This crazy concept comes courtesy of Canadian writer Phillip Iscove, who developed the script with power screenwriting team Alex Kurtzman and Roberto Orci ( Fringe, the rebooted Star Trek series) and pilot director Len Wiseman (he of Underworld fame). Together, the two team up and unearth the town’s hidden past and how those dark secrets affect not only Sleepy Hollow but the fate of the world itself. Though Crane is branded a madman by the rest of the Sleepy Hollow police force, Abbie does not completely dismiss his tales of time travel and the supernatural. The man-out-of-time soon crosses path with Abbie Mills, an African-American police lieutenant who has just witnessed the beheading of Sleepy Hollow sheriff August Corbin (Clancy Brown) by the same (albeit, now Headless) Horseman that Crane faced in battle. Abandon all hope, ye literary purists who enter here. Disoriented, he stumbles out into the open and onto a paved road where he is almost mowed down by several vehicles.Ĭue The Rolling Stones’ “Sympathy for the Devil” and welcome to the wild and crazy world of Sleepy Hollow. Both men collapse, and we abruptly cut to the modern day where Crane-still in his 18th century attire-emerges from some funky-looking mud in a cave. The intuitive Crane manages to successfully lob off the soldier’s head but not before being left with a seemingly lethal chest wound. Soldier Ichabod Crane (Tom Mison, looking significantly more GQ than the traditionally nebbish Crane of past adaptations) finds himself facing off against a masked, Red Coat-wearin’ Horseman who seems completely immune to gunfire. The pilot opens on a Revolutionary War battlefield. With that in mind, count me among those grinning like a 13-year-old boy who just discovered Die Hard. Your response to this one image-whether it be an amused smile or a exasperated eye roll-will serve as a proverbial litmus test for how you’ll likely respond to Fox’s revisionist take on the famed Washington Irving short story. The Headless Horseman, having yielded a broad ax for a good portion of the episode, raids a gun cabinet and re-emerges armed to the teeth with an assortment of firearms, including a machine-gun that he brandishes in his hand like The Terminator. "There's a lot of things that need to change, and while we all feel privileged and grateful to be in this business, there are definitely people around that will just be like, 'Just be happy to be here,' where you don't necessarily get treated equally, or you get judged very severely," Beharie continued. "As we saw with #MeToo and Time's Up, women are coming out about some of those injustices, but there's, like, a double whammy there when you're Black and a woman.There is a defining moment in the latter half of the Sleepy Hollow pilot. "It's almost like looking back at a time before I woke up to the full awareness that people saw me - even though I was serving their narrative - that they were perhaps treating me as a second-class citizen, despite whatever I did to assimilate, or to work as hard as I possibly could. To undo the idea that, despite the value that you add to something, some people do feel like you are expendable in our lives and our contributions." "I think that's one of the things that made me understand Turquoise," she said of her Miss Juneteenth character, a struggling single mother who pushes her teenage daughter towards reliving her former pageant glory. While speaking with ET earlier this month, Beharie opened up about her experiences on "one particular TV show" that "completely changed the trajectory of my career and probably my life and health," though she didn't call out Sleepy Hollow by name. "I tried to get work afterwards and people were like, 'We heard you were difficult,'" she recalled. "But no one can say I was late or unprofessional or negative." And that's before the damage she says was done to her career. The actress, who also recently appeared on Hulu's Little Fires Everywhere, said it's taken five years for her to undo the physical toll of working through her illness.
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