Originally airing on November 28th, 1958, “Another Barrier” opens with free-lance photographer, Mike Kovac (Charles Bronson), in the middle of the California desert working on a photo layout of Major Sandy Dickson (Grant Williams), a hotshot U.S. Air Force pilot who’s in the process of testing the latest X-2 plane. Kovac wants to follow Sandy around for a couple of days leading up the next big test flight, which means he also gets to meet Sandy’s fiancé, Liz (Norma Crane). While having dinner with the couple, Kovac sees just how scared and worried she is about her lover’s dangerous job. Sandy later confides to Mike that Liz has had bad luck with the “men in her life,” in this case being her father and her brother, who both died tragically years earlier. It seems she thinks her love is a curse, and now she’s afraid she’s going to pass it on to Sandy. Maybe she has a point, because on Sandy’s next test flight, his X-2 goes down, losing contact with the control tower ninety-four seconds after being released from its mothership B-50. With the rescue teams looking for Sandy, and with his survival chances being somewhere between slim and none, Kovac tells Liz what happened, and then takes her back to her apartment. Believing it’s her fault that Sandy’s plane went down, as soon as she gets her chance, Liz crawls out on the balcony of the top floor of her multi-story apartment complex. Kovac begins to try his best to convince her not to jump, to at least find out for sure if Sandy is dead or alive. But will anything work on a woman who’s convinced she’s a curse?!
This review may surprise some of my readers, but I didn’t really enjoy this episode at all. I didn’t like its entire concept. I enjoy episodes of the series where Kovac’s pictures help solve crimes, or he’s getting to mix it up with bullies and bad guys. This episode is just melodrama, and boring melodrama at that. Okay, so Sandy loves his job and Liz, and he wants Liz to accept the danger of his job, but she just seems to be a scared and anxious ball of emotions waiting around for him to die. And all Kovac does is take some pictures, listen to Sandy go on and on about Liz, and then beg Liz not to jump once everyone thinks he’s as dead as a doornail. Boring! About the only mildly amusing thing that happens is when Kovac convinces Sandy that a picture of a pilot in his long johns is just what the layout really needs. Boring AND kinda creepy! And I know that Norma Crane is a fine actress, having recently reviewed her episode of ALFRED HITHCOCK PRESENTS: “There Was an Old Woman,” where she also works with Bronson. They were good together in that episode, but neither have anything to work with when it comes to this story. She’s sad and wants to die, and he’s worried and doesn’t want her to jump. The characters barely know each other, having only met the day before, and the drama does not play out convincingly at all. Grant Williams is likewise boring as the “hot shot” Sandy Jackson. If the Air Force wanted to feature a pilot, they should have probably found one with at least a little bit of personality. I’ve always said that I love Bronson so much that I’d pay to watch him read the phone book. Good Lord willing, this episode is the closest I’ll ever get to seeing that happen.
There was one interesting thing that I noted while watching “Another Barrier,” and that’s the connection that its plot shares with a movie that Charles Bronson would star in a few years later, X-15 (1961), the theatrical debut of director Richard Donner. In X-15, which includes narration by the legendary James Stewart, Bronson plays an Air Force pilot with the dangerous job of testing X-planes, and Patricia Owens is his wife who’s worried about him back at home. It’s not one of Bronson’s best, and frankly, it’s kind of boring too. There may be a great movie or show about X-plane test pilots out there. I just know they don’t star Charles Bronson!
I will be taking a small break from my Retro Television Reviews so that I can celebrate my birthday this weekend and enjoy a little mini-vacation. This feature will return on Monday, November 17th, with reviews of Miami Vice and CHiPs!
In Alan J. Pakula’s 1974 film The Parallax View, Warren Beatty plays a seedy journalist who goes undercover to investigate the links between the mysterious Parallax Corporation and a series of recent political assassinations. In the film’s most famous sequence, Beatty — pretending to be a job applicant (read: potential assassin) for the Parallax Corporation — is shown an orientation film that has been designed to test whether or not he’s a suitable applicant. The montage is shown in its entirety, without once cutting away to show us Beatty’s reaction. The implication, of course, is that what’s important isn’t how Beatty reacts to the montage but how the viewers sitting out in the audience react.
So, at the risk of furthering the conspiracy, here’s that montage.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
I love giallo!
4 Shots From 4 Giallo Films
The Bird With The Crystal Plumage (1970, dir by Dario Argento)
Hatchet For The Honeymoon (1970, dir by Mario Bava)
A Lizard In A Woman’s Skin (1971, dir by Lucio Fulci)
The House With Laughing Windows (1976, directed by Pupi Avati)
As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1985’s Legend!
If you want to join us this Friday, just hop onto twitter, find Legend on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
“Information High,” by Yoko Kanno for Macross Plus, is a track that’s as electrifying as it is fitting for the anime’s sleek, futuristic vibe. From the moment it kicks in, you get caught up in its propulsive beat and layered electronic sounds that perfectly capture the sense of speed and technological buzz that define the series. It doesn’t just sit in the background but actively drives the energy forward, mirroring the fast-paced aerial dogfights and the intense emotions swirling underneath the sci-fi setting. There’s a hypnotic quality to it — like the perfect soundtrack for a world where human experience and digital overload collide.
What really strikes about “Information High” is how it balances mechanical precision with a playful, almost funky undertone. It’s not simply cold or robotic; Kanno brings in just enough warmth and groove to humanize the electronic pulse, making the song feel alive and vibrant rather than sterile. This duality works beautifully with Macross Plus’s themes—characters caught between their human desires and the artificial worlds they navigate. The track feels like a bridge between those realities, capturing both the exhilaration and the subtle unease of living in an over-connected, data-saturated future.
Beyond its role as a background piece, “Information High” stands on its own as a distinctive expression of Kanno’s genius. It’s got that catchy, infectious energy that sticks with you, yet never feels repetitive or shallow. It’s clear that Kanno tailored this song to complement not just the visuals but the emotional currents of the show, subtly enhancing moments without overpowering them. For anyone familiar with Kanno’s work, this track is a perfect example of her skill in blending genres and moods into a cohesive whole that elevates the experience of the anime itself.
Information High
You know how to get eternal life In the center of the lightning-speed waltz Feel your soul cut by a rusty knife As you head down for the self-destructive edge
Our satori is just floating in the core Where we can spiritually go through the door We’ll know how to get eternal life While we catch the pulse from unknown satellites
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
We know how to get eternal high In the center of the lightning-speed waltz See our soul struggling to survive As we head down for the self-destructive edge
Sayonara to intrusive noise No more childish play and no more toys We know how to get eternal life While we feel and sense mother nature’s strong might
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
“Life without pain isn’t real life!” — Isamu Dyson
Macross Plus is a landmark anime OVA series from 1994 that continues to resonate with both newcomers and longtime fans of the genre. It stands out within the larger Macross franchise—one of the most influential in anime history—that includes various series beginning with the original Super Dimension Fortress Macross in the early 1980s. While Macross Plus is just one of several entries under this umbrella, it serves as a crucial bridge between the earlier incarnation of the series produced during the 1980s and the more modern take that the franchise would eventually develop in the late 1990s and into the 2000s. This OVA represents a stylistic and thematic evolution that helped transition the series from its original space opera roots into a more mature, complex narrative form that appeals to contemporary audiences.
Set decades after the destructive war between humanity and the alien Zentradi featured in the original series, Macross Plus takes place in the year 2040 where the UN Spacy conducts flight trials on a remote planet to select the next generation of Variable Fighters. The story revolves around Isamu Dyson, a cocky and passionate pilot; Guld Goa Bowman, his calm and talented rival who is revealed to be a Zentradi/human hybrid; and Myung Fang Lone, a woman emotionally entangled with both men and managing the artificially intelligent holographic idol Sharon Apple. The narrative explores themes of rivalry, friendship, human connection, and emotional tension with nuance and depth, distinguishing it within the franchise and offering a compelling experience for both newcomers and longtime fans.
Viewers can experience Macross Plus either as a four-episode OVA or through the re-edited movie version titled Macross Plus: Movie Edition. The movie version condenses the original four episodes into a much shorter runtime, around 115 minutes, with certain scenes expanded, some new scenes added, and others shortened or removed entirely. While the movie includes roughly 20 minutes of new or alternate footage, it retains much of the OVA’s original material. The film format emphasizes a more cinematic presentation and features a widescreen format, contrasting the original OVA’s 1.37 aspect ratio. However, while the movie streamlines some narrative aspects and adds a few striking sequences, some fans feel the OVA’s longer runtime allows for richer character development and storytelling depth. Both versions have their merits, with many recommending watching the OVA first to appreciate the fuller experience before exploring the movie edition.
One of Macross Plus’s standout features is its animation quality, especially remarkable for a mid-1990s production. The series blends traditional hand-drawn artistry with pioneering computer graphics, particularly in its spectacular aerial dogfight sequences featuring transforming fighter jets. These dynamic battle scenes convey a vivid sense of speed and intensity, demonstrating a level of technical sophistication that remains impressive today. Though some fans note minor differences in character design from Haruhiko Mikimoto’s original work, the visual impact overall is striking and immersive, providing a thrilling experience for newcomers and a nostalgic appreciation for veteran viewers.
Integral to the anime’s atmosphere is its unforgettable soundtrack, composed by the legendary Yoko Kanno. Her wide-ranging score—from haunting melodies to energetic action themes—perfectly complements the show’s tonal shifts. While “Voices,” performed by Akino Arai, is the song most fans distinctly remember and cherish for encapsulating the emotional core of the series, the rest of the soundtrack stands out as excellent in its own right. Notably, the tracks tied to the Sharon Apple AI subplot add an additional layer of mood and narrative depth. The song “Information High,” performed by Sharon Apple, is particularly praised for its ethereal, electronic style that perfectly captures the AI’s hypnotic and otherworldly presence in the story. This track complements the themes of technology, identity, and artificial emotion explored through Sharon Apple’s character, enhancing the viewer’s immersion in the high-tech world of Macross Plus.
Another rarity in the anime world that Macross Plus represents is its highly regarded English-language dub. Unlike many anime dubs that face criticism, the Macross Plus English dub is considered excellent by fans and critics alike. One notable factor is the casting of a younger Bryan Cranston (before his Breaking Bad fame) as the voice of Isamu Dyson. His performance brings genuine energy and nuance to the role, contributing to the dub’s reputation as a quality adaptation worthy of both newcomers who prefer English audio and longtime fans who appreciate a well-executed dub.
A core thematic insight in Macross Plus lies in its exploration of technology, especially artificial intelligence, highlighting how even advanced AI must learn from humans as templates, inevitably influencing its behavior. Sharon Apple, the AI pop star and central figure of the subplot, cannot authentically generate emotion on her own. Instead, she relies on the emotional input provided by Myung Fang Lone, her producer and the emotional source behind Sharon’s performances. This dependency underlines a profound implication: true sentience and emotional authenticity in AI require imitation and absorption of human feelings, experience, and behavior. Consequently, Sharon’s increasingly autonomous actions become shaped by the complex and sometimes conflicted emotional landscape of the humans around her, illustrating how AI, while synthetic, is ultimately tied to the human condition and its imperfections. The series presents this relationship critically, showing both the potential and danger of AI learning and evolving from human templates, culminating in Sharon’s struggle to assert an identity that is both alien and deeply rooted in human emotions.
Importantly, Macross Plus is recognized as the first official sequel to the original Macross series by its creator Shoji Kawamori. The earlier Macross II was later retconned by Kawamori as an alternate reality or parallel world separate from the main timeline. This status cements Macross Plus as the canonical continuation of the original saga, reinforcing its significance within the franchise and its role in guiding Macross’s future directions.
The narrative structure—whether experienced as the OVA’s four episodes or the condensed movie version—strikes a balance between introspective character moments and exhilarating mech combat, keeping viewers engaged while allowing emotional depth to unfold. Though some supporting characters receive limited development and the antagonist can seem somewhat one-dimensional, these elements do not detract significantly from the memorable storytelling, animation, and thematic richness.
For newcomers, Macross Plus serves as a powerful introduction to anime that blends sophisticated storytelling, technical artistry, and philosophical inquiry. For veterans, it offers a compelling revisit to a milestone work that elegantly bridges the franchise’s classic roots and modern evolution.
Macross Plus holds a revered place within the Macross franchise and the wider anime landscape for several reasons. It was pioneering in its integration of traditional cel animation with early computer-generated imagery (CGI), setting a precedent for the increasing use of digital effects in anime. This blend allowed for its visually stunning aerial combat sequences which remain influential in mecha animation.
The series also marked the start of a significant collaboration between director Shinichirō Watanabe and composer Yoko Kanno, whose work on Macross Plus would lead to iconic projects such as Cowboy Bebop. The soundtrack’s genre-spanning style influenced how music could serve as a narrative force in anime, intertwining with story and character development rather than merely accompanying visuals.
Narratively, Macross Plus helped reaffirm the franchise’s thematic core—the interplay of love, war, and music—while pushing it toward more mature and psychological storytelling, expanding the appeal beyond traditional mecha fans. Its exploration of AI and human emotion was ahead of its time, posing philosophical questions still relevant in today’s discussions about technology and identity.
The excellent English dub, featuring talents like Bryan Cranston, contributed to its international acclaim, helping it become a gateway series for many Western viewers into the Macross universe and anime more broadly.
Its legacy continues not only through ongoing Macross installments but also in manga adaptations and video game tie-ins, as well as in inspiring countless mecha and sci-fi creators. To this day, Macross Plus is frequently cited as a high watermark of 1990s anime, a timeless fusion of innovative animation, memorable music, and complex, emotionally resonant storytelling that helped shape the trajectory of anime as a global medium.
Through the Shattered Lens 