Projects that have complex and circuitous gestation processes and then emerge fully-formed into the world as something entirely other than that which they were originally intended to be are, as you’d expect, a hit-or-miss proposition, but when they hit sometimes they really hit : David Lynch’s Mulholland Drive, for instance, famously began on paper as a TV pitch centered around Sherilyn Fenn’s Audrey Horne character from Twin Peaks ditching the Pacific Northwest for the bright lights of Hollywood, while Jack Kirby’s amazingly prescient OMAC evolved from a scuttled re-boot of Captain America that was to be set in the far future. The lesson here being, I suppose, to never let a “course correction” — or even several of them — get you down. If your central conceit is strong enough, it’ll be able to survive many twists and turns before taking its final shape.

Now, we can add to…