The Bionic Woman (Series) - TV Tropes
They're after the secret of bionics. They tried to pick up Steve this morning. That's why you have to stay away from him. All these years, I haven't been able to respond to him, and now that I can, I can't? You're no stranger to Fortress either. Your left eye is a miracle, a miracle of modern science, but what if it had an added factor - a laser beam - very thin, very concentrated, capable of burning through an inch of steel.
Come in handy if you got locked out of the house. Well, last night wasn't my night for getting acquainted. Maybe tonight I'll do better, if I can find the right words.
Richard Anderson, ‘Six Million Dollar Man’ and ‘Bionic Woman’ Actor, Dies at 91
Words aren't that hard to find. Look inside yourself - say what's in your heart - even if it is made of Teflon. Michael zaps Stenning with his eye laser Steve: I can't do that either! You didn't kill him, did ya? No - I can control the intensity of the beam. You can say that again. Michael, if you ever get tired of being top gun in the Air Force, how'd you like to come to work for me? No, no, no, no, Oscar.
Richard Anderson Dead: ‘Six Million Dollar Man’ Actor Dies at 91 – Variety
He is not gonna go to work for you. You think he has a choice? Trivia Richard Anderson was the main driving force behind the production of this movie, and became one of its Producers but was not credited as such. The terms of his contract with Universal Studios, stated that this movie would serve as a pilot for a potential new series. However, should the pilot fail to produce a series, the contract stipulated that two more reunion films were to be made in that event.
Chuck Yeager is a fan of the bionic shows, and came up with the idea that Michael Austin should have a laser equipped in his bionic eye. Except for the "thud" sound when Michael Austin strikes someone with his bionic arm, all of his sound effects are also new. Particularly notable is his running sound effect, which starts off sounding like a sonic boom. Michael's slow-motion effect when he runs is also updated, so that his motion is blurred and leaves temporary after-images as he moves.
Steve's interest in deep sea fishing is not something completely made up for this movie. In fact, he is seen to enjoy the sport in the syndicated version of Wine, Women and War.
Sommers states that she came back to work on a mission for the OSI after years of retirement. She and Chris became separated following an explosion at the American embassy, and she was knocked unconscious.
Sommers suffered a concussion as a result. During her recovery, she discovers that she can suddenly remember every detail of her life. All of her lost memories have come back. Goldman adds that Williams was killed by a rifle bullet to the head, while being held captive in a cell. It seems that art imitates life when it comes to the story of Steve Austin's secret past: Majors divorced his first wife, and she moved away with their son Lee Majors II — just like Austin was apart from his son Michael.
At the time of filming, Majors was married to Karen Velez — and in the movie, Austin states that his wife was named Karen. Jim Castillian states that he is an orphan. This also appears to be a reference to Lee Majors' real life.
The Bionic Woman (Part 1)
Majors was orphaned as a child, his parents both died in accidents. Austin states that his wife Karen died of pneumonia in a small town named Placidville. Michael was six years old at the time of her death, and Austin sent him away to live with Karen's sister Mary. Austin married Karen "right out of college", divorced her almost immediately, and he then entered the U. Michael didn't take an interest in his father until he was Even then, they only wrote letters to each other.
After that, they had little contact. Austin and Michael have not met each other again, since the time Michael's mother died.
'The Six Million Dollar Man' and 'The Bionic Woman' reunite!
Austin talks about the M3-F5, the experimental lifting body vehicle in which he crashed. Although this reference breaks continuity with the earlier episode, it is consistent with Martin Caidin 's original novel, Cyborgwhich identifies Austin's aircraft as the M3F5. Michael is 23 years old, and has reached the rank of Second Lieutenant in the Air Force.
Oscar Goldman states that he's left Jaime Sommers alone since the events of the series finale, On the Run. The OSI regional office located in California — the location in which the film takes place, and it specifically appears to be Los Angeles as evidenced by certain signage — is operating under the false identity of "Motor Cars Unlimited" as a cover.
Steve is directly and openly addressed as "The Six Million Dollar Man" by another character which also implies knowledge of his bionics is now widespread within the OSI, something that was decidedly not the case during the original TV series.
This is one of the few times this occurs on screen. Michael's bionic limbs have three times as many components as Austin's, and a microchip implanted in Michael's chest helps coordinate the bionic systems. A PA in the hospital where Michael undergoes surgery, pages a Dr. This is a reference to the Producer of the movie, Bernadette Joyce.
Connors was also an assistant director and director on both preceding series. Rudy Wells drops the name "Max" when talking to Austin about his fundamental changes to research in bionics; he is referring to the Bionic Dog, Maximillianwho had featured during the final season of The Bionic Woman. The shootout between OSI agents and Fortress at the end - including a scene showing Jim shooting one of them - marks one of the few occasions since the early Six Million Dollar Man episodes that the heroes are shown using deadly force, although the non-deadly-force attitude of the original series is reflected a few moments later when Michael chooses to stun Stenning with his laser eye rather than kill him.
Recycled Footage There is considerable use of stock footage in this production, with clips from many earlier episodes of both the Six Million Dollar Man and the Bionic Woman used for flashback and memory sequences. However, given that nearly a decade has passed, it is not uncommon for government agencies to change their names.
During the opening credits, we see wire-frame representations of bionic limbs and other components.
One of these representations demonstrates a left arm. During the close-up of Santiago in the passenger seat of the car, he says "follow him" to his fellow henchman. The problem is, his lip movements clearly don't match what's said.
When one of Lyle Stenning's henchmen fires a grenade at Austin's car, during the car chase where they try to capture him: When the grenade impacts Austin's car, it shatters the front windshield but part of the glass is still in the frame. Later however, the remaining glass suddenly disappears.
These issues were framed in the media through radical and liberal feminist lenses, but the media tended to encourage liberal feminist tenets while ridiculing those of radical feminists. Popular television, which had begun its attempts to capitalize on the feminist movement, followed a similar suit in the s by featuring attractive women in title roles that negotiated liberal feminism and an- tifeminism while virtually ignoring radical feminism altogether.
Such patriarchal supervision and the use of tech- nology controlled and designed by men is also a central element in The Bionic Woman, and the extent to which Jaime is subjected to the male economy of government and science is established in several episodes.
Not just the ones in her head; the ones in her bionics. Sommers is a prize that an enemy could snatch up and examine at their leisure. How can you possibly justify putting her out on the street? Do you think their ex- ploration of her bionics would be very pleasant for her, to say nothing of the effect that would have on our national security?
Likewise, in The Six Million Dollar Man episode that introduces Jaime, it is Steve who persuades the OSI to make Jaime bionic when her life is threatened, arguing that Jaime would be granted access to places Austin would have no chance of entering as a male spy. Thus, Ti-Grace Atkinson, the founder of the radical organization, The Feminists, called for the elimination of marriage and the family as well as the devel- opment of extra-uterine means of reproduction—an element The Bionic Woman with its sci-fi, cyborg element could have technically explored on some level.
With the advent of tech- nological developments that may decouple the uterus from reproduc- tion, the cyborg, as the representative of such developments, blurs not only the boundaries between nature and culture but also what it means Nationalism and Gender to be male and female. For this reason, scholars such as Donna Haraway have championed the cyborg as a figure that would allow women to effectively initiate radical political action without falling into the trap of identity politics, which rests on hierarchical dualisms of naturalized identities, and she even goes as far as to claim the cyborg as a post- gendered figure Despite its unique position to explore these radical feminist tenets, The Bionic Woman perhaps unsurprisingly adhered to the formula of other science fiction films and television programs which have firmly inscribed gendered identities upon the female cyborg.
In order to survive as an artificial woman in SF cinema, Short posits, it is necessary that the cyborg conforms to approved standards of gendered behavior and gen- erally defers to male authority Jaime Sommers, however, was not envisioned in the same brawny fashion even though she possessed the same bionic powers.
But here we had a bionic person—a woman—who could cry and tell us how she feels. We wanted to create a woman who was obviously physically powerful and yet not threatening to some guy who might want to sit down and have a cup of tea with her.
So we carefully crafted it so that she never actually hit anybody. She would pull a rug out from under them or cause something to fall on them but [she] never actually slugged anyone. That could not be achieved if Jaime was considered an equal or a threat to traditional masculinity, which has historically rested on notions of physical prowess.
For instance, the series appealed to liberal feminists by carving out a new space for female agency in a traditionally Nationalism and Gender male-dominated genre and thus symbolically championed the inclu- sion of more women in the workforce. Indeed, out of espionage television programs airing in the United States and Britain between androughly fifty percent have featured a lone, male pro- tagonist, while twenty-seven shows, or roughly seventeen percent, have centered on an all-male spy team or partnership.
In comparison, the shows that revolve around a lone, female protagonist total nine, or roughly six percent of all shows, while only four series, or less than 2. The remaining twenty-five percent of programs have featured a co-sexed partnership or a larger co-sexed team of agents. It is also clear that Jaime derives a sense of personal satisfaction from her career, is valued by the OSI, and is content to be an unmarried, professional woman.
As Anne Gough-Yates points out in her discussion of s action shows, these qualities in a female lead still had a novel impact during the era since single women on tele- vision had been typically constructed as spinsters to be pitied for their inability to find a man As early as the s, the Soviets had aggressively worked to bring attention to the short- comings of US capitalism.
Communist propagandists frequently men- tioned US laws that barred the employment of married women, disparities between the wages of American men and women, and job discrimination on the basis of race Belmonte This critique then translated into a more general derision of femininity and fashion behind the Iron Curtain.
And indeed, one only needs to think of Rosa Klebb in From Russia with Love, along with her more modern reincarnation, Frau Farbissina from the Austin Powers series, to understand that one of the most predominant images of Communist woman circulated by Hollywood is that of the masculine woman dressed in sharply cut suits that emphasize her se- verity rather than her desirability.
By also featuring a feminine protagonist more semiotically entwined with liberal feminism and Gloria Steinem, the show also marked the superiority of American women who could engage in traditionally masculine work without negating their desir- ability and femininity.
Conclusion The ideologies that members of the national community share— through which they identify with the nation and express their national loyalty—is what we call nationalism. Hence nationalism is the exercise of internal hegemony, the exclusive empowerment of those who share a sense of belonging to the same imagined community Mayer 1. When viewed in this light, it becomes clear that The Bionic Woman and The Six Million Dollar Man— two of the most popular series of the s—worked to create a dominant conception of the American na- tion state as one that was ethically superior to the East and techno- logically and politically progressive.
This was achieved by creating reluctant spy protagonists who warded off national threats from Soviet, European, and African origins while simultaneously distancing them- selves from the Watergate scandal that had called into question the integrity of American democracy.
Indeed, the shows suggested that the United States was not only winning the space race, but that its technological advancements offered humankind in- valuable benefits. The series also worked to distinguish the United States from the Soviets, suggesting, through meanings of difference, that the USSR and other communist regions were politically inferior, technologically weak, and when successful, employed technology for militaristic ad- vancement rather than the betterment of humankind.
Instead, the show opted to embrace some liberal feminist principles by depicting an independent career woman suc- ceeding in a dangerous environment and worked to denounce explicit male chauvinism as un-American. By featuring a feminine agent in her own series, The Bionic Woman also worked to defend the country from old Soviet critiques that gender discrimination was inherent in its socio-economic structure, while simultaneously marking the superior- ity of American women since they now engaged in traditionally mas- culine work without negating their desirability and femininity—a feat only capitalism could accomplish.
Nationalism and Gender 3. Such strength could easily generate suspicion and dislike abroad. Thus we face one of the great challenges of our history. Morally, spiritually and intellectually we must rise to the responsibility inherent in our economic and political strength.
The show also championed other feminist concerns in its episodes. During the swimsuit portion of the competition, Jaime remarks that she feels like a side of beef, foreshadowing the real-life protesters of the pageant who likened the competition to animals being judged at the county fair.
Works Cited Balsamo, Anne. Technologies of the Gendered Body. Selling the American Way: US Propaganda and the Cold War. U of Pennsylvania P, Brooks, Tim, and Earle Marsh. Where the Girls Are: Growing Up Female with the Mass Media.