![]() ![]() Happily, the once-bland Robinson family has gotten a much-needed upgrade. It never quite slips over into camp, but it's so close you can smell the s'mores. In her every interaction with another character, you can see her probing for weak spots and exploitable information. Posey's great in the role, of course - she plays the woman as a raw, exposed nerve that's learned how to conceal itself behind bland niceties and simpering grins so as to fit in. "Yes." "Sure." "Makes sense." "No, I mean, obviously." Let's just say that in some select quarters there was a great and vigorous nodding of heads. Upon learning that role of Doctor Smith would be assayed, in the new series, by Parker Posey, well. The character of Doctor Smith was vain, overdramatic ("Oh, the pain, the pain!"), selfish, self-pitying, self-aggrandizing – a campy, eminently hissable villain out of a Christmas panto, down to the clipped British accent (which was something the Bronx-born Harris sniffily affected). Looking back, it's easy to see why: The family was a bunch of white-bread squares in matchy-matchy outfits, but the doctor – played with a sublimely mincing menace by Jonathan Harris, was a revelation. Over the course of its run, the focus of the show shifted from the family to that weaselly doctor. Or maybe he got a deal on velour, who knows. They had adventures while wearing v-neck sweaters over their turtlenecks, presumably because Irwin Allen, who produced the show, imagined that the future would be a chilly place. The original Lost in Space, which ran on network television from 1965 to 1968, began as a straightforward, if high-concept, adventure show: A colony spaceship carrying a nuclear family, a dashing pilot and a sniveling doctor got stranded on a remote planet. In Netflix's new Lost in Space, young Will Robinson (Max Jenkins) faces danger.
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