That Wacky Redhead

[Lizzie_Harrison]

Thanks for responding.

Thank you very much for your incredibly generous compliments Welcome aboard! I'm really grateful to hear that you find this timeline accessible. I try my best, though
I am helped by the trope known as Pop Cultural Osmosis, which essentially posits that people know what I'm talking about despite themselves. (Part of the reason that I
went with Star Trek as a primary focal point.)

"Archie's chair" is apparently in the Smithsonian Institute and had a walk-on part in Night at the Museum 2 of all things.

I actually haven't seen any of Doctor Who - not the original series, not the reboot, none of it. I'm glad that my rather audacious crossover idea seems to have struck
a chord with so many of my readers, although that was the reason for it in the first place

An excellent idea but I really hope you don't butterfly away Sarah Jane, heroine and female icon.

Thank you. I think that fandom is near and dear to a lot of us. After all, Alternate History is essentially fan fiction of real life!
I saw the opportunity and I went for it. Wanton destruction of culture should always be stopped.

I agree with both these sentiments precisely

A fine trilogy, yes. And can I just say? III is underrated. It's not the masterpiece that II is, or the comic gem that IV is, but there are some great moments there.
The Stealing the Enterprise sequence alone is magnificent, and the Bones scenes are fantastic, too. You and I are going to get along just fine

Stealing the Enterprise is possibly the best scene ever in film. The music, the effects, the acting.

You see, e of pi? Never underestimate the prettyboy and his ability to attract new audiences

The pretty boys: Quinto and Pine make a lovely coupling.

In all seriousness, Lizzie, I would recommend the original series. It's fun, and thought-provoking, and the writing and acting are much better than parodies would have
you believe, and the chemistry between the characters has never been matched. It's also not at all pretentious, grimdark, or laden with technobabble. It's
straightforward and easy to watch. And it's fun. But I won't pressure you, lest you develop a serious case of Hype Aversion. And besides, nobody who posts to this
thread would ever pester anyone to watch a certain show incessantly. That would just be tiresome, though in a vaguely admirable way

By a whirk of fate, Star Trek is starting tomorrow on one of my digital channels right from the Pike pilot.

The earliest I can have it ready is Friday evening, ET, and even that is pushing it. Sorry, everyone. RL beckons

We'll still be here when it's ready.

 

[Brainbin]

It's been rather quiet here the last few days. Funny, because the last long stretch without an update (three weeks, in January) saw this thread filled with chatter. But I suppose everyone is a lot busier now than they were then. So, might I suggest, to any new or incomplete readers, that now is the perfect opportunity to catch up on That Wacky Redhead? Follow the link in my signature below to the page on the Wiki where all of my updates are listed, without having to slog through the myriad discussions that surround them

Thanks for responding.

My pleasure. As an author, there are few things I dislike more than readers who never comment; but as a reader, the absolute worst thing is making a comment, only to receive no response, or even acknowledgement. I've certainly been there, and it sucks.

"Archie's chair" is apparently in the Smithsonian Institute

Along with Edith's chair, and the end table between them, adorned with a can of Archie's super-generic beer.

As is the full-sized production model of a certain USS Enterprise...

Which reminds me of a fun fact: ITTL, in addition to one of the models, the entire bridge set can be found in the Smithsonian. As the set is comprised of panel sections which link together to form a closed perimeter, it is "split" in two: the traditional "master shot" view on one side, and the "viewscreen perspective" on the other; the main pathway bisects the two, which don't line up exactly as they should as a result. The viewscreen is equipped with rear projection, allowing the museum to display various clips from Star Trek.

An excellent idea but I really hope you don't butterfly away Sarah Jane, heroine and female icon.

I'll have to see what I can do about that. You're far from the first to request her safe delivery onto Doctor Who.

Stealing the Enterprise is possibly the best scene ever in film. The music, the effects, the acting.

I don't know if I'm prepared to go that far, but I'm willing to call it the best sequence in any Star Trek film, to be sure.

By a whirk of fate, Star Trek is starting tomorrow on one of my digital channels right from the Pike pilot.

I would definitely call that kismet. I hope you enjoy the show

We'll still be here when it's ready.

Thank you very much. It looks like Sunday will be the day, so until then!

 

[phx1138]

It's been rather quiet here the last few days. ...As an author, there are few things I dislike more than readers who never comment

There are times when we just haven't anything worth saying, y'know. (Like now.)

 

[Falkenburg]

There are times when we just haven't anything worth saying, y'know. (Like now.)

True. Self-evidently that need not stop us posting, though.

Falkenburg

 

[phx1138]

Self-evidently that need not stop us posting, though.

No argument with that. And you probably know by now, I only need the flimsiest excuse to respond.

 

[Brainbin]

As promised, I shall do my very best to have the next update ready for tomorrow.

But first... a very special announcement. And something I've been wanting to say ever since I started writing this timeline.

That Wacky Redhead now has a page on TV Tropes!

Which I did not create myself, however strongly I might have been tempted to do so. But I invite all of you to read along, and please feel free to add whatever tropes you may find applicable to this timeline!

In celebration of the new page, I'm amending the Drinking Game. Any time there is a link to TV Tropes, take a sip. Any time there's a link to a trope featured on this timeline's page, take a swig. And finally, if there is a direct link to this timeline's page (excluding my signature), finish your drink. Remember, neither Brainbin nor Desilu assume any responsibility for your health or well-being!

 

[phx1138]

That Wacky Redhead now has a page on TV Tropes!

Way to go, BB. Neat page, too. And by my count, 7 tropes in play, & counting.

 

[Glen]

Congratulations Brainbin on your success that is wonderful!

Hooray for TV tropes!

 

[Falkenburg]

Kudos Brainbin. Richly deserved.

Falkenburg

 

[Brainbin]

That Old-Time Rock & Roll

Where were you in ’62?

– Tagline for American Graffiti, released in 1973

Moonshot Lunacy, like so many fads before and after, could only burn with the white-hot intensity of a supergiant for so long before people tired of it, lost interest, and moved on, leaving behind an empty shell of past glories. But like many all-consuming pop culture obsessions, it would not disappear entirely, despite the most fervent wishes of its detractors. Many complementary movements, such as environmentalism, would endure beyond the end of Moonshot Lunacy; it would also spark increased interest in many fields related to space travel and exploration, and many prominent figures who had sought careers in those disciplines as a direct result of Moonshot Lunacy would soon emerge.

The seeds for that which would replace Moonshot Lunacy in the popular imagination were sown quite some time before its eventual mainstream breakthrough. Rock-and-roll revival music had already started in the late 1960s; however, much it had remained on the back burner at the time, behind psychedelic, progressive, and funk, among other genres. The Elvis Comeback Special had aired in 1967, and the King had enjoyed fairly consistent success in the years since, evolving from a young heartthrob into a veritable icon. Another representative of the early years of rock-and-roll, Bo Diddley, also launched a successful comeback, in 1969. It was worth noting that many modern rock bands, regardless of style, had idolized these figures; and indeed, this mutual admiration was often the only thing that many of them had in common.

However, Greased Lightning was usually reckoned as the opening salvo of the barrage that marked the full-fledged revival of interest in 1950s rock-and-roll culture. The musical was first staged in Chicago, before it was discovered by Broadway producers and moved to the Great White Way in 1971. The story, which was set in the late 1950s (barely more than a decade before), told the tale of a graduating class comprised mostly of greasers. The play was named for the "hot rod" belonging to the main male character. [1] A fairly straightforward high-school romance and coming-of-age story, with the twist of also being a period piece, the musical shattered expectations, becoming one of the biggest sleeper hits in Broadway history. Critics were somewhat more lukewarm on the play's creative merits than audiences were, but few could deny being swept up by the exuberance of the piece; its success culminated in a surprise win for Best Musical at the Tony Awards of 1972. [2] As was the case with so many smash Broadway musicals of the past, plans for a film adaptation were green-lit almost immediately, though it would take some time to materialize.

Meanwhile, George Lucas was facing a setback. His pet project, his labour of love, his baby, THX-1138, had bombed, which had proven a major roadblock for his career. It very much seemed that he would follow his fellow New Wave director Robert Altman [3] into career oblivion; but in an uncharacteristic gesture of conciliation and compromise, he agreed to "play ball" and obey the rules of his bete noire, the studio system. He would make a feel-good, sure-fire crowd-pleaser, to prove that he could make movies the way they wanted him to make them. He decided to spin a yarn loosely based on his own youth in Modesto, California, barely more than a decade before. Like Grease, his film captured a group of people in transition from one life stage to another, and was awash in retro Americana. In acknowledgement of this fact, he called the film American Graffiti. Cast in the two lead positions were Ron Howard, still desperate to break his type-casting as a child actor, and a fresh-faced unknown named Billy Crystal. [4] This classic coming-of-age story did indeed tug on the heart-strings, winning massive critical and popular acclaim, becoming one of the top-grossing films of 1973, and netting several Academy Award nominations. [5] Lucas contracted Desilu Post-Production to handle the editing for the film; this would be the first major motion picture cut by the studio. Not coincidentally, Marcia Lucas, George's wife, was employed by Desilu, and functioned as an associate editor on the film (for which she, too, received an Oscar nomination).

It was as a direct result of the success of American Graffiti that the 1950s-set sitcom pilot, produced by Desilu and starring Howard, was picked up by ABC. The popularity of rock-and-roll revival music inspired Garry Marshall to borrow "Rock Around the Clock" – the seminal hit by Bill Haley and his Comets, already immortalized by its appearance in the credits to Blackboard Jungle – as the theme song, and he even re-named the resulting series (tentatively titled "Happy Days") after it. Most of the cast from the pilot returned for the series; alongside Howard as teenage protagonist Richie Cunningham, Harold Gould and Marion Ross would reprise their roles as his parents. [6] Both of Richie's siblings – older brother Chuck and younger sister Joanie – were re-cast, though the role of his best friend, Potsie, was not. Among the new characters added in the first season proper was an enigmatic greaser whom creator Garry Marshall had based loosely (and even named after) himself: Arthur "Mash" Maschiarelli (Marshall's real surname, and childhood nickname). In developing the character, Marshall had been inspired by former Monkee Micky Dolenz, who had memorably portrayed a biker in an episode of "Adam-12". [7] Though Dolenz was much taller than other members of the cast, it was decided that this would add to the mystique of the character, and quite literally help him to stand out.

But 1950s nostalgia was hardly limited to rock-and-roll. Another symbol of the 1950s, self-proclaimed "song-and-dance-man" Frank Sinatra, had come out of a two-year "retirement" in 1973, and like Elvis before him, had done so with aplomb. And Sinatra was only among the living 1950s performers to re-capture the popular imagination. Also in 1973, musician Elton John released his tribute to legendary sex symbol, Marilyn Monroe, called "Candle In The Wind"; it would crack the Top 10 in the UK, and reached #1 in the US. [8] Given the considerable economic and sociopolitical turmoil that so defined the mid-1970s, this broad-based nostalgic longing for a booming era of prosperity was perfectly understandable, even though – as is so often the case – the nostalgia filter blinded many people to the harsher realities of the supposedly "idyllic" post-war era; indeed, many people vocally opposed the fad. Surprisingly often, these opponents were former Moonie Loonies, though this was certainly not always the case. Racial minorities, particularly African-Americans, had little reason to glorify the "everyday" culture of the era; though more than a few of them perhaps leaned a little too far in the other direction, as the 1950s did see many key breakthroughs in the Civil Rights Movement. The demands of political correctness mandated an uneasy "compromise"; many dramatists developed conventions to address racial issues in works set during this era. The protagonist(s) almost always had racially progressive attitudes, or at the very least, came to see the light by the end; antagonistic characters were invariably bigoted and beyond redemption. This "black-and-white" (in more ways than one) characterization was actually a regression from the more sophisticated interpretations of shows like Those Were the Days (which naturally made great hay of the 1950s nostalgic revival).

Perhaps the magic touch that turned 1950s retro nostalgia from a passing fad into a popular culture obsession was the climate in which it emerged. Would the Edwardian Era have seemed so glorious without the devastation of the First World War and the Spanish Flu? Would the Roaring Twenties have sparkled so brightly, were it not for the long and lean years of the Dirty Thirties? And would the booming, prosperous Fifties have been so appealing, warts and all, without the socioeconomic turmoil of the decades that followed? In the minds of many commentators during the era, the Moonshot Lunacy recovery had been illusory. Because things were about to get much worse[FONT=&quot]…[/FONT]

---

[1] Greased Lightning was a working title for the musical that, IOTL, became known as Grease. Technically, the play opened off-Broadway, but employed standard Broadway contracts, thus making it eligible for the Tony Awards; here, the economy is doing well enough that the backers are able to secure a venue physically located within the Broadway theatre district. As to the plot, the central romance is slightly less prominent ITTL, with a greater focus on retro set dressing (hence the original name being kept).

[2] A Joseph Papp-produced musical adaptation of Two Gentlemen of Verona won for Best Musical that year IOTL.

[3] M*A*S*H, of course, bombed ITTL; that, coupled with the successful smear campaign by its stars, Elliott Gould and Donald Sutherland, has resulted in Altman being essentially unable to find work in Hollywood again. Though he was initially chosen to direct McCabe & Mrs. Miller ITTL, he was let go during pre-production. The resulting film received mixed reviews and middling box office grosses, and is generally considered thoroughly mediocre (even in retrospect, though it has its defenders).

[4] Hat-tip to phx1138 for the suggestion. Crystal wins the part that IOTL went to Richard Dreyfuss, who cannot accept it ITTL due to his starring role on Those Were the Days. The two actors are of similar ages, backgrounds (Jewish New Yorkers), and both have very naturalistic, intuitive, and disarming acting styles.

[5] American Graffiti was the #3 movie of 1973, IOTL and ITTL. It received five Oscar nominations IOTL; here, it receives seven (the same five, plus Art Direction-Set Direction, and Costume Design, in both cases beating out The Way We Were for the nomination). Part of the reason for its increased Oscar recognition is because the editing is done at a bargain rate (IOTL, renowned - and expensive - editor Verna Fields supervised, with Marcia Lucas assisting).

[6] Gould and Ross both appeared in "Love and the Happy Days" alongside Howard, but IOTL, the role of Howard Cunningham (here, Harold Cunningham) was re-cast with Tom Bosley, due to Gould being unavailable to reprise the role (he was touring in Europe at the time). Fortunately, Gould landed on his feet, being cast as Rhoda's father, Martin, on "Mary Tyler Moore" (and later, the spin-off "Rhoda"); this will obviously not be possible ITTL.

[7] IOTL, the decision was made that Dolenz (the first choice for the role, given his appearance on "Adam-12") might just be too tall for the part, and shorter alternates were sought. One of these alternates was, of course, Henry Winkler, who was then given the role. ITTL, Winkler instead decides to concentrate on the theatre.

[8] "Bennie and the Jets" was chosen as the US single instead of "Candle in the Wind" IOTL, and it duly reached #1 (this was during the period when Elton John could have released virtually anything and it would have topped the American charts). "Candle" was released as a single in the UK IOTL, and peaked at #11. It does a little better here, for various reasons (transatlantic synergy on the one hand, slightly contagious 1950s nostalgia on the other).

---

And now we finally bid farewell to Moonshot Lunacy. That little narrative device has sustained me for several months and 700 posts eek, but now it's time to move on. As you know, the 1970s were plagued with retro rock-and-roll nostalgia IOTL as well, before everyone decided to don their bell-bottoms and platform shoes and head on over to the discotheque. But we'll be hearing a good deal more about afros and dashikis in due time; first, we have to bask in our leather jackets, hula hoops, and tailfins.

You may have noticed that I did not reveal whether or not American Graffiti actually won any of the awards for which it was nominated. That was a deliberate stylistic choice on my part. You might say that I was "inspired" by a certain other timeline that I've been reading. You know who you are I'll be posting a movies update in the next cycle, and that is when we'll hear all about who has been winning what. Until then, thank you all for reading, as always.

Coming up the next time, join me, as we journey Into The Final Frontier!

 

[Glen]

A solid update in many ways, Brainbin. I personally am a huge fan of 1950s style nostalgia and love seeing it coming to fruition even fuller and earlier here, at least by intimation. I loved the movie adaptation for Grease IOTL, but I am worried that this earlier showing and the less emphasis on the romance will mean that my Sandy, Olivia Newton John, will never be seen in the role. I am pleased to see if this timelines version of happy days beginning to be launched. I find "the mash" very interesting character to be explored here, though of course I will miss our Fonz. I love Mickey Dolenz in the Monkeys but am uncertain how he will play in this. Of course, Henry Winkler wasn't exactly typecasting the role of the Fonz in our time line, and if he did a good job in Adam 12 maybe it will be replicated here, although still having a hard time wrapping my head around a Mickey Dolenz greaser. I respect your decision not to have Henry Winkler cast as the Fonz here, but I still feel you need to give us a little more than he chose to pursue the theater, I really think we would still see him in television at some point. Glad to see American graffiti off the ground, and Billy Crystal is a very interesting choice as a replacement for Richard Dreyfuss, so good on you I'm using that suggestion. I would worry that Billy Crystal can't pull off "non-ethnic" as well as Richard Dreyfuss pulled off earlier in his career. On the other hand, maybe that is a good day. so if Erin Moran is not playing Joni in this version of happy days it will be a slight loss to the show, she did such a good job playing the bratty younger sister on the show it's hard to imagine it without her. Of course, the greatest loss of all is Tom Bosley not playing the patriarch of the Cunningham family. I hope you have something for him to do in this timeline as he would be a terrible loss.

 

[vultan]

Billy Crystal in American Graffiti?!

phx1138 is a genius!

Great update, Brainbin!

 

[e of pi]

Interesting coverage of the 50s nostalgia boom--I was wondering how it might have been effected by the less tumultuous late 60s and early 70s ITTL. It looks like even with the 60s being a bit les...60s, the 50s nostalgia still gets its springboard. I guess it's like the TLs where Pearl Harbor is less bad or whatever--while it looks better from our perspective rooted in OTL, ITTL they still weren't the greatest years to live through. I wonder what a possibly more successful American Graffiti does for Lucas on Star Wars (especially with closer connections in the editing/post-production business earlier than OTL)? I suppose we'll find out eventually...

Anyway, I'm looking forward to seeing what you have in store on the spaceflight front, and I must say two things on the TVTropes front:
1) Congratulations, you deserve it.
2) Examining the publicly available evidence, I blame Thande. Surely no other reasons bare speculation of any sort.

 

[phx1138]

Where were you in ’62?

I maintain, those who claim "Baby Boomer" includes those born as late as 1963 are idiots. This proves it. So, I suggest, does the success of "American Grafitti" & "Happy Days" (by any name).

A fairly straightforward high-school romance and coming-of-age story, with the twist of also being a period piece

Just so long as it's not Travolta opposite Olivia, OK? (Stunning, with the voice of an angel, she deserves somebody who can actually sing. {Yes, I feel free to call this stunner by her first name, too. There's only 1.})

older brother Chuck

Butterflies enough to keep him from getting written out by Season 2?

Arthur "Mash" Maschiarelli

Am I the only one who doesn't see why it's not "maskarelli"?

Frank Sinatra, had come out of a two-year "retirement" in 1973

Still turned down "Dirty Harry", then, huh?

Hat-tip to phx1138 for the suggestion.

TYVM, sir. (Was there an Oscar nom in it OTL? I don't recall.)

American Graffiti was the #3 movie of 1973, IOTL and ITTL. It received five Oscar nominations IOTL; here, it receives seven (the same five, plus Art Direction-Set Direction, and Costume Design, in both cases beating out The Way We Were for the nomination). Part of the reason for its increased Oscar recognition is because the editing is done at a bargain rate (IOTL, renowned - and expensive - editor Verna Fields supervised, with Marcia Lucas assisting).

I confess some confusion, here. Was hiring an editor OTL so expensive, it actually hurt their set design or costuming budget?

Did you know, after they wrapped, they put the cars up for auction locally, & couldn't sell 'em? Even the Deuce? They couldn't get $50 for it. One of the carpenters or somebody got it for next to nothing, & IIRC, it ended up totalled.

"Bennie and the Jets" was chosen as the US single instead

Doubtless you know, but as I heard the story, Elton didn't like it, & the crowd was all added in post. (TBH, I can't imagine the "bare" version. Can't have been as good.)

tailfins

(They still give me nightmares. Along with the '59 Cad taillights.)

phx1138 is a genius!

Who am I to argue?

 

[Glen]

I forgot to mention that candle in the wind is one of my favorite Elton John songs, so very nice to see it getting more attention earlier in this timeline.

 

[DTF955Baseballfan]

Just so long as it's not Travolta opposite Olivia, OK?

I read this before the update and figured you had correctly guessed my idea for the role of "THe Mash" - John Travolta. And, maybe you did.

I never watched Adam-12, a teensy bit before my time, but I'm sure Brainbin made a great choice. And, it was a bit obvious to replace one icon of the '70s with another. Though as I said he was almost 10 years younger, but I could have pictured him saying "sit on it" and acting like the Fonz (here, the Mash) with women and all that.

I'm still stunned, though, that Winkler was as old as he was when he got the part; i always pictured the Fonz to be about 20-22 at the start. (Thenagain, they cast Travolta as a high school student, albeit a remedial one, so maybe I shouldn't have been surprised.)

 

[phx1138]

I read this before the update and figured you had correctly guessed my idea for the role of "THe Mash" - John Travolta. And, maybe you did.

I didn't, but as you mention it, he might've been right for it, at that. I don't recall Mickey Dolenz at all, so I can't judge how he'd do.

 

[John Fredrick Parker]

In the minds of many commentators during the era, the Moonshot Lunacy recovery had been illusory. Because things were about to get much worse...

This certainly grabbed my attention...

 

[ChucK Y]

Micky Dolenz's role as Oiler on Adam-12 was angrier and less likeable than Henry Winkler as the Fonz. If his portrayal of the Mash is similar, I cannot see him becoming as popular ITTL as the the Fonz OTL. The role may be softened due to its being in a nostalgia comedy, but would not necessarily become anything like the Fonz. With a different biker character and series title, the series could go in a darker, more Blackboard Jungle direction.

 

[phx1138]

Micky Dolenz's role as Oiler on Adam-12 was angrier and less likeable than Henry Winkler as the Fonz. If his portrayal of the Mash is similar, I cannot see him becoming as popular ITTL as the the Fonz OTL. The role may be softened due to its being in a nostalgia comedy, but would not necessarily become anything like the Fonz. With a different biker character and series title, the series could go in a darker, more Blackboard Jungle direction.

Could be Dolenz doesn't last more than Season 1, then, & it's Mash, & not big bro Chuck, who gets written out...