The Wednesday Play: Red Shift (1978)

Since I know a lot of you lovely readers are sci-fi lovers, today, I thought I’d give you the gift of one of the few sci-fi/fantasy plays that the BBC made in its standard drama strand, Play For Today. Based on Alan Garner’s novel of the same name, Red Shift is an odd little thing set in three time periods: Roman times, the Civil War and ‘modern times’. Linked by an artefact that appears in all three periods, a stone axe, the play looks at the plight of three different men, all faced with different challenges of the time, usually involving women. In the Roman period, some Roman deserters are in hiding, except the enemy may be within (or it might be the Celt woman they have prisoner, who might actually be a local goddess); in the Civil War, the goodies (including James Hazeldine) are holed up in a church, trying to escape from some Royalists; while in the present time, a somewhat pretentious student is vexed by his girlfriend and his parents.

To a certain extent, the story defies description, losing some aspects of the novel in translation to TV. The stories are linked more or less only by location, although the themes of adolescent angst, religion and control/lack of control of women are still there in the play. As a result, it’s more fascinating to watch mainly for the third story to see what ‘modern values’ were in 1978, with the pretentious student living with his parents in a caravan, and they being unwilling for him to have sex with his girlfriend. It’s also fun to see how little traffic there was in motorways in those days.

I won’t pretend it’s the greatest play ever and the specialised science-fiction strands at the BBC produced far superior work. But it’s a worth a watch out of historical curiosity and to see something that doesn’t give easy answers.

Wednesday’s “Universal acquires Bates Motel, Joanna Page joins Breathless and MTV’s theme park drama” news

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Charley says: watch out for rabies

Inspired by Scarfolk, the English town that still lives in the 1970s, this week we’re starting up a new feature on the blog: Charley says.

The 1970s was a terrible time, of course, where the risks to people from everything from electricity cables to water to other people could not be overstated. It was horrifying. Particularly the rabies.

To save the public from these threats – and themselves – the British government authorised a series of public information films designed to scare the living daylights out of anyone who watched them. And each week, I intend to scare the living daylights out of you with a public information film or two – watch them, as they might just save your life.

This week: Rabies. Beware. The threat is still there, you know, and if you aren’t scared shitless, you haven’t been watching. And that means death for you (unless you watch the third movie – you’ll be sound as a pound after that).

The BarrometerA Barrometer rating of 5

Third-episode verdict: Orphan Black (Space/BBC America)

In Canada: Saturdays, 9e/6p, Space
In the US: Saturdays, 9/8c, BBC America

What ho! Time to revisit the verisimilitude vacuum that is Orphan Black, which I believe is supposed to be the US and Canada’s revenge for Brits and Aussies getting all the leads in proper TV shows, but which merely ends up showing why that’s the case. Here we have a couple of Canadians, whose attempts at English accents have got worse over the space of just three episodes to now resemble those in Mary Poppins, pretending to be brother and sister ‘street kids’, the sister assuming the life of a woman physically identical to her in order to get some cash, escape her drug-dealer boyfriend and, eventually, escape from someone who’s trying to kill her. Along the way, she discovers that there are more women who look just like her and before you can say “Really? It took you three episodes to get to that point when it was in the trailer and it was obvious in the first episode?”, she discovers she’s a clone. Whose clone, why she was cloned, how she was cloned and why all her fellow clones are being killed off, we’ve still yet to find out.

Well, you guys still watching will, because I’m giving up at this point. It’s not just the terrible accents, I should point out here, which are now like fingernails on blackboards. It’s not just the attempts at English slang (“I’ll kick the shite out of you.” Are you northern now, love?). And if I were 18 and had never seen a sci-fi conspiracy theory thriller before, either on TV or at the movies, I might be of a different mind.

But watching ‘street’ kids who would probably have been stabbed to death years ago in real life, outsmarting even cops they now work alongside, while a never-ending, unconvincing parade of new clones is shoved across the screen is just not my thing. Again, if I was 18, I’d probably think this was brilliant. Maybe not, but I might. But having already seen much better, more exciting, less stupid, funnier and better shows, some even involving clones and conspiracy theories (Timeslip and A For Andromeda. Hell, even The Island was better, the first half about 1,000 times better. Clone, however, was worse, I’ll give you that), this feels like a great big witless waste of time.

I don’t care about the characters; I’m not interested in them either: central clone Sarah is dumb, her other clones are just annoying, and the evil one is ridiculous; her brother, Felix, was comic relief for all one episode, before becoming the guy who gets the plot told to or runs around getting into trouble. None of the supporting characters work and are all too stupid to live. And the central clone conspiracy is being dragged out for so long that I can’t tell if it’s interesting or not. There aren’t even hints, beyond the existence of the clones. It might turn out to be the most interesting conspiracy theory ever, but at the moment, we’re only just being told there are clones and heaven knows how long it will take to spin out whatever gossamer-thin premise the writers have planned. In terms of tension and intellectual stimulation, “How did they do that shot with those clones?” is as far as it goes. And when you’re more interested in the details of the SFX than the plot, you know the show is ungripping to say the least.

So I’m dropping it. If you’re 18 or so, do feel free to carry on watching, though.

Barrometer rating: 5
Rob’s prediction: I’d like to say it’ll be cancelled before the season is out, by suspect it’ll go on and on, particularly if there’s a cliffhanger at the end of the season  

Tuesday’s “Da Vinci’s Demons begins well, Heather Graham joins Californication and Supernatural characters return” news

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