Following the untimely death of old friend and former colleague Paddy Ashton (a brief, but charming and vibrant turn by Mark Lindsay Chapman), Edison (the always terrific Matt Frewer) races against time to expose the deadly process of recording and broadcasting peoples' dreams. Director Todd Holland relates the absorbing story at a constant snappy pace and ably builds a great deal of gripping tension. The shrewd and intriguing script by frequent series contributor Steve Roberts not only delivers a grim central message about how money and ratings are worth more than human life, but also gives the viewer loads of spot-on stinging commentary on theatrical films being overwhelmed by news, chat shows and game shows, communal experiences like seeing a motion picture with a mass audience becoming outmoded due to major advances in technology (in an especially brilliant touch, the dream thieves lab facility operates out of an old rundown movie theater!), and audiences being turned into demographics. Jenette Goldstein contributes a memorably ice-cold portrayal of ruthless businesswoman Bella while Jere Burns is genuinely creepy as equally vicious punk Breughal. Jeffrey Tambor as Murray is nothing short of outstanding; he has a great confrontation with Edison at the exciting climax and a lovely and touching conversation with Carter in the unexpectedly poignant final scene. Moreover, it's a treat to see William Morgan Sheppard as jolly punk rogue Blank Reg and Concetta Tomei as Reg's saucy main squeeze Blank Dominique help Edison out. Paul Goldsmith's dynamic cinematography and Chuck Wild's percolating score further add to the exceptional quality of this remarkable outing which is without a doubt one of the single most angry, biting, and confrontational shows in the history of this regrettably short-lived series.
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