Popularity makes Hulk fans stronger! Citing out of geek-speak, let it be said the emerald titan from Marvel Comics history has taken a recognizable broadcast media supplantation of a comics tradition to perpetuate a conjoining split era of television fame. Audiences have been witnessing the cycling transitions from CBS’s primetime “The Incredible Hulk” to Universal’s “Hulk”; which Universal reboots as “The Incredible Hulk”. As of last week, another leap forward by the television wing of Marvel Studios had a landing with breaking reports on beginnings to renew a Hulk show. While resounding claps of approval from the future viewers of the series met the online headlines, there remains the specs of a pessimistic inquiry if a new series prompts an homage or dead metaphor.
An abridged look back to the acclaimed comic book film of 2008 underlines a live action version of the green behemoth rife with the symbolisms acquainted with the Hulk. While the movie had sown inferences of Hulk reminsces into the filming, earmarks for “The Incredible Hulk” were the strengths of recent concepts. Starring Edward Norton as Dr. Banner, the intellectual trials of scientifically excorsing a gamma-inducing stigma took as much a narrative precedence as the CGI battles. The perspective enabled Norton to present a Banner who sought to contain the inner Hulk with an agressive zeal. The character had more appeal than the Banner portrayed by Eric Bana. That Banner, in the script directed by Ang Lee, formatted a tepid persona without the inner fortitude to repress the transmorphic rage.
With a character driven script, the film was able to blend in the romantic aspects of disrupted love with Liv Tyler as Betty Ross and the intensity of life on the run from the superb rendition of a General “Thunderbolt” Ross by William Hurt. The Hulk revisioned a long-time continuity. On the other hand, the 2008 movie gave odes to the most reputable themes that had roots from television but were non-comic book embellishments to heighten a live action show.
The Banner and Hulk saga burst on the mainstream in 1978 with three magnetic elements that resonate from the staunch popular fixtures of Bill Bixby and Lou Ferrigno. Five seasons spun on the weekly premise of a socially nomadic Dr. Banner on an odyssey to find a cure. In that time certain shticks were a template to the series, but the indelible punctuations most often remembered and given as odes enumerate as the main compositional “The Lonely Man” by Joe Harnell; the signal of a transformation dually initiated by sound effect and the close-up of green eyes, and, lastly, that ominous cautionary that declared “Don’t make me angry. You wouldn’t like me when I’m angry.”
Trademarks from the original television broadcast and the reimagining brought by the recent script set a daunting act for the new series creators to follow. There might be some influence from the comic book material. Although the Hulk canon has developed into a World War Hulk crossovers, of which, the contemporary storyline divides to an at best category of salient editions amongst the many titles or suitable context for a varsity aged crowd. For a modern television series to attain the necessary rating for continuous seasons, concepts motivated to reach stand-alone status presides as the target score.
All the more reason to become an enthusiast for the pilot episode’s curtain rise.