The Power Rangers Project – Mighty Morphin Power Rangers Season 1

"Behold the giant snow globe!" - Zordon, Professional Talking Head

“Behold the giant snow globe!” – Zordon, Professional Talking Head

SeasonMighty Morphin Power Rangers, season 1
Episode: “The Yolk’s on You!” (Episode 33)

The Power Rangers Project starts where it all began: Mighty Morphin Power Rangers, the original Teenagers with Attitude recruited by the original Talking Head, Zordon! As soon as the opening theme begins, the nostalgia rush is on full blast as original villainess Rita Repulsa croaks, “AH! After 10,000 years I’m free! It’s time to conquer EARTH!”

The episode is #33, “The Yolk’s on You!” (Best title.) Angel Grove High School, the primary setting for the series’ first few seasons, is hosting a talent competition. We first see Red Ranger Jason (Austin St. John) and previously-evil-now-reformed Green Ranger Tommy (Jason David Frank, going just by Jason Frank in this season because he had lost his middle name at the time, I’m guessing). The two are performing martial arts for their talent, because apparently that’s all they can do, but the others are all doing different things. It’s unclear what talent Blue Ranger Billy (David Yost) is doing while wearing this hat, though:

Considering David Yost came out of the closet years later, this could be seen as a very ahead-of-its-time Brokeback Mountain joke.

Considering David Yost came out of the closet years later, this could be seen as a very ahead-of-its-time Brokeback Mountain joke.

Finster, Rita’s minion (who I LOVED), turns one of his pervy clay figures into an even more pervy monster named Fang. Just look at this thing:

Gross.

Gross.

Fang’s also got the most stereotypical Hispanic accent. Then again, this was a series with an Asian Yellow Ranger and African-American Black Ranger, so, y’know, par for the course.

Fang is a present for Rita’s birthday (gift cards weren’t around back then, so buying presents for loved ones was always a chore). Rita sends the rest of her minions to help the monster. I had forgotten this, but Rita was a character on the original Japanese series (Kyoryu Sentai Zyuranger, part of a greater series called Super Sentai, which is where almost all the Rangers unmorphed fighting footage comes from), and as such, was merely dubbed over by an American actress (Barbara Goodson). This led to some ridiculously bad lip-dubbing – an indication of exactly how low budget this whole operation really was.

Back to the story: Tommy is ambushed by Rita’s foot soldiers, the Putty Patrol, who trap him and steal his morpher. The other Rangers are informed of his plight by their mentor and giant talking head, Zordon, but are told to go after Fang (Billy about Fang: “An absolutely atrocious beast!”). Pink Ranger Kimberly (Amy Jo Johnson, also known as QUEEN) wants to help Tommy, because she wants some Green Ranger real bad (Spoiler Alert: she gets some later in the season), but Zordon sees right through her and sends the Rangers to battle Fang. Off to fight a monster – you know what that means!

Hee! I love the morphing sequence so much. (Full disclosure, I totally wanted to be the Blue Ranger back in the day.)

The Rangers’ fight against Fang doesn’t go particularly well – they get knocked around before Rita makes the monster grow. To fight the giant beast, the Rangers summon their Dino Zords and form their Megazord. The giant robot gets trashed easily, though, until Tommy (recently self-rescued from his trap) comes to help with his Dragonzord. If you recall, the Dragonzord lived in the ocean, and every single time it was summoned, it had to slooooowly emerge from the water and stomp on over to the battlefield. It was pure filler, like most everything in Power Rangers, but it was awesome.

Anyway, after the five years it takes for the Dragonzord to get to the battlefield, they change Zord formations twice, finally combining into the Ultrazord and destroying Fang in just enough time to get back for the talent show. The day is saved!

Analysis: This is your total cookie-cutter episode of the first season of Power Rangers. The Rangers participate in a school-sponsored activity, but have to first fight one of Rita’s monsters. Rita makes said monster grow, they call the Zords, and are back in time for their activity. Very fun and sweet, easy to enjoy quickly, but a limited pleasure – kind of like the kids television equivalent of Fruit Stripe gum.

Mighty Morphin Power Rangers wasn’t too deep in its first season because it didn’t need to be. Everything about it was awesome on its own merits, from the theme song (“Go Go Power Rangers,” an epic rock track composed by Ron Wasserman) to the Zord battles (giant robot fights giant monster? I’m sold!).

Around this time, Power Rangers was enjoying peak popularity that it wouldn’t see again until the In Space season. However, the stock footage from Super Sentai was running out, and would be totally depleted by Episode 40. True #firstworldnetworkproblem: A series is too popular.

To compensate for the lack of footage, the creators commissioned a whole new set of footage (called Zyu2 by fans, referencing Zyuranger) that would be used for an additional 20 episodes, plus some episodes in the next season. But that season had its own issues with a new villain, cast departures and troubles trying to splice together footage from two different Japanese series. I’ll get into all that next time.

UP NEXTMighty Morphin Power Rangers Season 2: “Forever Friends” (Episode 37)

The Power Rangers Project: Revisiting a Childhood Obsession After 20 Years on the Air

Photo Credit: Saban Brands

Photo Credit: Saban Brands

We all had our obsessions growing up. Some were Trekkies. Some collected a lot of Beanie Babies. Some wanted to be a Pokémon Master and catch ’em all.

Me? I was obsessed with Power Rangers.

Yes, the Power Rangers! The candy-colored superhero teams who fought bravely to save the world from evil witches and monsters. The series that featured earnest lessons about public service and staying in school in the same episode as a fight between a giant dragon mecha and a sphinx beast. Power Rangers was cheesy, earnest and awkward, and it was The Best.

Then I saw the above photo somewhere online, celebrating the Rangers’ 20th anniversary with a collection of every Red Ranger in series history. Said discovery made me feel a wave of emotions: “Why am I so old? Wow, I can’t remember the last time I watched an episode of Power Rangers. God, I’m really old. Some of these suits look ridiculous. Wait, there was a female Red Ranger? I’m SO old!”

Then I started doing some digging, and wow, this show has been through some production struggles. Originally a Saban Entertainment property, Disney bought the rights to produce and air the series during the Wild Force season, then moved production to New Zealand because it was cheaper. They also tried to cancel the series at a couple different points. After  Power Rangers RPM, Saban bought the rights back, and since then, the show has been airing on Nick. During all that drama, there were tons of teams, tons of Rangers and so much I missed out on!

Inspired by the series’ 20th anniversary, and the presence of every single episode on Netflix Instant, I’m going to spend the next month-plus revisiting the Rangers, one season at a time. Some of these seasons I know well – Power Rangers in Space was my absolute favorite back in the day – while others I never saw (basically everything past when Disney took over producing the show) or can barely remember (apparently I watched Lightspeed Rescue? I’ve no idea what that was about).

To do this, I will be watching one episode of each series and doing a write-up on it. I’m hoping the commentary will be in the same spirit as the series: fun and goofy, but with heart and a sincere enjoyment of what I’m watching. Couple things:

  • I’m gonna try to stick to very typical episodes – nothing with new Rangers being introduced or battles with major villains. This isn’t going to be easy in later seasons, since I don’t really know what’s important or not, but I’ll be going off episode descriptions.
  • I’m not treating Mighty Morphin Alien Rangers as its own season. It was 10 episodes long, it was basically a miniseries in the middle of Mighty Morphin Power Rangers season 3 and I remember hating it when I first watched it.
  • I won’t be publishing on any sort of schedule – expect a lot of posts early, then petering out as we get into seasons I don’t know.

All that said, I’ll also update this post with links to all the others as I go. This should be fun – I love a good blast of nostalgia, and I hope y’all do too.

With that said…

Mighty Morphin Power Rangers S1: “The Yolk’s On You!” (Episode 33)
Mighty Morphin Power Rangers S2: “Forever Friends” (Episode 37)
Mighty Morphin Power Rangers S3: “Another Brick in the Wall” (Episode 26)
Power Rangers Zeo: “Another Song and Dance” (Episode 45)
Power Rangers Turbo: Cassie’s Best Friend” (Episode 38)
Power Rangers in Space: “Silence is Golden” (Episode 35)
Power Rangers Lost Galaxy: “The Blue Crush (Episode 8)
Power Rangers Lightspeed Rescue: “The Fifth Crystal” (Episode 21)
Power Rangers Time Force“Time Force Traitor” (Episode 26)

UP NEXT: Power Rangers Wild Force: “Three’s a Crowd” (Episode 20)

The Most Bizarre Chicago Cast Ever?

Photo Credit: Ed Krieger

Originally published on Public Spectacle, LA Weekly’s arts blog. For original, please refer to: The Most Bizarre Chicago Cast Ever? – Public Spectacle.

It’s the fifth day of rehearsals for Chicago, and the director is presenting two numbers to the press, “All That Jazz” and “We Both Reached for the Gun.” She’s noticeably nervous as she gets things started, apologizing for any potential lack of preparedness. The cast just got these numbers yesterday and this morning, she explains. Plus, it’s her directorial debut.

Brooke Shields’ production is the latest in the Hollywood Bowl‘s series of summer musicals, which has, over time, drawn bigger and glitzier celebrities to the stage. But this year’s cast is particularly star-studded — and surprising. Headlining are Samantha Barks, the standout from Les Miserables the movie, playing Velma Kelly and, as Roxie, Ashlee Simpson. Yes,the Ashlee Simpson, best known for her music career and for getting caught lip-syncing onSaturday Night Live.

Also thrown into the mix are True Blood‘s Stephen Moyer as Billy, The Price Is Right host Drew Carey as Amos (yes, Carey and Simpson play a couple) and Xena: Warrior Princess Lucy Lawless as Mama Morton. But there’s a method to the casting madness, as this group is hardly green onstage.

“She’s just been a revelation to me,” Lawless says of Simpson. “It’s really good casting. Ashlee and Sam are so different. They’re like yin and yang. And it goes together just beautifully and seamlessly with such professionalism.”

Casting Simpson and Barks is indeed a twist on the expected, especially because Barks is six years younger than her co-star. While some productions have featured an older Roxie than Velma — notably the Oscar-winning film version, which featured 33-year-old Renee Zellweger opposite Catherine Zeta-Jones, 32 — Velma’s role as the has-been singer-murderer, contrasted with Roxie as the hot new celebrity, lends itself to an older actress.

Barks, however, thinks the age switch provides a new twist on the tale. “Why’s this young girl wound up in this position so early in her life? She’s so driven and so fame-hungry,” she explains. “You can’t help but make a slight different judgment of the character.”
It’s a different take on the legendary musical — currently in its 17th year as a Broadway revival, making it the third-longest-running Broadway show in history — but after living in the show, Shields thinks she has a unique vision.

“When you’re doing a show, you talk about it all the time,” she says of her time starring in the show both on Broadway and the West End. “You talk about every scene. Every night you talk about that show. Because it’s all you do — it’s all-consuming. It’s not about changing what works. It’s about revealing it again to a bigger — much, much bigger — audience.”

That bigness excites Shields, but it’s intimidating for Moyer, whom Lawless describes as a secret “amazing English song-and-dance man.” Though he’s been to the Bowl as a patron, he’s never stepped on the stage.

“I’m scared, terrified,” Moyer says, adding, “I’m starting to believe there might be some excitement in there.”

Despite being Hollywood stars, the main cast members all have some experience onstage, be it Carey’s role as Wilbur in the Bowl’s Hairspray, Lawless’ work as Rizzo in the mid-’90s Broadway revival of Grease or Simpson’s previous outings as Roxie on the West End and Broadway.

Beyond Simpson and Shields, however, the cast’s prior experience with Chicago is limited.

“I used to do it in my bedroom as a one-woman version when I was younger,” Barks jokes. “It’s an absolute dream.”

“I didn’t know it as well as some people do,” Moyer says. His last experience onstage was 18 years ago, at the age of 25, as Romeo in Romeo & Juliet. “When I was growing up, doing musicals, this was not a show that, obviously, because of the content, was an amateur show that 12-year-olds did.”

Despite some unfamiliarity with the show, the limited rehearsal time (they only started last week) and the eclectic mix of people, the cast is gelling.

“Each of them has a different amount of stage experience in their past, and they’ve all risen to it,” conductor Rob Fisher says. “No one is slacking.”

@SummerBreak: Inside the Social Media Reality Series Starring L.A. High School Students

Photo Credit: Maddie Cordoba

Originally published in LA Weekly. For original, please refer to: @SummerBreak: Inside the Social Media Reality Series Starring L.A. High School Students – LA Weekly.

Trevis is sweating. It’s in the 90s at Brooklyn Projects, a skate shop on Melrose with a half pipe behind the store. Though Trevis isn’t much of a skater, he’s suffering the heat to watch his two friends, Zaq and Connor, as his best friend Ray shops inside for a new shirt.

As his friends skate, Trevis tweets a photo of the two on the pipe. The photo goes out to Trevis’ almost 2,000 followers. He’s a popular Santa Monica High School graduate who was point guard of his high school basketball team and president of his student body, so it’s not unusual that he’d have a lot of followers. What is unusual is that his tweet has to get approved before it ever sees the light of day.

Connor and Zaq, drenched in sweat, get off the half pipe and prepare to leave. They sit and chat with Trevis for a bit. He tells them he tweeted a photo of them, and they eagerly go to check it out on their own phones.

They don’t go back inside to meet up with Ray yet, though. They can’t. The film crew’s not ready to shoot their exit.

Trevis, Ray, Zaq and Connor are not just regular L.A. teenagers. They are four of the principal cast members on @SummerBreak, a new summer reality TV show, though that’s technically inaccurate. There’s no TV channel airing @SummerBreak.

@SummerBreak is the first major series to unfold on a combination of online video and social media. Designed with the mobile experience in mind, the series is a collaboration between the Chernin Group — the production company run by Peter Chernin, the former No. 2 at Newscorp — and AT&T.

Executive producer Billy Parks first came up with the idea of having viewers take part in a full social experience — which made it perfect for teenagers.

“Obviously, with Millenials, this is the way they’re talking,” Parks says. “It felt really organic to who they are.” Though the production team flirted with the idea of doing a scripted series, reality felt fresher, and cast the show with high school students who just graduated or are on the cusp of graduating.

On this particular day of shooting, Trevis and Connor had gone to breakfast before joining Ray and Zaq for shopping and skating. While the guys ate and talked, an on-site production team member transcribed every word, conferring with producers after the guys moved on — and the cameras moved on with them. That morning’s conversation, apparently about the guys’ ex-girlfriend troubles, wasn’t as good as the previous night’s conversation between Connor and Zaq. After a brief discussion, producers decide that night’s episode will be of last night’s conversation, which dealt with Connor’s romantic past, present and future.

The cast members themselves are clueless as to what will appear in each day’s episode — and how much they’ll appear. Though the producers choose snippets of the kids’ lives to shoot, not every segment makes it in, and if they do, it won’t necessarily be in chronological order. That morning’s breakfast — and all the footage of the guys shopping — has yet to be used in an episode of @SummerBreak, and might never see the light of day.

Originally, episodes were set to be approximately one minute long and posted six days a week, with no episode on Saturday. The rest of the show would play out on Twitter and Instagram, where each member of the cast regularly posts updates on their lives and interacts with viewers. However, viewers clamored for more in the form of longer episodes — and they got it. Now, daily episodes are three to four minutes each Monday through Thursday, with Sunday episodes being longer anchor episodes that tell more story.

The social media aspect is still huge, though. Cast members use programs like HootSuite to post to their social media accounts, and a team hired by the producers works 20 hours a day to approve these messages. Not all the cast members are super engaged, but some — especially Ray, the son of former champion boxer Ray “Boom Boom” Mancini, and Clara, a female cast member headed to culinary school — take the time to respond to fans constantly. It’s all part of a greater theme of engagement — a word Parks and the cast use constantly.

So far, the cast has proven pretty engaging. The core cast is made up of eight L.A. kids — six who just graduated high school, two headed into their senior year. Three girls, five guys. Four Santa Monica High School students, four Pacific Palisades Charter School students. Zaq, Ray, Trevis and Kostas are from the Samohi half, while Clara, Lena, Alex and Connor are Pali kids. Nia, the original ninth cast member, is also a Pali girl, but she’s not with the show anymore.

The show follows the kids through their daily lives during a summer that is (for most) their last before moving on to college and other opportunities. In many ways, @SummerBreak is a throwback to Laguna Beach, the 2004 series that chronicled the lives of Orange County high school kids that pioneered the use of serial narrative in reality shows versus a documentary-style format.

Laguna Beach (and its successor series, The Hills) were known for manipulation behind the scenes, something Parks says the production team is eager to stay away from, pushing for an authentic feel. That’s been a detriment to the show in some ways, as the narrative wasn’t easily frameable early on. Worse even, when the first six episodes went live on June 16, the cast “lost their minds,” according to Parks.

“We had a little viewing party,” Trevis explains. “I walked in [late], and you could feel the tension. Everybody was being so real on the camera.”

That realness transformed into awkwardness off-screen. In a particularly tense example, the three parts of the love triangle from those first episodes — Zaq, Clara and Connor — were all sitting right next to each other as they watched.

Connor had a particularly bad reaction to his romantic entanglements being aired on the show. “I just wasn’t used to having my personal life being broadcast,” he says. “It was just different.”

Connor and the barely-featured Nia didn’t appear again in any major capacity until the cast’s trip to Catalina Island. That trip was an effort on producers’ part to get the kids together, both bonding them and creating more potential storylines in the face of a rapidly growing audience but a lack of substantive plot. (Typical YouTube comment on the first 12 episodes: “This show’s kinda boring.”)

After they got back from Catalina, producers laid down the law with the cast about opening up.

“If you don’t like what you see, change it,” Parks says the producers told them. “You have a luxury that no other reality cast member has ever had. The show is in your hands. But with that responsibility, doesn’t mean if you don’t like what you see, you can go sneak off camera. That’s bullshit. You have to now open yourself up more.”

The lecture affected each cast member differently. While Nia stopped being filmed (in what creators described as a “creative decision”), others like Lena and Connor opened up in new ways, the former even letting her dad’s battle with throat cancer be chronicled. Since then, the show has gained new narrative life, with Lena and Clara getting into the series’ first out-and-out fight and Alex and Kostas’ uneasy flirtation being disturbed by L.A. transplant Raina’s introduction as another love interest for Kostas. The new plotlines have sparked major interest among fans — and the kids have become much more natural, saying they forget the cameras but also, according to Parks, remaining acutely aware of being on a reality show.

One big aspect of that awareness are cast attempts to change the storylines. Lena openly voiced frustration on Twitter about her lack of screentime in Catalina, while at one point during shooting Zaq even questions a production team member about why the guys are being filmed shopping when there’s not much going on. (Since this is the same shopping trip that never made it to air, he might’ve had a point.)

This desire to control their appearance on-screen gives the show a meta level, and presents the production team with what Parks calls “Season 2 problems,” though they’re merely weeks into Season 1.

After finishing their shopping trip, Zaq, Trevis, Ray and Connor sit down to lunch at Baby Blues BBQ in Venice. The cameras are gone, and the production staff is buying, so the guys become more relaxed. After almost immediately hopping on their phones, they begin to chat about topics ranging from the early days of the show to the previous night’s episode, featuring Alex and best friend Karli driving and gossiping about guys, which Zaq bluntly dismisses as having “sucked.”

“I got frustrated. I was like, ‘Yo, what the fuck is this episode? Where am I? Where are my boys?'” Zaq complains. “There’s so much other shit they could have shown.”

“They want to see drama,” Ray says, acknowledging producers’ desire for meatier plotlines. “But that’s just the two of them in the car.”

The guys were clearly frustrated with the drama. Yet stats don’t lie: Each member of the cast has well over a thousand followers on Twitter now, as opposed to far lower numbers before the Catalina trip. The more emotionally open cast has created opportunities for more dramatically fulfilling stories.

Later, while driving back to where shooting began, not half an hour after expressing frustration with the drama, Zaq created some of his own. He gave Ray a gift — a T-shirt with his father’s name and likeness on it.

Ray clearly appreciated the thought, but quickly explained to Zaq that his family gets his dad’s merchandise for free all the time. Zaq, clearly insulted, proceeded to sulk for the rest of the ride. Ray apologized for sounding unappreciative. Zaq refused to respond as the van fell into an awkward silence. Ray looked around in stunned disbelief.

Parks was recording the interaction from the very start.

Armie, Channing and the Four-Quadrant Man Problem

armie

It’s not a great weekend to be Armie Hammer. His new film, The Lone Ranger, was DOA at the box office. Worse even, he’s likely to be scapegoated for the failure.

After all, director Gore Verbinski and co-lead Johnny Depp have been bringing in the big bucks for years. It’s not as if their partnership could be going the way of Depp’s partnership with director Tim Burton — no, you can put safe money that Hammer is going to be taking the fall for this one. While that’s disappointing, it was also totally foreseeable.

The problems with The Lone Ranger have been noted sufficiently already — suffice it to say Depp playing a Native American character in a mostly dead property was clearly never going to be a winner. But as scandalous as the Depp cast may have been, it was the choice of Hammer as the titular Ranger that puzzled me most.

Hammer has been in two films of real note: The Social Network, in a supporting role (that he was good in), and Mirror Mirror, which was all sorts of terrible (and he did nothing to save). Giving him his own franchise should have given all the Hollywood executives involved pause. He was an admittedly good-looking guy who has made nothing more than a minor splash at best in his previous work. What did execs see in him?

To be blunt: they saw a man’s man. And Hollywood is convinced it’s short on those.

Simply put, execs are obviously tired of the boyish male stars that dominated the late Aughts. Most big action tentpoles are being given to the same older stars who made their careers on such films, Jason Statham and The Rock being archetypal examples. Even Vin Diesel is bleeding the Fast & Furious franchise dry. Older actors previously unassociated with the action game are even getting into it — coming to theaters near you soon enough, Liam Neeson in Taken 14.

But Hollywood needs younger hypermasculine stars to fill these roles as the current crop gets older. Think about it: Chris Evans and Chris Hemsworth are tied up in being Avengers (Hemsworth also wrapped up in the female-skewing Snow White and the Huntsman frachise) and likely will be for years. Jeremy Renner is too, and he’s also failed at the franchise game already (his Bourne film didn’t exactly hold up to the titular Legacy). And while Chris Pine might do fine work in his own franchise, he’s never managed to truly break out.

So Hammer was chosen to fill that “four-quadrant man” role: the type of action star who can headline a big franchise and be a romantic lead, too. On that, look no further than his sex-obsessed interview with Playboy, where he couldn’t stop talking about all his inventive lovemaking with his wife. That was such a bizarre move — off-putting for its bluntness and his unattainablity alike — that I’m convinced it was a miscalculation on his publicist’s part in an attempt to make him a sex symbol.

Hammer’s quick falter is likely tremendously disappointing for execs, especially considering their wunderkind, Channing Tatum, was proven mortal last weekend when his White House Down opened to considerably less than expected. (It opened behind the female-driven The Heat, but of course, absolutely no one in Hollywood will pay attention to that lesson.)

None of this is fresh analysis — I’m just restating what has clearly been an issue for a while. But here’s a newer question: Why are execs so obsessed with recapturing the past?

There is nothing wrong with the boyish male star-dominated Hollywood. Arguably, that system works more effectively than the antiquated “four-quadrant man” strategy. Look at successes like this summer’s Now You See Me — a surprise hit by anyone’s definition. Sure, it may not have been marketed solely on the strength of star Jesse Eisenberg, but he’s prominent in ads, and it’s working. Or look at smaller movies like Juno (starring Michael Cera) or The Social Network (with Eisenberg and Andrew Garfield), which made big grosses on the back of great talent. The latter even got Garfield a superhero franchise — though how good he is as The Amazing Spider-Man is a different conversation entirely.

Visit any collegiate theatre arts program today, and you’ll notice that they’re not stacked with the next Tatums. Far from it — these are the next Garfields, the next Eisenbergs, the next Tellers. Hell, the next Neil Patrick Harris is out there, and his lack of success on the big screen isn’t due to a lack of charm or fanbase.

On Harris in particular: there’s another component worth its own blog post, and that’s Hollywood’s continued discomfort with gay leading men. Consider the strange recloseting of Luke Evans when he was promoting The Three Musketeers. Or the brazen rewriting of Tom Hardy’s history of having sex with men. As stated, this is all worth its own post, but it’s just food for thought as to how it relates to the greater theme that Hollywood thinks men must be traditionally masculine to be a star.

Regardless of all this, Hammer and, to a lesser extent, Tatum, may not be filling their potential up to Hollywood’s ridiculously high standard, but don’t expect them to stop getting cast. Execs have clearly made an investment, and they’re sticking with their new golden men — no matter how tarnished that gold may be, or how ineffective the strategy is.

Follow Kevin on Twitter at @kevinpokeeffe.