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Exclusive: Librarians cast previews series, with photos

TNT is expanding a successful television movie trilogy into a weekly episodic TV series this winter. The cast and executive producer of The Librarians appeared at New York Comic Con last Sunday to preview the series for eager fans and speak with press including Curiata.com.

The Librarian: Quest for the Spear, an original, made-for-TV, action/adventure film, debuted on TNT in December 2004. The movie introduced Flynn Carsen, played by ER veteran Noah Wyle, as the man chosen to be the librarian of a secret archive of powerful objects. Wyle himself has described the films as Indiana Jones — if the role of Jones were played by Don Knotts.

The film was a big success for TNT and was ranked as the No. 1 movie of the year on basic cable. It spawned two sequels, The Librarian: Return to King Solomon’s Mines, which premiered as cable’s No. 1 movie sequel of all time in 2006, and The Librarian: The Curse of the Judas Chalice in 2008.

This December, a decade after the premiere of the first Librarian film, TNT is bringing the Library back with an all-new, 10-episode series. Wyle will return as Flynn, albeit in a reduced, recurring role. John Larroquette stars as the reluctant caretaker of a new cast of Library workers, similar to Bob Newhart‘s role in the movies. The series will feature appearances from Newhart and Jane Curtin, reprising their roles from the films.

Lindy Booth, Christian Kane, John Kim, and Rebecca Romijn round out the cast as characters who work for the Library but — importantly — are not Librarians. The Librarian is a position similar to that of the Slayer in Buffy the Vampire Slayer, in that there is only ever one at a time.

Those four cast members were joined by executive producer John Rogers at NYCC to explain a bit about the series.

“When the show starts, we’re not librarians,” Kane said of his, Booth’s, and Kim’s characters. “We’re next in line.”

If anything were to happen to Wyle’s Librarian, one of their characters could be the next to step into the role. And when the series starts, the lives of all the potential Librarians are in jeopardy.

According to Rogers, you don’t need to have seen any of The Librarian films in order to enjoy the series; everything you need to know will be recapped in the opening.

“We went back and looked at the Eccleston Doctor Who reboot,” Rogers said, referring to the relaunch of the classic British sci-fi series in 2005, nearly 16 years after its last episode. “The trick is don’t explain it: show it. Audiences are smart; genre audiences, in particular, have been watching variations of these things for a long time — they’re smarter than you, they’ll figure it out, you don’t have to spoon-feed them.”

Rogers believes that, at least with the first couple of seasons, a series should be primarily standalone so fans can jump on board at any point without feeling out of the loop.

“It’s cool if you watch one or intermittently, but you’re rewarded if you watch all of them,” Rogers said.

The Librarians was filmed in a relatively short period of time in order to work around Wyle’s schedule and ensure he would be a part of the series. According to Rogers, there was never a question of Wyle’s involvement.

When he first heard of the series, Wyle’s initial reaction was, “But I’m the Librarian,” Rogers told fans.

Wyle won’t appear in every episode, but his absences are a plot point: he’s out on a mission that runs parallel to the main story line of the show.

Romijn plays a counterterrorism agent who is recruited to protect the potential librarians. Romijn describes Eve Baird as a skeptic who was very reluctant to join the team.

“I get invited to work at the library, I don’t know why; I don’t necessarily want the job, but I’ve received this mysterious invitation,” Romijn said. “I am the guardian of the Librarian — he doesn’t want me either.”

Before long, Eve’s job expands beyond protecting the Librarian.

“We discover that the Librarian and the Librarians-in-training are all in danger, and so I become the guardian to the Librarians-in-training as well,” Romijn said. “Early on, I’m in charge of them, and they’re not prepared for the danger out there, and I have to train them … we really become a family.”

Playing the protector of the group wasn’t too difficult for Romijn, as she has portrayed several physically commanding characters in the past — perhaps most famously that of Mystique in the X-Men movies. Last year, Romijn also did a lot of weapons and mixed martial arts training for her role as Michelle Maxwell on TNT’s King & Maxwell.

“Our job is to run around the world and collect dangerous magical artifacts to keep them out of the wrong hands, and there are all these people chasing us and in pursuit,” Romijn said. “I am sort of there to fight them off.”

Romijn’s two favorite episodes of the season are an episode involving fairy tales, which the entire cast seems excited about, and the Christmas episode, featuring guest star Bruce Campbell.

“But the one I can’t wait for the fans to see the most is the finale, because there’s a huge payoff in the finale,” Romijn said.

Romijn is joined in the Library by Kane, who plays Jake Stone, an Oklahoma oil worker with a high IQ and an extensive knowledge of art history. Kane has worked with Rogers, the executive producer, before in his previous role on Leverage. In that series, Rogers tailored the role to include many of Kane’s own interests. Kane acknowledged Rogers did the same for the character of Jake.

“John Rogers wrote the role as an art history major and I was — at the University of Oklahoma, I was an art history major,” Kane said. “So he kind of incorporated that into the character. And the guy’s from Oklahoma, which I am, and my dad is a hard-working, blue-collar oil man. … So he almost started me right there as Christian Kane.”

When he’s not acting, Kane is also a singer and songwriter who has showcased his musical talents on the small screen in the past. So will fans of Kane’s music get to hear him sing on The Librarians as well?

At NYCC, Kane looked around to where Rogers was sitting before answering with a definite “Yes.” Not this season, Kane said, but if the show continues, he is positive viewers will get to hear him sing.

In his previous role as Eliot on Leverage, Kane played the “hitter” of the team — the guy who was always ready for a fight. But while Jake can hold his own in a bar fight, he doesn’t have the technical combat knowledge Eliot had.

“It’s tough for me, because I have to unlearn everything I did for five years on Leverage,” Kane said. However, he’s been enjoying the change of pace. “It’s been fun to walk in someone else’s shoes.”

But that doesn’t mean you won’t ever see Kane fight.

“I told John … why would you fix something that ain’t broke?” Kane said. “Let me just throw punches, man, that’s what I do.”

Rogers assured Kane he’d get to do some fighting, but warned Jake’s skills would need to grow over time.

“So you see me get better at certain things, and you see me picking up things along the way,” Kane said. “I’m sure that, as time goes on, my character will progress.”

Kane compared his character’s potential progress to that of Wyle’s throughout the course of the Librarian movies.

“When the first Librarian came out, Noah Wyle was a dork … now he’s Indiana Jones,” Kane said, concurring with Wyle’s own characterization. “And it was fun to watch Noah progress along that way; now he’s just a badass.”


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The cast of TNT’s upcoming series The Librarians spoke with Curiata.com and posed for photographs at New York Comic Con last Sunday.


Another character with a special skill set is Cassandra, played by Booth. Cassandra is a synesthete: she has sensory hallucinations related to certain actions.

“All of her senses are sort of cross-wired in her brain: sees numbers as colors, science is music, math smells like breakfast,” Booth said.

Synesthesia is a real phenomenon, and Booth said she did a lot of research on it before playing Cassandra.

“Cassandra does have a very extraordinary version of it. Hers is much more extreme because it’s television, and we do things like that,” Booth said. “It’s a cool thing to play with because it lets me play, lets me express things in different ways that you wouldn’t get to do with a character who sees things through normal eyes.”

According to Booth, Cassandra is probably the “most psyched” to be joining the Library team. Prior to meeting Wyle’s Flynn, she viewed her ability as a curse, but he teaches her that it can be a gift. Because of this, Cassandra quickly forms a bond with Flynn.

“But, weirdly, she really does bond with Jacob Stone,” Booth said. “He’s able to understand her family situation and no one’s really been able to do that for her. And he sees her gift and he tries to understand it, and, again, no one’s ever tried to understand Cassandra.”

Even though Cassandra and Jake form a bond, the actors behind the characters seem to be on opposite ends of the physicality spectrum.

“There was a lot of resentment that I seemed the least physical person on the set, and yet, somehow, I have all of the fight scenes in the first season, allegedly,” Booth joked.

However, when it comes to hand-to-hand combat, Cassandra has a lot more to learn than Jake does.

“Cassandra fights like a girl,” Booth said. “She fights like me. It’s not good. Sometimes she wins, but it’s mostly by accident when she does. … I think a lot of the comedy from Cassandra comes from these weird physical situations she manages to get herself into and tries to get herself out of.”

Fans of Booth’s quirky character from the short-lived October Road, take heart.

“There’s an awful lot of Pizza Girl still inside me, and I think that Cassandra is just like her weirder, smarter sister in some way,” Booth said.

The final member of the team is played by Kim, who has acted in his native Australia but is a newcomer to stateside television. Luckily for him, a very supportive cast has guided him through the process of filming for American TV.

“I feel like Noah took everyone under [his] wing, but me more so just because I was the new face,” Kim said. “I got a lot of advice from him on set. Christian was amazing. … The entire cast — coming into a cast where everyone’s … more experienced than I am … was an advantage.”

Kim dealt with a certain amount of hazing on set, being the rookie as well as the youngest cast member. He recounted one story involving Kane in particular.

“In the library, there’s a rotary phone, and I was just kind of checking it out, I hadn’t really seen or used one of those ones,” Kim said. “Christian comes over and Christian goes, ‘Yeah, we used to have cords on phones. We used to have wires.'”

Kim feels especially privileged to get to work with an actor like Larroquette in his first big role.

“You’ll get to see later on in the season, I have a very fun scene with John Larroquette, and to get to work with an actor of that caliber — they’re all amazing actors, the entire cast — but to get to work with him day in, day out, for an entire week was … amazing,” Kim said. “So that particular episode was one of my favorites.”

According to Kim, his character, Ezekiel Jones, is “too curious for his own good.”

“When he sees something that interests him, he’ll do everything he can to get involved in that,” Kim said.

Ezekiel is very loosely based on a real thief in Europe who stole a jewel just to prove there were holes in the museum’s security. Kim keeps that aspect of his character in mind while he’s acting.

Fans of Leverage may recall Rogers’ extensive blog posts and Q&As after each episode. He is hoping to do something similar with this series, as well.

“We’ve already recorded a series of video logs with each of the writers that talk about the episode coming up,” Rogers said. “Hopefully … after every episode, we’ll be able to do a podcast … [and/or] we’ll be answering questions on the website again.”

“I like the dialogue with the fans,” Rogers added. “It means people are watching.”

The Librarians premieres December 7 on TNT.

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Powers, perils of building cinematic megafranchise

Every few years, a movie transforms the way Hollywood does business. The Birth of a Nation, Star Wars, and others changed the game through their financial and cinematic successes. Marvel’s The Avengers, released in 2012, changed the game again.

By taking their time and releasing five distinct movies before The Avengers, Marvel laid down a strong foundation on which to build. Audiences were intrigued by Iron Man, Thor, The Hulk, and Captain America, but they were much more intrigued by what would happen when these cinematic characters met for the first time. When The Avengers was finally released, Marvel succeeded not only financially, but in creating something entirely new to cinema: the megafranchise.

The Avengers has grossed over $1.5 billion internationally and has had residual effects on other Marvel Studios releases. The Winter Soldier has grossed almost twice what its predecessor, Captain America, has, and Thor’s box office receipts increased for its second installment by around 50 percent as well. The result has been attempts by other studios, specifically those with the rights to superhero properties, to duplicate Marvel’s success. Some have done well trying to adapt to this model, but others are risking the destruction of their franchises by not understanding what made The Avengers so successful.

The idea of a megafranchise is that several stories and characters that are commercially viable in their own right work together under the same fictional umbrella in such a way that all component properties end up being more successful, with the eventual crossover making even more money. The cinematic megafranchise has roots in the superhero comic book.

Since All-Star Comics #3, released in 1940 by DC Comics, comic books have been using crossovers to build interest in new characters and to increase profits in existing titles. All-Star #3 saw the formation of the Justice Society of America, the first super-powered team to star characters from several different series, including the original versions of The Flash, Green Lantern, Sandman, and more.

DC may have been the first to use the team-up tactic in comics, but Marvel made the crossover its modus operandi. When Stan Lee first introduced his brand of Marvel heroes, he revolutionized the industry by making his heroes flawed and fallible. Flawed heroes are susceptible to human errors, including misunderstanding the motivations of other heroes. That makes the possibilities of crossovers endless, with heroes like Daredevil mistaking the antics of Spider-Man, leading to a fight in New York City.

Lee saw this potential and made sure to place all of his heroes in a single, interconnected fictional world. Creating a Marvel Universe where crossovers were expected helped to make Marvel the industry leader. Crossover stories would allow fans to see who would win in a fight between their favorite heroes, but also helped to raise the value of lesser-known characters. This tactic was used well in Avengers comics from the beginning.

The Avengers came together in 1963 with an all-star lineup of Iron Man, Thor, Hulk, Ant-Man, and Wasp. Three issues later, they were joined by Marvel heroes’ patriarch, Captain America. It wasn’t long, however, before the creative team at Marvel began using the Avengers to promote lesser-known heroes. In only its 13th issue, the Avengers lost the entire original lineup and reformed with Captain America leading a “cooky quartet” including Hawkeye, Scarlet Witch, and Quicksilver. All three of Cap’s cohorts were originally villains and were using the superhero team as a way to achieve redemption — and to gain greater notoriety among comic book fans.

With the increasing popularity of comic book movies, it was inevitable that Hollywood would adapt Lee’s storytelling style, especially when one of the studios making superhero movies actually was Marvel. Marvel had sold away the rights to its biggest properties a long time ago, losing X-Men, Spider-Man, Fantastic Four, and more. So, when Marvel decided to create its own film studio, the options for franchises were limited.

Marvel Studios took a gamble on a second-tier hero known as Iron Man, who was created by Lee as a sort of challenge to himself: he wanted to create a hero who would be very unlikable to his anti-establishment audience and force them to like him. And thus, Tony Stark, the billionaire, playboy, industrialist, was born. In the movies, Marvel relied on Robert Downey Jr. to deliver both the audience and a show-stealing performance.

By showing the world what could be done with its remaining superhero properties, Marvel Studios built in an audience for additional films. But Iron Man did so much more. The post-credits appearance of Samuel L. Jackson as Nick Fury told fans there was much more to see — that the world of Iron Man was vastly larger than just Tony Stark.

Every succeeding movie built on the groundwork of Iron Man by adding more to the mythos and getting fans excited for the next new entry. People who would not normally be fans of Norse mythology were interested in seeing Thor thanks to the allusions to Mjolnir in Iron Man 2. People who thought Captain America would be a hokey movie still bought tickets because they knew it was building to something larger. By the time The Avengers was released, it was a foregone conclusion that it would be a true blockbuster.

Studios that had already been making superhero movies for years took notice but found themselves in a difficult situation. 20th Century Fox had been producing X-Men movies for a long time and tried to use the team movies to spin off into solo titles, an inverse of what Marvel had been doing. Unfortunately, to this day, Fox has created only one independent franchise, in Wolverine.

With the success of The Avengers, Fox chose to follow the Marvel model by creating a movie loaded with heroes. The result, X-Men: Days of Future Past, was an incredible movie that deserves its comparisons to The Avengers as among the best superhero movies ever made. But its success is nowhere near the level of The Avengers. Why? Because many of the X-Men characters have been seen together already, and there has been no franchise dedicated entirely to building stories for Magneto, Mystique, Storm, or any of the other heroes featured in DoFP.

Sony Pictures’ answer to Marvel has been to use the Spider-Man villains in their own spinoff movies since the Spider-Man franchise is limited to only one major hero. Rumors abound about a Venom movie, which fans hope will lead to the first screen adaptation of Carnage, and Sony has practically confirmed it will produce a movie based on the Sinister Six, a team of six supervillains.

In its attempts to build a megafranchise, however, Sony has made some mistakes. By cramming several villains into The Amazing Spider-Man 2, none of the new characters were able to flesh out their motivations and become more compelling to movie audiences. Though I believe Amazing 2 actually was pretty amazing, other fans weren’t so happy, thinking Sony displayed for everyone the pitfalls of getting too overzealous when attempting to build a megafranchise.

The worst offender of trying to duplicate Marvel’s success has been Warner Brothers. Time Warner owns DC Comics and has had the rights to make movies based on some of the most popular heroes in the world for a long time. Yet somehow, Warner Brothers has mostly only been able to spit out movies based on their two major icons, Batman and Superman, while completely ignoring their third, Wonder Woman, and doing a poor job with Green Lantern.

In a terribly misguided attempt to catch up to Marvel, Warner Brothers has been working on a sequel to Man of Steel, which has slowly evolved into a prequel to a future Justice League film. In trying to build a megafranchise, Warner Brothers has forgotten that it requires the strength of several independent franchises first. Warner Brothers is looking to skip all of that, hoping that the idea of a Batman versus Superman movie will be enough to sell tickets. And it will be.

Warner Brothers has been considering this crossover movie for decades — and for good reason. There are no two characters more iconic than the Dark Knight and the Man of Steel. But in their impatience, Warner has added Wonder Woman, who should have had her own movie years ago, as a third wheel, as well as Cyborg. Also, no movies starring Flash, Aquaman, Martian Manhunter, Green Arrow, or any other major DC hero have been announced. What Warner Brothers did announce, however, is an official Justice League movie, to be directed by Zack Snyder.

But if a movie is coming out in two years that features DC’s top three heroes together for the first time, what reason do casual superhero fans have of going to see the Justice League movie? Are unestablished Green Lantern and Flash characters going to be interesting enough to sell tickets? It’s doubtful.

Marvel made an effort to make sure we fell in love with their characters who would not normally sell tickets on their own by promising us a greater movie experience in the future. Once we had that experience, we fell in love with the characters, even leaving The Avengers asking for a Black Widow movie, which would have been unheard of a decade ago. The success of the megafranchise has created greater success for its constituent franchises, with Iron Man, Thor, and Captain America all seeing increased revenue for their newest cinematic outings. These successes have even allowed Marvel to take new risks, with D-level properties Guardians of the Galaxy and Ant-Man coming to theaters in the next year.

Marvel has proved that it has a winning formula, but it is one that takes time and patience. Fox is beginning to work toward creating a stronger megafranchise in the X-Men by producing more solo movies for characters outside of Wolverine, but Fox’s lack of faith in strong mutant characters, many of whom are women, is holding the studio back. And Sony has shown the risk of relying too heavily on creating a megafranchise, to the detriment of the existing franchises. But Warner Brothers, which has the strongest chance of creating a tremendous cinematic universe, is missing out on the opportunity to create several strong franchises in favor of taking a quicker path to a megafranchise — one that is unlikely to be able to match the success of The Avengers.

Will Justice League, Sinister Six, and future X-Men team-up movies be successful? As a fan of superhero movies, I certainly hope so. But I am willing to wait for them to be set up correctly. As fans, we would much rather see strong movies based on Wonder Woman, the Flash, Green Lantern, and even Cyborg before being thrust into the world of the Justice League. Unfortunately, the promise of Avengers-level profits have clouded the minds of Hollywood producers. Hopefully, they will start to see things long-term, before a massive flop kills the momentum of the superhero genre.