This was shot with what appears to be the thinnest of budgets. The downside is that it’s very amateurish I am, at best, a moderately skilled hobbyist in 3D art, and I could have done as well as that 15 years ago.Īnd that brings us right into the bad. And even on the pilot’s very limited budget, they try to incorporate visual elements of the books the motif of having the book’s chapter icons spinning on a wheel is a decent idea. Max Ryan looks believable as Lews Therin Telamon and Billy Zane is competent actor who could make for a sinister Ishamael under the right director. The casting choices aren’t terrible for the speaking roles. For good or ill, this is a Wheel of Time adaptation in truth and that is Robert Jordan’s writing on the small screen. Although it is only based on the prologue to the first novel in the series, it is mostly faithful to that prologue indeed, most of the dialogue is lifted directly. That accusation cannot reasonably be leveled at Winter Dragon. Often when there’s a bad adaptation of the work, fans will accuse it of being an adaptation “in name only” there are several movies out there that differ so much from their source material that nothing of the plot remains. Ladies and gentlemen, the new nadir of Billy Zane’s career. Suffice to say, the result is not exactly what fans were clamoring for. Which they had to pay FXX to air in a late night paid-programming slot. In a desperate attempt to extend their license, they decided to settle for putting out a pilot episode this year. The goal was purportedly to produce a television series. Since then they have apparently had trouble getting all of their ducks in a row and the rights were about to expire. Roughly ten years ago, Red Eagle Entertainment licensed the adaptation rights to Robert Jordan’s The Wheel of Time, a massively popular (and just plain massive) fantasy epic ( which I spent nearly a year reviewing here). Every so often this results in the ludicrous situation of releasing garbage in the hopes of later releasing gold. Often the licenses for adaptations are written in a “use it or lose it” way, pressuring studios to produce something if they want to maintain a potentially lucrative license. Movie and television rights are an interesting thing.
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