REVIEW: LOIS & CLARK – SEASON 1,2,3 & 4

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CAST

Dean Cain (Supergirl)
Teri Hatcher (Desperate Housewives)
Lane Smith (V: The Series)
Michael Landes (Final Destination 2)
Justin Whalin (Child’s Play 3)
Tracy Scoggins (Babylon 5)
K Callan (Heroes)
Eddie Jones (C.H.U.D.)
John Shea (Mutant X)
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RECURRING / NOTABLE GUEST CAST

Elizabeth Barondes (Oscar)
Kim Johnston Ulrich (Passions)
Mel Winkler (Coach Carter)
Shaun Toub (Iron Man)
Clyde Kusatsu (Paradise Road)
Persis Khambatta (Star Trek: TMP)
Joseph Campanella (Guding Light)
George Murdock (Star Trek V)
Terence Knox (Children of the Corn II)
Tony Jay (Beauty and The Beast)
Leslie Jordan (Jason Goes To Hell)
Jim Beaver (3rd Rock From The Sun)
Miguel Sandoval (Alias)
Jessica Tuck (Super 8)
Alexander Enberg (Gia)
David Deluise (Vampires Suck)
Courtney Peldon (Say It isn’t So)
L. Scott Caldwell (Lost)
Morgan Fairchild (That 70s Show)
Charles Cyphers (Halloween)
Fred Stoller (Little Man)
Richard Belzer (The Flash)
Brian George (The Big Bang Theory)
Elliott Gould (Ocean’s Eleven)
Eve Plumb (The Brady Bunch)
Penn Jillette (Sabrina: TTW)
Richard Gant (Godzilla)
Chris Demetral (Dolly Dearest)
Robert Costanzo (Batman: TAS)
David Warner (Teenage Mutant Ninja Turtles II)
Dean Stockwell (Quantum Leap)
Michael McKean (This Is Spinal Tap)
Beverly Johnson (Crossroads)
James Earl Jones (Star wars)
Phyllis Coates (Adventures of Superman)
Robert Beltran (Star Trek: Voyager0
Denise Crosby (Star TRek: TNG)
Earl Boen (The Terminator)
Traylor Howard (Two Guys and a Girl)
Michael Des Barres (Poison Ivy 3)
Barry Livingston (Argo)
William Schallert (Innerspace)
Peter Scolari (Gotham)
Rick Overton (Cloverfield)
Bronson Pinchot (True Romance)
Bruce Weitz (Deep Impact)
Dick Miller (Gremlins)
Farrah Forke (Wings)
Peter Boyle (Taxi Driver)
Melora Hardin (17 Again)
John Pleshette (Rocky II)
William Devane (Interstellar)
Isobel Sanford (Love at First Bite)
Dick Van Patten (Spaceballs)
Denise Richards (Valentine)
Sherman Hemsley (Amen)
John Rubinstein (Legends of Tomorrow)
Scott Valentine (My Demon Lover)
Christian Clemenson (Apollo 13)
Brian Doyle-Murray (Groudnhog Day)
Gerrit Graham (Child’s Play 2)
Raquel Welch (Fantastic Voyage)
Cliff De Young (Glory)
Jim Pirri (Alias)
Curtis Armstrong (American Dad)
Danny Woodburn (Watchmen)
Terry Kiser (Friday The 13th – Part VII)
Lane Davies (3rd Rock From The Sun)
Meredith Scott Lynn (Legally Blonde)
Charles Napier (The Silence of The Lambs)
Erick Avari (Stargate)
Frank Gorshin (Batman 60s)
Bruce Campbell (Ash vs Evil Dead)
Jason Carter (Babylon 5)
Michele Abrams (Buffy: The Vampire Slayer)
Martin Mull (Sabrina: TTW)
Adam West (Batman 60s)
Maurice Godin (Working)
Jessica Collins (Tru Calling)
Carlos Lacamara (Heroes Reborn)
Olivia Brown (48 Hours)
Rob LaBelle (Jack Frost)
Jonathan Frakes (Star Trek: TNG)
Genie Francis (Roseell)
Kenneth Kimmins (Beauty and The Beast)
Shelley Long (Cheers)
Mary Gross (Sabrina: TTW)
Sandra Hess (Gargoyle)
Sean Whalen (Twister)
Andrew Bryniarski (Batman Returns)
Robert Carradine (Django Unchained)
Harve Presnell (Star trek: Voyager)
Beverly Garland (Decoy)
Gary Dourdan (CSI)
Emily Procter (CSI: Miami)
Hamilton Camp (The Little Mermaid)
Fred Willard (Anchorman)
Brad Garrett (The Crazy Ones)
Tony Curtis (The Great Race)
Larry Poindexter (Blade: The Series)
Daniel Roebuck (Lost)
Kyla Pratt (Dr. Dolittle)
Justine Bateman (Family Ties)
Roger Daltrey (Highlander: The Series)
Jon Tenney (Green Lantern)
Nark Lindsay Chapman (Swamp Thing: The Series)
J.G. Hertzler (Star Trek: DS9)
Eric Allan Kramer (The Incredible Hulk Returns)
Simon Templeman (Angel)
Jack Larson (Adventures of Superman)
John D’Aquino (3rd Rock From The Sun)
Alan Rachins (L.A. Law)
Jasmine Guy (The Vampire Diaries)
Sydney Walsh (Point Break)
Antonio Sabato Jr. (The Big Hit)
Steve Hytner (Roswell)
Drew Carey (Fuck)
Kathy Kinney (Arachnophobia)
Howie Mandel (Bobby’s World)
Keene Curtis (Stargate SG.1)
Tony Amendola (Annabelle)
Kristanna Loken (Painkiller Jane)
Vito D’Ambrosio (The Flash_
Dwight Schultz (The A-Team)
Patrick Cassidy (Smallville)
Keith Brunsmann (Tweek City)
Lori Fetrick (CIA II)
Tim Thomerson (Transcers)
Stacey Travis (Highlander: The Series)
Grant Shaud (Antz)

Die-hard Superman fans are torn on this one. Some think of L&C as the black sheep of Superman history. Others see it as one of their favorite adaptations. And how could they not, really? Dean Cain and Teri Hatcher as Clark and Lois had some serious chemistry going on. The late Lane Smith as Perry White is still my favorite version of the character, though Michael McKean did a darn good job himself. Michael Landes as Jimmy, Tracy Scoggins as Cat, Eddie Jones and K Callan as Jonathan and Martha… it all really gelled. And John Shea as Lex – how was he missed as a regular in the later years. Because of personnel changes throughout the series’ run, unfortunately, there were very little references or flashbacks to the first year because the show was now guided by a new regime.
 But the first year really is where it’s at. Teri Hatcher, before she was a desperate housewife, looked real and spectacular as Lois Lane. They dressed Lois in retro outfits that looked like they came from another decade, which gave the show a timeless quality. Dean Cain as Clark offered a “cool” but alien take to the role. Both Dean and Teri look really fashionable even to this day in the first season of the show.
The special effects are hit-or-miss; in some scenes, the effects work, but in others, you cringe. We’ve really gotten spoiled by the top-notch effects work in programs like Smallville. Guest stars in that first season include model Beverly Johnson, James Earl Jones, Michael McKean, Law & Order’s Richard Belzer, Morgan Fairchild, Dean Stockwell, and many others. But it’s the show’s recurring cast that makes it the most, well, super.
The DVD set includes commentary on the pilot episode by actor Dean Cain, director Robert Butler, and show creator Deborah Joy LeVine. It’s a lot of fun, especially hearing stories about the show’s casting and production of that pilot episode. I really wish Deborah Joy LeVine had stayed on the series as an executive producer, because she had such an amazing vision for the show that I think is a big reason of why that first season was so good. There’s also a documentary on the effects, but the real treat is a bonus documentary where almost all of the L&C cast and many members of the crew are interviewed about the show, except for Michael Landes (Jimmy #1) and Lane Smith (Perry White). How cool is it, ten years later, to see Big TV Superstar Teri Hatcher talking about her days of Lois Lane, all while speaking on Housewives’ Wisteria Lane set. Even K Callan, Eddie Jones, Tracy Scoggins, and John Shea participated in the action. I applaud Warner Home Video for going to the effort of including these people.
 The second season of L&C holds a special place to me because it is the year that taught me how to be a fan. Series creator Deborah Joy LeVine exited after the thrilling first season finale, and departing at the same time were Tracy Scoggins (Cat Grant), Chris Demetral (Jack), and – the most painful loss at the time – Michael Landes, who I referred to back in the day as “the real Jimmy.” He was replaced by Justin Whalin in the role, and I admit, I didn’t take to him very easily. The show went for more of an action-oriented tone, but luckily, Lois & Clark had some very good writers who still managed to find a way to keep the romantic elements of the series. Teri Hatcher and Dean Cain had a chemistry, as did their characters of Lois and Clark, and you can’t help but feel for them as they go along.
Season Two was also the season where Lois & Clark finally became a hit – no “sophomore slump” here. From the time Clark finally asked Lois on a date in “The Phoenix” things were looking up. No Mayson Drakes or Dan Scardinos could get in the way of finally getting these two characters together.
Upon watching the DVD, my first stop after the special features was “Whine Whine Whine.” In it, Superman fights a foe more dastardly than Kryptonite – greed. The episode featured guests like Ben Stein, Adam West, Frank Gorshin, Martin Mull, and others… it’s just great. Long-time Lois & Clark fans will also remember it for bringing in a scene that we’ve waited for for a while. “
Like Season 1, the producers of the L&C DVDs went all out in providing an assortment of special material, and for the most part they were very successful. Dean Cain provides interviews again (no Teri this time), and other interviewees included K Callan (Martha Kent), Eddie Jones (Jonathan Kent), Denise Crosby (Dr. Gretchen Kelly), and Justin Whalin (Jimmy Olsen). The show’s Season 2 writers and some crew are also featured, including John McNamara, who is awesome not only for his great L&C contributions, but because he co-created Profit, which is the best show you probably have never seen.
In the interviews Justin Whalin talks about the initial fan reaction to his recasting, which makes me feel a bit bad for the way I felt and posted years ago after he was cast. I later met Justin and thought he was a really nice guy. I’ve also noticed on the DVD interviews that Justin has apparently not aged at all in the past 10 years – he looks almost exactly the same.
Another bonus feature takes a look at the fandom for the show, again featuring some actors and creators and some visits to some fans at a recent “FoLCFest” (Fans of Lois & Clark) gathering. I was glad to see an assortment of people interviewed for the featurette, but I was a bit disappointed that no one from the Krypton Club was represented – after all, its subscriber list WAS bigger than the listserv or the IRC channel for most of its existence – but that fact seems to have been forgotten in the passing of time.
Finally, Dean Cain provides commentary for “Season’s Greedings,” where you hear – about 2 dozen times – about how foamy material rather than real snow were used to provide the “snow” for the episode. It’s very cool to hear Dean talking about his writing debut, which conveniently also happened to be one of the most popular episodes of the series. Dean’s a great sport and I really love the fact that he’s even doing DVD commentary. .
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 The third season was probably the most memorable time for me to be a part of the Lois & Clark fandom, as the show started hitting high gear. Unfortunately, some of the situations that I found to be “funny” back as a kid are just kind of annoying and childish now. If I ever see Olivia Brown’s Star anytime soon, it’ll be too soon. Jonathan Frakes and Genie Francis also camp it up way too much as collectors Tim and Amber Lake. And they’re not the only ones who bring bad camp to the season.
Luckily, some episodes have a good mix of camp and story. “We Have A Lot To Talk About,” the season’s premiere, is an episode that will always be close to my heart and has some of the best quotations in Superman history. (“That is so unfair! You know I can’t fly!”) There’s camp in the form of the Churches in that said episode, but when it’s Peter Boyle, Bruce Campbell, and Jessica Collins, you really don’t seem to mind.
“Ultra Woman” gives Lois super-powers, and again, a very campy costume, but makes for a good story anyway. The episode also features the Metropolis Park Wishing Well, which now can be paused so you can actually see this author’s name inscribed on the well! Another highlight of the season – and one of the series’ best all around – is “Tempus Anyone,” a return appearance for the Tempus character from Season 2’s “Tempus Fugitive.” Season Three rushed right into a wedding, and “I Now Pronounce You” promises the “wedding of the century” – a wedding that ABC touted as being “bigger than Burt and Loni, Michael and Lisa Marie…” You see where they’re going with that. I don’t want to spoil the episode, but the episodes following it may become increasingly frustrating, even though “Double Jeopardy” and “Seconds” are also two of the season’s best shows.
The season finale introduces some aliens fom a New Krypton. This is the spot where the producers chose to ignore the whole “Last Son of Krypton” aspect of Superman.
 Season 4 does have some gems. Some I liked the first time around, like the “Meet John Doe/Lois and Clarks” two-parter… and some were surprisingly better than what I remembered, like the Leslie Luckabee trilogy. One advantage of watching this season on DVD ten years later, besides the feeling of nostalgia, is that many of these episodes were ones I had only seen once back in the day… compared to the dozens of times I re-watched the early episodes. So, in effect, this is kind of new, and I like that.
 Season 4 is still enjoyable but as you get closer to the last episode you know the end is coming, plus the final episode is a cliffhanger that will never be resolved.
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REVIEW: SUPERMAN: THE ANIMATED SERIES – VOLUME 1-3

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MAIN CAST

Tim Daly (Wings)
Dana Delaney (Hand of God)
David Kaufman (Justice League: Doom)
Clancy Brown (Highlander)
Corey Burton (Critters)
Michael Ironside (Total Recall)
Joseph Bologna (The Nanny)
George Dzundza (Species II)
Lisa Edelstein (House)
Lauren Tom (Futurama)
Mike Farrell (MASH)
Shelley Fabares (Coach)
Joely Fisher (Til Death)
Victor Brandt (T.J. Hooker)
Joanna Cassidy (Blade Runner)

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RECURRING / NOTABLE GUEST CAST

Christopher McDonald (Fanboys)
Finola Hughes (General Hospital)
Tony Jay (Lois & Clark)
Malcolm McDowell (Heroes)
Tress MacNeille (Futurama)
Jason Marsden (Full House)
Dorian Harewood (Earth: Final ConflicT)
Brad Garrett (Finding Nemo)
Bruce Weitz (Hill Street Blues)
Kevin Michael Richardson (The Cleveland Show)
Robert Patrick (Terminator 2)
Brion James (Blade Runner)
Sherman Howard (Superboy)
Richard Moll (Scary Movie 2)
Frank Welker (The Simpsons)
Larry Drake (Firefly)
Michael York (Logans Run)
Ron Perlman (Hellboy)
Ron Glass (Firefly)
Miguel Ferrer (Robocop)
Carl Lumbly (Alias)
Marion Ross (That 70s Show)
Cam Clarke (Teenage Mutant Ninja Turtles 80s)
Robert Hays (Airplane)
Gilbert Gottfried (Aladdin)
Sandra Bernmhard (2 Broke Girls)
Ernie Hudson (Ghostbusters)
Lori Petty (Tank Girl)
Mae Whitman (Boogeyman 2)
Michael Dorn (Star Trek: TNG)
Arleen Sorkin (Duet)
Mark Hamill (Star Wars)
Bob Hastings (McHale’s Navy)
Robert Costanzo (Total Recall)
Kevin Conroy (Batman: The Killing Joke)
Efrem Zimbalist Jr. (77 Sunset Strip)
Ted Levine (The Silence of The Lambs)
Jennifer Lien (Star Trek: Voyager)
Cree Summer (Batman Beyond)
Xander Berkeley (Kick-Ass)
Carolyn Seymour (Congo)
Edward Asner (Elf)
Dennis Haysbert (24)
Peter Gallagher (American Beauty)
Roddy McDowall (Planet of The Apes)
Paul Williams(The Muppet Movie)
John Glover (Smallville)
Henry Silva (Above The Law)
Melissa Joan Hart (Sabrina: TTW)
Jason Priestly (Tru Calling)
Chad Lowe (Unfaithful)
Sarah Douglas (Superman 2)
Billy West (Futurama)
Peri Gilpin (Frasier)
Miguel Sandoval (Medium)
Nicholle Tom (Gotham)
Olivia Hussey (IT)
David Warner (Tron)
Charles Napier (The Silence of The Lambs)

I think people can generally divided into two categories: Batman people or Superman people. Either you are into the dark, gloomy and atmospheric or the optimistic and all-American. I’ve always considered myself a Batman guy. As such, I was estatic when “Batman: The Animated Series” hit the airwaves. An excellent portrayal of the Caped Crusader, it set a new standard for cartoons, not on in terms of the look, but also the stories. Cartoons didn’t have to be made for children, but could aim higher.

So after the success of “Batman: TAS,” it was only natural for Superman to get a new chance at the small screen. The creative minds behind the Dark Knight’s cartoon renaissance took on Big Blue, and took him to heights not seen since the early Fleischer cartoons made him the original animated superhero standard bearer. By sticking to the character’s roots, but not allowing themselves to be restricted by a slavish attention to the comic books or movies, the creators created a cartoon Superman that fans could embrace, but those without a comic-book education would enjoy as well.

The majority of the episodes follow something of a pattern, as Supes faces a challenge from a villain, is overcome and figures out how to overcome that challenge just in time to get the bad guy before 22 minutes are over (unless it’s a multi-episode story arc.) When the show shakes free those format shackles is the moment when the series shines. Episodes like the series-opening three-show “The Last Son of Krypton,” “Speed Demons,” which co-stars The Flash and “My Girl,” which introduces the all-grown-up Lana Lang, are among some of the most enjoyable in this volume. That’s not to say that the straightforward adventures aren’t fun, as “Two’s a Crowd” and “Fun and Games” show.

Superman aficionados will enjoy appearances by Toyman, Bibbo, Metallo, Brainiac, Darkseid and a raucous two-episode appearance by the Main Man, Lobo. There’s also plenty of celebrity voices to listen for, including Lori Petty, Tim Daly, Dana Delaney, Ron Pearlman, Leslie Easterbrook, Lauren Tom, Brad Garrett, Mike Farrell, Shelley Fabares, Christopher McDonald, Malcolm McDowell, Bud Cort, Joe Bologna, Michael York and Joely Fisher. If you don’t know which characters they play, I won’t ruin it. It adds another layer of enjoyment to watching the show.

these shows are great, with great writing and animation in every episode. Highlights from this second volume include the episodes “Identitiy Crisis” which introduces Bizarro and “Heavy Metal” which introduces fellow superhero Steel, who teams up with Superman to battle Metallo.

“World’s Finest” is a three-part episode that teams Superman with Batman for the first time as they both take on their respective arch-nemesis, Lex Luthor and the Joker.

Other episodes feature appearances by a variety of villains and guest heroes – Dr. Fate shows up in “The Hand of Fate” – but the best episode of the collection has no guest appearance by a crime fighter or a super villain. “The Late Mr. Kent” is perhaps the most complex and best written of the 18 episodes in this volume – and perhaps the entire series. The story revolves around Clark Kent’s attempts to clear a man on death row before he is executed. For his troubles, someone tries to kill the intrepid reporter, and most people believe he is dead, leaving Superman alone, without his alter ego to rely upon. For a show that clocks in at less than thirty minutes, it offers some complex insights into the relationship between mild-mannered Clark Kent and his crime-fighting counterpart Superman.

The main arc of this season borrows from the comic book universe and brings Darkseid and his homeworld to the forefront. Hinted at earlier in the show, it’s in this third volume that the Lord of Apokolips finally gets his payoff – and his payback. In a trio of two-parters, Apokolips… Now!, Little Girl Lost, and Legacy, Superman fights one of his most ruthless foes in a series of episodes that offer some excellent action, drama, and science fiction fun.

While these episodes are very faithful to the mythos, we’ve also got a great selection of original stories that go to prove that with a character like Superman, there is no limit to the stories that you can tell. One of my favorites is Knight Time. When Batman goes missing, Superman pays a visit to Gotham City and tries to find out where his friend has gone. Supes inadvertently ends up masquerading as Batman – dressing up in the Dark Knight’s costume and everything! – and teams up with Robin to solve the mystery of the missing Bruce Wayne. Not only is the episode entertaining, but it’s also got a great sense of humor. Seeing Superman do his best impersonation of Batman is wonderful – Clark doesn’t know which utility pockets contain what, and his attempts at being grim (nodding his head instead of speaking) are great.

Watching these shows you get the feeling that it was during this final stretch of episodes that the show’s producers were finding new ways of playing with the formula that they had designed, and perfected, with both Batman: The Animated Series and Superman: The Animated Series. Not only do these Superman episodes have a lot of two-parters, but we’ve also got some great guest-stars; it seems that this show is the precursor to Justice League.

We’ve got heroes, Kyle Rayner from In Brightest Day, and villains, Ra’s Al Ghul in The Demon Reborn, and everyone in between – everyone’s favorite master of the sea, Aquaman in Fish Story. We also get an expansion of the Superman supporting cast when Supergirl makes a welcome appearance in the Little Girl Lost two-parter.

In one of the episodes found in this collection, Superman pays his final respects to a recently departed friend. In the graveyard, Superman comes to realize something very important: “In the end, the world didn’t really need a Super man. Just a brave one.” This show gives us a character who is both brave and super. It gives us a real hero. It gives us Superman… as good as he’s ever been.

REVIEW: THE ADVENTURES OF SUPERMAN – SEASON 1-6

 

MAIN CAST

George Reeves (Gone With The Wind)
Phyllis Coates (Gunsmoke)
Jack Larson (Young Paul Baroni)
John Hamilton (Captain America 1944)
Robert Shayne (The FLash 90s)
Noel Neill (Superman 1948)

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RECURRING NOTABLE GUEST STARS

Herbert Rawlinson (Flash Gordon Conquers The Universe)
Stuart Randall (Laramie)
Aline Towne (Send Me No Flowers)
Frances Morris (The Big Clock)
Danni Sue Nolan (FLame of Youth)
Tom Fadden (Empire of The Ants)
Robert Rockwell (Our Miss Brooks)
Jeffrey Silver (The Young Stranger)
Maudie Prickett (Hazel)
Allene Roberts (The Red House)
Pierre Watkin (Meet John Doe)
Effie Laird (House By The River)
Tristram Coffin (King of The Rocket Men)
Richard Benedict (Ocean’s 11)
Milton Kibbee (In Old California)
Dan Seymour (Key Largo)
Veda Ann Borg (Guys and Dolls)
Leonard Penn (Batman and Robin 1949)
Gloria Saunders (O.S.S.)
Jane Adams (Batman and Robin 1949)
Billy Curtis (The Terror of Tiny Town)
Jeff COrey (Conan The Destroyer)
Jean Willes (Gypsy)
Hugh Beaumont (The Mole People)
Eve Brenner (Walk of Shame)
Norma Varden (The Sound of Music)
Dona Drake (Road to Morocco)
Sterling Hollowy (Alice In Wonderlan 1951)
Doris Singleton (I Love Lucy)
Ruta Lee (Funny Face)
Mickey Simpson (Wagon Master)
Herb Vigran (Benji)
Trevor Bardette (Gun Crazy)
Chuck Connors (Airplane 2)
PhilTead (Six of a Kind)
Elizabeth Patterson (Pal Joey)
Gloria Talbott (All That Heaven Allows)
Robert Lowery (Batman and Robin (1949)
Joi Lansing (Touch of Evil)
title1032For a 1950s kids this program was astounding brilliant adaptation of iconic character. first season of Adventures of Superman was previously unseen by Savant except through the theatrical pilot show Superman and the Mole Men. By the time I found out the series existed it was already 1959 and the 104 episodes had probably all been recycled three times in reruns. As it turns out, this first season has an unfamiliar but good Lois Lane in Phyllis Coates and plays much more like a crime serial than the later color seasons.
The disc set tells the whole tale of Superman on television. According to New Wave’s making-of interview documentary, producer Robert Maxwell filmed Superman and the Mole Men with the cast and crew planned for his TV show. It was released by Lippert films and was a moderate kiddie success; Daily Variety’s review called the film “sock moppet bait.” Then Maxwell had to film the entire first season — 26 episodes — before landing a network spot. Copyrighted in 1951 and ’52, the show didn’t premiere until 1953.

As pointed out in the documentary, Adventures of Superman was more crime-oriented than science fiction. Some episodes feature strange inventions, as with a mind-control device in The Mind Machine. More often than not Lois or Jimmy Olsen is held by despicable gangsters, a problem solved when the news finally reaches Clark Kent. He leaps into a ‘storeroom’ and zooms off to the rescue. That stirring anthem blasts in along with a flying sound effect that reminds us of Dorothy Gale’s tornado. Crook confrontations usually include a demonstration of Superman’s invulnerability in the form of a bent knife or “bullets have no effect” scene (no animated bullet ricochets yet). Our hero often trades blows with the bad guys, who fall as if kayoed by your average serial hero. The way Reeves throws the punches we expect to see their heads come off!

Phyllis Coates is a spunky Lois Lane. She takes no guff from anyone and also tries her hand at beating up on bad guys. She comes off as essentially humorless, with only a few wonderings why she’s never seen Kent and Superman together. The jokes are all reserved for Reeves and his literally closeted alter ego. The ‘mild mannered’ Clark Kent is forever smiling and seems to derive plenty of satisfaction from knowing a secret nobody else does.

Capable actor Jack Larson plays Jimmy Olsen as an immature clown with a good heart. Forever clueless, he can be depended on to ask the dumb questions so that Clark Kent can dispense plot exposition. Several episodes center on Olsen’s personal adventures, which play like Hardy Boys stories featuring one rather dense Hardy Boy.

Production values are on the dire side but they were generous for Televsion in 1952. It’s not unusual to see characters throw bold shadows onto sagging theatrical backdrops. Overall the direction is pretty peppy; if I remember correctly the added expense of color made the later seasons much more static and primitive-looking overall. In keeping with the crime theme, many episodes have nice low-key lighting schemes.The minimal effects range from “okay” to “so-so” to “what the heck was that?” Reeves is good on the springboard launches and gymnastic one-point landings. Some flying shots are acceptable but a lot of others simply matte a sideways image of a standing Reeves into whatever background is handy, and look like embarrassing mistakes. When one makes 26 TV episodes on spec there is no room for second tries, let alone R&D.


There are some questionable plot points as well. The docu extra covers an amazing blunder in an episode in which two crooks find out Clark Kent’s secret identity. Superman parks them on a high mountain while he sorts out the rest of the plot, telling them to stay put ’til he gets back. They try to climb down instead, and fall … to their deaths! The show offers nothing more about them – they’re just forgotten!

The first episode is called Superman On Earth and covers the familiar ground shown in the first act of the Richard Donner / Christopher Reeve 1978 effort … on 1/1000th the budget. Krypton is one throne room and Jor-El’s lab and it’s all pretty perfunctory, but the cornball drama still tugs on the heartstrings when old Mrs. Kent finds the baby in the rocket. Events are rushed through so quickly that young Clark Kent has time to grow up (“Gee, why do I have to be different from everybody else?”), come to Metropolis, get hired and rescue a man clinging to the underside of a blimp all in 25 minutes. Don’t ask. It’s all quite charming.


The TV show reprises Superman and the Mole Men as a first season ender, breaking it into two parts. I wonder if this example gave Walt Disney some ideas! The feature takes an interesting liberal point of view, with an anti-vigilante civics lesson. The Mole Men are midgets from the center of the Earth that show up and are immediately judged by some irate townspeople (including blacklistee-to-be Jeff Corey) as hostiles to be eradicated. Superman’s only role in the movie is to defend the American Way, which in this case includes protecting innocent aliens from paranoid, trigger-happy yahoos. With that sensitivity, it’s suprising that so little is made of the fact that Kal-El himself is an alien immigrant to the United States. He’s from another galaxy, yet he appreciates our freedoms. I guess he has to count himself lucky that he was in human form, specifically Anglo human form. Superman may be corny, but its sentiments ring true … he’s a hero championing values we still cherish, theoretical though they may be.

Like the first season, episodes play like single-chapter serials, crammed with action, mystery and intrigue. Superman (Reeves) “fights a never-ending battle for truth, justice, and the American Way” with the help of his alter-ego, “mild-mannered” reporter Clark Kent (also Reeves), who works for gruff Daily Planet editor Perry White (John Hamilton) and alongside perky Lois Lane (Noel Neill) and cub reporter Jimmy Olson (Jack Larson).

Adventures of Superman – The Complete Second Season is much like the first. Compared with those that followed, Year Two is in black and white, and is slightly more adult in terms of content. The big difference from the first season is the series’ single major cast change: Noel Neill replaced Phyllis Coates in the pivotal role of Lois Lane. Neill had played Lois before, in two 15-chapter Superman serials produced by Columbia: Superman (1948) and Atom Man vs. Superman (1950). Unlike Coates, Neill has remained very actively involved in Superman fandom after the show ended, appearing at comic book conventions and making cameos in the 1978 Superman movie, and again this year in Superman Returns.

Despite being too heroic as Clark, Reeves’ Superman is unfailingly appealing. In a decade of iconic heroes – The Lone Ranger, Hopalong Cassidy, Roy Rogers – his Superman fit right in. Jack Larson’s Jimmy is also dead-on, with just the right balance of enthusiasm, naivete, and gregariousness. The later films reinterpreted Clark/Superman and Lois, but their scripts were wise in keeping the flavor of the television Jimmy and Perry White largely unchanged.

Episodes run the gabit from inspired to flaccid. Some are exciting and imaginatively conceived, while others seem content to simply play out a relatively simple idea in flat medium shots on colorless sets. One can forgive the constant recycling of sets and the rudimentary special effects given the budgetary limitations of early television, especially for a syndicated (non-Network) series such as this, but the same drab angles of the Daily Planet’s offices and hallways do become wearisome. Instead of filming one episode after another, a batch of shows were apparently shot at the same time, with all of the scenes in Perry White’s office for a bunch of shows shot one day, then all of the scenes in Clark’s office shot the next, etc. For this reason, the actors rarely change their wardrobe, and understandably struggled remembering what was going on from one script to the next. This more than anything accounts for the occasional stylistic schizophrenia apparent in shows like “Panic in the Sky,” which is dynamically shot in some scenes, barely adequate in others.

Considering how little Reeves’ appearance changes from Clark Kent to Superman, why Lois and Jimmy don’t instantly recognize Clark as Superman is one of television’s great mysteries. Season two shows, however, broach this subject now and then. In one episode Clark and Lois are involved in a car accident; his suit is torn, revealing his Superman costume underneath, requiring some fast-thinking on the superhero’s part. In another good show a criminal tries to blackmail Superman with a photograph showing Clark changing into Superman in an alley. How this is resolved is cleverly handled.


These Superman episodes are the ones we remember from. The characters are charmingly inconsistent. Lois is sometimes given cute or revealing business to conduct, but her part is just as often limited to little more than a handful of grumpy dialogue lines. Perry White is still after Jimmy Olsen to stop calling him “Chief”, when the real head-scratcher is wondering why Olsen still has a job. Jimmy only intermittently takes photos. He seems a total dimwit incapable of holding a thought more than a few minutes, or even writing a sentence on paper. The stories vary in charm and interest with the usual juvenile ideas — silly crooks, over-eager “gee whiz” children — but for every middling plotline there’s an episode with a clever idea. One invention makes people think they’re upside down, enabling crooks to do their stuff. In the color opener for the third season, a professor’s time machine takes the principal players back to the Stone Age for some forgettable dramatics. We also see an interesting demonstration of Political Correctness from the early 1950s. When Superman finds himself in the company of an impressionable adolescent (the actor must be at least 20!) he sternly states that only Superman can fly, and that nobody should try to do something so dangerous. Shades of the old Peter Pan furor about children imitating their fantasy heroes!

The usual buzz about the color Supermans is that they’re cheap, and the style of filming bears that out to some degree. With color film rolling through the cameras every budgetary corner seems to be cut. The cave and jungle sets from the Time Travel show are recycled for the “pirate adventure” episode and another about helping an old Indian pass a qualifying test for Chief-hood. A vault door appears several times as a trap, whether to hide Lois and Jimmy or to freeze Superman. Interestingly, nuclear bomb shelters figure in several of the stories.

The most obvious budget shortcut is the re-use of special effects sequences. Superman’s flying scenes in season one consisted of rather pitiful rear projection setups, perhaps mandated by Reeves’ insistence after an early accident that he not be suspended by wires. Seasons 3 and 4 re-use the same four or five process shots ad infinitum through the ‘magic’ of optical duplication: Get a good take of Supe flying in front of some buildings, an empty sky; up and down, and print up enough dupe negs to last the season. Whether he’s flying across town or to Alaska, it’s always the same shot. When Superman carries someone with him in flight, we’re never shown the key action. George Reeves performs rather adroit trapeze landings for entrances (he never looks too out of breath) and vaults out of scenes with the aid of hidden springboards. After watching Chris Reeve gazelle out of shots like a flying Nureyev, those champion-diver launches now seem funny. We wonder why George Reeves doesn’t smash through whatever floor he’s bouncing on.

Producer Ellsworth skimps everywhere he can. Clark Kent almost always enters the storeroom to change costumes in the same duped stock shot peeking around an office corner, and the same goes for his Daily Planet landings. It looks as though scenes for multiple episodes taking place on the same set were filmed at the same time where possible — all the Perry White office material, all the time-wasting in Clark Kent’s office. Jimmy Olsen gets his usual three or four signature episodes, as when he wins a million dollars or gets to play a Burgonian prince in a story about baddies de-stabilizing a European monarchy. He even does the ‘evil twin’ routine, playing himself and a criminal look-alike. Some of the stories are on the weak side. Crooks try to fleece people by running a rigged jelly bean counting contest, and a wild west bully threatens to shoot Jimmy by sundown. In the freezer-threat episode, Superman takes sides with Daily Planet editor White on a local election. Kal-El insures that gangster thugs aren’t intimidating the voters, and then makes his prejudices known by asking a voter for whom he’s voting!


Even John Hamilton’s Mr. White and Robert Shayne’s Inspector Henderson get spotlight episodes, although they’re not the most imaginative either. Crooks make White think he’s crazy by conjuring up Great Caesar’s Ghost, while bad guys frame Henderson. Old favorite George E. Stone is a weasely crook in a few episodes, along with Myron Healey, John Doucette and Paul Burke as more fumbling thugs. The best surprise guest actors are Gloria Talbott I Married a Monster from Outer Space as an heiress tricked into decoying Superman away from a robbery, and Chuck Conners, who makes an excellent yokel with the name Sylvester Superman.

The wildest episode by far is The Wedding of Superman. Lois hasn’t been given much attention all season, but here she’s the center of a dream identical to the wish-fulfillment plotlines in the comic books. The whole show turns out to be a figment of her unconscious, as Lois imagines that Clark, Superman and even Inspector Henderson are gaga over her. The critical altar scene is handled very well, although there must have been many a groan as the dream gag (actually extremely transparent) was revealed. Lois tells the story directly to the camera, and it’s quite odd that she’d come to the obvious conclusion about Clark’s secret identity in the dream, only to dismiss it when she wakes up. It’s the only episode where Lois doesn’t have a sour or defeatist remark to make, somewhere. As an added fillip, in a brief bit part the show features none other than Ed Wood’s angora paramour Dolores Fuller!

By the time Adventures of Superman began production on its last two seasons (that aired during 1957-58), the series more or less had overcome its tight budgetary restrictions by evolving into a veritable universe unto itself. And it was a wacky universe indeed, operating under its own screwy story logic often totally disconnected from any semblance of reality. That gangsters would watch their bullets bounce off Superman’s chest then, having emptied their cartridges, throw their empty guns at the superhero, as if that would stop him, or that Superman’s pals never seemed to realize that the Man from Kypton and mild-mannered reporter Clark Kent were one and the same, mattered not one iota to its legion of young viewers.


For fans of the comic books, the big-budget movies and TV shows of recent decades, Adventures of Superman rightly appears quaint and at times depressingly cheap, but if you stick with it, chances are you’ll find that it has a peculiar but very real charm all its own. The film Hollywoodland, about Superman actor George Reeves’ last years as a struggling actor and a private eye’s investigation following Reeves’ death (barely a year after the last show aired), adopts a curiously contemptuous attitude toward the show and especially its fan base. Though young children took its wild stories at face value, for many adults the very charm of the show is its good-natured goofiness.

Adventures of Superman is one of the most iconically ’50s/Eisenhowerian programs of its era. Superman was, after all, fighting not only for truth and justice, but also for “the American Way.” Instead of super-villains like Lex Luthor, Superman’s foes were more likely to be communist types, and ironically enough union activist Robert Shayne, the actor who played Superman’s ally Inspector Henderson of the Metropolis Police, was during its run subpoenaed to appear before The House Un-American Activities Committee and nearly lost his role were it not for members of the cast and crew who rushed to Shayne’s defense. A wonderful example of this very ’50s tone is “The Atomic Captive,” a Cold War masterpiece. After Russian fifth columnists fail to bring back a Russian-immigrant nuclear scientist (and loyal naturalized American citizen), Daily Planet reporters Jimmy Olson (Jack Larson) and Lois Lane (Noel Neill) drive out to the desert to interview him. However, the scientist is dying of radiation poisoning, and so “hot” his mere touch is likewise fatal. Jimmy and Lois rush in, and naturally ignore his pleas not to go near him, each pawing the man with reckless abandon.

When the scientist tells them they’ve just given themselves a fatal dose of radiation, all Jimmy can do is turn to Lois and say, “Golly Miss Lane, I guess we’re done for.” Making matters worse, they then drive out into the desert, taking a short cut through “ground zero” at a nuclear test site, wrongly figuring they wouldn’t possibly reschedule that H-Bomb test they had flown out to cover in the first place. Well, they were wrong, and take the full force of a nuclear blast, just like Glenn Manning in The Amazing Colossal Man.  This complete lack of common sense on the part of Lois and Jimmy is used throughout these later seasons, apparently as a kind of shorthand to propel the narrative forward without the need for lengthy (and logical) character motivation. In “The Perils of Superman,” an imposing man in a lead mask (Michael Fox) shows up at the Daily Planet to grimly announce that he’s devised fiendishly imaginative means to “liquidate” Lois, Jimmy, Clark, and Planet editor Perry White (John Hamilton). Within a minute or two after he leaves, Lois and Perry are blithely off to a meeting, business as usual. It’s no surprise then that they’re kidnapped the minute they get into Lois’ car. Then again, if nothing happened to them, there’d be no show.

The budget precluded Superman actually performing feats as grand as “changing the course of mighty rivers,” but the production values on these later shows is better than those when the show began. Seasoned B-movie directors like Lew Landers and Howard Bretherton helmed episodes, as did star George Reeves.

Though the Adventures of Superman’s scripts leave all logic at the door, stories in these last 26 episodes are pleasingly close in spirit to the light-hearted tone of that era’s comic books.