(L to R) Jack Black and Paul Rudd star in ‘Anaconda’.
Moviefone recently had the pleasure of speaking with Jack Black and Paul Rudd about their work on ‘Anaconda’, their first reaction to the screenplay and meta-approach to the reboot, finally working together on a film, and why fans need to see it in a theater.
You can read the full interview below or click on the video player above to watch our interviews.
Moviefone: To begin with, what would you both say to movie goers sitting down right now in a theater to prepare them for the theatrical experience they are about to have?
Jack Black: Now, I got to prepare you with a warning. If you are susceptible to jump scares, if you are terrified easily, if you have a heart condition, don’t see this movie, because it is legit scary. If you have an aversion to laughter, if something makes you laugh too hard and you might pass out, do not go to this movie. It is huge laughs and huge scares. You have been warned.
MF: Paul, what was your first reaction to the screenplay and this meta-approach to rebooting the franchise?
Paul Rudd: So, my reaction was just giddiness. I loved it. I thought it was funny and original. It was such a fun read that I went back and just read it again and it was enjoyable. I also knew that it was made and written by the guys that did ‘The Unbearable Weight of Massive Talent’, which was a movie that I loved and saw four times. So, one of the things that I loved about that movie was it was very clever and self-aware. Nicolas Cage is so funny playing himself and I loved how this thing starts to weirdly morph into a Nicolas Cage movie, like an action movie. I thought it was just a very clever approach. So that these guys were taking another similarly unique and funny way to deal with movie remakes, but it’s not really a remake. It’s commenting on a lot of that stuff and doing it in a very meta and funny way.
MF: Jack, what was your reaction to this unusual approach to rebooting ‘Anaconda’?
Jack Black: I was like, dude, if we can make a movie that’s half as compelling and funny and interesting as ‘Unbearable Weight of Massive Talent’, then sign me up. Because I saw that movie and I was like, holy cannoli, I’m jealous.
MF: Jack, you have appeared in the same movies as Paul before, but never starred opposite him in a film. What was it like to get to finally work together on a big scale comedy like this?
Jack Black: I mean, that was a big draw for me because I’ve always felt like me and Paul would be great together. I’ve been a huge fan of his as he knows, I tell him.
MF: Finally, Paul, anything you want to add about having a chance to work with Jack after all these years.
Paul Rudd: It makes people uncomfortable how much Jack and I fawn over one another like broken records. You want me to fawn over Jack? Easy. Per square inch, there isn’t a person out there that has more talent packed in to one gorgeous case. Jack is a talent tornado. He’s a comedy tsunami. He’s not just an actor. He’s not just a comedian. He’s not just a rock God. He’s the kindest, most brilliant, beautiful human being and those are rare in this business. If you ask anybody who’s met him, they’ll say the same thing. He’s a unicorn. So, anytime this comes around, I’m ready to jump on those coattails like that.
Doug (Jack Black) and Griff (Paul Rudd), seeking to recapture their youth, travel to the Amazon to film an amateur remake of the 1997 film ‘Anaconda’. Their project unravels when a real giant anaconda emerges, turning the light-hearted shoot into a perilous fight to stay alive.
Sharon Stone in ‘Basic Instinct’. Photo: TriStar Pictures.
Preview:
‘Basic Instinct’ writer Joe Eszterhas is back to craft a reboot.
United Artists and Amazon MGM Studios have put together a new deal.
Star Sharon Stone could potentially return.
We’re seeing a rising trend of remakes and reboots as studios grab for titles from back catalogues that still have name recognition and look to dust them off for new movies and TV.
We can now add pulpy 1992 erotic serial killer thriller ‘Basic Instinct’ to the list.
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According to The Wrap, Scott Stuber’s United Artists banner and Amazon MGM Studios are cranking open their wallets for a hefty $4 billion deal for a reboot of the thriller that would include original screenwriter Joe Eszterhas back to write a new script.
(Lto R) Sharon Stone and Michael Douglas in ‘Basic Instinct’. Photo: TriStar Pictures.
In the 1992 original, directed by Paul Verhoeven from Eszterhas’ script, former rock star and San Francisco nightclub owner Johnny Boz (Bill Cable) is found murdered in his bed. Detective Nick Curran (Michael Douglas) is assigned to the case; he has a history of alcoholism and drug abuse although he is clean now.
The prime suspect is Catherine Tramell (Stone), an attractive and manipulative novelist who had been seeing Boz for a while. Police psychiatrist Beth Gardner (Jeanne Tripplehorn), who happens to be Nick’s ex-girlfriend, is brought in on the case when it is discovered that Boz’s murder was copied directly from one of Catherine’s novels. Nick starts to get too involved and everyone seems to be a suspect…
Eszterhas was paid a then-record $3 million for his spec script, at a time when such deals were more common.
The movie itself became a hit (earning $353 million globally), not least because of its infamous interrogation scene, where Trammell uncrosses and crosses her legs as power move, showing that she isn’t wearing underwear. Stone later said the footage was captured without her consent.
She still returned for a belated, much-maligned sequel, ‘Basic Instinct 2’ in 2006. And according to The Wrap, there’s a chance she’ll be back for the reboot in some capacity.
‘Basic Instinct’ reboot: Joe Eszterhas speaks
(Lto R) Sharon Stone and Michael Douglas in ‘Basic Instinct’. Photo: TriStar Pictures.
But it appears he’s back, offering up the following statement:
“To those who question what an 80-year-old man is doing writing a sexy, erotic thriller: the rumors of my cinematic impotence are exaggerated and ageist. I call my writing partner the TWISTED LITTLE MAN and he lives somewhere deep inside me. He was born 29 and he will die 29 and he tells me he is ‘sky high up’ to write this piece and provide viewers with a wild and orgasmic ride. That makes me very happy.”
The new movie is reportedly going to be “anti-woke”, which will be a surprise to anyone who has watched the decidedly non-“woke” original!
When will the new ‘Basic Instinct’ be on our screens?
Amazon MGM Studios has yet to say anything about the movie officially in development, let alone a release date.
Sharon Stone in 2006’s ‘Basic Instinct 2.’ Photo: Metro-Goldwyn-Mayer.
Jon Hamm as Irwin “Fletch” Fletcher in ‘Confess, Fletch.’
The new mystery comedy ‘Confess, Fletch’ marks the third big screen adaptation of author Gregory Mcdonald’s popular series of novels, following 1985’s ‘Fletch’ and 1989’s ‘Fletch Lives,’ both starring Chevy Chase.
Former investigative reporter Irwin “Fletch” Fletcher (Hamm) finds himself in Italy helping a wealthy man locate his stolen paintings. Fletch soon falls in love with the man’s daughter (Lorenza Izzo), but then discovers that her father has been kidnapped and they are demanding the paintings in return.
Fletch finds a clue to where the paintings could be and travels to Boston to investigate. However, upon arrival Fletch is accused of the murder of a woman he’s never met. With Boston Detective Monroe (Roy Wood Jr.) investigating him, Fletch will have to call on help from his old editor Frank (John Slattery), in order to solve the murder, find the paintings, and rescue his girlfriend’s father.
John Slattery in ‘Confess, Fletch.’
The result is an enjoyable comedic mystery that is far more faithful to the source material than the Chevy Chase movies, and finally finds the perfect star vehicle for John Hamm’s particular talents after ‘Mad Men.’
I’m a huge ‘Fletch’ fan. My dad read the novels when I was a kid, and ‘Confess, Fletch’ was the first “adult” book I ever read. I also loved the Chevy Chase movies, especially the original 1985 ‘Fletch.’ But even as a kid, I knew that ‘Fletch’ and ‘Fletch Lives’ are really Chevy Chase comedies and not straight adaptations of the books. There always seemed like there could be another direction to take this character.
A new ‘Fletch’ movie has been in the works for years. At one-point Kevin Smith was going to take on the franchise and either cast Jason Lee or Ben Affleck in the title role. Then after the release of ‘Garden State’ it looked like Zach Braff would both direct and star in a reboot of ‘Fletch,’ but neither ever came to pass.
As a fan I am glad because I really liked director Greg Mottola and producer and actor John Hamm’s version of Mcdonald’s character. Mottola does not direct the movie as a comedy, but rather as a mystery noir with funny characters in it. His choice of a jazz music soundtrack also sets the mood and gives the film a fun tone. I also liked the choice to set the movie in Boston, Mcdonald’s hometown, and since Fletch is a diehard Lakers fan, that leads to several comedic moments.
Jon Hamm in ‘Confess, Fletch.’ Photo courtesy of Miramax.
But ‘Confess, Fletch,’ much like the original ‘Fletch’ only works because of the actor playing the title character. While many fans may have a hard time seeing anyone except Chevy Chase play this role, I do believe that Jon Hamm was uniquely qualified to play Fletch. In the books, Fletch is described as handsome, charming, witty, and a bit arrogant. While Chase’s performance captures some of those elements, he played the character much sillier and goofier than he was in Mcdonald’s novels.
We all know John Hamm is very handsome, but we also know that he can be incredibly funny, and it’s that combination that really makes him perfect for this role. Fletch is a bit of a flirt, and that is believable from Hamm, and also believable that the women might flirt back. Hamm’s natural charm exudes in this role and he seems very comfortable in the part. It really is the perfect vehicle for the actor right now, who has had some missteps in his post ‘Mad Men’ career but is coming off the huge success of ‘Top Gun: Maverick’ this summer.
On a whole, the movie is far from perfect and certainly has some plot issues. The mystery is not exactly hard to figure out, but to be honest, the novels were never really about solving the mystery, they were more about watching Fletch bumble his way through solving it himself, and in that aspect the movie delivers.
Some of the supporting cast is a little too over-the-top at times with their “whacky” characters including Oscar winner Marcia Gay Harden, who plays Fletch’s girlfriend’s step-mother. While the actress is clearly having fun with the role, her performance seems rushed and forced at times. The same could be said for Annie Mumolo’s nosy neighbor, and Kyle MacLachlan’s EDM loving art consultant. While their characters add to the comedy, they just don’t come off as believable in the end.
Marcia Gay Harden in ‘Confess, Fletch.’
In contrast, Lorenza Izzo, who was last seen in ‘Once Upon a Time in Hollywood,’ was solid as Fletch’s girlfriend. While her role is limited to keeping the plot moving at times, the actress is charming in the role and even keeps you guessing as to her true intentions right up to the end of the film.
But the true treat for ‘Mad Men’ fans is to see John Slattery and Jon Hamm on screen together again. Slattery plays iconic ‘Fletch’ character Frank Walker, who was portrayed by Richard Libertini in the Chevy Chase movies. Of course, Slattery and Hamm have great chemistry together, and Slattery is a great casting choice for Fletch’s grumpy former boss. Also, for ‘Fletch’ fans, there is a cool Easter egg when Frank is introduced in ‘Confess, Fletch’ as we also meet Larry, who was played by Geena Davis in the 1985 movie.
In the end, ‘Confess, Fletch’ is really Jon Hamm’s movie and for the most part, he makes it work. Whatever short comings the film may have, it overcomes it with a charming performance from Hamm, strong directing choices from Mottola, and of course, Mcdonald’s iconic character.
‘Confess, Fletch’ receives 3.5 out of 5 stars.
Jon Hamm as Irwin “Fletch” Fletcher in ‘Confess, Fletch.’
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Mark Burnham as Leatherface in Netflix’s ‘Texas Chainsaw Massacre.’
Premiering on Netflix beginning on February 18th is the direct sequel to the classic 1974 horror film ‘The Texas Chain Saw Massacre,’ entitled ‘Texas Chainsaw Massacre.’ Directed by David Blue Garcia (‘Tejano’) and written by Chris Thomas Devlin (‘Cobweb’), the movie is based on a story developed by ‘Don’t Breathe’ director Fede Alvarez, who is also a producer on the film.
The new story picks up several decades after the original film and focuses on the serial killer Leatherface (Mark Burnham), who targets a group of young entrepreneurs that purchase an abandoned town in Texas. The deranged killer eventually comes face to face with Sally Hardesty (Olwen Fouere), a vengeful survivor of his original murders.
Filmmaker Fede Alvarez is no stranger to rebooting classic horror franchises as he made his feature film directorial debut with 2013’s ‘Evil Dead.’ Alvarez went on to direct the box office hit ‘Don’t Breathe,’ as well as write and produce its sequel, ‘Don’t Breathe 2.’ He also directed ‘The Girl in the Spider’s Web,’ which was a soft-sequel/reboot to David Fincher’s ‘The Girl with the Dragon Tattoo.’ He now returns to the horror genre with ‘Texas Chainsaw Massacre,’ of which he developed the story and also produced.
Moviefone recently had the pleasure of speaking exclusively with Fede Alvarez about his work on ‘Texas Chainsaw Massacre.’ The producer discussed the new movie, his love for the franchise, creating the new story and characters, what he learned from rebooting ‘Evil Dead,’ the importance of bringing back Sally Hardesty and John Larroquette as the narrator, his favorite scares, and why Leatherface has become so iconic.
‘Texas Chainsaw Massacre’ Producer Fede Alvarez.
Here is what Fede Alvarez had to say about ‘Texas Chainsaw Massacre.’
Moviefone: To begin with, when did you first see ‘The Texas Chainsaw Massacre’ and fall in love with the franchise?
Fede Alvarez: I’ll tell you. I probably watched the original when I was too young to watch it and I regret it. It was part of that group of horror movies that you thought was just another movie like ‘A Nightmare on Elm Street’ and you would have a laugh. Then this one probably alongside with ‘The Evil Dead’ are those that are like, “Oh God. What have I done,” when I watched this movie. Just too terrifying for my age. But then I think I really loved it, the franchise.
I think it’s when I watched the 2003 remake that Marcus Nispel directed when they rebooted back then. The movie was so stylized, and it showed the timeless theme of the cultural clash between the countryside and the city. It never expires. It’s always a great theme for a horror movie.
MF: What did you learn about rebooting popular horror franchises from directing ‘Evil Dead’ that you were able to apply to your work producing this project?
FA: Something I definitely learned on ‘Evil Dead’ was that those movies are such classics and they come from the times where movies were done differently. Where everything was crude and real, and there was no CGI. Even ‘Texas Chain Saw,’ when I was a kid, I remember watching it thinking it was real. I thought I was actually watching some documentary, something that had actually happened. That adds such a great layer of terror for the experience of watching the film.
So, I think that was something I always wanted to bring back to the new movie. So, that’s how we shot ‘Evil Dead.’ Everything was on camera. The blood was actually practical blood. It was not CG. So, there wasn’t a computer graphic. Every monster in the movie was a person in a suit.
That sort of thing adds some crudeness to it that the true horror fans always love. I think any movie fan loves to watch something they feel is real, particularly for horror. So, that’s the same we did in ‘Texas Chainsaw.’ We just really wanted everything we shoot to be with technology that was available in the ’70s. Obviously, cameras are digital, but then everything that happens on camera including the way they do tricks, the way they do blood; a blood rig is exactly how they would’ve done it back then. So, that adds some authenticity, I would say, to the film.
MF: Was it always the plan for this movie to be a direct sequel to the original, and not incorporate any of the elements from the other films?
FA: I think what this is, is part of the original franchise. What it’s not, because it couldn’t be even if you wanted, is part of the one that was rebooted in the 2000s. The Marcus Nispel movie and what followed that, and a couple more that came after that. I think because that’s a different canon, I would say. This is part of the original canon of the original ‘Texas Chain Saw Massacre,’ ‘The Texas Chainsaw Massacre 2,’ ‘Leatherface: The Texas Chainsaw Massacre III,’ and ‘Texas Chainsaw Massacre: The Next Generation,’ which is part four. This is that Leatherface. You know?
In the story, you’ll find Leatherface as a kid, as a teenager. He was secluded into this orphanage. But that doesn’t mean he didn’t escape. Like, he went to the orphanage, then left to do part two, and then went back, and then left again to do part three. I think all those movies could have happened. Because he never really dies in that franchise. Technically, supposedly, he died at the end of part two. But then at beginning of part three, they say he didn’t. So, that’s the way we see. It’s part of the original franchise.
So, I think that there’s something holy and kind of magical to connect it with that original film that makes it more legit to me. Also, because the original writer is a producer on this film and he was involved in the creation of it. Kim Henkel co-wrote the film with Tobe Hooper, who directed the originally. So, the fact that he was involved, I think allowed us to say, “Yes, let’s create one like what could have been the follow-up to that original franchise.”
MF: Can you talk about devising the new plot and new characters for ‘Texas Chainsaw Massacre?’
FA: I think it was inspired a little bit by a trend that I’ve seen happening. t was this particular restaurant that I went to that was in the middle of nowhere, in this like dead town. But it was this restaurateur that was super cool and famous and decided to open his restaurant in this dead town to attract people. So, he started moving there, and other artists and galleries started popping up.
Then, every time you watch one of these restaurants shows on Netflix, there’s always someone that opened his restaurant in the middle of nowhere, like back where his family was from. Suddenly, all these people from the city just storms that town. So out of that, we came up with the idea. That is a great way to get the countryside folk and the city people to clash in a realistic way, in a kind of grounded way. Why would all these people end up in a dead town? What would attract them there?
I think something that is a trend that I think is happening there will happen even more is that young people want to escape the cities. I think after the pandemic, it made even more sense. I mean, everybody during the pandemic wanted to escape the big cities. Anything with a subway, they didn’t want to be near. Any place that had a bit more open air, it felt like the place to go. So, I felt that it was a grounded yet kind of magical approach to the story, a way into the story to get these two sides of the country to clash.
MF: Can you talk about creating the lead characters, Melody and Lila?
FA: I think what was fun about having these two sisters both be the main role was that it made a way more interesting classic game of watching a horror movie where you have to guess who’s going to be the final girl. That is always the game of a horror movie. You get introduced to a bunch of characters. Most of the time, I would say it’s pretty obvious who’s going to be the final girl. It used to be the good girl, the virgin, or whatever. But I think in this day and age, things have changed drastically.
I think it was so much fun to show two characters that represents two slightly different stereotypes of horror characters and having the audience scratching their heads in end, wondering “Which one is going to die?” Because it could go either way. Either of them can die and it would make complete sense.
I think I would say, the perverse game we’re playing as writers is to have two sisters where both of them have their reasons to live, and both of them deserve to die on certain levels during this movie. They always do some original sin at the beginning of the movie that allows for the horror to be triggered. So, that was kind of part of the idea, to really have two, and having you guessing. So, that was part of the game.
MF: Can you talk about the importance of bringing back the Sally Hardesty character from the original, and was it difficult knowing that you would have to recast the role?
FA: It was difficult. You really want to honor that character, particularly when the original actor (Marilyn Burns) who played it passed away. You really want to make sure you bring the best actor you can to play it. You want someone that she would be proud is playing her role. I think Olwen, the actor who plays her, was fantastic. She did a great job with it.
But also, in a way, because that’s been done recently in some other franchises like Halloween, you want to make sure that you tell the story in a different way. That way I can promise the audience that this doesn’t go down the same way. This is not both of them obsessed with each other and having that final confrontation. This is kind of more realistic in a way, a more grounded approach to that relationship between the victim and the psychopath.
MF: Can you also talk about bringing back John Larroquette to reprise his role from the original as the narrator?
FA: Again, it was part of the thing of like, “Let’s try to make it as legit as possible. Let’s really go back to anybody that we would use, anything that we can do that they would’ve done in the original. Let’s do it again.” Larroquette wanted to do it. Again, using things that were available in ’70s. He was, and he still is. He loved to do it. He went in, and I think he did just one take. The director said, “Can you do another one?” He’s like, “What for? It’s perfect.” That’s the take in the movie. He’s a total pro, but it was one of those things that just made the moment magical for everybody involved in the movie.
MF: Do you have a favorite scare in the movie?
FA: My favorite is the sledgehammer, sledgehammer to the head, because it’s when you think you didn’t need more, and he just goes overboard. I personally love that tone. I think horror done right, it’s got to be right on that edge that if it goes one inch further, it is a comedy. But if it moves too far away from that line of comedy, it retreats into horror and it becomes unbearable. Something too bleak to watch. Those movies you watch and you’re like, “Well, I’ll run away,” and you turn them off and then say, “What am I watching?” I think ideally it has to have that tone that, and the absurdity makes it funny for me. That gives you the release you need in a horror movie that can be really scary at times. So, I think that that’s why that’s my favorite one, the sledgehammer to head.
MF: Finally, why do you think Leatherface has remained such a popular and iconic cinematic character after all these years? What is it about him that you think audiences find so fascinating?
FA: Well, I think he represents someone’s deepest fear about what you could find in the middle of nowhere in the countryside. It’s that kind of a mix of hillbilly and redneck. I don’t know what it is. But the reason why he attacks you is because he’s scared of you. The violence of Leatherface comes out of not understanding these people that just show up from the city.
There’s something about that because most of us will see ourselves as that person from the city, just terrified of that character. But you don’t even see his face. He doesn’t talk. But there’s a true human being behind it, which is different from Michael Myers or Jason Voorhees, where they’re more like ghosts. There doesn’t seem to be a real person behind it.
But Leatherface is real. You can see in the movie that he’s scared, that he’s nervous, that he’s heartbroken. You see him going through these emotions, which you never do with those other characters. So, the more humane he is, the scarier he is, and the more you feel like that character could exist in real life. So, that I think that’s what’s very special about him. It’s great in the original movie.
Leatherface seems to be more terrified than the kids at some points. He’s running around, he made a mask, and he’s trying to hide the bodies. He gets bullied by his own family. It’s a really strange character, but that’s what makes him unique. It just felt real. It felt way more real than a lot of the other classic horror monsters.
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To watch our exclusive interviews with actresses Sarah Yarkin and Elsie Fisher about ‘Texas Chainsaw Massacre,’ please click on the video player above.
The multi-hyphenate has signed on to write and direct the reboot, Variety reports. Legendary acquired the film rights in December and is reportedly prioritizing the project. The reboot will mark yet another return of the original Michael Herz and Lloyd Kaufman-directed film; it has previously inspired three sequels, an animated series, and even a musical.
A superhero horror comedy, “The Toxic Avenger” centered on Melvin Ferd (Mark Torgl), a physically weak man whose encounter with bullies led him to fall into toxic waste. The incident ultimately gave him superhuman abilities, and he then went on to battle bad guys. Plot details for the reboot have not been revealed.
Kaufman co-wrote the original with Joe Ritter, and now it is Blair who will do the job. His writing credits already include 2018’s “Hold the Dark” and 2017’s “Small Crimes” and “I Don’t Feel at Home in This World Anymore.” He directed the latter and also appeared in all three.
Kaufman and Herz are returning to produce the reboot via Troma Entertainment. They’ll be joined by Legendary’s Alex Garcia and Jay Ashenfelter.
Another popular ’80s/’90s sitcom has found new life.
ABC is looking to bring back “Designing Women.” The network has given a script commitment to a sequel series from original creator Linda Bloodworth Thomason, according to a new report from THR report. The series would center on young female relatives of original characters Julia (Dixie Carter) and Suzanne (Delta Burke), the Sugarbaker sisters.
“Designing Women” focused on the employees of Sugarbaker & Associates, an interior design firm. Similarly, the sequel will follow designers at an Atlanta firm, and it is said to have “the same razor-sharp dialogue,” plus again tackle social and political issues. Bloodworth Thomason teased that “we could definitely have some fun,” according to THR.
Given the family connection between the shows’ characters, there will be opportunities for original cast members to make appearances. Another key player coming back again is Harry Thomason, who is executive producing alongside his wife, Bloodworth Thomason. Meanwhile, Sony Pictures Television will again produce.
There have been countless reboots, revivals, and sequels in recent years, but since people keep watching them, why not?
The ’90s reboots keep on coming. Next up: A possible revival of “Frasier.”
Deadline reports star and executive producer Kelsey Grammer is exploring a new version of “Frasier,” likely set in a new city still centered around the title character.
The project, which would be produced by CBS TV Studios, is still in the very early stages of the exploration and Grammer is only just beginning to listen to pitches from writers about ideas for the reboot.
Frasier Crane is well-used to moving to a new city; Grammer’s character, a psychiatrist, was first introduced on NBC’s “Cheers” before getting his own spinoff set in Seattle, where he became a talk radio host and reconnected with his father and brother. In the series finale, Frasier moved to Chicago to be with his girlfriend (Laura Linney).
The series was a hit with audiences and critics and earned over 37 Emmy wins, including five straight for Best Comedy.
It’s no surprise that Grammer and CBS TV Studios is looking into rebooting the show, after the success of “Will & Grace” and “Roseanne” and optimism for the upcoming “Murphy Brown” revival.
Get out your diary, because you’re going to want to commemorate a big event: The redband trailer for “Heathers” is here.
Like the 1988 cult comedy it is loosely based on, the upcoming series is dark and twisted. It centers on Veronica (Grace Victoria Cox), a member of her school’s most popular clique who secretly hates her friends, all of whom are named Heather. After she meets new student J.D. (James Scully), she gets involved in some dangerous games.
Although the series has a lot in common with the movie, there are also big changes. As we see in the trailer, the story takes place at a modern-day high school and the old stereotypes about popular kids don’t hold true. One familiar face, however, is original star Shannen Doherty, who previously played Heather Chandler but now takes on a new and “pivotal” role. She makes an appearance in the trailer, as does Selma Blair, who plays the wicked stepmother of Heather Duke (Brendan Scannell).
Watch the trailer below. (Warning: It’s NSFW.)
If ever there was a reason to step away from your croquet game, it’s “Heathers.” The show starts streaming March 7 on Paramount Network.
“Cruel Intentions” fans are in for a let-down, so let’s just rip off the Band-Aid: NBC is no longer moving forward with the 1999 cult thriller’s reboot.
Although plans for the spinoff TV series have been in the works for over a year, NBC ultimately decided it was a no-go at the network. Variety reports that the decision wasn’t a matter of NBC not liking the show — apparently, there are just too many upcoming series on the slate and the project wasn’t the right fit. Sources say that matters were further complicated by negotiations between NBC and Sony TV over stacking rights and ownership.
Fortunately, there’s a silver lining for fans dying to see Sarah Michelle Gellar reprise her original role as the scheming Kathryn Merteuil. Sony TV reportedly remains committed to the project and is shopping it around to other networks. Multiple are said to have expressed interest, so we may see Kathryn and the next generation of manipulative prep school kids yet.
Get out your diary, because you’re going to want to commemorate a big event: The redband trailer for “Heathers” is here.