Tormé’s “testament” to the 60s comes off remarkably strong humor-wise. Just don’t expect any lasting consequences to come out of these outlandish situations.
In interviews, series co-creator Tracy Tormé has talked openly about the idea of a world where the United States lost the Revolutionary War as the genesis of the show. This is his vision made manifest.
It’s nice to be getting away from the strict alt-American history format employed by the first few episodes. “Fever” opened up additional possibilities with its concern for the next dimension’s welfare. Arturo would not willingly take a plague to the next world, but what if the four were to inadvertently do so? After all, the possibilities are infinite.
The Doomsday Asteroid is coming in two days. The next window of opportunity is in three. It’s the end of the line for the Sliders and the end of the world for everyone else. With no time remaining, Rembrandt tries to come to terms with his situation; Wade and Quinn come to terms with each other, and Arturo with… Bennish?
This is a comedic tour de force – it’s outrageously irreverent. John Rhys-Davies shines with the spotlight on his character and the writing is crisp and cutting. I almost pity the episode that follows.
“Eggheads” attacks the cult of celebrity with a smart edge while placing Quinn and Arturo through the wringer morally and ethically. Where do you end and your double begin?
Everyone always assumed Rembrandt Brown’s biggest mistake was leaving the Spinning Topps for a solo career. That is, everyone but Rembrandt. What if he was right all along and it was his choice of agents that made all the difference? Forget Elvis Presley. The Crying Man is taking center stage.
“Luck of the Draw” will profoundly change the Sliders’ lives. Sliding isn’t quite so safe anymore. Hell, it might even be fatal.