The 2013 fall season features the premiere of two major spin-offs. The Originals brings the first family of vampires from The Vampire Diaries to New Orleans. Once Upon a Time in Wonderland follows Alice as she battles Jafar (from Aladdin) to rescue her genie quasi-boyfriend. No offense guys, but neither series is ready to spin-off.
All in the Family spawned two major spin-offs, The Jeffersons and Maude. Frasier was a spin-off from Cheers and kept Camille Kelsey Grammer rolling in dollars. But not all series can launch a spin-off or risk losing major characters.
Here are a few major spin-offs that were a little premature:
Klaus (Joseph Morgan) and Rebecca (Claire Holt) were a great in-flux of new blood into The Vampire Diaries. They have great salty lines and offer an evil alternative to the squeaky clean vampires. There also is room for them in the series with Kat Graham and Michael Trevino appearing in less of the show. There was never enough character development for them so a spin-off could does make some sense. However, pairing them with flat model types and constantly relying on flashbacks isn’t as endearing as it is on The Vampire Diaries. Also, Phoebe Tonkin is wasted as a baby incubator when she was the best part of her first American series, The Secret Circle.
Once Upon a Time in Wonderland
Once Upon a Time is a fluke. The edgy comic book series Fables is much better at bringing fairy tale characters into the “real world.” Using the whitewashed Disney versions of the popular stories makes each episode feels like gross product placement for the Disney house of horrors vault. The saving grace is likable actors like the lovable Ginnifer Goodwin, Robert Carlyle, and the deliciously evil Lana Parrilla. However, Wonderland is just a cheap, shameless sequel that only cannibalizes the few possible storylines for later seasons of the original. Naveen Andrews dressed in an elaborate leather costume is laughable. Poor Emma Rigby as The Red Queen seems like a porn star on the wrong set. It’s also a total waste of actors like John Lithgow and rock legend Iggy Pop.
By the last season of Friends, each character feels like an outlandish stereotype. Except of course Jennifer Aniston who was playing A-list actress Jennifer Aniston. Joey (Matt LeBlanc) was so stupid and unaware that he didn’t seem functional enough to drive a Matchbox car, let alone carry a series. The spin-off finds him in Los Angeles with his sister (Drea de Matteo) and working on being an actor. It wasn’t horrible but there wasn’t enough juice in the character to keep the show alive.
Kate Walsh is magic! She added such great energy to Grey’s Anatomy as Dr. Addison Forbes Montgomery-Shepherd. It seemed like a great idea to take her to the sun-soaked beaches of Los Angeles on a hunt for love. The series wasn’t a total fail but it did rob Grey’s Anatomy of one of its greatest characters. It also had trouble finding its sea legs and a format for the show that would work.
Richard Grieco added a lot more edge and man candy to 21 Jump Street. However, it was ill advisedly decided to give him a spin-off. After it tanked, there was an attempt to bring him back to the series but it tanked. Had he stayed on 21 Jump Street he may have been able to take over when Johnny Depp unceremoniously left in the third season.
Charmed Lives/Living Dolls
Successful syndication has proved Who’s the Boss? is a part of television history. Sadly, lightning was not able to strike twice…no matter how hard they tried. Fran Drescher and Donna Dixon were dueling models working with Angela (Judith Light). They were spun-off into an odd couple precursor to 2 Broke Girls. Angela also got a modeling job for Samanta’s friend Charlie (Leah Remini) gets recruited as a model for one of Angela’s contacts she moves in to a house full of models including Halle Berry. Despite this notable casting, neither series lasted very long.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.