I thought the entirety of this movie can basically be summed up in four words: “Psycho preys on douchebag.”

Cesar Romero as the Joker gets perhaps the least to do, though he certainly seems to be having the time of his life responding to the Penguin’s nautical submarine commands with an unhinged “Yo-ho!” or fluttering in terror while being stared down by Catwoman’s thoroughly inoffensive-looking house-cat. Frank Gorshin as the Riddler is, as always, incandescently insane — after he accidentally hits the Batcopter with one of his skyrwriting riddle missiles, his wonderment is so intense that it blurs the line between ecstasy and disappointment. Burgess Meredith as the waddling Penguin delivers some of the film’s best lines, declaiming with squawking relish as he contemplates the possible death of his henchmen, “Every one of them has a mother!” or urging his submarine crew to dive with the immortal exhortation, “Run silent, run deep!”

From the very outset of work on the film we all discussed means of photographically depicting an extraterrestrial creature in a manner that would be as mind-boggling as the being itself. And it soon became apparent that you cannot imagine the unimaginable. All you can do is try to represent it in an artistic manner that will convey something of its quality. That’s why we settled on the black monolith — which is, of course, in itself something of a Jungian archetype, and also a pretty fair example of “minimal art.”

‘Beverley Skeggs, a professor of sociology at Goldsmith’s, University of London who has conducted studies into the representation of class and gender on reality television, believes it is, at root, a question of human connection. “I think the community feeling is part of the appeal of this kind of show,” she says. “It’s expressing a form of social value – people connect to other people who have the same values, who behave in the same way. We do get swept up in it, wanting to be behind somebody, wanting them to do well. That’s why producers will milk the hard-luck story – those little snippets of someone working in Tesco – because all that intertextual stuff enables us to feel we have this sort of connection.”