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MeTV's SuperSci-Fi Saturday Night

Contingency plans are one thing...a tax-gobbling specialized facility for something that they don't know exists is another.

The US government has spent trillions of dollars building nuclear weapons for a war it never wanted to have. Think of Prometheus as a defense project. If aliens came, they would be far more advanced than us, and they might be conquerors, so it's a matter of self-preservation to prepare for them. By that thinking, cost would be no object. Or at least, the defense contractors who would profit from Prometheus's construction, and the senators and congressmen whose pockets they lined, would argue as much.

Besides, given all the missiles and planes and such in the stock footage at the end, I'd guess that the facility was actually a pre-existing, perhaps decommissioned military base that was chosen as the containment site for a potential ET because it was sufficiently secure and isolated.


Still, it seems odd for them to just shrug off the Hulk..."Eh, he's not an alien, nothing to see here."

Never underestimate scientists' capacity for tunnel vision. It takes many years of singular focus to become an expert in a scientific field, so that singular focus becomes a habit.

Besides, their job is to look for aliens. Gamma mutations are somebody else's responsibility. Would you expect an electrician to offer to fix your leaky faucet? No, they'd just tell you to call a plumber. It's not their department. And Hulks are not Prometheus's department. Abstract curiosity about all things in the universe is all well and good, but actual working science is a job like any other, and if a problem isn't in your field, then you let someone else deal with it.

On top of which, Prometheus is top secret. Not just because of the extraterrestrial and defense implications, but because a lot of voters and reporters might feel the same way you do about the justifiability of spending so much taxpayer money on a speculative project. So it would risk their secrecy to get involved with something as (relatively) public as the Hulk. Indeed, that might be why they didn't sic the military on the Hulk -- because Prometheus was so tip-top secret that even most of the military wasn't cleared to know about it.


I think that both the existence of Prometheus and their blase attitude toward the Hulk are indications that there may be more superhuman phenomena going on in this world than just the Hulk. Like a guy in New York who crawls up walls...a super-soldier experiment...weird mystics...that kind of thing.

That doesn't follow at all. If that were what they were interested in, then it would be a project for studying human superpowers, and the Hulk would be right in their wheelhouse. There's no reason why the existence of transhuman or supernatural phenomena on Earth would prompt a project to study extraterrestrials; that's as profound a non sequitur as, say, organizing a mountain-climbing expedition to study giant squids in the ocean depths.

You have to remember, this was the same generation that went to the Moon. The space race was a huge deal in the '50s through the '70s, and there was plenty of attention on space and plenty of belief that our advancement into space would be rapid -- and that included the belief that first contact with aliens had a good chance of happening within a generation or two. That's why UFO sightings and delusions were so widespread at the time, and why they were taken seriously by the government with operations like Project Sign and Project Blue Book. "Prometheus" came out in 1980, only 3 years after Close Encounters of the Third Kind, and a year after Skylab fell. Space seemed closer then, contact with aliens more imminent. (Note that it was also around 1979-80 that the myth of the "Roswell Incident" started to appear. Which is why it wasn't included in CE3K's UFO lore.)
 
That doesn't follow at all. If that were what they were interested in, then it would be a project for studying human superpowers, and the Hulk would be right in their wheelhouse. There's no reason why the existence of transhuman or supernatural phenomena on Earth would prompt a project to study extraterrestrials; that's as profound a non sequitur as, say, organizing a mountain-climbing expedition to study giant squids in the ocean depths.
What I'm saying is that a shared universe with more comic-booky phenomena than just the Hulk might include past close encounters with aliens. And the very existence of Prometheus hints at that possibility.
 
What I'm saying is that a shared universe with more comic-booky phenomena than just the Hulk might include past close encounters with aliens. And the very existence of Prometheus hints at that possibility.

Given the era when it was made, given how much society and government at the time found near-future alien contact a likely possibility even without it ever having happened, I don't think it hints at anything of the kind. Besides, I think it's pretty clear from the reactions of the scientists that their work has remained strictly hypothetical up to now and they're excited that there might be even a chance that first contact is finally happening, that they can finally put their theories and experimental protocols into practice. They have no idea what to expect, so they don't rule out anything.

As I've pointed out a number of times, Kenneth Johnson made a point of avoiding the more fanciful stuff of the other superhero shows of the era. On other '70s superhero shows, the heroes would've encountered actual aliens long before the fourth season, not to mention androids, evil supercomputers, psychics, time travelers, mad scientists, and maybe even sorcerors and vampires. But TIH avoided sci-fi/fantasy elements and kept it grounded, aside from occasional dabbling into precognition and vague Asian mysticism and throwing in that one random sapient AI in "Brain Child." Heck, "Prometheus" faked us out with the prospect of the Hulk meeting aliens and then had it turn out to be a false alarm. This whole big government project looking for aliens turned out to be a massive boondoggle, overreacting to a big falling rock and mistaking a man with a medical problem for a space creature. If anything, this story was deliberately taking a shot at those other shows' more fanciful approach, letting us know that we shouldn't expect TIH to go in that direction. Maybe the network was pressuring Johnson to include more sci-fi elements to boost the ratings, to toss in a random alien invasion or two (like what happened toward the end of The Time Tunnel), and this was his way of pushing back and reasserting his commitment to keeping the show grounded.
 
Meh. Another artist past her prime.

This song was 'meh' to you. Not to me. I just listened to it again last night, and it's still a great dance tune, especially when remixed.

Given the era when it was made, given how much society and government at the time found near-future alien contact a likely possibility even without it ever having happened, I don't think it hints at anything of the kind. Besides, I think it's pretty clear from the reactions of the scientists that their work has remained strictly hypothetical up to now and they're excited that there might be even a chance that first contact is finally happening, that they can finally put their theories and experimental protocols into practice. They have no idea what to expect, so they don't rule out anything.

As I've pointed out a number of times, Kenneth Johnson made a point of avoiding the more fanciful stuff of the other superhero shows of the era. On other '70s superhero shows, the heroes would've encountered actual aliens long before the fourth season, not to mention androids, evil supercomputers, psychics, time travelers, mad scientists, and maybe even sorcerors and vampires. But TIH avoided sci-fi/fantasy elements and kept it grounded, aside from occasional dabbling into precognition and vague Asian mysticism and throwing in that one random sapient AI in "Brain Child." Heck, "Prometheus" faked us out with the prospect of the Hulk meeting aliens and then had it turn out to be a false alarm. This whole big government project looking for aliens turned out to be a massive boondoggle, overreacting to a big falling rock and mistaking a man with a medical problem for a space creature. If anything, this story was deliberately taking a shot at those other shows' more fanciful approach, letting us know that we shouldn't expect TIH to go in that direction. Maybe the network was pressuring Johnson to include more sci-fi elements to boost the ratings, to toss in a random alien invasion or two (like what happened toward the end of The Time Tunnel), and this was his way of pushing back and reasserting his commitment to keeping the show grounded.

I can see what you're saying, but if you're going to be adapting a story of a man who turns into a humanoid (albeit very large) version of Godzilla whenever he gets angry, you're going to have to be featuring aliens, AI's, robots and whatnot in the show, as you've already got a premise about a man altered by gamma radiation into a fearsome monstrous form like Jekyll becoming Hyde or Larry Talbot becoming a werewolf. This, along with several other reasons I've already mentioned, is why I don't think much of this show and prefer the two movies made in the 2000's (and the appearance of the Hulk in the Avengers movies, as well as the recent animated series Hulk And The Agents of S.M.A.S.H.)
 
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That assemble-the-team montage seemed like a lot of set-up for characters we hardly got to know.

The Prometheus team served heir purpose in the episode; all the audience really needed to know was that they were specialists with skills put into use throughout the episode.


All that "3-3-3, 2-2-2, 1-1-1, mark-mark-mark" business drove me crazy as a kid. Seems like you couldn't wipe your ass in that place without the guy on the PA doing a countdown.

Maybe not a countdown, but for anyone ever in government offices (raises hand), its not uncommon to feel like you cannot wipe said ass without the feeling that you're always monitored.

How did they get her out of the container anyway? And why are they all wearing hoodies?

Sometime after the Alpha 1 unit deposited the Hulk in the holding area. That's the only way the team would be able to keep the Hulk from attacking. I'm guessing the microwave screen was adjustable so the team could separate Katie from the Hulk.


And we get a weight pegged down for the TV Hulk...less than a third that of his comic book counterpart at the time.

Realism.


In this one episode we get lots of more impressive feats of strength than usual...pounding dents in 14 inches of steel; the microwave barrier; closing the valve...but breaking through the floor was a particularly comic-booky touch.

..and typical of Kenneth Johnson, he's consistent with keeping the Hulk's strength around the same level for a more reality based adaptation. You can believe the creature who pounded through the concrete floor and lifted the giant valve is the same who punched, kicked and tore his way out of the chamber in the pilot.

We have to assume for the purpose of this scene that the Demi-Hulk McGee is seeing looks more like the long-shot double than Bixby.

Yes, and McGee was probably just trying to understand this strange situation/sight; it had to throw him, since he assumed the Hulk always made a straight transformation from creature to ordinary human--not a man-monster.

It appears that Prometheus builds their bases to be no more sturdy than their helicopters. Both are prone to exploding in a stiff wind.

Well, overloading machines and chain reactions leading to fuel sources have something to do with that....


I'd agree, though I'm wondering if two-part stories should count as two separate episodes for that list. I don't recall offhand how I did it for "Mystery Man". And the pilots and "Married" originally aired as single episodes.

"Mystery Man" and "Prometheus"--despite being shot like a film, are considered two episodes each.

Weren't you arguing against this last week?

That was more about the military taking McGee's place as the antagonist, but as noted, this episode should have changed the series from this point forward. Even beyond Charlena McGowan trying to re-launch Prometheus as originally intended, the recorded information on the Hulk would be studied by other branches, and not thinking its a hoax, would be more than interested in finding him. The military applications of an enhanced human alone would fuel the pursuit. However, I also mentioned this would cost the series its human interest drama, as Banner could not believably wander from one populated area to another (with the time he usually required to become familiar with guest stars) with a Bad that Big hunting him every week.

Anyway, I have to wonder why Prometheus existed...had there been confirmed alien contacts before in this world, that they'd devote a government facility to potentially exploiting them? And at the end, they still seem more interested in potential alien contact than in the superhuman creature already Lonely Manning around on their own planet. A missed opportunity for the Prometheus scientists in-setting as well as for the show.

Logically, the episode had Spath and McGowan openly doubt the Hulk was an alien, while Brad was still talking his "first contact" stuff, when a boxer-wearing, human-looking male should have removed the idea of the captive being an extraterrestrial.

On the subject of why Prometheus existed, it seem clear: unlike other agencies created exclusively for that contact/study, the once secret Prometheus also wanted to use whatever alien tech found to use for military applications--hence the entire revelation/debate scene sparked by McGee.

Still, "Prometheus" was a strong season start (not quite the emotional storm that was "Married") a series "best of" and sold the military angle to a degree far more believable that many of the "government agencies" seen in modern-day superhero series, where its more about showrunners shoving whatever unbelievable, ego-driven characters into convenient plots, instead of serving the story in a mature fashion.
 
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I think that both the existence of Prometheus and their blase attitude toward the Hulk are indications that there may be more superhuman phenomena going on in this world than just the Hulk. Like a guy in New York who crawls up walls...a super-soldier experiment...weird mystics...that kind of thing.

It almost happened with the Hammond Spider-Man during the TV reunion movie period. I've said it before, but Hammond was as realistic a Spider-Man/Peter Parker as Bixby/Ferrigno was as Banner/Hulk. He could have guest starred without missing a beat, or compromising the Kenneth Johnson approach. That's was a much as missed opportunity as the military learning about/pursuing the Hulk.
 
Events in the news for the Fall of 1980 through the week that the episode aired:
August 31 –

Jumping back to this post, I think you missed another news event just two weeks earlier: on August 14th, 1980, 20 year old Dorothy Stratten--Playboy's Playmate of the Year was the victim of rape, murder & necrophilia at the hands of her estranged husband, Paul Snider. The horrifying nature of her murder was quite the shocker in America and her native Canada, second only to another murder a few months away in the then-future. The incoming Reagan administration would refer to this murder (and the culture around it) during research for its (ultimately unsuccessful) targeting of the porn industry in the form of the loosely-named Meese Commission report.


"The Tide Is High," Blondie
"Lady," Kenny Rogers

Solid tracks, as listenable today as in 1980.

HIATUS OF 1980 FLASHBACK!!!

"Against the Wind," Bob Seger & The Silver Bullet Band

Again, another solid track, but strangely put on the back burner when Seger's career is reviewed.


"All Out of Love," Air Supply

I remember how much my hardcore, Rock-head friends hated this song with a passion. Funny moments!
 
Land of the Giants: "Giants and All That Jazz": This is a fun one, with a down-on-his-luck boxer-turned-trumpet player (real-life ex-boxer Sugar Ray Robinson, in a role that may have been written for him) capturing Valerie and Barry out of desperation for the reward and Dan bargaining for their freedom by teaching him how to play jazz, which is totally unknown on the giants' world and thus can make his career for him. It's a bit out of nowhere for Dan to suddenly be a jazz musician who brought his trumpet with him on the Spindrift for some reason, but it's still entertaining, and a nice twist on the formula. We've seen giants craving Earth's superior technology before (except when their own technology is randomly futuristic), but now we've got a story driven by Earthlings' superior music. Harry Geller's jazz score for the episode is reasonably good, though not one of the best I've heard. And the subplot with the aging snake-dancer lady capturing Fitzhugh as her pet "monkey" is hilarious. Robinson's performance is pretty weak, but the rest makes up for it.
 
Kolchak: “The Trevi Collection”: It’s hard not to wince at older portrayals of “witchcraft” and occultism, and especially stories that treat the Salem witch trials as legitimate rather than a horrific exercise in misogynistic persecution. (This episode even perpetuated the myth that Salem “witches” were punished by burning rather than hanging. The guy who said it was presented as a hack, but the other claims he made turned out to be true.) Even aside from that cluelessness, this is kind of an uneven episode, with the random mob subplot tossed in and Lara Parker’s cartoonish overacting. That, and it’s self-evident from the start that she’s the real witch and is framing Trevi -- that was obvious from the fact that her rival models were the ones who suffered, and telegraphed the moment she said she’d raised a prize goat.

I’d been thinking it was unusual that the villain doesn’t die, but it’s actually happened in about a third of the series so far, including “They Have Been, They Are, They Will Be” (the aliens left), “The Devil’s Platform” (the villain was trapped in dog form), “The Energy Eater” (the demonic force is contained but not destroyed), and last week’s “Primal Scream” (the missing link was taken alive, though it may have been killed and dissected later). It’s typical of ‘70s gender values, though, that the witch’s ultimate punishment is to lose her beauty -- the most important thing about a woman by the standards of the time.
 
Prometheus Part II was a pretty good TIH. Even if it wasn't the most original story, it was still cool to see them do something of a bigger scale.
I was a little surprised that they just let McGee into their control room when he was telling them about the Hulk. They didn't real seem overly concerned with the fact that he'd suck into Prometheus.
I think this whole storyline was the most comic booky one the show did.
Was that just Lou Ferigno without makeup as the buff body for the half transformed David or a third actor?
The way they were talking about alien encounters did make sound to me like they had happened before.
 
You mean, Tor Author Lara Parker, of course. :)

And the Dark Shadows fan in me was, of course, amused to see her playing a witch again.

At the time, it was a nice surprise, since Dark Shadows had been off-air for a few years...but boy, did she ever ham it up in this episode.

Prometheus Part II was a pretty good TIH. Even if it wasn't the most original story, it was still cool to see them do something of a bigger scale.
Kenneth Johnson had the flair for bigger concepts / settings, and still kept most of the assorted events in a realistic framework.

I was a little surprised that they just let McGee into their control room when he was telling them about the Hulk.

Plot convenience...

They didn't real seem overly concerned with the fact that he'd suck into Prometheus.

I mentioned how in a real world situation, McGee's many violations would lead to his arrest and ultimately face serious time in prison. His threats to reveal classified information would only make his situation take a downward path.

I think this whole storyline was the most comic booky one the show did.

Probably, although "The First" two-parter (still a few months away) also used a time-honored comic book plot device: the evil opposite / earlier version of the hero. Not to mention "Dark Side" exploring that with Banner, instead of another character.

The way they were talking about alien encounters did make sound to me like they had happened before.

Certainly suggested by the TV screen information McGee read on the maps of the world.
 
At the time, it was a nice surprise, since Dark Shadows had been off-air for a few years...but boy, did she ever ham it up in this episode.

I actually wrote the cover copy for her most recent novel. I admit the DS fanboy in me was kinda thrilled by this.
 
second only to another murder a few months away in the then-future
Meant to comment on this...if you mean what I think you mean, that event will not go unobserved here when it comes up in a couple of weeks.

_______

This week, on The Incredible Hulk:

"Free Fall"
Originally aired November 21, 1980
David finds himself caught in a feud between a skydiver and the son of a crooked politician
Wow...even copying and pasting that episode premise makes me nod off a little....
Preview Link to Cure Insomnia


Events in the news the week that the episode aired:
November 20
  • The Gang of Four trial begins in China.
  • A Texaco oil rig breaks through to a mine under Lake Peigneur.
November 21
  • A fire at the MGM Grand Hotel and Casino on the Las Vegas Strip kills 85 people.
  • A then-record number of viewers (for an entertainment program) tune into the U.S. soap opera Dallas to learn who shot lead character J. R. Ewing. The "Who shot J.R.?" event is an international obsession.
See what I meant when we were discussing "Who shot J.R."? Kinda late to just now be bringing up the international obsession part.


New on the U.S. charts that week:

"The Winner Takes It All," ABBA
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(#8 US; #1 AC; #1 UK)

"Tell It Like It Is," Heart
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(#8 US; #43 AC; Originally a hit for Aaron Neville in 1966)

"Passion," Rod Stewart
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(#5 US; #14 Dance; #65 R&B; #17 UK)

And here's another little...

HIATUS OF 1980 FLASHBACK!!!

"I'm Alright (Theme from "Caddyshack")," Kenny Loggins
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(Charted July 12; #7 US)

"He's So Shy," Pointer Sisters
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(Charted July 26; #3 US; #13 AC; #26 Dance; #10 R&B)
 
Meant to comment on this...if you mean what I think you mean, that event will not go unobserved here when it comes up in a couple of weeks.

Yes, that's what I mean.


This week, on The Incredible Hulk:

"Free Fall"
Originally aired November 21, 1980

Wow...even copying and pasting that episode premise makes me nod off a little....

[Palpatine laugh]I should tie you to a chair and force you to watch truly bad superhero TV...starting with the '79 Cap, and a few modern series.[/Palpatine laugh]

Speaking of this week's episode, due to a work commitments, I will be a be late with the review--possibly back to the Saturday afternoon time frame, but the following week should be back to Friday posting.


New on the U.S. charts that week:

"The Winner Takes It All," ABBA

Sigh. The glory days were behind ABBA at this point. Its just so...blah.

"Tell It Like It Is," Heart
(#8 US; #43 AC; Originally a hit for Aaron Neville in 1966)

The Neville version for the win.

"Passion," Rod Stewart
(#5 US; #14 Dance; #65 R&B; #17 UK)

Funny how a song about passion was lacking in that department. Stewart had a rough transition into the 1980s, with his next album (Tonight I'm Yours from the fall of 1981) littered with misguided, cash-in New Wave attempts ("Young Turks" at the top of the list) that left one missing the good old days of 70s solo Stewart and his Faces days.


"I'm Alright (Theme from "Caddyshack")," Kenny Loggins

(Charted July 12; #7 US)

Simple, fun tune.

"He's So Shy," Pointer Sisters
(Charted July 26; #3 US; #13 AC; #26 Dance; #10 R&B)

Never a fan of his track. I thought the Pointer Sisters' stronger single was "Slow Hand" from the Black and White album released in 1981.
 
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