"To Introduce our Guest Star, that's What I'm Here to Do..." The Hensonverse Fan Contribution Thread

Doin' the ITV Shuffle
ITV auction costs three companies their licences
by Jane Thynne, The Daily Telegraph

17 October 1991
Guest post by @patrzdz

Three ITV companies learned yesterday that their franchises will be withdrawn from January 1993 in the biggest upheaval in commercial television's 37-year history. They are Granada in North West, HTV in Wales and the West [1] and TVS in the South. They lost in the auction of 16 ITV licences to three newcomers - North West Television [2], Merlin TV [3] and Meridian Broadcasting.

The ousting of three ITV companies, which togheter employ 2,500 people, also means that popular staples of ITV schedule such as Coronation Street, World in Action, This Morning and The Krypton Factor, all made by Granada, are likely to be for sale and may be bought by the BBC [4] or satellite stations.

Mr George Russell, chairman of the Independent Television Commission, which awarded the 16 franchises, said although the process had caused "undoubted turnoil" within ITV, "the quality and the viewers will win out".

There were immedate threats of legal action from unsuccessful bidders such as CPV-TV, headed by Mr David Frost [5] and Mr Richard Branson [6], which made three bids that did not pass the inital threshold. Granada, HTV and TVS may also seek leave to appeal in the courts.

The bitterest recriminations were from Granada, one of the largest ITV companies, which has held the franchise since 1956. It will become the biggest independent production company [7] but Mr David Plowright, chairman, said that there is a guarantee that he would sell Prime Suspect, Cracker, World in Action and Coronation Street to satellite television. Mr Plowright said: "It is hard to lose under such circumstances when track record means nothing, money means everything, where perfomances is outweighed by promises".

Though Granada lost through bidding below their rivals, TVS and TSW had submitted the highest bids. TVS [8] was ruled out because their business plan "could not sustain the programme service over 10 years". This suggests that their estimates of advertising growth were more optimistic than the ITC's.

All the existing companies passed the quality threshold but nearly half of the newcomers were rejected at that stage. The fact that only seven of 16 winners submitted the highest bid testified to Mr Russell's determination to value quality above monkey. He did not, however, invoke an "expectional circumstances" clause that would have allowed him to reject a high bidder in favour of a low one with better programmes.

After months of speculation and leaks, the publication of the bids revealed a huge disparity in the sums offered. Apart from ATV's [9] daring unopposed £2,000, Thames [10] and LWT gambled successfully on the quality of their programmes outweighing the high bids of their rivals.

[1] In OTL, both Granada and HTV retained their licenses. The bids by North West TV and C3 Wales & West bid failed on quality grounds.
[2] North West TV was a consortium of six companies - including Yorkshire, Tyne Tees and Mersey Television, which at that time produced Channel 4's soap opera Brookside.
[3] One of Merlin TV's shareholders was Associated Newspapers, who in OTL was the shareholder in Westcountry TV.
[4] Granada did produce some programmes for the BBC in OTL - including a revival of University Challenge and What the Papers Say.
[5] In TTL, Frost was the host of TV-am's Sunday morning interview programme Frost on Sunday until his death in 2013.
[6] Branson would later acquire the Capital Radio Group for £87 million in TTL.
[7] Granada in TTL is also one of the shareholders of British Satellite Broadcasting.
[8] In OTL, both TVS and TSW have overbid for their licenses.
[9] ATV in TTL maintains the Midlands ITV franchise, instead of Central.
[10] Thames in the OTL would lose the London weekday franchise to Carlton.
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The 54th Academy Awards
held at the Dorothy Chandler Pavilion in Los Angeles, California, USA on March 29th, 1982.
Hosted by Johnny Carson.
Produced by Howard W. Koch (replacing Melvin Frank due to health problems).
Directed by Marty Pasetta.

Best Picture:
Chariots of Fire – David Puttnam, producer‡
Atlantic City – Denis Héroux and John Kemeny, producers
On Golden Pond – Bruce Gilbert, producer
Raiders of the Lost Ark – Frank Marshall, producer
Reds – Warren Beatty, producer

Best Director:
Warren Beatty – Reds
Louis Malle – Atlantic City
Hugh Hudson – Chariots of Fire
Mark Rydell – On Golden Pond
Steven Spielberg – Raiders of the Lost Ark

Best Actor:
Henry Fonda – On Golden Pond as Norman Thayer Jr.‡
Warren Beatty – Reds as John Silas "Jack" Reed
Burt Lancaster – Atlantic City as Lou Pascal
Dudley Moore – Arthur as Arthur Bach
Paul Newman – Absence of Malice as Michael Gallagher

Best Actress:
Katharine Hepburn – On Golden Pond as Ethel Thayer‡
Diane Keaton – Reds as Louise Bryant
Marsha Mason – Only When I Laugh as Georgia Hines
Susan Sarandon – Atlantic City as Sally Matthews
Meryl Streep – The French Lieutenant's Woman as Sarah Woodruff/Anna

Best Supporting Actor:
John Gielgud – Arthur as Hobson‡
James Coco – Only When I Laugh as Jimmy Perrino
Ian Holm – Chariots of Fire as Sam Mussabini
Jack Nicholson – Reds as Eugene O'Neill
Howard E. Rollins Jr. – Ragtime as Coalhouse Walker Jr.

Best Supporting Actress:
Maureen Stapleton – Reds as Emma Goldman‡
Melinda Dillon – Absence of Malice as Teresa Perrone
Jane Fonda – On Golden Pond as Chelsea Thayer Wayne
Joan Hackett – Only When I Laugh as Toby Landau
Elizabeth McGovern – Ragtime as Evelyn Nesbit

Best Screenplay Written Directly for the Screen:
Chariots of Fire – Colin Welland‡
Absence of Malice – Kurt Luedtke
Arthur – Steve Gordon
Atlantic City – John Guare
Reds – Warren Beatty and Trevor Griffiths

Best Screenplay Based on Material from Another Medium:
On Golden Pond – Ernest Thompson, based on his play of the same name‡
The French Lieutenant's Woman – Harold Pinter, based on the novel of the same name by John Fowles
Pennies from Heaven – Dennis Potter, based on his 1978 TV series of the same name
Prince of the City – Jay Presson Allen and Sidney Lumet, based on the novel of the same name by Robert Daley
Ragtime – Michael Weller, based on the novel of the same name by E. L. Doctorow

Best Foreign Language Film:
Mephisto (Hungary) in Hungarian – directed by István Szabó‡
The Boat Is Full (Switzerland) in German – directed by Markus Imhoof
Man of Iron (Poland) in Polish – directed by Andrzej Wajda
Muddy River (Japan) in Japanese – directed by Kōhei Oguri
Three Brothers (Italy) in Italian – directed by Francesco Rosi

Best Documentary Feature:
Genocide – Arnold Schwartzman and Rabbi Marvin Hier‡

Against Wind and Tide: A Cuban Odyssey – Suzanne Bauman, Paul Neshamkin and Jim Burroughs
Brooklyn Bridge – Ken Burns
Eight Minutes to Midnight: A Portrait of Dr. Helen Caldicott – Mary Benjamin, Susanne Simpson and Boyd Estus
El Salvador: Another Vietnam – Glenn Silber and Tete Vasconcellos

Best Documentary Short Subject:
Close Harmony – Nigel Noble‡

Americas in Transition – Obie Benz
Journey for Survival – Dick Young
See What I Say – Linda Chapman, Pam LeBlanc and Freddi Stevens
Urge to Build – Roland Hallé and John Hoover

Best Live Action Short Film:
Violet – Paul Kemp and Shelley Levinson‡
Couples and Robbers – Christine Oestreicher
First Winter – John N. Smith

Best Animated Short Film:
Crac – Frédéric Back‡
The Creation – Will Vinton
The Tender Tale of Cinderella Penguin – Janet Perlman

Best Original Score:
Chariots of Fire – Vangelis‡

Dragonslayer – Alex North
On Golden Pond – Dave Grusin
Ragtime – Randy Newman
Raiders of the Lost Ark – John Williams

Best Original Song:
"Arthur's Theme (Best That You Can Do)" from Arthur – Music by Burt Bacharach; Lyrics by Carole Bayer Sager, Christopher Cross and Peter Allen‡

"Endless Love" from Endless Love – Music and Lyrics by Lionel Richie
"For Your Eyes Only" from For Your Eyes Only – Music by Bill Conti; Lyrics by Mick Leeson
"One More Hour" from Ragtime – Music and Lyrics by Randy Newman

Best Sound Effects Editing (as a Special Achievement Academy Award):
Raiders of the Lost Ark –Ben Burtt and Richard L. Anderson‡

Best Sound:
Raiders of the Lost Ark – Bill Varney, Steve Maslow, Gregg Landaker and Roy Charman‡

On Golden Pond – Richard Portman and David M. Ronne
Outland – John Wilkinson, Robert W. Glass Jr., Robert Thirlwell and Robin Gregory
Pennies from Heaven – Michael J. Kohut, Jay M. Harding, Richard Tyler and Al Overton Jr.
Reds – Dick Vorisek, Tom Fleischman and Simon Kaye

Best Art Direction:
Raiders of the Lost Ark – Art Direction: Norman Reynolds and Leslie Dilley; Set Decoration: Michael Ford‡
The French Lieutenant's Woman – Art Direction: Assheton Gorton; Set Decoration: Ann Mollo
Heaven's Gate – Art Direction: Tambi Larsen; Set Decoration: James L. Berkey
Ragtime – Art Direction: John Graysmark, Patrizia von Brandenstein and Anthony Reading; Set Decoration: George DeTitta Sr., George DeTitta Jr. and Peter Howitt
Reds – Art Direction: Richard Sylbert; Set Decoration: Michael Seirton

Best Cinematography:
Reds – Vittorio Storaro‡

Excalibur – Alex Thomson
On Golden Pond – Billy Williams
Ragtime – Miroslav Ondříček
Raiders of the Lost Ark – Douglas Slocombe

Best Makeup:
An American Werewolf in London – Rick Baker‡
Heartbeeps – Stan Winston

Best Costume Design:
Chariots of Fire – Milena Canonero‡

The French Lieutenant's Woman – Tom Rand
Pennies from Heaven – Bob Mackie
Ragtime – Anna Hill Johnstone
Reds – Shirley Russell

Best Film Editing:
Raiders of the Lost Ark – Michael Kahn‡

Chariots of Fire – Terry Rawlings
The French Lieutenant's Woman – John Bloom
On Golden Pond – Robert L. Wolfe (posthumous nomination)
Reds – Dede Allen and Craig McKay

Best Visual Effects:
Raiders of the Lost Ark – Richard Edlund, Kit West, Bruce Nicholson and Joe Johnston‡

Dragonslayer – Dennis Muren, Phil Tippett, Ken Ralston and Brian Johnson
The Dark Crystal - Roy Field, Brian Smithies, Ian Wingrove

The 55th Academy Awards
held at the Dorothy Chandler Pavilion in Los Angeles, California, USA on April 11th, 1983.
Hosted by Liza Minnelli, Dudley Moore, Richard Pryor and Walter Matthau.
Produced by Howard W. Koch.
Directed by Marty Pasetta.

Best Picture:
Gandhi – Richard Attenborough, producer‡
E.T. the Extra-Terrestrial – Steven Spielberg and Kathleen Kennedy, producers
Missing – Edward Lewis and Mildred Lewis, producers
Tootsie – Sydney Pollack and Dick Richards, producers
The Verdict – David Brown and Richard D. Zanuck, producers

Best Director:
Richard Attenborough – Gandhi
Wolfgang Petersen – Das Boot
Steven Spielberg – E.T. the Extra-Terrestrial
Sydney Pollack – Tootsie
Sidney Lumet – The Verdict

Best Actor:
Ben Kingsley – Gandhi as Mahatma Gandhi‡
Dustin Hoffman – Tootsie as Michael Dorsey/Dorothy Michaels
Jack Lemmon – Missing as Edmund Horman
Paul Newman – The Verdict as Frank Galvin
Peter O'Toole – My Favorite Year as Alan Swann

Best Actress:
Meryl Streep – Sophie's Choice as Zofia "Sophie" Zawistowski‡
Julie Andrews – Victor/Victoria as Victoria Grant/Count Victor Grazinski
Jessica Lange – Frances as Frances Farmer
Sissy Spacek – Missing as Beth Horman
Debra Winger – An Officer and a Gentleman as Paula Pokrifki

Best Supporting Actor:
Louis Gossett Jr. – An Officer and a Gentleman as Gunnery Sergeant Emil Foley‡
Charles Durning – The Best Little Whorehouse in Texas as The Governor
John Lithgow – The World According to Garp as Roberta Muldoon
James Mason – The Verdict as Ed Concannon
Robert Preston – Victor/Victoria as Carol "Toddy" Todd

Best Supporting Actress:
Jessica Lange – Tootsie as Julie Nichols‡
Glenn Close – The World According to Garp as Jenny Fields
Teri Garr – Tootsie as Sandra "Sandy" Lester
Kim Stanley – Frances as Lillian Van Ornum Farmer
Lesley Ann Warren – Victor/Victoria as Norma Cassidy

Best Screenplay Written Directly for the Screen:
Gandhi – John Briley‡
Diner – Barry Levinson
E.T. the Extra-Terrestrial – Melissa Mathison
An Officer and a Gentleman – Douglas Day Stewart
Tootsie – Larry Gelbart, Murray Schisgal and Don McGuire

Best Screenplay Based on Material from Another Medium:
Missing – Costa-Gavras and Donald E. Stewart, based on the book The Execution of Charles Horman: An American Sacrifice by Thomas Hauser‡
Das Boot – Wolfgang Petersen, based on the novel of the same name by Lothar G. Buchheim
Sophie's Choice – Alan J. Pakula, based on the novel of the same name by William Styron
The Verdict – David Mamet, based on the novel of the same name by Barry Reed
Victor/Victoria – Blake Edwards, based on the film Viktor und Viktoria by Reinhold Schünzel

Best Foreign Language Film:
Begin the Beguine (Spain) in Spanish – directed by José Luis Garci‡
Alsino and the Condor (Nicaragua) in Spanish – directed by Miguel Littín
Clean Slate (France) in French – directed by Bertrand Tavernier
Flight of the Eagle (Sweden) in Swedish – directed by Jan Troell
Private Life (Soviet Union) in Russian – directed by Yuli Raizman

Best Documentary Feature:
Just Another Missing Kid – John Zaritsky‡
After the Axe – Sturla Gunnarsson and Steve Lucas
Ben's Mill – John Karol and Michel Chalufour
In Our Water – Meg Switzgable
A Portrait of Giselle – Joseph Wishy

Best Documentary Short Subject:
If You Love This Planet – Edward Le Lorrain and Terre Nash‡
Gods of Metal – Robert Richter
The Klan: A Legacy of Hate in America – Charles Guggenheim and Werner Schumann
To Live or Let Die – Freida Lee Mock
Traveling Hopefully – John G. Avildsen

Best Live Action Short Film:
A Shocking Accident – Christine Oestreicher‡

Ballet Robotique – Bob Rogers
The Silence – Michael Toshiyuki Uno and Joseph Benson
Split Cherry Tree – Jan Saunders
Sredni Vashtar – Andrew Birkin

Best Animated Short Film:
Tango – Zbigniew Rybczyński‡

The Great Cognito – Will Vinton
The Snowman – John Coates

Best Original Score:
E.T. the Extra-Terrestrial – John Williams‡
Gandhi – Ravi Shankar and George Fenton
An Officer and a Gentleman – Jack Nitzsche
Poltergeist – Jerry Goldsmith
Sophie's Choice – Marvin Hamlisch

Best Original Song Score and Its Adaptation or Adaptation Score:
Victor/Victoria – Henry Mancini and Leslie Bricusse‡
Annie – Adaptation Score by Ralph Burns
One from the Heart – Song Score by Tom Waits

Best Original Song:
"Up Where We Belong" from An Officer and a Gentleman – Music by Jack Nitzsche and Buffy Sainte-Marie; Lyrics by Will Jennings‡
"Eye of the Tiger" from Rocky III – Music and Lyrics by Jim Peterik and Frankie Sullivan
"How Do You Keep the Music Playing?" from Best Friends – Music by Michel Legrand; Lyrics by Alan Bergman and Marilyn Bergman
"If We Were In Love" from Yes, Giorgio – Music by John Williams; Lyrics by Alan Bergman and Marilyn Bergman
"It Might Be You" from Tootsie – Music by Dave Grusin; Lyrics by Alan Bergman and Marilyn Bergman
"When Does the Rapture Begin and Grow"[1] from A Muppet Mystery! - Music and Lyrics by Joe Raposo

Best Sound Effects Editing:
E.T. the Extra-Terrestrial – Charles L. Campbell and Ben Burtt‡
Das Boot – Mike Le Mare
Poltergeist – Stephen Hunter Flick and Richard Anderson

Best Sound:
E.T. the Extra-Terrestrial – Robert Knudson, Robert Glass, Don Digirolamo and Gene Cantamessa‡
Das Boot – Milan Bor, Trevor Pyke and Mike Le Mare
Gandhi – Gerry Humphreys, Robin O'Donoghue, Jonathan Bates and Simon Kaye
Tootsie – Arthur Piantadosi, Les Fresholtz, Dick Alexander and Les Lazarowitz
Tron – Michael Minkler, Bob Minkler, Lee Minkler and James LaRue

Best Art Direction:
Gandhi – Art Direction: Stuart Craig and Robert W. Laing; Set Decoration: Michael Seirton‡
Annie – Art Direction: Dale Hennesy (posthumous nomination); Set Decoration: Marvin March
Blade Runner – Art Direction: Lawrence G. Paull and David Snyder; Set Decoration: Linda DeScenna
La Traviata – Art Direction: Franco Zeffirelli; Set Decoration: Gianni Quaranta
Victor/Victoria – Art Direction: Rodger Maus, Tim Hutchinson and William Craig Smith; Set Decoration: Harry Cordwell

Best Cinematography:
Gandhi – Billy Williams and Ronnie Taylor‡

Das Boot – Jost Vacano
E.T. the Extra-Terrestrial – Allen Daviau
Sophie's Choice – Néstor Almendros
Tootsie – Owen Roizman

Best Makeup:
Quest for Fire – Sarah Monzani and Michèle Burke‡
Gandhi – Tom Smith

Best Costume Design:
Gandhi – John Mollo and Bhanu Athaiya‡
Sophie's Choice – Albert Wolsky
La Traviata – Piero Tosi
Tron – Elois Jenssen and Rosanna Norton
Victor/Victoria – Patricia Norris

Best Film Editing:
Gandhi – John Bloom‡
Das Boot – Hannes Nikel
E.T. the Extra-Terrestrial – Carol Littleton
An Officer and a Gentleman – Peter Zinner
Tootsie – Fredric Steinkamp and William Steinkamp

Best Visual Effects:
E.T. the Extra-Terrestrial – Carlo Rambaldi, Dennis Muren and Kenneth F. Smith‡
Blade Runner – Douglas Trumbull, Richard Yuricich and David Dryer
Poltergeist – Richard Edlund, Michael Wood and Bruce Nicholson
A Muppet Mystery! - Brian Smithies, Paul Slootweg, Roy Field
Something Wicked This Way Comes - ?

The 56th Academy Awards
held at the Dorothy Chandler Pavilion in Los Angeles, California, USA on April 9th, 1984.
Hosted by Johnny Carson.
Produced by Jack Haley Jr.
Directed by Marty Pasetta.

Best Picture:
Terms of Endearment – James L. Brooks, producer‡

The Big Chill – Michael Shamberg, producer
The Dresser – Peter Yates, producer
The Right Stuff – Robert Chartoff and Irwin Winkler, producers
Tender Mercies – Philip S. Hobel, producer

Best Director:
James L. Brooks – Terms of Endearment

Peter Yates – The Dresser
Ingmar Bergman – Fanny and Alexander
Mike Nichols – Silkwood
Bruce Beresford – Tender Mercies

Best Actor:
Robert Duvall – Tender Mercies as Mac Sledge‡

Michael Caine – Educating Rita as Prof. Frank Bryant
Tom Conti – Reuben, Reuben as Gowan McGland
Tom Courtenay – The Dresser as Norman
Albert Finney – The Dresser as Sir

Best Actress:
Shirley MacLaine – Terms of Endearment as Aurora Greenway‡
Jane Alexander – Testament as Carol Wetherly
Meryl Streep – Silkwood as Karen Silkwood
Julie Walters – Educating Rita as Susan "Rita" White
Debra Winger – Terms of Endearment as Emma Greenway-Horton

Best Supporting Actor:
Jack Nicholson – Terms of Endearment as Garrett Breedlove‡
Charles Durning – To Be or Not to Be as S.S. Colonel Erhardt
John Lithgow – Terms of Endearment as Sam Burns
Sam Shepard – The Right Stuff as Chuck Yeager
Rip Torn – Cross Creek as Marsh Turner

Best Supporting Actress:
Linda Hunt – The Year of Living Dangerously as Billy Kwan‡
Cher – Silkwood as Dolly Pelliker
Glenn Close – The Big Chill as Sarah Cooper
Amy Irving – Yentl as Hadass Vishkower
Alfre Woodard – Cross Creek as Beatrice "Geechee"

Best Screenplay Written Directly for the Screen:
Tender Mercies – Horton Foote‡
The Big Chill – Lawrence Kasdan and Barbara Benedek
Fanny and Alexander – Ingmar Bergman
Silkwood – Nora Ephron and Alice Arlen
WarGames – Lawrence Lasker and Walter Parkes

Best Screenplay Based on Material from Another Medium:
Terms of Endearment – James L. Brooks, based on the novel of the same name by Larry McMurtry‡

Betrayal – Harold Pinter, based on his play of the same name
The Dresser – Ronald Harwood, based on his play of the same name
Educating Rita – Willy Russell, based on his play of the same name
Reuben, Reuben – Julius J. Epstein, based on the play Spofford by Herman Shumlin

Best Foreign Language Film:
Fanny and Alexander (Sweden) in Swedish – directed by Ingmar Bergman‡

The Ball (Algeria) with no dialogue – directed by Ettore Scola
Carmen (Spain) in Spanish – directed by Carlos Saura
Entre Nous (France) in French – directed by Diane Kurys
The Revolt of Job (Hungary) in Hungarian – directed by Imre Gyöngyössy and Barna Kabay

Best Documentary Feature:
He Makes Me Feel Like Dancin' – Emile Ardolino‡
Children of Darkness – Richard Kotuk and Ara Chekmayan
First Contact – Bob Connolly and Robin Anderson
The Profession of Arms – Michael Bryans and Tina Viljoen
Seeing Red – James Klein and Julia Reichert

Best Documentary Short Subject:
Flamenco at 5:15 – Cynthia Scott and Adam Symansky‡
In the Nuclear Shadow: What Can the Children Tell Us? – Vivienne Verdon-Roe and Eric Thiermann
Sewing Woman – Arthur Dong
Spaces: The Architecture of Paul Rudolph – Robert Eisenhardt
You Are Free (Ihr Zent Frei) – Dea Brokman and Ilene Landis

Best Live Action Short Film:
Boys and Girls – Janice L. Platt‡
Goodie-Two-Shoes – Ian Emes
Overnight Sensation – Jon N. Bloom

Best Animated Short Film:
Sundae in New York – Jimmy Picker‡

Mickey's Christmas Carol – Burny Mattinson
Sound of Sunshine – Sound of Rain – Eda Godel Hallinan

Best Original Score:
The Right Stuff – Bill Conti‡
Cross Creek – Leonard Rosenman
Legacy of the Jedi – John Williams
Terms of Endearment – Michael Gore
Under Fire – Jerry Goldsmith

Best Original Song Score or Adaptation Score:
Yentl – Song Score by Michel Legrand and Alan and Marilyn Bergman‡
The Sting II – Adaptation Score by Lalo Schifrin
Trading Places – Adaptation Score by Elmer Bernstein

Best Original Song:
"Flashdance... What a Feeling" from Flashdance – Music by Giorgio Moroder; Lyrics by Keith Forsey and Irene Cara‡

"Maniac" from Flashdance – Music and Lyrics by Michael Sembello and Dennis Matkosky
"Over You" from Tender Mercies – Music and Lyrics by Austin Roberts and Bobby Hart
"Papa, Can You Hear Me?" from Yentl – Music by Michel Legrand; Lyrics by Alan and Marilyn Bergman
"The Way He Makes Me Feel" from Yentl – Music by Michel Legrand; Lyrics by Alan and Marilyn Bergman

Best Sound Effects Editing:
The Right Stuff – Jay Boekelheide‡

Legacy of the Jedi – Ben Burtt

Best Sound:
The Right Stuff – Mark Berger, Tom Scott, Randy Thom and David MacMillan‡

Never Cry Wolf – Alan Splet, Todd Boekelheide, Randy Thom and David Parker
Legacy of the Jedi – Ben Burtt, Gary Summers, Randy Thom and Tony Dawe
Terms of Endearment – Donald O. Mitchell, Rick Kline, Kevin O'Connell and James R. Alexander
WarGames – Michael J. Kohut, Carlos Delarios, Aaron Rochin and Willie D. Burton

Best Art Direction:
Fanny and Alexander – Art Direction and Set Decoration: Anna Asp‡

Legacy of the Jedi – Art Direction: Norman Reynolds, Fred Hole and James L. Schoppe; Set Decoration: Michael D. Ford
The Right Stuff – Art Direction: Geoffrey Kirkland, Richard Lawrence, W. Stewart Campbell and Peter R. Romero; Set Decoration: Jim Poynter and George R. Nelson
Terms of Endearment – Art Direction: Polly Platt and Harold Michelson; Set Decoration: Tom Pedigo and Anthony Mondello
Yentl – Art Direction: Roy Walker and Leslie Tomkins; Set Decoration: Tessa Davies

Best Cinematography:
Fanny and Alexander – Sven Nykvist‡
Flashdance – Donald Peterman
The Right Stuff – Caleb Deschanel
WarGames – William A. Fraker
Zelig – Gordon Willis

Best Costume Design:
Fanny and Alexander – Marik Vos‡

Cross Creek – Joe I. Tompkins
Heart Like a Wheel – William Ware Theiss
The Return of Martin Guerre – Anne-Marie Marchand
Zelig – Santo Loquasto

Best Film Editing:
The Right Stuff – Glenn Farr, Lisa Fruchtman, Tom Rolf, Stephen A. Rotter, and Douglas Stewart‡
Blue Thunder – Frank Morriss and Edward M. Abroms
Flashdance – Bud S. Smith and Walt Mulconery
Silkwood – Sam O'Steen
Terms of Endearment – Richard Marks

Best Visual Effects (as a Special Achievement Academy Award):
Richard Edlund, Dennis Muren, Ken Ralston and Phil Tippett – Legacy of the Jedi

The 57th Academy Awards
held at the Dorothy Chandler Pavilion in Los Angeles, California, USA on March 25th, 1985.
Hosted by Jack Lemmon
Produced by Gregory Peck, Robert Wise, Larry Gelbart, Gene Allen
Directed by Marty Pasetta

Best Picture:
Amadeus – Saul Zaentz, producer‡

The Killing Fields – David Puttnam, producer
A Passage to India – John Brabourne and Richard B. Goodwin, producers
Places in the Heart – Arlene Donovan, producer
A Soldier's Story – Norman Jewison, Ronald L. Schwary and Patrick Palmer, producers

Best Director:
Miloš Forman – Amadeus
Woody Allen – Broadway Danny Rose
Roland Joffé – The Killing Fields
David Lean – A Passage to India
Robert Benton – Places in the Heart

Best Actor:
F. Murray Abraham – Amadeus as Antonio Salieri‡

Jeff Bridges – Starman as Starman/Scott Hayden
Albert Finney – Under the Volcano as Geoffrey Firmin
Tom Hulce – Amadeus as Wolfgang Amadeus Mozart
Sam Waterston – The Killing Fields as Sydney Schanberg

Best Actress:
Sally Field – Places in the Heart as Edna Spalding‡

Judy Davis – A Passage to India as Adela Quested
Jessica Lange – Country as Jewell Ivy
Vanessa Redgrave – The Bostonians as Olive Chancellor
Sissy Spacek – The River as Mae Garvey

Best Supporting Actor:
Haing S. Ngor – The Killing Fields as Dith Pran‡
Adolph Caesar – A Soldier's Story as Sgt. Waters
John Malkovich – Places in the Heart as Mr. Will
Pat Morita – The Karate Kid as Kesuke Miyagi
Ralph Richardson (posthumous nomination) – Greystoke: The Legend of Tarzan, Lord of the Apes as 6th Earl of Greystoke

Best Supporting Actress:
Peggy Ashcroft – A Passage to India as Mrs. Moore‡
Glenn Close – The Natural as Iris Gaines
Lindsay Crouse – Places in the Heart as Margaret Lomax
Christine Lahti – Swing Shift as Hazel Zanussi
Geraldine Page – The Pope of Greenwich Village as Mrs. Ritter

Best Screenplay Written Directly for the Screen:
Places in the Heart – Robert Benton‡
Beverly Hills Cop – Screenplay by Daniel Petrie Jr.; Story by Danilo Bach and Daniel Petrie Jr.
Broadway Danny Rose – Woody Allen
The North – Gregory Nava and Anna Thomas
Splash – Screenplay by Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman; Screen Story by Bruce Jay Friedman based on a story by Brian Grazer
Back to the Future – Robert Zemeckis and Bob Gale

Best Screenplay Based on Material from Another Medium:
Amadeus – Peter Shaffer, based on his play of the same name‡
Greystoke: The Legend of Tarzan, Lord of the Apes – P. H. Vazak and Michael Austin, based on the novel Tarzan of the Apes by Edgar Rice Burroughs
The Killing Fields – Bruce Robinson, based on the article "The Death and Life of Dith Pran" by Sydney Schanberg
A Passage to India – David Lean, based on the novel of the same name by E. M. Forster
A Soldier's Story – Charles Fuller, based on his play A Soldier's Play

Best Foreign Language Film:
Dangerous Moves (Switzerland) in French - directed by Richard Dembo‡
Beyond the Walls (Israel) in Hebrew - directed by Uri Barbash
Camila (Argentina) in Spanish - directed by María Luisa Bemberg
Double Feature (Spain) in Spanish - directed by José Luis Garci
Wartime Romance (Soviet Union) in Russian - directed by Pyotr Todorovsky

Best Documentary Feature:
The Times of Harvey Milk – Robert Epstein and Richard Schmiechen‡
High Schools – Charles Guggenheim and Nancy Sloss
In the Name of the People – Alex W. Drehsler and Frank Christopher
Marlene – Karel Dirka and Zev Braun
Streetwise – Cheryl McCall

Best Documentary Short Subject:
The Stone Carvers – Marjorie Hunt and Paul Wagner‡
The Children of Soong Ching Ling – Gary Bush and Paul T.K. Lin
Code Gray: Ethical Dilemmas in Nursing – Ben Achtenberg and Joan Sawyer
The Garden of Eden – Lawrence R. Hott and Roger M. Sherman
Recollections of Pavlovsk – Irina Kalinina

Best Live Action Short Film:
Up – Mike Hoover‡
The Painted Door – Michael MacMillan, Janice L. Platt and Robert Verrall
Tales of Meeting and Parting – Sharon Oreck and Lesli Linka Glatter

Best Animated Short Film:
Charade – Jon Minnis‡
Doctor DeSoto – Morton Schindel and Michael Sporn
Paradise – Ishu Patel

Best Original Score:
A Passage to India – Maurice Jarre‡

Mask of the Monkey King: An Indiana Jones Adventure – John Williams
The Natural – Randy Newman
The River – John Williams
Under the Volcano – Alex North

Best Original Song Score:
Purple Rain – Prince‡
Muppets on Broadway – Jeff Moss
Songwriter – Kris Kristofferson

Best Original Song:
"I Just Called to Say I Love You" from The Woman in Red – Music and Lyrics by Stevie Wonder‡
"Against All Odds (Take a Look at Me Now)" from Against All Odds – Music and Lyrics by Phil Collins
"Footloose" from Footloose – Music and Lyrics by Kenny Loggins and Dean Pitchford
"Let's Hear It for the Boy" from Footloose – Music and Lyrics by Dean Pitchford and Tom Snow
"Ghostbusters" from Ghostbusters – Music and Lyrics by Ray Parker Jr.
"The Power of Love" from Back to the Future – Music by Chris Hayes and Johnny Colla; Lyrics by Huey Lewis

Best Sound Effects Editing:
Back to the Future – Charles L. Campbell and Robert Rutledge‡
The River – Kay Rose for Sound Effects Editing

Best Sound:
Amadeus – Mark Berger, Tom Scott, Todd Boekelheide and Chris Newman‡

2010 –Michael J. Kohut, Aaron Rochin, Carlos Delarios and Gene Cantamessa
Dune – Bill Varney, Steve Maslow, Kevin O'Connell and Nelson Stoll
A Passage to India – Graham V. Hartstone, Nicolas Le Messurier, Michael A. Carter and John W. Mitchell
The River – Nick Alphin, Robert Thirlwell, Richard Portman and David M. Ronne
Back to the Future – Bill Varney, B. Tennyson Sebastian II, Robert Thirlwell and William B. Kaplan

Best Art Direction:
Amadeus – Art Direction: Patrizia von Brandenstein; Set Decoration: Karel Černý‡

2010 – Art Direction: Albert Brenner; Set Decoration: Rick Simpson
The Cotton Club – Art Direction: Richard Sylbert; Set Decoration: George Gaines and Leslie Bloom
The Natural – Art Direction: Mel Bourne, Angelo P. Graham, James J. Murakami and Speed Hopkins; Set Decoration: Bruce Weintraub
A Passage to India – Art Direction: John Box and Leslie Tomkins; Set Decoration: Hugh Scaife

Best Cinematography:
The Killing Fields – Chris Menges‡
Amadeus – Miroslav Ondříček
The Natural – Caleb Deschanel
A Passage to India – Ernest Day
The River – Vilmos Zsigmond

Best Makeup:
Amadeus – Dick Smith and Paul LeBlanc‡

2010 – Michael Westmore
Greystoke: The Legend of Tarzan, Lord of the Apes – Rick Baker and Paul Engelen

Best Costume Design:
Amadeus – Theodor Pištěk‡
2010 – Patricia Norris
The Bostonians – Jenny Beavan and John Bright
A Passage to India – Judy Moorcroft
Places in the Heart – Ann Roth

Best Film Editing:
The Killing Fields – Jim Clark‡
Amadeus – Nena Danevic and Michael Chandler
The Cotton Club – Barry Malkin and Robert Q. Lovett
A Passage to India – David Lean
Romancing the Stone – Donn Cambern and Frank Morriss

Best Visual Effects:
Mask of the Monkey King: An Indiana Jones Adventure – Dennis Muren, Michael J. McAlister, Lorne Peterson and George Gibbs‡
2010 – Richard Edlund, Neil Krepela, George Jenson and Mark Stetson
Ghostbusters – Richard Edlund, John Bruno, Mark Vargo and Chuck Gaspar

The 58th Academy Awards
held at the Dorothy Chandler Pavilion in Los Angeles, California, USA on March 24th, 1986.
Hosted by Alan Alda, Jane Foster and Robin Williams
Produced by Stanley Donen
Directed by Marty Pasetta

Best Picture:
The Ballad of Edward Ford - Bernie Brillstein, producer

Out of Africa - Sydney Pollack, producer
The Color Purple - Steven Spielberg, Kathleen Kennedy, Frank Marshall and Quincy Jones, producers
Kiss of the Spider Woman - David Weisman, producer
Prizzi’s Honor - John Foreman, producer
Witness - Edward S. Feldman, producer

Best Director:
Gene Wilder - The Ballad of Edward Ford

Akira Kurosawa - Ran
Sydney Pollack - Out of Africa
Héctor Babenco - Kiss of the Spider Woman
John Huston - Prizzi’s Honor
Peter Weir - Witness

Best Actor:
Jeff Bridges - The Ballad of Edward Ford as Edward Ford

William Hurt - Kiss of the Spider Woman as Luis Molina
Harrison Ford – Witness as Detective Sergeant John Book
James Garner – Murphy's Romance as Murphy Jones
Jack Nicholson – Prizzi's Honor as Charley Partanna
Jon Voight – Runaway Train as Oscar "Manny" Manheim

Best Actress:
Geraldine Page - The Trip to Bountiful as Carrie Watts

Anne Bancroft - Agnes of God as Miriam Ruth
Whoopi Goldberg - The Color Purple as Celie Harris Johnson
Jessica Lange - Sweet Dreams as Patsy Cline
Meryl Streep - Out of Africa as Karen Blixen

Best Supporting Actor:
Don Ameche - Cocoon as Arthur Selwyn

Klaus Maria Brandauer - Out of Africa as Baron Bror von Blixen-Finecke
William Hickey - Prizzi’s Honor as Don Corrado Prizzi
Robert Loggia - Jagged Edge as Sam Ransom
Eric Roberts - Runaway Train as Buck

Best Supporting Actress:
Gilda Radner - The Ballad of Edward Ford as Mitzi

Anjelica Huston - Prizzi’s Honor as Maerose Prizzi
Margaret Avery - The Color Purple as Shug Avery
Amy Madigan - Twice in a Lifetime as Sunny Sobel
Meg Tilly - Agnes of God as Sister Agnes
Oprah Winfrey - The Color Purple as Sofia Johnson

Best Screenplay Written Directly for the Screen:
The Ballad of Edward Ford - Lem Dobbs

The Bureau - Terry Gilliam, Tom Stoppard and Charles McKeown
Witness - Earl W. Wallace, William Kelley and Pamela Wallace
The Official Story - Luis Puenzo and Aída Bortnik
The Purple Rose of Cairo - Woody Allen

Best Screenplay Based on Material from Another Medium:
Out of Africa – Kurt Luedtke, based on the memoir of the same name by Isak Dinesen and the books Silence Will Speak by Errol Trzebinski and Isak Dinesen: The Life of a Storyteller by Judith Thurman‡

The Color Purple – Menno Meyjes, based on the novel of the same name by Alice Walker
Kiss of the Spider Woman – Leonard Schrader, based on the novel of the same name by Manuel Puig
Prizzi's Honor – Richard Condon and Janet Roach, based on the novel of the same name by Richard Condon
The Trip to Bountiful – Horton Foote, based on his teleplay of the same name

Best Foreign Language Film:
The Official Story (Argentina) in Spanish – Luis Puenzo‡

Angry Harvest (Federal Republic of Germany) in German – Agnieszka Holland
Colonel Redl (Hungary) in German – István Szabó
Three Men and a Cradle (France) in French – Coline Serreau
When Father Was Away on Business (Yugoslavia) in Serbo-Croatian – Emir Kusturica

Best Documentary Feature:
Broken Rainbow - Maria Florio and Victoria Mudd‡
The Mothers of Plaza de Mayo - Susana Muñoz and Lourdes Portillo
Soldiers in Hiding - Japhet Asher
The Statue of Liberty - Ken Burns and Buddy Squires
Unfinished Business - Steven Okazaki

Best Documentary Short Subject:
Witness to War: Dr. Charlie Clements - David Goodman‡
The Courage to Care - Robert H. Gardner
Keats and His Nightingale: A Blind Date - Michael Crowley and James Wolpaw
Making Overtures: The Story of a Community Orchestra - Barbara Willis Sweete
The Wizard of the Strings - Alan Edelstein

Best Live Action Short Film:
Molly's Pilgrim - Jeffrey D. Brown and Chris Pelzer‡

Graffiti - Dianna Costello
Rainbow War - Bob Rogers

Best Animated Short Film:
Anna & Bella - Cilia van Dijk‡

The Big Snit - Richard Condie and Michael J. F. Scott
Second Class Mail - Alison Snowden

Best Original Score:
Out of Africa - John Barry

Agnes of God - Georges Delerue
The Color Purple - Quincy Jones, Jeremy Lubbock, Rod Temperton, Caiphus Semenya, Andraé Crouch, Chris Boardman, Jorge Calandrelli, Joel Rosenbaum, Fred Steiner, Jack Hayes, Jerry Hey and Randy Kerber
Silverado - Bruce Broughton
Witness - Maurice Jarre

Best Original Song:
“Say You, Say Me” from White Nights - Music and Lyrics by Lionel Richie

“Miss Celie’s Blues (Sister)” from The Color Purple - Music by Quincy Jones and Rod Temperton; Lyrics by Quincy Jones, Rod Temperton and Lionel Richie
“Separate Lives” from White Nights - Music and Lyrics by Stephen Bishops
“Surprise Surprise” from A Chorus Line - Music by Marvin Hamlisch; Lyrics by Edward Kleban

Best Sound Effects Editing:
Ladyhawke - Robert G. Henderson and Alan Robert Murray

Rambo: First Blood Part II - Frederick Brown

Best Sound:
Out of Africa - Chris Jenkins, Gary Alexander, Larry Stensvold and Peter Handford‡

A Chorus Line - Donald O. Mitchell, Michael Minkler, Gerry Humphreys and Christopher Newman
Ladyhawke - Les Fresholtz, Dick Alexander, Vern Poore and Bud Alper
Silverado - Donald O. Mitchell, Rick Kline, Kevin O'Connell and David M. Ronne

Best Art Direction:
Out of Africa – Art Direction: Stephen B. Grimes; Set Decoration: Josie MacAvin‡

The Bureau - Art Direction: Norman Garwood; Set Decoration: Maggie Gray
The Color Purple – Art Direction: J. Michael Riva and Robert W. Welch; Set Decoration: Linda DeScenna
Ran – Art Direction and Set Decoration: Yoshirō Muraki and Shinobu Muraki
Witness – Art Direction: Stan Jolley; Set Decoration: John H. Anderson

Best Cinematography:
Out of Africa - David Watkin

The Ballad of Edward Ford - Fred Schuler
The Color Purple – Allen Daviau
Murphy's Romance – William A. Fraker
Ran – Takao Saito, Masaharu Ueda and Asakazu Nakai
Witness – John Seale

Best Makeup:
The Bureau - Elaine Carew, Sallie Evans, Meinir Jones-Lewis, Sandra Shepherd, Aaron Sherman, Maggie Weston

The Ballad of Edward Ford - Dorothy Byrne, Richard Cobos, Lola Kemp, Monty Westmore
Mask – Michael Westmore and Zoltan Elek
The Color Purple – Ken Chase
Remo Williams: The Adventure Begins – Carl Fullerton

Best Costume Design:
Emi Wada
The Color Purple – Aggie Guerard Rodgers
The Journey of Natty Gann – Albert Wolsky
Out of Africa – Milena Canonero
Prizzi's Honor – Donfeld

Best Film Editing:
The Ballad of Edward Ford - Dede Allen

Witness – Thom Noble
A Chorus Line – John Bloom
Out of Africa – Fredric Steinkamp, William Steinkamp, Pembroke J. Herring and Sheldon Kahn
Prizzi's Honor – Rudi Fehr and Kaja Fehr
Runaway Train – Henry Richardson

Best Visual Effects:
Cocoon - Ken Ralston, Ralph McQuarrie, Scott Farrar and David Berry‡

The Bureau - George Gibbs, Richard Conway
Return to Oz - Will Vinton, Ian Wingrove, Zoran Perisic and Michael Lloyd
Young Sherlock Holmes - Dennis Muren, Kit West, John R. Ellis and David W. Allen

And thus, that should cover the Academy Awards from 1981 to 1985 (stay tuned for more!)

(Special thanks to @MNM041 and @Geekhis Khan for their contributions)

[1] Quite similar to "Piggy's Fantasy" from The Great Muppet Caper.
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Top Five Most Underrated Sitcoms of 1989
From Five Alive! Netsite
1989 was both the literal and figurative end of the 80's, with all the signatures of it already on the way out. But nevertheless, the domestics and the high-concept workcoms that made up the majority of SITCOMS of the decade still had their time. We at Five Alive feel are thus gonna countdown what we think are The Five Underrated SITCOMS of 1989:

#5 - Draco-Force (1989-1990)
First off, let's make something clear: we're not talking about the cartoon about robot dragons, we're talking about the NBC SITCOM about the making of it, reportedly pitched as "WKRP at Disney". Set at a Sunbow-esque cartoon studio, it follows the daily lives of the crew producing and animating it and voicing the characters, and dealing with the hassles of the industry: overly tight deadlines and subsequent crunch time, busybody parental groups, and meddling execs as personified by hammy Louis Tarlton (played by Chris Latta). The series was created by alumni of Sunbow themselves, and features many voice actors, writers, and other staff of the industry as themselves (Frank Welker, Peter Cullen, Susan Blu, and J. Michael Strykansi are just some of them), and many praised it for the frank and accurate depictions of the animation industry. The fun of the series comes from the character interactions between the crew and cast, from Mark Metcalf as the jaded, sarcastic veteran scriptwriter Ben Halloway (played by Mark Metcalf being the opposite of Neidermeyer) to Canadian diva voice actor Molly Barlowe to naive newcomer sound technician George. For the better or worse, Draco-Force was later made into an actual show that lampooned the cliches and style of merch-driven Saturday morning cartoons (even using footage from the SITCOM) and would be way more successful and overshadowed the SITCOM. Real shame, as Draco-Force SITCOM is quite the sharp cult classic worth checking out.

(We will return after a commercial break)

This is something I pitched to Geekhis around the 1989 point. Didn't make the cut, apparently, but I still feel it can be slotted in with minimal alteration.

EDIT: AS of May 8, the entries within will be separate entirely. Sorry if that's a bit skeevy a choice.
Top Five Most Underrated Sitcoms of 1989 (cont.)
From Five Alive! Netsite
(And we return to our regular scheduled programming)

4. Meet the Mastersons[1] (1989)


Image source IMDb.

If you remember Paramount-Fox Network’s Meet the Mastertons, you probably think “That was Bewitched but with Black people”, but the truth is its a lot more then that. Revolving about a family of black sorcerers and the non-magical fiance who marries into them, the show was created by Jack Shea and Stephen Curwick, and followed them as they used magic to help solve their problems as responsibly without revealing it to outside world or Marilyn McClane-Masterson (Vanessa Bell Calloway), the fiance of series protagonist and eldest son Ben (Michael Warren). The characters, while admittedly a bit basic (stern but well meaning father played by Keith David[2], the rebellious child played by, and the kooky uncle played by Finis Henderson III) are still fun to watch, the cast is well-assembled, and the worldbuilding of the magic setting was pretty good, many an audience’s introduction to .

Sadly, the timeslot the show was placed it was a very poor one, and so got ratings so lousy that PFN decided to throw it aside and forget that it existed. But thankfully, Meet the Mastertons is a funny, touching show worth going out to seek out and it has developed a strong fanbase among African-Americans and fantasy fans that have discovered this series.

3. Multiplied![3] (1989-1990)

We honestly feel a bit guilty putting a show like HBO’s Multiplied! on the list. Starring Jason Alexander, its about a dude with seven split personalities trying to juggle their own lives together. If it sounds like its going to age like milk… well you’d be right, as all of the split personalties of Daniel Zayinsky are played for laughs and wacky misunderstandings. Even Jerry Seinfeld openly told Alexander several times “How is that show still going?”. However, compared to its contemporaries, which usually had people with mental disorders be complete butt of the jokes or violent and dangerous menaces, Multiplied at least tries to treat its lead with dignity, let alone a thinking human being, with episodes dedicated to humanizing Daniel and showing his struggles of having a normal life, and the discrimination he faces from neurotypical people, at best uniformed and at worst downright bigoted.

As you would expect from a show with this premise, it got cancelled but lasted much longer than the other sitcoms on the list by virtue of having some star power in Alexander (though eventually he quit to work on Jerry fulltime) and surprisingly funny humour. HBO prefers that people don’t remember this show although some do though it’s debated whether or not it’s brand of humour fits with the subject matter discussed in the show, especially among the mentally disabled.

2. Puppets[4] (1989)


This as a short-lived cult classic and airing on the Disney Channel

Next up is yet another workcom in the entertainment industry with this strange yet quirky little look into the world of puppet shows from the master of Muppets himself, Jim Henson, and his partner Bernie Brillstein. Unlike the other Henson Muppet properties, Puppets focused on the mundane lives of the titular puppets and puppeteers working on a fictional children’s show known as Dragon Time with a colorful cast of characters from the dragon mailman Clyde and the loudmouthed Bertha to Del and Linda (Fred Newman and Julie Payne), the people running the show from behind the scenes. Each episode of Puppets had a real world segment and a Dragon Time segment, the former focused on the show’s efforts to fight for ratings and the latter had songs performed by the puppets during or after it was finished.

Puppets’ sense of humour was very self-referential with potshots at low-effort Muppets ripoffs and the inner workings of Henson Associates and the Walt Disney Company. If this sounds like the aforementioned Draco-Force, then you’re not completely wrong since both shows are semi-affectionate or derogatory parodies of their own genres (Saturday morning cartoons/children’s puppet shows). Unlike Draco-Force, it was actually backed by Disney with Henson and Brillstein making cameos in a few episodes. However, Puppets was a bit too ahead of it’s time and faced competition from more successful shows so it was cancelled after one season. Nevertheless, Henson and Muppet fans actually enjoy this show for the humour and clever writing with even The Muppets movie having some visible influences of Puppets namely the fact that the Muppets are working on a big show with the puppeteers of Henson Associates.

1. Hound Town[5] (1989)

Before you ask, yes this was an actual show made by Ralph Bakshi of all people

And finally, we get to our final entry and this one is animated. From the mind of the granddaddy of Western adult animation himself, Ralph Bakshi. Hound Town stands out from Bakshi’s filmography as devoid of his raunchy, envelope-pushing trademarks and being completely intended for children.

Originally airing as a TV movie in ‘89, NBC executives thought it was a good idea to have a 13-episode saturday morning cartoon sitcom made by Bakshi so they forced him and his crew to work on it. The series was pretty formulaic and generic with some typical antics from the mostly non-anthromorphic dogs doing silly stuff though it did try to flip the formula on it’s head for an episode or two and even add in some hidden adult jokes perhaps in an effort to not be seen as a simple kids’ cartoon. However, it would eventually be cancelled and well forgotten. Nowadays, the only people who remember Hound Town are Bakshi fans who see this as a weird and strange aberration in the man’s career and generally think it’s so bad it’s good although a couple episodes are considered at least passable or good. Other than that, you can’t get much more obscure than a single season cartoon created by a animator who really doesn’t like talking about it.

[1] Was an unsuccessful pilot for NBC IOTL titled A Little Bit Strange. Here it gets off the ground. Information is very limited online since the pilot is lost media, so forgive me if details aren’t accurate to the pilot, an just assume they are both differences in the final series and butterflies.
[2] I don’t know if there was a father in the pilot, and according to IMDb there doesn’t seem to be any.
[3] If you don’t remember this one, it’s a show original to this TL.
[4] In OTL, this show aired as Puppetman on the CBS Summer Playhouse in 1987 and was never picked up. Because of Henson’s stronger ties to Disney, he gets it picked up.
[5] Hound Town aired as a TV movie on NBC in 1989 and nothing came of it, also Bakshi really doesn’t like it because it’s not as adult or innovative as some of his other works. But NBC execs in TTL pick up Hound Town and force Bakshi to work on making a typical saturday morning cartoon.

Sorry if this seems a bit more lower quality then my usual stuff. I whipped it up in just a few hours, and sorry for not being in the same post as the first part. Didn't plan it out too well, so will try planning next time.
So with no threadmarks are these not canon @Geekhis Khan?
[18] Once the timeline moves towards the early 2000’s, I’d be happy to add another update covering the third and final act of Columbo. We’re at seventy-three episodes, four more than OTL ever covered. It would be interesting to see where we end up at the end of it.
Did you every post the final act of Columbo? Also if you have any thoughts on this idea:
Musin' on Lupin
Andrew Gregson, Animation Nation.com, 2013.

It begins with a strike.

More specifically, the strikes that crippled network television for a period between 1982 and 1983. [1] Much has been written about their effects in that department but one thing that tends to get overlooked is the way it inspired a small but vital strike in Japan.

It achieved nothing in the grand run of things, it was quashed easily if one is to compare it to others, but TMS was briefly taken out of commission when a group of animators inspired by the American strikes launched their own. [2] Nothing would change save for the application of a fresh coat of paint over the old flaws but one production was set back by quite a bit. The third Lupin series had been in the planning stages, now with director Yuzo Aoki moving on to new projects, it was scrapped and left on the side while the company focused elsewhere. [3]

Fast forward to 1984, and the negotiations between Mike Young of Siriol and TMS for the rights to Sherlock Hound. Young was shown subtitled versions of the program, and was impressed. Asking if they had anything else beyond what they had already discussed, he was shown to a viewing room and waited upon hand and foot as five episodes were prepared. One was the original Lupin pilot from 1969, two were from the first season (Green Jacket) and two from the second (Red Jacket). He was impressed by how much he was able to get out of them even without the subtitles. He thought that while they were different than his usual fare, there was a market for it. [4]

He would revisit the subject when work began on Sherlock Hound 2. Soon, he was sitting down with his lawyers to discuss with TMS and Toei about licensing Lupin in England. A fourth party would have to be involved, namely the estate of Maurice LeBlanc who had created the original Lupin in 1905. The estate had never been consulted on the character’s creation and so a complicated back and forth was underway. At last, deals were struck and Lupin could keep his name. [5] But only if there was a bit before the action began that stated in legalese that Lupin was based on a character created by LeBlanc. Complicated to do for all one hundred and seventy-eight episodes, plus the two films made up until that point AND the pilot. But it was agreed upon. Luckily for all concerned, the copyright would run out later on down the line and these cumbersome legal disclaimers could be removed.

So much for getting it. Now that he had it, what was he going to do? He could have just stuck it all on videos and shoved it onto shelves, getting official money that before had been going to anime pirates or bootleggers selling VHS copies. But Young had been making friends with Superted, and so he contacted a couple of them to see what could be done with the haul. [6] They found that there were problems with both batches, not fatal ones but ones to work with. Part I suffered from a wild swing in tone around about the halfway point of the show, due to the taking over of Miyazaki and Takahata from the original director. Due to this, the third episode of that series was woefully animated. Part II had similar jumps in quality of animation but a steady tone throughout. However, given that there were one hundred and fifty five episodes amongst them, aired practically weekly over the course of two years, the plots tended to go insane every once in a while. Young rolled his sleeves up and got to work, gathering together as many people as he could. Translators, people who had lived in Japan, fans of anime and of Lupin specifically. To test them, he asked them to handle the original pilot movie first. The instructions were simple in theory: keep the original idea of the dialogue intact but make sure it works for our audience. [7]

When this was done, now it had to be matched to what was on the screens. Paid a good amount of money for three afternoons worth of time, Derek Griffiths and Sean Barrett were brought in to preform every role in the pilot. They didn’t have to be exactly within the movements of the characters mouths, but close enough would do. When this was done, the pilot was shipped off to ITV to test it with the words: We have more of this waiting for you. ITV loved it and responded that they’d like to see more.

Young now turned back to the team and hashed out an agreement of the fate of the remaining Lupin material. The Mystery of Mamo, the first Lupin movie, could serve as a perfect introduction to the bizarre world of Lupin. It would be paired up with Red Jacket to air upon TV. The Castle of Cagliostro was agreed by all concerned as something that belonged on the big screen, and was kept back until they could establish an audience for the show. Green Jacket would air on VHS, dubbed and used to entreat fans interested in how the gang all met up for the first time. [8]

The voice cast would consist of a mixture of regular Siriol players and newcomers. Griffiths and Barrett would return, cast as Lupin and Jigen, while their vocal chords would be spared the stress of having to voice every other character. Togo Igawa would take up the role of Goemon [9], while Fujiko was played by Nicola Bryant. And of course, Inspector Zenigata was played with the powerful voice of Brian Blessed, often barely being able to restrain himself from cursing up a storm, with a few lines left in when the mood suited it. For the most part, whenever recording sessions for other shows would come up, actors from there would be drafted in to play various characters of note.

The show premiered in 1986, with most of Part II’s first year already having been completed and work still continuing on the rest. It is said that the dubbing of this was so intensive that Young had to turn down an offer to pick up the Japanese-French series Mysterious Cities of Gold for fear that it might actually kill the dubbing team to add a fifth series to be translated. [10] (Fans of the show would have no reason to fear, with the success of the show in other foreign climates, two more series would be greenlit and would enter production in 1988. By the time of 1994, with the fourth and final series in production, Siriol would be able to bring all four over to the UK).

It premiered in a timeslot that bridged the gap between the pre and post watershed programming. It’s fun action, a healthy mix of raunchy and urbane humor, the performances of all the cast members and the fun soundtrack made in a decent hit. The Green Jacket VHS’s would sell well, though not as well as those that belonged to the Red Jacket era. Thus was Miyazaki’s Lupin established over Monkey Punch’s in the same vein that Fleming’s Bond was eclipsed by the Bond of EON. Some episodes had to be edited down or removed completely, though strangely the infamous Hitler episode was not one of them, [11] but for the most part all the episodes were aired in batches from 1986 to 1990. After a one-year break meant to give the dubbing crews a chance to breathe and work at a slower pace, the Castle of Cagliostro was finished and readied for release to cinemas in early 1992. It’s status as a genuine classic having grown over the years since it’s lackluster debut in Japan meant that a lot of audiences would go see it through word of mouth, and it’s status as a Lupin film you could watch with your kids meant that even more people went to see it. Lupin had gained a younger following despite the later airing time and many were happy that they could see one in the cinema without having to sneak around their parents. It’s status as a big deal had also brought actors Colin Baker and Jooly Richardson in to play the Count of Cagliostro and Princess Clarisse respectively. It was a steady profit turner, not one to set records but one that was consistently fighting throughout it’s run. [12]

It would be another four years before Lupin and company would return anywhere. It was during this time that the dubbers would unionize and official reconstruction of the translation department of Siriol would be undertaken. By the time Young was ready to renegotiate with TMS and Toei, he was aware of what it was he was doing and managed to get not only the Gold Jacket series (Part III) [13] and the two movies made afterwards (1992’s Last Stand of Lady Liberty and 1995’s Farewell to Nostradamus) [14] but also made an offer for a partnership on a fifth film. This one would be set in the United Kingdom and would be entitled ‘Lupin III: No Honour Amongst Thieves’. This would lead into the first Lupin series specifically created for the UK market. The deal was agreed and serious work on said movie began in 1998. The series and other movies would air on TV throughout 1997 to 1999 just in time for the much publicized Lupin Goes to the UK movie in 2000.

Following the success of that movie (See the sidebar for our breakdown of it) [15] for the first time Lupin would premiere it's new show on the UK first. A certain level of freedom was given to the actors in Part IV, as the newly blue-jacketed Lupin leads his gang on a wild chase across country after country, following in the footsteps of Phineas Fogg in attempting to make it around the world in eighty days without being able to enter an airport. Along the way they discovered a series of treasures that hinted at a grand conspiracy which led to them doing battle with the famed Captain Nemo (Alexander Siddig) in the finale. Japan had a little bit of a mixed reaction to it, but it was still a great money earner and the UK ate it up. [16]

There would be a longer break this time, until the Dawn of Lupin Quartet in 2012. [17] These attempted to go back to Monkey Punch's original manga in terms of violence and moral ambiguity, and though the rape as comedy gags were cut completely it was certainly the most sexual content the franchise had seen. The black-jacketed Lupin was a clear sign, and they would premiere in the UK as late night specials, far out of sight of any kids. Interestingly, these have received far more pushback in the UK due to the discomfort many felt at the characters returning to their darker roots. Even those who liked them suggested that it showed why Miyazaki's changes had kept the series going long after it might have run out of steam. [18]

The news of a new series in 2015, Lupin Takes the Fifth which is set to be the thief's first full-season stay in America, has received much praise for it's trailer and rendition of the classic theme. Though much has been said about the new pink jacket that Lupin is wearing, it's a nice tribute to where the franchise might have gone if things had not broken down the way they were. And with rumours that this might be the first multi-season series since the Red Jacket era, [19] it appears we'll have a long time to get used to it. While three out of the five original cast members are leaving in Japan [20], there seems to be no hurry for any of our English dubbed friends to be taking their last bows. Even as Derek Griffiths says goodbye to Superted, he admits that he's still having the time of his life with the thief. As indeed are we all.

Long may Lupin reign supreme!

[1] As discussed in the main timeline post!

[2] I admit that this is perhaps me pushing the limit a little on the likelihood of such things. But such waves can happen, they can spread to other parts of the world. In this case, given that Japan's infamous work schedule for animators is so culturally engrained there are fewer people to go against the grain.

[3] Here's where the big change comes in. Without a Pink Jacket series, Lupin does not enter a wildly recognized doldrum era for the franchise. The push-to-the-limits looseness of the animation style and a heavy focus upon comedy over action will in OTL go down badly with the fanbase. The one movie produced, Legend of the Gold of Babylon, will also underperform badly at the box office. This in turn will also lead to the first OVA for the franchise and a phenomenal miscalculation by the higher ups that leads to the one-time only mass recasting of the entire Lupin voice cast. It'll be prettily animated and all that, but fans will react very nastily to it. In the process, the relationship between Monkey Punch and Lupin's seiyuu Yasuo Yamada will be strained out of a mistaken belief that the author was dissatisfied with his performance (He wasn't, he just was a little too neutral on the matter) and by the time Yamada passes away in 1995 both men will be somewhat estranged form each other. The franchise thereafter enters a series of specials that range from very good to mediocre and a couple of theatrical movies of similar quality but none of which, it must be stated, sets the world on fire. It's only recently that the franchise has really re-entered as a viable contender as opposed to a legacy franchise. And thanks to this, the series that starts the decline is a no-go.

[4] Young is idealistic but he is not stupid. Much like Henson disliked Transformers but nonetheless recognized that there was a market for it, Lupin is not his cup of tea and yet it is exactly the kind of thing that can sell in eighties Britain.

[5] There will, therefore, be no 'Wolf' renaming as per the original Streamline dubs or 'Rupan' as in the AnimEigo dub. There will however be 'Cliff', as Cliff-Hanger will still use clips from the movies to wrap their game around.

[6] This incidentally is how the original Superted got several UK celebrities to play the roles, for Young was a friend of Victor Spinetti who had various show business contacts throughout the country.

[7] The result will be somewhere along the lines of the more restrained episodes of OTL's Geneon Dub, sans over the top cultural references.

[8] Similar to OTL Tugs, some may air on network TV at some point but it's all about getting the feedback on what works and what doesn't.

[9] The eighties in the UK was infamously poor at handling Asian characters, so I'm technically cheating by casting an actual Japanese actor in the role. As it is, he's able to cut down on a good amount of the "Ahhh fuck, how did I miss that as a kid" jokes that plague a lot of our cartoons.

[10] Here we are @Ogrebear, a specific reason given! I'll definitely be covering that once we get further into the 90's!

[11] Honestly, the Hitler stuff would probably make it in over here, at least compared to America, especially in the later timeslot.

[12] It will of course be aided by the steady exposure of Miyazaki's work to Western shores over the last few years.

[13] In the sense that all third goes around tend to be regarded with a little less respect than their two predecessors, Gold Jacket occupies a space as being the weakest of the three. It will still be well regarded, it's focus upon Lupin's relationship with the other characters as they are often paired up into different combinations is praised. But there is the sense that there is no plan beyond episodic adventures.

[14] Both of these will resemble their OTL counterparts more than they don't, albeit with the former bulked out for a wider release.

[15] To quote one Soos Ramirez, I make my own economy! I might do this later on down the road.

[16] By this point, both sides of the pond have gotten rather used to each other's quirks of writing and are able to fashion together something that recognizably is Lupin despite being written for the UK first and foremost. The serialized storytelling will be received very well, however.

[17] These take the place of Woman called Fujiko Mine and the three other stories set in the same continuity, the darker and edgier versions will recieve greater pushback than in our timeline due to the world having more fondness for the softened character.

[18] Here Monkey Punch might begin to resent the lack of credit he is being given for the manga and the character. While he'll never hate or disown the series, he will cool on it significantly.

[19] It'll last for two seasons, bringing us up to roughly the present day. Again it will feature something of a serialized narrative that will also serve as a celebration of the franchise's past a la OTL's Part V.

[20] As per our timeline, Yasuo Yamada will pass away in 1995, but the remaining cast will continue going until 2014 at the latest, with all bar Jigen's voice actor retiring. He will continue going until 2022, again as per OTL, but this time exiting on the latest Lupin film entitled 'Farewell to Empires' Maybe if we'll last long enough, I'll get to tell that story in full.
@Geekhis Khan
Is this not canon for did it just slip through the cracks?