That Wacky Redhead

[Voice of The Empire]

Voice of the empire is my name; an empire of what, I cannot say. I'm 27. As for favorite episodes, I don't know if I can name just one, so I'll give you a list of my own:

City on the edge of forever
Let that be your last battlefield
Trouble with tribbles
Balance of terror
Patterns of force
Space seed

 

[volantredx]

Hey BB I'm in my mid 20s. As for ST may favorite episodes is either Space Seed or Balance of Terror.

 

[Francisco Cojuanco]

Date of Birth: June 4 1991, so after the end, unfortunately.

 

[Maltaran]

1984 for me. As for favorite episode, I have watched very little of the original series, for me it was mostly DS9 and Voyager.

 

[NCW8]

You know, that's pretty good, and now I'm torn between confirming it, or specifically renaming the *Falcon just so they can't use that ITTL

Thanks - maybe the Trial of the Millenium Falcon could get used in something like the Tonight Show monologue.

Actually, the Millenium Falcon itself is going to be different ITTL anyway. IOTL the design of the ship was changed at a very late stage because it looked too similar to the Eagles from Space 1999, which is obviously not an issue ITTL. The model for that original design had already been made and, in order not to waste it, was used as Leia's ship at the start of the film.

Cheers,
Nigel.

 

[Thande]

Thanks - maybe the Trial of the Millenium Falcon could get used in something like the Tonight Show monologue.

Actually, the Millenium Falcon itself is going to be different ITTL anyway. IOTL the design of the ship was changed at a very late stage because it looked too similar to the Eagles from Space 1999, which is obviously not an issue ITTL. The model for that original design had already been made and, in order not to waste it, was used as Leia's ship at the start of the film.

Cheers,
Nigel.

This is broadly correct although I think the model hadn't been made, it was just the rough design that was turned into the Corellian corvette--I think the original design suggested a smaller ship, as you'd expect for something that would have been the Millennium Falcon. It's an interesting point either way.

EDIT: Here are the original designs. Wookieepedia says one of them was also used as the basis for the red diplomatic ship at the start of Episode 1.

 

[AltBBCGordon]

September 1986 here

 

[Andrew T]

Star Trek Top 10:

1. City on the Edge of Forever
2. Balance of Terror
3. The Menagerie, Parts 1 & 2
4. Mirror, Mirror
5. The Trouble With Tribbles
6. Tomorrow is Yesterday
7. Who Mourns For Adonais?
8. The Ultimate Computer
9. Where No Man Has Gone Before
10. A Piece of the Action

 

[nixonshead]

Here are the original designs. Wookieepedia says one of them was also used as the basis for the red diplomatic ship at the start of Episode 1.

Interesting! But that second prototype must be a decoy, several of the escape pods have been jettisoned

 

[Brainbin]

Voice of the empire is my name; an empire of what, I cannot say. I'm 27.

Thank you for sharing, Voice of the Empire! I took that to mean you were born in 1986; please correct me if it was, in fact, 1985 instead.

As for favorite episodes, I don't know if I can name just one, so I'll give you a list of my own:

And thank you for that. A list is actually exactly what I was looking for; in fact, I may impose a minimum episode limit - five seems workable.

Hey BB I'm in my mid 20s. As for ST may favorite episodes is either Space Seed or Balance of Terror.

I appreciate that, voltantredx; thank you for sharing.

Date of Birth: June 4 1991, so after the end, unfortunately.

You're far from the only one. The 1990s cohort remains small (only the 1950s has provided fewer posters, of the five I've logged so far), but robust

1984 for me.

Thank you, Maltaran!

Thanks - maybe the Trial of the Millennium Falcon could get used in something like the Tonight Show monologue.

Perhaps, perhaps. I'm not sure a joke like that reads like something Johnny Carson would say, though.

Actually, the Millenium Falcon itself is going to be different ITTL anyway. IOTL the design of the ship was changed at a very late stage because it looked too similar to the Eagles from Space 1999, which is obviously not an issue ITTL. The model for that original design had already been made and, in order not to waste it, was used as Leia's ship at the start of the film.

This is broadly correct although I think the model hadn't been made, it was just the rough design that was turned into the Corellian corvette--I think the original design suggested a smaller ship, as you'd expect for something that would have been the Millennium Falcon. It's an interesting point either way.

Well, gentlemen, I may be able to make use of this information - and those sketches, so thank you for those, Thande - in future. I certainly won't commit to anything until I can say for sure (especially since I haven't initiated anything yet), but I just might have a... special connection.

September 1986 here

Welcome aboard, ABG! I hope you're enjoying the timeline, and thanks for sharing your demographic info

Star Trek Top 10:

Thank you for sharing, Andrew!

Interesting! But that second prototype must be a decoy, several of the escape pods have been jettisoned

Don't worry, I scanned those jettisoned escape pods, and there were no life-forms. They must have short-circuited

Some unfortunate news - the update is coming along at a slower-than-expected rate. I won't give you a new ETA, but I hope to have it done as soon as I can.

Thank you all, as always, for your patience and understanding.

 

[Clorox23]

02/26/1995

 

[ryu238]

If you asking for birthdates, mine is August 2, 1989

 

[The Walkman]

Hello! Long-time subscriber, first-time commenter here.

First, I'd like to say this is far and above one of the best timelines I've ever read on this site. There are so many points in the narrative that make me smile I don't even know where to start. Also, I forgive you for killing off Robin Williams (a personal idol of mine), if only because you saved John Lennon in the process. I have a few questions I'd like to ask, but at the risk of sounding polite on my first post here, I'll ask them a bit later.

Second, my birth date is June 2, 1986, and my favorite Star Trek episode (from the ones I've seen, anyway) is "City on the Edge of Forever".

 

[DanMcCollum]

March 20, 1982. I've been butterflies away in this TL a long time back; I doubt my parents even met.

 

[Brainbin]

I felt the need to make this post in order to thank all of you for helping to make That Wacky Redhead the ninth-most viewed timeline in the After 1900 forum! I continue to be grateful for its continued popularity, even after all this time. In other news, my RL workload has finally lightened sufficiently to allow work to continue apace on the next update! However, I shall not commit to an ETA, although I certainly hope that my next post to this thread will, at last, be the long-awaited 1981-82 overview update!

02/26/1995

Thank you for sharing, Clorox! I hope you enjoy your stay as part of the small (but growing!) Nineties contingent

If you asking for birthdates, mine is August 2, 1989

And thank you as well, Ryu! Especially since, as we all know, the Eighties contingent is the place to be

Hello! Long-time subscriber, first-time commenter here.

Welcome aboard, The Walkman! I always appreciate hearing from longtime readers

First, I'd like to say this is far and above one of the best timelines I've ever read on this site. There are so many points in the narrative that make me smile I don't even know where to start.

You flatter me immensely Thank you so much for your lovely compliments!

I have a few questions I'd like to ask, but at the risk of sounding polite on my first post here, I'll ask them a bit later.

That is very considerate of you - and, I must say, very much against the grain - but by all means, please feel free to ask me whatever questions you might have.

(I can't guarantee that I'll answer all of them, of course, but there's only one way to find out!)

Second, my birth date is June 2, 1986, and my favorite Star Trek episode (from the ones I've seen, anyway) is "City on the Edge of Forever".

Thank you for sharing! The information has been noted and logged.

March 20, 1982. I've been butterflies away in this TL a long time back; I doubt my parents even met.

That would appear to be the case for most of us, it would seem.. but that's AH for you. Of all the many PODs I've been incubating, only one is set after my own birth.

 

[JSmith]

I felt the need to make this post in order to thank all of you for helping to make That Wacky Redhead the ninth-most viewed timeline in the After 1900 forum! I continue to be grateful for its continued popularity, even after all this time. In other news, my RL workload has finally lightened sufficiently to allow work to continue apace on the next update! However, I shall not commit to an ETA, although I certainly hope that my next post to this thread will, at last, be the long-awaited 1981-82 overview update!

Very well deserved. Sometimes just being good pays off

 

[Brainbin]

You Can’t Go Home Again (1981-82)

LUCY.
Hello, Herbie
Well hello, Brandie
It’s so nice to be back home at Desilu

You’re looking swell, Donny
I can tell, Bobby
You’re still whining
You’re still crying
You’re still staying true.

I feel the room swaying
For the tube’s playing
One of my old favourite shows from way back when, so
Speed it up, fellas
Pour me another cup, fellas
Lucy’ll never go away again

CHORUS.
Hello, Lucy
Well hello, Lucy
It’s so nice to have you back at Desilu

You’re looking swell, Lucy
We can tell, Lucy
You’re still whining
You’re still crying
You’re still staying true.

We feel the room swaying
For the tube’s playing
One of your old favourite shows from way back when, so

LUCY.
Stuff those eggs, fellas
Stomp those grapes to the dregs, fellas

CHORUS.
Promise you’ll never go away again!

LUCY.
I went away from my home at Desilu
To spend some time at CBS
But now that I’m back in my home at Desilu
Tomorrow will be funnier than the good old days

CHORUS.
Those good old days!

[beat]

Hello (well, hello), Lucy
Well hello (hey, look! There’s), Lucy

LUCY.
Let’s make a new start
My heart is all aglow

CHORUS.
She’s all aglow!

LUCY.
You’re lookin’ great, Gary
Lose some weight, Gary?
Maybe now Ricky will finally let me in the show

CHORUS.
I hear the theme playing
Title card saying
And I still get great ratings in the Nielsens, so

LUCY.
Where’s the Queen, fellas?
I’m craving some sardines, fellas

CHORUS.
Lucy’ll never go away again!

[pause for dance number]

Well, well, hello, Lucy
Well, hello, Lucy
It’s so nice to have you back at Desilu

You’re looking swell, Lucy!
We can tell, Lucy!
You’re still whining
You’re still crying
You’re still staying true.

ALL.
I hear the theme playing
Title card saying
And I still get great ratings in the Nielsens, so

LUCY.
Wow-oh-wow, fellas!
Look at the old girl now, fellas!

ALL.
Lucy’ll never go away again!

– The lyrics to “Hello, Lucy!” (set to the tune of “Hello, Dolly!”), as performed by Carol Channing at Desilu Cahuenga, on the evening of October 16, 1981 [1]

It had been thirty years since I Love Lucy had first aired on television, ushering in what cultural historians reckoned as the period of Classic Television – an era which had itself been dead and buried for a decade by 1981. But retro nostalgia continued to reign, and people looked back fondly at the 1950s, though naturally the focus of these recollections varied widely depending on who was doing the remembering. But the networks had to remain focused on the present. CBS, which remained mired in last place, had announced a dramatic shakeup in their line positions in desperate hopes of reclaiming past losses. Grant Tinker, one-time programming executive for the rival NBC, and longtime head of Paramount Television, had accepted the position of network President, giving CBS strong, decisive leadership for the first time since the departure of Fred Silverman for ABC several years earlier. [2] Tinker immediately approached Desilu, with which his network enjoyed a right-of-first-refusal agreement, in hopes of bringing television into the 1980s.

But contrary to their public image, Desilu was increasingly facing an internal malaise, a fear that the studio might be dwelling too heavily in the past. Much of their energies in recent years had been focused on the re-acquisition of I Love Lucy, and the production of the 25th, and then the 30th, anniversary specials, though these had all been very successful. [3] Each show on their current production roster was a throwback: Rock Around the Clock, which remained the flagship program offered by studio even after several seasons, focused entirely on events taking place two decades in the past; Three’s Company had been sold as an “I Love Lucy for the Seventies”, which didn’t seem as timely with Annie Glenn redecorating the White House; Eunice chronicled the lives of people imprisoned by their resentment over past events; Deep Space seemed uncertain as to whether it wanted to revive the Western or re-bottle the lightning that was Star Trek. And even that venerable, groundbreaking series, which had helped to establish “The House that Paladin Built” as the most progressive and innovative studio in Hollywood, even amidst the backdrop of the “new freedom of the screen” in the cinema, had gone off the air an entire decade before. Well, out of first-run… that it was still ubiquitous in syndication cast a long shadow over Desilu’s efforts to move beyond its legacy.

It didn’t help that Lucille Ball turned 70 in 1981 [4] – she was well past retirement age, though she showed no signs of slowing down. Already she had outlasted every other studio chief in Hollywood – though, granted, given that the years since 1962 had been exceptionally tumultuous for the industry, that was perhaps not the accomplishment it might have otherwise been. But the Baby Boomers were nothing if not fickle and antiestablishmentarian, and though they may have been entertained by Lucy as tots and by Captain Kirk as teenagers, they were far less willing to die on the hill for Mash or Janice. Rumblings within the industry were that the once-brilliant entertainer and savvy businesswoman was losing her touch. It didn’t help that the longtime ace up her sleeve, Herbert F. Solow, was on the wrong side of fifty years old. Fortunately, she still had her wildcard: Brandon Tartikoff. Barely in his thirties, he considered Deep Space mere target practice for the other ideas he had in mind.

Gene Roddenberry, for his part, had a massive chip on his shoulder. [5] He was the creator of Star Trek, but Desilu owned the show outright and it alone profited (quite substantially) from its continued success. Roddenberry may have had offices at the Gower studio since 1965, but he increasingly resented the marginalization of his contributions to that series – particularly when juxtaposed against those of his longtime collaborator, Gene L. Coon, whom he snidely came to refer to as “Gene the Martyr”; in the opinions of many, including those at Desilu, Coon (who had been the effective showrunner since the middle of the first season) had done more to define the tone and style of Star Trek than anyone else. Naturally, since Coon’s name was also attached to The Questor Tapes (against Roddenberry’s will, once again, by higher-ups at Desilu), this created a halo effect: the show, while popular and not without its fans, was widely considered the creative inferior of Star Trek, and surely, many reasoned, it would have been better if only Coon were still alive to executive produce, as opposed to Roddenberry (who in fact took a more hands-on approach with that later series in hopes of restoring his previous reputation, only for it to backfire). [6] It was partly for this reason that Roddenberry had returned to space opera with Deep Space, but he frequently clashed with the Executive in Charge of Production, Brandon Tartikoff, regarding the creative direction for the show. Roddenberry wanted to exercise the clout he felt was his due and make the show he wanted to make – a repudiation of the many compromises that shaped both Star Trek and, later, Questor. Marcia Lucas, who edited Deep Space given her experience with Journey of the Force, was heard to remark “This auteur theory bug is becoming a real epidemic”, upon reading one of the veritable mountains of notes that Roddenberry would send along with the footage. [7] But he was fighting a losing battle; Deep Space was attracting a cult audience (as most science-fiction programs did) but hardly the ratings numbers of even Questor, let alone Star Trek. The show fell out of the Top 30 in its second season, and was only barely renewed for a third. Desilu brass were firmly behind Tartikoff in any and all of the power struggles between he and Roddenberry, and it didn’t help that the wunderkind had bigger fish to fry anyway.

Tartikoff was becoming increasingly convinced that the way to bring Desilu out of its rut was to reinvent the wheel – or, rather, a moribund genre. The venerable old police procedural seemed as good a choice as any – Hawaii Five-O had ended in 1980, after a twelve-season run, which made it the longest-running crime drama in television history. The previous threshold of sophistication could not be further refined, in his mind, so it was time to break the mould. And Tartikoff found himself with a surprising new ally at the network to which he was first obliged to bring his ideas – CBS – in the form of Grant Tinker. Since the network also had additional cash flows coming in from Desilu through the buyout of I Love Lucy, Tinker cannily suggested a “reinvestment plan” – that money would effectively remain at Desilu to be spent on the production of a new show for CBS. Tinker liked the “whole new cop show” idea and the two jointly decided on Stephen J. Cannell, a veteran crime show writer who nonetheless had a certain rough edge to him, as the ideal creative mind behind the show. [8] He was commissioned by Desilu to write the pilot, under the instruction to “break all the rules” – and so he did, turning in a draft script that impressed Tartikoff and his superior, Herb Solow, not to mention Tinker. Robert Butler, already known for directing pilots (including that of Star Trek in 1964), was chosen to helm Hill Avenue Beat – so named for Hill Avenue in Pasadena, where Cannell lived, as well as punning off “Park Avenue Beat”, the theme song to Perry Mason. [9]

In directing the pilot for Hill Avenue Beat, Butler was inspired by cinéma vérité filmmaking styles, particularly police documentaries, choosing to implement “guerrilla filmmaking” tactics such as the use of handheld cameras, eschewing detailed composition and even (during high-energy sequences) maintaining focus. The higher-ups at Desilu permitted these audacious departures from conventional cinematographic techniques so long as the show were shot on film as opposed to videotape; Butler would have preferred the grittiness of video but every show ever produced under the Desilu name was filmed as opposed to taped, from an edict imposed by Lucille Ball herself. Despite this, the studio was so singularly impressed with Butler’s contributions to the show that he was granted greater recognition; though a producer credit could not be arranged (because of labyrinthine WGA regulations, only writers were usually credited as producers), Butler was given prominent billing in most advertising for the series, particularly in the trade papers. [10] He was quickly signed to direct every episode of the series, which was a vanishingly rare situation for most American television programs.

There was every indication of shakeup at the other networks, as well. Richard Pryor still had a year left on his contract with NBC, ensuring that his formerly-unstoppable juggernaut, The Richard Pryor Show, would continue, despite the tragic loss of breakout star Robin Williams. Pryor knew better than to try breaking his contract – he agreed to continue with his show, so long as he was given greater creative control. NBC made a counter-offer: Pryor’s leash would be loosened if he agreed to add “a new Robin” to his cast. It was a demand as inevitable as it was insane; even those who accepted the notion that Robin Williams was solely, or at least overwhelmingly, responsible for the success of Pryor, were forced to acknowledge that such success had carried profound risks – which had indeed come to pass. But television executives were about as well known for their foresight as they were for their tact, and so a friend of Williams himself, John Belushi (formerly of the Second City in Chicago), joined the cast of Richard Pryor for its final season. [11] For NBC, it was ideal synergy: their Saturday night offering, SCTV, was staffed entirely by Second City alumni. Belushi, like Williams, was known as an off-set party animal; in happier days, the two were often spotted together at the infamous Medina nightclub (which had, perhaps fittingly, become a dead zone since the Williams overdose).

Also like Williams, Belushi was anarchic, though more physical than verbal in his comedy, and sketches were written to take advantage of this difference in style. But it was no surprise that Belushi could not compete with a ghost, and he became the scapegoat for any and all changes which took place on the show, even though much of the shift in tone was the doing of Pryor himself, who was hoping to push the envelope to its limits while he still had his weekly platform to do so. One observer who was bemused by the situation was George Carlin, already branded “the man who killed the variety show” (to which his inevitable retort was “euthanasia”), who was rumoured to have attempted to dissuade Pryor from “cribbing from my failed variety show to try and screw your own over” [12]. Perhaps his own personal experience had allowed Carlin to presage critical and audience reactions to the fifth, and final, season of Pryor – reviews were vicious, and ratings sank like a stone. The bedrock of the NBC primetime lineup for three seasons fell out of the Top 10, and the exception that proved the rule to the increasing consensus that variety was dead itself died an ignoble death, with NBC issuing a press release in March of 1982 announcing that the network’s professional relationship with Richard Pryor had come to an end. The comedian, for his part, decided to pursue a film career, even cracking jokes to that effect in the series finale: “Maybe I can play Superman” was the last line of his episode-ending monologue. [13]

But even though NBC had lost a cornerstone of their lineup, they were still treading water compared to CBS. Grant Tinker was doing his best to get the network back on its feet, but Tinker faced red tape at every turn – William Paley, the founder of CBS, continued to have a substantial controlling interest in his baby, and – despite recognizing the need for change – was not without a substantial ego. The CBS daytime lineup was performing strongly – from sunrise to sunset, they were only consistently outperformed by the Today Show on NBC – Baba Wawa may have seen her career stall after being scapegoated as “the other woman” (while, by contrast, her fellow adulterer Sen. Edward Brooke had not only comfortably won reelection in 1978 but also had the cachet to briefly mount a challenge to then-incumbent President Reagan from the left in 1980), but she remained ensconced with early morning audiences. By contrast, CBS so dominated the evening news race with their anchor, Walter Cronkite, that upon hearing of the CBS mandatory retirement policy which would have put Cronkite out of work by his 65th birthday (in late 1981), Tinker immediately rescinded it, reasoning that getting rid of Cronkite would be “tossing the last lifebuoy off a sinking ship”. [14] Cronkite, who enjoyed incredible approval and trust ratings with audiences, was very grateful; less so was his heir-apparent, Washington correspondent Roger Mudd, who resigned from CBS to accept the news anchor position at NBC (replacing the retiring John Chancellor, whose newscast had fallen to third place behind both Cronkite and Max Robinson at ABC). [15] Late night was more of a mixed bag. Although Johnny Carson remained solidly in the lead, Merv Griffin on CBS was a clear second, well ahead of Dick Cavett on ABC – in fact, the Alphabet network chose not to renew his contract, which was set to expire at the end of the 1981-82 season. [16] As far as Tinker was concerned, that was all the more reason to keep Merv Griffin at CBS. More personable and friendly than the notoriously reclusive Carson, Griffin was generally regarded as the superior interviewer (and Carson, naturally, as the finer comedian).

For the first time, as the season came to an end, it finally seemed that CBS had potential – to come roaring back and dominate the ratings as it had not done since the early-1970s. But neither NBC nor ABC were willing to cede the gains they had made in the intervening years without a fight. Still, ABC fell back below the majority line, with only fourteen shows in the Top 30, though they dominated the Top 10 with eight shows on the list; one of these was Texas, which repeated as the #1 show on the air. NBC managed only one Top 10 entry, though they maintained their proportionally respectable presence of ten shows in the Top 30. The remaining six, including Hill Avenue Beat, aired on CBS, which saw 60 Minutes as their lone entry in the Top 10, a welcome extension of their sterling news division’s reputation into primetime. [17]

Outstanding Drama Series was awarded to Hill Avenue Beat, in an example of the Emmy Awards attempting to cultivate creativity and innovation by rewarding pioneers – as they had done for Those Were the Days a decade before. Robert Butler won the Emmy for Outstanding Directing in a Drama Series, which was just one of a whopping nine awards won for the series at the ceremony of September 12, 1982 – a new record. [18] It also became the first and only series to win the “Big Seven” Emmys – for series, directing, writing, Lead and Supporting Actor, and Lead and Supporting Actress. Outstanding Comedy Series was awarded to Captain Miller, for its final season – creator Danny Arnold had decided that the storytelling possibilities had been exhausted and felt no need to continue. Its star, Hal Linden, won his second trophy for Outstanding Lead Actor in a Comedy Series, with his joke, “I’m just so glad nobody from Hill Avenue Beat was eligible in this category”, getting the biggest laughs of the night. [19] It was a moment of levity that served as a distraction from the quiet vindication enjoyed by the contingents from both Desilu and CBS – that those left for dead should never be underestimated.

October 16, 1981

As waves of applause filled the makeshift “auditorium” (actually a re-purposed soundstage at the Cahuenga lot), Carol Channing took a bow with her fellow performers. She beckoned to Lucille Ball, sitting in the front row with most her fellow Desilu brass (who were name-checked in the song), to come down to the stage, which she did.

“Carol, that was so beautiful,” she said as the two embraced. “Thank you so much for doing this.”

“Honey, all you have to thank me for is remembering all these new lines. I’ve done the old ones so many times now I was sure I would slip up.”

“You? Not a chance. You’re a consummate professional.”

“Coming from you, sweetie, that means a lot.”

“Well, hey, I run a television studio – I can appreciate having to learn so many new lines in such a short time. Besides, back when you did the movie you didn’t have to learn any new lines, so consider this due compensation.” At this, Ball let out a throaty laugh.

Channing guffawed in return. “No, but Gene Kelly sure made it learn enough new dance numbers to make up for it!” [20]

“But you were wonderful!”

“Thank you, sweetie, you’re too kind. Especially since tonight is about you!”

“No, tonight is about Lucy – there’s a big difference.”

At this, Channing nodded knowingly. “Do you ever miss playing her?”

“Sometimes. But I think that time in my life has passed. Only trouble is I’m not sure when this time in my life will pass.”

“Well, honey, you just let me know when you find out.”

“Don’t worry, I plan on letting everybody know.”

---

[1] Carol Channing has played the role of Dolly Gallagher Levi since originating the part on the Broadway stage in 1964, and for an idea of how her performance here would have looked and sounded, here are two videos for viewer (and listener) reference: this command performance at the White House in the mid-1960s, during the original Broadway run (with the sound dubbed over from the original cast recording); and a rendition at the Theatre Royal, Drury Lane, for the Royal Variety Performance 1979 (much more contemporary with her performance in the update); imagine Channing’s performance from the later rendition (though with her hair dyed red, obviously) combined with the staging of the more intimate (some might say cramped) White House setting.

[2] Tinker ended his active management role at the company he owned, MTM Enterprises, at about the same time IOTL, though instead he returned to NBC (which was also the third-place network at the time) in hopes of rebuilding its fortune. To that end, he hired wunderkind programming executive… Brandon Tartikoff.

[3] The 30th Anniversary Special of I Love Lucy aired on October 15, 1981 ITTL, finishing as the #1 televised event of the night (and of the week), though in the opinions of most critics it was inferior to the 25th Anniversary special (and would lead Ball to refuse any further specials until the 50th, which would not come until 2001).

[4] That Wacky Redhead was born on August 6, 1911 – though she pretended for many years to have been born in 1914.

[5] Gene Roddenberry not acquiring a chip on his shoulder – in any timeline – would simply be ASB.

[6] This is consistent with Roddenberry’s OTL tenure as showrunner for another series which he attempted to frame as a successor to Star Trek (albeit with considerably more cooperation from Paramount than Desilu is giving him for Deep Space), which also showed him to be well past his glory days. Note, of course, that by this time IOTL he had already crashed and burned with Star Trek: The Motion Picture.

[7] Marcia Lucas, like most film editors, was not a fan of the auteur theory. However, her husband George, like most directors, was (and is) a fan.

[8] IOTL, it was Steven Bochco, not Stephen J. Cannell, who was given this writing assignment. Those of you who are familiar with the bodies of work of these two esteemed writers may therefore be able to divine some of the differences that Hill Avenue Beat will have from Hill Street Blues ITTL.

[9] Hill Street Blues was IOTL set in an unnamed American city, usually implied to be Midwestern and heavily based on Chicago. ITTL, as Cannell is based in Pasadena and visits Pasadena stations in his research for the show, he decides to base it in that Southland city (which does indeed contain a Hill Avenue, though I’m not aware if there’s a precinct station there). Also, IOTL, the series first aired midseason in 1980-81; ITTL it isn’t ready until the late spring of 1981 and has to be picked up for the autumn.

[10] Butler left Hill Street Blues after the first five episodes (including the pilot) IOTL, entirely because he felt he wasn’t receiving due credit for his contributions to the show. As noted, Butler is perhaps the finest (and certainly the most accomplished) pilot director in American television, and for him to commit fully to a series is something of an aberration for him anyway (and I wonder if that might have been a factor).

[11] Williams and Belushi’s close friendship is per OTL – Belushi’s devastating death by speedball overdose (very similar to Williams’ death ITTL) has been cited by Williams as a major factor in his own decision to quit cocaine and alcohol. Whether Belushi will learn from Williams in the same fashion ITTL is an entirely different question.

[12] I’m paraphrasing. Those of you familiar with Carlin’s language can probably guess what he really said.

[13] Yes, an obvious reference to Pryor having appeared in 1983’s Superman III IOTL, though he did not play Superman but his wacky (and sadly, not Wacky) sidekick; this kickstarted his film career, for better and (mostly) for worse.

[14] Cronkite was forced into retirement IOTL, and was replaced by Dan Rather, whose rise to prominence has been butterflied ITTL; the ratings and prestige once held by the CBS Evening News steadily declined throughout the quarter-century that Rather occupied the anchor desk – to this day the newscast remains in third place.

[15] Mudd also departed for NBC News after having been usurped by Rather IOTL; he was one of several interim successors to John Chancellor before Tom Brokaw took the position. Likewise, Max Robinson (the first African-American to host a nightly newscast) was one of several rotating successors to Howard K. Smith prior to Peter Jennings getting the job outright. ITTL, however, it is Robinson who emerges triumphant instead.

[16] ABC dumped Cavett in 1975 IOTL; by 1977 none of the three private networks wanted anything to do with him and he moved to PBS, where his show also ended in 1982. During this time, Griffin’s show was still airing in first-run syndication, and would until 1986.

[17] IOTL, ABC had fourteen shows in the Top 30 and three in the Top 10; NBC had just four shows in the Top 30 (and none in the Top 10), and CBS had twelve shows in the Top 30, but seven in the Top 10, including the #1 series on the air, Dallas. (60 Minutes was #2). Hill Street Blues, which aired on NBC, finished at #27 in 1981-82.

[18] As previously noted, Hill Street Blues was first in contention IOTL during the 33rd Primetime Emmy Awards of 1980-81, in which it won “only” eight Emmys for its inaugural season, losing Outstanding Supporting Actress to Nancy Marchand for Lou Grant. (Marchand won in both 1980-81 and 1981-82, which constitute two of her four wins in this category). Barney Miller did indeed win Outstanding Comedy Series for its final season IOTL, though Alan Alda won Outstanding Lead Actor in a Comedy Series for M*A*S*H.

[19] These sorts of jokes abound whenever one individual body of work sweeps an awards show, so I felt it was only right that I include one of them here.

[20] In the 1969 film version of Hello, Dolly! IOTL, the role of Dolly Gallagher Levi, originated on the stage by Channing, was instead played by Barbra Streisand. ITTL, however, for several reasons (including Streisand’s failure to win an Oscar for Funny Girl the year before), Channing (a finalist for the part IOTL) was cast instead, and the film went on to modest success partly because Channing was far less a diva than Streisand and didn’t interfere with the production as she did.

---

Happy Halloween, everyone! I (just barely) managed to honour my informal covenant of posting an update on or before the end of the month, and I can’t thank you all for enough for your seemingly infinite patience in awaiting this update. Welcome to the beginning of the end, sadly– we’re in the home stretch, or what Frank Sinatra (or William Shatner) might refer to as “the autumn of the year”. (Sorry – that song has been stuck in my head ever since I recalled that “dregs” rhymes with “eggs”).

 

[THE OBSERVER]

Hill Avenue Blues. The title doesn't feel the same. Wonder what you plan to do in regards to Dynasty? One more thing, how did Dallas (ITTL Texas) end up on ABC?

 

[Falkenburg]

I can only hope that the OTL Theme Tune somehow managed to find its way through.

Intriguing as ever, if tinged with sadness that we're nearing the end of this exemplary TL.

Falkenburg

 

[Dan1988]

Very interesting, as always, Brainbin.