Approximately forty years after the initial television airing, a fresh take on the science fiction series V is set to premiere, with the original creator Kenneth Johnson involved in this reimagining.
Back in 1983, I fondly recall the captivating two-part V miniseries that graced our screens. Today, it’s renowned for its thought-provoking political narratives, breathtaking visuals, and an iconic scene where Diana (played by Jane Badler) shockingly consumed a guinea pig in one gulp. The series was a massive ratings success for NBC, paving the way for a follow-up miniseries in 1984 and a continuous series that ran until March 1985.
Currently, Big Finish, well-recognized for their Doctor Who collection of productions, is transforming the tale of “V” into an audio drama. The setting of this reimagined narrative will shift from America to Great Britain.
In contemporary London, the narrative of V: UK unfolds as it reimagines the initial tale, where Earth is under the dominion of extraterrestrial Visitors. This results in some humans aligning with their conquerors, while a group of rebels choose to wage war against the oppressive rule they establish.
He clarified that he hasn’t given anyone permission to use or modify V, as he fears they might ruin it. He’s observed that things often go awry when others attempt to reinterpret his work, calling this an unsafe practice.
Besides developing The Bionic Woman (1976-78), a spin-off from the Six Million Dollar Man TV series, Johnson often pointed out the 2007 remake as a case study of what can occur when the creative team doesn’t align with the original’s essence.
The production fell flat, as it seemed they failed to grasp the essence of the show. It lacked emotion, it lacked a human touch, it lacked humor, and most certainly, it was without the original star, Lindsay Wagner.
“Lindsay was so special as an actress, it was impossible [to replicate that].”
Johnson shares a similar sentiment towards Ang Lee’s 2003 film ‘Hulk’. While this movie is largely based on the Marvel comic, it also drew inspiration from the television series that aired in the 1970s, featuring Bill Bixby and Lou Ferrigno, which was adapted for TV by Johnson.
“I love Ang Lee, he’s a brilliant director but […] it just didn’t work and the audience knew it.”
They suggested, ‘Perhaps Michael Bay could direct it’, but I disagreed, as by that time, I had witnessed attempts to reinterpret my work that completely missed its essence. Primarily, I aimed to preserve the style and quality of the project.
In collaboration with frequent contributor to Big Finish, Jonathan Morris, Johnson worked on the scripts for V: UK. He praised Morris for maintaining a high level of respect during the adaptation phase, which significantly alleviated Johnson’s concerns about the viability of the visually-driven franchise as an audio drama.
I believe we’ve successfully captured much of what I was aiming for. He added numerous fresh concepts to it, and I’ve given him a copy of the screenplay for our current project, which has undergone recent updates.
Johnson firmly believes that the final product successfully avoids the risks associated with reimagining a cherished classic. In truth, working on V: UK reminded him of an initial edit of the 1983 miniseries he watched before any visual effects, sound, or music were added – and it was the raw footage itself that captivated him.
He remarked that the performance was exceptional since each actor excelled in their role. It left him awestruck, thinking to himself, “The foundation has been set…. everything else we contribute – visual effects, music, sound effects – they’re merely decorations, but the foundation is solidified by the strong performances of the actors.
The fundamental heart of V lies in the dynamics of characters and their feelings. What truly sets V apart is the intricate dance between the performers, often referred to as their acting chemistry.
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2025-01-25 12:34