_____ ______ ._ `\`/>`\ /`/` /`__________,.'>___ _____ )~\ /<`\ `\ /`/` /``\ \./------> /|\./\ |\./| / | \ /< `\`\ `\ /`/` /` | | |----\ / | |\ \ | | |././^\ \ |\__{o}\--`\`\ `\/`/` /`-----| | |-----`------\`\`\--| | |----^ \ \----. [\\\\\\\{*}==`> <`=======| | ==============`\`\`\| | |=====\ \ \==--> |/~~{o}/-- /`/ /\ \ `\------| | |---------------`\`\\ | |------\ \ \--' \< /`/` /` `\`\ `\ | | |_____,.'>| | | `\`\| | /' \ \ \ \< /` /` `\`\ `\ ,/ /^\------> / |/^\| \ | |/ \/^\\. /`/\>/` `\`\ `\`~~~~~~~~~~~\ / ~~~~~ )^\,\, '~~~~~ `~~~~~` '~~~~~` ` ~~~~~~ ========================== XENA: THE MEDIA REVIEW #18 Part 3 of 3 ========================== An All Talk No Action Publication http://www.teleport.com/~gater/IAXS/IAXS.html c/o RIF BBS, P.O. Box 81181, Bakersfield, CA 93308 RIF BBS (805) 588-9349 [24hrs, 14.4bps, free] 373 subscribers and growing! This document has 3148 lines (in three parts) PART 3 of 3 ----------- ANNOTATIONS ----------- [248] 04-22-96 to 04-25-96 NOTE: Further copy about the development deal between the producers of HTLJ/XWP and Best Brains, the producers of Mystery Science Theatre 3000. See XMR241 for more discussion. [248a] 04-22-96 THE PATRIOT LEDGER. Page 15. 431 words. "TV News & Views; Wacky Sci-fi Film May Bolster its TV Inspiration" By Daniel M. Kimmel COMMENTARY: Short announcement of Best Brains/MCA deal. EXCERPT: ...Besides the movie, the book, the CD-ROM, the Comedy Central showing of the final episode ("Laserblast") on May 18, and the SciFi Channel negotiations, the folks at Best Brains are also working on a pilot for the producers of "Hercules" and "Xena." It will combine adventure and comedy, but otherwise be different from MST3K. They would only say that the two-hour project "fell into our laps" and was "a blast." [248b] 04-25-96 AUSTIN AMERICAN-STATESMAN. Page 52. 1885 words. "Goin' Hollywood; Creators of 'Mystery Science Theater 3000' Hope Film's Box Office Presence Boosts Show's Chances of Survival in TV Land By Ann Hornaday" COMMENTARY: Jim Mallon in an interview discussed the development deal between Best Brains and MCA. EXCERPT: ...The American-Statesman caught up with two of the show's creators while they were making their way through Dallas on a six-city publicity tour for the movie. Writer Jim Mallon, who directed the movie and provides the voice for Gypsy, and writer Trace Beaulieu, who plays Dr. Clayton Forrester and Crow, spoke while they were packing... ...JM: We're working on a movie of the week -- do you know the Hercules show and Xena show? One of the executives with that company, which I understand is wildly successful, is a huge fan of the show. And when he heard we were in trouble because Comedy Central was dumping us, he said 'Oh we gotta keep you guys working.' So we've been working on a movie of the week for a new show concept with him, but we're keeping our fingers crossed. They gave us a super secret Gramercy number to call, it's like an automatic teller that tells you how your box office gross is doing. If we do good box office, maybe we'll do a sequel.... [249] 04-22-96 to 05-01-96 NOTE: German TV company (RTL) to create two HTLJ and XWP-like series with MCA for German television. [249a] 04-22-96 THE HOLLYWOOD REPORTER. 576 words. "RTL signs on for MCA series More MIP-TV news on page 7." By Robert Marich COMMENTARY: Another announcement of the RTL (German Television Group) and MCA development deal. Discussed further in XMR162. EXCERPT: MCA Television Group said it will co-finance two to five American TV series with RTL Television, indicating the top-ranked German TV network has an inside track to renew its soon-to-expire MCA output deal in the red-hot German TV market.... ...Saturday's deal calls for RTL to co-venture on two first-run syndicated series that are part of what is known as the Action Pack in the United States. Each series will consist of a two-hour TV movie/pilot, followed by 22 one-hour episodes. While the specific projects haven't been selected, they would follow in the footsteps of MCA's successful syndicated Action Pack series "Hercules: The Legendary Journeys" and "Xena: Warrior Princess." McNamara said the new projects would reach U.S. TV syndication in 1997.... [249b] 04-22-96 DAILY VARIETY. Page 8. 218 words. "Bankrolling into Action; German Web RTL to co-fund five MCA projects" By Adam Dawtrey COMMENTARY: MCA/RTL deal to develop XWP-like action shows for German television. EXCERPT: The leading German commercial web RTL has signed a deal to co-finance a slate of new action-adventure projects from MCA Television Group. RTL has agreed to put up half the budget of two fantasy series in the mold of MCA's "Hercules: The Legendary Journeys" and "Xena: Warrior Princess." The two new series, yet to be identified, will premiere with a two-hour movie and continue with l22 one-hour episodes. Like "Hercules" and "Xena," they are aimed at the firstrun syndication market in the U.S., and at international networks. RTL will also co-finance three more action-adventure pilots from MCA's development slate of around 10 projects... ...Negotiations were headed by Universal TV's exec VP Ned Nalle and RTL's managing director of film and series acquisitions Erhart Pushnig. "RTL sparked early to our Action Pack 'Hercules' and 'Xena' programs, and have helped make them as successful in Europe as they are in the U.S.," said Nalle." Thanks to this new partnership, we can continue together to produce our brand of spirited action-adventure series for the worldwide marketplace." [249c] 04-29-96 VARIETY. Page 35. 1251 words. "U.S. Eyes Digital Toehold." By Adam Dawtrey. COMMENTARY: Passing mention in report on the 33rd MIP-TV in Cannes the previous week. EXCERPT: ...MCA unveiled a partnership with Germany's RTL to co-finance two action/adventure series for firstrun syndication, in the fantasy mode of its "Hercules" and "Xena" shows. The Germans also will put up half the cash for three more pilots... [249d] 04-29-96 BROADCASTING & CABLE. Vol. 126. No. 19. Page 29. 894 words. "Race for digital fuels sales at MIP; 1996 MIP-TV trade show" By Debra Johnson COMMENTARY: RTL Television, a German TV company cut a deal with MCA to co-produce three pilots and two German action/ adventure series similar to HTLJ and XWP. EXCERPT: MCA is courted by RTL, Kirch for planned services The weather was good and business was even better at MIP-TV 1996 (April 19-24). Not surprisingly, digital was the buzzword at last week's market, and those with immediate digital plans, particularly in Europe, were busy trying to secure long-term programming deals with U.S. studios and sign themed channels for their respective lineups. MCA Television executives were being courted in Cannes by both CLT-backed RTL Television ill, Germany and the Kirch Group in the hopes of securing an output deal with the studio. German channel Pro Sieben reportedly also was talking with MCA. RTL's output deal With MCA expires in July 1997. RTL undoubtedly will pull out the stops to insure it doesn't lose the deal, although Helmut Thoma, managing director of RTL, says, "If output deals become too expensive, we'll return to more home-grown product."... ...Although MCA executives remained tight-lipped about the company's current German negotiations, the studio did unveil a co-production and distribution joint venture with RTL. The pair will co-produce three pilots and two German action/adventure series similar to MCA hits Hercules and Xena. Both will premiere with two-hour movies, followed by initial orders of 22 episodes. RTL will hold German fights for 10 years, after which the license will revert to MCA.... [249e] 05-01-96 TELEVISION BUSINESS INTERNATIONAL. May 1996. Page 12. 1080 words. "Germany: Rising Program Costs Strengthen U.S. Links" COMMENTARY: In a general article about how German television production companies were seeking co- productions with US companies, the MCA/RTL agreement was mentioned along with an agreement to develop more XWP-like programs. EXCERPT: German networks increase co-production with the majors. As TV product prices soar amid a spate of megabuck output deals, German broadcasters are setting up co-financing and co-production joint ventures with the U.S. majors to keep the lid on costs. For the Americans, co-operation with German companies will give them a new source of revenue and enable them to maintain a foothold in Europe's largest television market... ...Germany's leading commercial channel RTL is currently bidding for the renewal of an overall output deal with MCA/Universal, which is expected to announce a decision in June. RTL recently reached a separate accord to International, May 1996 co-fund a slate of MCA tv action adventure shows similar to Xena- Warrior Princess and Hercules. The new series, as yet unnamed, will premiere with a two-hour movie and continue with 12 one-hour episodes. RTL will also co-finance three more action adventure pilots from MCA's development slate. The Cologne-based network will hold European rights for ten years, while MCA will handle non-German distribution and sales. After announcing the multi-million dollar deal with MCA/Universal at MIP-TV last month, RTL managing director Helmut Thoma said co-operation and co-productions with American majors were just the ticket for the Cologne-based network. The American partners are working directly with the German marketplace, he added, which is exactly what the latest trends in output deals indicate they want to do. Besides escalating product prices, expected changes in German laws allowing more freedom of ownership - present anti-media concentration regulations prevent any one company from owning more than 50% of a broadcaster - are also opening the door to American participation. Thoma pointed out that, anticipating the changes, the recently announced merger of RTL shareholders CLT and UFA will make the channel a much more interesting partner for the American majors. From the local viewpoint, co-production deals will give German companies an equity status in U.S. programming and programming development. And if European Union quotas on foreign product are more strictly enforced, joint ventures with German producers will go a long way to keep the U.S. majors in the German market. [250] 04-22-96 FORBES. Page 118. 2218 words. "Media hype". By Lisa Gubernick with Natasha Bacigalupo. COMMENTARY: Passing mention of XWP while citing XWP as a big money-maker for MCA. EXCERPT: ...Consumers have a bewildering array of entertainment choices. Investors love the huge media conglomerates. Will these unwieldy outfits disappoint? We suspect so... ...MCA, which has no network television or retail video distribution system, has reaped big money from its two new top-rated syndicated action shows, Hercules and Xena. Would The Lion King have been more of a success had Disney already owned the ABC network?... [251] 04-22-96 EUROPEAN MEDIA BUSINESS & FINANCE. No. 9, Vol. 6. 3648 words. "MIP-TV Preview" COMMENTARY: Listing of XWP, first season, as 24 episodes for sale in a list of what MCA was planning to hawk at MIP-TV. EXCERPT: ...MCA Television International stand: 11.02/13.01 "American Gothic" (22 x 60-min); "Beast" (4 x 60-min); "Campus Cops" (13 x 30-min); "Casper" (26 x 30-min); "Earthworm Jim" (13 x 30-min); "Partners" (22 x 30-min); "Savage Dragon" (13 x 30-min); "Swift Justice" (13 x 60-min); "Xena: Warrior Princess" (24 x 60-min); "The Android Affair" (1 x 120-min); "Birds II - Land's End" (1 x 120-min); "Captain Zoom" (1 x 120-mi); "Caught in the Act" (1 x 120-min); "The Colony" (1 x 120-min); "Dangerous Heart" (1 x 120-min); "Deadman's Revenge" (1 x 120-min); "Deconstructuring Sarah" (1 x 120-min); "Deep Red" (1 x 120-min); "Disappearance of Christina" (1 x 120-min); "It Came From Outer Space III" (1 x 120-min); "Knight Rider 2010" (1 x 120-min); "Letter to My Killer" (1 x 120-min); "A Mother's Prayer" (1 x 120-min); "Here Comes the Munsters" (1 x 120-min); "New Eden" (1 x 120-min); "Out of Annie's Past" (1 x 120-min); "Problem Child III" (1 x 120-min); "Simon & Simon" (1 x 120-min); "Trouble Shooters: Trapped Beneath the Earth" (1 x 120-min)... [252] 04-22-96 ELECTRONIC MEDIA. Page 1. 560 words. "At Press Time" COMMENTARY: XWP scored a 4.6 rating and a 7 share in the February 1996 sweeps. EXCERPT: ...'Xena' scores LOS ANGELES-MCA TV's "Xena: Warrior Princess" fought her way to the head of the first-run syndication freshmen pack during the February sweeps by claiming a 4.6 rating and a 7 share in households, according to Nielsen Media Research's Cassandra report... [253] 04-22-96 ALTARED STATES. Episode no. 19. First release. Guest stars: David Ackroyd (Anteus), David de Latour (Ikus), and Karl Urban Mael). Cast: Teresa Woodham (Zora); Sean Ashton-Peach (Zealot #1); Graham Smith (Senior Zealot); Jack Dacey (Brawny Zealot); and Peter Ford (Zealot Guard). Written by Chris Mannheim. Directed by Michael Levine. Ratings round up: 1st release (04-22-96) did not make top twenty (1st #9 ST:DS9 at 5.7; 2nd HTLJ #13 at 5.2; and Baywatch #14 at 4.8); 2nd release (09/10/96) ranked 2nd with 4.4 (1st HTLJ at 5.2; 2nd XWP at 4.4; and ST:DS9 at 4.2). SYNOPSIS: In a clever reworking of the Abraham- Isaac story from the Torah (or Abraham-Ishmael story from the Quran), Xena finds herself mid-fish between several father-son severe miscommunications. Using her "maternal instinct", Xena triumphantly uncovers a fake god only to have a close encounter with a real one. Anteus (Abraham) is the leader of a group of monotheists. He hears a voice which commands him to sacrifice his youngest son, Ikus (Isaac/Ishmael). Ikus' mother is horrified. She sends the boy off and the boy finds Xena teaching Gabrielle how to fish sans clothes. This allows Xena to depart the water and admonish Ikus' pursuer with the words, "Didn't your mother ever tell you it's rude to stare?" just before knocking him out with a blow to the head. The lesson is either, don't mess with the gals when they are fishing, or don't mess with defenseless children. Xena tries to promote the latter, but I personally believe the former. With incredible dexterity, Xena quickly puts on some clothes just in time to slap everyone with some fish. The music used was the vaudeville theme from the baby tossing scene in CRADLE OF HOPE. Strangely enough, it added to the overall effect. And this was only the teaser folks!!!! It turns out that the older son Mael (Ishmael? How rude!) is tiffed because Anteus has chosen the younger Ikus to be his successor. It is implied but not stated that Mael had a different mother. In the original biblical story, Ishmael and Isaac had different mothers; but then, also in the original story, although Ishmael was angry (actually, his mother was REALLY REALLY angry) but not psychotic. In the Quran version, Ishmael was the son to be sacrificed. Mael, the classic ungrateful son, drugged his father to make Anteus susceptible to hearing voices and believing them. Just to clinch the ruse, Mael also created a loud-talking-thing (megaphone) which he used to tell his father to sacrifice Ikus. It is unclear whether the god of Anteus initiated this whole sacrifice idea and Mael was merely exploiting it to his advantage or whether Mael set up the whole thing. Mael was capable of either. The bottom line is that Mael was a charismatic egomaniacal evil kind of guy who loved the adoration and power he could get from his people. He wanted to rule. It was that simple. He needed to get Ikus out of the way before he was home free. Unfortunately for Mael, Xena was in town and was also horrified by a god who would want to sacrifice a child. Xena discovered Mael's plot after Gabrielle was accidently drugged by Mael, and Mael committed suicide. Xena rushed to save Ikus, but her chakram and intentions were intercepted by the one-true-god! As in the original story, Anteus' god came through and told Anteus not to sacrifice his son. Xena and Gabrielle then had a light-hearted moment and chatted about drug use before they went off into the distance. COMMENTARY: Sadly, ALTARED STATES, one of the most innovative and polemic of the XWP first season episodes, did not make the top twenty Nielsen ratings in its initial release. In a beginning worthy of Sound of Music, from the very first second of the very first scene, the viewer can tell that this is not going to be a usual XWP episode. If we can blame anyone, it might as well be the director, Michael Levine. ALTARED STATES contains some of the most visually arresting panoramas; blatant double entendres; slow and contemplative camera work; wholesale raiding of biblical material; and an attitude that just won't quit. The cinematography and sensibilities of ALTARED STATES were mimicking that of a motion picture. The sweep and scope of the screen beckoned for a large vista, not a square one. Even LoDuca, the series composer, changed his style to reflect this need to present a feel for biblical epics. Both Sam Raimi and Robert Tapert, executive producers of XWP, have stated that one of their goals was to produce the show using motion picture techniques instead of regular television production practices. The opening shots are truly jarring because nothing like it had yet been seen in XWP or HTLJ before (and apparently afterwards too!). Much of the time was spent on large visual ranges. The feel of the episode was one of outdoors, even though much of the show took place indoors (the cave, Ikus' mother's home, the well, etc). This feel permeated the episode. One could write an essay just on the cinematography of this episode. From focal techniques (punctuated stills to the altar) to use of location (the framing of each critical scene with montages of the countryside; especially the rainbow shot after Ikus leaves his mother and we join the gals in progress at the lake) the feel of the episode had large screen written all over it. The effect on the flow of the episode (the panning shots and montages of vast vistas or majestic natural formations gave a slow, rambling feel to the progression of events) to the effect of the characters (shooting characters from so far away that they looked very small and powerless) was quite euphoric. XWP had a tendency to do this before, but not in such abundance or devil-may-care fashion. ALTARED STATES was a peculiar episode not just for using radically different editing and filming techniques, but also for content and music as well. The Xena of the closing scene was a Xena never seen before. Her guard was completely down while she playfully teased Gabrielle with surprising familiarity. Xena tapped on Gabrielle's head asking "How's the head?" Gabrielle reacted by slapping Xena in the mid- drift. Xena then did a mock accu-pressure attack stance and said "Whoa". It was a very laid-back Xena; even the Xena of the more loose opening teaser scene was more staid. The teaser scene was either obviously slyfully concocted or was an example of a fine piece of dumb luck. It was a throw to the fans who were concerned about the possibility of a romantic relationship between Xena and Gabrielle. The camera focused on Xena's breast plate hanging on a tree and then sauntered to more strewn clothing. Laughter was heard in the background, followed by Xena saying, still in the background, "Come on Gabrielle, you've been wanting to do this for ages." Then the camera cut to the gals skinny dipping. But what had Gabrielle been waiting for? To catch a fish with her BARE HANDS! More humor abounded in this episode; most notable being Gabrielle's accidental consumption of henbane which was placed in the nutbread by Mael for Anteus. Renee O'Connor went to town with her broad turn at Gabrielle experiencing insobriety. Another humor angle was used in the well scene, where Xena and Gabrielle were thrown down by Mael's henchmen. Luckily, the strong Xena caught the well rope and Gabrielle too. Gabrielle had to climb up Xena and used the opportunity to milk as much humor out of the situation as was possible. Perhaps these three unrelated humor scenes were added to counterbalance the rather intense main story line. The primary plot dealt with several still- unresolved-by-humankind issues and attempted to represent differing sides without making one necessarily better than the other. They did okay for a "knuckle-headed" show. Mael represented an opportunist who was using the religion of his people for his own ends. Mimicking some rather modern sentiments, he called Xena an affront to his god, unnatural, and told his people that she must have been a test sent by their god. Ironically, he was describing himself. His death by suicide was a creepy touch. He was so insane by that point the he could not even accept Xena's help. He believed in his own lies. Very chilling. Ikus' mother was an interesting character as well. Departing from the original story, she was shown as returning to "the old gods". She went to the deserted Temple of Demeter to pray for her son's life. With an undercurrent of female solidarity, Xena anticipated finding the mother there. There seemed to have been an implication that the women were not really part of the patriarchal god who was demanding Ikus' death. This was also the scene where Xena discovered that Mael was drugging Anteus. The mis-aimed chakram at Ikus' sacrifice was telling. Xena intended for the chakram to hit Anteus' knife from his hand. It missed because Anteus chose to listen to his god. Xena's chakram never missed before. Actually, Xena really didn't miss; Anteus' god was merely good enough to make it look like Xena missed. In the future, the only other one who would alter the course of the chakram in season one was Callisto, who would appear in episode 22 (CALLISTO). The use of fish as a weapon hearkens back to vaudeville where performers would hit each other over the heads with fake and sometimes not-too-fake fish for the slapstick effect. This tradition was carried on enthusiastically by the Marx Brothers, Monty Python, and countless other comedy groups. This slapstick action carried over into the IRC. The IRC (Inter Relay Chat) sessions on the internet adopted the use of the action words of hitting someone with a trout when one wanted to show playful antagonism to another chatter. It is conjecture, but it is not too fantastic, to think that the experiences of the producers of XWP who are familiar with being "on-line" may have inspired the idea of Xena hitting someone with a trout to express her antagonism towards them. The only glaring failure of the episode was not much of a failure. The feel of the episode demanded a biblical epic musical feel and the music did not deliver it. However, an attempt was made. The music, especially at the opening and during important montages, intimated an epic feel, but that was it. It merely intimated the feel. It did not deliver the punch that should have equalled the visual depth and scope of the episode. HIGHLIGHTS: (1) Xena using fish as a martial aid; (2) Gabrielle rehearsing the All-Rock Choir; (3) Gabrielle scaling Xena; and (4) the death of Mael. TV GUIDE: Xena and Gabrielle agree to hide a 12- year-old boy (David de Lautour) who has run away from home after learning from his mother that he was to be sacrificed. DISCLAIMER: No Unrelenting or Severely Punishing Deities were harmed during the production of this motion picture. [254] 04-23-96 NPR. Radio Show: All Things Considered (NPR 4:30 pm ET). Interview. Entertainment. 1480 words. "Strange Television Appears To Set Trend" Interview with Ken Tucker of "Entertainment Weekly"; by Linda Wertheimer COMMENTARY: Intellectuals discover XWP and are confused! NPR interviewed Ken Tucker, the critic-at-large for the magazine "Entertainment Weekly", and their topic was "Stupid Ancient History, Why Is this Working?" Prime examples were, of course, HTLJ and XWP. Tucker's opinion was that it worked because it appealed to the reptilian brain. Tucker also pined for the good old conservative Edith Hamilton days (actually, Edith Hamilton wasn't THAT conservative back in the old days; she received quite a bit of criticism for her 'modernizing' the myths for popular consumption -- does that sound a tad familiar?). At least Tucker added that the shows were "interesting" along with being "dumb". EXCERPTS: ROBERT SIEGEL, Host: This is All Things Considered. I'm Robert Siegel. LINDA WERTHEIMER, Host: And I'm Linda Wertheimer. Ken Tucker is critic-at-large for Entertainment Weekly magazine. We have asked him to spend some time thinking about two new trends which we have observed, which are enjoying some success. Perhaps the most successful is something I describe as 'stupid ancient history,' notably Hercules, The Legendary Journeys, and the spin-off of that series which is called Xena, Warrior Princess. Both are on cable. Ken Tucker, stupid ancient history, why is this working? KEN TUCKER: Because the leads in both of these shows, both Hercules and Xena, are very muscular, attractive people, male and female respectively, who bop villains over the head, talk - although the shows are set in ancient times - in modern slang, and I think that kids watch it and they don't get the campiness, and older kids watch it and they get the campiness to the max. And so, it works on both levels. LINDA WERTHEIMER: We have a clip here in which New Age conversation meets muscle-bound legend. This is from Hercules. (excerpt from 'Hercules') 1st ACTOR: Hercules, my powerful, positive friend. HERCULES: Ohmmmmmmmm. 1st ACTOR: Are you OK? HERCULES: Couldn't be better. Just finished a self-actualization seminar with Robertus tonic leaves. 1st ACTOR: Tell me, what exactly is a self-actualization seminar. HERCULES: It helps you fertilize the nurturing flower within, ohmmmmmmmm. (end of excerpt) KEN TUCKER: I think it's kind of clever to work in that New Age philosophy into this silly little plot. But at the same time, you know, I look back at my dog-eared old copy of Edith Hamilton's mythology. I looked up Hercules for some clue, and I came across her description of Hercules as, 'intelligence did not figure largely in anything he did and was often conspicuously absent.' And I thought, gee, Edith Hamilton got it about 25 years ago. LINDA WERTHEIMER: [laughs] Is there any more of this kind of thing headed for us do you think? KEN TUCKER: Well, due to the success of Xena and Hercules, there is going to be a new version of Tarzan pretty soon, and I think, even though not a bit of it has been filmed yet, I think it promises to be just as dumb and interesting as the other two because it's going to be filmed in Disney World in Orlando. The producers are quite proud that every scene is going to take place on that jungle cruise you can ride in Disney World... [255] 04-24-96 THE TORONTO STAR. Page D2. 747 words. "TV Doesn't Abuse People, It's People Who Abuse TV" By Antonia Zerbisias COMMENTARY: XWP mentioned in passing as an example of "mindless junk". Mr. Zerbisias must have listened to "All Things Considered" (XMR254) that week. EXCERPT: Groucho Marx used to say that he found television very educational. "Every time someone switches it on, I go into another room and read a good book," he'd crack. Well hurray for Captain Spaulding. But it's been 35 years since Marx's You Bet Your Life was on the air - and TV has come a long way since then. There are more channels, more choices, more competition now - and, as a result, sometimes excellence creeps in between all those commercials. Just tonight for example, those in search of education and edification - but not hockey - can tune into a celebration of Earth Day on Vision, the mindbending Connections 2 on TLC or the engrossing documentary The Champagne Safari on TVO. Of course, there's also lots of mindless junk - Xena: Warrior Princess, Kindred: The Embraced, Baywatch Nights, Jerry Springer - but nobody forces you to watch it.... [256] 04-25-96 to 04-29-96 NOTE: Episode no. 12, Beware of Greeks Bearing Gifts, was released 04/08/96. It rated 14th (tie with Baywatch) with a 4.9 share, and ranked 3rd (tie with Baywatch) in the action hours. ST:DS9 earned a 5.6 share (rated 9th, ranked 1st); HTLJ earned a 5.5 share (rated 10th, ranked 2nd); XWP and Baywatch earned a 4.9 share (both rated 14th ranked third). [256a] 04-25-96 DAILY VARIETY. NEWS; Pg. 13. 174 words. "For week ended April 14, 1996" COMMENTARY: Beware of Greeks Bearing Gifts, 1st release. REPRINT: Rank Program (Stations/% coverage) AA% GAA% 1 Wheel of Fortune (226/98) 12.1 -- 2 Jeopardy! (218/98) 9.9 -- 3 Home Improvement (222/97) 8.4 9.0 4 Oprah Winfrey Show (232/99) 7.1 7.2 5 Seinfeld (222/97) 6.9 -- 6 Entertainment Tonight (176/95) 6.1 6.2 6 Wheel of Fortune--Wknd. (180/81) 6.1 -- 8 World Wrestling Fed. PR (162/90) 5.7 7.2 9 Star Trek: Deep Space Nine (234/99) 5.6 6.1 10 Journeys of Hercules (225/97) 5.5 6.0 11 Simpsons (191/96) 5.4 5.4 12 Home Improvement--Wknd. (216/95) 5.3 -- 13 Inside Edition (163/91) 5.2 5.3 14 Baywatch (226/97) 4.9 5.1 14 Xena (205/97) 4.9 5.2 16 Live w/Regis & Kathie Lee (233/99) 4.8 -- 17 Fresh Prince of Bel-Air (164/90) 4.7 5.0 18 Roseanne (172/91) 4.6 5.0 19 WCW Wrestling (177/92) 4.2 6.0 20 Hard Copy (180/91) 4.1 4.2 20 Married w/Children (178/91) 4.1 4.5 AA average refers to nonduplicated viewing for multiple airings of the same show. GAA average encompasses duplicated viewing. GAA average does not apply when there is only one run of a show. [256b] 04-25-96 DAILY VARIETY. Page 7. 582 words. "Syndie Mags in a Dive; Yakkers also plunge into seasonal slump" By Jim Benson. COMMENTARY: Beware of Greeks Bearing Gifts, 1st release. EXCERPT: ...during the week ending April 14... ...Most of the top weeklies were higher, with Par's "Star Trek: Deep Space Nine" (5.6) beaming itself back to the top of the hour pack. It edged out MCA TV's "Hercules: The Legendary Journeys." "DS9," after veering 18% off course the previous week, improved 22%. Still, it was off 16% from a year ago. All American's "Baywatch" swam to 4.9, up 20% week-to-week and good enough to tie MCA's "Xena: Warrior Princess" for the second spot. "Xena," running afoul of an evil and petty Nielsen god, took a 4% hit. After surging to a 5.0 from 3.8 in the past two weeks, MGM's "The Outer Limits" slouched with a 26% decline to 3.7.... [256c] 04-29-96 VARIETY. Page 39. 191 words. "NIELSEN SYNDICATION RATINGS" COMMENTARY: Same information as in XMR256a. [257] 04-26-96 XENA MEDIA REVIEW. No. 5. 12 pages. 4280 words. Edited by and annotations by Kym Masera Taborn. COMMENTARY: A world press review of coverage on XWP, Renee O'Connor, or Lucy Lawless. Covered the dates 07- 17-95 to 09-03-95 and the annotations XMR025-033. Contained the trade papers reports; minor production notices; etc. This issue went to the end of the pre-release period. [258] 04-28-96 THE TORONTO STAR. Page C1. 1351 words. "Action Ma'am Pop Culture's New Breed of Tough Women Are Mean, Muscular and Not Shy about Showing it Off" by Antonia Zerbisias COMMENTARY: In an extensive look at the apparent rise of the "tough woman" in popular entertainment, XWP was mentioned several times. Lucy Lawless was described as "that eye-popping six-footer... whose series, after just one season, is the hottest show in syndication, beating even that international scorcher, Baywatch, in the ratings." When trying to find a universality about all the women reviewed, the author stated, "Xena, for example, is always trying to stay away from trouble but trouble always finds her." The author did make the critical observation "these women, unlike real-life feminists, don't have the terms date rape or wife abuse or sexual harassment in their vocabularies. There's no need for that kind of thinking because nobody messes with them no way, no how....On TV, Xena would sooner kick a man than kiss him." This was a critical observation made in Stacey D'Erasmo's historic VILLAGE VOICE (12-26-95, page 47) article, "Xenaphilia" (XMR115). XWP gets a graphic. EXCERPT: Once upon a time, literary and screen heroines dreamed of dancing at balls. Nowadays, they're kicking them. Gone are the babes and the bimbos, the victims and the vixens, the simperers, seductresses and screamers. A new generation of pop cult protagonista is busting out of her bustier and on to centrestage - and you better make way. She's the warrior woman, the modern Amazon, the fighting female who won't be tamed, shamed, blamed or beaten. The post-feminist heroine for the millennium, she's leapt off the comic book pages, where the modern version was conceived as Charles Moulon's Wonder Woman in the 1940s, and on to the screen, the tube, the Internet and the CD rack. On TV, she's that eye-popping six-footer Lucy Lawless, star of Xena: Warrior Princess, whose series, after just one season, is the hottest show in syndication, beating even that international scorcher, Baywatch, in the ratings. Next year, a series based on the killer chick-flick La Femme Nikita will also hit the TV schedule. In movies, the warrior woman has evolved from James Bond's bad girl Pussy Galore, 1970s "blaxpoitation" star Pam Grier (Friday Foster, Coffy) and dominatrix Sybil Danning, Queen of the B-flicks, into Sigourney Weaver's Ripley in the Alien trilogy, Lena Olin's femme fatale in Rome Is Bleeding, Sharon Stone's gunslinger in The Quick And The Dead, Buffy The Vampire Slayer, Tank Girl, next week's release Barb Wire - starring Pamela Anderson Lee - and, coming soon, an Ivan Reitman production of Wonder Woman, minus her invisible plane and sexist boyfriend. In rock, she lives in the likes of Courtney Love, PJ Harvey, Alanis Morrissette and the punky women who form the riot grrrl movement. They assault their fans, they title their albums Blow It Out Your Ass It's Veruca Salt, they scream lyrics like, "How many times must you be told / There's nowhere we don't go!" And they even, as L7 vocalist Donita Sparks did at England's Reading Festival, pull out their tampons onstage and whip them at the audience. Last, but not least, she continues to live, bigger and badder than ever, in the comics pages, both on pulp and in cyberspace. Earlier this month, the business magazine Forbes reported that, despite sagging sales for superheroes over-all, "bad girl comics are booming." While comic book circulation is down 20 per cent, "busty viragoes" with names like Shatterstarfire, Lady Death, Avengelyne, Seishinsha, Dare and Catsai are muscling into the market. Even Wonder Woman has been made over, as the dangerous Diana of Themyscira in Amalgam's Bullets And Bracelets book, and now has an adopted mutant sister, Orono, starring in her own comic, Amazon. And, on the Net, grrrl heroines are everywhere - although not necessarily at sites suitable for children - and they boast that they're "homicidal lesbian terrorists" who are "Not correct. Not cute. Not polite." This from young female creators who boast that they "hate feminists." Hate feminists? And yet take no flack from men? What's the deal here? Maybe pop culture is taking its cue from feminist renegade Camille Paglia who wrote in 1994's Vamps And Tramps that "aggression must be returned to the centre of feminist thinking." She insisted that "woman is the dominant sex" and that both sides of the gender wars had forgotten that. "I'm saying that, in the sexual and emotional sphere, woman is dominant and men know it on some level," she says. "They remember having emerged from this huge, matriarchal, goddess-like, shadowy figure from which they struggled for identity. "Yes. They were inside the woman's body for nine months, and they struggled for identity out away from her - in the early years of life in which the woman is completely, you know, overmastering them." Maybe what we're seeing is the natural outcome of men and women competing in the workplace, the increasing independence of women, their rejection of patriarchal social and religious orders, their refusal to be controlled. "Traditionally we never thought of the woman as the hunter or the soldier; historically these have been male roles," says producer Ivan Reitman (Ghostbusters, Twins), who maintains that the 1970s Lynda Carter TV version of Wonder Woman "debased" the character. "But, with the societal changes in terms of the roles of men and women and how we see each other, it's only a matter of time before woman as hunter or soldier will be accepted." Or maybe it's just sex. "We all grew up with The Avengers and there was something about Emma Peel (Diana Rigg)," muses Bill George, editor of Femmes Fatales, a Baltimore-based magazine that idolizes dangerous dames. "She struck a chord because, although she was lethal, she was very feminine. She was a woman you wanted to take to bed and yet you liked the fact that she was aggressive. "Up to now, men didn't want to admit that," he confesses. "But now, I find that a lot of guys simply like - I don't know if it's the self-sufficiency - like the fact that these women can actually scrap. "It's the fantasy. Yes, they seem to be male-resistant but, hey, maybe I'm the guy who they'll fall for. That's the fantasy. "Men are finding that very sexy." Women too. There's something very empowering about looking up at the screen and not seeing women being brutalized, raped, killed, kidnapped or kept like a pet. In most cases, the new warrior women look the part, with well-defined muscles and powerful limbs. (Then, of course, there's Pamela Lee, who is pumped not by iron but collagen and silicon.) "A few years ago, my body was considered intimidating - now that's all changed," says Toronto's Negrita Jayde, a former bodybuilding champ turned action movie actor. "Hollywood is realizing that women with strong dispositions and athletic bodies make box-office sense." While these new fighting females, unlike the Rambos and Mad Maxes, don't go looking for battles, they're always ready to tangle when the weak and the vulnerable, especially children, are at risk. Xena, for example, is always trying to stay away from trouble but trouble always finds her. Still, these women, unlike real-life feminists, don't have the terms date rape or wife abuse or sexual harassment in their vocabularies. There's no need for that kind of thinking because nobody messes with them no way, no how. "Don't call me babe!" growls Lee in Barb Wire, who was originally a comic book character. On TV, Xena would sooner kick a man than kiss him. "You're looking at all the skin you're getting, freak," yells a bare-bottomed Dare in the comic book Assassins before she hurls her swords and scythes at the evil Lethal. When Tank Girl's Lori Petty was caught in the clutches of the dastardly Kesslee (Malcolm McDowell) she taunts, "If you wanna torture me, lick me." (Actually, the original script called for another four letter word instead of "lick," but Hollywood balked.) "The new femme fatale is a woman who is very sexually alluring, certainly very aggressive and she's very self-sufficient," says George. "Today, she might use her sex appeal to achieve her own ends but she is definitely not bimbos. And men respect that." Think back to the original pop cult warrior women, the Amazons, as described by ancient Greeks Homer, Hesiod and Hippocrates, and there are clues to what is happening today. In her book The Warrior Queens, Antonia Fraser points out that the legendary Amazons "specifically derived their exotic quality from the fact that they were nobody's appendage." That is what continues to make the Warrior Queen, Fraser concludes, "an inspiration to women as well as a source of threat and excitement to men." Other scholars , such as Tim Newark in Warrior Women, have hypothesized that, in the absence of proof positive that the Amazons of myth ever existed, it's perhaps best to look at them "as symbolic of the struggle for domination between men and women." Last round, men won. Next round, who knows? Says George: "I hate to think that all this is only a trend, but if it works it'll be around for a while." GRAPHIC: ...WONDER WOMEN: Lynda Carter has been replaced by even tougher heroines like Xena (Lucy Lawless), top... [259] 04-29-96 MEDIAWEEK. Vol. 6. No. 18. Page 42; 602 words. "Mything in action; MCA TV's television shows The Journeys of Hercules and Xena: Warrior Princess gain in popularity" By Michael Freeman COMMENTARY: In a pithy look into why mythology was becoming a popular favorite in mass entertainment, the author credited Sam Raimi for presenting a "popculture take on classic Hercules tales." Focusing on the casual use of the vernacular, Mr. Freeman admitted that these shows were "no Masterpiece Theatre". Mr. Freeman was further baffled that "At a time when the TV business is under intense pressure to tone down the violence in series" that both shows are "gaining acceptance from the so-called "all-family" demographic groups." The article ended with industry types further voicing their surprise and admiration. REPRINT: Heroes and heroines of Greek mythology have never inspired the same level of fervor among network TV audiences as cops or cowboys. Perhaps that's why the anything-goes syndication battlefield is turning into surprisingly fertile soil for MCA TV's The Journeys of Hercules and Xena: Warrior Princess, which are drawing legions of viewers with their mix of funky contemporary humor and old-fashioned action. Filmmaker-turned-TV producer Sam Raimi has banished the long-winded soliloquies typically found in B movies featuring mythical figures in favor of a popculture take on classic Hercules tales. A sampling of dialogue from any episode of Hercules and its Xena spin-off is a sure tip-off that this is no Masterpiece Theatre: Propositioned by an evil knight, Xena's similarly loin-cloth- clad sidekick Gabrielle retorts: "Just because we're well-betrothed doesn't mean you can boss me around." Hercules (Kevin Sorbo), upon being captured by a legion of warriors, offers a tart response to an evil empress' overtures: "I would rather sleep in a dungeon full of rats than spend the night with a viper." Much of the show's tongue-in-cheek humor includes references to modern culture. While searching a treasure chest full of pots, pans and Hercules "gift dolls" the muscle-bound hero turns to his companions and says, "Now Bruce and I can open that gift shop we've always dreamed about." At a time when the TV business is under intense pressure to tone down the violence in series, Raimi (director/writer of movies including The Evil Dead and Darkman) and fellow executive producer Ron Tapert are gaining acceptance from the so-called "all-family" demographic groups. Hercules, now in its second season, and the freshman Xena (starring Lucy Lawless) are gaining quickly on Paramount Domestic Television's Star Trek: Deep Space Nine, the top-rated weekly action series in syndication. DS9 is averaging a 7.0 rating in households this season (NSS, Sept. 4, 1995-April 7, 1996), while Hercules and Xena are at 6.4 and 5.6 rating averages, respectively. Across the adults 18-34, 18-49 and 25-54 demo groups, Hercules (4.1) and Xena (4.9) are within a rating point of DS9's (5.1) rating averages this season. In the first quarter, Hercules (6.6) and Xena (5.8) both moved up 5 percent from their fourth-quarter averages, while DS9 dropped 9 percent to a 6.7 rating average. "Hercules and Xena are clearly riding an upswing with the audience, while Star Trek: Deep Space Nine and Baywatch from All American Television! are starting to tire," claims Shelly Schwab, MCA TV president of syndication. "When you can reach the right mix of adult and teen/kid demos, this kind of appointment viewing by families is why advertisers are bullish on Hercules and Xena for the upcoming upfront market." Per usual in the TV industry, the success of Hercules and Xena has inspired All American Television (Sinbad) and SeaGull Entertainment (Tarzan) to create shows about other mythological characters for this fall. MCA is looking to replicate its own winning formula with the two-hour "back-door" pilot, Beastmaster III: The Eye of Braxus (airing May 13-26). "The success of Hercules and Xena is an offshoot of the Power Rangers phenomenon," says Bill Carroll of the station rep group Katz Communications. "Most younger viewers didn't ever see those campy Godzilla movies, and Power Rangers took something old and made it something new to that market. This is the same sort of thing that made Hercules and Xena! stand out. But who knows if these other period pieces will kill the golden goose." GRAPHIC: A picture of Xena from "Altared States" holding out her hand, subcaptioned, "Riding high: Lawless' Xena made ratings gains in the first quarter." ------------- THE BACK PAGE ------------- Issue #19 will begin with annotation #260 dated 04/29/96. It is scheduled to be released whenever I have the time! PREFERRED CITATION: When citing an annotated review, use the format: XMR:007. This example means Xena Media Review [issue #01], annotation #007. DISCLAIMER: XMR (Xena Media Review) is a free non- profit informational release. XMR in no way intends to challenge, disregard or profit from any of the original copyright holders of the material excerpted, reprinted, or referred to (including but not limited to MCA, Universal, Renaissance Pictures, and any other rightful and legal copyright holder). This newsletter is an academic and educational pursuit to archive, annotate, and study the media response to Xena: Warrior Princess (a television production from MCA/Universal/ Renaissance) and the actresses Lucy Lawless and Renee O'Connor, especially in the light of popular culture and the influence of mass media. XMR exercises its right to quote, excerpt or reprint as allowed under the law in order to review and discuss the media reports cited and annotated herein. XMR is distributed free of charge. Only national/international major media released in electronic form are considered for inclusion. Banner graphic by Colleen Stephan. This is an All Talk No Action Publication. Copyright 1996 by Kym Masera Taborn. REPRINT POLICY: Permission to use, copy and distribute Xena Media Review (XMR), or parts thereof, by electronic means for any non-profit purpose is hereby granted, provided that both the above copyright notice and this permission notice appear in all copies of the newsletter itself, and that proper credit is given for any excerpts. Any other format or purpose for distribution requires permission of the author. Reproducing XMR or parts thereof by any means implies full agreement to the above non-profit-use clause. SOLICITATIONS FOR FUTURE NEWSLETTERS Send cites, references, articles, annotations, and/or submissions to ktaborn@lightspeed.net. XMR is a non-profit fan publication. The editors retain editorial control and reprint privileges over the submitted materials and reserve the right to use the material in whatever way they deem appropriate. Submitted materials will not be returned to the sender. Check out the free netzine called "Resistance is Futile," a Star Trek parody and all things Borgish newsletter which is issued every 19 days and has been published since 1992 (the Borg jokes just keep on coming!). Request a free subscription at ktaborn@lightspeed.net. Check out the back issues at WEB SITE: http://www.startrek.in-trier.de/rif/