Wonder Woman: Out of Circulation but Destined for Syndication

by Samuel J. Maronie

Excerpted from the November 1979 issue of Starlog

It seemed like the perfect TV formula: Take one well-endowed female (Lynda Carter, in particular), dress her up in patriotic BVDs, then let her run, jump and jiggle her way through 60 minutes of mindless fluff each week.

CBS' New Adventures of Wonder Woman will not return for the new TV season, a victim of anemic Nielsens. But the fact that the camp adventure series lasted more than four years—experiencing both high points and low—makes for an amazing story in itself.

As one of the most popular creations of DC Comics (publishers of Superman and Batman) it took Wonder Woman an unusually long time to come to cinematic life. During the Batman craze of the late 1960s that show's producer, Bill Dozier, expressed interest in a video series for the star-spangled amazon. Typically, he envisioned a Phyllis Diller-type who could play it more for laughs than thrills. But when Dozier failed with The Green Hornet, he chose not to carry the Wonder Woman idea any further.

In early 1974, producer John G. Stephens unveiled a 90-minute film for ABC starring tennis pro Cathy Lee Crosby as the female crimefighter. Burdened with a tedious script by John D. F. Black and ploddingly directed by Vincent McEvetty, the lackluster revamping of the character (a new costume and powers) bombed miserably.

Featuring newcomer Lynda Carter, The New Original Wonder Woman was available for public inspection in November 1975. Despite high ratings and warm reviews (even Judith Crist loved it), TNOWW did not land a regular berth on the network schedule. In a move unexplainable even by Hollywood logic, two one-hour episodes were ordered and presented as Wonder Woman specials. Although they garnered more respectable ratings, there was still no firm commitment for more.

It's not that Wonder Woman wasn't appreciated. ABC executives were so pleased with the strong showings that they regarded the non-series as their secret weapon to combat high-powered competition. Warner Brothers Television was thus commissioned to produce 11 one-hour WW episodes for the 1976-77 season; as new series failed and openings occurred, the superheroine rescued her network on numerous occasions.

A Clark Kent Type

Sort of a female Clark Kent, dowdy Diana Prince of Military Intelligence would spin into Wonder Woman whenever danger occurred. Lynda Carter was not the most accomplished of actresses, but the former World-USA of 1973 brought a sense of warmth and sincerity that was just right for the part. The capable supporting cast included Lyle Waggoner in the role of Major Steve Trevor (whom WW was always rescuing), Beatrice Colen as Etta Candy and Richard Eastham as Gen. Blankenship. Guests such as Robert Reed, Anne Francis and Debra Winger—as a buxom Wonder Girl—contributed that much more to the show's success.

When rival CBS announced their 1977-79 TV line-up, many were stunned to see Wonder Woman on that network's roster. Warner grew weary with ABC's hesitancy and was anxious to provide a full-fledged series instead of an occasional handful. CBS agreed and snapped the show up for its own. It was retitled The New Adventures of Wonder Woman—the New referred both to the change in network and transport to current-day society. At her new home. Wonder Woman left much of her punch behind and provided only mediocre results.

Downright Boring

These CBS episodes aimed for straight adventure rather than the good-natured camp of the original. The biggest complaint about the updated efforts is that they were downright boring; there was very little genuine suspense or action to recommend them.

Gears shifted in mid-season as a new producer, Bruce Lansbury tried to recapture the innocent spoofing so much a pan of the ABC presentations. Under his guidance Wonder Woman took a more active role and things began to move. It seemed that there was nowhere to go but up.

While not exactly Emmy material, these episodes were a step in the right direction. Adequate budgets and excellent stunt work (Lynda Carter was often doubled by the famous Kitty O'Neil) added vitality to the previously stodgy proceedings. True, there were still some clunkers, but the ratings were beefed up enough—barely—and the series earned renewal.

By the time TNAOWW debuted for a second CBS season most of the adult following had drifted away. The producers realized this and made a definite effort to woo the teenage crowd with stories centering around popular fads—and yet more doses of science fiction. With the improved stories and lightweight competition (Donny & Marie and a couple of forgettable NBC sitcoms), TNAOWW seemed headed for smooth sailing on the Nielsen rapids. In fact, the amazon's average rating up to December 1978 was actually several points higher than the same period of the previous year. Why then did the network unceremoniously take Wonder Woman's own magic lasso and yank her from the schedule?

"Temporarily Shelved"

CBS made it clear that TNAOWW was not canceled, only "temporarily shelved." But the handwriting was on the wall. The success of NBC's sitcom replacement, Diff'rent Strokes, was completely unexpected and its strong performance siphoned off much of Wonder Woman's audience. Network executives were quick to take action and sought a replacement for the temporarily ailing superheroine series.

Fans have certainly not heard the last of Lynda Carter or Wonder Woman. The young actress, who last year scored with her Las Vegas nightclub act and first record album, appears headed for even bigger success in pop music. CBS was so anxious to retain her services that they signed her for a musical-variety special due this coming season. And the super-powered adventuress has. a future, too; Warner Bros, plans to syndicate the 65-plus episodes for local airings. Shown in this manner, admirers will have another opportunity to view the overall product and pass final judgment on Wonder Woman's TV career.

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Note: The stunt woman holding Lynda is Jeannie Epper, not Kitty O'Neil.