• Welcome! The TrekBBS is the number one place to chat about Star Trek with like-minded fans.
    If you are not already a member then please register an account and join in the discussion!

MeTV's SuperSci-Fi Saturday Night

By the time this episode aired (March 2, 1979), The Incredible Hulk was already a popular cultural fixture, praised for being that rare mix of the fantastic, while playing it mostly for drama. Needless to say, it was viewed as the antidote to nearly twenty five years of TV superheroes largely being "kid stuff" or embarrassing to the genre (YMMV). The series enjoyed a wealth of media coverage, and not limited to fantasy media publications such as Starlog or Fantastic Films. Example: below is the July 11, 1978 cover of Us Magazine (a publication similar to People Weekly) featuring the two series heroes--

JLQXKb7.jpg


A year later, Bixby and Ferrigno graced the July 20- August 3, 1979 cover of TV Guide--

k1U4gXE.jpg


Next week, i'll post some TIH magazine pieces that some used to believe was proof that an actor or series really "made it."
 
Last edited:
  • Further, he also believes there's no way a normal man could become the Hulk. That is why the script was clever in adding McGee taking the matter to leading anthropologists, concluding hoax or freak mutation--supporting the belief that the Hulk is anything other than a creature born from a normal man.
  • That is enough expert (anthropologists) and eyewitness (McGee) evidence to convince Jack that "John Doe" is anything other than someone with a connection to the Hulk's origins. The very reason he suggested "John Doe" might be someone hunting the Hulk out of revenge for hurting someone close to him.
Seeing--as the expression goes--is believing, and until McGee sees the transformation, all other evidence separates the Hulk and Banner from "John Doe," or anyone else.

Ah, but I was jumping ahead to the status quo that emerges after McGee learns that John Doe transforms into the Hulk. At that point, he had more than enough pieces to at least speculate that John Doe might be a surviving David Banner. The John Doe situation going forward requires a good deal of suspension of disbelief. Even as a kid, I think I used to rationalize that McGee was subconsciously blocking out the possibility because he knew that it exonerated the Hulk from responsibility for Elaina's death.
 
In the 26 episodes aired before this, David's medical knowledge had been expanded far beyond anything suggested by his position and/or research in the pilot, but aside from the general description in the main title narration, we do not hear many specifics on his medical background.

Don't all med students start out getting the same general training before they specialize, though? And David has told enough people that he was a medic in the military that it may actually be true.


But McGee would not ask to see those photos. At the time he visited the hospital, McGee believes "John Doe" was involved only as some kind of witness--no suspicion or red flags. Even after the doctor produces a Hulk clipping from the duffel bag, he's still under the impression (later in the episode) that at best, "John Doe" might be someone seeking to find the Hulk because the creature hurt someone in his life. But back to the hospital period, McGee would not necessarily need to see the man's face; it was more important to have his memory restored, which is where Jack believed all answers rest.

But McGee said that even if the Hulk thing didn't pan out, the story of the amnesia patient would be a good one for the Register. Naturally he'd want to research that story, to get "John"'s permission to look at his hospital file and collect photos for the story. Certainly after this, once McGee finds out that "John" becomes the Hulk, he'd absolutely want to go back to that hospital and get a look at the man's medical files, and if those files included a photo, he could find out who "John" was. That's what I'm saying. There should be documentation of his face, and that should allow McGee to find the truth, if not immediately, then later.

I also wish the show had remembered that there was actually a police warrant out on the Hulk -- indeed, more than one. If the National Register reported that the man who becomes the Hulk had been a patient in that hospital, then that should've prompted an official investigation. Although I suppose it's possible that the authorities had concluded after a while that the Hulk was a hoax, given the Register's reputation, and withdrawn their warrants to save face. Still, given how many people around the country have encountered the Hulk, it's a bit hard to believe that he's still considered an urban myth.



By the time this episode aired (March 2, 1979), The Incredible Hulk was already a popular cultural fixture, praised for being that rare mix of the fantastic, while playing it mostly for drama. Needless to say, it was viewed as the antidote to nearly twenty five years of TV superheroes largely being "kid stuff" or embarrassing to the genre (YMMV).

On the other hand, there were still plenty of viewers and critics who dismissed it as schlock out of hand because of its fantasy subject matter and its formulaic storytelling. It's hard for people today to realize how disreputable science fiction and comic-book superheroes were in the popular culture of that era. I remember being quite offended when a newspaper TV critic, reporting on Joe Harnell's 1982 Emmy nomination for the show, snidely asked, "Who listens to the music on The Incredible Hulk?" I felt that dismissive attitude, the assumption that the show was just mindless action with nothing worthy of nomination, was an insult to the show's producers and viewers and particularly to Harnell. I think I even wrote the critic an angry letter about it, though I don't think it was published.

And I'm wondering who that "Lesbian Senator?" mentioned on the Us cover was supposed to be...
 
Ah, but I was jumping ahead to the status quo that emerges after McGee learns that John Doe transforms into the Hulk. At that point, he had more than enough pieces to at least speculate that John Doe might be a surviving David Banner. The John Doe situation going forward requires a good deal of suspension of disbelief. Even as a kid, I think I used to rationalize that McGee was subconsciously blocking out the possibility because he knew that it exonerated the Hulk from responsibility for Elaina's death.

But again, when this all started, would he think the investigators of the lab explosion were derelict in their duty? After a a fire so destructive, they assumed Banner's corpse was burned to ash. Banner's family and colleagues all accepted that, and only provided a headstone for his gravesite. The level of explosion more than sold that.

Still, if you want to jump ahead after McGee learns man becomes beast, consider season three's "Broken Image," where David is mistaken for gangster Mike Cassidy--despite McGee's confusion and suspicious, once Cassidy is in custody, the police sergeant has this conversation with McGee:

McGee: "Oh, I don't know...the man that I saw seemed different, somehow...he was...younger."
Police Sergeant: "He (referring to Mike Cassidy) dyed his hair. And he probably used tape here and here to pull back the skin. Makes a big difference."
McGee: "Well, then are you sure you got the right guy?"
Police Sergeant: "Mister McGee, Mike Cassidy has been thoroughly checked out--fingerprints, everything. The lieutenant has been personally looking for him for too long to make any mistakes."
McGee: "Can I interview him?"
Police Sergeant: "Get in line. Right now, he's giving us the lowdown on his cronies. Police departments in fourteen cities have their own beefs with him, and he'll probably serve fifteen years If he behaves himself."
McGee: "I don't know. Somehow, something about the whole thing just doesn't seem right."
Police Sergeant: "Mister McGee--the man you're looking for--this Dr. Banner is dead, right? Burned to death? You reporters are supposed to deal in facts. Well, while the doctor was being buried, Cassidy was doing time in San Quentin, it's all there in black and white. If I were you, I'd rather be fooled by an old con, than to start believing in ghosts."

Suspicion is one thing, but all McGee really knows is that Mike Cassidy is a dead ringer for Banner, and when confronting Banner, Cassidy's henchmen stepped in to sell David as Cassidy. That, and the official record of Banner's fate does not leave much room to believe the real David Banner just so happened to live near his lookalike, get hustled into a fall guy scheme and is either sitting in custody, or slipped away. We the audience knows this to be true, but McGee does not have this information.
 
Funny you should bring in Mike Cassidy, whom I didn't touch upon. Once that happens...even if David's alibi in that moment was solid, once he thinks for a few seconds there that David Banner is standing right in front of him...it should all click together for him, whether or not he can prove it.
 
Funny you should bring in Mike Cassidy, whom I didn't touch upon. Once that happens...even if David's alibi in that moment was solid, once he thinks for a few seconds there that David Banner is standing right in front of him...it should all click together for him, whether or not he can prove it.

Especially since we know from "The Hulk Breaks Las Vegas" that McGee found Banner's voice familiar over the phone -- yet by now he seems to have forgotten what Banner's voice sounded like, since he doesn't recognize "John"'s.

Maybe Jack needs to lay off that pocket flask...
 
On the other hand, there were still plenty of viewers and critics who dismissed it as schlock out of hand because of its fantasy subject matter and its formulaic storytelling.

It's hard for people today to realize how disreputable science fiction and comic-book superheroes were in the popular culture of that era.

That's why TIH stood apart from the rest; I remember the series being respected in ways Adventures of Superman, Batman, Wonder Woman or The Amazing Spider-Man were not. It was always compared to them as being the right way superheroes should be adapted. If that was not enough, after Mariette Hartley won the Emmy for "Married," such a distinction further proved that the series was simply not disregarded as kid schlock, even in the face of strong, anti-fantasy bias. That says much.

If you notice, the greater fantasy series were not entirely ignored. For example, Nimoy was nominated in the Best Supporting Actor in a Drama Series for all three years of Star Trek; while the series was nominated in the Outstanding Dramatic Series category for 1967. If bias-driven voters cared to, they could have kicked TOS to the curb as being of the same quality as Lost in Space and not bothered to nominate it at all..
 
That's why TIH stood apart from the rest; I remember the series being respected in ways Adventures of Superman, Batman, Wonder Woman or The Amazing Spider-Man were not. It was always compared to them as being the right way superheroes should be adapted.

Sometimes, but not always. That's my point. You're talking about this as if it were a universal attitude, but nothing is ever so universal. There was still a large segment of the audience back then that was prejudiced against any genre film/TV. For every critic who recognized that shows like Star Trek or The Incredible Hulk were a cut above the rest, there was another who pre-emptively dismissed them as inconsequential kid stuff and refused to give them fair consideration. I had the bad fortune to have a local TV critic who fell into the latter category.

Of course I'm not saying that nobody recognized the show's worth. Of course there were plenty of critics and fans who did. I'm just saying that the other side of the coin existed too. Because no attitude is ever universally shared by everyone. There are always people who are unable or unwilling to let go of their prejudices, even if many of their peers have more open minds.

And it's not as if TIH didn't have aspects that could be validly criticized. It was very formulaic. It was one more rehash of the Fugitive mold that had already become something of a cliche by that time. It was, like most of its contemporary superhero shows, trapped by network mandate in a formula of two transformations per episode, and it often had to contort and contrive its plots in order to meet that requirement. It tended to avoid exploring consequences or ramifications and maintain an unchanging status quo in ways that we've repeatedly joked about in this thread -- David's duffel bag and jacket always survive, he never sticks with an attempted treatment for more than one episode, McGee never puts the pieces together, etc. Of course "Mystery Man" was a notable exception, but it still was an exception to the formulaic nature of the show. I recall TIH being criticized by my local TV critic and others for being so repetitive and formulaic, so much like other shows in the same repetitive vein, and it was specifically in response to those criticisms that I formulated the view that the quality of a TV series needed to be judged in the context of how well it transcended the limitations imposed on it by the network, rather than being blamed for having to exist within those limitations. That was my impression at the time: that The Incredible Hulk was unappreciated by the critical establishment because they only saw the formula and didn't recognize the ways it rose above it. Maybe you were lucky enough to have exposure to critics that were more open-minded and fair toward the show, but trust me, not every critic felt the same way.
 
Funny you should bring in Mike Cassidy, whom I didn't touch upon. Once that happens...even if David's alibi in that moment was solid, once he thinks for a few seconds there that David Banner is standing right in front of him...it should all click together for him, whether or not he can prove it.

How can it click when it would not be based on hard evidence--fact--allegedly an "investigative reporter's" most important tools? All evidence works against believing Banner is alive. Remember, Cassidy's men sell David to McGee as Cassidy--a man law enforcement conclusively identify through prints and other filed information. No other evidence--specifically tied to one David Banner--were found. To McGee, there can be no David, which means if he still holds on to the idea that he saw a dead man, he would just lend credence to the idea that his desperate obsession with Hulk has made him unstable--a plot that will be explored in season three's "Proof Positive."
 
I recall TIH being criticized by my local TV critic and others for being so repetitive and formulaic, so much like other shows in the same repetitive vein, and it was specifically in response to those criticisms that I formulated the view that the quality of a TV series needed to be judged in the context of how well it transcended the limitations imposed on it by the network, rather than being blamed for having to exist within those limitations.
So, what critics liked at the time? Because I believe that the adjective "formulaic" can be virtually applied to every 70's tv show.
 
So, what critics liked at the time? Because I believe that the adjective "formulaic" can be virtually applied to every 70's tv show.

Which is exactly why critics wished for something better. They saw a potential in the television medium that it was rarely allowed to achieve, because it was so constrained by formula. TV writing has advanced enormously in the past three or four decades. And so has public and critical acceptance of science fiction and superhero fiction as genres.
 
^ :vulcan: To each his own.
:rommie:

For me, popular music took a nosedive around the middle of 1978 and didn't recover until the early 80s when the infusion of New Wave brought it back to life. Then it trailed off in the late 80s and has never really recovered.
 
Which is exactly why critics wished for something better. They saw a potential in the television medium that it was rarely allowed to achieve, because it was so constrained by formula. TV writing has advanced enormously in the past three or four decades. And so has public and critical acceptance of science fiction and superhero fiction as genres.
Just for the sake of curiosity, I searched what were some of the critics' most loved tv shows in the 70's:
  • All in the Family
  • The Mary Tyler Moore Show
  • M*A*S*H
  • Happy Days
  • Roots (well, it's a miniseries...)
  • Columbo
  • Police Story
I don't know these shows very well, but probably the only one that can be considered "formulaic" was Columbo...

And of course none of them had sci-fi/fantasy elements...
 
^Happy Days was pretty typical sitcomville, that could be considered formulaic. But good list, I was thinking of mentioning a couple of those.

For me, popular music took a nosedive around the middle of 1978 and didn't recover until the early 80s when the infusion of New Wave brought it back to life. Then it trailed off in the late 80s and has never really recovered.

But Blondie and the Police were new wave! Still, we're not so far off. The late '70s to early '80s is about the last period of music that I really like.
 
Well, that's true, but that Blondie period was more like Disco, and the Police hadn't hit their stride yet. Blondie got off to a really strong start (I still think their first album was their best) and The Police started out weak and started to pick up steam with the couple of albums after that one that "Roxanne" was on, then hit it out of the park with Ghost In The Machine.
 
Just for the sake of curiosity, I searched what were some of the critics' most loved tv shows in the 70's:
  • All in the Family
  • The Mary Tyler Moore Show
  • M*A*S*H
  • Happy Days
  • Roots (well, it's a miniseries...)
  • Columbo
  • Police Story
I don't know these shows very well, but probably the only one that can be considered "formulaic" was Columbo...

Yeah, I think that was a time when sitcoms as a genre tended toward their peak of sophistication -- or at least many of them did -- while action-adventure tended to be more lowbrow and schlocky. (Although I'm surprised to see Happy Days in that list, since Garry Marshall's sitcoms were as schlocky and lowest-common-denominator as they came. It's not by chance that it was Happy Days that inspired the expression "jump the shark.") There were a lot of formulaic mystery/crime shows, but Columbo was always a cut above, and though it had its own formula, it departed from the standard mystery formula by telling inverted mysteries where we knew who the killer was and the story was about the battle of wits between killer and detective. The producers also resisted the constant network pressure to make the show more formulaic by inserting car chases and shootouts or giving Columbo a love interest (other than his unseen wife) or a junior partner. So it remained more intellectual and character-driven than most other crime shows. (The ABC revival in the '80s and '90s was less successful at avoiding the pressure to include more sex and violence.)
 
Although I'm surprised to see Happy Days in that list, since Garry Marshall's sitcoms were as schlocky and lowest-common-denominator as they came.
At his heyday, wasn't Happy Days a cultural phenomenon? I just asked a millennial coworker of mine if he knows who is the Fonz and he answered...

THE-INSIDE-TRACK-2.jpg
 
If you are not already a member then please register an account and join in the discussion!

Sign up / Register


Back
Top