Fans of DOA series Emily Owens, MD, listen up: in the wake of the disheartening cancelation of the charming freshman CW hospital drama, some good news has arrived!
It was announced on Thursday that Emily Owens producer Dan Jinks will executive produce a new Robin Hood drama for The CW, with the script penned by Cashmere Mafia’s Tze Chun. Sherwood, an hour-long period drama with a female slant, has officially received script commitment at the network.
Set in 1072 England, Sherwood revolves around a young noblewoman who sets out to free her serf boyfriend, who has been wrongfully imprisoned by ruthless Norman occupiers. She gets help from the vanished Robin of Locksley, inadvertently reuniting – and joining – the fabled Robin Hood and his Merry Men, inspiring new hope for the oppressed people of Nottingham.
Before you start groaning at the prospect of yet another show focusing on archery, or yet another Robin Hood project, let’s celebrate the fresh direction The CW is taking. We know that 2012 was the year in archery, but all of these recent pop culture archers were modern. The bows and arrows in the dystopian future reality show movie The Hunger Games, The CW’s DC Comics franchise adaptation series Arrow, Marvel’s The Avengers, and even the Olympics are high-tech, perfectly-manufactured, and in some cases even weaponized. Sherwood, dating all the way back to the medieval times, will certainly showcase imperfect, hand-crafted bows and arrows. There will also be a certain level of authenticity to the use of bows and arrows, since there won’t be any guns or other modern weapons to render the archers ineffective.
And as for the high influx of Robin Hood projects in recent times – BBC’s 2006 series Robin Hood and Ridley Scott’s 2010 Robin Hood starring Russell Crowe most prominently come to mind, as well as NBC’s in-development re-imagining Robin Hood project hailing from Blue Bloods’ Ken Sanzel, focusing on an Iraq War veteran-turned-outlaw in upstate New York – The CW’s series is the first to take a female perspective on the tale, focusing not on Robin of Locksley but actually on the young woman who reunites and joins the Merry Men.
No word yet on any casting news, but I think it's safe to assume there will be lots of shirtless ab shots of Robin, and the young noblewoman at the center of the series will look like she just left the salon with a new blow-out and makeover even after hours of journeying on horseback and storming castles. Who do you think will star in Sherwood? Will any of the Merry Men be ugly (doubt it...)? Hit the comments with your dream casting choices!
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: BBC America]
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At the time of Scream’s release in 1996 the state of Hollywood horror was at a pretty low-point. For every Dracula there was a Frankenstein. For every original idea there were dozens of painful sequels. There were some truly terrifying films released during the decade but there wasn’t a lot we hadn’t seen before. Then along came Wes Craven’s now classic slasher pic a revisionist take on the genre that simultaneously dissected its tropes while embracing them. It was equally hilarious and horrific thanks to the auteur’s precise execution and Kevin Williamson’s sharp sardonic script that dynamically pooled the characters’ points of view with those of the audience. Scream’s self-awareness was a true game-changer that has carved a very nice place in film history for itself. Fifteen years and two sequels later the franchises’ principle players have all returned to Woodsboro to catch up on cinematic commentary and thwart the sadistic plans of yet another Ghostface killer in Scre4m.
In how many ways does this bloody new chapter differ from the others? Not many. The story begins when Neve Campbell’s Sidney Prescott now the best-selling author of a self-help book returns home on the last stop of her promotional tour. There she meets up with Dewey and Gale Weathers-Riley (David Arquette and Courtney Cox) her friends and mutual survivors of the Woodsboro Murders though there’s precious little time for a warm reunion because someone has inherited the mantle of Ghostface and begun taking out the town’s well-endowed teenagers. The trio along with a young and attractive cast of victims and suspects including Emma Roberts Hayden Panettiere Nico Tortorella and Rory Culkin attempt to stop the killer despite an escalating body count.
As with the original Williamson’s screenplay is the most valuable part of the production. He employs the same narrative formula he did in ’96 but puts it in contemporary context riffing on cinema’s current trends (namely sequelitis and the torture-porn craze the latter which the filmmakers are clearly not fans of) his own franchise (the opening self-deprecating sequence is absolutely riotous and perhaps the funniest in the entire series) and America’s social media obsession (Twitter Facebook and YouTube references take the place of pagers and other outdated cultural staples further separating the film from its predecessors) which plays a larger part in the story and its characters motivations than you really want to know. If there ever was a film for and about the been-there-done-that post-modern generation it’s Scre4m.
While Williamson is at the top of his game Craven’s direction doesn’t appear to have evolved much since helming the original (a sad fact considering his creative growth with Music From The Heart and Red Eye). A few eerie shots aside he doesn’t take any risks with the material resulting in a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in the earlier entries. Thankfully his enthusiastic cast is more than willing to go over-the-top and beyond to sell the (few) scares; Panettiere particularly stands out as the confident Kirby Reed as does Alison Brie as the slimy PR girl Rebecca Walters. They’re all archetypes fitting into the film’s modus operandi of amusingly adhering to conventions and making it relatively easy for you to predict who’s going to die without spoiling the fun.
Still with so many preconceived notions about what Scre4m should be it’s hard to imagine all moviegoers loving its throwback premise and downright silly tone. What was once clever is now contrived; what was once refreshing and exhilarating for horror buffs is now exploitative of their common knowledge and passion. As a horror-comedy hybrid it brings some funny but not a whole lot of fear; in other words it’s very much like the original. Not that there’s anything wrong with that…
Crystal Lake. Dumb kids in the woods. Sex drugs booze. A hulking maniac in a hockey mask wielding a machete. Yeah that about sums it up.
Are you kidding? The new Jason Derek Mears probably fares best among the actors because he doesn’t have a single word of dialogue. Everyone else unfortunate enough to stumble in front of the camera – Jared Padalecki Amanda Righetti Danielle Panabaker Travis Van Winkle – is basically fodder for the slaughter. Some of them get naked. Most of them get dead. Some die more gorily than others. No one dies quickly enough. Having previously (and woefully) directed the 2003 remake of The Texas Chainsaw Massacre helmer Marcus Nispel does his best – and worst – to resurrect yet another popular horror franchise from the past. He also adds absolutely nothing new to the formula. Quite frankly anyone could’ve directed this film. Judging by the results anyone did. This is the 12th Friday the 13th film for those keeping score at home and with any luck it’ll be the last. Of course it won’t be. But we can always hope.