We're getting a TV adaptation of Sin City, Frank Miller's series of neo-noir comics inspired by crime pulp fiction, Deadline Hollywood reports. Miller just inked a deal with Legendary Television for the project, and apparently a similar agreement is close to completion with Robert Rodriguez, who collaborated with Miller on the film adaptions of the comic series in 2005 and 2014. The agreement comes with a first season guarantee, pending a partnership with one of the major networks or streaming platforms. Given that Miller wants the series to rate a hard "R," streaming seems the most likely option.
Miller cut his teeth in the 1980s on Marvel Comics' Daredevil series and DC Comics' The Dark Knight Returns. A longtime fan of film noir, especially the films of James Cagney and Humphrey Bogart, Miller wanted to bring that same tone to Sin City, an anthology of stories set in the fictional Western town of Basin City (aka Sin City). The series art was noteworthy for its unique aesthetic, drawn almost entirely in black-and-white, with occasional bright splashes of color (red, yellow, blue, or pink) to highlight certain characters. And Miller drew on classic pulp fiction for the writing as well.
Almost every inhabitant of Sin City is corrupt, from the police department to the wealthy Roark family dynasty, with different factions carving out niches in the overall hierarchy. Miller has said he wanted it to be "a world out of balance, where virtue is defined by individuals in difficult situations, not by an overwhelming sense of goodness that was somehow governed by this godlike Comics Code." So we get stories, or "yarns," about one man's brutal rampage to avenge his lover's killer; gang warfares; and the hunt for a disfigured serial killer targeting young women. The yarns aren't necessarily connected, but they all take place in the same fictional world, and various characters recur in different stories.
The 2005 film adaptation, Sin City, focused mostly on the first, third, and fourth books in the series (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard). From the start Rodriguez sought to remain true to the source material; the only writing credit is "based on the graphic novels by Frank Miller." He also brought Miller on board as co-director to ensure the film had the same distinctive look as the comics: mostly black-and-white, with splashes of bright colors here and there. Since the Director's Guild of America refused to grant full directing credit to both men because they weren't part of an established team, Rodriguez famously resigned his membership to preserve the dual credit.
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