Space Precinct – Omnibus – Film 95 – tape 2118

This tape opens with a trailer for Not The Nine O’Clock News.

Then, Space Precinct, with an episode called Deadline.

There’s a bit of a Blade Runner homage at the start with an advertising dirigible extolling the virtues of moving off planet.

A capsule containing a dead body is flying towards an apartment building, so Brogan and Haldane have to knock it out of the sky.

The body is missing some organs, so they investigate transplant surgeons, ending up with Steven Berkoff who, let’s face it, should probably be locked up in his first scene in any story, just to save time.

He uses a robotic surgeon, a bit like that one in Prometheus, but slightly less icky.

It’s amusing to see that in this future, someone still needs to find a public telephone to call for help.

Officer Castle goes undercover to get more information from Berkoff.

Why does Brogan’s wife call him ‘Brogan’?

He’s captured by the organ harvesters. Will they find him in time?

Of course they will. And Berkoff even has a slight change of heart at the end, refusing to kill Brogan and instead turning on the aliens who were supplying his organs.

BBC Genome: BBC Two – 23rd October 1995 – 18:00

After this, there’s a trailer for Have I Got News For You.

And for Saturday Night programmes. Exhibit A.

Then there’s the start of The O-Zone. “What do you do with a band that have been everywhere and done everything?” asks Jamie Theakston. The band in question is Let Loose. I have never heard of this band, and cannot name a single one of their songs. Even as clips from their songs are being played, they are slipping from my memory.

The interview is so Spinal Tap it hurts. “You’ve just compared yourselves to Blur and Oasis, a lot of people look at you and think of bands like Boyzone.” “Show me a comparison.” “Just one comparison.” “I’ll give you a fiver.”

I like the programme not taking them seriously. Theakston’s parting shot. “Good luck to Let Loose with the new single which you might have seen previewed… on Blue Peter.”

There’s Sports News, as Newcastle’s top singing sensation Jimmy Nail joins the Newcastle United training session.

After this excitement, recording switches to the end of Billy Connolly’s World Tour of Scotland.

There’s a trailer for Mad Max II, and for Film 95.

Then, Omnibus looks at Jane Austen. It’s an interesting look at her life, narrated by a host of Austen enthusiasts.

BBC Genome: BBC One – 23rd October 1995 – 22:40

There’s a trailer for Test Tube Bodies. And a trailer for Paul Gambaccini on Radio 3.

Then, Film 95 in which Barry Norman casts his eye upon the following movies.

He also talks to Crimson Tide director Tony Scott about the film, and his and brother Ridley Scott’s plans for Shepperton Studio.

As part of the celebrations for the centenary of the cinema, Barry looks at 1959.

BBC Genome: BBC One – 23rd October 1995 – 23:30

After this another trailer for Mad Max II.

Then the tape continues with snooker, and David Vine. James Wattana vs Fergal O’Brien in the Skoda Grand Prix. The whole programme is here. I didn’t watch it.

BBC Genome: BBC One – 24th October 1995 – 00:00

There’s a trailer for Backup after this, then John Kettley gives us the weather, and BBC1 closes down with the national anthem.

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5 comments

  1. “Why does Brogan’s wife call him ‘Brogan’?”

    Probably for the same reason Quincy’s girlfriend (and everyone else who knows him) calls him Quincy – Jack Klugman joked that his first name was “Doctor.”

  2. Let Loose… I seem to recall a chirpy number called ‘Seventeen’. But I don’t think anyone construed them as anything other than yet another guitar three-piece on the make. Peculiar market positioning, too – surely insufficiently dishy/available for the Take That/BoyZone teenybopper set, and too saccharine for rock fans.

  3. Just looked them up on Wikipedia – one silver-certified album and three top ten singles, including ‘Seventeen’. The memory’s not totally frigged, then. There was apparently an abortive reunion three years ago.

  4. I think Crazy would be Let Loose’s most famous song (“famous” being relative), a plaintive electric piano-led swooshy number.

    Sad thing about Paul Gambaccini on Radio 3, the listeners were utterly intolerant of his presence and chased him off the station, practically with pitchforks and torches, because (a) he had an American accent and (b) he knew a lot about pop as well as classical. I hope we’ve moved on from such snobbery.

  5. Ah, The O Zone, always funnier and cleverer than it got credit for. I used to think Jayne and Jamie were a great presenting duo, and their music policy was incredibly eclectic. And all made by the presentation department as well.

    Let Loose were purveyors of, in the immortal words of Bruno Brookes, That Quality Pop We Were All Looking For, that kind of earnest pop served up by the likes of Johnny Hates Jazz or Hue And Cry with string sections and piano that aimed to be a bit classier than your average Top 40 fare and featured REAL INSTRUMENTS and CLASSIC SONGWRITING, with the aim of them all to become George Michael and come up with something like Careless Whisper, probably.

    Their career got off to a false start, though, because Crazy For You was released in 1993 and Smash Hits put them on the cover, billed as “Britain’s Best New Band”, only for it to promptly crawl to number 44 and Ver Hits to spend the rest of the year apologising for it. But it was re-released a year later and was a big hit, and for a while they were a bit of a teen fave, but as this interview suggests a bit too intense and earnest to really catch on.

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