Six men and six women who are unhappy with their lives arrive at an exclusive tropical resort to "reboot". They learn that they must compete against each other to hold onto this newly-found slice of paradise.
Runtime: 60 minutes
Escape Club - The Wild Wild West - Netflix
The Wild Wild West is an American Science Fiction/Spy/Western television series that ran on the CBS television network for four seasons (104 episodes) from September 17, 1965, to April 4, 1969. Two television movies were made with the original cast in 1979 and 1980, and the series was adapted for a motion picture in 1999. Developed at a time when the television western was losing ground to the spy genre, this show was conceived by its creator, Michael Garrison, as “James Bond on horseback.” Set during the administration of President Ulysses Grant (1869–77), the series followed Secret Service agents James West (Robert Conrad) and Artemus Gordon (Ross Martin) as they solved crimes, protected the President, and foiled the plans of megalomaniacal villains to take over all or part of the United States. The show featured a number of fantasy elements, such as the technologically advanced devices used by the agents and their adversaries. The combination of the Victorian era time-frame and the use of Verne-esque technology has inspired some to give the show credit as being one of the more “visible” origins of the steampunk subculture. These elements were accentuated even more in the 1999 movie adaptation. Despite high ratings, the series was cancelled near the end of its fourth season as a concession to Congress over television violence.
Escape Club - TV movies - Netflix
Conrad and Martin reunited for two television movies, The Wild Wild West Revisited (aired May 9, 1979) and More Wild Wild West (aired October 7–8, 1980). Revisited introduced Paul Williams as Miguelito Loveless Jr., the son of the agents' nemesis. (Michael Dunn, who played Dr. Loveless in the original show, had died in 1973.) Loveless planned to substitute clones for the crowned heads of Europe and the President of the United States. (This plot is similar to the second-season episode “The Night of the Brain”.) Most of the exterior filming took place at Old Tucson Studios where there were still many “Old West” buildings and a functioning steam train and tracks. Interiors were shot at CBS Studio Center. Ross Martin said, “We worked on a lot of the same sets at the studio, including the interiors of the old train. We used the same guns and gimmicks and wardrobes – with the waistlines let out a little bit. The script, unlike the old shows, is played strictly for comedy. It calls for us to be ten years older than when we were last seen. There are a lot more laughs than adventure.” More Wild Wild West was initially conceived as a rematch between the agents and Miguelito Jr., but Williams was unavailable for the film; his character was changed to Albert Paradine II and played by Jonathan Winters—this explains why the story begins with various clones of Paradine being murdered (the first film ends with Loveless having cloned himself and placed the doubles around the world). Paradine planned world conquest using a formula for invisibility (recalling the first-season episode “The Night of the Burning Diamond”). Both TV films were campier than the TV series, although Conrad and Martin played their roles straight. Both films were directed by veteran comedy Western director Burt Kennedy and written by William Bowers (in the latter case with Tony Kayden, from a story by Bowers); neither Kennedy nor Bowers worked on the original series. The Wild Wild West Revisited takes the agents to a town called Wagon Gap. This was a nod to the Abbott and Costello film, The Wistful Widow of Wagon Gap (1947), which was based on a treatment by Bowers and D. D. Beauchamp of a short story by Beauchamp. Conrad once revealed that CBS intended to do yearly TV revivals of The Wild Wild West. Variety, in its review of the first TV movie, concurred: “A couple of more movies in this vein, sensibly spaced, could work in the future.” Ross Martin's death in 1981, however, put an end to the idea. Conrad was later quoted in Cinefantastique about these films: “We all got along fine with each other when we did these, but I wasn't happy with them only because CBS imposed a lot of restrictions on us. They never came up to the level of what we had done before.”
Escape Club - References - Netflix