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I don’t watch a lot of TV shows. The time commitment involved is usually too much for me. Cultural touchstones like The Sopranos, Breaking Bad, and now Game of Thrones have all passed me by. (Part of it is I don’t want to pay for extra channels, and part of it is I don’t usually go for stories about gangsters or medieval fantasy, unless Chris Avellone is writing them.)

But there are a few television shows that I’ve seen every episode of, and one is the 1970s series Wonder Woman, starring Lynda Carter. It’s not because I made a particular effort to see it, but simply because the reruns happened to be on when I eat dinner. And so, quite by accident, I became an avid Wonder Woman viewer over the years.

Actually, let me clarify about the title: the first season is called Wonder Woman. Seasons 2 and 3 are The New Adventures of Wonder Woman. Season 1 is set during World War II when Wonder Woman, often disguised as her alter-ego, Yeoman Diana Prince, battles against various Nazi plots. The subsequent seasons all follow Wonder Woman into the 1970s America, where, disguised as Agent Diana Prince, of the fictional IADC (Inter-Agency Defense Command) she does battle with a host of villains, whose goals range from stealing nuclear weapons to rigging football games.

In both eras, Diana takes her orders* from a man named Steve Trevor, a Major in the WWII-era, and subsequently his son (who I think is sometimes referred to as “Colonel”) in the 1970s. Both Steve Trevors are portrayed by Lyle Waggoner.

Most of the episodes are, to be honest, incredibly silly. The special effects are laughable—lasers appear as straight single-color lines drawn on the picture, while Wonder Woman’s travels in the invisible plane are, well:

By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=15717439

The plots are hardly better. I’ve often said one sure sign—maybe even surer than shark-jumping itself—that a show’s writers are out of ideas is the introduction of plots involving gorillas, chimps, monkeys, and other non-human primates. Wonder Woman resorted to that in episode six of season one.

The shows have a certain so-bad-it’s-good charm, but not in the way, say, Adam West’s Batman did. That show seemed like everyone involved was aware of how ridiculous the thing was, and everything was done with a wink and a nod to the audience that yes, they knew this was simply comic-book absurdity.

Wonder Woman is different. Everybody in it seems so earnest. Steve has genuine concern in his voice when he tells Dr. Jaffe to bring Diana safely back from the town where aliens are mysteriously taking people’s bodies over by means of large silver pyramids in order to catch a shape-shifting space criminal. None of the actors play things for laughs, even when they probably should. 

The other thing I enjoy is the relationship between Diana and Steve. Carter and Waggoner have good chemistry, and the characters seem to genuinely respect one another’s abilities. (Granted, the idea that Steve somehow fails to notice that Diana Prince is Wonder Woman is even more laughable than the comparable setup with Superman—Diana doesn’t even wear glasses all the time!)

It doesn’t hurt that Carter and Waggoner are both attractive—Carter was “Miss World USA” and Waggoner posed for Playgirl. The entertainment industry learned long ago that you can put on silly productions with bad writing if you give the audience some eye candy. 

And this brings me to perhaps the most notable aspect of the show: the costumes. In particular, the hats.

I am fascinated by hats, and Diana wears tons of them. I’m not sure if women actually dressed like this in the 1970s, but look at these:

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(All images re-used under Fair Use for the purpose of criticism)

If that doesn’t say super-spy, I don’t know what does. Here are a few more:

Sadly, the other characters’ costumes are not this strong. Here for example is some villainous alien, that I think was designed as a cheap Darth Vader knock-off:

All right, all right; I’ll get back to matters of substance. Like I said, the plots are generally hilariously bad—you get the impression that most of the villains were people who applied for jobs as villains in Roger Moore-era James Bond flicks, but were turned away for being too stupid. And even so, it takes Diana and Steve (and sometimes their comical 1970s conception of what a supercomputer is) to piece together the ludicrous plot.

But there are a few episodes that aren’t completely idiotic. “The Man Who Made Volcanoes” is interesting, because of the battling among three rival groups of agents: Diana representing the USA, some Soviet spies, and two Chinese commandoes, all of whom are assuming the others are responsible for the outbreak of man-made volcano attacks. And in the end, it turns out it’s none of the above, but a rogue scientist. (Played by Roddy McDowall, who was such a good guest villain they brought him back again as a different character) I like the idea of a bunch of competing interest groups, rather than just one “bad guy.”

“The Murderous Missile” is also kind of cool. It has almost a horror vibe to it at the beginning, when Diana stumbles across a town full of people acting like friendly-yet-oddly-sinister yokels, who keep feigning incompetence to keep her from leaving. The denouement is incredibly stupid, and the special effects are bogus as hell, but I liked the premise.

But the best episode, and indeed the only one that I would go so far as to call actually good, has to be “The Richest Man in the World.” I love the whole concept here—the eponymous rich man is kidnapped and robbed to allow criminals to take over his weapons company. A recluse, he’s unable to prove to anyone that he is really the wealthy CEO he claims to be. He meets a poor orphan boy, and together, they work with Wonder Woman to piece together who betrayed him.

Jeremy Slate, the actor playing the rich guy, is really good–he’s arrogant, yet charming, and bewildered at having to do everyday things like driving. And the story is actually pretty coherent—my only complaint is that Wonder Woman herself is about as irrelevant to the plot as Indiana Jones is to Raiders of the Lost Ark. But just as Indy is so cool with his fedora and whip, so Diana is cool in her grey hat and driving glasses.

If you’re keeping score at home, that’s 56 stupid episodes to three decent-to-pretty-good ones. Not an awesome record, I admit. And if your only on-screen experience of Wonder Woman is the recent film, you’d probably watch this show and be disappointed. The movie approached things with a more serious, realistic sensibility, to say nothing of the advances in special effects made over the decades. 

But unlike a lot of people these days, I generally don’t take superheroes that seriously. Some mostly-harmless, stupid fun is all I expect from them. “Gritty, dark, superhero film,” still sounds like an oxymoron to me. Which is not to say that I don’t think superhero stories can have emotional depth, but just that it works better if that emotional depth is of the uplifting sort. 

And hats. Hats are always a plus.

beret
I can’t resist a woman in uniform.

*I think it tells you something about the gender politics of television in the 1970s, that yes, we could have a woman be an immortal superhuman, but only if she had a male boss. 

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“Wonder Woman” poster. Image via Wikipedia, re-used under “Fair Use”.

Superhero movies are not my favorite genre. But I have long enjoyed watching re-runs of the old Wonder Woman TV series starring Lynda Carter, so I made a point of seeing this one.

Another thing that intrigued me is that the movie is set in World War I. (The character of Wonder Woman was originally created in the 1940s, and therefore was naturally depicted fighting in World War II against the Nazis.)

This was interesting to me for a couple of reasons: first, Hollywood normally can’t resist inserting Nazis into things on the flimsiest of pretexts; so to have no Nazis when the source material actually includes them is a pretty bold artistic choice.  Second, World War I is not nearly as well-known to modern audiences as World War II, so this setting seems like a bit of a risk from a marketing perspective. I like risk-taking.

I also like spoiling movies, so be warned–I’m now going to describe the plot, with spoilers!

The film begins in the present-day with Diana (Gal Gadot) receiving a photograph from the first World War, showing her in her full Wonder Woman garb, standing alongside a ragtag band of soldiers.

This segues into young Diana’s childhood on a hidden island of Amazon warriors. Diana wishes to train as a warrior under General Antiope (Robin Wright), but her mother forbids it, and tells her a cautionary tale about the horrors of war. She explains that Zeus created men to be peaceful, but they were corrupted by the God of War, Ares. Zeus then created the Amazons to protect mankind, and Ares was ultimately defeated. But Zeus also created “the God-Killer”–a weapon housed on the Amazons’ island, in case Ares should return.

Despite these warnings, Diana trains in secret anyway.  Her mother eventually finds out and initially disapproves, but ultimately is persuaded to let her continue.

One day, after a sparring session, an airplane crashes just off the shore.  Diana rescues the pilot, Captain Steve Trevor (Chris Pine), and the Amazons defeat the German forces pursuing him, but General Antiope is killed in the battle.

The Amazons question Capt. Trevor, who explains that he is fighting in the “War to end all Wars”. His plane was shot down as he was fleeing the Germans having stolen a notebook from a chemist nicknamed “Dr. Poison” and her commander, General Ludendorff, who are working to create a super-deadly poison gas.

Diana quickly realizes that the war Steve describes must be the work of Ares. She takes the God-Killer weapons and asks Steve to travel with her to the outside world and the center of the fighting, where she is sure they will find Ares.

Steve first takes her to London and delivers Dr. Poison’s notebook to his superiors. They can’t read what it says, but Diana can, and realizes it means the Germans are manufacturing and preparing to deploy the new, more lethal gas at the Front.

Sir Patrick Morgan, one of Steve’s superiors, is close to getting the Germans to agree to an armistice, but Diana believes Ludendorff is actually Ares, and will use the gas no matter what.

Diana, Steve, and a small group assembled with help from Sir Patrick go to the Front to destroy the supplies of poison gas.  Thanks to Diana’s heroics, they successfully liberate a small town and learn that Ludendorff is in the area, planning to attend a gala for the German officers at a castle nearby.

Sir Patrick orders them not to attack the gala, as he is close to finalizing the armistice. However, they go anyway. (Notice a pattern here?) The Germans fire the gas into the recently-liberated village, killing the inhabitants, much to Diana’s horror.

Diana tracks Ludendorff to an airfield where the Germans are about to deploy a massive long-range bomber loaded with the poison gas. Steve and his men attempt to take the bomber, while Diana kills Ludendorff with the God-Killer sword.

Diana is shocked that the fighting doesn’t stop on Ludendorff’s death. She starts to wonder if all mortals truly are inherently evil and prone to violence. At that moment, Sir Patrick appears, and reveals that he is in fact the God Ares, but that he does not cause wars–he merely exposes the true, dark nature of Zeus’s creation.

Meanwhile, Steve and his men fight their way to the bomber, and Steve is able to get aboard, knowing the only way to stop it from delivering its payload is for him to personally destroy it.

Diana and Ares fight a massive battle, and when Diana sees the bomber explode with Steve aboard, she rallies and defeats Ares, having been persuaded that humanity has the capacity for good as well as evil.

The closing scenes show Diana in London, somberly remembering Steve as cheering crowds celebrate the end of the war. The film ends with a return to the present-day Diana, looking at the old photograph of her and Steve, taken when they liberated the village.

As is typical of the genre, there are lots of drawn-out, special effects-heavy fighting scenes.  These are not bad for the most part–though definitely not to my taste. Each of them seemed to go on longer than necessary–thanks in part to an overuse of slow-motion effects. This was especially true of the final showdown between Diana and Ares. Since Diana’s victory was a foregone conclusion, it really did not need to drag on that long.

Much more interesting are the “character” scenes–yes, that’s right; the parts where people actually talk to one another. Gadot and Pine have excellent chemistry together, and their scenes were my favorite parts of the film.  Romantic sub-plots in action movies can very easily become pointless and tiresome, but the sparks between Diana and Steve seem genuine, and it gives the story some real heart.

One interesting aspect of their scenes is that they frequently talk simultaneously or interrupt one another.  This happened quite often–almost to the point of being overused–but it also made their conversations feel spontaneous, rather than just like two actors reciting lines at each other.

I wish the film had dwelt a bit more upon Diana’s relationship with Steve, and her impressions of the “outside world” in general–there was a little too much time in the second half devoted instead to Steve’s merry band of sidekicks.  They were mildly entertaining, but I think it would have been better to let them be nameless grunts rather than try to make them “colorful”. It’s Diana’s story, after all.

The script didn’t even try to use language that was appropriate for the time period–all the allied soldiers and officers spoke in modern lingo. Even more puzzling to me was that occasionally some characters would speak in a foreign language, with subtitles, but the Germans (and some of our heroes when posing as Germans) would speak in German-accented English.

I’d be interested to know the details of some of the weapons used in the film.  Some are obviously fanciful, others seem to have been trying to stay faithful to the period.  At one point, Steve still has a Colt 1911 despite being disguised as German colonel–that seemed weird to me. But after all, this is a comic-book superhero movie, so I tried to tune out the nit-picking historian voice in my head.

This brings me back around to the setting, which as I discussed at the outset was something that interested me in the film. I still think it was daring (by Hollywood franchise standards, that is) to change the setting to a less-familiar time period.

However, given what actually happens in the movie, it’s a bit puzzling. In fact, World War I actually did end with an armistice, and the real Ludendorff survived the war and went on to be influential in the early years of the Nazi Party.  So, given what happens in the film, is it supposed to be the beginning of an alternate history tale in which World War II did not happen? That would be quite interesting, but it’s left very vague and unexplored.  Fertile ground for a sequel, I suppose…

It’s not a bad film by any means, the plodding CGI boss fight at the end notwithstanding. The other fights are good enough, if you like that sort of thing, and Gal Gadot is a very likeable and charismatic lead.

As I said, I have seen few superhero films. The only recent ones I have watched are Marvel’s Thor and its sequel, The Dark World. The former is a delightful adventure that ranks among my favorite movies.  The latter, sadly, is more what I gather the typical superhero movie is like: a CGI-laden affair, with little time for character development or nuanced emotion of any kind.

This is noteworthy because Patty Jenkins, who directed Wonder Woman, was originally hired by Marvel to direct The Dark World, before leaving over the dreaded “creative differences”. It’s a pity; having seen Wonder Woman, I would have liked to have seen what she could have done with it.

Wonder Woman isn’t a great movie, but it’s certainly an entertaining summer flick, and it’s nice to see a film with a female lead and a female director drawing crowds to the theaters.  Hopefully, this will be the beginning of a trend in the entertainment industry.

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Wonder Woman, Jane Got a Gun, and Ghost in the Shell
From left: “Wonder Woman”, starring Gal Gadot, “Jane Got a Gun”, starring Natalie Portman, and “Ghost in the Shell”, starring Scarlett Johansson

Have you heard? Feminists and superhero fans have been getting anxious about the relative lack of promotion for the upcoming Wonder Woman film, starring Gal Gadot and directed by Patty Jenkins. They are concerned that it is going to suffer the same fate as recent DC Comics films have, and be cast as second-rate superheroes in comparison to Marvel’s string of successes.

I’ve been following the fortunes of the Wonder Woman film for a while now, and I also noticed this lack of publicity.  It registered with me because it fit into a pattern I’ve seen before.

My favorite movie of all time, Jane Got a Gun, was another film whose marketing campaign I watched closely. The Weinstein Co.’s promotional efforts for it were abysmal–I think I saw one trailer for it, and it made the movie look like an action/adventure flick when in fact it was a romantic drama. (Even the title is kind of misleading. They should have called it Jane Ballard.)

Jane Got a Gun had an infamously turmoil-filled production, and apparently the Weinstein Co. based its decision on the film’s history, rather than the finished product. (It’s usually a mistake to focus on process over results.) As such, they didn’t put much effort into promoting it, and didn’t hold advance screenings for critics.  As a result, few people heard of it, and it fared poorly at the box office.

This isn’t the only recent example of a film getting hamstrung by bad marketing.  Ghost in the Shell was a big-budget sci-fi picture with a strong story, and it flopped badly at the U.S. box office.

Unlike the case of Jane, the studio could never be accused of not spending resources promoting Ghost. Paramount even bought a Super Bowl ad for it.  But it was hit with an intense negative buzz, in which people accused it of “whitewashing” because of the decision to cast Scarlett Johansson as the lead character, Major Killian.

This accusation is obviously nonsense to anyone who bothers to watch the film. Major Killian is a cyborg–a human brain housed in a machine.  True, she was originally a Japanese woman, but the entire premise of the film is that her mind and consciousness are transferred to an artificial body.

And yet the accusation of whitewashing persisted, and undoubtedly contributed to negative press surrounding the film. Which is too bad, because while it was not a great film, it was certainly one of the better sci-fi movies I’ve seen in recent years. It was far better than the highly-successful blockbuster The Force Awakens, for example.

This is why what’s happening with Wonder Woman doesn’t surprise me too much.  I have, as they say, seen this movie before. But like Ian Fleming wrote, “Once is happenstance, twice is coincidence, the third time it’s enemy action.” At this point, I have to think this is part of some pattern.

So what’s the common thread?

While they are all very different films, Jane Got a Gun, Ghost in the Shell and Wonder Woman do have a few shared characteristics.  Most obviously, they all feature female protagonists.  They also are all categorized as action films. (Although Jane probably shouldn’t have been).

Is Hollywood deliberately sabotaging female-led action films? That seems crazy, since the easiest way for studios to prevent such films from succeeding would be to… not make them in the first place.

Let us, like Woodward and Bernstein before us, “follow the money”.

One thing to look at is the studios producing the movies: Warner Bros. is handling Wonder Woman, because they own DC Comics.  As I mentioned earlier, DC has been in competition with Marvel on superhero movies, and they have been losing.

Marvel is owned by Disney, which acquired it in 2009.

It so happens Disney also originally had a deal with Dreamworks to release Ghost in the Shell, but it was terminated in 2016, and the movie was released through Paramount instead.

Jane Got a Gun is the clear outlier here–the Weinstein Co. isn’t on anything like the same scale as Disney, Warner Bros. et al.  Also, Jane was rated “R” whereas the rest of these are “PG-13”.  So, presumably it had a much smaller marketing budget at the outset.

The key point is that all three of these movies are released by companies that aren’t Disney.

This is most significant for Wonder Woman, because of the ongoing DC/Marvel battle, which is really a proxy war between Warner Bros. and Disney.  And Disney has been winning it.

Part of the reason I brought up The Force Awakens to contrast with Ghost in the Shell  was because it got way more positive press despite being an inferior film.  But of course, Force Awakens was made by Lucasfilm, which since 2012 is owned by… Disney.

The upshot is that I think Disney is way better at promoting their movies than most of the other studios are.  Even when Disney has something sub-par, they can generate enough positive buzz about it to get people to buy tickets.

It’s important to understand what promotion really entails.  It’s more than just advertisements on television and the internet.  It’s more even than tie-ins, and red carpet events, and sending the cast and crew on talk shows.

It has to do with how PR firms work.  They feed stories to industry journalists to create a buzz around their clients’ products. (Read this marvelous essay by Paul Graham for an in-depth description of this process.)

My impression is that Disney–or perhaps the PR firm they hired–does a vastly better job of promotion compared to the other studios.  They have a much higher success at generating positive buzz for whatever they are releasing next.

Now, to some extent, there is bound to be a “crowding-out” effect. If Disney can internally do better PR, or if they can pay more to get it, it leaves less room for other non-Disney productions to get good PR.

And of course, none of this has anything to do with the actual quality of the movie in question.  (Indeed, I often wonder just how many movie reviews are influenced more by the PR campaign surrounding the film than by the film itself.)

In my review of The Force Awakens, I concluded by saying:

“[W]hy do so many people like The Force Awakens?  I don’t know–maybe it’s the same reason so many people like Donald Trump: both are loud, in-your-face, and have so much money backing them that they won’t go away.”

The comparison actually runs a bit deeper than that.  Trump, whatever else you want to say about him, is great at promotion.  He is like a one-man PR firm in terms of his ability to draw an audience for whatever he is peddling.

Disney, or whoever is handling PR and marketing for their movies, has a similar level of promotional skill.  And the other movie studios are unable to match it.

I think there is also something of an escalation going on, in that the more Disney hypes their releases, the more the other studios are then going to be expected to do to hype theirs. Expectations for marketing campaigns get higher and higher, and when studios fail to meet them, people don’t go to see their movies.