Friday, 22 August 2014
The media in general have made much of the success of the films set in the Marvel Cinematic Universe. Certainly such success is unusual. That having been said, the existence of a shared universe, even one in film and television, is not terribly unusual. Indeed, there were shared universes in film and television well before the Star Wars Expanded Universe and the Star Trek Universe. Indeed, it appears that at least one shared universe might pre-date the medium of comic books where it is sometimes assumed the concept of shared universes originated.
Indeed, one of the earliest shared universes is often referred to as the "Cthulhu Mythos" or the "Lovecraft Mythos". Arguably starting with his story "Dagon" (published in 1919), H. P. Lovecraft developed his own world with its own mythos in which his stories were largely set. Eventually many of the writers with whom Mr. Lovecraft corresponded (including Robert Bloch, Robert E. Howard, Clark Ashton Smith, and so on) would introduce elements of the Cthulhu Mythos into their own stories. During H. P. Lovecraft's lifetime the Cthulhu Mythos was never systematised or formalised, but following his death writer August Derleth would set about a systematisation of what he termed "the Cthulhu Mythos". Since then writers from J. Ramsey Campbell to Stephen King have written stories set in the shared universe that originated with H. P. Lovecraft.
Of course, in the early to mid-20th Century the concept of a shared universe would have its biggest impact on the medium of comic books. In fact, the origins of the Marvel Universe go all the way back to Marvel Mystery Comics #9 (July 1940), in which the Human Torch met and battled The Sub-Mariner. It was the first major crossover in the history of comic books. Of course, while Marvel Mystery Comics #9 established that the Human Torch and The Sub-Mariner existed in the same world, it said nothing of the other characters published by what would become Marvel Comics.
While shared universes would play a major role in comic books, that is not to say that they would not play a role in film prior to the Seventies. In fact, one of the earliest shared universes may have been that of Hal Roach Studios. Hal Roach Studios is perhaps most famous for its various comedy shorts, including the Laurel & Hardy shorts, the "Our Gang" shorts, the Thelma Todd and Zasu Pitts shorts (later Thelma Todd was teamed with Patsy Kelly), and so on. It was from a very early period that characters from one series of shorts might make a cameo or even a longer appearance in another series of shorts. Indeed, it was in the 1927 Charley Chase short ""Now I'll Tell One" that Laurel & Hardy appeared. Laurel & Hardy would also appear in the 1931 Thelma Todd and Zasu Pitts short "On the Loose". Of course, here it must be pointed out that the Hal Roach shorts did not have any sort of real continuity and such crossovers were rare, so some may argue against there even being a shared "Hal Roach Universe".
While some may might argue against the characters of the Hal Roach comedy shorts existing in the same universe, there can be no doubt that the Universal Monsters share the same reality. Universal made its first horror film in 1913 (when the company was still called Independent Moving Pictures Company), an adaptation of Dr. Jekyll & Mr. Hyde. Later in the Silent Era Universal would have success with adaptations of The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). The studio would follow the success of those films with such movies as The Cat and the Canary (1927) and The Man Who Laughs (1928).
While Universal had a great deal of success with horror during the Silent Era, however, it was two films made at the advent of Sound Era that would cement the studio's association with the horror genre. Dracula (1931) and Frankenstein (1931) proved to be such phenomenal successes that they not only led Universal to make more horror films, but nearly every studio in Hollywood over the next several years. This cycle towards horror movies (which I refer to as "the first Golden Age of Horror Movies") wound down in 1936. It was in 1939 that Universal resumed making horror movies with the second sequel to Frankenstein (1931), Son of Frankenstein. Son of Frankenstein started a whole new cycle of horror movies, including The Mummy's Hand (1940), The Wolf Man (1941), and The Ghost of Frankenstein (1942).
While it is well known that the Universal Monsters shared the same universe, what is less well known is that there was a rather extensive shared universe in the early days of episodic television shows in the United States. Having scored a major success with one TV series produced by a major Hollywood studio (Disneyland, produced by Walt Disney), the American Broadcasting Company (ABC) approached Warner Bros. about producing television shows for the network. The first show Warner Bros. produced for ABC was an umbrella series called Warner Bros. Presents. Warner Bros. Presents consisted of three rotating shows: Casablanca, King's Row, and television's first hour long Western Cheyenne. Of the three Cheyenne would be the only one to prove to be a success, perhaps because it was among the first shows (along with Gunsmoke and The Life and Legend of Wyatt Earp) in a long and very prolific cycle towards Westerns in the late Fifties. As a result of its success, Cheyenne would be the first of many Westerns produced by Warner Bros. and the first set in a rather extensive shared universe.
If there had been any doubt that the heroes of the Warner Bros. Westerns all existed in the same universe, that doubt would have been erased by the 1960 Maverick episode "Hadley's Hunters". In the episode Bart Maverick (played by Jack Kelly) finds himself framed by a crooked sheriff and as a result seeks help from every Warner Bros. Western hero who still had a show on the air. Bart visits Cheyenne Bodie (played by Clint Walker) of Cheyenne, Marshall Dan Troop (played by John Russell) and Deputy Johnny McKay of Lawman, Tom Brewster of Sugarfoot, and Bronco Lane of Bronco. "Hadley's Hunters" not only made it clear Warner Bros' various Western heroes existed in the same reality, but that their detective shows might well take place in the 20th Century of that reality as well. Among the people that Bart visits in an effort to clear his name is a stableboy played by Edd Byrnes, who played Kookie on Warner Bros' detective show 77 Sunset Strip. The address at which the stableboy works is "77 Cherokee Strip". While Edd Byrnes' appearance is most certainly an in-joke, it seems possible that the stableboy was an ancestor of Kookie on 77 Sunset Strip. In other words, 77 Sunset Strip is part of the shared universe of Warner Bros.' Westerns!
Warner Bros' shared universe in which their Westerns and detective shows took place did not have a particularly tight continuity, nor were crossovers as common as the above summary might make it seem (we are taking about a period of many years here). Regardless, outside of comic books and the Cthulhu Mythos, the Warner Bros. shared universe of Westerns and detective shows was one of the most extensive shared universes up to that time. In fact, in television it would not be matched until the Star Trek shared universe began developing with the debut of the sequel series Star Trek: The Next Generation in 1987. Even today, in an era of such franchises as CSI and Law & Order, it remains an impressive achievement.
While the Marvel Cinematic Universe is certainly an impressive achievement, then, in many respects it is hardly an isolated event. Not only did shared universes exist in media other than comic books well before the development of the Marvel Cinematic Universe, but some of them were quite extensive. In fact, it seems that not only could Universal dust off its shared universe of Universal Monsters, but so could Warner Bros dust off its shared universe of gamblers, lawmen, gunfighters, and detectives. Although shared universes might seems like a new concept to me, they have actually been around for awhile.
Thursday, 21 August 2014
I have had a splitting headache most of today, so I don't feel particularly up to a full fledged blog post. I will then leave you with some music. It is another Beatles song and it is also one of my favourites. Here is "This Boy" by The Beatles.
Wednesday, 20 August 2014
After six straight eulogy posts I thought tonight I would leave you something happy. Here then is one of the most fun-filled songs The Beatles ever recorded. It is "Drive My Car", which appeared on the British version of their album Rubber Soul and later on the American compilation Yesterday and Today. "Drive My Car" was primarily written by Paul McCartney with some input from John Lennon.
Tuesday, 19 August 2014
Don Pardo was born Dominick George Pardo on 22 February 1918 in Westfield, Massachusetts. He grew up in Norwich, Connecticut. It was while he was attending the Norwich Free Academy (the primary high school there) that he became interested in both public speaking and drama. It was in 1938 that he received his first job in radio, working at radio station WJAR in Providence, Rhode Island. He graduated from Emerson College in Boston, Massachusetts in 1942.
It was in 1944 that Don Pardo and his friend Hal Simms (who would later serve as announcer on What's My Line and The Edge of Night) took a tour of NBC's studios in New York City. Don Pardo ended the tour with a meeting to thank Patrick J. Kelly, then in charge of NBC's announcers, for arranging everything. Patrick J. Kelly then offered Mr. Pardo a job. He started working for NBC on 15 June 1944. He would serve as announcer on such radio shows at NBC as Barrie Craig, Confidential Investigator; Front Page Farrell; Pepper Young's Family; X Minus One; and Dimension X. It was in 1946 that Don Pardo did his first work in television when he and another announcer announced three baseball games televised by NBC. Don Pardo's work on the three games was not well received. Mr. Pardo would later relate how one reviewer said of his work on the baseball games, "He doesn’t know the game, and he wouldn’t shut his mouth.”
Regardless, Don Pardo's future was in television. In the late Forties Mr. Pardo served as announcer for NBC Presents and Remember This Date. The Fifties would see some of his best known work. Don Pardo served as the announcer on the original version of the game show The Price is Right, hosted by Bill Cullen. He also served as an announcer on such variety shows as The Colgate Comedy Hour and All Star Revue. Don Pardo worked as an announcer on such shows as Winner Take All, Judge for Yourself, Three Steps to Heaven, Choose Up Sides, Doodles, and Charge Account as well.
The Sixties would see Don Pardo in one of his most famous jobs, that of the announcer on the original version of the game show Jeopardy. Mr. Pardo would serve as its announcer for the entirety of its run, from 1964 to 1975. So identified was Don Pardo with the game show that he reprised his role as announcer in Weird Al Yankovic's 1984 song "I Lost on Jeopardy" (a parody of "Jeopardy" by The Greg Kihn Band"). In the Sixties he also served as a substitute announcer on Match Game as well as an announcer on Eye Guess. Mr. Pardo did a wide variety of announcing at NBC in the Sixties beyond games shows. In fact, it was Don Pardo who broke into WNBC programming in 1964 to announce that President John F. Kennedy had been shot.
It was in the Seventies that Don Pardo began what might be his longest job ever, that as announcer for Saturday Night Live. He announced the very first episode and would continue to announce every episode of the show except for the 1981-1982 season when then producer Dick Ebersol inexplicably went with someone else. In the Seventies Don Pardo also served as the announcer for the game shows Winning Streak and Jackpot.
In the Eighties Don Pardo continued to serve as the announcer for SNL, as well as doing a variety of other work. He served as an announcer on NBC's annual coverage of the Macy's Thanksgiving Day Parade until 1999. He also served as announcer for Wheel of Fortune for a week when it was at Radio City Music Hall, and as an announcer on the TV special Steve Martin's Best Show Ever. He provided his voice for the films The Sex O'Clock News (1985) and Radio Days (1987).
In the Nineties Don Pardo worked on the films Stay Tuned (1992), Honeymoon in Vegas (1992), and The Godson (1998), as well as episodes of the show Dream On. He also announced commercials for Frosted Cheerios and MCI in the Nineties. In the Naughts and Teens he appeared on the shows Oz, 30 Rock, and The Simpsons. His final work for Saturday Night Live was this very year.
It should be little wonder that Don Pardo's career lasted nearly seventy years. His voice was entirely singular, a velvet baritone that could be loud and yet still remain pleasant. What is more, he had an elongated delivery that was entirely his own. The hosts and producers with whom he worked obviously appreciated him. On The Price is Right host Bill Cullen would occasionally mention him by name at a time when announcers were rarely if ever acknowledged. On Jeopardy host Art Fleming thanked him by name in each and every episode. While Don Pardo officially retired in 2004, he continued to announce SNL at producer Lorne Michaels's request. It is easy to understand why Mr. Michaels would not want Don Pardo to retire entirely. Mr. Pardo's voice was unlike any one else's. It was immediately recognisable. Quite simply, Don Pardo was one of a kind.