That Wacky Redhead

Discussion in 'Alternate History Discussion: After 1900' started by Brainbin, Nov 18, 2011.

  1. GAB-1955 Member

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  2. Kalvan Well-Known Member

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    I realize that people have some traumatic memories of pre-'80s Saturday morning cartoons. The likes of Gilligan's Planet (which according to my collection of tapes features a "Copyright MCMLXXIV" in the closing credits), Robinson Family 2200, Amazing Chan Clan, and Hong Kong Phooey have been bandied about. The first three series of Scooby Doo, and Superfriends might not have been perfect (and even the restored versions we sometimes see on Boomerang/Cartoon Network Classic show flaws that have become that much more glaringly obvious with time) but they seem to have been the best of a very bad bunch.

    On the other hand, there are a few hidden gems. The original run of Johnny Quest, Herculoids, (if you can get past the constant recycling of stock footage), and even Mighty Mouse stand out from the pack in this regard (well, IMNSHO), and that's not counting the Japanese imports like Astro Boy (First Series), Speed Racer, Gigantor, Star Blazers (Star Warship Yamato), and Gatchaman.

    The biggest problem with them in OTL is that networks and studios treated them as something shiny but disposable, made to, at most, sell toys, candy, and maybe tie-in comics or storybooks. Is there any possiblity that at some point in the future Desilu might either acquire a struggling American animation studio that OTL either went under (Like Freling-DePatie or Filmation), sold out to the big boys (Like Rankin-Bass, or Hannah-Barberra just before the POD), or was reduced to contracting out to the Japanese and/or dubbing their stuff in English and Spanish for the Western Hemisphere (Like DIC), or start one, just to show America how it's really done?
     
    Last edited: Feb 1, 2012
  3. Brainbin Kingpin of the Cultural Cartel

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    More To Come... Right After These Messages

    The "present date" is May 19, 1972 (a Friday). In Hollywood, the first annual Saturn Awards ceremony is underway. Star Trek, despite having been off the air for nearly a year, is cleaning up in the television categories. The event marks the first full reunion of the cast and crew since filming wrapped on the series finale in April, 1971. It marks a fitting conclusion to the 1971-72 season.

    The year has been one of transition throughout the television industry; the aftershocks of the PTAR continue to resonate with the networks. CBS executives, having completed their Rural Purge, can't help but face lingering questions as to whether those drastic measures might have gone too far. Fred Silverman, for his part, continues to regret nothing. In contrast, NBC spends most of the season facing an identity crisis, which represents a microcosm of the societal changes facing the United States in the early 1970s.

    Both Desilu and Paramount, whose studios are next-door-neighbours to each other in Culver City, are each developing an additional series that will premiere in September of 1972. Paramount, which continues to lease studio space from Desilu, is finally seeing sustained success in the television industry, despite its (very) late start. But Desilu continues to uphold their own sterling reputation, with Lucille Ball and her right-hand man Herbert F. Solow intending to keep it that way; the studio is also branching out into entirely new ventures.

    So, what can we expect next, and all on account of that wacky redhead?

    We'll be taking our usual general overview of the next production and broadcast season: 1971-72.

    There will be another production appendix, this time with assorted trivia and statistics for the entire run of Star Trek.

    We'll have a look at the reception of Doctor Who as a continuing series broadcast in the United States.

    Our exploration of pop culture will continue with a look at sport (or "sport", depending on your definition of the word) in the early 1970s.

    We'll tackle the transformation of Those Were the Days from a raw, edgy, and controversial sitcom to a touchstone of early 1970s society.

    And, finally, we'll continue to explore the world of science-fiction in this era, as the impact of Moonshot Lunacy finally begins to wane...

    All this and more, coming up on... That Wacky Redhead!

    Thanks to all of you for over 30,000 views, and for 25 pages of comments! You can expect the first of these updates this weekend.
     
  4. Theodoric Taxman

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    Great TL, keep it up. :)

    Also, I'm so happy the Dutch commercial broadcasters (who were only allowed in 1989) decided to broadcast all the old American shows right at the time I was growing up. :)
     
  5. Brainbin Kingpin of the Cultural Cartel

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    And now, for my responses to your comments! Also, stay tuned for a special announcement at the end of this post...

    Yes, cable jumped on the 24-hour bandwagon early, but the networks continued to go off the air for at least part of the day well into the 1990s, if not later - though I believe it was only for two hours (from 2:00 to 4:00 AM) in most of the major markets.

    Going through puberty in Japan, of all places. What an experience that must have been :eek:

    That's a reference to TV Tropes - drink up, everybody!

    The interesting thing about "Married... with Children" is that, yes, its raison d'etre was deconstructing the family sitcoms of the 1980s (it even had the working title "Not the Cosbys"), but it was eclipsed in this arena very quickly with the rise of "Roseanne" (whose star, probably not coincidentally, was the original choice for the role of Peggy). Up to that point, "MWC" was relatively realistic and even feinted at social commentary, but I think they knew better than to compete eye-to-eye with an overall much higher-quality show, and decided to engage the Flanderization process. In the opinions of many, they made the right call. I probably agree.

    Worth noting is that these sugary-sweet, lesson-learned 1980s family sitcoms were themselves a reaction against the edgy, combative family sitcoms of the 1970s, which were in turn a reaction against the sterile, artificial family sitcoms of the 1950s and 1960s.

    Too bad. What would you do if Scotty ever came to your humble tavern and asked for some "very, very old Scotch"? ;) That sounds very nice, though. Put me down for a shot of the stuff, whenever I make it to your neck of the woods.

    I don't even know what half of those things even are, and frankly, I don't think I ever want to find out :eek:

    You're welcome. It's actually going to be quite significant in the 1971-72 season, as you'll soon discover...

    You know, I've never eaten haggis. And considering some of the rather exotic things I have tried (frog legs really do taste like chicken!), perhaps I should avail myself of the opportunity. I'll wash it down with some Irn Bru and then have a Deep Fried Mars Bar for dessert :D

    Deleted the second part of that quote, which has nothing to do with "By Any Other Name", which is where that line is really from :mad:

    Exactly. It's just plausible enough that the audience would willingly suspend their disbelief.

    I've noticed that a lot of people will make an exception for him, but if he's really that good, then why hasn't he left? All the good ones leave eventually, it's just the way it is. Oh, sure, some of them come back for Stratford or the occasional prestige production filmed in Canada and co-funded by Canadian interests, but they still leave. Even Sarah Polley left, for crying out loud!

    Even more obviously, "Mary Hartman, Mary Hartman". Perhaps the most controversial of all the shows in the Norman Lear stable, which is obviously saying something. But forget tame - most people today don't even know that it exists!

    You may have missed it, Kalvan - and it was forever ago, so I don't blame you - but Scooby-Doo is not a friend of mine. "Superfriends" is fun in a campy, cheesy way, in much the same way as "Batman" (which, for the record, I enjoy), but it's certainly not good in any objective sense. As far as I'm concerned, I've wiped out one of the very few bright lights of 1970s cartoons in the animated Star Trek series. I will investigate some of your other suggestions, certainly. Part of the reason I judge cartoons of this era so harshly is that I grew up during the animation renaissance, when quality cartoons were on the air! You really don't know what you've got until it's gone... :(

    That's a very intriguing possibility. I'll neither confirm nor deny any of it, but I will say that Desilu is looking to branch out...

    Thank you, Theodoric, and welcome aboard! I'll do my best :)

    I'm sure by now you appreciate how lucky you were. Also, for those of you keeping score at home, Theodoric is the first confirmed reader of this timeline to be younger than Yours Truly! Congratulations! I hereby award you the Ponce de Leon Memorial No-Prize!

    Those of you who follow other timelines on this board may be aware of Eyes Turned Skywards, a TL about the more successful exploits of NASA in an alternate 1970s and beyond. One of the co-authors, e of pi, invited me some time ago to collaborate with he and his partner, and I've written a guest post detailing yet another potential fate for Star Trek. For those of you who might be interested in learning more about the sadly squandered space program and the missed opportunities that it presented, I urge you to give the timeline a chance. It's another great thread that eschews the usual war-and-politics routine, and it does so with great aplomb.
     
  6. phx1138 Bocagiste troll

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    I do know it was lifted. I like the "TNG" use better, because it recognizes the audience gets the reference.
    I can't speak to it. All I know is, I've never seen him do bad work. Likes being a big fish in a small pond?:confused:
    IDK if I should applaud your bravery or recommend a good psychiatrist.:p
    I recall it, but never watched but the once AFAI recall, & didn't like it. "Soap", OTOH, had me from the very opening of the first episode.:cool:
    So I suppose you also hate Yogi Bear & Underdog? Both I recall liking... (Snagglepuss' "Exit, stage left" always got me.;))

    And a question on toons: does anybody remember a spy toon? I have a vague recollection of it being "Spy v Spy", & the only thing I remember is the quote: "I have my licence to kill. Now if I could only find my licence to drive." It's bugged me for years I can't recall the name of the show...:mad:
    A recommendation I will follow, for one. It's a subject of interest, & if you're endorsing it, it's at a minimum worth looking at.
     
  7. Kalvan Well-Known Member

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    That would be James Bond, Jr. Yecth!!!
     
  8. Glen ASB & Left Hand of IAN Moderator

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    Those were dark days for nightowls when the stations would flicker to static, leaving only the wail of the radio to fill the vast chasm of the night....
     
  9. phx1138 Bocagiste troll

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    That does not ring even a tiny bell.:eek: I do recall liking it...but by now, it's well-established my tastes are idiosyncratic at best.;)
     
  10. The Professor Pontif of the Guild

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    Wooo for updates this weekend! :D
     
  11. Brainbin Kingpin of the Cultural Cartel

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    That's actually a very logical explanation - after all, he's a Companion of the Order of Canada (one of only 165 - and, as far as I can tell, the only actor on that list), and he certainly wouldn't have gotten that if he had sought fame and fortune stateside. And he does have a special place in my childhood memories, for having played Babar, King of the Elephants.

    For my money, Rod Roddy was one of television's greatest announcers. He'll have a very fruitful career ITTL.

    No, I didn't care for Yogi in the least. Snagglepuss was fun, of course, if incredibly one-note. Did he actually do anything other than exit, stage left even? Same with Huckleberry Hound... what a stuffed shirt he was. At least Yogi had a schtick, however lame.

    I was wondering where you had gotten to, Glen!

    Thank you, Professor :D Fingers crossed, I hope to have the next update ready for tomorrow.
     
  12. Kalvan Well-Known Member

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    Well, Snagglepuss in his own show (that lasted all of two seasons in the Early Sixties) was a bumbling Inspector Clousseau type of character (he was a [spoof of a] private eye, originally), sort of like Inspector Gadget without the gadgets, a Penny character, or a specific nemesis character like Dr. Claw.

    Huckleberry Hound was originally a more laid back, much less melancholy version of Droopy. (Complete with temper, but only three villains during the entire run of his original series pissed him off enough for him to show it.)

    It's simply that when Hannah-Barberra decided to do an ensemble crossover seires and shorts for their animals in the grand tradition of Looney Tunes, they decided (rather arbitrarily IMNSHO) that Yogi would be their Bugs Bunny. Then it was discovered by everyone outside the Funtastic World that their new staff writers simply couldn't write, and that they had Flanderized the bejesus out of all the rest of them. Aside from Yogi and Booboo, the only characters to retain much of thier respecitve original depth (which admittedly wasn't a lot) were Quick Draw McGraw and Dixie the Mouse.
     
    Last edited: Feb 3, 2012
  13. Glen ASB & Left Hand of IAN Moderator

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    RL kinda busy right now - savin' lives and what not....
     
  14. vultan Defying Gravity

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    Hmm... Hee-Haw survives in syndication at least (as per OTL as far as I know)... maybe Elvis actually appears on the show like he wanted to (though it would take some large butterflies, as it's only in local syndication).

    Keep the good stuff coming, Brainbin!:)
     
  15. phx1138 Bocagiste troll

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    I'd agree, tho I was thinking more of the content than the delivery. It was just that trifle silly without being stupid...& then the fight started, & they had me.:cool:
    It's been too long for me to say anymore. I barely recall watching it, let alone the content.:eek:
     
  16. Brainbin Kingpin of the Cultural Cartel

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    The More Things Change, The More They Stay The Same (1971-72)

    "This is the big one!"

    - Fred Sanford, "Sanford and Son"

    The 1971-72 season was the first of the "Modern TV" era, though several later analysts would, with characteristic pretentiousness, describe this period in television as subsumed within the greater "New Hollywood" movement; but this would be an overly simplistic generalization. Certainly, the continued presence of the Standards & Practices departments at all three commercial networks, coupled with strong regulations by the FCC, prevented the spread of explicit sexual content and violence from the big screen to the small one. For example, "porno chic", a movement which was on the rise in American cinema at the time, would have no equivalent in television. Even the most controversial show on the air, Those Were the Days, didn't dare show their characters moving beyond first base. Furthermore, producers still lacked the creative freedom enjoyed by filmmakers, and were tethered to strict budgets and tough scheduling deadlines. Some of the studios were more indulgent than others, but there was still a tremendous difference between how they handled weekly series and how they handled major motion pictures. It was no coincidence that the most indulgent studio wasn't even in the movie business.

    The three commercial networks were forced to adapt to the new twenty-one hour primetime schedules, and some of them were coping better than others. CBS, despite having cancelled nearly two-fifths of their 1970-71 lineup, seemed to be taking it the best, though any potentially dissenting voices were tightly muzzled by Fred Silverman, who took to describing his leaner, meaner network as "a new CBS for a new era of television", helping to cement the idea of a dividing line between "Classic TV" and "Modern TV" within the industry.

    NBC executives found themselves torn. They had 11 Top 30 hits for the season, more than any other network; [1] but their programming choices were, to say the least, erratic. All three of their major Westerns (which, by the early 1970s, were considered a "dinosaur" genre) remained on the air, but at the same time, they carried the most racially diverse lineup on television. Their top-rated show (ranked #2 overall in both 1970-71 and 1971-72) was a variety program starring a black comedian, Flip Wilson; he was described by Time Magazine, in their January 31, 1972 issue, as "TV's First Black Superstar". This designation was playfully challenged by Bill Cosby, a frequent guest on Wilson's show, who also starred on an eponymous series (a sitcom) [2] on NBC, resulting in the famous "Battle of the Superstars" sketch. Many observers noted that, although there had been no black performers in recurring, non-stereotypical roles on television just seven years before, now there were two big TV stars, both of whom were very popular with white audiences. And this disregarded the other shows on NBC with black leads: "Julia", starring Diahann Carroll [3], and, partway through the season, a new series with a largely black cast: "Sanford and Son". It starred another black comedian, Redd Foxx, and also gained traction with white audiences, becoming the highest-rated new show of the year. Indeed, even a program with the racial composition of Star Trek - a small contingent of minority characters in supporting roles - considered radical and progressive just five years before, was, if not quite commonplace, then at least far from unusual. Even the long-running western, "Bonanza", was well-known for its sympathetic portrayals of minority characters.

    But, as in society in general, for all the advances that had been made, the struggle to win hearts and minds was ongoing, and there continued to be setbacks. Critics of racial integration, and indeed, any non-stereotypical depiction of African-American characters, made their opinions known about their increased presence on television. Though ABC and CBS also had a minority presence, they were most visible on NBC, and thus they were the primary target of detractors; they even targeted Star Trek, which was now in syndication, and no longer had anything to do with the network (though many affiliated stations would air the show on weekdays at 7:00 PM). The famous claim that NBC was the network of "Negroes, Blacks, and Coloreds" [4] (which, sadly, was actually the bowdlerized term) also dates from this era; it was popularly attributed to then-Governor of Alabama, staunch segregationist, and past (and future) Presidential candidate, George Wallace, though this is almost certainly apocryphal. [5] Indeed, the harshest media critics of minority representation tended to focus more strongly on television, having effectively "ceded" any aspirations for reversals in the movies. For in addition to Porno Chic, another famous trend of the early 1970s, Blaxploitation, was riding high. For the first time, movies made by black filmmakers and intended for black audiences were being produced on a large scale, though the nature of much of its content was morally ambiguous - indeed, the genre was stereotyped as featuring drug dealers, pimps, and gangsters, all going about their business and fighting against "The Man" (invariably white, and often corrupt law enforcement). The truth, as is always the case, was more nuanced and complex. But without question, the genre stuck a chord with audiences. One of the most famous Blaxploitation films, Shaft, won Isaac Hayes an Academy Award for Best Original Song, making him the first person of colour to win an Oscar for any discipline other than acting; he would later dedicate his win to "the black community". On the whole, if minority representation in the media could be taken as a microcosm of their overall place in society, there was cause for optimism, but there was still plenty of progress yet to be made.

    As always, in the face of dramatic societal changes, life continued to go on in the television industry, especially at those two neighbouring studios in Culver City. Herbert F. Solow's promotion to SEVP and COO of Desilu necessitated a shake-up among the line positions at the company, most obviously in creating a need to hire his replacement as Vice-President in Charge of Production. Solow suggested his close friend, and a proven administrative talent, Robert H. Justman, for the position; Lucille Ball accepted this proposition, and he was immediately hired. From then on, and despite all the care and attention that he had devoted to Star Trek, Justman would now have to juggle the interests of the three other shows currently running, as well as the various pilots that the studio was developing, in order to have another show on the air for the 1972-73 season. Gene Roddenberry was one of the several producers to come to Desilu with a pitch, hoping to renew his association with the "House that Paladin Built", and was optimistic about his odds, given his friendships with Solow, Justman, and Ball. They all liked his pitch, about a man from the present day, flung forward in time by an unfortunate accident [6], but they also remembered the difficulties in getting Star Trek off the ground first-hand. It was Justman who eventually suggested selling the idea as a pilot movie, allowing them to recoup as much of their potential losses as possible. This meant that any series would not begin airing until at least the 1973-74 season, which obviously displeased Roddenberry a great deal; in exchange for this setback, Solow offered him the chance to develop another pilot, with the potential of ultimately having two shows on the air at the same time. Gene, who despite the lofty ideals of his most famous creation, was himself rather avaricious, jumped at the opportunity.

    What was now the undisputed senior show in the Desilu stable, "Mission: Impossible", continued into its sixth season apace. The previous two-year contract with Martin Landau and Barbara Bain had expired, but a new one was drawn up with surprising ease, given the resources that had been freed up by the conclusion of Star Trek. Nonetheless, Landau and Bain continued to drive a hard bargain, and it was decided by all parties - led by the notoriously frugal Justman, in his first major decision as VP of Production - that this two-year extension would be the last. This essentially meant that the show would be finished after that, for who would want to go on without Rollin Hand and Cinnamon? [7] But despite securing their continued presence, the show did not go on without one major casualty: Peter Lupus, having grown weary of his role, was unable to come to terms in re-negotiations; his departure marked the end of the "classic" lineup, which lasted for four seasons. He was replaced by Sam Elliott [8] for the remainder of the show's run.

    But one of the studio's primary challenges came from the question of how to handle the incoming footage from Doctor Who, which Desilu - under the terms of their syndication deal with the BBC - were now obliged to compile into the final product. Here it was Solow who devised the winning solution: dedicated post-production facilities, staffed by the now-unemployed effects artists and editors who had worked on Star Trek. Such a facility could function as a separate division of the studio, and it would be able to generate revenue; for in addition to keeping the post-production work for Desilu in-house, they could also accept work from outside sources. Ball, for her part, wasn't particularly enthusiastic about the idea, but she trusted the judgment of her key lieutenant, and agreed to establish what would become known as Desilu Post-Production. All of the post-production workers for the various shows being produced were to work out of this division, and be "assigned" to a given series as needed; in practice, this new bureaucratic arrangement had very little effect on the average editor's day-to-day life. Solow also hired a few additional technicians to accommodate the work coming in from outside the studio; one of the handful of editors brought on board was a young woman named Marcia Lucas. [9]

    Meanwhile, at Paramount, the company had more good news to report when "Room 222", once on the brink of cancellation, had risen into the Top 30 for the 1971-72 season, alongside their established hit, "Mary Tyler Moore". Their two other shows, "Barefoot in the Park" and "The Odd Couple", continued to do well enough to justify their continued renewal; so Grant Tinker, whose creative juices were always flowing, decided to develop a fifth series. He commissioned a pilot from two "Mary Tyler Moore" writers, Lorenzo Music and David Davis, in the hopes of creating another star vehicle for another popular entertainer of the 1960s: button-down comedian Bob Newhart.

    At the Emmy Awards for that season, held in May, 1972, Elizabeth R, produced by the BBC and aired by PBS in the United States, won the Award for Outstanding Dramatic Series. It was the first time in six years that Desilu did not win the award; the star of the series, Oscar-winning actress Glenda Jackson, also received an Emmy for her performance as the Virgin Queen. On the Comedy side of the ledger, Those Were the Days repeated for Series, as did Jean Stapleton for Lead Actress; this time, Carroll O'Connor also won, for Lead Actor, as did their onscreen daughter, Penny Marshall, for Supporting Actress. (The fourth cast member, Richard Dreyfuss, was not eligible in any category; the relevant category, Outstanding Supporting Actor in a Comedy Series, was first awarded at the following year's ceremony.) "The Flip Wilson Show" repeated for Outstanding Variety Series, and Star Trek was presented with a Special Emmy Award in recognition of its creative achievements throughout its run, which was accepted by the show's producers. [10] This combination of fresh faces and continuity at the awards ceremony was clearly reflective of the television landscape as a whole...

    ---

    [1] IOTL, NBC had eight Top 30 hits this season, including the mid-season pick-up "Sanford and Son", and three in the Top 10 (again including "Sanford"); ABC had eight in the Top 30, and two in the Top 10; CBS had fourteen in the Top 30, and five in the Top 10.

    [2] "The Bill Cosby Show" ran from 1969 to 1971 IOTL. More favourable scheduling results in the show remaining in the Top 30 for its second season, which allows it to come back for a third. This provides the opportunity for the "Battle of the Superstars" sketch, which does not exist IOTL. Among other things, this also means that Cosby will not join the cast of "The Electric Company".

    [3] "Julia" also benefits from better scheduling, and therefore better ratings, narrowly making the Top 30; it also returns for a fourth season, after which it will reach the magic 100 episodes and become eligible for syndication.

    [4] This term was never used IOTL; here, the continued run of "Bill Cosby" and "Julia" on NBC in addition to "Flip Wilson", and now "Sanford" as well, along with the enduring legacy of Star Trek (and "Bonanza"), is enough to give the network an (exaggerated) reputation as "the black network", similar to OTL FOX in the early 1990s, and then UPN at the turn of the millennium.

    [5] No, Wallace did not coin the term ITTL; the accusation that he did was thrust upon him in the 1972 election campaign, and given his apathy and, when pressed, half-hearted denials regarding the subject, it became popular to assume that he had, in fact, said it.

    [6] The pitch being described is the same basic premise as Genesis II, which only got as far as the pilot movie phase IOTL. It was later completely re-worked, developed and (originally) produced by Robert Hewitt Wolfe, and aired as "Gene Roddenberry's Andromeda". (And yes, the premise is also very similar to a certain mostly-comedic cartoon series.)

    [7] The correct answer to that question is: the people of OTL, who continued to watch "Mission: Impossible" for four seasons after the departure of Landau and Bain - longer, in fact, than their three season tenure. Among their replacements was Leonard Nimoy, who had just been fired from Star Trek; famously, all he had to do to get to his new job was just walk across the lot.

    [8] IOTL, Elliott joined the cast during season six, but audiences didn't take to his character; Lupus was eventually brought back, with the promise of a meatier role. ITTL, with the continuing presence of Landau and Bain, he won't be missed nearly as much.

    [9] Yes, that Marcia Lucas.

    [10] Most of the Emmy wins here are as IOTL, with two exceptions: Marshall, a better actress than Struthers, wins her Emmy outright instead of Struthers sharing it in a tie with Valerie Harper; and "Flip Wilson" wins for Variety Series over "The Carol Burnett Show". (And, obviously, Star Trek did not win a Special Emmy IOTL.)

    ---

    So here we are with another look at the sociopolitical situation of TTL in the early 1970s! Part of my motivation in making this update was to remind everyone that this is not a utopia - race relations are generally better, and that's duly reflected on television (in the movies less so, given the existence of Blaxploitation as a "release valve"), but there's going to be resistance, and people weren't as eager to be politically correct in the early 1970s. Humphrey is going about desegregation ITTL in much the same way that Nixon did IOTL, only he's a lot louder about it; and people tend to fight back a lot harder when they're up against the wall.

    I hope that you all find some of the plot threads I'm developing here to be intriguing. It's all going to build rather slowly and deliberately compared to the (relatively) fast pace of the early years, but I still don't see my update schedule falling below approximately one update per week. So, until next time, thank you all for reading, and I will greatly appreciate your comments on this and all other posts!
     
    Last edited: Feb 18, 2012
  17. Glen ASB & Left Hand of IAN Moderator

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    So I wonder if this means no Picture Pages, no Fat Albert....

    Makes sense.

    Funny.

    [6] The pitch being described is the same basic premise as Genesis II, which only got as far as the pilot movie phase IOTL. It was later completely re-worked, developed and (originally) produced by Robert Hewitt Wolfe, and aired as "Gene Roddenberry's Andromeda".[/QUOTE]

    There are many parallels between Genesis II and Andromeda, but Andromeda is on a much, much larger scale, and I think that makes a difference.

    Ok, you completely lost me on this one.

    Right - nice implausbility showing up IOTL nod.

    Always liked Sam Elliott. Wonder what direction his career will take ITTL.

    Interesting choice, as is the whole 'Desilu Post-Production Unit'.

    Can totally see that.

    Not so sure on that one.

    Wow this series is lingering....

    One per week? Oh well, that'll take a while....
     
  18. vultan Defying Gravity

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    Yes! Sanford and Son!:D

    Man, I grew up on that show!
     
  19. Electric Monk Does Your Believing For You

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    I find Desilu Post-Production interestingly similar to ILM.

    I feel so bad for Robert Hewitt Wolfe IOTL. He came up with a broadly fun (with the most realistic space battles ever on TV or film) and interesting characters and then Sorbo got him fired because he wanted it to be the Kevin Sorbo Show. Sigh. It was cheesy in the first couple of seasons, but it was because they couldn't not be cheesy given the budget and material and there were moments beyond that.

    (Oh, and original Trance in purple was smoking hot.)
     
  20. e of pi Turbine Printer

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    Location:
    Halfway to Anywhere
    I was just thinking about this today, I was browsing Shapeways and was reminded one of my friends did this amazing model of the ship--which really has great elegance to it. I was too young to see it when it first came out, caught the first six episodes or so in a marathon on scifi when I was home sick from school, and then tried to get it on Netflix--and got the third season or something. Everything that I'd liked in the first few episodes was gone, and a bunch of the stuff that stuck around was the worst elements. Sad. It had an interesting premise.

    (The other element of the ship wasn't bad either.)