In 1979, the post-Star Wars, Glen Larson version of Buck Rogers took the sci-fi world by storm. I was nine year old at the time, and both the feature film and the follow-up TV series on NBC were right up my alley.
Category Archives: Buck Rogers
The second season of Buck Rogers in the 25th Century is not generally high-regarded among fans. In its sophomore sortie, the Glen Larson series eliminated the characters of Dr. Huer, Dr. Theopolis and the Draconians, downplayed Buck’s (Gil Gerard) strong sense of fish-out-of-water humor, and moved Buck from sexy secret agent work on Earth to a deep space assignment aboard the Earth ship Searcher. These format changes cast the new Buck Rogers rather firmly in the mold of Star Trek or Space: 1999 with the new series acting as a vehicle for “civilization of the week” stories.
The subject of this cult-tv flashback, “The Guardians” may not work as effectively as “The Satyr” on a metaphorical level, but I still estimate it’s one of the best episodes of Buck Rogers’ second season, in part because it deploys a tried-and-true Star Trek technique for better developing the dramatis personae.
On Star Trek, an alien disease or weapon was often utilized to examine emotional aspects of the characters that they normally keep hidden. “The Naked Time” or “The Naked Now” are two such notable examples. In those episodes, a disease that mimicked alcohol intoxication “exposed” the underneath characteristics of our favorite Starfleet officers. The character revelations were sometimes funny, sometimes extremely moving.
That night, Buck sleeps in proximity to the jade box and dreams of his life on Earth. In particular, he experiences a vision of his mother, one from the eve of his disastrous mission on Ranger 3. After the box is brought back to the Searcher, it begins to have strangely deleterious effects on the ship and crew. The ship inexplicably goes off course and makes a setting for the edge of the galaxy.
This trajectory especially concerns Lt. Devlin (Paul Carr), since he is due to be married on Lambda Colony in only a few days.
By and large, Buck Rogers is a pretty light show, a fact which distinguishes it from the original Battlestar Galactica or Space: 1999. There’s often a great deal of humor on Buck, and a tremendous amount of physical action too. In some sense, “The Guardian” showcases how the series could have approached more serious sci-fi storytelling.
This episode is not without flaws (and the ending looks cheap…), but the crew member visions of people starving to death and going blind are authentically disturbing. I remember watching the program for the first time in 1981 and feeling pretty jolted by Asimov’s vision of a crew dying from hunger…and looking like zombies. This moment resonates, and is probably the strongest in the show, despite the fact that Gil Gerard, in the vision, hardly looks emaciated…
Frankly, the writing for the main characters here is also amongst the best in the series’ second season. We learn how heavily Asimov carries the burden of command (imagining a future of starvation, in which he is incapable of helping his crew…), we come to understand Wilma’s fear of appearing vulnerable or being pitied. And we are reminded once more of Hawk’s utter isolation and alone-ness.
Here, the Guardians preserve galactic peace, but during the uncertain periods of succession, elements of the space-time continuum “jump” their tracks, and chaos is the result. In all these situations, “fate” is determined specifically by some agency outside of man’s dominion and yet he can still struggle to rein the situation back in during each crisis.
One of the real bright spots of Buck Rogers’ abbreviated second season in 1981 remains the episode entitled “The Satyr” written by Paul and Margaret Schneider and directed by Victor French.
On first glance, however, this development seems unexpected since the episode’s storyline stems from a long-standing and ubiquitous sci-fi TV trope: “the single mother in jeopardy.”
Examples of the “single mother in jeopardy” convention can be found on the original Battlestar Galactica (1978 – 1979) in “The Lost Warrior,” where the convention is played well as a variation on Shane (1953) and as a commentary on gun control, in V: The Series as “The Wildcats” (wherein Marc Singer’s Mike Donovan steps in to save a Mom and her daughter from the Visitors), and on MacGyver, “To Be a Man,” which featured the late Persis Khambatta as Zia, the single mother in jeopardy from Russian military forces.
On the planet surface, Buck soon meets Cyra (Anne E. Curry) and her son, Delph (Bobby Lane), the only two settlers who have remained behind on the planet. Buck soon discovers that the duo is regularly harassed by Pangor (Dave Cass), a half-man/half-goat or “satyr” who seems obsessed with them. Buck steps in to battle the violent Pangor, but is bitten by the satyr.
Over a period of days, Buck begins to transform into a satyr himself, a creature obsessed with women and wine…and little else.
After being bitten, Buck learns that Pangor is actually Jason Samos, the founder of the Arcanus colony and Cyra’s much-mourned husband. She has been unable to leave the planet behind because she still feels attached to him, despite Jason’s transformation into a rampaging monster.
As my friend and the exemplary blogger Uncle Lancifer of Kindertrauma noted here on a previous Buck Rogers retrospective (for “Time of the Hawk,”) this episode of the series sub textually concerns alcoholism; and the effect of alcoholism upon the entire family unit. This subtext and social commentary actually elevates “The Satyr” above its familiar and cliched premise and makes it one of Buck Rogers’ finest hours.
What we get in “The Satyr,” particularly in this camera view from the outside-in, is the notion of a child dwelling in a terrifying household of alcoholism and domestic violence, and seeing/experiencing things that no child should. Worse, the P.O.V. suggests isolation and helplessness.
At several points during the episode, Delph is also policed by his mother not to be too conspicuous, so as not to gain the attention of the alcoholic/Satyr. At one point, Delph plays “flute grass” and at another point he calls out innocently for his Mom. In both instances he is quickly “hushed” — “Don’t shout!” — lest the angry man of the household focus his violent attention upon him. Half the battle is staying off Pangor’s radar as he pursues his vices.
Additionally, the boy, Delph, soon sees himself as his mother’s defender, eventually fighting the angry Pangor and telling the beast to “leave my mother alone.” In the homes of many alcoholics, it is indeed the child who eventually becomes the protector of the Mom,or other siblings, and who stands-up to the offending drinker.
As for Cyra, she’s dramatized in this episode as the traumatized, exhausted victim of sustained domestic abuse. She hides bruises on her neck from Buck, and, quite understandably, doesn’t like “to be touched.” She also has much trouble letting go of the “good man” who was once her husband, clinging to old photo albums which reveal happier, more romantic days. Much of the blocking depicts Cyra cowering or retreating. She is someone who is used to being terrorized and fears being struck.
Cyra also maintains the family home on Arcanus — despite the danger to herself and her son — in the misguided belief that somehow Pangor can change. In fact, Cyra spends her life appeasing the violent satyr. “If he’s supplied with enough [wine],” she informs Buck, “he’s content” and leaves the family alone.
At the same time that she must handle Pangor, Cyra worries that the “virus” that affected her husband — a metaphor for alcoholism — could affect her son too “when he’s a man.” In other words, the cycle of abuse and violence could continue to the next generation. Yet by keeping Delph on Arcanus, in a terrorized home, Cyra makes it more likely that this will happen to Delph.
This social commentary in “The Satyr” is intriguing by itself, but the episode gains some real unexpected juice and power when Buck actually grows sick with “the virus “and quickly loses his status as the white knight.
Buck sets up house with Cyra and Delph (even teaching the boy to fly his shuttle craft) and then — just when things are good — succumbs to the same “virus’ and begins to show signs of physical violence like Cyra’s previous husband. In one sequence, Buck tries to hide evidence of his transformation from Delph, ashamed to show his true nature as a “monster” to the boy he clearly cherishes.
Here, the subtext isn’t about alcoholism so much as the nature of (some) men in general, and how some women seem to attract these monsters, one after the other. It’s something in their individual nature and lack of self-esteem perhaps, and part of a deadly symbiosis involving abuser and victim. “The Satyr” tries to make viewers understand why Cyra stays on Arcanus, imperiled by one satyr after the other, and gives us some insight into the mentality of a perpetual victim. In this case, Cyra just can’t let go of the past and the (vain) dream that Pangor could again become the husband she once loved.
course, Buck — as our stalwart series hero — is able to kick the virus and save the day. Still, it was pretty daring in terms of 1981-era television to create a metaphor for alcoholism and then see the likable series protagonist succumb to that “disease.” In visual terms, Buck’s horns literally start to come out, as he transforms from man to beast.
I am old enough to remember the promotional materials and interviews for the second season of Buck Rogers in the 25th Century. The overall promise by the producers was that Buck would become more recognizably and fallibly human, and less the quipping, boogeying, Burt Reynolds-in-space figure of the first season. Whether or not that promise was fulfilled entirely is up for debate, but certainly “The Satyr” showcases Buck at his most human and interesting. He exhibits real remorse when he believes he is responsible for the death of Cyra’s husband, Jason, and then must battle his growing “dark side” as the satyr virus takes hold.
This episode is also intriguing for the way it ties the myth of the Satyr (a wine loving man/goat) to the alcoholism/domestic violence symbolism, and for the implicit “reason” behind alcoholism provided by the show. Jason had the “pioneer spirit,” you see, and had hoped to turn Arcanus into a “garden of Eden.” When that dream failed, he couldn’t handle it…and that’s when he first acquired “the virus.” Again, this idea fits our contemporary world well. What leads people to drink? Failure? Tragedy? Loss? Desperation?
All of my commentary on this episode no doubt suggests that “The Satyr” is some labored “message” show about an “important” life lesson (see: Star Trek: The Next Generation: “Symbiosis.”) But that’s not actually the case at all.
Like the best social commentary in science fiction television (from The Twilight Zone to Star Trek to The X-Files to Buffy), this is an episode that plays ably on two levels. You can watch it just as a gripping, good adventure, or as a story with a bit more relevance and meaning in our own world. In other words, the metaphor for alcoholism holds powerfully (right down to the blocking of the actors), but you aren’t hit over the head with a “lesson.”
At the very least, “The Satyr” adds some much-needed depth to an old TV trope. In this Buck Rogers episode, the single mother was again in dire jeopardy, but it’s the nature of that jeopardy and the source of the jeopardy that make this installment meaningful and unique, even after three decades.
For instance, Princess Ardala was called “Ardella” on her action figure card. What, nobody could be bothered to spell check the character’s name?
And why market a figure of King Draco, who was barely in the series at all? And Kane (Henry Silva) was called “Killer Kane.” He was never called that on the series. Instead, that name came from earlier incarnations of the space hero.
Anyway, Mego released a whole line of very cool Buck Rogers spaceships and toys, including the Directorate Starfighter (my favorite ship from the show), the Draconian Marauder (known as a Hatchet fighter on the series…), a Land Rover, and a Laserscope Fighter (not a design from the series). So it only makes sense that the same company would market a place to dock these ships, the Buck Rogers Star Fighter Command Center.
Christmas 1980 was the holiday of Buck Rogers for me. I’ll never forget going over to my aunt and uncle’s house in Summit, New Jersey and opening toy after toy — all Buck Rogers models and action figures (though, as I recall, this was also the Christmas of The Empire Strikes Back and my giant AT-AT. But that’s another story…).
Here, the toy box suggests: “Issue commands to Buck and monitor his flight pattern with this authentic replica of the Buck Rogers Star Fighter Command Center!”
That sense of appreciation carefully established, I don’t agree with very much on the Sci-Fi Now Buck Rogers list, save for the inclusion of “Space Vampire” as one of the five best installments.
|A soldier villain? Varek (Anthony James)|
Leading the Legion of Death is a brilliant scientist from Rigel IV, Selon Kellogg (Frank Gorshin).
“I deserve no better,” he declares with self-loathing. “My people were a proud race…too proud. It wasn’t enough that we had tamed our planet, built a great culture, reached out into space. We had to have other worlds too. We abused our freedom and we lost it, and deservedly so.”
|The needs of the many outweigh the needs of the few?|