainment powers that be to take a second look at the riskier scripts that slide across their desks. The next Frozen could be within reach.
I whole heartily agree. I always thought reboots were creative laziness. Your hypothesis makes more sense. Making a pile of money on the third reboot of “A Star Is Born” is less risky than rolling the dice on an untried script.
I, too, have had problems with remakes of wonderful shows and movies. My all time favorite is “It’s A Wonderful Life “. Every year I watch it and cry through it. I don’t think I would be able to enjoy a reboot without criticizing the performance. Great job on the article!
I have often wondered when something new to love would come across my screen.