Tonight, prime-time takes another stab at adapting the DC comic
Human Target when Fox premieres a much-hyped,
Bear McCreary-scored series loosely based on
Peter Milligan's Vertigo version, one of my favorite comics during its too-brief run. In a previous TV version of
Human Target that was produced by
Flash TV series showrunners Danny Bilson and Paul DeMeo, Rick Springfield starred as bodyguard
Christopher Chance, who disguised himself as his victimized clients to throw off the bad guys and flew around in a pimpin' stealth bomber/bachelor pad that's the only thing I remember about the show. This time,
Jericho co-creator Jon Steinberg is the showrunner, the master-of-disguise gimmick has been ditched, the stealth bomber has been left to rot in a hangar somewhere and Chance is played by Mark Valley, who will always be Keen Eddie to me.
Human Target reunites Valley with
Con Air director Simon West, who also worked on the much-missed, Guy Ritchie-esque
Keen Eddie, which first aired on Fox in the summer of 2003. Early reviews have said
Human Target is less like the gritty Vertigo comic--which put Chance through one hell of a psychological wringer by having him suffer from an identity crisis--and more along the lines of lighter fare like
The A-Team,
MacGyver and
Keen Eddie.
I doubt the new show will be as offbeat or raunchy as
Keen Eddie, which premiered (and then died) a few months before Janet Jackson's Super Bowl XXXVIII halftime wardrobe malfunction caused the major networks to overreact and kill some of the fun out of prime-time by overpolicing their raunchier shows. There are certain storylines and bits of dialogue during
Keen Eddie that teleplay writers probably can't get away with in today's post-Janetgate prime-time landscape--they're more likely to be able to get away with them on FX. Cable was where
Keen Eddie belonged.
In fact, cable was where most of
Keen Eddie's cult following first discovered the series. After Fox's top exec at the time--who was as impatient with
Keen Eddie as the shit-for-brains NBC execs have been with
The Tonight Show with Conan O'Brien--defied the wishes of other Fox execs who loved
Keen Eddie and abruptly cancelled it, Bravo picked it up and debuted its unaired episodes.
The series, which last popped up on
Sleuth a couple of years ago, is a lost comedic gem from creator J.H. Wyman, who currently co-produces
Fringe, where Valley was briefly a regular before he moved on to
Human Target. The Desert Storm vet-turned-actor was terrific as NYPD detective Eddie Arlette, who travels to London to track down an elusive drug dealer and winds up joining Scotland Yard. Eddie doesn't quite find his drug dealer (Crockett and Tubbs had far better luck with their nemesis Calderon on
Miami Vice), but the fish-out-of-water falls in love with the city and takes a liking to both the British crooks he locks up (they're more like the not-so-dangerous oddball criminals from
Barney Miller than the mustachio-twirling villains from
Miami Vice) and his hot but snooty and argumentative flatmate Fiona Bickerton (a then-unknown Sienna Miller). The series was a love letter to London, where it was filmed on location on what was clearly a ginormous budget. Wyman's creation was too foreign, anarchic and weird for mainstream America (it wasn't dour and moralistic enough for them--the original
CSI, the #1 prime-time hit that year, was more up their conservative-leaning, bodybag-filled alley). But it won the hearts of some TV critics (Marvin Kitman called it "a show that could have started something new, like how
Miami Vice took police shows out of L.A.") and whoever were the three or four viewers who watched it on Fox. I was one of them.
Eddie is a roguish, down-on-his-luck crime show hero in the mold of
Jim Rockford and
Black Tie Affair's
Dave Brodsky. If Rockford's Achilles heel was
having knuckles made of Kleenex, Eddie's Achilles heel is thinking with his boner too much--one reason why this show wouldn't fly on prime-time today. Eddie's crush on his gorgeous informant, the mysterious gangster's moll who tricks him and the NYPD into busting down the wrong door, is the whole reason for his banishment to London. The series' most enjoyable running joke involves Carol (Rachael Buckley, who's even hotter than Miller but seems to have disappeared from the face of the earth), a Scotland Yard secretary Eddie nicknames "Miss Moneypenny," and the never-answered mystery over whether her flirtatious exchanges with Eddie about her tastes for
crotchless panties or
being on all fours are real or the figment of Eddie's oversexed imagination. But Eddie's a prude in comparison to his floppy-haired partner Monty Pippin (Julian Rhind-Tutt), whose off-duty sexcapades make Jimmy McNulty from
The Wire look like a monk (even though because this isn't HBO, we never see Monty in the middle of one of his swingers club orgies).
Another highlight of
Keen Eddie is its awesome, pitch-perfect soundtrack. The pilot episode underscored a drug bust sequence with the Archies' "Sugar Sugar"--an early indication that
Keen Eddie was no ordinary cop show. For the carelessly compiled DVD release, which should be avoided at all costs,
Paramount Home Entertainment removed many of the songs that helped make
Keen Eddie such a memorable show, due to clearance fees Paramount refused to pony up for ("Keeping Up Appearances," an episode in which Eddie inherits Jimi Hendrix's Bentley, is utter shit without "Crosstown Traffic"). But the studio didn't lay a finger on the songs in the reruns, so whenever
Keen Eddie turns up on cable, fire up the DVR.
Because of the arrival of Valley's first star vehicle since
Keen Eddie, I'll soon be adding to the Fistful of Soundtracks channel's "F Zone" playlist some of the tunes that were cut out of the
Keen Eddie DVDs: Madness' "One Step Beyond," New Order's "Crystal" and of course, "Crosstown Traffic."
I doubt the new show will be as offbeat or raunchy as Keen Eddie, which premiered (and then died) a few months before Janet Jackson's Super Bowl XXXVIII halftime wardrobe malfunction caused the major networks to overreact and kill some of the fun out of prime-time by overpolicing their raunchier shows. There are certain storylines and bits of dialogue during Keen Eddie that teleplay writers probably can't get away with in today's post-Janetgate prime-time landscape--they're more likely to be able to get away with them on FX. Cable was where Keen Eddie belonged. 
Another highlight of Keen Eddie is its awesome, pitch-perfect soundtrack. The pilot episode underscored a drug bust sequence with the Archies' "Sugar Sugar"--an early indication that Keen Eddie was no ordinary cop show. For the carelessly compiled DVD release, which should be avoided at all costs, Paramount Home Entertainment removed many of the songs that helped make Keen Eddie such a memorable show, due to clearance fees Paramount refused to pony up for ("Keeping Up Appearances," an episode in which Eddie inherits Jimi Hendrix's Bentley, is utter shit without "Crosstown Traffic"). But the studio didn't lay a finger on the songs in the reruns, so whenever Keen Eddie turns up on cable, fire up the DVR.
Nineties cartoons like Tiny Toon Adventures and Animaniacs jumpstarted the whole meta-toon trend of poking fun at rival cartoons. But Mighty Mouse: TNA actually went meta years before--and with funnier and wilder results--in the classic "Don't Touch That Dial" episode, which launched an unprecedented attack on cookie-cutter '80s cartoons and viewers' short attention spans. The show's writers and animators admired the '40s and '50s Looney Tunes shorts (the Termite Terrace crew was in their comedic prime during those decades, but several of their shorts were also pretty racist-ass, to borrow a word from a recent tweet by Geo of Blue Scholars about Looney Tunes marathons). Throughout the series run, the Mighty Mouse: TNA staff succeeded in recapturing the irreverent spirit of those '40s and '50s cartoons, and in "Don't Touch That Dial" and an earlier ep, "Mighty's Benefit Plan," they couldn't resist expressing their hatred for the shabby state of mainstream animation at the time.
It's a shame this little-seen show has been remembered mostly for the uproar caused by the religious right--they thought they saw MM snort coke from a flower--and not often enough for moments like the ep that pitted MM against a giant, evil and nameless parade balloon that was clearly Pee-wee Herman (a funny reference to another CBS Saturday morning show at the time), the Elwy show and "Don't Touch That Dial," the most entertaining 11 minutes of small-screen animation from the '80s. Though it lasted only two seasons, Mighty Mouse: TNA was popular enough to spawn an early '90s Marvel comic that brought Bat-Bat, his sidekick Tick the Bug Wonder, the Cow and the show's other new characters to the funny pages. 
