Why the 2020 The Stand Remake Failed While the 1994 Miniseries Still Rocks

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The Stand, penned by Stephen King, depicts an epic tale of society’s demise and the subsequent emergence of a new world following a catastrophic super plague that decimates 99% of humanity. If not for the The Dark Tower series and its publication in 1982, The Stand would be recognized as King’s equivalent to The Lord of the Rings. It presents his arch-nemesis, Randall Flagg, in a battle between his demonic wickedness and the benevolent Mother Abigail. She guides the morally upright residents of the Boulder Free Zone against Flagg’s stronghold in Las Vegas. This best-selling novel inspired two television adaptations; initially in 1994 and later in 2020 on CBS All-Access. Mick Garris directed the four-part miniseries for ABC, earning a pair of Emmy Awards from six nominations.

Until recently, the apocalyptic fantasy was only adapted once, but now a new limited series has premiered on Paramount+ (formerly CBS All-Access). The 2020 adaptation offered an opportunity for a fresh perspective, with a contemporary aesthetic and larger budget. Both versions boasted impressive casts and were based on the works of Stephen King. Interestingly, King wrote a new finale for the 2020 streaming series, focusing on the aftermath of events in Las Vegas.

1. Why didn’t it meet expectations? And why does the 1994 miniseries still impress viewers today, despite its age? Fans have voiced their opinions about the 2020 remake, some suggesting that the COVID-19 pandemic was a significant factor in its failure before it even premiered. However, we believe the issues with the updated version are unrelated to current events.

2. Why didn’t it hit the target? And why does the 1994 miniseries continue to captivate audiences even as it ages? Fans have shared their thoughts on the 2020 adaptation, some blaming the COVID-19 pandemic for its downfall before its debut. But we think the problems with the new version are not due to recent events.

The Remake Brings Little New to the Table

The 2020 remake of “The Stand” was assigned nine episodes, a bigger budget, and an array of well-known actors, suggesting it would excel, but ultimately failed to live up to expectations as it merely rehashed the material already covered in the 1994 miniseries. Despite its shortcomings, both adaptations were less than perfect when it comes to character development and plot progression; however, the 2020 version devotes more screen time to its flaws.

Throughout the nine distinct episodes, some major characters from the novel take a backseat to those who have smaller roles in the grand narrative. Characters such as Trashcan Man, once intriguing in the 2020 version, lose much of their appeal. Despite the new adaptation’s increased stardom, it fails to justify this status.

2020’s adaptation of The Stand breaks down the narrative by using flashbacks for context. This structure dismantles the impactful journey portrayed in the novel, focusing instead on day-to-day life in the Boulder Free Zone and the individual paths leading there. Crucially, it omits the spread of Captain Trips and the subsequent societal collapse, resulting in a story that lacks bite.

As a cinephile, I can’t help but notice the inconsistencies in character development that often occur in stories. It’s frustrating when certain characters are given the limelight, while others remain underdeveloped or are relegated to the background.

Harold Lauder

Previously, Owen Teague demonstrated his worth through various roles in Stephen King adaptations prior to ‘The Stand’. He notably played the antagonist Patrick Hockstetter in both ‘IT’ and ‘IT CHAPTER TWO’, and was featured alongside Samuel L. Jackson and John Cusack in ‘Cell’. In ‘The Stand’, he takes on the character of Harold Lauder, a role he performs better than Corin Nemec did in the 1994 miniseries, although his portrayal has its flaws.

In the 2020 series, a character who serves as a secondary antagonist is surprisingly given significant attention, making it seem like he’s the central figure in the narrative. Unlike other key characters such as Stuart Redman (James Marsden) and Randall Flagg (Alexander Skarsgård), this character’s storyline takes precedence in numerous episodes, delving into his past, plotting his town bombing, leading to his death on the way to Vegas. The original main characters or the primary antagonist are either merely present or following their predetermined paths throughout the remainder of the tale.

2020’s series portrays Harold’s domestic life, delves into his emotions towards Frannie Goldsmith, and chronicles Harold’s struggles post-arrival at the Boulder Free Zone. The narrative also unfolds Harold’s complex relationship with Nadine Cross, a malevolent character who advances Flagg’s bomb plot over seven episodes. Compared to significant characters like Nick Andros (Henrique Zaga) and Glen Bateman (Greg Kinnear), both crucial figures in the book and 1994 miniseries, Harold receives greater spotlight.

In the 2020 adaptation, his demise surpasses the grimness of the initial miniseries, which, despite its dark moments, showcased remarkable stunt performances.

Where Is Captain Trips?

In the adaptation of “The Stand” released in 2020, the central virus and its devastating impact on humanity, spanning over 300 pages in the original, was somewhat overshadowed. However, the visual portrayal of the disease in this updated version is remarkably akin to the book’s descriptions and Bernie Wrightson’s timeless artwork. Yet, it seems that the spiritual struggle at the heart of the story and Harold’s tale have taken precedence over the depiction of the virus itself.

Among the most compelling aspects of The Stand are the depiction of society’s downfall, the world the main characters escape from, the brief glimpses into everyday life amidst the overarching narrative, and the chilling sections that make up the novel and its comic book adaptations. These parts effectively combine King’s signature supernatural horror with an unsettling sense of realism, leaving readers with a feeling that such events could potentially unfold in reality.

In the new adaptation, Flagg’s character is shown to play a significant role in the outbreak, unlike the original work where he merely exploits the situation. This approach is more impactful because it doesn’t absolve people of their responsibility, instead, it acknowledges that they bear some blame. Making Flagg physically enter the viral facility seems excessive and unnecessary in this context.

The Miniseries Stands Supreme…For Now

Expressing my dissatisfaction with the 2020 streaming series adaptation of “The Stand” isn’t a complex task. While I usually don’t get too worked up when a work takes a unique creative approach, “The Stand” has been instrumental in shaping my current interests. Watching it falter and struggle on screen, despite the potential for greatness that I’ve seen in the book, is disheartening.

The fact that the latest streaming series might not be perfect doesn’t discount the many enjoyable aspects it offers. Skarsgård’s portrayal of Flagg is exceptional, managing to preserve the essence Jamey Sheridan brought to the character in 1994 while also embodying the chilling nature of Flagg from King’s book. His powers are enhanced and King provides an impressive new conclusion that seamlessly merges the original storyline with a poignant glimpse into Stu and Frannie’s life post-Boulder.

Additionally, it boasts a larger funding, compelling acting from Marsden, Teague, and others, and a portrayal of Tom Cullen that avoids caricature. The 2020 adaptation of The Stand offers a rich world to delve into, yet fails to fully establish itself. However, the miniseries manages to provide a satisfying exploration, despite being constrained by the television industry’s standards at the time. Nonetheless, it remains the version we prefer to engage with.

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2025-05-17 23:14