GOING, GOING, GONE / SPACED OUT / THE STARSHIPS ARE COMING / AMAZON HOT WAX / THE RICHEST MAN IN THE WORLD / A DATE WITH DOOMSDAY / THE GIRL WITH A GIFT FOR DISASTER / THE BOY WHO KNEW HER SECRET The journey of censorship within the series has been an interesting one. It began with that glorious fight with Stella Stevens where they threw each other violently through plate glass and over tables and Wonder Woman got to smash her opponent in the face with her fist. Then it evolved into something rather less satisfying - usually of the variety where henchmen are thrown gently into cardboard boxes or onto light fittings. The latter part of the final season has seen something of a return to form, with WW managing to get a few chops and hits in before throwing the henchman of the day around. It's been quite unexpected and more pleasing for it. Guest actors have been a fairly balanced combination of older character actors and younger teen pinup types. Some of the latter have been a little bland but then there's the occasional one that breaks the mould. The Richest Man In The World had on board one of the angriest young men of the era: Barry Miller. Here he would be in between Saturday Night Fever and Fame. He's a fascinating actor - very intense and unpredictable. There's an appealing feeling of danger to him that served to bring layers to the proceedings. The episode had him playing to type as a troubled teen who bonds with one of the older characters. Even the obligatory happy ending where the rich older man invites Barry to live with him forever and ever felt like it had a slightly less wholesome subtext in these hands. And it was all the better for it. Along with some more creative Wonder Spins, Season Three has also played with viewer's expectations around it. A couple of scenes have shown Diana just about to spin when something happens: a man comes crashing through an overhead window or a colleague walks into the corridor. The Boy Who Knew Her Secret took this to the next logical level with one of the Just Seventeen pinup types witnessing the Wonder Spin and learning her secret. It was dragged out to be a two-parter and fitted into a schlocky 50s B-movie type story of invading aliens taking the form of townspeople and is one of those storylines that loses something once you hit double digits. But it played out fine. Going, Going, Gone featured one of those scenes that's embedded in my memory from watching as a six year old: Diana being put into a submarine's torpedo chute and Wonder Spinning her way out. Turns out the plot wasn't bad either, with a fifth columnist thrown into the mix. For all the silliness of some of these episodes - and there's silliness aplenty - it's actually Amazon Hot Wax that feels like the episode where the series did some serious shark jumping. It was one of the episodes where Diana went undercover with a fake name. This time she was disguised as a singer who was cutting a record. Which, of course, was all a flimsy excuse for Lynda Carter to show off her singing skills and promote her new album by singing a couple of the songs from it. It's by no means an awful episode, but it had "vanity project" written all over it to the point of making Beauty On Parade seem subtle. It's to the detriment of the series, of course. And perhaps quite telling that at this point in the run it doesn't seem to matter.