The Other Side Of Tv’s Jekyll And Hyde (Press, 26 May 1975)

In a review published on 26 May 1975, Brian Edwards's television performance was assessed with a mixture of criticism and praise. Although his initial programme included tasteless commentary regarding homosexuals, Edwards redeemed himself with a captivating and poignant episode aired on a Saturday night. This segment exposed the misleading practices of Filipino psychic surgeons, showcasing the extent of human gullibility among three guests who, despite witnessing a studio demonstration, remained firm in their beliefs about the surgeons' abilities. The review noted a lapse in the programme's pacing highlighted by Dr Paewai's convoluted manner of speaking, which could leave viewers confused. However, the interactions between Edwards and Dean were viewed more positively, with sketches that included political satire and humorous takes on popular television shows providing light-hearted moments. Yet, there was apprehension that Edwards might soon revert to controversial content, suggesting future topics might be equally provocative. The Friday night television landscape was described as lacking enchantment, except for a noteworthy episode of "Coronation Street," which featured captivating performances from characters like Elsie Tanner. The review praised the successful hospital storyline involving Vai Barlow's child, noting that real-life medical issues can enhance viewer engagement. Also mentioned was "Beryl's Lot," which offered ordinary yet relatable situations, embodying a high-quality soap opera aesthetic. The review briefly touched on a film aired as part of a series celebrating Hollywood that did not evoke much enthusiasm from the critic. "The Six Million Dollar Man" was presented as a modern adaptation of classic comic superheroes, engaging the audience with its entertainment value while also treading into contentious themes often avoided by more conventional programming. Finally, the review highlighted an important cultural shift in American television, noting the portrayal of a Black character as a villain in "The Six Million Dollar Man." This small change was seen as part of a greater trend toward diversity and equality in television, signifying advances in representation that echoed historical civil rights struggles. Overall, the review reflected the divided response to Edwards’s work and the evolving landscape of television in 1975, showcasing both the potential for high-quality programming and ongoing concerns regarding the treatment of sensitive subjects.

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