By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on March 21, 2026)
“The atomic bomb made the prospect of future war unendurable. It has led us up those last few steps to the mountain pass; and beyond there is a different country.”
-J. Robert Oppenheimer
Well, this happened a few days ago:
Trump: "Some of this weaponry is unthinkable. You don't even want to know about it. Oh, you could end this thing in two seconds if you wanted to."
Oh…did I mention that the president made that bellicose reference to nuking Iran with the Prime Minister of Japan sitting right next to him?
This was not an anomaly. A pattern has emerged, as I noted last year:
Now, I don’t mean to be alarmist, but I recently posted this on Bluesky:
I know, I know…there is enough happening right now to keep you up nights without adding that old chestnut to the mix. That said…there must be something in the air:
As Netflix hit “Adolescence” continues to make waves and potentially inspire policy, the team behind it has turned its attention to a new impactful project – a “Threads” reboot.
Warp Films has confirmed it will be turning the BBC’s pivotal TV film into a series. For those unfamiliar, “Threads” aired on BBC Two in 1984 and depicted the devastating effects of a fictional nuclear apocalypse.
Mark Herbert, founder and chief exec of Warp, said: “Threads was, and remains, an unflinchingly honest drama that imagines the devastating effects of nuclear conflict on ordinary people. This story aligns perfectly with our ethos of telling powerful, grounded narratives that deeply connect with audiences.
“Re-imagining this classic film as a TV drama gives us a unique opportunity to explore its modern relevance.”
Emily Feller, chief creative officer and exec producer, added: “This adaptation will allow us to uncover fresh interpretations in light of today’s world. We imagine highlighting how resilience and connection can offer hope even in the most challenging of times. […]
Not much else is known about the reboot at this stage, or which, if any, original cast members might make a return.
Threads debuted on the BBC in 1984, later airing in the U.S. on TBS. Director Mick Jackson delivers an uncompromising realism that makes The Day After (the 1983 U.S. TV drama that depicted the aftermath of nuclear war on an American city) look like a Teletubbies episode. It’s a speculative narrative that takes a medium sized city (Sheffield) and depicts what would likely happen to its populace during and after a nuclear strike, in graphic detail. The message is simple and direct-nothing good comes out of a nuclear conflict. It’s a living, breathing Hell for all concerned-and anyone “lucky” enough to survive will soon wish they were dead.
There was a proliferation of Cold War nuclear paranoia films in the 80s. In addition to the aforementioned made-for-TV movies Threads and The Day After, other notable releases included the funny-scary doc Atomic Cafe (1982), the riveting made-for-TV thriller Special Bulletin (1983), and the feature films War Games (1983), One Night Stand (Australia, 1984), The Manhattan Project (1986), the animated drama When the Wind Blows (UK, 1986) and Miracle Mile (1988).
There was definitely “something in the air” in the early 80s, vis-à-vis the looming specter of global thermonuclear annihilation. The 1980 Soviet invasion of Afghanistan led to America’s withdrawal from the SALT II arms treaty (signed by President Carter and Soviet leader Leonid Brezhnev in 1979, the treaty had limited the total of both nations’ nuclear forces to 2,250 delivery vehicles). When President Reagan took office in 1981, he wasted no time ratcheting up anti-Red rhetoric and aggressive posturing toward the USSR (UK PM Margaret Thatcher added her twopence to the chiding, further fueling the unease).
1983 was a particularly dicey year on the nuclear front, beginning with Reagan’s infamous “evil empire” speech in March (he was addressing the National Association of Evangelicals). That was also the year that Reagan proposed his so-called “Star Wars” defense strategy (aka the Strategic Defense Initiative) which he envisioned as a space-based shield. Critics (and the Soviets, unsurprisingly) took the view that this would increase the threat of a nuclear war by giving the U.S. a more assured first-strike capability.
1983 also saw mobile, intermediate-range Pershing II ballistic missiles deployed by the U.S. Army at American bases in West Germany and aimed at targets in the western Soviet Union. And then there were two unnervingly close calls in the Fall of that year:
At the height of the Cold War, the Soviets designed an early-warning radar system meant to track fast-moving threats to increase the chance of reprisal. On September 26, 1983, however, the system, code-named Oko, malfunctioned. At around midnight, Oko’s alarms rang out, alerting the base of one incoming nuclear missile. The screen read, “LAUNCH,” which was not a warning, but an automatic order to prepare for retaliation.
Believing that a U.S. intercontinental ballistic missile (ICBM) was incoming, the base went into a panic. However, some officers on duty were skeptical that the United States would choose to send only one ICBM, knowing that it could not affect the Soviets’ counter-strike capability. Stanislov Petrov, an officer that helped create the code for the early-warning software, also knew that Oko was prone to error. He reset the system, but the alarms persisted.
Rather than following protocol, which entailed alerting superiors up the chain of command, Petrov awaited corroborating evidence. No evidence came, and the alarms soon stopped. Petrov’s actions, or inaction, almost certainly averted a nuclear disaster.
Just 11 days later, NATO forces in Brussels took part in a joint military exercise that simulated a response to a hypothetical Soviet nuclear attack. The exercise was code-named Able Archer 83.
The primary purpose of the exercise was to test the command-and-control procedures for NATO’s nuclear forces in the event of a global crisis. Unlike previous wargames, however, Able Archer 83 featured new elements specifically meant to confuse and disorient the Soviets.
KGB observers alerted Moscow of the unusual activity, and paranoia set in. Working off dubious intelligence that a NATO offensive against the U.S.S.R. could be cloaked under the guise of a military exercise, the Soviets began preparations for a large-scale retaliation. Then Soviet leader Yuri Andropov mobilized entire military divisions, transported nuclear weapons to their launch sites, and scrambled a fleet of bombers carrying nuclear warheads. Military command handed Andropov the nuclear briefcase, known in Russia as the “cheget.”
Lenoard Perroots, a high-ranking intelligence officer for the U.S. Air Force stationed in Europe, observed that the Soviets were responding as though the exercise was real. In what the Foreign Intelligence Advisory Board has called a “fortuitous, if ill informed” decision, Perroots did not reciprocate by raising western asset alert levels. Instead, he waited. The Soviets eventually realized that the exercise was not a surprise attack and aborted their planned response.
This was the shaky and unsettling political climate in November of 1983, which is when Testament, a modestly budgeted PBS Playhouse production, opened in theaters. The official PBS premiere wasn’t until a year later in November of 1984; the film had been so well-received in previews that Paramount Pictures gave it a theatrical release (while this has become standard practice for production/streaming studios like Amazon, Apple TV+ and Netflix, it was unusual for the time).
“They” say that history is, if anything, cyclical. As Fate would have it, not two days before the current occupant of the White House whimsically mused “Oh, you could end this thing in two seconds if you wanted to” within earshot of the prime minister of the only nation on earth to date that has experienced the horrific effects of nuclear war firsthand, Criterion has reissued Testament on Blu-ray.
Beautifully directed by Lynne Littman, Testament (with a screenplay adapted by John Sacred Young from a story by Carol Amen) takes a low key approach, but pulls no punches; I think this is what gives her film’s anti-nuke message more teeth and makes its scenario more relatable than Stanley Kramer’s similarly-framed but more sanitized and preachy 1959 drama On the Beach (or more contemporaneously, the relatively histrionic and sensationalistic 1983 TV movieThe Day After).
Jane Alexander (who received a well-deserved Best Actress nomination for her work here), her husband (William DeVane) and three kids (Roxana Zal, Ross Harris, Lukas Haas) live in sleepy Hamlin, California, where afternoon cartoons are interrupted by a news flash that nuclear explosions have occurred in New York. Then there is a flash of a different kind when nearby San Francisco (where DeVane has gone on a business trip) receives a direct strike.
There is no exposition on the political climate that precipitates the attacks; this is a wise decision, as it puts the focus on the humanistic message of the film. All of the post-nuke horrors ensue, but they are presented sans the melodrama that informs many entries in the genre. The fact that the nightmarish scenario unfolds so deliberately, and amidst such everyday suburban banality, is what makes it very difficult to shake off.
As the children (and adults) of Hamlin succumb to the inevitable scourge of radiation sickness and steadily “disappear”, like the children of the ‘fairy tale’ Hamlin, you are left haunted by the final line of the school production of “The Pied Piper” glimpsed earlier in the film… “Your children are not dead. They will return when the world deserves them.”
Criterion’s Blu-ray features a new, director-approved 4K digital restoration. The new print is gorgeous; a night and day upgrade from the 2004 Paramount DVD (which I will now happily retire). Criterion has ported over two of the extra features from the Paramount release, Testament at 20 (featuring a moving 2004 reunion of the director and principal cast) and Nuclear Thoughts (featuring nuclear science experts)
Other extras include an engaging new conversation between Sam Wasson and director Littman (she has had a fascinating career), two restored short documentaries by Littman (from 1976 and 1985), and an audio recording of Jane Alexander reading the short story “The Last Testament” (on which the film was based).
Highly recommended…watch it while you can. And don’t forget to say your prayers.
One more thing…
More 80s Cold War nostalgia- Siskel & Ebert’s Testament review:
Previous posts with related themes:
Yes, We Will All Go Together When We Go
“85 Seconds!” Said the Ticktock Man
