Toy manufacturers know that a successful TV series based on one their products leads to better sales. Deregulation in the 80s allowed toy makers to fund what were essentially half-hour toy ads masquerading as cartoons and live-action shows. The key issue is getting the target audience to watch, which means making the shows enjoyable to watch. Hasbro has had the most success with their spin-off series, from the various Transformers efforts to My Little Pony: Friendship Is Magic. The latter series has helped Hasbro gain in sales while other toy makers saw sales falling. From the creative point of view, the success of a series based on a toy hinges on two elements – the popularity of the show and the popularity of the toy. If either drops, the show is no longer supported. There have been times when the show’s popularity far outstripped the sales of the toy it was based on. One of the exemplars of the phenomenon is Captain Power & The Soldiers of the Future.
Mattel‘s major line has been Barbie. The doll has sustained the company for almost 60 years. However, few companies want to rely on just one product to sustain them. Mattel expanded its toy lines to include items of interest to boys, with Hot Wheels the best known line. In a competitive market, companies are always searching for the next big thing to cash in on. Mattel thought they had found that next big thing with interactive TV.
In the 80s, interactive TV was in its embryonic stage. The idea of viewers participating with what they watched became possible as electronics took advantage of the potential of the silicon chip. While the first patent in the US for interactive TV was issued in 1994, the concept predates the patent. NABU Networks was an ambitious attempt to combine cable television with an Internet-like connection with the ability to play games appeared in 1983, though it folded in 1986. By 1987, Mattel developed a version of the technology for their own use, but didn’t have yet have a toy developed.
In steps Gary Goddard, who had an idea for a live-action children’s series. Mattel saw a way to use their new technology, The result is Captain Power and the Soldiers of the Future. Mattel had requirements, mainly at least three minutes of interactivity per episode, but allowed Goddard to develop the series the way he wanted. Technically, this means that Captain Power isn’t an adaptation but a joint effort. However, the development of the series was separate from the interactive technology and the toys released. The fate of Captain Power is still instructive.
The toys and the show were parallel developments. Goddard, who also acted as the producer, decided to film in Toronto, Ontario. To qualify for tax breaks*, he had to make a decision about which parts of the show would use Canadian talent and which parts wouldn’t. He went with using American writers, including J. Michael Straczynski, Larry DiTillio, Marc Scott Zircee, Michael Reaves, and Christy Marx. Goddard reasoned that if the writing was strong, the directors, all pulled from Toronto’s television industry, would be able to work with the scripts despite being unfamiliar with science fiction**. The writing staff was able to work with the requirements. The big one was the three minutes of interactivity . The closing credits provided one minute, and the writing staff started most episodes with an action sequence that led into the main plot, eating up another minute there. A climactic action sequence would use the last required minute, if not more.
Mattel developed the toy line, including the PowerJet and action figures. The PowerJet and similiar, like the PowerBase and the MagnaCycle, were deisgned to interact with the TV series and with three video tapes released. The toys reacted to signals in the shows, scoring both hits made on targets and hits made on the toy. Get hit too often, the pilot ejects. The toys could be played with as stand-alone, not needing the show or the video cassettes, but the main focus was the interactivity.
Captain Power, for being a live-action kids show designed for a thirty minute time-slot, was ambitious. It was the first series to feature a regular CGI character with Soaron, voiced by Deryck Hazel, followed later by Blastarr, voiced by John Davies. The sets were built at an unused bus repair facility. Effects, barring the lasers, the flashing targets, and Soaron and Blastarr, were all practical. Even the back story showed work. When the series starts, the Metal Wars, the last battle between man and machine, are over, with the machines under Lord Dread, played by David Hemblen, winning. The Earth is a desolate, blasted landscape, with pockets of humanity trying to survive against the Bio-Dread Empire. However, a light stands against the darkness. Captain Jonathan Power, played by Tim Dunigan, has assembled a small team. Equipped with Power Suits, the Soldiers of the Future stand against Dread and his army of robots.
Each member of Power’s team has a specialty. Major Matthew “Hawk” Matheson, played by Peter MacNeill is the aerial expert; his suit includes wings and jets to let him fly. Lieutenant Michael “Tank” Ellis, played by Sven Thorsen, is the heavy assault expert. Sergeant Robert “Scout” Baker, played by Maurice Dean Wint, is the infiltration and espionage expert, with a suit that can project a camouflage to let him blend in with the Bio-Dread troopers, and Corporal Jennifer “Pilot” Chase, played by Jessica Steen, is the technical expert and pilot of the team’s Jump Ship. The characters had history, as well. Tank is the product of a cloning experiment. Hawk lost his son during the Metal Wars. Pilot was a member of the Dread Youth, an organization meant to install blind loyalty to Lord Dread into young adults.
That brings up another point. The series was dark. The villain already won by the start of the series. Dread’s forces were robots commanded by humans whose uniforms were modelled after after the Nazi’s. Even the Dread Youth were a reference, this time to the Hitler Youth. Topics covered by various episodes included the loss of a child and how people treated victims of AIDS in the late 80s. The final episode ended with the death of one of the main characters. Soaron digitized victims, sending them into Dread’s Overmind computer. Captain Power also had a story arc; each episode built up towards the season’s climax. The writing staff did not dumb their scripts down, and were inspired by science fiction series of the past, including Star Trek and The Twilight Zone.
Scripts were written for a second season but were never filmed. The series was not renewed. The sales of the toys weren’t strong enough for Mattel to consider funding a second season. On top of that, Captain Power came under fire for its violence. That combination led to the series ending on a downer with the death of Pilot. However, the series transcended what Mattel wanted from it. It was a well-written science fiction series, first and foremost, and it picked up an adult audience through word of mouth and on USEnet.
A reboot of the series has been announced. Phoenix Rising has signed on Judith and Garfield Reeves-Stevens to develop the new series as a weekly hour-long show. The new series is still in development, though, and no air date has been set.
Captain Power and the Soldiers of the Future shows the limitation of being tied to a toy line. If it had been separate, the success of associated toys wouldn’t have been a factor in the decision to end the series. However, since it was, Mattel had to make the choice in continuing to produce an unsuccessful toy line to support a popular show, and went with its own bottom line. Such is the nature of the corporate world. However, when the creative staff, from writers to directors to actors, all pitch in, a work can go beyond its origins and be remembered.
* Canadian content regulations uses a points system. To qualify as a Canadian production, over half the production must include Canadians. The writing staff could be all American, provided the production made up the difference elsewhere. Goddard used Canadian directors, as mentioned, and kept all the post-production companies in Toronto busy during Captain Power‘s only season. The other benefit of qualifying as CanCon is that it made the show easier to sell to Canadian stations. Canadian television has CanCon broadcast requirements, a minimum about of time that has to be Canadian-made. Captain Power, being CanCon, helped fill that requirement.
** Toronto was and is often used as a stunt double for American cities. The directors of the time were more used to shows like mysteries and police procedurals. The last major science fiction series attempted in Toronto prior was The Starlost, which had many problems.
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