In a little over a month, audiences will witness the release of Edgar Wright’s ambitious reinterpretation of *The Running Man*, a project that aims not merely to recreate but to thoughtfully reimagine Stephen King’s tense, socially charged narrative. This new adaptation promises a number of departures from the original source material, especially in its climax. For those who have yet to experience the ending of King’s 1979 novel, a word of caution is advised—further reading will reveal significant details about the original conclusion.
In King’s novel, the protagonist Ben Richards—portrayed in Wright’s version by actor Glen Powell—reaches the story’s devastating finale only after enduring an escalating sequence of personal and moral catastrophes. Following the harrowing discovery that his wife and young daughter have been murdered, Richards commandeers a plane in a desperate final act of vengeance. His goal is not simply self-destruction but symbolic annihilation—he uses the aircraft to kill both himself and the executives of the Games Network, the tyrannical organization orchestrating the deadly bloodsport central to the plot. This dark and explosive ending reflects the novel’s deeply cynical tone and its portrayal of a society desensitized to spectacle and violence.
However, Wright and his longtime collaborator, screenwriter Michael Bacall, recognized early in the adaptation process that such an ending would likely prove too uncompromising—and perhaps too incendiary—for their cinematic vision. In a conversation with the UK publication *Film Stories*, Wright admitted that from the very outset the creative team had decided the novel’s tragic resolution would not carry over into the new version. Instead, they sought to craft something both resonant and contemporary while still true to the spirit of King’s dystopian critique.
The specifics of this newly constructed conclusion remain closely guarded, hidden even from keen fans eager to speculate. Changing the ending of such a well-known story required the explicit approval of King himself, whose work has inspired countless adaptations across film and television. Wright candidly described the day the revised script was sent to the author as “possibly the most nerve‑wracking day of the entire production,” an anxiety born of reverence for the source material and respect for its creator. To Wright’s immense relief, King responded not with hesitation but with enthusiasm. The filmmaker recalled the author’s curiosity about how the new finale would unfold, noting that King appeared to anticipate a reinterpretation and welcomed its creative direction. According to Wright, King’s approving remark—his simple declaration that Wright and Bacall had done a “great job”—served as both validation and motivation for the entire production team.
Fans familiar with cinematic history will recognize that this act of revision is hardly unprecedented. The 1987 film adaptation of *The Running Man*, starring Arnold Schwarzenegger, also took considerable liberties with the source material. That version concluded not with Richards’s fiery demise but with a more conventionally triumphant moment: Richards and Amber Mendez, the film’s secondary protagonist, sharing a kiss after the villainous television host Killian meets his end live on air. Such alterations reflect the industry’s frequent balancing act between remaining faithful to an author’s vision and crafting a narrative that speaks compellingly to modern audiences. Likewise, other adaptations of King’s works—such as *The Long Walk*—have introduced sweeping changes that diverge sharply from the original texts, offering reinterpretations that provoke discussion among critics and fans alike.
Ultimately, what remains most intriguing about Wright’s forthcoming adaptation is not simply how it revises the story’s conclusion, but how it reframes King’s enduring themes for a new generation. As audiences await its theatrical premiere on November 14, anticipation continues to build around whether this *Running Man* will manage to “stick the landing” and deliver an ending that honors both the emotional depth of King’s narrative and Wright’s distinct cinematic flair.
For readers and viewers eager to stay informed about the evolving landscape of popular culture, this release arrives amid a wave of major franchise updates—from the next chapters of the *Marvel*, *Star Wars*, and *Star Trek* universes to the unfolding developments within the *DC* cinematic world and the continuing adventures of *Doctor Who*. Each new interpretation, including Wright’s *Running Man*, serves as a reminder of storytelling’s transformative power and the endless possibilities that arise when classic tales are reimagined for the present moment.
Sourse: https://gizmodo.com/running-man-will-have-a-new-stephen-king-approved-ending-2000667741
