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Message: <blockquote data-quote="Mel O&#039;Drama" data-source="post: 260317" data-attributes="member: 23">Kill Oscar (Part I) <img src="https://i.pinimg.com/originals/76/74/dd/7674dd0b63f90ace78933b2ae151584c.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /> Now this is a crossover I can really enjoy. I knew going in that Kill Oscar was a three-parter that bounced from one series to another and back. But inexplicably (especially since I have the soundtrack CD which mentions them many times), I’d completely forgotten that this story is the introduction of the mighty Fembots. Imagine, then, my delight at seeing the cold opening. It feels very much like camp - but in the best possible way. As former O.S.I. agent turned mad professor Dr Franklin, John Houseman (who is most familiar to me from my soundtrack to John Carpenter’s The Fog, where he speaks the Prologue) sweats and does something akin to low-level hamming over his creations. While McGee from The Incredible Hulk sweats even more and does so with a heavy Russian accent. Adding to the surrealism, when Jack Colvin first arrived as Baron Constantine I thought for a few moments it was Michael Crawford, and was half expecting him to speak in a silly voice and say the cat had done a whoopsie somewhere awkward. The tone is perfect. Sinister but inviting. Wth the Fembots no doubt taking some inspiration from Ira Levin’s The Stepford Wives, Franklin has some delightfully politically incorrect dialogue as he introduces them to Constantine:Building on this, he saves my favourite line of the episode for later in the episode:The reveal of Katy as a Fembot was wonderful. Shocking and funny in equal measures. I love the look of the face-off Fembots so much. It’s the eyeballs. They just give it a creepiness of Doctor Who proportions which overcomes any shortcomings in the special effect department (though, indeed, the shortcomings add to their endearment). And this is all before the opening credits. What’s going on with the music in these episodes? It feels like there’s a lot of tweaking and experimenting going on. First Joe Harnell’s end title version arrived. That was tweaked further with Road To Nashville. Now with this episode, we get Joe Harnell’s Main Title, which kind of, sort of works, but also feels strange. I understand this is a one-off, and is actually the syndicated version. The expanded cast here is terrific. There’s Steve, of course. Always a welcome guest (is "handball" a thing? It looked like they were playing squash without raquets). Not having watched SMDM this time round, this is my introduction to Callaghan and Lynda, both of whom have now been replaced by Fembots. They have good energy with Jaime and work well on the series. I’m looking forward to seeing more of them. The Jaime vs. Fembot Callaghan and Katy was a hoot. Such great fun. It’s good to see the limitations of bionics once again with Jaime’s legs failing after a jump from a great height to escape them. Not only does it add to the realism, it gives more storyline potential, which is used to great effect here. As the first of three acts, this episode is really well-structured and sets up the threat well. Jaime in hospital and dazed from an injury, not quite able to convince people of what she knows is a frightening situation. Especially since a Fembot is holding her hand. The “To be continued… on The Six Million Dollar Man”  text at the end feels very exciting. The icing on a very tasty cake, with another two still waiting to be devoured. I confess: I'm invested. </blockquote>

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