Aka nihil novi sub sole. Dla Peacock - świeży streaming service NBCUniversal.
Produkuje Sam Esmail (Mr. Robot). Tu zarzeka się, że jednak novi:
https://twitter.com/samesmail/status/1173987378894 999552?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7 Ctwterm%5E1173987378894999552&ref_url=https%3A%2F% 2Fwww.newsweek.com%2Fcalm-down-battlestar-galactic a-fans-new-series-wont-reboot-1460068Sam Esmail:
@samesmail
BSG fans, this will NOT be a remake of the amazing series @RonDMoore launched because... why mess with perfection? Instead, we’ll explore a new story within the mythology while staying true to the spirit of Battlestar. So say we all!
Tu Ron D. Moore błogosławi, ale niczego nie wie:
https://variety.com/2020/tv/news/outlander-spinoff -ron-d-moore-bsg-1203504433/Ron D. Moore:
“Sam called me and was very gracious, he didn’t pitch me the story so I don’t know,” he said. “But he said his plans and he wasn’t going to re-start the show and recast it but he wanted to do something in the same universe. Sam’s amazing and I love ‘Mr. Robot.’ I was like, you know, ‘You’re an amazing guy and amazing writer, go with god!’”
Tu ogłaszają, że showrunner na dzień dzisiejszy to skryba kinowego Assassin's Creed oraz obecnie naczelny fetyszysta Shakespeare'a w Hollywood, Michael Lesslie:
https://deadline.com/2020/05/battlestar-galactica- michael-lesslie-showrunner-peacock-reboot-12029236 68/Deadline:
Peacock’s reboot of Battlestar Galactica has found its world builder. Michael Lesslie, who was the lead writer and showrunner of AMC’s spy drama The Little Drummer Girl and penned scripts for Macbeth and Assassin’s Creed, will create, write and executive produce the series.
The new Battlestar Galactica comes from Mr Robot and Homecoming exec producer Sam Esmail, who struck a big overall deal with NBCU’s Universal Content Productions last year. It is produced by Esmail Corp and UCP, with Esmail and Chad Hamilton also exec producing.
Nieco o Macbeth klawiatury mistrza Lesslie i wesołej Assassin's Creed gromadki:
https://film.avclub.com/macbeth-amps-up-the-violen ce-but-loses-the-soul-of-the-1798185882Mike D'Angelo:
Over the years, Shakespeare’s Macbeth has attracted some of cinema’s heaviest hitters: Orson Welles, Roman Polanski, Akira Kurosawa (whose Throne Of Blood transposes the play to feudal Japan). It has now also attracted Australian filmmaker Justin Kurzel, who—on the basis of the evidence here—isn’t likely to attain quite such a lofty place in the medium’s history. Kurzel’s sole previous feature, The Snowtown Murders, is a nasty piece of work about one of his country’s most notorious serial killers; his next project, due Christmas 2016, will be Assassin’s Creed, based on the video game series. In short, he’s into violence. Macbeth is certainly Shakespeare’s bloodiest tragedy, but the extent to which Kurzel’s adaptation subordinates the poetic to the visceral makes Polanski’s grim, muddy 1971 version look as frothy as Much Ado About Nothing by comparison. We’re talking maximum sound and fury, and while no movie that stars Michael Fassbender and Marion Cotillard could signify nothing, this one doesn’t signify a whole lot.
...
Why this bare-bones adaptation required three screenwriters—Jacob Koskoff, Michael Lesslie, and Todd Louiso—is something of a mystery. They take a number of liberties with the text, some of them effective (like having Duncan’s murder witnessed by his son, Malcolm, played by Jack Reynor), others considerably less so (e.g., omitting Macbeth’s second visit to the sisters, and their misleading reassurance that he will remain king until Great Birnam Wood comes to Dunsinane Hill and that “no man of woman born” can kill him)*. Ultimately, though, this Macbeth belongs neither to Shakespeare nor to the actors. (Fassbender and Cotillard are solid, if hardly revelatory; Paddy Considine makes a nicely dolorous Banquo.) What lingers in the memory is the opening battle, and the quick bursts of brutality, and the screen becoming tinged blood-red at the climax. Directing a Shakespeare movie in order to audition for the job of helming Assassin’s Creed seems ludicrous, but with both Fassbender and Cotillard also starring in the latter, it almost appears as if that’s what happened. Hopefully, that means Kurzel has found his proper element, and can indulge his penchant for hacking and cleaving, minus all that pesky soul-searching.
Najwyraźniej imć Lesslie pichci już Hamleta w formie... komedii, jeśli wierzyć IMDB.