“Eye of the Storm” is an exemplary episode; within its running length, it contains note-perfect examples of precisely everything wrong with this series.
For a science fiction show, the production team seems very hostile to science. Bigelow is treated like a villain for doing his job. He’s attempting to find out what happened to the world and he’s being thwarted by the superstitious and the incurious.
The producers have decided they’re not going to play by Tracy Tormé and Robert Weiss’s arcane rules anymore. From now on, any crazy idea they have is in play. Freedom!
Not a stellar outing from Black, though in his defense, I’d wager most of the ridiculous fighting sequences can be pinned on director Guy Magar. After getting saddled with the static “The Unstuck Man,” he may have let things get a tad bit out of hand.
The main gist of it appears to be “playing video games might be bad for you”, but the approach makes no sense. It’s going to be hard to find too many viewers who went into this episode approving of kidnapping and mental rape as forms of entertainment, but now see the error of their ways. How are the illegal actions taken by the evil corporation an indictment of gamers?
The Sliders visit a world where anyone with artistic or creative tendencies is locked up. I can only draw parallels between the season five writing staff and their work environment.
“Requiem” is a failure. It is embarrassing and unwatchable, and, most important, it is where I can definitively state I have lost faith in “Sliders.”
Yes, there is a ton of forced plotting to make this story work. Yes, there are gaps in logic. But so help me, there’s an aloofness at play here that I can’t dismiss.
A terrific parallel Earth, strong chemistry, great character moments all add up to a fun episode — with one appalling flaw.
A tedious 45 minutes of plodding nonsense that throws away an intriguing parallel world in favor of cheap and under-budgeted spectacle.
Some social satire, a decent alternate world, amusing execution — but it settles for less instead of reaching for more.
“Please Press One” regurgitates the Sliders trope where the cast topples an oppressive regime — only this time it’s an empty rehash where every ounce of social commentary, excitement, characterization, humor, or charm have been subtracted, leaving behind an empty echo of something better.
Watching this brings back memories of the second season. Perhaps it was the intertwined trio of worlds that hinged on one series of events, but more than anything else this episode asked me to think about what I was watching, a phenomenon that’s been all too absent in much of the last two seasons.
This is a filler episode in a filler season. We’re just killing time until the theoretical syndication money rolls in.
“Strangers and Comrades” is a deeply-flawed episode masquerading as important character study. It hopes you’ll overlook the inconsistencies and errors in favor of the tragedy of war. Don’t be fooled by the propaganda.
Few episodes of Sliders pack such an emotional wallop, and when they do the conclusion is usually uplifting. Thanks to Chris Black for putting the newbies through this crucible.
Let’s begin with a question: who is the titular unstuck man? Is it Colin Mallory, the farmboy inventor we picked up last season? Is it Oberon Geiger, the “textbook megalomaniac” running amok in the premiere? Or is it you, the dear viewer?
The only thing “Revelations” reveals is how gullible I was to think that this season would be any different from the last one.
I’ve been thinking long and hard about what in particular about “Roads Taken” sets me off, but it’s proved elusive. All I know is I want to take this episode and beat it with a tire iron.
Last season, Sliders delivered a particularly foul turd of an episode about a weird little town with a horrible secret. No matter – here is the sequel nobody demanded — Paradise Lost II: The Chasm. And this time, it’s personal.
While “My Brother’s Keeper” takes the lay up on the fairway instead of firing for the green, it’s one of the rare instances this season where you’re forced to think about what you’re watching.
“Way Out West” is a loving tribute to all the old westerns that ruled the media in the middle of this century. From Rembrandt declaring himself jumpier than a long-tailed cat in a room full of rocking chairs to Quinn’s laconic yups, this is as stereotypical a view of the Old West as you’re going to find.
Welcome to the Hotel Chandler, or as the pathetic title informs us, “Data World.” You see, that’s the twist. Though it shares the same set as all the other Chandler Hotels we’ve visited this season, this one is a simulation made up entirely of data.
In a second half where we’ve seen more misses than hits, “Slide by Wire” is a welcome oasis in a desert of mediocrity.