A review of the end of the US Life on Mars.

Posted: October 24, 2014 in Archive posts, Journalism, Reviews
Tags: , , ,

A decidedly odd end to this strange remake. From Death Ray #19. Read more about the show here.

TWO AND A HALF STARS

The US version on Life on Mars, cancelled, takes a rather literal turn. SPOILER ALERT! We really blow the whole thing here. Meanwhile, back in 1982 DI Drake has a new set of problems to tackle.

Either the finale of the US Life on Mars is a stunningly daring piece of television, or it’s bollocks. Jury’s out. If you plan to watch it, turn away now, because there is a gargantuan spoiler on its way…

…now. Okay, so the final episode has Sam under pressure. His younger self has been kidnapped by his criminal dad Vic. Meanwhile, the mysterious phone voice that has been bugging him throughout the series gives Sam three tasks to complete if he wants to go home. Vic is confronted and shot dead as he’s about to kill Sam, after revealing that he knows Sam is his son. Annie ‘No Nuts’ is promoted to detective, she and Sam kiss. Sam tells the phone voice to get stuffed, because he likes 1973. This transpires to be the final task, and Sam is returned home… to 2035! He’s been on board a spaceship to Mars all along. What?!

We’ll be honest here and say we did not see that coming.

Sam’s been in a VR dream for the trip to Mars. He chose to be a cop in 2008, but the ship was rocked by a meteor storm, so Windy (who is actually the ship’s computer) had to tinker with his adventure, er, by sending him to 1973. The space probe that Sam kept seeing is a ship-board minibot. The ‘gene hunt’ is that for Martian ‘genetic DNA ‘ (um, is there another kind?). Annie is in command of the mission, and Keitel turns out to be Major Tom(!), Sam’s dad.

No doubt the writers will one day come clean as to whether or not they planned this from the beginning. For now, in favour of this being the intended denouement is the regular appearance of the space probe, Ray calling Sam ‘spaceman’ consistently throughout and young Sam being fascinated by space. On the other hand, if the references to hospitals and inference of angels are red herrings, they are members of a suspiciously coherent shoal. The cast make the most unlikely band of astronauts ever, while NASA would never put a warring father and son on board a long-term mission together (Sam’s time in the ’70s is sold to us as a big metaphor for filial/ paternal conflict). It makes very little sense, especially with all the scenes where Sam is not present (who’s experiencing them, eh?). The tasks are weak. There’s a flashforward to 2010, out of place alongside the ultimate denouement, and lots of silly justifications for the slang used throughout. Most egregious is the feeble “I was supposed to be in 2008” explanation for why Sam’s so au fait with the period, and that nearly breaks the concept. Wry Bowie quotes are shoehorned in quick succession to foreshadow the ending, only for Elton John to sing us out. As you’d expect, most of the plot points from earlier episodes are left guttering, like, well, candles in the wind.

It’s a brittle resolution, but to say they had to wrap it up all of a sudden, it does the job. A decidedly odd end to a mostly inferior remake.

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Comments
  1. Steve Kozeniewski says:

    I know every British person ever hated the US remake, but this remains my all-time favorite show. Helped me get through a lot of hard times in 2008 and 2009, when I felt like a spaceman out of water, too. I always liked the double-plus-meta ending with Gene’s 1970s shoe taking the step onto Mars. So is this “really” the answer or is there another layer still? I suppose we’ll never know.

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