Back in the day, approximately half a century ago, a grandiose, expansive science fiction series captivated my heart. This spectacular production, boasting considerable financial resources, propelled a lunar colony far beyond Earth’s gravitational pull, leaving an indelible impression on countless young minds like mine. It was nothing short of mind-blowing!
As a die-hard film enthusiast, I can’t help but fondly remember the day in September of ’75 when Space: 1999, the priciest British series ever produced at the time, made its grand debut on our television screens. With lofty aspirations, an impressive lineup of A-list celebrities, and state-of-the-art special effects to boot, it was a real risk taken by visionaries Gerry and Sylvia Anderson.
Fast forward half a century, and this groundbreaking series continues to captivate audiences far and wide, earning the title of a true masterpiece among its passionate fanbase. Here’s to celebrating those daring pioneers who pushed the boundaries of science fiction storytelling!
During the 1960s, the duo consistently achieved success with their forward-thinking Supermarionation shows, such as Supercar, Stingray, Thunderbirds, and Captain Scarlet and the Mysterons. A £2.6 million production, filmed at Pinewood Studios and featuring husband-and-wife stars Martin Landau and Barbara Bain from Mission: Impossible, was a significant event. As Jamie, Gerry’s son, explains to TopMob, it represented everything the couple had envisioned but also potentially their greatest anxiety due to the pressure associated with it.
In that 1970 series, they yearned to depart from the realm of puppets and enter the human world. They accomplished this with the help of UFOs. Despite positive initial US ratings hinting at a second season, the production company, ITC Entertainment, decided against it. Instead, the Andersons diverted the extensive preparations for “UFO2” into a completely new venture.
According to Jamie, it seemed like everything was on the verge of collapse. However, unexpectedly, they were able to rescue it from its ashes, transforming it into something akin to Hollywood quality with their exceptional American actors. Yet, this success brings about significant pressure – pressure that strains an already fragile marriage and partnership in production.
From the chaos sprang something remarkable: the design was visually striking, the narratives captivating, and the special effects phenomenal for television in the 1970s. The gritty, high-definition space scenes, resembling those of 2001: A Space Odyssey, were no coincidence. Brian Johnson, a model-maker from that film, was now overseeing the special effects on Space: 1999, a series that had an impact on George Lucas, the creator of Star Wars.
Gerry’s objectives for Space: 1999 were broad and profound, as Jamie describes. They encompassed spectacle, philosophical pondering, investigation, and other high-minded subjects. This lofty ambition was also reflected in the series’ plot, which carried a thoughtful message about the environment and forward-thinking ideas. The story revolved around the consequences of nuclear waste being dumped on the Moon, triggering a massive explosion that sent the Moon base, inhabited by over 300 scientists, drifting into the vastness of deep space.
In each episode, a tantalizing preview known as “This episode” montage was presented at the beginning, accompanied by an engaging theme song composed by longtime Anderson composer Barry Gray. Later, Ronald D Moore adopted a similar teaser approach in Battlestar Galactica, acknowledging its origins in 1999.
As a keen enthusiast, I found the initial concept – a mandate from upper management at ITC that effectively ruled out any further Earth-bound stories for UFO2 – nothing short of remarkable, with some skeptical viewers expressing disbelief. However, in retrospect, this seemingly audacious setup turned out to be one of its most admirable strengths.
Jamie explains, “Viewed from a lunar perspective, the setting traps characters on a bleak, gray planet amidst endless emptiness. Initially, this seems restricting, but once you consider that anything could be lurking beyond, the possibilities are boundless. Leaving Earth’s gravitational forces allows writers to delve into what it truly means to be human in an ever-expanding, infinite universe. Therefore, it serves as a fantastic playground, and many have used their imagination quite effectively within it.
In the context of a show that prioritizes sparking creativity, it’s understandable that some shows might take liberties with scientific accuracy, as was the case with Space 1999. As Christopher Penfold, writer and story consultant, put it in a 2002 interview, “Space fiction stories are often seen as action-adventure. However, what we were exploring on Space 1999 was not only action-adventure, but also ‘idea exploration’.
In the first season, Penfold, one of the creators, expressed that we didn’t shy away from bold concepts. Instead, these daring ideas energized us every day and sparked immense enthusiasm within our team.
Sylvia’s 18-year-old daughter Dee found joy in visiting the set during filming, as it was a fresh change from previous series and she was now of an age to work alongside genuine actors. However, it seems her mother Sylvia and Gerry might have had mixed feelings about the shift from puppetry, given that they were accustomed to collaborating with puppets who didn’t throw tantrums or backtalk!
She notes, “My mom, indeed, thrived around people. Several actors adored her, and she worked closely with Michael Barnes as the lead casting director. Her skills in identifying and recruiting talent were exceptional, a trait that remained prominent even during her tenure at HBO for many years.
Contemplating the potential differences in Space: 1999 if ITC hadn’t required American main characters could offer intriguing insights.
Dee stated that she often stepped out of her comfort zone when choosing actors, which sometimes landed her in difficulties due to her unconventional thoughts. However, these bold moves generally paid off. She had a keen ability to spot talent and admired performers such as Albert Finney who were skilled, dedicated, and capable of delivering rich and genuine performances. If given the chance, she would have effortlessly chosen an actor like Finney for her projects.
Across twenty-four episodes, a star-studded roster of guest actors was scheduled to appear, featuring the likes of Christopher Lee, Peter Cushing, Margaret Leighton, Ian McShane, Jeremy Kemp, Joan Collins, Julian Glover, Isla Blair, Richard Johnson, and Leo McKern.
Numerous instances of production delays have been noted over the years, with many episodes running longer than expected and the pilot being delayed by several weeks. However, one specific delay was not an accident – it occurred when Roy Dotrice, who portrayed the cunning Commissioner Simmonds in two episodes, was unexpectedly invited by Eamonn Andrews to appear on This Is Your Life.
Dotrice delivered an episode of the show that fans won’t forget easily. If for any reason you haven’t watched it yet, please look away – but you should really catch up! Journalist Samira Ahmed is among its admirers. As she shared with TopMob, “the episode ‘Earthbound’ is etched in my mind.” She added, “Commissioner Simmonds’ intense pounding on the glass walls of his space ‘coffin’, realizing he hadn’t entered hibernation,” was particularly memorable.
Ahmed shares his reminiscent thoughts, stating, “Once upon a time, I would tune into Front Row on Radio 4 and Newswatch on BBC1, and I vividly recall watching it solo on Saturday mornings on LWT. It had an intriguing existential air about it that left me spellbound… There was an undeniable aura of spiritual enigma and dread surrounding its themes – explorations of ESP and otherworldly occurrences.
Ahmed expresses an additional reason why the show appealed to many when she mentions her fondness for Moonbase Alpha’s visual appeal and technology. The captivating aspects included the glistening white structures of Alpha, the distinctive color-coded sleeves on the crew’s uniforms, the practical design of their stun guns and communication devices, the well-designed yet realistic Eagle spacecraft, and the liveliness and peculiarity of the alien worlds they explored.
In this narrative, the Alphans experienced various encounters including time distortions, black holes, future versions of themselves, friendly and hostile extraterrestrials. Notable stories include:
1. Guardian of Piri – A peculiar planet captures Alpha and its very own computer in a lethal trap; production designer Keith Wilson was the star in this episode.
2. Force of Life – A technical staff member gets absorbed by an energy sphere that drains power from the lunar base.
3. The Last Sunset – This cheerful departure story depicts the Moon acquiring an atmosphere.
4. Death’s Other Dominion – This installment combines an icy planet, a comedic character reminiscent of Shakespearean fools, and Brian Blessed as an immortal doctor.
A common recommendation among many fans, including Jamie Anderson’s, is the chilling “Dragon’s Domain.” Known for its intense horror elements, this episode is particularly frightening and frequently cited. The creature featured is captivating, and the overall atmosphere is surprisingly impactful.
In Dee Anderson’s opinion, a sense of fear sells well and heightens the suspense of a storyline. This certainly applies to Space 1999, she notes. As for her personal favorite, The Testament of Arcadia held great appeal. It was intriguing as it suggested connections between life on Earth and perhaps the earliest human race. For her mother, the show wasn’t just about exploring the universe; it was about understanding humanity’s role within it. This perspective resonated deeply with Dee, making The Testament of Arcadia her preferred choice.
Space: 1999 was gaining momentum towards the end of its first season, but the heavy pressure on the producers eventually caused a split between Gerry and Sylvia. Sylvia then decided to leave the production, and Fred Freiberger, an American, took over as producer for a more action-oriented and less intellectually stimulating second season at a cost of £3.7 million. As significant modifications were made, Barry Morse’s character Victor Bergman was replaced by Maya, a shape-shifting alien portrayed by Catherine Schell.
1999 were mostly negative. One particular story that he wrote personally, featuring a planet inhabited by talking trees, he named after a town he had once passed by, calling it The Luton Rules.
Jamie agrees, saying, “Indeed, if the second season feels so distinct from the initial one in terms of characters and structure, perhaps a different title would be more fitting. How about simply calling it ‘Moonbase Alpha’? Let’s make some changes, absolutely!
Samira Ahmed believes that the first season excels in all aspects, yet she particularly enjoyed the character Maya, who she found to be similar to a female Spock with her Italian boyfriend Tony Verdeschi (portrayed by Tony Anholt). Role model indeed! Her favorite episode was “The AB Chrysalis,” as it effectively blended an ominous growing danger with the discovery of a new planet. The floating communication devices were another highlight for her, and though she now finds the transformations to be somewhat ridiculous, at the time, she was captivated by Maya’s transformation into a chlorine-breathing creature – it seemed to make some sort of sense back then.
In my perspective as a cinema enthusiast, the Andersons might not have had the show at the forefront of their concerns during that time. As Dee puts it, “It was a challenging era for both of them, but women back then could be swiftly dismissed. Unfortunately, it was Sylvia who was pushed aside despite her decades of outstanding contributions. She became like a ghost in the annals of history, erased as if she’d never been there. Many I’ve conversed with agree that once she stepped away from the series, its essence seemed to vanish.
In simpler terms, Jamie notes that due to the prevailing gender attitudes in the 1970s, it’s more likely that the male producer rather than the female one would return, given the time frame.
Could the strain in their relationship possibly have caused an unusual sense of detachment or frostiness, if you catch my drift… However, it’s quite remarkable how they maintained their composure given the circumstances and successfully delivered such a costly, prominent, stressful project.
Regardless of their distinct variations, it’s undeniable that both seasons of the series garnered a multitude of fans from across the cosmos. In 2019, Samira Ahmed took celebrity fandom to unprecedented heights by triumphing in Celebrity Mastermind’s Champion of Champions, dressed in an Alpha costume with yellow sleeves. She clinched the victory outright, scoring a perfect 10 on her chosen subject – Space: 1999, as you might expect. “Had the questions been more concise,” she humorously notes, “I would have answered even more.
As a die-hard sci-fi fan, I can’t help but marvel at how visionary that series was, set as it was 26 years ago yet still resonating strongly in the space industry. I’ve had the privilege of meeting NASA and ESA folk whose lives were transformed completely by its forward-thinking portrayal of the future. It’s a testament to the show’s enduring impact!
They were involved in missions that sent items to Mars and another that orbited the Moon. Their enthusiasm for ‘Eagle’ and expressing favorite episodes brings joy to countless others. Meeting them personally holds immense significance for me, as it reflects their impact on so many.
The show Space: 1999 often stirs thought due to its exploration of a profound question: What does it mean to be a vulnerable, limited human in an endless and possibly eternal cosmos? This inquiry about our humanity amidst the vast universe is what makes Space: 1999 intriguing. It’s no coincidence that this theme emerges consistently in live performances as well as documentaries I produce. I believe the show was intentionally designed to tackle profound philosophical questions, making it more than just entertainment.
Following her victory on Mastermind, Samira Ahmed expressed that she realized there were numerous prominent supporters – including Frank Skinner, Duncan Jones, and possibly Edgar Wright.
Renowned screenwriter John Logan, who is known for hits like “Gladiator” and “Skyfall,” has shown his enthusiasm as well and will feature in a documentary about Space: 1999 airing on ITVX. Jamie remarks, “Dad would have been thrilled by that.” It’s hard to think of many programs that have spanned such a wide range of impact, covering both science and creative endeavors.
In September last year, many fans attended the “London: 1999” celebration, where original cast members discussed what made the show so appealing. Clifton Jones (David Kano) stated that the series had some of the most innovative space writers, whose ideas were groundbreaking and fulfilled many dreams through their futuristic portrayal. Sadly, Jones passed away in June at the age of 87.
In my opinion as a movie critic, Space: 1999, a production shared with the Italian broadcaster RAI, brought a touch of Italian flair throughout its inaugural season, featuring notable Italian actors like Carla Romanelli who played Melita in Space Brain. During London: 1999, she captivated fans with her infectious excitement, expressing heartfelt gratitude towards the writers and cast for their ability to inspire dreams and create an intellectual masterpiece. At one point, she beamed with enthusiasm, “Sylvia, the writers, and everyone else involved… they sparked our imaginations. We all worked tirelessly to deliver intelligence and visions that would captivate you. It’s truly beautiful to see that you are here among us. We are honored by your presence. Thank you!
The show clearly sparked a long-lasting enthusiasm that has persisted over time. Nick Williams, head of the appreciation society Fanderson, refers to it as one of Gerry and Sylvia Anderson’s most remarkable creations. He further notes, “For me as a 12-year-old boy, it was the entry point into more mature science fiction.
Upon entering the scientific community within space, I found myself among the Alphans who were figuring out how to navigate a dangerous predicament not of their own creation. What stood out most to me was that Moonbase Alpha, the Eagles, and other equipment felt incredibly authentic. Furthermore, the characters displayed human frailties and imperfections.
It’s important to be upfront: Space: 1999 happens to be my favorite television show. For me, the series represented an ultimate form of escape, and its first season felt like a collection of stories each with its own unique tone and message. It broadened my horizons, sparking friendships, joining fan communities, encountering idols, and much more. Just like Victor Bergman toasted with a 60-year-old brandy, I can’t help but echo his sentiments: “To everything that once was.
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2025-08-26 13:08