![]() Still, the sci-fi boom and high-profile approach of Superman (1978) stirred the market, and Universal bought the rights to various Marvel characters, ultimately producing live-action Spider-Man and Hulk series, as well as pilots for Captain America and Dr. It’s clear that 20th-century Hollywood was leery: DC’s superheroes came to television laced with camp (especially Batman), a quality skirted by the Tim Burton films, which trailed a decade behind Christopher Reeve’s turn as Superman, film that themselves were produced by the non-Hollywood Salkind family. ![]() In addition to CGI, today’s Hollywood finally has a savvy confidence in superheroes as mass entertainment.ĭespite their association with childhood, the superhero narrative is a strong stew: violent vigilantism, obsession and psychological arrest, kinky costumes, and rampant sublimation. Creative failures by today’s standards, the Marvel-based television of the ’70s lingers in the forgiving memories of a generation, while also speaking to the limitations of capitalism in exploiting changing tastes. ![]() The splendor of the Marvel Cinematic Universe (MCU) was long preceded by a tentative TV courtship. ![]()
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