Producing partners Mike Tollin and Brian Robbins of the aptly-named Tollin/Robbins Productions (T/RP) originally wanted to make one of these giant leaps with a series for Warner Brothers’ The WB network, focused on the teenage years of Bruce Wayne.
But every once in a while, like genres and metahuman genes before it, live action superheroes take a giant leap in the right direction. For every successful Smallville, there’s a Justice League of America or Mercy Reef that never make it past pilot. And despite the television landscape’s current embarrassment of riches in terms of the genre, TV’s superhero storytelling skidded into the same bumps and growth spurts their film counterparts hit along the way.
While many have already traced our current superhero blockbusters back to the Batman series and more directly to the emergence of Fox and Sony Pictures’ respective X-Men and Spider-man movies in the early 2000‘s, you can chart a similar path on television. There’s a noticeable gap between the plodding action set pieces of a Pierce Brosnan James Bond film and the brutally-efficient “realism” of Keanu Reeves taking out upwards of 150 assassins on the streets of New York in a tight 2 hours.Īnd so it goes with superhero fiction.
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Rather, the film industry slowly learned how to produce such films over decades, taking inspiration from Asian cinema, Bollywood, and Anime to name a few. But this understanding did not form overnight. Modern franchises can make slick action their bedrock component the John Wick franchise, for example. While many filmgoers and media watchers revere the action movies of the 1980’s and 90’s, better historians than myself can trace the lineage of those films back to the steadily maturing car jumps and fisticuff of the 60’s and 70’s. “In truth, many at the WB knew the show was in for a hard time… All told, ‘Prey’ was doomed before it began.” – Susanne Daniels & Cynthia Littelton, Season Finale And a gift to the grown-ass man, sitting next to his original Birds of Prey batarang, the cast-signed replica, the custom action figures, the one sheet poster, typing madly to produce this essay about the one that got away. A gift to comics readers, who know of Huntress’s involvement in the original pages the thing is based on. A well-earned gift to the actress herself. A gift to the fans of the original series. And to have the Birds of Prey universe represented in that is, simply put, a gift.
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But most surprising of all was the announcement of Ashley Scott’s return to the role of Helena Kyle/The Huntress.įor fans of the DC Multiverse, this Crisis event (miniseries? TV movie?) is validation for fans who have loved and followed these comics characters, in all their permutations, throughout the decades. We are still a month from that event’s premier, but producers have already confirmed the inclusion of Burt Ward ( Batman TV series, 1966), John Wesley Shipp ( The Flash, 1990), Brandon Routh ( Superman Returns, 2005), Tom Welling and Erica Durance ( Smallville, 2001), and Kevin Conroy ( Batman: The Animated Series, 1992) to say nothing of the dozens of rumored cameos that abound on the Internet at large. Cut to: 17 years later, where Marvel Studios dominates at the box office, the CW network (a direct descendant of the late “The WB”) is readying for a superhero crossover epic like no other, pitting characters from a dozen past and present DC projects together to literally save the multiverse in Crisis on Infinite Earths. I was already a budding superhero nerd on October 9th, 2002, when Birds of Prey premiered on the WB network. The following essay written by a grown-ass man with the mind of a 12-year-old.
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