christopherl bennett <
christoph...@wordpress.com> writes:
> It was prophetic in predicting broadcasting trends like a
> proliferation of hundreds of channels, the 24-hour news cycle, the existence
> of a global computer/entertainment network dominating people’s lives, and the
> manipulation of the news by corporations.
And let us not forget the broadcasters' obsession with keeping you from
switching channels, seen in the pilot episode about "blipverts." That
ended up manifesting in the real world just a few years later as MTV,
the TV network that managed to gain leadership of the whole recording
industry through playing rock music videos, decided that since videos
were only about three minutes long, you had too many opportunities to
change the channel, so they ditched the whole programming format that
made them famous and powerful in the first place to play game shows and
reality TV. Then they blamed the collapse of the pop/rock recording
industry on "piracy" and went on nonchalantly like nothing had happened,
all done over fear of channel-switching.
Also, the TV's with cameras that watch you in your living room was part
of a story that was made during a time when most people didn't yet know
what the Internet was, when there were no web browsers, and no
smartphones. It was natural to presume back then that if anything like
this would happen, it would use television as its medium, not a global
computer network (because only total nerds used those back then).
Today, everyone now carries around a computer that is always on, always
connected to the world network and the phone company, with a GPS
locater, a video camera, a microphone, access to all your data, and you
get all your communications and entertainment through it. Your life and
your identity are on your phone. If you encrypt anything, you do so on
the device, trusting the device's security to handle your keys. Both
corporations and governments use it to data-mine information from whole
populations, to know everything about them, not always so much
interested in specific people, but more often in broad trends in the
larger population, viewed from 10,000 feet so to speak. This is not
forced on you (for the most part). Everyone finds it so convenient and
social and hip and modern that they don't want to be left out. People
actually start to feel panicky when their smartphone isn't around. It
reminds me of something Murray said in one of the episodes, where there
was a television broadcast outage: "Without television, this city would
be ungovernable!" Substitute the Internet delivered to end users by
smartphone for "television," and you'll have pretty much what actually
ended up happening in real life not long after Max Headroom.
> inspired future in which investigative journalist Edison Carter was injured
> in pursuit of a story and had his mind scanned and copied into a computer in
> order to find out what he knew, creating Max, a duplicate of Edison’s mind
> that was a little bit off and had a far more eccentric personality, as a
> result of having the entirety of the world’s TV content pouring through his
> mind, or some such thing.
Well, the reason Max ended up being so loopy was because the last thing
that had happened to the guy whose brain was copied just a few hours
earlier was his head smashing into a parking garage concrete barrier
that said "MAX HEADROOM 2.3m", not really ideal circumstances to be
having your mind duplicated into a computer. :)
After that, even after Edison recovered from his concussion, his
electronic copy was pretty much nuts.
> In the pilot, teen genius Bryce Lynch (Chris Young), Max’s
> creator, spends much of the episode trying to kill Edison on orders from his
> sleazy boss, which is what leads to Max’s creation in the first place. And
> yet when Edison meets him later in the episode, this kid who was
> sociopathically chuckling during his attempted murder of Edison mere minutes
> before suddenly says “I’m glad you didn’t die,” and for the rest of the
> series, Bryce is Edison’s ally and tech support. Sure, he was occasionally
> portrayed as amoral — a blatant example of the fictional stereotype of the
> genius who’s a walking computer with no human feeling — but the total lack of
> any consequences or even acknowledgment of his attempted homicide is very
> awkward.
But this portrayal is completely on point, though! This is the banal
dystopic world that people in this story live in, in which moral
consequences and outrage at wrongdoing (even their own) happens
sandwiched for a few minutes in between video chats and amnesia about
whatever happened prior to whatever we're doing at the moment -- a world
which sounds an awful lot like where we are now in real life.
I actually was very impressed with the show for not making a big deal
about Bryce's switching sides, because if he were real, he probably
wouldn't make a big fuss about it either, or have it even occur to him
that he should.
> In particular, for a show called Max Headroom, it isn’t generally about Max
> Headroom. It would’ve been more accurate to call it Edison Carter.
Well, you could go further with that: You could actually say that Max
Headroom drops a serious critique of society and the coming smartphone
dystopia into a show that on the surface pretends to be about a silly
computer-generated head. That Edison Carter's character was more
important to the story than Max himself wasn't the half of it.
I actually think sort of thing is the reason it was cancelled so
quickly. Those who were getting something out of the show were people
like us who were probably generally surprised at how much depth it
turned out to have, once we actually saw what they'd done with it. On
the other hand, those who actually did expect something from the get-go
(real world network execs broadcasting the show, parents, etc.) weren't
expecting this, and it probably would have gotten its plug pulled even
quicker if it weren't so fairly inscrutable to those exact people.
It reminds me of the reason the medieval surrealist painter Hieronymous
Bosch never suffered reprisals from the Inquisition for his -- to
them -- bizarre artworks. When the Church officials saw them, they
didn't know what they were even looking at. It's hard to put a coherent
objection forward when you don't know what the canvas you're looking at
is even supposed to be a picture of. I think this sort of thing
actually saved Max Headroom on the air for awhile. They didn't pull it
because they didn't understand what was going on well enough to be put
off by it.
The thing I always found so spooky about Max Headroom's dystopic
predictions, issued at the very end of the 1980's, were that they were
always shown with the caption on the screen saying "20 MINUTES INTO THE
FUTURE." Not centuries from now on some post-apocalyptic Earth
populated with mutants, not on another planet in a future where we've
developed interstellar travel, or any of those other typical scifi
settings you'd expect, but at the end of the 80's, plus add on maybe
another 20 minutes or so.
And isn't that more or less exactly what ended up happening? It felt
like the 80's media industry saying goodbye and goodnight, shortly
before someone came and turned out all the lights.
--
He that would make his own liberty secure must guard even his enemy from
oppression; for if he violates this duty, he establishes a precedent
that will reach to himself.
--Thomas Paine