Could Madame Tussauds' wax figures come to life? Suspended animation (putting life on hold) was explored in the episode, 'The Fine Art of Crime' on the TV series, 'Wonder Woman' first went on air in October 1978. In the episode, real people were placed in a state of suspended animation by a small stream of electrons controlled by a neuro-impulse modulator. The NIM (Nuclear Instrumentation Modules) unit, created in 1969, would produce an electrical signal which froze a person indefinitely. 

In March 2014, surgeons at the UPMC Presbyterian Hospital in Pittsburgh, Pennsylvania reportedly begun trailing a groundbreaking emergency technique which saw 10 patients with fatal injuries placed in suspended animation ("where people are not alive but not yet dead") to buy doctors up to 2 hours of time in order to operate on those injuries. Surgeon Samuel Tisherman insisted, "We are suspending life, but we don't like to call it suspended animation because it sounds like science fiction, so we call it emergency preservation and resuscitation." 

Surgeon Peter Rhee from the University of Arizona in Tucson had assisted in the development of the technique made the point, "If a patient comes to us 2 hours after dying you can't bring them back to life. But if they're dying and you suspend them, you have a chance to bring them back after their structural problems have been fixed." 'New Scientist' elaborated, "It takes about 15 minutes for the patient’s temperature to drop to 10°C. At this point they will have no blood in their body, no breathing, and no brain activity. They will be clinically dead. 

"In this state, almost no metabolic reactions happen in the body, so cells can survive without oxygen. Instead, they may be producing energy through what’s called anaerobic glycolysis. At normal body temperatures this can sustain cells for about 2 minutes. At low temperatures, however, glycolysis rates are so low that cells can survive for hours. The patient will be disconnected from all machinery and taken to an operating room where surgeons have up to 2 hours to fix the injury. 

"At normal body temperature – around 37°C – cells need a regular oxygen supply to produce energy. When the heart stops beating, blood no longer carries oxygen to cells. Without oxygen the brain can only survive for about 5 minutes before the damage is irreversible. However, at lower temperatures, cells need less oxygen because all chemical reactions slow down. This explains why people who fall into icy lakes can sometimes be revived more than half an hour after they have stopped breathing." 

The UK 'Mirror' reported in 2016, space agency NASA was investing up to $500,000 in research for the development of the "cryosleep" system as part of its Phase II - Innovative Advanced Concepts Program. As explained, "The cryosleep system works by chilling humans and artificially inducing a state of hypothermia so astronauts can hibernate for up to two weeks. A similar technique is already used to cool the body of someone who has suffered a cardiac arrest in a bid to avoid brain damage."

SpaceWorks collaborated in the development enthused, "Medical progress is quickly advancing our ability to induce deep sleep states with significantly reduced metabolic rates for humans over extended periods of time. NASA should leverage these advancements for spaceflight as they can potentially eliminate a number of very challenging technical hurdles and ultimately enable feasible and sustainable missions to Mars." 

Jacqueline Ronson of  'Inverse Science' informed, "Bears don't hibernate. What bears do, perhaps better than any other species on Earth, is chill. Every winter, grizzlies crawl into their dens, bed down, and enter a state called torpor. Their internal temperatures drop by 10 degrees, their breathing slows with their heart rate, and their metabolic activity drops as they begin to cycle nitrogen that would otherwise be excreted in urine to prevent muscle atrophy. 

"This feat of physiology is remarkable on its own, but the real reason spaceflight entrepreneurs are so interested in torpor is what would happen if you poked a resting bear: It would wake up and eat you. Torpor isn't deep sleep. It is sometimes considered a type of hibernation, and the two are similar. In both cases metabolic activity slows, although true hibernation is more extreme — some animals can reach near-freezing internal temperatures and thaw out just fine. It's the closest thing the natural world has to suspended animation, a way to avoid the negative physical and mental effects of time in space by leveraging a mammalian superpower — one humans might, on some level, possess."

John Bradford of SpaceWorks Enterprises conceded, "We still really don't understand a lot of the triggers and mechanisms for even why some animals do it." Jacqueline Ronson continued, "His thinking? If we can get a handle on how our mammal cousins shut down without suffering long-term ill effects, we might be able to replicate those results in ourselves.

"Here's what he imagines: Astronauts entering pods, slowly losing consciousness, and letting their internal temperatures drop as engines fire up and blast away. Six months later, these unconscious explorers wake up on Mars without recollection of the journey. NASA buys into this vision, which sounds science fictional, but might become a key component of the plan to get humans to the Red Planet this century.

"Spaceworks is now in the second phase of a NASA-funded project to research the feasibility of inducing torpor in Mars-bound astronauts in order to keep them healthy and save money. As it turns out, the strongest argument in favor spaceflight hibernation is economic. Bradford estimates that a torpor habitat and launch system would weigh half as much as a traditional living space loaded up with food and oxygen tanks. Shipping costs to Mars work out to about $50,000 a pound, so when you’re talking savings in the realm of hundreds of tons, even a very large investment in research and design could pay off. Plus, torpor might offer protections against bone density loss, muscle atrophy, and possibly even space radiation for astronauts on the long haul."

John Bradford stated, "They're still looking for good solutions to address those, and consequently you end up with multiple technology paths trying to solve each one of these individually, and we think we can with this one technology offer some benefits to all of those." 'Inverse' continued, "From a medical perspective, it's unclear at this point whether stasis would in itself protect against cellular damage from radiation, but from an engineering perspective, it’s a lot easier to implement shielding if astronauts are contained to a capsule.

"Which all brings the question back around to feasibility. Humans do not typically hibernate, but many mammals do, and there are reasons to believe that we have our biology can be hacked to create a similar response. The best evidence is in rare and extraordinary cases where people have been found apparently frozen to death, only to come back to life once they warm up. As biochemist Mark Roth memorably put it in a 2010 TED Talk: 'You're not dead until you're warm and dead.'

"In 1999, Anna Bågenholm spent 80 minutes trapped under a frozen waterfall in Norway, and her internal temperature dropped to 57 degrees. Her heart was stopped for 3 hours, and yet thanks to a careful medical resuscitation, she came back to life and recovered almost completely. In 2006, Mitsutaka Uchikoshi of Japan got lost in the forest and was found 24 days later in a hibernation-like state. His body temperature was just 72 degrees, and he had no recollection past the second day of his absence. He also recovered.

"Most of the medical research into human stasis is focused on finding ways to safely slow human metabolism for a period of a few hours to a few weeks. To get to Mars, that timeline will have to be expanded significantly, although that work will certainly provide crucial insights that will guide the future of space hibernation." Jason Derleth of NASA maintained, "Phase II decisions are always challenging, but we were especially challenged this year (2016) with so many successful Phase I studies applying to move forward with their cutting-edge technologies. I'm thrilled to welcome these innovations and their innovators back to the program. Hopefully, they will all go on to do what NIAC does best - change the possible."

On 'Wonder Woman' viewers learnt art sought to interpret life, not merely to imitate.



By July 1979, "the name Wonder Woman was one known by three generations of Americans." 'Fantastic Films' reported, "Super-heroes have been a staple of mass media since the days of Homer's 'The Iliad'. 'The Six Million Dollar Man' and 'The Bionic Woman' enjoyed considerable success between 1973 and 1978. These shows featured half-android humans performing slightly fantastic feats on behalf of the United States government. With the success of 'The Bionic Woman', 'Wonder Woman' was a natural for television adaptation." 

'Ancient Astronaut' observed, "The outbreak of phenomenally successful films in the science fiction field has caused television to jump to attention with both feet." 'Starlog' noted, "The Amazon Princess began her career in 1974 as an ABC-TV movie and eventually leaped from film to specials to mini-series to full-fledged weekly series during her 5-year video career. Sort of a female version of Superman, Wonder Woman used her athletic skill, impenetrable bracelets and magic lasso to combat a variety of planet-shaking catastrophes."

'TV's Dynamic Heroes' added, "During the 1970s, Wonder Woman joined Superman, Batman and Robin, Aquaman, Flash, Green Arrow and Plastic Man, on the Saturday morning animated cartoon series 'Super-Friends'. This hour-long series presented various members of the Justice League of America fighting villains who were concerned with such activities as blackmailing the Earth by polluting its waters."

In one episode of 'Wonder Woman' called 'The Pluto File', man-made earthquake was explored. The character of professor Otis Warren said, "Our ultimate goal is to control and eliminate earthquakes, not create them. Our goal is to prevent, not create earthquakes." In 'The Man Who Made Volcanoes', viewers met professor Arthur Chapman, a former government physicist who successfully invented a machine using laser beam powered by nuclear energy to create volcanoes around the world in the name of peace.

The Bible stated that God "has set a day in which he purposes to judge the inhabited Earth (also known as Terra)." On 'Wonder Woman', Andros, an alien from outer space and an old friend of Socrates, visited Earth as a representative of the Council of Planets to pass judgment in the episode 'Judgment From Outer Space'. The development of atomic power on Earth posed a threat to the outer space planets, hence the Intergalactic Council who had been monitoring Earth since the Stone Age (Neolithic) voted to destroy the planet. Andros who had been observing the planet for over 3,000 of Earth years appealed against the judgment said Abraham Lincoln once accused him of being impatient with humanity. 

On Earth, Andros asked major Steve Trevor to arrange for him to meet with Franklin D. Roosevelt, the US Congressmen, then Josef Stalin, Winston Churchill, Charles de Gaulle, Chaing Kai-Shek, Benito Mussolini, Michinomiya Hirohito and Adolf Hitler. In one scene, Andros told Paul Björnsen of the Nazis, "You spoke to me of your cultural inheritance. Your inheritance is in a direct line with Genghis Khan, Attila. You celebrate the darkness in the human soul."

In the end after Wonder Woman convinced Andros democracy worked, he granted the humankind 50 years (to September 1992). Andros told the Nazis, "My people discovered basic atomics some thousands of your years ago and we experimenting with it and then outgrew the uses of such powers, such weapons. We developed other uses: more effective, less clumsy and polluting. We know other planets where atomic explosives were discovered leading to war and destruction and the planets did not survive. Earth is entering the atomic age and if you do not outgrow your emotional primitivism, you'll destroy yourself and others." 

In 'Mind Stealers From Outer Space', Andros' son, Andros II returned to Earth as a representative of the Planetary Council to arrest the Skrill who came to Earth to steal knowledge - human minds - to use it on other planets in an evil way. Viewers were told Andros II came from the planet Octarus which was 37 light years from Earth, in the star system Signus Alpha. In 'Seance of Terror', viewers were introduced to a boy named Matthew Koslo who had psychic powers and who was being used to sabotage international peace. 

The formation of a Fourth Reich was discussed in the episode 'Anschluss '77'. Fritz Gerlich, a Nazi Intelligence Officer who was living in South America teamed up with Dr. Heinrich Von Klemper, who since 1945, tried to clone Adolf Hitler for the 39th anniversary of the Austrian anschluss. The cloning involved "an acceleration of the healing process through cellular re-genesis."

In one scene the Hitler clone said, "More than 47 years ago I stood in a small Munich beer hall and spoke to a small band of loyal followers. I was scorned as a powerless nobody but my small band of Brown Shirts grew into thousands and the thousands into millions and we conquered a third of the world! … I again speak to a small band of loyal followers brought here from all over the world. Again we shall grow into millions. History shall repeat itself. A new Anschluss has begun!"

Stuntwoman Jean­nie Coulter expressed, "People think they can jump right in and do stunts, but that's just not true," Jeannie Epper explained, "You have to be blessed with an incredible sense of timing. I know how to perform in front of a camera, and that's really what it's all about. We're just out there to create the illusion." Jeannie Epper was the principal stuntwoman on 'Wonder Woman'. She doubled for Lynda Carter. However, "I didn't do all of Lynda's stunts. I did probably 75% of them. I did the high jumps off buildings, all of her running, jumping and car work.

"A lot of times I would double her as Diana in a jeop­ardy situation so I was doing two characters, which kept me very, very, busy. The character was so versatile. Being a superhero, there wasn't anything she couldn't do. Ride a motorcycle, or a horse; drive a car; jump to the tops of buildings. Sometimes it would be too much for me so we brought someone else in to do, say, the motorcycle stunts.

"We brought in the best woman cycle rider in the world, Debbie Evans, because Wonder Woman should ride a motorcycle as well as she does everything else. Working on Wonder Woman taught me so many things. We did a lot of stunts that took total precision and concentration. I would run and jump through a plate glass window, and maybe on the other side would be a desk and a plant. I had to jump totally over it, land on my feet and keep running doing every­thing with grace and ease. Now, that is very hard to do! I was almost trying to be Wonder Woman. Running along the tops of buildings, 5, 6, 7 stories tall, along the edge without a safety wire, keeps you on your toes! I was Wonder Woman. You get in­to that costume and put everything on and say to yourself, 'Now, Jeannie - you've got to perform!"

Lynda Carter told 'Good Housekeeping', "People thought I got some workout, leaping from buildings, running for miles. Not really - I'd run about 30 feet, stop, do it again, stop - film it just so. Those stunts didn't add up to much. I always had to exercise conscientiously and still do (in 1980). Body stretches start my day, even before I get out of bed. From then on, I keep active and try to get rigorous exercise in."

Diet, "that's the million-dollar question. I diet constantly. I watch my carbohydrates and if I go on an eating binge, I compensate the next day. I also drink lots of water. Luckily, I'm not a sweet-lover, sugar tends to depress me. My one weakness is Mexican food. I'm part Mexican and have had my recipes handed down. I love to whip up Mexican dishes once in a while."

Speaking to 'Body Forum' in 1980, Lynda Carter disclosed, "I jog about a mile and a half to two miles in the morning. Then I come home and I do some floor exercises. I've got a stationary bicycle that I use, too. As well as a complete gymnasium. But I'll vary the routine … In any case, though, I try to get some kind of exercise everyday. I guess I've always been health conscious. My mom has been extremely athletic ever since I can remember. The older you get, the more conscious you become of your skin, and your hair, and your body. And if you don't begin to do something to maintain these things, you'll just waste away.

"First of all, I'm a great believer in drinking lots and lots of water. Bottled water, that is. I feel people have to cleanse their skin from the inside out - as well as the other way around. Of course, at certain times of the month, I have a tendency to retain water. So then I take lecithin which is a natural diuretic. It keeps me from getting all puffy-looking. I also use a facial soap and water.

"And I use lots of night creams. I try not to wear makeup when I'm not working - to let my skin 'breathe' and I wash my hair everyday. I try not to use a blow dryer on my hair, either. Except when it's absolutely necessary. Because I find that too much of the hot air and stuff will dry your ends out. And then they split. I also take a vitamin pack every other day that contains just about everything you can imagine as far as supplements go. Vitamin A, calcium, magnesium, iron, potassium, selenium, Vitamin B-1, -2, -6, B-12, biotin, Vitamin E, wheat germ oil, rose hips ... There are 7 capsules in all and they really work wonders!

"Look, I don't spend a whole lot of time on my appearance. At the most, I might - on an average - spend half an hour daily on my face and another hour and a half on exercise. It's my jogging and the routine afterwards that takes the most time. But I'm not fixated on how I look or anything. I watch what I eat. I guess everybody has to. With me, I have a tendency to gain too much. Or to lose too much. When I gain, it shows up immediately on my face. It gets real round. And if I feel that I'm putting on extra pounds, I just stop eating. Period. Maybe I'll have a small green salad all day long - and that's it.

"Don't get me wrong, I love to eat. But only when the mood hits me. I adore Mexican food. Chiles. Enchiladas. But I prefer it home-cooked because, in restaurants, they usually use too much flour. And far too much grease. I'm just naturally energetic. Overly energetic sometimes. But on the rare occasions when I feel tired or a little sluggish, I'll take a spoonful of honey. Bee pollen, too, is very good for that. Or I'll have some juice and the natural sugar will perk me up. I don't eat very much sugar at all - which is probably why I've got so much energy in the first place!

"You know, if you're eating clean foods, and you're exercising your body and cleansing it with water - both inside and out, and you're thinking good thoughts about yourself, that's really where it's at. Self-image has got a lot to do with it. I feel that everyone has got their own beauty. Sure, people tell me I'm beautiful. I've been blessed with whatever I've got - and I'm thankful for it. Very thankful. But it's up to me to maintain it. And in that respect, I'm no different than trillions of other people who enjoy looking and feeling their best."



Wonder Woman was 2,527 years old when the CBS version of the series went on air in 1977. Born Princess Diana of Themyscira, Wonder Woman grew up in Paradise Island, founded around 200 BC. Her mom was Queen Hippolyte of the Amazons and her dad Ares. In the first 'Wonder Woman' comic book, readers were told, "The planet Earth is ruled by rival gods - Ares (or Mars), god of war, and Aphrodite (or Venus), goddess of love and beauty. Ares is determined that men shall rule with the sword. But Aphrodite has vowed the women shall conquer men with love." In 1993, 'Men Are From Mars, Women Are From Venus' by John Gray turned out to be a phenomenal No. 1 New York Times bestseller.

It was concluded the 25 was how old Lynda Carter was when she first breathed life into the cartoon character of Wonder Woman in 1975 (born in 1951) and 27 was how old she was when the series on CBS was first shown. Set 32 years after the end of World War II, at which time in 1941 when Wonder Woman had to leave Paradise Island for the outside world to take on Adolf Hitler and to protect the Free World from the Rome-Berlin-Tokyo Axis, the present-day society (1977) provided the series "a more 'geopolitical' tone" as Wonder Woman, alias Diana Prince became an agent for the Inter Agency Defense Command (IADC), a CIA-like organization.

Diana worked at IADC headquarters in Washington D.C., alongside a super computer known as IRAC (Internal Retrieval Associative Computer) and a robot called Rover. Lynda Carter explained, "They thought the World War II storylines were too limiting with the only major villains being the Nazis. The thinking was that if we took it into the 1970s, there would be more to explore, from a creative standpoint."

After 14 specials were produced (including the pilot) for ABC to show when the network preempted other programs such as 'The Bionic Woman', Alan Sloane, then chairman of Warner Bros. sold the 'Wonder Woman' series to CBS for the 1977-1979 seasons, to be shown on a fixed weekly time slot on Fridays. On ABC, Lynda Carter recalled, "We pull such big ratings all of the time so they put us against the hardest competition that they can."

In its first season on CBS, the network reported the 'Wonder Woman' series was growing in popularity among American viewers. By its last season, 'Starlog' reported the average ratings of 'The New Adventures of Wonder Woman' for the first 12 episodes of the 1978-1979 season "was actually several points higher than the same period of the previous year." However that was insufficient for CBS which "temporarily shelved" 'Wonder Woman' after the 1978-1979 season. The network then segued into 'The Incredible Hulk' series which provided lead-in for 'The Dukes of Hazzard' and 'Dallas' on its Friday night TV lineup.

On CBS, the contemporary setting afforded 'Wonder Woman' the opportunity to explore more science fiction stories. Charles Fitzsimmons stated, "Now that we're with a new network, we're taking 'Wonder Woman' out of the World War II period and updating it to today (in 1977). We want the show to come into the era of science fiction, to encounter all of the things that are popular with people today. We don't want to deal merely with the Nazi threat, show after show, anymore. We want a faster pace."

Bruce Lansbury spoke to 'Starlog', "We're going for what we call 'subculture' shows so we can better appeal to adults while attracting the teen audience. We'll deal with the beach scene ('The Deadly Dolphin'), the male heart throb scene (Leif Garrett guest starred) and the disco scene. 'Wonder Woman' was a show based in the past the first year (1976-1977). They never shook off the fact they were doing a comic book show.

"I came in after 8 shows last season (1977-1978) and thought what we needed was a quicker pace, so we dropped the spoof aspects. We took the show seriously and will continue to do so in the new season (1978-1979). If people just look at it as a fantasy show that sometimes approaches science fiction, I think they'll have some fun with it. We have a show which Alan Bennett wrote called 'Disco Devil,' which has a villain controlling one particular paranormal who you could call 'John Travolta with the Glowing Eyes.' He can zap your memory and transfer your thoughts into his mind." 

Formicida, Bruce Lansbury insisted, "She's a friendly villainess. She goes after people who hurt the ecology. Other times we plan to have a man who wants to hold up the television networks, and a doctor who works out of a submarine and has a particular knack with laser technology. Then there are our science-fiction stories: one where a fugitive from another world seeks refuge on this planet. In another, there's a man in the future with a time machine. His evil aide arranges to be kicked into our time because she knows something that will benefit her."

The brave new world was explored in the 17th episode of the 1977-1978 season, 'IRAC Is Missing'. Written by Anne Collins and directed by Alex Singer, Ross Martin played Bernard Havitol, a leading authority in the field of computer science. In the episode, Havitol was hell-bent on taking "total control over the modern world" via communication satellites. Viewers were also introduced to his robot CORI.

Havitol told Diana, "There are almost 4 billion people (in 1977). The world is already too big. Computers are running right now out of necessity. I have access to every computer on the face of the Earth. I can spend myself cash at any bank in the world. I can control every bit of information in every computer everywhere in the world. I can control the world."

Havitol claimed to have 50 drone bases all over the world which could control 1000 computers at each center. With access to the satellites, Havitol could now communicate with all of the drone bases at the same time. The network first aired the episode in February 1978 and reran the episode again in June 1978. Havitol also told IRAC he found the sound of computers, sound of knowledge more satisfying than the cacophony of the human species.

'American Youth Magazine' reported in 1979, "Six months after the Japanese bombed Pearl Harbor, Wonder Woman first appeared in a continuing comic book series. Written by psychologist William Moulton Marston until his death in 1947 under the pen name of Charles Moulton, the comic book was based largely on his research and his belief in American democracy. Marston was interested in the Greek goddesses and legendary Amazons."

'StarForce' reported in 1978, "With the phenomenal success of Superman and Batman in the late 1930s, comic books had become one of the most profitable branches of publishing. Of all these cartoon demigods, only Superman, Batman and - of course Wonder Woman have survived until now without interruption. America was about to join the battle of World War II when Wonder Woman bounded onto the comic book scene.

"Although Marston explains how his women come to Paradise Island, he never tells us how the Amazons manage to give birth to the many young women who live there. One explanation may be parthenogenesis - cloning duplicates of themselves in a scientific 'virgin birth' process. John Wyndham explored this idea in his novel, 'Consider Her Ways' (1956), which told of a future society in which men have become extinct due to a mutated virus. The all-female society clones its replacements, and eventually they learn how to clone a male from a female body. The idea is soon discarded, however, for the women can think of no good reason for bringing back the male sex."



Produced by BBC Scotland and created by George Gallacio of 'Doctor Who', 'The Omega Factor' first went on air in Britain in June 1979. Originally 13 episodes were ordered however George Gallacio successfully negotiated to reduce the number to 10 but still retained the original budget to make the series. Filmed in Edinburgh and at the studios in Glasgow, 'The Omega Factor' was initially called 'The Undiscovered Country' from Shakespeare's 'Hamlet'. Jack Gerson was the head writer.

Centered around Department 7, a government agency devoted to investigating the supernatural and psychic phenomena, James Hazeldine played journalist Tom Crane. One commentator observed, "'The Omega Factor' was way ahead of its time, and is an obvious inspiration for 'The X-Files' and similar shows." In one episode, Tom Crane said, "I think there's some conspiracies going on with the aim to take over the world - not by force, not with guns but with the sort of weapon we're using here (intelligence) - something much more powerful than guns, minds."

In December 1978, the 12th episode "Gault's Brain" of the TV series, 'Wonder Woman' went on air. Written by Arthur Weingarten from the story by John Gaynor, about billionaire Harlow Gault who died but his cognitive organ still kept alive as he schemed to take over the role of chairman of the board of Gault Industries - a major government contractor, by driving down the company's stock. John Carradine played the voice of Harlow Gault. Gordon Hessler directed. Gault's assistant, Tara, found a suitable body in 25-year-old Olympic decathalon hopeful Morton Danzig for Dr. Crippin to implant the mind of a 70-year-old man who had telekinetic powers. The episode ended with Gault's brain, Tara and Dr. Crippin driving off to return again in the future to create more mayhem.

In casting for Wonder Woman, the producers decided on Lynda Carter as 'Los Angeles Times' learnt, "Her chat is always accompained with a dazzling smile, so naïve and delicious that she seems to mock of the things she says ... The naïvete of that smile would bring balance to the sensuality of her body." Kitty O'Neal, Jeannie and Stephanie Epper, Debbie Evans, Sandy Gross and Beth Neufer all performed the more dangerous stunts.

"The casting-couch is not dead, it's simply disguised ... That's where I think (the Women's) Lib should come in," Lynda Carter told 'Photoplay' in 1977.  "No one ever got a really big part because they did or didn't. The ability has to be there, the talent. There are those who put themselves on the line and never got the part. And there are those who didn't, and did … On the other hand, Hollywood has many pluses to offer. It is a dream factory. Where else can someone make this kind of money acting, which is fun to do, and having loyal fans adore them?"

By the second decade of the 21st century, reboot, remake, revisit, re-imagining, rebirth, revise, redo and reset became common words to describe the latest Hollywood projects where "everything old is new again." Director Matthijs Van Heijningen spoke to the 'Los Angeles Times' in 2011, "It is slightly strategical to do something that's familiar (because it's usually easier to sell something that is familiar to audiences). But I thought I could give the movie some of my own flavor as a filmmaker. It's a lot like making a commercial. There's already a story, created to sell a product. So as a director, you just have to find a way to express your own ideas inside of that framework."

Matthijs Van Heijningen believed the remake mania was rooted in the concentration of power on the corporate side of the studio system as was told to the 'Los Angeles Times', "In the '70s, no one was really told what to do. Artists were free, whether it was (Roman) Polanski making 'Chinatown' or David Bowie going into a studio and coming out with 'Ziggy Stardust' a month later. If art is controlled too much by commerce, like it is now (in 2011), it's going to always go the safe way, which is to redo what has been done before."

The 'Los Angeles Times' reported, "In the 1970s, with the studio system in a state of collapse, a generation of New Hollywood filmmakers seized power, inspiring a decade of auteur-driven artistry. But by the 1990s, Hollywood was once again firmly in the grasp of media behemoths. Intent on bringing order and sustainability to their often-chaotic studio subsidiaries, they began systematically developing the kind of film franchises and remakes that were easily marketable and offered predictable profit potential."

Nathan Kahane, chief of Mandate Pictures, hired Spike Lee to direct a remake of 'Oldboy' (2013 release) argued, "If we were simply using the title as a marketing hook, it might earn us about $17 at the box office. You have to look at the karmic origins of a project to see if there's a real reason for reinterpretation or if the movie is just inspired by commercial intent. There's definitely no brand value in 'Oldboy', since most of the true fans are furious with us for doing a remake anyway."

Bill Kelley of 'Sun Sentinel' reported in October 1985, "It's called 'the burnout theory', and we've all heard it applied to novelists, professional athletes, business executives and other people in high-level, demanding jobs. It means they've lost their touch, whatever made them special. It frequently rears its head in the television industry, too - only here, it's not limited to people. In fact, most of the victims of the burnout theory in network television aren't human at all. They're TV shows. The list of shows affected by the burnout theory is almost endless. But to qualify for admission to this unhappy fellowship, two factors are essential: The show has to be a series; and, at one time, it has to have been very popular."

By the 3rd week of the 1985-86 TV season,  the burnout theory was said to be "in full flame, roaring its way through the prime-time lineup." Among the shows feeling the burnout was 'The Fall Guy', which was in its 5th season. Previously a ratings winner in its Wednesdays time slot, ABC decided to move the show to Thursdays - in direct competition with 'The Cosby Show' of NBC and 'Magnum, p.i.' of CBS.

Andrew Schneider of 'The Fall Guy' declared at the time, "We are petitioning ABC to go back to our old slot, because the new show they put there ('The Insiders') is not doing as well as we were, and we're getting slaughtered opposite 'Cosby' (attracting only 12% of the viewers compared to 48% audience share for 'The Cosby Show'). We don't think the show is tired. We think we could get this and another season (1986-87) out of it ('The Fall Guy'). And I think if they move us, we'll get a 6th season.

"There's a lot of life left in the show. But all of ABC is in disarray right now; several shows would like to get into that Wednesday time slot, because Wednesday is ABC's best night. To give you an idea, ABC now (in 1985) is where NBC was a couple of years ago (around 1983), when it was in 3rd place: There are no good nights, except Wednesday, thanks to 'Dynasty', which is very popular and airs Wednesday."

'The Fall Guy' was considered "one of the most physically exhausting shows on television." Andrew Schneider informed, "Each episode takes 6 to 7 days, plus 2 days for the second (stunt) unit. Viewers come to expect that at the end of the half hour, they're gonna see a big stunt, and then there's a chase or something at the end of the hour, with more stunts. So it's tough, especially when we get toward Los Angeles 'fire season', which we're close to now (early October 1985), when you've really got to be careful with explosives."

An episode of 'The Fall Guy' costed $1.2 million to make. In order for its supplier, 20th Century-Fox Television, to make a profit in syndication, 'The Fall Guy' required to have over 100 episodes but the network, ABC was said "picked up some of the tab." Richard Kobritz, a former senior vice-president/production at Warner Bros. Television advised, "It's (syndication) not their (network) domain. That's the supplier's problem.

"TV shows are like little soldiers, and you can only move 'em around so much before no one wants to play with them anymore. I hate to sound cynical - and it's not cynical, really - but yeah, the saying is true, when a network is failing, moving those shows around is like rearranging the deck chairs on the Titanic. It's still a sinking ship. The networks have a schedule to protect, and they're not going to squander a valuable time period on a show they feel has already seen its best days. They don't protect those shows in the way they protect, say, 'Cosby'. How'd you like to be the people making 'Diff`rent Strokes'? Here's a show that NBC dumps, ABC picks it up, and then it really bottoms out (with a meager 14 share for its ABC debut)."

One executive at the Warner Hollywood Studios lot revealed, "God, look at 'The Love Boat'. That would never have been back this season (1985-86) if ABC hadn't been stuck with a 2-year renewal that was grandfathered in two seasons ago. 'Love Boat' is finished. They've had every guest star in the world, been to every port in the world - who cares anymore? It had the lowest season premiere rating in like 9 years this season. But a few seasons ago, it was unstoppable - 'Love Boat' and 'Fantasy Island' on Saturday nights."

Richard Kobritz made the observation, "What was brilliant, shining and bright in the first couple of seasons eventually pales. It will happen to 'Cosby' eventually. Look at the invincible quality of 'The Dukes of Hazzard' in its first two years - then look at its last, wheezing year and a half. It's terminal. Everything on television is. It's just a matter of how long. The bottom line is, the public's getting it for free. And they're very fickle."



Glen Larson ranked with Norman Lear and Aaron Spelling as one of television's most prolific producers. "('The Fall Guy') wasn't an easy show to sell," Glen Larson explained. "We didn't sell this in a conventional way. This is the most unusual pitch that ever took place in television … We took this idea of this song ('The Unknown Stuntman') and instead of going in pitching anything we just went in and sang the song. At the end of the singing of the song, they (the ABC buyers) said, 'Go write the pilot.'" 'The Unknown Stuntman' was written by David Somerville, Gail Jensen and Glen Larson. 

"The pilot was a joy because it just came together," Glen Larson recalled. "We kept evolving even during the pilot, you know, we found some other ideas; what we can do." In all, 112 episodes were produced and originally ran between 1981 and 1986. Described as "a prime-time extension" of the 1978 picture 'Hooper' about Hollywood stuntmen, Glen Larson said of 'The Fall Guy', "I think everything is derivative. It's derivative of life. It's not so much what you're doing as how you do it. You sit behind a desk and you'll be surprised at how alike all the ideas are. The networks knew what they're looking for, and if you sell a show it's because it's something the public wants." 

At the time, stuntmen were said to be in vogue - in the movies and on television. Glen's idea was each episode would feature a few scenes showing "an insider's view of moviemaking with the accompanying stunt work that may or may not have any bearing on that episode's story." Heather Thomas remarked, "I think it's one of the first shows that showed behind the scenes as far as stunts were concerned. They didn't have extras on CD in those days that would show you the making of and they never even thought the public would even be interested in the making of. Something Glen touched on." 

Lee Majors played Colt Seavers, who earned $5,000 a day doing two jobs: as a Hollywood stuntman and in his spare time working for a bail bondswoman as a bounty hunter, tracking criminals who had jumped bail. "I really wanted to do a show about a modern-day bounty hunter because our peculiar bonding system makes them a free agent," Glen Larson continued. 

Originally, 'The Fall Guy' was sold to ABC as a children's program because of the stunts. In its first season, 'The Fall Guy' was shown back-to-back with 'The Greatest American Hero' and provided lead-in for 'Dynasty'. However Glen Larson insisted, "We want to make this a show for adults. I'm convinced we're doing a more sophisticated show than ABC expected." 

At its peak, "The show ('Dynasty') was seen by a hundred million people a week globally," Catherine Oxenberg remembered. Pamela Bellwood added, "It really became known for the kind of superficial excess that the '80s represented." Esther Shapiro concurred, "I like to think of the show, as I've said before, like a glass of champagne between friends and lovers at 10 o'clock (at night). It's just pure enjoyment." 

Bill Conti expressed, "It's a brand new show. The very first thing that was going to be said about it is its little main title. No matter how everyone think you're waiting for the first word while subliminally the music comes on first and no one is talking. That's a heavy message to carry." Lloyd Bochner believed, "This was a kind of fantasy world many people admired. This kind of heightened picture of American riches. And many people strove for that kind of existence. It was pop culture. It had quality. It had class. It had style." 

On 'The Fall Guy', Lee Majors had his own stuntman Mickey Gilbert who doubled for Lee for the more dangerous stunt work. "But I do as much as I can," Lee had said. "I used to do a lot more of my stunts. But I'm 42 (in 1981) and it's about time I slowed down a little bit. That's an age when you’re old enough to know better but young enough to try." 

Glen Larson also pointed out, "The only people who thought the show would be a hit were the few who had seen the pilot before it went on the air. Even if we stopped the show today (in 1982) Lee would come out of it with a turned-around career. There was no audience sitting out there by the dial waiting for Lee Majors and everyone who saw it said, 'I had no idea Lee Majors could do that kind of humor and grace and charm.'… I ran into Lee Majors in an airport and I had worked with Lee on 'The Six Million Dollar Man' - I developed that show. So we stood there, he was going one place and I was going another, and we made the deal in the terminal." 

As co-producer, Lee Majors observed, "It was a benefit for Glen being in the office and for me being on the set. It worked well ... I also made some creative suggestions. For instance the star cameos in every episode were more or less my idea." Heather Thomas was 23 when she played the part of stuntwoman-in-training Jody Banks on 'The Fall Guy'. Heather told 'TV Star' in 1985, "Anyone can make it in Hollywood, if they know the right people. But the trick is to stay there. If a beautiful girl has a boyfriend who knows somebody, then she can get a small part on someone's show. But once you've got the role, the hard part is staying around." 

Growing up in an upper-middle-class, liberal intellectual family in Santa Monica - mother was a social education administrator, father held a PhD in psychology and Dean of Institutional Research for the California State University and sister Carol was a university teacher - Heather Thomas made known, "I felt that if I told them I wanted to become an actress they would look down on my choice so I went to UCLA and took courses in writing, film editing and film documentary." 

A 1980 graduate, Heather Thomas wanted to become a director but a friend working for a talent agency that needed a new blonde encouraged her to pursue acting. She won the part in the sitcom 'Co-ed Fever'. "It was a pathetic show," Heather lamented. "I was only picked for my looks – the blonde California girl. Producers just think blondes should be considered sex objects or victims. I wasn't that good an actress when I started in this business and I admit it, but, from the minute I decided I was going to work professionally, I took (acting) classes. But I do admit it was my looks, not my acting ability, that got me started in the business." 

The role in 'Co-ed Fever' afforded Heather the opportunity to meet with Glen Larson who casted her in an unsuccessful pilot for a spin-off of 'BJ and the Bear' before 'The Fall Guy'. "We were looking for a fresh-looking young lady but one who could also act. Heather had the right combination of looks and talent. She could easily be taken as just fluff – she can play that empty-headed quality so easily – but she's really a very bright lady," Glen Larson told the press. 

Heather said at the time, "Just a few years ago, I was a student at a TV station, hauling cable and running out for tacos. Now, I'm meeting producers, directors and lots of big-name stars." It was reported one of the highest-rated episodes of 'The Fall Guy' was in 1984 when Heather Thomas came through the bat-wing doors wearing the blue bikini. At the time, Heather's posters outsold every other poster on the market. 

Paj Night of the Starmakers Poster Corporation informed, "She was of course well known as a pin-up before she became an actress, Heather and Christie Brinkley are our best-selling poster subjects. In fact, they are the only two really big ones. In this one, she wears a blue bikini, and we are hoping to sell 5 million of them around the world. Her other two (posters) – one a swimsuit and another in a bikini – sold millions." 

Of the 1982 movie, 'Zapped', "I held off from that role for 3 months because I didn't want to do the nudity. It wasn't pornographic, they just wanted me to go topless … Basically I didn't want to be the brunt of a Scott Baio joke. In the nude scene, he was supposed to look at me and my dress pops off. And in another scene, Willie Aames, who plays my boyfriend, holds up a nude picture of me. But I never posed for that shot – they stuck my head onto a nude model's body." 

In 2008, Heather Thomas' first novel, 'Trophies', went on sale. 'Trophies' "lifts the veil on the already well-exposed world of Hollywood trophy wives," 'Publishers Weekly' noted. In October 1984, 'People Weekly' reported Heather Thomas, then 28, decided to enroll in the detox program at St. John’s Hospital, Santa Monica, to beat a cocaine addiction said "dates back to the 6th grade in Santa Monica and persisted through junior and senior high school." 

Heather told 'People', "I was taking acid and making straight A’s. I just thought it was mind expanding." During the years on 'The Fall Guy', 'People' reported, Heather became "a regular user of the diuretic Lasix." Heather elaborated, "At first I was in a honeymoon stage with the drug. I felt that I was getting a lot for my money. It enabled me to stay up all night and then work all the next day." Heather also stressed, "Cocaine is not approved of on sets. It’s not clubby to do it anymore. It is just a private hell." 

'People' continued, "When she passed out in front of Majors last year (1983), Heather says Lee called her manager, who alerted her parents." Heather told 'People', "It was a big relief to me. I'd been on a roller coaster and I wanted to get off. If my family hadn’t intervened, I probably would have gone on my merry way until I lost my job or I died. The doctors said I should have been dead three years ago (in 1982)."

Douglas Barr had thought of becoming a diplomat  He studied political and international affairs at the University of Northern Colorado and World Campus Afloat. However once Doug Barr called "the CIA switchboard in Langley, Virginia to inquire about starting salaries, $13,000 didn’t sound like much to him. He decided to try breaking into films and television. Until he could make a living as an actor, he picked up money modeling in Paris and New York."

On 'The Fall Guy', Douglas Barr played Colt Seaver's Ivy League cousin Howie Munson, a stuntman-in-training. He told 'People', "Basically I'm the leading man type. At least that's how I'm listed in the Players' Guide. To be sent up on a part like this was fairly inconceivable, but they were down to the wire in casting, and when I read with Lee, it just worked." He also stated, "When I took the job initially, I looked at the formula. The show had a story unique enough to be interesting."



Joyce Haber died in August 1993. In 1968, the 'Los Angeles Times' named Joyce Haber as a successor to Hedda Hopper, who had died in 1966. Louella Parsons had retired in 1965. In hiring Joyce Haber, then associate editor of the 'Times', Jim Bellows, made the argument, "She wrote an extremely well-read column day after day. She was a hot ticket for many years." In those days, 'Women's Wear Daily' hailed Joyce Haber "one of the most powerful American women in the media." 

In 2002, Jim Bellows wrote his memoirs, 'The Last Editor' and revealed in 1970 the FBI with J. Edgar Hoover's approval used Joyce Haber's column to plant a story suggesting Jean Seberg (of 'Joan of Arc', 1957) was pregnant with Ray (Masai) Hewitt's child. At the time, the FBI was carrying out Counterintelligence Program, or Cointelpro. Jean Seberg had donated $10,500 to the black revolution. 

Raymond (Masai) Hewitt was the minister of education for the Black Panther Party from 1969 to 1971. He died in March 1988 of a heart attack. Jean Seberg was 40 when died in 1979 in Paris. Her last husband Ahmed Hasmi told the press she was last seen carrying a bottle of barbiturates prescribed by her doctor. In 1986, Raymond (Masai) Hewitt reportedly "helped to organize a 20th-anniversary reunion of the Black Panthers in Oakland. Hewitt had hoped that the anniversary would be the first step toward getting the former revolutionaries to analyze the successes and failures of the party."

Former member Bobby Bowen told the 'Los Angeles Times' in 1988, "He (Masai) did not like to dwell on the past but he always said that there were some important lessons to be learned from history." Since the fall of the Black Panthers, Bobby Bowen was understood to have "enrolled in a trade school studying to be an electrician." Bobby Bowen recounted, "I put in three years of my life in the party. We took militancy to the ultimate. Here we came with guns and black leather jackets. 

"We didn't realize that you can't get people to understand what you are saying by waving guns in their faces. We were angry militants who heard a call for revolution so what we did was run and pick up guns." Bobby Bowen contributed the downfall of the Black Panther Party "to the increasing use of drugs by some of those in the party's leadership, particularly former party Chairman Huey P. Newton, who was not invited to Hewitt's funeral."

In 1976, Joyce Haber wrote her best-selling novel, 'The Users' about Hollywood's pecking order. In its review of the book, 'Time' magazine called Joyce Haber "Hollywood's No. 1 voyeur." Joyce Haber's former husband,  Douglas S. Cramer, told Associated Press, "It's a very cynical book and Joyce is a cynical lady. She wrote the book after she was fired as gossip columnist for the 'Los Angeles Times'. I think she learned more from the outside than the inside. She learned more about people. When you have power and lose it, it gives you insight. You quickly learn who your friends are." 

As reported, "When the book was published, it set off a guessing game of who was who. The story is based on truth and each character has at least one authentic counterpart. A few characters are composites of several movie celebrities." In 1978, Aaron Spelling Production adapted Joyce Haber's blockbusting book for television starring Jaclyn Smith and John Forsythe of 'Charlie's Angels'. 

Aaron Spelling stated, "It's a combination of real people that will have people guessing." 'The Users' was originally intended to be made into a mini-series. Douglas S. Cramer disclosed, "But it was felt by ABC, that a Hollywood story wouldn't hold that long and that the characters were too unusable. But I think we have characters who are likable, or at least understandable. I think we convey the essence of the book but in good taste." 

'The Users' content was sexually explicit - so explicit it was reported two writers initially attempted to write a script from the 400-page book but could not meet the standards set by the censors until Aaron Spelling decided to bring in Robert J Shaw who "finally came up with an acceptable story." Jaclyn Smith, then 31, played a $100-a-night call girl from Arizona who married a fading movie star and became the social queen of Hollywood. Douglas Cramer had described the book as "light pornography." Jaclyn Smith made known, "I don't read dirty books. After 10 pages, they're all boring. I won't be using the language that was in the book." 

John Forsythe as multimillionaire Reade Jamieson: But in this town, power and romance seldom mix. This town is a game and the only real thrill is winning and the people here they're like the set on the movie lot. All façade! What's inside is not important, what's appear on the outside is. We're all existed to be used. We think of being useless as dead.

At the time, Aaron Spelling observed television stars such as Henry Winkler and John Travolta had become box office attractions, "They have shown that people will pay money to see them in the movies. I think more than anything else it's the snobbery of the higher echelon of Hollywood that's kept TV stars out of the movies. The reason stars are so anxious to get out is that they feel television is holding back their careers. I think the whole thing was a myth perpetuated by the movie moguls, who always looked down on television. I'm not that interested in movies. I feel movies are a director's medium and TV is a producer's medium. You don't have the creative control. You tell me who produced 'Star Wars' or 'Butch Cassidy and the Sundance Kid.'"

Aaron Spelling was regarded the most successful independent producer in the history of TV, "I guess I hear at least once a day by innuendo that I've got too many shows on the air but that's tough. I know why we're on the air because we get the ratings." As the '70s was near the end, Aaron Spelling made the forecast, "I think the Western will replace the police show because the public wants law and order. It's the old morality play. People like to be reassured that good triumphs over evil. They may be frightened by what's happening in the world, but Kojak and all the other bigger-than-life heroes will make it all right."



In May 2017, Sony Pictures announced it was planning to release the third 'Charlie's Angels' picture on June 7, 2019. The 2000 movie grossed $264.1 million around the world and the second film, 'Full Throttle' earned $259 million. 'Time' magazine had described the original series as an "aesthetically ridiculous, commercially brilliant brainstorm surfing blithely atop the Zeitgeist’s 7th wave." 

By 1986, 'Charlie's Angels' could be seen in about 90 countries, from Sri Lanka to France, from Italy to Bangladesh. In 2011, the American Broadcasting Company ordered 8 remake episodes of 'Charlie's Angels'. Seven went on air. The pilot episode attracted over 8 million viewers but the numbers gradually reduced to 5 million plus viewers for the next few episodes. It was noted the show never came first place in its Thursday time slot. 

'Charlie's Angels', about three private investigators, was created by Ivan Goff and Ben Roberts. Aaron Spelling and Leonard Goldberg Productions made 115 episodes which originally ran for 5 seasons between 1976 and 1981. Tanya Roberts told 'People Weekly', "People talk about how silly the scripts are, how formula. Well, let me tell you, there are only eight basic plots in life and this show covers them all." 

Kate Jackson came up with the 'Angels' in the title and ABC chose the name Charlie. In the series, John Forsythe played the voice of Charlie Townsend, the owner of the detective agency. Fans of John Forsythe could hear him when he spoke to the Angels through a Western Electric Speakerphone. Episode 4 'Angels In Chains' was the most popular. 

One production crew recounted, "If it wasn't for the physical appeal of its 3 stars, particularly Farrah, it would be an also-ran. Frankly, many of us were surprised when in the 4th week of the survey period, it grabbed a 59% share of the market. This means that something like 23 million people are watching – and that's one giant-sized audience." Leonard Goldberg stated, "'Angels In Chains' was my favorite episode. 'The New York Times' ran a huge photo of the girls chained together wading through a swamp. The show got a 56 share. The rerun got a 52 share. I told Aaron we should just run it every week until it dropped below 40 and then make another show." 

Farrah Fawcett revealed, "One week, they didn't have a script so they gave us a 'Mod Squad' script. They just crossed out the title." By the end, Cheryl Ladd commented, "We became cardboard characters, Beverly Hills Girl Scouts. We'd talk to Charlie, we'd do the caper, then gather in the office and talk about the caper. It became a one-note song." 

Aaron Spelling conceded, "In my career as a producer, the line I hate to hear from an actor more than any other is 'I won't say this; this is s---.' Once fame sets in, the actors want to cure the common cold instead of reciting dialog." Jaclyn Smith made known, "Family, religion and morality are what I'm all about. Dennis (Cole of 'The Young & the Restless') is more old-fashioned than I am. Once in a while I let a vulgar word slip out at home and Dennis goes crazy. He turns into an iceberg. He doesn't even like to hear me say 'dammit'. One day he said, 'I wish you wouldn't use that language. Your image is so sweet and pure, if people hear you cussing, I'll get blamed for it.'" 

At 16, Cheryl Ladd left her home town of Huron in South Dakota to go on tour singing with a trio. They broke up when the group arrived in Hollywood, "In my (first) 7 years in Hollywood I've had more than my share of disappointments." Cheryl Ladd told the press until 1980, "I had stopped going (to church) because in California I was afraid that being religious wouldn't fit in. So I learned to cuss a lot. I don't do that much any more, and if I slip and use the Lord's name in vain, I apologize."

Cheryl Ladd remembered, "Farrah was a big deal. Suddenly within a year, she became the US sex symbol, and created the most excitement since Marilyn Monroe. Viewers fell for Farrah in a big way, and I was afraid they might resent anyone who took her place. So don't say I'm her replacement. I'm her successor." Tanya Roberts concurred, "I sort of see this (changing characters) as a continuing saga, it's like musical chairs at this point (by the 5th season). To me I'm just another person on the show and I’m not replacing anybody. There are two actresses and they wanted a third. If Jackie leaves next season, which she says she will, they'll hire another girl and the public will either accept it or they won't, like they accept me or they don't." 

Jaclyn Smith decided not to renew her 5-year contract initially at $5,000 per episode when it expired in 1980. Jackie told the press, "I'd really like them to bring back Farrah and Kate for my last show so the three of us could be together one more time, but the series will probably run for another 20 years, so I don't suppose they'd do that." It was understood in addition to their 'Charlie's Angels' pay packets, the stars could earn other incomes such as endorsing cosmetics, toys, games, posters or starring in the movie of the week. A working day on 'Charlie's Angels' reportedly started at 5 o'clock in the morning and may not finish until after 7pm.

Farrah Fawcett's manager, Jay Bernstein, informed 'People Weekly', "She was the female Robert Redford, the healthiest role model America ever had. In 4 years she made about $17 million (including $4.5 million from Fabergé)." David Doyle as John Bosley remarked, "The time I spent waiting for the girls' hair to dry probably put one of my girls through a year of college." One director disclosed, "The director’s job was easier than the hairstylist's job."

It was reported Jaclyn Smith at the time signed a contract worth $100,000 a year with Wella Balsam. On reflection, David Doyle added, "Without that show, some of us would be worth about $3.50 a week." Aaron Spelling acknowledged, "I can't say this of every show I ever produced, but I loved 'Charlie's Angels'. It put us over the top and made our company financially secure and incredibly desirable."

In May 1988, Aaron Spelling held a press conference to launch 'Angels '88' to be shown on the Fox network. As noted, "The show will not be a sequel of its predecessor. There won't be any Charlie, there will be 4 Angels instead of 3, and one is black." Aaron Spelling advised, "These angels will not report to any man. The premise is that they're actresses whose show went up against 'The Cosby Show' and was canceled. They stumble upon a case and solve it. It's a contemporary show. We'll also see their private lives. They'll date, we'll get into sex, safe sex, but it's not going to be sexy. It's action-adventure with a lot of comedy."

Cheryl Ladd continued, "I’m acting on this show the way I would on any other and I'm developing my own character. By working with the show's writers, I've established my character, Kris, as a human being. Kris brings comic relief to the show. She is funny, and doesn't do everything exactly right. I like her, and she is the kind of girl many people can relate to.

"My agent submitted me for the part. The show's producers decided I had the blonde hair and the looks they were seeking, that I was sufficiently similar to Farrah to be convincing as her sister. They knew I could act because I was not some untried starlet and I have been a guest star on several top TV shows. My work in such series as 'Switch', 'Ironside', 'Happy Days', 'The Rookies' and 'The Partridge Family' had not gone unnoticed. I have a 5-year contract, but it allows me to do other things during our recesses. I'm very happy doing 'Charlie's Angels' and delighted with the many side benefits it affords me (such as a $25,000 caravan, an ever-available limousine and chauffeur, and all expenses for location trips)."

Tanya Roberts told 'People Weekly', "I hate driving. If I ever have enough money, I'm going to hire a guy to chauffeur me around in my Volkswagen." It was reported Tanya Roberts came from a well-to-do family, one of the richest in Toronto society. Growing up, "I was a wild, rebellious kid" and it was her rebellion which led Tanya to give up that life of security to become a runaway, living on the street, and joining some street gangs.

Her years on the street was said had introduced Tanya to poverty for the first time and on occasions Tanya and her friends had to steal food in order to survive. Fortunately for Tanya, she did not fall into serious trouble and managed to overcome the hardship she faced to become one of the top models in New York - arguably one of the world's toughest city - earning over $100,000 a year. At one time Tanya also dated Saudi-Arabian film producer Dodi Fayed, the then 29-year-old nephew of Adnan Kashoggi, one of the world's richest men.

Tanya told 'People Weekly', "I'm not the all-American-girl type. I'm real New York. Once Jackie Smith and I were sitting around on the set and this guy was driving us crazy. I told him to buzz off and Jackie said, ‘You really are tough, aren’t you?' I tried to tell her there's a difference between tough and direct. I say what's on my mind, but I think I'm sensitive."

In California, Tanya Roberts confessed, "Jesus, L.A. drives you crazy. I'm used to weather and walking and people who say what they mean." She liked the characterless two-bedroom apartment she lived in once "because it has wood floors. My God, every other apartment in Los Angeles is done up with orange or green carpets. Jesus.

"Rona Barrett, for God's sake, can you believe it? She asks me all those questions - Do I think it ('Charlie's Angels') will last? I say, of course, I'm going to bust my chops. She asks me about the degradation of having to wear a bikini on the show, and I tell her that I'm really into women's liberation but I wear a bikini on the beach, why not on the show?" At the time, Tanya's sister, Barbara, was married to the drug guru Timothy Leary. Tanya was adamant, "I don't like to talk about their marriage. I don't think people in the Midwest would understand."

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