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Roddenberry had extensive experience in writing for series about the Old West that had been popular television fare in the 1950s and 1960s. Armed with this background, he characterized the new show in his first draft as "Wagon Train to the stars".[6][10] Like the familiar Wagon Train, each episode was to be a self-contained adventure story, set within the structure of a continuing voyage through space. Most future television and movie realizations of the franchise adhered to the "Wagon Train" paradigm of the continuing journey, with the notable exceptions of the serialized Star Trek: Deep Space Nine, Star Trek: Discovery, Star Trek: Picard, and the third season of Star Trek: Enterprise.
From September 1 to December 24, 1998, the Sci-Fi Channel broadcast a "Special Edition" of all the original series episodes in an expanded 90-minute format hosted by William Shatner. Now titled Star Trek: The Original Series, these broadcasts restored scenes that had been edited out of the syndicated episodes.[2] In addition to introductory and post-episode commentary by Shatner, the episodes included interviews with members of the regular production team and cast, writers, guest stars, and critics (titled as "Star Trek Insights"). The episodes were broadcast in the original broadcast sequence, followed by "The Cage", to which a full 105-minute segment was devoted. (For details on each episode's original airdate, see List of Star Trek: The Original Series episodes.) Leonard Nimoy hosted a second run from December 28, 1998 to March 24, 1999, but not all the episodes were broadcast because the show was abruptly cancelled before completion.[citation needed][original research?]
This revival of the franchise is often considered to be a reboot, but is also a continuation of the franchise, with Nimoy reprising his role of the elderly Spock. This route was taken to free the new films from the restrictions of established continuity without completely discarding it, which the writers felt would have been "disrespectful". This new reality was informally referred to by several names, including the "Abramsverse", "JJ Trek" and "NuTrek", before it was named the "Kelvin Timeline" (versus the "Prime Timeline" of the original series and films) by Michael and Denise Okuda for use in official Star Trek reference guides and encyclopedias. The name Kelvin comes from the USS Kelvin, a starship involved in the event that creates the new reality in Star Trek (2009).[130] Abrams named the starship after his grandfather Henry Kelvin, whom he also pays tribute to in Into Darkness with the Kelvin Memorial Archive.[130][131]
The Canadian comedy duo Wayne and Shuster parodied Star Trek as Star Schtick in the late 1970s. An entire Finnish parody series Star Wreck was produced starting in 1992, culminating with Star Wreck: In the Pirkinning in 2005, all available as legal downloads on the web.[139]
"Star Trek: Continues" chronicles the last year of the 5-year voyage of The Enterprise. Gene Roddenberry's son, "Rod", announced after a showing in 2014 that this series would have been considered canon by his father.[146] Comprising 11 full episodes and numerous additional materials, Star Trek: Continues was produced from 2013 to 2017 and funded by a kickstarter.
Star Wreck is a series of Finnish Star Trek parody movies started by Samuli Torssonen in 1992.[1] The first movie, simply named Star Wreck, was a simple Star Control-like animation with three ships shooting at each other, but later movies featured 3D CGI, animated characters and, in the latest films, live actors. Often Star Wreck is used to refer to the latest and most popular film Star Wreck: In the Pirkinning.
"Hey, hey hey... it's Faaat Albert!" Created, produced, hosted and primarily voiced by comedian Bill Cosby, Fat Albert and the Cosby Kids was a show that, as Cosby said at the start of each episode, "if you're not careful you may learn something before it's done." Based on Cosby's stand-up routines about his childhood, Fat Albert was filled with humor (complete with a laugh track, which was common for animated series during that era) but tackled serious issues like stealing, racism, child abuse, smoking and vandalism.
The series was revisited in a 2004 live-action movie (co-written by Cosby himself) which debuted to middling box office and harsh critical reviews, but the animated series continues to be fondly remembered by many. Fat Albert and his friends -- Bill, Mushmouth, Bucky, Rudy, Russell, and Dumb Donald to name a few -- taught quite a few lessons to kids over its 13-year run.
While aimed at and immediately accessible to children, Dexter's Laboratory was part of a new generation of animated series that played on two levels, simultaneously fun for both kids and adults. The humor often revolved around Dexter and Dee Dee's fights, but also delved into absurd situations, regularly leaving things completely bizarre at the end of an episode (e.g., clones of Dee Dee and Dexter running around, a giant tentacled monster attacking the house, Dexter's lab being destroyed) -- but everything would be back to normal at the start of the next episode.
Another by-product of Cartoon Network's World Premiere Toons block (a.k.a. the What a Cartoon! Show, which also spawned such series as Dexter's Laboratory, Powerpuff Girls, and Cow and Chicken), Johnny Bravo started out as a collection of seven-minute shorts, like the old Hanna-Barbera cartoons. The series' titular star, Johnny Bravo, was a not-so-bright manchild who talked like Elvis and thought he was God's gift to the ladies (even if he struck out every time). He'd often strike body-building poses to show off his physique, was completely full of himself, and was generally over-the-top ridiculous.
Today, Popeye might be merely seen as the greatest endorsement of one of the most lackluster vegetables of all time. But "back in the day" this malformed, one-eyed, corncob pipe-smokin' sailor was the complete franchise. In 1929, Popeye appeared as a supporting character in the comic strip Thimble Theater, which was originally a venue for Olive Oyl and her kin. He quickly stole the hearts and minds of America. Soon the comic strip was focused on him, and Olive even dumped her longtime boyfriend Ham Gravy to become Popeye's main squeeze. Sounds a bit like an "ole timey" Urkel if you ask us. In 1932, Popeye got his own animated series, which usually found him getting pounded to a pulp by nogoodniks until he finally ingested canned spinach and fought back with superhuman strength. Popeye was an icon that spawned movies, lunchboxes, pinball machines and even his own line of frozen food. And yes, the Popeye cartoon did give a much needed shot in the arm to the U.S. spinach industry, which is not only fascinating, but might also constitute a high crime.
Airing on HBO in the late '90s, this short series was a for-adults-only adaptation of McFarlane's comic book. Unlike the rather cheesy, toned down live-action Spawn of 1997, this animated series held nothing back in the violence department, making full use of its home on pay cable. Todd McFarlane himself introduced each episode in a live-action segment, in the style of Alfred Hitchcock or Rod Serling.
Much like the comic, the animated series followed a man who, upon dying, sold his soul to the devil in order to remain on Earth and see his wife. He was turned into a creature others call "Spawn," who we learn is expected to lead an invasion into heaven. Meanwhile, Spawn is forced to watch his former wife, Wanda, marry his best friend and have a child with him. The series is an interesting take on free will and the old adage, "Be careful what you wish for because you might just get it."
The Huckleberry Hound Show is notable for several reasons. First is the fact that it introduced more than one animated character who would stand the test of time -- not only the distinctively voiced title character, but also the even more popular Yogi Bear and Boo Boo, who starred in their own animated segments of this series before getting a spin-off of their own. O.K., the other segments of Huckleberry Hound (starring mice Pixie and Dixie and Hokey Wolf) didn't have quite as big an afterlife, but this was still quite an impressive stable of characters to launch with, and audiences quickly responded to Huckleberry Hound himself, a blue dog who had quite the fondness for singing "Oh My Darling, Clementine." Huckleberry Hound was also the second series from Hanna-Barbera, and the one that made them a true success, paving the way for many other series that would follow, including The Flintstones and Scooby-Doo. The Huckleberry Hound Show would go on to make television history as the first animated series to win an Emmy.
As much as audiences loved Batman: The Animated Series, there was still some trepidation towards this spin-off/sequel series. After all, the idea of re-imagining Batman as a teenager living in a techno-filled future sounded like some kind of test-marketed nightmare, and not a proper continuation of the legacy of the Dark Knight. As it turned out though, Batman Beyond -- which included many alumni of Batman: The Animated Series among its producers -- was a worthy follow-up, and another cool piece of the evolution of the DC animated universe. Lead character Terry McGinnis was no Bruce Wayne, but he wasn't meant to be, and he still made for a brave and heroic Batman. And an integral part of the show was the inclusion of an elderly Bruce Wayne (still voiced by The Animated Series' Kevin Conroy), who gave Terry guidance while trying to move beyond what were clearly some bitter tragedies -- tragedies that would eventually be illuminated in the great direct-to-DVD movie Batman Beyond: Return of the Joker.
We certainly agree that MTV is a pale imitation of its former self, and that its glut of television series doesn't reflect the "music" part of their name at all. But there was a time when the shows MTV offered were actually pretty clever and interesting, and Liquid Television was among the best of the bunch. A combination of material created expressly for the show and older material now getting the chance to be seen by a broad audience, Liquid Television offered offbeat and creative animated shorts that ran the gamut from silly and amusing to truly surreal and trippy. The show served as the launching pad for some very notable franchises too -- it was here that Mike Judge's short, "Frog Baseball," about two giggling morons playing a rather violent sport, gained the popularity to spin-off the soon to be huge Beavis and Butt-head. Then there was the ultra-cool Aeon Flux segments, about the silent but deadly (though always doomed to die herself) assassin, which were actually stronger than the full-length Aeon Flux series that followed it. 2b1af7f3a8