Well, no, not really, but I can’t help but wince at the fact that the new Charlie’s Angels pilot will have a young, good-looking Bosley who is described in the script’s stage directions as “a perfect specimen of 21st-century American manhood.” Why? Because for many of us — okay, me — Charlie’s Angels made the most sense if you looked at it as the tragedy of John Bosley, a schlubby-looking, scratchy-voiced man who clearly can’t get a girl under most circumstances. He’s surrounded by beautiful women whom he cannot have, and who treat him like their ugly sister. And he’s working for a guy who can apparently have any woman he wants and never has to do any actual work. Think what goes on in that man’s mind. Clearly, if Charlie’s Angels had run another season they would have revealed the big twist: Bosley has been in hell all this time, and this is his eternal torture — created by an unseen, all-powerful god who prefers to be called “Charlie.”
I actually think the script of the pilot is not bad, if you remember that “not bad” for this kind of show means it can — nay, must — include a heaping helping of cheese. It also includes a cute idea of paying homage to the original title sequence (and the interstitial sequences leading into commercial breaks) by calling for a split-screen technique that seems like 24, except with the screen cut into different shapes. Then again, I thought the script of the Rockford Files remake wasn’t bad, and that pilot went nowhere thanks to casting and execution problems. If this one winds up the same way, the producers can always blame the director too.
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