![]() ![]() The way the series explores creepy applications of technology makes it comparable, in today’s terms, to Black Mirror: another show that gazes into a crystal ball and sees all sorts of technological terrors. In this society, many of our worst fears have come to pass: there’s an (even more) terrible divide between rich and poor and technology is being used for all sorts of nefarious purposes. The show is a zany dystopian narrative and an ode to old-school journalistic integrity, following Carter’s Fox Mulder-ish desire to unearth the truth (then broadcast it).Ī crumbling future world is illustrated using a familiar cyberpunk aesthetic crossed with a more junkyard, Mad Maxian look. Enter Max Headroom, who pops up on various screens – sometimes to spur on the plot, sometimes for comic relief. The network’s young tech guru (Chris Young) uploads all Carter’s memories into a computer and regenerates him on screen, with the intention of finding out what he knows before the real Carter wakes up. After Carter obtains incriminating evidence of the network’s involvement in a new form of commercials that cause some viewers’ heads to explode (go with it), he crashes his motorcycle into a sign that reads “MAX HEADROOM 2.3M”, an accident which comatoses him. The setup in the US version goes like this: Edison Carter (played by Frewer, and actually the protagonist) is an investigative journalist for high-rating Network 23, who works alongside long-suffering colleagues Theora (Amanda Pays) and his stressed-out producer Murray (Jeffrey Tambor). Then, after three seasons hosting a talk show and music video program – conducting bizarre interviews with celebrities such as Sting and Michael Caine – an American narrative series was commissioned that remade the UK movie and extended the narrative, retaining Frewer and running for two seasons. Headroom made his debut in a UK-produced TV origins movie which gave audiences his backstory.
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