The Clock King’s Crazy Crimes/The Clock King Gets Crowned is the one Batman ’66 arc written by Bill Finger, now credited as a co-creator of the character, and Charles Sinclair. Unsurprisingly, the first draft of the script reveals a writer not well versed in the rules of Hollywood, such as that an actor who says one word on screen is more expensive than one in a non-speaking role. This time we look at the first draft, final, and revised final scripts of the Clock King story, finding bits that changed significantly as shot, and answer some of our questions about odd parts of the story.

ALSO: The London Music Works version of the Batman theme, Burgess Meredith on the origin of the Penguin’s quack, and your mail!

Message board comments on the scripts

Message board comments on our Mr. Terrific discussion

One of the most striking things — in a good way, for once! — about Batman’s third season is the number of villains who are women. Also, of course, this is the season of Batgirl, who is more aggressively “feminized” than any other woman on the show, perhaps because she’s doing “a man’s job.” This time we begin a look at how the show presents women in season three by looking at the season's first five episodes, and we’re joined again by novelist Nancy Northcott.

PLUS: What if King Crimson performed the Batman theme? A Batman writer turns out to be a war hero! And, Bat Audio from another Batman reunion in 1989.

Read the Clock King scripts we’ll discuss next month:

• First draft
• Final draft
• Revised final
• Comment on the script on the message board

Panel discussions on Nancy's ConTinual channel

If King Crimson performed the Batman theme (from JB Anderton!)

A Marine's-eye View of the Battle of Iwo Jima (yes, it's bat-relevant!)

More about the Iwo Jima video project, including our Bat-writer bravery medal recipient

Frank Cockrell on OldTimeRadioDownloads.com

1989 Batman reunion on CBS This Morning

Mr. Terrific was cancelled after half a season, but… was it really a terrible show? Is star Stephen Strimpell partly to blame? This time, we push back on Thirteen Week Theatre’s take on Strimpell, consider why pill popping was such a common way to get superpowers in the Sixties, and the show’s …. agressive … laugh track. Also, were the network execs commissioning superhero sitcoms really trying to imitate Batman, or just cash in?

Plus, The Music Within’s bass guitar cover of the Batman theme, more from Adam and Burt on Hour Magazine, and e-mail from our listeners!

Excerpt from Outré magazine's Stephen Strimpell interview (ilovegetsmart.com)

This time we look at the other sitcom that tried to cash in on Batman, CBS’s Mr. Terrific. It’s goofier than Captain Nice and not as funny (although the laugh track clearly doesn’t think that!), but with a surprisingly good cast. We discuss the unaired pilot, and the first 8 episodes of the 17-episode series, which is quite different from the pilot, with an utterly different cast and different situation for Mr. T’s alter ego, Stanley Beamish. 

Plus: Max Diaz Music’s “punk” version of the theme, Adam and Burt appearing on Hour Magazine in 1984, and your response to our discussion of the Batman cast reunion on Fox’s Late Night with Ross Shafer, in episode 211! 

When Batman hit in early 1966, it set a trend of superheroes in pop culture that many rushed to emulate. By the time many of these bat-mimics were ready for public consumption, the trend was on its way out. One such wave-rider was Captain Nice, created by Buck Henry, and repeating some gags from Henry’s hit Get Smart. While Captain Nice brought some really funny moments, it failed to catch on with audiences. Was this simply because the bat-bubble had burst? Or was it that Henry wasn’t the right person to grab the lightning in a bottle that Lorenzo Semple, Jr., had captured? We look at the strengths and weaknesses of the show, the possible reasons for its failure, and whether Captain Nice was meant to be a bat-clone, or a conventional sitcom starring a superhero.

Plus, the Solid Ghost Band theme version, MTV looks at a party commemorating 20 years since the last Batman primetime episode, and ChrisBCritter explains how Dr. Somnambula’s stethescope worked!

Watch Captain Nice on Archive.org

Batman Reunion Party, 1988

Sold Ghost Band theme version

On April 28, 1988, the then-fledgling Fox Network’s The Late Show with Ross Shafer hosted a Batman reunion. However, due to poor time management and a second-rate host, among other problems, the reunion can be a bit of a tough watch - especially the way Alan Napier was shortchanged on airtime at the end as he and Shafer struggled to communicate with each other. Video of the episode, unavailable when we looked for it years ago, surfaced last year, and this time we discuss the problems as well as the interesting bits that we did pick up from the bat-cast.

ALSO: The WDR Big Band version of the theme, and we read your mail on episodes 208 and 209.

WDR Big Band

The Late Show with Ross Shafer's Batman reunion

We conclude our look at Ellis St. Joseph’s original Sandman script with the sleepwalker-filled second part of the arc, originally titled “A Stitch in Time.” We discuss our impressions of the script, the episode we got instead, and which one we might have preferred. We also share more impressions of the script from the denizens of the ’66 Batman message board, and listen to the world’s most enthusiastic kid, “The Colour Boo”, sing a mostly original song about the Caped Crusader.

The Sandman Cometh, First Draft, Final Draft

Joel Eisner talks with Ellis St. Joseph

Message Board thread on this script

Midway through Season Two, Julie Newmar appeared along with Michael Rennie as guest villains Catwoman and Sandman in The Sandman Cometh. But originally, this script by Ellis St. Joseph featured only the Sandman, with Robert Morely picked to play the role. This time, we get into how the teamup came about as we begin a look at St. Joseph’s original draft script.

Also, Below the Staff Music takes a stab at a jazz version of Hefti’s Batman theme, Adam West and Burt Ward cameo on the SImpsons, and we read your mail on the Bat Bible and Buck Henry’s rejection of camp!

The Sandman Cometh, First Draft, Final Draft

Joel Eisner talks with Ellis St. Joseph

Message Board thread on this script | On episode #207 (Bat Bible and Buck Henry)

"1966 Batman Theme - But It's Jazz," by Below the Staff Music

Adam and Burt on The Simpsons

Even after Batman made ABC’s “second season” schedule, to start in January 1966, there was still concern about how audiences would react. Will they get the joke? Should a laugh track be used? In a memo dated January 14, 1966 - the day after the second episode, Smack in the Middle, was first broadcast — Joseph Schrier, Director of Program Development at ABC, reports on audience testing on the pilot. While some adults got the joke, others weren’t quite sure if the show was meant to be funny. Audience reaction to Batman and Robin was mixed, as well, with some noticing that Robin was solving all the Riddler’s riddles while Batman seemed to be flailing. This time, we look at that report, discuss why Batman could be perceived as rather dense in the pilot, and how well the report’s recommendations were followed.

PLUS: Musician Noiselund shows creativity and voluminous Bat-knowledge with his music video “Buttercup”; a 1989 report about Michael Keaton’s casting as Batman, and Adam West’s reaction to it; and we read your mail about our episode on the life of Neil Hamilton.

Read the draft of The Sandman Cometh, and comment on it for our next episode!

What will we cover in our next episode? Also, what will be the topic of the next patrons-only podcast? Listen to hear how you can help to decide the answer to the latter question, and to hear the answer to the former!

In television, a show’s “bible” is a collection of the rules for the world of a particular show, to keep writers on track with their scripts. The makeshift bible that Lorenzo Semple, Jr., wrote for Batman is lost to history, but what might have been in it? What are the rules that we can see the show following? Tim has compiled some and presents them here — and asks for your suggestions.

In a recent Bat Inbox, we discussed some comments writer Buck Henry made about Batman and camp shortly after the show premiered. The comments struck Paul as being off-target and showing a poor understanding of what camp is. Is camp not comedy? Was Henry’s co-creation Get Smart not a campy show? Paul’s given it some more thought and research, and furthers that discussion in this episode.

Plus, the Kydoniai Orchestra version of the theme, the conclusion of Adam West’s Cinefix interview from 2014, and your response to our second Batman/Star Trek act-off.

"Gilligan and Captain Kirk have more in common than you think: 1960s Camp TV as an alternative geneology for cult TV" by W.D. Phillips and Isabel Pinedo