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LOOK OUT, BADDIES You Don’t Stand A Chance With Hoppy, Gene, After You W HILE the Western frontier is no longer with us in the flesh, its spirit has been nailed down for pos¬ terity as perhaps no other spirit since the ghost of Hamlet’s father. The 1953-54 television season will be as replete with Western fare as ever. Apparently it is a story which never wearies in the telling, for the sidy both chewed and spat tobaccy. He’s not on TV. To a new geiieration, however. Bill Boyd is Hopalong himself. As Boyd, he gambled his life’s savings, liter¬ ally, on buying up a series of old Hopalong Cassidy movies and selling them to television. A year ago, the old features having finally worn them- Western Western: scene was filmed in Death Valley with mercury over the 100 mark. plots are eternally the same, the characters unchanging, the scenery a belt-line panorama of dusty plain, huge boulders and an occasional large tree suitable for hamging. Fittingly enough, the dean of TV cowboys, Hopalong Cassidy, still heads the parade—albeit he is anathema to those few hardy souls left who still remember the original Cassidy as created by Clarence E. Mulford a for¬ gotten generation ago. Mulford’s Cas¬ sidy was a slight, unimposing looking hombre with a scraggly red mous¬ tache, a pronounced limp and a horse that ^re no resemblance whatsoever to Topper. Further, the original Cas- selves out, Boyd set up his own production company and made 52 new half-hour films especially for TV. Another 52 are currently on the planning boards, with seven of them already shot and 19 now ready for production. These new films, begin¬ ning with last year’s, feature Edgar Buchanan as “Red Connors” and make an honest effort to be some¬ thing other than the cut-and-dried formula Western. Aiding and abetting Boyd in out¬ fitting the Nation’s small fry with loud if harmless sidearms are seven other heroes of the West who differ from the prototype virtually in name 28