Space:1999 Y1 Ep4: Ring Around The Moon

Barbara Bain looks good even inside of this spacesuit. Love those lips!

You know it! It's FAB FRIDAY Alphans with our ongoing look inside the world of Gerry & Sylvia Anderson!
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Speaking of looks, Space:1999 was clearly the fortunate recipient of its own unique look and feel. The deeper I delve into the world of Space:1999 the more I appreciate it the science fiction series for the special one it is. It has been an enlightening experience revisiting this maligned Anderson universe. While it has not been wholly successful in delivering its stories or concepts thus far, it does one thing exceptionally well. It creates an atmosphere, a universe, a reality that is uniquely Space:1999 and there is nothing like it out there. It's disheartening to know just how poorly the series has fared in the hands of critics that should by all accounts be sensible enough to experience this Gerry Anderson world for what it is. This is a tale about space survival and no one has presented the science fiction possibilities with quite the same thoughtful intangibles and darkness for television as far as I see it. Quite frankly, I'm not sure a series like this could fly today. In my brief return to Space:1999 the evidence points to a sorely misunderstood sci-fi classic that shoots for epic with moments of the intimate.
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Moonbase Alpha is struck by an alien attack. A maintenance man is possessed by an alien intelligence and begins to access Computer [again, with a capital 'C']. Computer is to Space:1999 what Robot was to space family Robinson in Lost In Space. Computer has an important role within Space:1999 like the computer played a part in Star Trek: The Original Series. Unlike the latter, which often presented answers, Space:1999's Computer is often as ignorant as its cast of Alphans sometimes to the point of useless. The Alphans often assess their level of uncertainty regarding a given a set of variable unknowns against their Computer. Computer gives Commander John Koenig and company reason to question their dependence on technical resolutions. David Kano, Computer's greatest advocate and defender, makes an attempt to stop the man, but he is lifted off his feet and thrown clear across the room. That can't be good, because Kano is clearly not a small man by any stretch. Paul Morrow takes a shot at the alien-influenced Alphan. The man's strength is unleashed and he appears virtually unstoppable. Koenig intervenes, but is choked until Dr. Helena Russell comes to his aid. The man is immovable and unfazed by Russell's intervention. The man feverishly types away on the red and white buttons of Computer. Suddenly Ted Clifford, the man's apparent name, mutters "Help Me" and falls to his knees. I believe Ted may be dead.

Moonbase Alpha as well as the Moon are enveloped in a yellow haze of light from a nearby alien planet. Before Ted's unfortunate departure he managed to assist the aliens. The unknown contact is now locked onto the Moon. The Alphans are prisoners within the yellow sphere and held hostage by the planet Triton. An alien's voice transmits over the base informing them of their situation. Get set for another strange adventure with Space: 1999, Season One, Episode 4, Ring Around The Moon.

Ted is carted away under a blue sheet. Ted is definitely dead. Sandra Benes asks Koenig why they have yet to be destroyed. He turns to her speechless. He turns and walks away from Benes' fairly unanswerable question. Koenig wants to know how Ted died. Dr. Russell says "that might not be possible." Koenig demands "make it possible." He wants to know what they are facing. Answers are in short supply on Space:1999. They are a rare commodity.
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Computer has no data on Triton. Poor Computer. It is often behind the eight ball on matters of survival for those on Moonbase Alpha. Professor Victor Bergman suspects they are being analyzed from afar. That's a fair deduction by Bergman. I think it's especially fair given the planet above them appears to have a striking similarity to that of a giant, brainy eyeball. Yes, being watched is a possibility.
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Dr. Russell reports her findings to John. Ted had an orange light pulsating at the base of his brain. [The orange light is a low budget special effect that is used extensively throughout the installment]. There was little brain tissue to examine. Most of the tissue apparently melted. Oh, lovely. The cerebrum was three times larger. His brain was high functioning at nearly 1,000 times its normal speed. Ted Clifford was essentially functioning like a computer. Between the moments of conversation we are treated to a series of red and blue lights, some funky sounds and some grainy stock footage of the characters' conversations indicating that, yes, they are indeed being watched.
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Koenig orders Alan Carter to take a closer look at this alien entity via an Eagle. Carter is less than jazzed about the idea and calls Koenig's command decision the wrong move. I'm beginning to get the sense that either Carter has a touch of the rebel in him or an understandably natural motivation for self-preservation. I can relate to his honesty. Koenig reconfirms the command and Carter submits to the request. Eagle Three lifts off. Before long Carter is caught up in a tractor beam. Damn those tractor beams! They are a bitch! Carter and his partner are knocked unconscious and twirl out of control. The Eagle is on a crash course back to the moon. I must admit it was somewhat miraculous that Eagle Three crashed down as smooth as it did, based upon its uncontrollable spinning motion. It probably should have exploded on impact. Not to mention, the pilots were fairly still inside the cockpit for a ship raging out of control. It's all something of a miracle. Still, I was always a sucker for a good Eagle crash! I love crashing, launching and landing Eagles. Paul indicates there is no way to get to Carter. Koenig tells Paul they will walk to get to him if they have to do so. This is the Koenig we know and love. He looks out for his Alphans.
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The team heads out to rescue Carter and his partner, for all intents and purposes, the Space:1999 equivalent to the red shirt from Star Trek. Now, The One To Be Pitied happens to be in the room for one of the most hilarious moments. The rescue team begins walking in slow motion to the crash site accompanied by the sounds of retro 70s Space:1999 music. It's like CHiPs meets the world of science fiction. Hysterical. Of course, The One To Pitied has to pipe in and call it science fiction porn. "What is this science fiction porn?" She is something. It is an amusing moment, but an exception to the rule.
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The compositions of Barry Gray throughout the series are typically solid. They are often minimalist in style allowing loads of space between sounds and generating a classic mood that is unique to the series. His input regarding the legacy of Space:1999 cannot be overstated. There are many episodes where his contributions make for a creepy, frightening, unpredictable science fiction experience. There is often a striking perfection to the fusion of the orchestral and the electronic. The scores are often far more successful than not. The Space:1999 Year 1 soundtrack is a worthy addition to your science fiction music library. It belongs next to the soundtracks of John Williams' Lost In Space: 40th Anniversary Edition, Mark Snow's The X-Files, Joel Goldsmith's variations on Stargate to name a few. These should be on display with a light shining down upon them from the heavens.

You have to love the Space:1999 space suits. Orange suits with mustard-yellow helmets scream fashion. Honest, I love them.Dr. Bob Mathias reports that Carter is still alive, but his partner is dead based on the data sent back to Moonbase Alpha. I told you Carter's partner was the proverbial red shirt. Let's face it, red shirts are an important component to solid science fiction. Paul reports to Koenig, currently moonwalking to the crash site, that they are picking up a potential missile attack on scanners. Koenig insists that his group of five team members will press forward to the crash site. Suddenly, out of the dark, the Triton planet appears cast with its orange glow. "Take cover" hollers John through his space suit communications. Dr. Russell is caught within the planet's paralyzing grip of orange light. In a flash, in what amount to some fairly bad editing, Helena disappears. It is a bizarre little piece of editing. Again, these are minor complaints and rare.
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Helena reappears in a golden robe on Triton. She is informed to be unafraid by a detached alien voice. The rest of the team is returned safely to Moonbase Alpha. John is informed by Bergman that Helena has been abducted by the aliens. It is becoming more and more evident that Moonbase Alpha is really a sitting duck to alien attacks. They are like little playtoys for alien amusement. This lack of protection or exposure to foreign or external influence would be remedied somewhat in Year Two when the Alphans go underground. It won't change the fact that the Alphans will contend with a number of alien factors each installment. The Alphans question why Russell was abducted and why Ted Clifford was killed? Why? Why? Why? There are always questions on Space:1999. While not entirely successful in execution at times, Space:1999 is a cerebral show and requires one to think about the possibilities. This is one of the many strengths of the series.
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The raspy voice talks to Dr. Russell. They inform her that all has been, is and will be recorded by them. Dr. Russell is a kind of servant, but again why?

Carter snaps back to consciousness in the Medical Unit. Koenig attempts to get answers. Carter is a little confused by the events that have transpired. Carter asks for Donovan, his former partner. Koenig shakes his head and Carter understands he didn't make it.
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Bergman reports to Koenig that the anti-gravity screen will create a force field that will allow them to pass through a kind of corridor to land on Triton. A rescue mission is clearly in the works to get Koenig's future lover Helena back to Moonbase Alpha.
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Koenig boards the Eagle and thinks he is piloting with Parks until he turns and finds Carter is sitting beside him. They lift off to Triton. So far, there is a kind of ambiguous, indefinable quality about Space: 1999. The aliens, the freak encounters, the conflicts are all of a very intangible nature. They are hard to get your hands around and make sense of, which is precisely what the creators were going for I imagine. This series is utilized as a vehicle for a kind of classic, hardcore science fiction. The often indefinable enemies are also hard to hate since they are difficult to understand and identify. My point being the enemy is often vague or unclear often leaving the monsters inside of us as our greatest challenge. The external alien influence affects the human behavior in play and often in question on Space:1999. The conflicts in these four episodes have been limited and therefore the dramatic tension has also been limited thus far. There has yet to be a truly distinct, identifiable enemy to really bounce off, but I do recall some episodes from the series being particularly impressive. I have yet to reach those. The stark science fiction style of the series is impressive, but it has yet to be truly exciting. One things Star Trek: The Original Series did well was walk the fine line of ideas and action. Space: 1999 has yet to pull it off in this way, but I recall it having its fair share of strong entries in just two seasons. Still, this is a different kind of science fiction from the world of Star Trek and a bit like comparing apples and oranges. I admire its scope, its reach, its austere appeal to the mind. Its a heady mix of science fiction that won't necessarily hit the Eagle landing pad on every ocassion. It will be interesting to see where this series goes moving forward. The night is young.
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Simple, effective, but not exactly one of the best moments in the Space:1999 visual effects oeuvre.

The Eagle approaches Triton with a full-on, anti-gravity shield active. The tractor beam attempts to connect with the Eagle, but is deflected as planned. Koenig and Bergman's genius works. "We're getting through."
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The extraterrestrial force reverses the forcefield and the Eagle is heading faster and faster toward Triton. In one of the more exciting moments in this entry Carter and Koenig attempt to switch from manual to automatic to slow things down. Carter passes out, but Koenig manages to hold on and disengage before passing out.
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Paul remotes into Eagle One and brings the ship back home. Back at Moonbase Alpha, Paul and Sandra note an orange light also arrives. It is Dr. Russell. She's checked out and she says she feels fine. Granted, she stood at the doorway like bizarro Helena when she first arrived. She's as right as rain or is she? She's not seeing things quite right [two pens instead of four as an example]. Mathias says a scan of her eyes indicates she is blind. Space:1999 bio scans and charts are classic. You will grow to love them.
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Russell indicates to Koenig she has only spoken to a voice. Again, this is without a physical, tangible body. Space: 1999 enjoys tackling the philosophical and universal questions. It is definitely a show that works off the human condition and the Alphan's personal trials in the face of otherworldly challenges and adversity.
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Without warning a flash of orange light appears upon Helena's face. It will hopefully be one of the least impressive visual effects, because it is an unimpressive effect. Russell activates like a mole agent for the aliens and goes into a zombie-like trance. Koenig throws paper at her, but it hits a kind of force field and ignites into flames upon impact around her. She disappears. Moonbase Alpha goes on red alert. Space:1999 has a very subtle, low key, unobtrusive red alert sound effect. I like it. It suits the space age feel of the show. It certainly isn't as potent as the red alert sound effect found on Star Trek: The Original Series.
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Personnel across the base are instructed not to impede or approach Dr. Russell. Koenig is hot on her tail. She teleports around the base with instantaneous movement. All it takes is but a thought. I wonder if her brain is melting too. Russell begins pressing buttons like our late friend Ted Clifford did. You'll recall Ted is dead. This can't bode well for Russell. Bergman realizes Computer isn't the one transmitting data, but rather Helena who is responsible for feeding the enemy the information. Koenig looks on somewhat helplessly. Damn, what would you do in this situation? These aliens have powers you've never seen. You really are a pawn and have very little control over the outcome. Russell is certainly no red shirt and no one wants to see her die at the hands of a rash Koenig decision. The out-of-character Koenig is particularly notable in Space:1999, Year One, Episode 2, Matter Of Life And Death. Judging by the title, it wasn't a good time for rash.
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Koenig and Bergman analyze their faceless adversary.




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Victor Bergman is such an infinitely lovable character.

Mathias notes Russell's ball of light is stronger and more alive than dead, old Ted. Bergman realizes Russell is the alien's link to Moonbase Alpha. The reason for the martian success is they were able to implant it on Helena carefully and properly. Ted is dead because they did a remote into his body. That attempt failed resulting in Ted's unfortunate demise. So, through Helena, the aliens are connected to Moonbase Alpha Computer. Computer can be such an opportunistic hussy. Bergman wants to know what it is the alien force wants from them. Koenig believes they may not be aware that Triton no longer exists. Bergman indicates Triton is no longer and this alien intelligence may not be aware of this. Koenig feels he needs to convince the enemy that their mission is obsolete. Bergman, in his detached scientific wisdom, indicates they have selected Helena to help them and she is the alien's weakest link. Bergman and Koenig feel they must break the connection of this outer intelligence.
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Koenig informs Helena of the situation and what's at stake. She realizes she is activated at random and that it is a highly unstable variable. The bottom line: this alien species simply doesn't realize their planet no longer exists. That's not too bright for smart aliens capable of remoting into humans [albeit unsuccessfully] right?
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Dr. Russell is reactivated. Koenig and Carter make way for the alien sphere via Eagle. Koenig enters the sphere with the corridor to the alien intel open. Russell faints. Moonbase Alpha loses contact with Koenig and Carter. It is dark inside the sphere. The Eagle sets down. How would you know where to set down or if you could? Now Moonbase Alpha plans to transmit what they want to transmit to the alien intelligence. Armed with weapons, Koenig and company move into the darkness.
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As Koenig motions through the darkness, it's like watching a bit of a science fiction non-event. It is a bit of a snooze, a true yawner. This is boring stuff to be honest and this is a great example of a good Space:1999 idea going terribly wrong in execution. Power is restored on Moonbase Alpha. Russell is reactivated, but has now been sabotaged by the good guys. Are you still with me?
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I love Space:1999's technology and Computer systems. They still look terrific as science fiction goes.

In the sphere a yellow light takes Koenig's men. John can see Helena on the video screen punching away on those buttons. There's some terrific button-pushing on Space:1999. Koenig is greeted by the disembodied voice. Koenig makes it clear the humans are no threat. "Time is an illusion Commander Koenig." The alien indicates they are preparing a defense should the Earthlings make an attempt to make contact. Koenig scoffs at the idea as Earth is 2 million miles away. Koenig tells the aliens he can prove their planet no longer exists. A series of slides appear on the wall. They are informed that a sun [star] exploded in their system and Triton was destroyed right along with it. The alien voice begins to overload and explode. The men rush back to Eagle One to escape as things are exploding all over the place. Huh? This is simply not a good story.
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Meanhwile, Dr. Russell appears fine. Why didn't her brain melt? Why didn't she suffer irreparable brain damage? I imagine because she is one of the stars of the show and it's in her contract that death is not an option.
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At the end, Bergman waxes philosophically about Triton. Here is the final thought of the entry.


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Sorry foks, sad to report this tale just doesn't cut the mustard. The story was just too damn obtuse for its own good. Truth be told, I was either very tired or this entry was putting me to sleep. By evening's end in the last twenty minutes of the episode I was teetering on the dark abyss of sleep. Now, typically the last twenty minutes of an episode should be wrapping things up, generating some excitement, suspense, answers to something and generally pulling out all the stops- not here. There was nothing to be found out there in the vastness of space this time out. No really tasty aliens to sink our teeth into, but then, that's not the point. If Space:1999 teaches us anything, sometimes the greatest monsters are within ourselves. It is the fight for survival and the choices we make that are at the forefront here whether influenced by aliens or forces beyond our comprehension or not. There was a good deal of mind [bleep]ing going on in this particular entry. I like it when it's done right, but don't yank my chain. This is one head trip I could have gone without. I hate to end it this way, as it doesn't exactly inspire folks who haven't seen the show to investigate it. Yet, this is not a proper representative of the series. Trust me, Space:1999 is better than this.

The Philosophy of Space:1999: Bergman: "Perhaps knowledge isn't the answer after all." Koenig: "Than what is?"
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Ring Around The Moon: C-

Writer: Edward DiLorenzo

Director: Ray Austin

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Director Footnote: Ray Austin [1932-present]. Austin directed nine episodes of Space:1999. This was his first. Austin was a former stunt man and stunt coordinator known for a physical style of direction he would bring to American television directing episodes of Airwolf [1984], Magnum P.I. [1980-1988] and a lost favorite of mine Tales Of The Gold Monkey [1982]. Austin declared in Starlog #70, "I think the show was better the first year. We had a great deal of production value in that show; no money was spared on sets. I was very surprised when we were cancelled. UFO never seemed real to me. It was theatrical as opposed to 1999, which seemed more realistic."

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Moonbase Uniforms: Designed by Rudi Gernreich [1922-1985]. Austrian born. Gernreich migrated to the USA and became a fashion designer and gay activist. His designs were at times controversial. He is notable for his swimwear ideas including the modern thong. This may have been too much information. His unique Space:1999 uniforms still look amazing today. He designed the unisex uniforms worn by all personnel on Moonbase Alpha and was a fan of the unisex style. Color-coded uniforms on Space:1999 were as follows: Command [Charcoal], Main Mission/ Command Center [Flame Red], Technical [Rust], Service [Yellow], Reconnaissance [Yellow], Medical [White] and Security [Purple].

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The following thoughts are in addition to my initial commentary as a result of the analysis by John Kenneth Muir extracted from Exploring Space:1999. His book has inspired further scrutiny following my own viewing of each Space:1999 installment. It's always interesting to read Muir's take on each episode after I've fully embraced and digested a given episode. It would appear we are very much on the same plane for this one. He officially dubs this entry "the weakest episode of Series One." Since I didn't care for it much either, that's great news. Some of the images as depicted in the shots presented above really look great, but nothing ever happens in this episode. It's a bit like watching the grass grow. He calls the script "extremely flat," and the story "needlessly repetitive."
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He points to this episode, like the previous two, albeit more problematic, as being adorned with several plot holes. One such problem is Bergman's knowledge being greater than that of Computer. Bergman knows of Triton, while Computer does not. Great point. He pokes fun of the charts as "inaccurate" and "silly." I must admit, as I mentioned, they are funny, but I do like them. Muir points to the endless charts and maps as fairly anti-thetical to the premise of Space:1999's adventure into the unknown vastness of space. In other words, why do these people know so much? Ring Around The Moon is fairly contrary to that premise. If Year One, Episode 2, Matter Of Life And Death presented Koenig's character in a light contrary to his normal command decisions as presented throughout Year One, Ring Around The Moon is contrary to the Alphans' understanding of the universe as normally presented. Could the uneven start be the result of creators, writers and producers not having a firm handle on the characters and concepts early on? "The entire premise of Space:1999 is that man is unexpectedly plunged on a voyage of discovery into a realm beyond his understanding." This is the thing I love about Muir's book. He has a rock solid command over the Gerry Anderson series. He unabashedly points to its strengths and weaknesses and he backs nearly every statement with sound reasoning, fact or example. Some of the criticism may appear harsh, but it's always fair, backed up and comes by way of a writer who clearly has great respect for the material and loves what was accomplished on Space:1999.

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Great buttons and button pushers on Space:1999.

He does point to some additional character development that was worked into the "tedious" proceedings. Perhaps, but the entry was so difficult to watch, as I mentioned earlier, I actually began dozing off at one point. That's not a good thing, especially because I needed to replay what I missed, in essence, watching it again. Good grief. The episode was so poorly scripted I was unable to get passed it. The character moments just weren't as successful for me as a result. They couldn't lift the episode as they did for me in Year One, Episode 3, Black Sun. Ring Around The Moon is a disappointing step back. Perhaps too much button pushing.

Muir points to a similarity in concept to Star Trek: The Motion Picture, an equally painful film often referred to as Star Trek: The Motionless Picture and that should tell you something. Remember, it's just one episode and they can't all be perfect. There isn't a series in the universe that's ever done it.

Star Wars Episode III: Revenge Of The Sith: Best & Worst Moment

As someone eternally loyal to the original Star Wars trilogy it's hard for me to be a great defender of the George Lucas prequel trilogy, which, of course, was a technical achievement more than a success of character or acting.

I can point to moments along the way that I enjoyed in the prequel films. Star Wars Episode 1: The Phantom Menace was truly awful and I really don't have much to say about that film. I know many of the olders out there feel the same way. Anakin was atrocious. Jar Jar Binks worse than atrocious and a terrible CGI creation in the name of George Lucas merchandising. I'd have to say Liam Neeson and Ewan McGregor are the best things about the Episode 1 prequel. On the whole it's a pretty vacuous film about "Ani" and the disjointed, uneven storytelling cannot be saved by two seasoned actors. Seriously, even Naboo is really boring. The Boy Wonder doesn't quite appreciate these finer details.
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Star Wars Episode II: Attack Of The Clones was a huge improvement, but that didn't take a lot. You could have sneezed into a tissue and held it open to the audience and it would have been better. Gross I know. I loved the Jango/ Obi Wan smackdown and the Slave I asteroid chase, but even then it felt different than the original trilogy films. Could it have been a case of too much Slave I? Was it too clean and perfect? The original Boba Fett vessel was like a harbinger of evil to come. I suppose there's never enough Slave I, but it still wasn't the original trilogy. Did Boba give it a paint job along the way? I never did get that, but I haven't paid close attention to the mythology since the original trilogy. I do love the Clone Wars precursor battle at the end in the arena with all of the Republic Gunships and the massive jedi and clone force. Battle don't get much better. Yoda's lightsaber duel with Count Dooku was good. Admittedly, I was never a huge fan of Christopher Lee and the whole Dooku character. Pasting the old timer's face on a younger man's body is hard to buy. I needed someone a tad younger. I wasn't a fan of Darth Maul either. It was like George Lucas was trying way too hard. Dooku wasn't much better going to the opposite, more ordinary extreme. Of course, Episode II had all of those love story interruptions ...Ugh! I know Lucas was trying to tell his love story portion of Star Wars, but the acting was anemic or wooden or however you want to categorize it. Natalie Portman and Hayden Christensen had little chemistry. It was hard to watch. It was especially hard to watch them frolic in the fields on those large round alien creatures. It was silly. It was just plain atrocious. Then it was back to the Jango fight. It was such a jarring, strange juxtaposition throughout the film and I'm not opposed to love stories [District 9 anyone?].

Star Wars Episode III: Revenge Of The Sith was good. I think I like it best as a whole. We're almost at the point with this film where George Lucas is close to making a decent Star Wars movie, but that won't happen entirely until Episode IV. You'll have to go back in time for that one. I suppose I'm not demonstrating a great deal of mercy here. I like the Wookie battle on Kashyyyk and some of the heavy equipment and clone gear in that sequence. The coloring looks terrific and it was by far the most interesting location of the three films- odd that it looks closest to Earth. But like everything else in this film it's far too brief. We hardly get to see any of the cool stuff for more than a few seconds. Lucas tried to cram way too much into his epic tale at the expense of the audience. Older fans wanted to sit back and absorb some of these places and take in the details, but just don't blink. It's understandable the modern day video gamers didn't see the problems as much as the raised and reared Atari folk.
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This leads me to the original purpose for this post. I love the various jedi and the races who populate the order, but they are struck down with Order 66 like a group of rag dolls and it was just so mishandled in my opinion it took alot of jedi credibility away for me from the film. Many of them are blindsided and killed from behind and that was just unbelievable, but potentially debateable for me. The biggest crime is committed when the four jedi confront Chancellor Palpatine and they get their asses handed to them in seconds. It was a travesty of justice in more ways than one felt like a betrayal to the Star Wars mythology. No excuse in the world could ever prepare you for the jedi being struck down like four random, nameless, rabble of battle droid. By the way, are the battle droids good for anything? They don't seem to be of any value with the exception of Jedi debris removal and target practice. George Lucas really messed up by attempting to compress his story. It was far too convenient to just wipe the floor with the jedi to move his story forward. No way in a million years would Kit Fisto, Saesee Tiin, Eeth Koth and Mace Windu allow that Sith lord to beat them. In fact, three of the aforementioned jedi are killed in exactly 8 seconds flat [I timed it with a watch]. From the moment Palapatine goes nuclear the deal is done in 8 seconds. HUH?! It wouldn't happen. Four against one. I'm not buying it. Lucas screwed the pooch on this one.


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What I did love about the third and final prequel film was one of the most genuinely touching, human moments in the entire trilogy for me. I was moved by Ewan McGregor in this scene and when it happened I realized what I had missed most about Star Wars, character and investment in those characters. This for me was the greatest moment of the third installment and possibly the prequel trilogy. Granted without the other two films would it have had the same impact?




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Man, that scene choked me up. I'm a softy. All in all the bloated Star Wars prequel films were tedious and just weighted down by a lot of technical talk and political mumbo jumbo. The prequel films were simply disappointing on so many levels. The original Star Wars trilogy is the must see trilogy when Anakin [Darth Vader] and Obi-Wan meet again. Star Wars Episode IV: A New Hope would see the Obi-Wan/ Darth Vader duel to the death or as The Boy Wonder put it to me, "it's like old man fighting." Ouch! He is harsh. That's okay. I can handle it. And he does love the originals actually, despite the nursing home battle.

Body Horror: Lobster Man!

Deep in a quiet, wooded area, a man works alone with only the companionship of his small Scottish Terrier. He begins his creation. Suddenly, without warning, a explosive incident occurs- a toxic cocktail of cognac, sherry, lobster shells and olive oil results in a massive blast! Without expectation mild, mannered man known simply as Sci-Fi Fanatic begins to transform into... LOBSTER MAN!

Ha! I'm totally whacked today. I was trying my hand, well both hands actually at Ina Garten's Shrimp Bisque. I thought what the heck I'll give it a go. I stuck religiously to the recipe apart from the shrimp. I didn't have any, so I substituted the shrimp with lobster. It seemed like a good idea and it was. The end result was a lobster bisque to die for. It was my first shot at it and the end result was delectable. Unfortunately, the undesired outcome was my transformation into... LOBSTER MAN!
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Honestly, I was totally goofing. I had my hands in the sink and I was cracking the lobster claws when I came across a HONKIN' big claw and I placed it inside my sweater's arm sleeve and turned to The One To Be Pitied who was sitting behind me and I said, "Help me, I'm chhhannnnging." She burst out with a laugh and even went so far as to volunteer taking a photo for the Musings page. I think she's coming around to the fanatic brothers and sisters. So, this entry is definitely her idea. I just tagged on a bit of goofy humor.
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It seemed a fitting idea since we had been talking a bit about the concept of the metamorphosis lately from Neil Blomkamp's District 9 and David Cronenberg's The Fly to Tom Baker's Doctor Who in The Ark In Space [my lobster claw is better than the sprayed green bubblewrap] and John Carpenter's The Thing. LOBSTER MAN is a sweet homage to my man Wikus van de Merwe from District 9. I know you are out there brother and I will find you my friend. I will find you if it's the last thing LOBSTER MAN ever does! You are not alone.

Maisie Is A Dog Lover, She Lives By A Code

As I puttered about the kitchen making coffee and generally enjoying the sweet aroma, the Boy Wonder had Star Trek: Enterprise on the screen. It was in HD and looked real good too. I'm dying to watch so many science fiction series and Enterprise is no exception. I wanted to drop everything and start.

Anyway, the episode was Enterprise, Season One, Episode 25, Two Days Two Nights. Captain Archer and his dog Orthos head down for a little R&R with a few colleagues to the resort planet of Risa. We'll worry about the full review for another day. Anyway, Archer's dog starts barking. My dog, Maisie, immediately bolts to the television in attention whimpering with excitement. Within minutes there were three dogs barking, two on the screen and mine. At first I thought she loved Star Trek, but I'm a fairly quick fellow and realized she's a dog girl. She loves dogs. She loves them all shapes and sizes and is happy to join the fun wherever they may be. There are dogs like this and there are others that wouldn't budge if the house is on fire. Maisie is a gamer. She wants to be in the mix.
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I tried getting a snap of her watching Star Trek before the scene ended, but alas it was not to be. Don't you hate that? You have moments where these variables all add up to the perfect photo opportunity and when you get the camera the moment is over. ARGH! I hate when that happens. But, let it be a lesson, enjoy those moments lest you miss them while trying to get the camera.
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This photo was captured earlier while she watched a Best In Show dog show. What's impressive is that Maisie will take to the TV whether a dog is talking or silent, because the dogs in this show are so well mannered they don't say a peep, but she still knew they were there when she saw them.
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She loves shows with dogs. Though, she is a bit of a Dexter fan too.

Thunderbirds S1 Ep3: City Of Fire

I'm not quite sure about the scaling of those figures and hoverbikes against The Mole. Questionable, but thank you Gerry Anderson for your incredible worlds.

It's FAB Tab Gerry & Sylvia Anderson Friday Folks!
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That's one heck of a skyscraper. Sky Of Fire may be more like it.

We go straight from the frying pan that was the Pit of PERIL into the fire in City Of FIRE! How can you not have an absolute blast with the titles awarded to each episode of Thunderbirds. Someone was definitely sitting around that table determining the cataclysmic word of the week. You'll find there is a significant pattern when it comes the use of descriptive words of absolute and utter disaster. Terror, destruction, attack, death [you know how I feel about that] and disaster itself. There is no breathing room for the boys to men of International Rescue. So it's time to save the world once again [or at least a city]. There's no time to waste. Welcome to Thunderbirds, Series One, Episode 3, City Of Fire. 5-4-3-2-1, Thunderbirds Are Go!

Thunderbirds is all about the disaster of the week and this installment is no exception. This entry in particular reminds me of The Towering Inferno [1974] [produced and partially directed by Irwin Allen, the man behind Lost In Space]. Yet, this Thunderbirds concept, despite the puppets, clearly predates the live action The Towering Inferno by nearly a decade.

A helijet crew reports on the newly completed Thompson Tower. The initial shot of the tower indicates it shoots straight above the clouds. It is a giant store, "a self-contained city," and every commercial item in the world can be obtained within the building. It has 350 floors. A person could live a whole year in just one of the rooms in the tower. Really? How much is rent? It is 2 miles deep and .5 miles wide. The sub-basement has room for ten thousand cars. A monorail, 4 miles long, runs through it linking the parking to the building. I'm not entirely convinced of the math on that. Anyway, the point is this is a true feat of engineering excellence.
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Forget the tower, is there room on Tracy Island? What a paradise.

Meanwhile, over at Tracy Island, Brains is working on a new experimental gas mixture with Jeff Tracy and Tin Tin in tow capable of melting metal. The boys are testing it on some steel. Brains is uncertain of the effects the gas will have on its operators. So, if the Tracy boys keel over and die it's 'oh well, it was worth learning more about it.' Okay. I mean gee whiz do you have a few hamsters handy first? I suspect it will be employed on the city of FIRE! Brains is optimistic as it begins penetrating the metal. Unfortunately Brain's mixture begins influencing the boys. Virgil is the first to be adversely affected. Just the same, Scott and Virgil are happy blasting away at the metal with their gas torches. Virgil's blood pressure drops and down he goes in a heap of puppet wood. Watch those flames puppet boy. Scott drops next and the boys are dangerously close to becoming a kindling fire of minute puppet proportions.

Jeff inquires with Brains on the status of his boys. Don't let that studder fool you, Brains is brilliant. The reason cited by creators in Chris Bentley's The Complete Book Of Classic Thunderbirds has something to do with Brain's intellect moving more rapidly than his physical ability to put a thought into words. There are great many reasons for stuttering or stammering so it's certainly plausible.

Virgil and Scott are alright. The kids are alright! Brains needs to get back to work. Scott welcomes a chance to get back to work with Tin Tin. She's a cutie as puppets go. I suspect she's in hot demand with female puppets in short supply on Tracy Island.
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Note the driver appears to be thrown clear of the vehicle.

Elsewhere, a family enters Thompson Tower for a little shopping. A few short minutes later, an old biddy enters the tower who can't drive if her life depended on it, and it does. Unfortunately her husband is with her. She drives straight through the ticket booth at top speed and into a group of cars in the garage. A large explosion occurs. There's an odd moment from the editing department here. In the crash sequence both the husband and wife are clearly thrown from the vehicle and should be dead. There's no question about it. These people would have been toast. Instead the next framed close-up has the couple in the car engulfed by flames and in a hurry to escape. Seconds later a number of explosions result and the garage becomes a blazing inferno. Inside the building, the family, a husband, wife and child, smell smoke caused by this negligent female driver. Minutes earlier, the patriarch of the family had passed her on the road calling her a menace to society. He didn't know the half of it until now. How right he was.
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Nearby in a security tower, alarms indicate there is a problem inside Thompson Tower. Sprinklers are not responding in the sub-basement. Security personnel shut down all corridors in the garage to seal off the fire. The men are clearly doing their best to C.T.A. [Cover Their Asses] and placing less emphasis on genuine safety. It's "vital not to scare anyone." It would clearly be bad for business especially during this critical grand opening. The men are still closing off corridors. Meanwhile, the world's smartest family still can't seem to find the monorail and are still lost in the sub-basement. By the way, did anyone notice this Thompson Tower seems awful desolate for a grand opening? There's not another soul in throwing distance for the love of God. Business can't be good.
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As our clueless family is busy playing a little game of hide and seek, corridors are shutting down all over the joint and cars are exploding like popcorn just beyond their location. It may not be a city of fire or even a building of fire yet, but it is certainly a Garage Of FIRE! The Security crew can't work the vent system and flames are spreading up through the building. The plan is to send in the fire brigade to put out the flames. One security fellow is more concerned for the people's fears. How does burning to death sound? Is that a better option? Get the bleedin' toy fire trucks rolling will ya jack! For cryin' out loud man, I hate stupid puppet people! In fact, come to think of it, Thunderbirds may be about the only puppet entertainment I enjoy and fully embrace. Most puppets are scary and I don't care much for ventriloquists either. I'll take in a muppet now and again [not in my house, but on TV], but most puppets no. I can even handle muppets integrated into live action programming like Farscape or The Muppet Show. I can honestly say I have little interest in looking into Gerry Anderson's other puppet shows outside of Thunderbirds. Like Space:1999 though, I do have UFO on my radar. So, Thunderbirds is indeed a special series to me, humor aside, or you wouldn't see me within five feet of a TV puppet.
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City Of Fire or Building Of Fire?

The building is now clearly engulfed in flames thanks to the negligence of the Security crew for not acting swiftly. Yeah, they took the let's-stand-by-and-see-what-happens-with-the-fire approach. That just doesn't work. The "sea of windows" is shattering as fire and smoke begin to overtake the building. Fire apparatus is spraying water and doing its very best, but it's too late. "It's going up like match wood," proclaims the security guy. Maybe that's because the model IS actually made of match wood. Meanwhile, the poor, lost family is beginning to succumb to the early stages of smoke inhalation. The Security crew spots the trapped family standing in the hall on camera monitor [moments ago they were sitting on a couch- editing snafu]. They are trapped in B50. Security is paralyzed. They don't know what to do to help them. Thunderbirds perhaps? Just thinking.
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You wouldn't want to be diving off that diving board at the wrong time.

On Tracy Island, the boys rest and relax with a glass of wine and a paper by the pool. Tin Tin is swimming in the pool. She invites Alan in to swim with her. She totally wants Alan. Alan declines. WHAT?! You are an idiot puppet! You can't turn that smokin' hot puppet babe down brother. She wants you to swim with her in the worst way. No, no, Alan has to prepare to relieve John in Thunderbird 5. Good Lord man, use some of that God-given wood will ya!? Alan awaits his departure, while the Thompson Tower Security group reaches out for help from International Rescue. The Tracy family gets the details. "It's simple," says the caller. He explains there is a fire and three people trapped. That's about the size of it. You've royally screwed this one Security puppets.
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T5 contacts Tracy Island about Thompson Tower. Jeff Tracy reaches out to the Security tower for the situation. Um, I think that was just covered Jeff. Fire, three trapped - get moving! Thunderbird 1 go! Thunderbird 2 go! We get the standard launch procedure of the vehicles, but the routines are not given quite the same level of detail and time and thus are edited versions of the lengthier launch procedures as portrayed in Trapped In The Sky and Pit Of Peril. Perhaps the creators felt the kids didn't require all that repetition. In the tower, it's getting grave for the family. The smoke is getting thick. Things are going from bad to worse as the tower is on FIRE!
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Thunderbird 1 lands essentially roasting two police cars with its landing thrusters. No kidding.

T1 arrives and Scott informs Virgil he has killed two officers. Just kidding. Scott needs to get to the tower pronto, F.A.B., A.S.A.P. and touch base with F.A.G. Alan! Okay, enough silly stuff. Things aren't good. Virgil notifies Scott things could be tough due to "wind variation." Anyway Scott lands T1 vertically and I had to laugh a little, because as he comes in hot his fiery thrusters literally hail down upon two police cars. If anyone was alive inside those cars they wouldn't be now, because they would be charcoaled chunks of carbon.
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"She's breaking up." Security control tells all fire apparatus to abandon the area, because it is now a towering inferno, which actually would have been a more appropriate title for this entry! The fire tenders leave in their vehicles. The tower succumbs and falls to the ground in a blazing heap. Down below in the sub-basement the family struggles to hang in there. Strange, not another single soul was found to be in the tower? Oddly, once the building is down there isn't a single sign of another building, vehicle or puppet life form in the area. This is a bizarre, miniature puppet adventure.
*

Scott and Virgil discuss their only option to save the only three people in the city. I just can't let that go. You guessed it! Brain's gas! Well, not his personal methane gas, but rather his experimental gas formula. There was no passing of rear human gas during the making of this episode. The situation could have been far too combustible. Virgil does mention that small point about the gas being untested and that prolonged exposure could be fatal. It's a minor gripe, but this is International Rescue and their lives are always on the line to aid even stupid people. I've been subject to deadly, toxic gas via my Boy Wonder and let me tell you I understand Virgil's concerns. This stuff is lethal. There have been a few times I was seemingly knocking on death's door to escape that gas swamp. Listen, there is no underestimating what's at stake amidst a colorless, odorless, flammable air mass comprised of decomposing organic matter. It's nasty stuff. Scott and Virgil talk it over and Virgil admits if lives depend on it they must take the risk. Why does something tell me this will be a risk Virgil takes? We shall see. If Scott is sitting pretty behind a console I am going to reach through that television screen and throttle that little puppet manipulator. I kind of chuckled as I listened to this and considered Brain's gas to be quite possibly, well, his own methane.


*

Scott informs Virgil this is a job for The Mole. First, Virgil will need to clear the fiery rubble with The Firefly. He tells Virgil to be careful because the rubble is "white hot." Did Scott have to tell Virgil that one? I'm not sure he needed that reminder. Scott tells him he'll be with him as soon as he can. Scott is always there to send Virgil into the lion's den first. Still, all humor aside, each Tracy has their respective role. By the way, so far, I have seen one building on fire and it is now gone. Where is the City Of FIRE! I haven't seen any cities on fire yet. Perhaps the title is misleading. Trapped In The Sky was deadly accurate. Pit Of Peril was perfectly perilous. City Of Fire? Not so much. Well, I've seen a few model trees and shrubs and no signs of life or other city landmarks. City Of Fire is beginning to make me wonder if it shouldn't have been titled Building Of Fire or Towering Inferno for sure.
*

The family is disturbed about their situation. "This place is gonna collapse soon." Actually, it already did collapse. Their son falls unconscious. This is a job for Thunderbirds! The Firefly is off. This is The Firefly before there was Firefly. It is also our first introduction to the little fella. Virgil is in his fire gear. One thing I noticed about the Thunderbirds, they certainly generate alot of black and dirty smoke. They certainly aren't environmentalists at this stage of the game. The would never go over well in today's politically correct world. I have to tell you I do love the smoke effects created by the effects team. It is splendid work. The Firefly starts clearing a path through the rubble. "How's it going Virgil?" inquires Scott. Virgil is working his tail off while Scott asks questions. Virgil utilizes the Firefly cannon to explode some of the debris so it can be removed. Wow! This Firefly has everything.


*

Scott finally gets in on the action. He drives his car over to Pod 3 to get The Mole. Scott seems to be the premiere Mole driver. The Firefly exits the fire and gives way to The Mole for take over. The Security Crew is impressed with the International Rescue equipment. Yes, we're all impressed. The Mole is in position.




*

The Mole penetrates and Scott and Virgil grab their gear, Brain's gas mixture and the newly introduced Hoverbikes. Those Hoverbikes are nifty. Scott and Virgil are cutting through the metal corridors. Will they falter and become a liability themselves? Will everyone die as a result? Fear not, Thunderbirds are go! The lost family's father at first starts talking out loud that "they're finished." That's not exactly how you want to inspire confidence in your family in the dirty end. Fortunately the entire family is unconscious anyway. The man passes out next. Scott and Virgil gather up the family and exit in a nick of time as the roof caves in. Folks, still no sign of the City Of FIRE!!!
*

The Security crew reckons International Rescue was brave, but in the end have merely sacrificed their lives. Wrong again Security boys! The Mole exits backwards onto its vehicle base and all ends well once again in the reality of Thunderbirds. Back at Tracy Island Brains explains that the heat within the building must have worked in their favor. Apparently, the vapors from Brain's mixture enters the pores and attacks the blood cells, but the heat must have vaporized the gas emissions before settling into the pores. Convenient. Thank God the Tracy boys were inside a blazing inferno I guess, otherwise the experimental gas created by Brains would have killed them. It's another series of lucky strokes for the boys.
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In the end, the female driver who started the fire is out roving the roads still with her husband. WOW, like that would happen. I fancy a cell might be in order for that menace. Lucky for her not a soul was around at Thompson Tower for the grand opening. Happy music even kicks in. The moral of our story: You can burn down a skyscraper and be out perusing the streets for the next shopping center with no fear of penalty. Ah, isn't life grand in the world of Thunderbirds?
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City Of Fire: C

Writer: Alan Fennell

Director: David Elliot

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Notable Thunderbirds Craft: T1/ T2/ T5/ Pod 3/ The Mole/ The Firefly/ Helijet/ Hoverbikes.
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Important Player In The Thunderbirds Universe: Reg Hill [1914-1999]. Associate Producer. I can relate to Reg Hill in my own small way, because I am a behind-the-scenes kind of guy. Hill was exactly that to Supermarionation genius Gerry Anderson. Hill was critical to the operations of AP Films as its Deputy Managing Director and as Associate Producer. He made things happen. He worked on Stingray and Thunderbirds and became full Producer for the final six episodes of Thunderbirds dubbed Series Two. He was also producer on UFO. Gerry Anderson felt he never got his due in large part because he was behind-the-scenes. Anderson had many kind words regarding Hill for Chris Bentley's book, The Complete Book Of Classic Thunderbirds. "Reg was always there with the answer." He was able to fix technical problems better than anyone. "He was a perfectionist and whatever he did, he did brilliantly." Hill backed Derek Meddings and just about any department in need to get things done with little to none of the glory. "He never received the recognition he deserved." Without this man Thunderbirds would have been severely lacking. In other words, Thunderbirds would not be go! Hill resigned following Year Two of the wonderful Space:1999. Hill passed away in 1999.

Tracy Island: I've been reading Author Chris Bentley's The Complete Gerry Anderson: The Authorized Episode Guide and it is THE complete guide to Gerry Anderson folks. It doesn't have the kind of wonderful analysis found in John Kenneth Muir's Exploring Space:1999, but it's not meant to be a critical guide either. It offers anything and everything you need to know about the world of Gerry Anderson and every series he's ever touched. It is a thorough guide to be sure. Bentley knows his Anderson. Anyway, the uninitiated need a little more on the background of Tracy Island.
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The year is 2065. Millionaire Jeff Tracy, a former astronaut, has invested his time and money into International Rescue. Tracy Island operates covertly somewhere in the South Pacific on an uncharted island. He lives there with his five sons, a genius scientist called Brains, Grandma Tracy, Kyrano and his daughter Tin Tin. It is home to Thunderbird 1, 2, 3 and 4 as well as a host of other auxilliary rescue craft. Thunderbird 1 travels at a maximum speed of 15,000 mph. Thunderbird 2 travels at a maximum speed of 5,000 mph. The family is assisted externally by London agent Lady Penelope Creighton-Ward and her ultra cool butler Parker.