Its comparatively slow pace leaves plenty of room for affectionate snarking, and a certain child-like sensibility elevates the enjoyment factor tremendously. For 70s kitsch, it ranks second to none, and while we can no longer take it as seriously as it clearly takes itself, that doesn’t mean it lacks in entertainment value. Most of the plots display overt comic-book sensibilities, featuring lost islands, stranded aliens and a few throwdowns with Bigfoot, as well as more “realistic” espionage stories. He then becomes an indispensable operative for said agency, facing off against various swarthy foreigners and domestic criminals straight out of central casting. Saved by a shadowy government agency, he gains replacement parts for his legs, arm and eye, granting him superhuman strength and the ability to run really fast in slow motion. Each episode begins with a summation of the origins story: an accident turns Austin (Lee Majors) from he-man astronaut into human roadkill. The show itself retains a certain clunky charm, though it definitely hails from another era.
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