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On a mission to look for a "lost tribe" of colonialists from earth, Buck Rogers (Gil Gerard) and his robot sidekick Twiki (Fred Silla, voiced by Mel Blanc) touch down on a planet - and only find two of the settlers still alive, Cyra (Anne E. Curry), wife of the group's leader, and her son Delph (Robert Lane). The two of them live in mortal fear of satyr Pangor (David S. Cass sr), who forces them to make him moonwine, and he carries an electric whip to get what he wants and a pan flute to properly announce he's close. Buck urges Cyra and Delph to come with him, back to civilisation, but Cyra outright refuses. Eventually, Buck has a fight to the death with Pangor - and emerges victorious, but is bitten by Pangor and now turns into a satyr himself. Upon this, Cyra tells Buck the truth about Pangor, that he actually was once her husband but got turned like many of the other (adult male) settlers, and while most of the others fled the planet, she and the boy stayed behind. But now that her husband is dead she feels free to leave. Then though two other satyrs (Richard Washington, Steve 'Bunker' de France) show up and kidnap Delph, and now satyr Buck does his best to prepare Cyra's winery with explosives and lure the satyrs there, but ultimately it's Pangor - who hasn't died after all but gotten his memory back - who blows the satyrs and himself with them to Kingdom Come. And back on his mothership the Searcher Buck's turned human again while Cyra and Delph are brought back to civilisation.

Pretty much a solo adventure for Buck, this episode harks back to Glen A. Larsen's slightly earlier series Battlestar Galactica, from the search for lost tribes, to finding only a handful of them living in some kind of rendition of some more primitive era of humankind - so much so that I wouldn't at all be surprised if this was originally written for that earlier series (though I'll freely admit I have no indication whatsoever other than a gut feeling that this was actually the case, nor does it have anything to do with the point I'm trying to make). That said, taken by its own terms, The Satyr is a pretty middling adventure, one that keeps things a notch or two too scaled down to evoke any sense of wonder (and some crappy visual effects work doesn't help here either). But at least the satyr masks and especially their horses are on the creepy side, even if their pan flutes are a bit much to handle, and Buck as a satyr borders comedy. So in all, not at all terrible, but average and at times just unintentionally funny.

review © by Mike Haberfelner

 

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