- WHAT WAS IT?
Virtual reality that didn’t require a million gigabytes of processing
power, Pierce Brosnan or low self-esteem, the Viewmaster impressively
started life as a military training tool during World War Two before hitting
critical mass in the late 1970s as the nearest thing to actually being
in Hazzard County. Basically a pair of red binoculars in which you’d
insert a circular cardboard disc punched out with film cells, the contraption
presented each eye with a slightly different left and right image which
merged to form . . . 3D!
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WHY SHOULD IT COME BACK?
In truth, Fisher Price’s ingenious device is still around, now bringing
us the likes of SpongeBob SquarePants in glorious stereoscopic vision.
However, it doesn’t enjoy anything like the ubiquity it once did,
which is a shame. A neat fusion of slide-show and innocent voyeurism,
it was the definitive ‘quiet’ toy.
- WHAT WAS IT?
George Cole may have ditched Arthur Daley’s titfer in favour of
a flat cap, but everyone knew this was still TV’s favourite shyster
extolling the virtues of the Leeds’ Liquid Gold savings account
in a series of 60-second sitcom-cum-commercials. Telling of various moneymaking
schemes, the productions would be punctuated by a quick visit to the building
society before our man delivered a pay off that left him chuckling all
the way to that financial establishment. Best of all, it was all done
in rhyme: ‘See, I’ve got an account called Liquid Gold, that’s
where my cash is kept – if you want top rates of int-er-rest, the
Leeds is your best bet.’
-
WHY SHOULD IT COME BACK?
Simply because Samuel L Jackson and a pig don’t have half the charm
of George Cole luring a champion greyhound off the track with the help
of a nubile poodle.
- WHAT WAS IT?
Thrillingly exciting communication medium best experienced third-hand
via a plot device in an old movie. The middle ground between the good
old-fashioned telegram and the modern day e-mail, sending or receiving
a telex was a quick and easy way to feel important. Sadly supplanted in
the mid 1980s by the arrival of the far-less-romantic-somehow fax machine.
-
WHY SHOULD IT COME BACK?
Because it’s too easy to send an ill thought out e-mail in a fit
of pique and all fax machines now smell of small, failing businesses.
Besides, when did anyone ever receive a speculative telex from some supposed
South African Financier requesting to pass money through your bank account,
or a missive from some unknown character with a dubious pseudonym promising
to resolve various sexual dysfunctions that you hadn’t realised
you were suffering from?
-
WHAT WAS IT?
The ultimate must-have item for all ten-year-old boys, this union of action-figure
and toy motorbike was a plastic homage to the former Save The Elk campaigner-turned
insurance salesman-turned stunt cyclist, who pretty much owned the mid
1970s. Only ever possessed by the rich dentist’s son down the road,
the toy shipped with a red ‘energiser’ unit in which you’d
place your diminutive Evel and vehicle, before cranking up the rotating
arm and watching him ping out at speed across the living room floor, whereupon
he would then topple over after travelling – oh – inches.
-
WHY SHOULD IT COME BACK?
Quite simply, because it was the greatest toy ever and we still have never
had the chance to play with one. Have you seen how much vintage models
go for on Ebay?! Anyone got a wealthy orthodontist parent going spare?
-
WHAT WAS IT?
Confusing but scary midweek teatime ITV sci-fi series starring David McCallum
and Joanna Lumley as two mysterious investigators battling against . .
. we’re not quite sure what but we think it’s time itself.
The series ran from 1979 to 1982, during which our titular heroes overcame
flying pillows, dead soldiers and a man with no face. The chances are
that if you can remember a really scary episode of Doctor Who you
are probably thinking of Sapphire and Steel instead.
-
WHY SHOULD IT COME BACK?
There’s been nothing quite as spooky since – and scaring small
children is an important and worthwhile enterprise. Today’s TV could
do with a few slow-paced and stagy looking dramas and – anyway –
in an age of complex computer generated special effects it’s good
to demonstrate that a torch shone at a wall over a menacing oboe soundtrack
can still cut it.