People who saw Max Headroom back in the '80s should have no problem remembering him instantly - and not necessarily from the ABC TV. Watch Max Headroom episodes online. Visit SideReel to access links to episodes, show schedules, reviews, recaps and more. Sign up for free!

That a primetime fad— Max Headroom lasted just two seasons—was considered on par with a leader of the free world as a mascot for the decade says a lot about the pop-cultural splash the series made when it premiered in March 1987. That it has taken more than 20 years for Max to get a home-video release says a lot about how quickly that splash faded after the show was canceled a year later.

But it would be wrong write Max off as a quirky, stut-stut-stuttering relic doomed to be mentioned by Mo Rocca on VH1 specials. Look past the Wayfarers and the neon-striped background and Max Headroom reveals itself as one of the most prescient television shows of its decade (unless you interpret as an extended metaphor for the dangers of oil dependency). Max himself was the zany breakout star of Max Headroom, its Barney Fife. But revisiting the series on DVD, one of the first things you notice is that in most episodes Max appears only periodically, especially in the first season. More often, he functions as a kind of postmodern Greek chorus, offering his snarky opinion on whatever crisis his human counterparts find themselves in.The actual hero of Max Headroom is Edison Carter. Played by Matt Frewer (who, in heavy makeup, also played Headroom), Carter is an investigative journalist working to uncover conspiracies, corruption, and chaos in a dystopian future the show describes as being set “20 minutes into the future,” a time when television has become, in essence, the governing body of society.

Programming executives sit in darkened war rooms straight out of, plotting new ways to control the masses, including subliminal messaging and fabricated terrorist attacks. Most weeks, Carter attempts to expose these plots with the help of his beautiful technical adviser, Theora (Amanda Pays), and his producer, Murray (Jeffrey Tambor). Then there’s Max—essentially Carter’s digital id. Max was born when Carter, investigating the shady practices of his employer, Network 23, is knocked unconscious and dragged by Network 23 agents to the laboratory of Wunderkind hacker Bryce Lynch (Chris Young). The house of the dead 2 and 3 return.

Lynch, under orders to find out how much Carter knows, downloads Carter’s memory into Network 23’s computer, where it takes on a life of its own as a fast-talking, square-jawed cultural commentator who exists entirely within TV screens and computers.Max Headroom’s themes might not sound especially groundbreaking today: Accusing television of brainwashing society is about as shocking as calling politicians, like, a bunch of phonies, man. But in the Reagan years, America was still getting wise to growing media saturation and to the blurred reality TV can create.

The year Max Headroom premiered, James L. Brooks’, in which reporter William Hurt uses questionable editing to manipulate the news, was nominated for seven Academy Awards, including best picture. Two years earlier, Don DeLillo’s, with its constant hum of radio and television, won the National Book Award. Two years later, introduced a family of couch potatoes who watched the razor-sharp TV satires of Itchy and Scratchy and Troy McClure.

Max Headroom was one of the first network shows to engage with these issues, and in doing so made some eerily accurate predictions about where contemporary television was heading. In the show’s very first episode, “Blipverts,” Carter uncovers a top-secret program by advertisers to condense 30-second ads into three-second, high-intensity commercials, which occasionally overloaded audiences’ central nervous systems and caused them to explode. The spontaneous combustion thankfully remains a bit of a stretch, but anyone who’s experienced a ad sliding into the lower third of the screen during a TBS rerun of or sat through a sponsored Hulu pre-roll knows the lengths advertisers will go to tap into the shortening attention spans of contemporary audiences.

In the episode “Academy,” the lives of citizens are broadcast on TV, their fates determined by audience votes—an anticipation of contemporary reality TV. Other episodes deal with issues like broadcast violence (ratings-hungry networks present a deadly sport) and illegal downloading. No character is as withering in his criticisms of the TV industry as Max, who pops up unexpectedly to deliver long, amusing rants against Network 23 and the rest of the media. “Have you any idea how successful censorship is on TV?” asks Max in one episode.

He waits a beat. “Don’t know the answer? Successful, isn’t it?”Over the last decade, many series have tweaked the television industry, albeit in ways less ponderous than portraying one man’s fight against evil, omnipotent media conglomerates.

In our era of, and, a show biting the hand that feeds it seems about as edgy as Kate Winslet playing a self-obsessed version of herself, well-aware that the real her will come out looking more humble than ever. But when Max Headroom premiered, the closest TV had come to criticizing itself with any regularity was Lou Grant’s loveably grumpy complaints on, which were usually resolved by the end of the episode, won over by Mary’s (and TV’s) greater good. In his review of Max Headroom’s premiere episode, John J. O’Connor of the New York Times doubted whether real-life network executives would “put up with a character who finds much of the television business less than edifying.” But ABC did keep Max on the air for a second season—less willing to welcome the show were audiences. Headroom presented viewers with storylines about spontaneously combusting humans at a time when Americans seemed more inclined to watch Angela Lansbury solve murders in small-town Maine or John Larroquette prosecute misdemeanors in the big city. By1988, Headroom was off the air, beaten in the ratings by its competitor, the iconic. That show’s pastels and blazers became shorthand for the 1980s, but did virtually nothing to address America’s growing obsession with and reliance on screens, be they television or computer.

That was Max’s jurisdiction. Like Slate on. Follow us on Twitter.

Developed byReleasedAlso ForPublished byMiscPerspectiveGenreSettingVisualDescriptionThis game is based on a 1984 British television movie which led to a 14-episode television series that ran in 1987 in the U.S. It's an early cyberpunk vision set 'twenty minutes in the future' where powerful corporations rule and compete for television ratings and consumer dollars. Edison Carter is an investigative reporter for Network 23 seeking to free his alter ego Max Headroom, a cybernetic construct of his mind that was stored after Edison was involved in a motorcycle accident and the last thing he saw before losing consciousness was a 'Max Headroom' sign going into a tunnel. Max lives in computers and can appear on any screen, television or any electronic device. The character is actually Matt Frewer in a latex mask, edited so as to appear jittery and stuttering like an early computer model.In the game, Max has been abducted by Network 23 and you must retrieve him from somewhere in the 11 top floors of their high-rise building starting at the 200th floor. Security systems protect each floor and you have to find and enter the correct codes to gain access from the elevators.

Each floor seen in isometric view, has lines representing walls of various rooms with doors and office furniture. Robots will chase and fire at you and decrease your health level as shown on the biomonitor at bottom of screen. Also indicated are the floor number and time left. On the right side of screen are 4 icons for Reporter E. Carter which open a door, call elevator, view through camera, or allow movement to run around the floor.

On the left side are icons for Controller T. Jones (Theora helps you hack into systems) to show you the floor and computer circuits.When entering a security code, it takes the form of an LED digit over which you must move a pointer over a row of circuit lines in order to activate various segments to form a desired digit. Each segment will remain lit only temporarily so when time runs out you must ensure that the letter is fully lit or your code will fail. In that event, you must make your way across the floor to the second elevator and try again.From Mobygames.com.

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