Category: TV

The growing power of the Idiot’s Lantern…

1966: Star Trek at 50

1966: Star Trek at 50

1966: Star Trek at 50

It’s 50 years to the day that Star Trek first transported onto NBC at 8:30… In celebration of five decades of the intergalactic pop-culture giant that followed, Jokerside takes a look at that classic first year…

Star Trek: The Original Series

IT WAS THE FIRST SERIES OF STAR TREK THAT SET A CRUCIAL LINK BETWEEN THE SHOW AND TIME. Three instances to be specific, and one of those, City on the Edge of Forever, remains a science-fiction classic. Time travel would return to Trek again and again… But it was just one of the staples of the franchise that came ready-made for exploration in the 29-part season that aired between 1966 and 1967. So much of what would become synonymous with Star Trek was set in those early days, but it’s just as well time travel was present and correct. Because pinning an anniversary on Star Trek could take Spock months of slingshot calculations.

The past

“To boldly go…”

A key date was April 1964 when creator Gene Roddenberry pitched his draft for Star Trek draft to Desilu Productions, run by Lucile Ball and producer of her shows including I love Lucy and at that time The Lucy Show. The concept developed from the adventures of Robert April Captain of the S.S. Yorktown to the first pilot The Cage, centred around Captain Christopher Pike in the form of Jeffrey Hunter. The Cage was commissioned in May 1964, filmed later that year and promptly passed on by NBC. Famously dismissed as “too cerebral” they did see a glimmer of something in the premise. And so, against all expectation they commissioned a second pilot, Where No Man Has Gone Before, which switched control of the Enterprise to William Shatner’s Captain James T. Kirk. Accepted, series production commenced and Where No Man Has Gone before aired on 22 September 1966. But wait, that’s not right…

Star Trek had a tortuous genesis. The kind Khan Noonien Singh would happily defrost to detonate. In February 1966, four months before production on that second pilot started, when that script was emerging from its own difficult selection process, Desilu almost called time on the embryonic show. Used to half hour productions, they were financially overburdened by their risky new space venture and their other hour-long production, Mission Impossible. It was Head of production Herb Solow who managed to calm things down. Then, when it came to transmission, the running order threw up all sorts of issues for the show’s uncertain network. So, in the event Where No Man Has Gone Before was screened third in the running order, the premiere falling to on 8 September. To make matters slightly more confusing, Star Trek was properly first broadcast on 6 September, 1966 on Canada’s CTV network.

But then, from difficult beginnings… For all its triumph on the big screen, grossing $2.3 billion over 13 films so far, television is the real berth of the good ship Enterprise. And that’s why 8 September is the date. When Star Trek hit its home nation network and began a classic and influential year. All the more idiosyncratic that it couldn’t shake off its unusual production history.

Hitting the ground running

“Out here we’re the only policemen around”

It wasn’t simply that Where No Man Has Gone Before stepped back in the running order. Just about the first third of that first year is jumbled around thanks to the network’s desperate juggling of themes and stories. Looking at the produced episodes, many of which were spilling over schedule thanks to on-set rewrites, they felt their toes chill. There are some dynamic effects from the transmission order as it emerged that Fall. It’s strange to see Uhura’s role reduce then grow again, just as it is for old pal Gary Mitchell to pop up three episodes in, about the same time as the ship’s complement decides to change uniform for a week (a switch back to the heavy crew necks of The Cage uniforms). But it’s not insurmountable. And while that running order makes watching the first series a little more difficult than it should be, as the network’s decisions knock the balance of that first year off, it immediately highlights the rugged survivalism built into the concept. The strength of the conceit and the core characters was there almost instantly, and from its formative days Star Trek was girded for the future.

The show would burn brightly and quickly. Cancelled after a reduced third year, it would be years spent in syndication that developed its true following and proved its enduring appeal, leading to its mild television resurgence in the 1970s, shift to the big screen and proliferation in the 1980s and 1990s. Those glorious days before story arcs, where running order was irrelevant to broadcast. Star Trek took the test with its first episode and proved that optimism is everything. And so it was that when The Man Trap aired on 8 September it easily won its time slot with a 40.6 share of the audience.

What unfolded until 13 April 1967 was a quite incredible 29-part run. There’s barely a dud among the bunch, quite the opposite of the reputation that subsequent Star Trek series would earn for their weak opening years. What’s particularly astonishing is how easily Star Trek managed to reflect contemporary culture, for good and bad, establish a template for talented creators to comment on that contemporary culture and also set so many of the themes, facets and recurring elements that have remained with the show and film series for 50 years. No doubt those will be present and correct when Star Trek Discovery hits in 2017.

What better way to celebrate the show than look at those crucial ingredients. Continue reading “1966: Star Trek at 50”

1966: Batman the Movie at 50

1966 Batman at 50

1966 Batman at 50

“Some days you just can’t get rid of a bomb”

It was the television series that leapt to the big screen after its first season, providing the first slice of feature length Caped Crusader. And five decades on, somehow that white eyebrowed facet of Batman persists. Not only was its multi-colour legacy recently felt in the comic spin off Batman ’66 which ended earlier this year, but this October sees the release of animated sequel Return of the Caped Crusaders.

Shunning countless efforts to derail the camper side of Batman, a look at a crucial part of the Caped Crusader franchise: Batman: The Movie, released 50 years ago today.

Batman’s never been more about life…

THE SHADOW OF THOSE LEGGINGS, THAT DELIVERY, THAT BAT-PHONE, THOSE PUNS, THOSE CLIFF-HANGERS, THOSE WALL CRAWLS, THOSE FIGHT SCENES… It persists, despite the combined big screen, big budget efforts of Burton, Schumacher, Nolan and Snyder to set a different Batman over the last 30 years. Yes, even Schumacher, who aped much but somehow failed to recapture the show’s subtle breadth and laugh out loud comedy. In fact, the television series started a domino effect of reaction and negation. Nominally, Joel Schumacher’s duo of Batman films nodded furiously to the series that was then three decades removed as a response to the darkening gothic stylings Tim Burton brought to the character with 1991’s sublime Batman Returns.  But for every line of parody (“Holy rusted metal!), sharp strings or happy broadening of the Bat-family Schumacher attempted, just showed how sophisticated the source material was in comparison. That in turn triggered a realistic reboot in the mid-200s, starting a trilogy rooted in comic plotlines and characters that emerged in the 1970s as a direct response to the campness of Batman’s 1960s television incarnation (Ra’s and Talia al Ghul, Bane), just as the current cinematic Batman is strongly rooted in the Dark Knight of the mid-1980s. But through it all, the flame of the 1960s Batman has kept burning. In its way a response to the darker, more realistic Nolan films of the 21st century and the difficult legacy of the ground-breaking Burton-inspired Batman: The Animated Series, Batman: The Brave and the Bold (2008-2011) was a confident, brash cartoon tribute to comics’ silver age which paid huge tribute to the ‘60s show.

Perhaps there’s no better indication that the not-so dark facet of Gotham’s masked guardian simply won’t disappear than Batman ’66. A web and printed comic set in the 1960’s universe that ran for 73 issues, concluding just in time for the show’s 50th anniversary. More of that later… Because 1960s’ Batman is so much more than a persistent ambassador of a lighter age.

Batman: The Television Series (1966 – 1968)

“Tune in tomorrow—same Bat-time, same Bat-channel!”

Batman arrived on ABC in January 1966. A phenomenon in waiting, it carried an inevitability the show’s endless death traps could never match. Originally developed as a kids’ TV adventure romp heading to mornings on CBS, it took a brief turn towards serious drama when it turned to ABC before some arbitrary decisions set the tone it became famous for. When it fell on William Dozier’s desk, his few casual glances at a few Batman comic books convinced the producer that the series should aim for camp comedy. It may have been a broad reading of the source material, but what emerged was bottled lightning. One of that period’s highest rated series it managed to run twice a week during its first two seasons and tot up and astonishing run of 120 episodes over three series and two years. On the way, it cast an eye on mid-60s culture and counter-culture and sent its own brand of perceived campery back into the pop art zeitgeist. When it ended, the distinctive version of the Dynamic Duo portrayed by Adam West and Burt Ward broke into the short-lived animated series the New Adventures of Batman at the end of the 1970s, and aside from semi-spin-off show The Green Hornet, the camp it brought to comic book was felt for decades to come in the likes of Wonder Woman, Birds of Prey and Lois and Clark.

But Batman wasn’t just thrown together. The influence of old adventure serials was clear felt in its multi-part episodes and cliff-hangers, while its broad mix of comedy, caricature and moralising sat perfectly, and iconically, in the flowering mid-1960s. While the dodged certain harrowing parts of the Batman mythos, many well established in popular consciousness three decades after the comics arrival, the show settled on the jolly, well-heeled lives of bachelor Bruce Wayne and his ward Dick Grayson. Thanks to rapid change switches and some fireman poles, the majority of their appearances were as their alter-egos, not the vigilante night terrors well known today, but sanctioned Gotham City crime-fighters. Despite what appear to be radical changes by current standards, the show managed to incorporate swathes of well-known elements from the comic books, including villains (although sadly, neither side Two-Face never made the transition, denting his popular awareness for quite some time) but also introduced a roster of original, and not-so original, rogues who worked their way back onto the page.

And after one series Batman achieved the unthinkable. It became the first feature-length incarnation of the Caped Crusader. The franchise that’s so far captured over $4.5 billion at the worldwide box office started here.

Batman the Movie (1966)

“Bruce Wayne and Girl Companion Kidnapped!”

Yes, the movie has it all. But inevitably, Batman’s rapid ascension to the big screen wasn’t clear cut. Having set the tone of the piece, Dozier intended a theatrical release to drive up publicity for the fast developing television series. The sticking point proved to be the budget, the risk of which fell squarely on Twentieth Century Fox, who duly balked. Things changed with the phenomenal response of audiences when the show was bumped forward in ABC’s schedule to January 1966. The movie was hurriedly produced at the close of that first series, quickly flipping from promotional tool to cash-in. It opened at cinemas just two months after the final episode of the first series, just in time to beat the second series into the Bat Cave.

The rushed production cost the involvement of Lorenzo Semple Jr, and perhaps shortened the phenomenon’s life. As head writer, Semple’s immediate deft pop-stylings had been evident from the series premiere, and a defining feature of its success. But the ambitious shooting schedule pushed him and other key players back, something cast members including Adam West, suggested left the second year flagging and heaped fuel on the show’s rapid burnout. Still, while the film didn’t perform spectacularly at the box office, its influence alongside the television series that spawned it, not least in putting an Underground United of Batman’s big four villains on the screen, was immense.

The budget boost for the big screen adaptation allowed the production to buy vehicles and props that fed into the second and third years of the television series, while its higher production values brought out the best of the show’s mid-60’s pop. Take that glorious opening, following a three part tongue-in-cheek yet all too appropriate dedication…

“ACKNOWLEDGMENT We wish to express our gratitude to the enemies of crime and crusaders against crime throughout the world for their inspirational example. To them, and to lovers of adventure, lovers of pure escapism, lovers of unadulterated entertainment, lovers of the ridiculous and the bizarre. To fun lovers everywhere- This picture is respectfully dedicated. If we have overlooked any sizable groups of lovers, we apologize.  – THE PRODUCERS”

Bat-opening

“Waugh waugh!”

Four colour spotlights then catch the film’s upcoming criminals straight-off; the audience knows exactly what’s in store within seconds of the opening. Although those titles end in rather pointlessly way with an unknown criminal escaping down an ally, there’s still time for the rather bedazzled Batman and Robin to comically bump into each other in the dark. All in all, the tone is set, and there’s no intention to hang about.  The plot that unravels is pure, nonsense Bond parody, and the script wastes no time propelling the Dynamic Duo into new vehicle, the Batcopter, and high seas a mystery via the instant costume change lever and sped up Batmobile … Continue reading “1966: Batman the Movie at 50”

Star Trek: What’s your Inner Star Trek Alien?

What's your inner Star Trek Alien?

What's your inner Star Trek Alien header?

You don’t have to be a Trill to discover your inner alien!

A Kazon of the Delta Quadrant, a Vorta of the Gamma Quadrant or the take-it-or-leave it approach to foreheads adopted by those closer-to-home Klingons? It’s what you’ve been waiting for… Find out which of Star Trek’s alien races you really belong to with our largest ever inter-galactic life guide (well, flowchart)

STAR TREK BEYOND HAS BEAMED INTO CINEMAS SO IT’S TIME FOR JOKERSIDE TO START ITS COUNTDOWN TO THE GREAT SPACE OPERA’S 50TH ANNIVERSARY.  And what better way to start than with you dear explorer of the final frontier! Face it. We’re all cut-price Trill symbiont with a hidden Star Trek race in us – and it’s time to discover what yours is!

While five decades of Star Trek have, bar the odd incident, traversed just the stars of the Milky Way, they’ve uncovered a huge and diverse range of alien races. That variety is exactly what the show’s classic intro anticipated, but of course, those extra-terrestrials have come in guises good and bad.  You’ve no doubt already worked out which member of the intrepid crew of the Enterprise you are… So, once again it’s time to lock coordinates, engage the inertial dampers and discover your inner alien!

Continue reading “Star Trek: What’s your Inner Star Trek Alien?”

DC’s Legends of Tomorrow: The Surprise Return of the Spaceship Show

Legends of Tomorrow Series 1

Legends of Tomorrow Series 1 

Time for a change…

Difficult, supposedly vastly expensive carrying a weight of second-string comic book characters… DC’s Legends of Tomorrow’s first season embraced comics’ legacy of canned titles, team-ups and continuity re-defining events… But it also managed a significant coup – the return of that old staple of American genre television, the spaceship show!

A gleeful trawl through the Arrowverse and Legends of Tomorrow’s first year, where spoilers abound.

DESPITE ITS HIGH CONCEPT, LEGENDS OF TOMORROW REMAINS THE LEAST CERTAIN OF CW’S TRIUMPHANT RUN OF TELEVISION SHOWS BASED ON DC COMICS PROPERTIES. But that’s not down to any particular or peculiar weakness the show has brought to that growing mix. On one hand, its roots are firmly embedded in the existing Arrowverse, with most of its characters appearing there first. On the other, even in the ever-changing world of comics, the show’s temporal and paradoxical plots mean that a character’s death has an even higher probability of being reversed. But there’s no doubting that Arrow, The Flash and (the soon to be joining her cousins) Supergirl are simpler and purer concepts. Built around families of characters swiped from the comic books or intelligently bolstered, they mix enjoyable villain of the week shows with increasingly complex series arcs, always in the reliable cribs of DC’s fictional but well-established cities. Legends is the pinnacle of the oh-so-comic conceit of ensemble team-up that the other shows have played with, but has jettisoned the larger super-powered egos to pull them through multiple locations and times and become the closest thing The CW and Warner Bros Television can get to putting the Justice League on the small screen.

DC’s Legends of Tomorrow (Series One, 2016)

Forming teams

“Apparently, time wants to happen”

Last decade the laudably long-lived Smallville put its own version of the Justice League on screen, featuring a few of the familiar big players, but during a vastly different time for DC and Warner’s ambitions on small and big screen. While DC’s subsequently struggled to assemble that team for cinemas, there’s no doubt that alongside their animated films, the Warner Bros produced television series are their strongest suit. the brave new world began with Arrow in 2012, picking up one of DC’s, and indeed Smallville’s more interesting characters and building a show around him. Nothing was certain four years ago with the Smallville approach notably dating since its cancellation, a Wonder Woman pilot falling just before she met her first Olympian hurdle and Aquaman never making it further than a prolonged Entourage punchline.  Arrow soon established a firm, soap-to action treatment of the source material, that while it may not quite represent the Oliver Queen seen in the comics, rose above the young superhero clichés that had perpetuated since Superboy and Supergirl to do what few expected. It established a stable, compelling world that sucked in and interpreted as much DC Comics lore as it could, and sett the foundations for the introduction of three more DC-based shows over the next four years. Star City’s Oliver Queen has long proven a fine building block in the Comic line. An everyman, lacking the super-powers but without the all-encompassing role and symbolism of Batman, he’s the arrogant spoilt rich kid who suffered a powerful fall down the rungs. That moralistic journey aside, his gruff manner and modern-day Robin Hood persona works as well in an urban environment as the battlements of Nottingham. One of the film universe’s great losses was David Goyer’s Supermax, a low-key unbranded film that would have seen the Emerald Archer take down assorted villains of the DC universe after a super-jail break-out in a kind of meta-meta-Die Hard. With the ‘rise’ of Dredd and The Raid since that was pitched, DC have cleared its desk and embarked on one of the least clear, direct assaults at big name franchise Hollywood’s ever seen.

A Flashpoint

On television, Arrow’s now readying its fifth season. While there’s a sentiment that the wealth of irresistible crossovers that dominate what’s now called the Arrowverse around mid-season has debilitated that original show, their power during sweeps period remains undeniable. They’re not going anywhere. And this being DC, there’s always a crisis round the corner ready to shake the status quo of shows that currently exist across multiple time zones and even different Earths (Zoom took Flash to Earth2 during his second season; Supergirl currently lives on another one altogether). That could all change as the third outing of The Flash confronts the comics’ Flashpoint storyline and the multiverse makes its presence felt. In the DC universe, the Flashpoint Paradox merged multiple worlds into the new multiverse of the New 52. On TV, with all four Arrowverse shows joining The CW network for the first time later this year, that’s just one gift this immense Source Wall of a property provides.

But that potential has also been allowed by a few deft decisions. The real strength of these shows is their continual growth and momentum. If there are any criticisms in the season-end reviews, it’s not that these shows stand still. A major help was Warner and DC’s decision that the film and television lines would be kept distinct, a sentiment that’s true to the comics and the multiverse. And although the major players of the DC universe were unlikely to make an appearance, a clash that was once led the adventures of young Bruce Wayne to quickly and oddly develop into Smallville, all the more odd when Superman Returns materialised in 2006, all bets are now off. An inadvertently hilarious Krypto-elephant in Supergirl’s National City this past year was that her more famous cousin appeared in shadow, by SMS or just as a pair of boots. Fortunately, this unintentional silliness has been resolved with the casting of a Superman for the premiere of Supergirl’s second series. Again, this is a multi-verse, so why not? And as soapy as The CW shows may be, there’s a lot that DC’s take on the small screen could feed into the comic’s all too serious short-form adventures on the big screen.

The Flash on Television

Past is the Prologue to the Present

“As the first Time Master was so fond of saying, ‘That was then, this is now’”

Yes, the twist, is a great power source of the Arrowverse. Fast-paced, almost glossed, not hanging around to worry about fully explain things whether in the grit and techno-bubble of Star City or the physics-stretching science of Central City. It sounds unfair, but it’s a blistering pace and scope that hangs together thanks to the goodwill it engenders. There’s barely a bad episode of pelting 40-minute comedy drama among the bunch, even when those old staples of evil doppelgangers and Red Kryptonite pop up. They’re shamelessly referential to pop-culture and other science-fiction; always happy to go for a quick joke before sinking teeth into some deep drama and moral quandry. The shorthand of pizzas in The Flash (every night) or the coffees in Supergirl (every morning) just help to build this four-colour universe.

And behind the scenes, they’ve all had an agenda to steadily explore the wealth of the DC universe. Like Marvel, the decades have produced thousands of characters that can draw in hundreds of genres. From Arrow’s urban roots to the entrance of magic and a certain John Constantine during its fourth season. To the rapid entrance of the Flash two years ago, introducing meta-humans, time travel and the multiverse. And then the pincer movement of Supergirl (over on CBS for its first year) and Legends, that opened up the universe to Kryptonians, Martians and Thanagarians among other alien races. Arriving just four years in, sucking up characters mostly introduced on Arrow, The Flash or through crossovers, Legends took that ball of momentum and ran back, forth and all over with it. In a universe already known for its sly references and team-ups, Legends emerged fully made. Continue reading “DC’s Legends of Tomorrow: The Surprise Return of the Spaceship Show”

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