What tv series or sitcom would you most like to see as a movie?

Everyone knows about the lost seaon's rite on abc and chanel 4? well i would love lost to make a film inseatd of making more seasons of it, i would say that most of us would understand it better in this format, and wow is it just me but is katie in there gorgeous???

How could they write a film script when everyone knows they just make up that show as they go along?

(j/k... I'm a Lost junky)

so by taking 6 months of the year to plan the show scripts means they just make it up? lol, but lost is a mystery though, making it up or changing part of the scripts is needed in this kind of show to make it awesome.
you a drunky still now ops i mean junky

I think a malcolm in the middle film...when he goes to college

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WONDER YEARS! hahaha

A Bottom Movie would be Great.....As would The YOung ones!!

I have forgotten about the young ones I loved that show

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if My Name is Earl wasn't a TV Series it probably would have been a good movie, with all the same actors/actresses that are in it now, but now that it is a show, all they could do with it is make the end an hour-long-episode-movie-finale.

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Heh! A movie based on a TV show based on a movie I love it (Narf!)

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The Sopranos definitely. I mean so much was left unresolved at the end of the final series that it is just crying out foe a movie to be made!

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"Frank's Place". This series was too good for television. I also would have liked to have seen the failed series "Invasion" and "The Black Donnelys" made into a complete film.

I know I'm in the minority still, but I liked the "Sopranos" finale. And other than Tony, Carmella and the kids, the fates of many of the supporting characters were divulged already, so I truly don't see a need for it.

If the long-rumored "Arrested Development" movie ever comes to be, I'll be happy to see that one. But for me it really has to be a show like that one or "Firefly" that was ended prematurely, where the creators have more story to tell or wrap up in a special way. But for great series that went out the way they wanted to...don't see a point. As for older classic shows that would have to be recast and slightly reimagined, I can't think of a single one calling out to be made.

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I agree, it made its point, and it made it in a better way than, well, that one event everyone seems to think either a) should have happened or b) did happen. Still pretty surprised at how many people interpret the finale the way they do...can you tell I really, really don't want to use spoiler tags here?

Surely you saw Serenity, though, yes? Genuinely great flick, and fun to watch as a fan of the show because it's easy to see how its storyline could have been stretched out over a couple of seasons, had Firefly ever gotten that far.

Yes, that's what I just said. I was implying that like Serenity Hurwitz and company could well have enough inspiration and ideas left over to make a compelling movie plotline.

I really am sorry I didn't pay attention to "Firefly" until it was already gone. "Serenity" was a great stand-alone, but when someone gave me the DVD for the series, it was one of the most intelligent and well-written science fiction projects that I can recall. Imagine, a sci-fi television show that is more into character and story than science. Surprised, but happy, it was at least greenlit by the network for one season.

I made it through about 3 seasons of the Sopranos before I got burned out on trying to keep up with the different characters and what they were mumbling about--East Coast Italian accents don't translate very well to Gulf Coast Texas. Plus they were running out of new ways and reasons to kill each other. Man, the beer wars of the 1920s didn't have that big a body count. Besides, there was no one to root for--even the psychiatrist needed to be smacked.

Ah, the ambiguity threw me; I read it as "Firefly is also a good choice." IE: in addition to Arrested Development, as opposed to a model for it. Thanks for clearing that up.

By the by: what 1-5 rating would you give Serenity? Fair warning: if it's less than , the forecast will be scattered pouting with a 60% chance of bellowing incoherently.

Well, it's no "Dallas", I'll grant you that.


"Dallas", by the way, is one of those long-gestating adaptations that has been brewing for years now but never made it to the filming stage. John Travolta was attached for a long time as J.R. and Betty Thomas was going to direct, presumably a comedic and satirical take on the material more akin to her The Brady Bunch Movie (1995) and not a straight adaptation.

Can't see how it's needed, either way.

Oh, Gawd! Dallas!!! That was probably the one TV series The Sopranos was better than! It was embarrassing to have a TV series supposedly about Texas oilmen that didn't know sheepshanks from Shinola about (a) oil and (b) Texas! And that long-haired goofus Patrick Duffy prancing around in those “girly-man” designer jeans and feathered hat-bands! Although not as blatant, Hagman was worse since he really was born in Texas. When JR got shot, they had to round up half the state for questioning!

And to make Dallas into a film with John Travolta, yet. It took this state a long time to live down the TV series and Travolta’s image of an Urban Cowboy. I much prefer the 1950 film Dallas with Gary Cooper, Raymond Massey, Ruth Roman, Steve Cochran, and Leif Erickson

Funny thing is that a few years before the Dallas series hit the TV screens, I interviewed a group of independent Dallas oilmen (as opposed to the integrated oil companies such as Exxon, Chevron, BP, etc.; the independents have always done most of the drilling in the US) who were talking about trying to get someone to do a TV program about the oil business. Their theory was that if they could show folks that the independents were small mom-and-pop outfits very unlike the big majors, maybe Congress would stop passing laws aimed at the international majors that were instead knocking in the head the small independents and the widows and orphans who collected royalties from their US production. These "good ol' boys" were hoping maybe John Wayne would star in the series and some of his image as hero and patriot would rub off on them. Funny thing was that the producers cast Jim Davis—who got into pictures via the old Republic Studios as a “John Wayne-type” of western star—as the head of the Ewing family.

I asked the oilmen if their proposed TV program would show the industry’s sexy side, too. “Well,” one of them drawled, “you know the oil business. There’s always someone making hole somewhere.”

I don't know if they played any role in creating the Dallas TV series, but I bet they were kicking themselves when they saw how it turned out.

Making a movie from a TV series always seems dumb to me because it the series really was that good, it would still be on television making money. And it seems especially foolish to make a movie from a TV series that ran 40-50 years earlier.

Two good examples of successful TV series that were remade in recent years into really bad films are McHale's Navy and Sgt. Bilko.

McHale's Navy originally was a one-shot television non-comedic drama about the commander of a PT boat in World War II, played by Ernest Borgnine. It drew a good enough rating that the studio decided to spin it into a TV series. And it was handed over to producer Edward J. Montagne, who had produced the long-running Phil Silvers Show (143 episodes, 1955-1959) with burlesque comic Silvers playing an opportunistic Army Sgt. Bilko. Now remember, that came out in a period after millions of American men had served in World War II and the Korean War--long enough afterward that they generally remembered the funny things that happened in the service rather than the death and horror. On top of that, The Phil Silvers Show was an ensemble piece with several really good comics, including Harvey Lembeck, Allen Melvin, Maurice Gosfield, and Paul Ford. And it attracted guest stars like Dick Van Dyke, Eric Fleming (Clint Eastwood's trail-herder boss on Rawhide!) Fred Gwynne, Alan Alda, and Paul Lynne. In fact there were so many supporting cast members with so many speaking parts that the show became too expensive for weekly television. It's ratings were still climbing when the network closed it. In fact, it was so popular in the same time slot against Milton Berle that it ended Berle's reign as Mr. Television. And it made a star of Silvers who had spent a lifetime in second-banana parts on stage and screen.

So handed a new program, producer Montagne decides to turn it into a Navy version of Sgt. Bilko and brings in a hot new comic Tim Conway as co-star. Although Borgnine got top billing, it was Conway who was the star of the show in his first big break (138 30-minute B&W episodes Sept. 11, 1962-Aug. 20, 1966. Some of the old Bilko crew made the transition to McHale. The crew also made two McHale movies, McHale's Navy in 1964 and McHale's Navy Joins the Air Force in 1965, both small successes although neither Borgnine or the comedian playing his commander appeared in the second film. How unique is this TV series to its time frame? There are recurring references in early episodes to the unnamed commander of another PT boat—the PT 109. John Kennedy, elected president in 1961, was awarded a medal for his heroic performance as the captain of the real-life PT 109 during World War II.

So flash forward to 1996 when some Hollywood bright boy comes up with the great idea of remaking Sgt. Bilko. But Steve Martin is no Phil Silvers, Dan Aykroyd is no Paul Ford, and Eric Edwards just can’t cut it as the strange but loveable Duane Doberman, and the film is a box-office bust. Having learned nothing from this, Hollywood comes back the next year with a pathetic remake of McHale’s Navy with an even worse cast—Tom Arnold, Dean Stockwell, and David Alan Grier—producing one of the biggest flops of that year. Old TV series just don’t recycle well with today’s younger movie audiences.