I have to agree with every point that you've made here.
The casting, portrayal and motivations given to this reinterpretation of Kolchak are spectacularly tone deaf. Give the pedigree of the executive producer (Spotsnitz worked on the excellent X-Files) I am very disappointed with what’s been done on this update.
The symmetry of the sequences and plotting in the old show were a marvel, the character acting superb and the mix of comedy and terror inspired. No show has done it better since. Some of the best talent in Hollywood television worked on the scripts as well, and it shows despite the rushed nature of some of the productions.
The most important thing to remember about the success of Night Stalker was the laser like focus on McGavin’s “Kolchak” character. He was a reporter straight off the “Front Page” (there was even a reference to this in the second film) and the rumpled, sparse character’s mixture of cynicism, realism and idealism were key to his appeal.
Carl wasn’t good looking, he wasn’t strong and he often screamed like a schoolgirl when faced with the supernatural but he never allowed himself to be defeated. Indefatigable and virtually living in his dysfunctional office (we never see his apartment on the show), he was the perfect underdog for the viewing public. McGavin knew he was on to something with this character, and to this day people in the newspaper business see Carl as a hero. Even Drudge holds him as an inspiration, which is why Matt cultivates the Kolchak look with the cheap hat and 2 dollar suit (though Carl would stake that vampire through the heart in a minute).
The world painted by the old show was born out of the widespread distrust of government that was so prevalent in the 1970’s and it was precisely this worldview paired with idiosyncratic performances of both cast and guest stars that permitted the stories to have such impact and emotional believability.
And what a great cast of actors and guests it was! From Simon Oakland’s unforgettable Vincenzo on down, the supporting cast was simply amazing. The guest lists read like a “Who’s who” of character actors of the period; Sorrell Booke, Antonio Fargas, Scatman Crothers, John Fiedler, Mary Wickes, Willam Daniels, Dick Van Patten, Tom Skerritt, Richard Kiel, Keenan Wynn, William Smith, Phil Silvers, Jamie Farr, Jim Bakus, Carolyn Jones, Erik Estrada, Hans Conried, Cathy Lee Crosby and of course Darrin’s wife Kathie Brown (who just recently passed away after decades of marriage together) just to name a few.
Where other ‘Monster of the Week’ shows might have their creatures always hidden from sight and never confronting authority, The Night Stalker had them flinging around cops (“The Ripper”), ignoring automatic weapon fire (“The Sentry”), slaughtering the entire control room crew of a ship (“The Werewolf”) and more. This in-your-face expression of power against authority worked wonders in creating an atmosphere of dread. These monsters weren’t afraid of the police. The police were afraid of them.
This played into the second brilliant conceit of the early series; since the authorities could not control these creatures, they instead controlled access to the information about them. How could a vampire survive in Las Vegas or Los Angeles without being noticed? When the police and FBI themselves hide the evidence of its existence, that’s how. And the idea fit very well in the culture of mistrust the government had earned itself throughout the 60’s and early 70’s. Suddenly, it became very easy to believe this could happen – with cops controlling access by the media and the only eyewitnesses to the events marginalized or taken away, reality didn’t matter – the cover story was king.
Also worth mentioning were the fantastic scores for the show by Gil Melle and Jerry Fielding. I am especially fond of the creepy string suites used for many of the shows final acts. These were particularly chilling in "The Zombie", which likely had the best finishing payoff sequence of the entire series.
Regarding the new series, the X-Files DNA is apparent (Mulderizing Kolchak for example with his quest to find out what happened to a beloved family member) but I actually see more CSI spin-off here than almost anything else. The forensic style analysis, acting delivery, the good looking cast, the manner of cinematography, direction and set design all scream CSI: Miami to me. Which is ironic considering the much better original CSI (set in Vegas) seems reminiscent of the original Night Stalker series in regard to the office politics/management aspects of its character interaction.
It seems, for whatever reason, most of the unique qualities of the older show were specifically sanitized or cut, and it’s mystifying since those were the reasons for the shows enduring appeal in the first place. This is like reshooting “Harvey” but leaving out the rabbit.
In fact, the original X-Files was a better spin off of Night Stalker than this as it had more of the shows original qualities than we see here. Heck, they even had Darrin himself, rather than a poorly superimposed computerized fake. And doesn’t that just about say it all?