Experimental and Mundane

Despite only running for 14 episodes the original version of The Office is arguably one of the most influential TV shows of the 21st century, which can largely be boiled down to three things.

First, it helped to cement and popularise the single-camera, no-laugh-track sitcom format. A rarity in the British TV landscape at the time. This was helped by its use of a mockumentary style. This made the production feel more real. Allowing us to relate more to the characters and thereby making the funny and poignant moments hit harder.

Secondly, it focused on scenarios and characters that were incredibly relatable for viewers. From workplace romance to the cringe-worthy boss trying to be a friend to his employees without realising the power dynamics in the relationship, to the threat of downsizing and the awkward interactions and personalities you encounter in office work, many viewers were able to identify with what the Office brought to TV.

And lastly, it acted as a platform/launching pad for some great UK comedic and acting talent. The show would catapult most of its central cast, with relatively small CVs at the time, including Ricky Gervais, Martin Freeman and Mackenzie Crook into lengthy media careers. Plus it included bit appearances from future big-hitting UK talent alongside established names. Including Stephen Merchant, Ralph Ineson, Olivia Colman and Martha Howe-Douglas. Among others.

International Appeal

Since the Office ended in 2003 it has been remade in many different countries. These include Germany, Brazil, the USA, France, Canada, Chile, Israel, Sweden, the Czech Republic, Finland, India, Poland, Saudi Arabia and now Australia. These projects have had mixed responses. The US version is considered to be just as good, if not better than, the original series. The German and Brazilian adaptations also have high audience ratings on IMDb. Some adaptations may not be rated highly like Poland, Israel and Finland but they were at least popular enough to have several series made of them. Meanwhile, some remakes that only ran for a single series are rated very highly (Chile) while others are viewed very unfavourably (Canada).

Does It Always Work?

With so many different adaptations, all of which adhered to the mockumentary style, writing that focuses on realistic or/and relatable situations and most of them helping to give platforms to up-and-coming as well as smaller already active talent, what else is crucial for other adaptations of The Office to succeed?

This is a much more difficult question to answer. Many would say that it has to bring something new to the table rather than just parroting the original. And with examples like the more slapstick and over-the-top antics of the US version and the darker streak of Germany’s version that would appear to be the magic ingredient.

However one can argue that adapting to a different cultural context alone provides a reason for a remake to exist because office culture differs across geographical boundaries. For example, the commentary on racism in the Israeli and Chilean versions are pointed observations on racism in both countries. Yet one is looked on more favourably than the other. Additionally, the focus of the Australian version on the boss being a woman places a lens on workplace gender politics. A unique thing for a normally male-dominated franchise. The series has not been received well though (discounting review bombing from hate watchers).

A Missing Ingredient

Ultimately for a new Office project to work it doesn’t just have to do something new with the old formula while also recapturing the surface elements that made the original show work. It must also create characters that draw us in through compelling personalities that audiences attach to. The scenarios, presentation and stars are part of The Office’s appeal and a unique take on the material is a great thing to have. Although without an emotional anchor, The Office is just as dull as actual office work.

Also Read: Ten Great Mockumentaries To Watch

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Wait, What’s the WGA?

The Writer’s Guild of America (WGA) is used to refer to the joint operations of two affiliated labour unions founded in 1954; Writer’s Guild of America, East (WGAE) and Writer’s Guild of America West (WGAW). These two labour unions represent writers in television, film, radio and online media in America. They have headquarters in New York City and Los Angeles respectively, each administering its respective side of the United States. Although they are separate entities, they share certain functions like hosting The Writers Guild of America Awards, negotiating contracts and launching strikes.

So Why Are They Striking?

There is a common misconception that everyone in the film industry is rolling in money. It’s understandable, considering that Hollywood is often depicted as the land of glitz and glamour with films and TV shows raking in billions.

The thing is, not much of that actually goes to writers.

Of course, there are a select few screenwriters out there making big bucks but many of the brains behind your favourite shows are living paycheque to paycheque. This hasn’t always been the case, though. Writers simply aren’t being paid as much as they are used to.

One of the main reasons is the disappearance of residuals in the era of streaming. Residuals are a percentage of the profit received when media a person works on is syndicated, re-run or re-released. For decades, residuals have been an important part of a writer’s long-term income. However, the laws that governed residuals applied to traditional TV, not streaming. With most TV shows moving to streaming and studios grinding the minimum payments down to the ground, writers are making close to nothing. Writer Valentina Garza recently shared a tweet in which she received a residual cheque of only three cents (yes, three cents!) for her work on the hit show Jane The Virgin.

Another sticking point is the emergence of mini-rooms as opposed to fully-staffed writers’ rooms. Basically, many studios are hiring almost half the number of writers they used to on a short-term basis to bang out the structure of TV shows. Fewer and fewer writers are retained on long-term payrolls, and it’s making screenwriting as an industry shift from a full-time career to almost exclusively gig work.

Bottom line; the average Hollywood screenwriter can win an Emmy but still not know when next month’s rent is coming from. All of this is going on as studio execs are making increasingly obscene salaries. The strike is a direct result of the Alliance of Motion Picture and Television Producers (AMPTP) aka the union of America’s biggest movie studios, refusing to meet WGA’s reasonable conditions during negotiations.

What Does the Future Hold?

We can already see the immediate effects of the strike. Several productions have completely shut down as writers lay down their pens. This isn’t the first time a strike has interrupted Hollywood productions; the 2007 strike had Conan O’Brien spinning his wedding ring on The Tonight Show to fill airtime. A great deal of the Californian economy also relies on these shows to keep running.

But the short-term losses have potential for positive results for both writers and viewers. Not only will it give writers some semblance of financial stability to writers, but it will also probably lead to better TV. With fully-staffed writers’ rooms and regulations to curb use of AI to write scripts, we could see a drastic improvement in the quality of the TV shows produced. We’re all tired of dozens of Netflix shows that are cancelled after one season and look like they were written in the dark.

Want to Help?

Follow the hashtag #WGAStrong or join the picketing.

Also Read: Equal Writes: Why We Need More Female Writers

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Spoiler Warning – some spoilers for the first episode of the show as this sets up the main storyline of the show

The Plot

Invincible takes place in a world full of superheroes and supervillains. They range from gadget wielding humans with no powers, to magical creatures, to aliens from distant worlds. And while there are many superheroes and superhero groups there is an undisputed top superhero – Omni-Man. He is a hero with a vast range of powers, virtually indestructible and an alien from a distant world and is obviously, blatantly and intentionally, a version of Superman. Omni-Man has a secret identity and a family – including a son in high school – Mark, who is aware of who his father is and is expecting his own powers to kick in any day. Just as they do the premier superhero group, Guardians of the Globe are massacred and Mark is immediately called upon to help fill the gap, taking the superhero name Invincible. The investigation into the murder of Guardians of the Globe begins to raise some troubling questions while Mark has problems balancing his superhero life and normal teenage life.

The Cast

It’s worth taking a moment to consider the astounding cast for Invincible, with Steven Yeung, Sandra Oh, Gillian Jacobs and J.K. Simmons taking leading roles and numerous brilliant actors brought in for small parts – Mark Hamil, Mahershala Ali, Jon Hamm, Seth Rogen, Laura Cohan and more. By my reckoning, the film has two Oscar-winning actors in the cast and one of them has two Oscars.

Two Superhero Worlds

One of the things that struck me most about Invincible was the mix of two different kinds of superhero-story styles. Invincible has a bright costume and his struggles with his girlfriend and schoolwork are discussed as much as saving the planet, bringing to mind a friendly, and lower-rated superhero world. It also has people being literally torn limb from limb with that carnage shown on screen. The first episode ends with a massacre of superheroes where you see what happens when people with superpowers fight, bodies ripped apart, bones crushed, punching through people. It is brutal. This continues throughout the series with numerous fights showing what being indestructible and having super strength does to your opponent. There are also a deeply unpleasant array of villains, one of whom kidnaps people and carries out grotesque experiments on them that are up there with awful body horror.

There are also some truly devastating emotional moments of people doing and saying awful things, of believing awful things, and the show does not back away from what that would mean. There is no easy redemption for characters who have done bad things, people who suffer terrible injuries and trauma aren’t just immediately better – this stuff has an impact.

The Military-Industrial Complex Vs Superpowers

One of my favourite parts of Invincible is the moment when the American government needs to take action against some superpowered individuals, without calling on superheroes for help. So America, the most powerful country in the world, with a defence budget so huge they should frankly be ashamed of it, with cutting edge science and seemingly endless resources can’t stop these superpowered opponents. And this is a sci-fi comic book America with space lasers and invisible SWAT teams, the amazing line of “$400billion dollars for the world’s most expensive nosebleed” reflects the sum of their efforts come to – a nosebleed.

Saving People

I’ve seen a lot of people talk about Bruce Wayne could do far more good in the world if instead of spending his time beating up criminals he put his billions towards social programmes. And there is at least one superhero in Invincible who does think that they could use their powers and spend their time doing good works rather than fighting, it’s perhaps less obviously heroic but helps people and she certainly feels it’s a better use of her time (but she will stop happily punch an alien monster or whatever if the occasion calls for it).

So while Invincible the comic book isn’t as well known as Superman or Captain America, this tv show is far better than much of the output of its more famous rivals.

Also Read: Has The Marvel Cinematic Universe Reached Its Peak?

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Blade Runner

Ridley Scott’s 1982 cult classic finally got a sequel a whole three decades later, with Blade Runner 2049 but there is still much of this world to explore. The 30-year timeframe between the films was briefly explored in some shorts and comics, but a lot can happen in 30 years. Or even in the years preceding the original film. Netflix’s Altered Carbon has many visual similarities, but the noir story and unique soundtrack would be perfect for a 10 episode series. Maybe some we could even have some characters from the films show up?

Hellboy

Despite being around for over 25 years and starring in 3 feature films, Hellboy remains with his “cult” status. While the first two live-action efforts were well-loved, they didn’t do well at the box office. Director Guillermo del Toro and star Ron Perlman tried unsuccessfully to finish the trilogy. A 2019 reboot with David Harbour was plagued by issues and scored less favourable with critics. The franchise could work better as a series, with each season adapting a different arc. Netflix has had success with lesser-known properties like Daredevil and Umbrella Academy. The series lends itself well to a “monster of the week format” with the BRPD, and it would have much more time than the films do.

Harry Potter

The wizarding world has captured the imagination of a whole generation. Which is why it’s such a surprise that there is so little outside of the books and films. Although the series has focused mainly on Harry, there are plenty of other characters and stories that are only hinted at in the world. Harry’s parents at Hogwarts? Or even his children. The Order of the Phoenix has a rich history that it is dying to be explored. A show would help flesh out some side characters that are interesting but pushed aside in service of Harry’s story.

Once Upon a Time… in Hollywood

Tarantino’s love letter to the golden age of Hollywood introduced us to Rick Dalton and his pal Cliff Booth, but there is still a rich world there to explore. Rick and Cliff have a history that’s practically begging to be explored, or maybe some new characters? An anthology in this setting could be great, one episode following an aspiring actress and the next a director struggling against the studio system. It could even take a cue from the film and feature historical events and faces, perhaps creating its own alternate history. Tarantino has teased an extended cut, so there may be more to come.

District 9

This a premise that’s perfect for a TV series. Aliens living in worn down camps in South Africa, and their interactions with the locals. Director Neil Blomkamp has said he’d love to do more set in the world. While the film mostly tells it’s own story, there are plenty of other stories to tell in this world, either before or after the events of the film. They could even set it in another district, following entirely new characters and have little connection to the film, but the idea is begging to be explored more.

Also Read: Five Upcoming 2020 Horror Releases

The post Big Screen To Small Screen: Films That Would Make A Great TV Series appeared first on Big Picture Film Club.

The Government guidelines encourage people to work from home whenever possible, and when not possible, to maintain social distancing. While some select programmes have continued filming, such as the news and chat shows, albeit with no studio audience and most guest appearing via webcam. This has faced many of these shows to adapt. Saturday Night Takeaway transformed from a studio show to being a skype chat from the host’s living rooms, with old footage.

While this approach can work for programmes in post-production, like Netflix’s Umbrella Academy, as post-production can often be worked on at home, with actors even recording lines hiding in their cupboards. It is much more difficult to actually film new footage with the lockdown. With UK Government advice being to keep a distance of at least 2 meters between other people, filming would take much more time if not be impossible. This has resulted in some unique programming, as people have tried to adapt and entertain.

New Guidelines

The new information means that some industries can go back to work, including the film and TV industries, however, things have not completely back to normal. For instance, the 2-metre rule should still be followed wherever possible, including by actors. This means that scenes may have to be re-written and planned to ensure this. It also means actors should apply their own makeup, costumes and microphones whenever possible and floor markings to clarify the distance.

Additionally, scenes set in open, outdoor spaces are to be prioritised, and the use of green screen is encouraged. This allows actors to film scenes without actually being on set. Senior actors, or ones with underlying health conditions, are to stay at home. Crews from local areas are to be prioritised, so as to reduce the spread of infection. Stunts and special effects sequences have even more planning and should consider demand on the NHS.

Is it too soon?

While these measures seem reasonable, they seem restrictive. Having to rewrite scenes so that characters are 2 metres apart in every scene could prove difficult. Especially in scenes between love interests or other emotional beats. There are very few natural reasons to not comfort someone in distress with a hug. Will every show now need to set an episode in the pandemic? While soaps and some other shows might be able to work with this premise, other’s won’t. The Walking Dead will be much less effective with all the Walkers social distancing.

While the effort to restart production is admirable, these measures do seem too restrictive. Although some programmes have still been filming, it clearly won’t work for everything. Even if only one person is on camera, there will be several behind it, unseen. With dozens of people on set, all trying to do a job, social distancing will be very hard. Things will likely take even longer on set, as everyone has to constantly stay apart, and do things on their own.

The reaction to these measures has understandably been mixed. While people are glad to get back to work and filming again, there are still concerns. Blackfish director Gabriela Cowperthwaite summed it up “There’s no quarantine-friendly version of making a film“. While writers rooms and pitch meetings can still happen via Zoom or Skype, not everything can. It is much harder to direct actors and crew without physically being in the space with them. Many also feel that the job isn’t worth risking people’s lives over.

While the impact of coronavirus will likely be felt for months to come, things are slowly returning to normal. While some are arguing it is too soon, precautions are being taken. Hopefully, it won’t be too much longer before our favourite shows are back to normal.

Also Read: Coronavirus: How It’s Affected The Film Industry

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