Time in Advance, first broadcast in November 1965, is not considered iconic nor worthy of very much consideration. Yet it's Shakespearean themes of revenge, betrayal and foregone love are well portrayed.
The main idea is, of course, let's say disingenuous - but is, nevertheless, thought-provoking. The main protagonists are on a spaceship returning from the Colonies where they've undergone seven years hard labour in order to each commit a murder. By serving time in advance for their crime, their sentence is halved, the state then allows them to proceed with killing their victim.
Otto Henck wants to murder his wife who betrayed him - to his chagrin, he discovers she died two years previously. The hatred and thirst for revenge that kept him going during penal servitude was wasted. Nicholas Crandall's proposed victim - Frederick Stephenson - who stole a lucrative energy-creation formula from him - is aware he is back from media coverage and sets a trap.
Meanwhile, the media are fascinated by the proposed murder and want a ringside seat - and for Crandall to tell them who the victim will be. A sort of genteel Midsummers Murder to hook their readers with real blood at the end.
Sadly, Crandall finds that he's been betrayed by his former wife, brother (who tries to kill him) and work colleague; a final scene where the futility of it all is conveyed is powerful drama and interesting conceptually.
True, the sets were not designed with Apple or Google in mind and futuristic devices such as the automatic drinks bar and self-booking in the hotel haven't caught on yet.
The main fault was lack of tension as the murder being planned got closer to fruition. Although vastly different, Dostoyevsky's Crime and Punishment looked at similar concepts through a different, more atmospheric prism.
To see anything thought-provoking on television now is scarce, this dystopian vision may be out of the unknown and is hopefully out of the question in future.
The main idea is, of course, let's say disingenuous - but is, nevertheless, thought-provoking. The main protagonists are on a spaceship returning from the Colonies where they've undergone seven years hard labour in order to each commit a murder. By serving time in advance for their crime, their sentence is halved, the state then allows them to proceed with killing their victim.
Otto Henck wants to murder his wife who betrayed him - to his chagrin, he discovers she died two years previously. The hatred and thirst for revenge that kept him going during penal servitude was wasted. Nicholas Crandall's proposed victim - Frederick Stephenson - who stole a lucrative energy-creation formula from him - is aware he is back from media coverage and sets a trap.
Meanwhile, the media are fascinated by the proposed murder and want a ringside seat - and for Crandall to tell them who the victim will be. A sort of genteel Midsummers Murder to hook their readers with real blood at the end.
Sadly, Crandall finds that he's been betrayed by his former wife, brother (who tries to kill him) and work colleague; a final scene where the futility of it all is conveyed is powerful drama and interesting conceptually.
True, the sets were not designed with Apple or Google in mind and futuristic devices such as the automatic drinks bar and self-booking in the hotel haven't caught on yet.
The main fault was lack of tension as the murder being planned got closer to fruition. Although vastly different, Dostoyevsky's Crime and Punishment looked at similar concepts through a different, more atmospheric prism.
To see anything thought-provoking on television now is scarce, this dystopian vision may be out of the unknown and is hopefully out of the question in future.
