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[personal profile] dewline
Since the subject came up by association with the late Barry Morse last posting.

Looking back, I can state my current opinion of the show pretty quickly: great spacecraft design, cool VFX for the time period, bad scripts, good actors trying to hold it all together as best they could in spite of the scripts.

Fair assessment or not?

Date: 2008-02-05 07:56 pm (UTC)
From: [identity profile] steve-roby.livejournal.com
I tend to think of Space: 1999 as the show that got to me before my BS detector kicked in. I was 12 when it premiered and though I thought the basic premise was, shall we say, poorly thought through, I really liked the show in general. It had an atmosphere unlike any other SFTV series. (One recent writer pointed out that the show works a lot better if you think of it as horror rather than SF.) The BS detector kicked in at some point during Battlestar Galactica's original run; that was when I came to the conclusion that just because there's a science fiction series on TV it doesn't necessarily follow that it's any good.

So... Space: 1999. Watched every episode, got the 30" Eagle spacecraft, bought all the books that were available in Canada (meaning I didn't find the US-only The Edge of the Infinite or the UK-only Earthfall until many, many years later), and got a few of the comics. (The BS detector had started forming -- I knew the comics were no good.)

But I still really like it, despite its flaws. I bought the DVD megaset, and I have the recent novels and a couple of recent nonfiction books. I can point out everything that's crap about it as easily as anyone who dislikes it can, but I don't care. Between the cast, the set and spacecraft design, the outstanding music (in the first season, at least), and the sheer strangeness of many of the stories, I still enjoy it.

Date: 2008-02-05 10:49 pm (UTC)
From: [identity profile] dewline.livejournal.com
Yeah. Sounds about right.

As for the comic books...well, the 4-colour stuff from Charlton had one good thing going for it: it was some of the earliest work John Byrne ever did. For good, and for ill.

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