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Wednesday, August 19, 2015

Exclusive Interview with Tracy Roberts - By Rennie Cowan

SUPERBOY THEATER INTERVIEW WITH TRACY ROBERTS (DARLA ON SUPERBOY)

Interview conducted by Rennie Cowan

Transcribed by Ginger De Los Rios

(Above) Tracy Roberts (Darla) and Sherman Howard (Lex Luthor) in the third season Superboy episode "The Bride of Bizarro".

INTERVIEW WITH TRACY ROBERTS

It was a hot afternoon in sunny California and I was going to use the speaker phone on my cellular to record the interview with Tracy Roberts (who now calls herself Tracy Lewis due to a marriage). I was thrilled and late in calling Tracy because of the time difference between California and Washington D.C., but she was all full of energy when she answered the phone. I sat underneath a palm tree with my water and turned on the speaker phone. Immediately a picture of the character of Darla flashed into my mind as I heard a not too unfamiliar voice...the actress who played Darla from my favorite TV show during my High School years (and my first two college years), "Superboy".

Tracy Roberts was upbeat and spunky, just like her character Darla had been on the show. And after three minutes of chit-chatting (and me trying to work a brand new digital voice recorder without the manual) we finally got into the interview. Tracy was a delight to talk to and immediately my nostaligic giddiness towards the series was boosted. For sure, the Superboy TV series was everything that was cool about Superman.

The interview was conducted on August 24th, 2010.

Rennie Cowan: So it's been about twenty years since the show has been on the air, looking back, how do you feel about playing a character that is a part of the Superman lore?

Tracy Roberts: It actually was a thrill and it was the best time of my life actually. I enjoyed it very, very much and I really loved working with everybody, the cast and crew are just really, really a great group of people.

R: I bet, I bet. So how did you get the part of Darla?

T: It's kind of a funny story actually, my husband and I actually owned some nightclubs back in the day, they were big, huge, disco-techs and we had huge competition, it was for the Chippendales actually. And the casting director for the show, her name was Ellen Jacoby, she happened to agree to be one of our Judges for the Chippendales contest. And that's when I met Ellen and she judged the contest and we had a good time that night. Two weeks later my Agent sent me to audition for Superboy and it was for the role of a nurse. It was a one-day player and I walked into the office and there was probably fifty or sixty girls there for that time-slot for the script. And lo and behold Ellen Jacoby walks by and she's like, 'What are you doing here?' And I'm like, 'I'm auditioning for the nurse.' And she's like, 'Oh no you're not, come with me!' And I was like, 'Okay!' So she pulled me out of the group and says, 'I want you to read this part that's just come about. It's gonna be Lex Luthor's girlfriend and I think you'd be pefect for it, so I'm gonna give you about twenty minutes to look over the script and I'm going to bring you in front of Ilya Salkind himself and I want you to audition for him.' So I said 'Okay' and I went in and read the script. I had a pretty good memory and could memorize a script in less than two minutes usually. [Laughs]

R: Wow, wow ... that's great!

T: Yeah, I had a pretty good memory for that. So I had it all memorized, I walked in and he was impressed with that. He was like, 'You couldn't have had the script for that long.' I was like, 'Well, no, but I'm good to go.' So I read for it and he was like, 'I think you're perfect for it.' He said, 'There's a scene in a strip club. Do you have a problem with that?' And I was like, 'This is a kid's show, how bad could it be?'... 'No, no I don't have a problem with that at all, um, but thank you for asking.' Then he (Ilya) says, 'I'd like to see you in something more...not so much a nurse.' Then he says, 'Can you go and change and call back then read again?' I was like, 'Sure I could do that'. I lived two hours away...so I drove two hours home, changed my clothes and drove two-hours back and read another scene and he said, 'Yeah I think you're perfect for the part.' And they just hired me.

R: Wow, that is great.

T: Yeah, it was fun! [Laughs] It was only supposed to be for one episode but then one episode turned into two and two turned into three and then it turned into three years.

R: That's great. Instead of finding another girl for Lex it's almost like, they already have you, and you did it so well, so it was just fun to play with the character I guess, and just keep bringing her back.

T: Yeah it was, and each year it got more and more fun. They let me have...well the thing that was great about Superboy, the whole cast and crew, they gave you so much rope, so much to play with. I mean if you wanted to add a line here and there, they didn't have a problem with it, and Lex and I used to just go way off the script.

R:That's great! [Laughs]

T: And they would just throw the script up in the air and go, 'Oh there they go, they're on one of their rants.' But they'd let it go and they'd always end up keeping everything we said and it was always just so much fun to do.

R: Yeah, I bet that made it better, you know. Because the script is written by the writers, but when you guys encapsulate that role, you just bring it to life and you got to say what works, you know? I mean if it's funny then, why not do it?

T: Yup, yup, every day it was that way. We'd always just say what we felt and did what we wanted to do and it just worked. Lex and I had great chemistry, we just did. We just bounced off one another and it just came very, very easy.

R: Yeah, exactly, you and Sherman Howard are like by far...I mean when you look back on all the other 'Lex-Girls'; "Superman The Movie" had Mrs. Teschmacher, "Superman Returns" had Kitty, but then we look at Darla and Lex and there's really no comparison. You just did it so well and your character, just from the beginning of when you came onto the show, it was already exciting. Here you were already in a girl fight with Lana Lang and Lex is just laughing at it. And just the way you and Lex bounced off of one another. You're like, can this be real? He's constantly insulting you -- but you still loved him and you can tell he still loved you. I mean it was mad love, it was so believable; it was like the most unusual romance, you know? But it was great!

T: It really was and now that I think back...Well, it really truly was. I think of all the other girls that they had, Gene Hackman, and all the other Luthors that they've had, they (the Lex-Girls) really didn't even have that many lines. They really just kind of stood in the background.

R: I know. I mean it's not their fault, the writers just didn't --

T: No! No, they never wrote them anything. So that was what was great about this show, they actually made her interesting and they gave her the best scenarios, really. I always just took it a little bit farther.

R: [Laughs] And I can tell you right now, that the best episodes with Lex is when you're there. Those are just the best scenes. You go back to "Know Thine Enemy" when he says he's going to blow up the whole world and he's got this psycho-disc...you were terrified! So the audience could identify with it. You had that little wine glass, the booze in your hand, and you're just shaking.

T: Yeah, I got my little glass of Brandy. [Laughs]

R: That was hilarious.

T: And when I shot him, I mean if you watch it, I held the gun and really wasn't planning on shooting him. I just wanted him to turn the machine off and the actual firing of the gun was an accident.

R: Really?

T: I didn't mean to do it, but then she was like okay, now I did it, now I gotta follow through.

R: Do you mean, it wasn't written in the script? Or it was in the story but that it was an accident?

T: In the story. It was written in the script, you know, but if you notice the reaction it was like 'Oh Sh**!'

R: Yeah I know! It was like, she's so angry, it's like she wanted to, but didn't really want to, it's great.

T: Yeah.

R: And a lot of people compare you to Harley Quinn of the Joker. Because Harley Quinn is the Joker's girlfriend and that's also like a mad love; like a crazy romance, two people that make no sense but you totally believe this romance.

T: [Laughs] Yeah, I agree.

R: I thought it was just good storytelling; good character development. Of course like I mentioned before there's no comparison to any other Lex girl. Darla was the best. And she even got superpowers and went a step further and stood toe-to-toe against Superboy. She was like a Villain herself.

T: And that was a lot of fun. The best times were when I got to stand up to Superboy and when I got to stand up to Lex.

R: That's awesome.

T: When they made Lex the idiot and me the clever one, that was Christmas to me. I said, 'Really! I get to knock Hitler one? Awesome! [Laughs]

(Above) Tracy Roberts with super-intelligence and Sherman Howard behind her in the episide "Darla Goes Ballistic". Tracy is wearing the white dress suit (wardrobe) that she was actually able to take home with her after the series end. Tracy and Rennie have arranged for the costume to be donated to the Superman Museum in Metropolis, IL. There, fans can enjoy her legacy in person.

R: Yeah, that was great, I just loved it when she became a genius and she just calls Lex a 'Dumbo'. She's like, 'Whatever, Dumbo!' [Laughs]

T: Oh my gosh and that line, 'You're never gonna generate enough...dioxide...or what was it? 'Your structurals are all wrong, you're never gonna generate enough dioxide...blah blah blah...' That line was so hard! [Laughs] I can't remember it verbatim, but it was one of the most difficult lines to get out.

R: I remember it was a really fast line, really scientific, but you did it so well, you just did it straight. It was great.

T: I was very nervous when I did it, because I only had one shot at this. Because I had a reputation. I had a reputation back then for 'one-take Tracy' and it was just like, when it came my turn and I got up and did my thing, I did it in one take.

R: Oh that's awesome. And I know Sherman Howard's mouth must have just dropped, is she this smart? Is she really this smart?

T: That was a great episode, he did a great job writing that and he was involved in directing it a little bit too.

R: Oh that's great! Yeah, and you told me that "Darla Goes Ballistic", which I mentioned to you before, was basically Darla's stand-out episode. That's really the only episode that's just about Darla. And focuses on her.

T: Sherman came to me one afternoon and had the script in his hand and he said, 'I wrote this script for you. Because honestly all the episodes, they don't showcase you enough.' And he was very complimentary, and he said, 'You're so good at what you do, I just wanted to write something really spectacular just for you.' And I was like, 'Oh my God, that's so sweet! Thank you so much!' I mean that's just how great of guy he was.

R: Yeah..wow....

T: And he sent the script to Ilya and everybody and they were just like, 'Oh this is fabulous, yes, we definitely have to do that!' And it was truly a wonderful gesture and gift on his part.

R: I bet, and it was so nice of him to try and put you in the spotlight like that.

T: And he did! [Laughs]

R: Yeah! Wow, what a guy, that's chivalry right there! [Laughs]

T: That is. It truly is. And he was a very big man. I don't know if you realize this, Sherman Howard is like over six...I mean he's like 6"4.

R: [At same time as Tracy] Like 6"4, huh? Yeah, wow, he's tall.

T: And if you go back, even in the pictures, because I look at them and go, 'Oh my gosh, he was so big.' The scene in "Know Thine Enemy" where he has his hand around my throat....

R: Oh yeah, and he was like, 'I never loved you...'.

T: His hand covers...I mean if you look at his hand compared to my head, and my neck, it's huge!

R: And you're like, 'you never loved me!' Yeah, that was great.

T: And they had me standing on two apple boxes, every time I had to stand next to him, they said, 'Bring another apple box for Tracy.' You know, because he was so tall and I'm so short.

R: Yeah, wow. I heard that they even had to do that for Gerard a few times with Lex Luthor because they wanted him to look taller, because he's Superboy. And other times they would say just shoot it.

T: Yeah, he was a very big man.

R: And a terrific actor.

T: The one scene, I swear, in "Roads Not Taken" (Part 1) where he's up there and they're going 'Lex! Lex! Lex!' and he puts his hand up in the shape of an L. That speech that he did was phenomenal.

R: Oh wow, yeah it really was.

(Above) Tracy Roberts with Stacy Haiduk on the set of the two-part episode "Roads Not Taken".

T: It just blew me away, we all just sat there and when he was done everyone just started applauding. They're just like, 'That was the best!'

R: That's great. That was in my opinion, one of the best episodes, the whole, Roads Not Taken and Road to Hell storylines. They were the four best episodes, very good storytelling.

T: Yes. It's just very sad that they can't release those.

R: Yeah. I was talking to you about the lien.

T: People would love to see it on TV. I know they would.

R: Yeah, I know. It's just so surprising. You would think that Warner Brothers would want to put them in reruns and just milk it and let it roll for years. They're not doing that. Ilya Salkind told me that it's sitting in a vault at Warner Brothers, and so until Warner Brothers decides they wanna release it, it's just gonna sit there in some cold ice box or something.

T: Yeah, what is the deal? Are they trying to punish Ilya or something?

R: Yeah I know. I mean, there's like three different theories. Everybody pretty much knows that Warner Brothers put a stop to Superboy to make "Lois and Clark". The story that everybody's been saying is that Warner Brothers wanted to do their own show, their own Superman show, and Ilya's rights were about to end in the next few years anyway. Then they just figured Superboy's doing so well, let's just make our own show and let's make all the money.

T: So is "Smallville" the same creators as "Lois and Clark"?

R: No, those are two different producers. Deborah Joy Levine did "Lois and Clark" and Miles Millar and Alfred Gough did "Smallville".

T: But they're all owned by Warner Brothers, correct?

R: Yeah, but these guys just got options to do the character for so long and then were commissioned by Warner Brothers, and then they just went off and made them. That's basically what it was. Kind of like what Ilya Salkind did.

T: Okay.

R: You were telling me that it was your Birthday when you filmed 'Bride of Bizarro' (Part 1 and 2)?

T: Yeah it was August 2nd.

R: Oh, that's so cute.

T: [Laughs] Yeah and I went to work and my Birthday just came and went, we worked literally from four...well, I got in make-up at five and I think I worked until about five or six o'clock that morning. It was the longest day of my life.

R: Wow.

T: And I just went hell man, and then my family, they were like oh, happy Birthday! And I was like, yeah g'night! [Laughs] I'm going to bed, I'm tired.

R: [Laughs]

T: Yeah, it was in a warehouse, it was very hot; we were all very uncomfortable and hot. There was a lot of special effects, a lot of areas that had to be covered and shot. It just took a long time. But they paid me well for it; I made a lot of overtime that night.

R: Yeah, that's what I was thinking. The good thing is that you get paid overtime.

T: Exactly.

R: Did they have a cake for you on the set of Superboy?

T: Umm, I don't remember if they did or not. I don't think so, because I don't think I told anybody it was my birthday.

R: [Laughs] You were afraid they were gonna give you the day off or something and you were like, 'Noo, I wanna do Superboy!'

T: I didn't think they'd give me the day off. I just didn't bring it up, I didn't mention it.

R: Well that's good.

T: I know they probably would have, definitely because they were all good that way.

R: Yeah, well that's great. And that was another good episode with Darla because you got to see Lex make a Bizarro Darla.

(Above) Tracy Roberts doing a sit-down of the script with Director David Grossman of the third season two-parter episode "The Bride of Bizarro".

T: Umm hmm, yeah that was fun.

R: Yeah, it kind of looked like you a little bit, in kind of a strange...Bizarro way.

T: Well, the make-up artist was fabulous. The guy that did the make-up on that was a genius. He did do a great job. Even the one of Lana looked like her.

R: Rob Burman, yeah.

T: They did really, really good.

R: That's awesome. So what did you think of seeing you as a Bizarro on screen?

T: [Laughs] Well, what I first thought was I'm gonna get blown up. They are going to blow me up. But it was cool. I was like 'Oh God, that's great!'

(Below) Watch a clip of the scene where Tracy Roberts (Tracy Lewis) is made into a Darla Bizarro by Lex Luthor in the season three two-parter episode "The Bride of Bizarro":

R: [Laughs] I really love that homage to Frankenstein when she looks at Bizarro and screams.

T: Yeah, that was great.

R: That was a classic scene.

T: It was.

(Above) Sherman Howard with the "almost" Bride of Bizarro...aka Darla Bizarro.

R: And the way you played it, you played it like you were really freaked out at this Bizarro that was you and you were just like, 'What in the world is that?'

T: [Laughs]

R: That was really funny, and really good. Oh yeah, we were talking about your hair a little bit the other day and your hair was really long, and curly, and beautiful in season 2. It was big, like big 1980's hair, but by the third and fourth season they changed everything and went retro and had filmed at night and all this was with the film noir. They gave you this Marilyn Monroe look that I really liked.

(Above) Tracy Roberts on set of the third season episode two-parter "The Bride of Bizarro".

T: I loved it. I was so happy when they did that. I was like oh, this is awesome. It took a little bit longer for those wigs and weaves, because they had to make me a hairline.

R: Oh, wow.

T: If you notice in a lot of the hairpieces it shows my forehead and there's a hairline there. So they actually had to weave and make a hairline and they had to glue it on everyday and unglue it every night and then tease it into the hair. It took a little extra more time for those wigs, they were a little more involved, but I loved them! I thought they were great. What I'm sending you in the package are pictures of my hairdresser and wardrobe lady.

R: Oh, okay, cool.

T: Actually not wardrobe, they were make-up and hair; I got pictures of them and David Pinkerman was the make-up artist.

R: Yeah, your hair and wardrobe always looked really, really good in season three and four.

T: I was glad they got rid of the long hair because that was hot.

R: Oh, I bet.

T: It was very long, and not only that, my face got lost in all that hair.

R: [Laughs] It was really like the Eighties and the style too back then.

T: Yeah, it was really funny, they went from that long hair to the really short hair to when I was the Priest. There's really no way anybody can get all of that hair underneath this little, tiny, brown wig. [Laughs] They're like, 'Ahh, that doesn't matter.' So I'm like, 'Okaayy...."

R: Yeah, I guess they figured you were supposed to have been a strip club girl so maybe, I don't know...it was just a character trait or something they were trying to do. Or maybe it was the makeup people going overboard, you know? [Laughs]

T: And it's funny because we actually shot that at a strip club.

R: Oh really? Wow.

T: I've never been in one before, but they have a lot of the staff there.

R: Right.

T: They pulled the wardrobe out and the top piece they had for me was way too small. I was like, 'Nahh, no, no, no....this is not happening.' [Laughs] 'Yeah, we can't, I'm not getting in that.' [Laughs]

R: You're like, 'This is Superboy!'

T: I'm like, oh my God, what do we do now? And so they took me into the club and the girls, the actual girls that worked there, took me in the back room and said, 'Oh, just pick out whatever you want, anything that fits.' And I said, 'Oh...okay.' And one girl actually lent me that leopard top.

R: That's amazing. Wow. The club and all that looked real.

T: Oh it was. It was a real club. And then they took me on the stage and go, "C'mon, we'll show you a few moves. Do you know anything about stripping?' 'I'm like ummm....noooo I don't. No I don't.' So they go, 'Okay, well, we're gonna show you how to work this pole!' and I'm like, 'Okaayy....'

R: That's funny! I never knew that. So tell us about that red car, that nice red car that you pulled up in when Lex got out of the electric chair.

T: The Ferrari! Yes, the red Ferrari. I really, really wanted to drive that car, because they peel away, and they wouldn't let me do it. And I'm like, 'Oh c'mon, really? I really wanna drive this car, it's so hot!' And they're like, 'No, no, no ,no. The owner of the car is standing over there and he said a stunt driver and only a stunt driver. And I'm sitting in the car with the car actually running and I'm like, 'Darn!' [Laughs]

R: Oh man, that would have been so fun to actually drive it.

T: They actually pushed it on a crane and then they cut it and then we got out of the car and the stunt guy got in the car and they just shot it speeding off.

R: Yeah, yeah....wow. I always assumed you guys just took off and you were the driver. It's just trick photography they always do.... Let's talk about "Darla Goes Ballistic". So you said that Sherman Howard wrote that for you, because he said that they don't see what he sees in you.

T: Right. And he felt that I deserved to be showcased. The great thing about the script was that it showed every emotion. I mean it went from being crazy, to being bitchy, to being intelligent, and then to being upset and crying. I got to do the whole crying scene. It was up and down emotions, which was lots of fun for me to do. It was challenging, but I love that kind of stuff.

R: Right, you were very emotional in that episode. You did a really, really good job with that.

T: Well thank you.

R: It was very intense.

T: I thought, 'I know you could do this.' And then I got to destroying the lab, that was whacked!

R: The Psycho Kinesis powers, so tell me one thing, I've always wondered, at the end of the episode you hugged Lex, and the last shot was you winking at the computer, and the computer went out. So it made us think --

T: Yeah, I left you guys hanging!

R: Yeah, it made us think that you kept your powers. That you really still had powers.

T: Uh huh, that's what they wanted to do.

R: So that means it could have built you up to be like a real super villain.

T: You know actually, there was talk and they were actually discussing of doing a spin-off when the show ended of Lex and Darla.

R: Wow, wow...that's interesting.

T: That would have been a blast, but it never came to be, but there was some talk about doing a spin-off. But it just never happened.

R: That is so interesting, that is the first time I have ever heard of that. That's amazing. That would have been really interesting to watch.

T: Yeah, yeah!

R: It would have been a lot of fun to see it too.

T: It would have been where Lex would encounter other Superheroes, you know? Kind of like what they did with Iron Man with Robert Downey Jr. and at the end they throw in the Hulk.

R: Right. And you probably would have had your powers and you would have kept using your psycho kinesis or whatever.

T: That's right.

R: I kinda had the feeling that they were building up to that. When I saw that scene, I was like, oh, she's gonna keep her powers. [Laughs] She's just fooling them all.

T: Yeah, everybody was like, oh, what's that all about? And I was like, sorry I can't tell you, then I'd have to kill you.

R: [Laughs] Also, another funny scene in "Darla Goes Ballistic" is when you were doing all the food and you were preparing dinner and started humming "I Dream of Genie". How did that come about?

T: Oh, that was my bad. But it worked out, it was hilarious actually. I loved "I Dream of Genie". I was a big fan, loved the TV show.

R: That was a great show.

T: So, I don't know, they put all this stuff in front of me and the whole aerosol can with spraying under the armpits, they just thought that was hilarious.

R: That's funny.

T: I was like, 'Well, you put it in front of me, you didn't think I was not gonna use it, did you? [Laughs] So I'm sitting there and I just started going...(HUMS "I Dream of Genie" theme song) and then the Director said, 'Wait! Hold it! Tracy, what are you doing?' I said, 'What?' He said, 'No, no, you cannot do that, that's a big no, no. That's going to cost us money...' and I'm like, 'oh, I'm sorry, my bad, I didn't know. And he's like, 'I kinda like it though. I actually like it a lot.' He goes, 'Okay, I'll tell you what, we'll shoot it once that way, and then, we'll shoot it again, without it and then I will run the numbers and see what it's gonna take for me to get the rights to use that song.' And they ran it and they ended up getting it and using it. So, that's how that came to be.

R: That's great, so it was your idea, then. T: Oh yeah, I just started singing, because in the next scene she floats the oyster up in the air. I mean, that's so "I Dream of Genie", and I was like, oh, I always wanted to do this and if I got to fold my arms and blink my eyes I'd be in heaven. So, I just started humming the song and that's how tht came to be.

R: That's great. That was pefect timing when you did that. I mean, I think that got a laugh out of everybody when they saw that.

T: Yeah, the whole crew thought it was funny. But everyone who saw it said, 'Oh that was so cool you started humming that.' And I was like, yeah, I thought that was pretty good.

R: Yeah it was really funny. So going back a little, you were telling me that during your Girl Fight scene with Lana that the Director was getting frustrated because you guys were laughing so much and just really playing around with it. I mean, just acting like two girls having a blast on the set, just playing around with that whole scene. Can you tell us about that?

T: Yeah! Well, I did my own stunts, but they said they can bring somebody in to do the fight scene and I said no. So they brought the stunt guy in and he taught me how to throw a punch and kick and hit. And there was actually one time where I take a hit and I went flying over the couch. I did a back flip over tghe couch and the Director was like, 'Oh my God, did you used to be in a lot of barroom brawls or something? You just did that really well!' And I was like, 'Nahh, I used to wrestle with my Brothers all the time. So it was easy for me.'

R: Yeah, you said you had two Brothers.

T: But they ended up cutting the part where I flipped over the couch, because I was in my skirt, and every time I flipped over the couch you could see my underpants. [Laughs] That didn't work out.

R: That's funny! And you said that you and Stacy were just cracking up laughing.

T: Well we were laughing at Lex Luthor because after Luthor broke us up he got in between us and sat in there between us and that's when he was like, 'Oh! The Lovable Lana and Delicious Darla...' whatever it was...'just one big happy family!' and when he started banging his feet up and down on the floor laughing, we would just bust out laughing every single time, and I think we probably did it twenty-five times. And if you go back and rewatch it, you'll see Lana's face and you'll see that she was just ready to crack... They cut it just before she bust out laughing again. That was fun.

R: Yeah, that was a real funny scene and totally unexpected too. I mean, she's just like, 'Well, she's just your type, Lex!' and you just bust in there like, 'Listen, Chick!' And then WHAM! Right in Lana's face!

T: Yeah, and Lex was like, 'Well maybe Darla, can show Lana, some of our naughty tricks.' And that's when Lana said, 'I can just imagine what kind of tricks she does.' And that's when the fight broke out, and that's when she was like, 'Listen, Chick...'.

R:Ilya was telling me that that he was so glad that nobody tried to censor that, because it was two girls side by side Lex Luthor and he told me it was kind of like a threesome in Superboy. So he had to be really careful with where he went with that.

T: Yeah. Well, it worked out.

R: Yeah, it was exactly like you said; this is a kid's show. How far can you go?

T: Exactly.

(Below) The classic girl fight scene between Darla and Lana:

R: That's great. Oh, so tell us about your life now, about what you're doing and your family.

T: Well, when the show ended we were living in Orlando and my husband was in the hair business and he had hair salons that he owned in Maryland. And I guess had leased the space from the Landlord. He called and said I'm not renewing the lease to these people, if you want to come and if you want to come and have your salon back. So my husband asked me, do I wanna go? And I said my contract's up, sure! It was a change of scenery. And then I got pregnant with my Daughter Falon, and when we moved to Maryland I just wanted to concentrate on raising my girls. So now we have hair salons here in Maryland, and I work in the salon, and like I said, I've just been raising my daughters. I've been a full-time Mom.

R: That's so wonderful.

T: And my Daughter Falon said, now that she's older, 'You should get back into acting.' And I kind of have an itch for it and I would kind of like to do that actually. So I'm literally directing my career.

R: That's awesome. It's great that your Daughter kind of pushed you a little bit and you're still wanting to act.

T: I actually did do a small film. It's a small part for an independent film company. And there's a little bit of action, a little bit of running involved. And we had to work in front of a green screen. It's the first time I've done anything in twenty years and I just forgot how much I really do love it! [Laughs]

R: Wow, that's really great. I'm sure the fans would love to see you back on the screen again.

T: I'd love to get on another show like Superboy!

R: Yeah, that's the same thing Stacy (Haiduk) was telling me. She was like, 'Oh my gosh that show was just so much fun and I don't think there will be another like it!'

T: It really is better than movies. It's like a sitcom where everybody comes together every morning and we're all together every day and we work together year in and year out. You just become one big family. Whereas if you do films and movies, you make a movie and move on, but when you're doing a sitcom, and you're together for that many years you're just a big family. It's a big part of your life.

R: That's great, great.

T: I would love to have that again, but I don't know.

R: Yeah, those were probably some of the best years of your career.

T: We'd all get together and have picnics and barbecues and it was just fabulous.

R: That's awesome.

T: If I could do that another time in my life I'd be happy, but at least I can say I had it once.

(Above) Tracy Roberts (Tracy lewis) shocked at seeing a Bizarro of herself in "The Bride of Bizarro" Part 1.

R: That's right! And you have all of those memories to share. So, you said your Daughter Ashley used to go on the set with you?

T: Yes, I'm actually sending you a picture in the package. It's a picture of my Daughter with Stacy and Gerard. They're holding her on the set.

R: Oh, that's so cute!

T: Ashley used to love to watch them hooking Gerard up to the wires to make him fly. And I'd tell her all the time, 'Now Ashley, you cannot tell people how Superboy flies. That is a big, big, no no. So if your friends ask you in school...you don't know! [Laughs] Tell them that he just flies. So she says okay and then one day they had the day when the parents go in and talk about their jobs at school. I think Ashley was in the third grade, maybe. I actually wore the white "Darla Goes Ballistic" suit to the classroom. [Laughs] They gave me a tape to show the actual episode. And I forgot these were third graders, I didn't think they would think this was for real. And they watch the show and I'm shooting lasers out of my eyes and I'm blowing things up. And when the show was over they all just slowly turned around and looked at me like in fear.

R: [Laughs] They were shocked.

T: They were like, 'Oh my God!' And Ashley was great because Ashley said, 'And you don't wanna to make my Mom mad!'

R: [Laughing] They're like, 'Oh, you're not going to do that to us are you?'

T: And the Teacher was like, "You need to tell them that you really can't shoot lasers out of your eyes.' And I said, 'Why? That takes all the fun out of it?'

R: That's really cool! And you said the white dress from that scene in "Darla Goes Ballistic" that you actually kept it?

T: I have it actually. I took it out last night and I've been dusting it off. Yeah, that was the one outfit I wanted to keep. They told everyone you could have one piece of clothing when the show ended from one show, it doesn't matter. And I told them that was the one that I wanted and they just gave it to me and let me keep it. R: Oh, that's great. And it was a nice dress too, I really liked it. I liked that one and the one from "Know Thine Enemy" - that was the black dress. That was pretty too.

(Above) Tracy Roberts in one of the classy black dresses, dawning the retro 1940's look.

T: Yeah, their wardrobe selection was fabulous. My favorite other than that one suit was the one from "Body Swap".

R: Oh that one was beautiful.

T: It looks like a gown but it's not a gown, it's actually a pants suit.

R: Yeah, that was really cute, I liked that too. That was good.

T: That was so 1940's looking and it has kinda like the Jayne Mansfield look going on. I just thought it was fabulous. I loved that.

R: Yeah, and you had the Marilyn Monroe hair, it looked really good, I liked the whole retro look of it.

T: Yep. They were really, really good with wardrobe, every day I couldn't wait to see what they were gonna put me in. R: [Laughs] Yeah, I bet you wanted to keep it all, huh? I would have been like, 'Oh this outfit is mine.'

T: I wasn't real fond of the Priest outfit.

R: Yeah, or the nun outfit.

T: Yeah. Well the Priest outfit they had to make me look like a boy, so they had to bind me. They took ace bandages and wrapped them around my bust line and just squeezed them tight until I couldn't breathe. I had to walk around with that for eight hours and they kept saying, 'Are you ok?' It was my first day on the set, I wasn't going to complain, I was like (out of breath), I'M FINE!'

R: Boy, I bet you were like, 'Oh, I'm going ballistic over here!'

T: Ha ha, it was worse than a corset.

R: So you were in 12 episodes of Superboy, out of all I counted. Out of all of those episodes, which one was your favorite?

T: Well definitely my ultimate one was "Darla Goes Ballistic". I just love them all so much, but my second favorite, as far acting in it goes, was "Know Thine Enemy". Oh, there's so many, I enjoyed them all. I just enjoyed every one of them.

R: Yeah, they're all so good.

T: There wasn't one that I didn't even dislike a little bit. Like, 'Oh, I wish they didn't make me do this.' There just was nothing. They were all so good. And Stan Berkowitz who was the writer, he was awesome too. He wrote a lot of the Darla shows.

R: It's the same with me. People always ask me, what's your favorite episode? I'm like, 'Oh my gosh, there's so much that I love.' But I just always say "Roads Not Taken" Part 1 and 2 and "Road to Hell" Part 1 and 2 because I love that whole playing with the characters and that 'What if?' aspect. It's just so much fun.

T: Yeah, I like "Know Thine Enemy" [part 1 and 2] a lot because Lex Luthor got a little empathy for a change. People actually felt sorry for him.

R: Right.

T: And the robot that they made of him at the end with the teardrop coming down, you know, when he said, 'I never loved her' and Stacy touches his finger and sees the tears on his face and says, 'Yeah, right, Lex' whatever...I don't know, I thought was just a really brillant story about his life.

R: Right, it was. The robots were really cool. I thought they looked real too. He even had his eyes blinking [laughs].

T: The special effects in that show were incredible. That's when they introduced the hologram for the first time.

R: Right, right. That's what you were telling me. It was totally cool and I had never seen that done before.

T: I know, I was like, I wanna be a hologram. Can you make me a hologram? [Laughs] They said, 'no, just Lex', I was like, oh man! They also split the screen when they did the robots. It was all done with split screen and it was the first time they ever did that.

R: Wow. Wow....

T: Shooting a split screen takes a lot. You have to stand in for both parts and both times. I loved it. I never left the set during that show. I just wanted to sit and watch the makings of that entire thing. Usually you go to your trailer, you hang out, and then when they call you, you go back in, but that particular show...the Director was so great. He was just really good at his job and I just loved sitting there watching the making of the whole thing. I was enthralled with all of it.

R: Yeah, the directing was really amazing. I mean with the flickering lights they had in the background and even the photography (canted angles). It looked like there was some kind of special lens used, like a wide-angle lens. It looked really good, all the camera angles and everything.

T: Yep, yep....

R: I think his name was Brian Spicer, the Director.

T: You're exactly right, that is who it was.

R: Yeah, people always mention that those were two of the best episodes of the entire series and I would agree.

T: They were a little dark, you know, but sometimes you need to be a little dark to understand what's behind these dark characters.

R: Right, right. Exactly.

T: It's like when Heath Ledger played the Joker this last time. It's like, Joker's done, retire him, no one else can do it like he did it.

R: Yeah, exactly.

T: You got a sense of the Joker's life for the first time, through Heath Ledger and his portrayal of him. And that's what I mean about "Know Thine Enemy". You got a sense of what Lex's life was like for the first time.

R: Right. And Ilya Salkind even said to me that he was the best Lex, you know, out of anyone he has ever worked with.

T: Oh, I agree, 100%. I mean, I love Gene Hackman and who was that other one who did Lex Luthor?

R: Kevin Spacey.

T: Yeah, Kevin Spacey. Sherman's Lex outshined both of them, and I love those two actors.

R: I mean they're all great actors you know Sherman Howard just brought it to life, it was just so good (his Lex).

T: He was very, very three-dimensional.

R: Yeah, that's a perfect way to describe him. A lot of people say he was a little like the Joker in a way.

T: A little bit, yeah.

R: But he was just terrific, and of course you guys together. Like I said, nobody even compares to you as far as Lex-Girls go. You and him together were really fun to see on camera and on the show.

T: Well thank you very much! We had a great time doing it [laughs]. And I'm so glad that you guys are out there. The website I think is fabulous and I'm glad there's something out there where people can actually go and see bits and pieces of it at least. Everyone that I've ever shown the show to, the one's I have here, said 'god, this is actually a really good show!'

R: Oh for sure!

T: And it was. It was aired a lot. In the D.C. area, in this area, a lot of people know me and say they remember the show because it aired twice here. It used to air on Saturdays and Sundays.

(Above) Tracy Roberts (Tracy Lewis) is not impressed with Superboy as she watches him fly down into Lex's lair in "The Bride of Bizarro" Part 2.

R: Yeah, that's what I heard. In different parts up in that area it aired more than once.

T: Yeah, well, you guys keep pushing and try and pull together and get Warner Brothers to see the light.

R: We sure will.

T: Keep working on that, and we appreciate you doing that so much.

R: Yeah, that's what we're campaigning for -- me, Superboy Homepage, and also there's another Superboy TV series fan, she's a huge fan, her name's Ginger and she's doing everything she can to help me for the website.

T: She's funny, she keeps popping up on Facebook, she's funny, I like her.

R: Yeah, yeah, she says the funniest things. She's really good at analyzing the characters.

T: [Laughs] She's great, I've been very entertained by her actually.

R: Oh, yeah, her question was, how did you handle the insults on the show, I mean, Lex Luthor was totally demeaning you.

T: Oh yeah, he came up with some stuff. I think one time I looked at him and asked, 'How do you come up with, "The mind of an amoeba" Really?' Or, 'You stupid Cow!' I'm just like oh, okay... OWW! [Laughs] But it helps me feel the feelings that I felt as Darla, with all the words and lines that they were saying.

R: Right, yeah, it kind of made you sympathize with Darla, you think, gosh! She's just so nice, she just loves Lex no matter what he does.

T: Yeah, but it also made it a lot more fun when I got to insult him back! And when I got to get my little digs in on him, I just reveled in that.

R: Yeah, and in "Road to Hell" you were kind of the alternate Darla that was smarter than he was. I mean he was still Lex, but he had this stuttering problem and you're like, 'No, not in a mm...muh...muh..minute!' That was funny [laughs].

T: Yeah, that actually broke up the crew, they all laughed at that one. Everyone laughed on that because that wasn't written in the script.

R: Oh, so it was just spontaneous? You just did it?

T: Yeah! I remember he started stuttering and I started stuttering back, we both bust out laughing then we're like, 'all right, we're ready, we're ready...' But a lot of that stuff would happen because we would play off one another. We just had fun and actually became the characters when we were on set.

R: That's really funny. Because that was a funny part. That's one of the lines I remember when Darla gets to kind of have her fun with Lex a little bit and get her revenge.

T: Yep. and I did too. Oh, and the last line. That was another one of my things. I always had to have the last line.

R: And you did too. I always remember that.

T: If Sherman said 'Bye', I said 'Bye'. He'd say 'I'll see you in a bit.' And I'm like, 'Yup, in a bit!' He'd go running off and I would just chuckle and go, oh this is great! And he said, 'You always have to have the last line?' and I said, 'Yes, I do. You know that. That's my bit, that's my thing. I have to have the last line.'

R: That's awesome, I love that. So now every time I watch an episode, I'll have to listen for your last line [laughs].

T: There you go. Whenever Sherman left there was no way I was giving him the last line. I said, nope, I have the last line [laughs].

R: That's great! Okay, do you have anything you would like to say to the fans before we close the interview?

T: Yeah! Thank you so much for watching and thank you so much for being so supportive. And I'm glad I was able to make you laugh and cry and just feel good about things and I'm glad it was entertaining for you. I hope I get the chance to do it again one day, and please, please, please keep on trying to get those DVDs released! And if there is anything at all that you want from me, you can call me, email me, I'd be happy to help you out with anything.

R: That's great!

T: I'm happy to do it. Like I said before, you keep us alive. People would have forgotten about us by now if it weren't for all of you.

R: You were just such a standout character; you're totally memorable from the Superboy TV show. No one's going to forget about Darla and Lex. And a lot of fans of the series are just so passionate about it. I just never forgot about it, and truly loved it. 'Superboy' went off, then 'Lois and Clark' came on, then 'Smallville' and though I like 'Smallville' a great deal as well as the Christopher Reeve Superman movies, the Superboy TV series has this special place in my fandom heart I guess you could say.

T: That's great. I'm glad that it does.

R: Well thank you for everything. Thank you for doing this interview. It's been such a pleasure talking to you, Tracy, as always.

T: It's been my pleasure as well.

R: Thank you from Superboy Theater.

SPECIAL THANKS to Ginger for taking the time to transcribe this interview which was one hour long. Also, I want to thank Tracy for doing the interview -- it really turned out to be a great conversation which was being recorded from my speaker phone outside and underneath a palm tree in sunny California. Thank you so much.

Superman: The New Movie

Article by Rennie Cowan

Back in the late 1980's the Salkinds were developing a new big-budget Superman film if Superman V did not pan-out, and it was called SUPERMAN: THE NEW MOVIE. What does this have to do with Superboy you might ask? Well, even though Christopher Reeve was always the Salkind's first choice, there was a possibility that it would star the lead actor of the Superboy TV show, Gerard Christopher. Aside from Superman: The New Movie being briefly mentioned in Starlog magazine, it was mentioned by Gerard Christopher in an audio tape interview by Dan Recchia that the Salkinds were always more interested in doing major motion pictures rather than television.

Once the Salkinds regained the option rights back to the Superman character from Cannon Pictures (who produced Superman IV), the Salkinds estimated a budget for a new Superman movie of $35-$40 million under the label of Kandor Productions. There is some speculation that by March of 1993 it was called Great Krypton Productions. The production name for the Superboy TV Series was called, you guessed it, Superboy Productions, Inc. There had been an early idea (or rather, media specualtion) of tie-ing Superboy season 2 with Superman: The New Movie starring Gerard Christopher. But it got pushed back, and filmming would begin in the summer for a mid-1994 release.

It was later announced that it would tie-in with the Christopher Reeve movies, though it had been said earlier in the producing stages the film would tie-in with the Superboy TV show. Ilya Salkind professed that his first choice had always been Christopher Reeve at Wizard Com Anaheim 2010. However, in the eyes of the Salkinds, television was merely their stepping stool back to the big screen. Superboy the TV series proved to be a hit, and in retrospect, Gerard Christopher gained a loyal fan-base. So the possiblity of reviving a movie series through their successful Superboy show was certinaly there, if however obscure. Now all they needed was a screenplay....

Cary Bates, executive story consultant of the Superboy TV Series, and Mark Jones, were both hired to write the script for the next Superman movie. We are not sure if the script for SUPERMAN: THE NEW MOVIE would be the same story, but it was a strong possiblity. The story involved Brainiac as the villain and it centered around the bottled city of Kandor. Kandorians were characters in the script and the spirit of Jor-El would pay a visit. Superman: The New Movie probably would have been based on the same story.

Superman: The New Movie wasn't the first time a Superboy actor was said to possibly star in a Superman/Boy movie. In 1989, probably due to the success of both the first 'Batman' film and the climbing ratings of the 'Superboy' series, it was said there had been talks of a Superman film project by the Salkinds unformly titled (by the fans) as "Young Superman". It would have starred the first Superboy star John Haymes Newton (as very briefly mentioned in an interview by John Haymes Newton himself, available to read on this website). It had been a "strong possiblity", he claimed. But information on this was scarce, and no longer heard of by the time he was replaced by Gerard Christopher. (NOTE: Superman Supersite uplifted this enitre paragraph from my website for their website without credit; just incase anyone claims plagarism on my part. This article was written by me for my website close to 8 years ago, formerly known as The Boy of Steel TV website).

Virtually nothing is known about the story of this (possible movie) Newton spoke of, and more than likely, it was mere chatter on the set. Superman: The New Movie was the closest possiblity of reviving the series with a Superboy star even if Reeve was their first choice. Unfortunately for the Salkinds, by mid-1994 the option on the movie rights to Superman met an untimely end and it was reverted back to Warner Brothers. Often called "the evil Jon Peters" by the fans, he stepped in to begin work on 'Superman Reborn/Lives' . By 1996, pre-production plans were laid out for the next Superman movie (the first in nine years) called "Superman Reborn" (based on the "Death and Life Of Superman" storyline as was presented in DC Comics).

Even far more evil than Lex Luthor, Nicholas Cage was said to play the Man of Steel, and it would be directed by Tim Burton. Concerns about the quality of the screenplay and the rising production costs (which was speculated would be over $100 million) immediately put another Superman movie into development hell. This left the Superman franchise in limbo for many years, whereby WB passed it on to many possible directors like Tim Burton, McG and Brett Ratner, but the one that wins the award is the whacky casting choice for Nic Cage as Superman (and aren't we glad that never happened).

Below, for fun, the webmaster of Superboy Theater did an imaginary poster for a Superman movie starring a Superboy star. It is called SUPERBOY: THE MOVIE. You can save the poster directly onto your desktop, it is in high resolution. So feel free to blow it up into a real poster for your own amusement. You can also find it at this link. It is merely a hypothetical poster, so enjoy!

Ron Ely: Superman on Superboy

Article by Rennie Cowan

The Superboy TV Series is about Superboy, not Superman. That is an obvious overall picture of the show for anyone coming across this series for the first time. The rights issue surrounding the series prevented any usage of the Superman character. In fact, the Salkinds were not allowed to place Superman into the TV series at all, not even mention him. So Superman did not exist in this timeline of Superman lore. Well, maybe...just a tiny bit.

To clear the reason why Superman could not appear on the Superboy the TV series I personally talked to Ilya Salkind on the phone to answer some questions, Warner Brothers was gearing up for the possible production of Superman V (as early as 1988) and then they wanted their own updated Superman TV series, Lois & Clark. "They wanted Superboy out," stated Ilya Salkind, rather flatly. According to Salkind, a new Superman TV series was being developed by the end of season 3 of Superboy the TV Series. The character of Superman itself or his name could not be mentioned at all on Superboy the TV series.

By the end of season 3, the Salkinds didn't have the rights to use the Superman character or distribute it, nor did WB want them to do so. However, there was some debate over whether or not Ron Ely was credited as Superman on Superboy the TV series. No fan dub swapped around the Internet between fans over the years had ever surfaced a credit for Ely "as Superman". This would seem to prove the fact that Ron Ely was never credited as Superman, and the credit was never broadcast.

Below, view two different screen caps of the same episode with different credits for Ron Ely. One says "as Superman" whereas the other does not. Special thanks to Michael Bellina for providing the mysterious screen cap crediting Ely "as Superman".

Well this is a mystery, isn't it? When I spoke to Ilya Salkind about a fan named Michael Bellina who provided a screen cap crediting Ely "as Superman" Ilya said, despite that it came from somewhere, it would never have been broadcast anywhere in the world. "It was never broadcast," said Ilya Salkind. "It would not have gone past Viacom." Some fans have said that the "as Superman" credit was an International version of some sort, and that episodes had International versions. Ilya Salkind had more to say about this, "There was no International version. The credit list for USA was the same as Europe and the rest of the world." Ok, so straight from the horse's mouth. But, how did this happen? Was Ron Ely really credited as Superman in Superboy the TV series? And, if his credit was never broadcast then why did this copy spurn up (spurn new off-spring, Andy)? And how?

The fan who provided the screen cap stated he got the episode from Gerard Christopher back in the late 1990's when he was selling tapes off of his website for fans. The idea that it was never broadcast seems to be the case despite everyone's wish that it had been. In fact, you will not find one fan dub, an actual recording from an original airing that credits Ron Ely "as Superman". It was most likely done in the lab during post-production as a favor to an actor, either for Ely or Gerard, or it had been done prior to any screening with Viacom before being broadcast. Again, according to Salkind it would not have been passed off either way. It must have been either a gag or a hopeful proposition, but of course, Viacom would not have let it slip by.

Ilya Salkind, the Creative Executive Producer of Superboy the TV series stated that Warner Brothers absolutely would not have allowed it and that the credit list for the USA was the same for Europe and the rest of the world. So it appears it was not broadcast according to the Executive Producer of the series but nevertheless a copy of the episode Road to Hell Part 2 surfaced and it credited Ron Ely "as Superman". Lex Luthor once said, "True or false..." we all know he was Superman but only eluded to in the episode Road to Hell Part 2.

In the season 3 episode Road to Hell Part 2 the audience is taken into a parallel world where baby Kal-El's spaceship was dumped off during the 1930's (hypothetical). So in this parallel world Superboy would have been older than Gerard Christopher. Ron Ely appeared as a special guest star in this parallel universe and was the older Superboy. Below, watch the trailer for the episode.

The dialog, story and demeanor of the episode itself was very careful not to mention the word "Superman" and in fact it was only eluded to when Ron Ely spoke the dialogue, "And in that day, you won't be called Superboy anymore." Ely never wore the super-suit nor did he use his powers much beside a classic swush after telling Lex "I'm not that old" and a good punch in the jaw to Gerard Christopher. Oh, he also used his X-Ray vision but aside from this nothing spectacular. Crediting Ely as Superman would not have been allowed by Warner Brothers. And yet, the credit "Special Guest Star Ron Ely as Superman" surfaced from a copy of a master tape sold by Gerard Christopher directly off his website back in the late 1990's. It is true that the actors had access to copies of their episodes on VHS well before they aired, so a pre-broadcast version could have been in the lab's pile of tapes which the actor's took home.

So whether or not you want to call Ron Ely Superman, his credit did appear...somewhere... in the editing lab of Superboy the TV series but it was never broadcast. Ely had the curl, he had the pose but he didn't wear the super-suit and he wasn't called Superman on the show. Still, he was Superman even if he wasn't granted the title on the broadcast version of Superboy the TV series.

Ron Ely is exceptionally taller than Gerard Christopher (as tall as Christopher Reeve) but he did not appear so on the show. When I asked Ely how the both of them appeared to be the same height, Ely said that during the scene where they were walking down the street, he was walking in the gutter whereas Gerard Christopher was walking on the sidewalk. So Gerard was inches above Ely but not apparent to the camera. "There are ways," stated Ely.

Below, check out the Webmaster's signed autograph Superman action figure by Ron Ely from the Hollywood Show 2011. The toy reads Older Superboy, Ron Ely.

Below, autograph photo of Ron Ely to the Webmaster.

Darla: tracy Roberts

Darla was one of the most interesting characters on the Superboy TV Series. Played by the talented Tracy Lynn Roberts (Tracy Lewis), she was Lex Luthor's companion and partner in crime during seasons 2, 3 and 4 of the series. For the most part, she stayed out of the limelight during the second season, merely posing as a supporting cast member for Sherman Howard. However, by season 3 her charactter was really coming into her own. And eventually, Darla was going up against Superboy, toe to toe, and showing herself to be a dangerous foe. Especially when she kindnapped Lana Lang in the episodes "Roads Not Taken" part 1 and 2. Below, view Tracy's updated actress reel edited by the webmaster of Superboy Theater:

Eventually, by season 4, Darla was in a league of her own in the episode "Darla Goes Ballistic". Below, watch one of the best scenes from this episode (and Darla using her powers):

Darla's first appearance on the Superboy series as a strip club dancer.... Tracy credits Sherman Howard for helping to push her character into the limelight as she told me in her interivew that he wrote the screenplay "Darla Goes Ballistic" specifically for her character. Sherman stated: "They don't see what I see and you really deserve to be showcased". To Sherman's credit, any fan would agree.

(Above) Gerard Christopher holds up Tracy Roberts (Tracy lewis) with one hand in the 3rd season episodes "Body Swap". Comparing Darla to other incarnations of Lex's other "girls" (like Kitty in "Superman Returns") it is clear that Darla is more than just a random Lex-Girl. Lex Luthor was entertaining enough, however, when Darla got her moments on the show, she always managed to break the glass and dazzle the fans.

Tracy Lynn Roberts (Tracy Lewis) aka Darla today. It is true that fans of the series go on to say that the Darla/Lex relationship was far more cunning than any other female sideckick Lex Luthor had been known to have in the past, including Mrs. Tessmacher (Superman I and II) and Kitty from Superman Returns . It has even been said that there was little, if no friction or drama in the romance between Lex and his other girls in other Superman incarnations. But not when it came to Darla and Lex, it was the most difficult romance and the Superboy TV series pulled it off (or rather, Tracy and her talent made it very believable). The audience truly believed that Darla loved this crazy, and psychotic, evil Lex Luthor.

Darla pulls up in a fast, hip car to pick up the electrified Lex Luthor, in the season 2 episode: "Lex Luthor, Sentenced to Death"! Below, watch Darla vs. Lana, the ultimate girl-fight on Superboy the TV Series:

Today, Tracy is alive and well, married with two daughters (one daughter named Ashley and a younger named Falon who is in a band). Her older daughter Ashley used to hang out on the Superboy set with her Mom. Her younger daughter Falon is preparing to attend college in New York. Tracy is also a recent grandmother and goes by the name of Tracy Lewis ever since she got married.

(Above) Tracy's daughter Ashley in the middle of Stacy Haiduk (Lana Lang) and Gerard Christopher (Superboy). Tracy has also decided to revive her acting career as she made the decision previously to put acting on hiatus so she could raise her daughters. She did a film this year with the use of a green screen which she hadn't done since her time on Superboy. She also did work for DC Lottery where she appears on buses that drive by in Washington, DC. Darla, Lex Luthor's right arm who stood toe to toe with the most powerful boy on Earth, Superboy, will always be remembered as a very gritty and tough girl on the Superboy TV series.

(Above) Tracy Lynn Roberts (Tracy Lewis) uses her mind-powers to cook dinner in "Darla Goes Ballistic"...and to the tune of "I Dream of Genie" which was actually her own idea. This is an authentic Tracy Roberts autograph for the webmaster of Superboy Theater.

(Above) Another authentic Tracy Roberts autograph to the webmaster of Superboy Theater. Darla said, "All I ever wanted was a little respect." Below, Kaman Stowell of the Superman Vidcast interviews Tracy Roberts for his show! He offers some very good insight into the Darla character.

(Below) The authentic white suit that Tracy Roberts wore during the episode "Darla Goes Ballistic". This was the only piece of wardrobe Tracy was allowed to keep as a memoir of her role.

David Nutter: The Definitive Superboy TV Series Director

Article by Rennie Cowan

Director David Nutter: Superboy TV Series Director



David Nutter is primarily a televison director, and is most known for directing television Pilots. If you recognize his name, then you are about to find out why. David Nutter was the director of 21 episodes of the Superboy TV Series. He also, coincidently, directed both the aired and unaired "Smallville" TV Pilots (NOTE: The only difference between the two "Smallville" Pilots is that the scenes with the original Martha Kent were re-shot with Annette O'Toole instead of Cynthia Ettinger). Nutter not only got the popular "Smallville" series off the ground, but his vision produced many memorable Superboy episodes, including "Young Dracula" and "Mindscape". He also had the pleasure of directing both John Haymes Newton and Gerard Christopher as he worked on every season.

As director of 21 episodes of the Superboy TV Series, that almost adds up to one full season of the Superboy TV show. Though the episodes he did direct were kind of sporadic through the series he directed "The Phantom of the Third Division" (1989), "Hollywood" (1989), "Succubus" (1989), "Luthor Unleashed" (1989), "With This Ring, I Thee Kill" (1989), "Young Dracula" (1989), "Nightmare Island" (1989), "The Battle with Bizarro" (1989), "Programmed for Death" (1989), "Nick Knack" (1990), "The Haunting of Andy McAlister" (1990), "Johnny Casanova and Case of the Secret Serum" (1990), "Mindscape" (1990), "A Day in the Double Life" (1991), "The Road to Hell" Part 1 (1991), "The Road to Hell" Part 2 (1991), "A Change of Heart" Part 1 (1991), "A Change of Heart" Part 2 (1991), "Paranoia" (1991), "Threesome" Part 1 (1992) and "Threesome" Part 2 (1992).

Who can deny he has a vision when it comes to The Boy of Steel? He directed 21 episodes of Superboy as well the series TV Pilot for "Smallville". Today, Nutter has become kind of the definitive TV Pilot director. He has directed the Pilots for "Roswell", "Dark Angel", "Terminator: The Sarah Connor Chronicles", "The Mentalist" to name only a few (and the TV Pilot for the highly successful "Supernatural"). So he is certainly known for directing Pilot episodes of successful TV shows. What does this mean for the Superboy TV Series? Well, it means the show had a great director on board and the Salkinds had good taste in choosing directors.

Article by Rennie Cowan

The John Byrne Revamp: Deleting Superboy from DC History

Article by Rennie Cowan

Superboy endured several decades of adventures in comic book publication up until 1986 when DC writer John Byrne revamped the Superman saga entirely. The "revamp" changed the backstory of the DC Universe and declared that Superboy never existed. Only Superman existed. DC would portray Superman's past in very much the same way Richard Donner's Superman: The Movie depicted Superman's past. Baby Kal-El was sent to Earth from a dying planet known as Krypton and landed on a farm in Smallville, Kansas. He was found by a childless couple, raised as Clark Kent, became a reporter at The Daily Planet and soon after made his debut as Superman. The revamp completely altered what fans had known of the Superman mythos for years; that before he was Superman, he was Superboy.

In one ironic act, Alexander and Ilya Salkind decided it was time to bring Superboy back to life. They had sold their rights to Superman (the film and televsion rights) to Cannon Films after the disappointing Superman III and the box-office failure Supergirl staring Helen Slater but still retained some prior rights to produce other "super" characters from the same world, for example, Superboy. So they didn't waste time. Shooting began on August 15th, 1988. Despite the 1986 revamp that neatly tied the DC comics with Superman: The movie, the show would be based on the pre-crisis Superboy and a short 4-issue limited comic book series that was published in 1984 titled Superman: The Secret Years. By the 2nd season, 'Superboy: The TV Series' would rank in the top ten of popular syndication, a show that was strikingly faithful to the original DC comics. In fact, it's popularity convinced DC to publish a title based on the show itself...Superboy: The Comic Book. What was the message to DC? The message was plain...there was still a market and cult following for The Boy of Steel, despite DC's elimination of the character.

SPECIAL NOTE: Byrne later said in interviews that he regretted not having given Clark a "Superboy" career, during which he and other writers could have shown him as a falliable youth still learning how to use his powers in combat. Retro Vision Magazine, issue #8. Copyright 1988. We know of course that in the coming years we would see a hit TV series titled Smallville and that the premise would be that exact concept...Clark's growing years but without the tights.

INFINITE CRISIS / FINAL CRISIS: As if one Crisis wasn't enough, DC decided to put the DC Universie into the way of another crisis. Final Crisis is a 7 issue limited series that takes place after the 51 issue DC series release Countdown to Final Crisis. Final Crisis was written by Grant Morrison and illustrated by J. G. Jones, Carlos Pacheco, Doug Mahnke, Christian Alamy, and Marco Rudy. In Final Crisis, all the heroes of the DC multiverse join allegiance with one another to save the existence of the 52 Earths. The DC Universe is also known as the "multiverse" which consists of 52 alternate Earths with different histories and backgrounds. Since the time of the original Crisis on Inifite Earths Superboy had become a clone of Superman named Kon-El as a result of the popular Death of Superman saga. As the infinite Earths were revealed, it was also revealed that there were more new Superboys in the multiverse. One of them was named Superboy-Prime. Superboy-Prime (who was originally a silver age type of Superboy, a good person) went psychotic and became such a menace that the Legion of Superheroes from three different worlds has to fight together to stop Prime Superboy. Superboy-Prime destroys an entire prison planet and kills off the Green Lanterns. In the multiverse, Superman, or rather, Superboy, isn't always good. Find out more about Superboy-Prime in the limited series comic book Legion of Three Worlds. Also, watch the Superboy-Prime music video on youtube. Superboy-Prime is in some regards a reflection of the evil Superboy (Sovereign) seen in Season 3 of The Superboy TV Series.

The DC Universe updated again with another crisis... Flashpoint, a paradox that changed the DC Universe and the origins and histories of the DC characters once again. Caused by The Reverse Flash, the after-effect of this particular crisis turned Superboy into what we thought was a clone developed by an anti-meta group called N.O.W.H.E.R.E. This group hunted down youths with super powers. And Superboy, now clad in what looked like a Tron-suit, was on a quest to discover himself. Later it was revealed he was the son of Lois and Superman.

Until the next crisis, Superboy has seen many changes in the DC Universe! He is no longer just Kal-El.

Kevin Kiner - The Music Composer for Superboy: The TV Series

Article by Rennie Cowan

Kevin Kiner was the composure, the writer, and the performer for all the music heard in 'Superboy' the TV Series. He was literally a one-man-show and the only one solely responsible for the main title score and all the individual music pieces for each episode. The music was arranged on synthesizers and performed from his own private studio. The series wouldn't have been the same without his music--it really had a special kind of energy to it; the musical scores were sometimes so powerful it would literally tell you how to feel. He just didn't arrange background music, he also gave central and guest-starring characters their own unique scores. Bizarro, for instance, had his own little theme. So did Lex Luthor. The audience would always know who was about to appear by the music alone. Kevin is now composing music for the popular animated cartoon 'Star Wars: The Clone Wars'.

Thursday, May 14, 2015

Production FX work on Superboy: The TV Sereies (Article by Rennie Cowan).



Superboy was painted green by video-compositing whenever he was infected with Kryptonite.



Article by Rennie Cowan

'Superboy' was shot on a fairly small budget, much smaller than it's later adversary 'Lois and Clark', but often looked high-profile, if not, lavish. Top industry names always appeared in the credits, like Jackie Cooper (who directed several of the 1st season episodes; watch "Kryptonite Kills"). The Superboy production team consisted of several other veterans from the Christopher Reeve Superman movies like the Producers Alexander and Ilya Salkind. And the Line Producer Bob Simmonds (who served as production executive on Superman I, II, and III). And third, the FX pro Bob Harmon who "flew" Superman in the movies (did all the wire work), and repeated that task on the 'Superboy' TV series.

To give a good example of "lavish sets" just watch the third season episode "Carnival". That set was built entirely inside a Universal sound stage and made to look like it was night-time. Gerard Christopher stated to me that it was made to look like it was night and when he first walked inside for the first time to see the Carnival set he was blown away and said to himself, "Wow, this is amazing." The episode "Carnival" also contains one of the best flying shots of the series, where Gerard is on wires and flying past all the carnival tents. It was truly a spectaclar flying shot to be remembered.

The 'Superboy' writing team consisted of top DC comic book writers like Cary Bates, the Executive Story Consultant on the series, and Andrew Helfer. The FX crews did a multitude of creative flying effects during it's four year run, not to mention some impressive animation (all done on video; via, video-compositing), make-up/prosthetics by Rob Burman, and wardrobe and set design. Shooting started on the series on August 15th to meet the October 4 week series premiere in 1988. A season of episodes usually took six months to shoot. Bob Harmon's flying team did incorporate slightly different techniques for the flying and animation (the effects didn't have to be as elaborate as a feature film projected on a 70-foot screen, but thanks to video-paint-box-technology, the methods were easier, faster, and cheaper), so the effects were distinctly tailored to the size of a TV screen.

The fact that all this was being done on television didn't hinder the show at all--it was clear by the 3rd and 4th seasons that the 'Superboy' team was doing television better than anybody. If Alexander and Ilya Salkind were going out of their way to make audiences forget the painful memories of their 'Superman III' and 'Supergirl' (not to mention the non-Salkind-produced 'Superman IV: The Quest For Peace') then watching 'Superboy' sure did make up for it! The great thing about the Superboy show is there was always an ample amount of kryptonite on the set. According to Barry Meyers who played Bizarro, the pieces of kryptonite on the show was merely cheap plastic bits that were painted, and the lens on the camera is what gave it its' funky glow. Gerard Christopher kept a funny set piece and placed it in his garage at home; it was a sign that read: "Beware of Kryptonite".

There was no guarantee 'Superboy' would make it beyond the original 13 episodes ordered for the 1st season. The budgets were held down for the first half of season 1 and this is why the FX work really couldn't be exploited like they had been during the following seasons. This is very apparent as those first episodes appear to have a 'real world' documentary feel to them rather than an adaptation of a comic-book character. High-end video cameras were often used for some of the first location shooting. Those first episodes were rough around the edges, but they were natural and captured the tone of the first year of college exactly. Thde later seasons with Gerard Christopher were indeed shot on 35mm film. Gerard stated to me personally that everything he did on Superboy was shot on 35mm. He said, "I know what they shot on. I was in front of the camera everyday."

Mirroring the unfortunate circumstance with the Superman IV extra footage of Bizarro 1 and Christopher Reeve, Viacom/Paramount has destroyed all the original Superboy 35mm prints. Yes, they burned them. What survives are Ilya Salkind's three-quater inch copies of the series, and Gerard Christopher's VHS master tapes which are all being archived to DVD. Gerard Christopher is uncertain whether or not his seasons/episodes are actually sitting in Warner's vault at this present day. He stated to me, "I'm not even sure if there are copies in a vault!" Nevertheless, Warner Brothers certainly has season one archived in their vault. But as far as the later seasons are concerned, because of copyright issues (and the price) Ilya Salkind is the only one who has the best copies. And until a deal is struck between Salkind, Viacom and WB, an Official DVD release will be on the wayside for fans.

Going back to season one: instead of focusing on Superboy and his extraordinary powers, the Producers decided to lean on simple stories that would develop the three central characters of season one...Clark, T.J. White (Perry White's son), and Lana Lang. In the episode "The Foreign Exchange Student" (one of the original 13 episodes), we learn of T.J. White's first love, Natasha, who is from Russia. A simple story, not necessarily intriguing, but nevertheless it developed the T.J. White character into a likeable counterpart for young Clark kent. We really got the feeling of close friendship between these three, even more so than in season two (in which T.J White had left to work for his father's paper, and Andy McCallister became Clark's new roomate). That natural feel was something that got lost as the series became more professional and established.

By mid-season 1, Superboy was starting to gain good ratings and one can really notice this budget change in the FX, and the apparently more complex scenes that make use of multiple-camera set-ups, as the money started to roll in. But at this point, it wasn't a hit show. And being in number 28 of syndication didn't mean the show would last. Gerard Christopher stated that when he got hired Ilya asked him to go into his office and he told him, "The jobs of 120 people depend entirely on you. So consider yourself pressured." Gerard's performance did beef up the ratings on the show. In fact, Gerard worked more hours than Stacy Haiduk because he was playing two different characters. He would work double time, then in order to keep his physicque in shape, he'd work out at the gym at 11:00 PM at night.

For season one, production was primarily centered at the brand new Disney-MGM Studios facility at Walt Disney World in Orlando, Florida. All the interiors were shot at soundstages there. Disney World amusement areas and other surrounding properties were used for the exteriors (with other locations, when needed, to take place around the Orlando area). Seasons 2, 3 and 4 were shot at Universal Studios, Florida. Superboy was the first TV series as well as the first non-Disney project of any kind to be filmed at Disney-MGM. You have to hand it to the Producers on this one, they really made use of all the MGM locations. But wasn't until Ilya moved the production to Universal Studios that the show unleashed itself. We often saw adventures taking place in the big city, Capital City, which was a metropolitian location (basically, the 'Superboy' TV show's version of Metropolis). But if you go only 10 miles from the Capital City location, just outside of the studio lot and facilities, we can see the location for the corn fields of Smallville!

Both the Disney-MGM and he Universal Lot provided many different looks to choose from--the big city look, the small-town look (for the town of Smallville), University of Central Florida (Clark's college, Shuster University), the beaches in Orlando, and bogs and swamps (for some of the more mysterious episodes, like "The Lair"). These locations were basically the "world" of the show, and often times we'd see the same alleys, buildings and landscapes appear in subsequent episodes, but dressed (disguised) differently to pose as an alternate location. For example, the alley where Superboy dropped into in "Roads Not Taken" was the same alley seen in "The Sons of Icarus". This was hardly noticable, however, because each episode was only a half-hour long. And the action would usually engage a viewer from any deep or dire inspection.

The flying shots for 'Superboy' were one of the most accomplished aspects of the production. The flying was generally done a couple of ways. Like in the Chris Reeve pictures, the Superboy actor was suspended by a large crane with small wires that he would wear on a harness. A crane would pull or move the actor to give the illusion of flight. A man above them could control the movement (right or left) by the use of a steering wheel. A wire-shot could also be performed in front of a blue screen and matte that has a background of cars or buildings. The second season episode "Brimstone" is a good example of early blue screen/matte work on the series; we see Stacy riding on the bike of a motorcycle with Philip Michael Thomas. The gracefullness of flying had a lot to do with the actor. Gerard Christopher was in great shape (physically), so he had the ability to keep his back, arms and legs straight and to arc his body in a believable manner in different motions. John Newton was in his best shape towards the end of season one; so sometimes during those first few episode he simply lost balance during landings.

It is hard to notice at times when you would see the bottom of Newton's feet stagger a bit during the landings, but in his favor, he also wanted to use a Tai Chi techniques unlike any other actor flying the cape; a different approach all-together. They often looked artistic and interesting. Gerard kept it traditional - arms straight forward; everything like Chris Reeve. Gerard, being a tri-athelete in real life, made it look easy, which it certainly was far from. According to the book "Superman vs. Hollywood" by Jake Rossen, Gerard was harassed by one of the wire-guys during the second season. The wire-guy often left him hanging to pay attention to a woman on his lap. Gerard was actually afriad of being injured with that controlling the ropes. The unsafe wire-guy was eventually replaced with someone else more dependable after Gerard made it clear that he simply would not show up unless the wire-guy was replaced.

Generally, the show's dead-lines were tight and screen time was limited because 'Superboy' was a half-hour syndicated show. Seven-and-a-half minutes of commercial time was carved into each segment, so that left us with a 22/23-minute episode to tell a single story and make it believable. Anywhere from 6-10 script pages were shot a day, which would consume anywhere from 4-6 full days of shooting for a single episode. Yet 'Superboy' did have the benefit of the easier to use, faster technology (very basic video/computer software) for all the animation, which was responsible for the wire-removal on all the flying shots. In this regard, many brave and sometimes very dangerous flying shots could be attempted. In the episode "Metallo" we see an outstanding shot where Gerard Christopher is being lowered into a stadium with nothing underneath him but hard floor.

Gerard Christopher is suspended at least 20 feet above the ground for this "wire-shot" in progress. A blue-screen was often used in conjunction with wires which were never to be seen on Superboy.

Comparing this method to the earlier Christopher Reeve films where Bob Harmon and his team had to be very inventive about hiding wires, and doing time-consuming and complicated optical/composite shots, you will rarely see wires in Superboy. In fact, there were no wires to be seen in Superboy at all. Once wire-removal had been completed on video, via simple computer/video software, the flying shots were put back onto film without the worry of matching the color and tone of the live action footage. For this reason, the wire-removal in Superboy was in fact cleaner than the Reeve Superman films. For the Reeve films, many wire shots had to rely on time consuming, frame by frame delicate wire paint-outs that an animator would hand-paint directly onto the celluloid. For 'Superboy', this long and involved frame by frame technique wasn't necessary.

All wire removal was spotless in 'Superboy' compared to the Reeve pictures, because of the high resolution compositing that video offers. So, in that regard, did Bob Harmon's flying team make audiences believe a boy could fly? Believing is an understatment! In fact, the flying shots were the best part of the show. Because wire-removal was cheaper and faster, the flying in 'Superboy' often pushed the envelope. One of longest flying shots in Superman History is said to be in the 'Superboy' episode "The Bride of Bizarro, Part II". In this particular episode, we see Superboy fly through Lex Luthor's lair (which was a very wide warehouse) for a rather lengthy amount of time (roughly ten seconds). The second longest flying shot is most likely seen in the episode "Carnival".

One of the best flying shots of the 'Superboy' series. Superboy takes a narrow flight 20-30 feet upward inbetween a winding flight of stairs. This flying shot appeared in the episode "Rebirth" Part I.

Other magnificent flying shots are seen in the episodes "Carnival" and "Werewolf". In "Carnival", Superboy is suspended about 10 feet above the ground, smoothly and gracefully gliding past several carnival-atmosphere-settings. In "Werewolf", we see Superboy glide down through a stretched and narrow hallway of an office building. In the episode "Young Dracula" Gerard Christopher is seen gliding extremely low through a very long hallway. That shot was actually not done on wires (and it looked great!). During the 3rd and 4th seasons, the flying shots became pretty daring, probably because night-time shooting had become predominate and more creative use of wires could be done. And since the wires were hardly (to never) noticeable, why not use them to the hilt? Season 3 also made use of more green screen techniques for the flying shots; and because the flying was at night, the rotoscoping on the bluescreen work looked much cleaner and realistic than if it was at day time.

John Haymes Newton flying shot with no wires to be seen.

Removing the wires by video-compositing was faster and cheaper to do, yet, why not save more time and money? It is interesting to reflect on 'Lois and Clark', a show that premiered a year after the legal debacle and lack of DC approvals on scripts for 'Superboy' by Warner Brothers (read the article about the lien here: The Death of Superboy ) and had the bigger budget, yet incorporated "cape-out", an inferior effect that opted not to show Superman flying, only flapping his cape in front of the camera! 'Superboy' aired several years earlier, yet all Bob Harmon's flying team did was very simple and cheap video-compositing on very basic video/computer software. By the 3rd and 4th seasons, the flying shots were looking very cool; enough for critics to say it rivaled the flying shots seen in the earlier Christopher Reeve 'Superman' pictures.

The Kryptonite Kid throws a wave of kryptonite-force on Superboy's body.

The process and effect of Gerard Christopher turning green when exposed to green kryptonite was not in use until the second season, when the episode "Bizarro, the thing of steel" premiered. At last, for the first time a live-action Superman character on television, or film turned green from kryptonite exposure! This was how it should have been done in the Christopher Reeve movies, actually. It's a part of the comic book lore. In the comics, Superman turns green when exposed to green K. It was only in the Superboy cartoon (which precursed the Superboy TV series) that Superboy did indeed turn green for the first time on TV. It may surprise some why Richard Donner did not use the green-effect in his Superman film. By the time Luthor was ready to dump Supes into the pool, his skin should have been a pale green tone. Perhaps it may have been too time consuming to be done on film (and expensive).

The frames of Gerard Christopher doubling over from exposure to green K were indeed painted, but by video-compositing. The end results were much faster and easier to accomplish, and it was at a higher resolution than could have been done on film at that time (which used the process of optical-compositing). Many a Superman fan for years had dreamed of seeing the Man Of Steel (or Boy, in this case) turn green. It was a more primitive FX than would be done by today's standards, to be sure, but not so primitive by the early 90's standards. However, it appeared that in order to make Superboy look like he was gradually turning green was not so easy. Superboy/Gerard Christopher doesn't gradually turn green (as should be the case with kryptonite exposure). The video-compositing effect meant it was all or nothing. Suddenly his skin is totally green. And then, once the kryptonite was taken away, his skin was instantly back to normal.

As was mentioned earlier, the FX work really couldn't be exploited until after the first season. Superboy was SERIOUSLY under budget and under staff-ed during the first season. As simple as most of the FX was to create back then, it's even simpler and cheaper to not do it at all, which was the case of Superboy's 1st season, and maybe even the reason why they didn't have Superboy turn green during season 1. Because there was no guarantee that 'Superboy' would make it beyond the first 13 episodes ordered (for the 1st season), budgets were held down. Yet the creativity increased and a very animated feel emerged into the second season, which was, I dare say, much like a dead-on interpretation of reading a comic book. The series suddenly felt like it was intuned to the true "spirit of Superman", the clothing of the villians became more out-landish and bright colors filled the sets. Even the make-up and prosthetics being created for the show were sometimes quite amazing. And probably far beyond what one would expect of a syndicted TV series. Bizarro, the imperfect duplicate of Superboy, was made to look very life-like. Even creepy. But what a pleasure it was to see a character straight from the comic books portrayed so vividly.

Bizarro dressed up as Kent-Clark.

If one took away the actors and replaced them with digital characters, the episodes of the second season could have easily been mistaken for a cartoon. We did get a glimpse of these changes during the first season, I have to add. "Alien Solution" and "Revenge of the Alien" felt very much like a second season episode...yet, I argue that something was still missing. Much to the producer's delight, Gerard Christopher was willing to do anything and everything they wanted. Gerard Christopher was enthusiastic, very physically animated and was willing to play Clark nerdy. Some say he went too far on the nerd-act. Unlike Newton who felt that Clark Kent should be vunerable instead of clumsy, he was not as physically fit and sometimes difficult to work with, according to accounts by the Salkinds. So when it was Gerard Christopher's turn to step up to the plate, he decided to play Clark Kent to the extreme. Very nerdy, and very goofy. And sometimes, very funny. Gerard Christopher did all kinds of crazy stunts to make himself look foolish, even jump on top of a slightly moving car while wearing a heavy sweater and heavy shoes in 90 degree Florida heat. He wanted to make an impression. This was his chance to be remembered for being the definitive Superboy (not unlike what Kirk Alyn was to George Reeves; the first but not the last, and not the most remembered).

The innocent feel of Richard Donner's 'Superman: The Movie' was lost well into the second picture. Likewise with the Superboy series. By the 3rd and 4th seasons, the title was changed to 'The Adventures of Superboy' and a dark and mysterious feel emerged called film noir. You'd never guess what a low budget Superboy had to judge from the results. You've got to give the devil his due. The Salkinds did a great job with the series even if they rarely spent time on the actual set. To sum up, the production work on the series was one that intended to capture the lore of the comics, and then some. There was a little bit of Batman in there, and Tales From The Crypt too. Visually, to television standards, it was years ahead of it's time. You have to appreciate how the show progressed over a 4-year period. WB's Smallville series has the luxury of computers with fast processors, and I have yet to see an episode that flows so genuinely in sync with the spirit of Superman.

The John Byrne Revamp: Deleting Superboy from DC Comics (Article by Rennie Cowan).

Article by Rennie Cowan

Superboy endured several decades of adventures in comic book publication up until 1986 when DC writer John Byrne revamped the Superman saga entirely. The "revamp" changed the backstory of the DC Universe and declared that Superboy never existed. Only Superman existed. DC would portray Superman's past in very much the same way Richard Donner's Superman: The Movie depicted Superman's past. Baby Kal-El was sent to Earth from a dying planet known as Krypton and landed on a farm in Smallville, Kansas. He was found by a childless couple, raised as Clark Kent, became a reporter at The Daily Planet and soon after made his debut as Superman. The revamp completely altered what fans had known of the Superman mythos for years; that before he was Superman, he was Superboy.

In one ironic act, Alexander and Ilya Salkind decided it was time to bring Superboy back to life. They had sold their rights to Superman (the film and televsion rights) to Cannon Films after the disappointing Superman III and the box-office failure Supergirl staring Helen Slater but still retained some prior rights to produce other "super" characters from the same world, for example, Superboy. So they didn't waste time. Shooting began on August 15th, 1988. Despite the 1986 revamp that neatly tied the DC comics with Superman: The movie, the show would be based on the pre-crisis Superboy and a short 4-issue limited comic book series that was published in 1984 titled Superman: The Secret Years. By the 2nd season, 'Superboy: The TV Series' would rank in the top ten of popular syndication, a show that was strikingly faithful to the original DC comics. In fact, it's popularity convinced DC to publish a title based on the show itself...Superboy: The Comic Book. What was the message to DC? The message was plain...there was still a market and cult following for The Boy of Steel, despite DC's elimination of the character.

SPECIAL NOTE: Byrne later said in interviews that he regretted not having given Clark a "Superboy" career, during which he and other writers could have shown him as a falliable youth still learning how to use his powers in combat. Retro Vision Magazine, issue #8. Copyright 1988. We know of course that in the coming years we would see a hit TV series titled Smallville and that the premise would be that exact concept...Clark's growing years but without the tights.

INFINITE CRISIS / FINAL CRISIS: As if one Crisis wasn't enough, DC decided to put the DC Universie into the way of another crisis. Final Crisis is a 7 issue limited series that takes place after the 51 issue DC series release Countdown to Final Crisis. Final Crisis was written by Grant Morrison and illustrated by J. G. Jones, Carlos Pacheco, Doug Mahnke, Christian Alamy, and Marco Rudy. In Final Crisis, all the heroes of the DC multiverse join allegiance with one another to save the existence of the 52 Earths. The DC Universe is also known as the "multiverse" which consists of 52 alternate Earths with different histories and backgrounds. Since the time of the original Crisis on Inifite Earths Superboy had become a clone of Superman named Kon-El as a result of the popular Death of Superman saga. As the infinite Earths were revealed, it was also revealed that there were more new Superboys in the multiverse. One of them was named Superboy-Prime. Superboy-Prime (who was originally a silver age type of Superboy, a good person) went psychotic and became such a menace that the Legion of Superheroes from three different worlds has to fight together to stop Prime Superboy. Superboy-Prime destroys an entire prison planet and kills off the Green Lanterns. In the multiverse, Superman, or rather, Superboy, isn't always good. Find out more about Superboy-Prime in the limited series comic book Legion of Three Worlds. Also, watch the Superboy-Prime music video on youtube. Superboy-Prime is in some regards a reflection of the evil Superboy (Sovereign) seen in Season 3 of The Superboy TV Series.

The DC Universe updated again with another crisis... Flashpoint, a paradox that changed the DC Universe and the origins and histories of the DC characters once again. Caused by The Reverse Flash, the after-effect of this particular crisis turned Superboy into what we thought was a clone developed by an anti-meta group called N.O.W.H.E.R.E. This group hunted down youths with super powers. And Superboy, now clad in what looked like a Tron-suit, was on a quest to discover himself. Later it was revealed he was the son of Lois and Superman.

Until the next crisis, Superboy has seen many changes in the DC Universe! He is no longer just Kal-El.

Superboy - The Comic Book

Article by Rennie Cowan


In Febuarary of 1989, only one year after 'Superboy: The TV series' hit the airwaves 'Superboy: The Comic Book' hit the newstands. It would be based entirely on the TV show, but would tackle all-new adventures. Its' intent:was to explore some of the unseen tales and events that a 26 half-hour episode a year could not do. It would answer vital questions about the show as well, like what was the first day at Shuster University like for Clark Kent and Lana? (Or, what happened to T.J. White after his dismiss for the second season?).

Like the TV show, 'Superboy: The Comic Book' would fill in gaps and portray Superboy in such a way that would fit in with the Superman Mythos as suggested by the Superman movie producers (Alexander and Ilya Salkind). After the first 10 issues the title to the comic book was changed to "The Adventures of Superboy" to reflect the change of the title for the TV show as well (from "Superboy" to "The Adventures of Superboy".

Above: authentic Gerard Christopher signed issue #9 of Superboy: The Comic Book.

However, just like the TV program, 'Superboy: The Comic Book' did not coincide with the current Superman titles, nor did it follow the storyline in the Christopher Reeve Superman movies. It had its own origin, so one must suspend a different belief in order to enjoy the TV series as a whole or its' comic book brother. Surely, this is no chore.

'Superboy: The Comic Book' endured publication for two years, had an excellent writing staff (like Mike Carline, the Editor of the comic book) and fantastic artwork by DC comics, and eventually found its end in 1992 when the TV show wrapped. The Superboy Special was released two weeks after the final episode of the series aired ("Rites of Passage" Part II). So if you were lucky enough to witness the TV show during its' airing back in 1988-1992, or you are a newcomer to the series, then you'll love 'Superboy: The Comic Book'!

Below are all 23 front covers of all 23 issues ever released by DC comics. The last issue isn't numbered but it is a "goodbye" issue titled "Superboy Special" as mentioned above. The webmaster herself actually had a letter published in one of these issues (issue #15 to be exact) so she was a current, month to month reader.

ISSUE # 1

ISSUE #2

Superboy - The TV Series Pilot

By Rennie Cowan


There are two different versions of the TV Pilot to Superboy the TV Series. The first version is the one that originally aired on November 5th, 1988 (and was the 5th episode that aired - the Pilot was not aired before the first 4 episodes). The first version of the Superboy TV Pilot is available on the Superboy season one complete DVD set which has been distributed by Warner Brothers. However, the second version which aired much later within season one, and contained new footage is not on the season one DVD set. This second version had finished FX work that was not in the original version that is not available on the DVD set we currently have for season one. The final scene of the first version was cut out for the second version in order to make room for the new footage. You can watch the two extra scenes that appear in the second version of the TV Pilot below:

"I'm called Superboy. I fight for truth, justice and the American way...." -- John Haymes Newton, 1988 'Superboy' TV Pilot


"Countdown To Nowhere" was the pilot episode for the 'Superboy' TV series. Only twenty-four minutes long (without commercials), it successfully accomplished to introduce the three leading characters of season one: Clark Kent/Superboy (John Haymes Newton), Lana Lang (Stacy Haiduk), and T.J. White (Jim Calvert). All three characters were first year college students at Shuster University in Florida. It should be noted that there are two different versions (cuts) of the original 'Superboy' pilot that was aired on television back in 1988/89. Though many have this notion that the original "cut" never aired, this is simply not the case. The original "cut" (without the Shuster Herald sequences) didn't particulary air everywhere across the world; it definitely aired in California in the USA (the webmaster of this site recorded both versions onto VHS off of television - so both versions definitely aired).

The story of the original (first version) 'Superboy' Pilot (1988): The United States Government has created an experimental laser weapon (The Laser Gun) and plan a demostration at Shuster University, Florida. Many students at Shuster join together and march against it, displaying picket signs that read "No Nukes" and "No Lasers". Clark Kent, reporter for the Shuster Herald, trails behind the peace march, covering the story and tries to interview a student excercising his democratic right to protest. T.J. White (Perry White's son), photographer for the Shuster Herald, excitedly takes photos for Clark. Lana Lang joins her friends (Clark and T.J.) and criticizes them for not protesting. Clark replies, "I don't get involved in issues, I only report them."

This photo of Clark is actually from a scene in the second version of the TV Pilot.

Lana wants to get too involved, however, and we sense that she is taking the issue too seriously. Lana continues to encourage the protest and meets up with the football team. Unbeknowest to her knowledge, the football players are a group of imposters; a group of saboteurs who plan to steal the Laser Gun from Shuster University (and sell it to an arms dealer).

A Space Shuttle launch which will occur later that day at the Kennedy Space Center (in Florida) will be the distraction they need. Lana is persuaded to help the football guys into the university building, where the laser weapon is being stored, and place a picket sign right next to it. But once inside, the team (with guns blazing) attack the security guards, drop a smoke bomb, and then bust out with the Laser Gun. Lana Lang is taken hostage during the escape in a large van.

Meanwhile, back at the demonstration, Clark and T.J. realize that the main security guard at the front entrance is simply gone. Clark uses his x-ray vision to glance inside and sees smoke flowing through the halls of the university building.

He rushes inside, breaks a locked door down with his super-strength, and then swallows the smoke with his super-breath. He helps a guard to his feet and asks him what happened. The guard explains that a group of guys dressed as football players took the Laser Gun and kidnapped Lana Lang. Clark tries to get him to remember anything that they could have said that would clue him in on where they could have taken her. There was one clue; the sabotuers mentioned that they had 20 minutes to get to the "main event".

Clark rushes outside and is about to turn into Superboy until he sees far too many people standing around campus. He stomps his feet, frustrated, realizing he'll have to wait until he can attempt to save Lana. After things cool down in the escape van, the football team changes into regular clothes and Roscoe (the Leader of the saboteurs) admits that Lana will eventually be killed. But for the time being, she would be a bargaining chip if they needed one.

Back at Shuster, in Clark and T.J.'s dorm (they are roomates), Clark and T.J. try to figure out the puzzle of the so-called "main event". What could it be? The phone rings and Clark picks it up. It's Ma Kent. She asks him, "Are you thinking of becoming Superboy?" Clark replies (lowering his voice so that T.J. won't hear him), "I don't think I have a choice." He gets off the phone with Ma Kent, and only moments later, a countdown for the shuttle launch is being premiered on the TV set. Clark and T.J. exchange excited glances with one another. The main event is the space shuttle launch! They rush out of the dorm and Clark convinces T.J. to meet him there while he goes to the authorities for help.

With T.J. gone, Clark is free to leap behind a tree where he changes into Superboy! He flies up into the sky above Shuster, heading for the Kennedy Space center. The sabotuers finally reach Kennedy Air Force Base, just outside of the space center, which is their rendevous with the arms dealer. They park the van inside a hanger bay then waltz out with the Laser Gun. Roscoe drags Lana along (with an evil grin) and decides that he wants to test the laser weapon. Lana is appalled when Roscoe fires on a group of unsuspecting American soldiers! The weapon is quite effective. Roscoe breathes victoriously, "What do you know...it works!"

In mission control, at the space center, a radar operator discovers an unidentified flying object on the blip screens. A few moments later, that same unidentified object lands near the shuttle pad. NASA authorities are told, and causiously, they approach the unidentified flying object; a young man dressed up in red and blue tights (with an "S" on his chest). "Who are you!?" Yells out one authority. Superboy folds arms like a superhero and seriously pronounces, "I'm called Superboy. I fight for truth, justice, and the American way."

A helicopter lands near the hanger at the air base (for Roscoe's rendevous). Roscoe and his gang prepare to take flight until Lana wiggles free from Roscoe's grip and runs for her life. Roscoe pursues after her and eventually tackles her to the ground. He sheepishly slaps her clear across the face. Lana screams! The scream echoes loud enough for Superboy to hear it (with his super-hearing). Superboy takes flight again, leaving the NASA authorities and they are baffled.

Lana gets strapped down to a seat inside the helicopter before the helicopter rises to the sky. After it gains high altitude, Roscoe notices a red and blue flying object approaching. Superboy reaches the helicopter and Roscoe yells, "He's after us!" Lana corrects him, "No, he's after you!" Roscoe laughs, "Not anymore." He pushes Lana out of the helicopter and she drops down through the clouds. Superboy averts his attention and swooshes out to catch her. Roscoes laughs again, believing he'd gotten rid of the flying boy.

As Lana spins in the air, Superboy gently scuttles her up into his arms. Lana's eyes widen in disbelief (and awe). She tells him: "Whoever you are, wherever you came from, thank you!" Superboy smiles and takes her softly to the ground where T.J. just happens to be waiting for Clark.

T.J. rushes up to Superboy to ask for an interview. Superboy smiles again, "Excuse me." He heads back to capture the sabotuers. T.J. asks Lana who the flying person was. Lana is still a bit awe-struck, "He said he was called...Superboy." With some serious afterthought, she adds: "He reminds me of somebody."

Superboy returns to the helicopter, but Roscoe powers up the Laser Gun and uses it against him. Superboy deflects the laser bolts with his hands. Roscoe is dumbfounded, "I don't believe this guy!" He shoots more laser bolts at Superboy but obviously, Superboy is unaffected by lasers and reaches the landing rigs of the chopper. With his super-strength, he steers the chopper downward, angling it back to the air base. Roscoe is amazed. Knowing he's been defeated, he puts down the laser weapon and raises his arms in the "I-give-up" position.

Superboy veers the chopper to the landing pad of the air base where several military authorities are waiting. The saboteurs are taken into custody. Superboy salutes a General, then heads back into the sky.

Lana and T.J. idly sit outside where Superboy had dropped off Lana earlier (waiting for Clark). Just some distance behind them, Superboy quietly flies down behind a bush and changes back into his Clark Kent clothes. He then jogs, with an awkward gate, to met up with his good friends Lana and TJ. Immediately, Lana hugs him and begins to babble on about this Superboy-guy who saved her. Lana exclaims: "Oh! He was so incredible and so unreal!" A sly grin appears on Clark's face. He looks at the camera (directly at us, the audience) and quietly adds, "I'm sure he is."

END OF TV PILOT.

There are two versions of the 'Superboy' TV Pilot:

There are two different versions of the 'Superboy' Pilot. Let it be noted, that the SECOND VERSION IS NOT ON THE CURRENT DVD RELEASE PUT OUT BY WARNER BROTHERS in 2006. Unfortunately, the only way to view this alternate Pilot episode is by bootleg fan copies/or youtube (the net). The original version is the story you just read. It aired on November 5th of 1988. The second version was actually a repeat of the original footage from the Pilot (with the last scene cut out), that aired in early 1989. But it was a re-telling of the story (by Lana herself) with a slightly different slant. Rather than simply repeat the pilot on the air, the Producers decided to shoot two more short scenes in which Lana would lead the audience into the first story of the PIlot. The second version to me makes more sense because the original Pilot didn't air first anyway. And some of the FX was not finished, but for the second version, it was finished.

The new scenes took place at The Shuster Herald (the offices of Clark's school paper). T.J. was setting up for a photography shoot of Superboy who was due in at any moment, and ironically, Clark was going to do the interview but made up the excust of stepping out to get a cheeseburger. Clark made an excuse to leave the room and T.J. and Lana were left alone. That's when Lana reflects on the first day Superboy saved her, which leads us into the original story of the TV Pilot.

The episode title was still called "Countdown To Nowhere" and interestingly enough, about 3 extra minutes of footage was cut to fit in the two extra scenes. For the most part, it was merely a shorter version of the original Pilot. The helicopter sequences were shorter (cut tighter), and some of the music was mixed differently. An FX shot was added in with an old shot that really didn't make sense before. There was a shot of the roof-top of Clark's dormatory with the sky as a background. Obviously, in the original Pilot, it is fair to assume that the FX team didn't have the time to add Superboy into the background (as he flew away to save Lana). But in the second version, we finally get to see Superboy flying past the dorm rooftop and we realize exactly what this original shot meant.

After Superboy saved the day, the flashback ceases and we are back at The Shuster Herlad, we see Lana with a glazed look in her eyes. Superboy is ready to have his picture taken until he senses danger. He splits (leaves the photo shoot) and the next thing we know is that Clark appears in the hallway, only miliseconds after Superboy zips past the screen. Lana and T.J. tease him about missing Superboy in person (like always). Ha. Ha. So what else is new?

This is a clip from the first version of the Superboy TV Pilot. If you notice, there is a shot after Clark turns into Superboy and flies off where all you see is the empty portion of the top of a building. In version two, we actually see Superboy fly away out of the building. The FX work wasn't finished for the first version of the Superboy TV Pilot.

SPECIAL NOTE: According to the tie-in comic book "Superboy: The Comic Book' issue #1, Superboy made his first appearance on the first day of school at Shuster University. It was about an alien who lived inside of a metoerite and it had clued Superboy in on the idea (or knowledge) that he could be a lifeform from another planet as well. In the Superboy TV Series, Superboy/Clark never found out his real heritage and he didn't know he was from Krypton. This was consistent through the entire series.

SUPERBOY: THE TV SERIES (1988 - 1992) - An Alexander and Ilya Salkind Production



By Rennie Cowan

The Superboy TV series was a half-hour syndicated television series that debuted on October 8th, 1988, and after four seasons, finished on May 17, 1992. A total of 100 episodes were accumulated. It was produced by the same producers of the first three Superman movies starring Christopher Reeve as Superman: The Salkinds. The Salkinds also produced the Supergirl movie (1984).

The series was distributed by Viacom. The producers are famously known as Alexander and Ilya Salkind. The series depicted Superman in his early years as ClarkKent/ Superboy while he was attending college (at Shuster University) with his childhood friend, Lana Lang. The show was shot in Florida, USA, at Disney/MGM Studios for the first season, but for the second season (and on-going) was shot at what was called the brand new Universal Studios lot in Orlando, Florida (USA). The show was also shot on campus at the University of Central Florida and in surrounding areas when various, realistic locations were needed.



There were two Superboys who played the role of Clark Kent / Superboy during its' television heyday: John Haymes Newton and Gerard Christopher. John Haymes Newton starred in the first season and did 26 episodes. He practiced Tai Chi to prepare himself for flying techniques on Superboy and played Clark as an oridinary young 19 year old. He also used his knowledge of martial arts to fight an alien fight sequence in the episode "The Alien Solution". You can watch and enjoy his love for martial arts in the movie he did called "Desert Kickboxer" - also, be sure to watch him perform the voice of Superman in the fanmade animated 2011 short "Superman Classic". John and co-star Stacy Haiduk (Lana Lang) dated during the first season. Ilya Salkind who had been concerned over the ratings of the show decided to give the cast a complete make-over and replaced John Haymes Newton with Gerard Christopher, Scott Wells (Lex Luthor) with Sherman Howard, and Perry White's son, TJ White (played by Jim Calvert) with IIan Mitchell-Smith (Andy McAllister). After playing Superboy, John Haymes Newton moved on to work on Broadway plays, and a number of major motion pictures including "Cool as Ice" (with Vanilla Ice) and the critically acclaimed "Alive".



John has a small, loyal Superboy fanbase and some fans proclaim they liked him better than the later Christopher, however, season one felt like a TV show of its' own. Newton certainly had the drawback of the mediocre scripts of the first season. But during season two, the writing on the show improved drastically. It became far more comic-booky. Plus, pressure was put on Gerard Christopher to succeed, otherwise, there would be no show said Ilya Salkind. So top DC writers came on board, and Gerard even wrote two later episodes himself titled "Wish for Armageddon" and "Cat and Mouse" . Gerard Christopher also became the producer of the series. Naturally, Gerard had brains and good looks to; he had a degree in Business and was a tri-athelete, making him college smart and physically strong. He also appeared on the front cover of Muscle magazine.

Gerard Christopher starred in the last three seasons and is the one who is most remembered and loved for the role. He was in a total of 76 episodes. Gerard Christopher had starred in the early 1980's teen movie called "Tomboy" with Besty Russell who later appeared in a second season episode of Superboy called "Superboy...Rest in Peace". Betsy Russell played an android and went on to star in the mutually successful horror franchise "Saw". Gerard played Clark Kent as "nerdy", wonderfully in-tune with Christopher Reeves's portrayal in the movies. He was very entertaining, and Stacy Haiduk who played Lana Lang in all four seasons professed to me during a lunch outting one day that watching him play Clark used to make her die laughing.



Gerard loosened up on the "nerdiness" by the third season which, ironically, mirrored John Haymes Newton's original portrayal of the character but not fully. Gerard still did the "nerdy Clark" but only when humor took call. He wore suspenders which was not the latest fashion, but a signature of the new business-nerdy Clark. The full-on "nerdy" portrayal was missed but maybe Clark was growing up afterall. Gerard's second season Superboy costume was also completely in-tune with John Bryne's current DC Superman suit design of that time.



Lana Lang was played by the attractive, red-headed Stacy Haiduk. She was in all four seasons as Clark's best friend and romanic interest. The chemistry between Superboy and Lana appeared to deepen - Gerard and Stacy made it extremely believable and by the second season Lana would talk more and more about being in love with Superboy. By the thrid season, she was madly in love with Superboy. In the episode "Mindscape", Superboy has a nightmare about Lana loving Clark, his alter-ego. The romantic tension was at an all-time high; if you watch the two-part episodes "A Change of heart" Part 1 and 2, you will see Lana about to give up on Superboy as she gets serious with the rich mongul Adam Verell. However, Verrell turns out to be a thug like every other man in her life except for Superboy.

One of Stacy Haiduk's most remembered performances was in the episode "Neila" (playing alongside attractive guest appearance by Christine Moore as Neila). Neila tries to force Superboy to marry her or else. Lana begs Superboy, utter tears, to go with Neila and marry Neila, not her, only to save the people of Capital City. Neila was threatening Superboy to marry her or else innocent people would suffer. Lana pled to Superboy: "You have to," then said "but I'll make it easy." In that moment, Lana threw herself over a ledge in turmiol. Superboy flew down to save her like he always did. It wasn't clear if they were in a relationship by the end of the series but Superboy and Lana would most definitely kiss in various scenes. The final epside "Rites of Passage" Part II was their last screen-kiss.



Lex Luthor was played by both Scott Wells (season one) and Sherman Howard (or sometimes credited as Howard Sherman) for the remaining three seasons. Sherman Howard gave a very Joker-like performance and is the one who is most remembered for the part of Lex Luthor on the series. Fans often compare him to Gene Hackman; and some say Sherman Howard is the best Lex Luthor of any Superman/Boy movie or TV series in Superman history. He often built Lex Luthor robots, exact replicas of himself in order to fool Superboy (depicted below).

Tracy Roberts (now Tracy Lewis) played Darla, Lex Luthor's girlfriend (Lex-Girl) and romantic interest on the show. Many point out that Darla was very much in-tune with the Harley Quinn character of Batman nostalgia. Harley Quinn is Batman's girlfriend in Batman the animated series and DC comic books. Like Darla, she is his partner in crime filled with twisted and "mad love" - just like the Darla and Lex Luthor relationship of the Superboy series. Darla disappeared from Luthor's life after the two-part episode "Know Thine Enemy". Fans believe that she may have finally got fed up with Lex and left him for good. Today, Tracy Roberts is actively promoting the Superboy series at conventions around the USA.

In addition, the series had a round-up of iconic guest-stars like Joaquin Pheonix, George Lazenby, Michael J. Pollard, even to iconic comic book writers such as Mike Carlin and Cary Bates. Even the creator of Superman himself, Jerry Seigel, took a stab at writing for the series. Kevin Kiner, the music composer of such notable series as 'Star Wars: The Clone Wars', composed the music for all four seasons of the Superboy TV series (which was very synth-like). Every character had their theme music on the Superboy TV series.

Ian Mitchell-Smith who had been an early 1980's teen star for his role in the major motion picture "Weird Science" became a co-star for the second season as Clark's roomate, Andy McAllister. Andy was the comic relief of the show and though he relentlessly tried to date Lana, he settled for her friendship by the end of the second season. Andy also appeared in a cameo for season three in the episode "Special Effects" with Superboy monsters.

By season three, the show changed the name from 'Superboy' to 'The Adventures of Superboy' where the show began to look more like the movie the 'Dark Knight' and have a classic film noir feel to it. Gerard Christopher loosened up on his Clark Kent protrayal from a nerdy Clark to a more in-control Clark (but still with some nerdiness, he dressed in suspenders). Superboy also got tougher, breaking through walls was his favorite past-time. The show's major set scene of the college dormatory moved to the Bureau of Extra-Normal Matters (which became a permanent set) where both Clark and Lana worked as interns, investigating paranormal activity. This scenario very much resembled the Mulder and Scully from the 'X-Files' TV series (yet it must be noted, Superboy aired before the "X-Files" did).

Interestingly enough, each season had its own unique feel and development. Most agree that the series made dramatic improvements by the second season and far surpassed its' expectations by the third season. The demise of the series was due to a legal debacle (lien) that was filed by Warner Brothers in 1992. WB claimed they owned the rights to the Superboy character (and franchise). WB wanted to make a Superman TV series under their studio name. However, the Salkinds proclaimed they still owned Superboy. WB didn't want Superboy airing at the same time as "Lois and Clark", so DC Comics made it difficult for the Superboy series to get script approvals. Salkind filed a lawsuit against DC comics in 1993. This more or less killed what both Viacom and the Salkinds planned to do with the show. Viacom planned Superboy telemovies and even promised the fans they would get telemovies all the while "Lois and Clark" was on the air. But according to Gerard Christopher, this, WB did not want; it would have been confusing. Ilya Salkind wanted to do a season 5 and 6 and confirmed this at Wizard Con in Anaheim, and Viacom was right behind the Salkinds ready to distribute. Viacom and the Salkinds eventually agreed that the Superboy series would end with Season 4.

The Salkinds were developing Superman V while the Superboy series was still in production. It was also called Superman: The New Movie with either Christopher Reeve (who was their first choice) or Gerard Christopher as Superman in the role. Christopher Reeve was the Salkind's first choice. Even Ilya Salkind stated this himself during a panel at the 2010 Wizard Con convention. If Christopher Reeve could not fill into the red boots as Superman (as he was reluctant to do so), then Gerard Christopher would have been their man. In fact, Ilya Salkind once said regarding Gerard Christopher, "He was the only one that I didn't have to pull his leg to play the part." The Salkinds once believed that the rights to the Superman character and the Superboy characters were separate; even the courts once believed this. But according to the book "Hollywood vs. Superman" by Jake Rossen, the ruling was reversed and Superboy was WB's character once again. The battle over the rights to Superman still rages on in the courts today with the heirs of Jerry Siegel.

Because the Salkinds stopped getting approvals from DC to make further episodes, the Superboy series was pretty much dead in the water after season 4. The series ended with "Rites of Passage" Part 1 and 2 which paved the way for Superboy to become Superman. DC was being influenced by Warners and they were ready to do another Superman movie. One would expect that naturally Gerard Christopher should fill the boots of Superman. Fans of the Superboy series were not happy with Warner Brothers' jaded approach to recasting their new Superman. One would expect actors of the Superboy series to hold a grudge. Not Gerard Christopher. He told the webmaster regarding "Lois and Clark", "I would have actually watched 'Lois and Clark' if I had liked the show." Unlike the Superboy series, the ratings dwindled by the forth season. The apparent success that the Superboy TV Series had proven - that the character on television could be successful once again after George Reeves was a stepping-stone for both "Lois and Clark" and "Smallville" didn't prove the same for the end of "Lois and Clark". The Superboy series was an unfortunate ending for a well-made series. Ilya Salkind professed in an interview in the book "Age of TV Heroes" by Jason Hofius and George Khoury that the success of the Superboy series was eventually its downfall.

Shortly after season 4 of "The Adventures of Superboy" ended, in September of 1993 "Lois and Clark" the television series was produced and aired, starring Dean Cain. Gerard Christopher auditioned for the role of Superman in "Lois and Clark", and was casted. What had happened, according to Christopher, was that they were very enthusiastic about finding him; one of the producers was estatic, stood up and went crazy over finding him. He stated out loud, "We found him!" Then he looked at Gerard's headshot and asked, "Who are you?" That's when the producers discovered that Gerard had played Superboy in the TV series and suddenly, Gerard went from being their guy to being only Superboy. The "Lois and Clark" producer stated "You've done this before" and then quietly dismissed him from the room. Warner Brothers spent over $50 million dollars in development for a new Superman movie while in search of a new Superman. One has to wonder if Warner Brothers made a $50 million dollar mistake in passing off Gerard Christopher for the role, an actor who had already been well-established in the part.

Three parties have a hand to the rights of the Superboy TV series: Viacom, Ilya Salkind and Warner Brothers. The rights to season one reverted to Warner Brothers in 2006 for a one-year and half contract (to release the season one DVD set). WB has released season one onto DVD, but has been reticent about releasing seasons two, three and four, and this is not necessarily because of the legal battle over who owns the rights to Superboy (Siegel vs. Warner Brothers). It is also because all three parties have to make an agreement for distribution: WB, Ilya Salkind and Viacom. In a recent interview with Ilya Salkind at Superman Celebration 2010, he stated that Viacom would probably agree; it is all up to Warner Brothers. WB claimed the season one DVD set didn't do too well in sales. So money and profit is also a factor. The production of a Superboy DVD set (or Blu-Ray set) could be, or would be, costly to make.

An unfortunate ending for a well-made series; but the fans are currently holding a campaign to get the later seasons released onto DVD. The Superboy show was shot on 35mm film and recorded in stereo, but the original 35mm prints were destroyed by Paramount (Viacom). Stacy Haiduk told the webmaster that everything was dumped to tape, so it exists. Future DVD sets would have to be made from Ilya Salkind's BetaSP and VHS masters. Stacy Haiduk owns VHS masters of every season, and Gerard Christopher owns VHS masters of seasons 2, 3 and 4. Douglas "Barry" Meyers owns his episodes on large format tape (BetacamSP), which is better quality than the VHS masters owned by Christopher. Others involved with the series, either actors or those who worked on the set of the show own large format or VHS copies as well.

WB has every season of the Superboy series in their vaults according to Ilya Salkind who handed everything over to them to archive (not the original destroyed 35mm prints). More than likely, hi-res archival copies were made by Warner brothers of Ilya's masters as WB gave everything back to him right before the release of "Superman Returns". For more information on the show, the campaign and on the Superboy episodes that aired, explore this website and click on the episode guides posted on the sidebar. Scroll down and check out the Superboy Epi-logue which can be viewed in it's entirety on this website. In the episode guides (access them on the side bar) you can view many trailers of the series.

Gerard Christopher in a Viacom promotional photo. (photo will be placed her soon)!

Tuesday, June 25, 2013

Neila from The Adventures of Superboy!

Color-corrected photo of Neila from The Adventures of Superboy starring Gerard Christopher.