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Bruce Banner.

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They will sometimes just make a Banner who is meek and repressed, and then indulge in Hulk as the obvious and often ugly power fantasy. But what this approach fails to realize is that there are so many different kinds of nuanced dualities contained in the human brain. So, contrary to what might seem obvious, it turns out that the most emotionally affecting Hulk stories are the ones that give us a personable, engaged Bruce Banner with aching humility.


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The Incredible Hulk was a beloved television show that ran from until I came to the show a little later, when the dawn of cable TV meant that we could all suddenly absorb a bevy of syndicated reruns every dang day of the week. But even though I thought I was watching for those fun, tangible thrills, I was actually watching for the man who played Banner. Bill Bixby is one of our shining examples of the great working television actor.

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What is low-key remarkable about these three roles is that he brought vastly different performances to each of them: from wide-eyed comic fear, to understated flirtation and self-effacing grace, and then to the smooth, debonair manner needed for his sleight-of-hand-wielding detective. But what made Bixby downright transcendent is that he could do all that while still keeping this quiet, plain-faced nature underneath it all.

Because Bixby never played the role as meek, repressed, or unemotional. Instead, he was a kind and gentle everyman who had something intensely fatherly about him.

You looked into his eyes and you trusted him. But this is exactly what turned the Hulk into a genuine curse.

Banner never wanted to hurt a soul or put himself at risk, which created the drama of putting your hero into the perpetual state of being caught between a rock and a hard place. In this space, the show absolutely nailed a simple dramatic dynamic: Sometimes our dear Banner was trapped in some horrible situation, and you rooted for him to turn into the Hulk. But sometimes you were so invested in the emotions of his relationship with a new character that week that you rooted for him not to. And for a fun little aside, I will always link to this decade-old list of all the things that caused Banner to Hulk out during the show.

In the end, we knew that every episode would come with the smallest of victories, but often at the greatest of costs to our dear Bill Bixby. He would simply have to move on to the next town, ever on the run, ever searching for a cure.

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It could make you cry almost every time, especially as you saw him stoically trying to carry all the pain and sadness within him. But he was never fully dejected, so our Banner pressed on as the paragon of decency. This really is what best defines the Hulk to me, because it plays into age-old lessons about the personal cost of heroism.

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This approach understands that our deepest expressions and fears can hurt others when we never mean them to. But even still, it all comes with an important caveat:. The point of this comment is not to throw back some pedantic nerdery. So when you pull the idea of the character back for common assumptions, you realize that the Hulk is simply a vehicle for exploring different dualities. With Bixby, it was about the curse of power, seeing the Hulk as a monstrosity operating against our most humble and good-natured selves.

But for other Hulks? It could be a chance to explore the destructive mindset of barbarism, or the controlling mixed messages of the patriarchy, or even exploring feelings of inadequacy in comparison to one Freddie Prinze Jr. This also really happened, and it was actually written in pretty toxic fashion. But with infinite Hulks to choose from, how should he be adapted into the movies? His disconnection is a coping mechanism, one deeply tied to a buried memory of his father trying to kill him and inadvertently killing his mother.

Lee treats these subjects with the utmost seriousness, and it all cascades into an Oedipal battle with his father that invokes the notion of Greek gods in the heavens. Where the old TV series felt laser-focused in understanding what it wanted out of a given Hulk altercation, I never felt quite sure what the Hulk sequences in this film were after in terms of characterization or rooting interest.

In other words, I fully grok why it might not be a great Incredible Hulk movie. So when the MCU came in to take over the character, I understand why they sought to correct that charge. For starters, they leaned heavily into the references and signifiers of the old TV show and comics.

From the lonely man to the purple pants to Lou Ferrigno himself, The Incredible Hulk is dead set on reminding you that this film is grounded in the popular roots of the character as it sets him up for the bigger world of Tony Stark and super-soldier serums. But perhaps the best quality of the film is that it wants to make the Hulking-out fun and clear and properly motivated. It wants smashes and slams and a whole lot of Hulk make bad guy go squish! All in all, the populist aims make sense and work as needed.

But unlike the bottled magic of the combo of Robert Downey Jr. But the bigger problem is actually in their choice of Banner. And Norton has never been that, for all his other gifts. Mark Ruffalo shuffled into an established cast as the first actor to capture, at the very least, the gentle humility of Bixby. And watching him bounce off Downey Jr. The big green guy roars into the third act after a lot of table-setting and is given spectacular moment after moment, from the Loki smash to the sucker punch to the catch, all of which were captured in endlessly GIF-able moments that endeared the character to a new generation of fans.

Better yet, the movie sneakily said something about the grand Hulk duality. Chiefly, that anger can throw us into blind, destructive rage — as it does for him earlier in the film — but anger can also be a feeling we channel from inside ourselves as a useful, powerful force.

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But the question coming out of that film was a question that all the original Avengers faced: Where does their arc go from here? Which makes his choice to take the jet and fly far away from her both powerful and tragic. But where does a fearful decision take us? Particularly one that takes us away from those we love and secretly want to run toward, not away from? Banner finds himself terrified that he let Hulk have control for literal years. David Cameron has suggested reintroducing prison ships earlier this year as a quick and ''cost effective'' way of increasing the number of cells and easing the pressure on Britain's close-to-capacity jails.

But the controversial move was widely criticised by politicians and campaigners, with Labour — who rejected the idea — saying it would waste millions of pounds of taxpayers' money as it was more cost effective to build new prison places on land. Young boys, including eight-year-old Francis Creed, were imprisoned on the hulks alongside murderers, thieves and bigamists. Tories consider prison ship plan. Francis was jailed for seven years on board HMS Bellerophon for stealing three shillings worth of copper after being convicted in Middlesex on June 25, , the records showed.

William Davies, 84, was also sentenced to seven years imprisonment for sheep stealing while Samuel Phillips, a year-old labourer, was jailed for life for burglary. Unable to read or write, he was described as a ''doubtful character'' who had been imprisoned before. Other convicts included Thomas Bones, who was described as ''a bold daring fellow, not fit to be at large in this country'', and George Boardman, who was ''neglected by his parents'' and ''connected with bad company'', the records showed. Each hulk held between and convicts in conditions where disease was rife and spread quickly as there was no way to separate the sick from the healthy in the cramped conditions.

Dan Jones, international content director of Ancestry. They detail the rather bleak conditions that those who fell foul of the law would have found themselves in. The ship's temporary stint as a jail was controversial, with the Chief Inspector of Prisons denouncing it unfit for purpose because of the lack of access to fresh air and exercise.