Other than the long wait since the end of season one, there was little in “The Metamorph,” the first episode of Space: 1999’s second season to clue you into just how much had gone wrong with the series, and how much more wrong was waiting on the horizon. Certainly, some things had changed. For starters, there’s a new theme song and someone must have found a box of colorful orange and blue jackets in a closet somewhere, because everyone has started wearing jackets. But you know how fashion trends are, and the sudden appearance of jackets is of no real concern (and I like to think inspired Jean-Luc Picard, who took five seasons of Star Trek: The Next Generation before he found a jacket). Alphans have also started wearing ID badges with their name and photo on them because…in a confined space for years with three-hundred or people or so, I am sure it was awkward for Koenig to still not know “that one guy’s name.” So he issued the command for “Hello My Name Is” tags to save everyone discomfort at parties.
Over on the Cultural Gutter, I’m ringing in Yule, midwinter, and whatever other Pagan festivities we can dig up by writing about a topic I normally avoid. A Long Time Ago… Is the first of a two-part article celebrating the oddball pulpy adventures that served as the basis for the Star Wars Expanded Universe. This round, it’s Han Solo and Chewbacca in three nutty adventures from 1979.
This is the sort of movie that might spontaneously spawn during a Guitar Wolf concert. Well, this and Wild Zero of course– an oddly apt film to bring up, as the two films share rather a lot besides leather-clad rocker protagonists. It’s over-the-top, anarchic, and every frame is infused with the spirit of rock ‘n’ roll (if not actual rock ‘n’ roll; Redline‘s soundtrack is more thumping techno oriented). It also has a sweet, doe-eyed love story beneath all the engine revving and hair grease — and if you think that is somehow not in keeping with the tough, leather-clad exterior, you might not know many rockers. They are a sentimental lot at their core. Heck, Elvis wanted to be your teddy bear. And Roy Orbison! That dude was all about crying and being sad and taking advice from candy colored clowns we call the Sandman. One of my best experiences after moving to New York nigh those many decades ago was talking an autumn stroll through Tompkins Square Park past an older (than me, at the time) rockabilly couple with arms around one another, listening to The Penguins’ “Earth Angel” on a beat up old boom box. Modern rockabilly may be all about tattoo sleeves and volume, but even beneath that noise beats the heart of a romantic. And beneath all the leather, engine revving, and alien hustlers, Redline is most definitely a romantic and sentimental movie.
Over on The Cultural Gutter, I’m taking a look at one of my favorite sci-fi book series from my youth. Return of the Tripods chronicles my revisit as a man grown to John Christopher’s Tripods trilogy: The White Mountains, The City of Gold and Lead, and The Pool of Fire, which I first discovered when they were serialized as a comic strip in Boys’ Life magazine.
When I was young still and open of mind, my parents set me loose in the University of Kentucky bookstore with the understanding that I was allowed to choose for myself from the racks of tapes and books some manner of entertainment. As I perused the offerings with a diligent focus that can be mustered only by a seven-year-old with a serious decision to make, I contemplated my options. Not a book, I decided, even though there were several promising ones. But I wanted something in which I could indulge on the long car ride back to Centerfield, and I was not prone to car sickness except when I tried to read. So a cassette…but which one? I flipped through the racks, past recordings of old radio dramas. The Shadow? Maybe. Lights Out Theater? Even better. And then I found it. With nary a doubt in my mind as to the correctness of my decision, I took from the rack and presented triumphantly to my mother my choice of prize: a recording of Orson Welles’ legendary broadcast of The War of the Worlds on Halloween eve, 1938.
It’s a blue moon month for me over at The Cultural Gutter, and I get the honor of ushering in All Hallow’s Eve, scary sci-fi style. Something Kinda Funky looks at the time Buck Rogers, Wilma, and Twiki faced off against a nefarious Space Count Orlok in the classic Buck Rogers in the 25th Century episode, “Space Vampire.”
Aleksey Nikolayevich Tolstoy was Russia’s less internationally known Tolstoy. While the one was writing thousand-page tomes about sad people losing things (pretty sure that’s the plot of most Leo Tolstoy books) that would be forced upon generation after generation, the other Tolstoy was writing slick science fiction adventures like Aelita (1923, adapted into a movie a year later), Engineer Garin (1924), and Count Cagliostro, which American high school students did not get to read, since there was no time left after plodding through Anna Karenina — in which absolutely no one travels to Mars, builds a death ray, or practices alchemy. To be fair to Leo Tolstoy though, it’s been twenty-six years since I read Anna Karenina, and all I really remember is a chapter where two rivals for the love of the title character retire to a nearby barn to try and outdo one another in feats of gymnastic prowess, and I may even be getting that wrong. In fact, I think much of what I remember of Anna Karenina is actually Great Expectations. I am, however, quite certain there was no death ray.
I have a new Frolic Afield up on The Cultural Gutter: The Gentleman Adventurer takes a look at the BBC series Adam Adamant Lives! A swashbuckling Edwardian gentleman, quick with his cane-sword or a witty retort, is frozen in time and revived in swingin’ sixties London, where accompanied by his go-go girl sidekick, he immediately resumes his life of adventure and crime-fighting. Yes, they truly did pull an entire plot right out of my mental wish list.
My time has come. Another Frolic Afield over at the Cultural Gutter. A Halting Fire takes a look at the first season of Halt and Catch Fire, a show with subject matter — the micro-computing revolution of the early 1980s — near and dear to my heart. It’s also about the unwillingness of so many modern television shows to commit to an emotion other than a sort of listless misery.
Time for another Frolic Afield over at The Cultural Gutter, where I am writing Einstein and the Bearded Lady, about the Czech science fiction comedy I Killed Einstein, Gentlemen (Zabil jsem Einsteina, panove) from 1970. The film asks the question, “What would men of the future be willing to risk to make sure women don’t have too much body hair?” Silliness ensues.
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