Are you an optimist or a pessimist? Bewitched and Ben Franklin

“Defensive pessimism” – that sounds about the right description of my philosophy.

I know some people who appear to be unrelentingly positive, seeing the 3/4s empty glass as 1/4 full. I appreciate those people, as long as they don’t seem to be wearing rose-colored glasses.

I was commenting on someone’s blog – more on that anon – and I was reminded of one of those peculiar childhood memories that, I believe, color my view of the world to this day.

It was an episode of the 1960s television program Bewitched, starring Elizabeth Montgomery.

I recall very little about the particulars, actually. Couldn’t tell you which Darrin was in it, Dick York or Dick Sargent. We had a black and white TV, so I couldn’t tell you if it was broadcast in color. Don’t even particularly remember the plot.

I DO know, though, that Benjamin Franklin appeared, for some reason. His character was offering up all sorts of aphorisms. One was that he always going through life expecting negative outcomes so that when something positive happened, he would be pleasantly surprised. It was a punchline that was supposed to be funny – the canned laughter told me that – but, to me, it made SENSE. (The exact quote from the show, according to here: “I’m more optimistic than pessimistic. Or perhaps I’m an optimistic pessimist — prepare for the worst, but when the very worst doesn’t happen, I’m pleasantly surprised.”)

Last month, in her V is for Visualization post, Meryl at Departing the Text wrote:

Studies suggest…that optimistic affirmations designed to lift one’s mood, often achieve the opposite effect.

…The Power of Negative Thinking essayist, Oliver Burkeman suggests that there is an alternative approach to help us find that sometimes elusive (holiday) cheer: “…both ancient philosophy and modern psychology suggest that darker thoughts can make us happier.”

According to Burkeman, Albert Ellis (a New York psychotherapist) rediscovered this key insight of the Stoic philosophers of ancient Greece and Rome: “the best way to address an uncertain future is to focus not on the best-case scenario but on the worst.”

Stoics called this worst-case scenario therapy “the premeditation of evils” and they believed that doing this would remove the anxiety “THE FUTURE” relayed. According to Burkeman, modern psychologist Julie Norem estimates that about one-third of Americans instinctively use this strategy which she terms “defensive pessimism.”

Burkeman further posits that: “The ultimate value of the ‘negative path’ may not be its role in facilitating upbeat emotions or even success. It is simply realism. The future really is uncertain, after all, and things really do go wrong as well as right. We are too often motivated by the craving to put an end to the inevitable surprises in our lives.”

“Defensive pessimism” – that sounds about the right description of my philosophy. On the other hand, I think that worrying is highly overrated.

This begs the question: was Ben Franklin portrayed accurately in a sitcom a half-century ago? This quote is attributed to him, according to several sources: “I’d rather be a pessimist because then I can only be pleasantly surprised.” So, kinda sorta, yeah.

From TV Show to Movie

This is just not a subgenre I inherently trust. These films get made because of their familiarity…

The A-Team picture is opening this weekend. I hardly ever watched the TV show, so the only reason that I’d even consider seeing the film is that it features Liam Neeson in the George Peppard role. On the other hand, it was not made available to critics, which is usually a sign that it will suck, though the early Rotten Tomatoes score was 53, not great, but not awful. The “Consensus: For better and for worse, Joe Carnahan’s big-screen version of The A-Team captures the superficial, noisy spirit of the TV series.”

It got me to wondering: how have movies made from TV shows fared? I’m not thinking of movies such as the X-Files or Sex in the City, which are essentially continuations of the TV series, generally with the same actors. I was thinking more of the reimaginings, with new actors and directors. I limited the list to the 21st Century, because, my goodness, there are a LOT of them! BTW, I ignored animation to live action (George of the Jungle) or things that went back and forth from movies to TV to movies (Robin Hood) or anything I never heard of, but if you think I’ve missed something, by all means, let me know.

Bewitched (2005)
RT score-24
Production Budget: $85 million
Total Lifetime Grosses
Domestic: $63,313,159 48.2%
+ Foreign: $68,113,010 51.8%
= Worldwide: $131,426,169
The foreign box office salvaged this one. Will Ferrell starred in this; he had a cameo in Starsky & Hutch. Steve Carrell, star of Get Smart, has a cameo here.

Charlie’s Angels: Full Throttle (2003)
RT score-43
Production Budget: $120 million
Total Lifetime Grosses
Domestic: $100,830,111 38.9%
+ Foreign: $158,345,677 61.1%
= Worldwide: $259,175,788
the huge foreign b.o made this sequel successful. The initial 2000 film cost less, made more money and reviewed better (RT-67)

The Dukes of Hazzard (2005)
RT score-14
Production Budget: $50 million
Total Lifetime Grosses
Domestic: $80,270,227 72.3%
+ Foreign: $30,799,288 27.7%
= Worldwide: $111,069,515
Despite scathing reviews, made money. I have to think it was, in large part, because of Jessica Simpson as Daisy Duke.

Get Smart (2008)
RT score-52
Production Budget: $80 million
Total Lifetime Grosses
Domestic: $130,319,208 56.5%
+ Foreign: $100,366,245 43.5%
= Worldwide: $230,685,453
I should see this.


The Honeymooners (2005)
RT score-14
Production Budget: $25 million
Total Lifetime Grosses
Domestic: $12,843,849 97.4%
+ Foreign: $339,577 2.6%
= Worldwide: $13,183,426
On the title track of Quincy Jones’ eclectic 1989 album Back on the Block, there’s a couplet offered up by Big Daddy Kane:
We shoulda got our freedom much sooner
You never seen a blackman on The Honeymooners

I have no knowledge of this, but I have to wonder if that sentiment was the inspiration for this quite unsuccessful remake with a predominantly black cast.

I Spy (2002)
RT score-15
Production Budget: $70 million
Total Lifetime Grosses
Domestic: $33,561,137 66.2%
+ Foreign: $17,171,808 33.8%
= Worldwide: $50,732,945
This Eddie Murphy bomb also featured Owen Wilson, who would fare better a couple years later in Starky & Hutch.

Miami Vice (2006)
RT score-47
Production Budget: $135 million
Total Lifetime Grosses
Domestic: $63,450,470 38.7%
+ Foreign: $100,344,039 61.3%
= Worldwide: $163,794,509
Colin Ferrell was in this and the earlier, and equally middling cop-based film, S.W.A.T., though S.W.A.T. had the better domestic gross.

Mission: Impossible III (2006)
RT score 70 (1996-57,2000-57)
Production Budget: $150 million
Total Lifetime Grosses
Domestic: $134,029,801 33.7%
+ Foreign: $263,820,211 66.3%
= Worldwide: $397,850,012
Interesting that the third film rated better than the predecessors in 1996 and 2000 (both 57), but the original and the first sequel were more profitable. this begs the question about the potential success of the fourth film, scheduled for release in 2011.

Star Trek (2009)
RT score-94
Production Budget: $150 million
Total Lifetime Grosses
Domestic: $257,730,019 66.9%
+ Foreign: $127,764,536 33.1%
= Worldwide: $385,494,555
Don’t know if I should count this one, given all of its cinematic antecedents, but it seemed to meet the criteria. Definitely need to see this film.

Starsky & Hutch (2004)
RT score-63
Production Budget: $60 million
Total Lifetime Grosses
Domestic: $88,237,754 51.8%
+ Foreign: $82,030,996 48.2%
= Worldwide: $170,268,750
This Ben Stiller film did better than I recalled.

S.W.A.T. (2003)
RT score-48
Production Budget: $80 million
Total Lifetime Grosses
Domestic: $116,934,650 56.3%
+ Foreign: $90,790,989 43.7%
= Worldwide: $207,725,639

So this is just not a subgenre I inherently trust. These films get made because of their familiarity, but often, the film is schlock, the box office is disappointing, or both. This is not to say that these movies are always a bust – http://www.imdb.com/title/tt0106977/ The Fugitive (1994) was a big hit commercially and critically, though the TV show based on the movie, which had been based on the TV show, was not.

I’m also wary of TV-to-TV remakes. I have oddly fond memories of Hawaii 5-0, and the remake this fall doesn’t excite me, not because it will necessarily be bad, but because it won’t be what I want from that brand. Still, I’ll check out the new version – maybe.

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