Genre: TV Pilot – Sci-fi Comedy
Premise: In the early 22nd century, when space travel is commonplace, a young ship commander accidentally flies his crew into a parallel dimension.
About: Paul Feig (Bridesmaids, The Heat) is one of the new faces for Yahoo’s recent infatuation with comedy half-hours. Yahoo and Amazon are looking for ways to differentiate themselves from the Netflix original programming dynasty and since Netflix loves its one hour dramas, the two media giants are going after comedy instead. Feig, who started in TV with the universally acclaimed “Freaks and Geeks,” a show that’s spawned every comedic actor working right now who didn’t come out of SNL, is coming back to television with Other Space, a show he originally conceived of ten years ago. That’s the draft I’m going to be reviewing today, the old one. Let’s check it out, yo.
Writer: Paul Feig
Details: 50 pages (but it’s in that old TV format where everything is double-spaced) – 1/12/04 draft

ghostbusters-female-cast_cover2This would probably be the best female Ghosbusters trio

If you’re anything like me, you’re equal parts intrigued, worried, skeptical, and fascinated by this whole “All-Female” Ghostbusters thing Paul Feig is putting together. It has the potential to be really funny or REALLY bad. I mean, if the only reason you have an all female Ghosbusters team is because a director is really good with female actors, might that not be the best way to approach a story?

Isn’t the idea of a storytelling to grow ideas organically? Not because you’re trying to meet some mandate that will allow the movie to get a green light? Then you tack on this whole thing about how the previous Ghostbusters installments never happened, and we’re in hot slime. That’s a very curious position to take. You’re erasing from the archives some of the most lovable characters in cinema history. Is your core audience really going to be okay with that?

And how do you even begin to explain an all-female Ghostubsters team in a script? Are they going to have a sign on the front door that says, “Female applicants only?” What would be the logic in eliminating males from becoming Ghostbusters? I suppose you can write it in that the three main characters are friends from graduate school, just like the original Ghostbusters, but this setup is already feeling a mite forced.

I wouldn’t be surprised if, at some point, Feig said, “Uhhh, nothing about this feels natural,” and they ditch it again. Why does this project have to be so complicated? Make it so that, since 1989, the old Ghostbusters cleaned up the ghost problem in New York so that nobody’s seen a ghost in 25 years. But recently, a couple have been spotted, and some new Ghostbusters bring the old business back to life? People aren’t clamoring for a world-class set-up to a story about taking down ghosts. Just get us to some ghosts wreaking havoc and let’s have some fun!

And you know what, I like Feig as the director of an all-female OR all-male Ghostbusters reboot. I thought Bridesmaids was hilarious. The Heat was a perfectly conceived concept with some funny moments. This guy knows funny and seems to have the sensibilities to take on this project. But you can’t put the vice grip on this. Let the story breathe and don’t limit yourself. Here’s to hoping his pilot does the same…

Stewart Lipinsky may only be 21 years old, but he’s an ace with a star ship, and nails the toughest space simulator test the Space Federation’s got, the “surprise asteroid” test (all he had to do was run a fuel clean-out burst through the forward venting tubes). This allows Stewart to win command of his very own star ship, the USS Cruiser!

This would be wonderful if the rest of Stewart’s crew wasn’t so miserable. There’s his 24 year old sister, Karen, who’s pissed off that SHE’S not the new captain. There’s Navigator Tina, Stewart’s secret crush, who’s bummed out that she’s leaving her boyfriend. There’s best friend Michael, who’s upset HE didn’t win the captain position. And then there’s Kent, the allergy ridden science advisor who’s dad forced him to take this position.

As the crew heads out on their first deep space trip and Stewart tries to pump up crew morale, they accidentally float through a ripped pocket of the space-time continuum. It doesn’t take them long to realize they’re in a whole new dimension now where the laws of their previous universe don’t apply anymore.

In fact, the miserable crew all of a sudden starts being really nice to Stewart, encouraging him to celebrate this unheralded discovery by opening up all the air locks. Opening up all the air locks? That doesn’t sound right. Stewart snaps out of it and realizes that some sort of evil amoeba has slipped into the ship, creating a bunch of illusions in order to trick the crew into killing themselves!

This is the new universe they live in, one where they’ll have to adapt quickly if they plan to survive. And while it kind of sucks that they’re stuck here, they figure as long as they are, they might as well fly around and document it all in the unlikely event that they find a way back to their universe. And that, my friends, is our pilot.

ghostbuster-female-reboot-banner2Paul Feig

I’ll tell you what I was hoping this wasn’t going to be. I was hoping it wasn’t going to be some uber Star Trek geek’s excuse to geek out about Star Trek scenarios for 30 minutes a week. So what happens in the very first scene? Stewart pops up from behind his command chair holding a metal Star Trek pin. “I found my Star Trek pin,” he says. “My dad would have killed me if I lost this.”

Oh boy.

I’ve made the disclaimer hundreds of times before that comedy is subjective, but I’m not sure anyone’s going to disagree on this one. There isn’t anything funny here. There are some amusing moments. There are some smiles to be had. But I’m not sure a single joke landed. When General Malarky confirms to Karen, Stewart’s sister, that he’ll get to be captain over her, her response is, “Permission to kill myself, sir.” Yeah, I smiled. But haven’t I seen that line uttered 10 billion times already? That’s the level of humor to expect here. Very middle-of-the-road safe stuff.

Which is fine if you’re writing a sitcom for CBS. Some might even argue it’s REQUIRED to write a sitcom for CBS. But this is Yahoo man! This is the internet! The place where you need not worry about crusty old men in suits questioning every joke. You get to take chances. Of course, Past Paul Feig did not know that Future Paul Feig would sell this to Yahoo in 10 years. I’m not even sure there was a Yahoo ten years ago. So I’ll give him a pass on that. But I won’t give him a pass on the safety of these jokes.

Now I don’t usually review half-hour pilots on the site, but an eye-popping number arrived on my internet this weekend which I’ve been unable to forget since. Did you guys know that The Big Bang Theory is worth 2.5 billion dollars! Not a typo. B. Bee. Beeeeeeee. Beeeeeeee-illion. That’s gotta mean that shows like say, Community, which get 1/4 or 1/5 the ratings are work HALF A BILLION dollars, right? Half a billion dollars for a 1.5 rating??  Sign me up!  If you’ve got a good comedy idea, you should definitely be writing yourself a half-hour comedy show.

This brings up a question I’ve been battling with lately as far as the TV world. With SO MANY places to sell to these days, and with each of those places being so different (some need commercial breaks, some don’t, some have time constraints, some don’t, some want a 10 episode season, some 24, some are safe networks, some are riskier), how do you know how to write your pilot anymore? I’d write a CBS sit-com completely differently than I’d write an HBO sitcom. But then am I limiting myself? Should I split the difference? With movies you just write what you want to write. Ironically, TV shows, which are supposed to give you so much more freedom, are becoming harder and harder to tab with all these options. Maybe you TV experts can help me out. This industry is changing so darn fast, I can’t keep up with it, even when I’m hanging on to the tail of the USS Cruiser.

[ ] what the hell did I just read?
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: If you have a wild premise, you can’t deliver a safe execution. If you’re going to rev up our expectations with a show about a space crew that gets lost in another dimension, you can’t be delivering standard jokes like: “Permission to kill myself, sir.” You’ve made a promise to the reader that you’re going to do something unique. Playing it safe with the execution is breaking that promise.

  • Bifferspice

    out of all the possible reasons to get worked up about a reboot of ghostbusters, i can’t see why the fact they’re all women has struck you as so perplexing. why were the first all male? what crazy plot shenanigans did they have to pull to exclude a single female from being one of the group of four. oh, they didn’t. they were just three mates who set up a business, and then later recruited another guy. and while i hate remakes, i don’t see this as being totally egregious, especially if they are doing something different with it. at least they have an idea. and if they’re doing that, i’d rather they just ignored the previous films too, and didn’t shoehorn references to the other stuff. just do it as a standalone film. and it’s not erasing the original characters from the archives, for god’s sake. they still exist on your shelf and mine. i’d just rather a reboot didn’t feel hampered by the old one, and have to insert a few crappy insulting references to what happened to the original characters when they got old and retired or died. how would that make the project better? just get on with doing the film how you want to do it.

    • carsonreeves1

      It’s not so much that having three female Ghostbusters bothers me as that they HAVE to be female. Why can’t there be two female and one male? Why have they locked themselves into excluding men? Because Paul Feig is good with female actresses? It seems like they’re forcing the issue instead of letting the story dictate who the Ghostbusters are.

      • Bifferspice

        because they want everyone who loved bridesmaids to go see it, i guess. it’s a selling point, but a perfectly valid one. it’s not gimmicky and is a good way to distance itself from the original, making it very much its own thing from the start.

      • Randy Williams

        I can see the jokes.

        Sandra- We shouldn’t go in there! It reminds me of that house from
        “The Conjuring”!

        Tina- You’re right, we might get “the clap”!

        Melissa- Bitches, I’ve got penicillin in my purse.

  • peisley

    What’s with Tina’s hand?

    • Andrew Orillion

      It’s Dan Akroyd’s or maybe Harold Ramis’.

    • gonzorama

      Foul ghost-busting chemicals gave her man hands…

  • Scott Chamberlain

    Enlighten me. If the original Ghostbusters didn’t have a sign “Male Applicants Only” to explain why they were all blokes, why does the new version need a “Female Applicants Only” sign to explain why they’re all chicks? Is Ghostbuster a traditionally male occupation…?

    • carsonreeves1

      Well it has been. When the average person thinks of a Ghostbuster, they think of a male, for better or worse. But either way, you shouldn’t limit yourself to male or female is my point. Find the best concept, the best story, and let your characters emerge out of that.

      • Randy Williams

        Don’t they want to sell toys?

        Transformers were and are boy toys. Ghostbuster action figures and vehicles were boy toys and could be again.

        Female Ghostbusters? They better carry big awesomely cool weapons and ride in totally sick vehicles. Still, I think those happy meals won’t be so happy.

  • Montana Gillis

    I’m pretty sure that “ten year old pilot script” will be getting an update and more than a few re-re-re-re-writes. 10 year old jokes typically fall as flat as a 30 year old cross dresser with their training bra unsnapped… Budda bing!

  • hickeyyy

    To be honest, the “all-female” doesn’t bother me in the least. The part that bothers me is completely rebooting it from scratch. Why are we removing some of the better comedy characters of all time from existence? I’m not sure the problem with keeping it within the same universe so I don’t have to watch this and pretend the other ones didn’t happen? That’s NOT going to work – especially when you consider how beloved the original is.

    • Nicholas J

      Because it’s a remake and not a sequel. You don’t hear references to Michael Keaton in Batman Begins, do you?

      It doesn’t remove the old characters from existence. They’re still right there on your Ghostbusters DVD. I don’t like remakes as much as anyone, but I never understood the mentality of “it’s going to ruin the original!” Why? They are completely separate movies and one has no affect on the other.

      • Bifferspice

        only way it ruins it is when it comes up for discussion. “i saw robocop the other day”. “the new one or the original?” harumph. there’s only one robocop you bastards. and i’ll never be persuaded otherwise.

      • hickeyyy

        I suppose that’s a fair argument, but I don’t want to have it rebooted – I would like to continue the tale. In my mind it’s just personal preference.

  • brenkilco

    Despite the undeniable affection it’s generated over the years am I along in thinking that Ghostbusters is not a particularly great comedy? It’s overscaled and flatly directed. The effects aren’t even that well integrated. It’s amusing when Murray is doing his spacy, snarky thing. Or when Ackroyd is spewing metaphysical double talk. But that’s about it. Bring in Kristen Wiig to do sweetly frazzled and Melissa Mccarthy to do loud and vulgar. Throw in a little feminist empowerment “Can we depend on these women to get the job done?” A little sentimental bonding. “We have to do this together.” Voila. Probably work just as well as the original.

    • Cfrancis1

      Yes, you are alone. :) It’s a fantastic comedy. The characters are great, the story is terrific. I saw it in the theatre 3 times when it first came out. People loved it then and I think it’s stood the test of time. And by 1984 standards, the effects were pretty darn good!

    • Bifferspice

      totally and utterly alone. it’s amazing.

  • Nicholas J

    With SO MANY places to sell to these days, and with each of those places being so different … how do you know how to write your pilot anymore?

    I’ve been battling this same thing. I have a comedy pilot that’s not quite explicit enough for something like Comedy Central, but maybe a little too much for network. It’s kind of halfway in between. So do I commit to one or the other, making it more or less R-rated depending on which I want to target? Or do I keep it somewhere in the middle so that it doesn’t rule out any one network/station/web streaming service/whatever by being too vulgar or too safe? Or if I do that, trying to target everyone in that way, do I end up targeting no one?

    • Casper Chris

      Do both.

      • Nicholas J

        I don’t know what that means?

        • Casper Chris

          So do I commit to one or the other, making it more or less R-rated depending on which I want to target?

          Commit to both, target both.

          I didn’t know you were planning on making it yourself, though (your reply to mules). In that case it’s a bigger commitment (than just busting out a half-hour script) and you should probably go with what you feel works best for you and not the networks.

    • mulesandmud

      The answer depends a lot on where you are with your career.

      If you’re on the outside of the biz, then your goal should be attention and/or representation. Here, you should choose the tone you think best fits the material and best showcases your skills, even if it leaves you very in-between. Don’t waste time tailoring your work to one buyer (or even one group of buyers). A script that is neither fish nor fowl may actually be more helpful in getting the attention of a rep, and can also be used as a sample in more than one world.

      If you’re already in, then you’re goal is to sell baby sell. In that case, your best bet is to pick a target that is as specific as possible while still leaving you enough wiggle room to imagine more than one home for the project.

      • Nicholas J

        This is good advice, and I agree, but what’s throwing me off is the plan I’m working on with some others to shoot this ourselves. And in that case, I feel the best choice is to just make the pilot I want to make, which is how it currently exists, right in the middle of that raunch spectrum. But like I said, by doing that, I feel like I’m targeting nobody.

        • brittany

          I would say just do it the way you want to do it for now. Staying middle ground like you say you’re doing is a good idea though. If someone were to pick it up, with a target audience in mind, they will change it around to fit the demographic if need be. Ideally, you’d retain some creative rights in the deal. In that case, they’d ask you to rewrite it to where it fits their needs. There are so many stages before production, so, I think the most important thing is they like the original idea and whether or not they think it will deliver the laughs. If so, they’ll snatch it up and mold it to their liking. This is just my experience, of course. Hope it helps.

          • Nicholas J

            Thanks brittany. Yes, if I happen to get so lucky to get attention from a major network, chances are they will want it all to be reshot/written anyway, but if it were to get snatched up by someone smaller, it could be used as-is. So in either case, it’s probably best just to make it how I want it, as there doesn’t seem to be much to gain by trying to appeal to a certain distributor’s standards, and if anything, the show might lose some of its voice I think by doing so.

        • mulesandmud

          Based on that plan, it sounds like you’re closer to the outside, which means that you’re targeting anyone who’ll listen.

          Just make sure you commit to something, even if that something lands you in-between. If the finished product is distinct and high-quality, you’ll get all kinds of attention.

          And I know this goes without saying, but make it fucking good; a self-produced spec pilot gets held to the same standards as one with a network behind it, and that ain’t an easy trick to turn. Good luck.

  • OddScience

    How to unforce the all female setup of the Ghostbusters remake?

    Easy, make them the daughters of the original ‘busters. They’re carrying on the family tradition. You could even get Yvette Nicole Brown or Octavia Spencer for Ernie Hudson’s character.

    That would also be a good way to get some of the original cast in there for a cameo or two. Advice from dear old dad.

  • Eric

    “And how do you even begin to explain an all-female Ghostubsters team in a script? Are they going to have a sign on the front door that says, “Female applicants only?” What would be the logic in eliminating males from becoming Ghostbusters? I suppose you can write it in that the three main characters are friends from graduate school, just like the original Ghostbusters, but this setup is already feeling a mite forced.”

    Three female friends graduating from college seems “a mite forced”? Why? Does the buddy system only apply to men? Why is it so frustrating that the cast is all women, but a complete none issue when they’re all male?

    This must be why, when comic book movies are as big as they’ll ever be, we get movies about ANTMAN and talking raccoons before Wonder Woman. I for one am happy to see the demographics beginning to shift. It’s been rough watching the plots of blockbuster movies become as deep and sophisticated as the video games I grew bored of five years ago.

    • S_P_1

      The problem with Wonder Woman is she doesn’t have an iconic villain gallery. She has basically 3 arch-rivals. Ares (god of war), Cheetah, and Circe. I’m not really a DC comic fan per se. I’m familiar with her origin and general saga. Wonder Woman has stayed on the public conscious because she’s a golden age super hero. The main reason for the modern day interest is because of the way she’s drawn and the implied lesbian lifestyle.

      I do have a serious problem with the current casting choice Gal Gadot. To me she was chosen to appeal to the Young Adult crowd. Wonder Woman should be….well a woman along the lines of Maria Grazia Cucinotta or Lynda Carter. Maybe Giada De Laurentis.

      My prediction is Antman will do Daredevil type numbers.

      • klmn

        My choice for Wonder Woman would be Michelle Jenneke. She’s got the running down, and what else does she need? What do you remember Linda Carter for?

        And my choices for Ghostbusters would be Rhonda Rousey, Gina Carrano and Michelle Jenneke. Now that would be worth watching.

        • Casper Chris

          *Ronda Rousey, Gina Carano

          I want to see them square off, not team up.

        • S_P_1

          Michelle Jenneke looks like Wonder Woman’s baby sister. Lynda Carter has a more womanly look. Wonder Woman is roughly 35. Wonder Woman shouldn’t look like the poster child for the hunger games. The other reason Gal Gadot was cast is because they’re going to make her character second fiddle to Steve Trevor. Its going to be a love story more than a super hero story. They’re not going to explore the relationship with Bruce Wayne or Clark Kent.
          Basically I’m in the camp of it doesn’t matter if they reboot Ghostbusters or not, male or female. R.I.P.D killed any interest I had in that franchise.

          • klmn

            Wonder Woman ran from 1975-1979. Linda Carter was born in 1951. You do the math.

          • S_P_1

            I was referring to the comic book version of her general age having the appearance of a 35 year old woman. Technically she’s a demi-god so she’s hundreds of years old. Lynda Carter had a more mature look even if she was only 24. Ultimately I have zero say in who gets cast.

          • andyjaxfl

            I don’t think it’s fair to say that WW is going to play second fiddle to whoever plays Steve Trevor, or that it’s going to be a love story over a super hero story. The public knows pretty much nothing about any of these films beyond rampant speculation that a lot of sites throw up there to generate hits and income.

            Truth be told, I don’t even think WB/DC knows what they are doing with these characters after Batman/Superman: Dawn of Justice: Man of Steel 2.

          • S_P_1

            You’re right I am speculating. DC should have made Darkside an forgotten enemy of WW instead of a arch-villain for Superman. That way she could tie into the current mythos. Technically WW’s era is the Olympus gods.
            WB/DC biggest mistake was not initially planning for a combined universe. Every DC property produced was self-contained. I would rather see a well defined world like the Dark Knight. Just because Marvel made the Avengers doesn’t mean DC needs to make the Justice League of America. Since Marvel beat them to the starting gate its going to look like a desperate game of catch-up.

          • S_P_1

            I do want to make a correction. Smallville did attempt to show the DC universe in its inception. This also preceded the Avengers movie by almost 11 years, if you count when the show first aired, versus when they first showed the other DC hero’s.

      • LV426

        Giada De Laurentis?

        Celebrity chef by day, crime-fighting superhero by night.

    • LV426

      I think the all female Ghostbusters PLUS completely rebooting the story all at once was too much for fans. It certainly makes sense to have maybe three women team up with Oscar (the baby Sigourney Weaver’s character had Ghostbusters II) as the new generation of spook bustin’ funny people. Keep it connected to the original continuity and have Ray (Dan Akroyd) as the last of the old Ghostbusters, who runs the old firehouse as a sort of tourist attraction while he moonlights as a paranormal investigator at night (perhaps he knows that supernatural baddies are lurking in the city but haven’t made their big move yet). Peter Venkman has become rich off of writing a bunch of bestselling books on parapsychology and accounts of his experiences as a Ghostbuster.

      So we’ve got these new young Ghostbusters trying to start it up again. Oscar sees Venkman as sort of a father figure as he grew up with him around during his childhood. So he’s motivated to follow in the footsteps of Venkman and the other original Ghostbusters. Maybe one of the three women is also a child of Venkman? Perhaps from a one night stand since Venkman attained a kind of rock star ghost hunter author persona in the years between Ghostbusters II and this third film. One of the other two women Ghostbusters could be her friend, leaving the third to be a sort of wild card that is hired when they need more personel to help bust ghosts. This fills the Winston role of outsider and voice of the audience. I always liked how Winston came into it later and was sort of the average joe type thrust into this paranormal world.

      Of course Venkman is pulled into things and helps Ray and the new Ghostbusters in their fight against this new paranormal menace.

      Maybe then the Rick Moranis character returns as a bumbling New York City politician, but proves worthy later on by helping the Ghostbusters out in some way once things hit the fan. It would be nice to get Ernie Hudson and Sigourney Weaver back in some sort of supporting roles or cameos.

  • Casper Chris

    Ghostbusters = yawn

  • Eric

    “With SO MANY places to sell to these days, and with each of those places being so different (some need commercial breaks, some don’t, some have time constraints, some don’t, some want a 10 episode season, some 24, some are safe networks, some are riskier), how do you know how to write your pilot anymore?”

    I think it actually offers a lot of freedom. You’re more able to write what you want, and decide where to pitch it later.

  • OddScience

    OT. Great article on “Why The Walking Dead Is So Brutal–and So Popular”

    And according to the article, “it had almost double the rating of the next-highest-rated scripted show last week, CBS’s The Big Bang Theory.”

    If you’re thinking about writing something darker or in the Horror genre, check it out.

    • andyjaxfl

      17.5 million live viewers and 28 million total viewers once DVR is included. Holy smokes. That is pretty impressive for any show these days.

  • S_P_1

    I’m in the process of writing a tv pilot series reboot. My question is this, how beholden are you to the original fanbase if the series will hit its 20 year anniversary soon? My writing partner wants to pay direct homage. I want to pay respect. My other question is outside of Star Trek, how many members on this site are actually interested in a series reboot?

  • klmn

    Are there any amateur writers who break in with a sitcom? (without connections to a previous sitcom, such as employment in some other capacity).

    It appears much harder than the film route.

  • Trimegistus

    If it wasn’t a gimmick, it wouldn’t be referred to as “all-female Ghostbusters” EVERY SINGLE TIME.

  • Mike.H

    Sandra Bullock’s expression on the first pic pretty much described this project?

  • Howie428

    I’d agree that the team they are assembling for the new Ghostbusters are a great comedic team of director, writers, and stars. The question it raises for me is was Ghostbusters really a comedy?

    Yes it was very funny, and a lot of fun, but it was a lot more than a comedy. There’s a big action/adventure side to it, the romance is quite solid, and it has some edgy elements in the story telling that movies are too prudish to cope with now. It’s really a mixed genre movie and to repeat the chemistry that made that work will be tough.

  • Malibo Jackk

    “This brings up a question I’ve been battling with lately… With SO MANY places to sell to these days, and with each of those places being so different … how do you know how to write your pilot anymore?”

    Write what fits your story. But write one that is so compelling
    that everyone will say — “Fuck it. Let’s do it.”

  • Midnight Luck

    I have no issue with GHOSTBUSTERS being men or women.
    It might be interesting to see them be women, but there needs to be a REASON for it, not just a “hey, wouldn’t it be cool if this time they were women?” That is too corny and obvious, and quite frankly boring and dumb.

    GhostBrassiere’s or
    GhostBusters La Femme:
    Have all three Fathers be living out their geriatric lives in a Retirement community they’ve set up that is supposed to be “Ghost Free”. Then have a Ghost Outbreak happen as they have accidentally constructed the entire place on some sacred ground (ala Poltergeist) or some other kind of thing.
    The three men are so old and decrepit now that the city calls in their three daughters to take the helm. One daughter (let’s say Bill Murray’s) is a surprise, he had no idea he had a daughter. Another daughter had a twin brother who died at childbirth, and he ends up being at the center of this whole Ghost Outbreak happening at the Old Folks home. He is angry he didn’t get to live, and his sister did. (or something). The third daughter has Anxiety and OCD issues that are so out of control she finds it hard to leave the house. Now all three have to take the reigns and fend of slimy, gooey, freaky ghosts, and stay at the Old Folks home in order to eradicate them when they appear.

    None of the girls quite know how to do this, so there is a lot of trial and error (much like the first Ghostbusters, except they aren’t scientists and don’t know how or why what their doing works) and miscommunication with their dads, on how to do all of this. They make big errors that could cause a tear in the space time continuum (again, or something).
    I think there would be a lot to play with if it was approached with something more like this. The dad’s cannot do it anymore, so the daughter’s are called in to save the day, but they bungle it up, they have no idea what they are doing, they are using 1980’s equipment, but in the end, they save the day, and over time they figure it all out, and become even better at it than their Fathers.

    • GoIrish

      Maybe GhostBustiers??

      • Midnight Luck


  • LaurenceQuint

    Don’t you know that being a man is just default for being a person? Movies are allowed – at most – one woman.

    Women are aberrations. They’re The Other. They have boobies.

  • RO

    I think the biggest problem with this script beside the lame duck humour is the fact that after we’re introduced to the universe of these characters, we’re then thrown into another newer universe. It’s convoluted.

    There’s already a lot of conflict between the crew once the story gets going, why can’t we have that conflict continue while on a typical mission? Have the older sister and best friend argue and bicker about the captains choices; especially if they’re obviously bad. This script establishes that space travel is common place, but that doesn’t mean that the rest of galaxy makes the same sort of sense that people on earth do? What this script should have is the opportunity to have fun with a writers imagination in the realm of sci-fi space travel. Instead we’re given a Boogies Diner take on Lost in Space. Not a selling point in my opinion. I am curious to see how different the current draft is from this one.

  • august4

    Wouldn’t you just make the new Ghostbusters the DAUGHTERS of the original guys? You could have them dust off the old gear… make fun of the old technology… have one gal be an engineer who makes updated equipment… Pretty simple.

  • Citizen M

    I liked this script. It was funny, and had plenty of callbacks and reversals.

    It seems to be aimed at a younger audience. It’s a bit juvenile for the average SS reader.