Psychopathic anarchist Liberty Valance has inspired a crime surge. His one opponent? An anonymous vigilante: The Batman.
Our story opens with a robbery, where Liberty encounters someone he doesn't expect...2/
Shinbone's new D.A., Ransom Stoddard. 3/
4/
5/
6/ Unfortunately, the Shinbone police force leaves somewhat to be desired.
7/ (I know this is pretty granular dialogue to pull, but they basically have this exact conversation and it maps so nicely onto it so--)
8/
9/
10/ A romantic rivalry between the strait-laced D.A. and the powerful but lawless local rancher, Tom Doniphon, threatens their alliance, but Doniphon ultimately throws in with Shinbone's white knight.
11/ Unfortunately, this happy scene is interrupted when Valance makes an appearance with his gang of thugs, inconsistently claiming to have no agenda while making demands. (See, the Joker really is an ideologue, geddit)
12/ Tom's views of justice are simple. They're about to get a lot more complicated.
13/ Liberty goes too far.
14/ After Liberty kills the local newspaper editor, Lucius Peabody, Tom attempts to talk Ranse down.
15/ It doesn't work.
16/
17/ Meanwhile, Liberty is playing with a coin and philosophizing.
18/
19/ It's all over, but Ransom Stoddard isn't satisfied, convinced he can never be happy knowing he's broken his one rule.
20/
21/ The noble lie begins to take form.
22/
23/
24/ ...and we cut, twenty years later. Tom's narration merges into Ransom Stoddard's voice.
25/
26/ We return to Sheriff Gordon.
27/
28/
29/
/fin
BONUS: Set photos of young Tom Doniphon and Deputy Gordon on the set of BATMAN BEGINS (and Hallie, who was recast for the sequel)
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MYSTERIOUS BENEDICT SOCIETY: simply the *best* show that everyone is sleeping on. It's sharp, charming and kind without being saccharine.
Has its own inimitable sense of humor: a sailor just introduced himself as "Officer Zhao, but my nom d'océan is Cannonball."
A lot of stories about gifted kids - A Series of Unfortunate Events, for instance - tend to act as if being well-read makes you morally superior. This show, on the other hand, sees this more in a "to whom much has been given, much is expected" sort of way.
Plus, there's just a sense that you absolutely *should* want to be well-rounded (that is, know everything about boats, dictionaries, falconry, and obscure codes) just because it makes you interesting. Even the villains provide their hostages with bespoke hors d'oeuvres.
Presentism has really started to colonize every "historical" adaptation lately - Bridgerton accelerated the effect but didn't start it. Do modern audiences really have no stomach for faithful language/behavior or is it just that producers don't know how to create it?
My suspicion is that with the older generation of Shakespeareans fading away, thus fades a more conservative temperament in adapting classic works as well.
I mean conservative as regards to art - interestingly the attitude doesn't match a person's politics in my experience. Michael Jayston (86yo, RSC alum) is a self-described socialist but when I talked to him, he expressed admiration for classical acting and I bet he'd hate this.