User Reviews

This episode has a rather intriguing set up with a group of terrorists called the White Brigade working in concert with a "packager" (someone who offers a package deal with networks for the exclusive coverage of a significant story that brings big ratings) to sell their explosions to Network 23, but Edison Carter finds their methods fishy, particularly when one of the network's young news reporters goes missing, her footage of a terrorist act providing a lead. What I also found interesting—besides the plot's comment on our obsession with live violence captured as immediately as possible by hungry news stations looking to profit from carnage—was Max Headroom's little use in the overall plot. He has a fun scene at the very end regarding hawking car "accessories" for sponsors, but this episode has little for him to do which I use as a slight criticism because the show's whole point is to exploit this character within the structure of the plot. Max is curious as to who won the racket ball contest between Murray and Edison, but that has little to do with helping Edison stop the terrorists from actually killing Janie, the missing Network 23 news reporter. Janie would blow the whistle on the White Brigade and packager Frank Braddock (Gary Swanson), regarding their reckless setting off of explosives, endangering her, eventually planning to blow her up with another round of bombs. Robert O'Reilly (many will know him as Gowron from Star Trek: The Next Generation) is just plain bonkers as the revolutionary nutjob of White Brigade, jeopardizing everything (and everyone in his terrorist group) with a sudden fixation for "pushing the red button" so that Janie goes boom. There's a rare moment where Edison is totally suckered by Croyd Hauser (O'Reilly), believing the explosions are totally studio created and harmless, with the White Brigade bombing the Ad Exchange, threatening the lives of Network 23 board members Cheviot and Formby. The Ad Exchange is a play on the Stock Exchange where networks are the focus of buying and selling; this works with how television is so important to the future of the show. I think the commentary on how competitive markets are willing to abandon any form of moral compass in favor of successful ratings is well done. This is a great show that should have had a long run. Strong characters and solid writing are here; sometimes a good show just doesn't get the attention it deserves. It is due some love; if any show could warrant a cult following it is Max Headroom

Edison Carter (the always excellent Matt Frewer) and his Network 23 team are baffled by a lesser rival network who always happen to be first on the scene of recent terrorist attacks for the big ratings drawing exclusives. Director Thomas J. Wright relates the absorbing story at a constant brisk pace and does an ace job of creating and maintaining an edgy and paranoid dark cynical tone. The ingenious script by Michael Cassutt, Rebecca Parr, Steve Roberts, and Martin Pasko makes a pointed message about prefabricated news served up as entertainment (the terrorist attacks turn out to be faked and staged by an underground organization that's doing it primarily for the money!) and ruthless television executives placing more value on big ratings over morals and human lives. Gary Swanson contributes a superbly slimy portrayal of smarmy opportunist rival TV executive Frank Braddock. Moreover, there are equally fine guest turns by Lisa Niemi as gutsy staff news reporter Janie Crane, Robert O'Reilly as crazed terrorist leader Croyd Hauser, Richard Lineback as Croyd's thuggish parter Hewett, and J. Michael Flynn as nerdy explosives expert Lucian. Paul Goldsmith's agile and dynamic cinematography gives this episode an extra exciting kinetic buzz. Cory Lerios' moody score likewise adds to the tension. Edison really shines as a brave and selfless hero here as he puts his life on the line to find out the truth and save lives in the process. And Max's trademark sizzling sarcasm stops the show from becoming too oppressively grim.