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."

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