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

Aum on Trial
  • Chapter 8: A Cult of Terror in Japan Continued
    Excerpt from Lost Decade/Found Decade: The Transformation of Postwar Japan from 1989 to 2009 By Daniel Ambrose Retrieved via Netsite Archive
    Guest post by @ajm888 with assistance from Mr. Harris Syed and @Plateosaurus


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    Shoko Asahara being transported to Hachioji Branch of the Tokyo District Court (Source: Getty and BBC)

    The Assassination of Shoko Asahara

    On June 5th 1995, the international press was assembled along Koshu-Kaido Ave outside the Tokyo District Court Hachioji Annex. Security was tight, the police expected armed members of Aum Shinrikyo to attack, they had riot police and the SAP (Special Armed Police) ready to repel any attack. But with the Aum organization essentially in a state of near total disintegration as most non-fantaical members had left after March and April. Many fanatics were arrested after April 15th. A small handful remained in the wind.

    The Russian and American governments had declared Aum Shinrikyo a terrorist organization and the Tokyo Metropolitan Government was going to revoke its religious status even going to the Supreme Court of Japan as no one had revoked religous status since before World War II. But that was still off for later in 1995[1]. The world wanted to see Shoko Asahara’s first day in court.

    It was decided by senior government officials that the press would be allowed to swarm the “perp walk” as Asahara was being led down a gauntlet of cameras that the media had been allowed to set up. This would be big news so the Japanese government had wanted this arraignment to be sort of a pageant parade showing the guilt of Asahara and they would allow all the eyes of the world on the Hachioji Court Annex[2] and the case.They planned for the case to go perfectly. But Asahara would not even enter the building.

    The gauntlet was set up with random media outlets getting their spot assigned by lottery. This was a result of complaints by the international press not getting hardly any spots before. So the Tokyo Police Metropolitan Department, wanting to look good as did the Tokyo prosecutor’s office, made a lottery system that would allow the press positions along the “gauntlet”. It allowed a wide variety of Japanese and international networks to mingle. Televisia and TV Asahi cameramen were next to each other, reporters from France 2 and ABC (Australia) were chatting, CNN and ARD were making sure they could connect with their head office, and even Biwako Broadcasting Co. had gotten in the lottery by sheer luck so they had a clip of Asahara walking into court for the next morning’s morning news show.

    At 9:15 AM, Shoko Asahara left the Shinjuku police station, he was escorted by a massive convoy of police with military support ready along with the recently publicly revealed Special Assault Police unit was on the way to Hachioji. The whole convoy was watched by helicopters and monitored closely. It arrived at 10:30.

    Upon leaving the van, Asahara was swarmed by reporters from various Japanese and international newspapers. The news broadcasters were going to ask questions closer to their cameras. It was chaos as some of the more mobile camera units were able to keep up as they kept Asahara at a brisk pace. Twenty meters from the door Asahara and his police escort were stopped by the sheer number of reporters that were asking questions. It was in this blockage Asahara suddenly grimaced and let out a sharp pained gasp.

    Standing in front of Asahara was a man with a press badge from a local newspaper from Tottori, the man was in a brown suit and wore glasses, he was slightly taller than Asahara. Asahara was still letting out these pained noises, no one one knew what they were for a few seconds until the knife appeared. The assassin went from stabbing Asahara in the stomach to hitting him in the neck, face and chest. Suddenly, police officers were trying their best but this man seemed to have a lot of strength in his stabbing of Asahara. The assassin made no noise other than grunting and straining noises. The first knife the assassin used, was a gyuto knife, was an all purpose chef’s knife for cutting flesh of fish and beef. The stabbing motions and cuts the killer was making seemed to be as if made by a man with experience in use of a knife. A cop after a few blows by his police baton to the assassin’s arm was able to get the knife loose and sent it into the crowd. The assassin quickly then pulled his second knife, a nakiri, a type of Japanese cleaver, small but effective for chopping vegetables. With the nakiri, the assassin began chopping at Asahara’s neck, arterial spray hit reporters, police, and the crowd that was curious to watch the terrorist enter the courthouse[3]. The police after two minutes were able to pull the assassin from Asahara’s body. Chizuo Matsumoto who renamed himself Shoko Asahara was pronounced dead at Tokyo Medical University Hachioji Medical Center forty minutes later.

    The CNN, Biwako Broadcasting, RTE, RAI, VTR, TF1, TV2 (Denmark), KBS, ABC (Australia), NTV, ITV, and Televisa reporters and cameramen were the closest to the assassination those networks had the lead over their peers. Biwako and CNN had the best views of the assassination with the killing happening right in front of their locations. Though it once again caused people in the UK to think they had footage when it was Biwako Broadcasting Company (BBC), leading to an alleged meltdown of a senior member of BBC News management[4]. CNN would, with some edits, show the assassination on not just their channel but CBS[5]. The Australian Broadcasting Corporation would run a special piece on the assassination on their version of 60 Minutes[6]. Many other broadcasters ran specials on the public assassination of Shoko Asahara which many in Japan compared to the killing of Lee Harvey Oswald after he murdered President John F. Kennedy in 1963.

    After his feverish attack, the assassin calmly gave up as the adrenaline and excitement wore off. The assassin stayed quiet apart from telling the police to look in his hotel. Eyewitness reports of the assassin from the time state he was in the Hachioji police station, staying quiet and shaking. He entered a zen like state. Though the initial media reports stated he was cackling like a mad man, he was sobbing, or just incoherently mumbling[7]. Later reports stated he was silent only telling police to go to his hotel room.

    In the hotel room of the reporter's identity they found a drunk man tied up and gagged. This was the reporter that the assassin had borrowed his identity. The reporter, Takejiro Chiziwa, was with the Nihonkai Shimbun, a regional newspaper based in Tottori[8]. They then found the identity of the assassin, left in the rooms were passport, driver’s license, insurance card, government ID badge from the Ministry of Agriculture, Forestry and Fisheries, family pictures of a man that was not Takejiro Chizawa, but head of the Tottori office and Chugoku deputy regional director of the MAFF, Kenichi Hoshino[9].

    Who was Kenichi Hoshino?

    Kenichi Hoshino was born outside of Tottori in 1944. His father had avoided military draft due to his job as a postal worker, the elder Hoshino was 42 when his son was born. Kenichi’s father after the war opened a small izakaya in Tottori.

    His childhood was dealing with the post-war wreckage and rebuilding of Japan. As a 16 year student he was supportive of the Miike Mitsui Miners in their strike, he opposed the American-backed Security Treaty, was supportive of the Space Race, and despite the atomic horrors unleashed on nearby Hiroshima he supported nuclear power. He would go to Tottori university. At university he dealt with classism directed at him as his father and family were Burakumin, a low born class of people in Japan often viewed negatively for a large swath of their history. Despite efforts of the Burakumin Liberation League (BKD) and others discrimination still existed at that time. But Kenichi persisted, graduating from Tottori University with degrees in agricultural engineering he went to Osaka for degrees in administration and government.

    Kenichi Hoshino would join the government bureaucracy. He was recruited right from university for the Ministry of Agriculture and Forestry, Fisheries would not be added until 1978. He was a slow climber at first being shifted around the whole of Japan. He often received the ire of local farmers when he suggested alternative pesticides, tried to warn farmers the risk of chemical run off, and stated that forcing Japanese people to buy rice from Japan only would be taxing on poorer families. He voiced his disdain for Tanaka, Nakasone, Takeshita, and others

    “Hoshino found a way to fight his fights, quietly but still with a passion. He was like that in the bureaucracy of the MAFF.” said Chojiro Shiraki, a Ministry of Agriculture, Forestry, and Fisheries bureaucrat who was Hoshino’s apprentice and later a senior aide to Hoshino in the Tottori Agricultural Administration Office of the Chugoku-Shikoku Agricultural Administration Bureau.

    “My Senpai, Hoshino-san was a pain to some, he would help many others in his assigned department, wherever they put him. Eventually he came back to Tottori. It was here he had his fights, well, disagreements with Takeshita and Shin Kanemaru in the neighboring Shimane Prefecture. He also knew the Abe Family, but seldom clashed with them.” Shiraki said in an interview.

    “Hoshino-san was for all purposes a normal Japanese bureaucrat, who you may see visiting a farm, a forest, maybe doing a report on the Tottori Sand Dunes. But his home life was normal, his wife did some jobs to help pay the bills, his kids he was devoted to. But on rare occasions he would show us his talent for cooking. He was a masterful amatuer, as he said.” Shiraki states.

    “I was a pain in the ass. I know they weren’t happy with my pushing for American and other foreign rice as they depend on local farmers for their votes. But I kept at it, I was known as a hard case but they still promoted me slowly. Finally after the end of the economic miracle I really started climbing… Then my wife gets cancer.” Hoshino told an interviewer from the BBC (British Broadcasting Corporation). “The doctors say they can help her and they do but the cancer had spread too far by that point. She died in September of 1993. She at least got to see Takako Doi become Prime Minister in 1993. Makiko was everything to me. She was a passionate woman who could say things better than I ever could. To see her just wither away… It gnaws at my bones still.” Hoshino was reported to have been crying at this point.

    Makiko Hoshino had given birth to two sons in the 1960s with Hoshino, he later revealed that the couple had a third child, a daughter but they had given the girl to Hoshino’s younger brother, Souta. The two sons were Kiyoshi and Daiki.

    “Makiko loved my nephews, while she loved the daughter she gave birth to, my wife and I loved our daughter Keiko.” Souta Hoshino told reporters. “Makiko’s death hit Kenichi hard. He really was adrift. Then Daiki found Ayaka. Daiki was in college at the time and met Ayaka at a karaoke party”. They eventually would marry in early 1994. And in early September 1994 they would tell Kenichi that Ayaka was pregnant. Things seemed to be turning around for Kenichi. Then…

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    Kobe, Japan after January 17th, 1995. A city in ruins. CREDIT: GETTY IMAGE

    Kiyoshi was working for a shipping company in Kobe and was likely asleep when the Great Hanshin Earthquake hit on January 17th, 1995. His home was an older style house design to counter typhoons, not built to earthquake safety standards. Also Kobe had not had a major earthquake hit the city in 400 years. Kiyoshi’s home twisted and buckled and fell on top of him. An autopsy was not sure if he died from the collapse, gas leaks or the fires. His corpse was found partially burned.

    This disaster hit Kenichi Hoshino hard. To him a son should not die before the father. That felt unnatural. “Kenichi would pour himself into helping his youngest son and his daughter in-law with their future. Using some old connections from college, Kenichi got his surviving son an interview slot at the Ministry of Agriculture, Forestry, and Fisheries on April 15th, 1995. He would at least try to give his son an edge.” Chojiro Shiraki said this to interviewers from the Japan Broadcasting Corporation (NHK) in 2015.

    It is unknown if Daiki Hoshino made it to the interview. The interview was scheduled at 11:00 AM. He was on the 10:17 train that arrived at Kasumigaseki. A survivor from the collapsed subway station said he heard Hosino crying for a few minutes before he went silent.

    Ayaka was informed of this and Kenichi had to go to Tokyo and identify his son. “I don’t think he said a thing other than asking for directions the whole time.” Souta Hoshino said in a CNN Japan interview in 2015, “Ayaka was hysterical and Kenichi had to be strong. Kenichi always had an anger in him and it is never good when he is quiet that long. I know my brother, silence in him is something, something that is building. Then when Ayaka gave birth, it was a difficult pregnancy.”

    “My daughter-in law died from complications due to childbirth. I still believe she died because Daiki died. I saw my granddaughter, Moriko. I was happy some part of Daiki was alive, but the fact that this monster Asahara took my child from me, took Ayaka from her parents, and denied Moriko from knowing her parents. I was angry…” Hoshino said in his NHK interview in 2015.

    Hoshino began talking about how he was worried how Asahara would get off from the crime. “They’ll drop the case because they’ll get scared they don’t have enough evidence for that 99% conviction rate! Or worse they’ll charge him with a lesser crime they can get him on!” That is what I remember Hoshino saying when he got blind drunk one day before going on grief leave.” Chojiro Shiraki remembered.

    “I knew he’d get off, I knew it. Or the trial would take a decade and he’d be out on bail or something because he was blind. I mean Kakuei Tanaka stayed out of prison from October 1983 until his death in 1993![10] He was still a major powerbroker despite being found fucking guilty!” Hoshino told interviewers in 2015, “If anyone could get away with it it was Asahara! Man was a master manipulator and if the courts fell for Tanaka’s bullshit they’d fall for Asahara’s woe is me, nonsense.”

    Witnesses saw Hoshino become more deranged, angry, hurt and also close to an old friend. Takejiro Chiziwa, a college friend from his days at Tottori University. Close friends that both families seemed uneasy about their eerie close resemblance.

    “There was a reason for the resemblance, something that only I and my parents knew, Chizawa is our sibling. We were a poor family back then, unable to feed so many mouths, so my parents gave Chizawa up for adoption back then[11]. Kenichi's older brother Aoki. “By 1954 we could afford Souta but in 1947? We were lucky to get our business off the ground.”

    Takejiro Chiziwa was not used to being a part of the story, “We caught up and I was bragging about how I was going to be on the Asahara “perp walk” for the paper’s reporting on the event. I must admit, I was beaming. I did not know Hoshino was plotting. He told me he had lost his sons and I drank with him. I did not expect to see him in Tokyo the day before the arraignment.”

    “I already had the knives, I liked to cook. But I really don’t remember too much of my planning.” Hoshino recalled.

    The day before the arraignment, Hoshino arrived in Tokyo with a suitcase with two knives. A gyuto knife as the primary and the nakiri knife as the backup. As soon as Hoshino saw Asahara, he rushed to stab him to death.

    “I remember bits and pieces of that day but I am not sure of everything I did. I just remember arriving in Tokyo and taking Chiziwa out to drink. I don’t remember killing Asahara, all I remember is what I saw on TV. I know it sounds insane but I have no memory of it.”

    The Trial and Fame of Kenichi Hoshino

    “The thing I remember from the pre-trial was how the prosecution went from a certain win to them losing all confidence.” Attorney Tomiji Koda would recall defending his client Kenichi Hoshino, “Proving insanity in Japan is difficult but my client’s lack of memory of the incident and his change in attitude at the police station proved to me that he had a mental break. So I made sure to request a psychological examination. While typically they think he is a normal member of society when such a tragedy occured and so much happened, he had a psychological break. I used a previous incident of Hoshino’s. As a teen he’d beaten up a bunch of bullies after his grandfather’s death. Prosecutor’s in Japan do not want to be a losing prosecutor and even if they could find holes in my defense most of the judges, the prosecutors themselves, and court staff knew victims from the Tokyo Central Court. They dropped the case. They found he had suffered temporary insanity and while he could have been held liable under Japanese law, prosecutors did not want to touch this case and lose as Hoshino was a sympathetic defendant. The judges would have felt some sympathy for him. I asked one of the judges some years later and he said, “It is hard not to feel sympathy for Hoshino.” Koda stated.

    “I bet they wish they would put me in prison. I lost my job as no way would the Ministry of Agriculture, Forestry, and Fisheries want me working there. After getting off in late 1996, my attorney suggested that I was not responsible for my actions, that the government was responsible as they had failed to stop Aum from these attacks and the media had helped spread the group’s message and enabled them to go after opponents. As we would see the lawsuit of that lawyer’s family against Tokyo Broadcasting Systems (TBS)[12] and I would open my big mouth and expose many open secrets I knew. Embezzlement, corruption, a vote in the country is worth two in the city, and the ties to organized crime and many politicians and businesses, just to name a few.”

    Hoshino would conduct his first post-trial interview with actor, musician, comedian, director, and TV personality Takeshi Kitano. The interview at one point got heated when Hoshino scolded Takeshi, “People like you enabled Asahara and his cronies to get as big as he did. If the press was more interested in an actual story and not a funny story about a weird cult lead by a blind guy who probably suffered from Minamata disease who preached the end of the world maybe thousands would not be maimed by sarin nerve agent, and thousands would not be disabled from the April 15th attacks! You’re made the decision to not be newsmen! But to have this freakshow you call informative entertainment television!” Hoshino would leave the interview in a huff.

    No one thought the assassin of Shoko Asahara would become a regular on Japanese TV talking about either cults, corruption, or one time on the Tottori Sand dunes but something about Hoshino resonated with the people of Japan. He was an everyman in a sense; he was not famous, he had suffered more than most, and he was frustrated. The very fact that Asahara was responsible for the worst terrorist attacks in Japanese history brought plenty of controversy to not just Aum Shinrikyo but Takeshi Kitano, the media, and the govenment; and Hoshino was seen as a hero in the eyes of many Japanese.

    Legacy and Worldwide Impact

    Kenichi Hoshino’s assasination of Shoko Asahara would be a major event in Japanese history. Much like the televised killing of Japan Socialist Party leader Inejiro Asanuma by ultranationalist Otoya Yamaguchi in 1960 this was recorded on numerous cameras, and was broadcast live or rebroadcast later in the day to the rest of the world. The assassination was considered a hard ending for Aum. The changes that his killing brought about cannot be understated in the decades since it happened. Now when a high profile suspect in Japan is brought in they are required to wear a stab vest, they are brought in by the back of the courthouse, and security is much tighter.

    Many members of Aum’s “cabinet” who were captured and arrested were given life sentences as a minimum, while 18 members were given death sentences, including most involved in the brutal Sakamoto family murders. The trials spanned over a decade as many cult members would be tried across Japan, most would go to jail for only a year or two for minor crimes, the 18 who faced the death penalty were connected to abuse cases, the Tokyo Sarin attack, the 4/15 attacks, the Matsumoto attacks, and numerous murders that the cult committed. Some of the trials went fast as the defendant had confessed to their crimes, others refused to confess. They would become known as the Tokyo Trials and to this day, they remain the most famous trials in Japanese history. Only two major Aum Shinrikyo attackers remain at large, Akira Yamagata, the mastermind of the 4/15 attacks; and Hideo Murai, a perpetrator of the Sakamoto family murders and the number two man at the Cult’s Ministry of Science and Technology and later it’s minister.The missing Yamagata and Murai in particular launched numerous Internet conspiracy boards of alleged sightings of the men from places like Anaheim Disneyland to Cape Town, South Africa. There were serious investigations with the two being on the FBI’s most wanted list and Interpol putting a Red Notice on both men. As of 2012, they were not found[13].

    The impact on Japanese media of this killing was noticeable with plots in detective shows having a victim’s father (and on occasion mother or son) kill the suspect in a public manner. The first such recreation outside of detective shows happened with 15 April, a 2002 NHK miniseries on 4/15 and the subsequent assassination of Shoko Asahara. Kenichi Hoshino in the series was played by actor Ken Tanaka, who had met with Hoshino to get permission for Hoshino himself and understand what Hoshino remembers. “He is an interesting character. He was like anyone else you’d see on the nightly commuter train. And then some event happened that made him this way.” said Tanaka in a press release in 2002 for the miniseries. Footage of 15 April would also be used in A Year of Terror, a PBS miniseries in 2006 that showed the attacks in Tokyo and the American response to the Sword of Liberty’s Washington DC bombing and other attacks by exteremist groups around the world[14].

    The killing also had a huge impact on anime and manga in the 1990s. For instance, a chapter and episode of Gosho Aoyama’s mystery series Detective Conan[15] had the titular character investigate the case of a cult leader killed by the brother of a terrorist attack victim. However, there was another murder that was happening during the assassination that was committed by a reporter present at the incident. In Satoshi Kon’s surreal psychological thriller Perfect Blue[16], Rumi stabs a photographer to death for taking nude photos of idol turned actress Mima Kawagoe in a manner similar to Kenichi Hoshino killing Shoko Asahara. Kon stated on the 10th anniversary of the film's release that he told his animation staff to watch the Asahara assassination as a reference point for how Rumi would kill the photographer. "Cowboy Funk", an episode of the space western Cowboy Bebop[17], had bounty hunters Spike Spiegel and Andy kill a Shoko Asahara-esque leader of an Aum Shinrikyo inspired terrorist organization in retaliation for a deadly bombing on Mars that claimed hundreds inside a high-rise building. Similarly, Studio Gainax's Neon Genesis Evangelion included it's own references to 4/15 and the Asahara assassination with the Angel Ramiel blowing up a government building in Tokyo-3 followed by Shinji Ikari fatally stabbing after severely weakening him with the EVA-02 Unit's gun[18]. The shonen action series One Piece and Rurouni Kenshin[19] had a few allusions to the event such as Himura Kenshin going after a cult leader conducting a campaign of terror against the Meiji government or Monkey D. Luffy and the Straw Hat Pirates fighting a group of religious fanatics from an island. Additionally, an expy of Aum Shinrikyo would also be featured in the 2000s superhero series Birdy the Mighty, an adaptation of a manga series that ran from 1985 to 1988 with George Gomez, the main antagonist, leading a terrorist cult committing attacks throughout Japan and the world only to be killed by Birdy with her alien knife. Even the children’s anime franchises Doraemon and Sazae-san had their titular characters deliver public service announcements on national television urging viewers to donate to the victims of the 4/15 attacks.

    On the tokusatsu side of things, several Super Sentai series, Kamen Rider, Ultraman and other shows of the genre from the decade would use the plot of a cult triggering an ancient evil, a monster, aliens, or other various evils. They also had the hero who defeated these evils not be the main heroes of the show but a side character who was meant as a Hoshino-esque everyman.

    Outside of Japan, the attacks and assassination of Shoko Asahara would also have a large influence on American media given the country’s familiarity with militant cults. In comics, Marvel’s Punisher would take out the terrorist organization God’s Will and stabbed their leader with the assistance of a cop after they detonated a truck filled with deadly explosives in New York City killing thousands of innocent people while DC and Vertigo’s John Constantine fought a deranged group of cannibalistic, murderous cultists who bombed various locations in London and achieved a goal to summon a powerful demon. Such storylines were not limited to trenchcoat anti-heroes either as the Big Two’s most famous superheroes such as the Justice League and the Avengers fought supervillains modeled after Aum Shinrikyo and received help from average citizens wanting to destroy these cults even if it meant enacting brutal justice. The Aum Shinrikyo attacks and Asahara assassination along with fhe Sword of Liberty's campaign of terror also inspired the depiction of Gilead in the 2001-2006 HBO adaptation of Margaret Atwood’s The Handmaid’s Tale[20] in which the fundamentalist terrorist group the Sons of Jacob used a truck to blow up the Pentagon along with sarin attacks in the Washington DC subway and Offred (real name Kate Osbourne) fatally stabbing Commander Fred Waterford with a knife. Meanwhile, the attacks and assassination would be most famously used in CBS’s Law and Order as a plot device in in a 1997 season opening two part episode, where a right-wing doomsday Christian cult known as New Dawn posioned a New York City subway car and then later detonated a massive bomb near New York City Hall. The manhunt for the cult leader finds Isaiah Goodman (played by William Sadler) caught in a high-profile arrest by the NYPD. In the first part, the detectives after Goodman’s arrest have to deal with his babbling and Goodman’s take on the end times only to be killed by a woman who lost her son (played by Ann Dowd). In the second part, Jack and his Associate District Attorney have to deal with Fiona Franks (played by Lesley Ann Warren), a teacher and cornerstone of the community, and her attorney Glenn Masters (played by Christopher McDonald) after they’re revealed to be members of New Dawn as well as the other leading members of the cult. Franks is discovered being the number two in the cult after Goodman being chiefly responsible for security, indoctrination, and propaganda. It is discovered that Franks had persuaded a major news network (NNC as a nod to CNN) to break confidentiality on a lawyer that was going to sue the cult for financial fraud and emotional damages. The New Dawn cultists killed the attorney that was suing them. Franks is found guilty and Masters loses his law license and is arrested by federal agents for tax fraud and using the US Mail to send fraudulent checks. Despite New Dawn being taken down as District Attorney Adam Schiff (played by Steven Hill) warns, “Some other shaman, religious leader, strongman, or some nut is going to come along and promise to find a solution to the ills of the world and it often leads to violence. I saw it with Hitler and Stalin, we saw it in Texas, Tokyo, and Washington with those cult leaders. And we saw it here in New York with Goodman. There will be other Goodmans sadly, their stories will be different, but what they sell is all the same. Bloodshed and misery.” Right as the episode ends Schiff gets a call that Franks was killed at Rykers by a prisoner who lost a brother in the subway attack. The episode was given numerous Primetime Emmy nominations and won three for Outstanding Supporting Actor (Steven Hill), Outstanding Drama Series and Outstanding Writing for a Drama Series.

    Aside from Law and Order, many other Western films and television shows used the Asahara assassination angle in their stories, even if they didn’t deal with religious extremism. For instance, an episode of NYPD Blue had an Italian mob boss (played by Alex Rocco), kill his rival (played by Gianni Russo) and the son of the slain mob boss stabs the surviving boss in a public press conference witnessed by the main characters, (the son was played by Jason Cerbone). Several action or crime films used the Asahara assaination as a way to kill off a powerful Mafia character or crime boss. Even a low budget attempt to make a film based on the terror of Asahara and his end that was filmed in Vancouver, Montreal, and Toronto. In 2004, the American film studio TriStar Pictures and the Japanese film company Toho made a film based on the Shoko Asahara assassination and the 4/15 Attacks titled Melancholy directed by Yoji Yamada with Hiroshi Abe as Asahara, Ken Watanabe as Hoshino, Tatsuya Nakadai as Prime Minister Murayama, Masato Ibu as Police Inspector Nakagawa, Kiichi Nakai as JGSDF Major Takeo Fushida, Akira Onodera as Ichiro Ozawa, Issey Ogata as Yoshiro Mori, Dennis Quaid as President Al Gore, Corbin Bernsen as FBI Agent Franklin Moreland, John Karlen as Secretary of State Brzezinski, Kaori Momoi as Makiko Hoshino and many more[21].

    In literature, Japanese author Toyoko Yamazaki[22] would use the April 15 Attacks and the Asahara assassination to write a novel inspired by the events, titled A Time of Terror (Kyofu no Toki), first serialized in conservative magazine Shukan Shincho. The novel followed reporter Isamu Anzai, a reporter with a newspaper based on the Mainichi Shimbun, in the mid-1980s starting to follow a new “self help group” as it begins during the years after the Plaza Accords and the “Bubble Years” in Japan. The political corruption is noticed, the aftermath of the National Air Lines 123 scandal (mentioned in her previous novel The Sun Never Sets (Shizumanu Taiyō), which was inspired by the JAL 123 Miracle crash and the subsequent scandal)[23]. The cult here is called the Oracles of the Divine. They had their first offices in Shinjuku, Tokyo and would set up their headquarters near Mount Haku along the border of Gifu and Ishikawa[24]. Yamazaki shows the cult led by Divine Kusanagi (Born Fumio Miyazawa), a blind man from Minamata, Kumamoto. The seeming lack of interest by the police and government and the cheerleading by the media disturbs Isamu. “How is it when there are these family members saying they can’t see their loved ones or that lawyer and his family went missing in Chiba, we didn’t cover it? Why are we protecting this bizarre group?!” One character Isamu Anzai encounters in the novel several times is Home Affairs Ministry bureaucrat Hiroshi Nakamura. The cult finally commits their attacks (Gassing the Osaka Subway and bombing Japan's banking center Marunouchi, and the US Yokosuka Naval base) and as Kusanagi is being taken to the court house Anzai sees Nakamura murder Kusanagi after he lost his son in the attacks. The novel also dealt with the political and economic situation in Japan in the era with characters based on leading political figures of the time. The novel was serialized between 2002 to 2005 and released fully in 2005. A film adaptation would be released two years later by Toho and a series based on the novel will be released in 2012 for TV Asahi. In 2008, author Haruki Murakami would publish his latest novel 1Q85 which took place in an alternate 1985 that dealt with a woman from a reality similar to ours going into this world she calls 1Q85 due to differences like the police having semi-automatic pistols instead of revolvers and an extremist group who had a standoff with the police in the Hida Mountains she does not remember. In one scene from the novel, a salesman stabs the leader of the extremist group after his daughter was killed in a deadly bombing in Hiroshima instigated by them.

    In music several heavy metal and industrial rock groups from North America, Europe, Australasia and Japan used footage of the assasination in their videos, cover art, and even parodies. One band had a member stabbing the lead singer with a guitar, both dressed similarly to Asahara and Hoshino. Even Japanese hip-hop and alternative rock would reference the assassination with songs such as Hoshino Hideo (Hoshino the Hero) and Toushi Kaishuu (Payback) though J-pop largely stayed away from singing about the assassination to keep their clean image.

    While the political changes brought about in Japan were not as much caused by the assasination of Asahara but the Aum Shinrikyo attacks, some political changes were expedited by the assasination and not just after the government passed very strict laws that banned chemical weapons and ammonium nitrate[25]. Prime Minister Tomiichi Murayama would resign from office a month after the Japan Socialist Party came in third in the July 1995 House of Councilors election. Murayama resigned a day after the fiftieth anniversary of the Japanese surrender in World War II after giving a controversial speech which apologized for Japanese actions in World War II. He was replaced by his deputy in the coalition (Socailist-LDP), Yohei Kono, though Kono’s term was brief as he would deal with a wrench in US-Japan relations with the rape of a 12 year old girl by three American servicemen which enraged the Okinawan populace resulting in the three servicemen tried and convicted in Japanese court, but the anti-American sentiment amongst the locals remained. Then there was a violent robbery at a JUSCO supermarket[26] in Sagamihara, Kanagawa Prefecture resulting in three dead female employees, each shot in the head. But at the end of October, two attacks occurred. One by Aum remnants was after the final game of the Nippon Professional Baseball Japan Series[27] at the Chiba Marine Stadium when the Chiba Lotte Marines beat the Hiroshima Toyo Carp[28], the explosives were small and only resulted in injuries but no actual deaths. The other incident was an ANA 747 hijacking by a mentally disturbed bank employee with a screwdriver and “plastic explosives” in June. The Special Armed Police (SAP) responded and after negotiations failed and he injured several passengers and crew, lethal force was authorized[29], no indication the hijacker was affiliated with the cult. Also later in June 1995 were members of a smaller cult arrested in Sukagawa, Fukushima Prefecture with the most odd thing about this cult was it was led by a woman[30]. In November 1995, Prime Minister Kono would face an internal party coup against him led by Ryutaro Hashimoto resulting in Kono losing in the leadership contest. And behind the scenes as the grim task of clearing debris from the devastated Kasumigaseki was underway, a plan to rebuild the devastated district would begin, it would later be discovered as one of the largest embezzlement, price rigging, contract rigging, and corruption schemes in Japanese history, that plan was the Kasumigaseki Redevelopment Fund. But the laws were being changed to reform the National Police Agency as a truly national investigative agency instead of the administrative one it had been before. There was also a multi-partisan attempt to alter the constitution of Japan. The process would begin in fall of 1995 but finish a year later with Articles 9 and 96 altered[31].

    At the same time there was an ongoing backlash towards Buddhism, as well as new religious movements since Aum Shinrikyo was influenced by the religion and was a non-Shinto religious organization[32]. Already there had been several incidents where Buddhists or members of new religious movements were met with death threats or were beaten and attacked in the streets for Aum’s attacks along with vandalism directed at Buddhist and new religious temples. The increasing hostility towards new religious movements by the Japanese public led to the government taking a stricter stance against these groups which included mass surveillance and in some cases their religious status being revoked to much controversy among some segments of the Japanese public that were anti-Aum Shinrikyo and pro-Hoshino Wave but didn’t oppose the new religious groups. The backlash from 4/15 and the Asahara assassination was so prevalent that Buddhist and new religious organizations had to release statements denouncing or distancing themselves from Aum Shinrikyo.

    The assassination’s biggest impact in Japan was that Hoshino in talking to the press, unleashed many secrets of the bureaucracy in which money was embezzled, how the LDP had managed to have a stranglehold on power that was unchecked since the 1950s and the government’s failure in keeping an eye on Aum Shinrikyo or similar organizations. And even if people didn’t totally believe his claims it did spur the media to investigate many of these allegations and discover even if Hoshino wasn’t totally correct he was not totally wrong. This changed the media of Japan who were reluctant for a long time to go after politicians. Some of it was due to the larger papers backing the LDP and not wanting to lose sources. Another reason was simply that the papers were scared of being wrong and being sued. But mostly as Hoshino stated, Japanese politics, bureaucracy, business, media, and organized crime often worked in a uniform manner to push forward Japan Inc. Hoshino’s anti-establishment and anti-corporate activism would soon lead to an entire social movement named after him known as the Hoshino Reform Wave[33] which sought to punish politicians, business owners, newspaper magnates and even some celebrities for their lack of accountability, potential ties to the Yakuza or inability to stop if not sympathy for certain extremist organizations such as Aum Shinrikyo and the uyoku dantai[34]. The Wave swept every corner of Japanese society with many prominent figures either resigning, losing their seats in the National Diet or getting arrested for ties to criminal organizations. This reform wave amplified the calls for further reforms after the massive waves of political scandals in the 1980s (the Recruit Scandal was the biggest scandal led to more scandals[35]) brought significant political reforms but it did not go far enough. Another major side-effect of the Wave was the passage of the 1995 Police Reform Act which allowed the National Police Agency to not only reform itself but crack down on organized crime and white collar crime as well as uyoku dantai groups with strong ties to the Yakuza[36]. If there was one politician who was especially a victim of the Hoshino Wave it was then LDP General Secretary Yoshiro Mori; who during the 4/9 attacks had been with one Yakuza boss prior to that boss being killed, on the 4/15 attacks was golfing with the head of Japan’s largest criminal organization the Yamaguchi-gumi[37] and did not leave his game after hearing news of the attack, the failure to clap and improper bow he did at the public funeral for the victims of 4/15, and his numerous gaffes (In a joke about his 1969 campaign for the Diet, “When I was greeting farmers from my car, they all went into their homes. I felt like I had AIDS." or “All the murders come out when blackouts happen in America.”[38]). Mori’s influence in the party dwindled due to these actions and gaffes and left him open for rivals to attack him politically, both in the LDP and by the opposition. Eventually, Mori would step down from his position with Hiroshi Mitsuka succeeding him as General Secretary of the LDP though he would later become the Minister of Construction during the Premierships of Yohei Kono and Ryutaro Hashimoto.

    All in all, the assassination of Shoko Asahara was a visceral event that would impact many aspects of Japanese life just as the attacks that Asahara masterminded did too. The shocking fact is, the killer of the most hated man in the country was a guy you’d see at a Lawson’s[39] or 7/11, on the commuter train, at the bar with his subordinates, or at the office. It made many people realize not all criminals were unfixable and that sometimes crime was forced upon people by the failure of the state’s inability to act. As for Kenichi Hoshino himself, he was involved in raising his granddaughter Moriko despite initial hesitation from Ayaka’s parents. He is most of the time a happy grandfather that spoils Moriko when he can but still has to be a parent. “I’d give everything for all my family to be here with me and Moriko, but Moriko makes me happy enough. I have had to explain how I make money to her and what I did. But she understands and she does not think I brought shame on the family.” Hoshino told British broadcaster BBC in 2010.

    “In tragedy, all we have is each other, but that helps get us through it.” Hoshino stated.



    [1] In our world Aum Shinrikyo did not lose its religious incorporation rights in the broad sense, it was split up by members and the Supreme Court of Japan defended the group’s rights. Here it will be different and Aum will lose these rights due to their much worse spree of terrorism. Additionally, the post-Aum Shinrikyo
    [2] While the High Court Annex no longer exists in Hachioji, the facility was moved next to the Japan Self-Defense Force base in Tachikawa.
    [3] Remember stabbing somebody and then chopping them causes a lot of splatter. I expect some comedians joking about it like a morose Galagher.
    [4] Auntie Beebs not getting the drop while Biwako Broadcasting getting lucky again.
    [5] CNN and CBS are in the same boat so the footage would be available to CBS.
    [6] I will say Australia’s 60 Minutes exists as it started probably before POD (February 1979 for 60 Minutes Australia)
    [7] 24 hour news cycle, it is chaos.
    [8] Tottori is the capital city of Tottori Prefecture, the newspaper is real.
    [9] He is an original-to-TTL character who affects Hensonverse history in a significant way akin to Yuri Kovalenko.
    [10] He was able to walk for so long because he had the largest political faction in his party. He helped PM Nakasone early during his Premiership.
    [11] Adoption for larger families was a way to ensure children could get a chance at a future in post-World War II Japan
    [12] As explained before, they (TBS) betrayed the confidentiality of a source so they could get a good story from Aum. This lead to the Sakamoto family murders.
    [13] In 2014, Akira Yamagata was found by authorities in the Philippines. He was arrested on the site of his construction job after a fight with his boss. Local police had a new “aged up” picture of him in the station and matched fingerprints of him to those on file. Hideo Murai on the other hand was found but never faced justice for his actions. He was murdered in Sao Paulo in 2017 by a mugger. The Military Police of Sao Paulo found no evidence the attacker knew he was Hideo Murai. The mugger was never found.
    [14] In the case of the Sword of Liberty, the Gore administration will crack down very hard on not just this group for it’s involvement in Washington and Jackson but other Militant White Nationalist Organizations (MWNOs) with SOL and others being designated as terrorist organizations along with the radical Islamist Al-Qaeda and Aum Shinrikyo making it illegal to be a member of or provide support for them. There will also be a nationwide backlash against white nationalist ideologies such as Christian Identity, neo-Nazism and the Ku Klan Klan since the SOL shares these beliefs.
    15] Detective Conan was still dubbed by Funimation and failed to find an audience in the States due to having mature subject matter interspersed with slapstick comedy and a teen turned child investigating mysteries. It also aired on NGAGE instead of Cartoon Network’s Adult Swim.
    [16] The film is mostly similar to OTL aside from the incident above.
    [17] The episode in TTL has the Teddy Bomber look very different and he goes under another name along with allusions to 4/15. As for the show itself, the ending is more or less the same; it ends up airing on Cartoon City specifically it's adult animation block Adult Swim as part of the network's expansion into anime alongside The Legend of Galactic Heroes and other programs. It also ends up being as successful as OTL and still gets a critically acclaimed dub with the OTL voice cast.
    18] Will air on Neptune’s NGAGE and unlike Detective Conan become a huge hit for the block in the same vein as Sailor Moon for Vaultoons or Magic Knight Rayearth for Sunburst.
    [19] Recall in @Otakuninja2006’s Meanwhile, on Neptune post that One Piece aired on the 3-Headed Squid block of Neptune and was very successful thanks to having far less edits than OTL’s 4Kids version and a dub done by Funimation with a different voice cast. As for Rurouni Kenshin, it still airs on Toonami but with the third season being syndicated and an uncut version on NGAGE much like One Piece. It will be a huge hit for the network alongside the likes of Dragon Ball Z, The Justice League and Gundam (both the 1979-80 original and Zeta respectively).
    [20] The 1990 film adaptation was butterflied ITTL because studios rejected it for its material and the fact that it was made eleven years after the POD. Here, the effects of the Aum Shinrikyo and Sword of Liberty attacks along with post-Anita Hill third wave feminism sparked a renewed interest in the novel leading HBO to adapt it. The HBO series will resemble the OTL Hulu show in most respects aside from some character names and a few other details.
    [21] The film will garner plenty of critical acclaim for it’s performances, screenplay and score earning it numerous nominations and accolades from Japan and the West respectively.
    [22] Toyoko Yamazaki was already a popular author long before POD. Her most famous work in Japan and internationally is probably Shiroi Kyotō or The White Tower. The novel is a medical novel that deals with two doctors in a fictional medical university hospital. She had also written other novels but The White Tower is her most popular novel being adapted to film and television many times since publication in 1965.
    [23] Unlike the original-to-TTL A Time of Terror/Kyofu no Takei, Shizumanu Taiyo is mostly based on OTL’s novel and film including Ken Watanabe in the lead role but with the JAL 123 Miracle Crash instead of the disaster from our world.
    [24] One of the three Holy Mountains of Japan along with Mount Tate (in Toyama), and of course Mount Fuji. The Cult HQ was moved in the novel so it was not at the foot of Fuji like Aum Shinrikyo’s.
    [25] Very similar to OTL’s Chemical Weapons Prohibition Law with some slight modifications.
    [26] JUSCO/AEON is one of Japan’s oldest supermarket chains so naturally it was included in the post. The JUSCO incident is inspired by a real robbery that occurred in Hachioji at the end of July, but with the massive police presence in that city they picked a different city to rob. Robbers are never found in OTL or ITTL.
    [27] IOTL it was the Tokyo Yakult Swallows and Orix BlueWave that were in the 1995 Japan Series. First and second-order butterflies affecting North American and Japanese sports to an extent resulted in different teams going to the Japan Series.
    [28] NPB’s Japan Series is essentially the Japanese equivalent of the MLB’s World Series.
    [29] Based on an OTL incident that happened in June here it happens in October. The SAT (then known as SAP at the time) was able to talk down the suspect in our world. However due to butterfly flaps the suspect stabbed more people with the screwdriver. None is killed in OTL in ITTL the suspect is.
    [30] The woman in question is Sachiko Eto AKA The Drumstick Killer. A serial killer and cult leader responsible for six murders in Sukugawa between 1994 and 1995. A self proclaimed guru who is alleged to have psychic abilities. Ordered several cult members killed in rituals involving taiko sticks. Discovered when a cultist and victim escaped. She was sentenced to death in OTL and likely the same in ITTL. Multiple murders is a fast track for execution in Japan. She was hanged in 2012.
    [31] For those unfamiliar, Article 9 is a clause in the post-war Japanese constitution that prohibits Japan from declaring on another nation while Article 96 is one for ratifying new amendments. Given recent events and Aum Shinrikyo’s presence in the USR, the Japanese government decides to partially repeal Article 9 to allow Japan to declare war on behalf of an ally after they had altered Article 96 to make such changes possible.
    [32] Buddhism for the record is the most popular religion in Japan outside of Shinto. The religion first arrived in the Land of the Rising Sun through China and Korea in the 6th century though it took the Soga clan and others to make it as widespread as it is in Japan today and it’s going to face a slight decline in total adherents in the 1990s since Aum Shinrikyo appropriated elements of the religion for their nefarious deeds. As for new religious movements, let’s just that groups like Ryuho Okawa’s Happy Science will be seen unfavorably by most Japanese for very obvious reasons.
    [33] Think of the Reform Wave as the Japanese equlvanent to the post-Anita Hill third wave feminism or the Ark Waves of @gap80’s Kentucky Fried Politics which sought to go after people that may or may not have done did sexual assault just as the Wave is going after specific influential figures for possible corruption and sympathy for extremist groups or the Yakuza.
    [34] The latter is a term used to describe Japanese ultranationalists with xenophobic and jinogistic views who support the military-dominated regime of 1936-1945 and deny their various war crimes such as the Nanking Massacre or the barbaric experimentation of Unit 751 the Bataan Death March though some are pro-American while others dislike foreigners in general and not just Koreans or Chinese. Uyoku dantai are a common sight around major rail stations and shrines in Japanese cities proclaiming their message from sound vans covered in patriotic imagery and Japanese flags (particularly the Rising Sun flag). A majority of Japanese people ignore their messages, but a sizable minority do listen. Remember these idiots hold an anniversary of Otoya Yamaguchi’s suicide in Hibiya Hall where he murdered Inejiro Asanuma, every year. In Western terms, they’re essentially the Japanese equivalents of neo-Nazis or Stalin apologists in Europe and North America along with the internet offshoot the netto uyoku being one for the alt-right. With the Hoshino Reform Wave, the uyoku dantai won’t escape unscathed since some of these groups historically have ties to the Yakuza and there will be an effort by pro-Wave groups and the Keisatsu to convict members of the uyoku dantai for potential criminal activities.
    [35] One of the biggest political scandals in modern Japanese history akin to Watergate for American politics. The scandal involved the Recruit Company, a human resources group which had a new subsidiary in the form of Recruit Cosmos with the chairman of Recruit and the company officers offering politicians from the LDP, Komeito, and Socialist parties shares in said company before it went public. Prime Ministers Nakasone and Takeshita had shares, as did many leading LDP politicians, businessmen, and bureaucrats. This would be first discovered by the Asahi Shimbun (Morning Sun Newspaper) though the bosses at Asahi quashed it and the Shimbun Akahata (Newspaper Red Banner) would publish the story leading to it becoming a major story. Takeshita’s senior aide would commit suicide and lead to further scandals being outed like Takeshita using the Yakuza to stop a uyoku dantai group who were doing a praise killing campaign during the LDP presidential election. The chairmen of NTT, Yomiuri Shimbun (Reading-Selling Newspaper), and The Nikkei newspapers resigned. Recruit did recover in OTL and likely ITTL and now owns job hunting websites Indeed and Glassdoor.
    [36] In OTL, the Keisatsu-cho/National Police Agency is a much more administrative agency. They more coordinate police investigations and are not as active part of investigations involving prefectural level police agencies. Often the Commissioner General of the NPA is from the police bureaucracy. They also have never shared more than fifty files on the Yakuza from their police computers since they joined international policing computer networks. In the Hensonverse, the police of Japan are forced to change due to their inaction, and the FBI, MI5, the Australian Federal Police, Korea’s National Police, and many other police agencies in helping reform the NPA are very insistent on opening those files. The Japanese police leadership cave into these demands, resulting in the Japanese opening their files on the Yakuza regardless of the political mess it could create especially since some have ties to business, media, and politics but the Hoshino Reform Wave will sway public support in favor of locking up high-profile and low-ranking yakuza and stricter enforcement of anti-tattoo laws. Though some anti-tattoo laws may be weaker so foreigners with tattoos and people with tattoos are not denied service if they are not connected to the Yakuza.
    [37] Inspired by a picture of Mori in OTL’s year 2000 that political magazine Shukan Gendai (Modern Weekly) took of Mori with a high level yakuza and when the American submarine USS Greeneville and the fishing ship Ehime Maru collided in February 2001, Mori as PM was golfing at the time when informed of the collision off of Hawaii, he did not stop his game.
    [38] The gaffes come from our reality, or reworded in this case.
    [39] A popular convenience store chain owned by (at the time) Daiei Inc. Lawson’s history is a weird one. It started in the United States (specifically Ohio) as a small number of stores, expanded to a large number stores then Daiei enters and arrangement with Consolidated Foods (who owned Lawson’s in the 1970s) with the remaining American Lawson’s locations closing or were sold to Circle K in the 1980s while the Japanese branch rapidly expanded. In OTL, Lawson’s has 18,000 locations as of 2021 and with some locations in Hawaii, they’re slowly planning to return to the United States. In short, Lawson’s was one of those American brands that lost popularity in its home country but became popular in Japan. In OTL’s 2001 Mitsubishi became a majority owner and then in 2017, Lawson is under Mitsubishi as a subsidiary. Daiei is one of the infamous “Zombie Companies” (they can pay interest on debt but not the debt itself) of the 1990s. This led to the sale of Lawson’s. Daiei was bailed out in 2002, since it had 90,000 employees at the time. It was deemed too big to fail.
     
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    There Goes the Spider-Man!
  • As promised in my Oscar Bait Guest Post, here is the guest post on ITTL Spider-Man 2. I'll be doing a guest post for Spider-Man 3 soon as well, for those wondering, as well as a guest post when the timeline reaches 1999 for the late 1990's Spider-Man cartoon (not to be confused with the one from the early 1990's) and X-Men: Mutant High shows that were mentioned in my Excelsior! guest post.

    ---
    Spider-Man’s 2 (1993) Retrospective
    Post from Geeks and Capes Net-blog, by Jacob Buller. April 6th, 2018


    The 90’s were certainly a big and notable decade for the Amazing Spider-Man. In the world of comics, Peter Parker’s Aunt May, after decades of hanging on to life, finally died and Peter Parker himself officially retired as Spider-Man after he became a father to the first of what would ultimately be three children [1], passing the torch to his clone Ben Reilly who would become the second of the current three main Earth-616 Spider-Man’s [2]. On television meanwhile, the Spider-Man animated series was wowing kids and fans alike in what most fans consider to be the ultimate adaptation of the web head ever put on screen, to be followed later in the decade by a separate comic book adaptation.

    Yet it was on the silver screen where Spider-Man made the biggest splash in the 90’s, as audiences in 1991 would pay witness to the friendly neighborhood wall-crawler making his first big appearance at the movies, played by none other than Seth Green. Becoming a smash hit with fans, critics, and audiences alike, the film would manage to release to an impressive $370 million at the box office. After making big bucks for Marvel and Disney when it was released, it was to the surprise of no one that sequels to the superhero film would be immediately announced and green lit, with the first of said sequels being 1993’s Spider-Man 2.

    The-20-Amazing-20-Adventures-20of-20-Spider-Man-202-20-LR-preview-50.png

    An early poster for ITTL Spider-Man 2, released in Summer of 1993. (Source: Image by Nerdman3000)

    Seth Green would naturally return in his role as Peter Parker/Spider-Man, joined by a similarly returning Alfred Molina as Doctor Otto Octavius aka Doc Ock (who played a minor role in the first film). Rejoining them would be R. Lee Ermey in his most memorable role as J. Jonah Jameson and Jessica Tandy, in what would be her final appearance in the role of Aunt May [3]. Other new casting changes would include the addition of Joe Morton as Norman Osborn, as well as the first appearance of Henry Simmons as Harry Osborn, who plays the role in a brief cameo.

    The biggest casting change however, as you're no doubt aware, was the recasting of Mary Jane Watson. Fay Masterson, who played the character in the original 1991 film, would famously leave the role due to a potential schedule conflict after she was offered her big break when she was cast as the lead role in 1993’s Redding and Weep, a role which would in fact eventually land her an Oscar and help cement her status as a A-list actress [4]. While said departure was quite amicable from all reports, it did nonetheless force Disney/Marvel to have to find a replacement to play Mary Jane, which they would eventually find in actress Alicia Witt [5].

    Witt would certainly provide audiences with a different sort of Mary Jane than the one they were used to with Fay Masterson’s performance, as Witt ultimately chose to put her own mark on the character rather than just copying what Masterson did, something which Joss Whedon, who wrote the film, decided to actually incorporate into the story upon hearing Witt’s own suggestions for the character. Compared to Masterson’s more down to earth girl-next-door version of the character that reflected more the Mary Jane of the comics at the time in temperament and personality, Witt’s Mary Jane would begin to tone down on the girl-next-door aspects to instead introduce a more playful, energetic take on the character which heavily leaned into a lot of the party-girl aspects Mary Jane had during her early comic book appearances. Though not as apparent in the second film as it would be in the third, the character change did bring an interesting on-screen evolution to the character, with Witt doing a rather good job at playing the more party girl Mary Jane.

    6-BBDD5-ED-7031-4924-9345-A32-A1-DDCA1-FB-50.jpg

    Alicia Witt, circa 1995. She would replace Fay Masterson as Mary Jane Watson following the latter’s departure from the role. (Image Source: Alamy.com)


    Nonetheless, the casting and character personality change (even if it was later explained well in the film [6]) would undeniably divide fans when the film first debuted, with a number of fans to this very day still arguing who they think is the better MJ. I myself personally actually prefer Fay Masterson’s version (who’s version felt more genuine and honestly had much better chemistry with Seth Greene), though I can see why more fans nowadays might tend to prefer Alicia Witt (even if her version in the Spider-Man 2 and Spider-Man 3 felt somewhat more like a devolution of the character, at least when you compared it to her evolution in the comics), since she has the advantage of playing the character across more films compared to Masterson’s one film.

    In terms of plot, the story follows a Peter Parker who in the year since he received his powers has grown to become a much more experienced Spider-Man, even as he is also working as a lab assistant to Doctor Otto Octavius. In fact we get a clear demonstration of this in the opening film, as we first see Peter, who’s already missed class, now finding himself being late to his work with Octavius, due to being busy battling it out with none other than the Rhino (played in a surprise cameo by former wrestler Randy Savage) [7].

    While Peter does eventually make it to work, it’s clear that despite his experience he still has a hard time balancing both parts of his life, and Otto naturally chastises him. As we soon learn though, it’s not just Peter’s double life that’s causing him issues, as it seems that things simply aren’t going well for him in other aspects of his private life. Peter’s Aunt May, as we soon learn, has been dealing with health problems and financial issues caused by debts which threaten to see her lose her home, an issue Peter will be forced to deal with and stress over during the course of the film.

    In truth, the only bright spot for Peter at this point seems to be his relationship with Mary Jane, who soon invites him to attend with her a pre-High School graduation party at Liz Allen’s house. Peter decides to attend, despite Otto informing him he will be conducting an important experiment that very night, and naturally tragedy strikes when an accident in his lab causes Octavius’s new mentally-controlled arms to drive him insane and take over his mind. Peter naturally feels a deep sense of guilt and responsibility for the fate of his mentor and blames himself. This in turn leads Peter to become laser focused in his determination to save Octavius and stop him, which only ironically leads Peter to become more cold and methodical like Octavius is now, a mindset he will eventually have to be brought out of by Mary Jane and Aunt May.

    Z_WbattsU7PYYwlbBpvT9bBcUnEMdYoz3YY5SsSTsnMQErsIChm4AH5tNvB2VVe4iKpJ9m0PYULLaV7qOmbUk9bNlNAPddKQM-1BEaJxpTPP-iKCpgJtoYr1gVRI2VNvOdjYKheq_IYRZeap-uZ09w7P9FxWPBze7KFaPpapedBSFO_fJnUE-TsoSA

    Alfred Molina as Doc Ock. Look-wise, he mainly resembles his NWH appearance, but with his jacket being a slightly more vibrant green color and his under sweater being a yellowish color, to reflect the classic comic Doc Ock color scheme. (Source: NWH Concept Art/Edited and Recolored by @Nerdman3000)

    Eventually the film concludes with Peter, who has taken the time to learn to try to focus on balancing both aspects of his life and move on from the bad mindset, having his graduation interrupted when panic ensues after Doc Ock threatens the whole city, leading to a jaw dropping and memorable final fight on top of the Twin Towers in New York [8] that as a kid left me grinning ear to ear when I first watched it in theaters. Yet what had me as a fan the most giddy was the final scene in the film, where Peter arrives at his dorm in college and meets his new roommate Harry Osborn and Harry’s father Norman, while also learning that MJ’s own roommate is in fact none other than Gwen Stacy (who is name dropped but not shown) [9].

    It terms of story, Spider-Man 2 in my opinion did a great job of showcasing the difficulties Peter faces due to his double life, did a great job of showcasing Peter’s personal growth, and the finally it greatly helped set up the events of the third film, particularly with the introduction of Norman, Harry, and mention of Gwen, as well as Mary Jane’s own growing party girl personality which would play a big story factor in the third film and lead to Peter and MJ’s relationship troubles in that film.

    Meanwhile in terms of special effects, the film would manage to build off the innovations and techniques which were used in the first film and made great strides towards expanding on them, such as with improvements to the web swinging effects which thanks to innovations in CGI allowed Disney and Marvel to show a whole minutes worth of more screen time of Peter web swinging around New York. Yet more than improvements to what was done before, the film also featured quite a bit of innovation, particularly with Doc Ock’s robotic arms, which would use a mix of CGI and practical effects, including innovative animatronic robot arms designed by Brian Henson that would present a huge leap in audio animatronic technology [10]. Even the suit worn by the Rhino that is featured early in the film would be innovative, as it would use early versions of many of the same special effects techniques that would later be perfected and used to bring the Hulk and Thing to life.

    It perhaps then should be no surprise that Spider-Man 2 was a massive hit with fans and critics alike when it hit theaters, becoming one of the biggest films of 1993 when it made well over $327 at the box office. To this day it’s often regarded as one of the best comic book movies of all time and one of the best Spider-Man films period, one only rivaled in terms of being a fan favorite by the very film which would follow it.

    —-

    [1] - Ben Richard Parker and May “Mayday” Gwendolyn Parker, for those who don’t remember, are the first two children. Ben is born during the Clone Saga, while May is born in the early 2000’s when Peter returns as Spider-Man in the comics (though she notably first appears briefly in the finale of the early 1990's Spider-Man cartoon). A third child, Annie Mary Parker is introduced in the comics in ITTL 2014.

    [2] - This won’t factor outside of comics for a while, but there will be a sort of earlier ITTL version of Miles Morales who gets introduced in the early 2000’s. To make a long story short, despite Marvel’s editorial mostly preferring Ben Reilly over Peter due to Ben’s single status and the more story possibilities they believe Ben offers, Marvel ultimately feels they have to bring Peter back as sales of Spider-Man continue to decline into the 2000’s. Part of this is believed to be due to new readers having a hard time wrapping their head around the Ben Reilly clone origin, which Marvel editorial feels in hindsight is taking away from the realism and ability to relate to Spider-Man. This means they feel forced to bring back Peter, despite many of the editorial staff (and fans) feeling that Peter has had his perfect ending and most writers at Marvel editorial feeling that Peter has ‘aged out’ of the role since he’s married with kids.

    The solution to this ends up being introducing a third new Spider-Man named Stanley O’Brian, based on a suggestion by new writer Brian Michael Bendis, during Tom Defalco’s ITTL third run as a writer for The Amazing Spider-Man. O’Brian is basically a young teenage half-Irish Jewish kid who manages to get powers just like Peter (well more like OTL Miguel o’Hara, if you want a better comparison of power sets) when he also gets bitten by a radioactive Spider, leading Peter to return as Spider-Man to mentor him following the temporary depowering of Ben Reilly. Eventually O’Brian would get his own spinoff comic series written by Brian Michael Bendis, which is basically the ITTL equivalent to OTL's Ultimate Spider-Man but set in Earth 616. So basically picture Ultimate Peter Parker, Miles Morales, and Miguel O’Hara mixed into one character and you get Stanley O’Brian, the ITTL third Spider-Man.

    [3] - Tandy would pass away in 1994 in both OTL and ITTL.

    [4] - For more about this, you can read my Oscar Bait film guest post here. Fay Masterson will go on to have a major A-list career ITTL following her departure from Spider-Man, which she arguably wouldn’t have had if she had stayed and continued playing Mary Jane for multiple films. If she had stayed, she more than likely would have ended up like Kristen Dunst, who’s promising career basically withered away after playing Mary Jane.

    [5] - Alicia Witt, coincidentally enough, was the actress whom Sam Raimi originally wanted for the role of Mary Jane Watson in OTL’s Spider-Man 1 before Kristen Dunst was cast. Ultimately Dunst was cast due to expressing interest in the role after Tobey Maguire himself got cast, and due to her being a bigger name than Witt, Sony forced Raimi to cast Dunst instead. ITTL she successfully manages to get the role even earlier than she would have in OTL.

    [6] - In-universe this is basically explained as Mary Jane has begun to adopt a party-girl personality like she did in the comics for the same reasons she did there, as a way of escaping and keeping her mind off of the difficulties of her bad home life and abusive father. The major difference here to the comics frankly is that unlike the comics, in the ITTL Spider-Man films Peter first meets MJ mostly before she took on that personality defense mechanism, which she only begins to adopts by Spider-Man 2 and goes fully into by Spider-Man 3, and would eventually play a big factor in her relationship with Peter and Gwen in that film.

    [7] - One interesting aspect of the ITTL Seth Green films will be that certain smaller but still major Spider-Man villains like Shocker, Sandman, Rhino, and Vulture will appear in short bits or be referenced, to demonstrate that Peter has indeed fought other villains between films. Mainly these will be villains that won’t headline any film, but will be confirmed to exist. Marvel's early plan for most of these villains was to slowly set them up in case they ever did a Spider-Man vs the Sinister Six film.

    [8] - Similar to the original intended final battle against Electro in the PS1 Spider-Man 2: Enter Electro game and the final battle in Insomniac’s Spider-Man game.

    [9] - With Peter about to retire in the comics and the massive success of the first film, Marvel and Disney begin loosening the rule they had in the first film which prevented Gwen and Norman from appearing.

    [10] - To go further into this, the tech used to create Doc Ocks arms would eventually help innovate audio animatronics used at the parks by increasing the quality, speed, and flow of movement of animatronic arms, helping to make them much closer to today’s A-100 audio animatronics from OTL (like the Na’vi animatronic in Animal Kingdom’s Pandora) then the ones from OTL 1990’s at this point in time.

    ---

    Anyways, that's that. Hope you enjoyed!
     
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    An Alan Smithee Production...
  • Films That Fooled The World: Who Is Alan Smithee?
    From the Hoaxology netlog by Ima Joe-King, published November 2015
    Guest post by @MNM041 with assistance from @Plateosaurus and Mr. Harris Syed


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    Y3HpLeSQU8-jwGrg21b8l4ldkSvHWEtatgJ1J27drL3iTTNW81gP4f3INSD7ycC4azASGeqgrK0VMZRVd1ksD0BZc4twWUs61rrPXpPOIPktFiwxPStBZKpEVbggBWrVtHqoMGC2xE3w6ul4PedPOvRpFJR1MAB3OYKUPfsNS8zYXR20dIiHr_vAUQ

    So not this

    In 1997, comedian and actor Mike Meyers and director Penelope Spheeris appeared on The Tonight with Conan O'Brien to ostensibly discuss the success of Shagwell, but then towards the end Mike mentioned he was taking part in a documentary on a director who he felt Hollywood had never given his fair shake, a man by the name of Alan Smithee, whose name had unintentionally become synonymous with trash cinema despite actually being a very talented filmmaker. He then brought on Smithee, to share his story about how he had been blacklisted in the industry after executives mistakenly thought he made various bombs over the years, that were really the result of various filmmakers trying to keep their names off various horrible films.

    So out came this odd, disheveled looking bearded man sporting a Cajun accent, large ears, wearing huge sunglasses that obscured a large part of his face and a loud-colored coat that made it appear as though he had the shoulders of a linebacker. Smithee then announced that next year, he would be working on a project to help clear his name and prove his talents, and with the help of Meyers, who was also starring in the film, had hired a documentary crew to film the production and show the world who he really is.

    Except… that wasn't really Alan Smithee, it was Mike Meyers's friend, fellow SNL alumni and Wayne's World co-star, Dana Carvey wearing an elaborate disguise. In reality, Alan Smithee was simply the pseudonym used by members of the Directors Guild of America that would replace the name of filmmakers who wanted their name removed from films they considered to be awful or had been fired and replaced by the studio. Thus began the infamous guerilla marketing campaign for one of the most well known mockumentaries of the 90s, Who Is Alan Smithee? Made on a shoestring budget[1], co-produced by Orion and Hyperion Pictures[2] and based on a joke Meyers and Carvey made between themselves that Smithee was a real director who was probably mad at Hollywood for using his name on disowned projects, Who Is Alan Smithee? is the result of two talented comedians deciding to pull in every favor they could for a single project, with Meyers himself directing in between being on-set for Shagwell, his other big project of the year.

    While the actual main cast was made of mostly unknowns, save for Carvey and Meyers themselves, the two of them managed to pull a lot of strings getting famous people to cameo for this which included fictionalized versions of (among others) Rose McGowan, Bruce Campbell, Ernie Hudson, Tony Todd, Alicia Silverstone, Wayne Knight, Norm Macdonald, Drew Barrymore, Jim Carrey, Kyle MacLachlan, Naomi Watts, and Uma Thurman, all of whom were starring as themselves or characters in the fake film within a film, as well as from those behind the camera and from film scholars like Jim Henson, Lorne Michaels, Roger Corman, Gene Siskel, and Steven Spielberg to name a few.

    As for the character of Alan Smithee, the film presents him as an immensely talented filmmaker who has never gotten the respect he deserved due to sheer bad luck. However, when he was first conceived by Meyers and Carvey, he was much different from the final result: he was written as a foul-mouthed, bad-tempered blowhard who took credit for contributions that were of a dubious nature at best, inspired by the likes of directors both had worked with and the con artist Alan Conway. However, after the first draft and the first public appearance, he was changed to a more idealistic character, because the two felt the more bitter and ego-driven version of the character, while funny in the short term, would be tougher to sell an entire movie around. Indeed, the final film would imply Alan started out cocky and self-assured but the constant setbacks over the last forty years humbled him out.

    Smithee’s mannerisms and accent were based on several people the two of them knew, most prominently an elderly fisherman that Carvey was living next door to at the time. Various bits of his personality were also taken from Orson Welles, considered by some to be one of the best directors of all time, as well as Ed Wood, often considered to be one of the worst directors.

    The Smithee disguise required elaborate costume and prosthetics, made by Tom Broecker[3] and Kazu Hiro respectively, but a lot more went into pulling off the hoax. An entire backstory was written for "Alan" a large portion of which isn't actually mentioned in the film (though some VCD and Blu-ray releases do go into detail), but in one of the larger examples of viral marketing of the time, a website that was supposedly Alan’s own, made for the film and is actually still up today[3]. The backstory in question for him was that Alan was born in the 1930s to Cornish-Americans growing up in the (real) town of Slaughter, Louisiana and developed a love for filmmaking at a young age despite the disapproval of his parents.

    His first film would be a very cheesy (by his own admission, even for the time) monster movie called Terror of the Thing from Mars that somehow led to a forest fire and several members of the cast and crew being thrown in the county lockup, the first of many misfortunes his career would see. Into the 60’s and 70’s, he’d see minor genre hits that would show hints of potential, and even found love with actor Audrey Fayer (Kim Greist), but then his luck starts to take a turn for the worst after 1968, which was when the Alan Smithee credit started to be used, leading to him erroneously being attached to bad movies he had nothing to do with. The film implies that the pseudonym actually came about because someone at the DGA actually picked it out from a phone book and Alan happened to be the unlucky person he picked. He turns to working odd jobs in the rest of the industry to make ends meet and as a result rubbed elbows with famous Hollywood figures, all the while trying to make new films but constantly running into snafu after snafu that doomed them to obscurity.

    The character showed up on other various late night shows throughout most of 1998, and even made appearances at both the Sundance Film Festival and the Oscars, as well as several publicity stunts that were designed to seem organic, including location scouting at various locations around New York, such as restaurants while ordering at them, four fake film shoots that go increasingly wrong (which even made it into the final film via supposed archival footage), and even a fake confrontation with Jud Taylor, the first director to ever use the Alan Smithee credit, at Fan Expo Chicago in Illinois. Helping the credibility of them were that these were subtle enough to fool people yet over the top enough to show the fictionality of it. Either way, it helped drum up buzz for the movie, with a few people even fooled into thinking Alan Smithee was real.

    The film itself fittingly premiered in October of that year, and showcased Smithee trying to get his film off the ground, all while trying his best to deal with the (unnamed) studio interfering, worried that if the film isn't good then he'll be a joke forever. The film shows clear influence from Heart of Darkness, the making of documentary for Apocalypse Now. It follows a documentary crew led by Alan's nephew Jason (played by Jason Narvy)[5], and crewed by a bunch of film students who Smithee himself is paying (with help from Mike Meyers) who follow him during the production of his latest film, a heist movie titled 5 Days From Hell, about bank robbers pulling one last job under parole. The production, as one can expect, ends up becoming a nightmare, with Alan and co having to deal with studio mandates, rewrites being made, diva behavior from the stars and general infighting.

    The actual film proper actually begins with Steven Spielberg talking about his experiences working with "Alan" mentioning him as being a boom mic operator for the original Jaws who ended up helping him with the script by doing uncredited rewrites to help them adjust for the malfunctioning shark animatronics. Throughout the film, other famous actors, producers and directors showed up to reveal what films he worked on, from helping fix and sew muppets for The Muppet Movie, serving as the prop master for A New Hope, working as a location scout for the second Godfather movie, doing uncredited rewrites for the first two Halloween movies and buying the iconic William Shanter mask, even a story of having to help put out a fire during the production of Terminator 2: Judgement Day, with edited photos and footage intercut to create a veneer of authenticy. However, after that the bottom fell off: productions went worse until he was blacklisted, especially when one production booted him off, replaced him with another director (even replacing the credit with Alan Smithee the alias). To top it off, at the same time a frustrated Audrey disappointed in his failures divorced him and took his kids with her. Smithee then struggled to find much work in the industry until he met Mike Meyers while working as an electrician, fixing lighting equipment for SNL.

    As mentioned above, most of the documentary crew were played by actors who were virtually nobodies before this film, with the exception being Heather O'Rourke, who's last credit was almost a decade prior[6]. Most of the other actors such Debbie Rochon, Jennifer Renton, Andrew Levitas, Jed Rowen and Greg Sestero[7] had no real credits to their name outside of working as extras or bit parts in low budget films and TV shows, meaning that the audience would be unfamiliar with them and buy into the idea that they really were a bunch of recent film school grads, though it should be noted that according to Myers and Carvey, O'Rourke essentially had to give the rest of cast tips as she was actually in the film school at the time as a student of New York University.

    Meyers and Carvey have said of the film, "We premiered it on a Monday because then we could have the apologies done by Wednesday." Indeed, many a moviegoer didn't exactly take kindly to the deception, though many did come to their defense saying that the film itself presents events that simply wouldn't happen if people were recording, most notably film critics Siskel and Ebert, who both noted that the film has multiple moments that are clearly supposed to show it as fiction. Indeed, Meyers and Carvey were also surprised by the amount of people who believed it was real, leading to a famous exchange on the Tonight Show where Meyers and Carvey both noted, "Several federal crimes were committed in full view of a camera during, so we figured that would be the point where some might realize ‘Wait a minute, this is clearly fiction’, and if you can’t tell, well that’s your problem, not ours."

    That said, not all the film was fiction, as several scenes throughout the film actually had unscripted interactions with prominent figures in the entertainment industry. In a few cases, these meetings actually influenced the plot. One such example of this is that Alan becomes increasingly worried that the film may be scrapped and turned into a tax write off for the studio, which would mean he wouldn't even be able to sell it to another studio. That was actually something Meyers and Carvey learned about from one of the interview segments done, and the idea that someone could just have their work ripped away from them and prevented from seeing the light of day felt like something that could be used to up the stakes, though by Dana Carvey's admission it also suddenly something became they became worried could have happened to them. A few real life disputes from shooting actually also were worked into the film, such as an on-set altercation between two actors that was apparently inspired by a real life altercation between actors Steven Segal and Thomas Ian Griffin, who had both been involved in a movie shoot for Doom on the same lot[8].

    Neither of them could say that everything wasn't worth it in the end, as the film ended up being a massive success due to how much people talked about it. Critics and audiences praised the clever satire and hilarious writing, and Meyers and Carvey both got praise from critics for showing some surprising dramatic chops. Carvey in particular was praised for the fact that he essentially had audiences thinking he was a real person talking off the top of his head for the entire movie, as well as being able to sell some of the more dramatic aspects of the film, even getting recognition in the form of Academy Award nominations (though not wins) for Best Makeup and Best Actor.

    Even after the release, Meyers and Carvey would keep up the kayfabe for a while, with Carvey making additional appearances in character, most prominently on SNL and talk shows. His website would even receive updates into 2000, most prominently through web sketches of Smithee giving his thoughts on certain films and offering tongue in cheek filmmaking advice.

    With the name of Alan Smithee now way more prominent, its use among film would naturally be altered. Long a bit of taboo topic, it arose because personalized aliases forbidden beforehand in order to avoid being taken advantage of. The Alan Smithee credit itself relied on obscurity to be used, the assumption that people wouldn’t look too hard at it. But with the movie being the culmination of growing awareness about it until the jig was up, the Director’s Guild was asked about how they would deal with such. Their response was to then allow personalized aliases from a case-by-case basis onwards from 2000, albeit still using it from time to time and in ways Hollywood couldn’t exploit[9]. Otherwise they were fairly good sports about it, even issuing a formal apology to "Alan" at the DGA awards that year. The film also shined a light on sketchy industry practices designed to screw over the creatives in order to get more money. Indeed, in 2009 as part of a federal act on entertainment company practices, one rule would criminalize such things, even being unofficially known as the Meyers-Smithee rule.

    It also proved particularly noteworthy for the cast playing the crew, many of whom received big boosts in their careers. Heather O'Rourke essentially had a comeback because of this film and would go on to nab more roles in film and television along with some behind the camera work[10]. It proved to be a fruitful endeavor for the rest of the fake film crew, with most of them finding steady work after, most notably Jason Narvey who would continue to show off his comedic chops in later films and Greg Sestero, who used the money from this to help his friend Tommy Wiseau (who's also seen in a few scenes) with a passion project.

    As for Meyers and Carvey, the endeavor was successful enough for the two to end up writing more projects together, and while they still would have more hits after this, none of them would quite capture the imaginations of audiences quite like Who Is Alan Smithee?

    "I think Alan is something of an inspirational character," Meyers told Conan O'Brien in 2010, "because no matter how much goes wrong, in his work or in his life, he doesn't give up and stop chasing his passion and refuses to let his misery affect him - which you can’t say for the majority of Hollywood."

    [1] About $3 million, and will gross $27 million total (including internationally).
    [2] Cinergi (the OTL film’s maker) has been butterflied due to the merger of Carolco and Orion back in 1986, with Andrew G. Vajna not leaving in 1989 to form it, instead becoming its acting chairman in 1992.
    [3] Broekner has been a costumer for the show since 1980’s, so Mike would no doubt know about him.
    [4] To avoid the obvious issue of the risk of being mistaken for real and getting booked, messages were sent that Smithee was always unavailable as he was busy with another disastrous film.
    [5] Narvey is probably best known in real life as Skull from Power Rangers. Since he wasn't in this timeline's equivalent, this movie ends up being his breakthrough role.
    [6] The idea of Heather Rourke not being misdiagnosed with Crohn’s disease was approved by @Geekhis Khan in a private thread. Therefore, O’Rourke is alive but she will take a temporary break from acting at the behest of her parents until she makes her return as an adult a la Jonathan Ke Quan.
    [7] You remember him best as Mark from The Room and not for his bit parts in other films and TV shows. ITTL, his role in Who is Alan Smithee will give Sestero more roles in mainstream movies and shows but not exactly an A-lister. As mentioned above though, he still met Tommy Wiseau in an acting class, and stay tuned for how that certain passion project will go.
    [8] Recall in the post on 1998’s Doom that Seagal was prevented from starring in the film due to his frequent feuds with the director and his sexual abuse scandals which are referenced in Who is Alan Smithee?. Thomas Ian Griffin, who would replace Seagal in this movie, was working on the movie as a stuntman when this fight happened.
    [9] IOTL, the very troubled production of Burn Hollywood Burn would result in director Arthur Hiller demanding that his name be taken off and replaced with Alan Smithee after writer Joe Eszterhas did a very bad cut of the film, ironically enough, leading the DGA to suspending its use, not helped by the also-nasty production of American History X the same year with Tony Kane and Edward Norton. With both of them butterflied, all their careers will be taking different paths all to different degrees.
    [10] Just what will Heather direct in question? Stayed tuned!

    Hope you don't mind MNM.
     
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    Lost World Found
  • INT – STUDIO

    NATHAN sits on a chair, as SAM RAIMI, TIM BURTON, CAROLINE THOMPSON and WINONA RYDER all sit on a sofa opposite to him.


    Nathan

    Aaand, we're back! Hi, welcome to MonsterChat from a sleepy little town called Crosby, on a tiny island you might have heard of called the UK, I’m your host, Nathan the Nefarious, and today, we are talking about Jurassic Park’s followup, The Lost World! And, again, in our new, proper studio!

    (He gestures around the room)

    Unfortunately, as you can see, my co-host/sister/pain-in-my-arse couldn’t make it today (she’s busy writing something for a supehero blog post about famous heroines), so I’m going to have to do this all by me lonesome… well, not really, because I’ve got a group of people who are very knowledgeable about the film… the wickedly clever Tim Burton (in his second appearance on this show), the talented Caroline Thompson, the beautiful Winona Ryder… oh, and Sam Raimi, too.

    Tim

    Thank you, Nathan.

    Caroline

    (smiles and waves)

    Winona

    Yeah, thanks for having us.

    Sam

    Yeah – it’s a pleasure to be here. We’re actually big fans of your show, anyway, so…

    Nathan

    (mock-flirtatiously)

    Why Mr. Raimi, I didn’t know you felt that way…

    Winona

    Get a room!

    (everyone laughs)

    Nathan

    So, anyway, the story of The Lost World starts in all the way back in 1993, just after Jurassic Park was the big hit that summer – and a sequel was put into the works. Tim, could you tell us what the genesis of the project was?

    Tim

    Gladly. So, after Jurassic Park’s success – both the novel and the movie – there was a clamour for a follow-up. Michael [Crichton] told me that, after Jurassic Park, most of the letters he got were from kids asking when the sequel was coming out.. The Disney/MGM board were really keen on the idea of a sequel – I knew Steve was really interested in the notion… and I’ll be honest, since I’d enjoyed making the film, I was a little too. When Michael Crichton confirmed that he was writing another novel, Steve and I sat down and began discussing what we were gonna do.

    Nathan

    But, as I understand it, you were out as director from the very start.

    Tim

    Yeah. The first thing I said to Steve was that I wasn’t going to come back as director [1] – I’m not a big fan of doing sequels… and I think different directors can bring different qualities to a film. Look at Marvel and Star Wars. So I said, “I’m just as attached to this franchise as you are, Steve, and I want to be involved in some capacity, but not as director.” So I ended up as executive producer and Steve and I started pulling everything together.

    Nathan

    And that, Caroline, is where you come in.

    Caroline

    Yeah, I was a script doctor on the first Jurassic Park – I did a couple of uncredited rewrites on Michael Crichton’s script. With Michael Crichton unavailable, Tim and Steve Spielberg asked me to write the script to provide a sense of continuity between the first film and the second – someone whose head had already been in that world.

    Nathan

    Now, I seem to recall Crichton’s original idea was to bring Malcolm Morrison back from the dead… he mentioned the idea offhand in an interview, I think. But that didn’t end up happening – for a multitude of reason. What’s the full story behind that?

    Tim

    So Steve and I remained in contact with Michael Crichton throughout for a bit of synergy with what he was doing and what Caroline was doing, and one of the things he said was “I’m bringing back Malcolm Morrison – like Conan Doyle did Sherlock Holmes”. And Malcolm could be seen as a Holmes-type character, so… it was appropriate.

    Nathan

    However, as I understand it, Johnny Depp nixed that…

    Tim

    (sighs)

    Well, shortly after that news dropped, Johnny gives me a call and says, “Look, Tim, I’ve made a decision – I’m not going to do what Bob Downey and Gary Oldman and Nic Cage are doing. I don’t care about the spray-painted action figures – I don’t buy into all that shit. I’m sorry, but I’m not going to be in on this – I’ve got a Lovecraft movie with Richard Stanley in the pipeline.’ This was, I think, two days after it was coming out that Nic Cage was in negotiations to play Tony Stark[2] – a role I knew Johnny had turned down. So I had to pass it on to Michael Crichton that… resurrecting Malcolm wasn’t going to happen because we weren’t going to get Johnny to do it.

    Nathan

    That must have been a weird conversation. And, anyway, you can see why he spent a while avoiding big franchises – considering that it’s widely believed to be the greater public scrutiny that resulted from playing Supes that made Downey to hit the wall in the 90’s, culminating in his earnest attempt to break the land speed record… And we got Colour Out of Space from it, which is also good.

    Tim

    Yeah, Johnny and Richard [Stanley] [3] are good friends of mine and I was very happy for them – I loved the hell out of the film. So, anyway, the book became about Ian Grant searching for Site B – parallels to Conan Doyle’s Professor Challenger. So the book was published just as we were putting together the crew for the sequel – and Steve, Caroline [Thompson] and I put together a rough outline – keeping in contact with Michael Crichton throughout… We just needed a director.

    Nathan

    So, anyway, that’s where you, Sam Raimi, come in.

    Sam

    That I do.

    Nathan

    So, anyway, this was the mid 90’s and you had been… I don’t know if kicked out is the appropriate word.

    Sam

    Oh, no, kicked out works just fine.

    Nathan

    Okay. You’d been kicked out of the DC movie universe (that you’d created, the ungrateful bastards) and whatever you had planned for Justice League ended up in the shredder… which is honestly a shame. Would have been a thousand times better than what we got. Hank Azaria was great as Aquaman, though – brilliant casting.

    Sam

    Thanks – and, yeah, I’d cast Hank before I was canned. He threatened to kick up a stink when I was removed, but I told him to leave it. This was his big break into film and I didn’t want him putting himself on the line for me.

    Nathan

    Aw, that’s nice of him. So, anyway you shunted from pillar to post for a while and then ended up mostly at Disney/MGM and Amblin, and to a lesser extent Fox… weirdly, appropriating some of the ideas you’d had for DC for the Marvel movies. In particular, a lot of the stuff with Galactus, if I recall correctly, was appropriated from the stuff you had in mind for Darkseid and the Apokoliptians… however, we’re getting off track here.

    Sam

    Hey, something for another day – there’s always next time.

    Nathan

    Oh, absolutely – people have been clamouring to have you on. So, anyway, you ended up directing Lost World… at Tim’s request, if I recall correctly.

    Tim

    Yup. Firstly, because Sam is a good friend of mine and I really wanted to help him out – Warner and Katzenberg had both screwed him over and, secondly, Sam shares a lot of my sensibilities, so it'd help with the sense of continuity between the two films. The other reason is… I have a special attachment to Jurassic Park and I knew that Sam would do Lost World justice.

    Sam

    And I jumped at the chance – I really wanted to work with Tim in an official capacity. We’d known each other for such a long time and we’d always said we should do a film together – and I loved Jurassic Park. It’s one of the highlights of Tim’s career – and I’ve told him that a thousand times over the years. So me and Caroline sat down and began fleshing out the screenplay…

    Nathan

    I understand the script had to be retooled quite dramatically early on … because of Brosnan’s other commitments.

    Sam

    Yeah – we were really getting through the first few drafts on the script, in which Grant was the lead and the film was about the search for Isla Sorna… then, someone at MGM says ‘Actually, Brosnan’s in Fantastic Four, so he might not have the time for a substantial role’… so we had go back and totally overhaul the story!

    Caroline

    Yeah, that was pretty fun – we had to retool the entire film in a weekend. Fortunately, we had a replacement in the form of Sarah Harding.

    Winona

    (laughs)

    Glad to be of service.

    Nathan

    So, anyway, the film starts in style, with a fishing boat off Costa Rica hauling up a dead Parasaurolophus [3]. Now, I move in a lot of Fortean circles, and I, and others, have always wondered… was that scene meant to be a deliberate homage to the Zuiyo-maru carcass? For the uninitiated, the Zuiyo-maru carcass is a carcass that was hauled up by a trawler that some believed to be a plesiosaur – however, it’s more likely it was a decomposing basking shark…

    Sam

    You are correct – it was absolutely a homage to the Zuiyo-maru carcass. We were looking for different ideas in the opening scene and Tim suggested that a trawler haul up a dead dinosaur, like Zuiyo-maru. When Tim suggested it, we just thought there was something immediately arresting about that idea – a prehistoric animal being hauled out from the depths. Even though, as you say, it was probably just a dead basking shark…

    Nathan

    But, obviously, this is part of a big prologue, which details a bunch of strange incidents – dinosaur sightings, carcasses washing up – that seem to relate to dinosaurs on the mainland. Now, obviously, this is a condensation of events that happened in the Michael Crichton novel, with Marty Guitterez, once again played by John Leguizamo, investigating them… despite InGen’s attempts to cover up everything. Could you please tell us a bit more about that?

    Sam

    Absolutely. For Guiterrez, what we needed was to have someone who was a bit more knowledgeable about the InGen connection to the previous film investigating these incidents – and we loved John as Gutierrez in the first film. So it made sense to bring him back. It also helped establish InGen’s PR offensive to deny the connection between these incidents and Site B, with their new CEO… Peter Ludlow.

    Nathan

    Played by the terrific Bruce Campbell. I’m going to ask here – because, in the book, obviously, it’s all Lewis Dodgson, however, in the film, you split the role between him and Ludlow, with Dodgson (once again played by Michael Keaton) appearing in a much, much smaller role – I’m going to ask what the rationale for that was. Somebody once told me that Keaton had other commitments, others told me that this happened as the script changed…

    Sam

    More the second than the first – Michael was totally up for it. As we fleshed out the story of the film, we found that the story we were trying to tell was about Harmon’s legacy – how this man with a vision changed the world and what we choose to do with what these visionaries left behind, for better or for worse. So we realised the moral foe in this story should be an “enemy within”, as it were, rather than some outside force – and that was Ludlow, who worked perfectly as his uncle’s foil.

    Caroline

    We distinguished Ludlow from Harmon in one major way - as short-sighted and greedy as Harmon was, he still had that… maybe not respect for nature, but certainly an awe of it. Deep down, he was that little boy who believed in flea circuses and wanted to make real miracles. Ludlow doesn’t have that – he’s just greedy and scheming. He’s all the worst aspects of human nature.

    Nathan

    And Bruce was just so odious in the part… I think we have a clip.

    [Clip starts]

    DOGDSON


    Where are my specimens, Ludlow?

    LUDLOW

    There was a… complication on Sorna, so rather sadly your specimens will have to wait – however, you’re getting enough to tide you over, for now… and, you can wait a while. Patience, Lewis, patience.

    DOGDSON

    (scowls)

    Remember our deal, Ludlow… I get my specimens, you get my info on Site B, so you can make your little petting zoo. (briefly pauses and looks mock-disapproving) Tsk, tsk, I wonder what your uncle would think if he were here – he’d find your vision awfully small. And making a deal with our nefarious name? That’s another bit of bad PR you simply you don’t need…

    LUDLOW

    Oh Lewis… you shouldn’t have done that. Firstly, a reminder of our positions… I came to you. Not the other way around. Secondly, my uncle was a visionary - you know what happens to visionaries? They fly too close to the sun – their reach exceeds their grasp in the end. Mine doesn’t…. so you really should stop comparing us. His legacy is failure – mine will not be. That’s the difference between him and me. (his voice becomes colder) And, besides, you’re the only one with the bad PR – I can simply say “I was manipulated – why I just wanted to honour my uncle’s vision!” So… I wouldn’t go around making threats. (snarls) You get that?

    (Dodgson takes a couple of steps back – this was a tiger he should not have poked.)

    [Clip ends]

    Sam

    So, Ludlow is plotting to open a new Jurassic Park in San Diego – he’s also working with Dodgson. Basically, Dodgson and BioSyn get vivisection rights to the Site B dinosaurs in exchange for whatever info BioSyn have on Site B. However, he needs someone to lead the expedition to the island…

    Nathan

    And that, Winona, is where your character, Sarah Harding, comes in.

    Winona

    Yup.

    Nathan

    Obviously this character is… not as prominent in the book, but in this film she’s pretty much the main character. I understand a lot of this was retooled because of Brosnan’s other commitments – he has maybe two scenes in the finished film (with Geena Davis)…

    Sam

    Yeah. Harding in the book is sort of the Malone character, split with the kids, if we’re continuing with the Conan Doyle parallels – whilst the kids are the total outsiders who need to be explained everything, Harding, being an animal behaviourist, can talk with Grant and Marcus on an equal level, but is unfamiliar with the incident at Jurassic Park. When we found out Pierce wasn’t going to be doing it, we had to retool the entire film to make Harding the main character – which meant expanding her character greatly.

    Winona

    Interesting fact, I actually auditioned for Marcus in the first Jurassic Park – before the part was aged up and Geena Davis was cast. I’d worked with Tim a number of times – and whenever we met before the film came out, Tim said, “If there’s a sequel, you’re going to be in it.” So… yeah – I called up Tim and said (mock-little girl voice) “You pwomised…”

    (Everyone laughs)

    Nathan

    As I understand it, you did a shitload of research for the part – on the advice of Pierce Brosnan, apparently.

    Winona

    Yeah – Pierce told me that, if my character’s giving exposition, it has to be as accurate as possible. Sarah Harding wouldn’t make those errors, so Winona Ryder has to make sure what Sarah Harding says is right! (laughs) So Pierce contacted Jack Horner, who he’d struck up sort of a friendship with, and I went to one of his digs in Montana to get a sense of what palaeontologist camp life was like. In addition, since my character was also an animal behaviourist, I talked to a shitload of animal behaviourists, including George Schaller, to make sure the exposition Sarah would be delivering was as accurate as possible.

    Nathan

    You picked up quite a few titbits from that, as I recall. Speaking as someone who has also studied animal behaviour, I was surprised, rewatching it recently, how accurate a lot of the exposition was – because, generally, what annoys me in movies (and what takes me out of proceedings very quickly) is when characters who are supposed to know better make whopping great mistakes in exposition.

    Winona

    Glad I could be of service, I guess.

    Nathan

    So, anyway, Harding is recruited by Ludlow to lead the expedition to the island – ostensibly to study the dinosaurs- and is introduced to the rest of the team… and my favourite character, Roland Tembo, played by Tom “Tiny” Lister Jr.. Any info on him?

    Sam

    Oh, absolutely – Steve and Tim came up with this “big game hunter” type character who’d sort of be the “noble demon” kind of character – somebody who’d be on Ludlow’s side, but who’d have standards. He was written as a white guy – I think we were looking at somebody like Pete Posthelwaite or Ian McKellen to play him – but Tom blew it out of the water in the audition, so we cast him.

    Winona

    Tom is such a great actor – and such fun to work with. He gave Tembo such nuance – his respect towards Harding, his growing disquiet with the whole shebang and, ultimately his redemption was beautifully done. Tom was also incredibly fun on set. He’s just a really nice guy.

    Nathan

    What I like about the whole introduction is there’s this sinister undercurrent – the whole notion that there’s this secret that everyone but Harding is in on. It’s a very different scene rewatching it!

    Sam

    Absolutely. It was very important that there be these subtle cues in their behaviour that there’s some sinister agenda going on that Harding is being kept in the dark about. Tembo’s uncomfortableness when first introduced to her, the kind of faked friendliness from the rest of the team and Nick’s evasiveness when he’s asked why he’s accompanying them… these all foreshadow that Harding is being strung along.

    Nathan

    So, we head to the island and, of course, I’ve left someone out…

    Sam

    I think I can guess…

    Nathan

    Harding finds out that Kelly, her daughter, played by the wonderful Vanessa Lee Chester, has stowed away on one of the transports. And, as you can imagine, she isn’t happy.

    HARDING

    I told you that where I was going was too dangerous. I told you weren’t allowed to come. I don’t want to hear what excuse you have for-

    KELLY

    But mom, I thought-

    HARDING

    And now I have to hear it

    NICK

    Do you see the family resemblance?

    TEMBO

    I’m glad you asked… No.

    Nathan

    Now, there are two kids in the book – Kelly and another character named Arby, who’s a bit of a nerd and whose arc is basically “learns not to be such a wimp”.

    Winona

    (laughs)

    That’s really reductive.

    Nathan

    It’s true either way. But he was removed and a lot of him was condensed into Kelly. I’m wondering if that was the decision from the beginning…

    Sam

    Originally there were two kids in the script – however, when we were storyboarding the film, we found that the best element of the book was that relationship between Kelly and Harding. We don’t see many of these big movies where the emotional core is a mom-daughter relationship – and we see even less when it’s a stepparent-stepchild relationship. Steve specifically recommended Vanessa to us and she and Winona had this wonderful chemistry.

    Winona

    I was only 26 at the time, so I thought… do I look that old? Then I got clarification that Kelly was Harding’s stepdaughter. And Vanessa is just a wonderful actress – we became really close making this movie together.

    Caroline

    In addition, we found that it created an interesting parallel between Harding and the T-rex pair – especially during the rampage at the end – in the sense that both are motivated by defence of their offspring. It helped us see the dinosaurs as characters – in the sense that aspects of their motivations parallel those of the human characters.

    Nathan

    So we begin exploring the island and it’s important to note here that we don’t skimp on the dinosaurs in this film – most of the species that were in the first film return… and there’s a bunch of new ones – from the honking, scavenging Oviraptors to the head-butting Pachycephalosaurus.

    Sam

    The idea was that the Site B facility on the island on Sorna, abandoned after the disaster at Jurassic Park and Harmon’s death, was destroyed in a hurricane, enabling the dinosaurs to escape, proliferate and form this sort of artificial ecosystem. Since Site B was the… factory floor, as it were, we figured that we could put more dinosaurs in.

    Nathan

    Any personal favourites?

    Winona

    Personally? I love the Oviraptors – they’re just so… weirdly adorable. Like, they’re these ugly, dirty scavengers, but at the same time, they’re kind of cute. I always found it funny whenever they came on.

    Sam

    I mean, I like ‘em all really, but if I had to pick… I’ve gotta say the Pachycephalosaurus – it just has this wonderful Tasmanian Devil vibe, where it’s just this destructive whirlwind. Writing it, and directing it, was incredibly fun.

    Caroline

    I’m unoriginal – I’d say the T-rex is my favourite. In particular, I liked how we were able to give it a bit of a sensitive side that we couldn’t really in the first one – in the first one, the T-rex was just big, growling and hungry… here it’s got a bit more of a character arc.

    Tim

    Ever since the first film, I’ve always had a fondness for the Velociraptors. Because they’re this incredibly intelligent species and it’s always fun to imagine how they might relate and co-exist with us. You could argue that that’s the whole series-wide arc with them – in all the movies, there’s this running theme of going from seeing us as prey to heading towards co-existing with us.

    Nathan

    Another thing I should mention is that the dinosaurs – well, the Velociraptors and Oviraptors – have a protofeather coating this time round. As I understand it, Tim, you wanted feathered dinosaurs in the first film, but Spielberg overruled you…

    Tim

    Yeah. Basically, based on the advice of our palaeontological consultants, we drew up raptor designs with a prototfeather covering – however, Steve didn’t like them. He was worried they didn’t look “scary” enough. However, for this one, I convinced him to let us use the feathered designs.

    Caroline

    The in-story rationale we used is that these raptors are an earlier… iteration, as it were. These raptors hatched out with protofeathers, Harmon didn’t like the look, so he sent them back to Site B. As well as providing us a rationale for the change, it showed that Harmon wasn't entirely heartless - he didn't want to see the dinosaurs die just for looking wrong, so he just had them sent back to Site B.

    Nathan

    Anyway, before the paleo-nerd in me gets too far down the rabbit hole…. Unfortunately, when they find the T-rex nest, Harding finds Tembo’s only in this to hunt a T-rex – breaking the juvenile’s leg to lure out its parents. Harding manages to heal the baby rex – and escape being eaten by its parents – and heads back to camp to realise… it was all a con. Ludlow’s men aren’t in this to study the dinosaurs, but to take them to the mainland.

    Sam

    Well, not all of them – turns out Nick’s not a documentary filmmaker, but someone sent in to sabotage the expedition. Apparently, some InGen board members loyal to Lex and Tim planted him in as a mole.

    Nathan

    That was deus ex machina’d.

    Caroline

    True, but we didn’t quite have a choice – we needed some way for Kelly and Harding to be able to quickly take down the entire operation. So basically, Nick releases the dinosaurs and they go on a rampage in the camp – things go to shit very quickly. They end up forced into an uneasy alliance with Ludlow’s men… and there’s some awkwardness between Harding and Tembo – these two people who’d gotten on, who had come to respect one another… obviously the betrayal’s going to sting.

    Nathan

    So, fleeing the ruined camp, the remainder of the InGen team, Nick, Kelly and Harding end up in raptor territory. In the sequence, most of Ludlow’s hunters are killed and Nick sacrifices himself to draw the raptors away, so Harding and Kelly can escape. In both the raptor scene and the scene in the rex nest, there’s a bit of a survival horror vibe to these scenes – it’s a different kind of horror to the first film.

    Sam

    Yeah. For Lost World, both Steve and Tim were insistent that it stand out from the first film. A lot of the dinosaur scenes in the first film took place in artificial environments or had artificial things in the background – in Lost World… we don’t have that. This isn’t an environment where we’ve lost control, this is one where we’ve never had it to begin with. We tried to restore that whole “rats hiding from dinosaurs” idea – now, we humans are what mammals were during the dinosaur era.

    Nathan

    As I understand it, Winona, you didn’t have a stunt double for most of these scenes… so that must have been fun.

    Winona

    I mean, yeah, I’d never done anything quite like Lost World before – that sort of an action-heavy movie. The closest thing I’d ever done was Dracula. So I, perhaps foolishly, thought ‘This should be easy – of course I’ll do all my own stunts!’

    I was dating River Phoenix at the time – and I was coming home every night battered and bleeding. And he said, “At what point in this movie do they stone you?”

    Nathan

    Oh my word!

    Winona

    Well, I married him in the end, so I forgave him. And, besides, it was fun – I started doing more of these action films after Lost World – Sam got me the part of Lady Sif in the Marvel movies right after we did Lost World, so I forgave Sam too.

    Nathan

    So, anyway, the finale has to be big… Like T-rex rampaging through San Diego big!

    Sam

    Yup – you see, Ludlow’s team managed to capture the T-rex pair and their infant. Arriving on the island to collect them, Ludlow offers Tembo and Harding positions at the San Diego park, but they both refuse – Harding because of the depth of Ludlow’s deception and Tembo because he has now come to realise the folly of the whole endeavour… and the depths of Ludlow’s ego.

    Nathan

    Which takes us to… the finale!

    Sam

    In San Diego, Harding, Kelly and a redeemed Tembo attempt to warn Ludlow about the possible consequences of his actions, but to no avail. In a deliberate homage to King Kong, the Tyrannosaur pair are presented to a crowd… however, they manage to escape and go on a rampage, with Tembo sacrificing himself to distract them so people can be safely evacuated, apologising to Harding for the deception as he does so. And we have our finale!

    Caroline

    Yeah, the whole T-rex rampage idea was something that Tim and Steve had stipulated early on – in the novel, it just ends with the protagonists escaping the island, but they felt something grander was needed.

    Tim

    The T-rex ending was something Steve and I initially came up with for a hypothetical third movie… but then I ended up having another idea for a third movie in which that sequence didn’t fit, so we decided… why not repurpose it in this? We were coming out a few weeks before Godzilla, so Sam could get some revenge on Jeff Katzenberg!

    Sam

    (chuckles)


    Yeah. So the T-rex pair wreak havoc in San Diego – the military attempt to capture them, but to no avail. However, Harding manages to stop the military from moving on to the kill plan by theorising that the T-rex pair are looking for their baby… which must be back at Ludlow’s base of operations. So the plan becomes using recordings of the baby’s calls to lead them back to the docks.

    Nathan

    But… Dogdson and Ludlow aren’t out for the count yet.

    Sam

    Hey, you telling this story or am I?

    Nathan

    I’m sorry, Sam, go on.

    Sam

    So, Dodgson and Ludlow attempt to escape with the baby T-rex – attempting to cut their losses and run. Unfortunately, the T-rex pair smash through the Jeep and retrieve their infant - Dodgson is ripped in half in a tug-o-war and eaten, whilst Ludlow is crippled and used as hunting practice for the baby.

    Nathan

    Couldn’t have happened to nicer blokes.

    Sam

    Harsh, but fair. Really, though, the karma was always the intent – Ludlow and Dodgson attempted to control nature for their own gain and failed. It created an interesting counterpoint to Harmon’s death – there was always an element of tragedy to Harmon’s death, being eaten by a swarm of compys. However, there’s nothing tragic about these deaths – they got exactly what they deserved.

    Nathan

    So, we have the ending of the film… which is strangely happy – the T-rex family are sent back to Sorna and Lex and Tim end up with InGen and reveal Sorna to the world, declaring it an international wildlife preserve. And yet there’s this sense that there’s more to come on the horizon…

    Sam

    Tim and Steve – who have pretty much emerged as this franchise’s custodians – always said “If Lost World does well enough, we’ll start production on a third movie”. Tim told me he had a few ideas for a possible story in number three[5], so the ending had to be open-ended.

    Caroline

    I never saw the ending as particularly happy – the Tyrannosaurus family are home, most of the characters you care about have a happy ending and the dinosaurs are going to be protected, sure. But Sorna being revealed to the world will have consequences – and every character is aware of that. It’s a happy ending for now – which, sometimes, is as good as you get.

    Nathan

    Obviously, Lost World was a lot darker than its predecessor, so Disney/MGM took care to limit direct marketing to kids – obviously, there was a merchandising blitz, but really it was made clear that this wasn’t for younger kids. Plenty of them went to see it, but I’m going to ask… where did that come from?

    Tim

    We got away with it for Jurassic Park because, quite simply, it relied heavily on “show, don’t tell” – it wasn’t out-and-out gory, but at the same time maintained that horror feeling. Lost World was a bit more brutal – every death in this movie still makes me flinch. And I helped make it!

    Sam

    I mean, Jim was very conscious that Lost World was, unlike its predecessor, not really appropriate for younger kids. The idea was to have Lost World and Dinotopia release simultaneously, so the younger kids and the older kids could have a dinosaur movie…

    Nathan

    The “Dinosaur Summer”, I believe it was called.

    Sam

    Yeah, the “Dinosaur Summer” – the idea was they’d have Dinotopia, Lost World and a Land Before Time release – in order to celebrate its tenth anniversary. Unfortunately, the release date on Dinotopia got pushed back, because there was a shitload of competition - Terminator 3, the Fantastic Four, and Godzilla, as well as Lost World – all in the original release window.

    Nathan

    Speaking of which… there’s a Hard-R cut that you, Tim, and Brian Henson did that ended up in limited circulation… which, apparently pissed off the Big Kahuna.

    Tim

    (chuckles)

    Sam

    Oh, yeah… basically, Tim, Brian and I had secretly conspired to make a bloodier cut of the film – gorier death scenes… basically, so brutal it made the theatrical cut look tame. Jim was pissed when he found out what we’d done behind his back - but I think he came to understand what use it could be.

    Nathan

    Yeah - I suppose it didn't make the Haysites happy, but for struggling cinemas, it proved to be a bit of a godsend. And with that, we are out of time. I just wanna extend a warm thanks for all of you for taking the time to come today - and for you viewers, remember to subscribe and stay notified.​



    [1] - A lot of Burton's statements here are true of OTL - he's not a big fan of doing sequels, and was essentially chained to Batman Returns by Warner. Here, obviously, he's got a lot more clout than he ever did OTL - however, I can imagine him having quite an attachment to JP ITTL, so I assumed that he'd remain in a producing capacity.

    [2] - Might as well get the cat out the bag here now - Nic Cage is TTL's Tony Stark! More on him later.

    [3] - To the best of my knowledge, they have never met OTL - without the infamously troubled production of Island of Dr. Moreau (stay tuned on that), Stanley's obviously a far bigger name. Given their shared sensibilities, I'd imagine they'd get on quite well.

    [4] - This was meant to be the opening of the film OTL. And, yeah, John Leguizamo plays Marty Guitterez and Michael Keaton plays Lewis Dodgson - because really, why not?

    [5] - What happens there? Stay tuned.
     
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    Yuri and Valentyn
  • From the CNN article “Ukrainian Made, American Refined: The Rise of Valentyn Davydenko”, September 29th, 2019
    By Reggie Denning and Anton York
    Guest post by @ajm8888 with assistance from Mr. Harris Syed

    Introduction:


    Valentyn Davydenko. When you think of prominent businessmen and women from the USR who have made an impact on history, Davydenko comes to mind. The Russian business mogul of Ukrainian descent founded Sunray Bank Holdings and has owned stakes in the MLB’s Mexico City Red Devils[1] and the Tokyo, Las Vegas Casino and Resort for two decades. We previously covered Davydenko in “The World Kovalenko Built: How A Mysterious Figure Shaped International Crime'' where we discussed Davydenko’s personal history in relation to infamous arms dealer Yuri Kovalenko. In this two-part article, we will cover how Valentyn Davydenko established his foothold in America and built up the business empire we know today.

    Valentyn’s Early American Exploits:

    S-yKE7Jb88aBdCLavZCOiMhy90u3febgyzoBSgCKx30v-A6EMmFeODptw0UuhWTm-IFNwi6ACW2OwIpqIWTPZeDWrfv2dXjZzvEQ1D8uc8M0Xs-7B3wxgyByjxkkOqaSVj2WZb7bDdZRbD1UL7jU8zTEg5b-16hkCS3Oc1i_1uu5-LAwiWf0cnJjGw

    New York City, circa 1995 (Image source; flickr.com)

    In June of 1995, Valentyn Davydenko had arrived in the United States for the first time to officially conduct business in the country and establish a local branch of Sunray Bank. Davydenko already had a presence in North America the year prior through his dealings with President Luis Donaldo Colosio Murrieta of Mexico[2] but now he was finally in the States and saw his arrival as the first step into transforming Sunray into one of the largest banks in the world aside from his forthcoming plans to bring the Mexican League’s Mexico City Red Devils to the MLB with Alfredo Harp Helu. Going to America was always part of the plan just as was opening an office in Britain in August of 1993, not in the City of London but close enough to have access. Davydenko felt if he was to be a major player in international banking and finance he needed proximity to the major banks of America and Europe outside of the Union of Sovereign Republics. His community banks in Mexico which were a group of small independent banks which he helped set up and allowed him access to the unstable Mexican market but he would try to right the instability. The access he gained through being a peacemaker in the Zapatista conflict and the First San Cristobal Agreement[3] earned him international attention. One of his first covers on a non-USR magazine was Time doing a piece on him being a peacemaker in Mexico. It did not take long for larger banks to notice him.

    “Valentyn wanted to change things. He was a Young Pioneer[4], a guy who felt things could be better, he was a good little communist kid but he saw the world outside and found ways to be devious. He wanted to have money, power, and wealth, but he also wanted to help people. He saw how people lived in the USSR. He saw how a non-party member took years to get a new apartment or car, while a guy in the party with juice could get Western luxuries easily. He admits he participated in the black market, something as an old GRU operative[5] could have gotten him into trouble. His foray into the black market and the Western world was Disney. He was involved at the end of the USSR, purchasing illegal VHS tapes. He could not have Western films as they were deemed anti-Soviet by the authorities. But he did purchase films like Snow White, The Absent Minded Professor, and Herbie Rides Again. Due to his knowledge of English he did not need the poorly done Russian or Ukrainian subtitles. He even told me he remembers in 1987 shortly before the ban was lifted, they started seeing anime from Japan. He was not as big of a fan but Russians, Ukranians and other citizens of the USSR were as interested in it as Americans.” said longtime confidant Michael Davies recalling a tale Valentyn told him. By the time the USSR had reformed into the USR, Valentyn had already gained knowledge of the West and looked to banking to support his family after the GRU disbanded starting with Ukraine before expanding his operations to much of the world.

    As his fledgling international banking empire was starting to just gain its wings in America, Davydenko was enjoying his experiences in his new home. He took his family to several Disneytowns and the main Disney parks in the States themselves. He visited several National Parks with his family like the Grand Canyon, Yellowstone, Badlands, Grand Teton, Yosemite, and others. He bought homes in wealthy American neighborhoods just like he did in Britain. He got his first private jet (albeit used) he even got a small yacht and helicopter. His success in Mexico and the Caribbean was great. He was amazingly successful for an immigrant from the former USSR.

    As he grew confident Davydenko would make an encounter with a man he would quickly grow to resent if not hate. That man was Aleksei Tyschenko otherwise known as the infamous arms dealer Yuri Kovalenko. This is in no small part to a recurring theory that Valentyn Davydenko and Yuri Kovalenko were one and the same, a theory now debunked but one that was popular from the mid-1990s to 2006. The “Davydenko is Kovalenko” theory still remains popular on some internet conspiracy forums but has largely faded from most popular culture. But it was an immensely popular theory that crime shows would latch onto.

    “I would be shadowboxing Yuri Kovalenko for years. I knew or at very least suspected where he had his tentacles, but often I could do little. Back home, in Ukraine, I had tried to free many businesses from him but he kept coming back. And that was if I succeeded, often Yuri’s sway was greater than mine. It was a choice between silver or lead[6], many picked silver as he provided jobs, but some who stood up got beaten or worse. And even now if he is in prison I don’t expect him to stay there the rest of his life.” Valentyn Davydenko said in a 60 Minutes news segment in 2008.

    In spite of his hatred of Yuri Kovalenko, Davydenko plowed ahead. He had plans to move forward and make his bank the biggest in Europe or at least one of the biggest in the world but that would require partners, he would find them in New York and other cities in America. It surprised everyone that besides pushing his banks Davydenko was pushing the economy of the USR as viable for Western investment. He was looking at companies in America and Europe that did river cruise, regular cruise lines, and tour companies for the tourism sector. But he had much more ambition.

    “Metals, mining, defense industries, automotive, aerospace, chemicals, and agriculture. Agriculture besides tourism was his major push.” Dick Fuld, then CEO of Lehman Brothers remembers. “Valentyn was knocking on the doors of any major bank in the country from Lehman, J.P. Morgan, Bank of New York, Mellon Financial, Morgan Stanley, Bear Stearns, Citibank, and other banks in the city. He also looked away from New York City and dreamed of global expansion as a Ukrainian proud of his heritage but it wouldn't be easy as his journey to establishing Sunray in America. And that would be Odessa Resorts.

    Odessa Resorts:

    “Odessa Resorts was mostly Yevgeny’s idea.” Davydenko told the Wall Street Journal in 1999. Yevgeny refers to Valentyn Davydenko’s longtime friend Yevgeny Novikov[7], a Russian national of Ukrainian descent born in Rostov, Russia and who served with Valentyn in the Soviet military as a fellow GRU soldier in the 1980s. They were both in the war economics department and bounced around in other departments, like Yevgeny being in Asian department at times due to his moderate knowledge of the Japanese language and interest in Japanese culture. But Yevgeny Novikov had ties due to running illegal gambling games for GRU higher ups in the late 1980s[8]. He was knowledgeable about gambling and he could be trusted not to screw over the top level people. But Yevgeny was not as knowledgeable as he wanted to be. Before the May Day purge of senior Communist Party officials and the dissolution of the KGB, Yevgenny had resigned from the old GRU. Much like his friend Valentyn would later go on, Yevgenny would go on a voyage of his own across the world which brought him to the States. First, he would get a green card and go to work in the United States at a casino. His first casino he worked at was the Bally’s in Atlantic City, New Jersey but Yevgeny hated it for the pay and working conditions though he was good at poker so he was a dealer at the poker tables. But Yevgeny was a curious mind; he would learn about every game in the casino, blackjack, roulette, craps, video poker, baccarat, and other games. He was learning how to run the games so he could run a casino. For a few months Yevgeny worked at Harrah’s Atlantic City before moving to Las Vegas, Nevada and started working at Harrah’s Las Vegas Casino, where he still maintains close friendships with executives and staff. When Valentyn offered Vevgeny stock in his company after Yevgeny had moved to Las Vegas, Yevgeny said yes.

    While working under his friend, Yevgeny Novikov learned how to run a business and that method which many now call the Davydenko method, a careful but still risk taking business model. Yevgeny as he made sure to find every legal paper to sign to ensure his casino could be run and would not encounter problems. It was then Yevgeny announced the first Odessa Resort would be built in Atlantic City with approval from the New Jersey Casino Control Commission. Atlantic City was chosen as the site of the new resort not just because Novikov was there but because it was a seaside town that reminded him of Odessa and felt that it was the perfect place to start a Russian-style casino in America modeled after the recently opened ones in the USR.

    “I was ensuring the problems others had, I would avoid as many as I could. I paid people on time, tried to keep the unions happy, I made sure that we stayed on budget, and that the Casino Control Commission would not think I lacked capital or was a mobster. Also Valentyn ensured Odessa was not built with junk bonds but while we were working to that objective we got good news.” Yevgeny wrote in an interview for Made in the USR: Russian Expatriate Businessmen and Women in the Post-Soviet Era, published in 2011 by N. Cognito Hanssen[9].

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    The Odessa Opera and Ballet Theatre, in the USR city of Odessa, the inspiration for the casino area exterior of the casino hotel.

    The first Odessa Resort known as the Odessa Hotel and Casino was not on the Boardwalk but in the Marina District which is on the other side of the barrier island that Atlantic City is on. The Marina was started when the gambling chain Harrah’s put a new casino there. While not as glamorous as the boardwalk it allowed the Odessa room to grow, something Novikov planned on.

    “After Frank ‘Lefty’ Rosenthal was removed from operating casinos in Las Vegas and the skim was ended, laws and legislation were passed to put in strict anti-money laundering measures as casinos are cash heavy enterprises. Novikov and Davydenko wanted to ensure they avoided the thought that they were two Russian mobsters that came to launder money.

    After numerous audits the casino was given the green light to operate. While it was not cheap, such audits ensured authorities that any impropriety that may have happened under other bosses, would not happen under Novikov.

    “Novikov wanted to build a hotel that was not just a state-of-the-art casino but had great catering and customer service to visitors from around the world.” Davydenko wrote in his diary as quoted by Made in the USR. “Yevgeny would have the best Ukrainian and Russian cuisine at the Odessa Casino and various restaurants elsewhere. He’s got a French place in one of the redone hotels, he stole the best French chef he could get from Tokyo, surprisingly a large number of French chefs there working in Japan. He got top steakhouse guys from all over America at another restaurant. Yevgeny would become friends with Anthony Bourdain, a New York chef but he never got Bourdain to be his head chef.”

    By the end of 1999 right before the new millennium, The Odessa had its grand opening to rave reception. Though like most modern casinos it had a soft opening mostly to test out systems to avoid opening day problems. The Odessa Hotel and Casino would attract many tourists from Atlantic City and elsewhere to place their bets, dine on the finest Russian and Ukrainian dishes and have a great hotel experience. The meteoric success of the Odessa Hotel and Casino would lead Davydenko and Novikov to build more Odessa Resorts in America and other countries such as Britain or Davydenko and Novikov’s native USR.

    “You could say that this was a success in the making. Looking back at the Grand Opening of the Odessa Hotel and Casino, it was a monumental moment for me and Yevgeny” said Davydenko in a Wall Street Journal article on the Odessa’s 20th anniversary.


    Tokyo in Vegas:

    Even before the Odessa Hotel and Casino was eventually finished, Davydenko and Novikov had the idea to go to the biggest market for casinos in America, Las Vegas. And he had a location on the strip for a property which was the El Rancho Hotel and Casino. The El Rancho had remained empty since October 6th, 1992 because it could not compete with the new megaresort casinos opening up on the Strip and its days as one of Las Vegas’ famous casinos were numbered. There were attempts to redevelop the property however, many never came to fruition. Other attempts to buy the property involved tearing down the casino and building a new one most notably the one billion dollar Starship Orion developed by penny stock organizer Robert E. Brennan who dropped the plan after a year. Another was Countryland USA owned by Nunizo DeSantis and former Democratic Congressman Tony Coelho of California though much like Starship Orion it did not go anywhere.

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    El Rancho Hotel and Casino prior to it’s eventual closing (Image source; CasinoCyclopedia)

    As the old El Rancho sat abandoned it was quickly becoming an eyesore for the city of Las Vegas since no one else was willing to buy it. That is until Davydenko and Novikov eventually made their move and bought El Rancho at the end of 1997. This move was expedited by an investigation by local NBC affiliate KVBC on the status of the empty building on the other major problem in the older building, asbestos. Specialist asbestos removal companies were brought in by Odessa Resorts and Las Vegas. But at the initial announcement of the purchase there was only a vague plan for the resort which involved buying El Rancho and retheming it. But this only lasted one month when they announced that El Rancho would be demolished and replaced with Tokyo, Las Vegas Casino and Resort[10]. Tokyo, Las Vegas, would be a Japanese-themed resort named after the city of the same name and have the tallest resort towers in the city at 67 stories including a particularly massive one, world-class Japanese cuisine and classic art from the feudal period. Construction on Tokyo, Las Vegas started in August 1999 and lasted until May 2005. For its opening, Tokyo, Las Vegas Casino and Resort had a dozen taiko drummers as a part of the ceremony, Shinto priests blessing the property, and they even invited representatives from the Japanese Consulate in Los Angeles and Japanese Embassy in Washington DC respectively.

    The resort was something to behold for many as it would be a centre of Japanese culture in America and offer great games, food and wine. It was unlike anything Vegas had seen before or since with an unmistakably foreign flavor that made it stand out from the other resorts in Las Vegas along with a massive tower built near it which has become as iconic as the resort itself but the most noticeable icon of the resort beside the massive tower was a smaller replica of Tokyo Tower. Inside the resort, the gaming space of the casino had various themes for the areas all inspired by the various neighborhoods and wards of Tokyo[11]. At 173,000 feet of gaming space it was one of the largest casinos in the city at that time. The Tokyo-themed areas also applied to some non-gaming areas for instance the Ginza and Harajuku areas of the casino were for clothing and fashion while the Kasumigaseki area was done very respectfully as a place to buy pamphlets, English translated Japanese books and other tourist materials about Japan in honor of the 1,327 victims that died during the 4/15 attacks of 1995 and the Akihabara area of the casino was used as a display for anime, manga, technology, and other bits of Japanese pop culture that were gaining popularity overseas. On the food side there were izakaya and various forms of Japanese cuisine near every gaming area, Americanized but still would allow people a chance to enjoy Japanese food and while there were Western restaurants in the resort such as McDonald’s or KFC[12] in the hotel, which served a menu that had many Japan-exclusive items along with familiar staples from the American restaurants. Tokyo, Las Vegas also made a deal for rights to have Japanese beers and whiskeys to be sold with Suntory and other companies. Most rooms were Western style but some of the rooms were Japanese style with tatami mats, paper doors, and bedrolls. The Penthouse was the peak of modernity with early automated toilets, baths, showers, and zen rock garden. In the main spa area there were onsen baths but unlike Japan, people wore swimsuits instead of going nude, which was bizarre for Japanese guests but they’d figure it was a culture clash, though bathing before and leaving the onsen still a part of it. The casino’s entertainment area would have rights to pop acts and would get musicians and comedians from Japan or abroad to do jokes there. One of the more unknown acts that was surprisingly popular in Mexico and Argentina was Tokyo Ska Paradise Orchestra; they were frequent guests in the many music halls of Tokyo, Las Vegas. The casino would also host sumo wrestling events as a sport event and the wrestlers and their managers were comped with their rooms and gambling. The casino also provided Japanese arts to a wide audience like kabuki, noh, and bunraku puppetry. There were also videos of Japanese martial arts and examples of Japanese swords from the katana to the odachi[13].

    Besides roulette, baccarat, poker, slots, video poker, and many other games, one Japanese game that was introduced into America via the Tokyo, Las Vegas Casino and Resort was pachinko, a mix of pinball and slot machine. Pachinko was viewed as low stakes, low strategy by non-Japanese guests but the Tokyo, Las Vegas was able to build up an audience for pachinko overseas by offering a different way of people getting their winnings and prizes. While gambling for cash was not illegal in the state of Nevada it was illegal in Japan which meant that pachinko parlors paid out in prizes or in a card that allowed an exchange of the balls or prize worth to be paid out by the parlor often in a shop around the corner. More often than not at Tokyo, Las Vegas, most customers took the cash option. While many casino owners thought this was madness, the fact people put so much money into the machines for small payouts amazed them and pachinko became the most popular game in Tokyo, Las Vegas.

    On Tokyo, Las Vegas, Novikov said, “You could say that I made pachinko popular in America, at least outside of Guam. I made sure to change this town like many before me. I changed things in this town, Las Vegas would not be seeing the last of me or Valentyn.” Novikov told the Las Vegas Review-Journal in 2015.

    Korolev:

    As 1999 was coming to a close, Davydenko had successful investments in resorts, casinos and other ventures around the world. Unlike many of his Russian and Ukrainian peers from the Sovereign Union[14], Davydenko had not ordered a massive yacht, he bought a midsized one but he had put his money into a venture he called the Korolev Space Company named after Soviet space engineer Sergei Korolev. No one, outside of a small number of people knew what Korolev was but soon after the Odessa opened Davydenko revealed it.

    “Space is our future, we must go into space to study it. While I doubt I will be able to put a man on the moon in the following decade by myself, I hope our space company will help propel mankind back into cosmos and put a man and a woman on our natural satellite, the Moon. With that I announce that I am creating the Korolev Space Company, named after the great Ukrainian, human being, scientist, and a man who put the first man-made satellite into orbit, the first dog into orbit, and the first human into orbit, Sergei Korolev”. Davydenko said in a special press conference in New Jersey announcing the formation of Korolev in November of 1999.

    Davydenko showed the progress on two floating oil platforms he was at that time converting into sea based launchers. He was working with several rocket companies in the USR and the West to get the parts for the rockets. It was a long term investment that many in the Russian and Western markets doubted could even be profitable for Davydenko as a private satellite launch in China ended in disaster in 1996[15]. Davydenko would ensure such disasters could not occur as he would ensure close working conditions between the companies and countries that wanted satellites and the rocket makers. The executive committee of the company had the commanders of Apollo-Soyuz, Alexei Lenov and Thomas Stafford as co-chairman of the executive committee with numerous other astronauts and cosmonauts as well as former figures from the American and Russian space programs.

    It was not the first attempt at a private space venture but with Davydenko and many titans of space industries behind him, it seemed it had a better shot than most. Though it was going to be years before there were results, Davydenko’s efforts paid off and would lead to what many would call, “The Space Boom”[16]. Without Davydenko and Korolev kicking off the Space Boom, many space technology firms would not get the start they desperately needed.



    [1] Stay tuned for how the Red Devils joined the MLB.
    [2] Recall in the Yuri no trama nada bueno post that Davydenko’s security team saved Colosio from being assassinated by Mario Aburto Martinez in Tijuana, circa 1994. Colosio went on to serve a single six-year term per the Mexican Constitution of 1917 all thanks to Davydenko.
    [3] To elaborate on the San Cristobal Agreement, the first one was signed on March 13th, 1995 while the second and more well-known one was signed on February 16th, 1996. The agreement was also a factor in Davydenko’s eventual arrival in the States since his newfound fame partially led him to set up shop there to expand Sunray.
    [4] The Young Pioneers of the Soviet youth organization Komsomol were essentially the USSR’s answer to the Scouting Movement in some parts of Europe and North America.
    [5] The Soviet GRU is referred to as the old GRU or the original GRU to distinguish it from the USR GRU which is commonly called the new GRU.
    [6] A phrase used by Colombian and other Latin American drug cartels which in Spanish means Plata o plomo.
    [7] Another original-to-TTL character in the Hensonverse who influences world events in some shape or form like Lamarr Jackson in the 1992 LA Riots or Kenichi Hoshino assassinating Shoko Asahara in 1995.
    [8] Gambling was illegal under the Soviet Union however it still happened for higher level officials and many others. It was legalized in 1988 under Mikhail Gorbachev and since then gambling has been thriving in the USSR’s successor state the USR with Moscow and Odessa as the top gambling destinations for locals and especially foreign tourists. There are a lot more illegal gambling establishments than legal ones however but that is for a separate post.
    [9] Davydenko and Novikov aren’t the only Russian-born business moguls abroad. There are numerous other businessmen and women going to the rest of Europe, North America, East Asia (particularly the USR’s former rival China) and Australasia to establish or buy stakes in various companies whether it’s OTL individuals or original-to-TTL individuals.
    [10] IOTL, El Rancho was eventually bought out by Turnberry Associates who later demolished the place and began building Fontainebleau Resort. ITTL, Davydenko and Norikov’s burgeoning resort business in America means they will snatch up the hotel to clean it up of asbestos and replace it instead.
    [11] The capital of Japan has 23 special wards established in the 1947 Local Autonomy Law and they’re essentially the Japanese equivalent to city council districts in Western cities. For example, the cages for the Casino were called Marunouchi as a reference to the banking center of Chiyoda Ward and Tokyo which is essentially the Japanese version of Wall Street.
    [12] KFC is one of the most popular foreign restaurants in Japan with many references to Colonel Harland Sanders in Japanese media and culture most infamously the Curse of the Colonel for the Nishinomiya-based Hanshin Tigers of Nippon Professional Baseball (NPB). Naturally, Novikov did research into Japanese culture and found that KFC was popular in the Land of the Rising Sun hence it’s inclusion in Tokyo, Las Vegas. On a replica Colonel Sanders statue there is a sign with a joke in English and in Japanese which reads “Please don’t throw the Colonel into a river or your favorite team won’t win”
    [13] Odachi is a Japanese sword that is the largest of it’s kind and was used by the clans of feudal Japan to showcase their might. The Western equivalent to this sword would be the German/Holy Roman Zweihander or the Scottish Claymore in terms of size.
    [14] Sovereign Union is an alternate name for the USR and a shout out to @CountDVB’s America Funniest President: Mo Udall Presidency & Beyond who also included an event similar to the timeline with Jim Henson and Bernie Brillstein buying a stake in Disney.
    [15] The incident in question is a reference to the Intelsat 708 incident of 1996 which still occurred in TTL.
    [16] Spoilers ;)
     
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    The Strategeries of League Leadership
  • Chapter 6: Bush and Consequences - The Game: Inside The Secret World of Major League Baseball[1]
    By Jon Pessah
    Guest post by @jpj1421 with assistance from Mr. Harris Syed

    The early nineties economic crunch extended into America’s national pastime. NBC, ABC[2], and ESPN all saw ratings lower than expectations leading to all three networks losing about $200 million on MLB through 1993. The owners, also feeling the crunch, were restless though they turned the ire at Commissioner Fay Vincent, who had taken a number of steps since taking over in 1989 that grated the owners. In 1990 he had intervened to end the lockout in an arrangement that owners felt was too favorable to players. He banned the New York Yankees owner George Steinbrenner for a number of unsavory actions much to the chagrin of the American League, even though the owners asked Vincent to decide the matter, they only received $30 million in expansion fees to the National League’s $100 million[3] in 1991. And in 1992 Vincent was in a prolonged litigation battle with the Chicago Cubs as Fay sought to realign the National League, with the intention of sending the Cubs and the St. Louis Cardinals from East to West and the Atlanta Braves and Cincinnati Reds from West to East. With the Commissioner publicly feuding with four teams, the owners who felt Vincent was hurting their bottom line decided that the fall of 1992 was the time to make a move to install one of their own in the job. The ringleader of the coup was Bud Selig, owner of the Milwaukee Brewers, whose financial situation was in such dire straits that if things didn’t change soon the team he brought to Milwaukee might be forced to move to a bigger market. Because the MLB’s Constitution had no mechanism for removing a Commissioner it was decided that 18 team owners, just under 2/3, would be needed to box Vincent in and force him to see he had no choice but to resign.

    Though Fay Vincent had pissed off most of the owners in his time as Commissioner, he wasn’t without his supporters. Most obvious, and vocal was George W. Bush, the son of former President George H.W. Bush and minority owner of the Texas Rangers[4]. Vincent’s best friend was Bucky Bush, the President’s brother, and the ever loyal W was squarely on the side of the family friend; it didn’t hurt that W. also fancied himself a potential future Commissioner, if politics didn’t work out and a fight like this is the sort of thing that builds credentials[5]. Bush had been the man in owners’ meetings defending Vincent from any and every attack, while also quietly pushing Vincent to keep out of any future negotiations and maybe listen to the owners on the idea of a salary cap and revenue sharing to dampen some of the anger; Vincent, for his part, felt his job was to make sure all sides were heard while also thinking both ideas were pretty lousy. With Vincent unwilling to compromise, Bush would have to wrangle owners to support the Commissioner against their instincts. Outside the clubhouse Vincent had garnered the respect of game aficionados, especially in California after his handling, just after taking the Commissioner gig the month before, an earthquake interrupting Game 3 of the World Series. The sports press were largely favorable towards Vincent’s cause. There was even a rumored phone call from Disney’s Ron Miller to family friend Gene Autry, then owner of the Anaheim Angels on Vincent’s behalf. There was a cloud of uncertainty as the owners met that September.

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    Pictured: George W. Bush with then-Commissioner Fay Vincent, circa 1990 (Image source; The New York Times)

    George W. Bush’s head count going into the meeting was that he had 9[6] teams, two shy of the threshold the plotters agreed would be enough to undermine the motion that he sure was going to vote down any effort to oust Vincent. The meeting convened with the American League and National League separated in the room, per custom[7]. What followed were speeches for and against Vincent[8], with a few seeking a compromise solution where the role of Commissioner is restructured. When some of the most elder statesmen[9] of baseball, notably Fred Kuhlmann of the St. Louis Cardinals; Bill Giles of the Philadelphia Phillies; Stanton Cook of the Chicago Cubs; and Peter O’Malley of the Los Angeles Dodgers spoke against VIncent it seemed the coup plotters were going to win the day. That feeling dissipated when a number of owners declined to speak one way or the other. In the end the final vote was close, 14-13-1[10], a clear sign that there was dissatisfaction amongst the owners but not enough the strong showing the plotters wanted. When the vote went public, Fay Vincent quickly responded that he would continue as Commissioner at least until the end of the term he had inherited from his deceased successor, which would be in 1994.

    The fallout was immediate. Having failed to remove Vincent, the owners scrap plans to reopen negotiations with the players’ union and table their plans to open their books, to help plan for those salary cap and revenue sharing ideas. Vincent successfully sued the Cubs in court to realign the National League East and West and also quashing, at least at the time, splitting the leagues into 3 divisions a proposal floating around until the East/West realignment fight. If there were any thought of a second attempt on removing Vincent before his term was up, the coup plotters found that the other owners couldn’t agree on a path forward. This dissension was made worse when, in the 1993 season the Braves went on a run to beat out a resurgent Phillies[11] for the NL pennant, immediately sapping the anger out of Atlanta over the realignment while the San Francisco Giants took the NL West pennant before beating the Braves on their way to the World Series. Vincent, still reigning, would congratulate the Toronto Blue Jays on their 7th[12] game win over the Giants at the SkyDome. Vincent clearly relished the moment, even as he expected it to be his final major act as Commissioner. His term was up by March 31, 1994 and he didn’t expect to be given another five year term. The question going into the post-World Series owners’ meeting is who would emerge as the Commissioner for the next five years.

    As it turned out, the next Commissioner was none other than George W. Bush. He was the well liked scion of a political family and Bush was courted by the Texas Republican Party to get into politics, but that was not where his own passions lay coupled with his father’s sex scandal during the 1992 election[13]. Bush had always been an ardent, and somewhat old school fan of baseball and could see himself as the next Commissioner. For the inner circle of Major League Baseball, Bush actually made quite a bit of sense as he was friends with, and successful defender of the current Commissioner while as a minority owner being sympathetic to the concerns of the other owners and a figure that could potentially bridge the divides in the MLB. Vincent put his support behind Bush early, he certainly didn’t want any of the men who had tried to push him out to follow him into the office, while Bush worked on winning over the others to his side. It proved easier than the two expected, despite Bush siding with Vincent the other owners didn’t hold that against Bush and they did see him as one of their own. Selig, having failed to seize the job for himself, found his attention drawn back to Milwaukee where problems over funding a new stadium would become his sole focus. When the owners met in the spring of 1994 they would vote on two measures that would change the face of baseball over the next decade. George W. Bush would be unanimously elected Commissioner and an expansion committee would be voted into existence for determining how many teams should be added to the AL and NL over the next few years[14].

    [1] The real book I, jpj1421, pulled this information from.
    [2] IOTL, CBS underbid the Summer Olympics so they could drop $1 billion on monopolizing baseball coverage for years to shore up what was seen as a week primetime lineup. This would commit them to $250 million being paid to MLB every year which the MLB refused to refund any of even as CBS took a $500 million loss. Ted Turner’s CBS wants the Olympics with an eye on 1996 and so commits about half a billion to securing those rights, apologies to my wife who grew up with NBC’s Bob Costas as the face of the Olympics, rather than baseball which was instead split between NBC and ABC for another six years (1990-1995) as it had been throughout the 80s. ITTL the commitment from the networks is smaller and shared making things more sustainable compared to IOTL.
    [3] To account for less of money from the networks, this is ~70% of the IOTL amounts. $42 million to the AL and $148 million to the NL, respectively.
    [4] Given that the elder Bush had a sex scandal of sorts during the 1992 election if you recall in the second Election ‘92 Live Coverage post, W. never goes into politics and becomes a fairly well known figure in the MLB other than being the part-time owner of the Rangers.
    [5] All of this is true in OTL.
    [6] The IOTL 9 that voted with Vincent: The Athletics, Astros, Expos, Marlins, Mets, Orioles, Rangers, Red Sox and Royals.
    [7] Mentioned because IOTL they were intermingled to keep Vincent allies separate.
    [8] The OTL meeting was frontloaded with anti-Vincent speakers to set the tone for removal.
    [9] This phrase and the following list of such are straight from OTL’s The Game, specifically page 22.
    [10] The Angels, Giants, Mariners and Tigers are Yes votes IOTL that vote No here. The Reds owner Marge Schott, with all of her demons, abstains as per IOTL. These seemed like the teams most likely to stick with Fay Vincent with some butterfly wings flapping.
    [11] Apologies to my beloved Phillies
    [12] The Giants were a better team than the Phillies that year, kept out of the playoffs by 1 game in their division IOTL, so they take the Series to the last game.
    [13] It’s pulled straight from OTL and the fact that George H.W. Bush got himself in trouble discouraged his son from ever pursuing the Presidency or the Governorship of Texas which resulted in Ann Richards getting re-elected for another term instead. Stay tuned for what she will be doing in the Texas sports landscape.
    [14] Let’s just say that this expansion will be very different from OTL and Mexico City will be one of the new teams for reasons that will be elaborated in the next post.
     
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    It's a Bush League after all...
  • Chapter 7 - The Changing Face of Baseball - The Game: Inside The Secret World of Major League Baseball
    By Jon Pessah
    Guest post by @jpj1421 and Mr. Harris Syed

    2enR7yZV8k3OwhSECxljC1eAP_Pn12MfRQjt6JAF7Ev8TZcwQDGS4LqqR-ir0U-reHAnQ0mm9PXluXZI3mbySjuVa1FvwtgTiQktRv2J6_0SZYWOV2ySltayK4-Slov-ad4tohsIjK1W9VOI_OY59KlKIPcXUbVLsOEWfWZ8XbaF-ETbhCKjB4RGhw

    George W. Bush, former minority owner of the Texas Rangers and new Commissioner of the MLB (Image source; The New York Times)

    George W. Bush was picked as Commissioner to strike a balance between baseball history and the ownership push to modernize the sport. Coming through the recession without too much of a hit followed by the banner years of 1993 and 1994, the MLB would announce an expansion committee in March one year after the addition of the Colorado Rockies and the Florida Marlins. The expansion committee was comprised of Bill Gilles of the Philadelphia Phillies, Jerry Reinsdorf of the Chicago Red Sox, George Steinbrenner of the New York Yankees, Stanton Cook of the Cleveland Indians, Stan Kasten of the Atlanta Braves, American League President Bobby Brown and National League President Leonard S. Coleman Jr[1]. The original intent was to just add two teams, but after 10[2] cities across North America placed bids and with the continued success of the sport it was decided in late March 1995 to move forward with an expansion of four teams after the MLB had to resolve a short-lived lockout first through a deal made with the Major League Baseball Players Association that included a shortened spring training and a later regular season start[3]. Four extra teams had the benefit, beyond expanding to fanbases in new markets, of being able to drive a much needed change in the division structure that had been in place since 1969; rather than then current 2[4] divisions per league the 16 teams in each league could be split into four divisions which would mean four more teams, 2 in each division, entering the playoffs. Not to mention, that simply adding 2 teams would have meant an uneven number of teams in each League which would have left a team idle every day or necessitated a team switch from one of the Leagues for a division with an extra team or, in an idea horrifying to old school baseball folks, the creation of interleague play[5]. The expansion committee had to weigh the potential market value of any new city or region and the ability to meet league stadium standards; Buffalo, for its part, had actually built Pilot Field back in 1988 certain of being included in the last expansion despite MLB telling cities not to build stadiums unless selected first. Unfortunately for Buffalo they would be snubbed again since New York already had two teams downstate as well as the Blue Jays and Expos north of the border. The league would instead use this opportunity to expand its reach to Latin America with Mexico City as the prime candidate due to its large population of over 15 million and a suitable stadium in Parque Deportivo del Seguro Social, the home of the Mexican League’s Mexico City Red Devils owned by Alfredo Harp Helu and Valentyn Davydenko[6]. Another strong candidate for expansion was the Tampa Bay region of Florida thanks to its illustrious history of minor league baseball and the city of St. Petersburg had built the MLB-caliber Florida Suncoast Dome in 1990 coupled with former San Francisco Giants owner Vince Namoli already spearheading expansion efforts for the area as part of an agreement with the league after an unsuccessful effort to relocate the Giants to the area[7]. Washington DC was the next city in strong consideration for a new MLB team as the home of both iterations of the Senators and the RFK Memorial Stadium was suitable for a temporary home while a new ballpark would be built with Abe Pollin, the owner of the NBA’s Washington Bullets[8] and the NHL’s Washington Capitals, as the key figure in pushing for a new baseball team in the nation’s capital since his involvement in the DC Baseball Commission during the last expansion phase[9]. Pollin’s fellow NBA owner Jerry Colangelo of the Phoenix Suns was part of an ownership group wanting to bring Major League Baseball to Phoenix as it already had a well-established minor league team in the Triple-A Phoenix Firebirds and was a growing Sun Belt city much like Tampa. Other candidates for MLB expansion included Nashville, Orlando, Vancouver, Monterrey and Northern Virginia each with their groups submitting bids for a new team. Charlotte and Sacramento, two cities that were considered for expansion teams in 1993, ultimately made no attempt to acquire one and were the odd markets out much like Buffalo.

    In the first few stages of the expansion process, Monterrey, Northern Virginia and Orlando were eliminated due to the strength of the Mexico City, Washington DC and Tampa Bay bids and the fact that they were smaller markets in the same areas as the latter three. By contrast, Nashville and Vancouver were able to make it past the initial stages thanks to the Music City's status as the home of the Southern League’s Sounds along with a long history of professional baseball while Canada’s third-largest metropolis had the multi-purpose BC Place which could also support baseball in addition to Canadian football as Montreal's Olympic Stadium did for the original Alouettes and Expos[10]. The expansion committee would later narrow down the field to six bids: Mexico City, Tampa Bay, Washington DC, Phoenix, Nashville and Vancouver. Namoli's involvement in the Tampa Bay bid made a team for the region virtually a done deal and Mexico City was the largest Spanish-speaking city in the world making it the ideal location to expand the MLB's footprint in Latin America. The other two contenders, Washington DC and Phoenix, were very attractive to the owners, particularly the latter despite the objections of Peter Angelos of the Baltimore Orioles since the team's home was relatively close to what was then the biggest media market without an MLB team. Vancouver had the baseball-ready BC Place and though any potential team would face some competition from the Blue Jays and the Expos not to mention that the Canadian dollar was still weak. Lastly, Nashville had a rich history of baseball and like Tampa Bay was a growing Southern city in the Sun Belt.

    At an owners meeting in March 1996, the MLB awarded four new expansion teams to Tampa Bay, Mexico City, Washington DC and Phoenix respectively with Angelos as the lone No vote. Each team would pay a $145 million expansion fee to enter the league[11] and begin preparations to build new, state-of-the-art ballparks. Tampa Bay and Mexico City would begin their inaugural seasons in 1998 followed by Phoenix and Washington DC in 1999. The announcement disappointed the cities of Nashville and Vancouver who were left bitter after the league had turned down their bids. Nevertheless, the MLB under Bush had finally accomplished realignment with new markets to spread or reintroduce the national pastime and increased revenue with Phoenix and Tampa Bay in the American League while Mexico City and Washington DC would be slotted into the National League[12].

    Although the expansion process for Tampa Bay, Washington DC and Phoenix would go rather smoothly there was some friction with Mexico City since the Mexican League feared that an MLB team would cut into their profits from the largest market and the league would file an antitrust lawsuit[13] against Helu and Davydenko but the fact that the successful bid received the backing of the Mexican government meant that this lawsuit would fail in the Supreme Court. As a compromise, the Mexican League would be given a new team in Mexico City set to play in 2000 and share the same stadium with Helu's new MLB team[14] though the Mexico City Tigers would continue operations. Additionally, the Mexican government mandated that half the roster of the Mexico City team would be stocked with native-born Mexican players.

    In establishing the teams, Tampa Bay, Washington DC and Phoenix all had to start from scratch such as finding names or drafting new players though Mexico City simply brought the Red Devils of the Mexican League to join the MLB and retained their name. For Tampa Bay, they already had a stadium but not a name. Originally, Namoli wanted the Sting Rays as their name but discovered that the minor league Maui Stingrays owned the rights to the name and while they offered to sell the naming rights he chose to call the team the Tampa Bay Devil Rays instead even if some objected[15]. In Washington DC, the Senators was the favorite among fans given that it was the name of three baseball teams and Pollin preferred it for the new Washington MLB team but the Texas Rangers owned the naming rights and not everyone in the city government was on board with Senators as the name of the new team since the capital didn’t have representation in Congress so Pollin chose “Nationals” which was used by the original Senators team from 1905 to 1955[16] and Phoenix held a “Name the Team” contest with Coyotes, Rattlers, Scorpions and Diamondbacks with the latter winning out and the team representing the state of Arizona as opposed to just a single city. On the ballpark front, the Devil Rays began play in the Suncoast Dome whereas Mexico City would repurpose the Foro Sol as a sports venue when the Red Devils moved out of Parque del Seguro Social[17] which remained as the home of the Tigers while Phoenix and Washington DC had agreements to build new ballparks such as the retractable Hensley Park[18] and Nationals Field, built adjacent to the Senators’ old home RFK Memorial Stadium[19]. Additionally, two expansion drafts were held at the World Trade Center Mexico City (1998) and the Washington Convention Center (1999) respectively with the Devil Rays, Red Devils, Nationals and Diamondbacks picking over 70 players to fill up their rosters, the Red Devils in particular replaced their previous management and roster in preparation for their MLB debut. Since the late 1990s, all four teams have faced their fair share of ups and downs over the years from World Series wins to abysmal seasons though regardless the expansion changed the league for better or worse such as the MLB being the first American sports organization to have a team in Mexico or the return of professional baseball to the nation’s capital.

    But while expansion was turning out very well, there was some trouble stirring within the Seattle Mariners. Despite the hiring of Lou Pinella, the Mariners struggled in the last three seasons with dismal records and the increasingly-outdated Kingdome being unsuitable as a long-term home for the team after four 15-pound ceiling tiles fell onto the seating bowl in 1993[20]. The team’s owners, Nintendo of America, wanted a new, publicly-funded stadium in downtown Seattle but the city was unwilling to provide the money needed to replace the Kingdome as the team’s new home after a failed referendum in 1995 and entreaties to Governor Ken Eikenberry and the Washington State legislature fell on deaf ears though there was a brief flicker of hope of changing minds during a hot streak near the end of the 1995 season that kept the possibility of a new home in Seattle after struggling for much of their schedule, but they fell a handful of games behind the Angels who, despite collapsing at the end of the season had banked a number of wins in the early spring to maintaining their first place position in the AL West. With a rather dismal season, Nintendo began exploring the possibility of selling the Mariners to a new ownership group[21]. Initially, Nintendo of America considered local businessmen and investors but they would receive offers from Vancouver, Buffalo and Nashville, the cities who didn’t make the cut for MLB expansion. Vancouver seemed attractive to the Mariners since it was relatively close to Seattle and the BC Place could support baseball coupled with a decent ownership group led by but the weak Canadian dollar was a major point of concern for Nintendo[22] especially as the NHL's Quebec Nordiques and Winnipeg Jets had relocated south to Denver and Phoenix respectively with the Edmonton Oilers soon to follow[23]. Buffalo already had Pilot Field for a potential MLB team to play in and Nashville still set its sights on going from minor league to major league with plans to have an MLB-caliber ballpark to replace Herschel Greer Stadium. For their part, the rest of the MLB were pushing Nintendo of America to go with either Vancouver or Nashville, to maintain the American League division balance as it had existed over the last number of years. After much consideration, NIntendo made an agreement with a Buffalo group led by Boston Bruins owner Jeremy Jacobs with the intent of relocating the team to his home city. At the end of the 1997 season, Nintendo and local representative John Ellis, announced that the Mariners would move to Buffalo in 1999. Suffice to say, many Mariners fans were not happy of this announcement since they were angry at Nintendo and Ellis as they put it “You Abandoned Us” and attendance numbers dwindled as a result of this announcement. Bush and the other MLB owners did not like the Mariners moving to Buffalo and there was a flurry of discussion over a potential veto vote by the MLB owners, that was only resolved through backroom negotiations backed up by Nintendo’s threat to pursue a potential strategy of getting baseball’s monopoly exemption lifted. In March 1998, the MLB voted to approve the Mariners relocation to Buffalo with plans to realign the divisions with the team heading east. The move left many fans of the Mariners heartbroken as they were going to have to say goodbye to their cherished team as they were moving to the other side of the country leaving the Emerald City as one of the largest markets with no MLB team. That said, the city of Seattle and the MLB learned from the debacle of the original Cleveland Browns relocating to St. Louis so a deal was made in which the records of the Mariners would be left behind for a hypothetical expansion team while Jacobs would be allowed to move the team to Buffalo. The city of Seattle would eventually build a brand new stadium known as Safeco Park in 2006 with the intent of acquiring a new MLB team and is adjacent to the Seattle Seahawks new home venue Alaska Airlines Field[24], the latter of which was built due to the influence of Paul Allen and the desire to keep the city’s NFL team from relocating to Baltimore. Over the years, Seattle has been the most popular candidate for the next wave of MLB expansion along with Vancouver and Nashville though it remains to be seen if the Mariners will return to Seattle[25].

    With the Mariners having departed for Buffalo, it was time to pick a new name for the team. Unsurprisingly, Bisons was the overwhelming favorite due to it’s association with numerous sports teams in the Buffalo area over the years including baseball. Moreover, Jacobs would invite Robert E. Rich Jr to be a minority owner and he would negotiate with Minor League Baseball to have the name used for the new MLB team since he already owned the Triple-A Bisons[26]. Much like the Phoenix Firebirds, the Triple-A Bisons would fold to make way for their MLB counterpart in a passing of the torch for Buffalo sports in their last game. The hype surrounding the Bisons “coming” to the MLB was massive with many residents from the Buffalo area buying tickets and long lines of Buffalo sports shops buying MLB Bisons jerseys or other merchandise. Jacobs even remarked that the city’s anticipation for the Bisons was like “the second coming of Jesus” and was glad that there was an immense outpour of support for the new team. Since 1999, the Bisons have cultivated a loyal following of fans and are considered a cornerstone of Buffalo along with the NFL’s Bills and the NHL’s Sabres.

    With the expansion, and Mariners relocation settled, the league structure had to be finalized going forward. The four divisions plan was already fait accompli by Bush and the owners so it was unanimously approved in a special meeting along with the Mariners move to Buffalo. The owners would approve a new schedule that would maintain the traditional 162 game season with 14 games against the three other teams in a division, and ten games against the 12 other teams within their League in March of 1999. The traditional East and West divisions would remain, but two new divisions would have to be created to assign teams to, and so the Central and Southeast division were born. The Central Division would logically consist of traditional Midwestern teams. The Southeast would end up being more of a catch-all division, particularly in the American League. Whereas the NL Southeast would consist of four teams south of the Mason-Dixon Line, the AL Southeast would have two such teams but also Cleveland and Kansas City to balance out the larger Midwestern presence in the American League. The post-1999 MLB would look as follows:

    National League

    NL EastMontreal ExposNew York MetsPhiladelphia PhilliesPittsburgh Pirates
    NL SoutheastAtlanta BravesFlorida MarlinsHouston AstrosWashington Nationals
    NL CentralChicago CubsCincinnati RedsColorado RockiesSt. Louis Cardinals
    NL WestLos Angeles DodgersMexico City Red DevilsSan Diego PadresSan Francisco Giants

    American League

    AL EastBoston Red SoxBuffalo Bisons (formerly Seattle Mariners)New York YankeesToronto Blue Jays
    AL SoutheastBaltimore OriolesCleveland IndiansKansas City RoyalsTampa Bay Devil Rays
    AL CentralChicago White SoxDetroit TigersMilwaukee BrewersMinnesota Twins
    AL WestAnaheim AngelsArizona DiamondbacksOakland AthleticsTexas Rangers

    For the postseason, a third round of playoff games was created; The Division Series. The division winner with the best record would face the division winner with the worst record in a five game series, while the division winners with the 2nd and 3rd best records have their own five game series. The winner of each Division Series would move to the League Championship to determine who would head off to the World Series. While this new structure would be aggravating to well playing teams in a division with a juggernaut like the Braves or Expos where they’d languish in a respectable 2nd perhaps better than other less competitive division, it was seen as a mostly positive reform. It gave more teams a chance at the postseason attention and revenue, meaning more fans tuned into the playoffs, while maintaining in essence the division structure that had been in place since 1969.

    The success, or failure, of the new structure would likely be at the forefront of the owners’ minds when deciding on the next Commissioner election in 1999. Bush was actively looking for another five year term, and if the expansion and restructure were successful would likely be a shoo in to win that second term. If not, there would likely be a move to find a new face for the sport.

    [1] As per OTL.
    [2] The cities considered for expansion by the MLB include Nashville, Orlando, Buffalo, Phoenix, Tampa Bay, Vancouver, and Northern Virginia as per IOTL along with Mexico City and Monterrey which were eyed by MLB owners and in a slight change from IOTL, Washington DC given the former city’s history of baseball, its status as the nation’s capital along with a healthier, no 1994 strike and Pollin participating in the DC Baseball Commission’s 1993 expansion bid ITTL.
    [3] This actually was the original recommendation IOTL (https://www.washingtonpost.com/arch...w-teams/2497f97e-c4bb-4008-b30f-de3629154722/) but the realities of the MLB after the 1994 baseball strike led to just an expansion of two teams, Phoenix and Tampa Bay. With the 1994 strike averted and a shorter lockout, the MLB gets to expand to four teams.
    [4] The modern 3 divisions were created the year after Bud Selig took over for Fay Vincent IOTL, which did not happen here.
    [5] Both of these ended up happening IOTL. Allowing games between the AL and the NL before the World Series was controversial for a while within baseball, though it happened all the time with the American Football Conference and National Football Conference of the NFL, but advocates for interleague play have basically prevailed. Starting in the 2023 season IOTL, every team will play every other team in at least one series.
    [6] According to a Mental Floss article, Helu did submit a bid for an MLB team in Mexico City but it was passed over. Since Helu wasn’t kidnapped, coupled with the success of the non-Anglophone city-based Montreal Expos and Davydenko's support, Mexico City becomes a viable candidate for MLB expansion.
    [7] Recall in the Catch the Bus at Disneyland post that the Devil Rays already exist since they are mentioned by name as a forthcoming expansion team. Namoli will get to own the Devil Rays like OTL but as part of the four-team expansion.
    [8] Given the violent crime rates of Washington DC, the Bullets are going to be renamed to something else.
    [9] Washington DC was a city seen by many as a candidate for an expansion team for 1993 under the DC Baseball Commission but no ownership group from the capital ever submitted a bid in the 1998 MLB expansion wave. As the MLB’s TTL expansion is much larger, coupled with no 1994 strike, Pollin's DCBC membership and more than fifteen years of butterflies, DC will actually participate in the next expansion wave.
    [10] Recall in the second A Bus and a Rock post that the original Cleveland Browns relocated to St. Louis to become the Stallions while the Browns records were left for a new team to continue it’s legacy in 1999. As a result of this move, the Canadian Football League’s American expansion would last slightly longer than IOTL with the Baltimore Stallions and the other remaining non-Canadian teams sticking around though only the Stallions would be successful enough to be financially viable at least until the NFL gave Baltimore a new team named the Marauders (after the American bomber plane) which led the Stallions to move up north to Montreal to revive the Alouettes in 2001.
    [11] IOTL it was $130 million.
    [12] The Phoenix/Arizona team went to the National League while Tampa Bay ended up in the American League. The desire to balance and realign the MLB means that Arizona and Tampa Bay went to the AL as intended in OTL.
    [13] Mexico had an antitrust law after the North American Free Trade Agreement (NAFTA) was ratified hence the lawsuit.
    [14] Obviously, the Mexican League’s new Mexico City team cannot use Red Devils since that is owned by the new MLB of the same name so they go with the Capitalinos (Capitals) as a reference to the city.
    [15] Per OTL.
    [16] From Mr. Harris Syed: “I will confess that I wanted to go with Senators to differentiate the team from OTL’s Nationals but the political climate of DC after the 1993 statehood referendum coupled with the Rangers owning the name means that the TTL expansion teams carries this name”.
    [17] Similar to what happened with the Red Devils/Diablos Rojos in OTL.
    [18] Basically, TTL’s Bank One Ballpark
    [19] Washington DC officials really did consider building a ballpark next to RFK Memorial Stadium but went with Southeast Anacostia instead. Because of the different circumstances leading to baseball’s return to the capital, the RFK site was chosen instead.
    [20] Just like OTL.
    [21] This is what actually happened with voters narrowly defeating the measure and the Mariners ownership threatening to sell the team though the success of the Mariners in the 1995 season under Ken Griffey Jr, resulted in Safeco Field/T-Mobile Park being built. Here, the Mariners didn't do well enough in 1995 without Griffey Jr to justify a new stadium and thus they are sold to someone else.
    [22] As noted by @Geekhis Khan, the Mariners still exist in 1997 and so the relocation to Vancouver has been completely retconned entirely from the Hensonverse to merely a potential buyer.
    [23] Given that Winnipeg and Quebec City were small markets along with other issues, it's rather unavoidable that the Jets and Nordiques would leave. In the case of the Oilers, Peter Pocklington almost sold the team to Leslie Alexander who would have moved the team to Houston but the Edmonton Investors Group (EIG) raised enough money to keep the Oilers by reaching half of the $70 million amount. In TTL, Pocklington's asking price is $90 million due to some slight butterflies affecting the NHL and the Edmonton Investment Group isn't able to raise enough money resulting in the Oilers relocating to Houston under the name the Houston Roughnecks since Aeros was already taken by another team and to avoid confusion with the NFL's Houston Oilers. More on the Oilers in a future Fan Contribution post.
    [24] Safeco Park is essentially TTL’s Safeco Field and was constructed along with Alaska Airlines Field (Lumen Field in OTL) as part of a new sports complex.
    [25] Seattle’s status as the next MLB city is similar to Montreal in OTL after the Expos relocated to Washington DC to become the Nationals. It’s also akin to how it’s seen as the next NBA city when the SuperSonics left for Oklahoma City.
    [26] Rich was involved in Buffalo’s failed 1993 MLB expansion bid where he would have been the majority owner. While he doesn’t get to own the MLB Bisons, he does have a controlling interest with the support of Jacobs who was one of the investors in the bid.
     
    Last edited:
    Kasumigasekigate
  • The Kasumigaseki Redevelopment Scandal: The Scandal That Broke the Liberal Democratic Party
    From the Asahi Shimbun, June 5th, 2018 (translated from the original Japanese)
    Guest post by @ajm888 with assistance from Mr. Harris Syed

    Introduction:


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    Central Government Building No.3, the former home of the Ministry of Construction in Kasumigaseki, Chiyoda Ward, Tokyo. Source Wikipedia​

    On April 15th, 1995 at 10:17 AM, a massive bomb devastated the Kasumigaseki district of Tokyo’s Chiyoda ward claiming the lives of 1,327 people. This was set off by terrorist cult group Aum Shinrikyo masterminded by Shoko Asahara. This bomb tore the heart out of Japan’s bureaucratic leadership. Despite being a Saturday, many senior bureaucrats were in Tokyo due to the threat of an attack, though many thought it would be on Shinjuku station. Numerous administrative vice ministers, the highest ranked bureaucratic position in a Japanese ministry, were either badly injured or killed. One of these severely wounded was Construction Administrative Vice Minister Shigeo Mochizuki. He was one of many hurt by flying glass. He would resign his position in hospital and after a bit he was replaced by somebody in the department no one thought they’d see again, Tatsuya Yamachi[1]. Tatsuya Yamachi was a man no one in the ministry thought they’d ever see again, and his return would not only shake up the Liberal Democratic Party but Japanese bureaucracy and society as a whole leading to what became known as the Kasumigaseki Redevelopment Scandal.

    “If they ask why I did it, I say why not? All that money and I am supposed to wait for Amakudari[2]? When I eventually retire? What use is power if I cannot use it for myself? For my benefit?” Tatsuya Yamachi in his confession letter.

    inhaY5hXPKlTtDcg5O_XNCDp0x49F5ZVQosrH0xNaxQmULr8RFpHe0uAO4wI6GNi-KBshVeYRgmu9MZIPV93yFKCuDBcn4eUJAPBF5cMlsFupK3bjlcMDgqswUt7Q4aEsRlqpL48HpG2RD_HEZzwRE4C4oV6UQab6jpdobUA53hfJbRIRA1lLcawYg

    Robert Moses, at one time the most powerful man in New York, he was brought down by many groups after his power was left unchecked for decades. Pictured at the opening of the Verrazzano-Narrows Bridge. An inspiration for Tatsuya Yamachi. Source: Wikipedia.​

    Who is Tatsuya Yamachi?:

    Those who knew Tatsuya Yamachi know he was a man who started out in a middle class family where his father worked as engineer for Japan Government Railways in the 1930s and 1940s. He was in fact born in the Japanese puppet state of Manchukuo in 1938. He was evacuated from Manchukuo before 1940 and grew up in Amori. He went to Tokyo University and would be recruited in college for the Ministry of Construction. As a young bureaucrat he went with a group that went to the 1964-1965 World’s Fair. There he saw Robert Moses, the man who built modern New York City. It was then Tatsuya Yamachi knew what he wanted to be.

    Tatsuya wanted the power to be a builder like Moses. He would find it, but not in the Ministry of Construction initially. He would discover it in the Japan Housing Corporation (JHC), the Housing and Urban Development Corporation (Jutokodan), and The Housing Land Development Public Corporation (Takuchikaihatsukodan), The Housing Bureau of the Ministry of Construction, and Japan Railway Construction Public Corporation (JRCC). But he was really involved in the development of the new towns and Danchi (Group Land). The population of Japan was still growing for many years after World War II and many businesses wanted to develop apartments as did local governments. There was so much money in it. And where there was money, Yamachi would find ways to skim, get gifts, and violate so many rules.

    “When people want things done fast they expect it done fast. People should not worry about how it is made or how much it costs. All they want is a home that is their own. The end justifies the means in this case and many other cases.” Yamachi wrote in his confession.

    Yamachi was an unlikely successor to Administrative Vice Minister Shigeo Mochizuki, he was not even mentioned in likely successors that was going to brought to the construction minister but in September 1995, with Construction Minister Yoshiro Mori briefly serving, Tatsuya Yamachi was selected to become the top civil servant in the construction ministry. He was appointed by the Kono Cabinet formally and would serve a two year term, two years that Yamachi was able to set up a massive network of graft.

    “Yamachi was a man from another time it seemed, he was a man from the 1960s trapped in the 1990s. I remember him saying, ‘I would have been at home in the days of Ikeda and Sato, hell even Tanaka!’” said Yamachi’s close friend Jun Mino, a fellow bureaucrat in the former construction ministry. Yamachi had a large circle of friends but there were few he trusted closely, Mino was one of those few. “We were from differing backgrounds, I was from a much wealthier family. His family was Middle Class but not rich like mine was. But we were of similar disposition. He liked to drink and was a terrible drunk as was I but he hated the fact he felt his wife was cheating on him but Tatsuya could never prove it. He was so busy as a bureaucrat that his wife had numerous affairs.” Mino stated.

    It was a surprise to everyone in the Ministry of Construction that Yamachi was selected to be promoted to such a position he had not been in the best position in the bureaucracy for the promotion but what he had were connections to construction companies and everyone else involved. Yamachi being tied to many of the New Towns and Danchis was good at the time though now the name Danchi is tarnished[3]. But they still had a decent reputation in the ministry, and Yamachi was able to use his ties to them to get his promotion as he was a senior figure in the ministry.

    With the rebuilding of Kasmugaseki a major national project it made sense that the Ministry of Construction would lead the project while major firms would get massive contracts to rebuild the devastated district. Announced on November 13th, 1995, was the announcement of the creation of the special government corporation the Kasumigaseki Redevelopment Group, a group that oversaw construction and the Kasumigaseki Redevelopment Fund, a massive trust fund that would pay for the rebuilding.

    “Hundreds or billions of Yen at our disposal, and you’d think we’d not steal?” Yamachi said in his confession, “I mean I made 23 million yen[4] a year as an administrative Vice Minister, but that’d be for two years. This? I could make a hundred million yen, maybe a billion yen. And I am thinking why not? I need to ensure me and my family have coverage as my son was born broken. Caring for a physically disabled son later by myself and my second wife was not cheap[5]. And as my one son is not hidden I have to keep up appearances by being driven around in chauffeured limousines, go to events for the ministry, and pay for my homes with taxpayer money, and so forth. ‘Of course that construction conference is vital. Yes I must stay in the best suite at this Singaporean hotel, it is to help promote Japanese industry after all.’ And I am not even the first one doing this[6]. But I just took the natural corruption that exists in the bureaucracy and stretched it to its utmost limits. I am not sure why it was never done before. I guess I know why.”

    As explained by Yamachi he was the father of a son, Hiro, that had no left leg below the knee, in the pregnancy of his first wife Rumiko, there were complications. Likely due to the fact Rumiko was a serial cheater. The fact he had a disabled son threatened his position but unlike most people with disabled kids Tatsuya didn’t hide it. “I am not ashamed of Hiro. I am very proud of him, he is what I value the most in my private life.” Yamachi said in his confession.

    The divorce was not cheap but it was fine after both parties made an agreement. It was not easy and for a few years graft was how Tatsuya supported himself and his son. “I remember him years ago,” Yukio Hatoyama told the press, “He was a hard worker, he was not obviously corrupt from that meeting we had with many bureaucrats in 1981 discussing New Towns.” Hatoyama recalled, “But he boasted about his boy. He was proud when Hiro was selected due to his running skills for the Paralympics in the American city of Atlanta in 1996.”

    “It was unusual Yamachi-san was so proud of a disabled son. He loved the kids he adopted from his second marriage but Yamachi-san always did his best to make time for Hiro.” Hatoyama replied, “We assume it is because Hiro was always his favorite.”

    Yamachi took a vacation around the time of the 1996 Paralympics and was a vocal supporter of Hiro clad in pictures of his son’s previous wins. “Dad was my biggest cheerleader. He flew to Atlanta on a private jet he borrowed from Sumitomo’s executives. He was so happy even if I only got the bronze he was crying tears of joy. Like most athletes and spectators, Yamachi was shocked at the news of a deadly terrorist bombing at the Centennial Olympic Park perpetrated by Eric Rudolph and the Christian fundamentalist group the Army of God, claiming the lives of over 30 people and injuring 121 others[7].

    “Dad was so worried for me after the bombing. He was pounding on my hotel room door after the bombing happened. I had said I may go to the concert, he was talking to some folks in Atlanta to make closer business ties that night and when he found out his drunk ass[8] came to my room and he was scared for me.” Hiro remembered. “Even stone drunk, Dad worried about me.”

    “I saw both sides of Tatsuya Yamachi,” Jun recalled, “He was a loving father for his kids and he was a scheming bastard when he wanted to be. I saw the switch get flipped on him many times. He would go from singing his son’s praises or being proud of his step-daughter to talking about how to get the uyoku dantai thugs to kick some ass on the foreign construction workers from South Korea, the Philippines, Vietnam, Taiwan and other countries that came with the Kasumigaseki Redevelopment Group[9]. He was always like that but the KRG really pushed that dynamic to the most extremes. That one, only Yamachi would try a skim so massive!”

    The Scheme:

    The Kasumigaseki Redevelopment Project was a massive national prestige project that the Japanese government had to have done by 2001 at the latest. And if there was one man who could get the project done on time, Yamachi was the best choice, so long as you didn’t ask about the overages. But no one would care as Yamachi figured.

    “As terrible as it is, I saw a great way to make so much money. I know I was not the only one, but I played ball better than my rivals for the position of Administrative Vice Minister of Construction. You think the LDP types were thinking about just prestige? No! They wondered how to get rich off of 4/15. They needed me! Without me there would be no skim on a project this of massive size, no funds for weddings, mansions, golf courses, luxury cars, and so forth. They owe it all to me. I went to every ministry, agency, and bureau to ensure that this project was going to cost 167.5 billion yen. Though in reality, it was going to be 130 billion yen. I made that extra 37 billion and a half appear. It was a task worthy of the gods[10] and I made it happen. 37.5 billion yen which is roughly 250 million US dollars. That was a lot of money. And I had to make everyone happy. And for a while I made everyone happy.”

    Yamachi funneled billions of yen to individuals, companies, political factions, and figures in right-wing politics such as former Minister of Transport Shintaro Ishihara or the Greater Japan Patriotic Party[11]. The scheme went on as it was immensely profitable and made an additional five billion yen for all involved. As 1996 became 1997 there was no evidence that this plot would be found out. Everyone who complained got their money. This deal was a windfall for hundreds of leading figures in Japan as they were able to benefit from not just the money but could operate this scheme without impunity or risk of arrest. For Yamachi, he was ensuring that the quota of the project was done on time and on the budget he and his many co-conspirators made. Yamachi was able to set financial accounts up for Hiro and his step daughters, Hikari and Karin. “I am the patriarch, despite my help I knew Hiro would struggle finding work, not his fault but discrimination against the handicapped, and Hikari and Karin are vocally politically liberal; so I set up sizable nest eggs out of reach of tax authorities in Japan. I got into business with a firm in Panama, Mossack Fonseca, and they helped me with that money for me, my wife, and my kids. My ex-wife was not a part of the deal, due to her untimely death in a drunk driving accident in 1981.”

    But Yamachi did list people and companies he paid in his yet to published confession letter. A list of groups and person involved include:

    • The five big “super general contractors” (suupaa zenekon) in Japan. This includes Taisei Corporation, Kajima Corporation, Shimizu Corporation, Takenaka Corporation, and Obayashi Corporation.
    • Numerous smaller contractors such as Heiwa Real Estate and Maeda Corporation
    • Real estate firms like the giant Mitsui Fudosan, Sumitomo Realty & Development, and Mitsubishi Estate.
    • Prime Ministers Kono and Hashimoto, former Prime Minister Nakasone, leading LDP politicians, some New Frontier politicians, and others.
    • Bosses at the Bank of Japan.
    • Leading executives and board members at the banks like the Industrial Bank of Japan, Fuji Bank, The Bank of Tokyo-Mitsubishi, Sakura Bank, Sumitomo Bank, and others.
    • Half the administrative vice ministers in government from 1995 to 1998 got skim money.
    • Executives at KDD and NTT got money or gifts.
    • High ranking officers in police departments around Tokyo.
    • The CEO of JR East.
    • Executives of Kawasaki Steel and Nippon Steel
    • Executives at the Komatsu, Tadano, and Hitachi construction machine companies.
    • The management of the Tokyo subways, both subway systems.
    • Bureaucrats in the government of Tokyo.
    • Politicians in Tokyo from city hall to Ward mayors. No evidence he paid the governor.
    • Members of the Tokyo Prosecutor’s office.
    • Senior leaders in the Tokyo Metropolitan Police Department.
    • Mayors in the cities of Chiba, Kawasaki, Yokohama, and Yokosuka, as well as their deputies.
    • Executives in the newspapers Yomiuri Shimbun and The Nikkei
    • Railway rolling stock makers like Kawasaki Railcar, Fuji Heavy Industries, and Nippon Sharyo executives all received money.

    Yamachi explained how he was able to organize the scheme with his co-conspirators in his confession. “How was I able to do it? Simply put, I had so many partners that they were my protection, that it would make no sense for any of this to go wrong. Even when Ozawa and New Frontier got elected in October 1996, the scheme went on. Even as Ozawa’s new cabinet was unaware of the scheme we made a killing. And for years no one knew.”.

    The scheme would remain undiscovered and everything was working out so well for the conspirators going into 1997. By then, Yamachi became the president of the Kasumigaseki Redevelopment Group after retiring from the Ministry of Construction. Then things fell apart when Yamachi went in to publish the confession letter himself in 1998.

    Fallout:

    First, Yamachi would go to the Asahi Shimbun and gave us the confession letter. He wanted the letter to be a big front page story but the Shimbun wanted it to be a second or third page story which initially frustrated him. “I always regretted listening to that moron of a mayor in Chiba, his deputy mayor was an utter idiot as the story that opened was small but it everything began to fall apart because of the story where the Chiba City Deputy Mayor had gotten a very nice new house, a house well out of his pay range. The Deputy Mayor that moron had to be flashy and had to buy that Porsche, then he also bought a plane, a Cessna Skyhawk. So the Asahi Shimbun wants to run a little story on the scheme. Not even a big story. They weren’t interested in what I had to say and preferred covering the Imperial House of Japan or the Nippon Professional Baseball (NPB). I should have said no, I had said no before but I decided it was worth the risk. Gods, what a farce. I had been loyal and this is how I was going to be rewarded? They forgot one thing, I was the hub of this whole thing, this whole plot was my idea. They really think I am gonna get pushed out quietly? The other problem was running such a massive scheme was exhausting, I had to make sure the guys got their money or they’d raise holy hell. I had to make sure they got their monthly payment. It was getting impossible to keep it up, this monster I made grew massively and it was still growing when I wrote my letter. I knew I would go to jail because of this. Still, I wrote the letter. It was a long letter but I wrote it, it felt good to reveal all of it.” Yamachi wrote in his autobiography, The Man Who Sold Japan.

    Yamachi then took his story to the Mainichi Shimbun who agreed to publish his confession letter and notes as a front page story on June 5th, 1998. The consequences of Mainichi publishing the confession letter and notes on the corruption within the Kasumigaseki Redevelopment Group were massive as the story would capture the attention of many Japanese citizens thanks in part to the number of parties and individuals involved in the Kasumigaseki Redevelopment Scheme which made many furious about the corruption and negligence within the highest corners of Japanese society. Soon, the Mainichi Shimbun and other newspapers including Asahi was receiving letters from its readership demanding accountability from the KRG and other organizations for funneling money into their pockets rather than rebuilding Kasumigaseki. The story would eventually become national news with Japanese papers reprinting Yamachi’s confession letter as the scheme became public knowledge. The Kasumigaseki Redevelopment Scandal would be the largest corruption scandal in Japanese history. This was bigger than the Recruit Scandal, bigger than the Lockheed Scandal, the shipbuilding scandal of the 1950s.This was utterly massive. When the politicians, businessmen, and others profited from Recruit Cosmos going public in 1988 they made 1.1 billion yen, this was thirty times bigger than anything before. Yamachi had kept extensive notes, ledgers, and day planners. The political ramifications from the Kasumigaseki scandal resulted in massive backlash against numerous Japanese political parties and corporations with many executives or influential politicians resigning or being arrested by the National Police Agency. The Kasumigaseki scheme would later be intrinsically tied to the Hoshino Reform Wave as Kenichi Hoshino and his supporters would protest governmental and corporate corruption within Japanese society[12]. However, Yamachi did serve a few years in prison for his part in the scheme but it was after prison that he released everything he had aside from the confession letter.

    “You really think I was going to be a part of that adventure without some insurance?” Yamachi would say in an interview that besides his records he had tapes. “I kept Mino at a distance on his true knowledge of the scheme so he could be used for my storage of recordings of politicians, businessmen, and others. First it was audio but later it was video, cameras got small enough to hide them. God the things those men wanted most is what was expected but some of them made my skin crawl.”

    The recordings would send more politicians, businessmen, and officials to prison. This fueled the rebellions against the LDP in particular among Japanese youth who were increasingly dissatisfied with the party for its inability to adapt its policies to the ever-worsening economic crisis of the 1990s or stopping Aum Shinrikyo from killing thousands . While there were tapes of Shintaro Ishihara he had done nothing illegal on any of them and therefore prosecutors did not make charges against him. However, the fragmentation of the LDP factions would lead to Ishihara’s creation of a new party with right wingers and ultranationalists like himself known as the Japan Self-Determination Party or Nijiketsu for short[13]..

    AlLMrPsICVZS6euBQzLX-Wd2tab5biA6F-eNyiDTDNeNiqutfhRtkIiRbIrOBSV0b81y-ygyPMnpup4_KmEmzfMM2mwwCOHf-ARXKyr1zXyVPsb6cdRnoeeiPCZNQEgLg1RW3o14EvLeDR-VHlh1FdkrgPV8xZrCIW_BS2k--wvsii0FJ_mhC-o55Q

    Shintaro Ishihara at the top and below is Yukio Mishima, on their publisher's roof in 1956. Mishima tried a coup against the Japanese government in 1970. Both were authors and both were ultranationalists.​

    The Kasmugaseki Redevelopment Scandal drove more moderate and liberal members of the LDP to the newly-formed Democratic Party of Japan (DPJ) led by Naoto Kan in 1998 and would have their first proper party conference. The DPJ were confident as the New Frontier Party was fragmenting. The New Frontier Party was falling apart more in fact due to the internal conflicts ex-Komeito[14] members had with the increase in defense spending and the reworking of Article 9 of the post-war Constitution after 4/15.

    In May 1999, Prime Minister Ichiro Ozawa[15] called for an election in the House of Representatives in June. This election is called by many the ‘Hoshino-Kasumigaseki Election’, much like the ‘Lockheed elections’ of 1976 and 1983. With Ozawa’s party and control weakening the 1999 General Election held on June 25th, 1999 was one time where none of the papers were sure if it would be a coalition of parties governing, if one of the new parties like the DPJ would win or would somehow the LDP be returned to power. To the shock of everyone the Democratic Party of Japan and a few smaller parties won 254 seats in the National Diet thanks to the LDP’s tainted reputation among Japanese voters. The left-wing parties and factions were buoyed by the surprise electoral support and later would merge into the DPJ (New Conservatives, Liberal League, Liberals). Naoto Kan would be elected the new Prime Minister of Japan, the first to be from the DPJ. A major reason for why the DPJ and Kan did so well in the elections was that the LDP had ignored the results of the House of Councilors election in 1998 and acted like it was a fluke. They had won in 1995 but in 1998 they had ignored all the corruption that had come out in May of 1998 and still thought that they could win. This would lead to LDP leadership shakeup and the eventual loss of that was even more devastating than the 1999 election which led to Taro Aso being ousted as party leader in favor of Koizumi. The 1999 election would lead to the LDP winning only 107 seats with the DPJ winning 254 seats (more seats would be gained in party mergers after 1999) and a near total wipeout of New Frontier from the Japanese political landscape.

    Kan’s Premiership was vastly different thanks to political changes brought about by his predecessor, Ichiro Ozawa. The position of Chief of Staff was added under Ozawa and Kan kept it as Kan agreed the Prime Minister needed his own staff not bureaucrats seconded from the various ministries. He would also be dealing with three scandals that got revealed from the finance ministry one was an unrelated bribery scandal to the KRG[16], another involved Ministry of Finance elites going to to a no pan shabu-shabu restaurant[17], the final scandal was a group of finance bureaucrats going to a fashion health clinic and getting “special massages'' and charging it to companies or the taxpayers[18]. A later scandal at the Bank of Japan revealed an official with over four hundred pairs of panties of women who had reported it stolen. Kan would order investigations into the Ministry of Finance and the Bank of Japan for illegal activities resulting in numerous arrests. Kan would also enhance the Civil Service reform that began under Ozawa in response to the scandals. A full special section of the Ministry of Finance was set up to deal with the vast amount of government and corporate embezzlement, along with counterparts in the National Police Agency, local police and Ministry of Justice. The Bank of Japan was thoroughly investigated as many of the pro-Reform Wave and anti-Kasumigaseki reformers in the Ministry of Finance had to fight the Bank of Japan which had been a power unto its own within the Japanese government, to ensure the BoJ was properly investigated, the DPJ’s deputy leader Katsuya Okada was appointed as Finance Minister.

    Yukio Hatoyama, a former LDP member and grandson of Prime Minister Ichiro Hatoyama would be leading a task only a few short years prior that was considered impossible, to reform the Japanese civil service. How he did this was to have outsiders brought into the service and put into senior positions. Meanwhile the DPJ would force public committees on corruption in both houses of the Diet. The Speaker of the House in the Diet was former Prime Minister Toshiko Kaifu, who had switched parties in the late 1990s. Helping with the reform was a new LDP leader, Junichiro Koizumi.

    Koizumi had long been against the vast power of the bureaucratic elites, and despite being more conservative he felt that the power should belong to the elected representatives. Koizumi’s election as LDP leader was controversial, due to the fact Koizumi was a major advocate for postal privatization. Koizumi had been influenced heavily by some of his colleagues and especially the Hoshino Reform Wave. Koizumi was a member of the faction called Shinseiki but dubbed by the press as YKK, named after the leaders of the faction; Taku Yamasaki, Koichi Kato, and Koizumi himself, and also because it was similar to the zipper maker YKK[19].Koizumi got into the leadership of the LDP due to Hashimoto being tainted by the Kasumigaseki scandal, Keizo Obuchi stood down as leader due to a minor stroke, Taro Aso had dropped out in the leadership election due to anti-Burakumin comments he said about his rival for the leadership Hiromu Nonaka being made public[20], and the other members of YKK did not have enough support in the Diet. Koizumi did have support and would win a tumultuous leadership election. The LDP would be in opposition, and Koizumi would be able to shape the reformation of the party to remove corrupt members. He also put in age limits to keep older party members from holding seats forever, after age seventy they would have to retire, it was the same rule for judges in the Supreme Court of Japan[21]. Koizumi’s only real scandal was the fact his grandfather was a tattooed minister with some Yakuza ties but this happened prewar when it was a far weaker group. Koizumi is still rated very highly among many Japanese citizens and with his close ties to the Fukuda faction he was able to get his position secured.

    Aftermath:

    In the wake of the scandal, the Kasumigaseki Redevelopment Project was put under close scrutiny and monitored heavily by new bureaucrats, politicians, and the media. And despite the corruption, all buildings were completed by 2001. The Kasumigaseki Station was reopened in 1999 due to the tireless efforts of the workers on the subway. The companies involved did not go out of business though most did have a change of leadership. The companies that were no longer around also did not go out of business but underwent mergers, as with many banks involved in the schemes, or underwent rebranding but most of those were due to unrelated issues to Kasumigaseki Redevelopment Scandal. But the one group that the scars are still visible on is in the LDP, as that scandal, the Hoshino Reform Wave and the Kasumigaseki Scandal damaged public faith in the party[22], As Former Prime Minister Yasuhiro Nakasone said, “We were rained on but now the sun is out and we’re dry.” Which a comedian responded with, “Yeah but you’re now caked in dried pig shit.” The LDP would eventually return to power but it took a long time for that return to power to occur. The scandal also shook the apathy many voters in Japan had. These scandals finally made many voters realize that they had to be more involved and more aware of what the politicians they elected did and what the people who ran the civil service did as well. The cultural impact of the Kasumigaseki Redevelopment Scandal was political and societal for Japanese media in the same way that the 4/15 attacks or the Assassination of Shoko Asahara. For instance, a memorable line came from an episode of a Lupin III series released in the early 2000s where the titular character was annoyed that “the greatest thieves now were bankers and bureaucrats”. But the cultural impact from the Kasumigaseki scandal was not as big as 4/15 or the Asahara assassination, while transformative politically it was more boring compared to those events though plots involving government corruption in J-dramas did become more popular in Japan. Overall, Kasumigaseki was more likely to be covered in media centered around 4/15 and the Asahara assassination than as a standalone event though it's impact was never forgotten[23].

    After serving four years in prison, Tatsuya Yamachi would be released and became the President of the Initiative for Transparent Government (TSTI). Yamachi befriended Kenichi Hoshino and the two men continue to campaign for anti-corruption causes to this very day under the TSTI. In an exclusive interview with the Asahi Shimbun, Yamachi said that he was glad he brought down “the corrupt bureaucrats who ruined the Kasumigaseki project” and forging a friendship with “the brave Hoshino-san” for his anti-corruption activism. Yamachi also said that he’s looking forward to “more collaborations with Hoshino” in the near future[24].

    “We must strive towards more accountability from governments and corporations that don’t always represent our best interests” said Yamachi looking back on the published confession letter, notes and recordings that exposed the corruption within the Kasumigaseki Redevelopment Group.




    [1] Another fictional personage like Kenichi Hoshino but most real folks I could use are mostly boring bureaucrats.
    [2] Amakudari in Japanese means “Descent from Heaven'. To many non-Japanese readers of the timeline, it’s essentially a Japanese form of revolving door politics. The Civil Service (Komuin) is viewed in this as Heaven in the polytheistic and animistic beliefs of Shinto, the national religion of Japan. There are variations of this where a bureaucrat moves into a government corporation and is called yokosuberi (sideslip) or becomes a politician.
    [3] Much like many post-war housing developments around the world, Danchis were started with good intentions at least initially. Like many public housing it was viewed early on with amazement, and wonder at the “Three Treasures” in these apartments like a refrigerator, a washing machine, and a black and white television but as time marched on people viewed them as shabby, ugly, and not safe (more not able to stand up against big earthquakes in Japan but crime as well). Many older Danchis have been torn down as it is cheaper than retrofitting them to meet modern safety standards. Also as the population of Japan shrinks, they’re not needed.
    [4] Roughly $154,000 dollars.
    [5] Japan has had a long and troubled history with the treatment of physically and mentally disabled people with conformity being a big part of Japanese society which can also be said of Burakumin, Ainu, Rykuyuans, Koreans, Chinese and other groups. Well it is hard for those who cannot conform due to physical or mental disability aside from being non-Japanese. Even after World War II and the Tokyo Tribunal, the Japanese had a law that would castrate the mentally and physically disabled, while most were done with consent of the guardians and family of the disabled person an estimated 16,000 were castrated against their will. In fact, this practice was so commonplace that it only stopped in 1996! Also many families feel a disabled person brings shame upon them and hides them or gives them up to the state. Sadly this can lead to people wishing to euthanize the disabled in Japan, example being the Sagamihara stabbings.
    [6] Corruption is a way of doing business in Japan especially among corporations and political parties. Want to make a deal happen with the Japan Highway Public Corporation? Take bureaucrats from there and the Ministry of Transport and take them to a big golf course and steer the contract your way with money and gifts. Most scandals often had the politicians take the blame and ministry bureaucrats in whatever ministry often left untouched. Also for many years elite bureaucrats got better perks than the ministers they worked under. An Administrative Vice Minister may get a private jet from a large company while the minister flies JAL in business class. More common was a minister may get a taxi or if a car driven by anyone a business car with one security man. An Administrative Vice Minister? They get a limo or a Toyota Century luxury car to drive them to important meetings.
    [7] Do keep in mind that while the American government is ramping up it’s anti-terrorism efforts against Militant White Nationalist Organizations (MWNOs) and religious fundamentalist groups even stopping potential terror plots after the J. Edgar Hoover Federal Building bombing in Washington DC there are some that did manage to slip through the cracks and carry out deadly attacks including the Atlanta bombing. In OTL, the Atlanta bombing claimed the lives of only 2 people one of which was from a heart attack thanks to Rudolph thinking it was a good idea to make two 911 calls to the FBI about it along with the efforts of Richard Jewell who discovered the pipe bomb and prevented any more casualties along with Rudolph himself telling the FBI about it. Here, Rudolph doesn’t tell the FBI about the pipe bombs due to greater scrutiny on white nationalist and religious fundamentalist groups after Washington and other related incidents hence why Jewell and the guards don’t discover the bomb in time to prevent claiming more lives than OTL. Moreover, there is a wave of domestic terrorism in America in the mid to late 1990s which is why TTL’s Olympic Park more or less fits the destructive trend of far-right militant white nationalists and fundamentalists launching violent attacks across the country. The upside is that Rudolph is caught much sooner due to the increased focus on domestic terrorism by the Gore administration coupled with a tip from two Sandy Springs residents which resulted in his arrest before he could carry out other attacks on the local abortion clinic and a lesbian bar in the Atlanta Metro in OTL.
    [8] Social drinking is a common practice in Japan and often the subordinate or guest must drink as much as their boss or the host. It has been losing popularity in recent years as effort to curb DUI and alcoholism in Japan have been slowly working, still a long way to go in OTL
    [9].Keep in mind that some uyoku dantai groups have ties to the Yakuza as noted earlier in the Aum on Trial post hence why you see some of them attacking non-Japanese construction workers.
    [10] The gods that Tatsuya is talking about are the Amatsukami, the most powerful beings in Shinto and Japanese folklore comprised of Amaterasu (important sun goddess), Susanoo (sea and storm god), Tsukuyomi (moon god), Ame-no-Uzume (meditation and recreation goddess), Inari (genderless fertility and agriculture god), Takemikazuchi (sumo and war god) and other deities. They are extremely important in Japanese culture to the point where the Imperial House of Japan are officially considered to be the descendants of the Amatsukami and Tatsuya is deliberately invoking them when discussing the Kasumigaseki scheme.
    [11] Ishihara in OTL later became the Governor of Tokyo. He was on the extreme side of uyoku dantai ultranationalists in that he spouted racial slurs to Koreans, Chinese and foreigners in addition to denying Japan’s WWII war crimes such as the Nanking Massacre or the rape of non-Japanese “comfort women” and his close friendship with ultranationalist author turned coup plotter Yukio Mishima. Western readers, imagine a German neo-Nazi politician as mayor of Berlin who openly denied the Holocaust or a Ukrainian Stalin apologist becoming mayor of Kiev and denying the Holodomor both of whom supported extremist authors and would be coup leaders. The Greater Japan Patriotic Party are on the opposite side of the spectrum in that they are somewhat more moderate in that they are pro-American and pro-South Korean in addition to being anti-communist but they’re also the same party that had Otoya Yamaguchi kill Inejiro Asanuma in 1960 but nonetheless still exist to this very day. In the case of Ishihara in TTL, he will not become Governor of Tokyo in 1999 as that position will go to Kunio Hatayama, the brother of Yukio Hatoyama and the grandson of Ichiro Hatoyama.
    [12] Recall that Kenichi Hoshino became an influential anti-corruption activist after the famous Takeshi Kitano interview.
    [13] Ishihara also left the LDP but never formed his own party. Here, he creates an uyoku dantai party with him and other Japanese ultranationalists. In terms of Diet presence, it’s larger than the Communists with 20 members in the House of Councilors and 30 members in the House of Representatives.
    [14] The Komeito Party was opposed and is still opposed to removing Article 9 of the post-war Constitution in OTL and TTL.
    [15] To elaborate: The Socialist led LDP government was left holding the bag for the Great Hanshin Earthquake, the Tokyo Subway Sarin Attack, and 4/15; the scandals of Yoshiro Mori, Green Cross (a medical company that had HIV tainted blood), nursing home bribery scandal, along with a bad economy that 4/15 brought with it (think like the post 9/11 economy in the US in OTL) resulted in Ozawa’s New Frontier winning in October 1996 and Ozawa himself becoming Prime Minister. During his tenure, Ozawa reformed and strengthened the Kantei (Prime Minister’s Office/Residence) while the top advisor and head of cabinet under the PM would be the chief of staff instead of the Chief Cabinet secretary being the top advisor and head of cabinet under the PM, while still politically it was not typically occupied by a representative. Ozawa would start a heavier reformation of the Japanese civil service.
    [16] This scandal is a minor one from our world but gets more attention as it involves two banking regulators getting bribes from banks they were supposed to regulate coupled with the Hoshino Reform Wave.
    [17] This one is also borrowed from our world. No pan shabu shabu is a variation of the no pan kissa (no panties cafe) where the waitresses wore no panties (some had mirrored floors), this one they wore mini-skirts. The scandal here is that Ministry of Finance officials here made banks pay for meetings at cafes like this in Kabukicho.. Much like many fads in Japan it faded away by the mid 2000s and it will fade much sooner here due to the aforementioned scandal.
    [18] This is inspired by more recent scandals in Japanese business but some fashion health clinics give customers “happy endings.”
    [19] YKK stands for Yoshida Kōgyō Kabushiki gaisha (Yoshida Manufacturing Corporation)
    [20] Aso’s comments about Nonaka were in relation to Nonaka’s Burakumin heritage and background, "We are not going to let someone from the buraku become the prime minister, are we?" Which is borrowed from reality. Though here Nonaka gets a swipe at Aso for being a Catholic “Isn’t that right Francisco?” which is Aso’s Catholic name.
    [21] The Supreme Court of Japan has a mandatory retirement age of Japan and in OTL the LDP tried a similar rule that after age seventy they would not be able to run in the next general election but it was reversed later. Here, since the Kasumigaseki scandal and the Hoshino Reform Wave led to many officials and corporate executives getting exposed for misconduct coupled with the DPJ’s victory, this rule is permanent.
    [22] The LDP dominates Japanese elections against opposition parties and has been in power for much of it’s history except 1993-1994 and 2009-2012 respectively. Here, the Reform Wave and scandals will cause numerous Japanese citizens to switch to other parties and elections won’t be mostly dominated by the LDP.
    [23] Essentially,TTL’s Japanese history has 4/15 as 9/11, the assassination of Shoko Asahara as the assassination of John F. Kennedy and the Kasumigaseki Redevelopment Scandal as the Enron scandal though only the second one still occurred while first and third are up in the air and may or may not happen in this timeline.
    [24] Given that Yamachi exposed the Kasumigaseki Redevelopment Scandal and Hoshino is leading a wave of anti-corruption activism, the two men would naturally meet and become friends.
     
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    The Great Big Beautiful Green Tomorrow
  • Making Us Believe in the Future Again: Remembering the New Horizons Tomorrowlands -- Part 2
    Jim Hill Media Netsite, Dec 20, 2005

    OUR STORY SO FAR:
    By the early 90s, the Tomorrowlands are in decline.

    Many saw them as outdated and hopelessly behind the times as technology soon caught up with the futuristic vision of tomorrow. Called the “Tomorrowland Problem” by Imagineers, it soon became clear that a radical solution was necessary for these land to remain timeless so Disney would no longer need to repeatedly provide overhauls for the antiquated lands.

    A shining beacon of hope soon appear in 1992 with the opening of Disneyland Valencia and its unveiling Discoveryland, a land that was set around visions of a future envisioned by the great minds of the 19th and early 20th centuries such as H.G. Wells and Jules Verne. It proved to be a massive success as it was not only unique but timeless for the guests that visited the land.

    Naturally, Disney decided on updating all of the Tomorrowlands based on this same philosophy, christening them as the “New Horizons Tomorrowlands”. They started with the one at the Magic Kingdom as an experiment, with the theme revolving around Walt’s original vision for Tomorrowland at Disneyland. It presented itself as a whimsical sci-fi city where inventors could flock to come up with wacky gadgets and tools. When it opened it proved to be a huge success among families and young children, while the Googie aesthetic made it incredibly cheap to convert.

    However, the same cannot be said for Disneyland’s Tomorrowland, as many Imagineers agreed it would require a massive overhaul regardless of theme. Originally the concept was for a land full of alien crystals which served as a beacon for their original creators, the Lightkeepers. Jim Henson rejected this idea, desiring to have a Tomorrowland that presents a future that humans can aspire to and strive to achieve.

    So what happens next?


    For Tony Baxter, it was seen as a stab in the back, who thought that his ideas for Tomorrowland 2055 were utterly flawless and fit within the philosophy of the new Tomorrowlands. For Jim, it was out of a desire to have a concept that emulated the ideals of the 1967 refurb even more, all the while retaining the fantasy aspect so that it would become timeless for the guests coming to the park. [1]

    In short, what Jim expected from Baxter and the rest of Imagineering working on the Disneyland refurb was nothing short of utopia. Literally. They had to create a utopia so perfect that humans would have no choice but to be in awe.

    Naturally, they managed to finish creating this concept within a few months or so. Amazing, right?

    For Imagineering, it seems doing the impossible is their job these days.

    Well, when you go through their thought process toward this new Tomorrowland 2055, it doesn’t seem as far-fetched or impossible as one might think.

    One of their main concerns was keeping as many of the ideas of the old Tomorrowland 2055 as possible. That included the concept of aliens that would visit Earth, though now it would no longer be a spaceport.

    Here, something clicked within the Imagineers’ heads. Why not make this new land the prequel to the original 2055? A utopia in an alternate timeline where humans managed to liberate themselves from conflict, energy, climate change, and all of the ills of the world. Just in time for some aliens to make peaceful first contact with a unified Earth, all but ensuring that humanity would be ready to reach toward the stars. [2]

    It was like Star Trek, which no doubt caused some grumbling within Triad of possible copyright issues, but here the Imagineers would focus on the individual level. How would a person live in such a utopia? Where would they work? How would they interact? [3]

    The concept evoked a lot from Walt’s 1967 refurb, whose focus on mass transit and transportation with the “A World on the Move” theme all but ensured similar feelings of utopia, but this time, TL 2055 focuses on a world that solves the issues of today like clean energy and climate change. As a nod towards its previous incarnation, the Imagineers coined the term “Humans among the Stars” to describe the idea, of a world where humanity has achieved perfection on their home planet as they move into space through interplanetary, and later interstellar travel.

    When they presented this idea to Jim Henson, he loved it even more than the original iteration!

    Although it was certainly more ambitious and had a more concrete vision of a utopian tomorrow than the old TL 2055, it’s no secret that it also catered to his environmentalism and his values toward clean energy and sustainability. [4]

    Jim’s full support for Tomorrowland 2055 was fortunate, as it was clear that bringing this concept to life would be one of the most expensive projects that Disney had undertaken for a themed land. Disneyland’s Tomorrowland would have to be radically altered, perhaps even destroyed to make way for new rides, restaurants, and other attractions. Disney had the money, of course, but some feared another DisneySea fiasco when Baxter and the team presented their plans. It was clearly something they wanted to avoid. [5]

    Another thing to consider was the aesthetic. They had the concept down and had a rough idea of what that would look like, but not much else. Of course, the I-Works were always experienced with creating new imagined worlds and lands. It’s their job, but having so many disparate voices trying to come up with what “utopia” is was difficult for everyone on the team, Baxter included.

    Luckily, Jim Henson brought in the right man for the job for such a project….Syd Mead. [6]

    Yes, really.

    QieQqJhEF0APQvEaNo4kWuXkSRyg0ReBzkhftfNVGazsO2d9yEh5FCbW4ACHS8vjIIlBVn69vKClce8u4QzJMJtpFzPZImq87-HfxKCjIgXBgG54Q9gy0lbzFmgn8irwJTyuorMog1EjlFumab7jrwxI62yWwbcl2mfzGBchKBGO5108lJ2JNZrQZg

    A picture of Syd Mead in 1986 (Image source: New York Times)

    After all, he did work on TRON, so he was familiar with Walt Disney Entertainment as a company. However, he also worked on films like Blade Runner and Alien, franchises whose futures Disney sought to reject. Leave it to the man that helped create the cyberpunk genre...for him to try and destroy it.

    Once he was brought on board, he had many ideas on what this future would look like, clearly excited to bring a more optimistic vision of tomorrow. Though they initially were skeptical of the futurist that was seemingly taking control of the project, I have heard that the team was quite cordial with Syd, especially once he drew up some concept art that brought in many inputs from the Imagineering team together.

    FRD5usf8td2jcxe2PiimnKvlTjY2vTdOSsvmix7yxk_gUQ1OE7FajhnmlDNNLNpNTW09FH7uXB_QS3Sz1NOXttaWBbsXfSXDvkDIHv0V-eulp3vb-F4sVFTrS12FGHdox25sp26bl8g56xx73_5XgF3H0Qxl1o8S5ZVZkRhYSvhCaaoii_9N57_R-A

    An example of Syd Mead’s art (Image source: Slate)

    In addition, there were other designers that were invited to assist with the creation of Tomorrowland 2055. More specifically, they were from the Aye-Ayes, the international branch of Imagineering, as their experiences living in more pedestrian-friendly cities like Amsterdam, London, and Tokyo, were critical in the development of Tomorrowland 2055’s vision. [7]

    After months of work in late 1994, they managed to draw up enough concept art and models to bring Tomorrowland 2055 to life. Tony Baxter himself presented the whole finished scale model of the land to Jim Henson, who was in complete awe at what they were able to accomplish. Looking at them now and what they achieved with the real thing, it was nothing short of magical…

    UgzGSaKIgTnWIuBZ3BrPut8Yr4_akUeZowx6dckMzz81Ynfz98ij8tYL-LhOUGF4ux5ENN_sNjLLQmLUVlJaJFO924MPnGq85l_OCE4d2I9lPAgkUqoRX700yGtHfUaih5rBfLruepYxcPAckVqOG439D9nNR_Rwz-H-qMnKS5j9IqoYxXqRs4mjMA

    (What Tomorrowland 2055 is going to look like aesthetically) (Image source: Scott Chambliss) [8]

    Unlike Tomorrowland 1955, which merely refurbished and rethemed the existing Tomorrowland, 2055 was nothing short of a complete overhaul. This was already planned for the original concept of Tomorrowland 2055, but the new concept didn’t change Disney’s ambitions for the ailing land in the slightest. Some of you might have visited Tomorrowland 2055 in its entirety already, but here’s a list of changes to refresh your memory:
    • The entrance to Tomorrowland 2055 was expanded to accommodate for increased walking traffic, with the centerpiece being a fountain that contained a helium-3 atom with the Tomorrowland title in the middle.
    • The two buildings to the side of the Tomorrowland entrance alongside the PeopleMover tracks were torn down. In its place, two new buildings were erected that had a second level primarily for shops and restaurants, with an expanded PeopleMover track that had guests traverse up and down the levels and their different attractions. These plans existed during the original incarnation but were obviously altered to fit the new aesthetic.
      • The roofs were later upgraded with solar panels once they were economically feasible to be used.
    • The PeopleMover track layout in the middle of Tomorrowland was preserved, but the old track also had to be removed and replaced with a new track with enhanced supports and a two-sided walkway that supports bridges, allowing guests to move from one building to another. In fact, every track inside Tomorrowland was upgraded in this manner, as Disney was forced to do so as the refurbishment affected every perimeter of Tomorrowland. They also had to comply with OSHA regulations, which mandated the walkways in case of ride breakdown.
    • Disney also replaced the cars from the old 1967 models with something that was based on the actual models from the original EPCOT, the prototype city of tomorrow. Naturally, they recycled much of the cars for a new restaurant/museum hybrid based on forms of transportation along with the Skyway cars, the Monorail, and other vehicles from Disney’s past. [9]
    • Imagineers added a new modern version of Progress City in the upper level of the PeopleMover, showing guests what a green future can look like. [10]
    • The Monorail Station at Tomorrowland was changed to resemble the new theme, with futuristic signs and lighting.
    • The walkways on the ground were changed to resemble a street, further enhancing the urbanized theme of Tomorrowland 2055.
    • An entirely new House of the Future attraction was built where the original Monsanto’s House of the Future was initially placed, which illustrated the next steps in technology. However, it primarily focused on renewable energy (solar panels and batteries) alongside new advancements in communication (the Internet is involved in every aspect of the home). [11]
    • The Carousel Theater’s exterior was radically altered to fit the theme of the land. To fill in the now empty theater, a new attraction called "Plectu's Fantastic Intergalactic Review." was installed in place, although the context and story are vastly different from the Tokyo Disneyland version, with Plectu being a fictional alien that speculates the possibilities of alien music from across the galaxy (in Tokyo he is a real alien with a different design).
    • The Rocket Jets were replaced with a futuristic rocket model, along with the ride vehicles.
    • Space Mountain was surprisingly safe from the massive changes of 2055, unlike its older brother (much to the chagrin of Space Mountain purists everywhere). In fact, it’s the only Space Mountain that has kept the simple white Space Age architecture, even though the Magic Kingdom had the first Space Mountain. Disappointing, but it does gleam brightly along with everything in Tomorrowland 2055.
    • The Mission to Mars building was torn down and rebuilt with a larger building, to make way for Journey to the Stars (which I wrote about here). [12]
    • The CircleVision theater was expanded and included a new film that highlighted different people’s daily lives across the world.
    • Star Tours was refurbished to fit with the new Expanded Universe content.
    • A new Star Wars Cantina was opened on the second floor to commemorate the new iteration of Star Tours and the release of Episode 1: A Darkness Rising.
    • Tomorrowland Terrace was rebuilt to fit with the new theming, which includes a lot of greenery and a change with the murals. Speaking of murals…
    • With the new buildings, the murals had to be moved towards the interiors, which is frankly one of the more painful changes Disney has had to make with 2055. I really miss those murals, as they made the whole land pop with vibrant colors. Luckily the company has made some effort in updating them with new paintings from time to time.
    • Submarine Voyage was closed shortly before the opening of DisneySea, as there was no longer a need to keep them when there was already a submarine ride at Long Beach. Disney would eventually find a use for the subs in Walt Disney World, but you can find out about that here. [13]
    • In its place, Disney would bring in The Lightcycles of Tron from the Magic Kingdom, with an exterior shell reminiscent of postmodernist architecture, hiding the cyberspace world within.
    • Autopia was radically changed, with more greenery to reflect the harmonious relationship between humanity and nature. The cars were also changed, with a smooth futuristic exterior and a transition from standard fuel to electric, courtesy of GM, the new sponsor of Autopia. Disney also added fake wind farms (that rotate) and solar panels around the track for the aesthetic. You have no idea how many guests think those props are real. [14]
    • The Lightkeepers Parade from the original Tomorrowland 2055 was modified slightly for both Anaheim and Tokyo. Anaheim's TL 2055 received a new "First Contact" parade to replace the Main Street Electrical Parade, where a group of aliens descend onto Earth and engage in a bombastic procession until they meet with the humans and conduct a cultural exchange. Tokyo keeps the Lightkeepers Parade name, but instead of a ship, the ancient aliens emerge from the ruins and parade around the theme park to meet the inhabitants of the spaceport. A more detailed explanation can be seen here.

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    The new PeopleMover model, inspired by Disney’s old concepts for Lake Buena Vista (Image source: Imagineering Disney)

    In the end, people were met with a drastically different Tomorrowland than what it was in 1995.
    The 60s architecture was updated with a modern style, applying a greater emphasis on curved lines and a white, silver, and black color palette (as opposed to the more whimsical colors of Tomorrowland 1955). [15] Yet the biggest change to guests was not with the architecture but the overall ambiance itself. With the added greenery, aromas, music, and kinetics thanks to the introduction of the updated PeopleMover, Autopia, the Monorail, and the fake windmills, the whole land felt much more alive and urban. It was a lively and comfortable future to live in, and people really felt that they were transported into a green utopia.

    Overall, this entire project would cost around $500 million, and that was just the highest estimate. In fact, it costs more than what it took to upgrade Tomorrowland in the first place back in 1967, adjusted for inflation. Originally, the total cost of the whole project ballooned to nearly a billion dollars, but Disney, afraid of another DisneySea on their hands, decided to downscale the project until they reached a reasonable price for the overhaul. There were numerous negotiations and compromises between the financial executives and Imagineering, but eventually, the company felt the revised plans to be adequate and greenlit Tomorrowland 2055 in 1995.

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    The Tomorrowland 2055 shirt logo (In reference to this jacket given to Imagineers and Cast Members OTL)

    The land would soon open in 1999, to much fanfare and press from the general public. NBC even did a TV special airing the opening of Tomorrowland 2055 featuring Jim Henson making an excellent opening speech, explaining the history of Tomorrowland and later dedicating the new refurb to Walt Disney and his unending optimism about the future. [16] Due to its themes towards renewable energy and presenting a radical outlook on American life (mainly lessening the dependency on car infrastructure and suburbs in favor of denser housing and public transportation), it received widespread attention from urban designers and politicians alike. Many were positive, but others were also quite negative.

    Democrats for the most part praised it, with prominent environmentalist Al Gore seeing the land as a beacon that will lead Americans away from the smog-filled and polluted cities of decades past and toward a brighter and more hopeful future. However, it struck a chord with Republicans, mainly far-right figures like Dennis Prager and Newt Gingrich, with them decrying how Walt’s dream of Tomorrowland was twisted by Jim Henson into some kind of “hippie communist dystopia”. In addition, they heavily criticized the acceptance of public transportation within Tomorrowland 2055, believing that the limiting of cars will hinder individual liberties and cause the societal fabric of America to break down as a result (whatever that means…). [17] Jim Henson, for the most part, shrugged off these criticisms, as Tomorrowland was supposed to be a model of the future for Walt, and this new story of humanity’s utopian future is a way to honor him. [18] In fact, he even welcomed the political discussion, since it means people are talking about it and might even want to implement the ideas that 2055 presented, leaving behind an impact that could exceed any known Tomorrowland.

    And in fact, it did.

    Urban planners and engineers in America were already interested in the same ideas that Tomorrowland 2055 presented, wanting to steer the country away from over-dependence on fossil fuels and cars through the use of more environmentally friendly city design and the introduction of walkable neighborhoods. As a result of the land’s opening, many city designers following the “New Urbanism” movement were both inspired and felt vindicated by Disney’s overwhelming support for their ideas. However, it also taught them that their ambitions could be much more radical as TL 2055’s new EPCOT model and CircleVision exhibit took in ideas from European cities, which were far more accommodating toward pedestrians and public transportation. Disney would soon become interested in developing a plot of land in Florida and many designers flocked to the company to assist with the project. [ 19]

    The land left behind a monumental impact, not only on Disney but also on America at large, inspiring new generations of people to care more about the environment and become active within their communities to make cities greener and safer for people. [20] While it slightly steered away from the timelessness of the New Horizons Tomorrowlands, the depiction of it being a utopia on the verge of First Contact (instead of being a prediction for the future) means it will likely avoid the fate of its previous incarnations. In fact, its focus on trying to solve humanity’s problems (instead of being mere escapism) is what sets it apart from the other New Horizons Tomorrowlands. To visitors of Tomorrowland 2055, the future is not only bright, but it is also attainable if people put their efforts towards making our world a safer, healthier, and better place.

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    A shining new spaceport…in Tokyo?! (Image source: Theme Park Tourist)

    Of course, despite the success of the new Tomorrowland, the Imagineers did not leave the original Tomorrowland 2055 idea behind. As they always say, “a good idea never dies in Imagineering”, and they soon found a use for Baxter’s concept in another Disney park, albeit one across the ocean from Anaheim. In Tokyo, the Tomorrowland there was also quite outdated, and the OLC also desired a new concept that would revolutionize the land and transform it into a timeless experience. When they got word about an alien Tomorrowland, they were completely ecstatic, and thanks to the time that Baxter and others spent on the idea, the old concept evolved, turning from a fantastic overhaul of Anaheim’s Tomorrowland into the most visually radical and story-driven Tomorrowland seen so far. [21]

    See you next time for the next part with the conclusion of the New Horizons Tomorrowlands saga with the introduction of Tomorrowland Nextworld, a land that is truly out of this world!

    [1]: This is another time Tony Baxter has his ideas rejected ITTL, and even then it will get implemented later on in Tokyo. Compared to what happened to him OTL, I’d say that Baxter is going to be much happier working for Disney in the long run.

    [2]: Already a better idea than what the Imagineers came up with in 1998 due to budget issues.

    [3]: Of course, Triad will not sue Disney for this idea, but I think people will notice the correlation, especially once Starfleet Academy comes out.

    [4]: Looking back on how I came up with this idea for an alt-2055, it was explicitly made with Jim Henson in mind. Without him, it’s likely this iteration of Tomorrowland might have never been made since Eisner (in better circumstances) would have approved of the original 2055 outright.

    [5]: DisneySea will forever remain a huge learning lesson for Disney Entertainment and Imagineering. Despite its massive success, it also came with a similarly sized price tag to come with it ($5 billion USD, making it the most expensive theme park resort in the world). As with Animal Kingdom, they are understandably afraid to pour so much money into a land as ambitious as Tomorrowland, though they are not penny-pinchers like they were OTL thanks to no Eisner or Pressler.

    [6]: Of course, we got to have Syd Mead to help us out right? He was the one that helped design the concept art of Tomorrowland from the 2015 movie. Plus, there’s the added irony that Syd was the one that helped Disney steer away from a cyberpunk land into something much more optimistic. Thank god for that.

    [7]: The introduction of the Aye-Ayes are going to be a welcome addition to Imagineering, as they will provide the foreign experience and necessary expertise to design a greener and more pedestrian-friendly Tomorrowland, especially for the new model of EPCOT.

    [8]: Yeah, the 2015 Tomorrowland movie is going to be a huge aesthetic influence for Tomorrowland 2055. It’s the only time Disney has created a utopian futuristic design for Tomorrowland and it’s high time we used this obscure movie for something.

    I originally had thoughts about making Tomorrowland 2055 a more low-tech setting but decided against it since that would be much harder to pull off.

    [9]: The PeopleMover will NOT be going away for Disneyland ITTL but will be modernized with new cars and an overhauled track (that does allow people to walk on the sides). It was an important crux for the land in the 1967 refurb and it will continue to be one for 2055, providing an easy and convenient form of transportation for the expanded land.

    As for the restaurant, it was an idea that existed OTL but never came to fruition thanks to the budget cuts, but here, they have all the more reason to use this idea, both as a fun way to show guests about forms of transportation while also providing an easy way to reuse old assets.

    3Zy6mE_c30Ffg7PwEHhds_LCSRj7Sp8YIkZ86hlyT5k0Y2b7Ath9dPGliV1ivNa3_PYhClE46vd-U8V-DHqqaXLInUlBMKIi6h9YLjEsofL6bV8lPJNmftHSNJIW9vpfuZmvuG6pZDJPk-ErBLUoiusFkgiY4Lc1uUHVNIT3GrXI4bHscqO3emiSNg

    (Image source: Yesterworld)

    [10]: The Progress City was originally located in Disneyland’s Tomorrowland but was moved to the Magic Kingdom’s PeopleMover. Imagineers reimagined the old model to reflect a more modern depiction of the original EPCOT, with it being much more dense, urban, and full of massive rail networks alongside highways, all the which are connected by solar panels, windmills, and other sources of renewable energy.

    [11]: What better way to honor Walt’s old Tomorrowlands than with a new House of the Future?

    [12]: Journey to the Stars is a ride where guests explore a set of planets around the Solar System and beyond before they are inevitably contacted by a group of friendly aliens, thus kickstarting First Contact.

    [13]: As said earlier, Submarine Voyage is dead since DisneySea’s revamped 20,000 Leagues Under the Sea has made it obsolete. It was a long while coming but unlike OTL, Baxter will not protest this decision as Disney has plans to use the vehicles in the future. Regardless, let’s give a moment of silence to this well-beloved attraction.

    RIP Submarine Voyage…
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    (Image source: Yesterland)

    [14]: GM being the sponsor is extremely relevant in this case, as they were the first car manufacturer to produce a commercially viable electric car with the EV1. In fact, it was so ridiculously popular that celebrities and the general public flocked to purchase it, but the company soon canceled any future production and took all of the cars produced, crushing them all into dust (due to a perceived perception that electric vehicles were unprofitable).
    Thanks to Al Gore’s administration and their ongoing support for environmentalist and clean air policies, companies like BP and GM are forced to make quick transitions towards renewable energy and electric vehicles. This time, GM is likely to stick to the Bolt series (the EV1 ITTL) and is primed to kickstart an American electric/hybrid car revolution once lithium-ion batteries become available (we’ve butterflied Tesla in this case).

    In fact, the vehicles at the new Autopia are in fact electric vehicles (unlike OTL, shockingly enough), so there’s no gasoline smell that emanates from the attraction, much to the relief of parents, kids, and park-goers everywhere.

    That being said, Jim Henson is probably going to have a Bolt or a similar electric vehicle once this is all over.

    Note: Be sure to watch the Climate Town video as well as the documentary “Who Killed the Electric Car” for more information about the EV1 (here’s a summary).

    [15]: It is very much the polar opposite of 1955 in terms of design aesthetics, but that’s the intention.

    [16]: I think Walt Disney would have liked the concept of 2055 (much to the chagrin of conservatives trying to argue against it ITTL) since it appeals to his environmentalist ideas and focuses on the pedestrian. EPCOT, in all of its weird intricacies, had the mantra of “pedestrian is king” throughout its city layout.

    Not to mention that the land and the new model of Progress City itself have a crap ton of trains and PeopleMovers. That alone might give Walt his seal of approval.

    YwQhVA11HtpCTKz3UHKckf8g6NdvOm236qa8tXaZ3fpizeXANcvDv30Eh2qEF6codnHp6ZVB0bEQd1QEvCUWYiss3Rg95qkRrW3zQ7qvmcQQCCz30c-UtNbGkAo-3eZ6aX2h0ANB1KTvfi9xu-Lm6t1G5B0xsFa3vCCXJEB42ExNgF9xPiwDH69DMA

    (Image source: Jim Shull)

    [17]: I’ve seen similar criticisms about public transportation and focus on pedestrian/micro-mobility infrastructure from PragerU recently so it would not surprise me if Prager or a handful of Republicans themselves (most of whom are paid off by oil companies) made similar comments in the late 90s.

    [18]: In my honest opinion, this iteration of Tomorrowland is the true successor of the 1967 refurb and of EPCOT itself, and I can see Jim seeing 2055 in the same light.

    [19]: This happened OTL with Celebration, Florida, albeit much earlier. Eisner was interested in making a town and hired architects/city planners that followed the “New Urbanism” movement in its focus towards walkable neighborhoods, mixed-use zoning, and public transportation. The end result was quite mixed.

    Here, Jim Henson and Disney will also be interested in a similar project, but this time they will have knowledge and experience from working with city planners and architects from America, Europe, and other countries. Whether they will be more successful in making a walkable and inclusive town in the middle of Florida remains to be seen, but I am interested in making a guest post about it.

    [20]: Solarpunk arrives much earlier than OTL thanks to the existence of Tomorrowland 2055 inspiring so many young artists, engineers, and other creators around the 2000s. Called “Green Futurism” ITTL, the movement is the antithesis of what we know as cyberpunk in its optimistic vision of the future and focuses on sustainability, community, cooperation, and environmentally-friendly practices.

    On top of a more radical and experienced “New Urbanism” movement, it does mean that America is likely to make more progress in creating walkable and pedestrian-friendly neighborhoods throughout the 21st century.

    Ironically enough, Green Futurists will sometimes criticize Tomorrowland 2055 of “greenwashing”, though this critique doesn’t hold water when the land was devised as a utopia (not being realistic in itself) and the ideas associated with Green Futurism didn’t even exist in the first place.

    Finally, Tomorrowland 2055 will be seen as a testbed for a number of ideas generated by Disney, such as the introduction of plant-based food items around the 2000s in order to accommodate vegetarians and vegans (in collaboration with companies like Tofutti), culminating in an entirely vegan restaurant located within 2055 around the early 2010s as part of Disney’s plant-based initiative (a similar event happened OTL).

    [21]: With the idea of Earth meeting aliens in First Contact taken up by the new 2055, the obvious next step is to turn Tomorrowland into an extraterrestrial spaceport. Nextworld is going to be REALLY fun as it has the OLC’s backing and a much more ambitious Imagineering. Expect it to look awesome just in time for Tokyo DisneySea and TDL’s 20th anniversary.
     
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    Love ya' Blue
  • How Ann Richards Saved the Houston Oilers and the NFL in Houston
    Houston Chronicle, November 17th, 2018

    Guest post by Mr. Harris Syed with assistance from @jpj1421 and @ajm8888

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    Ann Richards is perhaps the most famous Texas Democrat in recent memory to serve as Governor behind only President Lyndon B. Johnson and the first woman to be elected to the most powerful office in the Lone Star State[1]. As Governor, Richards’ most significant accomplishments were auditing every Texas agency, the introduction of the Robin Hood plan to public schools, the creation of a substance abuse program in prisons, appointed Hispanic State Representative Lena Guerrero to the Texas Railroad Commission after selecting Bob Krueger to one of Texas’ Senate seats in Congress and instituted the Texas Lottery. Even before she became Governor, Ann was the State Treasurer of Texas for Mark White and Bill Clements despite belonging to different parties. On the national front, Ann campaigned for disgraced Presidential candidate Gary Hart and President Al Gore in the 1988 and 1992 Democratic Conventions respectively. Richards was also an outspoken supporter of the Silicon Holler of Virginia and Tennessee and third-wave feminism in the wake of the Anita Hill scandal which led to many public figures getting arrested for sexual misconduct from Vince McMahon to Kevin Spacey and Ron Jeremy[2]. Though there is another aspect of Richards that many Texans fondly remember and it’s keeping the NFL’s Houston Oilers from relocating but how did Richards convince owner Bud Adams, Executive Vice President Mike McClure, the city of Houston, and the Texas Legislature to commit to building a new stadium? Like many stories, there is a lot to unpack here.

    Throughout 1994, the Oilers were struggling with not just a terrible record of 2-14 due to Adams' post-playoff fire sale after the team failed to go to the Super Bowl last season but the Astrodome was no longer a suitable home for them even with the recent renovations in 1987 to keep the team from moving to Jacksonville since there were a lack of adequate luxury boxes and the once-renowned AstroTurf became increasingly hazardous for football even causing a preseason game with the San Diego Chargers to be cancelled due to safety concerns[3]. Bud Adams wanted a state-of-the-art domed stadium built in downtown Houston that could support not just the Oilers but the MLB’s Astros, the NBA’s Rockets and a potential NHL team supported through property taxes though it would run into some opposition as most Houston voters were opposed to using a property tax to fund a domed stadium while Mayor Bob Lanier was reluctant to provide public funding for this proposed stadium as Houston was recovering from an oil recession in the 1980s and Rockets owner Les Alexander didn’t want to share a facility with a football team[4]. Adams would shift gears to an open-air stadium instead and despite his frustration at the lack of progress on the stadium plan with Lanier’s reluctance to commit to public funding he was confident that he could still get the stadium done and bided much of his time to see if Houston could come around to agree to his proposal. By mid-1995, the Oilers were no closer to getting a new football-only stadium in Houston and most were still reluctant to use public funds to keep the team not to mention that the Texas Legislature rejected a bill that would have created “sports enterprise zones” encouraging sports teams in Texas to built their own stadiums. Adams and McClure would later attend a Chicago NFL owners meeting in May where Adams spoke with Commissioner Paul Tagliabue about beginning exploratory talks with Baltimore or Memphis since neither city had professional football in case if he couldn’t convince Lanier and the city of Houston to fund the new stadium, Tagliabue later told Adams to keep his options open which included Baltimore and Memphis as possible relocation destinations which he was neither for or against[5]. The first option, Baltimore, was a city without an NFL team for more than a decade since the Colts infamously packed their moving vans in the middle of the night to Indianapolis in 1984 and had a Canadian Football League team in the Baltimore CFLers otherwise known as the Baltimore Stallions who would win the Grey Cup against the BC Lions later that year[6]. The other was Memphis which previously lost out to Charlotte and Jacksonville in the 1993 NFL expansion wave along with Baltimore and had the 62,380-seat Liberty Bowl which was occupied by another American-based CFL team the Memphis Mad Dogs. Bud even sent representatives to both cities to watch CFL games between July and October of 1995 to see if they were viable for an NFL team and later met with their respective mayors for potential stadium deals.

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    When news of Oilers representatives and Adams secretly visiting Baltimore and Memphis leaked to the press through high profile NFL sources in mid-September, there was a firestorm of controversy in Houston with many accusing Adams of stabbing them in the back so he could relocate his team elsewhere. For the 61-year old Texas Governor she was concerned of the Oilers potentially relocating out of state over stadium woes with the city of Houston. Richards, like so many Texans, knew the Oilers ever since their inception in the American Football League in 1960 and was a football fan who previously attended a 1992 game at the Astrodome seated next to the podium where her joyous laughter was heard from the speakers[7]. Richards was familiar with the Oilers prior threats to leave Houston and fleecing the city for the Astrodome renovations when she was the State Treasurer[8]. However, Richards’ passion for football coupled with recent electoral success made her interested in keeping the Oilers in Houston with the Astrodome no longer a suitable place for the team to play and the team’s recently stalled stadium efforts. In her office, Ann made it clear that she would not let the Oilers franchise leave Houston and was committed to solving their stadium issue according to a former staffer who had a conversation with Richards in December.

    “Your Excellency?” the staffer asked

    “Yes?” said Richards

    “Bud is threatening to move the Oilers to Baltimore or Memphis and the city of Houston doesn't know what to do next”.

    “I know, I always read the morning paper”.

    “How are going to handle the issue of the Oilers potential relocation since Houston isn’t doing anything to keep the team?”

    “M’am, I’m just like many Texans and I love football. I beat out the GOP in the gubernatorial election of ‘94 and do you think I would go down so easily. I’m going to do everything I can to ensure that the Oilers are in Houston”. declared Richards.

    Richards understood that to get the Oilers organization interested she had to speak with Bud Adams as she knew that support from the most powerful official in the state of Texas would be instrumental in preventing relocation. In January of 1996, Richards at her desk decided that she would do a phone call meeting with Adams next year in spring to gauge his interest in keeping the Oilers in their birth city. In mid-March, six months before the start of the NFL preseason, Richards would make the first call to the Oilers headquarters and main office with a team representative picking up the phone to hold the call before giving the phone to Adams. Adams, who was now strongly considering Memphis, was surprised to get a call from the Governor of Texas and proceeded to have a conversation with her. Richards told Adams that she would be interested in getting a new stadium built for Houston and was willing to lend her support to the proposal. Ann advised Bud to consider options in Houston and hold off on relocation to another city. According to Adams in a 2005 interview with the Chronicle, “Ann was adamant that she would help me build a new stadium in Houston through all possible means”. Near the end of their conversation, Ann told Bud that she would be interested in a formal meeting at some point, Bud said yes to Ann’s proposal. To Adams, this was a sigh of relief as he was pleased that the Governor of Texas lent her support since it gave him much needed political capital for the Houston stadium after failing to gain support from local politicians and sports owners. He was hopeful that an endorsement from Richards would help the Oilers stay in Houston and avoid relocation, especially given the public relations nightmare with the city and the local fanbase over his apparent interest in Baltimore and Memphis as potential new homes for the team. Furthermore, Adams was aware that the Seattle Seahawks owner Ken Behring moved some of the team’s office equipment and athletic gear to Baltimore for a potential relocation only for much controversy to ensue within the city of Seattle and King County with promises of potential lawsuits after announcing the ultimately unsuccessful move in December of last year which was something that he wanted to avoid[9]. Adams would then tell McClure that the Governor was interested in getting a football-only stadium built in Houston recommending that they would speak with her and the Lieutenant Governor Bob Bullock. Two weeks later, Adams called Richards and Bullock to discuss the details of the Oilers’ stadium proposal.. While he initially favored open-air stadium proposal Ann convinced him to embrace a retractable stadium instead because of the hot climate of Texas though Ann and Bud agreed that the new stadium should be able to host the Super Bowl, the Pro Bowl, the Houston Livestock Show and Rodeo, college football, high school football, concerts and other events in the near future complete with natural turf, luxury suites and personal seat licenses. Richards and Bullock would ensure Adams that they would muster enough support to secure funding and the backing of not just Houston but the state of Texas. Adams was then informed by Richards that she and Bullock were looking forward to more meetings in the near future. Four days later on March 22, Richards and Bullock would make a call to Houston Mayor Bob Lanier about potential cooperation on a new Oilers stadium downtown with state funding. Lanier, who was unwilling to commit public funds to build Adams’ domed stadium, was more open to Richards’ proposal since it meant that Houston wouldn’t be solely burdened with ponying up public money as there would be support from the state. Lanier told Richards and Bullock that he was pleased with their support and said that he would meet with Adams and Oilers representatives. Adams was then informed by Lanier and Houston officials in a phone message on March 27 that they were interested in a meeting on the future of the team in the next two months. This news pleased Bud as Lanier and his government were finally willing to come to the table for a new stadium as long as it was favorable to the Oilers and sent a response message to the mayor the next day that he was ready for the planned meeting.

    “When Lanier told Bud about Houston’s willingness to solve the stadium issue with the Oilers, he was extremely ecstatic in his message after we had conversations with Richards and Bullock” said McClure.

    In late April, Adams told Commissioner Tagliabue and the other owners of the recent phone calls with Governor Richards over a potential new stadium in Houston and the forthcoming meeting which was only three weeks away[10]. The reaction from Tagliabue and the other NFL owners was one of encouragement as they wanted the Oilers franchise to get a good deal from Houston. In May of 1996, Adams along with McClure would meet Richards, Bullock, Lanier and Houston officials at the Oilers’ headquarters on how to feasibly get a football-only stadium built. All four parties agreed that it should be built downtown with the lion's share of public funds coming from the state to cover the tab with Houston providing a decent but smaller share relative to the state and the Oilers providing considerable financial backing. The meeting ended with all parties on good terms and Adams went into the 1996 season with high hopes of getting the stadium built. Although the meeting was intended to be a closely guarded secret, the Chronicle and other newspapers made sure that it would be leaked to the public through sources within the Houston city government with headlines such as “Adams, Lanier, Houston Officials, Richards and Bullock Discuss New Stadium in Special Meeting” or “Adams Meets Richards and Lanier For Potential Stadium Deal”. The reaction among most Houston residents was one of cautious hope and skepticism as some particularly Oilers fans were relieved to see Adams working with not just Lanier but Richards and was seemingly committed to keeping the team in Harris County though others particularly opponents of taxpayer-funded stadiums saw Adams turning to the Governor as mere desperation after failing to persuade Houstonians to finance his dream stadium. For Adams, the cat was out of the bag and he couldn’t keep this a secret any longer as he did with the visits to Baltimore and Memphis so he sent Mike McClure to confirm the existence of the meeting in interviews with Houston press though he declined to provide details of the yet-to-be-announced stadium proposal. For Richards, the Texas Legislature had plenty of questions concerning the OIlers’ stadium proposal particularly the Republican Senate and the race to save the team was now a political game for the Democrats.

    With some strong political capital from the state and the city, Adams got to work on sketching out the details of the new stadium as early as June. He would hire ROK Sport to plan the design and capacity given their experience constructing the Jacksonville Jaguars’ home Jacksonville Municipal Stadium. For the site, downtown Houston was already in Adams’ mind for the previous proposals so this was retained in the new proposal. The new stadium would have everything the Oilers wanted: A capacity of 70,000 (expandable to 75,000), a retractable roof, 52,000 personal seat licenses, 167 luxury suites, skyboxes and capable of hosting multiple big events. Adams would then meet with Richards, Bullock and Lanier again in September of 1996 for the stadium and Adams confirmed that ROK was preparing a downtown proposal to be announced at a later date. It was hands on deck for Adams and the Oilers as they were finally making progress on a new stadium. Adams knew of the Rams’ near-relocation to St. Louis which was averted by the intervention of two powerful figures: Former Disney CEO Ron Miller and then-Acting Chairman Jim Henson. Adams saw Richards and Lanier as the Miller and Henson of Houston responsible for keeping the team in the city and providing the necessary assistance to prevent relocation to Baltimore or Memphis. Nonetheless, Adams knew that if his proposal failed in the Texas Legislature he would turn to relocation as “Plan B”. Throughout the 1996 season, Adams and the Oilers were the topic of much discussion within the NFL and national news outlets with many curious as to whether or not Texas would be willing to provide enough money to fund a new football-only stadium in Houston even with the team ending up with a slightly improved 9-7 record under new head coach Mike Munchak thanks to a rejuvenated offense though they lost in the AFC Wild Card Game against the Buffalo Bills[11]. After the season, Adams announced that he would be officially seeking help from the Texas Legislature in getting a new downtown stadium for Houston with the backing of Governor Richards, Lieutenant Governor Bullock and Mayor Lanier to the surprise of no one as the details of their last meeting were public knowledge. The Oilers fanbase was enthusiastic about Adams’ commitment to finding a solution to their stadium woes with the support of the most powerful woman in Texas no less while Baltimore and Memphis felt cheated as Adams was seemingly courteous and eager to bring the NFL only to go back to Houston and keep his team there.

    In March of 1997, Adams would finally reveal the full proposal for a new stadium in Houston at a press conference near Houston City Hall with Lanier, Richards, Bullock, McClure, team representatives and a crowd of a hundred Houstonians in attendance. The stadium would contain all the amenities that Adams had planned with $185 million in private funds from the Oilers and $227 million in public funds which would come from the state of Texas and city of Houston respectively through tax increases on hotels, motels and car rentals[12]. The ball was now in the Texas Legislature’s court as they would have to determine whether to approve the new Houston Oilers stadium or not. With Houston unable to cover the cost of the stadium on their own, there would have to be some level of state funding to match. A stand alone piece of legislation would likely fail to garner support, but if the funding could be added to the state budget and survive the amendment process it could be allocated by the government. This was the strategy pursued by Wisconsin Governor Tommy Thompson in getting the MLB’s Milwaukee Brewers a new stadium[13]. To succeed at a similar strategy, Richards would have to navigate a divided Texas Legislature with a special stadium bill. The Democratic-controlled Assembly was inclined to back Richards’ agenda while the Republican-controlled Senate was reluctant to approve any sort of tax increase or spending plan, especially at the insistence of a Democratic Governor. Moreover, Richards had a forthcoming gubernatorial election next year[14] which made the Oilers stadium proposal a crucial task as she wanted to get it ready for construction by then especially with Bob Lanier eventually vacating his position as mayor of Houston for his successor who would be former police chief Lee P. Brown. The solution for Richards was to call a special legislative session to vote on a funding package for a football stadium in Houston no later than October. The Oilers were not the only Houston team demanding state assistance as the Astros wanted a new ballpark to replace the Astrodome and the Rockets were pushing for a new arena that would not just host them but an NHL team since The Summit was deemed inadequate for hockey[15], both teams closely observed the special session to see if they could receive a similar deal. In the meantime, Adams would host rallies with Oilers fans in Houston and Austin to get the stadium passed in the state legislature before or during the first month of the 1997 season. In early October, Richards called a special session in the Texas Legislature to approve a new stadium bill which would allocate money for a new, state-of-the-art football facility for the Oilers in downtown Houston. Emotions ran high as many within the NFL and professional football had their eyes on Texas to see if they would be willing to finance a new home for the Oilers. The stadium legislative session lasted from October 15th to October 22th in which Democrats and Republicans had debates over Richards’ bill. Unsurprisingly, the bill was approved in the Assembly with most Democrats voting “yea” but faced some stiff opposition in the Senate from Republicans though there was support from some members of the GOP that crossed partisan lines thanks to their love of football like their Democratic counterparts. The Republican majority in the 31 seat State Senate was just 17 to 14. That meant Richards had to convince several Republicans to flip in favor of the bill. The easiest ones to flip were GOP senators from the Houston area as they were generally familiar with the Oilers and didn’t want to see the team leave the city. The support of the bill from Houston Republican state senators got Richards some important votes though most senators from the area were Democrats which was good news for the bill as most were already supportive of their governor’s proposal. How Richards, Bullock, and most Democratic state senators were able to persuade more Republicans and some Democratic skeptics to vote for a new stadium was simply asking a set of questions and responses: Did they want to lose an NFL team like Baltimore had in the 1980s with the Colts? And if the Oilers left, who else would follow? The Astros were likely to follow if the Oilers left , which wasn’t without merit as the team considered moving to Buffalo in 1995 only to drop the idea[16] and potentially even the Rockets if nothing was done to provide funding for the appropriate venues for all three soon to be four teams. In simple political terms, any Republican or Democrat voting against the bill would have been the senator who voted against the Astros. And if other teams left, what would that do to Houston’s economy? Houston was the largest city in Texas, if it lost its sports teams what economic message would that send to the rest of the state? It could mean investment drying up and create a poor reputation of Houston to professional sports leagues since they would be unwilling to relocate or add a new team to the area.On the last day of the special legislative session, the final vote tally in the Senate would be 22-9[17]. Most of the “yea” votes came from Houston area Republicans and Democrats as well as Democrats from the Dallas-Fort Worth Metroplex, the northern or western parts of Texas, the latter due to their support of Richards and Bullock on many social issues. The majority of the “nay” votes came from Republicans who were unsurprisingly either around Dallas-Fort Worth and other parts of the state where support for the Oilers was far less frequent. The bill would be sent to Governor Richards who would sign it into law thus the proposal would finally come to fruition with support from not just Houston but the state of Texas. The news of the bill’s approval pleased Adams and the Oilers as they were finally getting a new, shiny state-of-the-art stadium ready for construction by the new millennium. The stadium bill’s passing put a rest to the possibility of an Oilers relocation to Baltimore or Memphis with Adams making it clear that the team was here to stay after the end of the legislative session. In the NFL Network documentary A Football Legacy: The Story of the Houston Oilers Bud said that reaching out to Richards “was the best thing I ever did for the Oilers because I could get support from the people in Austin and not just simply rely too much on Houston as I did before”

    With the Oilers staying put in Houston, Richards was able to accomplish an important task in office as she got a new stadium built for one of the oldest professional football teams in Texas before she would run for re-election against the GOP in ‘98. Richards would later attend the groundbreaking ceremony of what became known as CenterPoint Stadium[18] with Adams, Brown, Bullock, McClure, Lanier, team representatives, former players, local officials and celebrities in November of 1998[19]. CenterPoint Stadium would be completed in August of 2001 just before the start of the regular season. The passing of the Oilers stadium proposal would inspire the Astros, the Rockets and the Roughnecks (formerly the Edmonton Oilers)[20] to create similar proposals with funding from Houston and the state of Texas leading to the construction of BMC Park at Union Station and Honda Arena respectively with both venues opened to the public in 2003 and 2002 respectively[21]. Nowadays, Houston is one of the few cities with teams from all five major sports in North America and we can enjoy the sight of football, baseball, basketball, hockey and soccer in this great city[22]. As for Baltimore and Memphis, both cities would compete to earn the honor of the NFL’s 32nd term for the purposes of balancing out the league after the original Cleveland Browns became the St. Louis Stallions and the establishment of the new Browns franchise in 1999[23] with the former winning out due to having a successful CFL team, a long NFL history and a viable stadium plan from Allegis Group chairman Steve Bisciotti[24]. This expansion team would be called the Baltimore Marauders[25] and begin play in 2002, the same year that Honda Arena opened.

    For Oilers fans enjoying CenterPoint Stadium, you can thank Ann Richards for saving Houston’s team. Without her, we might as well hear commentators announce the Tennessee Oilers[26].

    [1] Recall in the Election ‘94 Live Coverage post that Richards was re-elected in a competitive race against Republican Jack Field and Reformer Keary Ehlers. Richards will be able to enact some of her policies though not without some opposition by the GOP and Reform respectively.
    [2] To clarify on one of the footnotes for the Kandi review of Movies 1996 by co-writers Harris Syed and @Plateosaurus, Jeremy was caught molesting an 18-year old woman in March 1993 which led to his arrest and inspired the movie’s development along with other Anita Hill-related cases. There’s also a retcon by one of the authors in that the journalist character played by Jodie Foster is named Alexandra "Allie" Ross but otherwise the rest of the review remains canonical to the timeline. Additionally, there are a few tidbits that were not elaborated in the review that Mr. Syed would like to add such as receiving nominations for Best Supporting Actor for Joe Pesci, Best (Leading) Actor for Danny DeVito, Best Picture and Best Screenplay Written Directly for the Screen (the old name for Best Original Screenplay) at the 69th Academy Awards.
    [3] Both events would occur in OTL and TTL. Given that the Astrodome was aging and becoming rather obsolete, this is somsething that is unavoidable and couldn’t be butterflied.
    [4] In OTL, Adams shifted gears to an open-air football stadium after Houston and it’s sport teams rejected the idea as noted in a 1994 UPI News article.
    [5] Adams considered Baltimore along with Los Angeles as possible relocation options only for Tagliabue to tell him that these cities were considered for expansion or relocation opportunities and to consider other cities instead which led to Adams speaking with McClure and Nashville was eventually brought up as a viable relocation spot according to the 1996 Nashville Scene article “In the Huddle” and 2001’s Horse Trading and Consensus Building: Nashville, Tennessee and the Relocation of the Oilers. Here since Los Angeles didn’t lose the Rams to St. Louis, Memphis is Adams’ other option and Tagliabue doesn’t discourage him from considering that city or Baltimore since the former is much smaller than LA. The fact that Memphis is in Tennessee means that McClure doesn’t give Adams the idea to move the team to Nashville.
    [6] For those unfamiliar with the next reference to CFL teams in America from the previous post, this was part of an effort by the league in the 1990s to make Canadian football popular for their southern neighbors which included adding new teams in Las Vegas, Sacramento, Shreveport and Baltimore of course with some of the existing teams moving to San Antonio and Birmingham respectively. The entire thing was a failure due to tensions between the American and Canadian teams, the marketing, no nationwide network contract, competition with local American football teams and the fact that most Americans weren’t interested in a game that was different from their homegrown game. The Stallions were by far the most successful American CFL team with a strong fanbase and a Grey Cup to boot though they were eventually run out and relocated to Montreal to become the new Alouettes after the original Cleveland Browns announced their move to Baltimore for the 1996 NFL season.
    [7] The events above are actually real in OTL and TTL as noted in Ann Richards’ 2012 biography Let the People In. Richards is already familiar with the team and given the schedule, we couldn’t completely butterfly it what with the NFL’s scheduling.
    [8] As per OTL.
    [9] Behring did this with Los Angeles when the Rams and Raiders left the city in our world and already publicly announced such a move to Seattle area officials. Of course, since the Rams didn’t leave the Los Angeles area in TTL this meant that Behring eyed Baltimore as a possible destination and inspired by the Oilers sending representatives to the city though he wanted to beat that team to the punch only to be stopped by the NFL who fined Behring for attempting to pull off an unauthorized move and potential lawsuits filed by King County. Eventually, Behring would later sell his team to Paul Allen who helped get Alaska Airlines Field built. This is also something that kept the Seahawks from relocating since Behring’s antics were already public whereas the Mariners’ announcement of selling the team from Nintendo wasn’t immediately thought of as relocation by most Seattle residents until it was too little, too late since Nintendo initially considered local investors and businessmen but received offers from Vancouver, Nashville and especially Buffalo the latter of which already had an MLB-ready stadium and a solid ownership group coupled with the fact that Nintendo just wants to get out of the baseball business and selling to anyone even outside of Seattle is seen as a good thing.
    [10] This is the same April 30 meeting in which the NFL owners voted to allow the Oilers to move to Nashville in our world but here Adams merely speaks with Tagliabue and the other owners about Houston since he is not planning relocation immediately.
    [11] In OTL, the Houston Oilers hired Jeff Fisher to replace Jack Pardee for the last six games of the season and eventually stayed with the team even after they became the Tennessee Titans until 2011 where he would leave to join the St. Louis/Los Angeles Rams but was let go due to his unsuccessful tenure. Here, Fisher remains with the San Francisco 49ers due to some first and second order butterflies affecting the NFL therefore Munchak becomes the new head coach of the Oilers given his history with the team.
    [12] The total cast is $415 million which is before the average costs of NFL stadiums rose to $1 billion or more.
    [13] Bud Selig wanted a new stadium for the Brewers that was farther away from the center of Milwaukee to accommodate a large parking lot and attract more suburban fans. Mayor John O. Norquist of Milwaukee was willing to help fund a new stadium if it was instead downtown. Selig dug in his heels and went directly to the Wisconsin Legislature to secure the funding and by a margin of one vote what became American Family Field (formerly known as Miller Park). ITTL given Selig’s not Commissioner and slight changes to national politics, Norquist ends up getting his way because Selig folds rather than briefly consider moving the team.
    [14] Since Bush is MLB Commissioner, the Texas Republicans select a different candidate to go up against Ann Richards. Who is that Republican candidate? Stay tuned.
    [15] Recall in the It’s a Bush League after all post that the Edmonton Oilers moved to Houston and became the Houston Roughnecks under Rockets owner Leslie Alexander.
    [16] This is similar to OTL when the Astros considered moving to Washington but unlike the Oilers they chose not to and got the necessary political capital to stay in the city. ITTL, since Abe Pollin would submit a (successful) bid to acquire an expansion team for Washington DC it is off the table and the Astros would consider Buffalo but realized that they didn't have the support of the other MLB teams just like OTL. This would also have an effect on Ann Richards as she had more of an incentive to keep Houston’s sports teams especially after reports of Adams and team representatives visiting Baltimore and Memphis respectively along with her re-election. Moreover, since the Oilers didn’t announce that they were relocating to Nashville, the Astros didn't expedite a new ballpark in downtown Houston for 1996.
    [17] From @ajm888 and Mr. Harris Syed: The stadium vote is based off research and looking at political redistricting maps for the Texas State Senate from 1996-2000. It is assumed most members of the State Senate are similar to OTL with some differences given the political climate under the Gore administration.
    [18] A TTL analogue of sorts to NRG Stadium in design and oil company sponsor though it’s located in downtown Houston instead of being adjacent to the Astrodome.
    [19] Among the Houston celebrities present to attend the groundbreaking ceremony of CenterPoint Stadium include actors such as the Quaid brothers (Dennis and Randy), Patrick Swayze, Jaclyn Smith and Phylicia Rashad and singers Kenny Rogers, Billy Gibbons and Michael Nesmith. For former Oilers players, you have George Blanda (Kicker), Earl Campbell (Running back), Robert Brazile (Linebacker) and Elvin Bethea (Defensive end).
    [20] In the case of Peter Pocklington having a different asking price to (unsuccessfully) keep the Edmonton Oilers, butterflies affect nearly everything in the Hensonverse whether they’re logical or not and sports leagues are no exception as the records, ownership, draft picks, trades and champions are going to be very different such as the NFL’s Rams staying in Los Angeles due to former player turned Disney CEO Ron Miller’s interest in sports or Abe Pollin joining in the DC Baseball Commission thanks to receiving an invitation from an original-to-TTL official approaching him for the 1993 bid which sparked his interest in getting a baseball team for DC by the 1999 season. As such, it’s just as likely for Pocklington to make a different decision on the asking price with over seventeen years worth of butterflies. Moreover, the Oilers didn’t draft Ryan Smyth and Joseph Curtis since they ended up with different teams nor did they trade for Doug Weight or re-acquire Kevin Lowe due to him re-signing with the Rangers instead resulting in a 5th place performance in the 1997-98 season which muted enthusiasm for the team similar to what happened with the Seattle Mariners when they didn’t get Ken Griffey Jr and thus led to the Edmonton Investment Group not raising enough money to keep the team in the city. When the Edmonton Oilers were eventually sold to Leslie Alexander and announced to relocate to Houston for 1998-99, the NHL initially blocked them from using The Summit since they deemed unsuitable even as a temporary venue but with abysmal attendance in Edmonton over the move the league decided to reluctantly allow the former Oilers/Roughnecks to use it starting with the 1999-2000 season with the team adapting a logo and uniform set based on the Texas state flag similar to OTL’s Houston Texans.
    [21] The TTL names for The Ballpark at Union Station/Minute Maid Park and Toyota Center respectively. Essentially, the Astros were the first to seek a new ballpark with explatory talks and negotiations with the city of Houston and the state of Texas in June 1998 with a special session also in October approving the new ballpark and construction would last up until 2003. In the case of the Rockets and Roughnecks, they started negotiations with the city in early 1999 with an agreement for another special session in November after several months and the arena would be completed in 2002 since arenas cost and take less time to build. Keep in mind that these teams would want to get their new venues built as soon as possible and expedited proposals aren’t entirely unheard of in sports as even OTL’s Minute Maid Park and Toyota Center can attest though the Hensonverse equivalent of these venues were completed in different dates since the Oilers didn’t relocate to Nashville after the 1996 season or cut a stadium deal with Nashville the year prior.
    [22] In the case of the MLS, the original San Jose Earthquakes didn’t relocate to Houston because Bud Adams would found an expansion team known as the Houston Wranglers in 2007 along with the Toronto Northmen FC (TTL’s Toronto FC). The Wranglers’ branding and color scheme is similar to the Oilers right down to CenterPoint Stadium as their home venue.
    [23] On the topic of the Browns, we’re going to elaborate on how the original team became the Stallions in 1996. Basically, Browns minority owner Al Lerner tells Art Modell to look into St. Louis as a new home for the Browns in late March upon hearing of the Rams tentative deal with Disney though he is still considering Baltimore at this point since the team previously spoke with Maryland Stadium Authority (MSA) director John Moag. When the Rams would finalize their deal with Disney in May, Lerner would push Modell to go for St. Louis instead of Baltimore due to the former city already having an NFL-caliber facility in The Dome at America’s Center/Trans World Dome. Modell eventually decides to go with St. Louis over Baltimore and sends Lerner to speak with officials from the St. Louis Regional Stadium Authority (STLRSA), local businessmen James Orthwein and Stan Kroenke about potential relocation in late June two weeks after the Rams-Disney deal was approved by most of Disney’s shareholders. However, Modell only sent Lerner to speak with the STLRSA, Orthwein and Kroenke only if he was serious about relocation. That said, Lerner is permitted to meet with the STRSA, Orthwein and Kroenke in mid-August and the Browns negotiate with the Gateway City until October when Modell was given a memorandum of understanding from Lerner in which the team would play at St. Louis’ Trans World Dome for twenty years with Orthwein and Kroneke having 5% stakes in the team. Modell is convinced by Lerner to accept the deal on the basis that the city was hungry for NFL football and he would welcomed as a hero. Modell would eventually announce that the Browns would move to St. Louis for the 1996 season after a December 3rd game against the San Diego Chargers to the outrage of many residents of Cleveland with the city even filing a lawsuit against him and the STLRSA. Eventually, the NFL came to an agreement with Modell that he would take the roster and staff of the original Browns for a new expansion team known as the St. Louis Stallions in March of 1996 while the records and name of the Browns would remain in Cleveland for a new team to start operations three years later.
    [24] Bisciotti was the owner of OTL’s Baltimore Ravens and bought the team from Art Modell in 2000. Bisciotti in the Hensonverse gets an NFL expansion team for Baltimore as the original Browns ended up in St. Louis.
    [25] The Baltimore Marauders are TTL's Houston Texans in that they are an expansion team based in a city that didn’t have NFL football for a while after a previous team left for greener pastures (Colts/Oilers). Their name was also one of the possible options for the Baltimore NFL team before Ravens was chosen. Since the Baltimore bid is very different from the original Browns moving to Baltimore, Marauders is picked as the team’s name instead. The Marauders begin play at the newly built Marauders Stadium at Camden Yards which was completed in 2002 much like CenterPoint Stadium and it’s adjacent to Oriole Park.
    [26] A little Allohistorical Allusion to the fact that the Oilers kept the name when they played in Memphis and Nashville, Tennessee from 1997-1998 before rebranding themselves as the Titans in OTL.
     
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    Not Exactly Shakespeare...oh, wait
  • One Man, Many Parts: Adaptations of Shakespeare in the 20th Century
    Chapter 8 - Blockbusters
    By Steven Ratford of the University of Waterloo, Associate Professor of English Language and Literature
    Guest post by @Plateosaurus and Mr. Harris Syed with assistance from @Ogrebear and @MNM041


    What is past is prologue.” - The Tempest, Act 2, Scene I

    In the 1990's, there was a renewed interest in adaptations of William Shakespeare's plays with an uptick in movie adaptations being produced on both sides of the Atlantic. However, not all adaptations of the folios were so straightforward. Many would go in different directions, whether by recontextualising it in new settings or deconstructing the story and values of Elizebethan England they were written in. The last part deserves special mention: coming in the Information Age, the knowledge of the most problematic parts of Shakespeare’s plays were increasingly being diffused to newcomers who had never seen or read the Bard’s works before, as well as the stereotypes of the plays being dusty and stale, so innovation and reinterpretation was needed to attract more public interest.

    The most high-profile of the Shakespeare adapters of course being Northern Irish director and actor Kenneth Branagh. Continuing his streak after Henry V, Branagh continued to adapt Shakespeare's work for a then-contemporary audience, starting with Much Ado About Nothing in 1993 which had a cast of notable British and American actors such as Emma Thompson, Keanu Reeves, and Michael Keaton. The next would be 1994's Hamlet in which he would direct and star as the titular character in the 19th century[1].

    The same year, just a few years after US Judge Clarence Thomas was disqualified for his post because of sexual assault allegations, American director Nancy Meyers wrote and directed a very irreverent and cynical adaptation of The Taming of the Shrew simply titled The Shrew. The film was set in ‘70s New York with the Minolas reimagined as an Italian-American family living the high life with Baptiste Roger (Baptista’s counterpart, here very similar to Rudy Giuliani) running for the the office of governor, but the outspoken nature of Katherine is seen as a potential dealbreaker, so the patriarchs hire Peter Richford (Petruchio’s counterpart) to make her behave, while he uses the opportunity to climb his way up the social ladder. Unlike the original play (or at least classic interpretations), the film examined the more uncomfortable aspects of the story, ultimately ending with it being shown that misogyny has left both sides hurt and deeply unhappy, with Katherine broken and traumatised by the abuse and unable to do what she could without her previous attitude, the Minolas getting away with their abusive behaviour, and Peter regretting his methods. Marshall and Meyers assembled the likes of Annabella Sciorra (Katherine Minola), Marisa Tomei (Bianca Minola), Robert De Niro (Baptiste Roger Minola) and Cary Elwes (Peter Richford) in this retelling of one of Shakespeare’s more controversial plays. Although the film would perform well amongst critics, it bombed at the box office to more successful tentpole and indie films, and the rather pessimistic atmosphere and the cast of unlikeable characters turned many people away from watching it[2]. Such a thing is actually the case for some Shakespearean adaptations of the time, due to the different societal standards of the England that he lived in. Nonetheless, The Shrew would become a masterpiece with not just critics but third-wave feminists along with Donna Deitch’s socially conscious Sexual Advances and Penny Marshall’s controversial NC-rated porn drama Kandi.

    One year after The Shrew, The Tempest would be adapted to the silver screen in 1994 by the legendary Terry Gilliam (written by Neil Gaiman), and took influence from the goth subculture of the time, already one that would know Shakespeare better then others. While the prose was retained, the film emphasised the visual side.

    Othello was the next to be given the major cinematic treatment in 1995 by legendary actor and director Sidney Poitier (written by Oliver Parker)[3]. Poitier changed the setting from Renaissance era Venice to 19th century colonial Jamaica and included a lot of racial subtext with the now-black Othello (Delroy Lindo) falling in love with the white Desdemona (Helena Bonham-Carter) and attracting the jealousy of Iago (Tim Curry), who views her as his bride and plots to kill Othello because he assumes he has stolen what he sees as rightfully his in a clear echo of discrimination such as the dehumanization of Africans and the self-entitlement of white supremacy.

    Later that year, director Richard Lonclaire would make a modern adaptation of King Lear simply titled Lear with Ian McKellen as the titular character, who previously played King Lear in a 1990 stage production[4]. This version took place in Victorian Britain and reimagined the plot of the original play as a corporate power struggle between Goneril/Gail (Judi Dench), Regan/Reagan (Helen Mirren) and Cordelia (Natascha McElhone) for control of Rayburn Steel rounded out with a stacked ensemble cast comprised of Tim Roth (Edmund Gloucester), Rowan Atkinson (George Gloucester), Sean Bean (Edgar Gloucester), Michael Gambon (Richard Kent), Jean Reno (François), John Cleese (Duke Albans), Pierce Brosnan (Michael Cornish) and Gerard Depardieu (Bartholome) with a then-unknown Daniel Craig playing the Fool. Aside from the new setting, the film preserved much of the plot and themes of King Lear right down to the tragic, downbeat ending with Duke inheriting Rayburn from his competitors paralleling the folio version of the ending.

    On the complete opposite scale of the seriousness/silliness scale that year was Fail Caesar! (dir. Rik Mayall; written by Mayall and Adrian Edmondson), which used Julius Caesar to lampoon Jacobean tragedy in general but in an affectionate manner like his previous works. As you would expect from a then-contemporary reinterpretation of a Shakespearian play, the plot sees Julius Caesar (played by Mayall himself) as the Consul of the Roman Republic who is later assassinated by sixty senators in a deliberately anachronistic and darkly comedic take on one of the most important events in European and world history.

    1996 would see a modernised, contemporary takes on the classic Shakespeare play Macbeth with an almost all-Scottish cast comprised of Ian Glen as the titular character (renamed Macbeth Menzies), Brian Cox as Duncan McDonagal, David Tennant as Malcolm McDonagal, Tommy Flanagan as Donalbain McDonagal, Tilda Swinton as Rose Menzies, Dougray Scott as Banquo, James McAvoy as Fleance, Craig Ferguson as Michael Macduff, Emma Thompson as Elizabeth Macduff, Iain Robertson as John Macduff, Annette Crosbie as Hectate, Phyllis Logan, Lindsay Duncan and Laura Fraser as the Wayward Sisters, Peter Mullan as Sifton, Jared Harris as George Steward and Natalie Cassidy as Shelley Steward (a genderbent version of Siward’s son). The 1996 retelling of the Scottish Play was the brainchild of satirist Armando Iannucci, a writer for the BBC’s The Day Today. Iannucci had seen a 1991 London production of Macbeth with Cox and Glen and had written a script as early as 1993 with the intent of producing it for television[9]. However, BBC executives wanted Iannucci to direct and produce a big screen adaptation of the play, Iannucci complied with BBC’s request and got to work on updating Macbeth to a new audience. This Macbeth took place in modern Scotland with Macbeth Menzies running for the position of MP in the county of Fife by resorting to all kinds of treachery as in the original play up to killing Duncan and hiring a group of gangsters to kill his opponents all filtered through the lens of Iannucci’s dryly bleak satire. The BBC produced film would be distributed overseas by Disney’s Hyperion Pictures and made a modest profit at the box office, nevertheless helping establish Iannucci’s credentials as a director and writer.

    The latter half of the 1990s saw lavish, big-budget epic adaptations of Shakespeare's most famous plays which included Ridley Scott's The Merchant of Venice (1997; written by Howard Franklin)[5], Branagh's Richard III (1998; written by David Mamet)[6], and Lonclraine's A Midsummer's Night Dream (1999; also written by Loncraine). Unlike the other Shakespeare adaptations, these films were mostly straight translations of the original plays which kept the settings as they were but with some changes to make them palatable to contemporary audiences. Much like their updated counterparts, these films brought together some of the finest actors from both sides of the Atlantic in major or minor roles such as Leonard Nimoy’s Shylock, Christopher Plummer’s Richard III, and Cate Blanchett’s Hippolyta. The films performed moderately or very well with critics and audiences and won or were nominated at awards ceremonies like the Oscars and BAFTAs.

    1998 sae a retelling of Romeo and Juliet titled Crossed (dir. Spike Lee; written by Lee and Tupac Shakur), described by some as West Side Story meets Boyz n the Hood. Like West Side Story, Crossed would retell the Shakespeare classic with ethnic street gangs rather than Italian merchant clans, but featuring a mostly black cast and set in LA in the present, with the gangs being the Monarchs and the Caps, fictional stand-ins for the Bloods and the Crips respectively[7], thus being a crossover between the Shakespearean play and the Hood genre of films popular at the time. Chris Kelly of Kris-Kross fame, would play the Romeo-esque Rolls while Aaliyah was tapped for the Juliet role, Jewel[6]. Tupac himself would play the Mercutio-type mentor role of Mercury, backed by Biggie as the violent, sociopathic Tybalt-type character of Baller[8]. With an all-star cast of of rap and R&B singers[9] and an acclaimed soundtrack from Lee collaborator Terrence Blanchard, the film was a box office hit and was nominated or won multiple awards, notably at the MTV Movie and TV Awards (which even they acknowledge was not usually something they do) drawing in a rather diverse audience of different races and genders. It also helped build up the acting credentials of Kelly, Aaliyah and Tupac.

    Another breed of Shakespeare adaptations would emerge en vogue in a place different yet familiar: high school. Many teen drama and comedy films of the 90’s into the 2000’s would re-imagine the plot of classic English literature as a whole as happening in the faculties where teenagers often learn and perform them in English and Drama classes, and the Folio was no exception. The most notable of these high school Shakespeare adaptations being 1998’s Ruthless, another retelling of The Taming of the Shrew set at a Chicago high school and directed by Tommy O’Haver with Natalie Portman as Catherine “Kathy” Staley, Heath Ledger as Perry Truman[10], Kirsten Dunst as Bianca Staley and Josh Hartnett as Cameron Jackson. Unlike Nancy Meyers’ take, Ruthless ended on a much more hopeful note, with Kathy reconciling with Bianca and begins dating Perry. Another was 1999’s "O" (dir. Tim Blake Nelson; written by Brad Kaaya)[11], which retold the story of Othello with a racial subtext as common as Sidney Poitier's 1995 version set at a Charleston high school with Mekhi Phifer as Odin Jones, Christina Ricci as Desi Brable and Freddie Prinze Jr. as Hugo Goulding. In the same year, there was As You Would Really Like It (directed by Weitz brothers, written by Adam Herz) which turned the play into a raunchy sex comedy[12]. Finally, another classic Shakespeare play adapted for a tween audience was 2001’s Summer Night, Summer Fright (a retelling of A Midsummer Night's Dream; directed by Gil Junger; written by R. Lee Fleming Jr), which brought a violent horror-comedy take on the play in the vein of George Romero and Joss Whedon’s Final Girl, with a wedding being in the path of succubiand the protagonists Alison Woodward (Julia Stiles) and Bertram “Bertie” Sanders (Joseph-Gordon Levitt) fighting said succubi. As in the original play, Puck has a large role, here played as a puppet and voiced by Patrick Stewart.

    All in all, Shakespeare adaptations experienced a great renaissance within cinematic circles, sparking creative interpretations that helped reach audiences that otherwise weren’t interested in the classics. However, at the same time these Shakesperian films were in theatres, television was also making its own forays into the Bard’s plays outside of televised recording, and even the golden age of interactive fiction would dip its toes too.


    [1] No Frankenstein for Kenneth Branagh to direct and star in means his schedule is freed up in 1994.
    [2] On TV Tropes, this would be called Too Bleak, Stopped Caring (formerly known as Darkness-Induced Audience Apathy).
    [3] Concerning what happened to Sidney Poitier’s directing career, he did not direct Ghost Dad with Bill Cosby in 1990 as that movie would be a John Badham-directed Steve Martin star vehicle as originally intended due to butterflies affecting it’s production and the careers of the people involved.
    [4] Ian McKellen said that he had no interest in playing Richard III because he saw the play as not suited for a modern audience and only changed his mind after playing Iago in a 1989 production of Othello. Ten years worth of butterflies means that McKellen does King Lear on stage which leads to Loncraine writing an adaptation of the play, six years later.
    [5] Definitely not to be confused with the unnecessarily excessive torture porn, rape-filled zombie comic by Garth Ennis and Avatar Press from OTL which will have a different name if it still exists. Additionally, Lee’s Crossed replaces William Shakespeare’s Romeo + Juliet as the modern 90s adaptation of Romeo and Juliet since Baz Luhrmann doesn’t make the film. And the idea of Lee doing a Romeo and Juliet is from none other than @Geekhis Khan himself.
    [6] As confirmed by the Great Khan, Aaliyah’s tragic plane crash in the Bahamas has been completely butterflied. Because of this, she will get to have a long-lasting acting career.
    [7] As films like Justice: The Bass Reeves Story and Star Wars Episode I: A Darkness Rising can attest, Tupac Shakur has a thriving film career and with his death being completely averted expect him to appear in more films or even TV shows whether as a leading man or in a supporting role.
    [8] Other hip-hop artists and R&B singers starring in the film are Ice T as Rolls’ father Theodore (Lord Montague), Whitney Houston as Rolls’ mother Regina (Lady Montague), Snoop Dogg as Rolls’ oldest cousin Benji (Benovilo), Big Pun as Rolls’ second cousin Barker (Balthasar), Tevin Campbell as Rolls’ third cousin Georgie (Gregory), Usher as Rolls’ youngest cousin Sammy (Sampson), Luther Vandross as Jewel’s father Philip (Lord Capulet), Anita Baker as Jewel’s mother Diamond (Lady Capulet), Mary J. Blige as a gender-flipped version of Abra, Biz Markie as Pete (Peter), Queen Latifah as Rosie (Rosa), Big Daddy Kane as Vick (Valentine), Toni Braxton as Jenny (Nurse), James Brown as Mayor Prince (Prince Escalus), Ice Cube as David (Count Paris), Chris Smith (the other half of Kriss-Kross) as Antonio (Anthony and the other Capulet servants) and Barry White as The Dealer (Apothecary). Tupac and Biggie’s friends Freddie Mercury and Kurt Cobain would have small roles as gay businessmen, the film’s analogues to the friars.
    [9] Iannucci would be in London working for the BBC and would have seen Cox and Glen’s Macbeth London performance at the Royal National Theatre. Cox of course has done Shakespearean plays before in OTL and TTL and Iannucci seeing him on stage with Glen is catalyst for the Scottish Play getting adapted to the silver screen in ‘96.
    [10] Since Alien 3 is directed by Scott, 1492: Conquest of Paradise is never made and his career isn’t derailed for a while.
    [11] As Loncraine is busy with Lear and A Midsummer’s Night Dream, Branagh gets to direct an adaptation of the play set during the Wars of the Roses as opposed to an alternate 1930s Britain in OTL’s 1995 film.
    [12] Ledger already has some recognition from X-Men and Blackadder in the Fifth Form but this film will launch his career as a leading man.
    [13] O was pushed back to 2001 IOTL due to the Columbine shooting. Since that event will have gone a different way, it will be released in 1999. Also, Ricci and Prinze Jr. who were (apparently) considered for O will actually be in the film.
    [14] The film replaces American Pie, since the tween sex comedy boom has been butterflied in the post-Anita Hill era. That said, some cast members from that movie will appear in this film.
     
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    Sioux Sue for SUE
  • SUE: Life, Death, Legacy, and A Tale of Two Institutes
    By Riley Black of Smithsonian Magazine Netsite, September 2015
    Guest post by @Plateosaurus with assistance from Mr. Harris Syed and @Nathanoraptor


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    Recently, the miniseries Sue debuted on HBO, starring Wes Studi as Native American rancher Maurice Williams and Karl Urban as fossil entrepreneur Peter Larson, based off the book by writer Daniel Thor-Diggs[1]. The story adapts the real life legal battle over one of the largest specimens of T. rex ever found, between the Williams and the Sioux tribe, Larson’s private collectors at the Black Hills Institute, and the US government over who truly owned it. Many have deemed the legal affair around SUE that inspired the series as making it one of the most significant fossils in history for the legal precedent about fossils they[2] had set. With the 25th anniversary of the specimen’s discovery approaching, let’s explore the history of SUE and their place in American history.

    The story of SUE naturally began 67 million years ago at the end of the Cretaceous period, albiet with very few details confirmed. All we knoew so far is that an adult Tyrannosaurus died in the swamplands of mid-western North America after living a long and dangerous life, before becoming covered in mud over time. The conditions were just right for the three to be fossilized, and as with all fossils, seeping water brought minerals into their body and replaced it to stone.

    SaNxU7xn7at0R6tAD_dpvWSlKdKndgOxcYJafHKQHSGVBeS8iYySytL1ntCu89C7o6KivALitK4onbsZYUJXQPs-3oJYNFDGNmxvQPUFZFrhu-c6hs7tEGpbdqL4C6wRF404FAKpXBy3YQ8tOyJM1N2bqy7d9c1vcOz8B9bXVxMuwtU-fsn-kaxvM19MCw

    Palaeontologists Sue Hendrickson and Pete Larson at the site of SUE’s discovery (from American Chemical Society)

    We then flash forward millions of years to August 1990 to the American Midwest now dubbed South Dakota, specifically the Cheyenne River Sioux Nation, where members Maurice Williams and his wife Darlene had a cattle ranch. He had given permission from the private Black Hills Institute of Geological Research, which dealt in fossil preparation and excavation since its formation in 1974 by Peter Larson. Having already found several of the duckbilled herbivore Edmontosaurus, prospecting one section of the badlands led to the infamous find[3]. They were magnificent specimens: SUE in particular was 90% complete, 12 meters long, and by their estimate 14 tons which held records for the genus. In addition to them, they even found two smaller theropods; either they were juvenile T. rexes, who even could possibly be SUE’s own offspring or simply different ones from a different time[4], or even new specimens of the genus Nanotyrannus, an exciting prospect either way. The excavation was long and arduous in the midwest heat, but weeks later it would be sent to their labs in Hill City to be further prepared for selling. Larson planned to make the family of T. rexes they had found the centerpiece of a new museum for the Institute, both a major hub for scientific activity and tourism for both the region and South Dakota as a whole.

    However, all those plans were marred when a litigator entered the fray and sued the institution: Maurice Williams. He believed that since he owned the land the three rexes were found in, he, along with his own tribe, was the owner of SUE and the other two. He would ask the Department of the Interior to hand it over back to him, and that the BHI did not even have his permission to take the fossils. His insistence was understandable: his people have long been subject to having their culture and land stolen by private groups and the government alike since the 1700s, and fossils were no exception, given they were venerated as the giant ancestors of modern animals as were not to be deserved in their beliefs. The same year SUE was discovered, the Native American Graves Protection and Repatriation Act was signed into law, which forbade the selling and buying of cultural objects from native and federally-owned land, to prevent exactly that. Ironically, the Smithsonian would get involved in similar affairs in the same period with the human specimen known as Kennewick Man, which while not truly part of modern day indiegenous tribes, was picketed by protestors from the Umatilla tribe over it being returned and reburied as one of them rather than being studied by Smithsinian personnel.

    The pressure was bad enough for Black Hills. Then came a raid in May 1992. Government agencies had already sent warnings to the institute for unauthorised digs and takings (including for the dig itself), but the BHI did not budge. Via tips from the National Park Service, the South Dakota National Guard and FBI agents came in the morning of the 12th, seizing the three tyrannosaurs, despite Larson’s protests they were all BHI’s property. The specimens were to be transferred to the South Dakota Museum of Geology at the School of Mines in nearby Rapid City for the time being until the affair could be sorted out.

    Not everyone agreed with the action. The town of Hill City was particularly furious, seeing SUE and the two juveniles as part of their community and demanding it be returned, with local residents initially chasing the truck (some children crying tears while doing so), but then some resorted to using logging trucks to stop it from bringing SUE to the government[5]. Even Pete and Neal Larson would become staunch opponents of the fossil being owned by anyone else other than themselves, the BHI, or Hill City. Unfortunately, the logging truck quickly spiralled into a riot that left four injured. Soon, SUE was known nationwide for all the wrong reasons; they even became a moderately-sized flashpoint in the growing debate on the government vs. people angle conservative politicians and pundits were pushing.

    As the civil case subsequently began between the BHI, the Sioux and the federal government over ownership of SUE presided over by Judge Richard Battey, and while fairly small all things considered, the media hype and circus around it would blow up immensely to the point where many were seeing it more as a proxy for the debate over how much power the government had over its citizens and private groups. Eventually, the Supreme Court made its verdict and upheld it: Maurice Williams owned SUE, not Black Hills and so SUE would be handed back to the Williams family. Peter meanwhile, facing further scrutiny for previous illicit acts, was sentenced on separate charges in 1996, perhaps because the SUE affair had blown him up and into further scrutiny. The Black Hills Institute for Geological Research would be thrown into turmoil for the next decade, and in 2005 it would shut down entirely due to mounting debt and shrinking profits and support, its specimens donated to other museums, universities, and institutions and its staff going around the nation.

    With SUE now back in his possession, Maurice would make the fateful decision to put it up for auction, hoping to make money for the Sioux tribe. Many would criticize the auction as exploitative and greedy, with both scientists, government officials, and even celebrities and other private groups voicing their displeasure over SUE being sold to a private collector, where they would be rendered borderline inaccessible to palaeontologists seeking to study her. Jurassic Park star Pierce Brosnan was among those who spoke out, saying that “Sue is among the most complete - and the largest - Tyrannosaurus rex skeletons ever found and her remains could provide an unprecedented insight into how her species lived. It would be a travesty for such a remarkable specimen to end up hoarded by some private collector when she could be in a museum where the world can study, learn from and enjoy her. Whilst I understand the Sioux need money to help sustain themselves, selling this invaluable specimen to some fossil hoarder is not the right way to go about obtaining it.” An unsuccessful petition was even started for the government to seize SUE once again and keep her under the U.S. Army Corps of Engineers, letting the specimen be donated wherever they pleased. On the other hand, the private sector was curious about SUE and pondered if they could get their hands on the fossil. Meanwhile, the Sioux tribe fired back at the critics, saying they had every right to choose what to do with it and accused authorities and pundits (who go without saying are mostly white) of trying to police them.

    Still, many museums decided to make the direct choice to try and bid for SUE, in the hopes of acquiring it for study and preventing it from going into the wrong hands. Such a choice was controversial: many felt purchasing fossils from private collectors and finding them just to sell them legitimized a damaging industry run by people who had no rigorous training in the fields of the sciences that broke and sent away valuable specimens. However, the private institutes and commercial palaeontologists fired back, saying that they were merely honest, hard-working individuals unbound by bureaucracy trying to make a living, and there were enough fossils to go around for both sides. But as far as museum directors were concerned, the risk of entering such ethical quagmires were worth saving a specimen like SUE from, as one put it, “a potential life in some rich twat’s mansion”.

    Among the museums wanting to make the purchase was the Smithsonian Institution, partially owned and operated by the US government. At the time it was going through an upheaval to modernize itself, and some believed that getting the T. rex would provide the revenue and clout to help the museum grow[6]. It was going to be an uphill battle, but the Smithsonian had the backing of two other big ones. Naturally, the first was the government, but the second was the Walt Disney Company. The entertainment juggernaut already had a working relationship with the Institution, having collaborated on restoring both the Queen Mary and the Spruce Goose for Port Disney, and they were jointly setting up Smithsonian’s nascent cable network Smithsonian TV. Many members of Disney, already supporters for environmental rights and reform, would agree that the specimen should not belong to a private collector and risk being lost to science and the public but they decided it would have been a hypocritical PR nightmare to directly buy it themselves. However, after a meeting between Smithsonian members and park manager Bob Lamb during construction of the new Disney park, Disney Animal Kingdom, they agreed to merely help provide the money for the Smithsonian. They also made some other agreements concerning the specimen. Joining Disney would be its partner in the Bass Brothers, However, not everyone at the company was on board with this proposal, with some wishing to allocate the money away from the Smithsonian into building the already high-budgeted Animal Kingdom and other projects, with one even resigning over the Institution’s agreement with Disney, going instead to Warner Bros. to work at their theme parks.

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    From the documentary Dinosaur 13, copyright CNN Films and Lionsgate

    Ultimately, the auction on October 6, 1997 would last just nine fateful minutes and balloon from a mere $500,000 into the millions, but the Smithsonian was the one who bought SUE, for over $9.08 million, a record holder for any fossil ever bought (with most of it going to the Sioux Tribe and reservation’s healthcare and infrastructure). The second highest was Chicago’s Field Museum of Natural History at a barely close $7 million (joined by McDonald’s)[7], and in third place was Raleigh’s North Carolina Museum of Natural Sciences. Nevertheless, no hard feelings were lost between all three institutions. Both Field and NC became affiliates of the institution, and the FMNH got to organise an expedition to the site and got to keep the two juveniles, who’d be come to be nicknamed Reese and Thunderbird, as a play on the name of Maurice and a mythical bird in his tribe’s mythology respectively as an ode to the Bird-Dinosaur connection.

    Although the purchase of SUE was the highest-priced dinosaur at auction, it would be the last. In 1999, a new piece of legislation from Colorado Representative David E. Skaggs ould be introduced known as the Fossil Excavation and Preservation Act which prevented any private individual or group outside of universities/colleges or museums from purchasing vertebrate fossils and exporting them or be taken outside the US without permission, and more broadly classified them as artifacts, and placing a cap on privately owned specimens. The legislation would be signed into law by President Gore after it was approved in the Senate. It was not flawless - fossils could still be traded around US soil and into Canada, and as the fossils were still classified as minerals, people could still purchase fossils without repercussions.

    The staff of the National Museum of Natural History saw the acquisition as a godsend. The Natural History Museum was undergoing a large renovation at the time, receiving over $40 million in donations from donors to refurbish the aging exhibits and galleries, and SUE, in addition to shaping up to be a trove of palaeobiological knowledge, would be a perfect centrepiece for the new fossil life gallery. For the next two years, SUE would be extracted from the rocks live on the internet at one of the museum’s prep labs. In the early winter of 1999, SUE would begin being mounted in the museum. Initially SUE was in the museum’s fossil gallery, Fossils: History of Life. Eventually in 2006, they were taken on tour across the nation and even into Canada during the creation of the museum’s new fossil gallery, the Bass Hall of Fossils and Evolution. SUE’s travelling exhibit, focused primarily on the palaeontology and ecology, with little in the way of discussing the history of her discovery and ownership, although inasiders confirm future runs could adress this.

    In both the first and current versions of the Fossil gallery, they also stand opposite Rex’s iconic rival Triceratops, the museum’s famous “Hatcher” specimen. The second iteration stands out, for he is posed thrusting up his horns to show he is not to be messed with as he walks by and SUE snarls at him. SUE themself, unlike most other Rex mounts posed standing up roaring or mid-stride, was uniquely sat down around a replica clutch of T. rex eggs so as to be seen at visitors eye level, allowing people to observe their feature more closely. The new gallery opened in May 2009 for $100 million[8], and was attended by over a thousand guests. They would prove to be one of the museum’s major draws over the years, with one report suggesting SUE alone brings over four million visitors per year, and becoming one of the museum’s mascots.

    SUE would even get several documentaries about her both on Smithsonian TV and other networks. The first was T. Rex Live!, which documented the preparation and mounting of SUE in the late 90’s, simulcasted on NBC. The second came in 2002 titled Sue: A Dinosaur’s Story, which in the style of a nature documentary showed a week in the life of the T. rex, culminating in a battle with a full grown Triceratops.

    Disney has also gotten several things out of the partnership: as part of a deal made prior to the auction, a bronze cast of SUE would go on display at Disney Animal Kingdom in its dinosaur-themed section. Unlike the Smithsonian counterpart, they would remain unchanged over the years, such as no gastralia and remaining standing. There would also be a video game published by the institution’s game publisher Jefferson Drive Studios called Regina, in which players control a T rex from birth to death to survive in the harsh world of the Cretaceous period, only revealing it to be SUE at the end. The game itself, a departure from the usually puzzle and point and click games it dealt in, was evidently fiction, with stylized gore galore, and major scientific inaccuracies throughout it, not the least being anachronisms like the Campanian Parasaurolophus and Gorgosaurus in the Maastrichtian.

    All the while, SUE was revealing so much about T. rex, tyrannosaurs and dinosaurs as a whole. Their massive size and bone structure has fascinated paleontologists for years since it’s discovery and revealed how it could support its massive bulk. Peering into the skull has uncovered much about the brain and senses of T. rex. Even analysis of holes on their jaws reveals that one ailment they faced was a parasite found in modern birds[9]. Reese and Thunderbird meanwhile have revealed much about the growth of T. rex from fast, slender forms to the robust adult and the disparate predatory niches they had, and in 2009 helped solve the mystery of whether the infamous gracile genus Nanotyrannus even existed, turning out to be growth stages of Tyrannosaurus. However, just as much through the legal debacle, SUE has also revealed much about ourselves in the way the government, private sector, and indigenous communities interact and our own troubled relations with nature where capitalism is concerned as many treat it as little more than commodities to be sold. Overall, SUE still has much to tell about the history of life on Earth, just as they already told us a great variety about the nature of dinosaurs.


    [1] He’s also written his fair share of netlog posts, so don’t be surprised if the next dinosaur related post is by him.
    [2] The Field Museum labels SUE as nonbinary due to no evidence for the specimen being either a male or female. Their Twitter account even is such.
    [3] In our timeline, the discovery came on August 12, only because the truck sprang a tire, and Sue Henderson found it by chance while passing the time walking around. ITTL, its excavated during it, due to third order butterflies searching in the vicinity earlier.
    [4] These two are real (and credit to members of Paleo Media Central Discord server for notifying me about it), although there’s next to no information the writers can find about them online, and its possible they were deposited at a different time and place from it. The public and media will spread the assumption they are SUE’s own offspring and by extension SUE is female.
    [5] Didn’t happen in OTL due to safety concerns, but it does here thanks to a stronger reactionary movement because of the progressive politics of TTL’s decade. Such a thing turns things real ugly, and turns the debate over SUE into a much, much bigger fight and in hindsight will be seen as one of the first outbursts of big political violence that would characterize the latter half of the decade.
    [6] The museum did not have a genuine T. rex IOTL until 2013 with the Wankel Rex specimen transferred from the Museum of the Rockies in Montana, having to settle for a cast of the Stan specimen installed in 2000, also from the Black Hills Institute. ITTL subsequently, the Field Museum got a cast of Stan.
    [7] Lower than IOTL due to the absence of Disney providing the bid.
    [8] IOTL, no renovation took place until 2014 before opening under the name of the David Koch Hall of Fossils - Deep Time. For comparison, it cost $110 million IOTL.
    [9] No really, take a read for yourself for what I mean - although do keep in mind some other studies suggest its facial biting from another T. rex instead.
     
    Doomed
  • Ted Raimi's Doom (1998), A Retrospective

    Guest post by @MNM041 with executive assistance from @Plateosaurus, @Ogrebear and one Mr. Harris Syed
    From Swords and Spaceships Magazine, October 2018

    t-4btAtFeG3NUtqpiMxqR_GFvBxXpU6wPcLbQ1o9VaCOJTd7xhGr4_40YseLpygKjX-xRQolwHUVkqmyZnn-N86TqRlGbdeqWfmsqJG3ekGBVnLJDv3ApHIBowCmGxQm5tKn6cdCbdYV_EnxdEozCIS3fNR5UKPK5sT9OZlynliMHKgi_NS7xDqo4WvG


    When the first Doom game hit shelves in 1993, it became one of the biggest games released that decade. Considered one of the most innovative first-person shooter games of all time, it introduced to IBM-compatible computers features such as 3D graphics, third-dimension spatiality, networked multiplayer gameplay, and support for player-created add-ons with the Doom WAD modding format. Doom’s player would battle the forces of Hell, consisting of demons and the undead who were infesting huge sprawling bases on Mars or its moons, while some levels take place in Hell itself. Think Tales from the Crypt: Medieval Dead meets Aliens[1].

    The game's creators (in particular ID Software's two Johns: Romero and Carmack) were all very excited by the prospect of making a movie adaptation, and would end up getting a rather tempting offer from Sam and Ted Raimi, who they would begin working with on the script alongside Joel and Ethan Coen in 1995, a year after the release of the second Doom game. That script would be brought by 20th Century Studios later that year. However, Sam had to leave the project to work on other films, leaving his brother Ted to direct[2]. While Ted didn’t have the large, successful repertoire as Sam, he did direct the well-received Striptease and score some some notable creations on TV, such as for Nocturns and for the TV series MANTIS.

    By Ted Raimi's own admission, the film was nearly scrapped during production. Originally, Raimi wanted his longtime friend and collaborator Bruce Campbell to play the iconic Doom Marine (who was given the name J.B. Blazkowicz Jr. for the movie in a reference to the Wolfenstein games), but Campbell was unavailable for the project due to other commitments he had at the time[3]. Fox brought in Steven Seagal who had starred in several hits by that point. Raimi described him as a nightmare to work with on set, nearly tanking the project with his horrible behavior, showing up late, demanding rewrites to the script to suit his ego and even actually hitting stuntmen. Once Raimi finally convinced Fox to drop Seagal as allegations of sexual misconduct began to surface, they looked for an actor to replace Seagal[4]. Initially Samuel L. Jackson was considered at first after looking at a line about JB quiping “Had your fun hot Stuff, now time for mine Motherfucker!”. However, it was ultimately actor and martial artist Thomas Ian Griffith who got the part[5].
    5UilMQWuTNHvkwB0N28qS4Erkw9K_UoDZCSKqY5HFNKBPKtv_dXcpKocz9asomSlypQLHO78LRgKa411JlGijerA-ZEPvm4ysTLWPiPGdJn2kL5P3LUjbBebp_uPiN6tuO4azSwK3qvm-tZOJBZ9rcQTkY8MmqRApWLdixqqAZ004ZzeuLuNUMyF6POC

    Image source; Cines.com

    Raimi chose to add more characters in order to expand on the story, with the Doom Marine being posted to a dead-end assignment on Mars after assaulting a superior officer who ordered his unit to fire on civilians. The other cast members included Samuel L. Jackson as Sgt. Asher "Sarge" Mahonin, the man in charge of the Mars unit, Nicole Brown[6] as Dr. Samantha McDowell, the unit's medic, Jonathan Brandis as Mark "Kid" Dantalian, the youngest member of the unit, Ethan Suplee as Eric "Goat" Fantom, a weapon specialist, Tom Kenny as Dean "Funnyman" Portman[7], a logistics expert, David Fralick as Gregory "Duke" Schofield and Scott Reeves as John "Reaper" Grimm, who also was formerly part of the unit that J.B. was transferred from.

    The movie begins with J.B. 's first day at the Mars base as he is introduced to everyone. They ask why he was transferred, but before he can answer the team is sent on a search and destroy mission to a facility run by the Union Aerospace Corporation, an intergalactic conglomerate which operates radioactive waste facilities on the red planet.

    ------------------
    (SARGE and JB are walking through the base)

    SARGE: Welcome to the least eventful place you could ever be stationed during your time in the Marines. Now since you're clearly not new blood, you mind if I ask who the hell you pissed off to get stationed here?

    (SAM rushes into the room)

    SAM: Sarge, we were just giving an assignment, we have to report to the Union Aerospace facility ASAP for a search and destroy mission.

    SARGE: Ah, guess we'll have to put that discussion on hold.

    JB: How bad are we thinking this is?

    GOAT: Oh, please this will be a cakewalk. Nothing exciting ever happens here.
    ----------------

    Upon arrival at the facility, the place appears to be abandoned. While searching for any signs of life in the facility, the Marines find a traumatized and injured scientist and escort him to the medical lab for treatment, but he later disappears. The Marines shoot at an unknown creature in the genetics lab that leads them down into the facility's sewer, where it attacks and kills Duke. They kill the creature and take it to the medical lab, where Sam performs an autopsy and discovers that its organs are Human. She and Goat witness Duke resurrecting and killing himself by smashing his head against a reinforced window. The two are attacked by a creature, trap it, and soon deduce that it is actually the scientist they discovered earlier.

    Upon going through the facilities and finding another corrupted scientist, the team makes a shocking discovery: the Union Aerospace Corporation has allowed the military to conduct secret teleportation experiments which have gone terribly wrong. Somehow, the military opened up a portal to Hell with the experiments. To make things worse, rather than shut the project down, the military tried to weaponize the portal and unleashed the demonic forces of Hell on themselves. The Mars team was sent because they were the only unit the distress signal could get to that hadn't already been killed and assimilated.

    MzWGEeV3G251O_8-5lJO8M_jE1eF5zUALfi6I46EGXx1zAxvO4yUvpWYzSkJPtnBsq8ecexK1Fim1ZqkhirrdYiAw47jZ04qqSE1-knzmdbfFI7dfhz7_499DowCwhJ7qw-B9hIzUX8jZN9DI3TIVGRY4ePU4wptHHFT7nddv_DB5MWG9E_ZIigbf4DI

    Concept Art for the Hell portal.
    (url for linking in the thread later: https://cdn.vox-cdn.com/thumbor/_5s...sset/file/6437569/Emerson_Tung_-_Vortex.0.jpg

    After this revelation, the team finds an armory and stock up on everything. Unfortunately the scientist that had just helped explain what the literal Hell was going on, Dr. Carmac, begins to transform himself before being killed by Kid. The team learns their only chance of stopping the demonic invasion is to close the portal and sever the connection to Hell. As the Marines fight demons and possessed Humans, several moments from the Doom games are re-created, for example, the fight where the Marine defeats two powerful Barons of Hell guarding a teleporter to the Deimos base with only their pistols.

    As they progress further, the ensuing battles begin to take a toll on the Marines, who all begin to show signs of degrading sanity, in particular Ripper, who appears to enjoy getting to shoot anything that moves a bit too much. At one point, he ends up shooting a seemingly normal scientist, and only points out that he's infected when JB calls him out on it. Whether he could actually tell that the scientist was infected is left up in the air.

    As they fight on through Deimos' research facilities that are corrupted with Satanic architecture and kill a gigantic cyberdemon, the situation worsens. During the battle with the cyberdemon, Funnyman is the next to die. Sarge becomes enraged and tensions begin building in the group, but they continue onwards. From an overlook the team discovers that the moon is floating above Hell and rappels down to the surface.

    The marines begin to take on Hell itself. Several famous action set pieces take place, though the group's numbers dwindle until only Sarge, Ripper, Sam and JB remain. An infected Ripper betrays the team and is eventually killed by the remaining three.

    --------------
    (JB looks down at RIPPER'S barely alive body.)

    JB: Funny: you were always the kinda guy who signed up just to legally kill people yet you're still scared for your Quisling ass to die.

    (JB stomps in RIPPER'S head.)

    JB: At least I can say I know where you're going.
    --------------

    Unfortunately, Sarge ends up getting infected by the demon virus and decides to heroically sacrifice himself to fend off the hoards that are descending upon our heroes, but not before giving Sam and JB the best weapon from the game: the BFG.

    RLyicbs0pFZWXIRPTFIbrs7Chvwt7If2pUULzgJCsrAbw7fKHonUVqxDaEauZtNSYIWPyg7cwWHtDlvi4xvVXMJ_LQUJPaCzCYlYaqLr6J0CPGxY50C9pNGzJTBZP3rncU6hp1vZtOAhzUd6RVw2dyS3SvVy2sBuZfzCvacF5Z4UmL1cz5bVyWti-oqR


    Link for thread: http://www.imfdb.org/images/thumb/6/61/Doom_BFG.jpg/601px-Doom_BFG.jpg

    --------------
    JB: What's BFG stand for?

    SARGE: I'm sure there's a more official and technical sounding name for it, but Goat and I just always said it stood for big fuckin' gun.

    (JB picks up the BFG and it certainly lives up to that name.)

    SARGE: You're definitely going to need that where you're going.

    JB: Where we're going? What are you…

    (SARGE steps into the elevator and reveals he's been infected)

    SAM: No…

    SARGE: Game over for me, but I'm not going down without a fight.

    (SARGE turns on the elevator while SAM and JB try to stop him, insisting there must be another way. SARGE prepares to fight off the demonic horde in a heroic last stand.)
    -----------------

    After Sarge's sacrifice, we are treated to the best action scene in the movie: a first person sequence of JB and Sam mowing down demons, that replicates the feeling of the game beautifully. With a major battle to destroy the cybernetic spider-demon that masterminded the invasion of the moons.

    Just before the final fight, we finally learn what got JB stationed on the Mars base. After his commanding officer ordered his unit to fire on protesting civilians, JB disobeyed his orders and not only assaulted him, but brutally beat him to death. After this revelation, we see JB let out the barely suppressed rage that he had been holding in ever since his tense standoff with Ripper. In this moment JB begins to act like the version of the Doom Marine that we saw in the infamous comic, mowing down the hordes of demons while screaming "Rip and tear!"

    After a climactic fight with the leader of the invasion, JB and Sam end up closing the portal before getting on a ship to get themselves off the planet, both of them going into a cryo-healing pod after they've set a course for Earth.

    Doom would become one of the highest grossing action movies of the year (or the highest grossing of the year depending on who you ask) at $283 million on a budget of $95 million. Its success of course led to sequels, as well as several cast members actually appearing in later Doom games, with Thomas Ian Griffith even lending his voice to the Doom Marine in several of the later games. Doom 64, released the same year, would receive a significant sales boost from the movie’s success. It also led to more comics being made, including a comic crossover with the Alien franchise in which JB teams up with Ellen Ripley to fight a horde of demon Xenomorphs.

    vgSBbbaxfDgW2aTZIpDx8p2UdPdDt17DNdCKNe0Mr-ieLou9LkP-tAum3rPxHkyGGG7Hu5hb2YkiBnabV4JNFx8vq1H3wg2etMiOhbEkRYsPy_bO6k6V3QFNvXkz1iyKhCFQIuj1Utk4AnWsebi46A5GXLoo-bvN97NGiYoiKXSVZX_SFhUne61lI5hV

    Doom vs Aliens
    Link for thread: https://preview.redd.it/ojymiadxfep...bp&s=ee04e2a92b5c73f1577d197094e10ca2705d484c

    Doom’s success also led to action movies and even a few TV shows being made based on other shooter games, such as Quake, Duke Nukem, Shadow Warrior, Carnivores, and Blood. Doom would also spark a new trend of movie adaptations of horror video games in the late 1990s and 2000s such as Resident Evil, Silent Hill and Alone in the Dark[8].


    —--
    [1] An allusion to John Carmack describing Doom as Aliens meets Evil Dead 2 in OTL.
    [2] Raimi's other projects include The Mighty Thor for Disney and Marvel which will be the subject of a separate post.
    [3] Bruce does star in some promotional materials and advertising in a future Doom game for the Nintendo Ultra as Doomguy, however.
    [4] As noted under The Impossibles Guest post, Steven Seagal is already running into even more trouble after his argument with one of the producers of that film. Since the Anita Hill case made sexual harassment a much bigger issue in TTL’s 90s, Seagal will see his acting career flushed down the toilet much sooner and pretty much out of the job.
    [5] Doom will basically serve as a career rebound for Thomas Ian Griffith after The Karate Kid Part III. Griffith was originally signed on to work as one of the stuntmen for the film and as noted in the guest post for Who Is Alan Smithee? Griffith actually got into a fight with Seagal prior to Seagal being booted.
    [6] Since the O.J. Simpson murders don't happen here, Nicole Brown ends up having a pretty solid acting career starting with this movie.
    [7] Tom Kenny did have some small parts in live-action films and TV shows such as Shakes the Clown and Mr. Show in OTL and TTL. ITTL, Kenny's live-action and voice-acting career will be far more balanced than OTL.
    [8] Since DOOM is a smash success, don't expect Uwe Boll's House of the Dead or Alone in the Dark to exist ITTL. In fact, without the infamy of his bad video game adaptations, Boll won’t become nearly as hated as OTL and remain a niche figure doing low-budget movies very few people ever heard of.
     
    Last edited:
    Luv ya' Blue!
  • Guest articles by Mr. Harris Syed and @MNM041

    Houston Oilers Trade Up for the Draft
    April 12, 1998, Sports Illustrated


    In a shocking turn of events, the San Diego Chargers[1] have traded their #2 pick in the 1998 NFL Draft to the Houston Oilers, both teams announced Sunday morning.

    The Oilers, previously selecting at #18[2], have leaped sixteen draft spots over every other team in the first round. The trade was not exactly dirt cheap as the Oilers receive the Chargers’ #2nd pick in exchange for giving its first-round, second-round and third-round picks to the latter team[3]. The Chargers now have extra draft picks to select players.

    The Oilers, on the other hand, have been looking for players that can catch and perform risky plays to compliment quarterback Steve McNair and running back Eddie George under the offensive-driven strategies of head coach Mike Munchak[4]. The Oilers are looking for fresh young faces to help them win a Lombardi since their Wild Card Game rematch against two-time Super Bowl champion Buffalo Bills in 1996[5] and many believe the team will select a wide receiver though others say…Cont’d on A3





    Oilers Select Isaiah Mustafa
    April 18, 1998, ESPN

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    Isaiah Mustafa at Arizona State, circa 1996

    The Houston Oilers have selected Arizona State's Isaiah Mustafa in the first round of the NFL Draft[6]. Mustafa, a wide receiver from Portland, Oregon, was a widely talked about prospect in the draft after an amazing season in his senior year, playing for the currently undefeated Arizona State Sun Devils, who won the Rose Bowl Game with Mustafa himself personally scoring seven touchdowns. Between 1995-1997, Isaiah racked up 2,677 yards with 54 receptions and a total of 16 touchdowns before and after the Rose Bowl Game[7]. Because of this, Mustafa was seen by many draft observers as a top prospect in his final year with the Sun Devils, especially due to him scoring the final touchdown at the Rose Bowl in Pasadena, California as well as his status as an All-American and being a finalist for the Fred Biletnikoff Award along with Auburn’s Frank Sanders[8].

    Mustafa himself is very excited to soon begin training with the Oilers when we sat down with him and his father John for an interview. “It's an honor to have been the Oilers first draft pick and I promise I'm going to do the best I can to prove their confidence in me was warranted,'' said the 24-year old wide receiver. “I’m going to get my team to the Super Bowl just as I did with the Sun Devils in the Rose Bowl."

    Mustafa has also been open about his background as a devout Muslim in a country that has seen an increase in anti-Islamic sentiment in the wake of attacks on the American Airlines and Qantas jets by Al-Qaeda last year. “I want to let the world know that I am a proud American Muslim and a proud black man. I’ve seen my fair share of bullying and death threats made to me or other Muslims across America and I will not be intimidated by these cowardly threats”. Mustafa also said that his favorite show to watch on television is CBS’s Mohammed to the Mountains because of the lead character’s faith.

    Besides Mustafa, the other top wide receivers in the Draft include Marshall’s Randy Moss[9], Utah’s Kevin Dyson, Georgia’s Hines Ward and Florida’s Jacquez Green. Many believe that the Oilers selecting Mustafa was the right call by the team as he may prove to be a valuable weapon for the offense for the next ten years[10] and has…Cont’d on B4


    [1] IOTL, the San Diego Chargers used this spot to select quarterback Ryan Leaf of Arizona State who went on to become one of the most infamous draft busts of all time after a trade with the Arizona Cardinals. ITTL, the Chargers did slightly worse with a 3-13 record thus giving them the #2 spot right from the start instead of the Cardinals hence the trade with the Oilers who are behind the New Orleans Saints when they select Peyton Manning as opposed to the Indianapolis Colts with the latter team having a better performance last season thanks to a 1995 AFC Championship win over the Pittsburgh Steelers. Due to the trade, the Chargers will not select Leaf as he will be headed to the Oakland Raiders and face the same problems like OTL which means Charles Woodson goes to the Arizona Cardinals instead. As for the Chargers, they choose another quarterback in Eastern Michigan's Charlie Batch who carves out a better career than Leaf.
    [2] The Oilers have a 9-7 finish in 1997 much like last season though they didn't make the playoffs. Their draft spot last year was #16 due to their playoff appearance in 1996. IOTL, it was #16 since the team finished with an 8-8 record under Jeff Fisher.
    [3] The Oilers' draft picks in the second and third rounds were #46 and #77 respectively while the Chargers had #59 as their only other draft pick. ITTL, the Oilers had the #44 and # picks prior to trading them to the Chargers.
    [4] Given that the team suffered a post-playoff fire sale as a result of Bud Adams’ fire sale, the Oilers draft many of the same players in 1995 and 1996 from OTL including McNair. Munchak, being a Pro Bowl-winning offensive guard, focuses on rebuilding the team by employing offense-based strategies to protect the quarterback and strengthen the offensive line thus leading to an improved record of 8-8 in 1995.
    [5] Recall on a previous Main Thread post that the Bills won a Super Bowl in the 1991 season. The team also went on to win another Super Bowl next season against the San Francisco 49ers who beat out the Philadelphia Eagles thus denying them the chance of a rematch after winning a tight game against the Dallas Cowboys thanks to a better performance in the last season. However, the Bills lose another Super Bowl in the 1993 season against the Cowboys and they don’t make the playoffs between 1994-1995 before eeking out a Wild Card win against the Oilers only to lose to the Pittsburgh Steelers.
    [6] IOTL, Mustafa started playing football at Moorpark College as a safety before switching over to wide receiver where he set a college-record of 66 receptions and 1,086 yards which allowed him to receive a football scholarship to play at Arizona State University where he had 233 yards and two touchdowns with an Academic All-Pacific 10 Conference honorable mention before he got benched due to a confrontation with an Arizona State assistant coach causing his performance to decline next season. Given the changes to the world of sports in the Hensonverse and the fact that said event occurred well after the POD, this is butterflied and Mustafa remains a starter for the Sun Devils racking up plenty of yards, touchdowns and receptions prior to his selection by the Houston Oilers.
    [7] Mustafa sat out the game and later became an offseason/practice squad member of the Oilers when they were in Tennessee prior to their rebrand as the Tennessee Titans in 1999 before bouncing around other teams such as the Cleveland Browns or the Seattle Seahawks prior to his transition to acting in the mid-2000s. He was encouraged to try out for the Oilers by a sports agent. Since the confrontation never occurred ITTL, Mustafa didn't meet the sports agent and continued playing college football at Arizona State in 1997 before declaring himself for the draft.
    [8] IOTL, the other Biletnikoff Award finalist was Jack Jackson of Florida.
    [9] Due to the effects of the Oilers-Chargers trade, the Colts end up drafting Randy Moss instead of the Minnesota Vikings to assist Jim Harbaugh.
    [10] Long story short, Mustafa will be a key part of the Oilers offense as their top wide receiver. Mustafa getting drafted by the Oilers means that his acting career is delayed since he is too busy with the NFL.
     
    Here, Kitty Kitty...
  • Remembering Catwoman (1998)
    From Remember When? Netsite, by Hippolyta “Hip” O’Campus
    A guest post by @Plateosaurus and @Nathanoraptor with assistance from @MNM041 and Mr. Harris Syed


    220px-Catwoman_poster.jpg

    Most certainly not this.

    Remember when DC’s feline thief Catwoman had her own movie? I do, and so should you.

    It all began in the late 90’s with DC’s films at a crossroads. Sam Raimi’s exile from the growing DC movie continuity (and subsequent defection to Marvel) still loomed large - with fans outraged by how Raimi had been treated. Garry Marshall had managed to salvage The Justice League - which had been a commercial success and gained mixed-to-positive reviews, despite fan outrage. Despite that, there were fears in the upper echelons of WB that it had been a fluke - so the consensus was made that it was best to do a mid-budget movie without the need for expensive visual effects. The character chosen was Batman’s femme fatale Selina Kyle, AKA Catwoman, who was a popular character in her own right, the popularity of Uma Thurman’s take notwithstanding.

    Whilst a Catwoman solo had been banded around during Raimi’s time, current Catwoman actor Uma Thurman declared herself out, angry at how Raimi had been treated. While Raimi’s outline was discarded, the final script, written by Stephen Peters, included many elements of it. The script gave a different tone then the dark, noir and gothic-influenced Raimi films, one more lighthearted and more in the vein of Besson’s Penguin’s Gambit, inspired by classic caper and heist movies of the 60’s like Ocean’s Eleven with witty banter throughout and set in the sunny and lively caribbean city of Santa Gertrudis (named after the patron saint of cats), as well as a jazzy, saxophone and bongos-heavy score, ultimately provided by the great James Newton Howard. However most crucially to the film’s story is that it would be a very self-contained one: references to the previous films would not be outright spoken or brought up. This was intentionally done to be more accesble to general audiences and not cobfuse newcomers.

    The story begins with Catwoman after her latest quarry, a rare gem at Gotham's Museum of Earth History. She initially does well and manages to snag the gem, but at the last moment she is alerted and has to make a getaway across the rooftops. She returns home to her penthouse, her cats, and her housekeeper Isabelle (her Alfred as it were). A few days later, Selina hosts a fundraising gala for animal welfare, and learns that billionaire Edward Hundford has a set of gold statues from Thailand. Taking interest, she decides to steal one of them, but Hundford’s security is too much even for her. Realising even she can’t pull off the burglary alone, she decides to assemble a crack team of fellow burglars and thieves, intentionally letting gems in her possession be left out to be stolen to determine who’s best for the job. Sure enough, four other thieves take it, under the guise of being their benefactors. She selects four of the most successful, including art thief and master of disguise Teresa Li Hu, Thomas Blake, a special forces officer turned thief (who in comics is of course the villain Catman), savy hacker and engineer Chuck Browning (a renamed-from-the-comics Kite-Man), and the seemingly-chummy scientist Christina Chiles.

    Soon, the classic beats of a caper film play out: casing the joint in the form of the mansion vault that Hundford stores the statues in, planning the heist, infiltrating via a party, the heist itself, one member (that being Chiles to collect a monetary reward she wants) ratting the team out for her own purposes, and finally giving it their all to successfully steal the mark, and a climactic chase scene with the authorities and make their getaway, and succeed with their loot. The script ends with the team going their separate ways, and Catwoman and Teresa driving off together, agreeing for a partnership (in business officially, but the obvious sapphic implications are there, even lampshaded by Thomas and Chuck).

    While Quentin Tarantino expressed interest in directing (but had to pass on the film for other commitments and didn’t want execs’ potential interference), and the shortlist included the likes of Brad Bird, Caroline Thompson, and Kathryn Bigelow (right after doing Wonder Woman) among others, ultimately it would be Mimi Leder would get the director’s chair, best known for her TV work at the time. The cast would be fairly small, but included Erika Eleniak filling in for Thurman, with Michelle Reis, Antonio Banderas, Bob Saget, and Parker Posey as the heist members, Rita Moreno as Isabelle, and Eric Roberts as Hundford.

    Filming would take place in Queensland, Australia in the southern hemisphere winter of 1997. Unfortunately, production would hit some tight spots: many of the cast and crew didn’t get along (reportedly, Erika Eleniak yelled at both Banderas, Saget, and several members of the crew after being repeatedly teased about Baywatch - to which they later apologised), and a few sets were badly destroyed by a cyclone[1]. It even got to the point Leder and Eleniak considered walking out on it at separate times.

    To help alleviate this, the Wachowski siblings were bought in for both rewrites and reshoots in between their own production on Transhuman. They were even offered the full director’s chair for reshoots - in the seemingly likely case Leder quit or was fired. While the Wachowskis declined to work on their project, many scenes do clearly bear their marks in both dialogue and action.

    In particular the biggest changes to the script were focusing more on the relationship between Selina Kyle and Teresa, and gave her a character arc and overall exploring the psychology of her. It is here we see the film’s major character arc in question: Catwoman’s transformation from self-interested adrenaline junkie who steals for the thrill of it to a more anti-heroic character - reflecting a shift that was becoming popular in DC media at that time. The corrupt Hundford makes for a logical antagonist for Selina and her crew - his irredeemable greed and corruption making the crew’s nobler qualities shine through. Throughout the film, Teresa acts as a conscience to Selina - bringing out her more sympathetic qualities and getting her to tone down her worse ones.

    There was also some debate on whether to include Batman himself in the film as a supporting role: the Execs pushed for this to be a surprise appearance not to be spoiled in adverts and rely on word of mouth to build up hype. However, Mimi and Uma disagreed, saying that the film was Catwoman’s and she was not to be overshadowed in her own movie. In the end, a compromise was created; whilst Bruce Wayne (once again played by Tom Seizmore) does appear in two scenes, Batman is only alluded to - most notably during the opening heist, and when Chuck is voicing his concerns to Selina about the heist that Batman is on their trail.

    The film would ultimately be released in March 1998 to fairly mixed reviews. Critics liked the tight retro-styled action and setpieces of it and the fun banter between Selina and her crew as well as Ericka’s performance as Catwoman was as good as if not surpassing Thurman’s. Reception from fans were more tepid: whilst they too commended the film for including obscure characters and Catwoman’s anti-heroic portrayal, they ultimately found it a letdown and were annoyerd at how it was not a solo Catwoman film proper; that’s not getting into the ones who boycotted the film after learning hat was going on behind the scenes. The film was a financial disappointment, grossing just $117.2 million on a $40-turned $50 million budget. The film’s underperformance led many at DC and WB to fear that The Justice League had indeed been an omen of increasingly terrible returns. The same thing also put the kibosh on several planned projects for the universe.

    It didn’t help that just three months after release, the tragic death of Robert Downey Jr. would occur, casting a shadow over Catwoman's release. Two years later, the film was overshadowed by Aquaman, which proved to be a commercial and critical success. Catwoman was dismissed at best as a passable and at worst forgettable film - interesting, yes, and fun at times, but rather forgettable if not skippable in the grand scheme of the DC movies.

    Fortunately, its legacy would loom surprisingly large: many of its characters, whether new or revised, would appear in subsequent DC comics, like Kitsune[3]. The film's soundtrack would sell platinum, featuring singers like Aaliyah, Kristen Pfaff, and of course, the Tejano legend sharing our lead's name, Selina. And inevitably, LGBTQ+ fans and filmgoers loved the interactions between Selina and Terry. Eleniak was in particular praised as Kyle, perfectly nailing the confident and seductive nature of the character while adding elements of vulnerability and nuance to the character. However, one must not be remiss to mention other performances: Bob Saget's show-stealing portrayal of Chuck turned one of the lamest Batman villains of all time into an anti-hero answer to Oracle (but also with a lame criminal alias).

    However moderate, the film’s success would also help spur a wave of other heist stories, many of which would also borrow from the mid-20th century in aesthetics and story, from both remakes of classics like Seven Thieves and The Italian Job to an adaptation of the manga Cat’s Eye. By the 2010s, fans would come around on Catwoman, regarding it as a solid and hardly lesser addition among the DC Film canon, appreciating Ericka’s character, action and themes of it.

    Say what you will about the behind the scenes drama, but for being a fun, sensual ride that does her character justice and more, Catwoman is a film worth remembering.

    [1] Not one from OTL, but a different one created by random butterflies (HA! Original meaning!).
    [2] RDJ’s death doesn’t mean the end of Superman in the DCMU. He will return but stay tuned courtesy of @Nathanoraptor for how.
    [3] While its usually with Catwoman, she notably she does partner up with a few other characters for separate runs.
     
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    Meanwhile, in Wakka-Wakka-Kanda...
  • Random Superhero Movie of the Week: Lion-Man (1998)
    From ComicsCraze.com Netsite
    Guest post by @Plateosaurus with assistance from Mr. Harris Syed

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    Adapted by the director of Fantastic Four (2005) and Barbershop

    B-movie producer Roger Corman has never met a film trend he didn’t exploit, and has subsequently racked up one of the most impressive repertoires in Hollywood and in the process launched the careers of dozens of A-list actors and directors, so its no surprise he would make his fair share of superhero films, if ones on the cheap and tacky side[1]. As we have seen, it started with Strix in 1993 and has spawned a whole line of superhero films that were mockbusters of both Marvel and DC while impressively still coming off as their own thing. 1998’s Lion-Man would however differ from them, as not only was it a cash-in of a Marvel movie, it was adapted from a pre-existing work.

    Even today, Lion-Man is often regarded even among most fans as just being a ripoff of Black Panther. However, this is simply not true: Lion-Man as a character was created nineteen years before Black Panther and so by definition cannot be so. To clarify, it was published by the now-defunct All-Negro Comics, and only lasted one issue in 1947 before the racist assholes of the time killed its parent comic off. It got forgotten soon after, and entered public domain for the rest of the century, with many artists taking advantage of it. Roger Corman only found out about it in a comic encyclopedia he read in 1995. Ever the savvy guy, he scooped it up alongside some other public domain heroes (although credit’s due since he at least credited Geo J. Evans Jr. as the creators of him). Once word got out about Marvel producing Black Panther as their next Marvel Movie Universe outing, that’s when the idea for Lion-Man was born. To direct the film, a then-unknown Tim Story was chosen after Corman saw an indie film of his. At the time he was mostly just a music video director for hip-hop and rap artists.

    The film’s story follow’s Lion-Man’s alter ego (he had no name in the comic), Felix Layeni, a veterinarian at the Memphis Zoo, a kindly man who treats animals and people alike, who goes to Africa (but clearly rural California) alongside his friend Ben “Scramble” Eggers to help out at a wildlife conservancy. While there he decides to meet his grandfather, only he shows him a magic gem, and tell him they come from a long line of warriors who defend the land from a great evil: Taa’Koraa, the Akan spirit of war and conflict[3]. While Felix is reluctant to take up the mantle, he changes his mind when Taa’Koraa is unleashed by a greedy thief, and so he must take up the mantle of Lion-Man to stop him and his underlings, especially when Taa’Koraa follows him back home and plans on targeting the ambassador of the home nation to spark a war to destroy it.

    Produced for just $3 million dollars, Lion-Man’s B-movie mockbuster nature shows: Most of the fights and African backgrounds not California are clearly shot on green screened or stock footage, and the costumes for Taa’Korra and his henchmen are evidently made on the cheap from good ol’ foam rubber, although Lion-Man himself ain't too bad by comparison, the costume, best described as Hercules wearing a golden jumpsuit under his nemean pelt, just as cheesy as it sounds. Similarly, the props, which are made up of imitations of assorted African cultures, aren't too good and cheap-looking, many looking like they were bought from a party store (and probably were). Ironically, the budget was actually lower at just $950,000 and to be filmed entirely in the Los Angeles area, but Tim convinced New World Pictures to location shoot many of the American scenes in Memphis, Tennessee and work with local actors as he felt that a black-led superhero film should be shot in a historically significant black city after Atlanta, Georgia was rejected due to budgetary concerns. Corman agreed, and even got an investor from the state to help with the production. For those from the area, you’ll see plenty of local landmarks throughout the film, most prominently the Memphis Zoo’s Egyptian architecture and the Memphis Pyramid (back before it was an amusement park[4]) providing the setting for the climactic battle.

    The tone of the film is relatively serious, with the characters and Story giving rather straightforward. However, the low budget naturally creates a campy and unintentionally silly atmosphere that can make some scenes rather hard to take them at face value. However the film is not subsequently like the Silver Age, but more reminiscent of the Bronze Age, especially in regards to the mixture of pathos, grit and wonder. As for themes and commentary... there’s not really any, unlike Black Panther or even Meteor Man. At most, you have some postcolonialism critiques, like Taa’Koraa apparently causing the Trans-Atlantic Slave Trade for kicks, but those are pretty minor and aren’t a huge part of the narrative overall.

    Castwise, Lion-Man is a mix of obscure actors, up and comers, and veteran character actors. Our hero is played by Jeffrey D. Sams, an actor largely known for his television work and not really film. Similarly, Taa’Koraa is portrayed by Steve Harris of The Practice fame while Lion-Man’s parents are played by Reg E. Cathey and Cassi Davis respectively. You’ve also got Corbie Bernsen as Ben “Scramble” Eggers and Kristin Bauer Van Straten as zookeeper/love interest Audrey Davis complete with an exaggerated Southern accent. Last but definitely not the least, Bill Cobbs, who you’ll recognize in some noteworthy films and television shows, portrays Lion-Man’s grandfather. Much like it’s better known panther counterpart, Lion-Man has a mostly black cast barring extras, Scramble, and June, and even the latter two are only supporting characters at best. Most of the actors’ performances are fine and competent, though hardly remarkable - with the exception of Harris’, who’d as you’d imagine goes over the top and hammy, and its all the better for it.

    The film would make have a limited theatrical release just a month after Black Panther, and while it did make its budget back, with a low budget it wasn’t a high bar to clear, only $4.2 million. Thankfully, VHS and VCD sales, if New World’s word is any indication, were better, and aired many times on TV to some success, particularly Sci-Fi Channel and other late-night cable channels.

    Overall, Lion-Man is pretty decent, if only as far as cash-ins and Corman’s superheroes go: There is legitimate effort put into the action scenes, Sams gives a pretty good, charismatic performance, and Tim Story does show the flashes of genius he’ll show in his future works. I can see why the film is a bit of a cult classic, but at the end of the day, Lion-Man is still a low-budget cash-in to the much better Black Panther, and otherwise it's not an outright classic. However, the legacy of Lion-Man did not end with the film: It was seen by comics artist Denys Cowan, one of the founders of Milestone Media[5], who developed an interest in the character after seeing the film and subsequently reading about it, and so adapted the character himself for that company alongside Dwayne McDuffie, writing a decent 12-issue series with eventual followups. It stayed a bit closer to the comic’s premise of a college-educated American protecting local resources along Ghana’s Gold Coast, but retained the mystical elements of the film, along with the secret identity of Felix. Worth noting is that due to the way things were written and filed, while Lion-Man continues to be public domain, the Felix Layeni incarnation of the character is co-owned by both Milestone and Corman’s New World. In the end, I give Lion-Man a 6.2/10: hardly up there with even the decent superhero flicks from the Big Two and others, but still a fun experience that does enough competently to peak its head up into enjoyably campy territory.

    [1] ITTL, Disney’s earlier purchase of Marvel meant that Roger Corman’s New World Pictures and Constantin Film never got the chance to make the infamous 1994 unreleased Fantastic Four movie and The Punisher (1989). Therefore, Corman turns to making original characters or scooping up obscure comics characters to cash in on the superhero movie boom of the 1990s.
    [2] IOTL Roger Corman has produced another superhero film on Showtime, a Made for TV one called Black Scorpion. The film has been butterflied.
    [3] His basis Tano Akora wasn’t like this in Akan mythology, but hey, what do you expect from a cheap cash-in B-movie?
    [4] How did that happen? Stay tuned!
    [5] IOTL, Milestone started to go down the drain around this time due to increasingly poor sales before being folded into DC. However, with the comics industry in a more financially fortunate position in TTL’s 1990s and their comic readership among Whites being higher, its doing much better to keep it afloat.
     
    Spider-Man Returns
  • Happy New Year! And to all you true believers, here is the retrospective for ITTL Spider-Man 3. Enjoy!

    —-

    Spider-Man’s 3 (1995) Retrospective
    Post from Geeks and Capes Net-blog, by Jacob Buller. April 12th, 2018


    Often regarded as one of the best Marvel superhero movies of the 1990’s, 1995’s Spider-Man 3 to this very day remains the big fan favorite among Spider-Man fans. Capping off the 90’s Seth Green Spider-Man trilogy, the film saw Spider-Man face off against his greatest nemesis the Green Goblin in a cinematic adaptation of the classic comic The Night Gwen Stacey Died and to a lesser extent Spider-Man No-More, the former of which would be adapted in the film’s climactic final battle over the Brooklyn Bridge and the later being adapted with parts of the film’s ending.


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    The Night Gwen Stacy Died and Spider-Man No More, two famous comics which would influence the ending of the third Seth Green Spider-Man film. (Image Source: Pinterest)


    Plot wise the film saw Peter Parker, now much more experienced as a hero, finding his life becoming much more stable as he has finally been able to master the lesson of the previous film and learn to better balance his double life, even while attending college at Empire State University. As Spider-Man he’s become much more accepted by the people of New York City, while as Peter Parker he’s found himself making a new close best friend in one of his new roommates, Harry Osborn (played by Henry Simmons) [1]. Even Peter’s Aunt May (now played by Diana Rigg, following the passing of the previous actress Jessica Tandy) is healthy and okay, reducing the stress Peter faces over her health.

    Of course not everything is hunky dory for our hero, as Peter as Spider-Man has to deal with the threat of a mysterious and terrifying new villain named the Green Goblin. Goblin, as we quickly find out, is attempting to control all crime in New York, taking out old crime boss Silvio ‘Silvermane’ Manfredi (played briefly by Christopher Plummer) in the opening scene of the film and getting into a turf war with Tombstone (Morris Chestnut), Silvermane’s former right hand Hammerhead (Shaun Williamson), and the yet unseen and equally mysterious rising force in the so-called Kingpin of Crime [2], whose mercenary forces are led by the fearsome Shocker (played in a memorable performance by Australian actor Ben Mendelsohn). Worse is that the Goblin, who is later revealed to be none other than Norman Osborn, the father of Peter’s roommate and best friend Harry, has learned Peter’s secret identity thus putting all of Peter’s various loved ones at risk.

    Spidey must therefore use all his wits and skill as New York City descends into chaos, forcing the webhead to not only battle all three gangs, but also take out the deadly and terrifying villain who started it all, a villain who not only poses a threat to Spider-Man, but to Peter Parker and those he loves dearly.


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    The three figures who would battle the Goblin and fight for control over the underworld of New York City following the assassination of Silvermane at the hands of the Goblin: Shocker (under the command of Kingpin), Hammerhead, and Tombstone [4]. While ultimately little more than glorified cameos in the film, their brief scenes do ultimately leave a small lasting impact on the story, driving much of the gang war plot that the first act of the film centers around. (Source: Edited and combined with by @Nerdman3000)


    Yet the emergence of what seems to be his greatest foe and a literal gang war isn’t the only issue plaguing Peter at the moment, as for all the relative good things going for him in his personal life, there is one significant dark spot these days clouding everything in the form of his relationship with Mary Jane. Said relationship, to Peter’s lament, seems to be falling apart at the moment as the two find themselves constantly arguing nowadays. Peter, who has grown increasingly concerned by MJ’s obsessive partying lifestyle, finds his efforts to get through to her rebuffed. Eventually the two even break up after a particularly vicious argument, leading to a saddened Peter to have to watch as Mary Jane continues to spiral into a slow breakdown as the defense mechanism she built around herself to get away from the pain of life and her father’s abuse ends up slowly destroying her.

    There is however one bit of light for both characters in the form of Gwen Stacy, Mary Jane’s roommate and Peter’s academic rival, who is played by Rachel Blanchard. It is Gwen, rather than Peter [3], who eventually is able to pierce the shield MJ has built around herself and finally get through to Mary Jane and help lead her out of the darkness before she completely destroys herself. It overall becomes a surprising look into the struggles people can have with mental health that was unexpected yet ultimately quite poignantly done.

    In regards to her relationship with Peter meanwhile, Marvel chose to reduce Gwen’s role as a love interest to Peter in the film when compared to the comics. Instead the possibility of a eventual relationship between the two is only barely ever hinted at before Gwen’s tragic death at the end of the film, with Gwen ultimately being merely Peter’s academic rival and lab partner, who due to tragic circumstance finds her life taken in the crossfire of a battle between Spider-Man and the Green Goblin. This occurs after Norman mistakes Gwen as Peter’s girlfriend after seeing the two interact at a gala [4] Norman is hosting to celebrate the end of the gang war, leading him to go after her and eventual kill her [5].


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    Actress Rachel Blanchard during the premiere of the 1995 film. Blanchard’s smart and kindhearted Gwen Stacy would ultimately become a victim of circumstance when she is killed by Green Goblin due to her association with Peter Parker, leading to the latter to quit being Spider-Man (source: imagecollect.com)


    Though Gwen still remains an important character in the film and still leaves a strong lasting influence and guilt in Peter going forward, the decision to not have her and Peter ever date before her death was still nonetheless a surprising and significant change made on the part of the filmmakers, even if it was perhaps an understandable one. Not only would it likely have been infeasible to set her up as Peter’s girlfriend amidst an already packed film and then kill her off in the last act while also having Peter and MJ break up all in one film, but doing so probably would have made Gwen seemed quite two-faced if she helps Mary-Jane overcome her demons only for her then to steal the love of Mary Jane’s life.

    As director Josh Weadon made clear in a followup interview a few years later, “I didn’t want Gwen and MJ to be another Betty and Veronica love triangle situation like you’d expect to see in most films. We’d already did that in the animated series a few years before and I wanted to do something different here with them. These two aren’t rivals for Peter’s affections. There’s no jealousy between them. The tragedy of Gwen here isn’t that she’s the love interest who dies, it’s that she’s a decent human being who tried to help a friend and that inadvertently led to her death.”

    Ultimately however, girlfriend or not, the death of Gwen Stacy remains a pivotal moment in the film and Spider-Man film franchise going forward, even managing to shock the few audience members who weren’t aware of the looming death beforehand. Not only does her death at the hands of the Green Goblin help to bring a grief stricken Peter and MJ closer together again (though they do not get back together until the very end of the film), but it also leads Peter to briefly quit being Spider-Man upon slipping into a depression as he feels like a failure. It’s only upon speaking to Gwen’s father Captain George Stacy (played by Dennis Quaid) when visiting Gwen’s grave that Peter at last gets the motivation to overcome his fatal mistake and take up the suit once more in order to face the Green Goblin, who has now risen to fully take over New York’s criminal underworld, thereby leading to a deadly final battle that ends with Norman’s death at the hands of his own glider.

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    The Green Goblin, who serves as a dark reflection of Spider-Man and Peter, has a design in the film based on concept art by Alex Ross (source: Pinterest)


    Peter thus ends the film in a darker place than where he began it, but nonetheless having overcome his greatest challenge even after having suffered his greatest of defeats. In this way, Spider-Man 3 cements the core theme which lies at the heart of the film: overcoming failure and tough times. Just as Spider-Man 1 was about puberty and Spider-Man 2 was about the growing pains of becoming an adult, Spider-Man 3 is ultimately about Peter Parker becoming a man and learning to deal with setbacks and hardship in a mature, constructive manner. While Peter’s mistake in first not pursuing Goblin after he escapes the fight between him, Shocker, and Goblin later comes back to haunt him when it leads to Gwen’s death, his ability to eventually, after doubting himself and nearly quitting, overcoming that mistake to try to still be a hero stands at the center of what the character himself and story of this particular fan pleasing film is all about.

    That is of course not to say there weren’t some small complaints leveled at the film by some dissatisfied fans at the time. While the complaints did mostly center around the decision to not make Gwen a love interest, another common complaint often made towards the film by fans was on the role of the three side villains of the film: Shocker, Tombstone, and Hammerhead. Some fans would complain that all three villains were ultimately little more than glorified cameos who only have less than five minutes of screentime [6]. Other complaints were that most of the gang war in the beginning of the film basically happens offscreen [7], outside of a montage, up until a truce meeting scene between the three gangs that Green Goblin crashes which leads to the threeway fight between Shocker, Goblin, and Spider-Man that ends the gang war. Considering how much of the advertising seemed to mention the inclusion of the three extra villains, it’s perhaps understandable that their ultimately miniscule presence in the actual film would annoy some fans [8].

    Yet even the fans who found themselves complaining would prove to be in the minority as Spider-Man 3 became a smash hit at the box office upon premiering in 1995, becoming a massive triumph for Marvel’s budding cinematic universe when it made a then jaw dropping $352 million world wide at the box office. Featuring fantastic and spellbinding direction and writing by Josh Weadon, a memorable score by the film’s new composer Danny Elfman [9], fantastic notable performances by Joe Morton (who brings a deep sense of chaotic menace to the Green Goblin), Seth Greene, and Rachel Blanchard, as well as pushing the very limits of special effects of the day, the film as a whole still manages to hold up strongly as it did then and to this very day it is still considered to be one of the greatest comic book movies of all time and it is certainly among my favorite Spider-Man movies.


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    An early poster for Spider-Man 3, which featured Spider-Man swinging next to the George Washington Bridge with a brief teasing glimpse of Green Goblin behind him. (Source: Image Created by @Nerdman3000)


    As for where fans would get to see Spidey appear next, well while they’d get to see him show up in a few cameos over the next few years, it’d be quite a while before Seth Green returned for a full screen outing despite some early initial plans that fell by the wayside [10]. The Marvel Movie Universe of the 90’s was gearing up and taking off like a rocket, leading Disney and Marvel to reconsider where Spider-Man’s next main appearance would be.

    As we all know now, the answer to that would come in a film unlike any other, where Earth's mightiest heroes found themselves united against a common threat.

    —-

    [1] - Yes, one of his new roommates, as Peter and Harry would also be roommate with Flash Thompson, though it isn’t made as big of a deal outside a few minor scenes. While there was some early consideration given towards making the second roommate Eddie Brock, it was rejected as the idea of both of Peter’s roommates potentially becoming villains if Marvel ever went with Harry Osborn becoming a Goblin was considered too contrived.

    [2] - Kingpin will ultimately become the undisputed winner of the gang war, even though his subordinate Shocker is captured by Spider-Man. His victory here allows him to consolidate his control over New York’s criminal underworld, eventually helping to set up his control of New York’s underworld for when he eventually appears in the future Daredevil movie.

    [3] - It should be noted however that an early idea for Spider-Man 3, back when production of Spider-Man 2 was beginning and the Marvel ‘Must be alive in the comics’ rule was still in place and Gwen, Harry, and Norman were not meant to be present in the second and third film, Spider-Man 3 would have had Hobgoblin instead of Green Goblin be the films main villain and it would indeed have been Peter who brought MJ out of the darkness.

    [4] - On a side note, this gala would be where Stan Lee makes his cameo, as Mayor of New York City.

    [5] - For a bit of an explanation into this, after MJ and Peter break up, Peter attends a gala that is being hosted by Norman Osborn after having been invited by Harry. Said gala is meant to commemorate the end of the gang war following the capture of Tombstone, Hammerhead, and Shocker. Gwen, who is also attending as the daughter of the police commissioner, chats with Peter at the party. Norman, who didn’t know who MJ was, only knowing Peter has or rather had a girlfriend from Harry mentioning it early in the film (he doesn’t know Peter and MJ broke up), assumes Gwen is that girlfriend and targets her as a result.

    [6] - Mainly Tombstone and Hammerhead are only present because Marvel wanted recognizable characters from the comics to lead the other gangs in the gang war, rather than random crooks.

    [7] - In this case it’s because most of the focus of the gang war is from Peter’s perspective and his involvement in it. As a result, most of the gang war is merely talked about and referenced to, minus a few brief scenes where the audience sees it in action or sees the effects of it.

    [8] - Kind of the opposite complaint that happened to Spider-Man 3 and The Amazing Spider-Man 2 in OTL. Rather than complaining that there were too many villains, fans essentially complain that there weren’t enough of the extra villains and that they were wasted.

    [9] - Yes, Elfman ends up finally scoring Spider-Man ITTL like he did in OTL, although there still are a few regular songs thrown throughout the film.

    [10] - There would be early consideration following the release of Spider-Man 3 for a Spider-Man 4 (potentially featuring Venom) to be released in 1997, however Marvel would ultimately decide to hold off on any further Spider-Man sequels until at least the 2000’s in order to both not oversaturate the character and not clog themselves with too many films as the ITTL Marvel Movie Universe expands and explodes in popularity the late 90’s.

    ---

    Hope you enjoyed! Also Happy New Years and a belated Merry Christmas, Hanukkah, Kwanza, and Happy Holidays!
     
    Last edited:
    That Show...you know...the one in the '70s?
  • A Look Back On The Kids Are Alright (1998-2005)
    From Ira Members for Nostalgia Monthly Digital, August 2019
    Guest post by @MNM041 with assistance from Mr. Harris Syed, @Plateosaurus, @ajm8888 and @TheMolluskLingers

    P9ZvPBJx-bqt0gDOijlaYfk0QYrpxbj2p2Ef4rJYFwWuppDm2kja0w19DfwjCvMi3jej2qHK6xXbCPjI18MAznISjPSZJqhyL54qfHztBiCc44XrQTDyNQ2h7j_DQkH6KwQKYhyNOLThGKIj_dlNpFWdnFj6DyzhyF-69UXPXVwAz1WRazm3CaOLJnBC

    This but more of a dramedy

    Set in the mood ring and polyester decade known as the 1970s, The Kids Are Alright is a retro-hip dramedy about an eclectic group of friends on the verge of adulthood “The Circle”. The group lives in the suburbs of Wisconsin, where they yearn for independence amid the growing pains of becoming adults in an increasingly crazy world. The show was created by the Turner siblings (no relation to Ted Turner) and Mark Brazill and the show's title of course comes from The Kids Are Alright by The Who, which is also played in a couple of episodes by the characters in-universe[1]. The series began as a spec script for a sitcom, but was retooled later due to the success of Roseanne Barr's series Blue Collar. The show would premiere on the Paramount-Fox Network (PFN) on August 23, 1998 and became famous for addressing social issues of the 1970s such as the changing sexual attitudes, generational conflicts, the economic hardships of the recession, mistrust of the American government, and underage drinking/teenage drug use. The series also highlighted developments in fashion trends, the entertainment industry, including the television remote ("the clicker"), reruns of ‘50s shows, VCR, and cable TV; classic video games Pong and Space Invaders; the cassette tape and Disco; MAD Magazine; and Eric's obsession with Star Wars. The show has sometimes been compared to a more serious version of Happy Days, which was similarly set 20 years before the time in which it aired.

    The show was very much one about the disillusionment of the youth of America, with main characters who were all old enough to recognize the problems plaguing the country and the world, but too young to really do anything about it. The main cast all dealt with this disillusionment, all trying to make the most of the hand they were given, all while the kids must watch as the world they'll one day inherit gets crazier and crazier. This results in the kids partaking in any act of youthful rebellion they can think of from drugs and raucous parties to sneaking out to attend concerts (with bands like The Clash and The Dead Kennedys getting particular mentions). The show also got surprisingly political at times, being set against the backdrop of Vietnam War protests and the Watergate scandal, and bringing various social subjects from the time seemingly wanting to highlight how little has changed and that in some cases, what has changed isn't enough.

    The Kids Are Alright starred Topher Grace as Eric Greensboro, Lisa Robin Kelly as Laurie Hartman[2], Mila Kunis as Jackie Burkhart, Ashton Kutcher as Michael Kelso, Wilmer Valderrama as Fez, Laura Prepon as Donna Pinciotti, Amy Dumas as Marcy Pearson[3] and James Van Der Beek as Steven Hyde[4], with Debra Jo Rupp, Kurtwood Smith, Don Stark, Tanya Roberts and Russell Means, as Kitty Greensboro, Richard "Reef" Greensboro, Midge Pinciotti, Bob Pinciotti and Theo Chingkwake[5] respectively. Despite the presence of the adults, the show’s main focus was on the teenagers who were part of “The Circle”.

    Among the members of “The Circle”, Eric was very much the audience surrogate in the early days, a trait that did remain throughout, though his dorkier traits were infused in order to make him feel distinct from the rest of the group. Eric is a nice person, physically slight and somewhat clumsy. He has a fast wit with a very deadpan sense of humor. He is best friends with Steven Hyde, a rebellious anti-establishment type from a severely broken home who uses humor to cope with the trauma of his life. Then there was Laurie, Eric's often manipulative and dishonest twin sister, who enjoys tormenting Eric and manipulating her parents, his neighbor and his would-be love interest Donna, who is tall, intelligent, good-looking and athletic, with everything going for her in life. After Eric and Hyde, there was Jackie who was the youngest member of the group and starts the series as the pretty, spoiled rich, selfish, oftentimes annoying immature girl. She likes to give seemingly thoughtless and superficial advice, which occasionally turns out to be correct. Then there was Kelso, who is introduced as the dumb pretty boy of the group, who seemingly hopes to coast through life on his good looks, but is revealed to have hidden depths to him like everyone else in the cast. Then there is Fez, a Latin-accented foreign exchange student who throughout the series is working various odd jobs (including occasionally selling weed in season one) between classes so he could send money back home to his family. By his own admission, he was hoping to achieve his own American dream when he first came, and "quickly realized I wasn't white enough." And out of everyone in The Circle, Marcy was the most outspoken activist amongst the group, even more anti-authority than Hyde as she would frequently discuss controversial topics much to the bemusement and occasional discomfort of her friends. While Marcy was initially written as a generic drug dealer, when it was decided that the showrunners wanted to do more with her, she quickly became a social activist. Funnily enough, as the drug dealer aspects were phased out of Marcy and Fez, it became a running joke that they were the only two in the group that didn't smoke. All in all, each member of The Circle had their inner demons and unique quirks in spite of these demons.


    As for the adults, the two that had the most focus were "Reef" Greensboro, a deeply conservative Navy combat veteran, who served in World War II and the Korean War and his wife Kitty. Reef is frequently hard on Eric and casually insults him, often calling him “dumbass”. Despite his mean exterior, Reef also displays a soft side. His hobbies include working with his power tools, drinking beer (not that he’ll refrain if asked), watching television, reading the newspaper, hunting and fishing. Kitty is a cheerful, doting mother, but can also be assertive when pushed. A nurse by profession, she drinks heavily and is a former smoker who suffers major mood swings. There were also Donna's parents Midge and Bob, the former being a dissatisfied housewife and the latter who is a self-described “veteran of foreign wars". Midge and Bob’s marriage would slowly dissolve over the course of the show. On the lighter side, there was Theo, a hippie and the owner of a Foto Hut at which Hyde once worked. Theo is an Army veteran who served in World War II, where he was awarded a Purple Heart. Despite polar opposite personalities, Reef and Theo always tended to be respectful of each other due to the fact that they both served in the same conflict.

    When the show originally began, the main friend group weren't really friends, they were just classmates who saw each other a lot, in some cases more than they'd like. Hell, Eric only meets Marcy because his parents were worried about her hanging out with his sister, thinking she was a drug dealer. Their only real connection is a shared anxiety over their rapidly approaching maturity as the world their generation was about to inherit seemed to stop making sense. Over time, The Circle would develop genuine bonds with each other which eventually got to the point where they would frequently meet and participate in leisurely activities when they weren’t in school. A lot of times, this meant smoking pot though The Circle would do plenty of other activities.

    The core dynamic of The Circle shifted and changed a lot from the initial drafts of the show. For example, Marcy was really supposed to just be in the pilot, but producers really liked the performance of Amy Dumas, who was initially brought on as stuntwoman for scenes involving characters falling off the water tower, and the creators decided to expand upon her character, leading her to continue playing Marcy for the series’ entire run. Much of the group’s dynamic came about in a similar manner with a lot of trial and error in the first and second seasons before “The Circle” really became what we all know and love. Once it got there, the show really came into its own with the chemistry between the group being cited as part of the reason the show worked as well as it did.

    Despite the sometimes drug fueled antics of the show, the behind the scenes was surprisingly free of actual drugs, as the series began around the time the entertainment industry was in the midst of cleaning up it's act after some high-profile actors successfully gave up on drugs after some brief brushes with death and their subsequent recoveries such as River Phoenix and Chris Farley (of which Farley would later make an appearance on the show towards the end, playing Hyde's father).

    The cast of the show frequently joked about the fact that, with the exception of Mila Kunis (who lied about her age to get cast[6]), none of them had any business playing high school students. Lisa Robin Kelly in particular joking, "There were scenes where we'd be standing next to Mila or even just a random high school aged extra, and I swear we look like we're the teachers going through a midlife crisis."

    The show was aided by the very natural chemistry the cast had with each other, with the eight actors playing the main characters

    One of the most iconic things in the show was Eric’s “Aztec Gold” 1969 Plymouth Fury[7]. Many of the show's episodes featured Eric and the rest of the kids in or around the Plymouth Fury, handed down to Eric by Reef. For the majority of the show, the show's introduction showed the cast inside the Plymouth Fury. The particular car was bought by Wilmer Valderrama at the show's conclusion from Carsey-Werner for "no more than" $700 US Dollars. In June 2007, the show's Plymouth Fury was named second-greatest television car ever by MSN Autos.

    In one of the show's major running gags, Reef often threatens to punish Eric with many variations of the catchphrase, "Shove it up your ass" or more generally "Shoving *whatever* up your ass." For example, in "Kitty and Eric's Night Out", Reef mistakenly thinks Eric offended Kitty, so Reef says, "Shove your car up your ass!" In "Neighborly Love[8]", Eric tries to get out of something by claiming he's sleepwalking and Reef says, "And I'm about to be sleep-shoving nyquil yp your ass", and, in "Prank Day", Eric tries to explain away a prank gone "horribly, horribly wrong" Reef says, "Well, I have a prank, too. One where my fist doesn't plow up your ass. Let's hope it doesn't go horribly, horribly wrong!" Several of the running gags were shown in edited clips for the series finale. To a lesser extent, Reef would be accused of being related to narcotics despite being vehemently anti-drugs, right down his nickname is very similar to Reefer and his surname invokes the color of it (“The reef is of the coral kind, Einstein!”). There was also Reef's tendency to call Eric a dumbass though in a reference to the famous 1970s sitcom Sanford and Son, Reef would try to censor himself by saying "dummy" instead if he and Eric were around someone Reef wasn't comfortable with swearing around (young children, clergymen, etc). This joke reached its logical endpoint in the show's final season by having a character played by Sanford and Son star Demond Wilson call Eric a dumbass.

    The show also included other notable running gags and catchphrases throughout much of its run. For instance, Fez's country of origin remained a mystery. Sometimes, Fez is about to disclose where he is from, or at least hint at it, but something happens to prevent him from doing so, like someone entering the room as seen in "Stolen Car", or simply because Fez is rambling like in "Love of My Life". Later on in the series, he jokes, "What differences does it make, most of the people in this town couldn't even find it on a map." Eventually, the finale reveals he's from Venezuela, which is also where his actor Wilmer Valderrama is from[9]. Similarly, Fez's real name also was not revealed for the longest time. Even Fez just stood for F.E.S., Foreign Exchange Student. Reef often calls Fez by some exotic foreign names when he is speaking directly to him, including Tarzan a few times. Though in the finale, we eventually learn that his name is Carlos Madrigal[10]. Both of these revelations come courtesy of Marcy, who is revealed to be the only one out of the group that knew either of these facts, much to her confusion. Another was someone, usually Kelso, falls off the Water Tower, yet somehow always ends up being fine. A few episodes instead had another person besides Kelso being flung up instead. For Marcy, her constant social activism is also a notable recurring bit, with her seemingly hyper fixating on whatever issue the writers could come up with[11]. Marcy along with Fez were both often suspected of carrying drugs on them, despite the fact that they are actually the only characters out of the main group who are never shown doing any. Funnily enough, Reef never once suspected either of them, save for once during the pilot with Marcy. Reef also never suspected Laurie of it, though more often than not, she actually would have some kind of drugs on her, typically pot. Last but definitely not the least was Eric's attempted "secret" money stash locations are known by everyone, such as the CandyLand box, as famously, the cast started trying to get each other to break character by sneaking unexpected items into these places.

    Naturally, drugs played a large role in a lot of episodes given the time period the show is set, with themes of addiction and using drugs to escape reality being present throughout. Be it pot, heroin or even just the bottle, many of the characters had vices and a lot of the time, it was something destructive and it wasn’t easy overcoming them as they needed help. Even older characters like Red or Theo often need something to help get them through the day when life is perpetually beating down on them. That said, most of the characters were able to overcome their vices in the final season even if they didn’t always make it in one piece.

    Over the course of its run, the series was a consistent performer for PFN, becoming one of their signature shows along with Final Girl: The Series, No Worries[12], The X-Files, Salem Falls, Star Trek: Envoy, and Lysia of Amazonia. Its eight seasons, consisting of 200 episodes spanning from 1998 to 2005, made it PFN’s longest running live-action comedy ever surpassing Honey, I’m Home!. That said, it didn't have the same ratings success, and was nearly cancelled; nonetheless, it enjoyed favorable critical reviews and a small but dedicated fanbase that kept the show on the air. Aside from PFN, The Kids Are Alright would also air on the teen-oriented Vixx given the cast and target demographics starting with the third season, after which it slowly became one of the most watched shows on that network.

    19Odt5gySF63CnfFTPUu-uyFTqqOS_Jc4gXpV5jpSSnRNgbC5p4xRL6dIQ5UUvbpFSzH0mh8WM97cyj13oVdFCr_4RxeY0jkI7PxcP9Y0sK_l23bdDWwBzpvQ_j5mBfRft4k3IuMkYNakjfT0JJskRF7e3tdacSEyLYzlblMcb4dOddxOZAUAtt7sszSNA

    This but actually good

    The Kids Are Alright was successful enough to warrant both a spin-off and a British remake. The British remake, titled Days Like These, would air on ITV in 1999 and used many of the same names (Eric and Kitty Greensboro), or slight alterations (Donna Palmer instead of Donna Pinciotti, Jackie Burget instead of Jackie Burkhart, etc.). The show would star Max Wrottesley as Eric, Rhona Mitra as Donna, Harry Peacock as Steven Jones, James Cartlon as Michael McGuire, Emma Pierson as Jackie Burget, Jamie Beck as Torbjørn Rasmussen (Fez), Olivia Hussey as Kitty Greensboro, Tim Curry as Ron Greensboro, Amanda Abbington as Laura Greensboro, Sara Sockbridge as Midge Palmer and Steve Seen as Bob Palmer[13]. While the series initially started out simply remaking episodes of the mother show, it would eventually find its own footing and went off in a completely new direction separate from The Kids Are Alright, lasting until 2003, all the while exploring the lives of youth in 1970s Britain[14].

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    This but actually something of quality.

    Of course, you can’t talk about The Kids Are Alright without mentioning the sequel series set in the 1980s, Don't You Want Me?[15] which ran for five seasons from 2003 to 2007. The series was greenlit shortly after the resounding success of the first three seasons of The Kids Are Alright. While focusing on a different cast, Don’t You Want Me frequently called back to its predecessor in many ways such as references to specific characters or events from that show. Centering around the employees of a record shop owned by Hyde, the show satirized the Reagan-dominated ‘80s, while the characters from the parent show take on the roles of the adults. Many elements from its parent show would end up being carried over into Don't You Want Me? sometimes with new twists being added.

    The new cast included struggling musician Corey Howard (Glenn Howerton), his valley girl environmentalist sister Katie (Tinsley Grimes), punk rocker June Tuesday (Chyler Leigh), Corey's best friend and wannabe yuppie Roger Park (Eddie Shin), Corey's bisexual ex-girlfriend Sophia Bates (Brittany Daniel), Canadian foreign exchange student Owen Milligan (Joshua Jackson)[16] and former farm girl, Annie Lewis (Patricia Stratigeas)[17]. Aside from the principal cast, the show had guest appearances from other actors in minor or small but crucial roles ranging from a single episode to an entire arc such as Rob McElhenney, Thuy Trang, Michael K. Williams, Mark Ralston, Tom Franco[18], Jason David Frank[19], Brittany Murphy[20], Keith Szarabaijka, Morgan Fairchild, Vanessa Johansson[21] and D.C. Douglas[22].

    While the showrunners admit that Don’t You Want Me initially had trouble finding its footing, it was able to find a voice that, while distinct, still appealed to fans of The Kids Are Alright. For instance, Hyde ends up becoming something of a surrogate big brother figure to Corey, often trying to help him with advice that would probably go better if it was ever interpreted the right way, and other characters from The Kids Are Alright would make guest appearances every so often. It also similarly touched on issues related to the 1980s, such as the AIDS epidemic, the effects and fallout of Reaganomics, the War On Drugs, and anti-Asian racism, especially Japan bashing (addressed through Roger Park, who is frequently mistaken as Japanese). It would also receive praise from the LGBTQ community for its representation, particularly with the characters of Sophia (and later Katie, as the two would end up getting together by the third season). Famously, Don't You Want Me? was one of the first large-scale works to appeal to 80’s nostalgia, a major trend of the 2000s and 2010s[23] However, Don't You Want Me? stood in contrast to it's parent show, at first seeming to revel in a rose-tinted view of the 1980s, only for the show to slowly peak back the layers of problems that were prevalent during that decade, with the disillusionment much of the main cast goes through being a driving force for much of their development later on in the show.

    On a final note, the network considered adding a final series set in the 90’s and focusing on Eric’s family, tentatively titled Smells Like Teen Spirit after the Nirvana song. However, the creators of the show turned down such a work, feeling the whole franchise had run its course and it was too recent, and was canceled. However, insider rumors are spreading that at the very least the concept of a 90’s-set series much like it is in the pipeline. Some have speculated it will be the basis for a reunion special between the shows for direct viewing, but neither idea has been confirmed. Humorously, when rumors of this leaked, WB’s sketch series The MAD Show would create a sketch where the franchise continued on into the present and into the then future of the 2010’s, creating a universe-shattering paradox[24].

    The Kids Are Alright and many of the shows that came from it have enjoyed an enduring fanbase over the years, mostly due to its memorable characters and clever writing, as well as their commentary on the decades that they take place in, with many glad that the shows managed to end on high notes[25]. Both thoughtful critiques and loving celebrations of all things related to those decades, the shows ironically became timelines by dating themselves.

    It was one of the shows which looked at the traditional sitcom families and the conventions associated with them, and flipped them on their head, while also exploring ups and downs of the '70s and '80s. The Kids Are Alright epitomized the belief that you're not cursed to make the same mistakes as the people who came before you and that you're not alone in feeling like you don't know your place in the world, and that no matter how screwed up the world feels, you still have the choice of what you wanna do with yourself, and how you deal with what the world throws at you. To this very day, many people who grew up in the ‘90s cite The Kids Are Alright as one of their favorite shows of all time and its messages still resonate over 20 years after its premiere on PFN.

    [1] The show was called its OTL title because test audiences kept calling it That 70’s Show and the creators liked how it sounded (not to mention avoiding any licensing fees). Here, the creators are able to license the name of a popular song from the seventies like they originally intended.
    [2] Aside from the fact that her character's surname is different like her family, her character is noticeably aged down, as Lisa Robin Kelly is part of the main ensemble since Laurie is the seventh teenager here (which was the original intent IOTL) and her miscarriage is butterflied, as the specifics that led to that pregnancy likely didn't happen, which means her later issues and eventual death will not happen. Laurie being part of the main ensemble also means that Kelly will not leave the show after the third season and won’t be replaced by Christina Moore.
    [3] Most people who have heard of her probably know her as Lita. Since WWF went under, she ended up going into acting instead. Additionally, Amy’s Marcy is an original-to-TTL character that shares her surname with OTL’s Randy Pearson who doesn’t exist. Similar to Randy, Marcy shares superficial qualities with various people in the group.
    [4] Due to the Anita Hill case, Danny Masterson's career doesn't take off since he commits sexual assault against three women a decade early, and here James Van Der Beek, who never played Dawson Leery of Dawson's Creek because the show was butterflied, plays Hyde instead. As a result, The Kids Are Alright ends up being his big break.
    [5] Leo/Theo is played by a different actor and is also made a Lakota Native American. While still a hippie/stoner character those tendencies are largely toned down with the character nowhere near as dumb.
    [6] This happened in real life too, and I just figured it could still happen since a lot of the same people are involved behind the scenes.
    [7] Eric’s car was the Plymouth Cruiser but it’s changed to a Plymouth Fury due to production butterflies.
    [8] This episode was called Eric's Hot Cousin in OTL and the lead author fior this post changed it for two reasons. 1. This episode and similar episodes of other shows, don't feel like something like that would fly in post Anita Hill America. 2. I hate that weird trope with absolute burning passion.
    [9] The Kids Are Alright’s OTL counterpart That 70s Show had the home country of Fez kept a complete mystery. This is not the case here with Fez revealed to be Venezuelan just like his actor.
    [10] In OTL, this was the name of Wilmer Valderrama's character in From Dusk Till Dawn: The Series.
    [11] Think of the character of Marcy being somewhat akin to Britta from Community, except it doesn't become a running joke that she's the worst.
    [12] Slight retcon to the "As If!" post courtesy of its co-author: "No Worries is actually the second highest rated show on PFN behind only Final Girl since the mention of Tank Girl (the animated show) was back when this show was meant to be on Vixx before it was changed mid-development”.
    [13] Aside from the show being a success ITTL, the cast is slightly different as well such as different actors and an analogue to Laura Greensboro.
    [14] OTL’s version of DLT was not very good and only lasted one season (or series as the Brits call them).
    [15] IOTL, That 80’s Show was an infamous failure, one that felt completely divorced from what it was supposed to be a spin-off of. Here, the writing is notably better, it's better connected to its parent show, and the 80s setting isn't just used as a gimmick (a major flaw of OTL’s T80S), which ends up helping the show in the long run and it gets more seasons.
    [16] Since Dawson’s Creek never existed due to the failure of Killing Mrs. Tingle, Joshua Jackson gets a different breakout role in this show much like his co-star Van Der Beek.
    [17] You probably know her better as Trish Stratus but since the WWF collapsed prior to her debut, like Amy Dumas, she goes into acting by starting off as a fitness model before she is discovered by a talent agent who convinces her to enter show business and nabs some bit parts in some films or television shows before being cast as Annie Lewis.
    [18] IOTL, Tom has acted in films and TV shows but never became as prominent as his brothers James and Dave, being mostly known as the curator of an art gallery in Berkeley, California. Here, he will become more well known in acting circles as he'll appear in more notable films and TV shows though as more of a Poor Man's Substitute to Dave and James (in that order ITTL) and a character actor rather than a bankable leading man, at least initially.
    [19] Rest in peace, Green Ranger. ITTL, his appearances here lead Jason David Frank to get a big break that leads to him getting bigger roles.
    [20] Since No Worries received a reunion special movie in 2015 titled No Worries: All Grown Up, Murphy will not have a drug overdose and live long enough to participate in this movie along with the rest of the cast since her OTL death is well into the Fiction Zone.
    [21] Scarlett Johansson’s older sister who does films almost nobody but the most curious has ever heard of and is nowhere near as famous as her. ITTL, she was cast as Sabe in Star Wars Episode I: A Darkness Rising because of her connections to her younger siblings as Vanessa went into acting much sooner after learning Scarlett would audition for Annie, leading her to nab supporting/bit parts before A Darkness Rising, making her better known than just “Scarlett Johansson’s older sibling”.
    [22] Because Don’t You Want Me lasted longer and was more successful than That 80s Show, the show’s writers will create original-to-TTL characters.
    [23] That said, 80’s nostalgia will not be the defining nostalgic decade for the latter era. Stay tuned for what is.
    [24] Much like this hilarious sketch about VH1 from OTL’s equivalent of The MAD Show, MADTv.
    MADtv - VH1's I Love the 00's (Parody)
    [25] Since Don’t You Want Me? and Days Like These were actually good, those shows naturally get better endings than OTL, and Topher Grace doesn’t end up leaving The Kids Are Alright, thus meaning that the changes that resulted in a bad finale season are butterflied.

    Back in after being taken down, much different the the previois one. This good, @Geekhis Khan ?
     
    Who Watches the Watchmen? You do!
  • Watchmen (1998)
    From the Superhero Wiki Netsite
    Guest post by @TheMolluskLingers and @Plateosaurus with assistance from Mr. Harris Syed, @MNM041 and @ajm8888

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    This but made by Gilliam in the ‘90s

    DirectorTerry Gilliam
    WritersWinston Groom and Carrie Fisher (Uncredited)
    ProducersJoel Silver
    ComposerBasil Poledouris
    CinematographerNicola Pecorini
    Runtime189 minutes
    Budget$110 million
    Box office$359 million
    Production CompaniesBubba-Gump Productions, Warner Bros., Columbia
    DistributorsWarner Bros. (US and Canada), Columbia Pictures (international)

    Watchmen is a 1998 superhero alternate history film directed by Terry Gilliam and written by Winston Groom based on the 1986-1987 DC Comics limited series of the same name created by Alan Moore and Dave Gibbons. The film has an ensemble cast including Robin Williams, Arnold Schwarzenegger, “Weird Al'' Yankovic, Demi Moore, Alan Rickman, John Travolta, Adam West and Katharine Hepburn. Like it's source material, the film is a dark, deconstructive take on the superhero genre set in an alternate 1980s during the height of the Cold War between the United States and the Soviet Union, as a group of retired superheroes investigates the death of one of their own gradually uncovering a massive conspiracy to tip the balance of power with their morals seriously challenged by the circumstances of their situation.

    Plot

    The film opens with a flashback recounting the rise and fall of superheroes with narration from Laurie Jupiter Demi Moore), the daughter of the original Silk Spectre. Laurie’s narration explains, in short, that after Action Comics #1 was published in 1938, a rise in masked criminals spurned the rise of “costumed adventurers”, or “masks” for short, the first of which was Hooded Justice (Winston Groom), followed soon after by others like Captain Metropolis (Phil Hartman), Nite Owl I (Val Kilmer for the flashback sequences, played in present day scenes by Adam West), and Laurie’s mother Silk Spectre (played in flashbacks by Robin Wright, played in the present day scenes by Katharine Hepburn). These “masks” eventually came together in 1939 to form a group known as the Minutemen, to great success and acclaim. After several controversies, the Minutemen disbanded ten years later, and in 1959, the world’s first true “superman”, Dr. Manhattan (Arnold Schwazenegger), emerged. In 1966, a second attempt was made by Captain Metropolis to create a second group of heroes, called the Watchmen; consisting of himself, Ozymandias (Alan Rickman), Manhattan, Rorschach (Robin Williams), the Comedian (John Travolta), and Laurie herself. Unfortunately, due to the growing cynicism among the members (the Comedian especially) about whether or not they can fix the growing social unrest in America itself rather than just nabbing petty criminals, the Watchmen disband before their first meeting is over. Things for the mask community get worse, however, as several years later in 1977, the Keene Act is passed, effectively making costumed adventurers illegal. The only ones left are Doctor Manhattan, the Comedian (who by this point has abandoned his goofy jester gimmick for something more brutalistic) and Rorschach, who continues his crusade for justice even as it takes a toll on what little remained of his sanity.

    After the prologue, we cut to a shot of a grimy, rainy New York City, circa 1985. As a result of Doctor Manhattan’s actions in Vietnam, the Cold War has become so hot that a nuclear exchange between the United States and the Soviet Union is seemingly inevitable. The Comedian is now dead under mysterious circumstances and Rorschach believes that someone or something was responsible for his death. When he tries to explain his findings, Dan Dreiberg, the second Nite Owl (Alfred “Weird Al” Yankovic), is skeptical and believes that Blake’s death or superheroes being outlawed cannot be traced to a single individual or group and Adrian Veidt thinks that he’s crazy. Rorschach accuses Veidt of exploiting not only his image but those of his fellow masks, and attempts to pierce his metaphorical armor by calling him a traitor and government stooge; Veidt reminds him that he chose to retire in 1975, two years before the Keene Act was passed in Congress. However, Rorschach doesn’t believe a word that Veidt says and vows to find the individual or organization behind the death of the Comedian with the assistance of the second Nite Owl.

    Meanwhile, Doctor Manhattan is giving an interview on national television. A reporter speaking to Manhattan says that he might have given cancer to several people he knew and cared about. Manhattan is so furious about this allegation that he exiles himself to Mars after the interview. Without the threat of retaliation from Manhattan, the Soviets began preparation for the invasion of Afghanistan. Rorschach’s suspicions are seemingly proven when Veidt survives an assassination attempt and Rorschach is framed for the murder of former villain Moloch (Gene Hackman). After being sent to prison, we discover that Rorschach is actually Walter Kovacs in a series of flashbacks explaining why he became a vigilante to prison psychiatrist Dr. Malcolm Long (Eddie Murphy). We learn that he was the son of a prostitute who had an abusive childhood and the moment that Kovacs became Rorschach was when he killed a child kidnapper who fed his victim to his dogs after he murdered her. Rorschach is later broken out of prison during a prison riot by Dreiberg and Laurie, who had chosen to stay with him and come out of retirement. Doctor Manhattan probes Jupiter’s memories and discovers she is the daughter of Edward Blake, created through his rape of Jupiter’s mother. A criminal gang kills Hollis Mason, the first Nite Owl, mistaking him for his successor Dreiberg.

    Richard Nixon (Lane Smith) along with several aides at NORAD (Christopher Reeve) prepare the “nuclear football” as Soviet forces gather at Afghanistan’s border. Meanwhile, having spent several hours in the Hudson River fruitlessly looking for clues on Rorschach’s mask conspiracy, a frustrated Dan goes back with Walter to the latter’s apartment to get the journal and a spare uniform; he briefly considers contacting Veidt, but then wonders what’s the point since Nixon is prone to start dropping the bombs any minute. Rorschach and his landlady briefly argue over him having supposedly propositioned her for sex and calling her a whore; his landlady begging for her children not to know strikes a chord with Rorschach, who in a rare moment of empathy is reminded of himself as a child.

    Meanwhile, at an Antarctic base, Veidt observes the oncoming nuclear war, and after ensuring his men have carried out his orders, continues to watch while moralistically decrying the unfolding events and the current state of the media as juvenile.

    Nite Owl and Rorschach return to the Hudson River, the latter complaining about how they should be interrogating criminals rather than using Dan’s fancy gadgets for computer research. Dan retorts that he believes there is no mask killer and that something bigger is happening, citing Veidt’s attempted assassination as being particularly suspicious. This results in an argument between the two, with Rorschach accusing Dan of lazing around since he retired, and Dan retorting by calling him, in no uncertain terms, a psychotic Objectivist-obsessed manchild. This pierces Rorschach’s unemotional, terse facade for a brief moment and he sincerely apologizes to Dan. Dan, in turn, apologizes for his own harsh words and with their old partnership reignited, the two head to Rorschach’s usual haunt, Happy Harry’s, to follow Dan’s lead. Upon arriving, the two encounter the man behind the attempted assassination and soon discover that everyone else involved is dying suspiciously, as well as several notable Hollywood producers and pirate comic artists suddenly disappearing en masse. Dan also discovers Hollis was murdered, and after brutally beating the man to the point where Rorschach has to restrain him, the duo discover that Veidt is the one behind all the mysterious attacks; they head to Karnak with all this information to confront Veidt.

    As Rorschach and Nite Owl land in Antarctica with difficulty, Veidt coolly observes them from his base dressed in his old Ozymandias outfit, smirking and telling his cat Bubastis that everything is fine and all is going according to plan. Observing Nite Owl and Rorschach debate his motivations, Ozymandias invites his servants to drink with him as he reveals his origins and grand plan.

    Born in 1939 to wealthy German immigrants, Adrian Veidt grew up admiring Alexander the Great and was found to be extremely intelligent, however he kept this skill hidden. After his parents died when he was 17, Veidt decided to venture out on a pilgrimage charting Alexander the Great’s own journey; after eating a ball of hashish and undergoing a psychedelic experience. Witnessing a vision of the great conqueror, Adrian realized that Alexander’s greatest flaw was ensuring that his empire could survive his own death; thus, Adrian Veidt took the name Ozymandias and became a superhero at the age of 19, vowing to create his own legacy against the evils of the world.

    Cut back to Ozymandias’ base and it’s shown that during this speech, the servants’ wine has been poisoned; as they lay dying, Ozymandias opens the roof, letting forth an avalanche of snow, burying everyone except him. He remarks that, just like Alexander killed his own servants to preserve his secrets, he will do the same thing. Nite Owl and Rorschach burst into the base, confronting Ozymandias; the latter, after greeting them like old friends, continues his tale.

    Flashing back to 1958, shortly after beginning his crimefighting career and earning the reputation of “The World’s Smartest Man”, Ozymandias met Dr. Manhattan, who he regarded as utterly fascinating. However, as the Cold War tensions rose and vigilantes were regarded with increasing scrutiny, Ozymandias’ own idealism began to falter; it was not until 1966, at the ill-fated first and only Watchmen meeting, that Ozymandias hit upon the solution - “the world’s greatest practical joke”, in his own words. By first taking out Dr. Manhattan so he wouldn’t interfere via exposing those Jon was close to with enough radiation so they would get terminal cancer, Veidt would then gather various comic artists and Hollywood producers under the guise of shooting an alien invasion film; this, of course is all a ruse for the real plan - teleporting a monstrous alien being into New York and using it as a sort of “psychic bomb” to kill half of the city’s population[1]. Of course, the Comedian and Moloch both stumbled upon the plan before it was ready, so Veidt had to kill them.

    Horrified, Nite Owl attempts to reason fruitlessly with Veidt, telling him that he needs help and that he doesn’t have to go through with it. Veidt coyly responds, “I did, Dan. You think I’m a Republic serial villain? Do you seriously think I’d explain my masterstroke if there remained the slightest chance of you affecting its outcome? I did it all thirty-five minutes ago.” At that moment at Times Square, a massive, black and purple squid-like alien drops down in a dark, twisted parody of the New Year's Eve ball before exploding in a bright flash of light killing millions.

    On Mars, the signal from the squid exploding attracts the attention of Dr. Manhattan and Silk Spectre, who teleport to Ozymandias’ base, the energy causing Jon’s senses to fluctuate between past and present, explaining Veidt’s plan to Laurie while also conversing with Rorschach. Meanwhile, Dan is still trying to process the events and Veidt’s reasoning for doing so. Pointing out that the assassin hired to kill Veidt could have shot him first, Veidt responds that he could catch the bullet; something he demonstrates when Laurie sneaks in, undetected, and attempts to do so using a gun she acquired from one of the detectives that had been investigating Eddie Blake’s murder. Jon, meanwhile, distracted by Veidt’s pet Bubastis, is (briefly) disincorporated by Veidt, before reassembling himself in giant form, taunting Ozymandias with the knowledge that reassembling himself was the first thing he did as Dr. Manhattan. Ozymandias, turning on the televisions to reveal all the world leaders fearful and begging for peace, goes on another tangent proclaiming that he has won and that they can do nothing unless they want the threat of nuclear war hanging over their heads again. The rest ultimately concede Veidt’s point. That is, however, except for Rorschach, who declares he will not compromise even in the face of Armageddon. Ozymandias doesn't seem to be concerned, and he retires for the night upstairs. Dan and Laurie notice that Jon has also disappeared, and confess their mutual attraction to one another before kissing.

    Outside, Rorschach and Dr. Manhattan discuss what to do next; Rorschach insists that he will still head back to civilization to expose Veidt’s plan. Manhattan says that he can’t be allowed to do that, something Rorschach is all too aware of. Taking off his mask, Rorschach begs Manhattan to “Do it!” before being vaporized. Walking back in, Jon discovers Dan and Laurie post-coitus, sleeping peacefully. Veidt, however, is near-catatonic; having made himself physiologically feel all those deaths has made him wonder if he did the right thing. Jon, neither condoning nor condemning Ozymandias’ decision, decides to leave humanity - and the universe - forever, having found something worthwhile enough in humanity in order to create life of his own. With that, Manhattan disappears for the final time.

    Two months later, Laurie and Dan are living incognito under the names Molly and Al Hollis, and they visit Sally for Christmas. Laurie and her mother have a conversation about the revelation of the Comedian being Laurie’s father. Tearfully, Sally asks her daughter if she can ever forgive her, with Laurie merely saying that she understands that sometimes people can do strange, unexplainable things in their lives; she uses the recent announcement of Robert Redford’s presidential candidacy on TV as an example. Bookending the film with her narration, Sally muses that while she’s glad to be a hero again, she wants to create a hero identity apart from the “Silk Spectre” name, and muses upon the name “The Jester”, with an outfit reminiscent of the Comedian’s original costume. The film ends with a shot of the same smiley face pin the Comedian had being placed in a box.

    In a post-credits scene, reporters from the right-wing news tabloid The New Frontiersman are bitterly wondering what stories to run now that the Cold War is effectively over. Hector Godfrey (Jonathan Pryce) tells his reporter Seymour to grab something from the crank file, anything he wants. Seymour reaches for the top of the pile, on which lies Rorschach’s journal exposing Ozymandias’ crimes.

    Cast

    Main
    • Robin Williams as Walter Kovacs/Rorschach
    • Arnold Schwarzenegger as Jon Osterman/Doctor Manhattan
    • “Weird Al” Yankovic (credited under his real name Alfred Yankovic) as Dan Dreiberg/Nite Owl II
    • Demi Moore as Laurie Juspeczyk (Jupiter)/Silk Spectre II
    • Alan Rickman as Adrian Veidt/Ozymandias
    • John Travolta as Edward Blake/The Comedian
    Supporting
    • Adam West as Hollis Mason/Nite Owl I
    • Katharine Hepburn as Sally Juspeczyk (Jupiter)/Silk Spectre I
    • Gene Hackman as Edgar Jacobi/Moloch
    • Eddie Murphy as Dr. Malcolm Long
    • Phil Hartman as Nelson Gardner/Captain Metropolis (Minutemen + Watchmen flashbacks)
    • Winston Groom as Rolf Muller/Hooded Justice (Minutemen flashback)
    • Robin Wright as young Sally Jupiter (Minutemen flashback)
    • Val Kilmer as young Hollis Mason/Nite Owl I (Minutemen flashback)
    • Bruce Campbell as Byron Lewis/Mothman [Minutemen flashback]
    • Uma Thurman as Silhouette/Ursula Zandt [Minutemen flashback]
    • Lane Smith as Richard Nixon
    • Theodore Bikel as Henry Kissinger
    • Loren Lester as Joe Bourquin
    • Marc Macaulay as Steven Fine
    • Don Johnson as Doug Roth (cameo)
    • Jonathan Pryce as Hector Godfrey (cameo)
    • Christopher Reeve as Nixon Aide (cameo)
    • Brian Dennehy as Joint Chiefs of Staff Chairman General (cameo)
    • Michael Ensign as SAC General
    • Ken Jenkins as Navy Admiral
    • Terry O'Quinn an G. Gordon Liddy
    • Boris Leskin as Soviet General Secretary
    • Evgeniy Lazarev as Soviet Foreign Minister
    • Richard Marner as Soviet Defence Minister (Cameo)
    • Lev Prygunov as Soviet Chief of General Staff
    • Matt Frewer as Captain Carnage

    Production

    In 1986, producers Lawrence Gordon and Joel Silver acquired the rights to Watchmen for 20th Century Studios, enlisting the aid of Sam Hamm to write the screenplay for Alan Moore’s seminal 12-issue maxiseries. The script languished in development hell until 1991 when Terry Gilliam was attached to direct; the projected budget of $100 million was too much for 20th Century, who eventually dropped the script[2]. It wasn’t until 1994 that Winston Groom, shortly after reading the trade paperback edition of Watchmen decided to try his hand at producing a film thanks to the success of Forrest Gump[3].

    After meeting Gilliam and reading Hamm’s screenplay, Groom reportedly offered to aid Gilliam in acquiring the desired $100 million plus an additional $10, in exchange for throwing out Hamm’s (let’s face it) in-name-only script and Silver as producer, though Gilliam balked at the latter suggestion and Groom wisely backed down; thus, Groom’s much more faithful script began to be written in collaboration with Carrie Fisher as his script doctor. Gilliam was more or less given full creative control aside from a few decisions made by the producers and Groom while the comic’s original creators Alan Moore and Dave Gibbons were brought on board for the production to serve as consultants on the film to ensure that it was as accurate to the source material as possible much like they did with Miracleman[4]. For the script, Gilliam decided to condense all 12 issues into a runtime of 3 hours, longer than any superhero movie that had been made before or since then. However, Gilliam and Groom knew they couldn’t translate everything from the comic so it meant cutting a couple of details in the transition from the page to the silver screen most notably changing the name of Captain Metropolis' proposed team from the Crimebusters to the Watchmen so audiences would understand the title and the removal of the in-universe pirate comic Tales of the Black Freighter from the narrative, though it was adapted as a short film by Warner Bros. Animation playing before screenings of Watchmen similar to (Mostly) Good Omens for Gilliam’s prior film Good Omens.

    As far as casting went, the only holdovers from Gilliam’s original plans were Robin Williams as Rorschach and Arnold Schwarzenegger as Doctor Manhattan; For the latter, Arnold was asked if he could do the unthinkable: drop his distinct Austrian accent for a deliberately monotonous, American one, to reflect the immigrant origins of the character. Groom and Gilliam gave their nod of approval and Schwarzenegger worked with a dialect coach to master a standard American accent in preparation for the role. Another notable addition to the cast was Demi Moore as Laurie Juspeczyk, the second Silk Spectre.For the role of Nite Owl II, while written in mind for Johnny Depp, Gilliam ultimately cast singer Weird Al Yankovic[5], who gave a surprisingly good audition. Even though Yankovic was best known as the guy who parodied hit pop songs, he actually turned down a suggestion to make a spoof song for the soundtrack, feeling that [SIC] “this isn’t the kind of movie you can exactly be funny about”; As a compromise, however, Yankovic would compose the various Veidt Enterprises jingles strewn throughout the film and collaborated with Poledouris on the score. Alan Rickman joined the film as Adrian Veidt given his experience playing villains and John Travolta would be cast as the Comedian thanks to his part in Bubba-Gump Productions’ Forrest Gump as the titular character.

    For the rest of the cast, TV star Adam West, silver screen legend Katharine Hepburn, Eddie Murphy, Gene Hackman, Robin Wright and Uma Thurman would join Watchmen in supporting roles such as the first Nite Owl and Dr. Malcolm Long. West’s Hollis Mason was a reflection of his career before Lockwell as a washed-up hero who was long past his prime as was Hepburn’s Sally Jupiter since she was an aging white dwarf starlet just like her and hadn’t appeared in a theatrically-released movie since 1987. Hepburn was convinced to take up the role after reading a copy of Watchmen on the condition that she would retire after the film was released. Hooded Justice, the bigoted Klansman and Nazi Party supporter, was played by the film’s screenwriter Winston Groom in the prologue flashback. Additionally, Phil Hartman, Bruce Campbell, Uma Thurman, Lane Smith, Christopher Reeves, Matt Frewer, Evgeniy Lazarev, Richard Marner, Michael Ensign, Ken Jenkins, Val Kilmer, Terry O’Quinn and Lev Prygunov had small roles or cameo appearances in the film.

    Originally, Groom wanted Watchmen to be made at Columbia Pictures, which had already had an eight movie exclusivity deal with Bubba-Gump Productions. However, because Warner Bros held the rights to the property, Bubba-Gump couldn’t make the film with Columbia, even with Ted Turner trying to buy the rights away. Eventually, Columbia was allowed to distribute Watchmen overseas (except Canada) as a compromise[6].

    With a $110 million budget and an all-star cast, Gilliam’s Watchmen movie was a go. Much like its source material, Watchmen would be a gritty, introspective look into an alternate Cold War shaped by the presence of (mostly) non-powered superheroes and burn away misconceptions of the genre as “kids stuff” with an R rating to boot. This meant there would be no tie-ins and promotions with McDonald’s, children’s television or theme parks, similar to some of it’s contemporaries[7].

    Filming took place between the spring and summer of 1997 in and out of New York City and other locations. To properly capture the 80s setting of Watchmen, Gilliam and the production crew repurposed old cars, fashion and advertisements from the time period and had all of them on-set. Gilliam used practical effects and some CGI for the more special effects-heavy parts such as Doctor Manhattan’s display of his omnipotent powers and Ozymandias’ Arctic fortress. The production more or less went smoothly with the cast having a jovial good time despite the serious, cerebral tone of the film.

    Reception and Legacy

    Despite serving as a consultant on the film, Alan Moore had mixed feelings about the adaptation of his most famous work. On one hand, he liked some of the casting choices such as Robin Williams as Rorschach and Alan Rickman as Ozymandias as well as the inclusion of the squid attack on New York in the climax. However, Moore disliked the excision of Tales of the Black Freighter and Rorschach’s more questionable beliefs from the film’s narrative. He concluded that while the film was good on its own merits, it could never surpass the comic he created[8]. Dave Gibbons on the other hand, was more positive to it, enjoying the many details including how it recreated entire scenes from the graphic novel shot-for-shot, which he needed several rewatches to all pick up[9]. The film’s success inspired the two to create a sequel to the graphic novel that would be titled Sentinels, and explore the further developments of superheroes and comics from the Bronze Age and into the 1990’s, such as the violent anti-hero and Japan’s Tokusatsu, anime and manga, released in 1999 to acclaim. The success of Sentinels in turn led to DC to greenlight three spin-offs set in the Watchmen universe: Minutemen, The Comedian’s War Diary and Rorschach’s Journal, all written by Moore and Gibbons[9].

    Regardless of Moore’s opinions about the film, Watchmen was released to a mostly positive reception from critics and audiences, grossing $359 million over it’s $110 million budget, although most of the money came early on from people thinking the movie was a straight story due to having comedic actors involved, gross tapering off in the middle before rising once more from positive word of mouth. Praise was given to the story, Gilliam’s direction, the performances of the cast (particularly Williams, Schwarzenegger, Rickman and Moore), the cinematography and the soundtrack though criticism was directed at the film for having a long if not bloated runtime and some of the special effects being a bit dodgy.

    Because of it’s serious, R-rated nature, Warner Bros heavily pushed Watchmen for numerous Oscars at the 71st Academy Awards including Best Picture, Best Leading Actor, Best Leading Actress, Best Supporting Actor, Best Supporting Actress, Best Directing, Best Screenplay Based on Material Previously Produced or Published, Best Original Dramatic Score, Best Costume Design, Best Cinematography and Best Visual Effects. In the end, Watchmen did not win any Oscars as other movies got awards in the categories the film lobbied or was nominated for. Nevertheless, Watchmen was part of a new trend of superhero films that not only pushed the envelope but explored mature subject matter and were aimed at older audiences.

    To this day, Gilliam fans rank it as one of the best films made by him while comic fans (especially Moore fans) are divided over whether or not it’s just as good as the maxiseries.

    Trivia

    • In order to replicate the four-color feel of the graphic novel and the early Silver Age comic books that inspired Dave Gibbons’ art, the film’s cinematography was given extensive digital color saturation, with both Nicola Pecorini and Terry Gilliam naming Vittorio Storaro’s work on the 1990 adaptation of Dick Tracy as an influence when doing so[10].
    • Aside from Johnny Depp as Dan Dreiberg/Nite Owl II, Gilliam wanted Patricia Arquette as Laurie Juspeczyk/Silk Spectre II, Charles Dance as Adrian Veidt/Ozymandias, Bruce Willis as Edward Blake/The Comedian, Katherine Helmond as Sally Juspeczyk/Silk Spectre I and Denzel Washington as Dr. Malcolm Long but both Warner Bros. and Bubba-Gump Productions and their respective schedules prevented his preferred casting choices from coming to fruition.
    • Despite Superman trilogy co-stars Christopher Reeve and Gene Hackman appearing in the film, their characters don’t share a single scene together.
    • The Nite Owl costume of Adam West’s Hollis Mason in flashbacks was deliberately patterned after his Batman outfit in the 1966 series.
    • In the 1940s segment of the flashback prologue, copies of Detective Comics #27 and All-Star Comics #8 can be seen being read by kids and adults alongside Action Comics #1.
    • Weird Al Yankovic directed the music videos for the in-universe Veidt Enterprises ads which were designed to be as campy, goofy and over-the-top as possible befitting of a multinational corporation wanting to promote their brand to millions.
    • To coincide with the release of the film, DC Comics republished the original Watchmen maxiseries with a foreword by Terry Gilliam on its impact on the American comics industry.
    • Watchmen’s world premiere took place in New York City, the site of the squid attack in the original comic and film, with Gilliam and the cast in attendance.
    • The film was first screened at the Cannes Film Festival as a way of gaining respectability from audiences that weren’t particularly interested in superhero films.
    • Composer Basil Poledouris’ soundtrack was comprised of original and licensed songs spanning the 1940s-80s, the timeframe covered by the comic.
    • Watchmen’s cinematographer Nicola Pecorini previously worked with Terry Gilliam on other projects.

    [1] Unlike Zack Snyder's version, Terry Gilliam's Watchmen will keep the iconic squid attack scene from the comic.
    [2] All events from OTL
    [3] This is the POD for Terry Gilliam’s Watchmen coming to fruition.
    [4] As mentioned in the Peak Darkness post, Alan Moore and Dave Gibbons never had a falling out with DC since they retain the rights to Watchmen and Moore got to write for Vertigo Comics which in turn led to the publication of Twilight of the Superheroes. Furthermore, the modest success of Miracleman will make Moore warmer to big and small screen adaptations of his work though he will still prefer the comic versions.
    [4] Weird Al Yankovic starring in Watchmen will cause delays to both his projects from around the time. Basically, Watchmen will be a big boost to Yankovic’s cinematic career and he will continue to appear in more movies for years to come.
    [5] A squid-sized suggestion from us for suggesting Columbia as a potential distributor for Watchmen. That said, they will only handle the distribution of the film worldwide since Warner Bros owns the rights to the property and they’ll handle distribution duties in the US and Canada.
    [6] Since TTL’s 1990s didn’t have Joel Schumacher’s Batman films to kill off interest in the genre temporarily, superhero films will become much more serious if not quite dark and bizarre befitting of the then-current Dark Age of Comics that the film’s source material helped usher in.
    [7] Even in a world where Moore watches and somewhat likes a film adaptation of Watchmen, he would still consider it to work best on the page over any medium.
    [8] Dave Gibbons had similar opinions to OTL's Watchmen film and other adaptations or media related to the comic.
    [9] Much like how Moore and Gibbons never leaving DC led to Twilight of the Superheroes, the proposed spinoff ideas and sequel to Watchmen will come to fruition in the wake of the film’s success with their input and the latter will not have a plot that involves a crossover with the DC Universe.
    [10] Unlike Snyder’s film IOTL which did the exact opposite, Gilliam’s Watchmen manages to capture the vibrant and colorful yet still realistic aspects of the source material’s artwork that is so integral to its deconstruction of Silver Age superheroes.

    Must be Watchmen Wednesday. Hope you don't mind, @TheMolluskLingers
     
    And the Band Played On...
  • Titanic (1998)
    From Smithsonian TV’s The Camera with Roger Ebert, Season 3 episode “Inside the Titanic” (2003)

    mHP0043_1024x1024_50.jpeg

    Guest post by @MNM041, @Plateosaurus, @Ogrebear, and Mr. Harris Syed with assistance from @ajm8888




    Roger Ebert: Good evening. It's impossible to truly describe just how monumental 1998’s Titanic[1] was when it was released. The film was a passion project for its director James Cameron, and was years in the making. Incorporating both historical and fictional aspects. Titanic is based on survivor accounts of the 1912 sinking of the RMS Titanic, plus the knowledge gained from studying the shipwreck itself. The film shows the love story of two passengers of vastly different social classes finding each other aboard the ship during its ill-fated maiden voyage.

    When Titanic was first released it was the most expensive film ever made, not just in the '90s but of all time. James Cameron is about to release new footage from his recent dives to the wreck in conjunction with Disney and National Geographic as Titanic: Ghosts of the Abyss as well as the interactive computer project Titanic Explorer. However, let’s go back to 20th Century Studios Titanic[2]. Joining me tonight to discuss filming the $200 million historical epic is Production Designer Peter Lamont, Producer Jon Landau, Historian and consultant Don Lynch, Casting supervisor Mali Finn[3], and Visual Effects Supervisor Robert Legato.

    Jon Landau: Jim really put his heart and soul into the whole film, he wanted to go all out in every aspect. He's always been heavily involved in every film he makes, but with Titanic, he was involved in every aspect of the film he could. Not to mention, James didn't want to do any half measures when it came to accuracy, he wanted to be as close to how things would have looked on the ship as it could humanly be. I think that's also where a lot of the problems that came about during production stemmed from, trying to meet those expectations.

    Roger Ebert: Indeed, James Cameron first got interested in Titanic in 1985 when the shipwreck was found by an American-French expedition. Cameron even wrote to Dr. Bob Ballard who led the expedition for technical details of the dive and the cameras used. Cameron would retain a love for the sea leading to 1989’s Seafloor which dealt with the deep ocean. In 1992 Titanic: An Illustratred History by Don Lynch came out and re-sparked Cameron’s interest in the doomed ship.

    Don Lynch: I think my book stuck with James for when he started diving to the Titanic in mid-1995 and invited me and Ken Marshall the artist along. There was a heavily bookmarked copy in the main planning room on the Akadmik Mstislav Keldysh. We used my book, Ken’s works, and some high quality wreck models to plan the dives and the filming Mir 1 and 2 would do. Those 12 dives where I learned just how perfectionist James can be.

    Peter Lamount: I remember we were making the sets of Rose’s sunken suite and James kept insisting on a little more accuracy for the props and set walls even though no one would be able to see them, even on IMAX because that is how he is.

    Jon Landau: And that’s how it was with the whole experience. [nods all round]

    Robert Legato: Even more so with the digital effects. We were compositing from live action, model work, motion capture and totally digital assets. We got lucky that we had so many MINIBOG units to work with.

    Roger Ebert: As I understand, Cameron cut some of the dive footage with that set recreation and showed it to the executive team of 20th Century Studios who wanted a historical epic of their own to compliment Spielberg’s The Day After D-Day from their sister company Paramount. Why did he have to do that if they had agreed to fund Titanic?

    Jon Landau: Simply speaking they needed convincing. James was sure the movie would be good, but his predicted $120 million budget was a scary idea to them. The footage worked though, the wreck’s forlorn beauty, and the mystery he teased with the safe was enough. James got his money and production moved into high gear into 1996.

    Roger Ebert: After securing the funding and backing of 20th Century, Cameron resumed the real hard work: making a scale replica of the Titanic and sets as accurate to the real thing as possible. Even with advances in computer graphics at the time, James didn’t want to fully use computer graphics for the sinking of the Titanic so he chose an alternative, one that would become well known in the making of the movie for all the wrong reasons.

    Jon Landau: In the original planning James wanted to build almost the whole full length ship 1:1, but the studio baulked at the enormous cost, particularly because James wanted to be able to sink the sets repeatedly, which would have required building huge new water tanks. At least 150 million gallon ones. Unable to do that we looked at other options and facilities.

    Peter Lamont: Enter the Mediterranean Film Facilities[4] in Malta, home of the world’s biggest water tanks for movies. And yes, the same tanks were used for Raise the Titanic in 1979. Believe me when I say we heard EVERY joke about that and comparisons to our production. EVERY joke.

    Screenshot_20230115-115225_50.png

    The Raise the Titanic model in the Malta tanks in 1978.

    Peter Lamont: We started by renovating the tanks to suit the production, with extensive ground works to hold the camera cranes, as well as a very complex schedule so we could build and film the smaller sets first before moving onto the main set pieces- the bow section, and the titling stern.

    Don Lynch: The rumour that Cameron reused the Raise the Titanic model is in fact false, though James did pay for the 1979 model to be renovated. The main one in the movie is a 45ft beast and way more accurate than the 1979 one- even Ken who worked on the Raise the Titanic model said it was a much, much better model. Like the model of the wreck Cameron used, it was based on every blueprint, plan, and rivet layout Cameron and his team could find. Titanic’s builders Harland and Wollff were exceptionally helpful in opening the archive for me and Ken. We played a part in making sure it was right. It had to be for a movie that was going out in IMAX.

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    James Cameron inspects the 45ft model Titanic.

    Peter Lamont: The sets we made were 1:1 scale to the ship, using the Harland and Wolff blueprints. We drafted in hundreds of experts to get everything right. Crockery with the White Star logo, every panel, newel, or decorative feature, the carpet in the first class dining saloon was from the company who made the original one on Titanic- all 18,000 square feet of it. Given we would have to dunk and break a lot of the crockery and furniture multiple times, rental was out of the question, we had to build or buy new- which also contributed to the look of Titanic as a new ship.

    Mali Finn: With the casting we had to make sure the actors knew what they were getting into with the clothes. Every woman was going to be wearing tight corsets, the men starched collars and multiple layers of wool whilst working in the Mediterranean, pretending to be in the frozen North Atlantic. We got in many original 1912 dresses and suits, then reproduced them. I remember our beaders wore their fingers out getting it all correct. We had 200 ‘Core Crew’ who played repeating extras who had 1912 etiquette lessons and to see them moving about in the clothes, or eating was a joy.

    Jon Landau: We built the sets mostly in Tuscany and shipped them to Malta. Sets not required to be sunk such as the third class saloon, Marconi room, Rose’s suite, or the Cafe Parisian were built alongside the pools in Malta in huge warehouses. Though we had to be careful with our space use and the two historic forts alongside the site.

    Peter Lamont: The sinking sets were the upper grand staircase, dining room, poop deck at the stern and the huge well deck to the second funnel bow section which included the Bridge and first set of lifeboats. We mounted these on massive hydraulics built into the tanks so they could be lowered and flooded in a controlled way.

    Roger Ebert: However, having never been built to house the hydraulics and sets demanded by Cameron, the water tanks were prone to leaks both metaphorically and literally.

    Jon Landau: Well it is hard to hide sets the size we had. While some were covered like the Staircase or dining room set, the bow section was not. We got so many news helicopters coming over we had to get the government of Malta to declare a ‘no-fly’ zone over the sets during shooting as well as impose a limit on how close a boat could come to the shore or it would ruin our takes.

    Roger Ebert: The problems with the shoot and the ballooning budget could have been foreseen, why did Cameron not scrap parts of the build, such as the bow section and use models and static sets?

    Peter Lamont: We did use models a lot. The 45ft model was used extensively, as was a 20ft model of the last third of the ship for the splitting sequence. The tanks were just a few metres from the ocean, and have this optical illusion known as an infinite horizon, which allows a model in the tank to appear as if it was in the open sea. Same with any sets.

    Robert Legato: All the model work had to be matched to live action footage. James wanted some flyby shots- like a White Star commercial. We incorporated live action from the full sized sets, motion capture of actors, all digital assets and miniature work. I honestly do not think we could have pulled those shots off as well as we did without that full sized set.

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    Full sized set in action during plunge of the bridge.

    Don Lynch: Also without the full sized set the opening sequence at Southampton would have a lot less impact in my opinion. It would have been nice to have the full length ship, but the bow section was complete to the waterline on both sides and looked magnificent.

    Roger Ebert: As Titanic’s sets were being built in 1996 speculation turned to the casting for this epic. Did Cameron have any specific people in mind for the crew and passengers of Titanic?

    Mali Finn: Not specific people, though he had some preferences. James had us look at, I think fifty choices for the two leads Jack Dawson and Rose DeWitt. With the casting of Jack, he had the misfortune of having two of his top picks, River Phoenix and Leonardo DiCaprio, both being unavailable[5]. The pool of actors being considered for the character would end up including Chris O'Donnell, Johnny Depp, Matthew McConaughey, Jonathan Brandis, Christian Bale, and Tom Cruise. For Rose, names such as Helena Bonham-Carter, Winona Ryder, Gwyneth Paltrow, Nicole Kidman, Madonna and Angelina Jolie, and in a funny twist of fate given who was eventually cast as Jack, Uma Thurman.

    Jon Landau: A lot of people could sense Titanic had potential, and a lot of people wanted their names on it.

    Mali Finn: When Ethan Hawke came in to read for Jack, I could tell there was something special about him, because every other actor in the room suddenly seemed anxious. After his audition, I could certainly see why[6]. As you know he got the part. Neve Campbell gave a stunning audition as Rose, really capturing what James had been looking for. When we cast Hawke and Campbell as Jack and Rose, we decided to keep their natural hair as is since we felt that their performances mattered since they were originally envisioned as brown-haired and red-haired respectively. We put Ethan and Neve together for an audition scene and it was “Wow, you could feel the electricity,”.

    Roger Ebert: Did they have any problems with the water, or physical demands?

    Mali Finn: Neve has gone on record saying she had to push herself at times. Titanic was the most demanding film she had done at that point. She caught colds, and had pneumonia at one point, but a lot of us on set got ill, and the water performers in particular, but the set was inspected several times and no fault was ever levelled at the production.

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    Ethan Hawke and Neve Campbell, circa 1998 (Image sources; Iconic Greats and IMDB)

    Roger Ebert: The 1997 filming schedule was intended to last 148 days but eventually went up to 192. Many cast members came down with colds, flu, or kidney infections after spending hours in cold water, including Campbell. Several extras reportedly left the production, and three stuntmen broke bones, but the Screen Actors Guild decided, following an investigation, that nothing was inherently unsafe about the set.

    Peter Lamont: We were very careful on our set. For example, the Grand Staircase we built over the second tank. Beautiful set, amazing space to work in. It was three stories tall, and we had to sink it, making it a very dangerous environment with rushing water involved. Every actor or stun person in the dome implosion scene had a diver on hand in case of difficulty. James himself took a camera for that. We only had one take to get it right and dropped 40 gallons of water through the dome on top of the flooding to produce that amazing moment- not a person was injured, just very. very wet.

    Don Lynch: That moment actually helped with Titanic research as the staircase broke from its foundations and floated, which we believe now happened on the real wreck which is why there is no trace of the staircase today.

    Roger Ebert: Indeed so. Joining Hawke and Campbell would be Rob Lowe as Caledon Hockley, Rose's wealthy and cold-hearted fiance; Jessica Walter as Ruth DeWitt, Rose's widowed mother; Raoul Bova as Fabrizio De Rossi, Jack's Italian best friend who joined him on the doomed voyage; Reba McEntire as Molly Brown, the real life passenger dubbed by many the "Unsinkable Molly Brown"; Bernard Hill as Captain Edward John Smith, the real life captain of the doomed vessel; Hugh Grant as Jack Phillips the radio man who sent the first SOS, Gloria Stuart as an older Rose, who relays the story of the film, and Bill Paxton as Brock Loveit, the treasure hunter whom old Rose tells her story to.

    Mali Finn: The movie also had a raft of famous faces in smaller cameos, such as Gene Hackman as Benjamin Guggenheim, Billy Zane as John Jacob Astor, David Warner as Thomas Andrews, Paul McGann as Bruce Ismay, Bruce Campbell as W.T. Stead and a string of British actors such as Dawn French, Julie Goodyear, Roy Barraclough, Julie Walters, and Leo McKern in smaller roles, for example, Leo was the father of Lindsey Lohan’s Cora Cartmell, a little girl travelling in first class who Cal would steal from her father to get into a lifeboat during the final plunge.

    Jon Landau: We have to say that all the cast were stars in this, from the Core Crew, the main cast, the stunt people, and all the extras we had in. Plus all the production people- it is a cliche but it was a huge team effort.

    Roger Ebert: The cost of the sets and constant repairs would see the budget balloon to a record $200 million budget, turning Titanic into one of the most expensive films at the time of its release[7], a bit over $1 million per minute of screen time. The expenses did not stop Cameron however, Titanic had been an obsession for a long time and he was not going to be stopped, buying into the cost of production with his own personal funds for a share of gross of course.

    Jon Landau: James was not the only one. Many of us contributed to a scheme James production company Lightstorm Entertainment set up where investors could contribute money directly to the production for a share of the gross. We believed in the movie that much.

    Roger Ebert: Is it true the main bow section set fell off its lifting platforms during the shoot?

    Robert Legato: I was visiting the set that day, getting measurements for something or other. The team was raising the bow section and there was this huge bang. Now, no one was allowed to be on set or in the tank when it was being raised due to the outflow of water so no one was injured, but the whole section had moved a good foot off true[8].

    Peter Lamont: This was late into the shoot in 1997. One of the hydraulic platforms failed under the load. It delayed us for nearly a month while we fixed it, and threw the shooting out for a while. In some ways it was a good thing as it gave us time to perfect what we were doing on the second tank with the stern section. It was on a tilting platform and designed to go through 90 degrees as survivors had described Titanic’s stern sinking.

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    The tilting stern section

    Don Lynch: Chief Baker Charles Joughin who was on the stern that night described it as ‘riding an elevator straight down’, and others in lifeboats saw the ship reach 90’ degrees to the sea.

    Peter Lamont: However, there was some… debate on the breakup with… some people wanted a big dramatic ‘splashdown’ for the stern, others argued for a more shallow angle to the break. We compromised and made the angle Titanic reaches out of the water a lot smaller before she breaks meaning, the stern does not crash back into the sea, which meant we could design the physical stern sequence as less jarring and with the stunt people not having to fall quite as far.

    Robert Legato: I remember one set of storyboards had someone drop off the stern, fall what had to be a good hundred feet and bounce off a propeller. Would have spoiled the moment I’d have thought.

    Don Lynch: The sequence in the film is probably not as realistic to Titanic’s sinking as some now believe - including James, since his return dives this year where he took ground penetrating radar kit to scan the wreck as well a sophisticated sled system to map the whole debris field.

    Mali Finn: It may not have been utterly accurate, but the break up and final plunge was dramatic. One of my favourite moments in the whole film, even now. It helped that James Horner got the music so perfectly right at that moment.

    Jon Landau: Lighting that moment, and the struggle in the sea right after was one of the hardest parts. The Bow Section we lit from the cranes we used to build it, with one of them becoming the world's biggest crane dolly with a gyro-stabilised Wescam, Steadicam and a handheld rig. The camera guys would go up first thing and be up there eight hours or more.

    However, the sinking stern once the lights were out? It should have been pitch black as Titanic sank on a moonless night, but no one would have been able to see anything so we rigged a very cold blue light to illuminate the scene, but James debated for days on if it was ‘right’ doing a few takes with different filters and things. Even more so once people where swimming for their lives in the water - cold blue light from a non-distinct light source that had to be a necessary departure from real life for audience necessity.

    Roger Ebert: The lighting was one of the historical controversies along with Cameron implying that the lookouts were distracted by watching Jack and Rose, which some felt was disrespectful towards the tragedy as in real life Captain Edward Smith actually ordered all lookouts to be looking ahead, and no lights ahead of the Bridge. Also the portrayal of First Officer Murdoch- played by Ewan Stewart who is seen waving a revolver around which is at odds with survivor accounts. Comments?

    Don Lynch: James wanted Jack and Rose to see the iceberg and be aware of the risk to the ship. He felt it important to move the plot on. The guns are historically accurate- there were many reports of gunfire that night, though not of anyone being directly shot.

    Jon Landau: The portrayal of Murdoch was a mistake, both James and I have discussed this with the family. The script actually called for Murdoch to shoot himself, which we cut after Ewan pointed out it added nothing to an already huge tragedy.

    Roger Ebert: The use of the fictional Jack, Rose, Cal, etc can be explained by wishing to add a love story and show Rose escaping her stratified world, but why did Jack have to die on that door frame?

    Jon Landau: This was something James decided early on in the scripting process. Jack had to die. To complete Rose’s journey to freedom she had to go on without him. It is a poignant moment when Rose, having pulled Jack onto that bit of door frame has to get off it, has to leave the dead Jack behind so she can get to the whistle frozen Chief Wilde has and live.

    Don Lynch: People forget just how cold that water was- Jack had been running around in it for ages, Rose at least had a lifejacket. Most Titanic victims died of cold, not drowning. If more boats had returned quickly they could have pulled many more from the water, but though Molly Brown and a few others tried only 1 boat went back. That’s what Old Rose means about the voices dying away, that’s what finally gets Titanic into the heart of the treasure hunter Brock.

    Roger Ebert: Jack dying or not rumours persist of filmed alternative endings?

    Robert Legato: The only alternative endings I know of were filmed on the Keldysh. James experimented with Old Rose throwing the Heart of Ocean into the sea just before she goes to bed. One take was her on her own, the other Brock, Lizzy Calvert, and Bodine try to stop her, but neither worked. We had Brock and Lizzy have a chat after Old Rose’s story and cut to Rose in bed.

    Mali Finn: There is more deleted footage. James cut quite a bit; an moment with Isador and Ida Straus who we see together at the end, some scenes on Califorian, the down-powered nearby ship, the arrival in New York was partly done, small moments like Smith calling the boats back to the sinking ship, or the Marconi room chaps getting out the distress calls. More cuts of known faces during the plunge or breakup. That sort of thing.

    Peter Lamont: I understand James will be presenting these in a documentary at some point since they were not on the home release.

    Roger Ebert: Can you explain the very subtle fate of the Heart of the Ocean in the final take?

    Don Lynch: Well at the start you hear Brock mention they where able to get to the First Class Dining Room and you see some shots of the doors, and just through them something glints for a moment before Brock says there is no way he angerly calls Mir 1 back. Then during the chase from Cal when Rose shrugs off the coat containing the Heart of the Ocean across a chair in the Dining Room we get a shot of the chain slightly out of the coat pocket as they run off- exactly what Brock saw glinting many years later.

    Jon Landau: So close, yet so far. Part of the pathos of it all, Brock was within spitting distance of the necklace, yet he would never know. One of my favourite ironies in the movie. Though I admit quite a few people missed it.

    Peter Lamont: The fate of the diamond is a question I get asked fairly often, so I suspect plenty of people missed the moment too.

    Roger Ebert: Well now people know. With the physical filming done did the digital work take over?

    Robert Legato: No, we had been involved from the start, from the wreck dives James had done. That’s one hallmark of a James Cameron movie, everything working together. I haven't worked with anybody else who was so consumed by a project. He pretty much preconceived how things should be on the screen, and he has the drive to shoot with those ideas in mind. He doesn't just storyboard everything and then shoot the pieces; for James, it's a discovery process, almost as if he has a melody in his head. He just keeps going and going until he hits the right notes to create that particular melody. What makes James’ films so cinematic is the way he combines all of the film disciplines: camera moves, the look of the film, the actors, the music, the sound effects, the editing. He plays all of those notes until he comes up with the feeling he had hoped for. James had us involved at all times[9].

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    James Cameron discusses how a scene will be filmed with his crew.

    Sure Digital Domain was not based in Malta, but you can be sure we effectively lived there like everyone else. Even after the shoot wrapped we were still there taking forgotten measurements of the sets, the eyelines from mast to bridge, just so we could get it right as well. Us, the miniatures teams, the model shop, Peter’s set folks, we all kinda got as obsessed as James. This crazy risk we were all undertaking drew us in. Titanic is as much a character as anyone else and we had to do her right.

    Mali Finn: And not just you guys, it was the same among the admin teams, the sound folks, finance. As James and the camera teams all captured the action, and even after, when it was being composited and edited, we knew we had a success, despite what the media was saying.

    Roger Ebert: “Multi-million dollar flop”, “Titanic Fail”, “Is Cameron Going to Drown?” All real headlines from the end of filming until release. With reports of ballooning budgets, Cameron’s particular obsessiveness, it seemed Titanic was targeted as a flop. Particularly after the delay from July 1998 to November. Why did it work?

    Jon Landau: The tragedy of Titanic’s voyage, the Rose and Jack romance, the sinking and personal drama, the amazing performances, the exceptional effects work, it just all came together. James needed more effects and editing time and 20th Century complied with his request by shifting the release date from the crowded summer to the quieter winter and that just all worked. The risk paid off.

    Roger Ebert: A risky venture indeed, 20th Century who had financed the movie had expected it in summer, but the delay did give them time to fire up the hype machine with ‘select screenings’ in August and September leading to much positive internet ‘buzz’ ahead of the star studded premiere in Hollywood on December 16th, 1998, where cast, crew, invited celebrities and press where all soon praising the film.

    The film received steady attendance after opening in North America on Friday, December 18, 1998. By the end of that same weekend, theatres were beginning to sell out. The film earned $8,658,814 on its opening day and $28,638,131 over the opening weekend from 2,674 theatres, averaging to about $10,710 per venue, and ranking number one at the box office where it would stay for months, not just in North America, but across the world. It was particularly popular in Europe. Titanic would go on to surpass The Godfather Part III's record for having the highest Christmas Day gross, generating a total of $9.2 million in America alone. For its second weekend, the film made $35.6 million, making it the biggest December weekend gross. By New Year's Day, Titanic had made over $120 million, had increased in popularity and theatres continued to sell out. The film would eventually finish it’s run grossing $952 million on it’s $200 million budget. Titanic’s reception turned out better than anyone could have imagined, especially given the negative headlines before Titanic's release. For the cast, the film's effect would be huge.

    Ethan Hawke (via PFN news footage): It was like I was suddenly a Beatle. It was the closest thing I’ve ever come to that kinda frenzy. All the girls wanted to f*** me and all the guys wanted to fight me[10]. It was insane, but I can't really complain about my career since can I?

    Neve Campbell (via PFN news footage): Looking back, I sometimes still just find it insane that I did that movie. Like the first scene I did with Ethan was one where I had to get naked[11]. We laugh about it now, but I certainly get the sense Ethan would have preferred it if Uma Thurman, who he was seeing at the time, was the one he did that scene with. Still, what an experience, I would never rule out working with James again, just with less water please next time?

    Roger Ebert: Titanic would of course clean up at the awards winning 2 Saturn’, an Annie, 2 Billboard music awards, 2 Brit Awards, 5 Golden Globes, 3 MTV Awards, and of course 8 Oscar wins[12], mostly in technical categories, though James Cameron won for Best Director, Campbell for Best Actress, and Gloria Stuart for Best Supporting Actress. Titanic ironically faced stiff competition in the Best Picture, Best Actor, Best Sound and Best Cinematography categories from Triad’s other 1998 historical epic The Day After D-Day. Titanic would also inspire parodies, the most famous of which being an SNL sketch which Bill Paxton actually appeared in. There would be Titanic merchandise, though Cameron was reluctant here, trying to balance respect for the tragedy with the public’s desire for stuff, most of the released items would be coffee table ‘making of’ books, or items bearing Campbell and/or Hawke’s faces. A model kit became available, and the non-Cameron movie related computer game Titanic: An Adventure Out Of Time jumped to the top of the PC gaming charts.

    Jon Landau: At the time, I remembered thinking that the hype was a bit ridiculous, over the top, but then I heard somewhere that two actual Titanic survivors saw the film and approved of it, even with the fictional elements. That alone made it all worth it.

    Don Lynch: As someone who has studied the Titanic for years, walking the decks of the sets, even in preservation, as the key ones are in the Belfast museum[13] revokes such good memories of this film. Sure, it was stressful, but an amazing experience. To see the emotional response from the public was, to quote Brock “it’s like they finally let Titanic in.”

    Peter Lamont: I was going to retire before James called me[14] and as Don said it was one heck of an experience. I am proud, exceptionally proud of what we put on screen. I have a name plate from a lifeboat I keep at home next to the Oscar.

    Mali Finn: How can I not be proud of Titanic and what we managed. Sure, press ask for stories of epic Cameron meltdowns, but you know what it was never like that. The cast looked amazing, the crew were professional. That’s my Titanic memory.

    Robert Legato: Titanic moved computer and visual arts on. It won Oscars, Globes, Saturn’s etc etc for what we did. We blended so many things together. I remember showing the ‘King of the World’ fly-by to the execs and asking them how many people were real in that sequence, none of them got the right answer which was zero, James’ insistence it had to be that good, meant it was. That’s Titanic’s new legacy at the cinema.

    Roger Ebert: Of course, you also can't talk about Titanic without also discussing the song. Enya's iconic My Heart Will Go On[15] has become one of the most recognizable songs of the 1990s, staying at the top of the billboard charts for an entire month.

    Jon Landau: *Sigh* And one of the more annoying depending on who you ask. Jim had been very adamant about getting Enya for the score, but she said no, so we went to James Horner who did a fantastic job. The studio wanted a song to go along with the marketing though. James didn’t care about that though, he felt a song over the end credits would be oddly disrespectful. But I remembered about Enya and we persuaded her to bring her band on-board for the Third Class dancing scene which went magnificently, and with a little persuasion she came on for the song. I’ll let you into a secret though, James didn’t know we had cut it as a track until we played it to him during editing, at which point he came round given just how good it is. I’d certainly say that was the right call given how the song has become, possibly as deeply embedded in pop culture as the movie[16].

    Roger Ebert: It certainly has. However, we are out of time. Thank you Jon Landau, Don Lynch, Mali Finn, and Robert Legato for our look back at Titanic.

    [Credits roll as the show’s theme song plays]




    Footnotes
    [1] The film is released later than IOTL since Cameron was busy with Pern and doesn’t have time to do any films in 1997 due to his schedule.
    [2] Given that Cameron directed True Lies for 20th Century Studios, Triad chooses to greenlight a film based on the sinking of the HMS Titanic.” Another reason is that to quote Geekhis Khan: “Cameron agreed to direct Pern in exchange for 20th Century greenlighting his passion project Titanic.”
    [3] Mali Finn was the person who served as the casting director for many of James Cameron's films, including Titanic in OTL and TTL.
    [4] Since Rupert Murdoch’s News Corporation didn’t buy out 20th Century Fox, the creation of Fox Baja (on land owned by him) has been butterflied out of existence.
    [5] Phoenix was rumoured to be Cameron’s first choice prior to his OTL death. While he is alive in TTL, he has other projects to do and so does DiCaprio.
    [6] Ethan Hawke was given an opportunity to audition for the role, but turned it down in favour of Gattaca, which released the same year. Here Hawke takes the audition and since there are stories of other young actors getting worried when Hawke showed up, it's a safe bet he'd get the role. As for Campbell, she didn't audition for the film, but then again she couldn't because of the second Scream movie. Since those films were butterflied, she'll be available and end up auditioning. As for other members of the cast, there are similar instances of what happened here with Ethan Hawke, with Rob Lowe as Cal, Reba McEntire as Molly Brown and Lindsay Lohan as Cora Cartmell, the latter of which already has Good Omens on her acting resume and since Lohan has some recognition from that film as Pepper coupled with Neve Campbell’s Rose being a brunette instead of a redhead, Cameron doesn’t pass Lohan over for the role and casts her as Cora instead.
    [7] It makes a roughly similar number at the box office, though the constant delays and some of the controversy mean studios are a bit more hesitant to bring Cameron on board for projects.
    [8] This happened in OTL with the Titanic set, just on a bigger scale than ITTL since the Bow Section is not the 700ft replica Cameron built.
    [9] Per OTL, Quote from https://theasc.com/magazine/dec97/titanic/eect/pg1.htm.
    [10] Hawke pretty much becomes a Hollywood heartthrob thanks to Titanic. What he says here is based on comments he made in OTL about being offered the role and how DiCaprio's career was affected afterwards.
    [11] Based on OTL as well, apparently the scene where Jack drew Rose naked was the first scene that Winslet and DiCaprio filmed together.
    [12] IOTL, Titanic had an Oscar sweep winning 11 awards including Best Picture. Due to some heavy competition from The Day After D-Day, Titanic doesn’t sweep the Oscars although it does win many awards including Best Makeup in TTL due to Men in Black coming out in 1995 instead of 1997.
    [13] Unfortunately OTL the set was destroyed and sold for scrap after filming, the surviving crockey, and other propers auctioned off for funds, except for some pieces that form travelling Titanic exhibits. ITTL more of the sets are kept and assembled in the Belfast Titanic museum including the Bridge.
    [14] Lamont almost retired from film until he was convinced by Cameron to join Titanic which also happens in TTL as well.
    [15] Celine Dion was not the first choice for the song, and from what I can tell she really did not want to do it. Here she's not talked into it by James Horner, and Enya, who was reportedly James Cameron's first choice ends up being given the song instead.
    [16] While the film isn’t a billion dollar hit, it is still a hugely influential and well-known movie like OTL.

    Sources
    James Cameron’s Titanic, published by HarperCollins in 1997.
     
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