You may have heard of the David S. Foundation. Goyer and Jos Friedman, the Foundation,"The Apple TV+ series that revolves around among the women's empire ruled by three men (who may or could not be the same person in different stages of their lives). This unusual premise is filtered through science fiction lenses and is based on Isaac Asimov's series, published between 1951 and 1993. Allowing even the most complex concepts to be dissolved with ease. It appears as an attractive adaptation of the original material of Asimov so far.

The Foundation may be one of the well -known Asimov titles (except "I, the robot", which prompted the adaptation of the Hollywood meme), so there is a chance of several adaptations of his work to be reduced through the cracks unnoticed. Then there are shows that Asimov personally oversaw him, although they are based on stories by colleagues of the genre (who apparently benefited from Asimov's approval). This is the case with the ABC series "Speaking 1", a series of 16 episodes based on the story of Orson Scott ("Ender of the Game") in 1986, "Rescue", which belongs to a fairly vague part of his Over.

The story of the card is set in post-apocalyptic America, where it has survived a certain Deaver Log (wild name, by the way) by preserving pre-war materials, but knows that this career is not sustainable. Conversations on hidden gold in the interest of the temple in Mormon Pique Theag, so he decided to go to this adventure with two of his friends, who look a little unprepared, but they are hurried. Whatever the next one can happen? Well, the "Sanvage 1" of ABC expands to this simple premise, including Asimov's contribution to map a decent story of greed and betrayal.

To broadcast an unusual scientific series on television on television was a risk of a financial point of view, so "Rescue 1" quickly faded in ambiguity after 16 episodes (without any consecutive recovery activities for the second season). The approval of Asimov (which can be followed back in the story of the card, originally published in the 1986 Science Fiction magazine, was not enough to save the show, but his role as a science adviser helped to fuel some of the most notable aspects of the narrative.

As you may have pulled out of the short synopsis on the short card, there is not much bone meat, especially for a more seasonal show that needs to be constantly reinvested to keep things interesting. But the restrictions on "rescue" as a original material are inadvertently bypassed by brilliant Andy Griffith, who plays Tega (renamed "Harry Broderick", because of course) with a brand of passionate zeal that the character certainly does not deserve.

Some convincing details cover his bow, such as the fact that he dreams of saving discarded equipment from NASA's space program and manages to do so. There is a space rocket powered by makeup fuel named Mono-Hydrazine, which Harry builds with his team by taking a cruel approach, a DIY approach. Things become nonsense, and there is little emotional complexity of any of the characters to distract us from the plot for nothing, stretched thin over 16 episodes.

As I have already mentioned, Griffith is MVP here, because its presence injects the insincere premise with the charm needed to help erase you through the episodes. Even more, you can clearly identify some praise here, including the criticism of the broken economy, made by blind faith in upgrades and a sense of optimism. However, these ideas are not allowed to develop and bloom, as the ABC faster with the production of the pilot's success (in this case, a well -accepted TV film), which has taken a more intelligent approach to the story. Due to lack of quality scripts, even expertise on Asimov's genre did a bit to help raise "Rescue 1" out of the price of the average genre, and the series is transmitted to the dusty cobweb of time.