Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.
More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.
If you’re a fan of The X-Files, there’s a very good chance you’ve now seen how it ends. The eleventh season, at any rate. To suggest The X-Files has truly ended with any kind of assurance is to suggest maybe Santa won’t be back next Christmas. By now, and as I’ve discussed previously, The X-Files doesn’t end. It’s always going to be with us, somehow.
What is now interesting is the fallout from the Season 11 finale, ‘My Struggle IV’, and what people are starting to look at as being the continuation of The X-Files. As I stated in a previous piece, we are at a crossroads in terms of where Chris Carter takes his beloved half a century old property. The season finale—which we’ll call it until Carter or anyone else confirms this iteration of the series is over—left Agents Mulder & Scully in the position where they can either pick up their work in some fashion and continue on, or walk away and begin a new life as the family unit millions of ‘shippers’ have always wanted them to be. However, what is interesting in fan circles is not Mulder & Scully’s future, but that of their son William.
There’s an almost laugh out loud moment in War For the Planet of the Apes in which several of our simian heroes, traversing a tunnel underneath a massive, fortified Army mountain base, find scrawled graffiti on the wall which reads ‘Ape-ocalypse Now’. The laughter doesn’t just come from the bad pun but how, frankly, that could have been an alternate title in a much sillier world.
War For the Planet of the Apes is about both the death of humanity but also the death of the American Dream. This is exemplified through the character of The Colonel, played with quiet steel masking hardened swagger by Woody Harrelson, who is a not so veiled homage to Marlon Brando’s Colonel Kurtz in Francis Ford Coppola’s Apocalypse Now; he’s bald, he’s a stone cold military man, he has an almost hypnotic power of his troops and he’s very much gone off the reservation. The Colonel captures the madness of war, and the fear behind knowing you’ve essentially lost it.
After the critical and commercial success of Dawn of the Planet of the Apes, Matt Reeves was swiftly recruited by 20th Century Fox alongside returning writers Rick Jaffa & Amanda Silver to continue and in many senses conclude the Apes saga began in Rupert Wyatt’s Rise of the Planet of the Apes in 2011. While the series could continue beyond War, by the end you honestly wonder if it should. Sure, this could very easily lead into the original Planet of the Apes remade, but what would be the point? What story is left to tell? This feels like the definitive exploration of man vs ape as a complete trilogy.
If Rise of the Planet of the Apes was about the hubris of man bringing on its own self-destruction, Dawn of the Planet of the Apes switches the gears to focus much more heavily on ape society, and how unwitting leader of their new civilisation Caesar can rule and govern a world alongside what’s left of humanity.
Following the critical and commercial success of Rise in 2011, it was expected that Rupert Wyatt would continue and develop the story of Caesar (Andy Serkis) and the rising planet of the apes into the almost inevitable sequel. The plan between he and producer Rick Jaffa was to build back toward the story of the 1968 original Charlton Heston movie, in which his lone surviving astronaut ultimately finds himself on a future, post-apocalyptic Earth which apekind have inherited; indeed in Rise we see the launch of the Icarus, the very same space mission to Mars, more than suggesting we were heading back to a probable remake of Planet of the Apes – ignoring Tim Burton’s poor 2001 attempt.
Suddenly, Wyatt left the project late in 2012 when 20th Century Fox’s planned release date of May 2014 was deemed far too close to write, produce and direct what was already announced as Dawn of the Planet of the Apes, especially considering the sheer amount of CGI work needed to put Caesar and his world on screen. Matt Reeves, still riding the success of sort-of indie, sort-of found footage, sort-of blockbuster Cloverfield in 2008 and at that point developing a Twilight Zone feature remake, was drafted in as his replacement. Reeves very much took the ideas Wyatt laid down in Rise and evolved them in a way one suspects differently from how Wyatt himself would have gone.