It's official: the sixties ended in 1983 when "The Greatest American Hero" went off the air. At times it's not clear whether creator Stephen Cannell is skewering or celebrating the foolish idealism of the 60s. A lot of the groovy-speak and idealistic rants of the characters, usually but not always, Hinkley, is so over the top that it seems it's a satire. But the protest music from the 60s and the lessons learned at the end often point to a true belief in at least the ideal of the ideals--helping our fellow human beings--if not some of the more specific forms that those ideals often take, for instance non-violence in the face of extreme violence.
At the opposite end of the spectrum, Bill Maxwell embodies the narrower and usually less thoughtful version ideals of law and order. Maxwell's character is so grating that it's obvious Cannell doesn't think much of his personality or his tactics. But Maxwell does seem to have his heart in the right place--helping our fellow man--and his willingness to risk his life despite being without the protection of a special suit. He is presented as a slightly skewed version of our notions of justice and humanity that has always existed as a counterpoint to the naïve idealism that Hinkley represents.
What was it that brought this show into being? A reaction to the mercenary idealism of the Reagan years? Perhaps. Whatever the reason, it's interesting that Cannell trots out the naïve, goofy idealism that represented the counter-culture of a decade earlier. Perhaps it was such an iconic and easily identified (and spoofed) pattern that it was just easy pickin's. Overall the show is enjoyable but occasionally heavy-handed with the idealistic romps.
At the opposite end of the spectrum, Bill Maxwell embodies the narrower and usually less thoughtful version ideals of law and order. Maxwell's character is so grating that it's obvious Cannell doesn't think much of his personality or his tactics. But Maxwell does seem to have his heart in the right place--helping our fellow man--and his willingness to risk his life despite being without the protection of a special suit. He is presented as a slightly skewed version of our notions of justice and humanity that has always existed as a counterpoint to the naïve idealism that Hinkley represents.
What was it that brought this show into being? A reaction to the mercenary idealism of the Reagan years? Perhaps. Whatever the reason, it's interesting that Cannell trots out the naïve, goofy idealism that represented the counter-culture of a decade earlier. Perhaps it was such an iconic and easily identified (and spoofed) pattern that it was just easy pickin's. Overall the show is enjoyable but occasionally heavy-handed with the idealistic romps.