That was superimposed over a moving hand-drawn geometric cel animation produced by Rod Lord, who also made “computer-generated” images for the TV series Hitchhiker’s Guide to the Galaxy. The backgrounds for American version were generated by a Commodore Amiga computer. Peter Litten and John Humphreys of England’s Coast to Coast Productions made a fiberglass suit out of latex and foam prosthetic makeup. Do you have any idea how successful censorship is on TV? Of course you don’t! That’s how successful it is.īecause it was the mid-to-late ’80s, Max Headroom wasn’t really computer-generated. No problems were reported on the news so, what, me worry? Now it looks like a story was buried before the digital age cleared its cache, a cover-up that went straight to the top. I figured if there was something going on, we’d hear about it on TV. There were rumors running around that Max Headroom was some kind of brainwashing delivery device but what was he selling? The new Coke? The old Pepsi? I never d-d-ddrank soda, so I didn’t give it much thought at the time. There was something about him that screamed autoerotic asphyxiation and wide ties. I didn’t catch the series when it first ran and only knew The Max Headroom Show, where the talking head veejayed music videos. Really not so distant, twenty minutes or so, and by setting its sights so short the series nailed the future closer than many more lauded attempts at artistic precognition.

Shot in the ’80s, it was set in the not-so-distant future. Max Headroom, wasn’t just the highest point Wayfarers reached in cyberpunk culture, it was a prescient look into the immediate gratification of the internet age.

Max headroom actor