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adds superman 2

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```art
``` Fox
," ,-. . ,
|- | | X
| `-' ' `
'
```Fox
```
# fox@tilde.black
I am the admin of tilde.black. My real name is James Tomasino. I also run
cosmic.voyage and gopher.black.
I am the admin of tilde.black. My real name is James Tomasino. I also run cosmic.voyage and gopher.black.
## About Tilde Black
If you found your way here without knowing anything about this server I'll give
you the basics: ~black is all about anonymity, privacy, and security. To that
end, everyone here (besides this account) is acting in a sort of masquarade.
When users sign up they are given 10 random dictionary words as account names.
They can use any or all of those to do whatever on the system. It's pretty fun.
If you found your way here without knowing anything about this server I'll give you the basics: ~black is all about anonymity, privacy, and security. To that end, everyone here (besides this account) is acting in a sort of masquarade. When users sign up they are given 10 random dictionary words as account names. They can use any or all of those to do whatever on the system. It's pretty fun.
This server offers web pages, gemini pods, and gopher burrows to its users. We
also have net news, email, and plenty of programming languages to play with.
Come make toys.
This server offers web pages, gemini pods, and gopher burrows to its users. We also have net news, email, and plenty of programming languages to play with. Come make toys.
## Article Series
Gemini is a young protocol with great potential. People are flocking to the
project to build clients, servers, search engines, and utilities. What it needs
most, however, is unique content. These articles are designed for that purpose.
Please do not mirror them outside of gemini space as it undermines its value.
Gemini is a young protocol with great potential. People are flocking to the project to build clients, servers, search engines, and utilities. What it needs most, however, is unique content. These articles are designed for that purpose. Please do not mirror them outside of gemini space as it undermines its value.
### Vintage TV - The Adventures of Superman (1952)
=> gemini://tilde.black/users/fox/vintagetv/superman-01.gmi 2020-05-17 Superman - Part 1
=> gemini://tilde.black/users/fox/vintagetv/superman-02.gmi 2020-05-26 Superman - Part 2
## Journal Entries
=> gemini://tilde.black/users/fox/journal/20200513-ramping-up.gmi 2020-05-13 Ramping up
=> gemini://tilde.black/users/fox/journal/20190831-starting-out.gmi 2019-08-31 Starting out
=> gemini://tilde.black/users/fox/journal/20200513-ramping-up.gmi 2020-05-13 Ramping up
## My other projects

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Most of the content living on the Gemini protocol is related to
Gemini itself. It's to be expected, being so new and the early
adopters being authors involved in server, client, and protocol
creation. Still, much in the same way that Gopher grows stale from
talking about itself, I worry for Gemini. The healthiest way I can
fight that is by talking about other things.
Most of the content living on the Gemini protocol is related to Gemini itself. It's to be expected, being so new and the early adopters being authors involved in server, client, and protocol creation. Still, much in the same way that Gopher grows stale from talking about itself, I worry for Gemini. The healthiest way I can fight that is by talking about other things.
Specifically what I want to talk about here is solderpunk's Remote
Outdoor Off-Grid Phlogging Challenge (ROOPHLOCH). You can read
about it on gopher here:
Specifically what I want to talk about here is solderpunk's Remote Outdoor Off-Grid Phlogging Challenge (ROOPHLOCH). You can read about it on gopher here:
=> gopher://zaibatsu.circumlunar.space/0/~solderpunk/phlog/announcing-roophloch-2019.txt ROOPHLOCH announcement (Gopher)
(Do gopher links work from gemini? I guess it's up to the client.)
In short, it's about getting outside and untethered and journaling
from there. I'm excited about it. I have a mountain in the back
yard that's yet untapped. I need to put air in my bike tires and
go exploring. Perhaps I'll do that tomorrow and do a mini write-up
via my phone. If nothing else, this should get me moving on things
I've already been planning.
In short, it's about getting outside and untethered and journaling from there. I'm excited about it. I have a mountain in the back yard that's yet untapped. I need to put air in my bike tires and go exploring. Perhaps I'll do that tomorrow and do a mini write-up via my phone. If nothing else, this should get me moving on things I've already been planning.

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Solderpunk shared a really important message with the gemini
community on the mailing list today. It was a message of "content
first" that we've been pushing on gopher for some time. The
protocol cannot take-off for real until it gets valuable content
that people want to consume. That content needs to be about things
more than gemini itself.
Solderpunk shared a really important message with the gemini community on the mailing list today. It was a message of "content first" that we've been pushing on gopher for some time. The protocol cannot take-off for real until it gets valuable content that people want to consume. That content needs to be about things more than gemini itself.
Hear hear!
I'd like to do my part. I phlog a lot on gopher and have put most
of my effort there in the last few years, but I will carve out
some time to add things here as well. I encourage other ~black
users to do the same!
I'd like to do my part. I phlog a lot on gopher and have put most of my effort there in the last few years, but I will carve out some time to add things here as well. I encourage other ~black users to do the same!

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```art
``` Superman Logo
_____________________________________________
//:::::::::::::::::::::::::::::::::::::::::::::\\
//:::_______:::::::::________::::::::::_____:::::::\\
@ -22,61 +22,27 @@
\\::::://
\\_//
"
```Superman Logo
```
# An Introduction
In the midst of the indomitable covid affair I have been hard
pressed to find entertainment that avoids dragging me down into
further darkness. It feels like an overwhelming amount of recent
television has been dark, gritty, or tragic. In a happier world,
in a happier time, that would be fine. Right now I find myself
repeatedly checking to see if Brooklyn 99 has a new episode.
In the midst of the indomitable covid affair I have been hard pressed to find entertainment that avoids dragging me down into further darkness. It feels like an overwhelming amount of recent television has been dark, gritty, or tragic. In a happier world, in a happier time, that would be fine. Right now I find myself repeatedly checking to see if Brooklyn 99 has a new episode.
It hasn't.
What's a man to do? I turned to nostalgia. As a man on the younger
edges of generation X, I was just the right age to enjoy the birth
and early years of Nick @ Night, Nickelodeon's alternate
programming late-night content. If you're not familiar it
consisted mostly of TV shows from the 50s and 60s. Classic
favorites like Mister Ed, Dragnet, and Get Smart.
What's a man to do? I turned to nostalgia. As a man on the younger edges of generation X, I was just the right age to enjoy the birth and early years of Nick @ Night, Nickelodeon's alternate programming late-night content. If you're not familiar it consisted mostly of TV shows from the 50s and 60s. Classic favorites like Mister Ed, Dragnet, and Get Smart.
Not only are these shows wonderfully wholesome in a way that just
isn't seen anymore, they also pluck the strings of nostalgia in
just the right way to resonate in my heart. They warm me, comfort,
and sooth. They are a cup of tea or a conversation with an old
friend. Just what the doctor ordered for social distancing.
I have temporarily acquired a collection of these shows. For the
foreseeable future I'll be spending my time here sharing my
thoughts and observations on vintage television. What does it have
to say to the world of 2020? What should have been left in the
past? Just how racist can a wholesome sitcom get? These are all
topics we'll traverse together, and much more.
Not only are these shows wonderfully wholesome in a way that just isn't seen anymore, they also pluck the strings of nostalgia in just the right way to resonate in my heart. They warm me, comfort, and sooth. They are a cup of tea or a conversation with an old friend. Just what the doctor ordered for social distancing.
I have temporarily acquired a collection of these shows. For the foreseeable future I'll be spending my time here sharing my thoughts and observations on vintage television. What does it have to say to the world of 2020? What should have been left in the past? Just how racist can a wholesome sitcom get? These are all topics we'll traverse together, and much more.
# The Adventures of Superman (1952) - Part 1
In 1951, George Reeves and Phyllis Coates filmed a 58-minute
black-and-white film titled "Superman and the Mole Men". It formed
what would become a pilot of sorts for a television show. That show
was shelved initially until Kellogg's, the cereal maker, decided
to sponsor it as they had done with the Superman radio program. In
the autumn of 1952 the show hit the air.
In 1951, George Reeves and Phyllis Coates filmed a 58-minute black-and-white film titled "Superman and the Mole Men". It formed what would become a pilot of sorts for a television show. That show was shelved initially until Kellogg's, the cereal maker, decided to sponsor it as they had done with the Superman radio program. In the autumn of 1952 the show hit the air.
Relatively quickly the show writers learned that their audience
consisted primarily of children between six and twelve years. This
combined with a protagonist who was completely invulnerable would
create a major challenge for the scripts. Plot-lines needed to be
simple enough for young children to follow and the hero was
difficult to put into direct danger. Thankfully Clark Kent has many
idiotic friends to fall into traps for him.
Relatively quickly the show writers learned that their audience consisted primarily of children between six and twelve years. This combined with a protagonist who was completely invulnerable would create a major challenge for the scripts. Plot-lines needed to be simple enough for young children to follow and the hero was difficult to put into direct danger. Thankfully Clark Kent has many idiotic friends to fall into traps for him.
This brings me to my first observation about the show, for which I
must offer credit to the great people of the tildeverse IRC network
for inspiration and discussion. Talking some of these ideas through
with them helped me reach some unusual conclusions.
This brings me to my first observation about the show, for which I must offer credit to the great people of the tildeverse IRC network for inspiration and discussion. Talking some of these ideas through with them helped me reach some unusual conclusions.
=> gopher://tildeverse.org Tildeverse on Gopher
=> https://tilde.chat Tildeverse IRC network on HTTP
@ -85,204 +51,70 @@ with them helped me reach some unusual conclusions.
Lois Lane is insane.
I mean that quite literally. Oxford dictionaries describes someone
insane as "in a state of mind which prevents normal perception,
behaviour, or social interaction." I will argue
that Lois' state of mind displays all three qualities:
I mean that quite literally. Oxford dictionaries describes someone insane as "in a state of mind which prevents normal perception, behaviour, or social interaction." I will argue that Lois' state of mind displays all three qualities:
* prevented normal perception
* prevented normal behavior
* prevented normal social interaction
In the early episodes of season one, Lois has already displayed an
illogical degree of disregard for her own safety. The episode
"Rescue" is a prime example. A man has been trapped in a mine
after it collapses upon him. Lois is present at the mine, as are
other workers. They signal the disaster crew to come help. These
are trained men who specialize in this work. Their arrival is
imminent. The dangers of an unstable mine have been discussed with
her and she has been told clearly to avoid the mine. So what's a
Lois Lane to do? That's right, run straight into the mine without
equipment or plan. She has to help, after all!
In the early episodes of season one, Lois has already displayed an illogical degree of disregard for her own safety. The episode "Rescue" is a prime example. A man has been trapped in a mine after it collapses upon him. Lois is present at the mine, as are other workers. They signal the disaster crew to come help. These are trained men who specialize in this work. Their arrival is imminent. The dangers of an unstable mine have been discussed with her and she has been told clearly to avoid the mine. So what's a Lois Lane to do? That's right, run straight into the mine without equipment or plan. She has to help, after all!
In this case we see a clear demonstration that she does not
properly perceive the threat in the situation despite clear
communication. She is a city reporter with no background in what
to do here. She has no skill to offer and no plan to help, but
help she must. Her own importance is disproportionate in her mind.
In this case we see a clear demonstration that she does not properly perceive the threat in the situation despite clear communication. She is a city reporter with no background in what to do here. She has no skill to offer and no plan to help, but help she must. Her own importance is disproportionate in her mind.
In the episode "The Secret of Superman," Clark Kent has teamed up
with police to set himself up as bait to capture a group of men
using a modified truth serum to control people. It is part of a
dastardly plan to uncover Superman's true identity. No sooner has
Clark feigned capture than Lois is back to her old tricks. She, for
her own safety, has a policeman assigned to shadow her as she is
a possible subject for abduction. But Clark is in trouble! Again,
what's a Lois Lane to do? That's right, something batshit crazy.
In the episode "The Secret of Superman," Clark Kent has teamed up with police to set himself up as bait to capture a group of men using a modified truth serum to control people. It is part of a dastardly plan to uncover Superman's true identity. No sooner has Clark feigned capture than Lois is back to her old tricks. She, for her own safety, has a policeman assigned to shadow her as she is a possible subject for abduction. But Clark is in trouble! Again, what's a Lois Lane to do? That's right, something batshit crazy.
Lois slips her police protection and rushes to the scene without
backup. Backup she already had, mind you, had she not gone out of
her way to lose it. She then rushes headlong into the building to
confront the criminals. These men are known to have slipped the
mind-controlling poison into the drinks of their targets, and so
Lois is not to be fooled. When the dastardly leader offers her a
cup of coffee she of course tell him to go to hell! Oh wait... no.
This is Lois Lane. She agrees. She's a little parched from all
the stealthy sneaking away from her protectors after all. But
never fear! She demands to pour the coffee herself. "Fine, fine,"
says the bad guy, "but what's that over there on the floor? Is
that blood?" And as quickly as that, she is distracted and the
drug is slipped.
Lois slips her police protection and rushes to the scene without backup. Backup she already had, mind you, had she not gone out of her way to lose it. She then rushes headlong into the building to confront the criminals. These men are known to have slipped the mind-controlling poison into the drinks of their targets, and so Lois is not to be fooled. When the dastardly leader offers her a cup of coffee she of course tell him to go to hell! Oh wait... no. This is Lois Lane. She agrees. She's a little parched from all the stealthy sneaking away from her protectors after all. But never fear! She demands to pour the coffee herself. "Fine, fine," says the bad guy, "but what's that over there on the floor? Is that blood?" And as quickly as that, she is distracted and the drug is slipped.
I suppose this article could go into an argument of just how
stupid this woman can be, but I digress. Here again she has shown
a lack of judgement due to a misperception in her own power and
effectiveness. Her behavior is baffling.
I suppose this article could go into an argument of just how stupid this woman can be, but I digress. Here again she has shown a lack of judgement due to a misperception in her own power and effectiveness. Her behavior is baffling.
### The Cause - Part 1
In the episode "The Mind Machine" a gangster is on trial. He has
kidnapped a scientist working on a machine to help modify the
behavior of mentally troubled patients. The gangster has other
plans for it, though. He pressures and threatens the doctor until
he uses the machine to overwhelm the willpower of those witnesses
testifying against him. This long-range mind-control has a
terrible side effect, though. It drives the target completely
insane, eventually killing them.
In the episode "The Mind Machine" a gangster is on trial. He has kidnapped a scientist working on a machine to help modify the behavior of mentally troubled patients. The gangster has other plans for it, though. He pressures and threatens the doctor until he uses the machine to overwhelm the willpower of those witnesses testifying against him. This long-range mind-control has a terrible side effect, though. It drives the target completely insane, eventually killing them.
Lois is eventually the only witness remaining, and time is running
short for Superman to find the machine and stop the men from using
it upon Lois. In fact, the way the episode plays out, Superman is
not quite in time at all. The machine has already been turned on
and is effecting Lois on the stand, though the command is never
given that would have overridden her will. Superman manages to
stop the men just in time for that to be prevented, and the doctor
destroys the machine vowing never to build another. The day is
saved and all is well (other than several dead witnesses and a
clear case of a mistrial).
Lois is eventually the only witness remaining, and time is running short for Superman to find the machine and stop the men from using it upon Lois. In fact, the way the episode plays out, Superman is not quite in time at all. The machine has already been turned on and is effecting Lois on the stand, though the command is never given that would have overridden her will. Superman manages to stop the men just in time for that to be prevented, and the doctor destroys the machine vowing never to build another. The day is saved and all is well (other than several dead witnesses and a clear case of a mistrial).
But what if Lois didn't get away without consequence? Her behavior
following that encounter does mimic to a lesser degree that of the
others who have been reprogrammed. Her own lack of understanding
could be due to the infernal machine. It's an idea, certainly, and
since we have no clear timeline in this series as every episode
stands alone in time, this could theoretically represent the
beginning of her time with Superman and the origin of her
behavior. There's just one bit working against that theory.
But what if Lois didn't get away without consequence? Her behavior following that encounter does mimic to a lesser degree that of the others who have been reprogrammed. Her own lack of understanding could be due to the infernal machine. It's an idea, certainly, and since we have no clear timeline in this series as every episode stands alone in time, this could theoretically represent the beginning of her time with Superman and the origin of her behavior. There's just one bit working against that theory.
Lois has been deeply investigating a kingpin of metropolis (and
yes, they do call him "The Kingpin" in the episode,
interestingly). That suggests she's been at this for some time. It
doesn't square up with the other timelines at play. She wouldn't
have that sort of assignment early in her career, and her
relationship with Clark would be less developed. I think this
scenario is unlikely, and there is another that is far more
plausible.
Lois has been deeply investigating a kingpin of metropolis (and yes, they do call him "The Kingpin" in the episode, interestingly). That suggests she's been at this for some time. It doesn't square up with the other timelines at play. She wouldn't have that sort of assignment early in her career, and her relationship with Clark would be less developed. I think this scenario is unlikely, and there is another that is far more plausible.
### A Quick Aside
Before we talk about what I believe to be the true origins of
Lois' insanity, I want to call attention to some very strange
behavior in Superman in this series. In "The Mind Machine", Clark
is with a pilot in a small plane flying over the mountains in
search of the radar signal given off by the machine so he can
pinpoint its location. When the signal is found he learns he is
out of time and that Lois is already on the stand. He has to act
NOW. So what's a good, upright, Superman to do? That's right...
punch the pilot into unconsciousness, flick on the autopilot, and
jump out of the plane leaving him to his fate. Later on in the
episode that same plane runs out of fuel and Superman swoops in to
save it from crashing. Effectively Superman has saved that man
from Superman.
Before we talk about what I believe to be the true origins of Lois' insanity, I want to call attention to some very strange behavior in Superman in this series. In "The Mind Machine", Clark is with a pilot in a small plane flying over the mountains in search of the radar signal given off by the machine so he can pinpoint its location. When the signal is found he learns he is out of time and that Lois is already on the stand. He has to act NOW. So what's a good, upright, Superman to do? That's right... punch the pilot into unconsciousness, flick on the autopilot, and jump out of the plane leaving him to his fate. Later on in the episode that same plane runs out of fuel and Superman swoops in to save it from crashing. Effectively Superman has saved that man from Superman.
Punching his friends until they're unconscious seems to be a trend
with him when he needs a bit of privacy. He does the same maneuver
to his close friend and investigator, Candy, in "The Stolen
Costume". Since his costume was, well, stolen, he had to run in
and deal with the bad guys as Clark Kent, revealing his true
identity. He couldn't risk his friend seeing who he was, so he was
very fast to knock him out.
Punching his friends until they're unconscious seems to be a trend with him when he needs a bit of privacy. He does the same maneuver to his close friend and investigator, Candy, in "The Stolen Costume". Since his costume was, well, stolen, he had to run in and deal with the bad guys as Clark Kent, revealing his true identity. He couldn't risk his friend seeing who he was, so he was very fast to knock him out.
But what about the bad guys? The man is a blackmailer and wanted a
payday. The woman, his accomplice, was much less willing to go
down this path but had been pressured into it. Superman won't kill
them, they say. Superman doesn't do that. So what's a Superman to
do? That's right! He flies them deep into mountainous country and
places them on the top of a dangerous peak from which there is no
safe way down. "I'll be back with food for you soon," he tells
them before flying off. The punishment, as Superman has decided
acting as judge & jury, for knowing his identity is that they must
live the rest of their lives alone in the frozen wilderness where
they can never reach another human soul. It's no surprise the two
decide to risk it in a climb down the mountain. Unfortunately for
them, the climb was indeed too difficult. In the final scene we
learn they have fallen to their deaths. This is clearly a direct
result of Superman's forced, life-long imprisonment. He is
directly to blame for the deaths of two people.
But what about the bad guys? The man is a blackmailer and wanted a payday. The woman, his accomplice, was much less willing to go down this path but had been pressured into it. Superman won't kill them, they say. Superman doesn't do that. So what's a Superman to do? That's right! He flies them deep into mountainous country and places them on the top of a dangerous peak from which there is no safe way down. "I'll be back with food for you soon," he tells them before flying off. The punishment, as Superman has decided acting as judge & jury, for knowing his identity is that they must live the rest of their lives alone in the frozen wilderness where they can never reach another human soul. It's no surprise the two decide to risk it in a climb down the mountain. Unfortunately for them, the climb was indeed too difficult. In the final scene we learn they have fallen to their deaths. This is clearly a direct result of Superman's forced, life-long imprisonment. He is directly to blame for the deaths of two people.
Honestly it shouldn't shock me one bit. I believe it only took
until episode 4 before we found Superman recommending the police
beat the truth out of a man during an interrogation.
Honestly it shouldn't shock me one bit. I believe it only took until episode 4 before we found Superman recommending the police beat the truth out of a man during an interrogation.
Truth, justice, and the American way! Probably not what they
meant, but it still works.
Truth, justice, and the American way! Probably not what they meant, but it still works.
### The Cause - Part 2
We return again to Lois Lane. Why is she insane? I posit it is a
simple byproduct of her close association with Superman itself
which is at fault. His presence has:
We return again to Lois Lane. Why is she insane? I posit it is a simple byproduct of her close association with Superman itself which is at fault. His presence has:
* inflated her perception of self importance
* inflated her perception of her own threat level
* removed all sense of consequence
Superman's fascination with Lois Lane brings her again and again
into the spotlight of action. Where things that matter occur,
Clark is surely there. And with him is Lois. If someone is
threatening Superman, Lois is the easiest target. In those rare
occasions when Superman is not the focus of activity in
Metropolis, she is still a report for a major metropolitan
newspaper. Lois Lane is quite literally at the center of
EVERYTHING in the city. As a result she perceives herself to be
important to everything in the city. It's easy to see why she
might think that.
Superman's fascination with Lois Lane brings her again and again into the spotlight of action. Where things that matter occur, Clark is surely there. And with him is Lois. If someone is threatening Superman, Lois is the easiest target. In those rare occasions when Superman is not the focus of activity in Metropolis, she is still a report for a major metropolitan newspaper. Lois Lane is quite literally at the center of EVERYTHING in the city. As a result she perceives herself to be important to everything in the city. It's easy to see why she might think that.
Her understanding of her own threat level is likewise conflated by
Superman's presence. When the intrepid reporter storms into the
den of thugs and thieves, she isn't afraid. They should be. She's
got their number and they're in for it when she gets back to her
typewriter. Oh, what's this? They're surrounding her so she can't
get to that typewriter. 3...2...1...SUPERMAN!
Her understanding of her own threat level is likewise conflated by Superman's presence. When the intrepid reporter storms into the den of thugs and thieves, she isn't afraid. They should be. She's got their number and they're in for it when she gets back to her typewriter. Oh, what's this? They're surrounding her so she can't get to that typewriter. 3...2...1...SUPERMAN!
And that brings us to the final, but most important part. Nothing
Lois does has consequences for her. She could quite literally
chose to no longer take the elevator down to the ground floor but
rather step out the window of the daily planet office and plummet
toward the ground. Superman will be there to catch her. She could
run into a collapsing mine and Superman will be there. She can
confront a deadly doctor with a mind control agent, but why be
afraid. This literally always works out for her.
And that brings us to the final, but most important part. Nothing Lois does has consequences for her. She could quite literally chose to no longer take the elevator down to the ground floor but rather step out the window of the daily planet office and plummet toward the ground. Superman will be there to catch her. She could run into a collapsing mine and Superman will be there. She can confront a deadly doctor with a mind control agent, but why be afraid. This literally always works out for her.
What a lifestyle!
### What can we learn?
The final bit that caught me off guard when I came to this
conclusion was that these symptoms all seemed familiar. Those
effects are not just a product of close association with Superman,
they describe someone who has a close association with wealth.
The final bit that caught me off guard when I came to this conclusion was that these symptoms all seemed familiar. Those effects are not just a product of close association with Superman, they describe someone who has a close association with wealth.
Consider the inflated sense of self importance. Consider the
inflated sense of power and threat they weild. And then recognize
the way consequences vanish magically away with money.
Consider the inflated sense of self importance. Consider the inflated sense of power and threat they weild. And then recognize the way consequences vanish magically away with money.
For Lois Lane this was enough to drive her to insanity. Superman's
presence in her life:
For Lois Lane this was enough to drive her to insanity. Superman's presence in her life:
- prevented her normal perception
- prevented her normal behavior
- prevented her normal social interaction
If this is the textbook definition of insanity, what does that
tell us about the wealthy running the world today?
If this is the textbook definition of insanity, what does that tell us about the wealthy running the world today?

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``` superman in action pose
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# The art of the disguise
In modern cinema and comic books it is an established trope that the hero must carefully protect their secret identity. There is no greater threat to the hero than those whom they hold special. Even the most ignoble grey-hat heroes would gladly go to their own end long before they could bear to see their loved ones hurt.
It is no different for Superman. In fact, it may be even more important, for as we discussed in our first essay, in Superman we have a hero who is effectively impervious. Bullets mean nothing, nor drowning, or poison, or even a train crash. The writers on the 1950s Adventures of Superman quickly realized this challenge in their script writing and went to the obvious solution. The most effective way to challenge an invulnerable hero is to threaten his friends.
The elementary plotting of this Superman series does exert great creativity in their primary goal: to justify why Superman is unaware of the fate of his close companions for as long as possible. After all, once he becomes aware the episode will surely wrap up quickly, and with great violence. No, it is vital for the successful story to distract and confound, whether through mystery or coincidence.
Lets revisit an episode we discussed before, "Rescue." When Lois Lane becomes trapped in a collapsed mine, we viewers at home are eagerly waiting for the moment when Superman will learn the news. He'll fly to the rescue in short order and the day will be saved. Instead we watch as the writers tease us again and again with missed connections. The phone call to Clark Kent's office misses him by moments as he heads home. He grabs a newspaper from the stand and gets into his car only to miss the late edition being dropped off with a compelling headline about a reporter trapped in a mine. The writers even stretch the ridiculousness of the coincidence further as a radio report comes on while Clark is driving down a country road. Something has happened to his engine and he stops the car to fix it. A breaking news bulletin comes on, and just as the report starts explaining the dire situation, Clark is busy under the hood revving the engine and patching a fuel line.
It's all in good fun and eventually he'll get the news, catch the bad guy, break down the wall, and deliver on his era-appropriate level of physical violence.
"You're going to tell me where she is or I'm going to break every bone in your body," threatens Superman in an actual episode of this amazing TV show for kids.
When Superman faces a threat it typically comes in one of three forms:
- A direct threat to his super-powered weakness (kryptonite)
- A threat to those he loves
- A threat to his secret identity
In the Adventures of Superman, at least by this point in the first season, kryptonite was not a well established weakness. It wasn't until August of 1951 that the green rock first appeared in that form in the comics. Writers on the show would need some time to catch up to those latest trends. Instead they had to settle for stories threatening the second and third forms.
We've talked a bit about threats to his loved ones, so lets dive into threats to his secret identity a bit more. In my previous essay I explained two scenarios when Superman struck another protagonist unconscious to protect his identity, and one case where he could be considered guilty of two counts of manslaughter. This is serious business for him in many cases.
But the show also plays with the elementary disguise with a tongue in cheek, ending many episodes with a literal wink to the camera as Clark Kent makes an on-the-nose quip.
"But Mr. Kent, however did you beat me back from Port-au-prince?"
"I flew!" <wink>
## A ridiculous circus-outfit
In the late 1980s and early 1990s on Nickelodean's evening programming block, Nick at Night, a behind-the-scenes bumper-style commercial was produced revealing that George Reeves' glasses are just frames without glass. The lenses caused reflection issues for the camera, so they shot the show without any.
With that in mind, the only thing separating Clark Kent from Superman is a pair of dark frames and the passionate ignorance of his closest friends. This has been a long-running joke in Superman history and has been parodied brilliantly through the years. Rather than approach it on the same terms, I'd like to briefly note some of the similar concepts present in the 50s television show before drawing some parallels to our own experience watching vintage television.
Superman's disguise as Clark Kent's is famously inverted from the typical alternate identity paradigm where the true identity is the everyday-Joe and the secret identity wears a mask and works outside the law. In the case of Superman he is first and foremost an alien on Earth possessed of abilities far beyond those of mortal men. His disguise, therefore, is that of Clark Kent rather than the other way around.
Clark was raised in Kansas by a pair of farmers. He went to school and learned to love. In many ways his early identity defined him as the everyday-Joe that he is today. A nurture over nature approach would suggest that Clark is the true identity.
This in itself doesn't change his relationship to a secret identity, though. Being outed would mean the identities converge and which one is more real has little bearing on the threat it would cause for Lois Lane and Jimmy Olsen. Ultimately it is the damage it would cause to his friends and his inability to maintain both separate lives that is the true danger of his secret becoming revealed.
We can see a similar situation in the episode "Drums of Death". This adventure brings Superman and Perry White together to Haiti to investigate the disappearance of Perry's sister. We learn early on of the dangerous voodoo doctor in the jungle. For viewers at home the character stands out dramatically as he is the only person of color not being played by an actor of color. He is very clearly an European man in brown face.
But this is 1952 and we must allows some level of suspension of disbelief, if not for the show itself then for the audience, who were perhaps not savvy enough to know the difference in that age. It is a difficult proposition to take seriously, though, as the face behind the brown makeup is none other than Henry Cordon, the future voice of Fred Flinstone and already a major player in Hollywood films. Perhaps anticipating his future role, the character is wearing a water buffalo hat!
A few scenes later we meet Cordon in another role, that of an American adventurer living in Haiti. He tries to dissuade the newspaper men from trying to go into the jungle or look for Perry's sister (as if that were going to work). At this point it may only be the very small children watching the show who haven't connected the dots.
And here it is again, a comically simple disguise that fools everyone. Are we to believe it as a precept of the television reality or as an expectation of the viewer? Perry White did seem extremely surprised when Superman licked a rag and used it to wipe the makeup from Cordon's face at the climax. So perhaps it is an in-world piece of reality.
Perhaps we should take it with a grain of salt, like the early work in Doctor Who, where the set budgets were shamefully small and the enterprise has more of the air of live theater than produced work. The funny glasses are a tool and a signal to the audience, then, much like Clark Kent's wink at the end of the episode. We are in it together. Just go along and enjoy being in on the secrets when no one in the show can see it. Perhaps it even has something to do with the extremely young viewer demographic?
## What we hide in ignorance
If we assume for a moment that the collective inclusion of the audience in a pantomime farce is at the heart of this exceptional selective sight than it brings with it a more troubling thought burdened by half a century of societal norm changes and civil rights action. In short, just what else are we turning a blind eye toward?
The brown-faced bad guy is just one of hundreds of demonstrations of villains as "the other". They are characterized by usurping and coloring racist tropes, superstitions, and stereotypes. In the case where the villain is the white male, then we lean on class distinction and use the poor and uneducated. This isn't new or unique to Superman, this time period, or even this genre.
=> https://www.theatlantic.com/education/archive/2018/01/why-do-cartoon-villains-speak-in-foreign-accents/549527/ The Atlantic - Why do cartoon villains speak in foreign accents?
What is specific to this vintage television time is a willingness to champion it as some sort of nostalgia. I do this myself. I watch and halfway cringe at parts and shake my head. "Sure," I think, "that was pretty racist, but the show is from a different time." I allow it to happen in my own mind.
I still want to enjoy the show. They're funny, they're simple and structured where the good guy wins. Only the good guys are often misogynistic and brutally violent, judgemental, and quick to unnecessary action. They use torture and commit manslaughter to protect themselves and their way of life. In many ways the heroes in this show represent some of the worst parts of humanity. The selfishness by which the reporters dive into trouble seeking a great story very often leads to injury or even death of someone innocent because they didn't just call in the police. Petty crimes are met with violence and even death. And all the while we see minorities used as ridiculous circus costumes.
There is a playful, nearly innocent sense of racism and misogyny present in The Adventures of Superman. It seems pitiful and inane and worthy of an eye roll, but I fear that is the case only because shows like this have also trained us to be like Lois Lane and Perry White. We are trained to suspend disbelief in a way that says it's not really there, or not important if it is. If I want to continue to watch and enjoy the shows I really do have to allow for these other parts, and what better way than to dismiss them as juvenile or quaint. Nostalgia is the curtain I pull across the dirty mess so I don't need to see it clearly.
## In conclusion
I knew I wanted to write something about the overwhelming quantity of racism present in all of these vintage shows. Art imitates life after all, and there is no denying that the 1950s were a difficult time for minorities in America. I will continue to walk an uncomfortable line in my own viewings. On the one hand i cannot in good conscience allow the shows to desensitize me to some truly awful things happening on screen. On the other hand, I'm viewing this remedial entertainment as a psychological pressure-valve, letting me release some tension from an otherwise overwhelming world. I need to allow for some moments of mindless release for that to be effective.
There are no good answers, I fear. We cannot separate art from artist. We cannot separate the stains of a culture of time from the art it creates. But everything is not so cut and dry that we must burn all history to cleanse it of every evil. Maybe, after all this, someone will watch these shows and see this behavior and find inspiration to make a change for the better in our world today. Certainly ignoring racism in history isn't going to fix anything. But am I just justifying things so I can enjoy my cake and not feel guilty? I cannot be sure.