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Another good example of "softening up" a popular cultre woman in the postwar era was what happened to Lois Lane. In the comics, Siegel and Shuster had conceived her as a two-fisted, snappy-talking Glenda Farrell type of "girl reporter" who asked no quarter and gave none in dealing with male colleagues or adversaries. She was portrayed consistent with that original vision until the early 1950s, when she was reworked into a rather pathetic figure who spent most of her time mooning over why Superman wouldn't marry her and scheming to discover his secret identity. This, not the hard-charging Lois of the late thirties, is the Lois boomers grew up with in the pages of "Superman's Girl Friend Lois Lane," a comic I always considered a weak sister, even though it was supposed to appeal to girls.
Lois went thru a similar gelding in other media. The radio Lois of the 1940s was a crisp, no-nonsense Rosalind Russell-like figure, and when the TV series began in 1951 under the supervision of the same producer who had handled the radio show, she was portrayed in the same style by film-noir veteran Phyllis Coates. But Coates left the series after the first season, and was replaced by Noel Neill, whose Lois was less assertive by far and more dependent on Superman to come to her rescue. Even as a kid watching these shows in reruns it was obvious to me that Neill was not playing the same character Coates had played, even though she was still called "Lois Lane," and I far preferred the original version.
Over the years, I've learned the history you relay above, but at the time (the early '70s, or there about, when I was watching them as a kid), and without any historical context, it was still clear TV '50s Lois was a weak and boring character.
As a kid, the timelines are all squirrelly to you, but Alice Kramden dope-slapping Ralph when she had to, Katheryn Hepburn swatting Spencer Tracey around when she had, Batgirl kicking butt (literally) in that campy world and Miss Emma Peel (Diana Rigg) outsmarting and out fighting many men stood in start contrast to Lois' annoying cattiness toward Clark Kent and mooning weakness toward Superman - she felt less real to the kid me than any of those other women.
And I love watching Rosalind Russell out speed-talk and out-think Cary Grant, for the most part, in "His Gal Friday." Even when they manipulated a code-acceptable ending to movies like that, you saw through the flimsy construct and got the real story.