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Watching "The Starlost"

Blue Ghost

SOC-14 5K
Knight
Okay, now this show from the early 70's has been trashed a few times, but I actually think it's fairly good science fiction. The production values are actually on par with today's Hollywood offerings of digital actos and CGI background, but the video technology for the time couldn't sell the visuals like they can today.

I literally have not seen this show in over three decades. The SFX don't hold up, but the acting is fairly good, and the story premise is really intriguing. This would make a fantastic Traveller adventure.
 
Starlousy

You must be seeing a new version.

Opening credits budget = $25 million.

Episode budget = .25 cents

Many an ambitious Sci-Fi has been killed by a low budget, this was no different.
 
Okay, now this show from the early 70's has been trashed a few times, but I actually think it's fairly good science fiction. The production values are actually on par with today's Hollywood offerings of digital actos and CGI background, but the video technology for the time couldn't sell the visuals like they can today.

I literally have not seen this show in over three decades. The SFX don't hold up, but the acting is fairly good, and the story premise is really intriguing. This would make a fantastic Traveller adventure.

Good find!

This never managed to get across the Atlantic, so I'd never heard of Starlost.

> Great site showing the model work - http://www.snowcrest.net/fox/props/index.html

Harlan Ellison writing! Actually having a heavyweight SF talent at the typewriter was almost unique at that time. Most SF TV was being produced by FANS who'd cut their teeth in mainstream drama.
 
You must be seeing a new version.

Opening credits budget = $25 million.

Episode budget = .25 cents

Many an ambitious Sci-Fi has been killed by a low budget, this was no different.

I should clarify. When I say "on par", I really mean "it's the same idea" in terms of green/blue screen execution, but with horrible results :)

Like a reviewer on the IMDB said, this cries for a remake with today's technology. The ship model is nicely designed, but looks like a plastic AMT reject from their sci-fi line when shot with 1970's video tube cameras. A properly shot model, or CGI rendered version, would really sell this show. The fact that the whole series was shot on video didn't help much. But, for a nearly half century old TV series, it looks fairly crisp and clean.

The last time I saw this... my dad and I were playing with my green army men :P

lucasdigital; think of a low-budget Dr. Who episode. Shot on video there are very few sets. Most of the locations are miniatures with the actors superimposed on them. Think of your local weatherman giving you a forecast, only doing it in costume with high drama. ;)
 
Brit

Brit Sci-Fi is somehow exempt from the big budget needs. Don't ask me why but Dr. Who's and Red Dwarf's always just fine.

Old Outer Limits somewhat got by, but most stories were 60's-70's and needed few effects, but too often badly let down when effects needed. Empty studio soundstage used in NIGHTMARE, backyard-built looking spaceship in INHERITORS.

Yet STARLOUSY managed to make Chekov's saucer look like it was nailed to the floor. LOST IN SPACE did better than that! It's failure was it attempted to show things that could be described or cribbed, that wasted time & money while annoying the viewer with bad special effects. Example in DS 9 several episodes took place in the wormhole during transit, 99% of the time though we saw a ship enter, then exit, bypassing transit. STARLOUSY insisted on showing you bad mattes of persons using travel tubes everytime. I remember nothing about the scripts after 35 years yet I remember bad effect after bad effect.
 
I think that's fair. The effects were really subpar, even for the 1970s. After people saw "2001 Space Odyssey" or even "Project UFO", they couldn't help but scratch their heads with Starlost. If you can get by the visuals, then I think the show has interest.

I'm just really baffled why the producers really tried to torpedo this show.

On the upside, this is how SFX bonanzas are starting to be produced now. Actors are still actors, but the set, props, sometimes even the actors themselves, are all computer generated. For Starlost it was shoot the miniature, then matte in the actors. Same idea, but different results.

Despite the execution, you've got to admit that it's an intriguing premise with some fascinating stories.
 
Generation ships

I was never a big fan of the generation ship. Over centuries they'd have population problems ala CaptainJacks Hellhole thread. The fact they are in domes would be apparent to all, finite space means walking into walls at some point. For instance Keir Dullea and gang lived in Penn-Dutch meet the Puritan's world. Why? Did they leave Earth that primitive, did domes devolve? Why? Why so separate from ship ops? I can see domes as good way of carrying Earth flora & fauna, not the devolution of each dome. Did some domes have hi-tech? If so why weren't they running the ship. Devolved Generation Ship stories are a staple of old Sci-Fi 30's-50's they never impressed me either. Sleeper ships in cold storage seem easier or FIREFLY's Earth-That-Was to the new multi-sun system, they didn't lose tech on the way, only on the outer planets post-settlement from a resource distribution problem.
 
I only recall the whole meta-plot of Starlost vaguely (seems there should be a wiki, might look later) but iirc there was an accident aboard that killed the crew and sealed all the domes and whatever they called those slideways. Over centuries if not longer the societies in the domes each suffered different isolated changes. Some devolved (in ways) to cope with the loss of some elements of support. Others iirc did evolve (in ways) for the same reason. All of which was of course just the grand set-up for the "adventure" of the characters who finally got out of their dome(s) and figured out they were actually on a big ship with many domes and...

Spoiler:
... (if it's not already too late ;) ) ...that the ship is in danger again (iirc) and must be saved. I think they figured that out late in the series and finally found the bridge. About then I lost track of it so maybe it was canceled. Or I'm just forgetting, or our local station stopped carrying it, or I just stopped watching.
 
Not meaning any offense to anyone as a viewer or in the production of such but intelligent science fiction does not translate well to mass market-mass consumption television audiences.
 
Mass Market

Almost nothing intelligent survives mass-market test. How many of the "mass-market" are clueless Congress legislated their TV off-the-air and needs digital TV or converter boxes to watch.
 
I had never heard of Starlost, but just found this on the internet

The Starlost premiered on television loosely based on a concept created by Harlan Ellison. Meticulously and lovingly devised by the brilliance of Harlan Ellison and thought out to perfection by Scientific Advisor Ben Bova, the series promised to be a monumental step for SF television. Ellison had contracted great SF writers such as A.E. Van Vogt, Frank Herbert, Joanna Russ, Thomas M. Disch, Alexei Panshin, Phillip K. Dick, and Ursula K. Le Guin to write storylines that would be scripted by the best Canadian writers available. Douglas Trumbull would be Executive Producer and create the special effects via the Magicam system.

That could have been amazing (but obviously wasn't) :(

And it starred Kier Dullea (Dave Bowman)!, his career must have been seriously on the slide by then.
 
Almost nothing intelligent survives mass-market test. How many of the "mass-market" are clueless Congress legislated their TV off-the-air and needs digital TV or converter boxes to watch.

Ain't that the truth. It's why "Dancing with the Stars" and "Survivor" are such big hits. That, and they're cheap to produce. A sci-fi space saga incurs lots of costs; actors, costumes, sets, props, etc. Traditional TV fare doesn't require that. It's why there are so many court room and hospital dramas.

Joe sixpack and wife (or girlfriend) want spectacle. It's why sport(s) get so much hype and coverage. For women it's social conflict, hence the American Idol stuff, and similar shows.

Any sci-fi show is a niche market. Even the big hitters like Star Trek and Star Wars are only a segment of TV viewership. But I digress.
 
I agree but Sci Fi has going for it is that it has a global niche market. People around the world like Sci Fi and most of them have some spendable income so it can be lucrative. Just my 2cents. I think a lot of sci Fi translates better and it can be shown to be true if one looks at the success of Sci Fi films.
 
There's a brief description of what went wrong on Wikipedia. Last year I had the dubious pleasure of watching the who series from beginning to end on downloaded AVIs taken from old VCR recordings made from the TV. It was baaaad (in a "Plan 9 From Outer Space" or "Robot Killers" kind of way). The cheap FX were the least of its problems, it also had cheap sets, poorly developed plots and bland characters who lacked real passion (not sure how much was down the the actors and how much was down to the writers). The tradgedy of Starlost was in its missed potential.
 
wiki article said:
Problems began when Fox was unable to sell the show to the networks and decided to produce it for syndication. With the show not being in prime time, Fox started trying to find ways of cutting the budget, moving production to Toronto – there was also a writers' strike in the US at that time, which did not help. Most of the Toronto production team had never done television drama. As the filming went on, Ellison grew increasingly disenchanted with the budget cuts, details that were changed, and what he characterized as the progressive dumbing down of the story. Ellison's dissatisfaction extended to the new title of the pilot episode; he had called it "Phoenix Without Ashes" but it was changed to "Voyage of Discovery".

Before the beginning of production, Ellison had invoked a clause in his contract to force the producers to use his alternate registered writer's name of "Cordwainer Bird" on the end credits. This was a signal to anyone who knew him to show how disgusted he was with the whole business (see Alan Smithee for the motion picture industry equivalent).

The show aired to uniformly bad reviews. Sixteen episodes had been made, but Fox decided not to pick up the options for the remainder of the series after seeing how badly it was doing in the ratings. Bova, increasingly frustrated as his advice was ignored, saw the first show when it was broadcast and immediately quit. He asked the producers to take his name off the credits of all the shows, but unfortunately did not have a clause like Ellison's in his contract, so he remained credited.

TV scriptwriter Norman Klenman stated that he was called in to work on The Starlost because the production team were unable to deal with Ellison. Klenman claims he rewrote the pilot script, hired the writers for the series, chose the themes of the episodes and wrote four and heavily rewrote eight more episodes.


On March 31, 1974, Ellison received a Writers Guild of America Award for Best Original Screenplay for the original script (the pilot script as originally written, not the version that was eventually filmed). A novelization of this script by Edward Bryant, Phoenix Without Ashes, was published in 1975; this contained a lengthy foreword by Ellison describing what had gone on in production.

Bova, in an editorial in Analog Science Fiction (June 1974) and in interviews in fanzines, made it clear how disgruntled he had been as science adviser. In 1975, he published a novel entitled The Starcrossed, depicting a scientist taken on as a science adviser for a terrible science fiction series.

I've got both books.
 
There's a brief description of what went wrong on Wikipedia. Last year I had the dubious pleasure of watching the who series from beginning to end on downloaded AVIs taken from old VCR recordings made from the TV. It was baaaad (in a "Plan 9 From Outer Space" or "Robot Killers" kind of way). The cheap FX were the least of its problems, it also had cheap sets, poorly developed plots and bland characters who lacked real passion (not sure how much was down the the actors and how much was down to the writers). The tradgedy of Starlost was in its missed potential.

Oh, I disagree. I think reworked and put on film this thing could've shined. Right now the one thing that really stinks up the show (other than the SFX) is the net terminal, and the actor playing "the computer".

I think Ben Bova, whose work I read, had legitimate gripes. This show was big on techno-babble (bad-babble I might add) before TNG ran with the idea. And you can see the dumbing down in some of the props and occasional strands of dialogue.

But Plan 9? No way. :)
 
I strongly recommend that anyone interested in Harlan Ellison's involvement with the Starlost project should read his recounting of that in the essay, "Somehow, I Don't Think We're In Kansas, Toto." It is in several of his books and is worth the read just to show you what a worst-case scenario as a Hollywood writer can be.
 
I agree but Sci Fi has going for it is that it has a global niche market. People around the world like Sci Fi and most of them have some spendable income so it can be lucrative. Just my 2cents. I think a lot of sci Fi translates better and it can be shown to be true if one looks at the success of Sci Fi films.

I think that's true. Truer now than ever before. The original model for Hollywood studios (TV and feature films) was domestic box office and viewership first, then international second. Now that model's been turned on its head because the majors have realized that they get more with globabl distribution of product than just relying on "rich Americans" to pay to see their stuff, or buy the advertisers' products.

In fact, unless I'm horribly wrong, advertisers will depend more on media (content providers) more than ever. Currently there's a symbiosis that exists, but more often than not the producer-writer has to go cap-in-hand to the majors to sell their idea. With production costs lower now than ever before (at least in terms of pure shooting), and the distribution model now turning to an on-demand consumer oriented model, the advertisers will be more hard up now than ever.

What this means for sci-fi is, hopefully, quality shows can be produced without having to worry about hitting the largest swath of prime-time viewership. I'm pretty optimistic about this, because it means that near feature-film quality media will be going directly to your TV screen. It means the huge metroplexes are going to have to restructure (possibly fold) in the coming years.

So, a show like "The Starlost" can be produced with the appropiate attention and care that was envisioned by the creative powers. :)
 
I rewatching the series for s econd time. For what it is, it really ain't too bad. It's not Star Trek or Space 1999, but it's about on par with Doc who... well, nearly. I have to admit that I actually like the show. Heck, I happen to think it's better than that other video fantasy deal shot around the same time; "Dark Shadows".

Anyone remember that bit of TV? Personally, I couldn't stand it. But it's got a huge following.
 
I rewatching the series for s econd time. For what it is, it really ain't too bad. It's not Star Trek or Space 1999, but it's about on par with Doc who... well, nearly. I have to admit that I actually like the show. Heck, I happen to think it's better than that other video fantasy deal shot around the same time; "Dark Shadows".

Anyone remember that bit of TV? Personally, I couldn't stand it. But it's got a huge following.

I grew up on Dark Shadows. It was cool for the time. Like a soap but dark :)

Didn't see Starlost. Might be interesting to watch some time from your all's comments.


Dave Chase
 
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