     _____               ______                               ._
     `\`/>`\            /`/` /`__________,.'>___      _____   )~\
       /<`\ `\        /`/` /``\ \./------> /|\./\     |\./|  / | \
      /< `\`\ `\    /`/` /`   | | |----\ /  | |\ \    | | |././^\ \
 |\__{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
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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.


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