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lydiaandarry · 6 years

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{5 Cartoons That Could Possibly Survive a Live Action TV Remake}

Hello there!

My name is Arabella but you can call me Arry, if it’s easier. I don’t know about you but I basically grew up on cartoons. And it seems to be a new craze in television history for cartoons to be remade into new adaptations for a new audience. It doesn’t surprise me that cartoons are the main source for this as they are noticeable. Recently, Riverdale and Sabrina: The Teenage Witch have been remade into CW Television Shows. And while I find Riverdale to not be that great of adaptation and murder of character. I have heard more nicer things about Sabrina: The Teenage Witch yet never watched it. Despite this and me thinking this television shows have not survived their live-action adaptations. I will be listing five cartoons that I think could survive a Live-Action Adaptation and I will explain my reasoning and how it may be done and also issues that may be concerning. Let’s invade this topic!

(Scooby Doo)

My favorite cartoon of all time, Scooby Doo. I am nineteen years old and I have yet to grow out of Scooby Doo and probably never will. It is reaching its 50th year anniversary this year and is still a cult classic. We have had four (not including Daphne & Velma) live-action films that have featured Scooby Doo but we are talking about television shows here. I personally think that Scooby Doo could do better as a live-action television show because you can get multiple mysteries, more monsters and the characters will receive more development. You can also have guest star characters such as The Hex Girls. Yet I have my doubts due to how poorly Archie has been transformed with Riverdale. I feel like Scooby Doo will help avoid stereotypes and forced diverse tropes. As the gang is one of the most diverse group of characters ever. It would be extra amazing if they added in the 60’s-70’s fun charm that the cartoon had. And of course, kept it light-hearted and fun yet aiming it for more young adults and less-so teenagers and children. This will open doors. After watching Daphne & Velma, I do have concerns with forced diversity that may murder the characters as Daphne and Velma did not portray either character accurately. In the name of forcing female empowerment yet ignoring the female empowerment that is there. Fred is the brave, kind-hearted, hilarious and slightly clueless jock who is friends with everyone. Daphne is the fashion-motivated, kick-ass and clumsy popular girl whose greatest value is how quick she finds out things. Velma is the intelligent, sarcastic nerd who is an equal to Fred and fits in perfectly. Shaggy is the hippie who is hilarious, a scaredy cat and athletic who has yet to use more than 1% of his power. And Scooby Doo is the animal sidekick who has character development and has an actual snack named after him. It would make a great television show if done properly and written great.

(The Jetsons)

I promise, these are not all Hanna-Barbera shows. Except that all of them could be made into wonderful adaptations. The Jetsons is about a futuristic family who live in 2062 that includes George Jetson, a hard-working father. His wife Jane who shops and takes care of the house. His oldest child and only daughter, Judy whose a teenage girl and slightly rebellious. And his youngest child and only son Elroy whose an intelligent kid. And their dog Astro and robot Rosie. Non-surprisingly, The Jetsons is actually outdated and nothing like the actual future. This adds a lot of fun aspects with mixing vintage and newly futuristic ideas. While introducing new concepts into the already existing plot. The Jetsons unfortunately was limited due to animation budget and short-running time with only two seasons that they weren’t able to expand the universe. I feel as if, a new revival of the show could potentially expand the universe and make the characters a bit more realistic. As they are your average futuristic family who can go through relatable issues while keeping with the theme. They could also embark on making Judy more fashion-forward and gifting us unique character designs for the character. As I know that Judy was my favorite character and definitely someone that I could relate to. And of course, keeping the 60’s charm and having more humor. Less dramatics for TV Remakes please! Embrace the humor. And sci-fi is definitely still selling in pop culture and with the graphics we have nowadays, The Jetsons would look absolutely stunning compared to what would have happened if they had perhaps made one in the past. Again, it all comes down to casting and writing. The real-life aesthetics of The Jetsons would be beautiful cinematography wise. It may seem a bit more impossible due to how high a budget would probably have to be to achieve most of the futuristic aspects like flying cars and in the air scenery. Yet the best thing to take advantage of with The Jetsons is how vintage the futuristic aspects are, they can really use a retro futuristic vibe. The Jetson’s futuristic isn’t on the same level as Star Wars or even typical Sci-fi. The effects do not need to be overly complicated as it is mostly dependant on vibe and charm. They could very much go for an Indie vibe where it could be made with a low budget. Choosing style and substance over realism and overdone effects.

(The Grim Adventures of Billy & Mandy)

Hear me out, as this is a weird one. I grew up with The Grim Adventures of Billy & Mandy and I lowkey blame it for my dark sense of humor. Mandy was one of those unique characters whose clothes did not match her personality whatsoever. Billy was humorous with how stupid yet straightforward he was. And Grim is… I relate to Grim in my old age. This show was such a creative premise to young me that like I adored it. Of course, I loved all things creepy. But seeing that Billy and Mandy and the other young characters were only 9, it is a realization that it may be physically impossible to have a live-action show where the young actors could react in a way similar to let’s say Mandy and Nergal Jr. However after some consideration, I realized that as this will probably be a revamped version, that they could age up the characters. And we could see how Mandy, Billy and the rest have developed into older ages. This of course brings up a lot of new ideas and concepts, new plotlines, and new character developments. Aging them to be teenagers and even young adults can add a more mature theme while keeping the dark humor. It can be darker yet still keep the fun and theatrical side. As it would no longer be targeted to young children but more so, the audience who grew up with the show. Seeing how our childhood characters have grown up to be near our ages. This could bring up more conflicts, relationships, and dynamics. Especially because a popular ship is Mandy and Billy as they are older, so it would be interesting to see if that would come to screen and if they would be compatible being at least ten years older at most. And of course, the graphics would absolutely fantastic since we have ways to make CGI look realistic and would bring on the creep factor. And perhaps, they could even give Nergal Jr more of a character and more humorous scenes. It could survive a TV Remake in this sense because it would be more so, a sequel and they would be working on newer material and not trying to perfect older material which may come in handy with writing.

(Totally Spies)

If anyone asked me what my three favorite girl-based cartoons were as a child, I would always respond with, “Powerpuff Girls, Bratz, and Totally Spies”. Totally Spies was my ultimate dream television show, they were my Charlie’s Angels before I discovered Charlie’s Angels. Even in my youth, they were relatable. And I don’t care what anyone says, Totally Spies was ahead of its time and very diverse. You had Clover, the fashion-forward girl with a sassy personality and although her flaw was being shallow, she usually always learned her lesson. Sam, the introverted and intelligent one of the group who figures things out quickly yet is too quick to trust others. Alex, the hilarious and tough one who has problems with being invisible. They were feminine and kick-ass and taught me that I shouldn’t be ashamed to be into clothes or hair or makeup as I could still kick ass. I think Totally Spies has the diversity that Hollywood is looking for as they will not have to force anything into the mix, it can be a relatable and humorous show about three girls who are best friends and spies. They can have awesome character designs, great dialog, and mix realistic issues into the fictional issues of being a teenage spy. While also showing girl power and how to handle evil people. While also bringing back former fashion trends, especially the 70’s that Totally Spies is known for. With cool costumes and cool gadgets. This would be a kick-ass show when given the right humor, writing, casting and charm. No one can prove to me otherwise.

(Daria)

I am ending this on a rather tricky note as this television show really depends. With the other ones, they’re classics but changes can be made. Daria was ahead of its time and has relatable humor that even fits now. I remember discovering Daria when I was fifteen and going through a tough time and she really learnt to accept myself and my sense of humor. Now while Daria is being rebooted and I have lots of issues with the reboot before it has even come out like the fact it’s called “Daria & Jodie” when Jane Lane was a bigger character than Jodie yet they just ignore her because diversity. I do think if they were to reboot Daria properly, a live-action television show could be great. It will give a new element to the already great show. Of course, casting Daria would be rather hard as you need someone who can remain likeable yet still have a sarcastic aura. And Jane, the slightly more expressive witty best friend. And of course, Trent, the hot older brother of Jane who should have gotten with Daria! Daria is a great show for all ages, especially teenagers to young adults as it really shows the humor of common high school stereotypes. While keeping the complexity of each stereotype in its sense. A lot of Daria’s quotes still hit a string with me to this day. Especially the one where she is at college open-house and responds to the woman asking what goals she has, “My goal is to not wake up at 40 with the bitter realization that I’ve wasted my life on a job that I hate because I was forced to decide on a career in my teens”. That quote still stays by me as I am nineteen now and it’s like my life motto at the moment. And a live-action Daria could play off the nostalgia and have a lot of older watchers which will make it more money than a reboot that may destroy the characters for the sake of diversity. And forgets the true importance of Jodie. I would rather watch a live-action television show than a reboot cartoon as reboots never go well in cartoons.

Well, that was five cartoons that I feel can survive a live-action remake and how they could. Keep in mind that everything you just read is my opinion and I am not asking Hollywood to look at my post and make all of these into live-action television shows. As the thought of that frightens me. Yet I feel like with the right cast and writers, it can be done. Thank you for reading my post. If you like my post, feel free to follow our Tumblr as I write posts on every Wednesday and Saturday similar to this one. And also feel free to like or reblog the post. I’ll see you on Wednesday! Peace out!

#television shows #live action remake #post #scooby doo #the jetsons #hanna barbera #the grim adventures of billy and mandy #cartoon network #totally spies #girl power #female empowerment #daria #my opinion #cartoon characters

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biofunmy · 5 years

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Lana Wood, Natalie’s Little Sister, Has Plenty to Say

“How about no devils?” Lana Wood said on the phone recently, recounting a presentation she gave at CrimeCon in June.

Her sister, Natalie Wood, had left her first husband, Robert Wagner, after a marital betrayal, Lana says she told her. But Natalie decided, in 1972, to go back to him — because “sometimes the devil you know is better than the devil you don’t.”

Nine years later, Natalie would die under suspicious circumstances. Her body was found floating off Catalina Island in California near a boat on which she, Mr. Wagner and Christopher Walken had spent the evening. Also on board was the skipper, Dennis Davern.

At the time, Ms. Wood’s death was ruled an accident and the case was closed.

But in 2011, the investigation was reopened by the Los Angeles Police Department after Mr. Davern said he heard Ms. Wood and Mr. Wagner arguing earlier in the evening. After re-evaluating the case details, the coroner changed the cause of Ms. Wood’s death to “drowning and other undetermined factors.”

Since then, more witnesses have emerged that have led the police to reclassify Ms. Wood’s death as “suspicious” and to consider Mr. Wagner, now 89, as “a person of interest.” The Los Angeles Police Department did not offer specifics about the witnesses’ identities or statements.

According to Ralph Hernandez, the lead homicide detective, Mr. Wagner has not talked to the police since 1981. “I think that Wagner holds the key,” Detective Hernandez said in a phone interview. “It’s really only up to him at this point.”

Whether Mr. Wagner can be charged with a crime isn’t clear. Because of the statute of limitations on lesser crimes, murder is the only one that could be considered, Detective Hernandez said.

At the CrimeCon presentation, in New Orleans, Ms. Wood stressed that though “there may be a statute of limitations on a crime, there is not one on the truth.” Detective Hernandez said that the revised coroner’s report states that Natalie appeared to be a victim of assault and battery, and that the coroner could not rule out that she had died before she hit the water. “Robert Wagner maintains her death was an accident. How was she accidentally assaulted?” Ms. Wood asked the crowd at CrimeCon.

A few months before, she sat for a steak salad and a long talk at a restaurant in Los Angeles, where she lives with her three grandchildren, whom she is raising with her son-in law. (Her daughter, Evan, died in 2017 of heart failure.)

“I think the truth about Natalie’s murder is very important to other women,” Ms. Wood said. As a veteran of Hollywood herself, she watched the #MeToo era unfold with excitement, tinged with weariness. Her advocacy for Natalie in the media for 38 years has left her particularly alert to men’s abuses.

Still a dazzler at 73, Lana was dressed smartly in black pants and black sweater, with an engaging manner. “You need to speak up to fraternal Hollywood,” she said, “and also understand the price that is paid for that type of life. Natalie paid dearly — with her life. Nothing was done about that.”

Natalie had always been the protective older sister to Lana, eight years younger. She left her entire wardrobe to Lana in her will: rooms full of the clothing she’d armed herself with for decades. Natalie subscribed to the notion that clothing was armor, especially in predatory Hollywood.

In a 2008 memoir, “Pieces of My Heart,” which portrays Lana in a largely unfavorable light, Mr. Wagner made an issue of her selling the clothing at a secondhand store. Lana said the will had stipulated that whatever she didn’t want should be sold.

From the late 1950s right up to before Natalie’s death in 1981, the Wood sisters could be seen arm in arm all around town, in high spirits and beautiful clothes. While Natalie expressed everything through the deep pools of her brown eyes, topping her outfits off with the perfect sunglasses, Lana’s most expressive feature was her voice. She became as adept at using it, both to sing and to stand up for herself.

“Natalie was always very careful to present herself as a movie star,” she said. “I simply didn’t care. I wore what I liked to.”

Natalie also left behind the suspicious circumstances surrounding her death, however, and now their roles are reversed. As Lana fielded texts from her granddaughter during lunch (“I always want to correct her grammar”), she continued: “Protecting Natalie, that’s what I really feel I have to do now. If it’s not me, it’s not going to happen.

“As far as the difference between us,” Lana said, “Natalie was very cautious about what she said. I never thought about that. It isn’t that I didn’t have a filter — I did — but if things go wrong, I tell someone about it.” Her eyes welled when she described her sister’s terror before a rare unscripted interview on “The Merv Griffin Show.” Lana told her to just be herself. Natalie replied, “‘I’m just going to pretend I’m you!’”

According to Detective Hernandez, Lana has been indispensable and credible.

“She is the one family member willing to cooperate in the investigation,” he said. “We work for the victim’s family. So we consider Lana Natalie Wood’s family and that’s who we’re working for, to try and find out the truth about what happened to her sister. The case is going to stay open until we find out the truth of what happened.”

Mr. Wagner’s publicist, Alan Nierob, declined to make his client available for comment on his relationship with Lana, or the case.

Lana is estranged from her nieces, Natasha Wagner and Courtney Gregson Wagner, but was contacted in January by Laurent Bouzereau, the director of an HBO documentary about Natalie Wood, which Natasha Wagner helped produce. Mr. Bouzereau asked her to participate, and Lana refused, writing a note to Mr. Bouzereau in which she asked him to let Natasha “know that I completely understand she also wishes to keep her pain and her family’s at a minimum.”

But as far as Lana is concerned, the notion that Natalie accidentally drowned after getting into a dinghy, alone, on a stormy night is preposterous. “Let’s be truthful about who she was and how she was,” she said. “I am not making judgments. I am not supposing. I’m not doing any of those things. I’m simply looking at facts. Natalie didn’t swim. Her fear of dark water was deeply ingrained.”

At CrimeCon Lana discussed another detail. “Natalie would not go anywhere not fully made-up, wearing something terrific,” she said. “She certainly would not get into a dinghy in her nightgown by herself. She would get dressed, put on full makeup and have Dennis Davern take her ashore to stay in a motel on Catalina, which is exactly what she did the night before, when she wanted to leave.”

In Her Shadow

The tale of Natalie and Lana Wood begins in post-World War II Los Angeles, where the sisters were led by their determined Russian immigrant mother, Maria, to the gates of Hollywood, to be raised almost entirely by the studio system there.

Natalie, the accommodating oldest child, rose to stardom beginning at age 5, while Lana’s first scene, as an infant alongside 8-year-old Natalie in “Driftwood,” went to the cutting-room floor. Lana would spend the coming years on Natalie’s movie sets traipsing after Maria and Natalie or left at home with her father, Nick Zakharenko, who preferred to drink and read surrounded by his portraits of the Romanovs.

In 1954, after Natalie had starred in “Rebel Without a Cause,” with Lana spending many nights on the set sleeping with a pillow and a blanket that Maria had packed as shoots ran late; after the terror of watching Natalie’s character raise her arms to signal the beginning of the race that would almost send James Dean’s character over the cliff; after all that, Natalie was summoned one night to an audition at a Los Angeles hotel.

She was 16 years old. When Natalie finally emerged, she was in hysterics, destroyed. She had been raped by another actor over twice her age, she told her mother and sister.

From her pillow and blanket in the back seat of the family car, Lana witnessed her mother hushing Natalie into secrecy. They filed no report.

Instead, Lana, said, Maria nudged Lana forward. Within the year, John Ford cast her along with Natalie and John Wayne in “The Searchers.’” From there Lana was rushed from role to role, her screen fathers flickering past her — Jack Lemmon, Charlton Heston, Walter Matthau. Maria waited in the wings just as she had done for Natalie: to be educated by tutors on set, provided by the studio, taught to bathe, dress and comport herself by studio wardrobe women, attending school only when it didn’t interfere.

But at 14, Lana ran away from home. She didn’t want to be groomed by Maria to follow Natalie’s yellow brick road, she said now, but rather to be a normal unscripted teenager. She turned to her sister for protection. Natalie was fierce. She threatened to never speak to Maria again if Lana was dragged to one more audition. And thus Lana was excused from Hollywood.

But her time there taught her a few lessons. Along with Natalie, Lana had come to feel the sheer joy of being a glorious clotheshorse out and about: trying this on and that, stepping through doors exhilarated by a drape of sumptuous fabric caressing her shoulders, encircling her hips.

“I love a terrific jacket,” Lana said. “I just counted how many I have two weeks ago. I have 79 of them!” Her favorite designers are Stella McCartney and Alexander McQueen. “Because there’s always something lovely there, but then there’s a little edge too.”

In 1962, Lana was 16, living on her own in an apartment in Westwood, spending her weekends at Natalie’s, where her older sister was living with Warren Beatty. If Mr. Beatty stepped out of line, Lana would call him on it pronto, she said.

In the afternoons after school, Lana got a job as a model and shop girl at the clothing boutique Jax, where she was surrounded not only by smart clothing but also a women’s wear credo so forward-thinking it might as well have been another planet.

Jax was owned by the former Los Angeles Angels shortstop Jack Hanson. He left baseball to reinvent sportswear for women, advancing the cigarette pant by moving the zipper from the side to the back — not just for comfort but to flatter the rear end. The garment became a staple for Audrey Hepburn, Marilyn Monroe and Jackie Kennedy.

Mr. Hanson teamed up with the avant-garde designer Rudi Gernreich, who had removed the boning in women’s bathing suits in the 1950s to free the body, because, as he wrote in his design manifesto, “the only respect you can give to a woman is to make her a human being, a totally emancipated women.”

Mr. Gernreich was out to “to cure society of its sexual hangups,” designing clothing for women to “take our minds off how we look and concentrate on really important matters in the world.” Lana was enthralled.

She modeled for a year at Jax, while picking clothes up off the floor for clients like Susan Hayward. Then one day Steve McQueen’s wife, Neile, popped in to the store and convinced Lana it was time to get back to acting.

But Lana feared the burdens of celebrity. “I wasn’t acting to become anything other than an actor,” she said. “That was it! I love getting the script. I love doing the part, but when they say ‘it’s a wrap’ at the end of the day, I want to just go wherever it is I want to go.”

She recalled marching downtown and getting herself “informally deputized’ by the county’s animal commissioner, “so I could keep an eye on the shelters and come up with a plan to improve them.”

Another thing Lana loved to do was go home and write. (Putnam published her memoir, “Natalie,” in 1984. In his own memoir, Mr. Wagner called it “ridiculous.”)

At 18 Lana took a different tack, becoming one of Judy Garland’s protectors while the star was on tour in Australia. “It was a major responsibility,” she writes in “Natalie”: “I was the only other female in her entourage of six. I was pretty much left to handle Judy alone. They would send me to her room when she wasn’t there and say go through all her clothing, anything that’s sharp, that she could hurt herself with — remove! All the things I’d heard about her, that she was pathologically insecure, unstable and one of the most delightful people you’d ever want to know were absolutely true.” And yet, she writes:” “I had never seen her perform and was captured by her magic.”

That magical motion of singing, that lifting of the spirit, was something Lana had always loved to do herself and still does. “I sing all the time, everywhere,” she said during lunch. “When I was in high school, I remember singing an entire song in a classroom unbidden. I walked in singing it. The bell rang. I didn’t care. I wasn’t done, so I completed the song.”

When she arrived in 1965 on the director Mark Rydell’s set of “The Long Hot Summer,” Lana recalled, “he took one look at me and said, ‘What can I get for you?’ I said a tambourine. So, in he came the next morning with a tambourine. I took it everywhere I went. Sometimes I’d play it in the car.”

On Tuesday nights Lana would use it onstage while singing with the West Coast Pop Art Experimental Band, an act of the soon-to-be-renowned producer Michael Lloyd.

“The first thing you need to know about Lana is she’s just a great girl,” Mr. Lloyd said in a phone interview. “Period. She had a great voice. It’s unique, a lot of personality and you know she put it all out there. I should’ve cut it!”

‘You’re Leaving Ripples’

By the time Lana was 19, she was starring with Mia Farrow and Ryan O’Neal in “Peyton Place;” shot by Federico Fellini’s photographer with a leopard by her side — and, she said, begged by Sergio Leone to relocate to Rome and sign a contract with him; pursued by Alain Delon across the continents; nagged by Dennis Hopper to accept a lead role in “Easy Rider.”

“Oh boy! I wanted none of that!” she said.

It wasn’t long before the call came from Playboy asking her to pose. She wore her boyfriend’s cat in her lap in one shot and her bridesmaid’s dress from Natalie’s wedding in another, assuring her sister that the photos were very tasteful. “I’m sure they’re absolutely yummy,” Natalie said.

“I said to myself, ‘Why did I do semi-nudes?’” Lana said. “I’m saying something to the world that I don’t want to say. ‘Look at me! I’m so pretty,’ is not what I want to say to the world!”

She tracked down Hugh Hefner’s home phone number and asked him to kill the photos. “We finally got down to talking about the poetry that I was writing and he said, ‘Well, could we publish that along with the photos?’” Lana recalled. “I said O.K.! That would be O.K.”

Next she was cast as a Bond girl, Plenty O’Toole, alongside Sean Connery in “Diamonds Are Forever.”

“I wanted my Bond Girl to be liked,” Lana said. “I want to be liked with my flaws because that’s the one thing that means something to me. Perfection is who you are, whoever that is. That’s your perfection.”

Her costume designer was Donfeld, who also did the original “Wonder Woman” and gave her an “emotional class” in the character. In Plenty’s last scene, she is thrown through a high hotel window into a swimming pool below, which Lana accomplished without a stunt double, she said, plummeting from a towering platform on full display for an enormous crowd of gamblers on the Vegas Strip, wearing less than she had in Playboy.

“When you are playing a character, the first thing that happens is you are affected by the clothing,” Lana said. “It’s very powerful. Your entire persona changes for that period of time. It carries you over, and it can follow you into your personal life.”

Modeling jobs for designers filled gaps between acting. In 1968 Bob Mackie hired Lana to walk snaking through dozens of tables for his packed “best sellers” luncheon at the Beverly Hilton Hotel, modeling gowns he had designed for Judy Garland.

Then there was the renowned photographer Guy Webster, who often shot from his skateboard. “Guy liked to undo my hair by spritzing me with a water bottle to return me to my natural look,” Lana said. One afternoon, after a shoot in the late ’60s, a beautiful woman with long dark hair appeared.

“She’s a witch,” Mr. Webster told her.

“Really?”

“Yes, she is — just let her stand with you for a little while.”

“So I stood there next to her,” Lana said, “and all of a sudden tears were streaming down her cheeks. She walked away from me. Guy went and talked to her then came back and said, ‘She sees you surrounded by death.’”

The morning that Natalie’s body was found adrift off Catalina Island, Lana writes in her memoir, “I went upstairs and washed my hair in the bathroom sink. I hadn’t used the sink for this purpose for many years, not since Natalie and I were children.”

She later opened a condolence note from Donfeld: a sketch of a dress he had designed for Natalie for her final film, “Brainstorm.” On the back Donfeld had written, “Natalie thought you hung the moon.”

After lunch, outside the restaurant, with a light rain misting the air, Lana appeared petite even in her black high-heeled boots. Her grandson texted to ask if she was on her way home yet and why she had picked a restaurant — the Palm — so far from the house.

“No matter what it is. I talk to my grandkids all the time when they say they don’t want to do this or that, that it’s not important. I say, ‘You don’t understand that even though you feel like a pebble, you’re leaving ripples and you don’t know where those ripples will go and you at least must try and do something!’”

Lana said she has started a new memoir.

“I want to leave behind something that helps something,” she said. “I don’t care how small it is as long as I’ve accomplished something that might someday make a difference. I don’t want to be thought of as, ‘Oh my, wasn’t she pretty.’ No. No.”

Valeriya Safronova contributed reporting.

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