UPDATE: The Widescreen is Out There: Why Netflix May Be Covering Up “The X-Files” in HD

Screen Shot 2015-04-26 at 10.03.33 PMUpdated 4/27/15 -New info in italics.

There may be a conspiracy afoot at Netflix worthy of the Cigarette Smoking Man himself.

One month after I reported that Netflix was streaming The X-Files in fuzzy, standard definition video transfers, the world’s most popular subscription VOD service has added sparkling new HD versions of the first 13 episodes of the series for viewers in the United States. Oddly, Netflix has said nothing about this, with no official announcement regarding the upgrades or the rollout of additional HD episodes  surprising, considering that they are apparently now the exclusive U.S. home for The X-Files in high def.

New transfers of the pilot and the subsequent 12 episodes were quietly added on Thursday, allowing Netflix subscribers to enjoy remastered, HD versions of Season One fan favorites, like Squeeze with Doug Hutchison as shape-shifting psychopath Eugene Tooms, Eve with Erika and Sabrina Krievins as murderous clone twins, and Beyond the Sea with Don S. Davis as Scully’s posthumously visiting father. These remastered transfers have aired on the El Rey Network and the German satellite TV channel ProSieben Maxx, but have never been streamed.

Update 4/27/15 – Netflix has added nine additional episodes in HD, so all Season One episodes except #14 and #24 are now available in high def. 

So, as streaming services seek to solidify their subscriber bases with exclusive content, why has Netflix sat on this news like a government-style coverup?

One possible reason: Netflix’s HD transfers have altered the aspect ratio of Season One episodes from the 4:3 (square) format in which they originally aired to 16:9 widescreen. HBO got a ton of negative press when they did this last year with The Wire, apparently (at least initially) against the wishes of series creator David Simon. But  and I say this as a devout format purist who always prefers to see movies and TV shows the way their creator intended  the situation with The X-Files is very different.

“When we began filming the show in 1992, we actually (except for maybe the pilot) considered HD (widescreen) all along,” creator Chris Carter said in a Reddit AMA (Ask Me Anything) chat in 2014. “And so there was image and opportunity to expand and modify the aspect ratio.”

iwanttobelieveWhile Carter apparently had no official role in this process, the remastering has been meticulously done, as I discovered when I binged the first 13 HD episodes this weekend. This is not a crop-and-stretch debacle like 3rd Rock from the Sun, which Netflix added in bogus 16:9 in March, or The Simpsons, which FXX began broadcasting last year in truncated transfers that ruined many of the jokes. This is a respectful, near-flawless remastering, with Fox returning to original, widescreen source materials for the first time since the initial broadcast. (The series aired in 4:3 for seasons 1-4 and moved to native 16:9 in season 5 in 1997, broadcast letter-boxed.) Episodes that have looked soft and washed out in TV reruns for years now look sharp and (appropriately) bright, with a fresh, more-cinematic patina. And if you don’t believe me, or think that I’ve become an aspect-ratio-altering replicant/apologist, check out the drab SD streams on Amazon and Hulu.

While Carter says these early episodes were future-proofed by composing for standard 4:3 screens but “protecting” for widescreen (meaning no light stands, crew members, etc.), there are still a handful of scenes that don’t make the transition perfectly. What appears to be stock footage of a space shuttle launch in episode 9, the Golden Gate bridge in episode 11, and a hotel exterior in vepisode 12 all look fuzzy when cropped, as does a TV news report in episode 9. There are also a few scenes that look softer in 16:9, or are framed too tightly, like a close-up of a medical examiner saying a character is “very dead” in episode 6, Mulder’s conversation with programmer Brad Wilczek in episode 7, and his interrogation in episode 10 (as well as a scene of David Duchovny crawling out from under a truck in the same episode).

But that’s it. Otherwise, this is a welcome restoration of an iconic television show that had fallen into visual disrepair on basic cable and SVOD. I’m just surprised I’m getting these shows for the price of a Netflix subscription, not the hundreds of dollars it would cost to buy nine seasons on Blu-ray. And once the remasters are complete, the HD transfers of The X-Files will give a new generation an impetus to sample the show before its return with new episodes in 2016. That’s exactly what I did this weekend, re-visiting episodes I hadn’t watched in two decades. And the good news is The X-Files in HD looks even better today than it did then.

If only I could say the same about myself.

Here’s a side-by-side visual comparison of the 4:3 and 16:9 versions of the pilot and episode 11. And here’s a fascinating post about the widescreen remaster of “Buffy the Vampire Slayer,” which was not protected for 16:9 when it was shot and was remastered against the wishes of creator Joss Whedon. 

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BATMAN v SUPERMAN Trailer Re-Cut with Adam West and Christopher Reeve

1batmanHoly send-up!

Somebody re-cut the awful, ponderous trailer for Zack Snyder’s BATMAN v. SUPERMAN: DAWN OF JUSTICE (2016) with the decidedly non-ponderous Christopher Reeve as Superman and Adam West as Batman.

Cinema geek Bobby Burns on YouTube intercut scenes from Richard Donner’s SUPERMAN: THE MOVIE (1978) and Richard Lester’s SUPERMAN II (1980) with the Batman film Fox released in the summer of 1966 to capitalize on the runaway success of the TV show. (Despite what some outlets have reported, there are no clips from the Adam West TV series, which debuted in January of 1966 on ABC, in this parody, just the movie spin-off.)

MCDSUPE EC111Also featured from Leslie H. Martinson’s BATMAN (1966): Burt Ward as Robin, Lee Meriwether as Catwoman (in disguise as Soviet journalist Miss Kitka from “The Moscow Bugle”), and the Batmobile, Bat-Copter, and Bat-Signal. The unforgettable “Some days you just can’t get rid of a bomb!” scene also gets its moment, as does a sample of the theme song.

From SUPERMAN II we see Terence Stamp as General Zod, Jack O’Halloran as Non, and Tony Sibbald as the aide who attempts to protect the president (E.G. Marshall) from the Kryptonian renegades. (Marshall’s president is visible as well, hiding in the back of the oval office protected by his staff.) We also catch a glimpse of Margot Kidder’s arm from the 1978 film, as Superman takes Lois Lane on the best first date ever. And Burns gets around the lack of fight scenes between Reeve and West by using a quick shot of the battle between Superman and Non at the Fortress of Solitude in SUPERMAN II.

Sadly, Christopher Reeve and Adam West never got a chance to team up before Reeve’s untimely death in 2004 at the age of 52. But this parody gives us a glimpse of the non-ponderous fun we all could have had if they did. It also serves as a reminder that lighthearted approaches to these iconic characters have stood the test of time. Somebody at Warner Bros. needs to remember that, as they continue to make the feature film versions of Batman and Superman mopey and depressing.

Just a reminder: “Batman” (1966-68, ABC) is available on DVD and Blu-ray from Warner Home Video. It is truly fun for the whole family. 

Posted in Classic TV | Tagged | 6 Comments

Cora Sue Who? The 1930s Child Star You Don’t Know – But Should

Screen Shot 2015-04-16 at 3.38.02 PMEven if you love old movies, there’s a good chance you haven’t heard of Cora Sue Collins. And that’s a shame, because the 87-year-old former child star is a living history of classic Hollywood.

Collins acted in nearly 50 films between 1932 and 1945, performing with some of the biggest stars of the era. She worked at MGM, Universal, Paramount, Warner Bros., Fox, Columbia, Samuel Goldwyn, Selznick, Republic, and Monogram for directors like Michael Curtiz, Victor Fleming, and Rouben Mamoulian (twice). She even appeared in one of the first live action films produced using the three-strip Technicolor process: THE SPECTACLE MAKER (1934)

And she did it all before her 18th birthday.

CollinsOn the eve of the recent TCM Film Festival in Hollywood, Collins held court for a group of adoring classic film fans by the pool at the historic Roosevelt Hotel. For more than an hour, the sassy 87-year-old chatted with movie historian and former TCM researcher Woolsey Ackerman and showed off mementos from her career – including an autograph book presented to her on her seventh birthday by fellow MGM contractee May Robson, who was turning 70.

“Louis B. Mayer gave us a joint birthday party,” Collins remembered, while looking at a publicity shot of her younger self with Robson and Jean Harlow (who was in production on CHINA SEAS with Clark Gable). “He didn’t issue invitations; it was a command performance!”

CoraCollins had seen the photo for the first time in 80 years and her joy was infectious. Soon fans were scanning the pages of her scrapbook, ecstatically announing the legendary character actors who signed it: “Freddie Bartholomew! Una Merkel! Franklin Pangborn!”

To the average person, those names are meaningless. But for the enlightened few lucky enough to be in attendance that night, it was as if Collins had opened a portal to the past. This was likely the closest any of us will ever get to the MGM Lot in 1935, at least until Rod Taylor comes back with that time machine.

Collins talked about moving to California in 1930 with her mother and sister after her parents divorced. There she was discovered on a Hollywood street corner, invited to audition at Universal, and won her first role, beating out another child actress whose name you might recognize: Judy Garland.

“Judy was one of the superstars of our era,” Collins said. “And she was a good friend.”

Screen Shot 2015-04-16 at 4.10.56 PMAs the event continued, she reminisced about being written into MGM’s TREASURE ISLAND (1934) at the insistence of studio chief Mayer, playing the daughter of THIN MAN co-stars Myrna Loy and William Powell in EVELYN PRENTICE (1934), developing a crush on star Robert Taylor while making MAGNIFICENT OBSESSION (1935), and losing the role of Becky in THE ADVENTURES OF TOM SAWYER (1938) because she outgrew the actor cast as Tom. She ended up playing Amy Lawrence in the Technicolor production, and got to wear all the costumes that had been designed for her. So everything worked out in the end.

Through it all Collins kept a level head, apparently avoiding the difficulties that befell many child actors of the era and continue to do so today.

“I was so lucky to get to know all of these people,” she said of her classic film colleagues. “They were my friends.”

But Collins was not an official guest at TCM Film Fest – odd, considering that the event celebrated “History According to Hollywood” and QUEEN CHRISTINA (in which she appears as the title character as a child) was an opening night selection.

Screen Shot 2015-04-16 at 3.46.24 PM“That’s why we invited her to speak,” Kelly Kitchens, moderator of the Going to the TCM Film Fest forum on Facebook and host of the event, told me in an email. “We wanted Cora Sue to know that classic film fans still care about her and acknowledge her contributions to movie history.”

And Kitchens and her group are taking their efforts to honor Collins one step further: they’re mailing cards and letters to the actress in honor of her 88th birthday on April 19, and inviting other film fans to do the same.

“We always talk about how we wish classic Hollywood stars were still with us,” Kitchens said. “Here’s one who is. And we want her to know that we remember her, and that we thank her for her contributions to an art form that gives us so much joy.”

Screen Shot 2015-04-16 at 3.14.59 PMIf you’d like to join in the Cards for Cora Sue Collins campaign, you can send them to the following address:

Woolsey Ackerman
8149 Santa Monica Blvd.
#115
Los Angeles, CA 90046  

Please write FOR CORA SUE on the envelope.

And while you’re at it, why not send a letter to TCM asking them to invite Collins to appear on air with Robert Osborne introducing an evening of films in which she plays classic Hollywood icons as children, like QUEEN CHRISTINA (as the young Garbo), SMILIN’ THROUGH (Norma Shearer), TORCH SINGER (Claudette Colbert), THE DARK ANGEL (Merle Oberon), and CARAVAN (Loretta Young).

“I played everybody as a child,” Collins said. “I played them all.”

Thanks to Woolsey Ackerman for his help with this article, and to Kelly Kitchens and Cora Sue Collins for allowing me to shoot video of the event and post it here. An earlier version of this article indicated that Collins played Charles Boyer’s character as a child in CARAVAN (1934), as IMDB asserts. Through Woolsey, Collins tells me that she actually portrayed Loretta Young’s character. “I really don’t remember ever dressing as a boy” she said.

Posted in TCM, TCM Classic Film Festival | Tagged , | 10 Comments

Dead on Arrival at the TCM Film Fest

TWAIf in the first act you have hung a pistol on the wall, in the following one it should be fired. – Anton Chehkov

ACT ONE: (Interior) A plane bound for Hollywood. WILL, a handsome reporter who looks younger than his 45 years thanks to decades of moisturizer use, boards expectantly. Before he can stow his valise, Will is greeted with a propulsive sneeze from a WHEEZING WOMAN seated across the aisle leaning miserably on a tissue-stacked tray table.

Will surveys the packed plane, and rushes toward a FLIGHT ATTENDANT who is busily doing flight attendant things.

WILL: (nervously) “I need to change my seat. I really need to move.”

FLIGHT ATTENDANT: “It’s a sold out flight. Over-sold, actually.”

WILL: “You don’t understand. I’m about to physically exert myself for the next four days. I cannot get sick!”

FLIGHT ATTENDANT: “Sir, I appreciate that, but there aren’t any available seats. Are you going to Los Angeles to run a marathon?”

WILL: (defeated) “Something like that…”

Will sinks into his seat, flips his hoodie over his head Obi-Wan Kenobi-style, and hopes the Force will protect him.

END SCENE

TCMCFF_2015-Key-Art_Steamboat-Bill-Jr_8513_-270x400Although it only involves watching, listening, and the occasional sprint across Hollywood Blvd., the TCM Classic Film Festival is as much of an endurance test as any competitive athletic event.

Each spring, Turner Classic Movies packs more than 100 screenings and events into 80 short hours that recapture the spirit of a lost and legendary era. What began as a once-in-lifetime experiment in 2010 has grown into an ecstatic annual pilgrimage that tests the mettle of classic film fans and unites us, however briefly, into a utopian community. It’s like Woodstock for Old Movie Weirdos, with Sid Grauman standing in for Max Yasgur.

In short, this is a thing I cannot miss. And I sure as hell can’t get sick before it even begins.

As one of the privileged few who have attended every year, I’ve learned that a successful TCM Film Fest experience requires elaborate preparation and training. For weeks beforehand I sleep and eat heartily, knowing that both will be in short supply during the four days of TCMFF. I also avoid seeing any movies in theaters – a challenge, since I can often be found haunting New York City revival houses five nights per week. Like a boxer who swears off female companionship, I cleanse my cinematic palate to keep the eye of the tiger, and to retain the flood of narratives my brain will need to process in rapid succession.

And, as a five-year veteran, I had perfected a singularly unforgiving technique: minimal sleep, no sit-down meals (other than popcorn and Diet Coke during screenings), and a determination to see as many movies as (in)humanly possible. Because when your body is exhausted, eating a meal is like getting slipped a Mickey in your bourbon. And I’ve seen enough old movies to know that is something to be avoided.

In past years, when social media friends (many of whom I only see in person at TCMFF) would invite me to take a lunch or dinner break, I’d reject them with dismissive contempt, paraphrasing Warren Zevon: I’ll sleep – or eat – when I’m dead. 

But this year, things were going to be different. From the scratchy throat that roused me from sleep like a bill collector on my first morning in Tinsel Town, I knew it was only a matter of time before my debt would be due.

edmondobrienMy mind immediately flashed to the classic film noir D.O.A. (1950), and I imagined myself as Edmond O’Brien, pacing through the halls of the Roosevelt Hotel to the TCM production office, accompanied by the music of Dimiri Tiomkin.

“I wanna report a murder,” I’d say to Ben Mankiewicz, dramatically removing my Fedora.

“Who was murdered?” Mankiewicz would ask.

“I was.”

I may have been dead on arrival at the TCM Film Fest, but I wasn’t about to go down without a fight. Avoidance of change is inherent to my nature, which may be part of why I still enjoy the same movies my parents introduced me to almost 40 years ago (and also Spaghetti-Os). But, like America in 1933, I was in need of a New Deal.

“Which way to the gym?” I asked the Roosevelt Hotel concierge, uttering words I had never spoken in five years of previous stays.

“It’s right next to the pool. And we’ve got TCM on the TVs!” the concierge bragged, noticing the picture of Henry Fonda on the lanyard dangling from my neck.

Fast-and-Furious-1939I logged a full hour on the cross trainer on each of my first three days at the Roosevelt, while watching the very channel I had come to celebrate. My Day One workout was accompanied by Howard Hawks’ COME AND GET IT (1936) with “lusty” Edward Arnold and Joel McCrea. Day Two started again with McCrea, this time in FAST AND FURIOUS (1939), which is way better than any of the sequels with Vin Diesel. On the Third Day I rose again, this time to SPRING IS HERE (1930) with Inez Courtney and Frank Albertson. If you’ve never worked out to early Talkies I highly recommend it, especially musicals. It gives a whole new meaning to “sweatin’ to the oldies.”

While I was boosting my immune system with healing endorphins, friends were holding seats for me at the first screening of the morning; Joel secured a center seat for me at the fascinating Dawn of Technicolor presentation at the Egyptian Theater on Friday and Alan at THEY WON’T FORGET (1937) at the Chinese Multiplex on Saturday. This technique earned me the moniker “Save Me a Seat Will”, which I’m sure was meant affectionately.

Also kaput: the over-priced popcorn sack as 700-calorie dinner.

This year I consumed six sit-down meals with my fellow attendees during the festival, which may not sound like a lot, until you compare it to zero. And on Sunday morning, with one long day to go, I threw a Hail (Typhoid) Mary pass and skipped the first movie for a breakfast of CinemaScopic proportions. All this eating and socializing would have earned me the withering scorn of Past Will (2010-2014), but it allowed me to break bread, consume a beverage, or just chat with a collection of people whose company I really enjoy (again, words I almost never say).

Polish PosterWhen things looked the most dire, these are the people who had my back. “Fussy” plied me with green tea, brewed in hot water Nitrate Diva negotiated from Starbucks after they had closed. Karen gave me Airborne tablets from her personal stock. And Aurora donated M&Ms when I needed a sugar boost to power through a midnight screening of the memorably awful BOOM! (1968), which Joel shamed me into not skipping. (SPOILER ALERT! It didn’t work; I ended up napping through most of it.)

Against all odds, I remained healthy enough throughout the weekend to close down the wrap party on Sunday night, when Roosevelt Hotel security politely informed me, Ariel, and Chris that we didn’t have to go home, but we couldn’t stay there.

All told, at the 2015 TCM Classic Film Festival, I attended 20 screenings (15 all or part in 35mm), three Club TCM events, three social media meet-ups, and two parties, and sent countless tweets, Instagrams, and Facebook postings. Plus I saw Angie Dickinson, Shirley MacLaine, and Sophia Loren up close and personal (but not close/personal enough to infect them with my germs).

I survived the 2015 TCM Classic Film Festival with the help of my friends. And it’s a group that grows each year, thanks to our shared mania for films most people wouldn’t even watch on TV, let alone fly across the country to see.

“When we started we loved the idea of taking TCM into a new dimension, but also uniting the community and getting people together,” TCM programming guru Charlie Tabesh said at a press conference before the event began. “I think that’s happened. And that community aspect of it is very important.”

A father and daughter from Texas I chatted with on line at the Egyptian before THE CHILDREN’S HOUR summed it up perfectly.

“These movies are pretty much the only thing we agree on,” the sixty-something dad told me, and his daughter’s smile suggested she agreed.

They were just one of many parent/child duos attending the TCM Classic Film Festival together. And there were probably hundreds more parents and grandparents, the people who first said, “Watch this. I think you’ll like it,” who were there with us in spirit.

But like all noir, this story must comes to a sad and violent end. My luck finally ran out on the flight back to New York, and what would turn out to be the worst flu of my life hit me like a ton of film cans. My sneezing and coughing might have attracted more scorn from fellow passengers, if not for the young woman seated across the aisle who kept getting airsick in her Caesar salad container.

Was she my cover or my victim? We’ll never know. But one thing is for certain: in the final act, Chekhov’s gun went off loud and clear.

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Posted in TCM Classic Film Festival | Tagged | 15 Comments

UPDATE: “Lost in Space” Launches on Blu-ray September 15

LIS_CastUpdated 4/7/15 – New info in italics.

I don’t remember exactly when I watched Lost in Space for the first time, but I do recall the following details: it was sometime in the mid-1970s; it was on my grandmother’s Zenith (with the remote control clicker); and my cousins John (older) and Patrick (younger) were with me.

And I’m pretty sure one of us imitated the Robot, and that I got to play Will.

My cousins and I were too young to experience the show, which celebrates its 50th anniversary this year, during its initial 1965-68 primetime run on CBS. But Lost In Space became a huge part of our lives a decade later, thanks to after-school syndicated reruns that were required viewing in the pre-STAR WARS years. The interstellar mis-adventures of the Robinson family (John, Maureen, Judy, Penny and Will), perma-pissed-off Major Don West, and stowaway saboteur Dr. Zachary Smith inspired us in some delightfully analog play, which usually involved running around, sweating profusely, getting injured and/or crying. (That’s the way we rolled in the ’70s, and we have the scars to prove it.)

We even built a replica of the show’s iconic Robot B-9 using milk cartons from the school cafeteria where my grandmother worked, with buttons drawn in magic marker on paper plates. Try doing that on your iPads, you young whippersnappers! (*shakes cane*)

Bill_AngelaLost in Space had everything a kid could want: pulpy adventure; trippy visuals; a killer theme song (actually two of them, both by John Williams); a heroic pre-teen protagonist (11-year-old Billy Mumy as Will); and a pretty girl (Angela Cartwright as Penny, age 13 when the show began) who inspired inexplicable, um, stirrings in certain young viewers (sorry Yvonne Craig and Julie Newmar, but Angela had me first). The show evolved during its three-year primetime run from straight-up adventure (led by former TV Zorro Guy Williams as Dr. John Robinson) in the black-and-white first season to a delightfully absurd sci-fi sitcom in the second and third seasons (in eye-popping color), with Dr. Smith, the Robot, and Will taking the lead. In that sense, the 84 episodes produced by Irwin Allen truly include something for viewers of all ages. There’s even some second-wave feminism, despite the devolution of June Lockhart’s Dr. Maureen Robinson from biochemist to laundry-folding, inter-planetary housewife.

Those Lost in Space reruns primed the sci-fi pump in mid-1970s kids for STAR WARS mania, the Star Trek feature film revival and the genre boom that still reverberates today. And without the Robinson family, I might never have been infected with the old-things-are-better mindset that inspired my lifelong love of classic TV and film. In short, without Lost in Space, I might not have ended up as the proud Old Movie Weirdo I am today.

And soon, a whole new generation of viewers will have the chance to experience the unique joys of go-go dancing space hippies, talking carrot men, and a bloop named Debbie.

Screen Shot 2015-04-03 at 7.09.45 PMAt WonderCon in Anaheim today, Twentieth Century Fox Home Entertainment announced the 50th anniversary Lost In Space: Complete Collection Blu-ray set, on sale September 15. The 18-disc set includes new, high definition transfers of all 84 episodes remastered from original elements, along with seven hours of bonus features, including: newly shot interviews; commentary tracks on eight episodes; and a “table read” of a series epilogue written by Bill Mumy, with surviving cast members reprising their characters. There are also “as-aired versions” of six episodes, complete with original commercials and program bumpers.

Update 4/7/15 – No DVD version of this set will be offered.

PennyFox Connect is offering a special deal on pre-orders from their websiteIf you register your email address on the site, you get 30 percent off the suggested retail price of $200, with free shipping. Clearly, this a deal only a bubble-headed booby would pass up.

And if you’re thinking, “Why do I need to buy something I can watch on MeTV or Hulu,” WARNING!  As much as I’ve enjoyed revisiting the show on their Saturday midnight broadcasts, MeTV airs edited syndicated transfers, often with two or more minutes cut from the show, Hulu inserts commercials, and both are running fuzzy video transfers that are years (if not decades) old. I’m happy the show is still on the air and available via streaming, but neither of these are perfect solutions, particularly for new audiences.

Lost in Space has never looked as good as it will look on Blu-ray, not even in its original broadcast. And going back to original negatives and remastering classic shows in HD is not cheap. If fans don’t support these efforts, studios will stop doing it and we’ll be forced to watch fuzzy old analog transfers for the rest of our lives. And I don’t know about you, but my eyes are not what they used to be.

Oh, the pain.

Update 4/7/15 – Fox officially announced the complete list of special features today.

Lost in Space – Blu-ray Special Features

  • New On-Camera Original Cast Interviews Featuring Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen, Guy Williams Jr. & Toni Williams
  • Original Cast Audio Commentaries (8 episodes) 
    • No Place to Hide (Un-Aired Pilot/Long Version) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • My Friend, Mr. Nobody (S1/E7, Airdate: 10/27/1965) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • Attack of the Monster Plants (S1/E14, Airdate: 12/15/1965) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • Return From Outer Space (S1/E15, Airdate: 12/29/1965) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen, Kevin Burns and Mike Clark
    • The Phantom Family (S2/E27, Airdate: 3/29/1967) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • The Anti-Matter Man (S3/E15, Airdate: 12/27/1967) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • The Promised Planet (S3/E19, Airdate: 1/24/1968) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
    • The Great Vegetable Rebellion (S3/E23, Airdate: 2/28/1968) w/Bill Mumy, Mark Goddard, Angela Cartwright, Marta Kristen and Mike Clark
  • Lost in Space: The Epilogue” – Special Cast Reunion Performance of Bill Mumy’s 1980 Un-Produced Script w/Bill Mumy, Mark Goddard, Marta Kristen, Angela Cartwright, Veronica Cartwright, Guy Williams Jr., Toni Williams, Kevin Burns and Robot B-9

Archive Material:

  • No Place to Hide – Original Un-Aired Pilot (Version #1/Long Version)
  • No Place to Hide – Original Un-Aired Pilot (Version #2/Short Version)
  • Guy Williams Screen Test for Lost in Space(1964)
  • Bob May’s Home Movies (1965)
  • Lost in Space 1965 CBS Advertisers and Affiliates Presentation
  • “Seven Wonderful Nights” Lost In Space Excerpt (1965/66 CBS Promo w/Dick Van Dyke)
  • CBS Network Season One Television Spots (1965)
  • CBS Network Season Two Television Spots (1966)
  • CBS Network Preemption Bumpers w/Jonathan Harris and the Robot (Season Two)
  • Lost in Space Season Two/ Main Title (with alternate/unused theme music by Warren Barker)
  • Lost in Space Special FX Outtakes (1965-68) (w/Lost in Space Rare Music Outtakes)
  • Original Dick Strout Fox Promotional Interview with June Lockhart and Guy Williams (1966)
  • Original Dick Strout Fox Promotional Interview with Jonathan Harris (1966)
  • Lost in Space Animated Special (1973)
  • Syndication TV Spots (1970s)
  • Syndication TV Spots (1983)
  • “Studs in Space” Promo #1 (Radio Promo for STUDS) (“Classic TV”)(1992)
  • “Studs in Space” Promo #2 (Radio Promo for STUDS) (“I’m Thinking”)(1992)
  • Never-before-released 20th Anniversary Interview with Irwin Allen (1985)
  • The Fantasy Worlds of Irwin Allen (1996)
  • Lost in Space Memories” (Program Interstitials for The Fantasy Worlds of Irwin Allen) (1996)
  • Lost in Space Forever” (Segment with Dr. Smith, Robot and Will Robinson Only) (1998)
  • “Never Fear, Smith is Here” (Jonathan Harris profiled on A&E Biography – 2002)
  • Lost in Space Animated Series Pitch (2005) (by Scott O’Brien)
  • The Ballad of William Robinson” (Music Video by Bill Mumy)
  • Jonathan Harris and Al Lewis on MANCOW(Chicago Radio Show)

“As-aired” CBS Versions of Original Episodes (6 episodes w/ commercials)

Photo Galleries:

  • Publicity Stills
  • Episode Stills
  • Behind-the-Scenes Stills
  • Vintage Merchandise
  • Props
  • Artwork

Special thanks to TVShowsonDVD.com which published Fox’s press release.   To listen to my chat w/ Angela Cartwright on “Hollywood Time Machine”, click here. It’s safe to say I swooned a bit during the interview. 

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UPDATE: How “The X-Files” Revival Impacts the Original – And Where to Stream it

17499_expediente-x-mulder-y-scullyUpdated 4/27/15 -New info in italics.

After more than 200 episodes, two feature films, and countless ripoffs loving homages, The X-Files is set to return to TV as a six-episode limited series from creator Chris Carter, with stars David Duchovny and Gillian Anderson reprising their roles as F.B.I. agents Mulder and Scully.

“I think of it as a 13-year commercial break,” Carter told Variety.

When The X-Files left the air in 2002, longtime viewers who had followed the series’ complex mythology for nine seasons were disappointed by a lack of closure. That frustration only grew when Duchovny and Anderson returned for Carter’s THE X-FILES: I WANT TO BELIEVE, a 2008 theatrical spin-off some fans found narratively unfulfilling.

Whether The X-Files – which earned 16 Emmy Awards, five Golden Globes, and a legion of loyal fans – should return (again) is academic; it’s happening as surely as the next alien invasion. But why Mulder and Scully are coming back now has a lot more to do with the old episodes than with new ones.

In short, The X-Files in 2015 is an under-valued property. At a time when streaming platforms distinguish themselves with big-ticket exclusives, the original 1993-2002 series is unusually ubiquitous, streaming on all three of the largest subscription video-on-demand (SVOD) platforms: Netflix, Amazon Prime, and Hulu Plus. Yet none offer episodes in HD, not even for purchase, nor is the series available on Blu-ray. And to make matters even more confusing, Netflix streams all nine seasons in 4:3 aspect ratio, Amazon Prime switches to 16:9 widescreen with season 5, and Hulu Plus switches to widescreen at the start of season 6.

A side-by-side comparison of the second episode from season 6 shows that Hulu is clearly streaming a native 16:9 transfer, while Netflix offers the same episode in a native 4:3 transfer (though neither are in high def). So what gives?

X-Files

To help explain this inconsistency, it’s important to remember that the original run of The X-Files essentially bridges television’s two aspect ratios: square (4:3) and widescreen (16:9). When The X-Files debuted in 1992, widescreen TVs were still a decade or so away from mainstream acceptance, but Chris Carter already had his eye on the future.

“When we began filming the show in 1992, we actually (except for maybe the pilot) considered HD (widescreen) all along,” he said in a Reddit AMA (Ask Me Anything) chat last year. “And so there was image and opportunity to expand and modify the aspect ratio.”

ms_09As many fans know, The X-Files switched officially to a 16:9 shooting format (1.78 aspect ratio) beginning with season 5 in 1997 (though Fox didn’t begin broadcasting in HD until 2004, two years after the series had left the air). Subsequent DVD releases have maintained the original 4:3 aspect ratio for the first four seasons with seasons 5-9 in 16:9 SD.

In my day job as chief inspector of the Aspect Ratio Police, I’m almost always an advocate of maintaining the format the creator intended. But, if Chris Carter protected even the earliest episodes for widescreen when he shot them, that implies his blessing. So where are the HD remasters?

Apparently, re-formatted HD transfers have already been created (at least for the early episodes), and those transfers have aired on the German satellite TV network ProSieben Maxx. (There are some good 4:3 to 16:9 comparison screenshots here.) Here in the U.S., the El Rey Network has also aired some episodes in what appears to be HD. But streaming is still all SD, all the time.

One possible reason we haven’t seen The X-Files streaming in HD is that Fox has a timeline in mind, probably tied to the revival. A new series creates demand for both a definitive HD streaming option and a Blu-ray release, with original fans revisiting an old favorite and new fans discovering a binge-worthy obsession. And nothing helps a commitment to a binge like a definitive end, which is what the new episodes are likely to offer.

If Netflix was willing to pay $500,000 per-episode for exclusive streaming rights to Friends remastered in HD, and Seinfeld is expected to generate more than $100 million when it sells, what would Fox get for an SVOD exclusive to more than 200 episodes The X-Files in HD? The truth, and the money, is out there.

In the meantime, enjoy The X-Files in all its 4:3, standard definition glory at these sites:

Update 4/27/15 – Netflix is now streaming 22 of the 24 Season 1 episodes in high definition. The list below has been updated to reflect that. 

SVOD Services (Episodes included in subscription fee) 
NETFLIX: Season 1 in HD (excluding 14 + 24). Seasons 2-9 in 4:3 (season 9 finale in 16:9)
AMAZON: Seasons 1-4 in 4:3, Seasons 5-9 in 16:9
HULU PLUS: Seasons 1-5 in 4:3, Seasons 6-9 in 16:9

VOD Services ($1.99/episode or $19.99/season)
iTUNES: Seasons 1-5 in 4:3, Seasons 6-9 in 16:9
VUDU: Seasons 1-5 in 4:3, Seasons 6-9 in 16:9
CINEMANOW: Seasons 1-4 in 4:3, Seasons 7-9 in 16:9
M-GO: Season 9 only, in 16:9

Thanks for Wallace McBride, Frank J. Gruber and Angela (aka The Lone Gunmen) for their help with this article. 

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TCM Takes First Step to Cutting the Cable Cord

Screen Shot 2015-03-22 at 10.48.25 AMIt’s the news classic film fans have been waiting for: you can now watch Turner Classic Movies without cable or satellite.  Sort of.

On Wednesday, Sony launched PlayStation Vue, an Internet-delivered, subscription television service designed to compete with traditional cable and satellite TV. And TCM is one of the 85 channels available to subscribers at launch. But before you pull a Norman Bates on your coaxial cable, be aware that there’s a catch. Actually, there are more catches than there were in ANGELS IN THE OUTFIELD.

Initially, Vue is only being offered in New York, Chicago and Philadelphia, with plans to “expand to new cities” at some, as yet undetermined, point. And the service is only available via Playstation video gaming consoles (specifically the PS3 and PS4, which retail for between $220 and $399), with iPad support expected “shortly.” And Vue is only accessible in the subscriber’s home so, while you can unplug your PS4 and carry it to your buddy’s house, your TV won’t come with you.

But wait, there’s more (catches)!

Screen Shot 2015-03-20 at 7.17.12 PMIf you decide to cut the cord and sign up for Vue, you’ll still need broadband Internet (like you do with any other over-the-top video service, such as Netflix, Amazon Instant, Hulu, etc). And while Turner Classic Movies is available, it’s not included in Vue’s basic, 54-channel “Access” programming package ($49.99 per-month). Oddly, TCM is bundled in the $59.99 “Core” tier with three other channels – all of which are sports-related: the Big Ten Network, the Golf Channel, and a regional sports channel (the Yankees’ YES Network in New York, Comcast Sportsnet Philly, or Comcast SportsNet Chicago). Ben Mankiewicz’s frequent references to baseball must have confused somebody at Sony.

Vue’s highest-tier “Elite” package offers all 85 channels (including TCM) for $69.99, and all tiers include a cloud-based DVR with unlimited capacity. There’s also a “catch up” feature, which allows you to watch any show or movie that’s aired within the last three days. If TCM supports this functionality – and that’s not yet confirmed – it would essentially make the last 40 or so films broadcast on the channel available on-demand, roughly half as many as are available at any time on the Watch TCM app. (No word yet on whether access to the app will also be available to Vue users for remote viewing, as it is to most authenticated cable and satellite subscribers.)

If your love for classics also extends to TV shows, NBC’s nostalgia-themed COZI TV is included in all Vue tiers. The only other way to get COZI is in the markets that carry it as a broadcast digital sub-channel, or part time on DISH Network and AT&T U-Verse. (I explain sub-channels here.) COZI also occasionally airs classic films that are controlled by Universal, including pre-1950 Paramount titles.

Now, let’s run the numbers for folks who decide to give Playstation Vue a try.

Playstation-Vue-Screenshot-05

With a monthly subscription fee of $59.99 paid to Sony, plus at least $40 for decent speed (10-megabit or more) broadband service paid to, you guessed it, your local cable provider (those bastards!) your monthly cost will net out at about $100. That may be a little less than you’re paying now for a basic cable/broadband package, but probably not much (although you’ll also be getting a gaming console and a full-featured DVD and Blu-ray player in the PS3 or PS4). Further negatives: Vue does not offer any premium movie channels (like HBO or Showtime) and Sony has yet to finalize an agreement with Disney, which means no ABC, ESPN, or any of the Disney channels at launch. (AMC is also not yet available, but is promised in April as part of the Access package.)

Screen Shot 2015-03-20 at 6.53.16 PMOutside of classic film fans who live in markets that don’t offer TCM – which is unlikely in major cities like New York, Chicago, and Philly – Vue, at least as currently constituted, probably isn’t much of an improvement. But, as the first legitimate option for watching TCM without a cable or satellite subscription, it’s an extraordinarily significant development for classic film fans.

What comes next is hard to say, but it’s clear that the traditional cable and satellite business model of large bundles of channels available from a single, local monopoly (or duopoly) is falling apart faster than an IKEA couch.

You’ve probably already seen the headlines. Apple is rumored to be planning an Internet-based, 25-channel cable-buster to launch later this year (viewable via their Apple TV box at a monthly cost of $30-$40) and DISH’s $20-per-month Sling TV service is already available via Roku, Amazon Fire TV, computer, and iOS and Android devices. Oddly, TCM is not offered on Sling, even though nearly all its sister Turner networks are.

With the HBO Now standalone streaming service set to launch in a few weeks (at $15 per month), and a subscription-based Showtime to follow, it’s inevitable that opportunities to access TCM in non-traditional ways will increase. And with the extremely user-friendly Watch TCM (launched in November of 2013), Turner has the basic architecture in place to launch a standalone, subscription based version of TCM. The challenge, as always, will be how to do that without destroying the business model that’s kept the network on the air for the last 21 years.

Playstation Vue is TCM’s first step on the Yellow Brick Road to a streaming future. Hopefully we’ll get to Oz sooner rather than later.

wizard-of-oz-original1

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