By Gavin Boyle
EVERYBODY LOVES RAYMOND stars aren’t interested in a reboot, especially after the deaths of Peter Boyle and Doris Roberts who played the parents on the show.
“There won’t be [a reboot of the show],” Brad Garrett told PEOPLE. “And I’m just saying that because that’s something that Ray [Romano] and Phil [Rosenthal, the show’s creator] have always said.”
“There is no show without the parents,” he added, sharing how after the death of Boyle and Roberts, a reboot is definitely off the table. “They were the catalyst, and to do anything that would resemble that wouldn’t be right to the audiences or to the loyal fan base. And it was about those two families, and you can’t get around that.”
EVERYBODY LOVES RAYMOND was one of the most popular shows on television during its nine season run. Throughout its time, the show was nominated for 69 Primetime Emmys, of which it won 15. During six of its seasons, it ranked within the top 10 shows.
Romano was happy to go out with the show maintaining a high popularity rather than having the show canceled when its hype inevitably slipped.
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“As far as a reboot, well it’s out of the question,” Romano told Bill Maher in 2023. “They’re never as good and we want to leave with our legacy as what it is…The rest of the cast wanted to go on, but myself and Phil Rosenthal, we thought it was time.”
This decision to allow the show to rest comes at a time when TV studios are particularly eager to reboot successful series from the past. As with other parts of the entertainment industry, studios hesitate to pursue an IP that does not have an already established audience.
“Hollywood sequel culture, in other words, is in reasonably healthy creative shape,” said Variety writer Owen Glieberman. “And given how much it’s now dominating commercially, in an industry that’s existentially threatened enough to need every theatrical hit it can get, no one in their right mind would dispute the need to make these films. Sequels are luring people into theaters in a way that the most acclaimed movies of the year, from ANORA to CONCLAVE, are not. Where would the current movie landscape be without them?”
“Hollywood has always cannibalized itself,” he added. “But the thing is, it hasn’t just cannibalized itself. The contradiction of sequel culture, and the threat of it, is that if all you rely on is concepts from the past, you’re not going to produce enough of a future.”
In an industry where uninspired cash grabs are the norm, it is encouraging to see one show that will allow itself to stay in the past.
Read Next: Are All These Hollywood Sequels Really Sustainable?
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