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I don't know that making a new season of a tv show is anything like building on top of the Great Pyramids of Giza. It's like building another pyramid. I certai

I don't know that making a new season of a tv show is anything like building on top of the Great Pyramids of Giza. It's like building another pyramid. I certainly don't think that the Luxor hotel and casino in Las Vegas diminishes the legacy of the Great Pyramids in any way. In fact, I think it's really interesting that they were able to use an ancient form to achieve something architecturally unique from a modern standpoint. It allowed them to create an uncommonly large open lobby area, which is really cool to see, and wouldn't have happened if someone had said 'no pyramids, pyramids have been done.' A remake/reboot is certainly nothing like replacing the Mona Lisa. It's more like a Banksy type person painting their own take on the Mona Lisa on a concrete wall or something. Do you think that no artist after da Vinci should ever reference the Mona Lisa in any way? Because derivative works were being made by prominent artists before da Vinci even considered his finished. In fact, the famous Mona Lisa arguably wasn't even the only version of the Mona Lisa that da Vinci himself contributed to. 'Meaning' is extremely personal and dependent entirely on the context within which a work is received. No work will ever hold the exact same meaning for two individuals. Furthermore, a work's meaning to a particular individual is likely to evolve continuously throughout their life. To discourage derivative works is like saying that you don't want to have to consider that alternate meanings are even possible.

debaserab2 10y ago
Agreed, not all sequels or reboots are bad. Derivative work is a little different than building a sequel though. A sequel may stand alone on it's own, but it also can take away from the original intention of it's prequel because it usually further builds out the universe or plot that took place in the original. Movie producers often reach for sequels because they are guaranteed cash grabs and prop them up with nothing more than a shallow plot and a few A-list celebrities. To many, this takes away from the intent and meaning of the original.
- jerf 10y ago
  I like a well-done sequel. As much fun as it is to step into a movie world for the first time and find out what's going on, there's a certain sameyness to the requisite beats to establish origins, establish personalities, establish locations, just a whole lot o' establishing going on. Again, that's great and all, but it limits the amount of time for the story itself, and limits the range of stories that can be told. Look at all the superhero origin stories that have come out lately, and summarize to yourself the story in the movie, without including any of the establishing. Even in the best ones... in fact, to some extent, especially in the best ones... the story itself is quite simple. The sequel will have a chance to spread its wings much more. The fact that so many fail to do so is... well... an interesting discussion on its own. But the really great sequels are often movies that had to be sequels, because they told a story too big to also have 45-75 minutes of establishing in there with them.

debaserab2 10y ago

Agreed, not all sequels or reboots are bad. Derivative work is a little different than building a sequel though. A sequel may stand alone on it's own, but it also can take away from the original intention of it's prequel because it usually further builds out the universe or plot that took place in the original. Movie producers often reach for sequels because they are guaranteed cash grabs and prop them up with nothing more than a shallow plot and a few A-list celebrities. To many, this takes away from the intent and meaning of the original.

jerf 10y ago
I like a well-done sequel. As much fun as it is to step into a movie world for the first time and find out what's going on, there's a certain sameyness to the requisite beats to establish origins, establish personalities, establish locations, just a whole lot o' establishing going on. Again, that's great and all, but it limits the amount of time for the story itself, and limits the range of stories that can be told. Look at all the superhero origin stories that have come out lately, and summarize to yourself the story in the movie, without including any of the establishing. Even in the best ones... in fact, to some extent, especially in the best ones... the story itself is quite simple. The sequel will have a chance to spread its wings much more. The fact that so many fail to do so is... well... an interesting discussion on its own. But the really great sequels are often movies that had to be sequels, because they told a story too big to also have 45-75 minutes of establishing in there with them.