http://www.bbc.co.uk/news/entertainment-arts-22079232

I remember watching the original series - yes it looks dated now but back then.....

Let's hope a remake does justice to the original.

The original Blake's 7 was cheap and pretty awful, always excepting the superb design of the Liberator and the theme tune. There was nothing much else on TV if you wanted sci-fi though. The best episode was the last one with the Sam Peckinpah ending. Genuinely surprising.

Again?

That’s been on the cards for so long now, and there have been various attempts to reboot it over the last 10 years or so that I’m going to be sceptical right up to transmission time, assuming there is one.

I absolutely loved every second of it. But then I was about 9 years old.

I was bought them on VHS a few years ago, and found I still loved them. I didn't notice the flaky sets the first time around, nor the hammy acting, but in nostalgia mode it just adds to the charm

This.

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That wasn't the ending, merely the ending before the fourth season, which is really only getting a mention honourably as it was really quite bad (and I even thought that at the time of original broadcast!).The very first episode of the show was (and in many regards still is) the best first episode of any sci-fi show.
A truly great episode.

Mark

The episode I mean is the last of Season 4 where the crew of the Liberator finally track down Blake and it all ends up a bit messy.

But, there is no Liberator in season 4.
It was that Millennium Falcon knock-off called Scorpio.
(8+\

Mark

I never really like Blake's 7.

I did.

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Me too.

Mark

Also me.

And now for a true story which brought me tantalising close to Matt Irvine.

The art & design division of the university I went to had a model making course, and that feeds into the special effects market. In my third year, there was going to be a talk given to the model makers by Matt Irvine - he of the BBC special effects team who worked on Doctor Who, Blake's Seven, possibly Star Cops, and a lot more (there were quite a few ex-BBC staff working as lecturers there - my photography tutor did do Doctor Who and Monty Python work, so I can't really grumble). There were no technicians around, as it was deemed that because I knew one end of a coaxial cable from another, I should help set up the video and TV being used.

Afterwards, I asked if I could sit in on the talk (seemed right to ask, considering I'd just got them out of a jam with the AV kit). I was told I couldn't because I was on the wrong course.

The bummer was that where I usually worked, I could see the TV screen, and, yes, the Liberator was one of the models being discussed. Arses. Double arses. Some of the model maker students asked me afterwards why I wasn't there. I told them, and they weren't impressed either.

The building we were in was an old BAE office block in Hatfield. No real lecture theatre, but the room used was part of an old drafting office suite with textured and plain glass making up the walls. It was a grim location, but the building had a proper drafting office feel to it.

Matt Irvine and his team had to work miracles on very low budgets. I read an interview with him in Starburst magazine where he complained that the only time they got an increase in the SFX budget for Doctor Who was the week Star Wars came out in the UK. Apparently they got an extra £70 or so (it might have been less) and could then afford to add a couple of laser blasts to a battle sequence.

Yes they did miracles with the tiny budgets that they had at the time.