In the interests of completism, and possibly masochism, I decided it might be worth reading and reviewing Ben Bova’s novel The Starcrossed. This book always comes up when The Starlost is discussed because, as the title suggests, it’s based, albeit loosely, on Bova’s time as technical advisor on the series.
The novel is set at some unstated time in the relatively near future: there are rejuvenation techniques, 3D holographic televisions, and legal marijuana, although pollution and climate change are getting worse (in a near-the-knuckle satire, the city of Los Angeles has taken to dyeing the smog pretty colours and perfuming it to make it more attractive). A television company, hearing of a revolutionary new 3D production technique, decides to make use of it with a blockbuster space opera written by Ron Gabriel, a popular SF writer, which is a sort of mashup between the concept of The Starlost, and Romeo and Juliet (two lovers from feuding clans of space-faring merchants run away together, fleeing from planet to planet with their families in pursuit).
Hijinks inevitably ensue as the production is moved to Canada to save costs: the Canadian production team prove to be hopeless incompetents, a Neanderthal hockey star is cast as the male lead to improve local ratings, the scripts are sourced from a high-school writing competition (something which I’ve heard asserted about the actual Starlost, but I wonder if it isn’t something that Bova made up which bled out into popular perception). Eventually it becomes apparent that the production company is just using the production as a cover for embezzling investor funds, and it all goes, well, south. Bova does, however, give his series the happy ending that The Starlost never had, perhaps a bit of wish-fulfilment, and incidentally invents the deepfake in the process.
As a satire of 1970s TV production it’s, well, okay I guess. The portrayal of the Canadian TV industry as small-scale and incompetent seems a bit ironic in hindsight, but then, at the time of The Starlost, it was. The parade of evil Hollywood executives, profiteers, drug-addled directors, prurient censors and ageing stars is entertaining, though not terribly original, and the SF elements are fairly slight but used to good satirical effect.
It doesn’t really provide much insight into The Starlost, however, mostly reading like the author’s rant against television production more generally. Some of it’s plainly not true: For instance a scene where model designers are shown as having no understanding of design or physics, which is certainly not the case for The Starlost‘s actual model team. Although Robin Ward might not be the greatest actor in the world, he’s certainly not a belligerent thug along the lines of “Francois Dulac”, the hockey player in The Starlost, Gay Rowan isn’t an ageing star rejuvenating herself to stay current, and the series never recruited any brilliant but drug-addicted Hollywood directors. Ron Gabriel, the Harlan Ellison-alike character, rings true as an antagonistic figure, but Ellison walked out on the series much faster than his fictional equivalent did. Beyond that the Canadians of the early 1970s were small-scale operators with a lot of anti-American chauvinism, I can’t really see much of the actual production experience in it at all.
Generally, then, I’d say it’s an interesting coda, but not one which really explains much about what actually happened to turn The Starlost from a good idea into the mess it became.