Just a note folks, I probably won’t be doing my “en masse updates” here. I’ll focus on sanctum-relevant announcements and probably post more of my columns on writing and such from my other blogs. My “sprints” had become very general and you’re here for generators, not fine details!
Very few TV series manage to reach seven seasons. The history of television is littered with series that couldn’t finish even one full season, shows that could get three before being cast adrift, and even a show that didn’t finish it’s own first episode. Series that reach seven seasons have a strong following. The even rarer series that can go for ten seasons tend to be staples of second-run syndication, even when the series is still running. However, there is one series that made it through ten seasons but never became a network darling.
Mystery Science Theater 3000 was created by Joel Hodgson and first aired on KTMA in November of 1988. The premise was simple, as the opening theme says. A poor schmuck gets sent to a satellite in Earth’s orbit and is subjected to bad movies by his employers/kidnappers to find out just how much pain the human brain can take. However, the poor schmuck knows how to build robots, who help him get through the cheesy movies by riffing with him.
The Comedy Channel, one of the companies that became Comedy Central, picked up the show the following year. With the bigger budget compared to the KTMA days, the show became how it’s best known, with Joel Robinson (played by Hodgson) not only riffing with the bots Tom Servo (first played by Josh Weinstein*, later by Kevin Murphy) and Crow T. Robot (first played by Trace Beaulieu, later by Bill Corbett), but also participating in invention exchanges with the Mads, Dr. Clayton Forrester (Beaulieu) and Dr. Lawrence Erhardt (Weinstein), and doing skits as a break from the movie.
The riffing was the show’s main draw. The production crew looked for cheesy movies, ones that were bad not not necessarily boring, from the films available through syndication. While science fiction and fantasy films make up the bulk of the series, the show wasn’t restricted to just those genres until it moved to the Sci-Fi Channel in 1997. Thus, movies like The Girl in Lover’s Lane and Mitchell appeared along with The Magic Sword and Space Mutiny. If a movie wouldn’t fill the show’s running time, film shorts were added, from old serials to educational films. As long as the writers could find the funny for riffing, the films were added to the line up.
The cast changed during the run of the series. When Weinstein moved on, Dr. Erhardt was replaced by TV’s Frank (Frank Conniff). Joel was replaced by Mike Nelson (Michael J. Nelson) in season 5 during Mitchell, resulting in a new opening theme. When the show moved to the Sci-Fi Channel, Dr. Forrester and TV’s Frank were replaced by Forrester’s more evil and more capable mother, Pearl (Mary Jo Pehl), who then brought on the Observer, aka “Brain Guy” (Corbett) and had Professor Bobo (Murphy) stowaway on her rocket ship after the apes accidentally destroy the Earth in the future.
While continuity was flexible, there were call backs to previous episodes, including Nelson playing Torgo from Manos: The Hands of Fate in several episodes. However, when the Sci-Fi Channel picked up the series, execs insisted on an on-going plot arc, despite the draw being the riffing. The crew did what they could, creating a chase where Pearl tried to catch up to the Satellite of Love. The final episode aired in August 1999 after increasing conflict between Best Brains, owner of MST3K, and the Sci-Fi Channel led to the show being cancelled after ten season, eleven if the KTMA year is included.
The show became a cult classic through word of mouth and the budding public-use Internet. The show had a wide reference base, everything from Gilligan’s Island and SCTV to Shakespeare and Proust. Tapes of the show were circulated, letting fans bring in more people into the joy of MST3K, even if the show wasn’t otherwise available in an area, like Canada**. Thanks to the magic of Internet streaming, Shout! has made the library available online through subscription, in addition to releasing the series slowly on DVD.
The cast members of MST3K continued with riffing with their own projects. Hodgson created Cinematic Titanic, working with Beaulieu, Weinstein, Conniff, and Pehl. Rifftrax was started by Nelson and included Corbett and Murphy. The demand for quality riffing was there. Several people answered the call, but, ultimately, the fans wanted one thing – more MST3K.
Mystery Science Theater 3000: The Return was a Kickstarter project started by Hodgson and Shout!, looking for $2 million to produce three episodes. The Kickstarter ending with over $5.75 million, enough for fourteen episodes and surpassing the Veronica Mars movie efforts. Backers received several benefits, including early access and their names listed in the credtis. With the eighteen years since the end of the series and almost thirty since the beginning, Hodgson, now the executive producer of the series, went with a new cast. Taking the place of Joel and Mike is Jonah Heston, (Jonah Ray). Like Joel and Mike before him, Jonah is also subjected to cheesy movies as Clayton’s daugher and Pearl’s granddaughter, Kinga Forrester (Felicia Day) and Max, TV’s Son of TV’s Frank (Patton Oswalt) not only try to find the breaking point of a human but also try to commercialize the experiments to pay for the new base, Moon 13.
For this analysis, I’m only taking into consideration the first three episodes. Once more are reviewed, there may be an update. Fourteen 90+ minute episodes take time to watch and digest properly. However, all the episodes are available on Netflix. The decision to work with Netflix instead of a more traditional broadcaster or cable station gave the production crew more control over how the series was made. No fights with a station executive who never watched MST3K on what the show should do.
The first episode of a rebooted/remade series is critical in getting viewers to keep watching. Miss the tone, flub the casting, make one big misstep, and the audience leaves. It’s possible to take a show in a new direction; the rebooted Battlestar Galactica demonstrates how it can be done. But MST3K, at its heart, is a comedy. Fortunately, Hodgson is well aware of that, being the creator. The first episode of a show also has to set up the series for new viewers. It’s possible that someone watching The Return has only heard the word of mouth about the original and has never been able to watch an episode.
Thus, we get a longer than usual introductory segment in the first episode of The Return, including a pre-credits scene featuring cameos by Wil Wheaton and Erin Gray talking up the new host, Jonah, before Kinga lures him to the dark side of the moon. The opening credits again tells the full story.
Keeping to Kinga’s desire to make the experiments commercially successful, the show not only keeps to the established format of the original but also brings in elements of late night talk shows, including a band, the Skeleton Crew, and ad bumpers, which also serve as a break point for the audience. The first episode features the Danish monster movie, Reptilicus, which doesn’t have the production values that early Japanese kaiju films had. The riffing comes fast and furious and pulls from a wide reference base but doesn’t overwhelm the action on screen. The host segments include the invention exchange at the beginning and features a rap about the monster legends throughout the world. But the first episode is meant to wow viewers both old and new. The following episodes would be the real tell for the series. Fortunately, the cast and crew are up to the task. The level and quality of riffs remain strong, and the host segments are entertaining.
Naturally, some changes were made from the original, including those noted above. There are new voices for Tom Servo (Baron Vaughan), Crow (Hampton Yount), and Gypsy (previously played by Jim Mallon and untility infielder Patrick Brantseg, now played by Rebecca Hanson). Gypsy also received a modifiction that lets her travel on the ceilings of the Satellite of Love, allowing her to drop in on host segments and in the theatre. Jonah’s host segments include laser-cut wood carvings to illustrate scenes, giving him his own twist. The main puppets now have a team of puppeteers instead of just the one actor doing both voice and manipulation. Thanks to the expanded budget from the Kickstarter, the door sequence is more involved, yet still retains its charm.
Overall, The Return is a return home to the Satellite of Love. Even with the changes in cast, the new series is still MST3K. Joel Hodgson took efforts to find out what fans enjoyed, choosing movies that reflect the fan-favourite episodes. The result is a series that welcomes back the fans of the original series while bringing in new viewers.
* Better known today as J. Elvis Weinstein.
** Rights issues were the main problem. MST3K had limited rights licensed to them for the movies, and thus couldn’t pass that along to foreign broadcasters. The only way for anyone outside the US to see the show was through the passing of the tapes, which was encouraged in the end credits of each episode. The other option was to see the movie without the riffing, a dire state of affairs for some features.
Correction: I originally had Michael J. Nelson credited as Professor Bobo, when I should have have Kevin Murphy. Apologies to all involved.
It’s my weekly Scrum style standup for my audience, so where am I?
Apologies, but the past week became hectic and odd. Lost in Translation will return next week.
It’s my weekly Scrum style standup for my audience – and I forgot last weeks with the holiday. It got a bit crazy, but in a good way. So let’s get back to it!
First of all goals for this sprint, July:
The world’s best known secret agent has had a long history. Created by Ian Fleming and first published in 1953, James Bond has appeared in 57 books, including 43 by other authors, at least 29 movies, including those made outside the Eon continuity, and in comics. Bond has been portrayed by six different actors in the main franchise alone. With the sheer number of works available, the 007 movies provide a range of adaptations, from the close but not quite approaches of the early films to the in-name-only later works. One film even manages to adapt the novella as smaller portion of its longer running time.
Approaching the project will take time. Several ways of tackling the franchise exist. First is to go movie by movie. With over twenty movies in the main franchise, that will take time. a similar method would be to group the films by the actor playing Bond. That gives the Sean Connery and Roger Moore eras a longer analysis, and doesn’t take into account the one George Lazenby outing. I could also group three movies together, based on the order being used.
The order, though, is another question. There’s the order of the books, starting with Casino Royale. Using this order means jumping around in the film continuity, such as it exists, and several of the movies have titles that come from other aspects of the character instead of story titles, such as The World Is Note Enough. Movie order may be easier – the films may be better known now by the general audience than the books.
Much like the History of Adaptations, the Bond project won’t be week by week. Instead, the goal will be to have an entry each month, with the intervening weeks being saved for other analyses. This will give me time to read the novels and watch the movies again without being rushed. Right now, though, I’m taking suggestions on the approach. Would the best approach be reviewing one movie at a time or grouping the movies together? What order would be best, the books or the films? And should I touch the non-franchise films? Please answer in the comments below.
This will be a big project, but I hope that it will show the range of adapting styles used in cinema.
With students now done with the school year, why not look at an adaptation set in a school? Like fingerprints, no two fictional schools are the same. Some are prestigious, accepting only the best and the brightest. At the other end, there is St. Trinian’s, a school for girls that takes in juvenile delinquents known for terrorizing rival schools and even the locals.
St. Trinian’s started as a panel cartoon gag strip by Ronald Searle. The first St. Trinian’s appeared in 1941, but, with the Second World War looming, Searle enlisted and was stationed in Singapore, where he was taken prisoner by the Japanese. After the war, he resumed the St. Trinian’s strip, though his time as prisoner meant that the cartoon took a darker turn. Searle wrote the strip between 1946 and 1952, compiling the collections in five books. The girls of St. Trinian’s were delinquents, as the various cartoons showed. Field hockey matches against the school were bloody, closer to guerilla warfare than actual sport. The older girls dressed provocatively, modifying their uniforms for effect. However, the teaching staff wasn’t much better, and shared their young charges’ interests is smoking, drinking, and gambling.
Two years after the last of the St. Trinian’s strips, a film adaptation was made. Directed by Frank Laudner and written by Laudner, Sidney Gilliat, and Val Valentine, The Belles of St. Trinian’s brought the wretched hive of scum and villainy to the British silver screen. With the St. Trinian’s strip consisting of gag-a-day cartoon panels, a plot had to be created for the movie. However, given the nature of the school, even a wild plot would fit.
The movie opens with the Sultan of Makyad looking for a boarding school for his young, impressionable daughter, Fatima. Fatima’s governess suggests St. Trinian’s as she knows the headmistress there. The Sultan agrees as his race horse, Arab Boy, is in Barchester County, the same location as the school, and would be able to visit both his horse and his daughter at the same time.
In Britain, the back-to-school trains are busy as students head off to their boarding schools. The screaming from the girls never ends, terrifying everyone in between them and St. Trinian’s. Streets clear out as everyone, from storekeepers and shoppers to hens and the police constable, hide from the returning menace. The girls of St. Trinian’s are well known in the county and are avoided. The police superintendent wants something solid to pin against the school to shut it down, but the Ministry of Education hasn’t sent inspectors after losing two assigned to the school.
However, St. Trinian’s is facing a problem that would see the school closed – a lack of funds. Headmistress Millicent Fritton, played by played by Alastair Sims in drag, returns from her much needed summer vacation only to be told by her accountant that the school has too many outstanding bills to pay and nowhere near enough money to pay them. To add to Millicent’s headaches, her twin brother bookie Clarence, also played by Alastair Sims, returns with his daughter Arabella, played by Vivienne Martin. Bella is upset about being expelled unfairly; after all, her class mate destroyed the library and was allowed to stay. Millicent explains that the library was insured. Clarence, though, isn’t so much interested in Arabella’s education as he is in getting information about Arab Boy.
The school’s sixth form, led by Arabella, and fourth form, including Fatima, take the time to find out more about Arab Boy. In a trial run, the horse wins with a large margin, impressing both sets of girls. Arabella is concerned, though; her father could wind up paying out too much money if Arab Boy wins. The fourth form, though, sees a chance at winning big, and call in Flash Harry, played by George Cole. With their limited funds, even at ten-to-one odds, the fourth form girls wouldn’t get much, unless they can get some of the £100 cash that Fatima’s father gave her.
Millicent, while appearing somewhat doddering, knows exactly the type of people – students and staff – she has at the school, and had put away Fatima’s money for safekeeping. The fourth form girls explain the situation but get nowhere. Millicent, though gets an idea. St. Trinian’s needs £4000, but only has £400. Ten-to-one odds would pay the bills and keep the school open another year. She calls on Flash Harry and lays down the bet.
The sixth form, though, wants Arab Boy to lose. Their plan is to steal the horse until after the race is over. However, Florrie, another girl of St. Trinian’s overhears, and taunts the fourth form with the news. Florrie eventually does tell the younger girls the details after being subjected to a makeshift rack. When Arabella and her form go to steal the horse, they find Arab Boy already gone.
Arab Boy’s whereabouts are discovered the next morning by the sixth form; the horse was enjoying the morning sun through the window of the fourth form’s dorm. This triggers a war between the fourth form, the sixth form, and the teaching staff, who just want to be paid. The fourth form smuggle the horse out the window while the teachers distract the sixth form with a frontal assault.
The film takes pains to keep authenticity with the comic strip. The uniforms worn in the film are modelled after the ones drawn Searle. Several scenes come directly from the strip, including Florrie’s torture and the field hockey match, where the referee, the opposing team’s coach, and the opposing team are taken off the field one by one on stretchers. The opening and closing credits include a a parade of St. Trinian’s drawings by Searle. The result is a movie that incorporates the essence of the cartoon strip while fleshing it out for the needs of a longer work.
The Belles of St. Trinian’s was popular, enough so to have three direct sequels and a continuation of sorts in 1980 with The Wildcats of St. Trinian’s. In 2007, the film franchise was given a reboot with St. Trinian’s, with an eye to updating the setting while still keeping to the roots. The new movie was based on both Searle’s work and The Belles of St. Trinian’s, with Rupert Everett taking on the Alastair Sims roles as both Headmistress Camilla Fritton and her art dealer brother, Carnaby.
The movie begins with Carnaby driving his daughter, Annabelle, played by Talulah Riley, to her new school, St. Trinian’s. Annabelle is horrified at what she sees on the way on to the grounds – burnt out car, a shrunken head, and other dire warnings. The school itself has seen better days. Carnaby is transferring Annabelle from her old school, the Cheltenham Ladies’ College, because he thinks he can get a good discount on his daughter’s tuition. He does manage to haggle Camilla down to £2300, which really doesn’t help her out. Annabelle has no choice but to start school at St. Trinian’s.
Head Girl Kelly, played by Gemma Arterton, gives Annabelle a quick tour of the school and introduces the new girl to the different cliques — the chavs, the geeks, the emos, the posh totties, and the first years. Annabelle doesn’t fit in right away with any of the cliques. Later in the evening, she is the victim of a prank pulled by the entire school. She tries to get her father to come pick her up, but he blows her off. Frustrated, Annabelle slaps her cell phone hard enough with her field hockey stick to shatter a bust down the hall. The act of destruction is seen by Miss Cleaver, played by Fenella Woolgar, who, instead of punishing Annabelle, recruits her for the field hockey team.
In London, the new Minister of Education, Geoffrey Thwaites, played by Colin Firth, wants to make his mark on the position. Formerly in charge of prisons, Geoffrey wants to bring the same approach he used there on schools, by taking the worst school in the nation and forcing it to reform. One of his aides has flashbacks to when he was undercover at St. Trinian’s, showing the PTSD he picked up from the time in country. But, since St. Trinian’s is the worst school, both in academics and in behaviour, that is where Geoffrey will start his reforms.
The banks, though, have other ideas. St. Trinian’s is £500 000 in debt, and after having had six final notices ignored, a representative hand delivers the final final notice, giving Camilla four weeks to raise the money, or else have the school turned over to the bank. Making matters worse, Carnaby tries to convince Camilla to just let the school shut down so it could be sold. The girls of St. Trinian’s, though, have mastered the art of electronic surveillance and learn about the looming debt. Kelly comes to the conclusion that, since the adults look to be useless, the girls will have to save the school. If they don’t, they’ll have to go to normal schools.
The Minister arrives in the morning, hoping to find the excesses at St. Trinian’s during the field hockey match between the school and Cheltenham, where his daughter, Verity (Lucy Punch), is the star player and terror. He is surprised to see his former flame, Camilla, as headmistress, though. The match is viscious, with casualties on both teams. Geoffrey takes advantage of the chaos to sneak around. He discovers the various unauthorized extracurriculars the St. Trinian’s girls have, including the religious education teacher crucified, the distillery for knock-off vodka and the pay-per-minute chat line run by the posh totties. However, he’s caught and is shown the way out, though a third story window.
The different cliques have to work together to keep the school open. They enlist the help of Flash Harry, played by Russell Brand, who is their main contact with other criminal elements. He gives the girls a crash course in crime, but Kelly comes up with the master plan – the theft of Vermeer’s “Girl with a Pearl Earring” from the National Gallery. A field trip to the Gallery lets the girls find the security systems and map out how to get in and out. The biggest challenge, though, is getting into the museum. That problem is solved by the new teacher, Miss Dickinson (Lena Headey), who has been trying to get a School Challenge team together. The finals would be held at the Gallery. All the girls need to do is get a team to the finals to get in with security distracted.
However, Geoffrey is still a threat. He returns to St. Trinian’s with the press in tow. His goal is to expose the school’s nefarious activities on camera. The girls are ready for him and go to Code Red, even with ten-year-old twins Tara and Tania (Cloe and Holly Mackie) testing their homebrewed explosives. There is no sign of the problems he found earlier, with a nun teaching the religion class. Worse, Geoffrey flings Camilla’s dog out of the school and into a mulcher in front of cameras, leading him to be the headline, not the St. Trinian’s.
The posh totties become the School Challenge team. While they aren’t necessarily the brightest girls, though they do get the occasional flashes of brilliance, they are the most photogenic. Through means mostly foul, they defeat their opponents, impressing the show host, Stephen Fry. In the finals, they will face Cheltenham. But this does let them get the break-and-enter team a way in.
With The Belles of St. Trinian’s, the memory of Searle’s strip was still fresh, only having ended two years prior to the film’s release and the fifth complilation, Souls in Torment having been released in 1953. The reboot, though, came out fifty-five years after the last published St. Trinian’s cartoon. Times had changed. What was once shocking for movie audiences became quaint. Technology offered more opportunities for mischief. However, St. Trinian’s made efforts to keep to the essence of both Searle’s work and the 1954 film.
First, the uniforms, while updated to take advantage of modern fabrics and sensibilities, were still recognizably St. Trinian’s. The older girls modified the outfits, but even in Searle’s work, they did the same. The definition of scandalous has changed over time, so the uniforms reflected the modern meaning.
The 2007 St. Trinian’s also showed more dead girls than the 1954 film, keeping in line with the strip. Movie ratings systems grew more granular over time, allowing for a difference between a younger teen audience and an older teen audience. A St. Trinian’s girl floating in a fish tank isn’t as unsettling to the older audience. The school itself is far more chaotic in the reboot, reflecting Searle’s work a little closer. The school grounds also showed the dangers more, from the burning car to the various warnings with graffiti.
/St. Trinian’s/ also carries on the tradition set by The Belles of St. Trinian’s, having a male actor play the headmistress and her brother. Alastair Sims’ version of Headmistress Fritton was more dowdy and just getting into the sorts of activities her girls were familiar with. Everett’s Headmistress Fritton encouraged her girls to explore themselves and become the threat the merciless world needs. Both versions cared about the school and the students.
Finally, to show the plan to both the girls and the audience, Polly (Lily Cole) created an animation. The animation is in Searle’s style, though with charicatures of the cast. It’s a nice nod to the original, with some Easter eggs to be found, without confusing new audiences. The animation also furthers the plot, showing the obstacles during the heist.
St. Trinian’s took on the challenges of being both a reboot and an adaptation with two sources, one of those being an adaptation as well, with the added difficulty factor of updating a setting that, while not tied to its time, was shocking for its era. The smoking may have gone, but the attitude remained. In the reboot’s favour, it returned the focus to the students. St. Trinian’s updated the source while remaining true to both the cartoon strip and The Belles of St. Trinian’s.
Yes I’ve got my first Way With Worlds Minibook out! This one is on sex and worldbuilding, where we explore the biology and sociology vital to a believable setting – and so often forgotten!
I’m going to be doing a series of these, each 99 cents, over the next few months. The idea is to do something parallel to my larger books, and focus on intense coaching on specific subjects – but without giving you something overwhelming. Each book can be read in a few hours and you can get back to writing!
It’s my weekly Scrum style standup for my audience. I also am going to try to focus a bit more on what it delivers to you.
With the recent death of Adam West, it’s past due to take a look at his most endearing role, the 1966 Batman TV series and feature film.
Lost in Translation covered the origin of Batman back while analysing Batman Fluxx. Created in 1939 in the pages of Detective Comics, Batman represents the crossover from mystery men to costumed crimefighters, with a dash of Zorro. Since then, the character has evolved, going from grim hunter of criminals who used pistols to master detective who refuses to kill. Batman’s rogues gallery includes some of the most colourful villains in comics, including the Joker, the Riddler, and Catwoman, all of whom emphasize different aspects of the hero in their clashes.
Superhero adaptations have tended to lag about a decade behind the events in the comics themselves. The general audience isn’t as familiar with current events in titles, either having read the books when younger or just picking up on the better known storylines after the fact. Studios want a wide net when adapting, so minutiae in continuity, always a pain with comics, is often the first to be trimmed. Thus, during a time when DC Comics was turning Batman into the dark detective he’s best known as now, Fox and producer William Dozier were going a different direction, one more in tune with the Batman of the Fifties.
Today, the 1966 Batman TV series is seen as pure camp. Adam West starred as the Caped Crusader, with Burt Ward as Robin, the Boy Wonder. Together, they fought crime that the Gotham City Police Department was unable and incapable of handling. Deep underneath Stately Wayne Manor, the Batcave contained crime fighting equipment that predated many techniques now in use, including DNA analysis.
The series was a comedy, one without a laughtrack. For the first two seasons, Batman aired twice a week, with the first episode ending on a cliffhanger, typically a death trap where Batman and Robin faced certain doom, a doom that would be resolved at the beginning of the second episode. The villains, guest stars all, threatened the safety of the citizens of Gotham City and only Batman and Robin could stop them, usually in a climactic fight in the villain’s hideout filmed with a dutch angle.
Despite, or possibly because of, the series being a comedy, West played Batman serious, which heightened the comedic aspects but also gave the series and the character gravitas. The TV series didn’t shy away from why Bruce Wayne became Batman. Likewise, Ward, Stafford Repp (Chief O’Hara), Neil Hamilton (Commissioner Gordon), and Alan Napier (Alfred) all approached their roles as if the series was a drama. The odd situations and brightly coloured villains stood out in the contrast.
Batman attracted guest stars. Regular villains included Caeser Romero’s Joker, Burgess Meredith’s Penguin, Frank Gorshin’s Riddler, and Julie Newmar’s Catwoman, all playing against type. Romero kept his signature mustache, not quite hiding it under the Joker’s white make up. Other actors who appeared on the series include Victor Buono as King Tut and Vincent Price as Egghead. Even if they couldn’t get a role as a villain, other actors appeared during the weekly wall-climbing sequence, commenting on the oddness of two costumed crimefighters walking on their walls.
After the first season, the studio wanted to sell the series to foreign markets. To help with the sales, the studio made the Batman the Movie. The goal of the film was to introduce the series and its stars. To further intrigue audiences, the movie included four villains – the Joker, the Penguin, the Riddler, and Catwoman. With one exception, all were played by their regular actors. Julie Newmar wasn’t available for filming, so Lee Meriweather filled in. With four key villains, it wasn’t just Gotham City in danger, but the entire world, as they scemed to kidnap the delegates to the United World Headquarters.
The movie kept to the tone of the TV series. Helping there was being filmed between seasons, with the same cast and crew. Lorenzo Semple Jr*, who had also written several of the episodes, wrote the script for the movie, keeping the tone consistent. With the added time allowed by a film, 105 minutes instead of two 24-minute episodes, the story could be given time to unfold and the Bruce Wayne side of Batman could be explored. Just like the TV series, Commissioner Gordon and Chief O’Hara were stymied by the villains and had to turn to Batman and Robin to save the day. The film includes some now-classic lines, including, “Some days, you just can’t get rid of a bomb.”
The third season of the series saw several changes. The first was going to a more episodic approach, with each episode self-contained. No more cliffhangers to be resolved at the beginning of the next episode. The other major change was the introduction of Batgirl, played by Yvonne Craig. Barbara Gordon, the Commisioner’s daughter, joined the Dynamic Duo in their crusade against crime to keep Gotham City safe. Eartha Kitt stepped into the role of Catwoman when Julie Newmar was again unavailable. The episodes felt a little more rushed as the plot needed to be wrapped up at the end instead of allowing for the usual two parts. However, the change in approach gave the actors a bit of a break; the episodes were still meant for a half-hour time slot, which now aired once a week. There were some two- and three-part episodes, but they were still aired one part a week.
The TV series reflected an older version of Batman, one that was more camp than the current version. Yet, the actors treated the characters seriously. The commentary with the movie by Adam West and Burt Ward showed that, even with the problems they faced – Ward especially – they still realized that they were playing Batman and Robin. The series was a comedy; the roles were still important to them and to the actors playing the villains. This approach is why the series is still beloved even today.
The movie of the series is a perfect example of adapting properly. In its favour, the goal the studio had was to give international audiences a taste of what the TV series offered. Changing that focus would have created problems for keeping the new audience. The movie’s budget also allowed to film on location instead of in studio and for the use of new bat-gadgets, including the Bat-copter and the Bat-boat. Footage of both would appear in the following seasons as needed.
Combined, the Adam West TV series and movie are an important part of Batman lore. Later adaptations would still pay homage to the work. Batman: The Animated Series introduced one of Bruce Wayne’s childhood heroes, the Grey Ghost, voiced by West himself. Elements of the TV series can be seen even in Tim Burton’s Batman of 1989. DC Comics even released a continuation comic for the series, Batman ’66. Adam West has left a legacy that will be remembered fondly.