‘ER’ Creator Michael Crichton’s Estate Sues Warner Bros. Over Upcoming Hospital Drama ‘The Pitt’ 

Author Michael Crichton poses for a portrait at The Peninsula Hotel in New York on Dec. 7, 2004. (AP)
Author Michael Crichton poses for a portrait at The Peninsula Hotel in New York on Dec. 7, 2004. (AP)
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‘ER’ Creator Michael Crichton’s Estate Sues Warner Bros. Over Upcoming Hospital Drama ‘The Pitt’ 

Author Michael Crichton poses for a portrait at The Peninsula Hotel in New York on Dec. 7, 2004. (AP)
Author Michael Crichton poses for a portrait at The Peninsula Hotel in New York on Dec. 7, 2004. (AP)

The estate of Michael Crichton, who wrote the screenplay for what became the pilot episode of “ER,” has sued Warner Bros. Television over a dispute about an upcoming medical drama it says is a rebranded version of an unauthorized reboot.

After Crichton’s estate, led by his widow, Sherri, could not reach an agreement with the television studio to produce a reboot of the famed medical procedural, the lawsuit alleges Warner Bros. proceeded to develop and produce a series based on the same premise without consent.

The upcoming series, titled “The Pitt,” will be a medical drama set in Pittsburgh, as opposed to “ER’s” Chicago setting, and will feature Noah Wyle in a starring role. Wyle is best known for playing John Carter on “ER” in over 250 episodes.

“The Pitt” is also set to include several “ER” alums behind-the-scenes, including John Wells as the executive producer and R. Scott Gemmill as the showrunner. Wyle, Wells and Gemmill are each named defendants in the suit.

“The lawsuit filed by the Crichton Estate is baseless, as ‘The Pitt’ is a new and original show. Any suggestion otherwise is false, and Warner Bros. Television intends to vigorously defend against these meritless claims,” the studio said in a statement.

Because of Crichton’s success with projects including “Jurassic Park” and “Westworld” before “ER” was developed, he secured a coveted “frozen rights” provision in his contract for the series. The provision prohibits Warner Bros. from proceeding with any sequels, remakes, spinoffs or other productions derived from “ER” without Crichton’s consent, or his estate’s consent after his death from cancer in 2008.

“If Warner Bros. can do this to Michael Crichton, one of the industry’s most successful and prolific creators who made the studio billions over the course of their partnership, no creator is safe,” a spokesperson for Sherri Crichton said in a statement to The Associated Press. “While litigation is never the preferred course of action, contracts must be enforced, and Michael Crichton’s legacy must be protected.”

The estate, which filed the lawsuit Tuesday in Los Angeles Superior Court, is asking the judge to issue an injunction that would force the studio to stop production on the new series, and they are also seeking punitive and compensatory damages.

Warner Bros. began developing a reboot of “ER” for HBO’s streaming service, Max, in 2020 without Sherri’s knowledge, according to the lawsuit.

In 2022, when Sherri Crichton was informed of the developing project, she and the estate engaged in negotiations with the studio, through which she says she was promised that Crichton would get a “created by” credit, backed by a $5 million guarantee for the estate in the event the credit was not given. Ultimately, the term was revoked and negotiations stopped, which the lawsuit states should have ceased all development of the series.

Development continued on, and “The Pitt” was announced in March. A release date has yet to be announced.

“The Pitt is ER. It’s not like ER, it’s not kind of ER, it’s not sort of ER. It is ER complete with the same executive producer, writer, star, production companies, studio, and network as the planned ER reboot,” lawyers representing Crichton’s estate wrote in the lawsuit.

The lawsuit also alleges that Warner Bros. had previously tried to “erase” Crichton from derivatives for his work by downgrading his credit in the 2016 series based off his movie, “Westworld,” from “created by” to “based on,” which they say started “a disturbing pattern.”



‘Beetlejuice Beetlejuice’ Prepares to Open 81st Venice Film Festival

Director Tim Burton signs autographs, on the day of a photocall for the film "Beetlejuice Beetlejuice", which is screening out of competition, at the 81st Venice Film Festival, Venice, Italy, August 28, 2024. REUTERS/Yara Nardi Purchase Licensing Rights
Director Tim Burton signs autographs, on the day of a photocall for the film "Beetlejuice Beetlejuice", which is screening out of competition, at the 81st Venice Film Festival, Venice, Italy, August 28, 2024. REUTERS/Yara Nardi Purchase Licensing Rights
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‘Beetlejuice Beetlejuice’ Prepares to Open 81st Venice Film Festival

Director Tim Burton signs autographs, on the day of a photocall for the film "Beetlejuice Beetlejuice", which is screening out of competition, at the 81st Venice Film Festival, Venice, Italy, August 28, 2024. REUTERS/Yara Nardi Purchase Licensing Rights
Director Tim Burton signs autographs, on the day of a photocall for the film "Beetlejuice Beetlejuice", which is screening out of competition, at the 81st Venice Film Festival, Venice, Italy, August 28, 2024. REUTERS/Yara Nardi Purchase Licensing Rights

The 81st edition of the Venice Film Festival is kicking off in Hollywood fashion with the world premiere of “Beetlejuice Beetlejuice” Wednesday evening on the Lido.

To make the sequel, Tim Burton reunited with several key cast members from his 1988 horror-comedy, including Michael Keaton playing the titular ghoul, Catherine O’Hara, and Winona Ryder as Lydia, now mother to her own sullen teen played by Jenna Ortega.

“I’m not out to do a big sequel for money,” Burton said a few hours before the premiere, with his cast alongside him. “I wanted to make this for very personal reasons.”

The reason, he said, was that he'd become disillusioned with the film industry in the past few years. “Beetlejuice Beetlejuice” was the kick he needed to fall in love with the process again, The AP reported.

“I just realized if I’m going to do anything again, I just wanted to do it from my heart. Something that I wanted to do,” Burton said. “It’s a bit like the Lydia character. Sometimes your life takes a little bit of a turn, you go down a different path. I sort of lost myself a little bit.”

The film comes 36 years after audiences first met the Deetz family. Though the original “Beetlejuice” was a hit, the tenth highest grossing film of 1988, and remains a beloved staple, Burton said he never quite understood why it was such a success. In fact, he didn’t even watch it to prepare to make this one. He remembered the spirit well enough.

“There are so few opportunities to be in something that you can say is 100% original and unique,” said Keaton, who joked about his character's evolution.

“I think my character has matured,” Keaton said. “As suave and sensitive as he was in the first, I think he’s even more so in this one.”

“Beetlejuice Beetlejuice,” which Warner Bros. opens in theaters worldwide next week, may be a major Hollywood studio release, but it was made with a scrappy and improvisational energy which extended from the cast to the crew, who were often building puppets on the spot.

“It’s not going to win any Academy Awards for special effects,” Burton laughed. “It doesn’t matter. It’s part of the DNA of the project.”

The film finds Ryder’s Lydia, now the host of a cheesy ghost-hunting television show, her stepmother Delia (O’Hara) and Ortega’s Astrid going back to the old Winter River home after the death of Charles. Astrid is a reluctant presence: Her character is just as surly as Lydia was as a teen, but unlike her mother, she doesn’t believe in ghosts.

“I was a huge fan of the first one,” said Ortega, who met Burton working on the popular Netflix series “Wednesday.” “He’s somebody I trust immensely.”

Ryder, who was 15 when she first played Lydia, found the experience of the sequel very similar even 30+ years later.

“It had been such a special experience, the first one, and just to be able to come back to it was a dream come true,” Ryder said. “My love and trust for Tim runs so deep. There’s a sense of playfulness where you can try things and you know if it’s bad he won’t use it ... You feel safe and also completely free.”

In addition to Ortega, new to the world of Beetlejuice are Justin Theroux, who plays Lydia’s sleazy boyfriend and manager, Willem Dafoe as a dead cop/actor, and Monica Belluci as a soul-sucking ghost out for revenge against Beetlejuice, her ex.

Theroux observed that the playful atmosphere on set existed without the “normal downward pressure of a studio film.”

And everything in “Beetlejuice Beetlejuice” was special to Burton, from the music to the references and homages to Italian and Spanish cinema and the “dumb movies” he loves.

“(It was) getting back to the things I love doing, the way I love doing them, and the people I love doing them with. I realized that’s the only way for it to be a success. I have to love doing it. It didn’t matter how it turned out. I just enjoyed and loved making it with all of these people,” Burton said. “It’s like a weird family movie.”

“Beetlejuice Beetlejuice” is premiering at the festival out of competition, kicking off a busy 10 days on the Lido, which will soon be swarming with movie stars, from George Clooney and Brad Pitt, to Lady Gaga and Angelina Jolie.

The Venice Film Festival runs through Sept. 7.