Every
time I write something upbeat and positive about Land of the Lost’s third
season, I’m rewarded with a dreadful follow-up show like this one, “Hot-Air
Artist.”
Last
week, I found “Flying Dutchman” atmospheric and creepy, and generally
well-vetted, and here we get a story that follows precisely the same beats,
only with a different guest star of the week.
In
“Hot-Air Artist,” a balloonist and adventurer, the self-important Colonel
Roscoe Post (David Healey) arrives in the Land of the Lost through a
hurricane-like vortex, and offers to take the Marshalls home on his journey, but
only if they can help him repair his gondola and balloon. This mirrors Captain Van Der Mere’s offer in
last week’s episode, with the Marshall’s trading a negotiation with Malak (and
a return of stolen items) for passage home.
But
Post’s offer of escape, like the Dutchman’s, is not genuine. As the Dutchman secretly coveted Holly for
companionship, Post here plans to escape from the Land of the Lost only with
Chaka, whom he sees as a “missing link” and a kind of cash cow. He plans to exhibit the tiny Paku all over
the world…at steep prices, and he even tricks Chaka into believing they will
visit Pakuni cities together.
As
in “Flying Dutchman,” Jack perceives the threat at literally the last instant
and arranges a rescue before the guest villain of the week can depart the Land
of the Lost with an unwanted traveler.
Here, Chaka jumps from the gondola in flight and escapes. Meanwhile, Post merrily flees the prehistoric
terrain.
So,
all the narrative points of “Hot-Air Artist” align exactly with those in
“Flying Dutchman,” making the the episode an absolute rerun, only with a
balloon replacing a man-of-war, the blustery, self-important Post replacing
Captain Van Der Mere, and Chaka replacing Holly. It’s creative bankruptcy and its worst, and I
would hasten to add that kids are quick to pick up on such things.
One tenet of Land of the Lost
originally was that it would never talk down to its (resourceful) audience of
children, instead fostering imagination with challenging tales of time loops,
closed pocket universes and the like. I
would argue that “Flying Dutchman,” despite some continuity problems, lives up
to that ideal since it concerns world mythology, but that “Hot-Air Artist,” in
recycling the same story just one week later, fails to do so.
Speaking
of continuity problems, “Hot-Air Artist” has some weird touches. For instance, we see Sleestaks in the Library
of Skulls tapping on human skulls as though they are drums. How did this particular ritual get
started? And where did the human skulls
from?
On
the other hand, it’s nice that Chaka takes a moment in the episode to remember
“Stone Soup,” A Rick Marshall creation from early in the season’s run.
Finally,
one just has to take a deep breath and acknowledge that visitors are arriving
in the Land of the Lost willy-nilly now, with no pre-text of reason or rationality. We learned in the first two seasons that the
Land maintains a constant sense of balance, and that for someone to enter
Altrusia, someone must also leave…at the same time. Yet in two weeks here, we’ve had two visitors
-- by sea and by air -- with no explanation whatsoever. At this point it seems that no one is even
trying to be true to the series’ stated history.
Dramatically-speaking,
the original rule was smart writing. It
meant that the Marshalls had very little chance of escape, unless they were
able to balance the mechanisms of Altrusia.
Under this new rule, people come and go all the time – Dutch Sea
Captains, Hot Air Artists from the 1920s, and even Cowboys and Indians
(“Medicine Man”) and so it is tough to believe that given so many visitors and
so many opportunities for escape the Marshalls always end up stuck.
Call
it the “Gilligan’s Island” effect.
Next
week, another stinker: “Abominable Snowman.”
John I often wonder if the balance was being kept, but those who left were not mentioned in the episodes due to the writers not wanting to have to explain the departures.
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