In Defence of Vanessa Marquez

 "You may not be able to change the world, but at least you can embarrass the guilty." Jessica Mitford

Many of you may realise why I have not made a post this week. Others of you may be wondering why I have not. It was this past Monday, March 2 2020, that Los Angeles County District Attorney Jackie Lacey released her findings in the officer involved shooting of Vanessa Marquez (curiously, this was also the day before the Los Angeles District Attorney election). The Los Angeles County District Attorney's Office is attempting to justify the shooting of Vanessa, while at the same time portraying her as suicidal. As might be expected, I have serious issues with the report because of this. To say that the report has upset and angered me is an understatement.

To begin with, the report does not explain why police were sent to Vanessa's apartment rather than paramedics. As many of you already know, on August 30 2018 Vanessa asked me to call the paramedics because she was having severe seizures. I then called the fire department to request that paramedics be dispatched to Vanessa's apartment to treat her for the seizures. Apparently, before my call, a woman from Alabama, who identified herself was one of Vanessa's friends, called the paramedics and said that Vanessa was "not acting right" and was concerned because of Vanessa's history of medical problems. This call was then referred to the South Pasadena Police Department for a "welfare check." The police then arrived at 11:49 AM Pacific Time (I made my call at 11:48 AM Pacific Time). Here I want to stress that in my call I only told them that Vanessa was having severe seizures. I did not ask for a wellness check. I did not ask for the police to be sent to her apartment. In no way, shape, or form did I indicate that she was a danger to herself or anyone else. My call was not referred to the South Pasadena Police Department and I would have protested if it had been.

Now I do not know who this woman from Alabama was and I have no idea what the contents of her phone call may have been, but I think it was a mistake for the call to be be referred to the South Pasadena Police Department for a welfare check.  Instead, paramedics should have been dispatched right away, particularly given Vanessa's medical history. Obviously paramedics have the training necessary to deal with medical issues. The average police officer does not. For that reason, even for a welfare check, the paramedics should have been dispatched instead of the police. I think if paramedics had initially been sent to Vanessa's apartment on that day, then the whole situation may have played out very differently.

Not only do I have issues with the police having been sent to her apartment instead of paramedics, but I have serious objections to a portion of the report that uses specially selected posts from Vanessa Marquez's Facebook account out of context to make it look like she was suicidal. Vanessa was not a physically healthy woman. She suffered from  stage 2 refractory coeliac disease and fibromyalgia. She regularly experienced seizures. Despite this Vanessa generally kept her sunny disposition, discussing classic movies and TV shows, joking around, and generally enjoying her friends and life. Like many of us, however, there would be those times when her illness would get her down. Like many of us, she might say things to the effect of "I just wish I could die" or even, rarely, post them to Facebook. I am sure all of us have done that. When I have had particularly bad toothaches I have been known to say, "I just want to just die." That having been said, I didn't mean it when I said it and I certainly was not suicidal. All of us, when we are sick and in pain, sometimes say these things and we never mean them. Vanessa did not mean it when she made those Facebook posts and she certainly was not suicidal.

Among Vanessa's few Facebook posts included in the report is one that I find very questionable and has aroused my suspicions regarding the whole investigation. They claim that Vanessa's final Facebook post, allegedly made around 1:46 PM Pacific time, was "there shooting cremate me pour ashes over Hollywood sign." Now I had Vanessa set to notifications on Facebook so that I saw every post she made. On top of that, on August 30 2018, I was very worried about Vanessa. After all, the South Pasadena Fire Department never bothered to call me back to let me know what was going on. I was then checking her Facebook profile constantly to see if she had posted any updates. I then find it very curious that I do not remember seeing this Facebook post at all. What is more, it is not now visible on her Facebook profile and has never been visible on her Facebook profile, at least not to me. Vanessa's other friends I have talked to do not remember this alleged post either. Now it is possible that Vanessa made the post so that only specific friends could see it and I was not among those friends.  While Vanessa made nearly all of her posts publicly, I cannot rule this out as a possibility. That having been said, until I see a screenshot of that post and can have it definitively verified as not being a forgery, I am always going to have serious doubts as to whether she made it at all.

The fact is that not only was Vanessa not suicidal, but she still had a good deal of enthusiasm for life. Despite her illness, Vanessa could be very lively and animated, and she took enjoyment out of the things she loved. Even shortly before her death, Vanessa was still very much looking forward to life. In our final conversation on the phone, we talked about the 25th anniversary X-Files marathon that was going to be on  BBC America that September. She was also very excited about an upcoming John Williams concert that was going to be in the area. As always, we talked about me visiting her one day. She talked to another friend about a sale at Sephora that weekend. Individuals who want to commit suicide do not talk about the future because as far as they are concerned, they have none. Vanessa was still enthusiastic about life and she thought she still had a future.

This brings me to another issue that I have with the Los Angeles District Attorney's report regarding Vanessa's death. I know for a fact that the Los Angeles County Sheriff's Department interviewed some of Vanessa's friends. I know that I was among them. When I was interviewed I was asked if Vanessa had ever expressed a desire to commit suicide or a desire to harm herself. In each instance I told the deputy "NO" so strenuously that he was taken aback. I cannot say what every single one of  Vanessa's other friends may have said in their interviews, but I know that many of them also said that Vanessa was not suicidal. Despite this, none of these interviews are included in the District Attorney's report. I cannot say for certain why the interviews of Vanessa's friends were not included in the report, but my suspicion is that they were not included because they would have refuted the District Attorney Office's claim that Vanessa was suicidal. I am guessing the District Attorney's Office thought that a woman committing "suicide by cop" would play better than police officers killing a disabled woman, who had been having seizures all day, in her own home. Here I have to point out that, insofar as I know, Jackie Lacey has never prosecuted an officer involved shooting. I know for a fact that in the past police unions have contributed millions of dollars to political action committees supporting Jackie Lacey and she has also been endorsed by police unions.

As to the issue of whether the police officers were justified in shooting Vanessa, even after reading the report I am convinced that they were not. What is more, given the sheer number of shots fired, I personally think they may have used excessive force. As to the police officers feeling threatened by Vanessa, I cannot see how they possibly could have been. She stood all of 5'3" and weighed all of 87 pounds. Even if they had felt threatened by her, I do not think a police officer being "scared out of his mind" is reasonably sufficient grounds for them to even draw their firearm, much less respond with gunfire. If a civilian killed someone and claimed they felt threatened, even if they said that they were "scared out of their mind," that civilian would be charged with murder. Police should be held to the same standards as civilians. I also have to question why the police officers did not use non-lethal measures to deal with Vanessa. As tiny as she was, they could have simply taken the gun from her. They could have used pepper spray. They could have used a taser. They could have used BolaWrap.  Now many of these non-lethal alternatives could have seriously  injured Vanessa--they may have even killed her--but they would have shown that the police officers were trying to preserve Vanessa's life. From the way the report reads to me, it sounds like they made little effort at all to defuse the situation or, for that matter, try to preserve her life.

Here I also have to question why the police officers or anyone else present that day did not call one of Vanessa's friends to talk her down. I would think that they would have the numbers of the woman from Alabama and myself. I would also think they would have the phone number of her emergency contact. They called none of us. I don't know if I could have talked Vanessa down or not, but I would at least liked to have had the opportunity to do so. It would have been much better than allowing her to be senselessly killed by police officers. Here I have to also point out that when Vanessa died, they did not call any of Vanessa's friends for whom they had numbers. I had to learn about Vanessa's death from the website The South Pasadenan that night.

I do have my own theory as to what happened on that terrible day. I know for a fact that Vanessa had been having seizures all day. Individuals having seizures often experience a period of confusion and even psychosis following a seizure. Vanessa was then not thinking clearly to begin with. On top of this I think it is likely that she was startled by police officers bursting into her apartment (I know I would be, and I have friends who are police officers). Beyond even this, one has to consider that Vanessa did not want to go back to the hospital, because she had bad experiences there. I know in July, after she had experienced heatstroke, that I begged her go to the hospital if she felt even a little bit odd, but she wouldn't listen. Although I have no proof of this, I also have to wonder if the disposition of the police officer on the scene did not make matters worse. Anyway, between experiencing confusion or even psychosis due to her seizures, possibly being alarmed at police officers barging into her home, the officers' insistence that she go to the hospital, and her fear of returning to the hospital, Vanessa took the only course she felt she had left to her. Ultimately, I have to wonder if things would have gone differently if paramedics had been sent instead of police officers or the police officers had handled the situation more responsibly.

I know there are those who will claim that I am so consumed by grief and anger that I am not seeing things clearly. And I cannot deny that I am consumed by grief and anger. Vanessa was the dearest person in my entire life, a woman I will always love, and even one year and six months following her death my grief is still palpable. That having been said, I think neither my grief nor my anger invalidate many of my points here. There are many things about the Los Angeles County District Attorney Office's report that do not make sense. In many ways it brings up more questions than it offers answers. It is because of this that I still honestly believe that Vanessa did not have to die. I am still hopeful that we can still get justice for Vanessa Marquez.

Claudette Nevins Passes On

Actress Claudette Nevins, who had recurring roles on Headmaster, Melrose Place and JAG as well as guest starring on such shows as The Defenders and M*A*S*H, died on February 20 2020 at the age of 82.

Claudette Nevins was born Claudette Weintraub on April 10 1937 in Wilkes-Barre, Pennsylvania. Her parents were both Austrian immigrants. She graduated from the Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City and graduated from New York University with a degree in English.

Claudette Nevins made her debut on Broadway in The Wall in 1960. In the Sixties she appeared on Broadway in Danton's Death, Wait Until Dark, and Plaza Suite. She made her film debut in The Mask in 1961. She made her television debut in a guest appearance on The Nurses in 1964. She guest starred on The Defenders. In 1970 she played Margaret Thompson, the wife of the title character Andy Thompson (played by Andy Griffith) on the short-lived TV  series Headmaster.

In the Seventies she had regular roles on the short-lived series Husbands, Wives & Lovers and Married: The First Year. She guest starred on the shows The F.B.I., The Bob Newhart Show, Police Story, Barnaby Jones, The Magicians, Petrocelli, Archer, Harry O, Rich Man, Poor Man - Book II. Electra Woman and Dyna Girl, The Rockford Files, Lou Grant, Rafferty, The Fitzpatricks, Switch, Three's Company, Mrs. Columbo, M*A*S*H, Shirley, The Lazarus Syndrome, Knot's Landing, and Family. She was a regular voice on the animated series Return to the Planet of the Apes.

In the Eighties Miss Nevins guest starred on the TV shows Behind the Screen, Hart to Hart, CHiPs, Cassie & Co., Police Squad!, One Day at a Time, The Mississippi, Legmen, Hardcastle and McCormick, Lime Street, The Tortellis, Brothers, Hotel, Head of the Class, L.A. Law, Out of This World, Snoops, Macuso F.B.I., Free Spirit, Dallas, and Lifestories. She appeared in the movies ...All The Marbles (1981), Over Here, Mr. President (1983), Tuff Turf  (1985), and Jake's M.O. (1987).

In the Nineties Claudette Nevins had recurring roles on Melrose Place and JAG. She guest starred on the TV shows Designing Women, The Antagonists, The Young Riders, Veronica Clare, Civil Wars, Picket Fences, Beverly Hills 90120, Lois & Clark: The New Adventures of Superman, Thunder Alley, Coach, ER, 7th Heaven, Ally McBeal, Judging Amy and The District. She appeared in the movies Sleeping with the Enemy (1991), Final Vendetta (1996), The Doyles (1997), and Star Trek: Insurrection (1998).

In the Naughts she guest starred on the television shows Providence, The Agency, Without a Trace, and Strong Medicine. She appeared in the movie Eulogy  (2004).

Claudette Nevins was a remarkable actress. I particularly remember her from the M*A*S*H episode "Mr. and Mrs. Who?", in which she played Donna Marie Parker, whom Winchester thought he had married while drunk. Throughout her career she played a wide variety of roles, including a nun on The Young Riders, a judge on Hardcastle and McCormick, and even Jacqueline Kennedy in the 1981 TV movie Jacqueline Bouvier Kennedy. Claudette Nevins was very versatile and always gave a good performance.

Godspeeed Ben Cooper

Ben Cooper, who had recurring roles in the TV shows The Misadventures of Sheriff Lobo and The Fall Guy, as well as appeared in numerous Western TV shows and movies, died on February 24 2020 at the age of 86.

Ben Cooper was born on September 30 1933 in Hartford, Connecticut. His acting career began when he was only 9 years old when he appeared on Broadway in the play Life with Father. He made his television debut in 1950 in an episode of Inside Detective. That same year he appeared in an episode of Suspense. In the Fifties he guest starred on such shows as Fireside Theatre, Armstrong Circle Theatre, Schlitz Playhouse of Stars, Matinee Theatre, The Millionaire, Playhouse 90, One Step Beyond, Tales of Wells Fargo, Wichita Town, Johnny Ringo, Wagon Train, Zane Grey Theatre, Stagecoach West, and The Westerner. He made his movie debut in an uncredited bit part in the movie Side Street in 1952.In the Fifties he appeared in such movies as Thunderbirds (1952), Woman They Almost Lynched (1953), A Perilous Journey (1953), Flight Nurse (1953), Johnny Guitar (1954), Hell's Outpost (1954), The Last Command (1955), The Rose Tattoo (1955), Rebel in Town (1956), Duel at Apache Wells (1957), and Outlaw's Son (1957).  Ben Cooper also had a career in Old Time Radio, appearing in over 3000 radio shows. He had a regular role on the radio show Mark Trail and also appeared on such radio shows as The Eternal Light, Horizons West, and American Gallery.

In the Sixties Ben Cooper appeared frequently on the Western TV shows of the era, making guest appearances on the shows The Rifleman, Bonanza, Gunsmoke, Laramie, Rawhide, Death Valley Days, and The Virginian. He also appeared on other sorts of shows during the decade, including Perry Mason (on which he appeared four times), The Twilight Zone, Adventures in Paradise, Window on Main Street, The Littlest Hobo, Kraft Suspense Theatre, Combat!, The Time Tunnel, Premiere, The Outside, It Takes a Thief, Marcus Welby M.D., Adam-12, and Mannix. He appeared in the movies Gunfight at Comanche Creek (1963), The Raiders (1963), Arizona Raiders (1965), Waco (1966), Red Tomahawk (1967), and The Fastest Guitar Alive (1967).

In the Seventies Mr. Cooper had a regular role on the TV series The Misadventures of Sheriff Lobo. He guest starred on the shows Funny Face, Room 222, Kung Fu, Lucas Tanner, The Wonderful World of Disney, and B.J. and the Bear. He appeared in the movies Support Your Local Gunfighter (1971), One More Train to Rob (1971), and The Sky's the Limit (1975).

In the Eighties Ben Cooper had a recurring role on The Fall Guy. He guest starred on Who's the Boss, Dallas, 1st & Ten, Knot's Landing, and L.A. Law. In the Nineties he guest starred on the TV show Kung Fu: The Legend Continues. He appeared in the movie Lightning Jack (1994).

Ben Cooper seemed as if he was born to play a cowboy. He had ridden horses as a child and was certainly comfortable on a horse. It is little wonder that he appeared on so many Western TV shows and in so many Western movies. Of course, he could play other roles and, although he was best known for his appearances in Westerns, he appeared in a variety of TV shows. He played murderers on Perry Mason, an Army corporal on Combat!, and a police officer on Adam-12. Ben Cooper was equally adept at playing heroes and villains, and he always gave a good performance.

Diana Serra Cary Passes On

Diana Serra Cary, who rocketed to fame as silent movie star Baby Peggy in the 1920s and later carved out a niche for herself as a writer and a film historian, died on February 24 2020 at the age of 101.

Diana Serra Cary was born Peggy-Jean Montgomery on October 29 1918 in San Diego, California. Her father, Jack Montgomery,  was a former cowboy who moved the family from San Diego to Los Angeles after hearing the film industry needed stuntmen. One day her mother took her two daughters to visit the Century Film Co. lot in Hollywood. Director Fred Fishback took notice of the 19 month old Peggy-Jean and hired her to appear in a series of short films with the canine star Brownie the Wonder Dog. Their first short together, "Playmates," proved to be a hit and Baby Peggy's film career took off.

From the years 1921 to 1924 Baby Peggy appeared in 150 short subjects for Century Film Co. It was in 1923 that she began working in feature films for Universal. At Universal she appeared in such films as The Darling of New York (1923) and Captain January (1924). Baby Peggy proved to be phenomenally successful. She would be sent on extensive personal appearance tours throughout the United States. Baby Peggy also performed on stage in Los Angeles and New York City at such venues as Grauman's Million Dollar Theatre and the Hippodrome. Baby Peggy would be among the first movie stars to generate a good deal of merchandise associated with her, including dolls, cut-outs, books, sheet music, jewellery, and even milk. Baby Peggy also earned a good deal of money. Her contract with Universal was worth $1.5 million a year, while she made $300 a day on her vaudeville tours. Unfortunately, none of this money was set aside for Baby Peggy's future.

To make matters worse, Baby Peggy worked under conditions would that would be rough even on an adult. Even as a toddler she worked eight hours a day, six days a week, and was often required to perform her own stunts. During her film career she also received very little in the way of an education.

Baby Peggy's career would end rather abruptly when her father had a quarrel with producer Sol Lesser. Baby Peggy then found herself effectively blacklisted in Hollywood. Afterwards she launched a successful career on vaudeville that lasted from 1925 to 1929. Unfortunately, her family would lose their money with the stock market crash in 1929. In the Thirties Peggy-Jean Montgomery attempted to make a comeback as an actress, but she found herself in bit parts and working as an extra. Her last feature film was Having a Wonderful Time (1938), in which she had an uncredited role as a camp guest.

In 1938 she married actor Gordon Ayres and took the name "Diana Ayres" to separate herself from her past as Baby Peggy. She worked as a writer for radio shows. She divorced Gordon Ayres and would later marry Bob Cary. She took the name Diana Serra Cary, "Serra" being her Catholic confirmation name. She would work as a switchboard operator, a bookstore clerk, and a gift shop manager.

Having always been interested in history and writing, Diana Serra Cary then became a freelance writer. In addition to her autobiography, What Ever Happened to Baby Peggy: The Autobiography of Hollywood's Pioneer Child Star, she also wrote the books The Hollywood Posse: The Story of a Gallant Band of Horsemen Who Made Movie History, Hollywood's Children: An Inside Account of the Child Star Era, and Jackie Coogan: The World's Boy King: A Biography of Hollywood's Legendary Child Star. She also wrote the historical novel The Drowning of the Moon.

Over the years Diana Serra Cary would attend various silent film festivals, as well as the TCM Classic Film Festival. She also appeared in various documentaries about her film career and the Silent Era, as well as various interviews. She was not only well respected for her knowledge of film history, but for her warmth and friendliness as well.

My Man Godfrey (1936)

(This blog post is part of the Butlers and Maids Blogathon hosted by Caftan Woman and Wide Screen World) 

When is a butler not a butler? When he is really a rich man who is down on his luck. That is the central theme of My Man Godfrey (1936), one of the greatest screwball comedies of the Thirties. My Man Godfrey received positive notices upon its release and was a smash hit with audiences. It was also nominated for several Academy Awards. To this day it considered a classic.

My Man Godfrey centres on Godfrey Parke (played by William Powell), who is living in a shanty town at a New York City dump with other men who are down on their luck during the Great Depression. His life is disrupted when he is discovered by socialite Cornelia Bullock (played by Gail Patrick), who is looking for a "forgotten man" (one of the many who were poor and out of work during the Depression) as part of a scavenger hunt held in conjunction with a society ball. Annoyed by Conelia's haughtiness and condescension, he approaches her angrily in such a way that she flees. Fortunately, Godfrey finds her younger sister, Irene (played by Carole Lombard) much nicer and agrees to be her prize for the scavenger hunt so that Cornelia will lose. It is after the two arrive at the society ball and Godfrey castigates the crowd for their behaviour. It is afterwards that Irene offers Godfrey a job as her family's new butler.

My Man Godfrey was based on the 1935 novel 1101 Park Avenue by Eric Hatch, which Charles R. Rogers, then head of Universal, bought the screen rights to. At the time Charles R. Rogers had Constance Bennett in mind for the role of Irene. He also wanted Gregory La Cava, fresh from his success with She Married Her Boss (1935), to direct. Unfortunately for Charles R. Rogers, Mr. La Cava had earlier worked together on The Affairs of Cellini (1934) and he was not particularly eager to work with the actress again. He suggested that they get Constance's sister Joan Bennett for the role, whom he thought was both a better actress and easier to work with as well. Ronald Colman had campaigned for the role of Godfrey, but Gregory La Cava wanted William Powell for the part. It was William Powell's condition that his ex-wife, Carole Lombard, be cast in the role of Irene. Gail Patrick, who specialised in the role of the unsympathetic, "other woman" in movies at the time, was cast as older sister Cornelia. Curiously while Miss Patrick played the older sister, she was actually three years younger than Carole Lombard.

My Man Godfrey was shot from April 15 to May 27 1936. Retakes took place in early June of 1936. Being shot at Universal (one of the "Little Three" among the major studios of the Golden Age of Hollywood), its budget was a modest $656,000. As it turned out, that $656,000 would be well worth it.

My Man Godfrey received overwhelmingly positive reviews upon its release. It also did very well at the box office. Given its reception, it should come as no surprise that it was nominated for several Academy Awards. My Man Godfrey was nominated for the Oscars for Best Director (Gregory La Cava), Best Actor (William Powell), Best Actress (Carole Lombard), Best Supporting Actor (Mischa Auer), Best Supporting Actress (Alice Brady) and Best Adapted Screenplay (Eric Hatch and Morrie Ryskind). It was the first ever film to be nominated for the four acting categories (this being the year that the Supporting categories were introduced). It was also the only film in the history of the Oscars to be nominated in all four acting categories that was not nominated for Best Picture as well. Despite its sheer number of nominations, it did not win even one Academy Award.  

While My Man Godfrey received no Oscars, it remains better remembered than many of the movies that did that year. In 1999 it was selected by the Library of Congress for the preservation in the National Film Registry as being "culturally significant." The American Film Institute included it at no. 44 in its list of the 100 Funniest Comedies. To this day it remains one of the few movies to maintain a 100% rating at the review aggregation site Rotten Tomatoes.

Of course, there should be little wonder that My Man Godfrey remains so highly regarded. The film contains some of the sharpest dialogue of any movie in the Thirties or ever since. As a screwball comedy it features some of the funniest situations ever shot on film. It has a sterling cast, with every single cast member giving top-notch performances (indeed, I am convinced that Gail Patrick should have also been nominated for an Oscar). What is more, My Man Godfrey was extremely relevant to the times. The film would not have been the same without the circumstances of the Great Depression (forgotten men, Hooverviles, et. al.). And while My Man Godfrey drew upon the Great Depression for its plot, sadly, it remains relevant to this day. Indeed, the 1957 remake of the film (in which June Allyson was miscast as Irene) seems much more dated today than the original 1936 version.

Because it is so very funny and features sterling performances by the cast and solid direction by Gregory La Cava, My Man Godfrey is still regarded as a classic to this day. Because it drew upon the circumstances of the Great Depression, it remains relevant to this day as well. 

A Brief History of the Fantastic Comedies of the Sixties Part Three

In the mid-Sixties more fantastic comedies, shows that blended comedy with elements of fantasy or even science fiction, debuted on the broadcast networks than at any other point in the history of American television. What is more many of the fantastic comedies that debuted in the mid-Sixties would have lasting success. My Favourite Martian, Bewitched, The Addams Family, I Dream of Jeannie, and others are still seen to this day.

The height of the cycle towards fantastic comedies on American television was during the 1964-1965 and 1965-1966 seasons. At that point more fantastic comedies debuted than at any other point in American television history. By the fall of 1966, however, the cycle towards fantastic comedies was in decline. Only one fantastic comedy debuted in the fall of 1966, and it would only last one season.

It's About Time was the creation of Sherwood Schwartz, who had created the smash hit Gilligan's Island. It's About Time resembled Gilligan's Island to a degree in that it dealt with a small group of people in a location far from civilisation. In fact, the characters in It's About Time were initially farther away from civilisation than the castaways of Gilligan's Island ever were.

It's About Time centred on astronauts Mac McKenzie (played by Frank Aletter) and Hector Canfield (played by Jack Mullaney), who find themselves hurled back in time through prehistory. There they made friends with a family of cave people led by matriarch Shad (played by Imogene Coca) and Gronk (played by Joe E. Ross). Shad and Gronk had two children, daughter Mlor (played by Mary Grace) and son Breer (played by Pat Cardi). In the Stone Age the two astronauts faced the constant threat of tribal chief Boss (played by Cliff Norton) and his muscle Clon (played by Mike Mazurki), who were suspicious of the astronauts, as well as anachronistic dinosaurs.

Like Gilligan's Island  before it, It's About Time received overwhelmingly bad reviews from critics. Unlike Gilligan's Island, It's About Time would not be a success. In its first few weeks It's About Time did well in the ratings, but the ratings then began a gradual decline. With the ratings falling, a dramatic change was then made to the show's format. With the January 22 1967 episode, "20th Century Here We Come," the astronauts finally repaired their spacecraft and returned to the 20th Century, taking Shad, Gronk, Mlor, and Breer with them. It's About Time was then no longer about 20th Century astronauts trying to adjust to life in the Stone Age, but about Stone Age people trying to adjust to life in the 20th Century. Ratings for It's About Time did not improve and only seven episodes would be made with the new format. It's About Time was cancelled at the end of the season. Today the show's theme song (written by Gerald Fried, George Wyle, and Sherwood Schwartz) may well be better remembered than the show itself.

While only one fantastic comedy would debut in the fall of 1966, two more would debut at mid-season during the 1966/1967 season. What is more, both debuted on the same night, one after the other, albeit on different networks. Batman having been the smash hit of the 1965/1966 season, it should come as no surprise that both were superhero spoofs.

The first to debut was Mr. Terrific (not to be confused with the DC Comics character Mister Terrific). While Mr. Terrific debuted on January 9 1967, it took some time to get to the air. In fact, the original pilot was being prepared after Batman had only been on the air for a few weeks. The original pilot starred Alan Young, fresh from his success as Wilbur Post on Mister Ed, as shoe salesman Stanley Beamish, who becomes the titular superhero. For whatever reason, CBS did not pick up Mr. Terrific based on the original pilot, and the show was entirely recast and retooled.

By the time Mr. Terrific made it to the air, Stanley Beamish was a filling station attendant (played by Stephen Strimpell). Beamish was the only person in the entire world upon whom a "power pill" worked. The power pill gave Beamish super-strength and the power to fly provided he flapped his arms like a bird. Unfortunately, the power pill also lasted for only an hour. Also unfortunately, Beamish was a bit naive and a bit of a clutz. As Mr. Terrific, Beamish worked for a government agency, The Bureau of Secret Projects, where he reported to Barton J. Reed (played by John McGiver).

Mr. Terrific debuted to mostly negative reviews. The show began with strong ratings, and while they dropped over time, those ratings were still respectable. Unfortunately for Mr. Terrific its audience was primarily children rather than the adult demographic desired by the networks even then. CBS then cancelled Mr. Terrific after only seventeen episodes. With so few episodes it did not have a chance as a syndicated rerun, and after the advent of Political Correctness the fact that its hero gained his powers by popping pills would insure it would be rarely seen.

The second superhero spoof to debut on January 9 1967 was Captain Nice. It debuted immediately following Mr. Terrific on CBS's rival network NBC. Captain Nice was the creation of Buck Henry, who had co-created the smash hit Get Smart with Mel Brooks. While Tim Conway was initially considered for the lead role, it was ultimately William Daniels who played police chemist Carter Nash, who discovered a secret formula that would transform him into the superhero Captain Nice. Unfortunately, Carter Nash's personality as Captain Nice was no different from his ordinary personality. He was shy and dominated by his mother (Mrs. Nash played by Alice Ghostley). And even though he could fly, Captain Nice was still just as scared of heights as Carter Nash was. Despite the fact that Carter Nash was a total Milquetoast, beautiful meter maid Candy Kane (played by Ann Prentiss) was totally in love with Carter rather than his superheroic alter ego.

Over all Captain Nice received positive reviews. Unfortunately, it was scheduled against The Lucy Show on CBS and as a result it received less than stellar ratings. It was cancelled at the end of the season and is rarely seen today.

The 1967-1968 season would see the cycle towards fantastic comedies decline even further with only two shows debuting that season, although both debuted in the fall. What is more, the two comedies featured very little in the way of fantasy content beyond their initial premises. Both debuted on ABC. The first to debut was The Second Hundred Years. The Second Hundred Years was developed by writer Ed Simmons, based on an idea from Roswell Rogers. Ed Simmons had previously worked on such shows as The Colgate Comedy Hour and The Red Skelton Show. Roswell Rogers had worked on the classic domestic comedy Father Knows Best. The Second Hundred Years centred on 19th Century prospector Lucius "Luke" Carpenter (played by Monte Markham), who was frozen in a glacier in 1900. He was revived in 1967 and sent to live with his son Edwin (played by Arthur O'Connell), who is now 67 years old. Edwin had a 33 year-old son, Ken (also played by Monte Markham), who looked exactly like Luke. The humour on the show largely emerged from Luke attempting to adapt to the 20th Century and his conflicts with his much older son.

The Second Hundred Years debuted on September 6 1967 to largely negative reviews. The show initially did well in the ratings. Its debut even beat the season premiere of The Beverly Hillbillies on CBS and the final half hour of a rerun of The Virginian on NBC. Unfortunately, ratings for The Second Hundred Years dropped dramatically in its second week and continued to rapidly decline. ABC moved the show from Wednesday night to Thursday night starting March 21. It was only a few weeks later that ABC announced that it was cancelling The Second Hundred Years.

ABC's second fantastic comedy debuted the following day, on September 7 1967. Unlike The Second Hundred Years it would be moderately successful. The Flying Nun was developed by Bernard Slade (who would later create The Partridge Family), based on the 1966 novel The Fifteenth Pelican by Tere Rios. The Flying Nun centred on Sister Bertrille (played by Sally Field), a nun at the Convent San Tanco in San Juan, Puerto Rico. Between her small size (Sister Bertrille was all of 90 pounds), the wide, heavily starched cornette she wore, and high winds on the bluffs around the convent, Sister Bertrille discovered she had the ability to fly. Sister Bertrille's ability to fly would be both the cause and the solution of many problems throughout the series' run.

The Flying Nun was not particularly a hit with critics, but the show proved to be a hit with audiences, receiving spectacular ratings in its first few months. The Flying Nun would not maintain this momentum as the season progressed, but it still did very well during its first season. Unfortunately, The Flying Nun would falter in the ratings in its second season, along with the rest of ABC's Thursday night line-up except for Bewitched. Ratings for The Flying Nun continued to drop in its third season, so that ABC moved it to Friday night at mid-season. The show's ratings never recovered and it was cancelled at the end of the 1969-1970 season. While rarely seen today, The Flying Nun did have a respectable run as a syndicated rerun.

By the 1968-1969 the trend towards fantastic comedies on American television was very nearly over. The season saw the debut of only one fantastic comedy, The Ghost & Mrs. Muir. The Ghost & Mrs. Muir was very loosely based on the 1947 movie of the same name, which in turn was based on the 1945 novel of the same name by R. A. Dick. It was developed by Jean Holloway, who had worked on such radio shows as The Kate Smith Show, The Hallmark Radio Hall of Fame, and Mayor of the Town and later moved into television to write for such shows as Wagon Train and Dr. Kildare.

The Ghost & Mrs. Muir centred on widow Carolyn Muir (played by Hope Lange), who moved into Gull Cottage in Schooner Bay, Maine with her two children and her housekeeper Martha Grant (played by Reta Shaw). It is not long before she learns the cottage has another resident, the ghost of 19th Century sea captain Daniel Gregg (played by Edward Mulhare). Daniel Gregg had various ghostly powers as well as a bad temper, which sometimes caused problems for Carolyn. The only other person to know about the captain's ghost was his great nephew Claymore Gregg (played by Charles Nelson Reilly). Captain Gregg was ashamed of Claymore, while Claymore was absolutely terrified of the captain.

The Ghost & Mrs. Muir debuted on NBC on September 28 1968. The show received generally positive reviews. Initially The Ghost & Mrs. Muir also did well in the ratings, beating long-running sitcom My Three Sons on CBS. In fact, The Ghost & Mrs. Muir was doing well enough in the ratings that, according to Fred MacMurray - A Biography by Charles Tranberg, My Three Sons star Fred MacMurray was actually concerned about the survival of that show. The Ghost & Mrs. Muir also won the Emmy Award for Outstanding Continued Performance by an Actress in a Leading Role in a Comedy Series for Hope Lange and was nominated for Outstanding Performance by an Actor in a Supporting Role in Comedy for Charles Nelson Reilly and Outstanding Achievement in Film Editing for Entertainment Programming - For a Series or a Single Program of a Series for Axel Hubert Sr. In the end My Three Sons gradually made a comeback, climbing in the ratings until it was beating The Ghost & Mrs. Muir. It was then towards the end of the 1968/1969 season that NBC cancelled The Ghost & Mrs. Muir.

This was not the end of The Ghost & Mrs. Muir, as it was promptly picked up by ABC. ABC moved The Ghost & Mrs. Muir from the Saturday time slot in which it had aired on NBC to a Thursday night time slot. Once more The Ghost & Mrs. Muir would receive an Emmy Award for Hope Lange. It was also nominated for Outstanding Comedy Series as well as Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series for Edward Mulhare. Unfortunately, ABC had scheduled The Ghost & Mrs. Muir against another popular CBS sitcom, Family Affair, which ranked no. 5 in the ratings for the 1969/1970 season. As a result the show's ratings suffered and The Ghost & Mrs. Muir was cancelled for a final time at the end of the season. The Ghost & Mrs. Muir would have a respectable run as a syndicated rerun.

If there was any sign that the cycle towards fantastic sitcoms that had dominated the mid-Sixties was over, it was the fact that no new fantastic comedies debuted at the start of the 1969-1970 season. The trend on American television in sitcoms for that season was now towards such family comedies as To Rome with Love, The Debbie Reynolds Show, The Courtship of Eddie's Father, and The Brady Bunch. When a new fantastic comedy debuted at mid-season during the 1969-1970 season, it should come as no surprise that it fit in with the new crop of domestic comedies on television.

Nanny and the Professor was created by A.J. Carothers and Thomas L. Miller. A.J. Carothers had written for such TV shows as The DuPont Show with June Allyson and My Three Sons, as well as such movies as Emil and the Detectives (1964) and The Happiest Millionaire (1967). Nanny & the Professor centred on the nanny of the title, Phoebe Figalilly (played by Juliet Mills). Nanny worked for Professor Harold Everett (played by Richard Long), who had three children: oldest son Hal (played by David Doremus), middle child Butch (played by Trent Lehman), and youngest Prudence (played by Kim Richards). Nanny appeared to be psychic. She often knew someone was at the door before they even rang the doorbell. She could also see into the future at times. On rare occurrences she could even make events happen so that they appeared to be coincidences.

Nanny and the Professor debuted on ABC on January 21 1970. In its Wednesday night time slot it proved popular enough that ABC renewed it for the 1970/1971 season. For the 1970/1971 season ABC moved it to Friday night, between the popular Brady Bunch and the even more popular Partridge Family. While Nanny and the Professor did not rank in the top thirty shows for the year, it received respectable ratings, particularly with younger viewers. Unfortunately, its days were numbered. It was with the 1971/1972 season that the Prime Time Access Rule went to effect, which effectively shaved a half hour off prime time network programming each night, so that prime time now began at 8:00 PM Eastern rather than 7:30 PM Eastern. Having to remove one show from the Friday night line-up, ABC then moved Nanny and the Professor to Monday night, before Monday Night Football.

Unfortunately, the new time slot would prove disastrous for Nanny and the Professor. In the time slot it faced two highly rated shows, Rowan & Martin's Laugh-In on NBC and Gunsmoke on CBS. Worse yet, many ABC affiliates elected to air Nanny and the Professor in entirely different time slots, so that it might air at one time in one market and a completely different one in another. Naturally, this led to ratings for the show entirely collapsing. In the end Nanny and the Professor went off the air at mid-season, on December 27 1971

Of course, not only were there several sitcoms with fantastic premises to air in the Sixties, there were also several straightforward sitcoms that might feature fantasy content in individual episodes from time to time. As early as its second season Dobie Gillis featured an episode involving ESP. In its third season there was an episode involving a Stone Age caveman, while the fourth season had Maynard gain the abilities to analyse hit songs from a robot and Maynard gain super-strength through pills. Gilligan's Island would feature even more fantastic content, with episodes featuring "voodoo," a robot, seeds that granted Gilligan telepathy, mad scientists, and yet more. Similarly, The Monkees featured several episodes that included such fantastic elements as a mad scientist and his Frankensteinian creation, aliens, a magical monkey's paw, mind control, and even the Devil himself. Other shows, such as The Beverly Hillbillies and particularly Green Acres could often be so surreal that they could be considered as bordering on outright fantasy.

As to why fantastic sitcoms came to dominate American television in the Sixties, there can be little doubt that there were multiple factors. Chief among these was the president of CBS at the start of the decade, James T. Aubrey, whose formula for the network was once summarised by another CBS executive as "broads, bosoms, and fun." Aubrey placed an emphasis on escapism, debuting such comedies as The Beverly Hillbillies, Petticoat Junction, and Gilligan's Island. CBS saw great success with James T. Aubrey's formula of pure escapism so that ABC and NBC soon followed suit in airing escapist shows. It was to a large degree James T. Aubrey who sparked the cycle toward fantastic comedies in the Sixties by bringing the syndicated hit Mister Ed to CBS and putting My Favourite Martian on the air.

Of course, the escapist television shows that James T. Aubrey put on the air would not have succeeded had there not been a demand for them. In many respects the Sixties was a very volatile decade. It was the decade of the Cuban Missile Crisis, the assassination of John F. Kennedy, and the Vietnam War. It was the height of the Cold War. It should then not be surprising if audiences wanted escapism on television in the Sixties. Indeed, in the weeks following the assassination of President John F. Kennedy, The Beverly Hillbillies set records in the Nielsen ratings that stand to this day. Even given the success of My Favourite Martian, it should then come as no surprise that the 1964/1965 saw the beginning of a cycle towards fantastic comedies.

While the fantastic comedies of the Sixties can be counted among the many escapist television shows of the decade, that it is not to say that they did not acknowledge the social changes of the times. In particular, the producers of Bewitched seemed to recognise that the times were changing. After all, the central premise of Bewitched was a mixed marriage (that is, a witch married to a mortal). Over the course of its run Bewitched dealt with issues that other, more mainstream shows could not, including bigotry, capitalism, and feminism. Some have even seen a gay subtext on the show, and not simply because some of the cast (such as Paul Lynde) were gay. There were those who interpret the underground culture of witches as a metaphor for the underground culture of homosexuality at the time. Of course the show could also be considered an allegory for civil rights in general.

While most of the other fantastic comedies would not touch upon issues of the day in the way that Bewitched did, in some respects they also acknowledged the changing times. While the Sixties saw a counterculture arise that rejected the societal norms of the Fifties, the theme of nonconformity ran through many of the fantastic comedies. On Bewitched most witches and warlocks paid no heed to the rules of human society. The Addams Family refused to conform to society's expectations, preferring their own macabre outlook on life instead. Such "fish out of water" comedies as My Favourite Martian, I Dream of Jeannie, and The Second Hundred Years sometimes pointed out the absurdity of modern, American life. It certainly cannot be denied that the fantastic comedies served as an escape from the realities of the Sixties by many viewers, but at the same time the shows acknowledged that the times were changing.

There were likely other factors that caused the proliferation of fantastic comedies in the Sixties, making it difficult to assess all of them. As to why the cycle towards fantastic comedies came to an end, that is a bit easier to determine. To a degree cycles in American broadcast network television can be considered fads. In the book Fads, Follies, and Delusions of the American People by Paul Sann, it is noted that often the more intensely a fad is adopted, the shorter its duration will be. Given the sheer number of fantastic comedies that the networks debuted in the 1964/1965 and 1965/1966 seasons, it should come as no surprise that the cycle would come to an end after a time.

Of course, here it must also be pointed out that the cycle towards fantastic comedies in the Sixties was one of the larger cycles in the history of American television. Ten different fantastic comedies aired on the American broadcast networks during the 1965/1966 season alone. It would not be a surprise if audiences grew tired of the genre and wanted to see some other sorts of shows. It seems significant that the majority of fantastic comedies to debut in the 1964/1965 and 1965/1966 seasons saw some degree of success, but the fantastic comedies that debuted in the 1966/1967 season did not. Like other cycles, such as the cycle towards Westerns in the Fifties or the cycle towards police procedurals in the Naughts, audiences simply grew tired of those types of shows and wanted to move onto the Next Big Thing.

The last original episode of Bewitched aired on March 25 1972, making it the last of the fantastic comedies of the Sixties. Since that time several more fantastic comedies have aired on American television, some of which proved to have some degree of success. Despite this, at no point since the Sixties has there ever been a cycle towards fantastic comedies that has been as large as the one during that decade. What is more, an argument can be made that none of the fantastic comedies that have aired since the Sixties have seen the level of success that such shows as Bewitched, I Dream of Jeannie, and Get Smart have seen. In the end, many of the fantastic comedies of the Sixties would prove to be among the most successful shows of all time.

A Brief History of the Fantastic Comedies of the Sixties Part Two

While very little in the way of fantastic comedy aired on American television in the Fifties, the Sixties would see a boom in fantastic sitcoms that has not been matched to this day. These television shows blended situation comedy with fantasy or even science fiction, marking a sharp break from the situation comedies of the Fifties. Many of these shows are still seen in reruns to this day.

The first fantastic sitcom of the Sixties is not one that comes to many people's minds when they think of fantastic comedies, but its premise clearly places it in the genre. Mister Ed was based on short stories about a talking horse named Ed by writer Walter R. Brooks that were published in in Liberty and The Saturday Evening Post in the Thirties and Forties. Mister Ed centred on the horse of the title (played by Bamboo Harvester and voiced by Rocky Lane), who could talk, but would only do so to his owner Wilbur Post (played by Alan Young). This caused numerous problems, particularly as Ed was a bit of a spoiled brat with a mischievous streak. It was Mister Ed's misbehaviour, often due to his ability to talk (Ed had a phone in his stable, which caused several problems), that was the impetus behind many episodes.

Mister Ed debuted in syndication on January 5 1961, where it proved very successful, In nearly every market in which it aired, the show won its time slot. This drew the attention of CBS President James Aubrey, so that it was on June 22 1961 that CBS announced that Mister Ed was moving to the network effective in the fall of 1961. While Mister Ed never ranked in the top thirty, it did get respectable ratings and in the end the show ran six seasons in all. Afterwards it would go onto success as a syndicated rerun and can still be seen on local stations, cable channels, and streaming services to this day.

On the surface Mister Ed might seem to have very little in common with such fantastic sitcoms as Bewitched and I Dream of Jeannie. That having been said, it can be argued that it was the first sitcom of the Sixties to use the premise of an ordinary person living with an individual with extraordinary abilities. In this case, the extraordinary abilities were simply Ed's intelligence and his ability to talk, which served much the same purpose on the show as Uncle Martin's abilities on My Favourite Martian, Samantha's witchcraft on Bewitched, and Jeannie's magic on I Dream of Jeannie. Alongside Topper, then, Mister Ed can be considered the forerunner of every other fantastic sitcom of the Sixties, from My Favourite Martian to Nanny and the Professor.

Mister Ed would not remain the only fantastic sitcom on American television for long. It was on September 29 1963 that another fantastic comedy joined it on CBS. My Favourite Martian centred on a 450-year-old anthropologist from Mars (played by Ray Walston) who finds himself stranded on Earth. While repairing his spaceship, the Martian stays with young Los Angeles Sun reporter Tim O'Hara (played by Bill Bixby). Passed of as Tim's "Uncle Martin," the Martian has technology far more advanced that 1960s Earth and possessed such abilities as telekinesis, telepathy, and the ability to make himself invisible, among yet others. Martin's advanced technology and superhuman abilities would cause quite a bit of trouble for Tim.

My Favourite Martian was created by John L. Greene, who had earlier written for such radio shows as Texaco Star Theatre and such TV shows as The Adventures of Ozzie and Harriet and The Real McCoys. The show was produced by Jack Chertok, who was looking for ideas for a new TV series when he found John L. Greene's script at the bottom of a stack at the William Morris agency. When someone at the agency informed Mr. Chertok that it was the worst idea around the agency, he simply replied, "That's why I want it." That My Favourite Martian owed a bit to Gore Vidal's teleplay "Visit to a Small Planet" was recognised by The New York Times at the time and later by Gore Vidal in his memoir Palimpsest.

While the William Morris Agency thought little of John L. Greene's pilot script and at the time its debt to "Visit to a Small Planet" was recognised, My Favourite Martian turned out to be a hit. The show ranked no. 10 for the ratings for the year in its first season. For its second season the ratings for My Favourite Martian dropped, but it still did fairly well, ranking no. 24 for the year. Sadly, the third season of My Favourite Martian dropped to the point that it was cancelled at the end of the season. It would go onto a healthy run as a syndicated rerun and is still seen in reruns to this day. It also sparked the biggest cycle in fantastic sitcoms ever seen in the history of American television

In fact, starting with the 1964-1965 television season, more fantastic sitcoms would debut than at any other time in the history of American broadcasting. What makes the 1964-1965 and 1965-1966 television seasons all the more remarkable with regards to fantastic sitcoms is that many of the shows that debuted during the period would become hits and persist as reruns to this day. At no other period in American television history has as many hit fantastic sitcoms debuted in so short a time.

What is more, the first fantastic sitcom to debut in the 1964-1965 season is arguably the most influential fantastic sitcom of all time, Bewitched. The origins of Bewitched can be traced back to Screen Gems executives: William Dozier and Harry Ackerman, who came up with the idea of young, beautiful witch who is married to an ordinary man while at lunch one day. After approaching George Axelrod and Charles Lederer, who were both assigned to other projects, Messrs. Dozier and Ackerman hired Sol Saks to write the pilot In writing the pilot Mr. Saks was inspired by both the 1942 film I Married a Witch and the 1958 film Bell, Book, and Candle. Bewitched would further be shaped by its star, Elizabeth Montgomery, and her husband, director William Asher, as well as the show's initial producer, Danny Arnold.

Bewitched centred on a young witch named Samantha (played by Elizabeth Montgomery) who marries mortal, McMann & Tate ad executive Darrin Stephens (played by Dick York and later Dick Sargent). Complicating the marriage is Samantha's mother Endora (played by Agnes Moorehead), who is none too happy about her daughter marrying a mortal. The impetus for many of the episodes was then not only Samantha's witchcraft, but the witchcraft of Endora and Samantha's extended family as well.

Bewitched debuted on ABC on September 17 1964. It not only received good reviews from critics, but it proved to be an immediate hit. For its first season Bewitched ranked no. 2 for the year, a remarkable feat for a show on ABC, which was generally the lowest rated network during any given season at the time. Bewitched would never again do as well in the ratings as it did in its first season, but it ranked in the top ten for its first three seasons and remained in the top thirty for its first six seasons. It wasn't until its next-to-the-last season that Bewitched dropped out of the top thirty. Bewitched was cancelled with its eighth season, but went onto become a highly rated syndicated rerun. In fact, it is still in reruns to this day on various local stations, cable channels, and streaming services.

Bewitched was not only a hit, but it proved to be very influential. While My Favourite Martian may have led to several fantastic sitcoms in the 1964-1965 season, it was arguably because of Bewitched that the cycle lasted several more years. What is more, the influence of Bewitched went beyond American television. Bewitched inspired other shows in places from the United Kingdom to India to Argentina. Bewitched would have a lasting impact on Japanese anime and manga that is still being felt to this day. A good argument can be made that Bewitched is responsible for the entire "Magical Girl" genre of anime.

Another influential fantastic sitcom debuted the following day, also on ABC. The Addams Family was based on Charles Addams's cartoons, centred on an aristocratic, but macabre family, that had been appearing in The New Yorker since 1938. It was in 1963 that television producer David Levy walked past a display of Charles Addams' books in a store window, including Homebodies, which featured a portrait of the entire Addams Family. It then occurred to Mr. Levy that the "Addams family" cartoons might provide the good basis for a TV show. He approached Charles Addams with the idea and the cartoonist approved. To the project Charles made two small, but significant contributions. The first was that he finally gave the characters names (they had been unnamed in the cartoons). The second were brief descriptions of each character. It was David Levy and line producer Nat Perrin who further fleshed out the show.

The Addams Family debuted on ABC on September 18 1964. Unlike many shows, which featured nuclear families, like The Beverly Hillbillies before it, The Addams Family centred on an extended family all living under the same roof. The matriarch of the family was the elegant Morticia (played by Carolyn Jones). Her husband Gomez (played by John Astin) was passionately in love with her and engaged in such hobbies as blowing up model trains. Uncle Fester (played by Jackie Coogan) was Morticia's uncle, who loved explosives and could power light bulbs by sticking them in his mouth. Lurch (played by Ted Cassidy) was the family's huge butler, who generally spoke in monosyllables and could play the harpsichord. Wednesday (played by Lisa Loring) was the youngest in the family, who loved such pets as black widow spiders and lizards. Pugsley (played by Ken Weatherwax) was Morticia and Gomez Addams's son, who was good-natured and conformed a bit more to societal standards than the rest of the family. Grandmama (played by Blossom Rock) was Gomez's mother, who excelled in making strange brews. Thing was a disembodied hand who had been Gomez's companion since childhood. Episodes centred on the Addams family's macabre tendencies and the ordinary person's reactions to them.

The Addams Family would prove to be a success in its first season, ranking no. 23 in the ratings for the year. Unfortunately, its ratings would falter in its second season, when it was trounced in the ratings by a new comedy on CBS titled Hogan's Heroes. Cancelled at the end of its second season, The Addams Family would not disappear. Instead it went onto a highly successful run in syndication. The show has also seen revivals and reboots, and was the basis for three feature films.

The Addams Family would not be the only unusual family to appear in a show that debuted in the 1965-1966 season. The Munsters centred on a family who resembled the monsters of old Universal horror movies. The head of the family was Lily Munster (played by Yvonne De Carlo), who was a vampire. Her husband, Herman (played by Fred Gwynne), resembled Frankenstein's Monster. Their son, Eddie (played by Butch Patrick), was a werewolf. Grandpa Munster (played by Al Lewis) was a vampire. The only normal person in the family was Herman's niece Marilyn (initially played by Beverly Owen and later by Pat Priest), who was a lovely blonde. Unlike the Addams family, who revelled in the fact that they did not conform to society's expectations, The Munsters not only wanted to conform to the rest of society, but thought they did. Regardless, people who encountered the Munsters would react as anyone would when encountering monsters from a Universal horror movie.

The Munsters was not the first time that a work featuring a family of monsters had been proposed. From 1943 to 1945 legendary animator and puppeteer Bob Clampett developed a potential series of animated cartoons that was similar to The Munsters. Called "The Monster Family," it would have centred on a Frankenstein's Monster-like creature named Frankie Monster, his vampire wife, and their son. Reportedly the idea was taken to Universal Pictures and Bob Clampett never heard back from them. As to The Munsters, the initial idea for the series came from Allan Burns (a writer on Rocky and Bullwinkle who later for co-created The Mary Tyler Moore Show) and Chris Hayward (another writer on Rocky and Bullwinkle who co-created Dudley Do-Right). Allan Burns and Chris Hayward would later create the notorious fantastic sitcom My Mother the Car. The two submitted the idea to Universal, and writers Norm Liebmann and Ed Haas wrote the script for the show's presentation film (sort of a short pilot film). The Munsters would be produced by Joe Connelly and Bob Mosher, best known for their work on the radio show Amos & Andy and later the TV show Leave It to Beaver.

The Munsters debuted on CBS on September 24 1964. The TV show did very well in the ratings in its first season, tying for no. 18 for the year with another new comedy, Gilligan's Island. Unfortunately its ratings would falter in its second season, perhaps because in the second half of the season The Munsters found itself in competition with television's latest sensation, Batman. The Munsters was cancelled at the end of the season, although a theatrical motion picture featuring the original cast except for the actress playing Marilyn (played by Debbie Watson) was released in 1966. Munster, Go Home! failed at the box office. Regardless, The Munsters went onto success as a syndicated rerun that is still sent today. It would also see several revivals and reboots through the years.

While Bewitched, The Addams Family, and The Munsters proved successful, the fourth fantastic comedy to debut in the 1964/1965 season did not. My Living Doll s created by Bill Kelsay and Al Martin (who had both worked on My Favourite Martian), based on an idea suggested by Leo Guild. It was produced by Jack Cherok, who had earlier had success with My Favourite Martian. Like My Favourite Martian, My Living Doll was also a fantastic comedy in which an ordinary person finds himself living with someone with extraordinary abilities. In the case of My Living Doll, it centred on a prototype robot designated AF 709 and created for the United States Air Force in the shape of a beautiful woman (played by Julie Newmar). When the robot's inventor, Dr. Carl Miller (played by Henry Beckman) is transferred to Pakistan, he hands over care of the AF 709 to his friend, Air Force psychiatrist Dr. Bob McDonald (played by Bob Cummings). Dr. McDonald passed the AF 709 off as Dr. Miller's niece Rhoda and put her to work as his secretary (a job for which she was perfectly suited--she could type hundreds of words a minute and her memory banks held thousands of bits of information). To allay any thoughts of anything improper going on between him and Rhoda, Dr. McDonald moved his sister Irene Adams (played by Doris Dowling) into his apartment. Dr. McDonald had to keep the fact that Rhoda was a robot secret, something that was complicated by his friend and neighbour, physicist Dr. Peter Robinson (played by Jack Mullaney), who unfortunately had a crush on Rhoda.

My Living Doll debuted on CBS on September 27 1964. Despite mostly positive reviews, its ratings were low, perhaps because it was scheduled opposite the juggernaut that was NBC's Western Bonanza. In December 1964 CBS then decided to move My Living Doll to Wednesday night where it would serve as the lead in for the hit sitcom The Beverly Hillbillies. It was in January 1965 that Bob Cummings asked to leave the show. His character, Dr. McDonald, was written out of the show as having been transferred to Pakistan.  Dr. Peter Robinson, then, learned Rhoda was a robot and became her new guardian.The new time slot and the changes to the show certainly did not help in the ratings (on Wednesday night it was opposite The Virginian on NBC and The Patty Duke Show on ABC). In the end, then, My Living Doll was cancelled after a single season.

Having lasted only one season, My Living Doll would not enter syndication as a rerun. Despite this it remained well remembered by many, and it is proof that it had some success in that it did have a small impact on the English language. According to The Random House Historical Dictionary of American Slang, the phrase "does not compute" (which was a bit of a catchphrase for Rhoda) originated on My Living Doll. After various episodes had popped up on bootleg VHS tapes and DVDs over the years, on March 20 2012 twelve episodes were released on DVD as My Living Doll: The Official Collection Vol. 1. A second volume has yet to be released.

The 1965-1966 season would see the cycle towards fantastic sitcoms at its height. In fact, more fantastic comedies debuted that season than any other season in the history of American television. Five different fantastic comedies debuted in the 1965-1966 season, some of which would have lasting success.

That having been said, the first fantastic sitcom to debut in the 1965-1966 season would not be one of them. My Mother the Car was created by Allan Burns and Chris Hayward, who had earlier developed The Munsters. My Mother the Car centred on lawyer Dave Crabtree (played by Jerry Van Dyke), who purchased a 1928 Porter automobile that just happened to be the reincarnation of his dead mother. Mother would talked to him through the car's radio, its dial light flashing in sequence to her words (the car was voiced by Ann Southern). Ruthless car collector Captain Manzini (played by Avery Schreiber) was always trying to get his hands on the car, and he served as a recurring villain on the show.

My Mother the Car debuted on NBC on September 14 1965 to nearly catastrophic reviews. While the series would prove popular with younger viewers, its overall ratings were not particularly good. It was then cancelled at the end of the season. While other shows that have received bad reviews upon their debut (The Beverly Hillbillies being a prime example) have seen their reputations improve through the years, this would not be the case with My Mother the Car. It would become a punchline for Johnny Carson for years to come. Ever since My Mother the Car has topped lists of "the worst shows of all time." In my own opinion, while the quality of the show's episodes can vary greatly, there have been far worse shows that aired both before My Mother the Car and since. It hardly deserves its reputation, as bizarre as its premise may have been.

The second fantasy sitcom to debut in the 1965/1966 season would also prove to be a failure. In the early Sixties Tom and Dick Smothers had proven to be a popular nightclub act. The Smothers Brothers soon found themselves appearing on such television shows as The New Steve Allen Show, Tonight Starring Jack Paar, Make Room for Daddy, and Burke's Law. It was then natural that the Smothers Brothers would receive their own network television show. While they would later become known for their variety show (The Smothers Brothers Comedy Hour), the Smothers Brothers' first television show was a fantastic sitcom titled The Smothers Brothers Show.

The Smothers Brothers Show centred on young publishing executive Dick Smothers, whose brother Tom had been lost at sea. Two years later Tom shows back up as an apprentice angel who must do various good deeds in order to earn his wings. Unfortunately, Tom is rather inept and Dick often has to straighten out any problems caused by Tom's good intentions. The show was created by Aaron Spelling and Richard Newton.

The Smothers Brothers Show debuted on CBS on September 17 1965. The show received good ratings upon its debut, but ratings quickly began to drop as the season progressed. The Smothers Brothers Show was then cancelled at the end of the season. It would be during the 1966-1967 season that their famous variety show, The Smothers Brothers Comedy Hour, debuted as a mid-season replacement. It proved much more successful than The Smothers Brothers Show had.

While neither My Mother the Car nor The Smothers Brothers Show proved successful, the next two fantastic sitcoms to debut in the 1965-1966 season would have lasting success. What is more, they debuted on the same night, one after the other, on the same network. I Dream of Jeannie and Get Smart debuted on NBC on September 18 1965.

I Dream of Jeannie was created by screenwriter Sidney Sheldon, who had also created The Patty Duke Show, a hit during the 1963/1964 season. Screen Gems approached Mr. Sheldon about creating a show for them. He came up with the idea of a show centred on a genie. What would separate his new show from previous treatments of genies is that his genie would be a beautiful young woman. Just as Bewitched took inspiration from movies (I Married a Witch and Bell, Book and Candle), there is the strong possibility that I Dream of Jeannie drew some of its inspiration from the 1964 feature film adaptation of F. Antsey's novel The Brass Bottle.

I Dream of Jeannie centred on astronaut Tony Nelson (played by Larry Hagman), who discovers a bottle containing a 2000 year old genie while stranded on an island. While Jeannie (played by Barbara Eden) was 2000 years old, she behaved much more like a woman in her early twenties. Only Tony's best friend Roger Healy, knew that Jeannie was a genie, and the two of them constantly had to keep her a secret, particularly from nosey NASA psychiatrist Alfred Bellows (played by Hayden Rorke). The impetus of most episodes was Jeannie's magic, which often had unexpected results.

I Dream of Jeannie was not a huge hit in the ratings, but it did respectably enough to run for five seasons. While the show only received moderate ratings during its network run, however, it proved to be a phenomenal success as a syndicated rerun. In fact, it would be the first syndicated rerun to ever beat network shows in the ratings in various markets. I Dream of Jeannie is still seen to this day on local stations, cable channels, and streaming services.

Immediately following I Dream of Jeannie on NBC on September 18 1965 was Get Smart. Created by Mel Brooks and Buck Henry, Get Smart was a parody of the then popular James Bond movies and various spy TV shows that dominated American television in the mid-Sixties. The show centred on the bumbling Maxwell Smart (played by Don Adams), Agent 86 for the intelligence agency CONTROL. His partner was Agent 99 (played by Barbara Feldon), who was everything Max was not--intelligent, competent, and beautiful. For whatever reason she was in love with Max. The two reported to the head of CONTROL, simply known as "the Chief (played by Edward Platt)". Opposing CONTROL was the evil organization known as KAOS. While Max and 99 faced various KAOS agents throughout the run of the show, their most persistent enemies were Conrad Siegfried (played by Bernie Kopell) and his assistant Starker (played by King Moody).

Get Smart not only received positive reviews from critics, it also proved to be a hit. In its first season it ranked no. 12 in the ratings for the year. It also did respectably well in its second season, when it ranked no. 22 for the year. Get Smart also received several Emmy Awards, including Outstanding Continued Performance by an Actor in a Comedy for Don Adams, Outstanding Writing Achievement in Comedy, Outstanding Comedy Series, and Outstanding Directorial Achievement in Comedy. The ratings for Get Smart dropped in its fourth season so that NBC cancelled the show. It was picked up by CBS for a fifth and final season. Afterwards it would go onto a successful run as a syndicated rerun. It would also be revived several times and receive a 2008 feature film reboot.

What would be the biggest hit among the fantastic comedies to debut during the 1965/1966 season would emerge from an unexpected source, a comic book character who had first appeared in 1939. Batman had already appeared in a 1943 movie serial (The Batman) and a 1949 movie serial (Batman and Robin), as well as the radio show The Adventures of Superman. In the mid-Sixties ABC executives Harve Bennett and Edgar J. Scherick were considering a show based around a comic strip character. It was fellow ABC executive Yale Udof who suggested that they adapt Batman for the small screen. ABC got the television rights to the character from DC Comics and then turned to 20th Century Fox to produce the series. 20th Century Fox then turned to producer William Dozier.

ABC had wanted a serious, but tongue-in-cheek show based on Batman (something like The Man From U.N.C.L.E.), but when William Dozier read various Batman comic books for research, he concluded the only way the show would work was as a comedy. He hired Lorenzo Semple, Jr. to develop Batman. Mr. Semple developed Batman as a spoof that worked on two levels. For adults it would be high comedy. For kids it would be high adventure.

Despite the fact that it was a comedy, Batman was largely loyal to the comic books. It centred on millionaire Bruce Wayne (played by Adam West), who fought crime as Batman. He was assisted by his ward Dick Grayson (played by Burt Ward), who fought crime as Robin. They were assisted in their fight against evil by Bruce Wayne's butler Alfred (played by Alan Napier). The Dynamic Duo faced several of the villains from the comic books, including The Joker (played by Caesar Romero), The Penguin (played by Burgess Meredith), The Catwoman (played by Julie Newmar and later Eartha Kitt), and yet others.  Batman aired twice a week in two part episodes, the first part on Wednesday ending in a cliffhanger that would be resolved at the start of the second part on Thursday.

Batman debuted as a mid-season replacement on ABC on January 12 1966. It not only proved to be a hit, it proved to be an outright sensation. It not only received phenomenal ratings, but Batman became an outright fad. There may well have been more merchandise devoted to Batman on store shelves than there ever had been for any television show before. For the 1965/1966 season the Wednesday edition of Batman came in 10th in the ratings for the year, while the Thursday edition came in at 5th. Unfortunately, Batman could not maintain the momentum it had in its first seasons. By the autumn of 1966 Batman was still doing well, but its adult audience was now half of what it was. As the 1966/1967 season progressed, ratings for Batman dropped gradually, to the point that ABC seriously considered cancelling the show. Fortunately, Batman  was renewed for the 1967/1968 season, but it was cut back to one half-hour a week on Thursday. Ratings did not improve and ABC cancelled Batman. Its last original episode aired on March 14 1968. While Batman may have been yesterday's fad by 1968, it went onto a highly successful rerun in syndication and is still seen to this day on local stations, cable channels, and streaming services.

The 1965/1966 season would mark the height of the cycle towards fantastic comedies in the Sixties. The 1966/1967 season would see fewer fantastic comedies debut. That having been said, the decade had not seen the last of fantastic comedies yet.