The Peter Weller Robocop led to a series of derivation adapted to the children you forgot

The classic ultraviolet cult of Paul Verhoeven, “Robocop”, is flashy and grandiloquent for a reason. It is a sharp criticism of America in the 1980s and his obsession with military coded machismo, as well as the excess of cartoon coveted by the gourmet and the corrupt. It is a film which quickly identifies the rot of megacorporations which take control of an urban landscape – in this case, Detroit – which is defined by uncontrolled crime and capitalism gnawing at its identity from the interior.

Thus, when the Detroit cop Alex Murphy (Peter Weller) is left dead by gangsters, the technology of the holder robocop helps the creation of a cyborg officer, designed to be ruthlessly effective without even risking the possibility of death. While unleashing a Frankenstein monster in the streets invaded by corruption is not such a great idea, the persistent humanity of Murphy (and the agony of his last moments) clings to his reborn steel body, redefining the kind of hero that America needs.

A piece of these themes, of course, takes place in a gloriously satirical vein, quietly emphasizing anxiety surrounding a terrible and uncertain future. “Robocop” finally flowered in a full -fledged franchise, leading to a new television series which is currently in preparation (Amazon’s graciousness), which intends to revisit the main premise of the film by Verhoeven from a new goal. The irony of a megacongloreate taking advantage of this premise (which is a scathing indictment of crawling consumerism) to stretch a franchise which has already been derely treated beyond the belief is not lost.

Speaking of the “Robocop” franchise during lever for the benefit, you may not remember the eponymous television series for children (!) Published in 1994. Yes, we have a “Robocop” series which completely lacks the Gore Adjacent graphic violence of the original and criticized of Verhoeven. What does such a story argue in favor, and does it even take the trouble to honor the inheritance of its predecessors? Let’s investigate.

In March 1994, the “Robocop” series by Edward Neumeier and Michael Miner was presented with a pilot in two parts and 89 minutes. The intention was clear from the start: this new series would ignore the major events established in the film’s calendar, as well as the more violent DNA of the first two payments. However, he strongly draws films in terms of satiricism of commercial culture (a wild roddy piper appears even in an episode as a cash commander!), But plays the draw of everything else that “robocop” firmly criticizes. Even if the demography of the show was largely limited to children and young adults, there was ample opportunity to infuse these digital scenarios with nuance and conviction. Unfortunately, this particular “robocop” appears as hollow as the vision of consumerist America as Verhoeven brilliantly.

If you think I’m exaggerating, take a look at the premise. To start, the series was made instead of a fourth The film “Robocop”, because Orion Pictures estimated that a series aimed at a younger audience would make less unfavorable comparisons with the original 1987. This is also why a piece of franchise cannon was ignored, and the series has renamed characters to distinguish them from their film counterparts due to copyright problems (for example, the detective by Yvette Nipar, Lisa Madigan, Nancy Allen). The main premise is more or less the same, with the holder Robocop (Richard Eden) reducing the big bad guys on a basis per episode, while the story introduces new characters to expand this new direction. However, none of these reworked characterizations works in the context of what a “Robocop” television series is supposed to feel.

There are a few things that work well, like Murphy’s father, gradually affirming with the truth about his deceased son, who opens discussions on the division of human cyborgs, and if you like someone. That said, the overall atmosphere of the series feels terribly sober and dated, as if it were completely removed from the timeless and premonitory roots that she desperately wants to leave behind. No amount of fun explosions and (non -deadly) shootings can inject the “Robocop” series with verve or DEFTH, which is unfortunate to say the least.