We open on a ruined castle before the Loch, and an electronic attempt to approximate bagpipe music. Oh, yeah! Drink it in, this is the good stuff. Nimoy gives a beautiful narration over artsy close-up shots of the loch's surface. There's a particularly nice touch when we see what looks like the Monster's reflection in the water, but as the ripples clear we see that it's a swan. So good!
In the studio, Nimoy makes an entrance from behind a picture of a Mayan pyramid and introduces himself. I get the feeling that this was meant to be the first episode? He tells us that there were hundreds of sightings of Nessie over hundreds of years, which is a bit of a stretch. He then tells us that recently we have seen compelling evidence. Well, we'll see about that, no doubt. ...continue reading "In Search Of… S01E20 The Loch Ness Monster"
Life after death -- we open in a hospital ward, with a 'code blue' in progress. People in white uniforms running about in that wonderful sort of disciplined panic you see with trained emergency people. Leonard Nimoy's narration adds a suitable note of urgency to the proceedings. It's a good, solid opening but I have a sinking feeling about where it's going.
We open on an open window at night-time, curtains moving with the breeze, an owl hooting, and Leonard Nimoy talking about ghosts. Yeah! Drink it in! This is what I watch this show for! 'Aliens built the pyramids'? That ok. But Leonard Nimoy telling ghost stories? That's just awesome.
But it doesn't last long. After the campfire story opening, we're back to the studio where Nimoy is explaining that there are scientific rules to ghostly behaviour. I'd say 'ho hum', but when the scientific theory being pitched is that 'a ghost might be thought of as the spirit of someone who died in emotional turmoil' then… well, all I can say is, that's some science right there. ...continue reading "In Search Of… S01E18 Ghosts"
Waves crash on a rocky shore, and Nimoy is telling us about a mysterious massacre. And we're looking at the moai of Rapa Nui, aka the stone heads of Easter Island. And they look pretty damn cool. They look like a bunch of ancient people thought to themselves 'what's the most awesome sort of thing we can make?' and got the answer perfectly right. With their sheer massive size and their features, somehow both impassive and expressive, the moai are made out of awesome. And compressed volcanic ash, but mostly awesome. ...continue reading "In Search Of… S01E17 Easter Island Massacre"
Near Innsbruck, Nimoy tells us, there is a monument to perversity. And we're off to a flying start! A monument to perversity! I wonder what's written on the brass plaque on front? Something saucy, perhaps? But no, we're talking about Castle Ambras in Austria, which contains a collection of portraits of people who were wounded or deformed, and also a portrait of… Vlad Dracula.
We start with a nice, matter-of-fact opening. The who-what-where or Amelia Earhart's final flight. Good, basic journalism, over newsreel images of Earhart, 1930s planes, and the ocean. Solid intro. It's going to get silly after this, isn't it?
Next up is newsreel footage of Earhart's triumphant return to New York after her solo crossing of the Atlantic in 1932. A tickertape parade, how nice! Nimoy shushes while Earhart gives a speech from behind a battery of old-timey radio microphones.
"It is much easier to fly the Atlantic Ocean now, than it was a few years ago," she says. "I expect to be able to do it in my lifetime again. Possibly not as a solo expedition, but in regular trans-Atlantic service, which is inevitable in my lifetime." ...continue reading "In Search Off… S01E15 Amelia Earhart"
It's got Nazis, it's got plunder, it's got treasure hunting. Could be good? Let's find out.
We open on a few minutes of WWII archive footage. WWII. It's nice footage and beautifully narrated, but the TLDR of it is that the Nazis lost the war but didn't have the good manners to put back the stuff they pinched. Then to the studio, where Nimoy talks with righteous relish of the decline of the Third Reich. He explains how senior Nazis like Martin Borman took off with stolen gold and artwork. ...continue reading "In Search Of… S01E14 Nazi Plunder"
We open with Apollo astronauts on the Moon, because of course we do. We're told that the lunar astronauts experienced unusual perceptions during their journeys, and that astronaut Edgar Mitchel tried to send telepathic images from the Moon to the Earth in 1971. We are told that the chance of his results being accidental are quite low.
Cut to Nimoy at a table with a bunch of kids using Zenner cards, for testing telepathic powers. All of a sudden, I find myself switching from scepticism to jealousy. Why didn't I get to play 'psychic guess the card' with Nimoy? I'm not much younger than the kids in the story would have been.
Nebulae! Our voices have ascended to the heavens. We're awaiting a reply. I'm a little bored already. I'm not a SETI enthusiast. Honestly, I'd prefer some nice juicy account of a UFO abduction to footage of radio telescopes, even if that is where the call from space will arrive.
But then out of the blue, we're talking about communicating with dolphins and suddenly I'm awake again. Nimoy tells us if we can communicate with one 'strange intelligence' that may give us the tools to talk to others. Interesting.
It wasn't going to last long. Then we're back to nebulae, portentous talk about the possibilities of intelligent life elsewhere in the universe and footage of, you guessed it! Radio telescopes. Nimoy gives a narration about the importance of radio telescopy, and damn but does he hit it out of the park. I'm starting to think that maybe there's something to my theory that he just likes the space stuff better than the pseudoarchaeology. ...continue reading "In Search Of… S01E12 A Call From Space"
We open on a man handling a ring. Nimoy tells us that the man claims that he can visualise scenes related to the ring. There's stock footage of police cars and then back to the man with the ring. We're told he's Peter Hurkos and that he has 'hard information'. Names, places, dates. "He calls himself a psychic detective," Nimoy intones. A big claim, from Mr Hurkos-- and one that this episode seems to have little interest in investigating.
We go on to see Chief Detective Lowry, a 1970's cop in St Louis. We're assured that he solves crimes by conventional means. That is, until a kidnapping case in the mid '70s, where he couldn't find the victim. At the request of the victim's family, Lowry called in a psychic, who located the kidnapping victim. Fascinating, if true. ...continue reading "In Search Of… S01E11 Psychic Detectives"