Dick Tufeld (Richard Norton Tufeld) best known as the voice of the Robot on LOST IN SPACE, passed away Janauary 22nd. He was 85.
Starting out in radio, Tufeld’s ability to put great enthusiasm and drama into his readings led to the job of announcing and narrating the ABC radio version of the 1950’s science fiction TV series SPACE PATROL. He would also announce many of the live television program’s episodes.
He was the announcer for DISNEY’S WONDERFUL WORLD OF COLOR, and the ZORRO TV series — which starred Guy Williams, later to star in LOST IN SPACE.
He served as narrator of Irwin Allen’s VOYAGE TO THE BOTTOM OF THE SEA series, and also did the voice of a disembodied alien brain.
He was the narrator (and voice of Mission Control) on LOST IN SPACE, which would also result in his best known acting work, the Robot (sometimes known as the B-9 Environmental Control Robot). He almost didn’t get the part, as Irwin Allen didn’t care for his line readings when Tufeld attempted to conform with what the producer suggested. Deciding to ignore Allen’s instructions, he went with his own instincts — and that landed him the job. Originally the Robot’s voice was deep and flatly menacing, as the Robot and Dr. Smith (Jonathan Harris) were at first intended as short-term antagonists. Tufeld lightened his tone slightly and added a great deal more expression to his delivery as the Robot became more humanized.
Sarcastic interplay between the equally pompous Smith and his metallic adversary became a highlight of the increasingly tongue-in-cheek show.
(Interestingly, the actor inside the Robot, Bob May, provided the Robot’s derisive laughter, as DickTuefeld didn’t think he did it justice.)
Tuefeled mentioned that the sound mixers never seemed to write down the exact settings used to filter the Robot’s voice, and they would sometimes have to fiddle around for a while to produce the same sound.
Dick Tuefeld also narrated THE TIME TUNNEL for Irwin Allen.
Continuing as a staff announcer for ABC TV, Tufeld would continue to be a producers’ choice for genre productions, doing announcer/narrator work on cartoons such as THE FANTASTIC FOUR (1978), SPIDER-MAN AND HIS AMAZING FRIENDS, and THUNDAR THE BARBARIAN.
In 1998, Dick Tufeld provided the voice of the Robot in the LOST IN SPACE movie reboot, sounding amazingly like he did on the old series, despite the passing of years and vocal cord surgery.
Deadline reports that ABC has greenlit a pilot for SEVEN WONDERS, based on the book series by Matthew Reilly.
The novels feature the adventures of Jack West Jr., a solider turned archeologist. Simon and Schuster decribes the first novel, Seven Deadly Wonders in the following blurb.
A legend of the ancient world decrees that every 4,500 years, a terrible solar event will wreak worldwide destruction . . . but whoever sets the Golden Capstone atop the Great Pyramid at Giza will avert disaster and gain the ultimate prize: a millennium of world dominance.
Now the Sun is turning once again and nation will battle nation to retrieve the missing Capstone . . . but a group of small nations, led by super-soldier Jack West Jr., bands together to prevent any one country from attaining this frightening power. Thus the greatest treasure hunt of all time begins — an adrenalinefueled race on a global battlefield.
From the Colossus of Rhodes to the Hanging Gardens of Babylon to the Great Egyptian Pyramid itself, unlock the thrills of Seven Deadly Wonders.
Also know as The Seven Ancient Wonders in its original Austrailian edition, the novel is followed by The Six Sacred Stones and The Five Greatest Warriors.
Writer Michael Seitzman and producer Mark Gordon plan to base the first season on the first two novels of the series, should ABC put the show on its schedule.
The article quotes Seitzman as saying: “They feel like big boyhood and girlhood adventure stories; they are really fun and remind me of all the movies in the genre I loved.”
ABC announced its new show for the upcoming season. This includes two new genre-rleated programs, THE RIVER, which is scheduled for FALL 2011 on Sunday at 8:00 PM/7:oo Central, and THE RIVER, expected to bow mid-season 2012.
ONCE UPON A TIME — “From the inventive minds of LOST executive producers Adam Horowitz and Edward Kitsis comes a bold new imagining of the world, where fairy tales and the modern-day are about to collide. And they all lived happily ever after—or so everyone was led to believe.
Emma Swan knows how to take care of herself. She’s a 28-year-old bail bonds collector who’s been on her own ever since she was abandoned as a baby. But when the son she gave up years ago finds her, everything starts to change. Henry is now 10 years old and in desperate need of Emma’s help. He believes that Emma actually comes from an alternate world and is Snow White and Prince Charming’s missing daughter. According to his book of fairytales, they sent her away to protect her from the Evil Queen’s curse, which trapped the fairytale world forever, frozen in time, and brought them into our modern world.
Of course Emma doesn’t believe a word, but when she brings Henry back to Storybrooke, she finds herself drawn to this unusual boy and his strange New England town. Concerned for Henry, she decides to stay for a while, but she soon suspects that Storybrooke is more than it seems. It’s a place where magic has been forgotten, but is still powerfully close… where fairytale characters are alive, even though they don’t remember who they once were.
The epic battle for the future of all worlds is beginning, but for good to win, Emma will have to accept her destiny and fight like hell.
ONCE UPON A TIME stars Ginnifer Goodwin (BIG LOVE) as Snow White/Sister Mary Margaret, Jennifer Morrison (HOUSE) as Emma Swan, Robert Carlyle (STARGATE UNIVERSE) as Rumplestiltskin/Mr. Gold, Lana Parrilla as Evil Queen/Regina, Jamie Dornan as Sheriff Graham, Jared Gilmore (MAD MEN) as Henry, Josh Dallas as Prince Charming/John Doe and Raphael Sbarge as Jiminy Cricket/Archie.
ONCE UPON A TIME was written by Edward Kitsis and Adam Horowitz, who are also executive producers, along with Steve Pearlman (ABC’s V). The pilot is directed and executive-produced by Mark Mylod (ENTOURAGE).
ONCE UPON A TIME is from ABC Studios.”
THE RIVER — “THE RIVER follows the story of wildlife expert and TV personality Emmet Cole. Emmet set course around the world with his wife, Tess, and son, Lincoln, while filming what would become one of the most popular shows in television. After he goes missing deep in the Amazon, his family, friends and crew set out on a mysterious and deadly journey to find him.
Famed explorer Dr. Emmet Cole (Bruce Greenwood) went looking for magic deep in the uncharted Amazon and never returned. The shocking truth about his disappearance is out there, somewhere, just waiting to be discovered.
To the millions of kids who grew up watching his nature show, Dr. Cole was a hero. To his own son, Lincoln (Joe Anderson), he was more of an enigma. Now, six months after he vanished, Lincoln is finally ready to bury the past when Dr. Cole’s emergency beacon suddenly goes off. At the urging of his mother, Tess (Leslie Hope), Lincoln reluctantly joins her on a search for his father. To fund the rescue, they agree to let Dr. Cole’s cagey ex-producer, Clark (Paul Blackthorne), film the mission documentary-style. The mixed crew of old friends and new acquaintances includes the sexy and resourceful Lena (Eloise Mumford), loyal mechanic Emilio (Daniel Zacapa) and lethal bodyguard Captain Kurt Brynildson (Thomas Kretschmann).
THE RIVER stars Bruce Greenwood (STAR TREK) as Emmet Cole, Joe Anderson (THE TWILIGHT SAGA” BREAKING DAWN) as Lincoln Cole, Paul Blackthorne (LIPSTICK JUNGLE) as Clark, Paulina Gaitan as Jahel, Leslie Hope (24) as Tess Cole, Eloise Mumford (LONE STAR) as Lena, Shaun Parkes (THE MUMMY RETURNS) as Adjay, Thomas Kretschmann (KING KONG) as Captain Kurt Brynildson and Daniel Zacapa (RESURRECTION BLVD.) as Emilio.
THE RIVER, from Amblin’s Steven Spielberg, Daryl Frank and Justin Falvey, showrunner/executive producer Michael Green (HEROES, KINGS), is also executive-produced by Oren Peli (creator of PARANORMAL ACTIVITY), Zack Estrin, Jason Blum and Steven Schneider.
Teleplay by Michael R. Perry and Michael Green, story by Oren Peli & Michael R. Perry and Michael Green.
The pilot is directed by Jaume Collet-Serra and produced by ABC Studios.”
According to The Hollywood Reporter, Michelle Pfeiffer (BATMAN RETURNS) is in negotiations to join the cast of DARK SHADOWS, the Tim Burton / Johnny Depp feature film version of the 60’s Gothic supernatural soap opera.
Michelle Pfeiffer’s role would be that of Elizabeth Collins Stoddard, the matriarch of the Collins family, which runs the major industries of Collinsport, a secluded town on coast of Maine.
In the series, Elizabeth Stoddard (played by film star Joan Bennet) had become relcusive, rarely leaving Collinswood, the family’s mansion, since the mysterious disappearance of her husband, Paul Stoddard.
In the 1990’s NBC prime time revival, Jean Simmons played the role.
If Michelle Pfieffer signs, this would be the first time she and Tim Burton have worked together since she played Catwoman in the above mentioned BATMAN RETURNS (1992).
Already in the cast are Johnny Depp as Barnabas Collins, the melancholy vampire who returns from his 18th Century crypt to pose as his own decesendent. He’s released by Willie Loomis, to be played by WATCHMEN’s Jackie Earle Haley.
Australian actreess Bella Heathcoate is set to play Victoria Winters, a young woman with an unexplained tie to the Collins family, who becomes a focus of Barnabas Collin’s attention. However, there’s another woman in the equation, the witch who cursed Barnabas witch vampirism, Angelique DuPre. Eva Green (CASINO ROYALE) will be playing that role.
Sounds like a nice cast is being assembled for the project, which is being fueled in part by Johhny Depp’s long-time desire to play the tragic/heroic Barnabas, ever since seeing Johnathan Frid’s theatrical performance on the 60’s ABC series.
DARK SHADOWS was created by Dan Curtis (with Art Wallace, Malcom Mammorstein, Sam Hall, and other writers contributing greatly). Dan Curtis made two 1970’s film with the daytime drama’s cast members, and produced the NBC/MGM Televison revival.
The new film is being made by Warner Brothers, which previously tried to relaunch the property as a new TV series for the WB Network. The pilot for the rejected show has never been aired.
The Green Hornet didn’t become a TV series until 1966, thirty years after its radio debut. It was the success of the ABC/20th Century Fox BATMAN TV show that lead to the greenlight for the Hornet.
Producer William Dozier had been chosen to produce the Batman series, and after looking at the source comics he had decided that the only way he could make it work would be to go in the direction of “camp” comedy; a straight-faced satire that coyly played up the absurdities. To be fair, the Batman comics that Dozier had to look at did not depict the character in the best light, as the books had become increasingly juvenile, due in part to censorship worries. This approach turned out to work spectacularly well for the ABC series, giving William Dozier a certain amount of freedom for his next project.
While Batman might not have been his cup of tea, Dozier apparently remembered the comparatively down-to-earth Green Hornet radio show in a more favorable light.
William Dozier had seen American born martial artist and former Hong Kong child actor Bruce Lee (Lee Jun Fan) demonstrate what he called Gung Fu. He was quite taken with Lee, and wanted to cast him in a TV series to be called NUMBER ONE SON, an update on the Charlie Chan stories, to feature the son of the popular detective character. ABC had passed on the idea of show starring an Asian leading man. However, The Green Hornet’s Kato was a secondary part that could be ideal for showcasing Lee’s talents. So THE GREEN HORNET could be a way of killing two birds with one stone.
While unknowns Michael Lipton and Jay Murray tested for THE GREEN HORNET with Bruce Lee, the lead role went to Van (Zandt) Williams, who had starred in the ABC TV series BOURBON STREET BEAT and SURFSIDE SIX (as the same character, Kenny Madison).
Van Williams and Bruce Lee took their characters seriously, and for the most part, so did the writers and production staff. Still busy with the demands of the BATMAN series, Dozier and Fox put Richard H. Bluel (THE GALLANT MEN, GOLIATH AWAITS) in overall charge as producer.
Wende Wangner (DESTINATION INNER SPACE) played Lenore ‘Casey’ Case, now privy to Britt Reid’s alternate identity from the beginning.
Lloyd Gough (THE OUTER LIMITS) played a somewhat younger, more serious Michael Axford, still determined to capture the Hornet. Although the radio series had introduced Commissoner Higgins as the Green Hornet’s contact, Dozier and company decided to avoid any comparisons with BATMAN’s Commissioner Gordon, and created the new character District Attorney Frank P. Scanlon, played by Walter Brooke (THE CONQUEST OF SPACE).
Since George W. Trendle (now insisting on being credited as sole creator of the character) had sold off THE LONE RANGER characters to Jack Wrather, apparently (though perhaps not definitely) including Dan Reid, the Ranger’s nephew and Britt Reid’s father, a new back story and motivation for the Green Hornet’s crusade was created. Although only mentioned fleetingly on the air, the screen tests made it clear that Britt’s father Henry Reid had been framed for a crime by powerful political and criminal interests. The shame of this miscarriage of justice had driven him to an early grave. Britt was determined to fight this kind of corruption, and hopefully uncover the proof of his father’s innocence in the matter.
The dynamic of how The Green Hornet and Kato operated changed. While the Hornet remained the mastermind and a capable fighter, now Kato provided much of the implicit and often explicit physical threat towards the villains. Van Williams’ Hornet was more like a masked, sinister Jim Phelps (ala MISSION: IMPOSSIBLE) playing mind games with criminals to set them up. Kato was the quietly menacing enforcer. To many fans, Kato was more memorable, as nothing like the action moves Bruce Lee could provide had ever been seen on American television before.
However, the Hornet remained the star— possibly to Lee’s frustration. Nevertheless, he and Van Williams had a great sympatico onscreen, their attitudes when alone or with those privy to the secret suggesting a friendly and mutually respectful partnership rather then a “boss” and a subordinate. Oddly, while Kato’s physical prowess was played up, his inventive genius was not touched on (at least as far as I recall).
To the Hornet’s gas gun, the sonic weapon the Hornet Sting was added, using soundwaves to break locks and cause small explosions and fires. The Black Beauty, a heavily modified Chrysler Imperial was turned into a “rolling arsenal” by car customer Dean Jefferies, complete with rocket launchers and aerial surveilance devices.
An often-repeated sequence featured the Black Beauty rotating into view, hidden under the floor of Reid’s townhouse garage, clamped upside-down until needed. Using a combination of the full size car, and large scale miniatures, the Black Beauty exited the property through a raised wall section, through a courtyard, and out a secret door disguised as a candy mint billboard into a deserted alleyway.
Much to George Trendle’s displeasure, The Green Hornet and Kato would be depicted in eyemasks that covered only the top of the face. 20th Centry Fox had no desire to have to dub their lead character. The production actually had a very difficult time with the masks, which they decided to fit with earpieces, like eyeglasses.
A rather sinister mask for the Hornet was featured in publicity shots and the first episode filmed, Programmed For Death. This outing featured both miniature high-frequency sound generators that impelled animals to attack, and a new formula for “perfect” synthetic diamonds –- as well a plan by a ruthless syndicate to flood the market.
However, this show was held back until the third broadcast, and the more prosaic The Silent Gun was the premiere episode, airing September 9th, 1966.
By now plaster casts had been made of the stars’ faces, so that new masks, more comfortable and with unimpaired vision for the action scenes could be made. These were rather less dramatic, and would go through several minor redesigns throughout the season.
Some standout episodes are The Frog is a Deadly Weapon, which starred former serial Shadow Victory Jory as one of the men who had framed Britt’s father. Alias The Scarf is an eerie entry, guest starring horror star John Carradine as the curator of a wax museum, and featured the return of a serial killer from years before, not content to be replaced in the public’s memory by the Hornet.
Bruce Lee fans would choose as a favorite The Preying Mantis, which brings the Hornet to Chinatown, and sets Kato in a Gung-Fu showdown against a young, arrogant and ruthless Tong leader (played by Japanese actor Mako).
Some of the directors of the series were veterans, such as Preying Mantis’ Norman Foster, (SWORD OF ZORRO, JOURNEY INTO FEAR), George Waggner (THE WOLF MAN) and William Beaudine (THE APE MAN). Director of Photography for the bulk of the series was Carl Guthrie (HOUSE ON HAUNTED HILL).
One of the most memorable parts of the show was the exciting jazz themes used for the titles and action sequences. Though often identified as simply a jazzed-up version of The Flight of The Bumble Bee, this is not the case. Composer Billy May took motifs from the classic Rimsky-Korsakov piece (and possibly some inspiration from Harry James’ 1941 Jazz interpretation) and wrote a new, brass-driven work used in the titles and in different arrangements as action themes. The title track, The Green Hornet Theme featured trumpet master Al Hirt’s performance, and a slightly different version Hirt recorded is also referred to sometimes as The Green Bee. Trumpet players and brass ensembles often keep the theme as a showcase number in their repertoires.
Despite the popularity of the new theme, George Trendle was annoyed at the substitution, as were a number of vocal fans, as noted at the time in Larry Ivies’ Monsters and Heroes Magazine. In 1967 Gold Key produced a comic book series based on the TV show. It ran three issues, written by Paul S. Newman (according to Comics.org), who wrote the bulk of the Dell Lone Ranger Comics, and some of the newspaper comic strip continuity. Pencils were by Dan Spiegle, who did many comics for Gold Key, Including Space Family Robinson, the TV-show based Maverick –- even Scooby-Doo, before later moving on to DC and other companies.
There were two paperback tie-in novels, Whitman’s Green Hornet: Case of the Disappearing Doctor, by Brandon Keith, and Dell’s The Green Hornet in The Infernal Light by Ed Friend (former pulp writer Richard Wormser, based in part on the episode The Ray is for Killing.).
Coloring books, Halloween costumes and various toys, including a die-cast Corgi Black Beauty also formed the merchandising. These ancilliary markets would not last long.
The series faced a difficult problem, as ABC had insisted that THE GREEN HORNET be a half-hour action show, like BATMAN. However, BATMAN’s episodes were really one-hour shows cut into two parts, which saved money. They expected similar results from the new series, at essentially half the money— and it showed at times.
This was particularly evident from the need to shoot much of the action “Day For Night”; filming on location in normal daytime working hours with a blue filter, and sometimes the camera stopped down a little. Some directors handled this better than others, but in some episodes this artifice was painfully obvious—or simply confusing. To try to save money and show ABC the idea, Dozier & crew made some two-part episodes, such as Beautiful Dreamer and Corpse Of The Year.
Perhaps because THE GREEN HORNET was not the campy fun that audiences might have expected, it did not do as well in the ratings as its predecessor. Trying to attract more viewers, the last two-part episode, Invasion from Outer Space (produced by Stanley Shpetner, rather than Richard Bluel) was much more gaudy and offbeat, with outrageous villain “Dr. Mabuse” behind the science fiction-y shenanigans.
Van Williams and Bruce Lee even guest-starred as their characters on BATMAN in a two-part episode A Piece of the Action/Batman’s Satisfaction, seeming rather uncomfortable. All this last-minute fiddling was to no avail.
However, William Dozier would insist that the series was not cancelled after one season due to ratings. He maintained that he and 20th Century Fox could only find it worthwhile to continue making the show if it was extended into a full hour-long program and presented this fact to ABC. The network was reportedly open to another season of half-hour episodes, but not a hour-long show. So it was (possibly) mutually decided to end the series after 26 episodes.
This decision served to put THE GREEN HORNET in a bad situation when it came to syndication. With only one season’s worth of episodes, the show could not be easily ‘stripped’; shown five days a week, like a comic strip. Fewer stations ordered it, and for many years few people got the chance to see the program in its original form. Even in the video tape and DVD era the show remains elusive as the complicated rights between 20th Century Fox, Dozier’s Greenway Productions, the character owners, and a third-party (and apparently legally defunct) licensing firm have kept both THE GREEN HORNET and BATMAN from authorized video release.
However, the series memory was kept alive by the later success and enduring appreciation of Bruce Lee for his martial arts films, skills, and personal charisma.
To cash in on the star’s popularity, two feature films were cobbled together from several episodes, cutting in extra fight scenes from shows otherwise not featured, in a rather clumsy manner. Nevertheless, THE GREEN HORNET (1974) and FURY OF THE DRAGON (1976) seemed to do fairly well, making the rounds of second run theaters for several years and also remaining popular in Far East markets. The rise of the comic book shop, where younger readers could find back issues also gave the character some minor exposure, as did syndicated repeats of the radio episodes, several of which also turned up on LP and tape.
Thus the short-lived series was kept alive in superhero fan’s minds, becoming almost by accident what’s considered by most the definitive version of the Green Hornet.
Anne Francis, best known to most readers as Altaira ‘Alta’ Morbius in 1956’s SF Classic FORBIDDEN PLANET, passed away Saturday, January 1st 2011. She was 80.
Francis made a good impression with audiences in the role of the intelligent, but naive and innocently sexy castaway, and became of favorite of SF film fans.
Her co-star and love interest in that film, Lesile Nielsen, died November 28th, 2010.
Born Anne Lloyd Francis, she was sometimes billed that way, particularly in later years. A good and popular performer, she appeared in many films and television shows.
In 1965, she appeared on the detective show BURKE’S LAW as HONEY WEST, soon spun off as it’s own ABC series in 1966-67. Based on a series of novels about a female private detective by Gloria and Forest Fickling (“G.G. Fickling”), the TV version was a kind mix of James Bond and THE AVENGERS’ Emma Peel, dressing up in a black bodysuit for spying and fighting. She also used a number of then borderline science-fictional surveillance devices and weapons.
Only lasting one season of 30 episodes, it nevertheless had it’s own short-lived Gold Key comic book.
Other genere-related appearences include the live TV anthologies SUSPENSE (1949) and LIGHTS OUT, She appeared in the film THE ROCKET MAN (1954), two episodes of THE TWILIGHT ZONE (Jess-Belle and The After Hours), KRAFT SUSPENSE THEATER, two connected episodes of THE MAN FROM UNCLE as a villianess, several ALFRED HITCHCOCK’s, germ warfare thriller THE SATAN BUG (1965), THE INVADERS, MISSION IMPOSSIBLE, supernatural TV movie HAUNTS OF THE VERY RICH (1972), KUNG FU, WONDER WOMAN, FANTASY ISLAND (both incarantions) MAZES AND MONSTERS (1982), and even an episode of the CONAN television series.
Read more about Anee Francis’s life and carreer at The L.A. Times.
Deadline.com reports that Guillermo del Toro (HELLBOY) and David Eick (BATTLESTAR GALACTICA) are in talks to produce the new HULK TV series for ABC Studios and Marvel Television, both now owned by Disney.
According to the article, the two will hash out the story for the pilot, which will be written by David Eick. It seems it will be an origin story featuring an energetic, 20-something Bruce Banner.
Subject to his schedule, De Toro would direct the pilot, and design the look of the Hulk, likely a combination of prosthetic makeup, animatronic puppets, and CGI as needed.
The series, intended for the ABC Network possibly in Fall 2012, would be Guillermo del Toro’s first TV production.
According to The Hollywood Reporter, it looks as though Tim Burton and Johnny Deep’s next project will indeed be the long-expected DARK SHADOWS feature film.
As a child, Johnny Depp was a big fan of the the Dan Curtis produced Gothic soap opera, which featured the tragic and romantic vampire Barnabas Collins, played with theatrical èlan by series star Johnathan Frid.
The ABC show was the cross-generational TWILIGHT of the late 1960’s – early 70’s, attracting children, and teens, who would rush home to watch its mix of monsters and the mundane, as well as the adult women who were the usual audience for afternoon dramas.
Several years back, Warners Brothers had made an abortive pilot for the WB Network, which is now merged with the remains of of UPN as The CW Network.
Now, after three or more years of development, Warners has set an April 2011 start date for the project. The screenplay was written by John August, with the latest draft by Seth Grahame-Smith.
Richard Zanuck, Graham King and Christi Dembrowski are set to produce.
In addition to the original half-hour daytime series, Dan Curtis made two modestly budgeted feature films HOUSE OF DARK SHADOWS (1970) and NIGHT OF DARK SHADOWS (1971) for MGM.
In 1991, NBC ran a revived 60-minute version of the series starring Ben Cross as Barnabas Collins. Despite generally favorable reactions, the Dan Curtis/MGM Television show— often interrupted or pre-empted by Gulf War coverage—only lasted a single season.
According to Deadline.com Alloy Entertainment’s pilot for ABC Family, NINE LIVES, has found its female lead. (No, it’s not Morris the Cat.)
Skyler Samuels (THE GATES) will play the role of Chloe King, a teenager with enhanced cat-like abilities of hearing, night vision, speed, agility, the ability to grow claws at will, and presumably has … Nine Lives.
Based on a series of Young Adult novels, The Nine Lives of Chloe King by Ceilia Thomson (Tracy Lynn), 16 year-old San Franciscan Chloe uses up her first life by falling off a skyscraper in The Fallen, the first book in the series. She wakes from what she assumes was her death to discover her new powers, and soon also learns someone is stalking her with murderous intent.
The pilot was written and will be executive produced by Dan Berendsen (SABRINA, THE TEENAAGE WITCH), along with Alloy Entertainment’s Leslie Morgenstein and Gina Girolamo.
Sounds a little like the movie versions of DC’s Cat Woman, with beefed-up powers.