The series will adapt Dan Simmons' novel of the same name, which follows an expedition crew that is attacked by a mysterious predator on their ships.
"The Terror" Anthology Drama Moves Forward with Series Order at AMC
Haven't read this book, but I do like Dan Simmons.
Dan Simmons’ bestselling novel 2007 novel The Terror relayed the true account of a doomed attempt from Captain Sir John Franklin to pass two ships — the HMS Erebus and the HMS Terror — along a treacherous arctic sea route from 1845 to 1848. The crew really did succumb to scurvy and hunger, resorting to mutiny and then cannibalism just to stay alive. It’s a gripping story, but for a little added flavor, Simmons also threw in a monster from Inuit lore called the Tuunbaq that stalks the miserable bastards as they struggle not to turn into human freezepops. The nearly 750-page captivated readers with its macabre elements and grueling trials of the human spirit to survive against all odds, and now AMC will reap the benefit with an order for a televised adaptation of The Terror.
So while it makes perfect sense for AMC to greenlight a series based on the novel, one aspect of this development doesn’t. The Variety item that reported the story includes a puzzling quote from Joel Stillerman, an AMC executive: “We’ve been focused on developing this incredible story for television with these great partners for a couple of years, and we think it provides rich dramatic material but also an opportunity to explore the anthology format, which is something we’re extremely interested in and offers some unique possibilities.”
Though The Terror works along a non-linear timeline and switches perspectives multiple times, it does still follow a single narrative, which makes the insistence upon structuring this as an anthology somewhat confusing. An anthology is necessarily a collection of independent and free-standing narratives, and while they may be connected through shared settings or characters, The Terror doesn’t adhere to this format. Horror anthologies are big right now — you can thank American Horror Story for that, or do the opposite of thank them, depending on where you stand with AHS — so perhaps they’ll just push co-creators David Kajganich (scribe behind A Bigger Splash and True Story) and Soo Hugh (The Killing) to impose supernatural horrors in other historical milieus. Doesn’t matter how little sense it makes, if AMC wants an anthology series, AMC gets an anthology series, dammit.
What the writers are doing that’s so smart right now, however, is playing to our fears. When Rick decided to take a crew to the Saviors’ compound, our first thought was, “Is this the episode in which Negan will be introduced?” The last half of the episode was almost unbearably tense, because we never knew at what moment Negan might avail himself. Would it be while Tara and Father Gabriel were talking? Would it be outside the compound, when Maggie and Carol were arguing? Would he jump out of a hidden passageway inside the compound with his baseball bat and kill someone?
Even when it looked like Rick and his crew had killed everyone and secured the Saviors’ compound, there was still that nagging concern that Negan would make a last-second appearance and quickly kill someone. Just knowing that he’s coming heightens the tension in every scene. That’s smart.
There was a study done two years ago that said that spoilers are actually good for us, that they improve the viewing experience. This The Walking Dead episode illustrates why that’s often true. We know what’s coming, but we don’t know when or exactly how. The fear of that moment drives the intensity in every scene right now. We know the bogeyman is hiding around the corner; we just don’t know which corner it is, so it makes approaching each corner terrifying.
If Head #3 looks familiar, that’s because you’ve seen too many Pirates of the Caribbean movies (so, more than one): Walking Dead director Greg Nicotero told Entertainment Weekly that it was intentionally modeled after Johnny Depp.
One of the other heads, I don’t know if I’m going to get in trouble if I say this, was Johnny Depp. I think we had sculpted an emaciated version of a dummy head for something and we used Johnny Depp’s head as a basis just for a clay sculpt. I can’t remember who the third one is, but I’m in good company. Norman [Reedus] kept saying he wanted the heads when we were done shooting. I said we’ve got to wait until the picture is logged. (Via Entertainment Weekly)
This Week’s ‘The Walking Dead’ Worked Because Of A Comic Book Spoiler
http://uproxx.com/tv/negan-walking-dead-appear/
So true. Negan is going to almost be anti climactic at this point. The polaroid wall of Lucille'd victims was some subtle foreshadowing. Told you Carol was going to have a moral crisis. What is Morgan building though?
Now that would throw the interwebz into the ultimate tizzy!When will people stop listening to Rick? Has ANY of his plans worked according to...?
I am not sure that Morgan is building what you think he is building. And I am not sure that it will go according to the books. I think Gimple is a mad genius as far as subverting expectations as much as fulfilling reader prophecy. I think Glenn seeing the polaroids definitely was foreshadowing, but not in the way you think.
SPEC SPOILERS
It's SOOOOOOOOOOO gonna be Maggie.
If they do this there won't be any reason for Morgan's cell ...See. It should happen. We didn't get the gutpunch of the Governor killing Rick's kid and wife, like in the comics...so it's kinda like they could fold that in as well. It really would be the darkest move this show has ever made. And it would fulfill all the rhetoric that they have piled on and on. For that reason alone...I don't think it's actually going to happen. We shall see.
Argument against, potentially paints them into a corner with Negan. Part of the character is his charm underneath the brutality. I wonder if killing a pregnant woman is just gonna shade him too far for the moderate viewer to accept him as anything but a monster.