A regression therapist wakes up in a world in which everyone can recall their past lives.


(as Richard Bugajski)


(created by),

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Episode cast overview:
Barbara Stock ...
Mary McNeal
Jim Sinclair
Judy Sinclair ...
Lorraine Gustin
Deidre Flanagan ...
Mrs. Vivencore
Lucy Filippone ...
Alan Rosenthal ...
Robin Ward ...
Narrator (voice)


A regression therapist wakes up in a world in which everyone can recall their past lives.

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Release Date:

29 October 1988 (UK)  »

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Technical Specs

Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


The title comes the song "Memory" from the musical "Cats" written by Andrew Lloyd Webber which was based on T.S. Eliot's Old Possum's Book of Practical Cats. The musical ran for decades in both New York and London. See more »

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User Reviews

To Remember, or Not to Remember
5 January 2017 | by (Washington, DC) – See all my reviews

After a career of helping clients surmount their traumas by getting them in touch with their past lives, regression therapist Mary McLean (Barbara Stock) steps into a world where EVERYONE knows their past lives. When she can't recall her own past lives, she is kidnapped and drugged by some shadowy figures, who try to find out why she's the only person not subjected to the hell of those memories.

"Memories" plays like one of those "Twilight Zone" episodes that probably sounded fantastic in theory, but really comes off as something of a mess in execution. Part of the problem is that Bob Underwood's script seems really pleased with its idea of inverting the standard notion of releasing past traumas, without grasping the implications of its key plot twist -- i.e., Mary finds a new purpose helping folks repress those past memories, which are apparently more traumatic. Rather than address the downsides of both approaches (or at least, make some dramatic irony out of a society that would want to repress memories), Underwood's script simply dives into the notion that repression is always a good thing, with no apparent awareness of the potential consequences. As such, instead of playing as a satire of faddish psychological theories (from both extremes), it plays instead as an exercise in the author's blind faith in a quick fix.

Stock does what she can with what little she's given to do. Her disorientation during the initial interview comes off as genuine, and her character's compassion for her clients is real enough. Unfortunately, this believability is ill served by a story that doesn't seem to know where it wants to go, much less believe in the destination.

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