Old Tv and Comics and Stuff

You are not, and I repeat, not supposed to be tired all day. If you are, then something is wrong, and it will seriously impact your quality of life. The good news is, you can do some troubleshooting before involving medical professionals.

First thing that you need to do, is install a sleep shedule, and be seriously draconian about sticking to it. I know that it sucks when you are young, but you won't be getting past it. You have a fixed bedtime now, that you will need to follow. Maybe you "just" need more sleep than the average teen, so giving yourself an hour or two extra might be a good idea.

Second thing that you've got to do: Planned naps during the day. My quality of life skyrocketed when I discovered that I can actually sleep during lunch break, and then I will be awake during the afternoon. O.o Life changeing, I'm telling you.

On a related note: Pay attention to symptoms of insomnia. Many sleep disorders have it.

Also pay attention to other medical issues that you may have, including psychiatric conditions. A disturbing number of those come with a change to the sleep pattern.

If the long, regular sleep shedule and planned naps don't change anything, then you will, unfortunately, need to go to a medical specialist. More likely than not, they will dismiss your suspicions. That is normal. Keep going, untill you find someone who is willing to run some tests.

DO NOT try to stay awake in class by injuring yourself. It is not worth it. If you have a sleep spell in class, then sleep and ask for the materials later. DO NOT INJURE YOURSELF. Alternatively, I personally have found that actively participating helps me stay awake.

You mentioned doing research into narcolepsy, so you will have learned what cataplexies are. Not everyone with narcolepsy has them, but if you do, then that is a huge red flag, of the "medical professional will take me more seriously now" level. Be careful about not confusing it with epilepsy.

Other symptoms to look out for: Falling asleep quickly; vivid dreams, especially when falling asleep; sleep paralysis and halucinations when waking up. I would also add "immediately falling asleep in a moving vehicule" and "different types of sleep" to this list: I experience, among others: "Normal sleep", "Videogame dream", where I can feel my body lying in bed while I am dreaming, and have some influence over my actions in the dream, and "Brain switched off", which feels less like actual sleep, and more as if someone flicked a switch in my brain that turns off my entire consciousness. Not sure how useful this description is, but if you experience what I mean, then you will get it.

Being tired all day can be a narcolepsy symptom. Sleeping spells, absolutely, but if you are not allowed to sleep as much and when you need, then you will be tired.

And even if it is not narcolepsy, it still can be a sleep disorder. Even if it is not a sleep disorder, it could be an unrelated health issue messing with your sleep. Go see a doctor.

If you do get a diagnosis: Exploit it for everything it's worth. At that point, you will have gone through more than enough to deserve the nice things it can get you. Also, make sure that you actually know your rights, because chances are that nobody will bother actually telling you.

Like people are bending over backwards to make sure teens don't look at porn and. Man. Every teen in the history of humanity has looked at porn. Before our species knew how to write there were teenagers drawing dicks and boobs on the sand and getting hard from it.

It's like how you couldn't take the age limitations seriously in Hungary, even before the Government went and made everything even worse, because people wanted to be super sure that nobody would come after them, so they just slapped a 12+ label on everything. (Going by my own memory and impressions here. If this wasn't the case, and the 12+ lables on those movies were actually well thought out, then I appologize to the people behind doing this.)

at least in my country, age labels for anything but porn is a suggestion. taking your 10 year old kid to see oppenheimer in the theaters isn't illegal. It's more of a warning label or a trigger warning.

personally, i think its probably convenient for a country to have a single adulthood age. In my country 18 is the age you can do anything (smoke, drink, learn to drive, buy a house etcetc) because it's the age you're supposed to have when you graduate high school. It works because we don't want kids quitting school to work (or worse, do crimes), and so keeping anyone under 18 in a different category than adults helps the law protect their rights of education.

Then, what I imagine is for convenience, anything that reasonably requires an age verification (driving, smoking, marrying) have the same age goal post. You finished your basic education, you can make your decisions now. I don't understand why americans do all that.

Here, the different things that you are allowed to do come in steps: Consent to sex, 15, drink and smoke 16, I believe that dropping out of school is also 16? Voting is 18. It makes sense, because as someone grows up, they are slowly able to take on more and more responsibilities. Also, you are not going to stop a teenager from drinking if they really want to drink, so it is better to put the age limit lower. That way, you can protect the younger teens by being very strickt about enforcing the limit, and the older ones will buy the alcohol from a verified place instead of smuggling it over a friend of a friend of a friend.

Once again, there is no clear answer. This should be decided based on local norms and expectations.

Legally, putting the age limit on websites as high as possible makes sense. You don't want to make ten thousand seperate buttons, and idealy, websites shouldn't be able to tell the location and age of their users anyway.

The thing that bothers me, and what I believe your post was originally about, is the way that normal, individual people act on social media, where they throw everyone under 18 into this uniform bucket, and if you bring up "adult" topics around them, then it is treated the same, no matter what age that person even is. Depending on their individual's age and what country they are from, that "minor" in question is legally allowed to smoke, drink, drive, and consent to sex, and people somehow... keep forgetting that? The answer to the question "what if a minor saw this thing" should first and foremost always be "how old is the minor in question". After that, you can start having discussions about age limits and parental conrol and unsupervised children in adult spaces. Before that, any attempted discussion will consist out of people talking past each other.

Like people are bending over backwards to make sure teens don't look at porn and. Man. Every teen in the history of humanity has looked at porn. Before our species knew how to write there were teenagers drawing dicks and boobs on the sand and getting hard from it.

It's like how you couldn't take the age limitations seriously in Hungary, even before the Government went and made everything even worse, because people wanted to be super sure that nobody would come after them, so they just slapped a 12+ label on everything. (Going by my own memory and impressions here. If this wasn't the case, and the 12+ lables on those movies were actually well thought out, then I appologize to the people behind doing this.)

The Contemplation aka Should I call my ex? (strangely inspired by Dua Lipa's New Rules)

Used to be, the Secret Identity was a crucial, almost completely unquestioned part of being a superhero, with almost every hero having one and writers and the audience both understanding that if the Secret came out it was all over, with preserving it, even and perhaps especially the ones closest to you, being one of the key drivers of superhero stories.

Nowadays, half of the superheroes have no secret identity and the ones that do have dozens of people who Know.

It's remarkable how quickly and completely this change happened. And I wonder how/why.

My theory? They require too much suspension of belief.

Superheroes started out in the late 1930s, where you were only very rarely on camera. You could absolutely do something like duck into a bathroom and come out wearing different clothes, if nobody was waiting for you, then who would have noticed?

Cut to the 2010s and the 2020s. Everything is on camera. And when you are not actively being filmed, then there is facial recognition software. Remember when in 2020, I believe, in the US, they arrested a protester by tracking their t-shirt to an Etsy store, and going through the people who bought there? It has become physically impossible to keep up a secret identity, assuming that someone in a place of authority wants to know. And we all are subconsciously aware of this.

Used to be, the Secret Identity was a crucial, almost completely unquestioned part of being a superhero, with almost every hero having one and writers and the audience both understanding that if the Secret came out it was all over, with preserving it, even and perhaps especially the ones closest to you, being one of the key drivers of superhero stories.

Nowadays, half of the superheroes have no secret identity and the ones that do have dozens of people who Know.

It's remarkable how quickly and completely this change happened. And I wonder how/why.

My theory? They require too much suspension of belief.

Superheroes started out in the late 1930s, where you were only very rarely on camera. You could absolutely do something like duck into a bathroom and come out wearing different clothes, if nobody was waiting for you, then who would have noticed?

Cut to the 2010s and the 2020s. Everything is on camera. And when you are not actively being filmed, then there is facial recognition software. Remember when in 2020, I believe, in the US, they arrested a protester by tracking their t-shirt to an Etsy store, and going through the people who bought there? It has become physically impossible to keep up a secret identity, assuming that someone in a place of authority wants to know. And we all are subconsciously aware of this.

As far as origin stories go, the one of the Lone Ranger goes HARD. I'm going to base this on the first episode of the TV show, because the first of the radio show doesn't seem to exist any more (?), but I do assume it's close to being the same. Interlaced with some stuff from later adaptations.

So the first thing we see, is this:

"Six Texas Rangers ride across a western landscape, all courageous, straight-shooting men." Their leader, as we learn, is Dan Reid, a Very Brave Texas Ranger About To Do Very Brave Texas Ranger Things™.

.... and now he's dead.

This kind of bait and switch is something that we are used to in our story telling, but at the time, it wasn't exactly something you expected. The massacre of the Texas Rangers is shocking, even if you know that it's coming. So anyway, the guy you expected to be your Traditionally Masculine Protagonist™ is dead, and the only survivor is...

.... his younger brother, who manages to drag himself to a nearby cave where he finds some shelter and water.

So from the get-go, we have:

A traditionally masculine figure, who is presented to us in a way that we 100% expect him to be a "normal" Western protagonist.

Said masculine man getting killed unceremoniously, and replaced by his younger, therefore "lesser" brother.

Who then vanishes into a cave, which is a very traditional symbol of death/rebirth/transformation.

Also we never see his face, a creative decision that this show was very famous for.

(It's also something that later adaptations mess up, by introducing John much earlier. The whole point is that he was a Nobody before his brother got killed and him catapulted into a completely different genre.)

Then The Other arrives.

Said Other being of course our second hero, Tonto. And look, this is a story from the 1950s, based on the original from the 1930s. It has some issues with racism. But also, Tonto IS an Other, in that he is from a completely different culture than the (white) characters we've so far been introduced to. (And an outsider even to his own culture, but that is never really addressed.)

So anyway, he recognizes John BY THE RING HE GAVE HIM WHEN THEY WERE CHILDREN, a thing I'm VERY NORMAL about, and this kind of makes him stay to take care of him - which he definitely would have anyway, given the way he acts in every single story. (Homoerotic cave scene from 1981 my beloved. The only good part of that movie.)

Tonto's motivation in the entire story can be pretty well summed up with "either it's hella gay, or the writers were just racist and kind of forgot to give their character of colour a motivation beyond caring about the white hero".

Anyway. Moving on.

John recovers, and him and Tonto construct him a persona in the very fun way that he just goes with every single of Tonto's suggestions, even if said suggestions are nothing more than a throwaway line. One of said suggestions is The Mask, which Tonto very helpfully makes him from his brother's vest. The Mask doesn't really make too much sense in-universe (at least not past this first story), but narratively speaking, it fulfills the very important role of marking John too as An Other.

So.

Normal man walks (crawls) into a cave, comes out visibly marked as an Other,

He symbolically carries with him the Traditionally Masculine Hero in the form of said hero's clothes,

Which he LITERALLY wears as a mask.

Then they complete his metaphorical death/rebirth by digging a fake grave.

GREEN HORNET ASK!!!

I started with the serial, back when I also watched some other superhero cliffhanger serials. The Green Hornet was the best, and now you are making me want to rewatch it. :-D

I remember that "Kato is totally the one who came up with the entire operation" was my first takeaway, too! I also remember loving how they kept calling each other's real names while on a mission, and just the introduction of "nice, we built a supercar to impress my father. Hm, how about we use it for crimefighting instead?" Like, I really want to know the thought process that want into them STARTING to build the supercar. It was Kato's idea, wasn't it? Because this sounds EXACTLY like something that Kato would come up with.

And then they're riffing back and forth on what it should look like and its capabailities, and suddenly there's blue prints and design sessions, marathoning it on and on through thrown wrenches and slight disagreements born out of frustration, and cut knuckles and dirty greasy hands and forearms, and crumpled planning notes, and long fruitless nights in the garage...until they've gotten Black Beauty together and they're testing her, I mean really testing her; Kato's running her into the ground until Britt has him get out so he can run her ragged some more...until all her problems and ghosts and weaknesses are gone, and they can stand there, a little dazed by what they're created...

So, somehow, Britt manages to land himself a supergenious as a vallet. The information that we are given in like half a sentence is that they met when he saved him from a hate crime, so I am going to go ahead and extrapolate that they 100% got into a fistfight together against an entire crowd of people, and Britt was already going hm, this guy looks interesting, then they sat down for a minute to recover after the fight, Kato mentionned that he was looking for a job, and Britt was like "Hey, I have an idea!"

So, anyway, Britt is now there being forced into a job by his father that he doesn't want to do (it will grow on him), and also he has a supergenious as a vallet. They are both bored. Kato spends some time enjoying having a stable job, and he tinkers around a bit with something, but in about three weeks' time, he is ready to climb out of his skin with boredom. And, well, he is an engineer. So the conversation goes something like this:

Kato: "I am bored and I want to do something interesting."

Britt: "I am also bored, and I can't go out and party any more because of my stupid father, something interesting to do would be great."

Kato: "... You know, Mr. Britt, I have always dreamt of building a supercar from scratch."

Britt: "Brilliant idea, Kato, let's do that."

And once the car is finished:

Britt: "Hm, I know that we were going to show it off to people, but how about we use it for crimefighting instead?"

That's a spot on headcanon for serial!Britt and Kato! Really really! The 1940 and '41 serials are basically just radio show episodes brought to theaters, and if my memory of the earlier radio eps holds (such as they are; the earliest you'll ever find is 1938 and it had been broadcasting for two years before that. None of those 1936-37 shows were saved.) boredom at just reporting on crime from behind the publishers desk *did* turn into frustration with and the desire to *fix* crime. So obviously these two just <waves at above head canon> go a little nuts with it.

Neither said no to anything the other suggested. And Kato's just spitting out invention after invention as his anticipates Britt's next ADHD leap. 🤣 Old man Dan Reid just wanted wild child Britt to settle down a bit and what's better for that than a dab of ✨ responsibility ✨ Little does he know... 🤣🤣

Coming from the TV series is a bit...darker, insofar as darker could be used to connotate '60s television, in that it was the only hornet medium at the time to have Britt's father's death while falsely imprisoned be the driving impetus for Britt to launch his crusade, so my headcanon factors in Kato doing just about anything to keep Britt level at the BB design and subsequent build stage because the headspace ain't great.

But in both canons and headcanons, 🥹 they are just something else...💚

While I do appreciate what the TV show was doing (especially the Batman crossover), to me, the serials and the radio show will forever be the superiour Green Hornet canon. As you said, the serials are really close to the radio show, and really feel like an extention thereof. And the radio episodes are really solid stories. The Green Hornet also has an amazing supporting cast, that I feel shines the most in the cliffhanger serials/radio show continuity.

And, very importantly: The Lone Ranger connection. The Lone Ranger connection really cements the Green Hornet in time to the 1930s, although the 60s show works, because it's the Batman continuity, and reality is kind of porous in that one. (The Green Hornet being much more normal than Batman does spark some fun headcanons in me, about Britt and Kato visiting Gotham, and going "Wtf is this city?!" In that headcanon, Kato decided to just. Not deal with it. Which is why he spends almost the entire story at their hotel.)

I listen to a radio show episode a night; that's a bedtime routine! Just to get that fix. They're gritty...I love that grit, for a supposedly juvenile show. I *wish* we had more Ed Lowry/Clicker Binney to go around; next to Casey and Britt (wished for, always), they're my second GH power couple. Radio Casey really does stand up well against the perceived simple secretary tropes of the time. She's tough, she's dedicated, sure, she's got a not-so-secret crush on her boss, who wouldn't, and when she finds out Britt's the Hornet, she doubles down and doesn't flinch. And Axford is still...well, still Axford no matter the medium, but he's not as annoying as the TV show Axford. I will say that much. I'd like to *kick* Lloyd Gough's Axford just once and tell him to shut up while the adults are speaking....

The Lone Ranger connection, oh I haul that lore around with me into the 60s show and fanfic, too. Shoot. Let's just layer the Reid family legacy onto the Boys and see how they carry it and buck up under it. Without Britt's father, it doesn't work as well as it did in radio/serials (and there were copyright and licensing issues during the 60s show that meant it couldn't be mentioned anyway). You have to lean on the legacy aspect at that point. But I can 100% picture Bruce Lee's Kato's absolute *disdain* for Gotham. There is a shot from the crossover where he is just about at disdain, if not apathy, and only his mask is hiding it, and I'm pretty positive not all of that is acting because Bruce was not happy about the crossover as it was.

All we can do is keep shouting, shouting, more shouting into the void about this other great partnership of the pulps. I spam stills from the 60s show every chance I get. Every chance I don't get too. Hell with it. Van and Bruce...the eye candy aspect is...not small.

Honestly? I just think that these stories fell out of use at some point. New additions to the lore stopped being made, and the number of people who researches 1930s proto-superhero content for fun is, to best put it, limited. So the Green Hornet is mostly forgotten. The Lone Ranger meanwhile suffers from a long line of cultural telephone, where the people who grew up with him made some stupid jokes as adults, and it is somehow those jokes that survived rather than the original stories.

And of course both had some abosolutely horrendously bad movie adaptations in the 2010s, which is also not exactly helping to motivate people to seek them out.

I can't say I blame Bruce Lee for not liking the crossover. Poor guy signed up to be an action hero in a *serious* show, then got terribly sidelined for the less interesting character because of racism, and now he is in an augmented reality story where the major character traits of two of his co-stars are alphabet soup and the colour pink.

That having been said: The Green Hornet/Batman crossover is one of the best things to ever happen in superhero fiction, and I still regularly rewatch it.

Have you read the crossover comic with the Spirit? Because that one is also very, very good. I liked the Batman crossover comic less, but the Spirit one was a beautiful tribute to both of them.

I myself am more in the Lone Ranger side of the mythos. The way you said that you like that the Green Hornet is more gritty, I am attracted to the Lone Ranger being a complete fairy tale. But I do return to the Hornet from time to time, mostly just to draw an occasional picture. For the Ranger, I also write fanfiction.

About the only ally Bruce had on the set was Van, and I've always appreciated the fact they were actually good friends, and so when it came to the crossover, when it was initially written for GH and his partner to outright lose the fight, Bruce was so furious, he walked. But then Van walked too, in solidarity and in his own right. He didn't like camp to begin with and now they wanted him to forget the reputation his own show had built up for the Hornet and his partner? Nope. It's a standing legend from Van himself that Burt Ward just about crapped his pants over having to face Bruce.

I'll tell ya, I watched the crossover again recently, like two weeks ago? It was on MeTV. And I must be mellowing against the camp because I enjoyed it immensely, more than I typically have in the past... Van and Bruce look stunning in that outrageously juiced up Batman technicolor. And the fight is...it is amazing, for what it is. To be a kid in February of 1967 and watching that fresh. Gosh. 🥹

I have not yet read the Spirit/GH crossover comic but I do have the kindle version downloaded! I'll have to get to it. I have all the Moonstone Publishing's Green Hornet 1966 authorized fanfic anthologies too, and I was rereading those before I started work on my latest. 😍

It's having a fandom that is like home. You can come back to it when everything else feels underwhelming (or overwhelming). And I think these old fandoms, Ranger and Hornet and any of the other pulps, just strike chords that are on a deeper human level because they do explore the shadows between justice and the law.

And that maybe isn't for everyone. But for those who it *is* for? And they actively seek it out? Home.

I agree about the fandom that doubles like home part. I myself keep finding that I return to the Lone Ranger periodically, especially when things get difficult.

GREEN HORNET ASK!!!

I started with the serial, back when I also watched some other superhero cliffhanger serials. The Green Hornet was the best, and now you are making me want to rewatch it. :-D

I remember that "Kato is totally the one who came up with the entire operation" was my first takeaway, too! I also remember loving how they kept calling each other's real names while on a mission, and just the introduction of "nice, we built a supercar to impress my father. Hm, how about we use it for crimefighting instead?" Like, I really want to know the thought process that want into them STARTING to build the supercar. It was Kato's idea, wasn't it? Because this sounds EXACTLY like something that Kato would come up with.

And then they're riffing back and forth on what it should look like and its capabailities, and suddenly there's blue prints and design sessions, marathoning it on and on through thrown wrenches and slight disagreements born out of frustration, and cut knuckles and dirty greasy hands and forearms, and crumpled planning notes, and long fruitless nights in the garage...until they've gotten Black Beauty together and they're testing her, I mean really testing her; Kato's running her into the ground until Britt has him get out so he can run her ragged some more...until all her problems and ghosts and weaknesses are gone, and they can stand there, a little dazed by what they're created...

So, somehow, Britt manages to land himself a supergenious as a vallet. The information that we are given in like half a sentence is that they met when he saved him from a hate crime, so I am going to go ahead and extrapolate that they 100% got into a fistfight together against an entire crowd of people, and Britt was already going hm, this guy looks interesting, then they sat down for a minute to recover after the fight, Kato mentionned that he was looking for a job, and Britt was like "Hey, I have an idea!"

So, anyway, Britt is now there being forced into a job by his father that he doesn't want to do (it will grow on him), and also he has a supergenious as a vallet. They are both bored. Kato spends some time enjoying having a stable job, and he tinkers around a bit with something, but in about three weeks' time, he is ready to climb out of his skin with boredom. And, well, he is an engineer. So the conversation goes something like this:

Kato: "I am bored and I want to do something interesting."

Britt: "I am also bored, and I can't go out and party any more because of my stupid father, something interesting to do would be great."

Kato: "... You know, Mr. Britt, I have always dreamt of building a supercar from scratch."

Britt: "Brilliant idea, Kato, let's do that."

And once the car is finished:

Britt: "Hm, I know that we were going to show it off to people, but how about we use it for crimefighting instead?"

That's a spot on headcanon for serial!Britt and Kato! Really really! The 1940 and '41 serials are basically just radio show episodes brought to theaters, and if my memory of the earlier radio eps holds (such as they are; the earliest you'll ever find is 1938 and it had been broadcasting for two years before that. None of those 1936-37 shows were saved.) boredom at just reporting on crime from behind the publishers desk *did* turn into frustration with and the desire to *fix* crime. So obviously these two just <waves at above head canon> go a little nuts with it.

Neither said no to anything the other suggested. And Kato's just spitting out invention after invention as his anticipates Britt's next ADHD leap. 🤣 Old man Dan Reid just wanted wild child Britt to settle down a bit and what's better for that than a dab of ✨ responsibility ✨ Little does he know... 🤣🤣

Coming from the TV series is a bit...darker, insofar as darker could be used to connotate '60s television, in that it was the only hornet medium at the time to have Britt's father's death while falsely imprisoned be the driving impetus for Britt to launch his crusade, so my headcanon factors in Kato doing just about anything to keep Britt level at the BB design and subsequent build stage because the headspace ain't great.

But in both canons and headcanons, 🥹 they are just something else...💚

While I do appreciate what the TV show was doing (especially the Batman crossover), to me, the serials and the radio show will forever be the superiour Green Hornet canon. As you said, the serials are really close to the radio show, and really feel like an extention thereof. And the radio episodes are really solid stories. The Green Hornet also has an amazing supporting cast, that I feel shines the most in the cliffhanger serials/radio show continuity.

And, very importantly: The Lone Ranger connection. The Lone Ranger connection really cements the Green Hornet in time to the 1930s, although the 60s show works, because it's the Batman continuity, and reality is kind of porous in that one. (The Green Hornet being much more normal than Batman does spark some fun headcanons in me, about Britt and Kato visiting Gotham, and going "Wtf is this city?!" In that headcanon, Kato decided to just. Not deal with it. Which is why he spends almost the entire story at their hotel.)

I listen to a radio show episode a night; that's a bedtime routine! Just to get that fix. They're gritty...I love that grit, for a supposedly juvenile show. I *wish* we had more Ed Lowry/Clicker Binney to go around; next to Casey and Britt (wished for, always), they're my second GH power couple. Radio Casey really does stand up well against the perceived simple secretary tropes of the time. She's tough, she's dedicated, sure, she's got a not-so-secret crush on her boss, who wouldn't, and when she finds out Britt's the Hornet, she doubles down and doesn't flinch. And Axford is still...well, still Axford no matter the medium, but he's not as annoying as the TV show Axford. I will say that much. I'd like to *kick* Lloyd Gough's Axford just once and tell him to shut up while the adults are speaking....

The Lone Ranger connection, oh I haul that lore around with me into the 60s show and fanfic, too. Shoot. Let's just layer the Reid family legacy onto the Boys and see how they carry it and buck up under it. Without Britt's father, it doesn't work as well as it did in radio/serials (and there were copyright and licensing issues during the 60s show that meant it couldn't be mentioned anyway). You have to lean on the legacy aspect at that point. But I can 100% picture Bruce Lee's Kato's absolute *disdain* for Gotham. There is a shot from the crossover where he is just about at disdain, if not apathy, and only his mask is hiding it, and I'm pretty positive not all of that is acting because Bruce was not happy about the crossover as it was.

All we can do is keep shouting, shouting, more shouting into the void about this other great partnership of the pulps. I spam stills from the 60s show every chance I get. Every chance I don't get too. Hell with it. Van and Bruce...the eye candy aspect is...not small.

Honestly? I just think that these stories fell out of use at some point. New additions to the lore stopped being made, and the number of people who researches 1930s proto-superhero content for fun is, to best put it, limited. So the Green Hornet is mostly forgotten. The Lone Ranger meanwhile suffers from a long line of cultural telephone, where the people who grew up with him made some stupid jokes as adults, and it is somehow those jokes that survived rather than the original stories.

And of course both had some abosolutely horrendously bad movie adaptations in the 2010s, which is also not exactly helping to motivate people to seek them out.

I can't say I blame Bruce Lee for not liking the crossover. Poor guy signed up to be an action hero in a *serious* show, then got terribly sidelined for the less interesting character because of racism, and now he is in an augmented reality story where the major character traits of two of his co-stars are alphabet soup and the colour pink.

That having been said: The Green Hornet/Batman crossover is one of the best things to ever happen in superhero fiction, and I still regularly rewatch it.

Have you read the crossover comic with the Spirit? Because that one is also very, very good. I liked the Batman crossover comic less, but the Spirit one was a beautiful tribute to both of them.

I myself am more in the Lone Ranger side of the mythos. The way you said that you like that the Green Hornet is more gritty, I am attracted to the Lone Ranger being a complete fairy tale. But I do return to the Hornet from time to time, mostly just to draw an occasional picture. For the Ranger, I also write fanfiction.