Stalemate At Suvla Bay

The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 196th installment in the series.  

August 6, 1915: Stalemate At Suvla Bay 

The repeated failure of Allied attacks against Turkish defensive positions at Cape Helles on the tip of the Gallipoli peninsula in June and July 1915 convinced the Allied commander at Gallipoli, Sir Ian Hamilton, that a fresh approach was required to shake up the strategic situation. The result was the second amphibious assault of the campaign, with four new British divisions wading ashore at Suvla Bay, about 12 miles north of the original landing sites, in an attempt to outflank the enemy and roll up Turkish defenses from behind (below, looking north towards Suvla Bay from ANZAC). This offensive came tantalizingly close to achieving its objective, but in the end “a miss was as good as a mile,” and the Turks were able to rush forward reinforcements, ending in yet another stalemate.

By the beginning of August 1915, the opposing forces on the Gallipoli Peninsula were roughly evenly matched. The Ottoman Fifth Army, repeatedly reinforced since April, now consisted of sixteen divisions numbering 250,000 men, but about a third of these were deployed across the straits, guarding the Asiatic side, or further north at the peninsula’s narrowest point on the eastern end of the Gulf of Saros. At the main battlefields of Cape Helles and ANZAC, eleven Turkish divisions (many under strength following hard fighting) occupied the trenches or were held in reserve nearby, facing the nine Allied divisions of the Mediterranean Expeditionary Force with around 150,000 troops. 

However by late summer fresh British troops were finally becoming available with the mobilization of the first divisions from “Kitchener’s New Army,” formed from hundreds of thousands of volunteers who responded to Secretary of State for War Lord Kitchener’s patriotic call to duty beginning in late 1914. Kitchener agreed to send two of the new divisions, the 10th (Irish) and 11th (Northern), to Gallipoli to carry out the amphibious landing, as well as the 53rd (Welsh) and 54th (East Anglian Divisions) to reinforce them once on shore. Another New Army division, the 13th (Western), was already ashore at the ANZAC position. The other Allied forces on the peninsula would stage diversionary attacks to distract the Turks and tie down their forces during the landings. 

“Mechanical Death Run Amok”

The landings took the Turks by surprise: although the Ottoman and German commanders guessed a new amphibious assault was coming, they disagreed as to where it would fall, thanks in part to elaborate ruses by British intelligence agents. As a result Essat Pasha, commanding the Turkish III Corps in the center of the peninsula, believed it would hit further south near the promontory called Kabatepe, while Liman von Sanders, the German general commanding the Fifth Army, was convinced they would strike further north, near the town of Bulair on the Gulf of Saros.

Only one Turkish officer, 19th Division commander Mustafa Kemal (later Kemal Atatürk) correctly predicted that the Allies would land at Suvla Bay – but his colleagues dismissed the idea, arguing the Allies would never attack in an area with such strong natural defenses, with rugged hills looming over a wide, exposed coastal plain whose only feature was a shallow salt lake that was dry for most of the year. Consequently there were virtually no troops actually holding these wonderful defensive positions, with a thin covering force of just 1,500 Turks facing around 25,000 attackers in the first wave. 

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The operation began at 2:20 pm on August 6, 1915 with a diversionary attack by the British 29th Division on the Turkish 10th Division at Cape Helles; for reasons that aren't clear, this "feint" snowballed into another actual attempt to capture Krithia on the hill range called Achi Baba. The British suffered thousands of casualties but continued the assault the following day with a fresh attack by the neighboring 42nd Division and the two French divisions against the Turkish 13th and 14th Divisions, again resulting in major casualties.

Meanwhile the ANZAC forces also staged diversionary attacks, beginning with an attack by the First Australian Division on the Turkish position called Lone Pine, near the southern tail of the Sari Bahr hill range, on the evening of August 6. Approaching via a tunnel secretly extended to within yards of the Turkish frontline, the Australians advanced about a thousand feet, but the attack ground to a halt after Essat Pasha sent the Turkish 5th Division to reinforce the 16th Division, then mount a counterattack. Over the next few days Lone Pine was the scene of incredibly fierce fighting, as described by William Tope, a soldier in the Australian First Division who sheltered behind the dead bodies of the first wave of attackers: 

It was about that spot where I got caught with a hail of bombs… and it was the pile of bodies there that sheltered me, otherwise I wouldn’t be here today… I thought the best thing would be for me to be down in this trench that had no men in it at all, where these bodies were, because I felt that the counterattack could come at any time. I’d hardly got into position before a positive avalanche of bombs fell, puncturing these bodies, and up on top you’d hear the air coming out of the ones up there. I think they were aiming for the bodies that they could see. I was sheltering behind them, and I was there for all that day and the next night… 

At the same time the British 13th Division and the combined New Zealand and Australian Division attacked first north and then east, up the slopes of the Sari Bahr hills, with the goal of reaching Hill 971 (above, New Zealand troops resting during the advance on Sari Bahr). These attacks served to tie down Turkish forces while the British 10th and 11th Divisions landed at Suvla Bay almost unopposed, from the evening of August 6 through the morning of the following day.

Amid some confusion (some brigades ended up landing on the wrong beaches) the British troops began advancing on both sides of the dry salt lake, with some crossing over the dried lakebed itself (below), but soon ran into stiffening resistance from the massively outnumbered but well-entrenched defenders in the hills above the plain. John Hargrave, a member of the British ambulance service, witnessed the advance from a ship just offshore: 

Puffs of smoke hung on the hills, and the shore was all wreathed in the smoke of rifle and machine-gun fire. A deadly conflict this—for one Turk on the hills was worth ten British down below on the Salt Lake. There was no glory. Here was Death, sure enough—Mechanical Death run amok—but where was the glory? Here was organised murder—but it was steel-cold! There was no hand-to-hand glory… The crack and crash was deafening, and it literally shook the air... it quivered like a jelly after each shot. 

Despite this the British had every chance of overwhelming the thinly-held Turkish positions here, clearing the way for an advance to the first day’s objective – the strategic hilltops of Kavak Tepe and Tekke Tepe, located just a few miles inland. From here they would be able to join forces with the ANZAC troops breaking out to advance up the Sari Bahr hills, capture the central heights of Hill 971, and proceed to the final objective of Mal Tepe on the other side of the peninsula. This would force the Turkish Fifth Army to withdraw before it was trapped, finally giving the Allies control of the Dardanelles and setting the stage for the conquest of Constantinople. 

Illustrated London News, via Illustrated First World War

But now disaster – or rather disastrous incompetence – struck. The British officer in charge of the Suvla Bay landings, Lieutenant-General Sir Frederick Stopford, had never commanded troops in combat before; he soon turned out to be one of the worst commanders of the war. After getting his two divisions ashore (he remained aboard his command yacht), instead of immediately pressing on to Kavak Tepe and Tekke Tepe, Stopford let the troops rest while supply teams finished unloading all their food, tents, mules, and other not-particularly-crucial items on shore.

As the men bathed in the sea and sunned themselves on the beach, precious hours passed, giving von Sanders a chance to rush two divisions (the 7th and 12th) south from Bulair to bolster the meager defensive force. On August 8 the British divisions gradually moved forward and captured one of the first defensive positions, called Chocolate Hill (below, British troops on Chocolate Hill), and on August 9-10 they were reinforced by the 53rd and 54th Divisions. One new arrival, John Gallishaw, later recalled the journey up to the front lines: “Under cover of darkness we moved away silently, until we came to the border of the Salt Lake. Here we extended, and crossed it in open order, then through three miles of knee high, prickly underbrush, to where our division was entrenched... From the beach to the firing line is not over four miles, but it is a ghastly four miles of graveyard.”

But it was already too late: 72 hours had passed and two more Turkish divisions, the 4th and 8th, had arrived from the southern part of the peninsula. In short, Stopford had frittered away the element of surprise for no good reason at all. His incompetence would cost thousands of lives. 

“Like Corn Before a Scythe” 

With the Suvla Bay landings inexplicably stalled, after its initial success on August 6 the ANZAC breakout ran into serious trouble in the days that followed, as the Turkish 5th, 9th, 16th, and 19th Divisions arrived and strengthened their defensive positions in the rough, broken terrain of the Sari Bahr hills. Nonetheless at dawn on August 7 the Australians continued to press the attack with an all-out assault on “The Nek,” a narrow ridge connecting two hilltops. The result was one of the bloodiest engagements of the Gallipoli campaign, as recalled by Lieutenant William Cameron, who saw the dismounted Australian 3rd Light Horse Brigade charging the Turkish positions on foot: 

We saw them climb out and move forward about ten yards and lie flat. The second line did likewise ... As they rose to charge, the Turkish Machine Guns just poured out lead and our fellows went down like corn before a scythe. The distance to the enemy trench was less than 50 yards yet not one of those two lines got anywhere near it.

Things weren’t going much better elsewhere. Gerald Hurst, an officer with a battalion of Manchesters, described a futile assault on the Turkish positions at Cape Helles on August 7: “It was at once obvious that our guns had been unable to affect the strength and resisting power of the enemy's front line. Each advancing wave of the Manchesters was swept away by machine-gun fire. A few of them gallantly reached the Turkish trenches and fell there.” 

In fact the battle was only just beginning. By the morning of August 8 the Turks had created a very strong defensive position on top of the second tallest ridge in the Sari Bahr range, called Chunuk Bahr, which the ANZAC forces and British troops of the 13th Division had to capture for the rest of the plan to work. The New Zealand Brigade of the New Zealand and Australian Division carried out the main assault uphill against the Turkish positions and suffered severe casualties, but finally managed to dig in near the hilltops as reinforcements from the 13th Division began to arrive. One British officer, Aubrey Herbert, witnessed part of the battle from a distance: 

We saw our men in the growing light attack the Turks. It was a cruel and beautiful sight, for it was like a fight in fairyland; they went forward in parties through the beautiful light, with clouds crimsoning over them. Sometimes a tiny, gallant figure would be in front, then a puff would come and they would be lying still… Meanwhile, men were streaming up, through awful heat.

In the afternoon of August 8 a naval bombardment forced the Turks off the hilltops, which New Zealand, British, and Indian Gurkha troops now occupied. From here they could see the glinting surface of the Dardanelles and "The Narrows" on the other side of the peninsula; their goal was in sight. But they wouldn’t hold their hard-won prize for long: the Turks, fully aware of Chunuk Bahr’s strategic importance, were determined to get it back whatever the cost.

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On August 10, Mustafa Kemal (now in charge of several divisions) launched a furious counterattack by the Turkish 8th and 9th Divisions, supported by artillery on the nearby Hill 971. The attack culminated in a dramatic charge by the Turkish infantry, while British naval bombardment rained shells on the blood-soaked hilltop. Kemal later recalled:

Chonkbayir [Chunuk Bair] was turned into a kind of hell. From the sky came a downpour of shrapnel and iron. The heavy naval shells sank deep into the ground, then burst, opening huge cavities all around us. The whole of Chonkbayir was enveloped in thick smoke and fire. Everyone waited for what Fate would bring. I asked one commander where his troops were. He replied, “Here are my troops – those who lie dead around us.” 

The British and ANZAC units holding the hilltop were simply wiped out of existence by the Turkish artillery and repeated infantry charges. Herbert noted the incredible cost of the battle: “The N.Z. Infantry Brigade must have ceased to exist. Meanwhile the condition of the wounded is indescribable. They lie in the sand in rows upon rows, their faces caked with sand and blood… there is hardly any possibility of transporting them… Some unwounded men almost mad from thirst, cursing.”

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Sir Compton Mackenzie, an official observer with the British forces at Gallipoli, recorded similar impressions after the battle for Chunuk Bahr: “I went back outside the hospital, where there were many wounded lying. I stumbled upon poor A.C. (a schoolfellow), who had been wounded about 3 a.m. the day before, and had lain in the sun on the sand all the previous day… It was awful having to pass them. A lot of the men called out: “We are being murdered.” 

After achieving initial surprise, the British landings at Suvla Bay and the coordinated attack from ANZAC had once again resulted in stalemate, at a cost of 25,000 British casualties versus 20,000 for the Turks in just the period August 6-10 alone. Attacks and counterattacks would continue into late August, as both sides received reinforcements at Suvla Bay and ANZAC, (above, part of British 2nd Mounted Division forms up at Suvla on August 18; below, a New Zealand machine gunner at Sari Bahr in late August) – but there would be no significant changes in the frontline from now until the end of the Gallipoli campaign. 

The failure of the landings at Suvla Bay spelled not only doom for the Gallipoli campaign, but also the demise of any hope for a quick victory over the Central Powers. It was clear now that the Allied generals and politicians were out of ideas, and that the war would go on for years, spelling the end of the old way of life. Mackenzie recalled:

There was no vestige of hope left in my mind that the Suvla Landing could now succeed. I felt as if I had watched a system crash to pieces before my eyes, as if I had stood by the deathbed of an old order… The war would last now until we had all turned ourselves into Germans to win it. An absurd phrase went singing through my head. We have lost our amateur status to-night.

See the previous installment or all entries.

17 Funny Facts About Schitt's Creek

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Schitt’s Creek is a classic fish-out-of-water story: After they lose their entire video store fortune to the government because their business manager hasn't been paying their taxes, the Rose family—parents Johnny (Eugene Levy) and Moira (Catherine O'Hara) and their adult children David (Daniel Levy) and Alexis (Annie Murphy)—head to the only asset the government has allowed them to keep: the town of Schitt’s Creek. The cosmopolitan Roses, who had purchased the town as a joke, move in to the local motel, where they share two adjoining rooms; they stick out like sore thumbs in their new home.

But at its heart, Schitt’s Creek is a show about family. “We’ve used a fish out of water scenario to help dramatize that story,” co-creator and star Daniel Levy told Assignment X, “forcing them into a motel room and ... examining what it means to be a family and what relationships are and having the time to concentrate and focus on who they are to each other and what they mean to each other.” Here are a few things you might not have known about the series.

1. Reality TV inspired some elements of Schitt's Creek.

Annie Murphy as Alexis Rose and Jennifer Robertson as Jocelyn Schitt in Schitt's Creek.
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Daniel told Out in 2015 that “It really just started with me being in Los Angeles, knowing that I wanted to write. I had been watching some reality TV at the time and was concentrating on what would happen if one of these wealthy families would lose everything. Would the Kardashians still be the Kardashians without their money?”

Annie Murphy recounted at 92Y Talks in 2018 that she looked to the Kardashians for inspiration for her character. “I watched a bunch of clips—YouTube clips, because I couldn’t bring myself to watch entire shows—of, you know, Kardashians and that kind of thing” for some of Alexis’s tone and mannerisms, including the particular way she holds her hands, she explained. “When they hold their handbags, they hold their purses [on their arms] with their broken wrist this way,” Murphy said, pantomiming someone holding a bag with their hand hanging limply, palm up. For Alexis, she flipped her wrist so that her hand was hanging palm down (you can see it in action here).

2. Schitt's Creek is a family affair.

To flesh out his idea, Levy turned to his dad, frequent Christopher Guest collaborator (and American Pie star) Eugene. The two had never worked together before; in fact, pre-Schitt’s, Daniel had been adamant about doing his own thing. “People are so quick to judge children of people in entertainment,” he told Assignment X. “I just thought, if nobody knows the association and I’m able to build something for myself, then I can introduce my dad—when people actually respect me for what I’ve done, as opposed to snap-judge why I got the job or what I was doing.”

Why go to him for Schitt’s? As Daniel explained to NPR, he had seen the family-loses-it-all idea “played out on mainstream television and sitcoms, but I'd never really seen it explored through the lens of a certain style of realist comedy that my dad does so well. So I came to him and pitched the idea and asked him if he would be interested at all in just fleshing it out and seeing if there was anything there. And fortunately, there was some interest and we started talking.”

Eugene told The New York Times that he was thrilled to have the chance to collaborate with his son: “My heart was actually palpitating. You could see it over my shirt.”

(Eugene and Daniel aren't the only Levys on the show, either: Sarah Levy, daughter of Eugene and sister of Daniel, also appears on Schitt’s Creek as Twyla Sands, the lone waitress at the town’s most happening diner, Cafe Tropical.)

3. Eugene Levy came up with the title Schitt's Creek.

“It was actually just out of coincidence really," Daniel told Out. "He was having a dinner conversation a few weeks prior, about this theoretical town of Schitt's Creek: You would have Schitt Hardware and Schitt Grocers." When they were researching ways that people had lost their fortunes, they came across stories of people who had bought towns for various reasons and later ended up bankrupt. “We thought, well, what if this family, as a joke for the son's 16th birthday, found this town called Schitt's Creek, bought it as a joke because of the name and then ended up having to live there?” Daniel said.

The show’s name can make promotional tours interesting: Not all TV or radio outlets can say it, for fear of being fined for using profanity. On The Late Show with Stephen Colbert, for example, the name of the show has to appear on screen every time it’s spoken aloud.

4. Annie Murphy also auditioned for the role of Stevie Budd.

At a 92Y Talks discussion in 2016, Murphy revealed that she auditioned for both Stevie Budd—the deadpan concierge at the Schitt’s Creek motel where the Roses make their home—and Alexis, the self-centered socialite character she would eventually play. “I’ve never worked so hard at an audition in my life,” she said. “I made my husband rehearse it with me just into the ground.”

In the presentation pilot—which is meant to secure a season order and not destined to air on TV—Alexis had been played by Abby Elliott, who couldn’t continue on the show because of another project. So auditions were held in Los Angeles, where Daniel said they saw “hundreds” of people for the role.

“There had to be some kind of intrinsic likeability to this family, otherwise there’s really no reason to watch—because on paper they’re not very likeable,” he said. “I had been sitting through two days of auditions, and you see these girls come in and they’re dressed like Paris Hilton and they’re playing that part, which was essentially the part that was written on paper. But what I was looking for was what Annie brought in, which was this wonderfully natural likeability to this girl who is so unlikeable, who is so, like, horrifyingly self-involved … It all kind of fell into place, and I called my dad and said ‘I found Alexis, thank god.’”

But Eugene’s immediate response, according to Daniel, was that Murphy had brown hair, unlike the blonde vision of Alexis he had in his head from the pilot. So they had Murphy read for Stevie, because, Daniel said, “I’m not not having her on the show.” When Murphy landed the role of Alexis, she dyed her hair blonde, and Emily Hampshire was cast as Stevie (who had been played by Lindsay Sloane in the pilot).

5. Emily Hampshire doesn't remember anything about her audition.

Emily Hampshire as Stevie Budd in Schitt's Creek.
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When she got the audition for Schitt's Creek, Hampshire was living in L.A. and going through a rough time. "I literally had $800 in my bank account, hadn't worked in a year, was getting a divorce," she tells Mental Floss.

To make matters worse, she was also breaking out into hives when she went out on auditions. So when her agent called about Schitt's, Hampshire said she absolutely couldn't go read in person; what she could do instead was put herself on tape. But at her agent’s insistence, Hampshire went in to audition in front of Daniel and a casting director—and it was a memorable experience for everyone involved but her: Hampshire says she doesn't remember any of it.

Thankfully, Levy does. “Emily came in and immediately said, ‘I’m sorry, this is going to be terrible,’” he recalled at 92Y Talks in 2018. “She did it, and it was great, and I remember saying … ‘Why don’t we just try it where she gets a little more kick out of these people. She’s not just judging them, she’s like, enjoying them, too.’ So she did it again, and you can tell when it clicks … and I remember saying, ‘Great, we’re good,’ and she was like, ‘no, it was—oh god, it was terrible, it was so bad.’” Then, she covered her head with her shirt to hide. Hampshire doesn’t remember that part, either, but, said Levy, “I remember it fondly.”

6. Stevie is the audience's stand-in.

“The character of Stevie has always acted as the eyes of the audience," Daniel said during a 92Y Talks in 2018. "She is the person who is going to say the things that the audience is probably saying to each other while watching it. And I think it’s always important to have that one character on the show that you can trust.”

That was something that resonated with Hampshire. "I think what I connected to in Stevie is that she really stands in for the audience in a way," Hampshire says, "and I felt like I just had to watch these people around me and take them in in an honest way and it would be funny."

In the character breakdown she received when she auditioned, Hampshire says that Stevie was described as "being from a small town, and she's very deadpan." But over the course of four seasons, Stevie has evolved. In season one, Hampshire says, "I don’t think she had any attachment to the motel or to anyone—on purpose. To not be attached or kind of be emotionally invested in anything is a much safer place to be. Over four seasons, she has opened up. I think Stevie grows up a lot this season and really learns to take responsibility for things that I don't think she ever wanted to take responsibility for."

In the fourth season, viewers will see how deep Stevie and David's friendship is, and her partnership with Johnny in running the motel gives her "a new support system that allows her to bloom into whatever kind of special thing she's going to become," Hampshire says.

7. Catherine O'Hara brought something special to the character of Moira Rose.

It was Eugene who suggested O’Hara—his frequent collaborator in Guest’s mockumentaries—for the part of Moira Rose. “I was not going to say, ‘No, that’s not a good idea,’” Daniel told The New York Times. “When he offers up Catherine O’Hara, you take it and run with it.”

And Moira’s eccentricities are all O’Hara’s doing. “We always knew Moira was an actress, an ex-soap star, who became a socialite, chairing major charity events around the world,” Eugene told The Hollywood Reporter. “But Catherine, who always brings something so creative to the table, added a very extreme affectation to her actress character that made Moira so much funnier than we had imagined her.”

O’Hara told Awards Daily that her character’s voice is “kind of a mix of people I’ve met. There’s one woman who’s very feminine and lovely. She just has a unique way of putting sentences together.” Inspiration can come from other sources, too: In the Season 3 episode “New Car,” O’Hara at one point had to use a British accent. “There’s a woman on Sirius radio who claims to be a dog whisperer or pet psychic. Have you heard this woman?” she asked Awards Daily. “That’s basically the accent I’m doing.”

8. Moira's aesthetic is based on Daphne Guinness.

Eugene Levy as Johnny Rose and Catherine O'Hara as Moira Rose in Schitt's Creek.
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“Catherine came in with a reference, when we first started exploring what the aesthetic of this strange woman would be, and she brought in a picture of Daphne Guinness, who is the heir to the Guinness fortune,” Daniel said at 92Y Talks in 2018. “And she was a McQueen muse, and I looked at it, and I said ‘How do we translate this to television?’ And we thought if we kept it in black and whites and went just far enough, I think we can sort of rein it in.”

Moira’s over-the-top looks (which include a number of wigs that, according to Hampshire, have names) are created by Dan and Debra Hanson. “They shop all year because these characters have to have extremely high-end, designer wardrobes, but [the Roses] don’t have that money anymore,” O’Hara told Awards Daily. “I’ve never enjoyed wardrobe fittings in my life until now!”

9. The wardrobe on Schitt's Creek tells a story.

“Dan plays a big hand in the costuming, along with the costume designer Debra Hanson, who is amazing,” Murphy told Build. “Catherine and I do hours and hours of fittings before we start shooting. And I’ll come out of the room and Dan will be like, ‘Mm mm,’ and send me back in.”

After joking that that “makes me sound crazy,” Daniel said that “the mandate, from a creative standpoint … was that the wardrobe on this show is able to tell a story that we don’t have to write … we’re constantly reminded of who these people are and where they came from.”

Because the show is on a tight budget, lots of the wardrobe, he said, comes from eBay and thrift stores. Levy told Vulture in 2019 that all the clothes have to come from around the time when the Roses lost their money—and that the most he'll pay for any item is $200.

10. The location of Schitt's Creek is purposefully ambiguous.

Schitt’s Creek is a Canadian production, and the Rose family had a place in New York, but when people ask him where the town of Schitt’s Creek is located, Eugene says that he tells them it’s wherever they think it should be. “We didn’t set Schitt’s Creek in any location or any country, it’s just Schitt’s Creek,” he said at 92Y Talks in 2016. “We honestly wanted the focus of the show to be on this town, and if you put it in a country with real states or put it in a country with real provinces, then things become tangible … it kind of diffuses the focus to me.”

11. There's not a lot of improv on the Schitt's Creek set.

That fact might surprise fans of Eugene and O'Hara’s work on Guest films like Waiting for Guffman and Best in Show, where the cast works from an outline of the action with no dialogue rather than a traditional script. “[Schitt’s] is completely a scripted show, but we do an awful lot of playing around with the lines when we get to the set,” Eugene told The Hollywood Reporter. “What looked good on paper doesn’t always play when you hear the words out loud. So, we do change things until they end up sounding right.”

“When we get the script, I kind of work on it on my own and play with it then,” O’Hara told Awards Daily. “The Levy gentlemen give me respect, and I respect them and email them with possibilities. I don’t feel the need to improvise because our scripts are great.”

Which is not to say that everything is shot as written: Levy said at 92Y Talks in 2018 that Murphy’s “you get murdered first!” from the pilot episode was improvised.

12. The baseball team in the town where Schitt's Creek films changed its name to honor the show.

Schitt’s Creek films in Canada, in Goodwood, Ontario. “We did dingy up the town tremendously,” Daniel told NPR. “It is a lovely town that we had turned into the town of ‘Schitt's Creek.’”

All of the show's interiors are shot at a studio, but the buildings are actual structures in Goodwood, dressed to look like Schitt's Creek. According to Hampshire, many of the buildings are on a single intersection. "There’s Bob’s Garage, which is a garage, but we put a sign up, and then the café and the apothecary are stores," Hampshire says. "When we shoot there, we make them into our stores." The motel was, at one point, actually a motel. "It’s been since turned into this basketball boys club sleeping quarters camp thing," she says. "When we go in, it really smells like a locker room."

In the first season, locals set up lawn chairs to watch filming and wandered through shots; by the second season, Eugene told 92Y Talks in 2016, they were “proud citizens of Schitt’s Creek.” The town seems to have embraced its alter ego, as evidenced by the actions of its minor league baseball team. “They had a minor league kind of baseball team there that actually changed their name from the Goodwood Bears to the Schitt's Creek Bears for an entire month,” Eugene told NPR.

13. When it comes to Schitt's Creek, Daniel Levy leaves no detail unconsidered.

And that includes the wear and tear on the carpets in the mote. “In my head it’s like, ‘We should all know that they don’t vacuum their carpets all the time,’” Levy told GQ in 2019. "These are lived-in carpets. We’re in a motel. If we’re going to vacuum the carpets, which I know has to be done, we also need to scuff them up a bit after." He does all the scuffing himself: "It’s in the details for me, and when the details aren’t executed perfectly, I get a bit … ornery," he said. (But Daniel doesn't bring that energy to set: "It’s crazy how comfortable he is doing this, how calm and confident he is running the show," O'Hara told GQ.)

14. Chris Elliot makes Eugene break constantly.

Eugene Levy as Johnny Rose and Chris Elliott as Roland Schitt in Schitt's Creek.
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According to Murphy, Eugene “giggles like a schoolboy” in scenes with Chris Elliot, who plays Schitt’s Creek Mayor Roland Schitt. “He’s got my number,” Levy said in an interview with Build. “He’s constantly making me laugh on set … He does it intentionally, of course, and he actually succeeds.”

One scene in the show’s third season was particularly tough to get through and resulted in hours of outtakes: “[Chris] gets in kind of behind me, trying to show me how to hold a [golf] club properly,” Levy recalled. “That’s one of the times I think I laughed the hardest in the three seasons, was trying to get through that scene.” He couldn’t stop laughing and was eventually admonished by the director. (They did eventually get the shot.)

15. Cafe Tropical's menu is Murphy's favorite prop.

Jennifer Robinson as Jocelyn Schitt and Catherine O'Hara as Moira Rose in Schitt's Creek.
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Cafe Tropical’s huge menu is often played for laughs on Schitt’s Creek, and it’s Murphy’s favorite prop on the show. “I wish everyone could see the inside of the menu because it’s very detailed and there’s literally every dish you could possibly imagine,” Murphy said at 92Y Talks in 2018. “There are literally 150 things you could order on this menu, and they’re all described.” The props department couldn’t find a big enough real-life menu, so they ended up creating massive ones in a custom size.

16. Hampshire regularly borrows Stevie's clothes.

With her Chucks, flannels, and overalls, Stevie easily has the most comfortable wardrobe on Schitt's Creek. It's so comfortable, in fact, that Hampshire often borrows items to wear on her time off. "I always take this one pair of Stevie’s jeans that I love—they’re like the perfect baggy boyfriend roll-up jeans," Hampshire says. "I take hoodies. I actually take Stevie’s Converse because they’re better than my exact Converse for some reason. I always take her stuff, which Dan doesn't understand at all. He’s like, 'What is there to take? Like, why would you ever borrow this stuff?' But for some reason, the wardrobe women, they just find the perfect hoodie or the perfect jean—so I take those."

17. Season 6 of Schitt's Creek will be its last.

Daniel announced the news on Twitter in a letter written by himself and Eugene. "We are so grateful to have been given the time and creative freedom to tell this story in its totality, concluding with a final chapter that we had envisioned from the very beginning," they wrote. "It’s not lost on us what a rare privilege it is in this industry to get to decide when your show should take its final bow. We could never have dreamed that our fans would grow to love and care about these characters in the ways that you have.” The final season, which will consist of 14 episodes, will air on the CBC and Pop in 2020.

This piece was updated in 2019.

Batmania: When Batman Ruled the Summer of 1989

JD Hancock, Flickr // CC BY 2.0
JD Hancock, Flickr // CC BY 2.0

“Flop” is how marketing research group Marketing Evaluation Inc. assessed the box office potential of the 1989 Warner Bros. film Batman. The big-budget production, directed by Tim Burton and co-starring Michael Keaton as Batman and Jack Nicholson as the Joker, was expected to be one of the rare times a major Hollywood studio took a comic book adaptation seriously. But according to the marketing data, the character of Batman was not as popular as the Incredible Hulk, who was then appearing in a slate of made-for-television movies. And he was only a quarter as appealing as the California Raisins, the claymation stars of advertising.

That prediction was made in 1988. The film was released on June 23, 1989, and went on to gross $253.4 million, making it the fifth most successful motion picture up to that point.

While Marketing Evaluation may have miscalculated the movie’s potential, they did hedge their bet. By the time profits from the movie’s merchandising—hats, shirts, posters, toys, bed sheets, etc.—were tallied, the company said, Warner Bros. could be looking at a sizable haul.

When the cash registers stopped ringing, the studio had sold $500 million in tie-in products, which was double the gross of the film itself.

In 1989, people didn’t merely want to see Batman—they wanted to wear the shirts, eat the cereal, and contemplate, if only for a moment, putting down $499.95 for a black denim jacket studded with rhinestones.

Batmania was in full swing. Which made it even more unusual when the studio later claimed the film had failed to turn a profit.

 

The merchandising blitz of Star Wars in 1977 gave studios hope that ambitious science-fiction and adventure movies would forever be intertwined with elaborate licensing strategies. George Lucas's space opera had driven audiences into a frenzy, leading retailers to stock up on everything from R2-D2 coffee mugs to plastic lightsabers. It was expected that other “toyetic” properties would follow suit.

They didn’t. Aside from 1982’s E.T., there was no direct correlation between a film’s success and demand for ancillary product. In 1984 alone, Gremlins, Ghostbusters, and Indiana Jones and the Temple of Doom were smash hits. None of them motivated people to flock to stores and buy Gizmo plush animals or toy proton packs. (Ghostbusters toys eventually caught on, but only after an animated series helped nudge kids in their direction.)

Warner Bros. saw Batman differently. When the script was being developed, producers Jon Peters and Peter Guber were urging writers to make sure scenes were aligned with planned merchandising. They scribbled notes insisting that no onscreen harm come to the Batmobile: It should remain pristine so that kids would want to grab the toy version. As Batman, millionaire Bruce Wayne had a collection of vehicles and gadgets at his disposal—all props that could be replicated in plastic. Batman's comic book origins gave him a unique iconography that lent itself to flashy graphic apparel.

In March 1989, just three months before the film's release, Warner Bros. announced that it was merging with Time Inc. to create the mega-conglomerate Time-Warner, which would allow the film studio to capitalize on a deep bench of talent to help drive the “event” feel of the film.

Prince was signed to Warner's record label and agreed to compose an album of concept music that was tied to the characters; “Batdance" was among the songs and became a #1 hit. Their licensing arm, Licensing Corporation of America, contracted with 300 licensees to create more than 100 products, some of which were featured in an expansive brochure that resembled a bat-eared Neiman Marcus catalog. The sheer glut of product became a story, as evidenced by this Entertainment Tonight segment on the film's licensing push:

In addition to the rhinestone jacket, fans could opt for the Batman watch ($34.95), a baseball cap ($7.95), bicycle shorts ($26.95), a matching top ($24.95), a model Batwing ($29.95), action figures ($5.95), and a satin jacket modeled by Batman co-creator Bob Kane ($49.95).

The Batman logo became a way of communicating anticipation for the film. The virtually textless teaser poster, which had only the June 23 opening date printed on it, was snapped up and taped to walls. (Roughly 1200 of the posters sized for bus stops and subways were stolen, a crude but effective form of market research.) In barber shops, people began asking to have the logo sheared into the sides of their heads. The Batman symbol was omnipresent. If you had forgotten about the movie for even five minutes, someone would eventually walk by sporting a pair of Batman earrings to remind you.

At Golden Apple Comics in Los Angeles, 7000 packs of Batman trading cards flew out the door. Management hired additional staff and a security guard to handle the crowds. The store carried 36 different kinds of Batman T-shirts. Observers compared the hysteria to the hula hoop craze of the 1950s.

One retailer made a more contemporary comparison. “There’s no question Batman is the hottest thing this year,” Marie Strong, manager of It’s a Small World at a mall in La Crosse, Wisconsin, told the La Crosse Tribune. “[It’s] the hottest [thing] since Spuds McKenzie toward the end of last year.”

 

By the time Batman was in theaters and breaking records—it became the first film to make $100 million in just 10 days, alerting studios to the idea of short-term profits—the merchandising had become an avalanche. Stores that didn’t normally carry licensed goods, like Macy’s, set up displays.

Not everyone opted for officially-licensed apparel: U.S. marshals conducted raids across the country, seizing more than 40,000 counterfeit Batman shirts and other bogus items.

Collectively, Warner raked in $500 million from legitimate products. In 1991, the Los Angeles Times reported that the studio claimed only $2.9 million in profit had been realized from merchandising and that the movie itself was in a $35.8 million financial hole owing to excessive promotional and production costs. It was a tale typical of creative studio accounting, long a method for avoiding payouts to net profit participants. (Nicholson, whose contract stipulated a cut of all profits, earned $50 million.)

Whatever financial sleight-of-hand was implemented, Warner clearly counted on Batman to be a money-printing operation. Merchandising plans for the sequel, 1992’s Batman Returns, were even more strategic, including a tie-in agreement with McDonald’s for Happy Meals. In a meta moment, one deleted script passage even had Batman’s enemies attacking a toy store in Gotham full of Batman merchandise. The set was built but the scene never made it onscreen.

The studio was willing to give Burton more control over the film, which was decidedly darker and more sexualized than the original. Batman Returns was hardly a failure, but merchandising was no longer as hot as it was in the summer of 1989. Instead of selling out of shirts, stores ended up marking down excess inventory. McDonald’s, unhappy with the content of the film, enacted a policy of screening movies they planned to partner with before making any agreements. By the time Warner released 1995’s Batman Forever, the franchise was essentially a feature-length toy commercial.

It paid off. Licensing for the film topped $1 billion. Today, given the choice between a film with Oscar-level prestige or one with the potential to have its logo emblazoned on a rhinestone jacket that people would actually want to buy, studios would probably choose the latter. In that sense, the Batmania of 1989 endures.

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