Throwback Thursday: “Buck Rogers in the 25th Century” (1979 – 1981)

When I was in the first grade, I absolutely loved “Buck Rogers in the 25th Century.”  It was, technically I guess, a dystopian science fiction story in which a contemporary astronaut is frozen for 500 years, then returns to a post-nuclear earth.  Its feature-length pilot was created by Glen Larson, who also wrote the pilot for “Battlestar Galactica” the preceding year.  (Weird trivia — Wikipedia informs me that this was released theatrically, along with “Battlestar Galactica” in limited theaters.)

Of course I didn’t realize this at the time, but “Buck Rogers” was pretty bad.  It was horribly bad.  Indescribably bad.  It was even bad by cheesy 1970’s TV sci-fi standards.  You can actually find full episodes on Youtube, and I started one, just on a lark.  I could only watch about one minute, maybe less — plus that soul-deadening clip of “Twiki” in the second video below.   Seriously, it’s as though Larson was intentionally giving the worst script he could come up with to NBC as some sort of prank.  (After being told to resuscitate the heroic Buck, one advanced futureperson advises another, “He’s liable to be not too coherent.”)

About Twiki — that little guy fascinated a lot of very young kids in 1979.  For a while, it was all the rage for us to do our “deeby-deeby-deeby” Twiki impressions.

 

 

Frontispiece and titlepage from “The Christians Refuge,” circa 1665

From the Wellcome Library in London.

 

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Cover to “Weird Tales,” July 1941, by Hannes Bok

Weird Tales, Inc.

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“Life is only a borrowing of bones.”

“October Fullness,” by Pablo Neruda

(translated from the original Spanish)

 

Little by little, and also by great leaps

life happened to me, and how insignificant this business is.

These veins carried my blood, which I scarcely ever saw,

I breathed the air of so many places without keeping a sample of any.

In the end, everyone is aware of this:

nobody keeps any of what he has, and life is only a borrowing of bones.

The best thing was learning not to have too much either of sorrow or of joy,

to hope for the chance of a last drop,

to ask more from honey and twilight.

 

Perhaps it was my punishment, perhaps I was condemned to be happy.

Let it be known that nobody crossed my path without sharing my being.

I plunged up to the neck in adversities that were not mine, into all the sufferings of others.

It wasn’t a question of applause or profit.

Much less. It was not being able to live or breathe in this shadow, the shadow

of others like towers, like bitter trees that bury you, like cobblestones on the knees.

 

Our own wounds heal with weeping, our own wounds heal with singing.

But in our doorways lie bleeding widows, Indians, poor men, fishermen.

The miner’s child doesn’t know his father amidst all that suffering.

 

So be it, but my business was the fullness of spirit: a cry of pleasure choking you, a sigh

from an uprooted plant, the sum of all action.

It pleased me to grow with the morning, to bathe in the sun, in the great joy of sun, salt,

sea-light and waves, and in that unwinding of the foam, my heart began to move,

growing in that essential spasm, and dying away as it seeped into the sand.

 

 

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Cover to “Daredevil” #72, Alex Maleev, 2005

Marvel Comics.

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A few quick words on “Black Mirror” Season 1 (2011)

Season 1 of Britain’s “Black Mirror” (2011) was absolutely terrific.  (To be clear, this first “season” consists of only three episodes, although subsequent seasons have more.)  This looks to be a truly superb dystopian science fiction anthology series — I’d rate it a 9 out of 10.

I’d point to two qualities that make this show stellar.  First, it’s truly smart stuff.  The story devices are thoughtfully invented and quite original.  (These are “near-future” -type sci-fi tales depicting how new technology or cultural trends can have unforeseen consequences.)  This show doesn’t insult the viewer’s intelligence, it relies on him or her to pay attention and think.

Second, the writers here have a firm grasp of genuine psychological horror.  There are no radioactive monsters in the sewers here, or killer robots from the future — but “Black Mirror” manages to be scary without those things.  It does just fine presenting the viewer with visions of human shame, fear, jealousy or existential loss.  These are stories that deal primarily with the psychology of their characters — and they truly get under your skin.

This is great stuff — I’d recommend it.

 

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“Provincetown Street, The Corner Grocery,” by William McGregor Paxton

Oil on canvas.  Date unknown.

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“The Shade Hat,” William McGregor Paxton, 1912

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“The Other Room,” William McGregor Paxton, 1916

Oil on canvas.

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Just a quick shot of the mountains …

… looking south from College Avenue yesterday in Salem, Virginia.

If my sense of geography can be trusted (and it usually can’t) those are technically part of the Blue Ridge Mountains, and not the Alleghenies.

 

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Nurse Your Favorite Heresies in Whispers