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    From page to screen

    Thank you HBO & BBC: Adaptations to anticipate and miniseries not to miss

    Samantha Pitchel
    Dec 25, 2011 | 9:00 am

    It’s true that TV shows like Friday Night Lights and Gossip Girl got their start as books. But many “adaptations” merely take inspiration from their optioned originals; MASH, for example, was based on a book, too, but ended up growing far beyond the story’s scope.

    Luckilyy for literary readers, more page-to-TV adaptations are focusing on contemporary novels — and more writers are experimenting with new formats.

    A recent discussion of adaptations in the New York Times notes:

    What may be surprising, though, is how many authors are working on their own shows. “It’s not just that novels make good adaptations,” [producer Michael] London says. “It’s that novelists make good adapters.” Right now, prominent writers are creating original cable series (Salman Rushdie, Sam Lipsyte, Gary Shteyngart, and Michael Chabon and Ayelet Waldman) or adapting their own books (Jonathan Franzen and “The Corrections,” Tom Perrotta and “The Leftovers”). And while many of these writers have dabbled in screenplays, their rush to cable represents something new. Novelists who used to lament the rise of television now want a chance to write for it, and that says something about the evolution of cable TV — and maybe about the evolution of literary authorship.

    The publishing world is taking cues from serializations’ success, too; Salon reported that author Mark Danielewski (House of Leaves) will be publishing his forthcoming novel The Familiar in 27 volumes, a new “chapter” every four months.

    We’re looking forward to seeing the way some of our favorite contemporary novels play out on the small screen. Here are a few of the adaptations we’re eagerly anticipating (and a few that we already love):

    Tune in soon

    Wolf Hall (HBO/BBC, 2012): Hilary Mantel’s 2009 Man Booker Prize-winning novel tells the story of Henry VIII’s minister, Thomas Cromwell, and is the first in a planned series of three books.

    A Visit From The Goon Squad (HBO, unknown): Winner of the 2011 Pulitzer Prize for fiction, Jennifer Egan’s novel centers on an aging rock record exec, flashing back and forth through time to tell the story of his rise to the top and unraveling the reasons why it wasn’t what he expected.

    Swamplandia! (HBO, unknown): The surreal story of a 12-year-old alligator wrestler’s quest to find her missing sister, Karen Russell’s first novel will make an excellent show blending drama and fantasy.

    The Leftovers (HBO, 2012): The Rapture is a hot topic these days, but nobody’s really wondered what life will be like for those left behind — until now. Tom Perrotta puts an extremely realistic spin on an oft-comical topic in his 2011 novel, and he’s adapting the scripts himself.

    “This long-form, hour-long drama is the most exciting stuff in American pop culture right now,” Perrotta told the Times. “A TV series allows you to explore everything, to focus in when you need to focus in and to sprawl when you need to sprawl,” he says. “It’s a very novelistic medium, and you can expand the novel — you can just keep going.”

    Middlesex (HBO, unknown): We’re crossing our fingers that this series, announced in 2009, is still in development; Jeffrey Eugenides’ 2002 Pulitzer Prize-winning novel explores several generations of an expansive Greek family and the life of an intersex teen in modern-day Michigan.

    Miniseries you may have missed

    The Crimson Petal and the White

    Adapted from Michel Faber’s 2002 novel of the same name and aired as a four-part miniseries on BBC Two earlier this year, The Crimson Petal and the White is set in Victorian London and follows the growing relationship between white collar William Rackley and a young, philosophical prostitute named Sugar. As the pair grow closer, the line between Rackley’s complex family life and his affair with Sugar begins to blur. The show stars Chris O’Dowd, recently seen alongside Kristen Wiig in Bridesmaids.

    The Buddha of Suburbia

    An oldie, but a goodie. Based on Hanif Kureishi’s 1990 novel of the same name, this 1993 BBC miniseries featured a soundtrack by David Bowie, a fitting choice given the plot: Buddha follows a mixed-race UK teen (played by Lost’s Naveen Andrews) attempting to find his place in various fringe communities of '70s-era London. Exploring race, sexuality, creativity, politics and the intersections of each, the show is a semi-autobiographical tale of Kureishi’s own coming of age.

    Empire Falls

    A two-part mini-series first aired on HBO in 2005, Empire Falls was adapted from Richard Russo’s 2001 Pulitzer Prize-winning novel. Starring Philip Seymour Hoffman, Ed Harris, Helen Hunt and Paul Newman, the series explores a small, run-down Maine town through the lives of a restaurateur and his regulars.

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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