![]() Tim and Paul in The Comics Lair Episode 46: Comics & Nostalgia This time, we examine this treatment.ĪLSO: The Marcus Hedges Trend Orchestra version of the theme, the final installment of Adam West talking with Conan O’Brien in 1997, and your mail on episode 202’s look at Batman ’66 in the UK. And a lot of elements that just don’t seem that interesting. Udoff’s inexperience may account for many of the problems with this treatment: A villain, Rembrandt III, whose crimes and motivations are too creaky for a TV show, and who engages many elements that don’t fit the theme of “painting” many bat-no-nos, including an armed-to-the-teeth Alfred and a somewhat vain, goofy Batman and set pieces that were unfilmable in the pre-CGI days, at least on Greenway Productions’ budget. Udoff, who would go on to some success, but was just getting started as a screenwriter. ![]() Phillips and Isabel PinedoĪs the broadcast of Batman season one drew to a close, a treatment called Rembrandt the Third Meets his Master was submitted by 31-year-old Yale M. "Gilligan and Captain Kirk have more in common than you think: 1960s Camp TV as an alternative geneology for cult TV" by W.D. Plus, the Kydoniai Orchestra version of the theme, the conclusion of Adam West’s Cinefix interview from 2014, and your response to our second Batman/Star Trek act-off. Is camp not comedy? Was Henry’s co-creation Get Smart not a campy show? Paul’s given it some more thought and research, and furthers that discussion in this episode. The comments struck Paul as being off-target and showing a poor understanding of what camp is. In a recent Bat Inbox, we discussed some comments writer Buck Henry made about Batman and camp shortly after the show premiered. The makeshift bible that Lorenzo Semple, Jr., wrote for Batman is lost to history, but what might have been in it? What are the rules that we can see the show following? Tim has compiled some and presents them here - and asks for your suggestions. In television, a show’s “bible” is a collection of the rules for the world of a particular show, to keep writers on track with their scripts.
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