Last
year around this time, I spent a lot of time explaining why I thought the
upcoming reboot of The Wonder Years – this time done with an African
American family – might have even more potential than the original. When it
debuted last year, many critics considered it superb. I gave it five stars and
ranked it among my ten best series of 2021. The series received multiple award
nominations from the Image Awards and the HCA.
But even before it had debuted, far too many people had already made up
their minds.
Before a single episode
aired, it had been giving an overall rating of 3.5 at imdb.com. The average
rating after the first season was roughly seven, which is closer to accuracy
but I wasn’t entirely stunned – any more than I was given the reaction to the
CW’s Tom Swift – who I’m willing
to bet nobody on the internet had even heard of - had been changed to a gay African-American was
a violation of a sacred text or the fact that Amazon had decided to turn off
reviewing for its Lord of the Rings spinoff when trolls decided that
because people of color were playing critical roles, it was a violation of
everything Tolkien stood for.
Because, as we should all
know by now fantasy, like space exploration set far in the future, historic
pieces done in the past and time travel, all belong to white men. They are the
only people who can truly do justice to the genre – any genre, really.
Because it’s fine for a time lord to regenerate a dozen times, but they must
only do so as white men, never women or people of color. That’s the companion’s
job and honestly, we’re not really happy about that. Similarly, they must only
travel to alien worlds, not any part of the past that is relevant. Comic book heroes are always straight white
men; any attempt to make them anything else is ‘political’ and that’s not what
comic books are about. And we don’t put our hands on Star Trek or Star
Wars; those are gospel.
Honestly, the lunacy to this
has reached incredible levels. Earlier this year, Disney Plus released Obi-Wan
where Ewan McGregor reprised the role, he’d played in the first three
episodes of Star Wars. You remember those, right? The series that
everybody said ruined their enjoyment of the original series. The episodes that
basically featured actors people loathed in stories that made no sense. That
relied on CGI that so many people hated. This is the prime example of the exact
kind of series that nobody asked for, and there was outrage when it came out.
But not because of that. Not because people hated the idea. No, all of their
loathing was directed to Moses Ingram’s portrayal of an African American female
Jedi. If I remember some of the criticism, she was ‘taking attention away from
the series.’
If this doesn’t prove that
the trolls on the internet on spoiled fanboys, I don’t know what will. At this
point, I honestly if Plan 9 From Outer Space was remade and the Bela
Lugosi character – who you might not know died two days before filming and was
replaced by a non-actor who hid this face – was replaced by Morgan Freeman, the
Internet would react by saying this was ‘turning a classic film woke’. Really at this point, I honestly think what
the fans really want when they say they want a ‘reimagining of a classic
franchise’ is literally shot-for-shot remakes of films and TV series with
better effect and different actors. Of course, when Gus Van Sant does this with
Psycho, they torch him for being derivative. But considering how the
fanbase reacts to anything they consider classing being altered when its
remade, I honestly think it’s the only thing that will satisfy them. For more
than quarter century fans were obsessed with Battlestar Galactica - a
series that was never a ratings success and nothing more than a Star Wars rip-off
– being remade. And when it was with Starbuck being played by a woman, they
turned on it immediately called it ‘Galactica in name Only or GINO. Hmm.
Interesting acronym. Perhaps there’s some connection to something else.
Anyway, when I was writing
my first article on The Wonder Years reboot, I pondered that I actually
thought there were some series that would benefit from a reimaging, and one,
surprise, surprise was Quantum Leap. I thought that much of the series potential
was unrealized (rewatching many of the episodes in syndication have convinced
as much) that the series was cancelled a season before Donald Bellisario wanted
to end it (it was just starting to reach its true potential in what turned out
to be its final year) and that there might be a way to do and bring closure.
But of course, when the new version of the series was announced, the same old
haters came out saying ‘how dare they’ and this series was sacred. Right. A
series about time travel with a white savior leaping into the lives of African
Americans, women, a chimp and in one case an amputee was perfect. A series
where one of the two leads was a middle-aged hologram who wanted to sleep with
every pretty woman who appeared in Sam’s leaps, had been married half a dozen
times, and who we would later learn was sleeping with at least two women on the
project. That’s not the point, they’d argue, never telling us what the point
is. I will get back to these haters a little later. (Or maybe I won’t. I’ve
considered a column or two raging against them, but time -ha-ha – has convinced
me to think better of it.)
Well, I’ve seen the first
three episodes and while I don’t think it’s nearly as superlative as the new Wonder
Years was at this point, it is certainly far more ambitious than the
original was at this same point (or indeed the first season). The pilot begins
with us meeting Ben Sung (Raymond Lee) the man at the center of the new Quantum
Leap project with his entire team – which includes his fiancée. (For the record, this is keeping to canon:
eventually we learned that Sam Beckett’s wife was part of the project from the
start. The series is just playing fair with us from the start.) Then Ben ends
up going to the project ahead of schedule (like Sam did in the original) and
leaps into a bizarre situation – this time as the driver for a robbery. He is
given support from a hologram – only he doesn’t know that it’s his fiancée.
The basic premise of the
series has not changed: Ben is leaping from life to life, striving to put right
what once went wrong, has no memory of his past, and is ‘hoping the next leap
will be the leap home’. The major variation is that we spend nearly as much
time with the team as we do with Ben as they try to figure out what’s going on
with Ben. This is actually something I would have preferred the series have
done more often and far earlier than it ended up doing: when it went to the
imaging chamber and beyond it actually was intriguing. (One of my favorite
moments in the series is when Sam has leaped into Lee Harvey Oswald and Al is
trying to find out exactly what the world’s most notorious assassin actually was
planning.)
At this point, the team (led
by Ernie Hudson as Magic) is proceeding not only trying to figure out why Ben
ended up leaping before the project was ready. We have already that he has been
working in secret with Al Calavicci’s daughter who was never part of the
project. (Some would argue Al never had a daughter, but this is possible: in
the original series finale, Al and his first wife were reunited as Sam’s last
leap and the subtitles said they had several children.) She’s working for some
purpose that remains undetermined at this time but given that she was willing
to drug her own mother to get some remnants from the project that Al was
holding on, it ain’t for any good reason. We have also learned that part of the
code that Ben was working on with here has changed things: in his last leap, he
managed to leap outside his own lifetime. (Sam actually did that in one of the
series last episodes, ending up in the body of a pre-Civil War ancestor, but
let’s let that go.) And apparently, he has arranged things so that he can leap
to a specific point in time. Is it possible that Ben is trying to find a way to
locate and rescue Sam Beckett himself?
Now I imagine this is the
point where all the trolls come out and complain about the hologram being a
young woman and the team including an Asian woman and a non-binary tech support
guy. I could make the argument that the original team was made up of at least
three women, one of whom was African American and that Ziggy itself was such a diva,
that if a computer could be gay, it would be. But I know better than to try and
use logic with trolls and I’ve spent far too much of this review ranting. (I
will no doubt do so again when this happens.) I’ve described why I think this
new version of Quantum Leap works and why I think it has potential. I
think the cast and the writing are still finding their legs in the actual
leaps, but so was the original at this point in time. I think it is worth
watching to see where the series goes. If this review encourages you, then I’ve
done my job. If it doesn’t… well, I still haven’t given up. I’m hoping that the
next review will be the one that convinces you to change your mind.
My score: 3.75 stars.
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