Remember that one day when you could wake up without an alarm? When you would get your favorite bowl of cereal and sit between the hours of 8 and 12? This is a blog dedicated to the greatest time of our childhood: Saturday mornings. The television programs you watched, the memories attached to them, and maybe introducing you to something you didn't realize existed. Updated every weekend.
May 30, 2018
THE VOICES OF THE X-MEN
May 26, 2018
MARVEL VS. DC: ROUND 4
FANTASTIC FOUR (1978)
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The Fantastic Four, featuring H.E.R.B.I.E. |
Before
Marvel
became an entertainment powerhouse at the box office, they were constantly
struggling to bring their characters out of the comics and onto the screen. They
often had to rely on other studios, and thus made deals licensing out their
characters for production. In 1977, Universal Studios
optioned an assortment of characters for various live-action productions. Most
famously in that deal was the Hulk
for The Incredible Hulk television series starring Bill
Bixby and Lou Ferrigno. Universal also optioned the Human Torch.
JUST the Human Torch.
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H.E.R.B.I.E. helping work the Fantasticar. |
When
NBC’s Fred Silverman
wanted to commission a new Fantastic Four series, Universal would not allow the
use of the Torch (ironically, NBC would come to share owners with Universal
decades later). A popular myth that had spread over the years was he was left
out in fear kids would try to emulate him and set themselves on fire
(forgetting that Hanna-Barbera
had successfully produced
a show with the Torch back in 1967 with nary a
reported fatality). In the comics up to this point, the Inhumans Crystal
and Medusa
and hero for hire Luke
Cage
served as alternate members of the team, as others would as well down the line.
But, instead of using an established Marvel character, they decided to use an
all-new one: H.E.R.B.I.E. (Frank Welker).
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The strange Inhumans. |
H.E.R.B.I.E.,
or Humanoid Experimental Robot, B-Type, Integrated Electronics, was a robot
created by Mr. Fantastic (Mike Road) to aid in his experiments and their
exploratory missions. Stan
Lee
pitched the idea of a cute robot sidekick to DePatie-Freleng
Enterprises, with comic artist Dave Cockrum
commissioned to design it. However, Cockrum ended up disliking the character
immensely and was replaced by Fantastic Four co-creator Jack Kirby. Lee would also serve as a writer for the
show, while Kirby provided storyboards.
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The menace of Magneto! |
Like
the previous Fantastic Four series,
it adapted some of the plots from actual comic stories, albeit heavily altered especially
for the inclusion of H.E.R.B.I.E. For instance, “Medusa and the Inhumans”
adapted the first encounter of the Inhumans and the Fantastic Four from Fantastic Four vol. 1 #45
(1965), but they were led by Medusa instead of her husband, Black Bolt,
and had typical villain plans for world conquest. Medusa later returned as a
member of the Frightful
Four
in the same-titled episode, however as a willing member and not under the
influence of amnesia as depicted in Fantastic Four vol. 1 #36
(1965). “Calamity on Campus” was based on Fantastic Four vol. 1 #35
(1965) but relocated the story’s setting to St. Louis, Missouri instead of the
fictional New York State town of Hegeman and omitted the alchemist villain Diablo.
Along with the standard Fantastic Four foes, like armored arch-nemesis Dr. Doom
(John Stephenson),
the android Dragon
Man,
the subterranean Mole Man (Ted Cassidy), and the shape-changing alien
Impossible Man (Welker), there were also appearances by some original
characters and even the X-Men’s
Magneto
(although, he wasn’t called a mutant during his appearance and was depicted as
a typical crook, voiced by Stephenson).
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Ad for the series. |
Fantastic Four, also
known as The New Fantastic Four, debuted
on NBC on September 9, 1978. The series actually began development at
Hanna-Barbera when Marvel decided they wanted to shift the show over to
DePatie-Freleng. As a trade-off, Hanna-Barbera got the Godzilla
cartoon DePatie-Freleng was working on. Along with Lee, the series was written
by Roy
Thomas, Bob
Johnson, Christy
Marx
and Bob
Stitzel. In an unusual move, the episode would begin immediately
after the intro with narration by Dick Tufeld, and then cut to the title card
shortly after instead of at the traditional start of the episode following the
intro. The series’ theme was composed by Dean
Elliott and Eric Rogers,
with the remainder of the music done by Elliott.
Even Dr. Doom is a completionist when it comes to his action figure collection.
The result was that nobody was particularly happy with the show—especially Silverman. Lee even sent a letter to Hanna-Barbera’s Margaret Loesch detailing his desire for the next attempt at the Fantastic Four to be more action-oriented. Despite DePatie-Freleng’s attempts to salvage the license with a proposed Thing spin-off, Silverman was ready to move on entirely. He took back the rights to the Thing and gave them back to Hanna-Barbera to combine with an idea they had to make The Thing. DePatie-Freleng turned their attentions to another Marvel hero, Spider-Woman, before eventually being taken over by Marvel’s parent company, Cadence Industries, to become Marvel’s first studio, Marvel Productions.
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H.E.R.B.I.E.'s comics debut. |
At 13 episodes, this was the shortest Fantastic Four cartoon to date. H.E.R.B.I.E., while not a popular character, soon found his way into the comics in Fantastic Four vol. 1 #209 (1979) by Marv Wolfman, John Byrne, Joe Sinnott, Glynis Wein and Tom Orzechowski. The story’s explanation for his creation was that Mr. Fantastic was inspired to build H.E.R.B.I.E. after the character was included in an in-universe television show as a replacement for the Torch who was unavailable to give permission to use his likeness. H.E.R.B.I.E. has since appeared in a variety of comics, programs, movies and merchandise.
The cover to Fantastic Four #236, celebrating 20 years of the comic.
For
the comic’s 20th anniversary celebration in Fantastic
Four vol. 1 #236 (1981), Marvel
decided to include
finished and reworked storyboards from the episode “The Challenge of Dr.
Doom” as a clunky 14-page back-up story without Kirby’s knowledge or
permission. At this time, Kirby’s relationship with Marvel was strained—along
with the comic industry in general—as he was trying to reclaim his original
artwork from the company, and had refused to provide a new story for the
issue. While his name was used to promote the story on the cover, a caricature
of Kirby standing next to Lee was removed
from the cover drawn by Byrne at Kirby’s behest.
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One of the VHS release covers. |
Originally posted in 2018. Updated in 2025.
THE BATMAN
Called simply The Batman, the series focused on a much younger Bruce Wayne (Rino
Romano) who was only into his third year as Batman. His existence was largely an
urban myth when the series began, until he gradually worked his way into the
spotlight as Gotham
City’s
defender. While his Batsuit resembled a modified version of the original one
seen in Batman: The Animated Series (with shorter ears
to make him resemble a boxer, and talons on his gloves), the show had no connection to the previous one or the DCAU. The
series was largely inspired by Batman comics
from the Golden
Age,
although it did take elements from the various incarnations over the years;
particularly the 1960s live-action Batman series as
evidenced by the shape of the bat-symbol and the casting of Adam West
as Mayor
Marion Grange (changed from a woman in the comics).
Batman went up against two types of
antagonists. The first were the GCPD,
headed by Chief Angel Rojas (Edward James Olmos for one episode, Jesse Corti
for the remainder). Rojas viewed Batman as dangerous as any criminal and
assigned two officers to bring him down: Detective Ethan Bennett (whose
appearance was based on his actor, Steve Harris) and his partner,
Metropolis-transplant Detective Ellen Yin (Ming-Na Wen). Bennett largely
regarded Batman as necessary to preserve the peace in Gotham, while Yin took
some time to come around to the idea.
The other type was the standard
assortment of villains. Character designer Jeff Matsuda
took a great many liberties with the appearance of the classic villains, and
many of their stories were heavily revamped for the series. Of the ones
featured in the previous Batman series
was mobster Rupert
Thorne (Victor
Brandt), depicted as younger and sporting 1970s-style
clothing; Joker
(Kevin Michael
Richardson), who was more physical and almost ape-like, sporting
dreadlocks and a straightjacket with bare feet initially before adopting
something closer to his traditional purple suit; Penguin
(Tom Kenny),
depicted as more athletic and capable fighter (inspired by heavyset characters
in martial arts movies), and often accompanied by his silent bodyguards, the Kabuki Twins;
Catwoman
(Gina Gershon),
given a more exaggerated version of the costume appearing at the comics at that
time; Mr.
Freeze (Clancy
Brown), reimagined as a diamond thief who got trapped in a
cryonic freezer that gave him a freezing touch; Firefly
(Jason Marsden),
a professional arsonist who transforms into the unrelated villain Phosphorus
after overexposure to the isotope; Ventriloquist
and Scarface (Dan Castellaneta),
with the murderous puppet redesigned with an outfit reminiscent of Al Pacino
in Scarface;
Man-Bat
(Peter MacNicol), who
developed his formula because of an obsession to want to be like Batman; Bane
(Joaquim de Almeida,
Ron Perlman
& Brown), a South American mercenary whose usage of Venom for extra strength
not only increased his muscle mass, but also turned his skin red; Riddler
(Robert Englund),
a disgraced inventor who turned to crime, adopting an almost goth-like visage; Killer
Croc
(Perlman), given a Cajun accent, he was designed to look like a humanoid
crocodile in a vest; Spellbinder
(Michael Massee),
a mystic who achieved the power of the “third eye” allowing him to create
illusions and hypnotize; Hugo
Strange (Frank
Gorshin until his death, then Richard Green),
the head of Arkham
Asylum who was more interested in learning how the criminal
mind worked than curing them; Poison
Ivy
(Piera Coppola),
a teenaged eco-rights activist who ended up exposed to a powerful plant growth
compound, giving her powers; Maxie
Zeus
(Phil LaMarr),
an eccentric billionaire obsessed with Greek mythology who sought revenge
against Gotham in a specialized suit of armor after losing the mayoral election;
Tony
Zucco (Mark
Hamill), upgraded from a thug to a Mafia don and former
circus performer that accidentally killed his own father; Killer
Moth
(Bennett), Penguin’s gofer that ended up transformed into a moth creature; Harley
Quinn (Hynden
Walch), a disgraced television psychologist whom the Joker takes a liking
to; The
Wrath (Christopher
Gorham) and Scorn
(Daryl Sabara),
an anti-Batman and Robin who wanted to make sure hard-working criminals could
stay free; and the Terrible Trio
(David
Faustino, Grey
DeLisle and Googy Gress),
university students who get ahold of Langstrom’s formula and become aspects of
their namesakes. Because Christopher
Nolan had begun development what would become his Dark Knight Trilogy, the characters of Scarecrow,
Two-Face
and Ra’s
al Ghul were prohibited for use on the series (Bane escaped
this restriction since his film was not yet in consideration). Joker was only
allowed due to his strong connection to the franchise.
Newly adapted for animation was Cluemaster
(Glenn Shadix,
Kath Soucie
as a kid), changed from a failed game show host to an overweight former
contestant on a child’s game show who believed he was cheated out of a victory;
the triple-jointed Ragdoll
(Bennett), who could bend himself to fit into impossible spaces; Gearhead
(Will Friedle),
a crook who could hijack any vehicle via cybernetic implants in his arms; and Black
Mask
(James Remar),
the ruthless head of a criminal organization whose face was always covered by
(what else?) a black skull-like mask (Back Mask was set to make an appearance
on the revival version of the previous show but was never worked into a story).
Villains newly created for the show
included Toymaker
(Patton Oswalt),
the former CEO of a toy manufacturer whose dangerous toys led Bruce Wayne to
campaign for their closure; Prank
(Michael Reisz),
a university student who became the Joker’s sidekick; Temblor
(Jim Cummings),
a mercenary that used shockwave-generating gauntlets; D.A.V.E.
(Digitally Advanced Villain Emulator, voiced by Bennett), an AI created by Hugo
Strange whose storage of a combination of insane intellects led him to believe
he was a human trapped in a machine (based on H.A.R.D.A.C.
from the previous series); Rumor
(Perlman), a former bodyguard who decided to kill all of Gotham’s criminals
after he failed to protect his client from the Joker; and Everywhere Man
(Brandon Routh),
a wealthy scientist that accidentally created an evil duplicate of himself.
Straddling the line between new and
classic villain was their interpretation of Clayface. Initially, Clayface was
Bennett after he had been captured and tortured by the Joker, and exposure to
the fumes from Joker’s “putty” gave him the ability to reshape himself; similar
to the Silver
Age
Matt
Hagen version. As Clayface, he did take the form of the
powerful zombie Solomon
Grundy (Kevin
Grevioux) for the episode “Grundy’s Night”. He was eventually
cured in order to make room for the Basil
Karlo version (Wallace Langham
& Lex
Lang).
Karlo was still a poorly-reviewed actor, but this time he stole a formula from Waynetech
that was designed to cure Bennett in order to give himself the right look to
get the work he wanted. After Bennett’s change, Yin’s new partner became Cash Tankinson
(Patrick Warburton).
The
Batman debuted as part of Kids’ WB
on September 11, 2004, running for five seasons through the network’s change to
The CW.
The series was developed by Michael
Goguen and Duane Capizzi
and was produced by Alan
Burnett, Glen
Murakami, Linda
M. Steiner, Goguen and Matsuda. For the first two seasons, the
show opened with a moody theme composed by U2’s The Edge.
For the remainder of the show, the theme was switched to a lighter,
‘60’s-inspired theme by Andy
Sturmer. Thomas
Chase Jones served as the series’ main composer. Writers
for the series included Capizzi, Burnett Steven Melching,
Adam Beechen,
Thomas Pugsley,
Greg Klein,
Greg Weisman,
Christopher Yost,
J.D. Murray,
Robert Goodman,
Joseph Kuhr,
Michael Jelenic,
Alexx Van Dyne,
David Slack,
Paul Giacoppo,
Stan Berkowitz,
Paul Dini,
Douglas Petrie,
Jane Espenson,
Steve Cuden,
Brian Swenlin,
and Len
Uhley.
During the third season, a
direct-to-TV film was shown on Cartoon Network called The Batman vs. Dracula. Written by Capizzi, the film involved Batman going up against the real Dracula
(Peter Stormare)
after he’s accidentally resurrected by Joker and Penguin as they escaped
Arkham. While it may seem an odd pairing, Batman has gone up against several
vampires—including Dracula—in comics, both in canon (such as Detective
Comics #455, 1976) and in alternate
tales (Batman
& Dracula: Red Rain). The film also introduced The Batman’s version of reporter Vicki
Vale
(Tara Strong).
The series departed from the established
mythos further by introducing Batgirl (Danielle Judovits) before Robin (Evan
Sabara). Robin was unavailable until the fourth season due to his being used on
Teen Titans, so a younger
Batgirl was brought in the third season along with her father, Commissioner
James Gordon (Mitch Pileggi), who became a series regular after two previous appearances.
Batman, however, was reluctant to take her on and resisted formally making her
a sidekick until Robin’s debut. The younger heroes developed a sibling-like
rivalry between them. Robin’s origin remained mostly unchanged, with former
Joker Mark Hamill voicing Tony Zucco, the man who killed his parents during a
trapeze act at the circus, and former Batman Kevin Conroy voicing his father.
Batgirl’s costume utilized the original 1960s coloring scheme but looked like a
long dress. Robin’s design remained relatively close to his Titans appearance, however with the
colors of his “R” symbol reversed like in The New Adventures of Batman. Season four would
end up being Matsuda’s last, but before he left, he redesigned Batman to be
more angular; increasing his resemblance to the previous show’s incarnation.