It’s clear that Hollywood studios are obsessed with rebooting classic TV shows. Unfortunately for viewers, there are no signs that these remakes are going away anytime soon. Last week it was announced that a Swallow the prequel is in the works. According Deadline, the prequel is set to be an hour-long drama series centered around a young Martin Payne who overcomes the hurdles of transitioning into adulthood. The original sitcom was a huge hit in the 90s and stayed in the hearts of fans for more than three decades. The show’s long-lasting impact led to a cast reunion at the Emmys in January. While the reunion was one of the highlights of the award, it didn’t need to go any further. However, this touching moment opened the door for a permanent comeback that no one asked for. Reboots are not worth the risk of ruining the nostalgia of fans of a classic show. But now that rehashing old shows is more popular than ever, at what point will the TV industry decide enough is enough?
Hollywood executives know that nostalgia sells. However, they need to realize that reimagining existing stories is actually riskier than taking a chance on a new project. Disrupting the legacy of a movie or TV show is what’s at stake, and yet, Hollywood’s decision makers seem to ignore that when greenlighting a reboot. The 1970s sitcom Good moments is a recent example of how the legacy of a groundbreaking show about Black culture turned sour after the animated reboot missed the mark with fans of the original comedy.
Good moments The broadcast was an important moment for Black representation on television when it debuted on CBS in 1974. The show is 50 years old, so of course some aspects don’t hold up, but along with the history as first sitcom to feature a black two-parent household, it was one of the first moments on primetime television that the depiction of a Black family broke away from stereotypical stories. Viewers found comfort in the show because of its realistic depictions of a working family overcoming their daily challenges. The show has garnered immense praise for its ability to maintain the joy and perseverance of its characters while also tackling uncomfortable topics like poverty, discrimination, unemployment, and more.
Fast forward 50 years and a reboot later, the show became a hot topic for all the wrong reasons. After Netflix released the trailer for Good Times: Black Again reboot in March, fans of the original sitcom took to social media to express their disappointment. Internet users claimed the trailer was offensivehumiliating and disrespectful not only to the original performance but to the The black community as a whole.
Now that the revival of old shows is more popular than ever, at what point will the television industry decide that enough is enough?
contribution giana
Even the original Good moments Cast members John Amos and BernNadette Stanis joined the fray. Stanis, who had a small role in the reboot, said The Hollywood Reporter he did not know the direction of the project. “I did a little voice for them, but I didn’t know it would be the way it is,” Stanis said. “I thought it would be different. It’s a little [voice acting] here and there. But I think they did that because they knew what their show would be like. So I guess they figured if you put us in there, it wouldn’t look so bad or whatever.” The nearly three-minute trailer was enough to get audiences worried about the show’s reputation once the reboot was released. Reviews continued and negative reactions intensified after the 10-episode series premiered in April. Even though the showrunner and other actors defended the animation, it wasn’t enough to convince viewers to keep an open mind.
There are times, however, when a reimagining of a beloved show exceeds viewers’ expectations. Bel Air is one of the rare exceptions. Peacock’s original took a stab at the 1990 sitcom revival The Prince of Bel-Air and won it stamp of approval from fans and new audiences.
I dare say it, #Bel Air may have beaten the reboot curse.
— IAMNJERA (@IAMNJERA) March 11, 2022
As it enters its third season in August, Bel Air is the exception when it comes to reviving favorite shows. Bel Air stands out because of its different twist on modernizing characters and stories that feel relevant to current events and culture. Rather than attempting to build on its predecessor, it’s clear that the series wants to differentiate itself from the original and stand on its own. There are references that respect aspects of the 90s comedy, but the distinctions are also evident and help separate it from the original comedy. The most significant differences are the character dynamics. Unlike the original Hilary Banks, who is portrayed as a leader, the current character (played by Coco Jones) is a smart and ambitious social media influencer with entrepreneurial pursuits. The upbringing of Will’s character (played by Jabari Banks) is also explored more deeply in the reimagined version. It shows the complexity of having to leave behind his old life and enter a more privileged one.
Changes in the show’s format also contribute to its success. Bel Air it’s an hour-long drama series instead of a 20-minute comedy. The length of the series, along with its genre shift, allows the show to tackle serious social issues (sexuality, mental health, and drug abuse, to name a few) in a way that its predecessor couldn’t fit into its small window. talk time. Its creators Bel Air figured out a way to honor the original series, carve out its own lane, and create success in the process. But, compared to other cases, his victory Bel Air it’s extreme. Because there’s little chance of success for revivals and reboots, it’s questionable whether nostalgia (or a quick cash grab) is worth potentially damaging a legacy show’s reputation. Since the Swallow The prequel is being billed as a drama, it seems like they want to make it Bel-Air’s success and try the same formula. But lightning rarely strikes twice, and Bel Air has already perfected silly comedy into serious pipeline update. If Swallow fails to do the same, it will be ridiculed for being a redundant update and to copy Bel-Air. Nobody needs this.
Hollywood studios prioritizing nostalgia over creativity created this endless cycle of recycling past shows. Frankly, viewers (myself included) have had enough. A lack of originality lowers industry standards and, more importantly, withholds opportunities for new ideas and different stories from established or emerging creatives. While funding—or the lack of it—is responsible for the ongoing cycle, viewers have proven that with great risk comes great reward.
Quinta Brunson is a prime example. Abbott Elementary has become a critically acclaimed comedy sitcom that has won several awards (including the reigning Emmy Coins 2024) and huge acclaim for its ability to resonate with audiences. Cord Jefferson won an Oscar for his film American fiction as a director for the first time. In accepting his award, Jefferson implored Hollywood executives to take more risks on original ideas. “I understand that this is a risk-averse industry, but $200 million movies are also a risk.” said Jefferson during his speech. “But you take the risk anyway. Instead of making one $200 million movie, make 20 $10 million movies or 50 $4 million movies.”
Reboots are unwanted and unnecessary when so many untold stories deserve a chance to be amplified. Permission Swallowand all the other ’90s shows we love, ourselves.
contribution giana
Taking the risk is only half the battle. Greenlighting prototype projects is the first step, but there is also a need to give them more time to reach their full potential before deciding to pull the plug. The ever-changing television landscape, where budgets are tighter and DEI initiatives are being dismantled, is directly affecting Black’s shows and has led to many cancellations. All American: Homecoming, Rap Sh!t, South side, Rant, Mythical, I love life, A Black Lady Sketch Show, Sweet Life: Los Angelesand Grand Crew are just some of the recent Black shows that should be cancelled. Despite growing fan bases, the list of canceled black shows continues at an alarming rate. For black audiences, the message is clear: diverse and original storytelling is not a priority. Several actors are now taking matters into their own hands by setting up production companies to create more opportunities for creatives. Issa Rae, Yara Shahidi, Marsai Martin, Storm Reidand Lena Waithe are some of the entertainers stepping in where Hollywood continues to fall short.
Rebooting classic shows that already have an established fan base isn’t worth the risk of damaging their sanctity. While reboots have the potential to expand on existing stories or develop new ones, the result often leads to disappointment. The original Swallow it’s still funny as hell (shout out to MVPs Tisha Campbell and Tichina Arnold), and it’s good to revisit it fondly without trying to exploit our affection for it. Ultimately, reboots are unwanted and unnecessary when so many untold stories deserve a chance to be amplified. Permission Swallowand all the other ’90s shows we love, ourselves.
Like what you see? How about something more R29, here?
“Good Times” isn’t that bad — but it’s not good
Hating Carlton On "Bel Air" It’s the point
Hot Uncle Phil is Bel-Air’s secret ingredient
