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MeTV's SuperSci-Fi Saturday Night

Tonight's Batman 2-parter, "King Tut's Coup" / "Batman's Waterloo" was the final King Tut appearance of season two, and has a nice number of actors (semi-regular or guests) from Star Trek: Grace Lee Whitney, Lee Meriwether (also Catwoman in the 1966 Batman movie released several months earlier) and Lloyd Haynes (Alden in "Where No man Has Gone Before").

Haynes was not finished with Dozier's TV shows; the day & week after the Tut episodes, Haynes guest starred as a military policeman in The Green Hornet 2-parter, "Invasion from Outer Space," which also served as the series finale.

Whitney gives an amusing performance as Tut's moll Neila. Brief as the role was, she still displays her funny side as the dissatisfied, sarcastic second banana...at least in Tut's eyes.
 
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Batman: "King Tut's Coup"/"Batman's Waterloo": At first I thought the two college students were crooks planning to conk the professor on the head to change him into Tut on purpose. But somehow they suffered from the same condition when they were struck on the heads. Although that was basically to set up the "Hail, hail, the gang's all here" gag, so I can accept it.

Interesting visual seeing Bruce and Dick slide down the Batpoles in Roman garb. Et tu, Bruce?

Ahh, this is the one with movie Catwoman Lee Meriwether as Bruce's love interest. I guess they liked the chemistry the two had in the movie. By the way, the recent Batman '66 comic brings Lisa Carson back as a foe for Batgirl, when she decides she really is the reincarnation of Cleopatra after all.

Plus we also get both Grace Lee Whitney (Yeoman Rand) and Lloyd Haynes (Lt. Alden) as Tutlings. That's three Star Trek guests in one episode.

This is one of those celebrity cameos by celebrities whose fame didn't really survive the era. Suzy Knickerbocker? Some sort of style/glamour columnist, apparently.

Nice gag with the crime scene being left just as the cops found it -- complete with the victim still hanging uncomfortably from the noose. By this point, the show was getting more jokey with its writing, with sight gags and punch lines like this.

I was wondering about the custom of the costume ball with the men wearing masks and the women simply holding them in front of their faces. Why the difference? Then I thought that maybe it's because the women are wearing makeup and the masks would smudge it.

Weird to have Tut quoting Marc Antony's Caesar eulogy over Batman when we earlier saw Bruce Wayne dress up as Caesar. Quite a coincidence, though maybe deliberate on the writers' part. Also interesting that the closing narration contains two of the series' episode titles -- "A Death Worse Than Fate" and "Batman's Waterloo." The first is not meant as an episode title in this context, but it still is one. I wonder if that's the only time that's happened.

It's interesting how similar this version of Batman is to the modern version in some basic ways. Sure, it's a goofier interpretation, but the modern Batman is just as prone to extreme feats of physical endurance like slowing his respiration to survive drowning, and just as utterly devoted to his crimefighting mission. It is basically the same character, despite the differences.

I'd forgotten that they seeded the idea of Gordon having a daughter Barbara before they introduced the character. Rather an awkward insertion, though.

And we get a surprisingly risque ending for '67, with Bruce implicitly spending the night with Lisa. Milk and cookies, you say....?


Wonder Woman: "Time Bomb": Oh, look, it's a Space: 1999 episode. Oh, wait, there's an "Earth: 2155" caption over a shot of Moonbase Alpha. Okay. Oh, and the time machine sounds like the bridge of the Enterprise. Any other SF shows you want to rip off, guys?

Man, Adam is the most inept future-saver in the history of saving the future. He can't even find the people he needs to turn to for help. Rather tedious plotting there.

Oh, hey, and let's pass off one of the most iconic Los Angeles locations, the Griffith Observatory, as being in Washington, DC! Yeah, that's sure to work!

Still, the idea of a historian going back in time to get rich off of her knowledge of the, err, future of the past is clever, and Cassandra's plan is much better worked out than anything Adam does (though Joan Van Ark is a rather shrill performer, I fear). And I love that throwaway revelation that there's a nuclear holocaust coming by 2007. Gee, would changing the future really be so bad? (Hey, maybe that's why 2155 Earth looks like Moonbase Alpha.)

Interesting throwaway line establishing that magic-lasso confessions are not admissible in court. I think I might've actually wondered about that once or twice.

But I hate it when fiction makes up imaginary elements and sticks impossible mass numbers on them. "Cabrium-90?" Only a few elements have isotopes with a mass of 90 -- strontium, yttrium, zirconium. Any undiscovered element would have a much, much higher mass number.

"An entire city was half-destroyed?" That sentence needed another draft.

Why does Wonder Woman, who can run faster than the speed of sound, keep relying on much slower transport like motorcycles and horses?

Hey, the mine foreman was Ivan Naranjo, who would play Tonto on Filmation's Lone Ranger cartoon a couple of years later. Nice that the episode included a diverse guest cast without the characters being defined by their race (although the electronics warehouse guy did make a Charlie Chan joke about himself, even though he was Japanese).
 
Suzy Knickerbocker? Some sort of style/glamour columnist, apparently.
Also known for appearances on What's My Line? according to my Wiki-jutsu.

Why does Wonder Woman, who can run faster than the speed of sound, keep relying on much slower transport like motorcycles and horses?
You try running faster than sound in those heels...!
 
ETA: Question for the DS aficionados...and forgive me if I missed a story beat, as I've been half-watching while doing other things. Barnabas's portrait is prominently featured in his introduction, with Barnabas pretending to be descended from his old self. As DS had been going on for some time prior to his introduction, was the portrait first seen as he was being introduced? If so, was there a hand-wave to explain why it hadn't been seen before (e.g., they just brought it back down from the attic)?
the portrait first showed up at the end of episode 204. Barnabas didn't show up till 211 (his first full appearance. we see just his hand at the end of 210). i can't remember if there was an explanation for its appearance. i don't think there was.
 
Guess we may never know if they don't play those episodes. Maybe it was hanging in the old house or something.
 
the portrait first showed up at the end of episode 204. Barnabas didn't show up till 211 (his first full appearance. we see just his hand at the end of 210). i can't remember if there was an explanation for its appearance. i don't think there was.

I do not believe the appearance of the portrait was explained, but in-story, it was hung just in time for Willie Loomis to become fascinated with the image of expensive-looking jewelry added to the portrait, and some comments from Mrs. Johnson--the reason he decided to become a grave robber.
 
ETA: Question for the DS aficionados...and forgive me if I missed a story beat, as I've been half-watching while doing other things. Barnabas's portrait is prominently featured in his introduction, with Barnabas pretending to be descended from his old self. As DS had been going on for some time prior to his introduction, was the portrait first seen as he was being introduced? If so, was there a hand-wave to explain why it hadn't been seen before (e.g., they just brought it back down from the attic)?
the portrait first showed up at the end of episode 204. Barnabas didn't show up till 211 (his first full appearance. we see just his hand at the end of 210). i can't remember if there was an explanation for its appearance. i don't think there was.
I don't think so, either. I'm pretty sure there was just a mirror there before. I have vague memories of the commissioning and hanging of the portrait being a part of the flashback episodes, so they probably retconned it being there for a couple of hundred years.
 
I don't think so, either. I'm pretty sure there was just a mirror there before. I have vague memories of the commissioning and hanging of the portrait being a part of the flashback episodes, so they probably retconned it being there for a couple of hundred years.

Willie's interest in at least one painting started in #205. There, he expressed (to Jason McGuire) wanting to get his hands on the kind of money he assumed the man in the painting possessed. In the same episode, David introduces Willie (and the audience) to the portrait of Barnabas, providing all of the juicy stories about Barnabas' medals/ring--fueling Willie's greed.

After Willie studies the portrait, then leaves the house, the painting seems to emit the sound of heartbeat, and the eyes of the portrait glow.
 
So another DS question....The soap opera-style storytelling can be somewhat tedious*...it would be interesting to see what somebody could do by editing all of the redundant and overly long scenes into a tighter narrative....OTOH, it does help you to keep up with things if you sleep through a block of episodes....But from what I've seen, I do appreciate how subtly they incorporated the supernatural elements. Did they ever come right out and have somebody say that Barnabas was a vampire, and if so, how far along was it?

Also, you gotta love how much more in the loop Vickie seems to be when she's narrating at the beginning...reminds me of captain's logs that included phrases like "Unknown to anyone at this time...".

And how much mileage they got out of everyone angsting over Willie Loomis being around, while remaining blissfully unaware that they had a vampire living on the grounds....

Plus, a shout-out to all of the "generic 60s music" they play in the bar scenes.

Bonus: The Sheriff of Collinsport is Colonel Lard!

(H&I should play Black Sheep....)

*Keeping in mind that the show wasn't meant for marathon viewing...the storytelling pace would probably be a lot easier to get into at the original one-episode-per-day pace.
 
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Still, the idea of a historian going back in time to get rich off of her knowledge of the, err, future of the past is clever, and Cassandra's plan is much better worked out than anything Adam does (though Joan Van Ark is a rather shrill performer, I fear).

Van Ark and Ted Shackleford, of course, starred for many years as as the central, on-and-off-married couple in the Dallas spinoff Knotts Landing. When the Wonder Woman episode began and it showed Shackleford at his console and the back of the woman behind him, my wife said "What if the blonde was Joan Van Ark?" Imagine our surprise when it was!

I really like Grace Lee Whitney in the Batman episode, it's nice to see her show her comic touch. And Victor Buono has always been a favorite, I can remember as a little kid seeing him on "Tonight" or Dick Cavitt and thinking King Tut was a pretty interesting adult.
 
Yeah, I'm gaining a new appreciation for Victor Buono's comic flair as Tut. He took it to so many different places vocally and tonally, from haughty and regal to sarcastically smarmy. I think he even threw in a W.C. Fields impression at times, now that I think about it. It's no wonder that he was the most successful of the villains created for the show.
 
But from what I've seen, I do appreciate how subtly they incorporated the supernatural elements. Did they ever come right out and have somebody say that Barnabas was a vampire, and if so, how far along was it?

If memory serves, during the early months of Barnabas' attacks, the police and Dr. Woodard investigated, admitted that victims had a loss of blood, but I do not think "vampire" was used. If I had to guess, it was not until Julia Hoffman arrived that the term was used in the open, but I could not recall the episode.

However, the lack of instant "it's a vampire!" claims played into the way the real world would react--either disbelief, or pursuing it as anything (insane man, disease, animal attack, etc.) other than a creature of the supernatural. Woodard was beside himself, but he struggled with the investigation almost until his confrontation with Barnabas and Julia.

And how much mileage they got out of everyone angsting over Willie Loomis being around, while remaining blissfully unaware that they had a vampire living on the grounds....

But that's the great, well-paced support of a supernatural series. Today, the shock would have to break out in a couple of episodes, but DS used the culture of the time to influence the fictional world, where blackmailers like Jason or Willie were THE biggest threat, while--as you point out--they were unaware of a genuine monster stalking the town. As a result, there was no immediate "eek! vampire on the loose!" for months--only fear and suspicion.

Plus, a shout-out to all of the "generic 60s music" they play in the bar scenes.

I think series composer Robert Colbert was responsible for that. One track is called Back at the Blue Whale--the Blue Whale being that one and only town bar.
 
Yeah, I'm gaining a new appreciation for Victor Buono's comic flair as Tut. He took it to so many different places vocally and tonally, from haughty and regal to sarcastically smarmy. I think he even threw in a W.C. Fields impression at times, now that I think about it. It's no wonder that he was the most successful of the villains created for the show.

Oh, yes. Buono's range and timing were first rate, and unlike Cesar Romero's Joker, who became something of a childish idiot in the third season, Buono maintained all that made Tut work since his 1st season debut.
 
Since posting that, I read in a Wiki article that they supposedly never actually referred to Barnabas as a vampire for the entire series.

That's the thing that I most appreciate about it, though...as I said, the subtlety of it. Even once there's a character or two who pretty much know what's up with Barnabas (Willie, Maggie), not only do they never outright say what he is, but there's no stopping the story for exposition about the common vampire myth tropes...they trusted that the audience would be familiar with those things from other sources and would catch on to their use in the show...sleeping in coffins, aversion to daylight, the threat of a stake through the heart. I even found myself spotting Maggie letting Barnabas into her house and/or the coffee shop "freely and of her own will". Nobody in the show is hitting you over the head telling you that's what's going on, but it's there.

And the ongoing Maggie plotline was really dark and disturbing. I peeked ahead via Wiki because I knew I wouldn't be seeing everything, but even if she is made to forget it consciously, I'd have to think that on a subconscious/spiritual level, she'd be scarred for life and then some from the experience. I read that Barnabas becomes more of a protagonist as the series goes on, but in the episodes that I've seen, he's very much a monster. A sly, sophisticated, civilized monster, but still a monster.

(And I was surprised that she actually lived...I thought for sure that she'd wind up throwing herself off the cliffs like the real Josette did. Also, the way that the doctor quickly hatched a scheme to make it seem that Maggie had died seemed highly contrived, not to mention illegal.)

All of this is coming from someone who isn't all into vampires, and particularly doesn't care for what a "thing" they've become in recent decades, with the over-romanticization and all.
 
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Yeah, I'm gaining a new appreciation for Victor Buono's comic flair as Tut. He took it to so many different places vocally and tonally, from haughty and regal to sarcastically smarmy. I think he even threw in a W.C. Fields impression at times, now that I think about it. It's no wonder that he was the most successful of the villains created for the show.

Victor Buono is a vastly underrated character actor, he played the first villain on The Wild Wild West with a nice twist on his character's name. And he was great as D. Shubert on Man From Atlantis, it's a shame they got rid of him as quickly as they did.
 
after Barnabas proved so popular they had to back off and make him sympathetic. he was one of the first vampires to seek a cure. and he was brooding and having adventures well before Angel or Spike came on the scene.

and you start to feel sorry for Willie, who was an especially nasty character before becoming bound to Barnabas.
 
Yeah, Willie becomes pretty sympathetic after they get past that very annoying spell while he's falling under Barnabas's influence. On that note....

but DS used the culture of the time to influence the fictional world, where blackmailers like Jason or Willie were THE biggest threat

This keeps popping up in my head. This was the decade that brought us the Cuban Missile Crisis, the Vietnam War, and Charles Manson...not to mention some of the nastier incidents of the Civil Rights and anti-war movements. Was a Willie Loomis a more tangible threat than a vampire? Absolutely. But "THE biggest threat" of the times...?
 
Since posting that, I read in a Wiki article that they supposedly never actually referred to Barnabas as a vampire for the entire series.
I don't think that's right. First it took them a long time to confirm that Barnabas was a Vampire-- by showing his teeth. Then it took them a long time to actually use the word. But I'm pretty sure they did, and that's when the show started going completely nuts, with Werewolves and Frankenstein-like monsters and so forth. That's when I started watching it for the first time (and I was about eight, so I could be mis-remembering).
 
Yeah, Willie becomes pretty sympathetic after they get past that very annoying spell while he's falling under Barnabas's influence. On that note....

but DS used the culture of the time to influence the fictional world, where blackmailers like Jason or Willie were THE biggest threat

This keeps popping up in my head. This was the decade that brought us the Cuban Missile Crisis, the Vietnam War, and Charles Manson...not to mention some of the nastier incidents of the Civil Rights and anti-war movements. Was a Willie Loomis a more tangible threat than a vampire? Absolutely. But "THE biggest threat" of the times...?

I meant the fictional world for the people at Collinsport. DS never referred to those events in any case. Collinsport is sort of realistic in the sense that it reminds one of people who claimed they lived in neighborhoods where "that didn't happen / affected us here" (big social or political events of the 1960s). The reason why some recall their 1960s as being some idyllic period.

Being an isolated upper east cost town, the interpersonal politics (think Roger vs. Burke)--and criminals like Jason/Willie pose more of a problem than external events they hardly--or ever concern themselves with (ex. Civil Rights Movement).

after Barnabas proved so popular they had to back off and make him sympathetic. he was one of the first vampires to seek a cure.

Although he was still a violent schemer even after Julia initiated the treatments. That behavior bridged the long 1795 flashback (starting with a seance to contact his sister Sarah--and he was trying to disrupt) to the point (after the 1795 period) where he wanted to run off with Victoria Winters.

and you start to feel sorry for Willie, who was an especially nasty character before becoming bound to Barnabas.

Although Willie was responsible for opening the coffin, I felt sympathetic for him almost from that point, since he was controlled by someone who was sickening from the start. I did enjoy Willie's occasional resistance or bickering with Barnabas, whether it was standing up to protect Maggie, or making a pointed insult about not dealing with loneliness, or his
 
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Quickly from my phone: Today MeTV is actually showing the 80s revival of DS. Which was actually not bad.
 
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