How do you solve a problem like Jack Ryan? This appears to be a question Hollywood has been asking itself for over two decades. Tom Clancy’s most famous creation—the lowly, bookish CIA analyst who over the course of around a dozen modern espionage novels becomes President of the United States—has assiduously avoided successful attempts at long-term adaptation. Amazon’s new take on the character, starring John Krasinski, is the fifth attempt in a long line of varying tries to make Jack Ryan a cinematic icon.
The most well-known incarnation still remains, arguably, the two pictures Harrison Ford portrayed him in – 1992’s Patriot Games and 1994’s Clear and Present Danger, both from Australian director Philip Noyce – and it is perhaps one of the most unfortunate roads not taken that Ford didn’t continue in the role and build to Ryan’s Presidential years. While Clancy was still writing books featuring the character, Ryan then went away for a while, cinematically. Ford wasn’t, of course, the first incarnation of the character.
Let me preface this piece with a confession: I haven’t watched The Walking Dead in at least five years. My relationship with the show ended following the lacklustre conclusion to the third season. Many people have suggested the fourth is the best so perhaps the joke’s on me, but here’s the reason I never came back: I just couldn’t cope with the nihilism. If there is a TV show built on a deeper sense of profound doom than the adaptation of Robert Kirkman’s comic, it’s doing a very good job of hiding itself.
The Walking Dead has, from the very beginning, been predicated on the fact there will be no happy ending. The zombies will never be eradicated. The world will never be saved, the virus never cured. The survivors will spend the rest of their lives fighting impossible odds only to one day die, either naturally or horrifically. No light exists at the end of this tunnel. Bleak, huh? Bleak and, for many, alienating. The Walking Dead is shedding viewers by the episode as it’s Eighth Season airs in the US. Many have suggested the rot has been setting in for the last couple of seasons, for several reasons (stand up, Negan). It feels like a show approaching its death throes which is ironic, because The Walking Dead refuses to end in kind of conventional sense.
Endings are fascinating to me. Endings are where the power lies in storytelling, no matter whether you’re dealing with a TV show, movie, book, video game, anything with a narrative structure. You’ll hear many fiction writers talk about how they’ve figured out their conclusion before anything else, novelists in particular. That’s a much harder maxim for television writers to follow given the mercurial nature of the business. Movies are able more conclusively to craft an ending if they are telling a contained story but now almost every cinematic experience ends with the promise of a follow up, whether a straight sequel or a cinematic franchise. The solitary, told story experience is one to be cherished, in whatever form of media.