Route 666
By ice rivers
- 217 reads
Network teevee was in its death throttles. Hamstrung by censors and commercialization, the networks were getting blown away by streaming services. In an act of desperation, Fox attempted to convert the Exorcist franchise into a weekly teevee show. The attempt failed for a myriad of reasons although individual programs were well acted, produced and performed. The first episode did well and then the ratings plummetted. A second season was dead on arrival but staggered through another ten 4o minute. There was an obvious misallignment between audience expectations and overall narrative direction of the series.
The misalignment between audience expectations and the overall narrative direction of the series is a common issue that can lead to the failure of a television show. When adapting a well-known franchise like The Exorcist, there are pre-existing expectations from fans of the original material. If the series deviates too much or fails to capture the essence of what made the franchise popular in the first place, it can result in a loss of viewer interest.
The first episode attracted viewers who were initially intrigued by the idea of an Exorcist television series, but as the subsequent episodes unfolded, the narrative direction may have diverged in a way that didn't resonate with the audience. It could be that the storytelling, character development, or thematic elements didn't align with what fans of The Exorcist were expecting or hoping for in a weekly series.
This kind of misalignment can be a significant challenge for any adaptation, and it underscores the importance of understanding and catering to the expectations of the existing fan base while also crafting a narrative that can attract new viewers. It's a delicate balance that, if not achieved, can lead to a decline in viewership and the ultimate failure of the series, even if individual episodes are well-executed. Perhaps if the series was not called the Exorcist, it might have survived as interest in spiritual matters, good versus eveil and even exorcism itself seemd to resonate with the viewing public Perhaps if the series was not called the Exorcist, it might have survived as interest in spiritual matters, good versus evil and even exorcism itself seemed to resonate with the viewing public In an attempt to revive their fortunes, Fox tried to adapt the Exorcist franchise into a weekly television show. However, despite the quality of individual episodes in terms of acting, production, and performance, the show failed to maintain its first episode success and was terminated.
As so often happens as a result of failure, a new idea began to take shape in the mind of Robin Saunders. Robin was a freelance writer who enjoyed the Exorcist series and had contributed to it. She was aware of the vulnerabilities and wasn't surprised when the show was cancelled. She imagined a new show that would transport the viewer back in time to when network teevee ruled while simultaneously combatting the issues that doomed the Exorcist. The new show would be broadcast in black and white. The show would be called Route 666 and it would revolve around the adventures of two "cool" priests traveling around America in 1 958 Corvette. Father Buzz and Father Todd had submitted the idea to Bishop Fulton Sheen and Sheen had received permission from the Vatican to activate the idea. Every week week, Sheen would appear as a Rod Serling figure introducing each of the 40 minute episodes. Not only did the Corvette serve as transportation for Buzz and Todd, it had been consecrated to serve as an altar where confession could be heard and communion shared.
In their journeys Buzz and Todd would travel through the factual/fictional canvas of America in the fifties, Integrating encounters with children from iconic TV series of the time, such as "Father Knows Best," "Leave It to Beaver," "The Donna Reed Show," "Make Room for Daddy," "Mickey Mouse Club," and "The Andy Griffith Show," Robin felt that the consecrated Corvette would add a level of symbolism and significance to the show; a place where important religious rituals could take place including baptism, confirmation and extreme unction. By taking the rituals on the road, Route 666 might resonate with viewers who appreciate a more flexible and inclusive portrayal of spirituality.
Each episode would begin a voice over by Peter Coyote describing the late 1950's as a time of youthful rebellion. Children were swearing, telling lies, disrespecting their parents, listening to devil's music, engaging in self-abuse, making out, smoking cigarettes and staying out too late. The only hope was in the church and the church was no longer cool. Theme music would play (Walk Don't Run) until Sheen/Serling appeared and began the narration of the next episode. Perhaps Martin Sheen would be willing to portray Bishop Sheen.
Along the way, Buzz and Todd would meet other spiritual figures including Billy Graham, Martin Luther King and Elijah Muhammad along with other prominent rabbis, ministers and occasional charlatans.
Many of the episodes would involve innocent, Leave it To Beaver transgressions that portrayed a darker side of the Cleavers while staying barely within bounds. Some episodes would involve characters like Jim Stark and Judy from Rebel without a Cause, and Tony from I was a teenage werewolf as well as Riff and Bernardo from West Side Story.
The series would also include Buzz and Todd interacting with children who would grow to become Bruce Springsteen, Meryl Streep, Woody Allen and OJ Simpson.
Robin was a freelancer. Her only connection to the studio was Virginia Adair who was let go after the fiasco of the teevee Exorcist. Robin entered medical school and became a surgeon. Her freelance days were over. Route 666 died on the vine.
It was in her role as a surgeon that Robin met Thornton Krell. Krell was having his hip replaced. Robin recognized Krell and told him about her foray into television. Krell listened as Robin described her experience with the Exorcist and synopsized Route 666. Krell loved it. She gave him all that she had written from back in the day. Krell said that he knew three people in broadcasting; Megan Ball and Chris Roach. He asked permission from Robin to pass her ideas on to Megan, Chris and Ovid.
Robin agreed.
Then Krell remembered that Ice Rivers was finishing up his trilogy and thought that Ice might put Robin's idea out there as well in print.
Which I'm doing.
- Log in to post comments