The Jetsons is a prime-time animated television series that was produced by Hanna-Barbera Productions. It aired on Sunday nights on ABC from September 23, 1962 to March 3, 1963. Like The Flintstones, it was a half-hour family sitcom projecting contemporary American culture and lifestyle into another time period. While the Flintstones lived in a world with machines powered by birds and dinosaurs, the Jetsons lived in a retro-futuristic (although not retro at the initial date of production) utopia of elaborate robotic contraptions, aliens, holograms, and whimsical inventions.
The original series, comprising 24 episodes, was made between 1962 and 1963 and was re-run on Saturday morning for decades. Its continuing popularity led to further episodes being produced for syndication between 1985 and 1987. The series was extensively merchandised and followed by two made for-TV movies and two theatrical feature films.
Synopsis George Jetson works 3 hours a day and 3 days a week for a short, tyrannical boss named Mr. Spacely, owner of the company Spacely Space Sprockets. Typical episodes involve Mr. Spacely firing and rehiring or promoting and demoting George Jetson. Mr. Spacely has a competitor, S.K. Cogswell, owner of the rival company Cogswell Cogs. All homes and businesses are raised high above the ground on narrow poles, in a style reflective of the architecture of Seattle's Space Needle and the distinct Theme Building of the Los Angeles International Airport. George commutes to work in a flying saucer with a transparent top. Daily life is characterized as being comically leisurely due to the incredible sophistication and number of labor saving devices, which occasionally break down. George's work day consists of pressing a single computer button. Despite this, characters often complain of travails and difficulties of living with the remaining inconveniences.
Other Jetson family members include Jane Jetson, the wife and homemaker; teenage daughter Judy and preteen son Elroy. Housekeeping is seen to by a robot maid, Rosie; she only appears in two episodes of the original 1960s show, excluding her appearance in the closing credits, but makes many appearances on the 1980s show.
The family dog Astro can mumble, like later cartoon dogs Scooby-Doo and Muttley could (voice actor Don Messick played all three). Astro's catch phrases are "Ruh-roh!" and "Right, Reorge!" or "Rats Rall Right Reorge!"
Names of locations, events, and devices are often puns or derivatives of contemporary analogs with explicit futuristic or space-age twists. The same technique was used in The Flintstones with archaic or stone-age twists.
Time period Though no dates are ever specified, The Jetsons was originally supposed to take place in the year 2062. Jetsons: The Movie confirms this by placing the series "at the turn of the 21st century". In the movie The Jetsons Meet the Flintstones, Elroy wanted to time travel into the future to visit the 25th century, indicating the Jetsons live no later than the 24th century.
Voice cast George Jetson - George O'Hanlon Jane Jetson - Penny Singleton Elroy Jetson - Daws Butler; after Butler's death, Patric Zimmerman Judy Jetson - Janet Waldo Astro the Dog/RUDI/Uniblab - Don Messick Rosie the Robot Maid/Mrs. Spacely - Jean Vander Pyl Mr. Spacely - Mel Blanc Henry Orbit - Daws Butler (Howard Morris in a few of the original episodes) Orbity - Frank Welker
Minor repeating characters Montahue Jetson is the kindly but eccentric grandfather of George Jetson. Arthur Spacely - Mr. Spacely's son - Dick Beals
The Jetsons Tv Intro
1960's The Jetsons ABC TV Spot
The "REAL" Jetsons intro(yeah right! This version was done for THE FAMILY GUY)
Dennis the Menace is a television series based on the comic strip, which aired from 1959 to 1963 on CBS. It starred Jay North as Dennis Mitchell; Herbert Anderson as his father, Henry; Gloria Henry as his mother, Alice; Joseph Kearns as George Wilson and Sylvia Field as Martha Wilson.
Differences Between the Comic Strip And the Sitcom Dennis' best friend Tommy Anderson was played by Billy Booth, and Jeannie Russell was chosen at the suggestion of Jay North to play his nemesis, Margaret Wade. There was no recurring character Gina in the TV show (as there was in the comics), and Joey was played by Gil Smith in only 8 early episodes in the first season. Instead of Dennis' big pooch Ruff, there was a smaller breed named Fremont, who belonged to The Wilsons.
On the sitcom, Dennis was basically a good boy who always was trying to help people but winded up making situations worse. On early episodes in the first season, far more disasters happened as a result of his actions than in later episodes. The character of Dennis was slightly toned down by the 6th or 7th episode.
First Season The pilot episode was made late in 1958 and was entitled Dennis Goes To The Movies. Dennis was clearly younger and his speech, the tone of his voice, and his character had obviously not been as developed as in episodes later in the 1959-60 season. On this episode, Dennis indeed causes alot of destruction such as burying a hose (installing an automatic sprinkler system), trying to repair a leg on the kitchen table and causing the whole table to collapse, almost knocking Mr. WIlson off the ladder but causing him to ruin his shoes as he steps in a can of paint, among other things. Dennis' father and mother then announce that they are going to the movies to see a western (that Dennis wanted to see "all his life") and Dennis would be getting a babysitter. The problem is none of the babysitters in the area would babysit for Dennis because of his mischief. They manage to find an elderly lady Mrs. Porter who had never met Dennis. Dennis then switches places with Joey and sneaks out to the very same movie his parents are seeing. Joey stays home and pretends he is Dennis. Dennis, meanwhile causes havoc at the theatre even demanding the projectionist repeat a scene. His parents suspect that Dennis is there causing these problems so they call Mrs Porter at the house and she assures then that Dennis is so well behaved. Dennis parents say "Wow its sounds like she is talking about some other kid". Little did the parents know they were right. Dennis indeed beats the parents home and is in bed by the time they return but not before making noises causing Mr. Wilson to awaken and go outside to see what is wrong and then be arrested for armed robbery when he is found with Dennis' toy gun.
In early 1959, several other episodes are made including "The Fishing Trip", "Dennis Gets A Duck", "Dennis Runs Away", "The Cowboy", "Open House", and "Dennis Becomes A Babysitter". At that point, CBS consents to take the program to run at 7:30 p.m. EDT on Sunday Evenings after Lassie. Margaret made her first appearance on "Open House". Actor Billy Booth makes his first appearance on "Dennis Runs Away", but not yet as Tommy Anderson.
After viewing these episodes, CBS determined that they wanted Dennis toned down because of fear that his actions would encourage children watching to try some of these things. Several weeks before the series was to debut, the episode "The Sign Post" was made in which Tommy made his debut. Margaret also appeared along with Joey. On this episode Dennis puts back a street sign that a motorist knocked down, but the sign had the streets in reverse. As a result builders mistakingly begin building a swimming pool at Mr. Wilson's house causing havoc. On this episode, Dennis is very much toned down from the pilot episode. As a result, after the pilot aired as the first episode, "The Sign Post" aired as a second episode. The "Fishing Trip" was the third episode to air but the second one made. After that, newly made episodes aired mixed in with the initial batch made earlier in 1959. Joey is gradually phased out and not a part of the second season.
Later Seasons Dennis & Mr. Wilson had a love/hate relationship. Dennis was always aggravating Mr. Wilson but usually did not realize it. He would call Mr. Wilson his best friend while on many occasions Mr. Wilson would tell Dennis "You have far better friends than me". Mrs. Wilson, however, liked Dennis and tried to make the situation better. Other neighbors included a widowed lady named Mrs. Elkins, a never married lonely woman named Miss. Cathcart, Mr. Quigley a grocery store owner, Opie Swanson a TV and Applaince store owner, Mrs. Holland, Mr. Finch a drug store owner, Seargent Mooney the chief of police, among others.
Second and third season episodes began to focus on Dennis at school learning to read, going to camp, playing baseball, being in scouting, and of course trying to help Mr. Wilson. Dennis was gradually maturing and at times it is revealed that Mr. WIlson does like Dennis deep down.
Toward the end of filming the third season, Joseph Kearns died of a heart attack in 1962. The next couple episodes simply did not have Mr. Wilson appearing. But late in that season for the last half dozen episodes Gale Gordon joined the cast as Mr. Wilson's brother, John. He was staying as a guest of Mrs Wilson while Mr Wilson was away. Sylvia Field who played Mrs Wilson left the series at the end of the year. The following year, John Wilson continued on with a wife of his own, Eloise, played by Sara Seeger, as if he had always been the sole Mr. Wilson.
All four seasons of Dennis The Menace featured a wide variety of background music scoring from John Seely and Associates. The tunes used were for the most part the same ones used for other sitcoms like Donna Reed, Ozzie & Harriet, Patti Duke, and others. Also, children's shows Davey And Goliath and Gumby featured much of this background music as well as some early Hanna Barbara cartoons.
Cancelation The show was successful, but Jay North did something all little boys do, grow up. As a result, he was getting too big and too old to continue the role of Dennis. It was believed that the show had "jumped the shark" at the time Joseph Kearns died, but it ran one more season. Finally, the show was canceled in the spring of 1963.
The show continued in reruns on NBC on Saturday mornings from 1963 to 1965 and the show was syndicated in 1965. It ran consistently on local stations throughout the 1960's and 1970's. It ran on Nick At Nite from 1985 to 1986 and on Nickelodeon from 1985 to 1995. It also ran on TV Land off and on from 1995 to 2001.
Cast
Regulars Dennis Mitchell - Jay North Henry Mitchell - Herbert Anderson Alice Mitchell - Gloria Henry Mr. George Wilson (1959-1962) - Joseph Kearns Mrs. Martha Wilson (1959-1962) - Sylvia Fields Joey McDonald (1959-1960) - Gil Smith Tommy Anderson (1959-1963) - Billy Booth Margaret Wade - Jeannie Russell Mr. John Wilson (1962-1963) - Gale Gordon Mrs. Eloise Wilson (1962-1963) - Sara Seeger
Recurring Seargent Theodore Mooney - George Cisar Mrs. Elkins - Irene Tedow Mr. Quigley - Willard Miss Cathcart - Mary Wickes
Dennis The Menace Opening theme
Dennis The Menace Kellogg's Commercial and End Credits
What's Happening!! is an American sitcom that ran on ABC from August 5, 1976 to April 28, 1979. It was originally meant to be a summer series, when it premiered in August and ran four episodes and was then put on hiatus. But due to above average ratings, the show was brought back in November of 1976 as a weekly series after several other shows failed. It was suggested by an American International Picture Cooley High written by Eric Monte. It remained a regular show until 1979 and ratings were modest at the very least.
Premise What's Happening!! dealt with the antics of three working-class African-American teens living in the Watts area of Los Angeles. The show starred Ernest Thomas, who played Roger "Raj" Thomas, Haywood Nelson played Dwayne Nelson, and Fred Berry played Freddy "Rerun" Stubbs. Also featured were Danielle Spencer as Roger's younger sister, Dee; Mabel King as Roger and Dee's mother, Mabel; and Shirley Hemphill as Shirley Wilson, the waitress at "Rob's Place", the boys' favorite restaurant. Other recurring characters included Diane Harris (Debbi Morgan), an attractive girl whom the boys liked; Rob (Earl Billings), who was the owner of Rob's Place; and Miss Collins (Fritzi Burr), the boys' sarcastic history teacher and the sponsor of the school newspaper of which Roger was the editor.
Unlike Good Times, a contemporary show that also had African-American cast, What's Happening!! only rarely and mildly ventured into social commentary. TV Guide once famously referred to What's Happening!! as "a look at urban black life that manages to capture the offensiveness of Amos and Andy while avoiding that program's fun." Most of the episodes revolved around the travails of the three young men that most American youngsters of any race could relate to, such as the need to find a date for the dance. Other schemes involved getting back at Roger's sister Dee, who was a caustic, bratty busybody.
Major characters Roger "Raj" Thomas (Ernest Thomas), the show's protagonist, is a black teenager living in a house in Watts with his divorced mother Mabel and his younger sister Dee. Raj is an intelligent, well-mannered, young man who sports large, black horn-rimmed glasses and has aspirations of becoming a writer. Many episodes find Raj taking steps to pursue his dream, such as saving up for a screenwriting course or a typewriter. The show begins while he is still in high school; he later graduates as valedictorian, moves out of his house, and attends college.
Frederick (Freddie) "Rerun" Stubbs (Fred Berry) is an overweight, bumbling, comedic young man, commonly seen wearing a red beret and matching suspenders. He is often teased by his friends for being overweight and unintelligent. Rerun is a very skilled dancer and is commonly seen entering dance contests or trying to get on TV commercials. He is nicknamed "Rerun" because, due to his failures in school, "every summer he has to go to school to rerun the stuff he did all winter." (Ironically, the character of Rerun was originally intended to be a skinny white teenager.)
Dwayne Clemens Nelson (Haywood Nelson) is the youngest member of the group. Dwayne has an unassuming, good-natured demeanor and suffers from debilitating shyness and acute Nyctophobia (fear of the dark). While Rerun attempts to enter dance contests and Roger aggressively pursues his dream of becoming a famous writer, Dwayne's plotlines often deal with his problems with girls and bullies. Dwayne's character is well known for his greeting, "Hey, Hey, Hey", which differs slightly from Bill Cosby's Fat Albert "Hey, Hey, Hey".
Mabel Thomas (Mabel King) is Raj's 'large and in charge' mother. She is typically the voice of wisdom, and the parental authority over the main cast. Her role became less important in later episodes, until eventually she disappeared from the show (though her character was never written out and still mentioned off-screen).
Dee Thomas (Danielle Spencer) is Raj's younger sibling. She personifies the typical 'annoying little sister'. Dee is obsessed with making money, usually by blackmailing her brother and his friends a quarter at a time. She is also shrewd, and difficult to keep secrets from. As the series progressed and Dee grew older, her caustic personality mellowed into a sly sense of sarcasm. Her trademark phrase is "Ooh, I'm tellin' Mama!" Her favorite food is peanut butter.
Shirley Wilson (Shirley Hemphill) is a portly waitress at the local restaurant, "Rob's Place", where the main cast is constantly eating. She is a brash person who likes to take shots at the boys, and most often clashes with Rerun (with whom she exchanges fat jokes, both characters being overweight).
Minor characters Bill Thomas (Thalmus Rasulala) is Mabel's ex-husband and the father of Roger and Dee. He divorced Mabel, ran out on his family, and became a shady sort of character. When he first appears, he tries to con Mabel out of money. Later episodes in which he appears depict him in a more positive light and culminate with his remarriage. After his remarriage, Bill was not seen on the show, although he is mentioned.
Big Earl Barnett is a detective who lives in the apartment building Raj and Rerun move into and was introduced in the third and final season.
Little Earl Barnett is the son of Big Earl. Little Earl has a huge crush on Dee (who is about five years older than he is).
Rob is the owner of Rob's Place.
The Snake was a basketball player whom Roger tutored. He eventually became a friend of Roger, Dwayne, and Rerun.
Miss Collins was a high school teacher. She admired Roger, while Rerun had trouble getting along with her.
Marvin was a schoolmate of Roger, Dwayne and Rerun at their high school. He was a reporter for the high school newspaper and was sometimes seen at Rob's Place.
The third season The third season marked changes for the show. Roger and Rerun moved into their own apartment. Mabel King left the show, but the character of Mabel Thomas was not written out. Instead it was said that Mama was working or not around. To take the place of an adult presence in the house for Dee, Shirley would move into the Thomas household as a boarder. Several new recurring characters were introduced. The first was a basketball player whom Roger tutored nicknamed "The Snake" (played by Leland Smith). The other characters were Caucasian detective "Big Earl" Barnett (played by John Welsh) and his son "Little Earl" Barnett (played by David Hollander) who were neighbors in the apartment building where Roger and Rerun lived.
During the 1978-79 season, which was the third and final season of the teen comedy program, Fred Berry caused problems on the show. Ernest Thomas and Haywood Nelson joined him in the strike, the executive producers of the show had enough of the conflicts (demands for more money and constantly walking out during rehearsals, for example) with the three co-stars and closed the show in April 1979. What's Happening!! aired its last episode on April 28, 1979. A year later, in 1980, Hemphill starred in her very own sitcom, One In a Millon, which premiered in January 1980, and ended on July 23, 1980, after being on ABC for a few months.
Ratings What's Happening was a ratings' success breaking in the top 30, during the series run:
1976-1977: #25 1977-1978: #45 1978-1979: #29 What's Happening!! held the title and became the first African-American teen sitcom to break into the Nielsen Ratings, as part of the top 30 Rated Programs from 1976 until 1979, although the 1977-1978 season did not break the top 30.
Success and What's Happening Now!! The show was a modest success in its network run, despite some serious production problems. Most black sitcoms do not achieve the super ratings during their first run, The Cosby Show being an exception. But repeats of the show's 65 episodes did considerably well in syndication. In some markets, the show was perceived to appeal to both children and adults in a similar way that shows like The Brady Bunch and Happy Days did. The show was often aired in transitional hours where stations would go from the cartoons to the evening sitcoms. In a few markets the show actually had far higher ratings in syndication than during the network run. With this in mind, a revival of the show was produced entitled What's Happening Now!!. It ran from 1985 to 1988 in first-run syndication.
In the sequel to What's Happening!!, Raj was a struggling writer who became co-owner of the old hangout, Rob's Place (with partner, Shirley (played by Shirley Hemphill). He married a girl named Nadine Hudson (played by Anne-Marie Johnson). Raj and Nadine became foster parents to a 9-year old girl, Carolyn (played by Reina King, real-life sister of Regina), Rerun became a used car-salesman, Dwayne became a computer clerk, and Dee was off to college, although she still made appearances from time to time. Actor Fred Berry caused problems in the new version of the series, was dropped from the cast and was written out, along with Reina King, who disappeared after the 1985-86 season. In the 1987-88 season, Martin Lawrence came onto the show as a brand-new character, teenager Maurice, who worked as an assistant in Rob's Place. Maurice's friend Darryl (Ken Sagoes) was another new character. The series ended in 1988.
What's Happening - First Season Opening Credits - 1976
Batman (originally referred to as the Bat-Man and still referred to at times as the Batman) is a fictional comic book superhero co-created by artist Bob Kane and writer Bill Finger (although only Kane receives official credit) and published by DC Comics. The character made his first appearance in Detective Comics #27 (May 1939). Batman's secret identity is Bruce Wayne, a wealthy industrialist, playboy, and philanthropist. Witnessing the murder of his parents as a child leads him to train himself to physical and intellectual perfection and don a bat-themed costume in order to fight crime. Batman operates in Gotham City, assisted by various supporting characters including his sidekick Robin and his butler Alfred Pennyworth, and fights an assortment of villains influenced by the characters' roots in film and pulp magazines. Unlike most superheroes, he does not possess any superpowers; he makes use of intellect, detective skills, science and technology, wealth, physical prowess, and intimidation in his war on crime.
Batman became a popular character soon after his introduction, and eventually gained his own title, Batman. As the decades wore on, differing takes on the character emerged. The late 1960s Batman television series utilized a camp aesthetic associated with the character for years after the show ended. Various creators worked to return the character to his dark roots, culminating in the 1986 miniseries Batman: The Dark Knight Returns, by writer-artist Frank Miller. That and the success of director Tim Burton's 1989 Batman motion picture helped reignite popular interest in the character. A cultural icon, Batman has been licensed and adapted into a variety of media, from radio to television and film, and appears on a variety of merchandise sold all over the world.
Publication history
Creation In early 1938, the success of Superman in Action Comics prompted editors at the comic book division of National Publications (the future DC Comics) to request more superheroes for its titles. In response, Bob Kane created "the Bat-Man".[1] Collaborator Bill Finger recalled Kane
“ had an idea for a character called 'Batman', and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of ... reddish tights, I believe, with boots ... no gloves, no gauntlets ... with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign ... BATMAN
Finger offered such suggestions as giving the character a cowl instead of a simple domino mask, a cape instead of wings, and gloves, and removing the red sections from the original costume.[3] Finger said he devised the name Bruce Wayne for the character's secret identity: "Bruce Wayne's first name came from Robert Bruce, the Scottish patriot. Wayne, being a playboy, was a man of gentry. I searched for a name that would suggest colonialism. I tried Adams, Hancock ... then I thought of Mad Anthony Wayne."[4] Various aspects of Batman's personality, character history, visual design and equipment were inspired by contemporary popular culture of the 1930s, including movies, pulp magazines, comic strips, newspaper headlines, and even aspects of Kane himself.[5] Kane noted especially the influence of the films The Mark of Zorro (1920) and The Bat Whispers (1930) in the creation of the iconography associated with the character, while Finger drew inspiration from literary characters Doc Savage, The Shadow, and Sherlock Holmes in his depiction of Batman as a master sleuth and scientist. Kane himself, in his 1989 autobiography, detailed Finger's contributions to Batman creation:
“ One day I called Bill and said, 'I have a new character called the Bat-Man and I've made some crude, elementary sketches I'd like you to look at'. He came over and I showed him the drawings. At the time, I only had a small domino mask, like the one Robin later wore, on Batman's face. Bill said, 'Why not make him look more like a bat and put a hood on him, and take the eyeballs out and just put slits for eyes to make him look more mysterious?' At this point, the Bat-Man wore a red union suit; the wings, trunks, and mask were black. I thought that red and black would be a good combination. Bill said that the costume was too bright: 'Color it dark gray to make it look more ominous'. The cape looked like two stiff bat wings attached to his arms. As Bill and I talked, we realized that these wings would get cumbersome when Bat-Man was in action, and changed them into a cape, scalloped to look like bat wings when he was fighting or swinging down on a rope. Also, he didn't have any gloves on, and we added them so that he wouldn't leave fingerprints.[7] ”
Kane signed away ownership in the character in exchange for, among other compensation, a mandatory byline on all Batman comics. This byline did not, originally, say "Batman created by Bob Kane"; his name was simply written on the title page of each story. The name disappeared from the comic book in the mid-1960s, replaced by credits for each story's actual writer and artists. In the late 1970s, when Jerry Siegel and Joe Shuster began receiving a "created by" credit on the Superman titles, along with William Moulton Marston being given the byline for creating Wonder Woman, Batman stories began saying "Created by Bob Kane" in addition to the other credits.
Finger did not receive the same recognition. While he had received credit for other DC work since the 1940s, he began, in the 1960s, to receive limited acknowledgment for his Batman writing; in the letters page of Batman #169 (Feb. 1965) for example, editor Julius Schwartz names him as the creator of the Riddler, one of Batman's recurring villains. However, Finger's contract left him only with his writing page rate and no byline. Finger, like Shuster, Siegel, and some other creators during and after the Golden Age of Comic Books, would resent National's denying him the money and credit he felt was owed for his creations.[8] At the time of Finger's death in 1974, DC had not officially credited Finger as Batman co-creator.
Early years
Batman debuted in Detective Comics #27 (May 1939). Cover art by Bob Kane.The first Batman story, "The Case of the Chemical Syndicate," was published in Detective Comics #27 (May 1939). Finger said, "Batman was originally written in the style of the pulps"[9] and this influence was evident with Batman showing little remorse over killing or maiming criminals and was not above using firearms. Batman proved a hit character, and he received his own solo title in 1940, while continuing to star in Detective Comics. By that time, National was the top-selling and most influential publisher in the industry; Batman and the company's other major hero, Superman, were the cornerstones of the company's success.[10] The two characters were featured side-by-side as the stars of World's Finest Comics, which was originally titled World's Best Comics when it debuted in fall 1940. Creators including Jerry Robinson and Dick Sprang also worked on the strips during this period.
Over the course of the first few Batman strips elements were added to the character and Kane's artistic depiction of Batman evolved. Kane noted within six issues he drew the character's jaw more pronounced and lengthened the ears on the costume; "About a year later he was almost the full figure, my mature Batman," Kane said.[11] Batman's characteristic utility belt was introduced in Detective Comics #29 (July 1939), followed by the batarang and the first bat-themed vehicle in #31 (September 1939), and the character's origin was revealed in #33 (November 1939). The early pulp-influenced portrayal of Batman started to soften in Detective Comics #38 in 1940 with the introduction of Robin, Batman's kid sidekick.[12] Robin was introduced based on Finger's suggestion Batman needed a "Watson" with whom Batman could talk.[13] Sales nearly doubled, despite Kane's preference for a solo Batman, and it sparked a proliferation of "kid sidekicks."[14] The first issue of Batman was notable not only for introducing two of his most persistent antagonists, the Joker and Catwoman, but for one of the stories in the issue where Batman shoots some monstrous giants to death. That story prompted editor Whitney Ellsworth to issue a decree that the character could no longer kill or use a gun.[15] By 1942 the writers and artists behind the Batman comics had established most of the basic elements of the Batman mythos.[16] In the years following World War II, DC Comics "adopted a postwar editorial direction that increasingly de-emphasized social commentary in favor of lighthearted juvenile fantasy." The impact of this editorial approach was evident in Batman comics of the postwar period; removed from the "bleak and menacing world" of the strips of the early 1940s, Batman was instead portrayed as a respectable citizen and paternal figure that inhabited a "bright and colorful" environment.[17]
1950-1963 Batman was one of the few superhero characters to be continuously published as interest in the genre waned during the 1950s. In the story "The Mightiest Team In the World" in Superman #76 (June 1952), Batman teams up with Superman for the first time and the pair discovers each other's secret identity.[18] Following the success of this story, World's Finest Comics was revamped so it featured stories starring both heroes together, instead of the separate Batman and Superman features that had been running before.[19] The team-up of the characters was "a financial success in an era when those were few and far between;"[20] this series of stories ran until the book's cancellation in 1986.
Batman comics were among those criticized when the comic book industry came under scrutiny with the publication of psychologist Fredric Wertham's book Seduction of the Innocent in 1954. Wertham's thesis was that children imitated crimes committed in comic books, and that these works corrupt the morals of the youth. Wertham criticized Batman comics for their supposed homosexual overtones and argued that Batman and Robin were portrayed as lovers.[21] Wertham's criticisms raised a public outcry during the 1950s, eventually leading to the establishment of the Comics Code Authority. The tendency towards a "sunnier Batman" in the postwar years intensified after the introduction of the Comics Code.[22] It has also been suggested by scholars that the characters of Batwoman (in 1956) and Bat-Girl (in 1961) were introduced in part to refute the allegation that Batman and Robin were gay, and the stories took on a campier, lighter feel.[23]
In the late 1950 Batman stories gradually become more science fiction-oriented, an attempt at mimicking the success of other DC characters that had dabbled in the genre.[24] New characters such as Batwoman, Ace the Bat-Hound, and Bat-Mite were introduced. Batman has adventures involving either odd transformations or dealing with bizarre space aliens. In 1960, Batman debuted as a member of the Justice League of America in The Brave and the Bold #28 (February 1960) and went on to appear in several Justice League comic series starting later that same year.
"New Look" Batman and camp By 1964, sales on Batman titles had fallen drastically; Bob Kane noted that as a result "[DC was] planning to kill Batman off altogether."[25] Editor Julius Schwartz was soon assigned to the Batman titles and presided over drastic changes. Beginning with 1964's Detective Comics #327 (May 1964) — cover-billed as the "New Look" — Schwartz introduced changes designed to make Batman more contemporary and return him to more detective-oriented stories, including a redesign of Batman's equipment, the Batmobile, and his costume (introducing the yellow ellipse behind the costume's bat-insignia), and brought in artist Carmine Infantino to help in this makeover. The space aliens and characters of the 1950s such as Batwoman, Ace, and Bat-Mite were retired. Batman's erstwhile butler Alfred was killed and replaced with Aunt Harriet, who came to live with Bruce Wayne and Dick Grayson.[26]
Batman #227 (Dec. 1970). An example of Batman's return to a Gothic atmosphere, in an homage to the cover of 1939's Detective Comics #31.[27] Art by Neal Adams.The debut of the Batman television series in 1966 had a profound influence on the character. The success of the series increased sales throughout the comic book industry, and Batman reached a circulation of close to 900,000 copies.[28] Elements such as the character of Batgirl and the show's campy nature were introduced into the comics; the series also initiated the return of Alfred. Although both the comics and TV show were successful for a time, the camp approach eventually wore thin and the show was canceled in 1968. In the aftermath the Batman comics themselves lost popularity once again. As Julius Schwartz noted, "When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."[29]
Starting in 1969, writer Dennis O'Neil and artist Neal Adams made a deliberate effort to distance Batman from the campy portrayal of the 1960s TV series and to return the character to his roots as a "grim avenger of the night."[30] O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after."[31] O'Neil and Adams first collaborated on the story "The Secret of the Waiting Graves" (Detective Comics #395, Jan. 1970). Few stories were true collaborations between O'Neil, Adams, Schwartz, and inker Dick Giordano, and in actuality these men were mixed and matched with various other creators during the 1970s; nevertheless the influence of their work was "tremendous."[32] Giordano said, "We went back to a grimmer, darker Batman, and I think that's why these stories did so well . . . Even today we're still using Neal's Batman with the long flowing cape and the pointy ears."[33] While the work of O'Neil and Adams was popular with fans, the acclaim did little to help declining sales; the same held true with a similarly acclaimed run by writer Steve Englehart and penciler Marshall Rogers in Detective Comics #471-476 (Aug. 1977 - April 1978), which went on to influence the 1989 movie Batman and be adapted for the 1990s animated series.[34] Regardless, circulation continued to drop through the 1970s and 1980s, hitting an all-time low in 1985.[35]
The Dark Knight Returns and modern Batman (1986-present)
The first issue of Batman: The Dark Knight Returns, which redefined Batman in the 1980s. Pencils by Frank Miller.Frank Miller's 1986 limited series Batman: The Dark Knight Returns, which tells the story of a 50-year-old Batman coming out of retirement in a possible future, reinvigorated the character. The Dark Knight Returns was a financial success and has since become one of the medium's most noted touchstones.[36] The series also sparked a major resurgence in the character's popularity.[37] That year Dennis O'Neil took over as editor of the Batman titles and set the template for the portrayal of Batman following DC's status quo-altering miniseries Crisis on Infinite Earths. O'Neil operated under the assumption that he was hired to revamp the character and as a result tried to instill a different tone in the books than had gone before.[38] One outcome of this new approach was the "Year One" storyline in Batman #404-407 (Feb.-May 1987), where Frank Miller and artist David Mazzucchelli redefined the character's origins. Writer Alan Moore and artist Brian Bolland continued this dark trend with 1988's 48-page one-shot Batman: The Killing Joke, in which the Joker, attempting to drive Commissioner Gordon insane, cripples Gordon's daughter Barbara, and then kidnaps and tortures the commissioner, physically and psychologically.
The Batman comics garnered major attention in 1988 when DC Comics created a 900 number for readers to call to vote on whether Jason Todd, the second Robin, lived or died. Voters decided in favor of Jason's death by a narrow margin of 28 votes.[39] The following year drew more attention to the character, due to the release of the feature 1989 film Batman. In addition to the film's multimillion dollar gross and millions more generated in merchandising, the first issue of Legends of the Dark Knight, the first new solo Batman title in nearly fifty years, sold close to a million copies.[40] 1993's "Knightfall" arc introduces a new villain, Bane, who critically injures Batman. Jean-Paul Valley, known as Azrael, is called upon to wear the Batsuit during Bruce Wayne's convalescence. Writers Doug Moench, Chuck Dixon, and Alan Grant worked on the Batman titles during "Knightfall" and would also contribute to other Batman crossovers throughout the 1990s. 1998's "Cataclysm" storyline served as the precursor to 1999's "No Man's Land", a year-long storyline that ran through all the Batman-related titles dealing with the effects of an earthquake-ravaged Gotham City. At the conclusion of "No Man's Land" O'Neil stepped down as editor and was replaced by Bob Schreck. In 2003, writer Jeph Loeb and artist Jim Lee began a 12-issue run on Batman. Lee's first regular comic book work in nearly a decade, the series became #1 on the Diamond Comic Distributors sales chart for the first time since Batman #500 (Oct. 1993). Lee then teamed with Frank Miller on All-Star Batman and Robin, which debuted with the best-selling issue in 2005,[41] as well as the highest sales in the industry since 2003.[42] Batman was featured in major roles in DC's 2005 company-wide crossover Identity Crisis and 2006's Infinite Crisis. Starting in 2006, the regular writers on Batman and Detective Comics were Grant Morrison and Paul Dini, respectively.
Fictional character history Batman's history has undergone various revisions, both minor and major. Few elements of the character's history have remained constant. Scholars William Uricchio and Roberta E. Pearson noted in the early 1990s, "Unlike some fictional characters, the Batman has no primary urtext set in a specific period, but has rather existed in a plethora of equally valid texts constantly appearing over more than five decades."[43] The central fixed event in the Batman stories is character's origin story.[44] Bruce Wayne is driven to fight crime in Gotham City as Batman because his parents, the physician Dr. Thomas Wayne and his wife Martha Wayne, were murdered by a mugger when he was a child. Pearson and Uricchio also noted beyond the origin story and such events as the introduction of Robin, "Until recently, the fixed and accuring and hence, canonized, events have been few in number,"[44] a situation altered by an increased effort by later Batman editors such as Dennis O'Neil to ensure consistency and continuity between stories.[44]
Golden Age
Bruce Wayne is inspired to become Batman: Detective Comics #33 (Nov. 1939). Art by Bob Kane.In Batman's first appearance in Detective Comics #27, he is already operating as a crime fighter.[45] Batman's origin is first presented in Detective Comics #33 in November 1939, and is later fleshed out in Batman #47. As these comics state, Bruce Wayne is born to Dr. Thomas Wayne and his wife Martha, two very wealthy and charitable Gotham City socialites. Bruce is brought up in Wayne Manor and its wealthy splendor and leads a happy and privileged existence until the age of eight, when his parents are killed by a small-time criminal named Joe Chill on their way home from the movie theater. Bruce Wayne swears an oath to rid the city of the evil that had taken his parents' lives. He engages in intense intellectual and physical training; however, he realizes that these skills alone would not be enough. "Criminals are a superstitious and cowardly lot", Wayne remarks, "so my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible..." As if responding to his desires, a bat suddenly flies through the window, inspiring Bruce to assume the persona of Batman.[46]
In early strips, Batman's career as a vigilante initially earns him the ire of the police. During this period Wayne has a fiancée named Julie Madison.[47] Wayne takes in an orphaned circus acrobat, Dick Grayson, who becomes his sidekick, Robin. Batman also becomes a founding member of the Justice Society of America,[48] although he, like Superman, is an honorary member[49] and thus only participates occasionally. Batman's relationship with the law thaws quickly, and he is made an honorary member of Gotham City's police department.[50] During this time, butler Alfred arrives at Wayne Manor and after deducing the Dynamic Duo's secret identities joins their service.[51]
Silver Age See also: Batman (Earth-Two) The Silver Age of comic books in DC Comics is sometimes held to have begun in 1956 when the publisher introduced Barry Allen as a new, updated version of The Flash. Batman is not significantly changed by the late 1950s for the continuity which would be later referred to as Earth-One. The lighter tone Batman had taken in the period between the Golden and Silver Ages led to the stories of the late 1950s and early 1960s that often feature a large number of science-fiction elements, and Batman is not significantly updated in the manner of other characters until Detective Comics #327 (May 1964), in which Batman reverts to his detective roots, with most science-fiction elements jettisoned from the series.
Detective Comics #327 (May 1964), debut of the "New Look" Batman. Cover art by Carmine Infantino & Joe Giella.After the introduction of DC Comics' multiverse in the 1960s, it is retroactively established that stories from the Golden Age star the Earth-Two Batman, a character from a parallel world. This version of Batman partners with and marries the reformed Earth-Two Catwoman, Selina Kyle (as shown in Superman Family #211) and fathers Helena Wayne, who, as the Huntress, becomes (along with the Earth-Two Robin) Gotham's protector once Wayne retires from the position to become police commissioner, a position he occupies until he is killed during one final adventure as Batman. Batman titles however often ignored that a distinction had been made between the pre-revamp and post-revamp Batmen (since unlike The Flash or Green Lantern, Batman comics had been published without interruption through the 1950s) and would on occasion make reference to stories from the Golden Age.[52] Nevertheless, details of Batman's history were altered or expanded upon through the decades. Additions include meetings with a future Superman during his youth, his upbringing by his uncle Philip Wayne (introduced in Batman #208, Jan./Feb. 1969) after his parents death, and appearances of his father and himself as prototypical versions of Batman and Robin, respectively.[53][54] In 1980 then-editor Paul Levitz commissioned the Untold Legend of the Batman limited series to thoroughly chronicle Batman's origin and history.
Batman meets and regularly works with other heroes during the Silver Age, most notably Superman, whom he began regularly working alongside in a series of team-ups in World's Finest Comics, starting in 1954 and continuing through the series' cancellation in 1986. Batman and Superman are usually depicted as close friends. Batman becomes a founding member of the Justice League of America, appearing in its first story in 1960s Brave and the Bold #28. In the 1970s and 1980s, Brave and the Bold became a Batman title, in which Batman teams up with a different DC Universe superhero each month.
In 1969, Dick Grayson attends college as part of DC Comics' effort to revise the Batman comics. Additionally, Batman also moves from Wayne Manor into a penthouse apartment atop the Wayne Foundation building in downtown Gotham City, in order to be closer to Gotham City's crime. Batman spends the 1970s and early 1980s mainly working solo, with occasional team-ups with Robin and/or Batgirl. Batman's adventures also become somewhat darker and more grim during this period, depicting increasingly violent crimes, including the first appearance (since the early Golden Age) of an insane, murderous Joker, and the arrival of Ra's Al Ghul. In the 1980s, Dick Grayson becomes Nightwing.
In the final issue of Brave and the Bold in 1983, Batman quits the Justice League and forms a new group called the Outsiders. He serves as the team's leader until Batman and the Outsiders #32 (1986) and the comic subsequently changed its title.
Modern Batman After the 12-issue limited series Crisis on Infinite Earths, DC Comics rebooted the histories of some major characters in an attempt at updating them for contemporary audiences. Frank Miller retold Batman's origin in the storyline Year One from Batman #404-407, which emphasizes a grittier tone in the character.[55] Though the Earth-Two Batman is erased from history, many stories of Batman's Silver Age/Earth-One career (along with an amount of Golden Age ones) remain canonical in the post-Crisis universe, with his origins remaining the same in essence, despite alteration. For example, Gotham's police are mostly corrupt, setting up further need for Batman's existence. While Dick Grayson's past remains much the same, the history of Jason Todd, the second Robin, is altered, turning the boy into the orphan son of a petty crook, who tries to steal the tires from the Batmobile.[56] Also removed is the guardian Phillip Wayne, leaving young Bruce to be raised by Alfred. Additionally, Batman is no longer a founding member of the Justice League of America, although he becomes leader for a short time of a new incarnation of the team launched in 1987. To help fill in the revised backstory for Batman following Crisis, DC launched a new Batman title called Legends of the Dark Knight in 1989 and has published various miniseries and one-shot stories since then that largely take place during the "Year One" period. Various stories from Jeph Loeb and Matt Wagner also touch upon this era.
Bane breaks Batman's back in a splash page from Batman #497 (July 1993). Art by Jim Aparo.In 1988's "Batman: A Death in the Family" storyline from Batman #426-429 Jason Todd, the second Robin, is killed by the Joker. Subsequently Batman takes an even darker, often excessive approach to his crimefighting. Batman works solo until the decade's close, when Tim Drake becomes the new Robin.[57] In 2005 writers resurrected the Jason Todd character and have pitted him against his former mentor.
Many of the major Batman storylines since the 1990s have been inter-title crossovers that run for a number of issues. In 1993, the same year that DC published the "Death of Superman" storyline, the publisher released the "Knightfall" storyline. In the storyline's first phase, the new villain Bane paralyzes Batman, leading Wayne to ask Azrael to take on the role. After the end of "Knightfall", the storylines split in two directions, following both the Azrael-Batman's adventures, and Bruce Wayne's quest to become Batman once more. The story arcs realign in "KnightsEnd", as Azrael becomes increasingly violent and is defeated by a healed Bruce Wayne. Wayne hands the Batman mantle to Dick Grayson (then Nightwing) for an interim period, while Wayne trains to return to his role as Batman.[58]
1994's company-wide crossover Zero Hour changes aspects of DC continuity again, including those of Batman. Noteworthy among these changes is that the general populace and the criminal element now considers Batman an urban legend rather than a known force. Similarly, the Waynes' killer is never caught or identified, effectively removing Joe Chill from the new continuity, rendering stories such as "Year Two" non-canon.
Batman once again becomes a member of the Justice League during Grant Morrison's 1996 relaunch of the series, titled JLA. While Batman contributes greatly to many of the team's successes, the Justice League is largely uninvolved as Batman and Gotham City face catastrophe in the decade's closing crossover arc. In 1998's "Cataclysm" storyline, Gotham City is devastated by an earthquake. Deprived of many of his technological resources, Batman fights to reclaim the city from legions of gangs during 1999's "No Man's Land." While Lex Luthor rebuilds Gotham at the end of the "No Man's Land" storyline, he then frames Bruce Wayne for murder in the "Bruce Wayne: Murderer?" and "Bruce Wayne: Fugitive" story arcs; Wayne is eventually acquitted.
DC's 2005 limited series Identity Crisis, reveals that JLA member Zatanna had edited Batman's memories, leading to his deep loss of trust in the rest of the superhero community. Batman later creates the Brother I satellite surveillance system to watch over the other heroes. Its eventual co-opting by Maxwell Lord is one of the main events that leads to the Infinite Crisis miniseries, which again restructures DC continuity. In Infinite Crisis #7, Alexander Luthor, Jr. mentions that in the newly-rewritten history of the "New Earth", created in the previous issue, the murderer of Martha and Thomas Wayne - again, Joe Chill - was captured, thus undoing the retcon created after Zero Hour. Batman and a team of superheroes destroy Brother Eye and the OMACs. Following Infinite Crisis, Bruce Wayne, Dick Grayson, and Tim Drake retrace the steps Bruce had taken when he originally left Gotham City, to "rebuild Batman". In the "Face the Face" storyline, Batman and Robin return to Gotham City after their year-long absence. At the end of the story arc, Bruce adopts Tim as his son.[59] The follow-up story arc in Batman, "Batman & Son", introduces Damian Wayne, who is Batman's son with Talia al Ghul. Batman, along with Superman and Wonder Woman, reforms the Justice League in the new Justice League of America series,[60] and is screening members for candidacy in the Outsiders.[61]
Characterization Batman's primary character traits can be summarized as "wealth; physical prowess; deductive abilities and obsession."[44] The details and tone of Batman's characterization have varied over the years due to different intrepretations. Dennis O'Neil noted that character consistency wasn't a major concern during earlier editorial regimes; he said, "Julie Schwartz did a Batman in Batman and Detective and Murray Boltinoff did a Batman in the Brave and the Bold and apart from the costume they bore very little resemblance to each other. Julie and Murray did not coordinate their efforts, did not pretend to, did not want to, were not asked to. Continuity was not important in those days."[62]
A main component that defines Batman as a character is his origin story. Bob Kane said he and Bill Finger discussed the character's background and decided that "there's nothing more traumatic than having your parents murdered before your eyes."[63] Batman is thus driven to fight crime in order to avenge the death of his parents.[44] While details of Batman's origin have varied from version to version, the "reiteration of the basic origin events holds together otherwise divergent expressions" of the character.[64] The origin is the source of many of the character's traits and attributes, which play out in many of the character's adventures.[44]
Batman is often treated as a vigilante by other characters in his stories. Frank Miller views the character as "a dionysian figure, a force for anarchy that imposes an individual order."[65] Dressed as a bat, Batman deliberately cultivates a frightening persona in order to aid him in crime fighting.[66]
Bruce Wayne In his secret identity, Batman is Bruce Wayne, a wealthy businessman who lives in Gotham City. Like Superman, the prominent persona of Batman's dual identities varies with time. Modern-age comics have tended to portray "Bruce Wayne" as the facade, with "Batman" as the truer representation of his personality (in counterpoint to the post-Crisis Superman, whose "Clark Kent" persona is the 'real' personality, and "Superman" is the act).
To the world at large, Bruce Wayne is often seen as an irresponsible, superficial playboy who lives off his family's personal fortune (amassed when Bruce's family invested in Gotham real estate before the city was a bustling metropolis) and the profits of Wayne Enterprises, a major private technology firm that he inherits. Forbes Magazine estimated Bruce Wayne to be the 7th-richest fictional character with his $6.8 billion fortune.[67] However, Wayne is also known for his contributions to charity, notably through his Wayne Foundation charity.[68] Bruce creates the playboy public persona to aid in throwing off suspicion of his secret identity, often acting dim-witted and self-absorbed to further the act.
Skills, abilities, and resources Unlike many superheroes, Batman has no superpowers and instead relies on "his own scientific knowledge, detective skills, and athletic prowess."[69] Batman is physically at the peak of human ability in dozens of areas, notably martial arts, acrobatics, strength, and escape artistry. Intellectually, he is just as peerless; Batman is one of the world's greatest scientists, engineers, criminologists, and tacticians, as well as a master of disguise, often gathering information under the identity of Matches Malone. He is regarded as one of the DC Universe's greatest detectives. Rather than simply outfighting his opponents, Batman often uses cunning and planning to outwit them. In Grant Morrison's first storyline in JLA, Superman describes Batman as "the most dangerous man on Earth," able to defeat a team of superpowered aliens all by himself in order to rescue his imprisoned teammates.[70]
Costume Main article: Batsuit Batman's costume incorporates the imagery of a bat in order to frighten criminals. The details of the Batman costume change repeatedly through various stories and media, but the most distinctive elements remain consistent: a scallop-hem cape, a cowl covering most of the face featuring a pair of batlike ears, and a stylized bat emblem on the chest, plus the ever-present utility belt. The costumes' colors are traditionally blue and grey although black or black with dark blue highlights are frequently substituted for the blue. Batman's gloves typically feature three scallops that protrude from the sides. A yellow ellipse around the bat logo on the character's chest was added in 1964, and became the hero's trademark symbol, akin to the red and yellow "S" symbol of Superman.[71] The overall look of the character, particularly the length of the cowl's ears and of the cape, varies greatly depending on the artist. Dennis O'Neil said, "We now say that Batman has two hundred suits hanging in the Batcave so they don't have to look the same . . . Everybody loves to draw Batman, and everybody wants to put their own spin on it."[72]
Equipment
The 1966 television Batmobile was built by George Barris from a Lincoln Futura concept car.Batman utilizes a large arsenal of specialized gadgets in his war against crime, the designs of which usually share a bat motif. Batman historian Les Daniels credits Gardner Fox with creating the concept of Batman's arsenal with the introduction of the utility belt in Detective Comics #29 (July 1939) and the first bat-themed weapons the batarang and the "Batgyro" in Detective Comics #31 and #32 (September; October, 1939).[73] Batman's primary vehicle is the Batmobile, which is usually depicted as an imposing black car with large tailfins that suggest a bat's wings. Batman's other vehicles include the Batplane (aka the Batwing), Batboat, Bat-Sub, and Batcycle.
In proper practice, the "bat" prefix (as in batmobile or batarang) is rarely used by Batman himself when referring to his equipment, particularly after some portrayals (primarily the 1960s Batman live-action television show and the Super Friends animated series) stretched the practice to camp proportions. The 1960s television series Batman has an arsenal that includes such ridiculous, satirical "bat-" names as the bat-computer, bat-scanner, bat-radar, bat-cuffs, bat-pontoons, bat-drinking water dispenser, bat-camera with polarized bat-filter, shark repellent bat-spray, and bat-rope. The storyline "A Death in the Family" suggests that given Batman's grim nature, he is unlikely to have adopted the "bat" prefix on his own.
Batman keeps most of his field equipment in a signature piece of apparel, a utility belt. Over the years it is shown to contain a virtually limitless variety of crimefighting tools. Different versions of the belt have these items stored in either pouches or hard cylinders attached evenly around it.
In some of his early appearances, Batman uses guns (see especially Detective Comics #32, September 1939), but he uses them less over time, later eschewing their use because a gun was used to murder his parents. Some stories relax this rule, allowing Batman to arm his vehicles for the purpose of disabling other vehicles or removing inanimate obstacles. In two stories, The Dark Knight Returns and The Cult, Batman used machine guns loaded with rubber bullets rather than live ammunition. In the 1989 Batman film, firearms figure more prominently in the Dark Knight's arsenal; machine guns and grenades are mounted on the Batmobile, and missiles and machine cannons on the Batwing.
Bat-Signal Main article: Bat-Signal One of the best-known elements of the Batman mythos is the Bat-Signal. When Batman is needed, the Gotham City police activate a searchlight with a bat-shaped insignia over the lens that shines into the night sky, creating a bat-symbol on a passing cloud which can be seen from any point in Gotham. The origin of the signal varies, depending on the continuity and medium.
In various incarnations, most notably the 1960s Batman TV series, Commissioner Gordon also has a dedicated phone line, dubbed the Bat-Phone, connected to a bright red telephone (in the TV series) which sits on a wooden base and has a transparent cake cover on top. The line connects directly to Wayne Manor, specifically to a similar phone sitting on the desk in Bruce Wayne's study.
Batcave Main article: Batcave The Batcave is Batman's secret headquarters, consisting of a series of subterranean caves beneath his residence, Wayne Manor. It serves as his command centre for both local and global surveillance, as well as housing his vehicles and equipment for his war on crime. It also is a storeroom for Batman's memorabilia. In both the comic Batman: Shadow of the Bat issue #45, and the 2005 film Batman Begins, the cave is said to have been part of the Underground Railroad. Of the heroes and villains who see the Batcave, few know where it is located. The cave is also home to a large colony of bats which Batman can summon to a scene with a sonic device. Batman also has several little caches throughout the city, linked together through his computer, where he stores extra equipment.
Supporting characters Main article: Batman supporting characters
Batman with his sidekick Robin. Painting by Alex Ross.Batman's interactions with the characters around him, both heroes and villains, help to define the character.[44] Commissioner James "Jim" Gordon, Batman's ally in the Gotham City police, debuted along with Batman in Detective Comics #27 and has been a consistent presence since then. However, the most important supporting role in the Batman mythos is filled by the hero's young sidekick Robin.[74] The first Robin, Dick Grayson, eventually leaves his mentor and becomes the hero Nightwing. The second Robin, Jason Todd, is beaten to death by the Joker but later returns as an adversary. Tim Drake, the third Robin, first appears in 1989 and has gone on to star in his own comic series. Alfred, Bruce Wayne's loyal butler, father figure, and one of the few to know his secret identity, "[lends] a homey touch to Batman's environs and [is] ever ready to provide a steadying and reassuring hand" to the hero and his sidekick.[75]
Batman is at times a member of superhero teams such as the Justice League of America and the Outsiders. Batman has often been paired in adventure with his Justice League teammate Superman, notably as the co-stars of World's Finest and Superman/Batman series. In pre-Crisis continuity, the two are depicted as close friends; however, in current continuity, they have a mutually respectful but uneasy relationship, with an emphasis on their differing views on crimefighting and justice.
Batman is involved romantically with many women throughout his various incarnations. These range from society women such as Vicki Vale and Silver St. Cloud, to allies like Sasha Bordeaux, to even villainesses such as Catwoman and Talia al Ghul. While these relationships tend to be short, Batman's attraction to Catwoman is present in nearly every version and medium in which the characters appear. Authors have gone back and forth over the years as to how Batman manages the 'playboy' aspect of Bruce Wayne's personality; at different times he embraces or flees from the women interested in attracting "Gotham's most eligible bachelor".
Other supporting characters in Batman's world include former Batgirl Barbara Gordon, Commissioner Gordon's daughter who, now confined to a wheelchair due to a gunshot wound inflicted by the Joker, serves the superhero community at large as the computer hacker Oracle; Azrael, a would-be assassin who replaces Bruce Wayne as Batman for a time; Cassandra Cain, an assassin's daughter whose allegiance is put in scrutiny after a stint as Batgirl, Batwoman, a young socialite who operates in Gotham City during Batman's absence following Infinite Crisis; Huntress, the sole surviving member of a mob family turned Gotham vilgilante who has worked with Batman on occasion; Ace the Bat-Hound, Batman's pet dog; and Bat-Mite, an extra-dimensional imp who adores Batman.
Enemies
A gathering of Batman's villains. Art by Jim Lee.Main article: List of Batman enemies Batman faces a variety of foes ranging from common criminals to outlandish supervillains. Many Batman villains mirror aspects of the hero's character and development, often having tragic origin stories that lead them to a life of crime.[76] Batman's "most implacable foe" is the Joker, a clownlike criminal who as a "personification of the irrational" represents "everything Batman [opposes]."[77] Other recurring antagonists include Catwoman, the Penguin, Two-Face, the Riddler, Scarecrow, Mister Freeze, Poison Ivy, Ra's Al Ghul, and Bane, among many others.
Cultural impact Batman has become a pop culture icon, recognized around the world. The character's presence has extended beyond his comic book origins; events such as the release of the 1989 Batman film and its accompanying merchandising "brought the Batman to the forefront of public consciousness."[40] In an article commemorating the sixtieth anniversary of the character, The Guardian wrote, "Batman is a figure blurred by the endless reinvention that is modern mass culture. He is at once an icon and a commodity: the perfect cultural artefact for the 21st century."[78]
Adaptations in other media Main article: Batman in popular media
Michael Keaton as Batman in Batman (1989)The character of Batman has appeared in various media aside from comic books. The character has been developed as a vehicle for newspaper syndicated comic strips, books, radio dramas, television and several theatrical feature films. The first adaptation of Batman was as a daily newspaper comic strip which premiered on October 25, 1943.[79] That same year the character was adapted in the 13-part serial Batman, with Lewis Wilson becoming the first actor to portray Batman on screen. While Batman never had a radio series of his own, the character made occasional guest appearance in The Adventures of Superman starting in 1945 on occasions when Superman voice actor Bud Collyer needed time off.[80] A second movie serial, Batman and Robin, followed in 1949, with Robert Lowery taking over the role of Batman. The exposure provided by these adaptations during the 1940s "helped make [Batman] a household name for millions who never bought a comic book."[80]
The Batman television series, starring Adam West, premiered in January 1966 on the ABC television network. Inflected with a camp sense of humor, the show became a pop culture phenomenon. The series ran for 120 episodes, ending in 1968. In between the first and second season of the Batman television series the cast and crew made the theatrical release Batman (1966). The popularity of the Batman TV series also resulted in the first animated adaptation of Batman in the series The Batman/Superman Hour;[81] the Batman segments of the series were repackaged as Batman with Robin the Boy Wonder which produced thirty-three episodes between 1968 and 1977. From 1973 until 1984, Batman had a starring role in ABC's Super Friends series, which was animated by Hanna-Barbera. Olan Soule was the voice of Batman in all these series, but was eventually replaced during Super Friends by Adam West, who voiced the character in Filmation's 1977 series The New Adventures of Batman.
Batman as he was depicted in Batman: The Animated Series. Les Daniels described the show as "[coming] as close as any artistic statement has to defining the look of Batman for the 1990s."[82]Batman returned to movie theatres in 1989, with director Tim Burton's Batman starring Michael Keaton. Burton's film was a huge success; not only was it the top-grossing film of the year, but at the time was the fifth highest-grossing film in history.[83] The film spawned three sequels: Batman Returns (1992), Batman Forever (1995) and Batman & Robin (1997), the last two of which were directed by Joel Schumacher instead of Burton, and replaced Keaton with Val Kilmer and George Clooney, respectively. In 1992 Batman returned to television in Batman: The Animated Series which was produced by Warner Bros. and was broadcast on the Fox television network until 1997, when it moved to The WB Television Network and was reworked into The New Batman Adventures. The producers of Batman: The Animated Series would go to work on the animated feature film release Batman: Mask of the Phantasm (1993), as well as the futuristic Batman Beyond and Justice League series. Like Batman: The Animated Series, these productions starred Kevin Conroy as the voice of Batman/Bruce Wayne. In 2004, a new animated series titled The Batman made its debut with Rino Romano as the title character. In 2005 Christopher Nolan directed Batman Begins, a reboot of the film franchise starring Christian Bale as Batman. A sequel to Nolan's film, The Dark Knight, is due for release in July 2008.[84]
Rowan & Martin's Laugh-In was an American sketch comedy television program which ran for 140 episodes from January 22, 1968 to May 14, 1973. It was hosted by comedians Dan Rowan and Dick Martin and was broadcast over NBC. It originally aired as a one-time special on September 9, 1967 and was such a phenomenal success that it was brought back as a regular series, replacing The Man from U.N.C.L.E. in the time-slot of Mondays at 8:00 p.m. on NBC.
The title, Laugh-In, came out of events of the 1960s hippie culture, such as "love-ins" or "be-ins." These were terms that were, in turn, derived from "sit-ins," common in protests associated with civil rights and anti-war demonstrations of the time.
The show, which enjoyed great popularity was characterized by a rapid-fire series of gags and sketches, many of which conveyed sexual innuendo or were politically charged. Rowan and Martin continued the exasperated straight man (Dan Rowan) and "dumb" guy (Dick Martin) act which they had successfully established as nightclub comics.
Laugh-In had its roots in the humor of vaudeville and burlesque, but its most direct influences were from the comedy of Olsen and Johnson (specifically, their free-form Broadway revue Hellzapoppin'), the innovative television works of Ernie Kovacs, and the topical satire of That Was The Week That Was.
A typical episode's format Shortly after the beginning of the show was a scene called "The Cocktail Party", with all cast members plus assorted surprise celebrities dancing in a swinging 1960s party atmosphere, in between delivering one- and two-line jokes (this was later adopted on The Muppet Show, as the "At the Dance" segment and the sitcom That's So Raven has a end-credits scene that is unremarkably similar to "The Cocktail Party" with absurd moments from characters). "The Mod, Mod World" segment, with sketches based around a common theme, would be interspersed with footage of some of the female cast members go-go dancing in bikinis, their bodies painted with punchy phrases and plays on words. (This was usually done by Goldie Hawn, Judy Carne and Chelsea Brown; Ruth Buzzi and Jo Anne Worley popped up rarely, as did frequent guest star Pamela Austin. In the 1969/1970 season, the chore was handled briefly by new cast members Teresa Graves and Pamela Rodgers before the go-go dancing became the sole domain of uncredited extras.) The Farkle Family, a couple with a lot of kids — all of whom had flaming red hair and freckles just like the next-door neighbor Ferd Berfel (played by Dick Martin). Head of the family Frank Farkle never questioned this fact when Ferd visited. Most "plots" were cheap excuses to force the cast into horrendous tongue-twisters. Flicker Farkle, the youngest (played by Buzzi), had no lines except screaming "Hiiii!!!" Two of the kids were named Simon and Gar Farkle. "Laugh-In Looks at the News," a parody of network news (introduced by a completely unnews-like song and dance number) commenting on current events. The segment often included "News of the Past" which lampooned historical events, and "News of the Future", predicting unlikely or bizarre future news stories to comic effect. (Rowan actually nailed some, mentioning "President Ronald Reagan" in a story from "1988, 20 years from now", eliciting laughter from the audience. Another prediction, that the Berlin Wall would be destroyed in 1989, also came true, although the follow-up gag prognosticating that it would be "quickly replaced by a moat full of alligators" did not.) The news segment was reminiscent of BBC's earlier That Was The Week That Was and in turn, was echoed a few years later by Saturday Night Live's "Weekend Update" segments. Saturday Night Live creator Lorne Michaels was a Laugh-In writer early in his career. The Flying Fickle Finger of Fate award, saluting dubious achievements by the government or famous people. Judy Carne was often tricked into saying "Sock it to me", which then led to her being doused with water or otherwise assaulted. "Sock it to me" became a catch phrase for the show. During the September 16, 1968 episode, Richard Nixon, then running for President, appeared for a few seconds with a disbelieving vocal inflection, asking the question, "Sock it to me?" (Nixon was not doused or assaulted after delivering the line.) An invitation was extended to Nixon's opponent, Vice-President Hubert Humphrey, but he declined. According to George Schlatter, the show's creator, "Humphrey later said that not doing it may have cost him the election." At the end of every show, Dan Rowan turned to his co-host and said, "Say good-night, Dick", to which Martin replied, "Good-night, Dick" (varying a bit from the old George Burns and Gracie Allen radio show). The show then featured various cast members opening panels in a psychedelically painted 'joke wall' and telling short jokes to one another. As the show drew to a close and the general applause died down, the lone sound of Executive Producer George Schlatter's clapping continued even as the screen turned blank.
Memorable cast members/guests and their running gags Arte Johnson portrayed a number of recurring characters, including: Wolfgang the Nazi soldier - Wolfgang would comment on the previous gag by saying "Verrry interesting", sometimes with additional comments such as "...but schtupit!" He would close each show by talking to Lucille Ball and the cast of Gunsmoke — both airing opposite Laugh-In on CBS; as well as whatever was airing on ABC. Tyrone F. Horneigh (pronounced "hor-NIGH," presumably to satisfy the censors) - A dirty old man coming on to Gladys Ormphby (Ruth Buzzi) seated on a park bench, who inevitably clobbered him with her purse. Sample exchange: Tyrone asks, "Do you believe in the hereafter?" Gladys says, "Of course I do!" Pleased, Tyrone exclaims, "Then you know what I'm here after!". Both the Horneigh and Gladys characters returned in the "Nitwits" segments of the 1977 animated television show "Baggy Pants and the Nitwits". Piotr Rosmenko, the Eastern European Man - Piotr stood stiffly and nervously in an ill-fitting suit while commenting on differences between America and "the old country," such as "Here in America, is very good, everyone watch television. In old country, television watches you!" This predated a similar schtick by Yakov Smirnoff. Occasionally guest star Sammy Davis, Jr. would team with Johnson as "The Rosmenko Twins". Rabbi Shankar (a pun on Ravi Shankar), an Indian guru - Dressed in a Nehru jacket dispensing pseudo-mystical Eastern wisdom laden with bad puns. He held up two fingers in a "peace sign" whenever he spoke. An unnamed man in a yellow raincoat and hat, riding a tricycle. The image of him pedaling, then invariably tipping over and falling, was frequently used as a snippet between sketches. (A closer examination of some of the snippets suggest that it wasn't always Johnson in the hat and coat. Judy Carne was once reported to have said that every member of the cast took turns riding the tricycle at one time or another.) Announcer Gary Owens standing in an old-time radio studio with his hand cupped over his ear, making announcements, often with little relation to the rest of the show, such as (in an overly-dramatic voice), "Earlier that evening...". Ruth Buzzi in many roles, including: Gladys Ormphby - A drab, though relatively young spinster who was the eternal target of Arte Johnson's Tyrone; when Johnson left the series, Gladys retreated into recurring daydreams, often involving marriages to historical figures, including Christopher Columbus and Benjamin Franklin (both played by Alan Sues). Doris Swizzle - A seedy barfly (used frequently in the first season, paired with her husband, Leonard Swizzle, played by Dick Martin). Busy Buzzi - A Hedda Hopper/Louella Parsons style gossip columnist. Henry Gibson as: "The Poet" - The Poet would stand holding a flower and reading offbeat poems. He pronounced his name as "Henrik Ibsen". "The Parson" - A character who offered ecclesiastical quips and, in 1970, officiated at a near-marriage for Tyrone and Gladys.
Lily Tomlin in a Laugh-In publicity photo.Lily Tomlin as: Ernestine - The obnoxious telephone operator with no concern for her customers ("'Fair'? Sir, we don't have to be fair. We're the phone company."). "Edith Ann" - A child who frequently said, "And that's the truth." followed by, "Pbbbt!" . Tomlin performed her skits in an over sized rocking chair that made her appear small. "Tasteful" society matron Mrs. Earbore. (Tomlin later performed Ernestine for Saturday Night Live, and Edith Ann on children's shows such as Sesame Street.)
Judy Carne as an adorable, talking "Judy Doll", usually played with by Arte Johnson who never heeds her warning: "Touch my little body, and you get hit!" Henny Youngman telling one-liner jokes for no apparent reason. (Often, any corny one-liners would be followed by the line, "Oh, that Henny Youngman!") Alan Sues as "Big Al" - A clueless and fey sports anchor who loved ringing his bell, which he called his "tinkle", and as hungover children's show host "Uncle Al, The Kiddie's Pal" Goldie Hawn was the giggling dumb blonde who would innocently say many times: "I forgot the question." Jo Anne Worley would sometimes sing songs showing how loud her operatic voice was, but mostly would detect "chicken jokes." Many times, during the Cocktail Parties, she talked about her boyfriend Boris (who was a married man). Barbara Sharma as the dancing meter-maid who ticketed anything and everything from trees to baby carriages, and often praised vice president Spiro Agnew. As part of a running gag throughout the show, would call him 'Pres-ee-dent Agnew.' Flip Wilson, whose frequent character, the cross-dressing "Geraldine," originated the phrase "What you see is what you get". Often stated "The devil made me do it". Dan Rowan as General Bull Right - A right-wing representative of the military establishment and outlet for political humor.
Memorable moments and catchphrases The show gave considerable publicity to singer Tiny Tim, an unusual-looking man with long dark hair, prominent nose, and cheap suit. He sang in a falsetto voice while accompanying himself on ukulele. Tiny Tim was really named Herbert Khaury, a serious scholar of old Tin Pan Alley tunes, who hit upon this strangely humorous characterization. Thanks to his appearances on the show, he recorded a hit single with his piercing version of the vintage 1920s song "Tiptoe Through the Tulips." Tiny Tim was later married on The Tonight Show Starring Johnny Carson to a woman known as Miss Vicki. Martin would often refer to Tim's appearances by asking Rowan with some concern "You didn't bring back Tiny Tim, did you?"
Other musical moments came in the first season with some of the first music videos ever seen on TV, with cast members appearing in film clips set to the music of The Nitty Gritty Dirt Band, The Bee Gees, The Temptations, the Strawberry Alarm Clock and The First Edition.
Cast members Lily Tomlin and Goldie Hawn later became noted film stars (Hawn won an Academy Award while still a member of the cast; Tomlin would be later nominated for a Best Supporting Actress Oscar in 1975 for Nashville). Henry Gibson would also later co-star in the Robert Altman film Nashville. Ruth Buzzi became a regular on various children's television series. Dave Madden, whose trademark on the show was to throw a handful of confetti while keeping a dour expression at the punchline of a joke, later played the role of Reuben Kincaid in the television sitcom The Partridge Family. Richard Dawson, who previously had a regular supporting role on the sitcom Hogan's Heroes, went on to success on the game shows Match Game and Family Feud. Larry Hovis, also a regular on Hogan's Heroes, appeared on Laugh-In during the first and the fifth seasons. Teresa Graves parlayed her one season on the show into the title role of the police drama Get Christie Love! Flip Wilson took Geraldine and his other characters onto his own hit variety show from 1970 through 1974.
In addition to those mentioned above, the show created numerous popular catch phrases:
A memorable six-note pattern preceding a code-word or punch-line to an off-color joke, such as "do-doo-doo-da-do-doo ... smack!" or "... family jewels!" (sometimes extended to 18 notes by repeating the GGGDEC pattern two more times before the code-word) "I didn't know that." (Dick Martin's occasional response as to what will happen on an episode) "Easy for you to say!' (Dan Rowan's reply whenever Dick Martin tripped on his tongue during a joke) "I was wondering if you'd mind if I said something my aunt once said to me." (A phrase that Dick Martin would always say to interrupt Dan Rowan's announcements on what would happen during their next show; this phrase was followed by a story about a bizarre situation that his aunt went through at one time.) "Look that up in your Funk and Wagnalls!" "Go to your room." "Uncle Al had a lot of medicine last night" (famous line by Uncle Al, the Kiddies' Pal, played by Alan Sues) "You bet your sweet bippy!" "Here come de' judge!" (reprising a bit first made famous by comedian Pigmeat Markham and further popularized by frequent guest star Sammy Davis Jr. and Flip Wilson. ) "'Ello, 'ello! NBC, beautiful downtown Burbank" (the response to the calls received by a switchboard operator played by Judy Carne). When the series was syndicated in 1983, both the NBC logo that was featured in the segment and the network's name in the catch phrase were edited out. "One ringy-dingy...two ringy-dingies..." (Ernestine's mimicking of the rings that would occur while she was waiting for someone to pick up the receiver on the other end of the telephone lines) "A gracious good afternoon. This is Miss Tomlin of the telephone company. Have I reached the party to whom I am speaking?" (Ernestine's greeting to people who she would call) "I just wanna swing!" (Gladys Ormphby's catchphrase) "Is that a chicken joke?" (Jo Anne Worley's outraged cry, a takeoff on the Polish jokes of the day) "Here comes the big finish, folks!" (usually before the last of a series of guest stars' bad puns) "Sock it to me!" (experienced its greatest exposure on Laugh-In although the phrase had previously been featured in songs like Aretha Franklin's 1967 "Respect" and Bob Seeger's 1966 "Sock It To Me Santa") "Verrry interesting ... but shtupid." "Oh, that Henny Youngman." "Marshall McLuhan...what're you doin'?" [Henry Gibson as The Poet] "I don't know. I've never been out with one." (first introduced by guest star Marcel Marceau) "Blow in my ear and I'll follow you anywhere." "Now that's a no-no!"
Merchandise tie-ins and spin-offs Laugh-In Magazine was published for about two years, and attempted to merge the show's format with that of MAD Magazine. A comic strip ran in newspapers, and was republished in paperback form. The show had its own Topps trading-card set issued, including special "Joke Wall" cards which had perforations to allow a 'door' to open, displaying a joke punchline on the reverse.
There was also a short-lived spin-off daytime program hosted by Gary Owens called Letters to Laugh-In, in which a few cast members would read and rate jokes sent to them by the general public.
The comedy film The Maltese Bippy featured several actors from the series.
Cast comings and goings The show was #1 in the ratings for the 1968–69 and 1969–70 seasons. At the end of '68–69, Judy Carne chose not to renew her contract as she wanted to pursue other projects, though she did make occasional appearances during '69–70; producer George Schlatter blamed her for breaking up the "family." The show also survived the departures of Goldie Hawn and Jo Anne Worley to remain a top-20 show in '70–71. New faces in the 1970–71 season (joining Tomlin, who first appeared late in the previous season) included tall, sad-eyed Dennis Allen, who alternately played quietly zany characters and serious straight man for anybody's jokes; comic actress Ann Elder, who also contributed to the scripts, tap dancer Barbara Sharma, who would later appear on Rhoda, and beefy Johnny Brown, who later played the superintendent Nathan "Buffalo Butt" Bookman on Good Times.
Arte Johnson and Henry Gibson departed after the 1970–71 season, replaced by Dawson and Larry Hovis, both of whom had appeared occasionally in the first season. However, the loss of Johnson's many characters caused ratings to drop farther.
The show celebrated its 100th episode during the '71–72 season, and Carne, Worley, Johnson, Gibson, Graves, and Tiny Tim all returned for the festivities. John Wayne was also on hand for his first cameo appearance since 1968.
For the show's final season (1972-73), Rowan and Martin assumed the Executive Producer roles from George Schlatter (known on-air as "CFG", which stood for "Crazy F***ing George") and Ed Friendly.
Except for holdovers Dawson, Owens, Buzzi, and only occasional appearances from Tomlin, a new cast was brought in. But viewers didn't respond, and the show was canceled.
This final season, which included future Match Game panelist Patti Deutsch, folksy singer-comedian Jud Strunk, and ventriloquist Willie Tyler of Willie Tyler and Lester fame, never aired in the edited half-hour rerun package that was syndicated to local stations in 1983 and later aired on Nick at Nite. The cable network Trio started airing the show in its original one-hour form in the early 2000s, but only the pilot and the first 69 episodes (extending to the fourth episode of the 1970–71 season) were included in Trio's package. Two "Best-of" DVD packages are also available; disappointingly for some fans, they only contain six episodes each.
Of the over three dozen entertainers to grace the cast, only Rowan, Martin, Owens and Buzzi were there from beginning to end. (Owens wasn't in the 1967 pilot and Buzzi missed two first-season episodes.) Rowan & Martin's Laugh-In Clip #6 Goldie explains it all.
Beatles 1970_Ringo in Rowan & Martin's Laugh-In
The Monkees on Rowan & Martin's Laugh-In
Tiny Tim
Laugh-In Sample
Sunday, November 11
I Spy is an American television secret agent adventure series. It ran on NBC from 1965 to 1968 and teamed Robert Culp as international tennis player Kelly Robinson, and Bill Cosby as his trainer Alexander Scott. In reality, they were both top agents for the Pentagon and, while ostensibly traveling as "tennis bums" (a talented amateur who plays tennis with rich people in return for food and lodging), they were usually busy chasing villains, spies, and beautiful women.
The creative force behind the show were writers David Friedkin, Morton Fine, and cinematographer Fouad Said. Together they formed Three F Productions under the aegis of Desilu Studios where the show was produced. Friedkin and Fine were co-producers and head writers. Together they wrote the scripts for 16 episodes, one of which Friedkin directed. Friedkin also dabbled in acting and appeared in two episodes in the first season. Actor-producer Sheldon Leonard, best known for playing gangster roles in the 1940s, was the executive producer. He also acted in several cameo roles for the series, directed one episode, and served as occasional second unit director.
Background I Spy broke new ground in that it was the first American television drama to feature an African-American actor (Cosby) in a lead role. Originally an older actor was slated to play a fatherly mentor to Culp's "Kelly Robinson". But after seeing Cosby performing stand-up comedy on a talk-show, Sheldon Leonard decided to take a chance on hiring him to play opposite Culp. The concept was changed from a mentor-protege relationship to same-age partners who were equals. It was also notable that Cosby's race was never an issue in any of the stories(Note: The November 9th, 2007 Episode of The O'Reilly Factor featured an interview with Culp. It also showed a clip of one early episode titled "Danny was a Million Laughs" in which Cosby's character was the brunt of a Shoeshine racial remark. Culp said he and Cosby went to the producers after that episode and insisted it never happen again). Nor was his character in any way subservient to Culp's, with the exception that Culp's "Kelly Robinson" was a more experienced agent. As a straight-laced Rhodes scholar fluent in many languages, Cosby's "Scotty" was really the brains of the team. His partner (Culp) was the athlete and playboy who lived by his wits. Another way in which I Spy was a trailblazer was in its use of exotic international locations in an attempt to emulate the James Bond film series. This was unique for a television show, especially since the series actually filmed its lead actors at locations ranging from Spain to Japan, rather than relying on photography and stock footage. (Compare with the recent series, Alias, which also utilized worldwide settings but rarely filmed outside the Los Angeles region.)
The success of the show is attributed to the chemistry between Culp and Cosby. Fans tuned in more for their hip banter than for the espionage stories, making I Spy a leader in the buddy genre. The show also coined unique phrases that, briefly, became catch phrases, such as "wonderfulness"; Wonderfulness was used as the title of one of Cosby's albums of stand up comedy released concurrently with the series. Many details of Cosby's life were also written into his character. There are frequent references to his childhood in Philadelphia, attending Temple University, and one episode has him returning home to re-visit his old neighborhood.
I Spy was a main fixture in the wildly popular secret-agent genre—a trend that followed hot on the heels of the hugely successful James Bond films. After the blockbuster earnings of Goldfinger in 1964 and Thunderball (which confirmed the spy craze was more than a passing fad) in 1965, the "gold rush" was on at every studio to produce their own brand of secret agent TV shows, films, and spin-off merchandise. What set I Spy apart from its fellow programs such as The Man from U.N.C.L.E., The Avengers, and The Wild Wild West was its emphasis on realism. No fanciful 007-style gadgets, outlandish villains or campy, tongue-in-cheek humor. Although Culp and Cosby frequently exchanged breezy, lighthearted dialog, the stories invariably focused on the gritty, ugly side of the espionage business.
Occasionally the series produced charming comedic episodes such as "Chrysanthemum", inspired by The Pink Panther and "Mainly on the Plains" with Boris Karloff as an eccentric scientist who thinks he's Don Quixote. However, most episodes dealt with more serious subjects (e.g., heroin addiction in "The Loser") and didn't shy away from ending on a sombre note. This is perhaps the only television drama in the Sixties to set an episode in the then-taboo region of Vietnam ("The Tiger," written by Robert Culp). While filming this episode in 1966, a romance ensued between Culp and Vietnamese guest star France Nuyen. The two were married the following year, and Nuyen went on to appear in several more episodes.
The series was additionally notable in that co-star Culp wrote the scripts for seven episodes (one of which he also directed), including the show's first broadcast episode, "So Long, Patrick Henry". In the Sixties it was exceedingly rare for an actor in a dramatic series to write scripts, much less direct, for their own show.
After the series ended its run in 1968, Culp asked Cosby to co-star with him in the film Hickey & Boggs (1972), a downbeat and violent detective story by Walter Hill. Despite the fact that Culp was also the director, the film failed to show any of the warmth and camaraderie characteristic of I Spy. In 1994, Cosby and Culp reunited once more for the nostalgic television movie I Spy Returns, in which the aging spies have to leap into action once again to rescue their children, who are also spies for the same agency.
Robert Culp also reprised the role of Kelly Robinson during a dream sequence in a 1999 episode of Bill Cosby's series, Cosby, entitled "My Spy". Prior to this, Culp made a guest appearance on The Cosby Show on April 9, 1987 in an episode titled "Bald and Beautiful" in which he plays an old friend of Dr. Huxtable's named "Scott Kelly".
The duo also reunited once more for an appearance at a TV special marking the 50th anniversary of the NBC television network in 2002. Cosby was actually on stage with his Cosby Show co-stars at the time in reference to that sitcom. However, he called on Culp (who was in the audience) to join him as well and both men received a round of applause and cheers when they donned their sunglasses and tossed off a few wisecracks in a nod to their secret agent characters.
A movie remake I Spy followed in 2002 with Eddie Murphy and Owen Wilson. Like most remakes, it diverged from its source material. This included reversing the character names so that Alexander Scott (Wilson) was now the experienced agent and Kelly Robinson (Murphy) the amateur, possibly in reference to Murphy's popular Mr. Robinson character on Saturday Night Live. The film was a commercial and critical flop.
The original television series and the 1994 reunion movie are both available on DVD. Episodes 1-25 of the first season of the television series are also available on Joost, from the DMGI Classics channel.
Walter Koenig's (Star Trek's "Chekov", Babylon 5's "Bester")appearance in the television show I, Spy episode "Sparrow Hawk" as Bobby Seville. Season 2, episode 17, originally aired 10/26/1966. Koenig's television clips compiled and edited by John Ellis.
