Space 1999 - Episode By Episode

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Space: 1999 – Episode by Episode Commentary and Analysis by Online Alpha

Space: 1999 – Episode by Episode Commentary and Analysis by Online Alpha Edited by Petter Ogland

Lulu Press Raleigh, North Carolina

Lulu Press, Inc. 3101 Hillsborough Street Raleigh, NC 27607 www.lulu.com Published by Lulu Press. 10 9 8 7 6 5 4 3 2 1 Introduction, layout and editorial comments. Copyright © Petter Øgland, 2014. All rights reserved. ISBN 978-1-312-58593-5 (paperback) ISBN 978-1-312-58593-5 (e-book) First printing: November 2014 The main body of this book consists of email messages published on the Space: 1999 Mailing List between November 1997 and December 1998. Individual messages are public domain and can be found by searching the Online Alpha archive. http://archive.space1999.net/index.html The Space: 1999 Mailing List began life on January 25, 1993 with a Usenet announcement by founder Nick Sayer. On February 21, 1997 ownership and administration was passed on to Marcy Kulic, Marshall Poindexter and David Welle with hosting being handled by BuffNET.net. The edit of the 1997-98 discussion is based the online edit by the same name. Copyright © David Welle, 1997-2007. http://metaforms.space1999.net/exe.htm

This book is dedicated to the memory of Robert C. Gilbert who was an engaged member of Online Alpha from June 1998 to December 2007. He often talked about his brain damage caused by a childhood accident and his favourite episode “Space Brain”, and the way he used the SPACE: 1999 narrative in reference to his own life was an inspiration to many of us. He passed away in February 2008.

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Contents Foreword by Prof. Henry Keazor........................................................................................................................ix Introduction .........................................................................................................................................................xi Acknowledgements.........................................................................................................................................xviii Discussants ........................................................................................................................................................xix YEAR ONE DISCUSSION ......................................................................................................................................1 01. Breakaway ......................................................................................................................................................7 02. Matter of Life and Death ..............................................................................................................................31 03. Black Sun .....................................................................................................................................................45 04. Ring around the Moon..................................................................................................................................57 05. Earthbound ...................................................................................................................................................67 06. Another Time, Another Place.......................................................................................................................75 07. Missing Link ................................................................................................................................................93 08. Guardian of Piri ..........................................................................................................................................111 09. Force of Life...............................................................................................................................................129 10. Alpha Child ................................................................................................................................................141 11. The Last Sunset ..........................................................................................................................................159 12. Voyager’s Return .......................................................................................................................................169 13. Collision Course .........................................................................................................................................187 14. Death’s Other Dominion ............................................................................................................................193 15. The Full Circle ...........................................................................................................................................209 16. End of Eternity ...........................................................................................................................................227 17. War Games .................................................................................................................................................237 18. The Last Enemy .........................................................................................................................................249 19. The Troubled Spirit ....................................................................................................................................265 20. Space Brain ................................................................................................................................................273 21. The Infernal Machine .................................................................................................................................283 22. Mission of the Darians ...............................................................................................................................305 23. Dragon’s Domain .......................................................................................................................................317 24. The Testament of Arkadia..........................................................................................................................327 YEAR TWO DISCUSSION .................................................................................................................................343 01. The Metamorph ..........................................................................................................................................349 02. The Exiles...................................................................................................................................................369 03. One Moment of Humanity .........................................................................................................................379 04. All that Glisters ..........................................................................................................................................387 05. Journey to Where .......................................................................................................................................399 06. The Taybor .................................................................................................................................................415 07. The Rules of Luton.....................................................................................................................................431 08. The Mark of Archanon ...............................................................................................................................449 09. Brian the Brain ...........................................................................................................................................463 10. New Adam New Eve..................................................................................................................................473 11. The AB Chrysalis .......................................................................................................................................485 12. Catacombs of the Moon .............................................................................................................................495 13. Seed of Destruction ....................................................................................................................................509 14. The Beta Cloud...........................................................................................................................................519 15. A Matter of Balance ...................................................................................................................................551 16. Space Warp ................................................................................................................................................559 17. The Bringers of Wonder (Part 1)................................................................................................................565 18. The Bringers of Wonder (Part 2)................................................................................................................597 19. The Lambda Factor ....................................................................................................................................607 20. The Séance Spectre ....................................................................................................................................615 21. Dorzak ........................................................................................................................................................621 22. Devil’s Planet .............................................................................................................................................645 23. The Immunity Syndrome ...........................................................................................................................659

viii 24. The Dorcons ...............................................................................................................................................671 WRAP-UP.............................................................................................................................................................695 References ........................................................................................................................................................701 Index.................................................................................................................................................................703

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Foreword by Prof. Henry Keazor “Nous sommes embarqués” Blaise Pascal, Pensées

It appears nowadays as an almost entirely natural thing for disciplines such as Cultural or Film Studies to research and discuss ongoing TV programs like, for example, Mad Men or Breaking Bad. Behind this interest and disposition to treat formats like these as serious matters stands also the appreciation that TV series are the big novels, the epics of our time. As gratifying and right this may be: It has not always been like this for TV programs, and one should not forget in the view of the current, enjoyable situation that there are lots of TV series that still have not been rediscovered in the wake of the actual engagement with a genre that previously had been very often disdained by critics and scholars as simplistic and undemanding entertainment fodder. Here, one can then even discern a further distinction among the different types of TV programs since whereas a genre such as “drama” could perhaps hope to gain some respect among viewers and critics (and perhaps even scholars) if it treated “serious” issues (such as for example historical events), Science Fiction mostly had nothing to hope for concerning a similar treatment. In a certain way here the rhyme, published in 1962 by the renowned English novelist, poet, critic, and teacher Kingsley Amis and/or his fellow countryman, the famous poet and historian Robert Conquest could be still applied: “ ‘SF’s no good,’ they bellow till we’re deaf. ‘But this looks good.’ ‘Well then, it’s not SF.’” Among the individual Science Fiction creations for the TV screen there then even was (and sometimes still is) rather concurrence and rivalry for appreciation than solidarity: “Can ‘1999’ match ‘Trek’?”, the cover of the December 1975 CUE-magazine ominously asked when Gerry and Sylvia Anderson’s Science Fiction TV-series Space: 1999 was launched in the US, six years after the end of Gene Roddenberry’s Star Trek-series. And the menacing undertone of the question was then even enhanced by a caricaturistic illustration that showed Commander John Koenig and Dr. Helena Russell from the Alpha moonbase facing Captain James T. Kirk and First Officer Mr. Spock from the USS Enterprise, each party with their weapons readily whipped out for a shootout. No wonder, John Kenneth Muir in his 1997 book “Exploring ‘Space: 1999’” would write about Space: 1999: “It is the program that Star Trek fans love to hate, even 20 years after its debut.” Less than 20 years after Muir’s words, it can be hoped that the situation has changed at least a bit so that both creations can be seen now not as rivals, but as representatives of the same genre which could and should be studied together: comparing, not confronting them, seeing them as individual milestones of their species which each had and have a very different following as well as a completely diverse destiny (whereas Star Trek had a series of revivals and spin-offs on the small as well as on the big screen, no such thing has been yet achieved for Space: 1999, despite various declarations of intent). Hereby, critical approaches such as those voiced and developed by, for example, Frederick Jameson or Theodor W. Adorno, can be applied in the future: Jameson saw the Western and the Science Fiction genre closely connected and almost as conjoined twins, with the Western depicting a past that had never been whereas Science Fiction depicts a future that is not yet and might never be, with both genres, however, telling the analytical gaze a lot about the time and the culture which invents such fictitious pasts and futures. Gene Roddenberry’s series was therefore perhaps not by chance named and conceived as a “trek” to the stars. Of course, Jameson had learned a lot from Adorno who already in 1942 with his text “Aldous Huxley und die Utopie” had shown the critical potential of Science Fiction towards society. In his article from 2003 “Das Andere der Gesellschaft – Science Fiction als Kritische Theorie“ (“The Other of Society – Science Fiction as Critical Theory“), the German social scientist Jan Arendt Fuhse has fruitfully

x applied the views and perspectives of the Frankfurter School’s “Critical Theory” to an analysis of more recent films such as Matrix, Cube, Dark City and The 13th Floor. But all this has to start on a base that combines factual evidence with contextualizing discussion – and it is here that Petter Ogland’s book “Space: 1999 – Episode by Episode” is especially welcome since it provides such a base by documenting a vivid and detailed discussion of the two years of Space: 1999 that was held online in 1997/98. The contributions by the members of the discussion group tackle various aspects that range from the quality of the show’s concept and its individual scripts over the assessment of the acting, goofs and bloopers up to technical, moral and philosophical questions, raised and inspired by the episodes. The multi-faceted view on the series, granted by this discussion, not only shows how stimulating Space: 1999 – in its qualities as in its flaws – can be, but it also highlights the various approaches that are possible here. Space: 1999 was a show that tried to bridge various rifts and cultures: It was a European show, coproduced by the US; it wanted to display a technically believable setting and at the same time told fantastic stories; it aimed at communicating the excitement of space exploration and at the same time was characterized (at least in Year One) by an atmosphere of melancholy and loneliness. In that respect Space: 1999 was also a mirror of the hopes and fears present in the middle of 70s such as the much more optimistic Star Trek was a canopy for the projections of the 60s’ expectations: Roddenberry’s show envisioned a future where humankind would be in control of science and technology in a way that allowed it to push forward into deep space with its “Star Fleet” from the “United Federation of Planets”. Space: 1999, instead, already in its premise – with the moon blasted out of its orbit and into deep space because of an explosion of a nuclear waste dump on the Earth’s satellite – deals with a loss of control due to fallacious technology: Whereas the crew of the “USS Enterprise” freely steers its vessel from planet to planet at their leisure, the members of the moonbase Alpha are prisoners of an odyssey that they cannot control. Interestingly, 20 year after Space: 1999 had been launched in the US, in 1995, Star Trek then also got its own odysseythemed show with Star Trek: Voyager: Apparently also for the “Trek”-universe, things had changed towards the less optimistic when it came to conjure up a possible future. But when Space: 1999 premiered in 1975, its dark visions were maybe too soon outshined by the larger-than-life Science Fiction-fairytale “Star Wars” in 1977. “Space: 1999 – Episode by Episode” is a collection of views, thoughts and reactions, showing that in order to disclose the many sides, facets and contexts of the show, one needs as many intersecting approaches, ranging from film and media studies over (art) history and sociology to literature and philosophy. It certainly will trigger response and thus new discussions, leading in the future to perhaps alternative and new views on Gerry and Sylvia Anderson’s creation, inspiring, in turn, again new perspectives and discussions.

Henry Keazor Heidelberg, November 2014

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Introduction Science fiction is a literary genre that is often used for analysing political implications of technology in society by projecting trends and fears of the contemporary into a future scenario. There are different opinions on where the history of science fiction begins. Some would argue that it is something that evolved out of the industrial revolution and see Mary Shelley’s Frankenstein as the first literary work of science fiction (Aldiss & Wingrove, 2001). Others would argue that the genre is much older, seeing satirical and reflective tales made during the age of enlightenment, such as Gulliver’s Travels, Robinson Crusoe and Candide as works of science fiction, while others again would go even longer back in time by arguing that Shakespeare’s The Tempest is where it all started. Then again there are those that would go back to transformation from mythos to logos in Greek culture and see the Homeric Odyssey as belonging to or related to what we today would describe as the genre of science fiction. Typical of all these tales is that they emerged at times of social change and deal with the impact of science and technology for stimulating, controlling and sustaining such change. Sometimes science fiction reflects technological optimism, as can be seen in certain aspects of the works of Jules Verne and H. G. Wells, but mostly it is a genre that is used for expressing critical views on how the evolution in science and technology changes society in unpredictable and often unfortunate ways. George Orwell’s 1984 and Aldous Huxley’s Brave New World are well-known examples of political reflections on contemporary society that have survived as science fiction classics and continue to be dramatised and adapted for stage and screen with regular frequency. The United States of America has played an interesting part in the development of science fiction. Dish (1998) starts his book with the polemic claim that, “America is a nation of liars, and for that reason science fiction has a special claim to be our national literature, as the art form best adapted to telling the lies we like to hear and to pretend we believe”. Although this doesn’t necessarily mean that he believes American science fiction is void of critical and political self-reflection, there may be natural reasons for why Flash Gordon, Star Trek and Star Wars are American creations. Of course, these comics, films and television series also dealt with socio-political subtext, but unlike Jules Verne they did not typically make the representative of science and progress into a lone and disillusioned Captain Nemo sailing beneath the waves while contemplating the negative consequences of how the world was developing, and neither do they resonate all that well with H. G. Wells thoughts on the possibilities of science and technology as tools for the oppressed to break down the barriers of class struggle and social injustice. The politics in Flash Gordon film serials of the 1930s and 40s are more like the politics of Superman comic books in the sense of Flash being a representative of American pragmatism fighting the evil of Nazism and Communism in a context reflecting that of the Second World War. In his commentary of this genre as a whole, and comic books in particular, Wertham (1954) sees Superman as a symbolism of fascism in the sense that the ideals of “truth, justice and the American way” through military power and as a means for global domination is a perfect mirror of the villainous regimes the hero is fighting against. According to Sawyer (2008), the Star Wars series can be interpreted in a similar way. Unlike Planet of the Apes and other science fiction films made in the late sixties and early seventies, Star Wars does not reflect a critical perspective on the consequences of American foreign policies, the effect of unregulated industrial progress on the environment, social injustice in the domestic arena, and other themes that were important for the counterculture movement. On the contrary, Sawyer argues, Star Wars can be interpreted as a reaction against the previous period of critical self-reflection and a return to the fascist nature of the Flash Gordon serials with George Lucas and Joseph Campbell’s monomyth about the “hero’s journey” of Luke Skywalker going from being a politically unaware representative of the Midwest to becoming an engaged supporter of US global interventions in the service of capitalist interests.

xii Space: 1999, on the other hand, was at the time of its release, shortly after Star Trek had run its course and just before Star Wars took the world by storm, the most spectacular science fiction series ever made for the small screen, and a series with a different political message. At the time of its release, Kubrick’s 2001: A Space Odyssey was the benchmark for cinematic science fiction, and in the view of some of the television critics (e.g. Asimov, 1975; Emmett, 1975; Waters, 1975), the special effects of the show were almost as impressive as what Kubrick had achieved. In a comparison of Kubrick’s 2001 and Andersons’ 1999, Keazor (2012) interprets 2001 in the context of the Homeric odyssey as a metaphor for a shipwreck, while 1999 relied on the structure of the odyssey, only exchanging different planets for islands. Although used in different ways, both 2001 and 1999 use the same foundational text of the Western canon as a basis for storytelling. Space: 1999 also benefited from having popular actors Martin Landau and Barbara Bain from Mission: Impossible as a leading pair, supported by top quality British actors from stage and screen in regular supportive roles and as guest stars. Furthermore, it was written by politically engaged writers who continued in the tradition of Jules Verne and H. G. Wells of reflecting on the role and impact of science and technology in contemporary society, relating the discourse to contemporary debates within psychology, philosophy and social science. Finally, at the time of release, the production company ITC managed to have Space: 1999 successfully sold and shown in over 100 countries. Considering the effort and thought that was put into the series, one might expect that it in retrospect would stand out as one of the milestones in filmed science fiction. The reason it does not, Muir (1997) argues, is because it was a British-made product that never aired on any of the major American television networks. The major problem with the series, he argues, is that it appeared at the wrong time. It was sandwiched between Star Trek and Star Wars, resulting in being attacked and ridiculed by Star Trek fans when released and forgotten after Star Wars had changed the nature of the genre. Iaccino (2001) comes to a similar conclusion. By reviewing the series through the lens of Jungian archetypes, he identifies some similarities between the first series of Space: 1999 and Star Trek, but believes that it was unique in the sense of being completely different from American science fiction television series of the period, including Planet of the Apes, The Starlost and Logan’s Run. What made the series fail, however, was the decision to revise the original format when they made a second series, thus making it more similar to the original Star Trek series. By doing so it lost its individuality, became less authentic and was eventually forgotten. For Keazor (2012), these explanations are interesting and useful for understanding the legacy of Space: 1999 from the viewpoint of American popular culture, but it is not sufficient for explaining Space: 1999 in a wider context. In order to map out this wider context, Keazor balances the views of Muir with those of French intellectual Fageolle (1996) and tries to bridge the different perspectives by using the views of British Marxist historian Eric Hobsbawm as an integrating factor. Although this gives voice and authority to Fageolle’s views as a European counterbalance to the views of Muir and Iaccino, Keazor only touches the surface when it comes to explaining the political subtext of the series. He uses Hobsbawm for characterising the shift between the period from 1945 to 1972 as the ‘golden age’ of economic expansion, which is part of the context for the original Star Trek series, and then the ‘landslide’ and ‘crisis decades’ that followed, which was the historical context of which Space: 1999 was made. It is an important move in the right direction, but it is more like a rough sketch than a fully elaborated map. Neither Fageolle nor Keazor discuss the political subtext of Space: 1999 in full detail, but they identify important gaps in the existing literature on Space: 1999 by finding themes that need to be discussed for gaining a deeper understanding of how the series reflected and contributed to discourses of the period. As a part of this analysis they also show how Space: 1999 is still relevant, perhaps even more relevant in some ways, for understanding how the political discourse of the late 1960s and early 1970s, as picked up by science fiction television drama, has relevance for political discourses today. In 1997-98 these issues were discussed on the Space: 1999 Mailing List in the form of a week by week discussion of the episodes that make up Space: 1999. An edited version of the discussion is available

xiii on the internet (Welle, 2007), and is referred to by some of the websites that Keazor uses in his analysis, although he does not refer to the discussion himself. A possible reason why the 1997-98 discussion is often referred to by fans of the series but not mentioned within the scholarly literature may have to do with the way it was edited. As can be seen from Welle’s introductory comments to his edit, the purpose of the online document was to present an objective account of what was said during the discussion without making intrusions that would silence the voice of certain participants or raise the voice of others. Although this makes the online edit important and useful as a historical document, it also shows the need for an alternative edit that makes it accessible for the contributors in the scholarly debates within domains like art history, popular culture studies and studies of the technology/society interface. The way this book tries to fill this need is by presenting an extract of the 1997-98 debate in a format that makes it easy to quote specific themes, discussants or opinions by referring to chapters and page numbering. In order to fit the size of a publishable book, the paperback edit corresponds to about 75% of the online edit. This means that the online edit is still essential as source material, but for each discussion of an individual episode a short editorial summary is added in order for the reader to get a quick hint at some aspects of the episode discussions that could be seen as relevant in the context of what has been introduced so far. Although the book could have been made shorter by making a heavier edit, some of the debates concerning issues like political subtext are interlinked with debates dealing with totally different issues. Furthermore, in order to make it easier for the reader to understand the nature of the 1997-98 discussion and more easily understand some of the more essential comments and analyses, only seldom have individual messages being shortened or edited. As with the online edit, spelling mistakes and grammatical errors have not been corrected. When it comes to the 1997-98 discussion itself, neither were the discussants acting as scholars nor was the discussion made for the purpose of scholarly examination. A total of 84 people contributed to the debate. Some participants made only one or two comments during the whole 14 months of debate. Others contributed several hundred messages, averaging up to 3 or 4 messages per episode. The discussion group was varied in terms of age, gender and nationality, including members from France, Germany, Portugal, Italy, Finland, Norway, the UK, Brazil, Canada and the US. However, similar to what was identified by Tulloch and Jenkins (1995) in their study of science fiction audiences, the group consisted of certain predictable subgroups such as technologists, fan fiction writers, and people who for various reasons saw themselves as ‘aliens’ in society. Due to this diversity of reasons for being part of a Space: 1999 discussion forum, the episode by episode discussion was not specifically designed to deal with issues relating to the political subtext of the series. On the contrary, there were no restrictions on the input and contributions for discussing a particular episode beyond inviting people to share their understanding. As this diversity of motives for belonging to the group appears to be a general pattern within science fiction audiences, Jenkins and Tulloch investigated to which extent participants in such groups were generally able to grasp the political subtext that typically dominate science fiction stories. As their sample was from Star Trek and Doctor Who enthusiasts, they focused on Doctor Who and asked members of the group to which extent they were able to see how characteristics of certain episodes of the series reflected social challenges in the UK of the period, such as high unemployment rates, mining strikes and double-digit inflation. In the cases they discuss, the sample groups were generally able to make such connections, at least when being able to discuss together or being able to interact with the researcher. On the whole, however, it was clear that getting confirmation on political views when watching a series like Doctor Who or Star Trek was not always the prime reason for watching it. Similar patterns can be seen in the 1997-98 Space: 1999 discussion. One aspect of Space: 1999 that perhaps makes it more political than other science fiction series is the stylistic and possibly ideological conflict between the two seasons. The first season was made in 1973-74 and was to a large extent based on European assumptions of what makes science fiction interesting, reflected by the way it was made in Britain with financial support and supporting cast from Italy, although it was also designed to fit the needs and expectation of the American market. In order to make sure the series would succeed in the US, American actors were hired for the leading roles, they tried to get American writers to

xiv contribute scripts, and American directors to give the series the right edge. For various reasons, the American directors and writers did not get too well along with the production, and people like Mission: Impossible director Lee H. Katzin, and award-winning writers like George Bellak and Edward di Lorenzo withdrew from the project after having made their initial contributions. This could have strengthened the dominantly European nature of the first series, but scripts were constantly sent to ITC New York for approval or identifying needs for rewrite. Nevertheless, as documented in the reviews compiled by Muir (1997), the series got a mixed response upon its American released in 1975. Not only were newspaper and journal critics unimpressed with the reflective and philosophical nature of the series, but Star Trek fans who were feeding on reruns and animations expressed hostility towards the series because it felt similar to Star Trek on one level while feeling like the opposite of Star Trek on other levels. Wood (2010) confirms how the reviews of American and Canadian critics have remained mixed as the series has been released on laserdisc, VHS, DVD and Blu-ray. What is perhaps more surprising is that Space: 1999 also got somewhat lukewarm reviews in the UK and still remains controversial (e.g. O’Brien, 2000). While the Americans felt that the show was too British, the Brits apparently felt it was too American. In other countries, however, it became an instant hit. In Germany the demand for the series was so big that they commissioned Space: 1999 novels, specifically written by German science fiction writers, to feed a hungry market that was in need of more than what could be provided in terms of television episodes and the ITC-based Space: 1999 novelisations (e.g. Tubb, 1975; Ball, 1975; Rankine, 1975). In Italy the series was also a sustaining success, symbolised by Chris Drake having to publish his 1994 book on Space: 1999 in an expanded edition especially for the Italian market in 2000. In France the cult took on new dimensions as the French Cosmos 1999 club invited people like Johnny Byrne and Barry Morse to fan conferences, and intellectuals like Pierre Fageolle and Pierre Bannier started to analyse the series by contextualising it through the use of art theory, literature theory, political theory, psychoanalytical theory and so on. In Norway, Space: 1999 played a major impact on the development of a 1978 television mini-series Blindpassasjer (“Stowaway”) written by Professor Jon Bing at the Research Centre for Computers and Law (University of Oslo) in collaboration with science fiction author Tor Åge Bringsværd. While HAL-9000 from Kubrick’s 2001 and the computers of Star Trek have been analysed from scientific and sociological perspectives (Stork, 1997; Gresh & Weinberg, 1999), Bing appears to be the only academic who have looked at Space: 1999 in a similar fashion, although only indirectly as an inspiration for the critical discourse in Blindpassasjer. Professor Kristen Nygaard at the Department of Informatics (University of Oslo), one of the founding fathers of the Scandinavian school of information systems research, was also deeply concerned that his students and colleges read and watched science fiction, especially of the type represented by Space: 1999, but made no explicit reference to this particular series in his seminal paper on science fiction and information systems research (Nygaard, 1996). Despite the international success of the original series, the mixed reception in the US resulted in a different approach when developing the second series. As already mentioned, Iaccino (2001) identifies the failure of Space: 1999 with the second series in terms of how it was too focused on meeting audience expectations and consequently lost integrity and authenticity with respect to the ideals and style of the original series. This is a view that is also shared by Space: 1999 producer Gerry Anderson himself and most of the people who participated on both sides of the camera (cf. Mallett & Pearce, 1991; 1996; Wood, 2001; 2010). Perhaps not unexpectedly, as the second series was redesigned to meet the expectations of an American audience, European fans responded with disappointment (Mallett & Pearce, 1991; Fageolle, 1996). In many countries where the first series had been a success, such as in Scandinavia, the second series was considered trash and was not aired at all. In France it was reluctantly shown ten years after it was made (Fageolle, 1996), although the French thought the world had been a better place if all the negatives had been burned and the ashes sent into outer space to prevent it from ever being shown again (Fageolle, 1998).

xv The tension between the two seasons of Space: 1999 is also present in the 1997-98 discussion. This is reflected in two ways. Firstly, although there were participants who were equally engaged in the discussion of both seasons, many participated more or less only in the discussion of one of the two seasons. Secondly, there was an ongoing tension between those who preferred the first year to the second and vice verse through the whole debate. However, as Welle (2007) points out, never did the debate develop into ‘flaming wars’. The general tone of the debate remained friendly, engaged and creative from beginning to end. One aspect of the tension between the two series that is only hinted at by Muir (1997), when he says that Space: 1999 was sandwiched between Star Trek and Star Wars, is the way the two seasons of Space: 1999 were developed during a historical period that marked the conclusion of the counterculture movement and the transition into neo-liberalism. This perspective fits in with the Marxist analysis of history that shapes the backbone of Keazor’s (2012) analysis of Space: 1999, although his analysis is somewhat underdeveloped in this respect, probably due to space limitations when designing his argument to fit the size of a book chapter. In the 1997-98 discussion, there is an ongoing awareness of the critical perspectives found in most episodes during both seasons of the series, although not in all. When reaching the episodes written by producer Fred Freiberger under the pseudonym of Charles Woodgrove, a discussion develops concerning how the political subtext in those episodes could be seen as contrary to the political core values of the series, expressing neo-conservative views that functioned as intellectual sabotage of the series as a whole. While commentators like Wood (2010) analyse the influence of Freiberger in a critical but balanced perspective, people like Fageolle (1996) express extreme hostility towards the Woodgrove episodes by describing them as an absolute low point and being of zero value. Although the 1997-98 discussion does not go deeply into the issue of political subtexts and how there may be a political misalignment between the two series, such issues are mentioned or hinted at and could be a good starting point for further debates and scholarly research. The 1997-98 discussion does not only concern itself with the political subtext of individual episodes and the series as a whole. Different themes and issues were discussed, often reflecting the nature of the three typical subgroups within science fiction audiences that Tulloch and Jenkins (1995) refer to. Consequently, parts of the discussion and analysis deals with science and technology, sometimes building on Asimov’s (1975) comment that errors with respect of science and technology is acceptable if it serves some dramatic service but is unfortunate if it is a consequence of ignorance. Although much effort was put into the first series of Space: 1999 to generate a believable and authentic looking environment for producing intelligent drama, the producers of the series did not engage scientific advisors. As a consequence of this, there are perhaps more scientific errors and technological implausibilities in the series than would have been strictly necessary. However, when issues like how shock waves cannot be produced in vacuum or explanations or how the colour of the sky is affected by the level of oxygen and nitrogen, such issues were debated in the 1997-98 discussion on a factual level to enlighten those who were less aware of the of mistakes, and thus not necessarily as a criticism of the series itself. A second type of contributions were those made by fan fiction writers commenting on episodes by discussing characters and events as though they were real and thus projecting their own subjective understanding of situations and personalities for investigating and sharing. These contributions could be seen as the extreme opposite to the objective technical and scientific commentaries. The subjective nature of the fan fiction would be more like a discussion and exploration of how characters within the series would respond to situations outside of what was seen on the screen (Sokol, 2012). Due to the nature of this kind of analysis, some of the contributions tended to be extremely long, but sometimes they could produce interesting psychological insights that were helpful when looking for the deeper meaning of the series in the sense of political subtext. The third subgroup mentioned by Tulloch and Jenkins are the alienated individuals. While there are a couple of instances in the discussion where an individual admits to using or having used situations or characters in Space: 1999 as models for solving social or psychological problems, the best example of

xvi existentialist discussions are perhaps in the case of a theologian, who was an active participant during the discussion of the first series, using the series for reflecting on moral dilemmas and aspects of religious existentialist philosophy. Another member of the Online Alpha community shared Iaccino’s (2001) interest in Jungian psychology, and made several interesting contributions along a similar existentialist line, although not represented in this book as he did not engage actively in the episode by episode analysis. During the Year Two discussions, however, an anthropologist from the University of Montreal made contributions using anthropological archetypes and structures. As Marinaccio (1994) argues, it is possible to use a framework like Star Trek to develop a complete philosophy of life, but no attempts on such a scale were made as part of the Space: 1999 discussion. Although the 1997-98 discussion was not designed as a scholarly discussion, and did not set out to explore Space: 1999 from a particular theoretical perspective, in retrospect it can be seen to provide data that can be used as a starting point for completing gaps in current scholarly research on how Space: 1999 gives a unique view on cultural and political changes in the post-wake of the counterculture movement of the late sixties and early seventies. Although Keazor (2012) makes important contributions to the history of art and popular culture by contextualising the series in this manner, his research could also be seen as a call for further investigations. When revisiting the 1997-98 discussion, it is also clear that much has happened on Online Alpha since this was conducted. In 1993, when the Space 1999 Mailing List was established, not much literature on the series was available. There were various newspaper reviews, fan magazines, commentaries and novelisations from the time the series was made, including Tim Heald’s important book about the making of Space: 1999 from 1976. In the early 1990s, however, there was a revival of the series due to release on laserdisc and VHS, and conferences started to be held in the UK and France (Mallett & Pearce, 1991; Fageolle, 1993). Also, as a part of the VHS release campaign, Chris Drake was commissioned to write a book (Drake, 1994). This was the first English language book dedicated to the series since the TV release and related books 20 years earlier. As the 1990s developed, the Internet became an important medium for sharing information. In addition to the Space 1999 Mailing List there were also various fan sites devoted to Space: 1999, and articles from newspapers, science fiction journals and fan magazines were scanned or reproduced on the web. Although Space: 1999 was occasionally mentioned in various books discussing science fiction on the screen, the books by Fageolle (1996) and Muir (1998) seem in retrospect to have been the first attempts to investigate Space: 1999 as a unit by itself. A related phenomenon in 1997-98 was the release of films like Austin Powers: International Man of Mystery, which looked at recent history of popular culture from an ironic perspective, with Mike Myers commenting on how both revolutionary and reactionary attitudes of the late sixties looked almost incomprehensible in a 30 year retrospect (Oake, 2004). In other words, the 1997-98 discussion was carried out in a cultural environment that was characterised by how cell phones and internet changed society and made people look at popular ideas from 20 or 30 years back with curiosity. Although discussion forums like Online Alpha and Cosmos 1999 continue to stimulate reflections and debate, the 1997-98 episode by episode discussion was unique. This does not necessarily mean that new long bursts of similarly creative, critical and passionate debates about Space: 1999 episodes may not happen again. Much has happened since 1998. On the discussion forums better understanding of individual episodes, such as using Tarkovski’s Solaris and the final parts of Kubrick’s 2001 for understanding MATTER OF LIFE AND DEATH have evolved, and there has been a stronger interest in investigating the political subtext of Space: 1999 from different perspectives. It is the hope of this book, however, that the publication of the 1997-98 discussion may contribute to further debate and exploration of Space: 1999 both from within the fan community and the scholarly community. The book version of SPACE: 1999 – Episode by Episode is structured more or less exactly the same way as David Welle’s online version. Apart from removing his editorial remarks and removing about 25% of the messages to make the discussion publishable as a book, the text and overall editorial

xvii structure is more or less identical. In the same way as Welle went through each of the email messages and edited the fonts to make them more readable for an online readership, the paperback text has been reedited to make sure the original messages are readable within the format of a paperbased book. The main part of the book starts with an overview of the Year One discussion. The overview includes email statistics and an excerpt from the Year One wrap-up that is used to introduce the first part of the discussion rather than to conclude it. The discussion was initiated when Mateo Latosa suggested on November 24th 1997 to discuss all the 48 episodes of Space: 1999 on a week by week basis. This resulted in positive feedback from a dozen members, and Latosa volunteered to moderate the discussion and suggested a discussion format. None of these emails have been included in the book, however, and neither have the administrative posts from Latosa that were usually published as a reminder of which episode to discuss for a given week. The discussion of each of the 24 episodes from Year One is presented one by one in the same order as in Welle’s online edit. The second part of the book is structured in a similar manner to the first by initially presenting a general overview of the Year Two discussions and then presenting the discussion of each individual episode. As there was not sufficient space for including the total wrap-up discussion, a few messages from the discussion are used for giving an introduction and overview of the Year Two debate and a few other messages are used for a condensed wrap-up, expressing a couple of views and opinions that could be seen as relevant in the context of the goals established in this introduction. This editorial decision reflects some of the challenges in the production of a book like this as the wrap-up was both extensive and contains relevant data that could be used for filling gaps concerning the contextualisation of Space: 1999. On the other hand, it could also be seen as an invitation for further use of the online edit of the 1997-98 discussion, and further invitations for making use of the public domain data available in the Online Alpha archives and the Online Alpha and Cosmos 1999 discussion forums. An important inclusion in the paperback edition is the index at the back of the book. The purpose of the index is to aid the reader in identifying themes, people, books, films, television series that are used for contextualising the discussion. The number of references for each indexed item can also be used as a rough indicator for comparing themes, episodes and people being discussed. For instance, the fact that Muir and Fageolle are referenced about equally much, according to the index, indicates that they could be seen as an equally important influence on Alpha Online, although individual members may have strong preferences for Muir to Fageolle or the other way around. The index also shows that BREAKAWAY and RING AROUND THE MOON are the most popular or controversial episodes in terms of being referenced the most. On the other side of the spectre we see that A MATTER OF BALANCE is the least referenced episode. As being one of the most active participants in the 1997-98 discussion, it has been interesting to revisit the debate to be reminded of what was said, what was left unsaid, and how publishing the debate will hopefully stimulate further debates both among scholars and fans of the series.

Petter Ogland Oslo, November 2014

xviii

Acknowledgements First of all I would like to thank David M. Welle for his online edit of the discussion and for having a look at a draft version of the book. This book would not have been possible without him. Also thanks to Mateo Latosa who initiated and moderated the discussion, and all the 84 discussants who participated in the 1997-98 discussion project. I would also like to thank Pierre Fageolle who was the first to write a book about Space: 1999 from an intellectual perspective. He was also a lurking member of the online community for a short period in the late 1990s, and I believe I was one of the lucky few who were able to have email discussions with him. I was also lucky to have both private and public discussions with Space: 1999 script writer and script coordinator Johnny Byrne while he was a part of the Space 1999 and Alpha 1999 Mailing Lists around the same period. As David Welle says in his introduction to the online edit, he cannot remember any major ‘flaming’ during the ExE discussions. Neither can I, but I remember the enthusiasm of some discussants being too much for other members from time to time. As a means for solving this problem, David created an alternative unmoderated discussion forum called alpha1999 on the BUFnet server. When the Space 1999 Mailing List became the Online Alpha Yahoo Groups in July 2000, the Alpha 1999 Mailing List became the Cosmos1999 Yahoo Group in September 2001. After the ExE discussion was completed there have been many other online discussions on Online Alpha and Cosmos 1999 that have added further insights to what is discussed in this book. Although all present and past members of these online forums should be given thanks for keeping the discussions alive, I would in particular like to thank Thomas Rucki, Paulo Pereira, Monika Wozniak, Moonbubba, Phil Merkel, Cuda, Isis, April Dancer, Jerizimy Talent, Dex, Charlotte, Erkki Rautio, David Kaplan, Paulo Morgado, Erich Wise, Tracy Garnett, Bob Lyons, Valerie Corinne, Karen Nesbit, Richard Bendell, Ghislain Barbe, Feathers, Dana, Weyoun, Jerri Willmore, Fredrik Mattsson, Michael Faries, Dana, Bill Latham, Simon Morris, R. J. Andron, Pierre Pascal, Patrick Nasazim, Bryce Davidzon, Magnus Greel, Andrew Kearley, Michelle Anneaulune, Catherine Bujold, Alan Baily, Jeronimo de Souza, Gerrit Duke, Miguel Loureiro, Mike Tenmans, Ken Scott, Kelly Patrick Lannan, Jeffrey Nelson, David Bolter, Justin Ayers, Ted Nason, Richard Stevens, Colin Fletcher, John Byers and John Marcucci. With the exception of Simon Morris, Paulo Pereira, Erich Wise and Paulo Morgado, none of these participated in the 1997-98 discussions, but they have all been lively debaters at the Cosmos 1999 discussion forum, keeping the spirit of the 1997-98 discussion alive. Furthermore I would like to thank Jens Kaasbøll, Ole Hanseth, Gisle Hannemyr, Jo Herstad, Terje Aksel Sanner and Johan Sæbø for interesting discussions about science fiction and information systems research. In particular I would like to thank Gisle Hannemyr for commenting on Kristen Nygaard’s seminal 1996 paper and for sharing his reflections on the politics of Nygaard, Jon Bing, Tor Åge Bringsværd and Tron Øgrim in relation to science, technology, society and science fiction. From this perspective the works of Isaac Asimov, Arthur C. Clarke and Gerry Anderson’s 1999 could be seen to exemplify the kind of science fiction that was important and inspirational from Nygaard’s viewpoint, particularly in the way they contrast ideologies represented in the Star Wars films and the works of Robert A. Heinlein. I would also like to thank Jo Herstad for mentioning the importance of science fiction in contemporary Human Computer Interaction Research as exemplified in the works of scholars such as Aaron Marcus and Donald Norman.

xix

Discussants The list of discussants is sorted by order of how actively engaged they were in the debate as measured by counting messages in David Welle’s online edit. The online edit consists of a preface, documenting how the discussion got started, 24 episodes and wrap-up for Year One, and 24 episodes and wrap-up for Year Two, resulting in a total of 51 webpages of discussions among 84 participants and 1303 email messages. In some of these pages there are references to other webpages. In the table below, however, the statistics is based on identifying discussants and counting messages from the 51 main webpages. Name

Email1

Petter Ogland Mateo Latosa David Acheson John Actingman Simon Morris Charles Peterson David Welle David J Lerda Brian J Dowling Mark Meskin Patricia Embury Emma Chris Hlady Ellen C. Lindow Jon Stadter Tera Alisha Kenetrw Mike Lynch Robert Gilbert Janet Schill Tom Miller Riccardo Iommi Jhon Paul Apprich Robert Ashley Ruiz Anthony D. Quintin Marrow Andre Beauchamp Paul Dorion MCK Jeff Doyle Patricia Sokol Barry Scannell Bill Adkins Paulo Pereira Anthony J Ritz Carol Mason Andre Costopoulos René Ina Litera Horst Noll E. James Small Monica Pereira Paulo Jorge Morgado Mike Jones 1

Preface

Y1

Y2

85 43 43 24

Wrap-up Y1 4 0 0 1

[email protected] [email protected] [email protected] [email protected]

1 8 1 0

simes01@globalnet-co-uk [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected]

Sum

92 56 32 41

Wrap-up Y2 22 20 2 2

0 0 0 1 1 0 0 0 0 1 0 0 0 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0

1 36 23 34 23 23 42 0 7 17 2 0 16 2 0 13 5 11 10 0 6 0 8 5 1 0 0 3 1 1 0 4 2 0 0 0 3 2 0 3

1 0 0 0 2 1 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

58 22 32 22 21 18 5 35 29 16 18 10 0 14 14 0 7 0 0 11 4 6 0 1 5 6 4 2 4 3 0 0 1 4 4 4 0 1 3 0

4 1 4 0 5 8 0 9 0 0 1 8 0 0 2 0 0 0 0 0 0 4 0 1 0 0 2 0 0 1 5 0 0 0 0 0 1 1 1 0

64 59 59 57 52 50 47 44 36 34 21 18 16 16 16 14 12 11 11 11 10 10 8 8 7 6 6 5 5 5 5 4 4 4 4 4 4 4 4 3

0

2

0

1

0

3

All email addressed were coded when being stored in the Online Alpha archives to prevent spamming. In this book the coded email addresses are used only for keeping track of the discussants as the discussion moves along.

204 127 78 68

xx Floyd Resler Martin Willey mcevoyc Terry Lee Jeff Hudson Pertti Ruismaki Keniji Watanabe Ekmar Brand Lynn Allard Nicolette Deborah Capuano Nimoy Pugh Michael Perry Roberto Baldassari Stefano Alpa Christina Victor Anthony Wynn John W Alan Hoch Dean A Dunday Robert Rousseau Glen Mcbride Mike Beaulieu Donald Hayunga Marianne Erich P. Wise Marcy Kulic James Smith Clyde Meli Ed Eckhardt Ryan Case Gary Keith Marshall Jenny Lobb Colleen A Bement Mark Eidemiller William Norman Grigg Sum Participants

[email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected]

0 0 0 0 0 0

2 2 1 0 2 2

0 0 0 0 0 0

1 1 2 3 0 0

0 0 0 0 0 0

3 3 3 3 2 2

0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

2 2 2 1 1 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0

0 0 0 1 1 2 2 2 2 2 1 1 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 0 0 0

0 0 0 0 0 0 0 0 0 0 1 1 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1

2 2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

18 11

523 49

12 8

635 57

111 27

1303 84

Year One

1

YEAR ONE DISCUSSION On Monday the 24th of November 1997, Mateo Latosa suggested on the Space: 1999 Mailing List doing a week by week joint commentary and analysis of individual episodes. The suggestion got positive response from eleven individuals, resulting in Mateo guiding the episode analysis of the first series (“Year One”) from week 49 in 1997 to week 21 in 1998. There were 49 discussants participating in the Year One discussions. Some discussants made one or two comments through out the whole proceedings while others contributed an average of three or four comments for each episode. The diagrams in figure 1 show the statistical distribution of the number of discussants for each episode. As the interest and engagement for the first episode could be expected to be larger than the typical engagement as a discussion process settles down, only the observations from episode 2 to 24 have been used for calculating sample average and sample standard deviation. Using the assumption that the process can be modelled by a stable normal process (Shewhart process), the upper control limit (UCL) and lower control limit (LCL) in the diagram on the right side of the figure are defined to be three standard deviations away from the process average (cf. Box et al, 2005).

Discussants

Population estim ate

Discussants UCL = 20

23

21

19

17

0 15

24

22

20

18

16

14

12

8

10

6

4

2

0

0

5

13

1

10

9

0,04 0,02 0

11

2

15

7

3

20

5

0,12 0,1 0,08 0,06

4

25

3

0,16 0,14

5

1

6

AVG = 12 LCL = 3

Figure 1. Engagement in the discussion measured by the number of discussants for each episode

As can be seen from the diagrams, process was fairly stable from the attendance viewpoint. The first episode, BREAKAWAY, was the episode causing the greatest participation (20 discussants), closely followed by ANOTHER TIME ANOTHER PLACE (19 discussants). The episodes GUARDIAN OF PIRI and FORCE OF LIFE were third most engaging (16 discussants each). It should also be noticed that the attendance during the first half of the discussion (episode 1-12) tends to be above the average, while the attending during the second half tends to be slightly below average. This may be explained by fatigue, but it could also be caused by random variation. The diagrams in figure 2 shows the statistical distribution of the 523 emails that were produced during the Year One discussion. The diagrams were prepared in similar fashion to how the discussant statistics were made. As the contributions for the first episode could be expected to be larger than the typical traffic as a discussion process settles down, only the observations from episode 2 to 24 were used for calculating sample average and sample standard deviation. The upper control limit (UCL) and lower control limit (LCL) in the diagram on the right side of the figure were defined to be three standard deviations away from the process average.

Year One 0,25

50

0,2

40

0,15

30

Em ails

10

Population estim ate

Em ails UCL = 46

23

21

19

17

15

13

9

0 11

45-49

40-44

35-39

30-34

25-29

20-24

15-19

10-14

5-9

0-4

0

20

7

0,05

5

0,1

3

8 7 6 5 4 3 2 1 0

1

2

AVG = 21 LCL = 0

Figure 2. Intensity of discussion measured by the weekly output of emails

The most engaging episodes in terms of volumes of email were BREAKAWAY (44 emails), ANOTHER TIME, ANOTHER PLACE (42 emails), and GUARDIAN OF PIRI (39 emails). This is more or less the same pattern as was discovered with looking at the number of discussants. Besides the fact that BREAKAWAY was the first episode to be discussed, consequently causing more discussants and emails because the episode by episode discussion was fresh, the episode is clearly interesting due to the fact that it was the first episode in the series. For many potential discussants this was the first episode they watched and was perhaps the reason they got hooked on the series in the first place. The reasons why ANOTHER TIME, ANOTHER PLACE and GUARDIAN OF PIRI are amongst the most discussed episodes are less obvious. Part of the engagement with ANOTHER TIME, ANOTHER PLACE may have to do with the episode discussion being the first episode discussion for 1998, meaning that some people had been away from the Space 1999 Mailing List for some time and now perhaps felt motivated to participate in discussions. Another explanation may be that ATAP gave an opportunity to discuss the concept of the Mysterious Unknown Force (MUF) that has been developed by the fan community as means for introducing a metanarrative about the purpose of the Moonbase Alpha journey into the unknown. Another explanation may be the richness of the episode itself in terms of how it spoke differently to different people and consequently generated multiple themes to discuss. Part of the reason why GUARDIAN OF PIRI caused much engagement had to do with the Servant of the Guardian being played by Catherine Schell who would later play Maya in Year Two. However, there were also many other reasons why the episode caused interest, as will be further commented on in the introduction to the episode analysis. If BREAKAWAY, ANOTHER TIME ANOTHER PLACE and GUARDIAN OF PIRI are all anomalies in the discussion process, the population estimates in figure 1 and 2 could be improved by ignoring all three episodes when making parameter estimates. In this case the sample average and sample standard deviation for the discussants would be 11.3 and 2.2. The sample average and sample standard deviation for the emails would be 19.0 and 6.0. These revised estimates will be used when comparing with the Year Two discussion process later in the book. After completing the first 24 weeks of discussion, there was a week break for the discussants to share their reflections and summarise. A short extract of this reflection could be an effective way of introducing the Year One discussion. Below follows two reflections representing different positions within the debate. The first reflection is written by a discussant who was enthusiastic about Year One and somewhat more critical about Year Two. The second evaluation is written by a discussant representing the opposite view.

Year One

From: Petter Ogland ([email protected]) Date: Tue, 26 May 1998 13:25:58 +0000 Subj: Space1999: Year One Ranking

Hi all, Here is a summary of how I feel about Year One at the moment with a quality grading from a very personal point of view (okay, good, very good and excellent). I'm not really a promotor of evaluating everything by numbers as if all things in life could be put on a line, but, nevertheless, some episodes give me more enjoyment than others, so here's my summary: 1. BREAKAWAY (excellent) The first and the best in my opinion. Wonderful character portrayals. Wonderful first meetings between John and Victor, John and Helena. Very good direction by Lee H. Katzin. It is fast moving and has just about the right balance between special effects and drama, for my taste. 2. MATTER OF LIFE AND DEATH (excellent) Superbly intelligent investigation of how the Alphans feel at the loss of the Earth, symbolised by Helena's loss of Lee, and how they have to come to terms with the idea that most of the worlds they will encounter will be no better, in fact even worse, than the barracks of moonbase Alpha. A wonderful study in grief and sorrow, enhanced by Byrne's vivid use of references to mirrors, double universes or antimatter to illustrate the difference between dream and reality. 3. BLACK SUN (excellent) Very similar story to BREAKAWAY, and lots of similar situations. In BREAKAWAY they had no opportunity to think about what was happening. In this installment writer David Weir give the Alphans more time, but not very much hope, and gives a wonderful description of how they prepare to die. Devastating prospects, much similar to Titanic. 4. RING AROUND THE MOON (excellent) What is the difference between a reseach scientist and a computer? No obvious answer given here. Stupendous efforts from Landau, Bain and Morse, and stunning SPACE:1999

3

debut from director Ray Austin. The is my personal favourite of the series. 5. EARTHBOUND (good) The "lonely, blind creature looking for it's own death" theme which was recycled by Terpiloff in DEATH'S OTHER DOMINION and THE INFERNAL MACHINE. Much focus on the loneliness of Simmonds as he is driven into power play with Koenig and finally more or less choses his own death as a result of desperate actions. Aliens of a dying race from a dying planet are travelling to Earth where they plan to take suicide. Neither scriptwriter nor director shows too much care for the characters, I feel, but, nevertheless, better than the two final Terpiloff contributions as I see it. 6. ANOTHER TIME, ANOTHER PLACE (good) Johnny Byrne continues on the notes of MATTER OF LIFE AND DEATH with false hopes and Alphans in diaspora, simlar fate to the Jews, Serbs and Irish, Johnny would perhaps say. Much of the conflict of not having a home is symbolised through the Judy Geeson character, Regina. Some imaginative direction by cold hearted director Tomblin, but perhaps not as impressive as FORCE OF LIFE and THE INFERNAL MACHINE on visual aspects. 7. MISSING LINK (very good) Edward di Lorenzo uses an antropologist view on Alpha as he lets Koenig be the test rat in the empty Alpha look-a-like maze. The story seems to bear strong resemblance to Shakespeare's last play "The Tempest" with the constallation Raan/Prospero, Vana/Miranda and Koenig/Ferdinand. 8. GUARDIAN OF PIRI (very good) Weir's vision on complacency being death, where he makes room for Landau, Bain and Morse to give new dimentions to their characters like Victor growing irrationally optimistic to great surprise of Koenig. Both content and drama close to excellent, I feel. 9. FORCE OF LIFE (very good) Byrne on his most philosophical, perhaps, drawing a picture of the dynamics of life close of Penfold's virus perspectives. On the visual

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Year One

side accomponied by some of the best achievements by Tomblin and Wilson, I feel. 10. ALPHA CHILD (okay) Di Lorenzo's story of how the emotionless child bread in technological environment grows to become a psychopat. At least this seems to be part of the premise of this story which was also greatly rewritten by Penfold as only he is finally credited. Many fine scenes between Koenig and Jackie and Bergman and Jackie. Nick Tate gives some of his best performances in this one, I feel. Perhaps it would have been better if it had only one scriptwriter. 11. THE LAST SUNSET (very good) Much similar to other Penfold episodes, such as WAR GAMES and SPACE BRAIN in philosophical content, I feel, the highlight of the episode being Paul Morrow going slightly mad and revealing the sort of characteristics that the aliens in WAR GAMES felt a bit uneasy with in humans. Barry Gray's music works wonderfully to illustrate hope, joy and loss of hope, I feel. 12. VOYAGER'S RETURN (good) Byrne gives more thoughts on the agony of war or similar disasters and investigates the role of the individual under such circumstances. A story much about guilt and judgement as I see it. 13. COLLISION COURSE (good) Terpiloff follows the footsteps of di Lorenzo and gives his contribution with this episode about logic versus faith. A fairly ridiculous story, as I see it, that nevertheless generates incredibly interesting situations and outstanding performances by all. In some ways similar to RING AROUND THE MOON, I feel, albeit lacking the philosophical aspects. 14. DEATH'S OTHER DOMINION (okay) Terpiloff exploits his knowledge of the classics (Shakespeare, Dante) in an episode that seems to be about loneliness, power and death, just like EARTHBOUND, but this time focusing on the scientist rather than the politician. Director Crichton presents the story as if it were made for the stage more than for the screen, perhaps fitting with some of the KING LEAR type aspects of the story.

15. FULL CIRCLE (okay) Perhaps best viewed as an hommage to: A SPACE ODYSSEY, saying, just like Kubrick, the evolution of mankind since cro-magnon is neglectible. We are still more or less monkeys. I think Kubrick made this point even stronger with BARRY LYNDON (1975), and in case of SPACE:1999 the total loss of intelligence in some of the dialogue sequences in DRAGON'S DOMAIN does make some suggestions. In FULL CIRCLE Bob Kellett is obviously having fun filming Zienia Merton scantily dressed running through Black Park. 16. END OF ETERNITY (very good) Very interesting sort of Richard III character, Balor, I feel, wonderfully performed by Peter Bowles, one of the most interesting guest characters apart from Roy Dotrice's first go as Simmonds. Byrne called his character a power junkie. What the story may lack in motivation, Bowles and Austin make up for in Balor's encounters with Koenig and Helena. 17. WAR GAMES (very good) This is the episode where Penfold gives his lesson on human kind as a virus. He also referred to it as his anti-war episode. The first two Acts get a bit tedious by repeated viewing, I feel, especially the first one, but the episode is balanced nicely off by the contrastingly philosophical third and fourth Acts. Immensly impressive and interesting in many ways, I feel. 18. THE LAST ENEMY (okay) While very silly on some accounts, Bob Kellett trying to merge THE AVENGERS with SPACE:1999 it seems, it would perhaps have worked much better if it was played more as a spoof and using more of the materimonial themes that were originally written into the script. The scene were Dione is trying to seduce Koenig while Helena and Victor are watching is the highligh, I feel, and gives indications of what might have been achieved by sticking to the original script. It seems to be a missed opportunity. 19. THE TROUBLED SPIRIT (good) Excellent on atmosphere, but less tasty on content I feel. The use of double universes, as in MATTER OF LIFE AND DEATH and In ANOTHER TIME, ANOTHER PLACE, is

Year One also in this episode used, apparently, in order to illustrate the break of illusions as the scientist in question looses control of himself and causes havock. Perhaps the story can be interpreted as to have someting to do with the psychology of people at war, Byrne being deeply concerned with the Anglo-Irish conflict. 20. SPACE BRAIN (good) Following Penfold's metaphore of humankind as a virus and the universe as an organic body, here the Alphan virus is heading for a celestial body that has the function of a brain. As the Alphans destroy the brain they hence destroy the universal body of stars and galaxies run by the brain. The morale seems to be that struggle for human survival is at all cost, and from the point of non-humans we are indeed a virus. 21. THE INFERNAL MACHINE (okay) This seems very much like Terpiloff making a new version of his previous DEATH'S OTHER DOMINION. The content seems quite similarily to be about a lone scientist sacrificing his social network in order to achieve his dreams. Due to concluding loneliness he develops a strong urge for power, then realises the empiness of it all and turns to selfdestruction. 22. MISSION OF THE DARIANS (okay) Accoring to Byrne there is no means to what people will do in order to survive. Perhaps thinking of the Irish conflict, he uses imagery and ideas from the Viking Sagas, ancient Greece, the Nazis and perhaps even British empirialism of the previous century. A difficult theme to handle within the SPACE:1999 concept, I suppose, and Austin's entusiastic direction almost makes it a bit in bad taste, I feel. 23. DRAGON'S DOMAIN (good) While Landau and Bain seem to experiment with a change of style that anticipates Year Two, Gianno Garko as Tony Cellini is interesting. The easy style of Landau and Bain could perhaps have worked better if it were done in a smaller dosis, as to contrast their usual behaviour. The music (Albinoni) and the models are, of course, superb. 24. THE TESTAMENT OF ARKADIA (good) A very fine way to end Series One, I think.

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Johnny Byrne is in the hopeful mood in this one. Excellent musical leitmotif by Serge Lancen enhance the proceedings. Petter

From: Date: Subj:

[email protected] Sat, 06 Jun 1998 18:45:06 -0400 Space1999: Year one thoughts

Here are some disjointed, unconnected and completly unwelcome year one thoughts: Dr Russell started out as a very weak character. She grew (due not to Barbara Bain's acting, but rather Bain's probable, and necessary, nagging of the writers.) Helena would just stand there and get scared or look helpless, but as we got into the season she started acting more like a calm professional, who could think for herself, and handle what came at her. The charge has always been that the first year characters were devoid of personality and character and were humorless. Nasty comparisons would be made with the supermarionation characters of the 60's. Watching carefully, I can see bits of personality here and there in the episodes. The problem though is that I had to sit there and watch carefully to see it. You don't have to hit people over the head with it as in year two, but it also can't be so subtle that you miss it if you blink. As I've commented over the weeks, the dialog at times would be very bad. You cannot have the characters discussing a problem with dawning realization that the slowest member of the viewing audience has already figured out in one flash. I can hear the following: Koenig: (In slow, whispering shock) Wait a minute! Victor, if you're in the room, and Paul is in the room and I'm in the room... Victor: It HAS to be John! Koenig: (Even more slow whispering shock) Then...there are THREE people in the room!!!

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Year One

I find it very difficult to describe the problem. I just know it when I hear it. I've heard over the years critisims that they just stood around and talked in year one. I don't think that would be the complaint if what they were saying wasn't so inane at times. As the season progressed they setteled down into a form that worked, and I think the stories got better, and the stuff that annoyed me decreased. This is good because when they did do a stylish episode like The Troubled Spirit, they had a handle on story and dialog, so they didn't just start throwing in stuff that made no sense cause it filled in the gaps between the artsy camera shots and mood lighting (I am refering of course to A Force Of Life.) You might think from my reviews that I only prefer the straightforward stories, like Mission Of The Darians. I like the stylish stuff too, but it cannot be at the expense of logic. Koenig putting a guard outside a closed, windowless door for protection, so when the guard enters the room he is immediatly killed. Or Helena setting up a light as a warning, and sitting with her back to said light...don't get me started on that episode again. It was very artistically shot, but I think it sums up for a lot of people what they didn't like about the show, and that is not a fair sampling. Year one had a habit of doing stuff that violated common sense too easily for the sake of plot, or even just for the sake of a convenient death of a nameless extra. They would also throw in a line or reference for no reason other then it sounded like "science fiction" (my favorite example is from the end of The Last Sunset where the alien voice says they have been watching the humans "since the dawn of time." That's just stupid. Maybe we should get a "ray gun" and shoot them. Watching the show in production order, you can see the show get stronger. The problem is that it wasn't aired that way, so it came across as uneven...or at least that is my memory of watching it in New York in 1975. I question all of the analysis that goes into discussing trends in various writers as the year progressed. Yes, there had to be growth and development of

some kind, but I question how much, because back then you made individual episodes that were supposed to stand by themselves, because you did not know what order they would run in. Also, with the committee approach to rewriting episodes of any show, there is only so much that you can put in and develop, that will survive the process. Ring Around The Moon to me is the worst episode of the season. It is so bad that I can never remember what it is about past a certain point (and I think that is because there is nothing to really remember.) And how cheap and cheesy is it to have the menacing aliens voiced by one of your regulars doing nothing more than whispering into a microphone? I remember reading a letter in Starlog Magazine years ago where the writer described year one Koenig as a "petty beaurcrat who is always yelling at his staff." I think that is an interesting point. I always felt sorry for Martin Landau in year one, because he was trying at times to make some very bad dialog work...it is no easy task. Even Barry Morse could not make the speech in War Games work (or he was stoned out of his mind when he shot that scene, because it is very bad.) Of course, as I've said elsewhere, I love most of the times when Victor would start to wax philosophical, sometimes at the damedest moments, and you knew one of the other characters just wanted to give him a dope slap. It would have been interesting to see the year two characters and writing using the year one sets and costumes. I wonder how much of the lack of color and the uniformity affects what you see. I realized this when I see Koenig and Kano sitting on the steps playing a late night game of chess, and it's a nice little scene, and yet I stilll have a feeling of blandness, or sterility, and I realize that somehow what they are wearing and their surroundings is influencing my reactions. I wonder if that is why they started adding color to the wall panels (green and yellow, wasn't it?)

Breakaway

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01. Breakaway Being the first episode in the series, setting up the premises of the drama to unfold during the episodes to follow, this was the episode during the Year One discussion that resulted in the greatest number of participants and production of emails. As many of the contributions below will show, the episode by episode discussion started off in a gentle manner by discussants commenting primarily on positive aspects of the episode and the series as a whole. To a certain extent this also reflects how the series was generally reviewed by the media in 1975-76. Although the premise of the moon blasting out of earth’s orbit was frowned upon by some, the show looked spectacular by the standards of the day, it had interesting characters and an interesting storyline (e.g. Asimov, 1975; Emmett, 1975; Waters, 1975). Nevertheless, the discussion was not without consideration for political and social subtext. As one of the discussants point out, this was the era of the energy crisis in Europe and North America and many were looking at sources of alternate energy. Nuclear power was being touted as the best and cheapest and nuclear facilities were being built on an all time high. But this was also the time when many brought up the concerns over the safety of nuclear power plants and nuclear waste. From: Petter Ogland ([email protected]) Date: Mon, 1 Dec 1997 12:05:09 +0000 Subj: Re: Space1999: Episode by Episode: Breakaway

Hi all, The episode BREAKAWAY is one of the episodes that gives me the most pleasure. This is partly, I believe, because it was the first episode of the series that I saw, back in 1975, and it made a tremendous impact on me then, and it is partly because, when watching it again as an adult, I find it to be one of the best written, best directed and best acted episodes in the series. While the episode was written by George Bellak, it seems the central idea of the moon being blasted out of orbit was suggested by others, perhaps Gerry Anderson or Cristopher Penfold. Anyway, the moon being blasted away is only one theme of the story. Like a fuga by J.S. Bach, there are themes and persons in this episodes woven together making the most facinating patterns. One very nice theme is the Meta Probe. In some ways the plot isn't all that different from DRAGON'S DOMAIN, I feel. In DRAGON'S DOMAIN there is also a probe and conflict with Earth Command. DRAGON'S DOMAIN keeps to a rather strict linear sort of storytelling, however, even if it makes use of flashbacks. In DRAGON'S DOMAIN there is very much one central theme, and the story is told very clearly

investigating this theme of Cellini's breakdown and how he tries to come to terms. BREAKAWAY, on the other hand, is, as I see it, quite chaotic, It has a much more sort of strem-of-conciousness feel to it, I think. In fact, it's not too unlike RING AROUND THE MOON in this respect, I feel, another of my absolute favourite episodes. In both BREAKAWAY and RING AROUND THE MOON we are given more information that is necessary for the telling of the story, and it is not always obvious for the viewer what to concentrate on, I feel. In RING AROUND THE MOON this is done to such an extent that some feel the episode is confusing to the point where it does not make sense. Excellent as I see it, however. BREAKAWAY also has this feeling of everything happening at the same time and all sorts of McGuffins in order to manipulate the viewer. Simmonds, for instance, seems like a very friendly character in the prologue, encourageing Koenig on his mission. Things are not what the seem to be, however, as Koenig finds out as soon as he meets Bergman in the travelling tube. At this point there is still no reason to mistrust anybody, however. Then there is the charming meeting with Gorski. By face value Gorski seems like a nice person, but as soon as he's out of the frame we are given verbal information that makes us less sure whether this is a person we would like to

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Year One

place confidence in. But then again, maybe we should, who knows. It seems obvious that Koenig is our man, but there is not too many indication of him being too much of a hero. The first thing he is about to do, when he enters Command Centre, is to make a wrong decision, based on information he got from Simmonds about Dr. Russell. Victor prevents him quickly, however. The characterization of Helena is also excedingly interesting in this episode, I feel, displaying all the characteristics of a woman completely obsessed with work and career, but, this being early 70s, before the awful feminism of Alien, Alien 2 etc., not too militant and nor too frustrated, it seems. She certainly seems ambitious, but does not seem to mind too much having her sentences snipped of by John or Victor. Very nice. Penfold seemed to investigate this even further in som of his episodes. Fascinating. One could conduct a whole seminar concerning the first meeting between John and Helena, I believe. I this wonderfully directed sequence there are so many eye movements, body gestures and so much voice control that it makes it possible to watch and rewatch the sequence endlessly. Well, this is my contribution so far. I believe it would stack under Mateo's category "11. Miscellaneous". I'm eager to hear what others think of this episode. Quintin? Janet? Tony? Pat?

I have a few notifications to say to the people who will be watching one episode per week beginning this week. I'm a video editor in Montreal, so my job is to edit tv shows and notice all those bloopers made on the set before editing. I saw a lot of them in Space1999 and i'll be glad to share them with you for the next year. - In the opening sequence (a few seconds before the main theme) When Nordstom throw Steiner away on the moonbuggy, watch closely Nordstom's helmet... IT WILL OPEN ! Did you notice, when Koenig meets Gorsky in front of the travel tube door, the letter on the top of the COMMPOST beside them ? The letter is an "E" in a light blue circle, i don't remember seeing this letter again in the 47 remining episodes, and i don't know why. We see "S", "T", "C", "P", "M", "LQ" often but never that "E" again. In this episode and the few next ones, you can see people walking or moving in front of the main mission big screen, like Koenig when he will enter his office in the middle of the show , When the're watching images from Mars probe after the explosion, and when they watch the newscaster. They were using projections from behind, but it was a lot of job to recreate a real screen in real time, so after a few episodes they started to use superpositions. Andre Beauchamp

Until tomorrow, Petter

From: [email protected] Date: Mon, 01 Dec 1997 19:00:17 -0500 Subj: Space1999: Episode by episode : BREAKAWAY

Hi Mateo, all! (excuse my awful English writing)...

From: Jhon ([email protected]) Date: Mon, 01 Dec 1997 19:28:03 -0500 Subj: Space1999: Breakaway

This episode is the first. Fact. The difference between this episode and most of the others is the fact that all the characters need introduction. We see a little of that when the Commander joins the Alpha team. He is lead around the base by Victor. John then gets to meet with some new people and old. He is thrust into a very tense situation, but the others don't seem worried that this new commander is

Breakaway suddenly taking over, the reason being that Gorski may not have handled the situation correctly and the other personnel noticed that. Who ratted on him anyway? When John meets Helena, he knows only what Gorski has told him about her. John enters Helena's office as if in attack mode. Then the mood changes. Did he develop a soft spot for her, because of her beauty? John challanges Earth command and Simmonds with a proposition; to get the Meta Probe launched under his conditions. A tradeoff is made. John is acting like a politician. Maybe Gorski couldn't handle politics. Ouma is in charge of the X-5. When did David Kano show up? Was he on the moon in a different section? What happened to Ouma? Did he die? Sandra shows off her wonderful scream when the moon blasts out of orbit. She was very calm when data was pouring in from the surface cameras. Why the sudden change of emotion? Perhaps she was new to Alpha as well. One discrepency: What would make the Meta probe blow up? The forces in action would probably have just sent it to a different orbit. Cannot wait till week 2. Jhon

From: "Mark Meskin" ([email protected]) Date: Wed, 31 Jan 1996 20:25:39 -0600 Subj: Space1999: Meta Probe What would make the Meta probe blow up? The forces in action would probably have just sent it to a different orbit.

Think about it for minute....the Centuari Space Dock is orbiting the moon with the Meta Probe docked to it. The moon suddenly movesperhaps in the direction the CSD is orbiting,and the CSD also rotates- this would create a large increase in gravitational stress on both the Probe and the CSD. It appears the

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dock link ruptures and the Meta Probe spins off. This alone might be enough to cause structural failure on a Probe that was designed for acceleration along its longitudinal axis, not violent spining. Even if that didn't do it- this ship was in Space Dock- the weren't expecting any bumps- a fairly low mass object (a small machine or maybe a power pack) flying around the interior could wreak serious havocOxygen tanks( we see what they can do to an eagle in "The Last Sunset")- windowsexplosive decompression- engine roomreactor cooling systems, etc. any number of things could have destroyed it. The CSD blew up too- perhaps a large piece of shrapnel ripped into probes engine section or propellant tanks. Had it been orbiting free from the station it probably would have survived. It would have not been imparted any rotational energy from the station, and being the ship was under its own power(everything loose would also have rigged for running-) it could have compensated for the shift in orbit and gravity much like Carter's Eagle.

From: David Acheson ([email protected]) Date: Tue, 02 Dec 1997 03:28:15 PST Subj: Space1999: Breakaway

Alphans: First let me start by saying I haven't seen BREAKAWAY in its original episode format since the late 1970's. I have seen it since then edited along with WAR GAMES as part of that feature film ALIEN ATTACK but that too has been a while. I believe the early to mid 1980's. So much of my discussion of the episode is based purely on memory. BREAKAWAY to me represents what SPACE: 1999 was all about. An exceptional episode of a very different series indeed. Nothing has been filmed like it before and not since. To me the episode will be most remembered as the very first episode of the series I ever saw. Yes, I was there right from the beginning in September 1975 when WPTZ in Platsburgh, NY picked up the show.

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Year One

The episode had a lot to deal with and I believe the cast, director and writers pulled it off but it appears it was done only with a lot of sweat. The now infamous stories of behind the scenes bickering and last minute changes makes one wonder how the episode (and the series in general) ever got out the gate with such quality. Yet, BREAKAWAY was the standard by which much of the earlier episodes of year one were held up to by both critics and audiences - for better or worse. Petter Ogland has held the earliest episodes of being the best of the lot but there are others who felt the show never developed its feet until Johnny Byrne and Christopher Penfold took over the direction of the show. For these people they felt the series started with a bang (no pun intended) and then fell flat for a short while before picking up steam again. At least that is the way I read it. The most criticized aspect of the show has been the science but Gerry Anderson himself stated he made it for entertainment purposes. I myself do not get too involved in scientfic accuracy. If a show has interesting characters and imaginative stories I can suspend my disbelief and I believe many 1999 fans have done so with the series. In particular the nuclear explosion itself. Let’s face it. The show was developed as a visual spectacular so blasting the moon out of orbit was about as spectacular as you can get. It is also more interesting than the silly original idea the Andersons had - aliens altering the gravitational field of the moon causing it to float off to space. In other aspects the nuclear accident spoke directly to the televison audiences of the 1970's. Remember this was the era of the energy crisis in North America and many were looking at sources of alternate energy. Nuclear power was being touted as the best and cheapest and nuclear facilities were being built on an all time high. But this was also the time when many brought up the concerns over the safety of nuclear power plants and nuclear waste. This was the Earth which SPACE: 1999 portrayed. The accident of September 13 was the television equivalent of Chernobyl and Three Mile Island. Koenig's introduction to the series was also interesting. He arrived competent but a little

out of place and quite represented the everyday man - a character James Stewart played a lot in the old movies. He came to Alpha expecting one thing but discovered things are not what they appeared to be. A theme used quite a bit in the series. Victor was his comfort zone (a familiar face from the past to make him feel at ease) and Helena was the new interest he would have to pursue. You can just see both John and Helena getting moist the first time they layed eyes on each other in Medical Centre - despite their cool, professional exteriors. And, of course, Simmonds represented all that was bad about the politics of life. I could go on forever but I have other things to do so will end here. Just some interesting ramblings on how I see the first episode of SPACE: 1999. I think this episode by episode idea is great. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

From: "Petter Ogland" ([email protected]) Date: Tue, 2 Dec 1997 12:41:44 +0000 Subj: Re: Space1999: Breakaway This episode is the first. Fact. The difference between this episode and most of the others is the fact that all the characters need introduction.

Both Barbara Bain and Martin Landau are presented in the prologue very much like in the main titles sequence, I feel. She is pale and beautiful, he is dark and sinister. We are introduced to Barbara first, in the sequence where Helena and Victor are monitoring the astronauts in Area Two. I've always found Barry Morse's acting a bit peculiar in this sequence. While he is in top form during most of the episode, especially in the magnificently constructed similar sequence when Victor and John are in the same observatory later on, in this first sequence he seems oddly uninspired, I think. Very strange.

Breakaway Perhaps he felt the only concern to this scene was to stage Barbara, and that he was just a requisite added to serve Barabara with a few odd lines. the others don't seem worried that this new commander is suddenly taking over, the reason being that Gorski may not have handled the situation correctly and the other personnel noticed that. Who ratted on him anyway?

It's not my impression that there was any unrest concerning Gorski. You may of course have observed something I haven't seen, Jhon, but as in the confrontation between John and Alan, Alan seems to behave as if everything was under control, unable to understand Koenig's precautions. I felt that exchange of glimpses between Victor and John after talking to Gorski had more to do with Gorski's social or professional ambitions, whether a personally ambitious Commander on Alpha was for the better or worse for the society would be an open question, but, nevertheless, Simmonds must have had more trust in Koenig than Gorski for leading the Meta project as they were exchanged. In the beginning of the episode I think both John and Helena look fairly ambitious too. Alpha had to be an elite society, anyway, I suppose, so the kind of ambitions represented by Gorski and Simmonds does not make them contrast John and Helena too much, I feel. Much of the conflict in BREAKAWAY is of psychological kind, Simmonds feeding and being fed only by partial information, for instance. The physical disaster, however, is not attributed to anyone in particular. The radioactive explotion is something nobody wants. Like very much of Year One, the centrol plot in BREAKAWAY revolves around phenomena where the Alphans are just thrown away into disaster, not having any clue what to do, and often on the bringe of making wrong decisions. There is a change in attitude during the course of BREAKAWAY, however, I feel, people leaving their personal ambitions when they realize that a catastrophy is approaching. The only one who does not seem to have realized this is Simmonds, and this is what triggers

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Landau's wonderfully acted outrage just before Area Two blows off. Poor Dotrice is the only thing I can think, having Landau shouting at the top of his lungs in the middle of his face. As I see it, Simmonds is not much of a villain of the kind that we are introduced to in Year Two, Cantor in THE EXILES, for instance. Simmonds only crime seems to be that he is "sleeping" as John calls it. He is Koenig's supervisor, but as his mind is so focused on political matters in order to have the Meta probe on it's way, he is gambling his personal reputation and the reputation of the Meta probe project against the safety of Alpha. Even more interesting, it doesn't seem like Simmonds is understanding this, travelling to the moon and asking Victor and John questions like how long it would take before the problem is solved. What he does is not much more than what most company presidents do, I suppose. He has his obligations, and he relies on Koenig to solve his, i.e. the practical problems on Alpha. Because of Gorski's ambitions, both Gorski and Simmonds social and professional reputation relied on the Meta probe being a success. If it did not succeed perhaps they would have no place to work tomorrow. When John meets Helena, he knows only what Gorski has told him about her. John enters Helena's office as if in attack mode. Then the mood changes. Did he develop a soft spot for her, because of her beauty?

I didn't think of it as an attack mode, but you may be right, Jhon. Clever observation, anyway.

From: Petter Ogland ([email protected]) Date: Tue, 2 Dec 1997 13:29:11 +0000 Subj: Re: Space1999: Breakaway and Byrne/Penfold

As most of us know, Johnny Byrne and Christopher Penfold were present from the first episodes as story consultants and co-writers. Also Edward di Lorenzo was credited on the first episodes, but from what I've read he only made contributions with RING AROUND

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Year One

THE MOON and onwards. I've understood that di Lorenxo, Byrne and Penfold made good rapport, but di Lorenzo is seldom given the same acclaim like the two others. Although I agree that his direct influence may not have been so great as of the other two, I feel that much of what I like with SPACE: 1999 writing has to do with di Lorenzo. Of the two main writhers, I think he must have been closest to Penfold in spirit.

More on BREAKAWAY tomorrow,

Edward di Lorenzo was credited writer to RING AROUND THE MOON, MISSING LINK and made the first draft for what Penfold would make into ALPHA CHILD. I'm very fond of the first two in particular, and personally I find RING AROUND THE MOON to be one of the most rewarding episodes of the whole series.

Unfortunately, I won't have time to watch Breakaway this week. Being one of my favorites, though, I've watched it a few times, so here're my thoughts...(I just love talking about these scenarios as if they were 'real life' and not TV.) By the way, I wrote this in another application, then pasted it here, so if there's wierd punctuation, I apologize.

SPACE: 1999 seems to be very much the brain child of Byrne and Penfold. There is no question about that. Nevertheless, I've sometimes explained that my personal taste recides more in the episodes prior to ANOTHER TIME, ANOTHER PLACE, the sixth episode in production, Johnny Byrne's debut as sole writer.

I hadn't seen Breakaway from the time of its initial airing until I got my tapes a couple of years ago. In those 20 years, I learned a lot more about corporate politics, and maybe it's my now-cynical outlook on corporations, but it seems Alpha and indeed the Space Commission was rife with politics. Koenig is already well on his way to Alpha when he is approved as Commander; this was not something that was planned for weeks or even days, as least not openly, and Gorski had only just been told. That is a deposition, not a reassignment, and one can only speculate on the circumstances that led up to it. We do know that Gorski was Simmonds' man, as he, Gorski, was the one who refued to let Dr. Russell report any of her findings, yet Simmonds knew perfectly well of her radiation theories and had even assembled a team of radiation experts - probably hand-picked by him to say what he wanted them to say - to investigate the situation. They were in cahoots and it would not have surprised me if Simmonds were protecting Gorski for whatever reason.

At the time of ANOTHER TIME, ANOTHER PLACE I felt that the initial ideas of BREAKAWAY were draining away, and the writers were looking for other paths to follow. In the case of Johnny Byrne, I'm under the impression that he was much inspired by early 19th century litterature, such as Austen, Shelley, Byron etc. combined with certain ecological and political problems. Penfold's contributions were perhaps less political and more philosophical, but, nevertheless, although Byrne and Penfold are representative for much of the style of SPACE: 1999, I feel episodes like MATTER OF LIFE AND DEATH, BLACK SUN, RING AROUND THE MOON and EARTHBOUND are much closer to BREAKAWAY in style of writing and execution. Anyway, it will be interesting in a few months time when we reach the territory of Byrne and Penfold to hear more views as to why some prefere these later episodes to the first.

Petter

From: Patricia Sokol ([email protected]) Date: Tue, 02 Dec 1997 17:02:57 -0500 Subj: Space1999: Breakaway

Misinformation or disinformation was apparent. Carter still assumed that the Meta astronauts were going to recover? Hello? He was astounded when Koenig asked about the back-up crew. This surprised me a little in retrospect, because it indicates that there was very little communication within the upper echelons, although there was never any

Breakaway indication of hostility between Carter and Dr. Russell (such a nice smile he gives her when he goes into Medical in Another Time, Another Place, but that's Another Discussion). Dr. Russell must have been under tremendous pressure to keep her mouth shut, or else surely Carter would have known that the probe astornauts were as good as dead. Her reputation was on the line, and she was in a highly visible position at a fairly young age. Must've been lots of folks who would love to see her trip up, and perhaps she knew that. And all those other people dying? How could Main Mission staff have possibly been so relaxed when Koenig came in if they knew the whole story? The radiation area worker going beserk in the prolog, and people aren't going to hear about it? Just doesn't add up. Clearly Helena Russell is in a position of authority by virtue of her capacity as CMO. In the prolog, one must wonder if she is supervising that radiation check with Gorski's knowledge and approval. I doubt it. There is very likely bad blood between her and Gorski, what with his stopping her release of information and probably mounting a general smear campaign with Gorski's approval and support. If you've read "The Void Ahead", the original script that evolved into Breakaway, we are told that Gorski had expressed some less than professional interest in her, and she rebuffed him. This gives some impetus to his "control" of her and would make him less than sympathetic to her theories. That's going a bit overboard, as I see it, and it was never explored or mentioned by the time Breakaway was filmed. Another side that is stated in "The Void Ahead" is Simmonds' mistrust of her because she is a "space widow", and this is her way of exacting revenge. Again, this was not even hinted at in Breakaway. Simmonds did try to poison Koenig's mnd against her, as Koenig states to Bergman, and Bergman rebuffs that statement. Clearly the fact that Koenig was very quick to accept Bergman's word over Simmonds' indicates the strength of the relationship between Koenig and Bergman, and Koenig's mistrust of Simmonds. The observation that Koenig goes to Medical to confront her, then changes his demeanor very quickly when the door the Dr. Russell's office opens and it is obvious that she is not some androgenous, bitchy, I'll-show-you-lousy-men type of career woman, indicates that she is not

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at all what he had expected based on what he'd been told about her. This is taken to the point where he has to make lame conversation about her microscope in order to cover his surprise. I admire Dr. Russell in this episode particularly, because the only time she raises her voice is when she tells the one radiation worker to get the other one out of the monitoring area. Then, her voice cracks like a whip. Other than that, is is low, calm, and selfassured, like she knows people are going to listen to her, so why should she be strident? Another gesture she makes is when she comes into Main Mission towards the very end, when they're listening to the news broadcast from Earth. She walks in, and leans forward on one of the desks in a manner that one would not characterize as unladylike, yet it is a stance that says she is not going to hang out in the background and let things happen around her. She's going to be right in the thick of it like everybody else. Really, what place does the CMO have in Main Mission when they've just been through a major catastrophe, if not to make the point that chief physician will not be her only role? Koenig even seems a bit surprised at her entrance and gives her a rather startled look, like "What are you doing here?" She was establishing herself from the start. More thoughts on other characterizations and the episode in general tomorrow. Sorry my comments aren't fitting proposed format. Seemed easier just to let it flow.

From: Date: (EST) To..: Subj:

[email protected] Tue, 2 Dec 1997 18:23:01 -0500 "Space 1999"@buffnet.net Space1999: Breakaway

My favourite part's of Breakaway. Dialogue triumhs.. When the Commander tell's Simmonds. ( WAKE UP COMMISSIONER IF THIS GOES WRONG THERE WON'T BE ANYBODY TO ISSUE A COMMUNIQUE THERE WILL BE NO SURVIVOR'S )..

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Year One

From: Jeff Hudson ([email protected]) Org.: Community Media Center Date: Wed, 3 Dec 1997 02:44:26 +0000 Subj: Re: Space1999: THE VOID AHEAD BREAKAWAY

This is probably an old observation for most but I noticed it for the first time now that I got my Columbia House episode of Breakaway. There is a shot of an eagle from the front and they superimposed astronauts into the windows. As one astronaut's head turns, if you look you can see that the other astronaut is just a double image and turns his head exactly the same.

From: Petter Ogland ([email protected]) Date: Wed, 3 Dec 1997 11:15:39 +0000 Subj: Re: Space1999: Breakaway

Hi all, I just read Pat's contribution to our BREAKAWAY discussion with all it's deep and wonderful insights into life on Alpha. The part about Dr. Helena Russell was exceptionally good, I think. Here are a few of my comments. Koenig is already well on his way to Alpha when he is approved as Commander; this was not something that was planned for weeks or even days, as least not openly, and Gorski had only just been told. That is a deposition, not a reassignment, and one can only speculate on the circumstances that led up to it.

I read those introductory sequences more like a final affirmation of Koenig taking over command on Alpha, not an assignment. From what we later learn about Simmonds methods of handling matters it does not seem too farfetched to assume that although the change of practical leadership on Alpha had been planned for weeks and days, Gorski would only be told at this late instance. We really do not know to much about the communication between Simmonds and Gorski, however. I believe Gorski would have known something in advance. Otherwise it is difficult to

understand how calmly he was able to accept the change when Koenig arrived. Perhaps even Gorski wanted to leave as he had bad feelings for the Meta project, knowing more about the situation than most on Alpha. We do know that Gorski was Simmonds' man

I can't see why Gorski should be more of Simmonds' man than Koenig. I assume that both the commanders would experience great difficulty dealing with Earth authorities who are more concerned with numbers and schedules than the practical problems on the moonbase. We don't know too much about how Gorski handles this situation, but to me it seems a plausible reason why he was rather restrictive about sending information to Simmonds was that he knew would displease him in order to save his own neck, also he wanting the Meta project to succeed at any cost. It is perhaps therefor reason to believe that Simmonds did not have all the information about the dying astromnauts on Alpha that Koenig got when he arrived. In other words, Simmonds had no idea of how serious the problems are, although he obviously know more than he told Koenig before assigning him the mission. Concerning the point about a new team of top medical people, radiation expoerts, could mean that he did not not trust Helena fully. If he knew that people were dying due to some sickness perhaps inherent to all on the base, it would only be to wipe problems under the carpet to launche the Meta probe and have the astronauts die out in space. The intentions of Simmonds seemed to be that the Meta probe should be launched at any cost in order to make the expedition succeed. Simmonds wants results, and, in fact, he wants the same results as Koenig, Bergman, Alan Carter and all, he is just a bit more ruthless. Probably he assumes that his head goes if anything goes wrong with the Meta Project. For me there is nothing obviously villainous with either Gorski nor Simmonds. They seem to be all on the same team with the rest of the Alphans, there's more a question of

Breakaway

been told about her. This is taken to the point where he has to make lame conversation about her microscope in order to cover his surprise.

disagreement concerning how practical problems should be solved. ... Dr. Russell must have been under tremendous pressure to keep her mouth shut, or else surely Carter would have known that the probe astornauts were as good as dead. Her reputation was on the line, and she was in a highly visible position at a fairly young age. [....]

Very good points, Pat. Perhaps Alpha was more competitive during the first episodes of the series. Helena seems fairly competitive and career oriented. Alan has all those arguments with John, and even John is fairly cautious about giving out information in such episodes as BLACK SUN and EARTHBOUND after Computer has decided who are the best fitted to leave Alpha. In later episodes I think internal competition and stride was less visible with more use of round-table discussions and decisions. I believe it would be of great help to both Helena and Gorski that they found out more about the radiation sickness. Even if their personal relationship wasn't the best it would be in interest of both to find out why the asteronauts were dying. Even to John, the astronauts and Meta Probe is his first concern. It's only after that Helena has said that the radiation sickness may put the Meta project in jepoardy that he slows down to shown more concern for the people on Alpha. Another side that is stated in "The Void Ahead" is Simmonds' mistrust of her because she is a "space widow", and this is her way of exacting revenge. Again, this was not even hinted at in Breakaway.

I thing the "space widow" mistrust sounds fairly relevant. There must be some reason for Simmonds not to trust Helena, surely it would be much nicer if she were wrong and the Meta Probe could be launched after all. This seems to be what he is thinking, and probably hoping that whatever problems they are experiencing on Alpha, these problems may be solved. The observation that Koenig goes to Medical to confront her, then changes his demeanor very quickly when the door the Dr. Russell's office opens and it is obvious that she is not some androgenous, bitchy, I'll-show-you-lousy-men type of career woman, indicates that she is not at all what he had expected based on what he'd

15

Fantastic. One of my favourite sequences of the episodes, this is. I admire Dr. Russell in this episode particularly, because the only time she raises her voice is when she tells the one radiation worker to get the other one out of the monitoring area. Then, her voice cracks like a whip. Other than that, is is low, calm, and self-assured, like she knows people are going to listen to her, so why should she be strident? Another gesture [....]

Excellent. I really can't understand why Barabara Bain in particular was so much critizized for her interpretation of Dr. Helena Russell. In my opinion she did an outstanding job making a very interesting and realistic character, making perfect symbiosis with John and Victor in this and later episodes. Personally I think the characterization is perhaps at the best in the earlier episodes. In MATTER OF LIFE AND DEATH, for instance, there is characterization abundance, and very interesting insights into both John and Helena as persons. There's still lots do discuss about BREAKAWAY, however. By the way, Janet, I'm waiting for your contribution. You are an ever reliable source for insights into episodes like this. More thoughts on other characterizations and the episode in general tomorrow.

Marvellous, Pat, I can't wait to hear more!

From: Date: Subj:

QGMorrow ([email protected]) Thu, 4 Dec 1997 18:42:54 EST Space1999: Good Stuff

Dear Friends, I am so enjoying the recent dialogues on "Breakaway." I recently re-watched it, and so love the tension between Koenig (who plays a terrific moralist in that episode) and the corrupt

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Year One

Lunar Commission (so well embodied in Comm. Simmonds). The special effects, the acting, and the story are all great. Again, I was impressed by how "Breakaway" really serves as a metaphor for human existence. We are suddenly at birth thrown into a wandering with which we had very little to do. And we are responsible, by our choices, for our survival, and for the formation of our identity. I think "Breakaway" is an existentialist's dream! Thanks, Petter, for the terrific insights. Quintin

From: [email protected] (Anthony J Ritz) Date: Thu, 04 Dec 1997 13:17:40 EST Subj: Space1999: BREAKAWAY

BREAKAWAY, the trend setting episode and initial adventure of the people of Moonbase Alpha, as they leave the earth for deep space. There are differences in this episode, not only because it is the premier episode, but also because they are still in contact with Earth as we know it. The mood is not as dark as the rest of the series, and it is one of the more action packed episodes of the season. The music reflects that in being more grand also. The music in the later episode better defines the disconnected feelings from having been ripped away from earth, and from home. I like how the base video communication system seems more realistic in this episode. There is a set behind every person appearing on a display screen. In later episodes, the set is replaced with a black or nothing like background. In addition, the person the character is attempting to contact, is not automatically ready to talk. John butts in on a conversation between Tanya and Paul, and when calling Helena, Mathias has to walk up to the screen and explain that she was not even there. Not a crucial difference, but interesting none the less.

John is a real hands-on commander, acting more like a front line solder than a general in many episodes. Helena makes note of John's decision to inspect area 1 personally, but the scene is used as more of a promise of things to come, between Helena and John. That is one of the more multidimensional scenes of the episode, where several things and ideas are being shot out at once. An irony of situation that is best described by Helena's face as John leaves medical center. This is the only episode where you see the Commissioner's Eagle. The eagle with the all red passenger module. I painted one of my model eagles in like fashion. Also, there is a ton of great shots of the cargo eagles, only seen again in COLLISION COURSE, unless I'm mistaken. When John tell Paul to send Emergence Code Alpha One, Paul acts as if he was told that someone had a picture of him with a goat. The reaction was a little exaggerated, but not to the levels seen in Ring or Y2. I do so love the look on Commissioner Simmonds' face when John sends Alan up in HIS eagle. I'm sure if he could of stopped that command without looking yellow, he would of. The TURNING POINT is after John's speech to Commissioner Simmonds after the communique comment. The needed break from the Americanized, everything works out in the end, type endings. Things stop going as planned, fate steps in and draws a serious blow. Priorities quickly become mere survival. Not even returning home could be entertained as a realistic objective. The scene after the breakaway, where John decides it is not realistic to attempt a return, is my favorite of the whole episode. You feel the weight of his decision as he walks to his desk. You see the anticipation of the staff as they look at their commander to make the best decision for them, and for their future, if there is to be any future at all, simply GREAT in my opinion....... I also love the scene directly there after, when they are watching the news show, and the signal fades from the ever increasing distance between the moon and Earth. The "THIS IS

Breakaway GOODBYE" look on everyone's faces is simply CLASSIC. Helena is the best example of this, hardly the "wooden" acting most accuse her of. My overall ranking of this episode, is in the "very good" category. The special effects are great, as is the action. But it is missing a lot of the deep meaty material found in later episodes, like BLACK SUN, COLLISION COURSE, and INFERNAL MACHINE. This is not something that detracts from BREAKAWAY, because of the nature of the subject matter itself. She is the introduction, the maiden flight of Space:1999, into the ranks of being the best Science Fiction Show ever produced. Take Care All, Tony

From: "Ellen C. Lindow" ([email protected]) Date: Thu, 4 Dec 1997 22:41:53 -0500 (EST) Subj: Space1999: Breakaway vs. Real life

When watching Breakaway this past weekend, I was struck by the similarities between the way Simmonds wanted to handle the crisis and the way NASA appeared to handle the Challenger explosion. NASA didn't want to lose face by delaying the Challenger launch due to cold weather, knowing the press would destroy them, therefore they chose to launch in less than ideal conditions, costing 7 lives. I could almost imagine Simmonds rationale for launching the Challenger -- "Now, John, we can't have another delay of this mission. The entire world is watching as we launch the first of the Teacher in Space program. Our future funding depends on a successful mission. It's imperative that we not let a little cold weather get in our way."

From: Date: Subj:

Kenetrw ([email protected]) Fri, 5 Dec 1997 00:31:28 EST Space1999: BREAKAWAY

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Hello fellow Alphans! My observations of Episode One: 1. I also saw the visor flip open 2. You can also see the "hoist cables" attached to Nordstrom's arms and legs as he runs into the Laser barrier. 3. The Pocket book says that Parks and Bannion were the backup crew while Warren and Sparkman were the Meta Probe crew. 4. I'm trying to make out some of the faint audio conversations being relayed in while the waste is dispersed to various grids. You can hear "Pull Station Geebler here" mentioned as Morrow tells him to disperse to a grid. 5. One fellow Alphan believed Quoma appeared only in episode One. He DOES appear in episode Two because I to thought he was killed in episode one. 6. I love Koenig's comments to Collins when he says "I've got to get out of here". 7. I also love the look Simmonds gives as Koenig tells Carter to "take the comissioner's eagle to report on how things look from up there". 8. There's also a pretty wobbly model of the moon buggy as the episode opens. Since I finally found time to join, can anyone tell me what the "VIC" stands for on all medical garbs worn by all patients. I do not as yet have the Making of Space 1999 and I recall it wasin there years ago. So long for now! I enjoy the discussions!

From: Petter Ogland ([email protected]) Date: Fri, 5 Dec 1997 08:59:40 +0000 Subj: Re: Space1999: BREAKAWAY 5. One fellow Alphan believed Quoma appeared only in episode One. He DOES appear in episode Two because I to thought he was killed in episode one.

Could you please elaborate on this. Do you remember a particular scene in MATTER OF LIFE AND DEATH where Ben Ouma appears

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Year One

or any refereances to his character in this episode? 8. There's also a pretty wobbly model of the moon buggy as the episode opens.

Do you think so? I though it was rather good. The fact that it was a model, and not the real thing, only occured to me on a recent watching. When I realized it was a model it struck me how much better theese shots were as to compared to the model moon buggies they used in THE LAST ENEMY and THE INFERNAL MACHINE.

From: Petter Ogland ([email protected]) Date: Fri, 5 Dec 1997 10:54:35 +0000 Subj: Re: Space1999: Good Stuff I am so enjoying the recent dialogues on "Breakaway." I recently re-watched it, and so love the tension between Koenig (who plays a terrific moralist in that episode) and the corrupt Lunar Commission (so well embodied in Comm. Simmonds).

I believe I understand more and more how you think, Quintin, very interesting. Your moralistic parable approach to BREAKAWAY is very similar to how you described EARTHBOUND. To me it seems like you are wathcing SPACE: 1999 as existentialistic moral dramas, and as such I understand your fascination with episodes like EARTHBOUND, GUARDIAN OF PIRI, THE LAST SUNSET etc. I also find the moral aspects in SPACE: 1999 interesting. Some episodes seem to be very focused on this, like Penfold's misanthropic WAR GAMES, where the alien characters hold long speaches about how high opinion we hold of ourselves and our place in the universe illustrated by Koenig showing some of his religious beliefs, but how insignificant species we humans appear to be in eyes of other lifeforms, like the computer like planet and its cerebral inhabitants, how we are captives of our own emotions and may be a threat to the universe and our very own existance. A great moral drama by Penfold there, I feel, although a bit bleak perhaps.

Penfold's THE LAST SUNSET can also be watched as a moral drama along similar lines, I believe. It will be very interesting to hear your views on that one, Quintin. I suppose we are to discuss it some week during spring 1998. The special effects, the acting, and the story are all great. Again, I was impressed by how "Breakaway" really serves as a metaphor for human existence. We are suddenly at birth thrown into a wandering with which we had very little to do. And we are responsible, by our choices, for our survival, and for the formation of our identity. I think "Breakaway" is an existentialist's dream!

I think you are making good points here, Quintin. For me this is perhaps the main difference between Year One and Year Two or Year One and Star Trek. The whole concept of SPACE: 1999 first season seems to rely on this metaphor, perhaps the earlier episodes more than the later ones, but also many late episodes like the final TESTAMENT OF ARKADIA. In both ANOTHER TIME, ANOTHER PLACE and JOURNEY TO WHERE the Alphans are on the brink of returning to Earth, and while the rejoice of finding Earth is similar in both episodes, the drama develops in very different directions. By the end of ANOTHER TIME, ANOTHER PLACE the feeling is similar to "perhaps the gods are using us for their games" as in WAR GAMES (wasn't it?), while in JOURNEY TO WHERE they seem just as content leaving the Earth for further exploration of the universe feeling that neither the future high tech Texas City nor medival Scotland where more attractive than present life in space. The fact that Helena developed a serious illness indicated perhaps, what Johnny Byrne has said so many times, that in Year Two they had developed into space people, and life on Earth or on an Earth-like planet was no longer possible. Perhaps JOURNEY TO WHERE is one of the episodes that explains the philosophy of Year Two the best, a sort of hybrid of the existentialism of Year One and the Star Trek pragmatic view of the world. There is still a philosophy, of course, but a very different one from Year One in many ways, I think. There are many interesting aspects of Year Two to explore, however, as Tony, David Welle and others have pointed out, so it will be

Breakaway interesting when we reach these episodes in our episode-of-the-week discussions. Looking at other aspects of BREAKAWAY, Quintin, apart from the moral and existensialist issues, I found Ellen's letter about drawing parallells to real life very good. Watching BREAKAWAY from this point of view, as I've done in some of my previous letters this week, I find Simmonds behaviour understandable and perhaps excusable to a certain extent. In fact, I find Simmonds very interesting as a type of person, and I look very much forward to discussing EARTHBOUND and DRAGON'S DOMAIN later on. The latter contains an interesting character called Commisionar Dixon communicating quite a lot of interesting things, I remember. I also liked Tony's contribution to the BREAKAWAY discussion very much. Many interesting thoughts there about lightning, music, character and other things. I'm surprised we havn't heard anything from Ggreg yet, I was under the impression that BREAKAWAY scored rather high on your list, Ggreg. Happy weekend all. I'm looking forward to join the discussion of MATTER OF LIFE AND DEATH on Monday, also one of my favourite episodes.

From: Riccardo Iommi ([email protected]) Date: Fri, 05 Dec 1997 04:32:01 -0700 Subj: Space1999: about Breakaway

Dear Alphans, I would like to add some features to the discussion. What do you think about the scene in which the Alpha people look at their own fate while their mega-powered computer flashes out HUMAN DECISION REQUIRED? Personally it's my best ever Sci-Fi group scene! The Alphans, stunned and desperate, seem to ask themselves: "What we gonna do now?" Only a great commander, in this situation, would be able to take the right decision for all the others, and he is John Koenig.

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Hear you soon, Riccardo

From: JSchill824 ([email protected]) Date: Fri, 5 Dec 1997 12:20:10 EST Subj: Space1999: Breakaway!

The opening scene is our moon passing by the Earth. Cut to a moon buggy and astronauts. Our first encounter of a main character is Victor Bergman poised talking to the astronauts. Then full frame shots of Victor and Helena discussing the radiation check. Cut to the Koenig in the Eagle “2001-like scene”. Koenig watches the video of the docking of the Meta Probe ship. Cut back to the astronauts and Helena and Victor. On the surface of the moon an astronaut flips out and the music builds. And then... Opening credits -- very large music, Martin Landau, Barbara Bain, Eagle blows up and there we go -Breakaway!!! In the first five minutes one gets a feeling that its not any 1 hour TV series but a full fledged motion picture movie. The bright orange lighted panels shape a nice contrast to the gray suits of Victor and Helena in the opening scenes. We are barraged with wonderful special effects of the moon surface, astronauts working in space suits, the docking of the Meta Probe, and the idea of Koenig talking to Simmonds via video phone. Of course it’s the music by Barry Gray that ties it all up in nice red bow. How can we ever get over the wonderful feeling during the opening credits when we first see Martin Landau and Barbara Bain and hearing the blasting horns section and rolling drums? (sorry, I still get goose bumps!) From the very beginning there’s a nice blend of special effects with the story line. From Eagles to comlocks, the travel tube to stun gun I was drawn in and wanted to believe. Placed in the not so distance future we the viewer also are perhaps more readily accepting of the relationship between ourselves and those characters on the moon. This is important, for we are thrust on to MBA and the epic story of Breakaway. Quickly it is established that the Alphan's will no longer be going home to Earth.

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Year One

The characters in Breakaway do establish lasting roles. Victor as the cerebral scientist with a "heart", hot headed Commander Koening who looks after the goo [sic.] as doctor must leave out room to show any weakness, yet still can show concern. I feel that Paul, Sandra, Alan etc. all still need time to develop but are set up to for future episodes. Like Petter I too love Pat's views on Helena character. I also like the fact that Victor is the catalyst that brings John and Helena together. His relationship with both is deep and sincere and I feel calls for a wonderful exploration of the trio. As for the concept of the wandering moon. I never cared how plausible the idea of the moon being torn out of earth’s orbit was. It is “Science Fiction” and not the evening news. At the time it was hard to believe that we could talk via video phone, or have PC's or be able to have space ships lift off and land with ease without having to take a swim in the ocean. No I was hooked right away and wanted more. Though Breakaway wasn't the first episode I saw of S9, when I did see it I was greatly impressed and wanted more! P.S. To all those Eagle freaks, how many of you wanted to go play with your dinkey toys after rewatching Breakaway -- I did :-) Thanks Mateo for the great idea -- I can’t wait for the next series of posts! Janet

From: Date: Subj:

Kenetrw ([email protected]) Fri, 5 Dec 1997 12:38:18 EST Space1999: RE:QUOMA

RE: BENJAMIN QUOMA (LON SATTON): I must be mistaken about his appearing in Matter Of Life And Death. It appears that my confusion lies in the area as to whether he survived the Blast in Episode One. He in fact did. He appears for the "last time" next to Simmonds as the last faint signals of the GTV Broadcast come in-at the very moment Koenig says "therefore, I suggest, that we do not try....". I could have sworn I saw him in another episode just standing around main mission. Perhaps in The Black Sun or Ring

Around the Moon. The fact is he did survive the explosion. Maybe he dropped over hours later of some unknown internal injuries and the producers forgot to write him off!

From: Date: Subj:

QGMorrow ([email protected]) Fri, 5 Dec 1997 12:58:55 EST Space1999: Magnetic Radiation?

Seeing as how I am theologian and not a scientist, I do have some burning questions about "Breakaway" ;namely, 1. Is there such thing as magnetic radiation? And if so, would it react in real life the way it does in "Breakaway"? and, 2. I do recall from high school science class that space is a vacuum. And as such, any object put into motion there will remain on a constant course, and at a constant speed, unless it is acted upon by another force or object (i.e. gravity or an asteroid). So then, Prof. Bergman tells us that the nuclear waste dumps were acting like a giant rocket motor, pushing the moon out of orbit. And since they did stop fissioning, the moon would not be excelerating anymore. OK. How fast, then, do you all think the moon was traveling after it broke away from earth? It might surprise you all to learn that currently the moon orbits earth at over 2,000 MPH. (Being an American and therefore terrible at conversion to metric, I have no clue how fast that is in kilometers). Quintin

Date: Fri, 5 Dec 1997 14:52:18 -0500 (EST) From: "Ellen C. Lindow" ([email protected]) Subj: Re: Space1999: Magnetic Radiation?

They don't call it magnetic radiation (radiation has so many bad connotations in our society),

Breakaway but intense magnetism can be viewed as a form of radiation. MRI scans now used in hospitals are based on the soft tissues of our body reacting to an intense magnetic field. As of this moment it is seen as a benign, non-invasive form of treatment, but it could also be considered "magnetic radiation". A more sinister form would be the radiation from high tension power lines. Thes power lines form magnetic fields caused by the movement of electricity through the power lines. (This is the same concept that you probably learned as a kid in science class when you wrapped a copper wire around a nail and hooked it up to a battery.) Although power companies insist that these power lines are not harmful, it seems to be an amazing coincidence that there are higher incidences of brain tumors in families that live close to these power lines. Sound familiar anyone?

From: Patricia Sokol ([email protected]) Date: Fri, 05 Dec 1997 15:09:37 -0500 Subj: Space1999: more Breakaway

Regarding Koenig's assignment & Gorski's replacement, Petter writes: ...We really do not know to much about the communication between Simmonds and Gorski, however. I believe Gorski would have known something in advance. Otherwise it is difficult to understand how calmly he was able to accept the change when Koenig arrived. Perhaps even Gorski wanted to leave as he had bad feelings for the Meta project, knowing more about the situation than most on Alpha.

The scene where Victor meets John just as he arrives onto Alpha makes me believe that Gorski was not happy about his replacement, although it is difficult to say how much advance notice he had from this. The exchange begins just before they enter Main Mission, when Koenig asks how Gorski is 'taking it', and Victor comments that he always survives, or something to that effect. Koenig then comments that Gorski has always been 'very flexible' with a tone of voice that implies the kind of flexibility that one associates with a

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certain lack of backbone, going along with whatever is expedient. Victor's bemused smirk affirms my belief that this is what Koenig is referring to. About a year or so ago we had a very short thread on this statement by Koenig. Apparently, when translated into Italian, the remrk was translated as 'bending like a tree in the wind', or something to that effect. That is a far more complementary way of putting it, and I think that the translation greatly changes the way the comment was intended, at least to my ears. I can't see why Gorski should be more of Simmonds' man than Koenig. I assume that both the commanders would experience great difficulty dealing with Earth authorities who are more concerned with numbers and schedules than the practical problems on the moonbase. We don't know too much about how Gorski handles this situation, but to me it seems a plausible reason why he was rather restrictive about sending information to Simmonds was that he knew would displease him in order to save his own neck, also he wanting the Meta project to succeed at any cost.

Yes, these are true statements. Nevertheless, I would still contend that both Gorski and Simmonds knew the whole situation. Most likely the operative motivation is saving their own necks. I just found it interesting that it was apparent that Simmonds knew enough about the real state of things to try to influence Koenig about the situation by discrediting Dr. Russell even before Koenig had met her, giving him the virus story, etc. Simmonds also wanted the Meta project to come off successfully, as he told Koenig when Koenig was on his way to Alpha. Koenig has a gleam in his eye looking at the probe ship, but Simmonds sounds driven by more than the scientific angle they way he emphasizes the importance of the mission and that nothing must stop it. Both Gorski's and Simmonds' careers were intertwined with Meta, and Gorski probably had even more to loose, as he was Commander of Alpha when the Ultra probe turned out like it did. Koenig was under pressure to get Meta off, that is obvious, and of course it is the reason he was sent there. The failure of the Ultra Probe was a black mark against him, in that he was

22

Year One

grounded after Cellini returned with his dragon story. However, he took the high road, sacrificing - most probably - his career if not his life to try to prevent the disaster. It is perhaps therefor reason to believe that Simmonds did not have all the information about the dying astromnauts on Alpha that Koenig got when he arrived. In other words, Simmonds had no idea of how serious the problems are, although he obviously know more than he told Koenig before assigning him the mission.

Yeah, that's possible. He wasted no time in getting up there when Koenig didn't do as he was told, though, after Koenig had Morrow send that communique saying the operation had been halted. Maybe he was just practicing front line leadership techniques. And, he was all for getting the situation rectified until it had a direct impact on him, i.e., until his Eagle was appropriated. Just the way he seems to want to get the heck out of there when he hears that the Moon may become a big fireball, turning tail and running like a rat deserting a sinking ship, makes me believe he was a huge coward. Probably he [Gorski] assumes that his head goes if anything goes wrong with the Meta Project.

Absolutely. For me there is nothing obviously villainous with either Gorski nor Simmonds. They seem to be all on the same team with the rest of the Alphans, there's more a question of disagreement concerning how practical problems should be solved.

I think both characters were meant to be portrayed to be diametrically opposed to the good guys, Koenig, Russell and Bergman. The way koenig looks at Simmonds when he hands him his commlock, the exchange between Koenig and Bergman about Gorski, the fact that Gorski shies away from the truth and refuses to let Dr. Russell report her findings....none of these are suggestions that Gorski and Simmonds are anything more than politically motivated, "politically" in the negative sense. Back to talking about a TV show... Breakaway had the added responsibility of showing Alpha, not just introucing the Alphans. Thus, the

scene where Helena opens the door to her office to allow Koenig in is played meticulously. It shouldn't take nearly 10 seconds for a person to pick up and activate a commlock, then open the door, when it's probably a skill that can be mastered in five minutes. Of course, she had to be very careful not to allow the video feeder cable to show. I agree with others who have pointed out that the scenes where the actors need to come to the communication posts rather than being magically there when hailed is very effective. All of those little extras (background noise and conversations, people walking around looking busy, Dr. Russell being someplace else rather than waiting for Koenig to call her), in fact, are very effective, giving the impression of a place that's busy, rather than a television filming set. I think it's definitely something that was lost subsequently. One thing that bothers me to this day - Who is the chick who is on all the communications screens when the sceen is not in use? Is this the Alpha News correspondant? Notice that after everybody is getting back to their feet after the g-forces let up, she's still there, looking like she's had the tar knocked out of her, but still in front of the camera. Good week-end to all. Pat.

From: Date: Subj:

Kenetrw ([email protected]) Fri, 5 Dec 1997 16:32:53 EST Space1999: FINAL OBSERVATIONS

My final observations of Episode One: If Simmonds would have been asked to go up with Carter, how many out there elieve he would have told Carter-don't you dare return to base! Remember how he acts in Earthboundreturn at any cost. The MATN (Moonbase Alpha Technical Notebook) says that Alan could have returned to earth but his loyalty was to Alpha. There were apparently some cuts to footage for the remote eagle. A close look at the "This Episode" flashes shows the inside of the eagle

Breakaway with a row of red buttons flashing (just after a closeup of Koenig). An eagle is also seen skimming the top of the laser barrier tower. Any idea about what the piping diagram represents as seen behind Simmonds as he walks out of the travel tube to query Koenig on his use of "Emergency code Alpha One"? I was surprised that I missed this fact afer rewatching this episode: Bergman states that Area One orginally had an atrificial gravity system installed there (he studies the circuit board that was to measure magnetic outputs there). This means that Alphans in that area with the Gravity Force turned on would have had their normal earthly weight. Are there any Medical people out there? Helena disconnects Sparkman's life support system-switching three buttons A-B-C and below them, are the buttons they represent? Namely "s", "n" & "e". The newscast also mentions that the 311 men and women trapped on Moonbase Alpha. We can assume they knew Simmonds was stuck up there so the base originally had 310. Subtract the 14 who die and we get 296 (not counting the 50-100 people who lost their lives on the Space Station Centuri). DEATHS: Frank Warren, Eric Sparkman, first pilot to die (unnamed), 4 pilots who died one of which is Geebler (2 eagles blew up with 2 in each), 4 pilots who spiralled out from Centauri, 1 who died in the decompressed unit, Nordstrom, Collins (Total of 14) and Quoma by the beginning of episode 2. Thus 297 survive the explosion and then Quoma dies leaving 296.

From: Date: Subj:

LKJ1999 ([email protected]) Fri, 5 Dec 1997 18:37:10 EST Space1999: Breakaway

Someone on the list wrote they saw Nordstom's helmet open when he throw's Steiner. I know I looked at that scene a hundred times in the past years. And I never noticed His helmet open up. So I played that

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scene on Laserdisc five times before I noticed it! Also I noticed a cable attached to Steiner when He land's on the moon buggy. Charles Peterson. LKJ1999

From: [email protected] (B J Dowling) Date: Sat, 6 Dec 1997 01:32:31 +0000 Subj: Space1999: Breakaway

Somewhat deafened but very happy, here are my ramblings on Breakaway. The scene where we see Victor and Helena overseeing the radiation check stands out as being a bit unusual. Victor seems almost ponderous, while I can't find a word to describe Helena's attitude in this scene. She doesn't seem to be as determined as perhaps Ruth might be if she were trying to investigate a problem area. Indeed, she doesn't seem to be intense, focussed or determined at all. For me the scene where Nordstrom loses it and bounces off the laser barrier, to smash his faceplate on the lunar rock makes a point which is made many times during the first season about the fragile nature of Man in space. There is only a passing reference to Nordstrom's death in the novel, as per the scene where Koenig talks to Simmonds from his office. There has been much comment on Koenig being sent before the ratification of his despatch to Alpha. Although we don't know it at the time, there have been more than one failed mission into space in that timeline - Lee Russell's Jupiter probe, Jack Tanner's Uranus mission, Captain Michael's Swift expedition and Tony Cellini's Ultra probe. 5 failed space missions would make most people wonder if the space programme was worth it, adn methinks there would be considerable pressure on both Simmonds and Gorski to enusre the success of the Meta probe.

24

Year One

Perhaps Simmonds replaced Dixon as Commissioner because he persuaded the authorities that he could get the job done successfully. Saying that, Gorski was commander of Alpha before Simmonds got to be the Commissioner. I have no doubt that both Gorski and Simmonds knew the situation fully. I reckon Simmonds would have used the "Look how history will judge you, will judge us" card to convince Gorski to do whatever is necessary to get the probe launched. When the situation got to the point where Gorski couldn't sort it, Simmonds pulled him out to protect him. Gorski prevented Helena from making her reports probably because they would have been circulated to people other then Simmonds. This would make life very difficult for them. I reckon Simmonds held back from telling Koenig everything so that his back would be covered if anything went wrong, Koenig would get the chop and Gorski be reinstated. Simmonds would have used his position to get Gorski an assignment elsewhere, saying to him that things were getting rough on Alpha and it would be better for both of them if action was taken. Begs the question "Was the change of C.O. made public?" Surely that would have raised planty of awkward questions. Under the circumstances, I think it was appropriate for Victor to meet John when he came on Alpha. Pensive he was as he left the Eagle, so whoever decided that Victor should be the man to meet him made a wise decision. When they see each other it's smiles and warmth immediately, a brief chat and then to the issues. Here starts a pattern of Koenig looking to Victor for answers and guidance. Whether Gorski did, I don't know. Gorski is as civil as one would expect under the circumstances. Don't forget that last time Koenig was on Alpha, his left sleeve was yellow. Now Koenig is back, not as Gorski's subordinate, but as his equal and replacement. We don't know if Koenig took up Gorski's offer of a discussion before he left. Would Koenig have discovered any further information by doing so?

The novel makes no mention of Gorski meeting Koenig, nor the chat between Simmonds and Koenig in the Eagle before it reaches Alpha. It has a tv interview with Simmonds instead. At this point, I'm almost asleep at the keyboard. I'll post more a bit later.

From: Date: Subj:

Kenetrw ([email protected]) Fri, 5 Dec 1997 22:05:23 EST Space1999: NEW ASSIGNMENTS

Just finished reading Brian's thoughts on Gorski. Then I suddenly thought what happens with him? Did Koenig's eagle hold over for a half hour, refuel and then the two pilots returned to earth with Gorski? Gorski did tell Koenig to stop by his quarters to talk things over. Or did Gorski get caught on the rock that would be blasted out of orbit? Since he seems very jovial at travel tube 3 to greet Koenig and Bergman, I think he was relieved to get out. If he did get back to earth, he must have felt relief after learning of the tradgedy as well as sorrow. I then thought of how Dr. Bob Mathias switched to the Technical section and was replaced by Ben Vincent. Perhaps Quoma switched to another section as the one Space 1999 website suggests in it's timeline of events. Finally, does anyone have the exact date Space 1999 returns to the Sci Fi channel at 6:00 PM?

From: Patricia Embury ([email protected]) Date: Fri, 05 Dec 1997 22:30:04 -0500 Subj: Space1999: Breakaway

This has been a very interesting conversation!! Simmonds need to send the Communiqué is impacted by the Finance Committee meeting anticipated in a couple of days. His job is on the line if the Meta Probe fails. Who knows, maybe the scientific future of Alpha would be at risk The Reconnaissance section is devoted to the project. Alpha could be converted

Breakaway strictly to its "waste dump" monitor function if yet another failure occurred. Koenig's choice for commander also is a fairly safe choice for Simmonds. After all, if Meta failed, scapegoating Koenig and Bergman would be so much easier in light of the earlier failure with the Ultra Probe. I also wondered about the fate of Spacefarer 9. Why couldn't Alpha pick up signals from it after the breakaway? As a medical person who has dealt with all fashions of life support and brain death, I have no clue as to what the letters above the buttons on the life support meant. In the opening sequence, when Helena and Bergman are monitoring the astronauts, note the wave pattern on the last oscilloscope is completely flat. In the limited experience I've had with eeg monitoring, I've never seen a completely flat tracing in a living individual. I think Helena's reactions are in line with what she is seeing. She is hoping to find some trace of radiation, but after several checks, this one is demonstrating the same, that is, there is no identifiable problem. She seems more quietly resigned to the situation. BTW, I always thought the monograms on the PJ's were MBA for Moonbase Alpha. As for visuals, my favorite are the scenes when Koenig comes to Reconnaissance, where he and Carter are standing in front of the window. It's great to see the Eagles in the background actually moving, and imposing people moving in the background instead of a static display. I also love the scene immediately after Koenig crashes (his was the first! not Carter! ) where the Eagle is silhouetted in the glow of the explosion from area 1. 6 Eagles had been initially converted, two returned, and Carter went up. I would count only 4 Eagles destroyed.

From: [email protected] (B J Dowling) Date: Sat, 6 Dec 1997 23:36:06 +0000 Subj: Space1999: Breakaway part 2

Hi y'all,

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This has turned out to be a bit longer than I thought, as there are snippets from the Breakaway novel in it. Apologies in advance if I've overloaded anyone's mailbox or repeated anything from previous posts in this thread. As I was saying before I fell asleep at my keyboard... The novel makes no mention of Gorski meeting Koenig, nor the chat between Simmonds and Koenig in the Eagle before it reaches Alpha. It has a tv interview with Simmonds instead.

Point of interest - anyone who has read Earthfall may remember the bit at the start of the book where Koenig and Simmonds are talking. It turns out that Simmonds relieved Koenig of command of Alpha, replacing him with Gorski. The novel also has the Meta probe ship lacking a backup crew. Picture Koenig in his office talking to Simmonds... "You know I can't do that! It's [atomic waste] one of the biggest problems of our time!" Koenig said, flatly, "Commissioner, you assigned me here to clean up this mess and that's what I'm going to do. The dead men and other things - I don't think I need go into detail. After your little talk on television you can hardly admit the lack of a back-up crew now, can you?" He gave the other no chance to answer, knowing the value of compromise. "A trade, Commissioner. You stop sending up the waste and I'll get your Meta probe launched." A deal and one Simmonds was in no position to refuse. Reluctantly he said, "A temporary delay is the best I can do, John. If that's what you need?" "It's all I need." Koenig stared at the bearded face, his own impassive. "Simmonds, why did you lie to me?" "They're no better?" "They're never going to be better. You know that. Those astronauts are as good as dead."

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Year One

The scene where Eric Sparkman is declared dead differs in the novel. She calls up Kano and asks him to verify the conclusion the computer has reached... "Kano?" [snip] "Doctor?" "The computer says that Sparkman is dead, but there are cases on record where brain activity has resumed from the same apparent state. Check the factual basis of its assumption." A moment and a caption appeared on the screen: CELL LIFE SUSTAINED BY MECHANICAL LIFE SUPPORT SYSTEM ONLY. Stubbornly Helena lifted er commlock and said, "There are many different definitions of death, Kano. Which one is the computer using?" Another caption: DEFINITION OF DEATH PROGRAMMED 12 JAN 1999 BY DR H RUSSELL. She said, bleakly, "Would you say the computer was telling me to switch off the lifesupport system, Kano?" His voice held a shrug. "The computer tells you only the facts, Doctor." No mention of Ouma. Just Kano as the computer geek. The scene where Koenig calls Medical Centre and Mathias informs him Frank Warren died at 1328 isn't in the novel. Why though, does Mathias introduce himself to Koenig when he answers the call? Koenig and Mathias were on Alpha when Cellini got back from the Ultra probe. It may have been a while, but surely they knew each other, if only a little. Throughout this episode, Paul Morrow is as cool as ice. Except when Koenig asks him to "Contact Commissioner Simmonds; pass Emergency code Alpha 1". This isn't in the

novel. That story has Simmonds coming up to Alpha because Koenig requested information on the contents of the waste cannisters. The "Magnetic energy" scene where Koenig and Dr Russell parrot Victor strikes me as being like bad soap opera. The worst bit of the story. The novel doesn't have that wondeful line "Now we're sitting on the biggest bomb Man ever made" in it. When Koenig meets Simmonds in the Travel Tube, it parallels his meeting with Victor, but instead of warmth and friendliness, there is hostility in the air. Explaining the situation to Simmonds, Barry Morse handles the dialogue beautifully. Any scientific speak he handles through the series with great aplomb, matching the performances of Jon Pertwee and Tom Baker as the Doctor, and John Paul as Spencer Quist (Doomwatch). Wonderful stuff. (There is also in the novel a scene where Helena and Victor talk. It's a long-ish scene which I think would have graced the finished episode. Anyone interested, I'll transcribe the scene for you.) In the novel, Tubb tries to explain it more scientifically than the episode did. Maybe it's me, but that doesn't quite work and perhaps contradicts the episode itself. A couple of pages [in total] of discussion of the situation between the main characters doesn't have the same impact as the line "Now we're sitting on the biggest bomb Man ever made". Koenig losing his rag with Simmonds is quite justified, and appears in the novel, if in a slightly different wording. Even as the worst is starting to happen, Paul is cool in announcing to the Eagles to get away from Area 2. Carter actually lands on the moon and rides the storm out in the novel, rather than report the whole thing to Alpha. One scene I remember is that from Carter's Eagle, seeing the scarred rear of the moon. Tubb's novel describes the areas which have been wiped off the surface of the moon - the Mare Cantabrium, the Great Lunar Sea and the Sura mountains. Simmonds dies in this novelisation:

Breakaway He lay where he had fallen, his head at an ugly angle, a path of blood bright beneath his temple. The fall had broken his skull and the acceleration pressure had done the rest. His face, beneath the beard, looked oddly peaceful. Now, does the Earthbound story appear in the novels? I'll go take a look in a while... The scenes where Koenig asks about Operation Exodus are some of the most defining in science fiction, never mind the series. The final conclusion of the computer, "Human Decision Required" hits home with the force of a Nigel Benn uppercut. That brief shot of Koenig's face with the monitor in the background displaying "Human Decision Required" shows the immensity of the decision he must make. Perhaps it indicates that whilst the computer is a useful tool, it is human decisions which will prove the difference between the destruction and survival of Alpha. The news bulletin fading out with the words "..beyond the reach of..." hits that home spot again. The final thought of the episode "Yes, maybe that's where our future lies" whilst positive, cannot diminish the fact that they have been well and truly cut off, and are on their own. As pilot episodes go, it is one of my favourites up there with Doomwatch's The Plastic Eaters. Great visual impact all the way through seeing the Main Mission set as Koenig's office door draws back is breathtaking - and a catastrophe which few stories can match in its consequences and reminders of where we as a race belong in the great scheme of things. Often first episodes are weak, and the series improves with time. Breakaway is an exception - it has strong writing and characterisation and sets a standard which not many can match, even 20 plus years later.

From: Mark Meskin ([email protected]) Date: Sun, 7 Dec 1997 18:26:39 -0600 Subj: Re: Space1999: ALPHANS WHO DIED EPISODE #1

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Final problem is how many died if all eagles were committed-minus Koenig's smashed eagle 6 and Carter in eagle 1 as well as the 2 eagles that returned becuase of navigational failure. Eagle 26 which went to grid C9 probably blew up.

A few years ago we hashed this one up on the list, and the consensus was that only 6-9 eagles were in the air at one time. Moonbase Alpha had 40 eagles to start out with, its doubtful that they also had 40 nuclear canister transport and winch modules for all of them. What I think Carter ment by "all commited" was that all eagles were either in the air or in the process of being converted for waste dispersal. What I think backs this supposition up is that, earlier in this episode Paul states "conversion on the first 6 eagles is complete" and then they are launched. Its not long after this that the Commander and Simmonds argue about wether the situation is in hand, and the moon is blown out of orbit. So, given this situation, its quite conceivable that they were unable to evacuate-only 8 eagles were destroyed, but the other 32 were unserviceable at the time.

From: [email protected] Date: Mon, 8 Dec 1997 08:26:25 +0200 Subj: Space1999: Magnetic Radiation? So then, Prof. Bergman tells us that the nuclear waste dumps were acting like a giant rocket motor, pushing the moon out of orbit. And since they did stop fissioning, the moon would not be excelerating anymore. OK. How fast, then, do you all think the moon was traveling after it broke away from earth?

There has been a lot of discussion about the bad physics in S1999. As far as I have understood, there are two ways to handle it. Either you can ignore it and enjoy the good things in S1999 or you can think that some greater intelligence is behind this interstellar pinball game. I think the latter approach gives the whole show more meaning and enhances its metaphysical side. However, with Eagles I just ignore the unbelievable technology. -Pertti

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Year One

From: [email protected] Date: Mon, 08 Dec 1997 18:33:04 -0500 Subj: Space1999: Late Breakaway thoughts

My random written observations while watching Breakaway last night: I am surprised by the amount of dubbing in this episode. (I am refering to the need to go into a recording studio and rerecord your dialog so it matches your mouth movements on film. This is usually done when some extra noise gets recorded and the shot cannot otherwise be used. A lot of times you will have this on shots that were filmed outdoors. In a lot of SF shows you have it because an automatic door was still moving when the actor started talking.) A great deal of the dialog in this episode has been dubbed (actually the term is "looped"). One reason I think is that I noticed in the scene where Koening is talking to Simmonds on the communications post and making the bargin to stop sending waste that there is a noticeable room echo. A lot of the dubbed dialog took place in the commander's office. Dr. Asimov in his NY Times article pointed out that you simply would not have such large rooms in a space enviornment because of the energy it would take to keep that empty wasted space pressurized and heated. I suspect you also don't want to do it (in television) because you get a terrible audio recording as a result. I wonder if that was another reason for the year 2 set changes. I am going to watch each episode carefully looking for dubbing. I also wonder if that is the reason for something that has always bugged me about year 1. I've always described the acting in year 1 as "whispering". They all stand there and whisper to each other. So much of it was in hushed tones that never seemed appropriate to many of the scenes. And we've seen these people in other shows (not to mention year 2) so we know they can speak dialog in a normal, appropriate tone. (Now I'm wondering if it was the echo chamber sets.) I am greatly surprised at how easily the window (or viewport) shattered when the pilot started banging on it with his helmet.

Breakaway and Matter of Life and Death made use of rear screen projection on the big screen (which allows the camera to move while seeing what's on the screen.) I'm not sure if they ever did that again the rest of the series. This is a difficult process because you have to arrange your shooting schedule so the footage to be projected has already been shot and processed and edited and ready to go when you shoot the scene where it it projected. There was no reason for the space station to blow-up when the moon left orbit. It is typical tv writing that the middle aged lead character is the only one who can move under the tremendous g forces while the younger, better conditioned crew members cannot move at all. I think it was a big mistake for every last light to come on when the g forces eased. I think the red emergency lighting would have made more sense and been more realistic. Finally, a lot of things have been written about Barbara Bain's year one look...a lot of them not flattering. I'm not going to add to it, but I have to agree with it. She just looked a lot better in year two. The closeups of her at the end of the episode when she's watching the newscast and the Meta signal are just awful. She looks like a little dutch girl with the way her hair is glued together. The makeup job they put on her is not much better. And it is not her fault. I feel the look they gave her in year 1 was a definite hinderence. I have enjoyed everyone's writing on the first episode, and look foreward to the next 47. John

Date: Tue, 09 Dec 1997 06:58:08 -0500 From: Jhon ([email protected]) Subj: Space1999: Late Breakaway Thoughts I am greatly surprised at how easily the window (or viewport) shattered when the pilot started banging on it with his helmet.

Breakaway I suspect Alpha was built like all other Army barracks: quickly and cheaply. Alpha was built as an in-process and monitoring station for nuclear waste burial. It was probably never intended to be used for any type of defense. The main reason for such a large surface area on Alpha was because of de-pressurization. It takes much more time for air to escape from a large object if the barrier is breached. Another reason for such large rooms on Alpha is a matter of thermodynamics. It would take a considerable amount of energy to heat the place, however, it would stay heated for a much longer time. Since alpha had it's own atmosphere production plants, there was no worry about atmosphere, and since they also had their own nuclear generation plants, heat and electricity were not a problem either. Just my opinion as a technical person.

From: Petter Ogland ([email protected]) Date: Mon, 8 Dec 1997 10:54:34 +0000 Subj: Re: Space1999: Breakaway / Matter of Life and Death ... I agree with others who have pointed out that the scenes where the actors need to come to the communication posts rather than being magically there when hailed is very effective. All of those little extras (background noise and conversations, people walking around looking busy, Dr. Russell being someplace else rather than waiting for Koenig to call her), in fact, are very effective, giving the impression of a place that's busy, rather than a television filming set. I think it's definitely something that was lost subsequently.

The only director I've felt have had such tendencies after Katzin's to tries was Ray Austin. Quite a lot of his efforts take advantage of much of this style. RING AROUND THE MOON is, for instance, wonderfully chaotic in this fashion.

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Charles Crichton is much more clinical, I feel. Even his MATTER OF LIFE AND DEATH, which I hold to be one of his best, seems very clinical indeed compared to the works of Katzin and Austin. Whlle the visuals are often stunning, like some of the camera frog perspectives early on, to me it often seems a bit contructed, sort of like David Lean ("Passage to India", "Dr. Zhiwago", "Ryan's Daughter" etc.). The use of colour is very intense in this episode, I feel, perhaps not to unlike "Dr. Zhiwago". The most interesting part of MATTER OF LIFE AND DEATH, as I see it, is the further characterization of John, Helena and Victor, Helena perhaps in particular as she plays such a central role in this episode. It is almost as if BREAKAWAY was a character analysis of John, MATTER OF LIFE AND DEATH of Helena and BLACK SUN an analysis of Victor. There are some sequences in John's or Helena's quarters that are absolutely beautiful, I think. Helena seems completely lost in her own world as she has rediscovered Lee, while John is asking her over and over again whether this really is Lee, her husband. It almost seems as if John is feeling Lee as a threat, now that he has obviously been quite attached to Helena. I wonder if the seemingly somewhat unneccessary brutal interrigations of Lee, which almost seem like a simulated torture sequence in that blood red chamber, also may be read in the light of John's jealous feelings concerning Helena. Pat, I'd like to hear you views on this... Petter

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Year One

Matter of Life and Death

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02. Matter of Life and Death Due to the ambiguity of the episode, one discussant confesses that he had to watch it several times to truly grasp what is going on. To him, he says, it highlights, once again, something far beyond simple science fiction. It speaks to our human condition. The discovery of something beautiful, unexpected and perfect. Then, upon closer examination, the discovery turns sour. What I think is key to the episode, he says, is the notion that Terra Nova is a perfect planet, only NOT for humans. In response to this, another discussant articulates the moral of the episode as being concerned with dream (antimatter) and reality (matter) in terms of living in the past and the present. There are several kinds of deaths, Lee Russell says to Helena, but in our memories the dead ones continue to live. After reading the note that included this response, the first discussant comments to being struck by the similarities between the Alphans fleeing Terra Nova and the Biblical account of Adam and Eve being driven from the Garden of Eden. In the case of MATTER OF LIFE AND DEATH, mankind was driven from paradise because of their ontological incompatibility (matter vs. anti-matter). In the Biblical account of the Fall and expulsion from paradise, mankind was expelled not because of who they were, but for what they had done. From: David Acheson ([email protected]) Date: Mon, 08 Dec 1997 03:32:06 PST Subj: Space1999: Matter of Life and Death

Episode two marks the Alphans' first cosmic adventure. It appears at first glance to be a convoluted story but surprisingly holds up well. Its no secret that BREAKAWAY was a hard story to follow but it appears to some that the first few episodes to follow were "all over the map". It was as if the producers and writers were trying to find out what direction to take the show once the initial premise was set up in episode one. Part of this problem was due to the politics behind the show. The original intention was to have many American directors and writers work on the series but the logistics became a nightmare and personality conflicts got in the way. Episode one was the only episode I believe both written and directed by Americans. Episode two was originally written by an American (Art Wallace) I believe but the executive level felt the episode was a weak follow up to the opener so ITC ordered several changes. The grand question is whether or not Terra Nova is actually Meta. I understand the original intention was to have MATTER OF LIFE AND DEATH to be a direct continuation of episode one. Thus Meta would have been the anti-matter world they would encounter. I seem to remember that the novelisation does it

that way. However, ITC executives, feeling it was a weak link in the chain, ordered changes that would only make sense if this episode was shown later in the season which I believe many ITC executives were wishing. The planet became Terra Nova (so named by the Alphans) and a reference was put in Koenig's speech to Helena about many adventures since they left Earth. This last part makes no sense if the series was to be shown in production order. The confusion of how to handle the episodes following Breakaway also flowed over to the handling of the show's characters. In a strange way the confused state actually makes sense. It has been brought up on the mailing list before that the Alphans themselves would be a confused lot. Losing everything they know and what is considered to be a normal life has left them like lost sheep in the cosmos. Everyone including Koenig is unsure what is going to happen. His uncertainy and his mistakes (especially in this episode) is what makes him human. Kirk is too much of a comic-book superhero for my taste - not realistic. Still Koenig is not stupid and the Alphans realize this and are willing to give him a break over his humaness - at least for the time being. However, this is one of only a few episodes that we learn about any Alphan's past life which adds to the humaness of the characters. Helena is a space widow so her reluctance to kindle a new romance with Koenig is understandable. One reason why the romance

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Year One

doesn't happen right away despite their apparent fondness for each other. Helena remains robotic through most of the episode but I love the speech she gives to John after Lee's apparent death while being interrogated. She brings up how she felt the first time she lost Lee - that she didn't think she could survive it. " Now that it happened again I feel numb". Barbara Bain does this scene the way she should be doing it - somewhat removed from everything around her. MATTER OF LIFE AND DEATH was also a great showcase for the minor characters who did not get much to do in episode one. Mathias conducts the autopsy and Paul and Sandra get major screen time on both Alpha and Terra Nova. And of course, David Kano mysteriously appears to replace the mysteriously departed Ben Ouma. Right from this episode we get the feeling of Kano's love affair with Alpha's computer. The Terra Nova set does look like a soundstage set but its a wonderful one that certainly beats out anything that appeared on the original Star Trek. Its an exotic set and looks as if some effort was put into it rather than "lets put a tree there and one rock there". The orange pool of water is rather neat. SPACE: 1999's version of Oz. Some ramblings of episode two. Before I go here is a piece of trivia. Stuart Damon had a credited cameo at the beginning of the episode as Eagle Pilot Parks. He would reappear a year later as Tony's brother, Guido Verdeschi in THE BRINGERS OF WONDER. At the time he did these two SPACE: 1999 appearances he was relatively unknown to North Americans. Today, he is a soap opera star appearing in GENERAL HOSPITAL. I can't tell you his character's name as I have never watched GH but I'm sure someone here can recall it.

From: "Ellen C. Lindow" ([email protected]) Date: Mon, 8 Dec 1997 18:14:57 -0500 (EST) Subj: Space1999: Matter of Life and Death

This is one of my favorite 1st season episodes. Part of the reason is that it gives us some great background on Helena. Someone told me not too long ago that they weren't sure whether the little touches of affection between John and Helena were deliberate or a reflection of the actors' real-life relationship. I think MoL&D shows that those touches were deliberate. Watch Bain's performance in this episode. She is her normal professional self until she sees Lee. Then she's practically zombie-like. You're suddenly watching someone in shock. You practically want to throw a blanket over her to keep her warm. She doesn't hear Koenig's questions, and when she's in the same room with Lee she looks at him like a starving person would look at a feast. She wants this to be her husband so bad. The professional Dr. Russell has left, leaving behind only the bereaved Mrs. Russell. It's this kind of detail that leads me to believe that the other detail is deliberate as well. Another part of the plot I find interesting is that Lee says Helena called him. The Alphans hopes are obviously running high in this episode, and it's obvious that everyone is thinking of settling down and starting families. It seems logical that Helena might be thinking about what could have been with Lee, someone she obviously loved and had made long range plans with. John and Helena are seen as friends in this episode, not romantically linked as in several later episodes; she even introduces Lee to Commander Koenig, and says he's a friend. The Alphans attitudes are already beginning to change in this episode. They're not longing to go home to Earth, to jobs, family, friends, a familiar life. They're looking forward, at a new world, with new possibilities. This is the kind of attitude they show in Y2 episodes, their homeland is behind them, they are looking ahead (except for Simmonds, and he doesn't have anything to say in this episode.)

From: Petter Ogland ([email protected]) Date: Tue, 9 Dec 1997 10:56:00 +0000 Subj: Re: Space1999: Matter of Life and Death

Hi all,

Matter of Life and Death I had another go at MATTER OF LIFE AND DEATH again last night. It is a tremendous episode, I feel. On Dec 8, 3:32am, David Acheson wrote: ... Episode one was the only episode I believe both written and directed by Americans. Episode two was originally written by an American (Art Wallace) I believe but the executive level felt the episode was a weak follow up to the opener so ITC ordered several changes.

From what I've heard, the originial manuscript, THE SIREN PLANET, was written by Art Wallace and then re-written by Johnny Byrne as MATTER OF LIFE AND DEATH. I have no clue, however, in what manner it was rewritten. While Lee H. Katzin was the only American director during first year, there were several American writers (Bellak, Wallace, di Lorenzo, the Terpiloffs and the Laskys). While it is difficult to get an impression of Bellak and Wallace based on their modest contribution to the series, I find the di Lorenze scripts magnificent, surprisingly "European" with all their focus on exploring the inner human condition as opposed to the more common American style of extrovert adventure. Terpiloff is also unusual, I believe, but perhaps a bit more traditionally "American", more than di Lorenzo at least, in the morally concious dramas EARTHBOUND and COLLISION COURSE. The directors save the results from being to preachy, I feel, and in particular what Ray Austin does with COLLISION COURSE is incredible, a very fine episode. The grand question is whether or not Terra Nova is actually Meta.

It seems to me that the name Terra Nova was designated by Computer or somebody feeding it to Computer. In the beginning of the episode Koenig translates Terra Nova to New Earth to himself. Later in the episode Terra Nova is mostly referred to as "the planet", however. Although some sequences may have been reshot or some last minute changes may have been done to the script before shooting in order to prevent it from becoming a part two of

33

BREAKAWAY, much of the feel of the episode is very similar to BREAKAWAY, I think. At least as I perceive it, it was made with a very different approach than late episodes like LAST ENEMY, INFERNAL MACHINE, DEATH'S OTHER DOMINION etc. When MATTER OF LIFE AND DEATH was in production, it seems realism was still the thing. This also continues with BLACK SUN, and the first change of direction from this is perhaps with the psychadelic RING AROUND THE MOON, the producers perhaps feeling that the initial premises of BREAKAWAY had been sufficiently explored by the end of the third episode. In RING AROUND THE MOON, the characters are treated seriously, however, just like in the first three episodes. When Crichton returned to make EARTHBOUND, the series started slightly to loose some of its tremendous initial impetus, I feel, although EARTHBOUND still captures some of the BREAKAWAY feel, the series was slowly developing into routine, it seemed, perhaps with ANOTHER TIME, ANOTHER PLACE being the first episode representative for the rest of Year One. David is asking the question whether Terra Nova was Meta or not. As he explains, this question has to do with wheter ITC, New York, liked MATTER OF LIFE AND DEATH or not. It turns out Abe Mandell was not too happy with it. What can have been the reason for this? Was he more happy with the upcoming episodes BLACK SUN or RING AROUND THE MOON? If it was the pace of the story he didn't like, BLACK SUN is perhaps even slower, I think. I wonder what he thought of BLACK SUN. The confusion of how to handle the episodes following Breakaway also flowed over to the handling of the show's characters. In a strange way the confused state actually makes sense. [....]

The sequence where Helena and Victor want to speak to John about Lee but he refuses to listen, having his mind locked on the exodus, is

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Year One

quite a highlight of hte episode, I think. It's impossible for Victor even to complete a sentence. Helena and Victor make frustrated eye contact, trying as calmly and persuadingly as possible to inform John who will not listen. Quite fascinating. The only thing that poissibly top this, I think, is the communication between the Moon and Terra Nova where Victor explains there are problems "but nothing too serious..." Some of fast build-up of disaster, as experienced from Terra Nova, is magnificent, I think, the paradise turning into a disaster area in matter of seconds, main characters dying of going blind almost before they have time to panic. I remember this as a child, and still think it is wonderfully constructed, both the way it is written, acted and directed. In some ways MATTER OF LIFE AND DEATH is very similar to WAR GAMES, especially during the final half hours where John and Helena are on the planet and Victor is the head of Alpha. Both episodes build up to total disaster to such an extent that it is neccessary to make a "fake" ending in order to make the series continue. Magnificent writing for both episodes, but perhaps I hold MATTER OF LIFE AND DEATH even dearer as I feel there is more character in the case of John and Helena, perhaps even Victor too, in this one. Terra Nova. And of course, David Kano mysteriously appears to replace the mysteriously departed Ben Ouma. Right from this episode we get the feeling of Kano's love affair with Alpha's computer.

I wonder what Johnny Byrne thought of computers and computer scientists at the time. As Quintin also has noted, it almost seems like Kano is inserted for "comic relief", as Freiberger perhaps would state it. Not a bad idea, I suppose, especially the more serious and philosophical side to it, an idea interestingly developed in BLACK SUN and most potently in THE GUARDIAN OF PIRI.

From: Jhon ([email protected]) Date: Tue, 09 Dec 1997 06:42:04 -0500 Subj: Space1999: Stuart Damon Cameo

Stuart Damon has playe Dr. Alan Quartermain on GH for almost 20 years. He's gotten a bit pudgy over time. Still he is a believable actor. Too bad he didn't have more time on Space:1999.

From: Jhon ([email protected]) Date: Tue, 09 Dec 1997 07:10:01 -0500 Subj: Space1999: Matter of Life and Death

My favourite scene is on "the planet" when John and Helena are holding each other after the eagle explodes. Helena points up to the sky and says to him in a rather strange voice, "Jhon...." and then the moon explodes. While they are struggling thru the brambles, they mysteriously lose Sandra. This episode has many sad scenes: When Lee dies in John's office, when Paul is killed on the planet, the eagle explodes with Alan in it, when the rocks come tumbling down on John, and when Helena cries to herself on a lonely planet.

From: Gordon Burgess & Carol Mason ([email protected]) Date: Tue, 9 Dec 1997 23:15:59 +1100 (EST) Subj: Re: Space1999: Stuart Damon Cameo

Hello all, just de-lurking to add my two penneth, I still prefer Stuart Damon in "The Champions" myself. Carol

Petter From: Date: Subj: Death

QGMorrow ([email protected]) Tue, 9 Dec 1997 10:48:28 EST Space1999: A Matter of Life and

Matter of Life and Death

Some of fast build-up of disaster, as experienced from Terra Nova, is magnificent, I think, the paradise turning into a disaster area in matter of seconds, main characters dying of going blind almost before they have time to panic.

Dear Friends, I must confess that I have had to watch A Matter of Life and Death several times to truly grasp what is going on (perhaps I am just "thick"). Anyway, I do so love the ambiguity of that episode. To me, it highlights, once again, something far beyond simple science fiction. It speaks to our human condition. The discovery of something beautiful, unexpected and "perfect." Then, upon closer examination, the discovery turns "sour." What I think is key to the episode is the notion that Terra Nova is a "perfect" planet, only not for humans. Isn't that interesting? Unlike Star Trek with all of its pollyannish optomism about mankind's future, Space:1999 had the courage to exhibit mankind's foibles and limitations. Quintin

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Ok so I also really liked this part too. We see our Alphan friends enjoying themselves for once and all of a sudden its all gone. I really love it when John’s last words to Helena are "... you and I." Wow, true love. Its confirmed with this tragic yet beautiful scene. Lastly, I noticed a scene last night when John and Helena are trying to talk to Lee. Its a close up shot and while the viewer is trying to listen to the weak voice of better. Right then Victor walks up from behind the three of them framing all four in the camera. I’m sure in this close of a shot to be able to capture all involved must have been difficult, yet scene like this draw the viewer in and I believe calls for a well shot scene. This is one of the reasons I still love watching S9 again and again. Until Tomorrow,

From: JSchill824 ([email protected]) Date: Tue, 9 Dec 1997 15:42:09 EST Subj: Space1999: Its Matter

I always love reading Petters notes on S9, so I added to his last post. When I've watched this episode in the past I often wondered why John wouldn't have listened to his 2 closest friends? However, on re-viewing this the other night, I feel if this was "the Planet" they were hoping to settle on, and they had no other conceivable hope beyond Terra Nova, I guess one may take extreme chances. (?) As for the developing characters. If this is the 2 episode chronically, when John goes to Helena after she was zapped by Lee, (this is also a cool scene) he sits on her bed and leans in. Very intimate, this is more then a concerned commander. I wish now there would have been more on this developing relationship. From "where looking for answers commander, not heroes ---I didn't know you cared" scene, to "really John I'm all right."

Janet (P.S. To all those who attended the S9 con in Portland, throw another Parrot on the Bar-b please! :-)

From: Date: Subj: Death

LKJ1999 ([email protected]) Tue, 9 Dec 1997 20:02:15 EST Space1999: Matter of Life and

A few note's on Matter of Life and Death... The number of time's the word Eagle was said (24 TIME'S) Number of liftoff's (one) Number of landing's (two) Eagle's that explode ( one) My favourite scene. When it show's Moon Base Alpha with Terra Nova in the backgroud. That would make a killer poster! Not one of My favourite episode's. But still good...

From: David Acheson ([email protected])

36 Date: Subj: Death

Year One Tue, 09 Dec 1997 20:53:20 PST Space1999: Matter of Life and

# of Eagles destroyed in episode? One and none. Smile. Yes we all saw the Eagle on the planet explode but it came back whole because Helena wished it so. Therefore it was never destroyed! I think. How confusing. Could she have wished to return to Earth? Woops - end of series. Favourite scene in the episode: The ending where Helena is on the balcony in Main Mission and looking out the window at the distancing Terra Nova. The heavily dramatic music adds to Helena's sad face saying it was never meant to be. Yet another loss. One of the most effective endings for a SPACE: 1999 episode. Should not have done: Despite the exotic set for Terra Nova I find it hard an alien planet has Earth birds (parrots I guess) inhabiting it. I guess they wanted to show the planet had exotic wildlife but they should have went for something less recognizable. Still better than rubber-suited monsters I guess.

From: Date: Subj:

Kenetrw ([email protected]) Wed, 10 Dec 1997 00:02:22 EST Space1999: EPISODE TWO

Hello Alphans! I grade this episode with a B minus. To me, it falls short. Too much playing around by Lee Russell in getting to the point. If there is antimatter danger, just tell us! It takes half the episode for him to finally get around to saying "power beyond your imagination". No wonder reviewers came up with their analogies referring to how the show never defines "the mysterious force" which causes this or that. It's about time Kano got yelled at by Koenig ("I know how fine I'm cutting it Kano"). He's always too pushy, as if computer is THE only answer for all of Alpha's problems. I didn't like how Koenig ignores Bergman's advice. Bergman is a professor and I think Koenig just passed him by. Victor's line about "many unaccountable technical troubles"

seems like it might have been thrown in at the last minute by the directors. The weird music helps save this episode from being a total flop as does Sandra's screams-she's great for reactions. Her reactions in Full Circle really help that episode as well. I also like how Paul says the word "Schedule". The weird music can be heard at the end of episode one. Does anyone know if Helena did that stunt where she bounces off of something hidden on the floor? I know the Making of Space 1999 refers to this. I froze each frame and I honestly can't tell if it's her. The hair gives way to the possibility of a standin. She really hits her head on the floor! Good acting from this husband and wife team. Koenig's holding back as he says "It just doesn't make sense" was greatrealizing the shock this must be to her. I remember my first impressions of the show from the mid seventies and I do remember Bergman's effect on me. He's scary in this episode. I saw FORCE OF LIFE first and as episode two builds up with Victor saying "According to that scan, he's dead. This one says he's alive" had me expecting an even wilder monster! It was very smart of the producers to get Helena's hand in on one of the thermographic scans! However, the color one on the left looks like the profile of a huskier guy! Everyone seems to be gung ho in this episode. Carter-"Commander we're behind schedule". Paul's in Koenig's face and a little irritated. Kano regarding how fine they are cutting it. Carter again-"Sir, it just can't be Russell". I like Victor's reaction when he's passed up for the eagle crew. Victor is next in line after Paul apparently. There's a shot of the autopsy room above the doorway. This should have been lit. Remember how Koenig and Bergman came out of travel tube #3 to greet Gorski? The walkway was lit as they got off. In the shot after the doors are closed it is unlit. To me, this room should have been lit since two examiners were doing the autopsy. They also probably used the same "bouncer" for these guys that they used for Helena.

Matter of Life and Death Check out Koenig and Carter's eagle. It's not as detailed as other eagles. The landing pods have no give. The whole eagle looks square. I like all the tackle boxes! My hat is definitely off to the detailers who made the surface look great. Some of the Star Trek planet surfaces were awful-so phoney. The H-5 water analyzer close-up was great. AND it was nice to see a close-up of one of Kano's computer printouts finally! The astro 7 emblems are close to the Alphan ones. To me, Helena's acting is great. Her facial reaction as she loses her second love was well done-just frozen-speechless. I originally had this episode graded as a B in my database but I changed it to a B-. The impatience of everyone in the episode got on my nerves this watching. Finally, Kano's feasability study of 3,600 earth types planets at 10 planets for every Alphan gives about 360 Alphans on the base. How could he be off by 50? We are told the population is 311 by the announcer from episode 1?

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an experienced commander can make a big mistake, just like John in "matter of life and death". See ya. Riccardo

From: "Ellen C. Lindow" ([email protected]) Date: Wed, 10 Dec 1997 10:54:57 -0500 (EST) Subj: Space1999: did you notice...

I really like the scene in the travel tube when the Eagle with Lee first returns to Alpha. The medical team rolls a gurney into the travel tube and everyone sits down. The camera angle is from the floor looking up through the bars on the gurney. Cool shot. Then they reach the eagle and check out the pilots and roll one away just as Helena is examining Lee. Suddenly there's a matress there on the gurney. Where'd that come from ?

End!

From: Riccardo Iommi ([email protected]) Date: Tue, 09 Dec 1997 23:18:34 -0700 Subj: Space1999: A Matter Of Life & Death

Hi everybody, in my opinion in this episode we begin to realize the main difference between 1999 and other sci-fi series like Star Trek (which I nevertheless love): In the latter, in fact, we're able to see that the approach is merely "american" (the dream of a galactic peace guided by the federation of planets, the ban of money, the skill and smartness of Terrans who beat enemies which are regurarly stronger than them, and so on), in contrast with the "british" approach of 1999: just like in a famous Pink Floyd song, the Alphans "hang on in quiet desperation, the english way", and fight every day against things they just can't understand or dominate; and since the human race is inferior to the mysterious powers of outer space, even

From: Ritz) Date: Subj: DEATH

[email protected] (Anthony J Wed, 10 Dec 1997 15:05:06 EST Space1999: MATTER OF LIFE AND

Hello All ! The second episode, A MATTER OF LIFE AND DEATH, has some very nice parts. But it also seems to raise a couple of questions that I have been unable to answer. I will pose those to the list a little later in this post. I like how the question "Is Lee Helena's husband?", is not answered right away. Helena is convinced he is, and John wants to convince himself otherwise. I don't think Lee was using Helena for energy, like John pointed out. He only had a hard time touching, relating to, or functioning in general, being anti-matter in a matter environment. The scene in the commander's office is the point where the viewer realizes Lee is her husband, for real. A very cool scene, and the

38

Year One

only like it from both seasons. Lee is drilled by John and Victor. Lee stands his ground and asks "You go down to that planet, whatever I say, isn't that so?" John can only lower his eyes. Lee, with nothing else to prove, sits down, in a longful and voice says "Helena," then he lowers his tearing eyes and dies. That part is emotionally powerful, and evidence enough that he was Lee Russell. The second thing I like was where Sandra asks John about still going down to the planet. John almost dances up the stairs, arms free in motion, "What can stop us?" he asks her. But then he sits down, looks straight ahead and thinks about it. His smile is replaced with concern. Next he is called to Medical Center where he talks with Helena as she recovers. She asks him the same question, in almost the same fashion. John answer is very different, stating when it is safe to do so. Some obvious concern for Helena's feelings visible. Dr. Mathias bypasses the chain of command by not showing the scans of Lee to Dr. Russell, giving them directly to Victor and John. Then when Lee died, Victor was sure to question John on Helena's being told. I like to see the crew watching out for each other in this way. It shows closeness and unity of community, not just a cast of characters. I like the scene where Kano tells John on the communication post, that they were cutting the time line close, then repeating himself to emphasize his concern. John barks at him for doing so, and leaves the comm-post with Kano still on the screen, with his mouth gaping open. Now here's the question, does John ignore the warnings and dangerous data about Lee, because he wanted this to be the new home so bad, for the Alphans. Or was he in a trick bag, in that not going down to the planet would of left a good amount of the crew questioning his judgement and command. If you look at the scene where he says "At best, it's a calculated risk.", There is a lot of surprised faces after that statement. How would Alpha of taken the unilateral decision by John, not to down there at all? Another question, why did the atmosphere seals on the base fail, causing the moon to

explode? Why did this not happen anyway, from being so close to the anti-matter planet? They were the same distance whether they went down there or not. What was the difference? And for that VERY astute comment by Ellen: When Helena told Lee that John was a friend, he certainly had become more than a that, by the end. You can see Helena run to John, and how they hold each other while gazing. Very Mushy! Very so, much more than friends.... The ending of this episode may be one of the best of them all, second to LAST SUNSET. John walks in, very much in lament, and Kano approaches. He sighs at first, for cheering up John Koenig looks to be a task, especially after such a let- down. But the scene is done very tasteful. A far cry from the silly beer scenes to come in a later season. Then John walks up the stairs to be with Helena, as she watches the planet, her past, and her husband fade into obscurity over the horizon. The visuals and music generate that feeling of longing she must of had while saying "goodbye" in her mind. Her face said it all, it was not sorrow, it was not joy, just longing. This episode is a Helena episode. Barbara Bain sure does a good job with her acting here. I don't think the character of Helena Russell needs to fit Patty Perfect like criteria, to be good. She was a female in a position of authority, and executed it admirably, and with concern. The character or Ripley, in the Alien saga is another good example of this. Just because they are not going around and touching everyone on the bottom, doesn't mean the acting is wooden, or they come off like the Heat Miser (no hair insinuations made). Take Care & Happy Holidays Tony

From: Patricia Sokol ([email protected]) Date: Wed, 10 Dec 1997 11:57:59 -0500 Subj: Space1999: Matter of Life and Death

Matter of Life and Death I think, as a second episode, MoLaD really doesn't work, but not for lack of a story, plot or situation. The reason it doesn't work for me is some of the obvious lack of continuity. I realize that some scenes were reshot in order for this to fit as a "later in the series" type of story, but I am interested to know which ones. Judging from what I observed upon rewatching this episode, it would have been an awful lot of scenes, unless many of the original scenes were shot as they were supposed to be shot. In that case, the continuity is a problem. All-inall, I do like the episode, not finding it plodding at all. It is a reflection of their situation. Some examples of lack of "flow": When Lee Russell is initially brought into the medical center and John and Helena are talking about whether or not it's really Lee Russell, he comments about having been through so much in the time they've been out there. Like what? We have no idea about how long the first two episodes are supposed to be apart, but it is long enough for them to get "billions of miles from Jupiter." Also, the comment by Alan Quartermain/Guido Verdeschi/Parks about having gotten a winner this time, implies there have been losers. Yet, in contrast this, Koenig makes the announcement about the composition of the phase two landing party with a great deal of aplomb, like this is the first time and so it is something special. At other times, later in the series, Koenig is halfway out of Main Mission he just calls over his shoulder, "Victor. Helena," and they dutifully follow. Second example is when Kano brings the results of his feasability study to Koenig's attention, naming the number of planets they will encounter on their trajectory and how old they'll be upon encountering them. Logically, this seems like something one would have done early on, and placed later in the series, after they'd already been through a whole bunch of stuff and a few planets, it is out of place. Third example is the shifing relationship between John and Helena. At the beginning, and indeed throughout most of the episode, there is obviously a great deal of affection between them. When he first comments to her about the planet looking good, she is looking at

39

him with a look that I can't even find a word for. Adoration comes to mind, but I'm not even sure that fits. Later, after she's fainted and is back in her quarters, as he sits beside her, there is a lot of feeling there; like Janet said, it's not the concern of a commanding officer, nor of simply a good friend, but of a friendship that is about to cross the line into a loving relationship. My goodness, he looks as though he's about to lean over an kiss her. If it had been any other circumstances, and certainly had it been Y2, he would have. And, how, if this was so soon after leaving Earth, would he have known that to pass out was "not like her"? For all he knew, she was prone to fainting. The other side of this is when they are down on the planet, and twice she calls him, "Commander." Just doesn't play well. If they've already established they are on a first name basis, then quit the Commander stuff. As for Koenig's relationship with Lee Russell... I think the aforementioned scene at the very beginning was directed to establish that there was a sort of a "thing" between John and Helena, if only something that was on both of their minds and not yet acted upon. This sets up Koenig's immediate annoyance at its being Lee on the Eagle. Heck, at that point in their relationship, I would think that talk of old boyfriends would even have been an annoyance. So this being has one strike against him. Second strike is the problem with the thermographic scans, and the fact that Lee is obviously only responding like a human being when Helena is around. Third strike is the fact that he can't really remember anything, like how he got there and how long he's been there. We know things, too, which he doesn't, such as the fact that Helena got hurled across the room by some kind of discharge and didn't just faint. That she doesn't remember that is not troubling at all, as people who are struck by lightening often have short-term memory loss. All of this sort of culminates in Koenig and Victor's interrogation of Russell in the office. I never really thought about the lighting/staging of that scene, but upon rewatching it does look something like a torture scene. Other discussions they subsequently had with beings they'd encountered were done in a nicely lit, comfy (or at least official) area, like around the pie-chart conference table. Clearly, either Koenig has firmly made up his mind that this is not a human being, or else he's a really

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Year One

insensitive SOB. There was the time factor, in addition; they only had a few days to make the decision to go to Terra Nova, so this kind of delay was problematic, to say the least. Other things I see as inconsistancies...Carter's assertion that it can't be Lee Russell, and then you want to go down to a planet that sent this being up as a warning to stay away? The Eagle pilots got knocked out yet the ship came in on automatic, and you want to send more ships? How many times do these thick Alphans need to be warned away from something. The desire to get off the moon is one thing; the desire to throw themselves into a dangerous situation is another. I think the observation that BREAKAWAY is written to introduce Koenig, MoLaD to highlight Helena, and BLACK SUN to show different sides to Victor, is a good and valid one. This is definately Barbara Bain's episode. From the beginning where she is framed in the center of the desks to the end where she is alone on the balcony, it is her plight, and it reflects the plight of all the Alphans. To be so close to re-attaining something that was lost, and then to have it ripped away in a few moments. Bain has been criticized in her characterization of Helena Russell as being not overjoyed at Lee Russell's appearance. The scene where he is lyng and bed and Koenig comments to her that it doesn't make any sence for it to be Russell perhaps characterizes why she acts as she does. In a moment, she shifts from a woman regarding her long-lost husband to a scientist accepting the incongruity of the situation. Watch that expression change - it's really marvelous. The scene where Helena is talking to Koenig after Lee's death is also well done, and, I think, shot in slightly different light than Barbara Bain is usually shot in. Seems that it is less soft and in sharper focus than she usually gets, a nice emphasis to the cold reality of the situation, and a contrast to the out-of-focus scene where there is some kind of psychic connection between her and Lee. I think the novelizations were written from early or original scripts. In that case, MoLaD, as novelized, may have translated better to the screen as the second episode. In it, there is an immediate ripping-apart from the known and understood to the unknown and not

understood. The past is gone, over and done with. The relationship between Koenig and Helena first flickers, and there is the transition between the Commander and Doctor to the John and Helena. The Alphans very quickly find out that there row is not to be an easy one. Terra Nova would have definatively been Meta, and the chapter of anything happening within the solar system would have been closed. Then, into the Black Sun - or hole - and out into the vast unknown. There, did I fill up an entire digest volume? Pat.

From: "Ellen C. Lindow" ([email protected]) Date: Wed, 10 Dec 1997 18:42:06 -0500 (EST) Subj: Re: Space1999: Matter of Life and Death The other side of this is when they are down on the planet, and twice she calls him, "Commander." Just doesn't play well. If they've already established they are on a first name basis, then quit the Commander stuff.

I thought this too, at first. Then I noticed that she calls him "commander" while they are broadcasting the water tasting and fruit tasting back to Alpha. They are definately putting on a show for those back on Alpha. It's a morale thing, just like that scene in Main Mission where Koenig is talking happy to Sandra. Then he shares his true feelings with Helena, much more cautious and . Koenig does this on two occasions in this episode, then he and Victor do that song and dance in Black Sun with the defense shield. It does give the impression that Koenig's power base is delicate and he needs to keep the masses happy. Since these people aren't idiots (at least they shouldn't be) they should be able to see through some of these smoke screens.

From: Patricia Embury ([email protected]) Date: Wed, 10 Dec 1997 19:14:20 -0500

Matter of Life and Death Subj: Death

Space1999: Matter of Life and

This was a great vehicle for Barbara Bain, and I felt she carried the episode well. The way she looked at Lee Russell in Medical section, when John asked her if it was her husband said a lot. She was able to portray the conflict between wife and health care professional/clinician/scientist, very well. I also wondered about the reappearing mattress on the stretcher. I was a bit puzzled as to why Helena called John "Commander" when they were alone together on the planet. Their relationship had progressed to a first-name basis, and I think that Paul, Sandra and Alan were aware of that. The ending sequence with Helena at the window was first-rate. Lee had given her the gift of life: a life for her and John by giving Helena the strength to get off the planet. If she remembered, the window scene is even more appropriate. I thought Koenig acted rather schizophrenic in the episode. First he wants to not send a crew to Terra Nova until he checks out the reason for Lee Russell's appearance, then he tells Sandra that there is no reason they should not do. Although, he could be weighing, as he stated in one dialogue, that the needs of 300 people more heavily than those of a single individual. He may use the principle of benificence (?sp) as the rationale for his interrogation of Lee Russell. Or, Koenig could be caving in to immense pressure from the base personnell who wonder when phase 2 will be carried out. He chews Alan out for asking a question, yet doesn't say a peep when Sandra brings up the same subject later in the episode. I thought the explanation given by Stuart Damon's character was used to bring people up to speed on the episode, to ensure that people thought this wasn't a second part to "Breakaway." I have to agree with Pat that some of the reactions aren't consistant with the timing, although one might assume from the general dialogue, that this was the first potentially habitable planet they have encountered, therefore, the mixture of early and late appearing activities could be accepted.

From: Date: Subj:

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Kenetrw ([email protected]) Wed, 10 Dec 1997 19:33:17 EST Space1999: Episode Two

Hello again. I must agree with [email protected] regarding Helena's appearance. I thought she looked awful, especially in the first glimpse we get of her while she's with Bergman as they monitor Steiner and Nordstrom. She is very attractive in every episode and I'm not tearing down her looks at all. She ljust ooks like the whole thing was funny to her in our first glimpse of her. However, she looks very beautiful just before she turns off Sparkman's life support switches. As for Koenig being the only one to get up under "G" stress, if you look carefully at his facial expression as Alan first radio's in, you'll see that he has a puzzled, hesitant and concentrated look on his face. He knew that Carter had to make a decision fast as to whether he should return to earth or Alpha. Remember, Alan was the only one with a chance to return to earth. Koenig also needed to let him know they were alive! If there was no answer, Carter's out of there. Koenig did not want to lose his best pilot either. He simply had to get up and get to that button. The others didn't realise or perhaps care to struggle. A commander has his mind on his crew and their survival always.

From: Petter Ogland ([email protected]) Date: Thu, 11 Dec 1997 11:41:51 +0000 Subj: Re: Space1999: A Matter of Life and Death What I think is key to the episode is the notion that Terra Nova is a "perfect" planet, only not for humans. Isn't that interesting? Unlike Star Trek with all of its pollyannish optomism about mankind's future, Space:1999 had the courage to exhibit mankind's foibles and limitations.

Watching the episode several times in order to find out what's going on, I suppose you are looking for a moral, Quintin, knowing how you read BREAKAWAY, EARTHBOUND and others.

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Year One

Personally I think one might quite naturally view MATTER OF LIFE AND DEATH on existensialist terms, just like BREAKAWAY, BLACK SUN and others. While BREAKAWAY perhaps can be seen as a drama focused on quick adaption in order to survive the present, MATTER OF LIFE AND DEATH is much about the past, just like BLACK SUN is about the future, I think. In MATTER OF LIFE AND DEATH, just like EARTHBOUND, ANOTHER TIME, ANOTHER PLACE, THE LAST SUNSET and THE TESTAMENT OF ARKADIA, there seems to be a lot of nostalgia of what life on Earth was like, and how it was to live on earth before the Moon was hurled into space. In the case of the Byrne episodes (ANOTHER TIME, ANOTHER PLACE and THE TESTAMENT OF ARKADIA) it almost seems like if it were childhood memories of peaceful green Ireland as opposed to the chaotic world of writing and filmmaking in London and Pinewood, perhaps a quite life of farming opposed to a hectic urban life and modern problems concerning pollution, world scale social disasters, technological alienation etc. I feel MATTER OF LIFE AND DEATH is very much focused on the alienation of the Alphan's just having left Earth's orbit. Moonbase Alpha is not yet home, and as they hear the siren song of Terra Nova, they are so taken with the possibilities of living a traditional Earth life that they are willing to risk all in order to carry out Operation Exodus. After BLACK SUN, the situation was somewhat different perhaps, that episode ending with John, Helena and Victor talking about Moonbase Alpha as their Home. There is a nice parallell between Terra Nova and Lee Russell in MATTER OF LIFE AND DEATH, I think. The Alphans see a mirror of the past on a Tropical Paradise sort of planet, feeding their hopes and wishes on returning to earth. Helena rejoins her late husband, bringing back fond memories of hopes and wishes she had when she was younger perhaps. Hopes and wishes that could be forgotten or supressed as she is growing older in distant space.

Perhaps MATTER OF LIFE AND DEATH can be seen as a sort of allegory of development of civilized life on Earth, about how we sometimes have pleasant dreams of the past. I certainly remember the early seventies, the time when I watched SPACE: 1999 for the first time for instance, as a very fine time, and quite often get nostalgic watching films from the sixties and early seventies. If wanting to find a moral in MATTER OF LIFE AND DEATH, for me it seems to be concerned with dream (anti-matter) and reality (matter) in terms of living in the past and the present. There are several kinds of deaths, as Lee Russell says, but in our memories the dead ones continue to live. Petter

From: QGMorrow ([email protected]) Date: Thu, 11 Dec 1997 16:30:57 EST Subj: Space1999: More "Life And Death"

After reading Petter's note about A Matter Of Life And Death, I was struck by the similarities between the Alphans fleeing Terra Nova and the Biblical account of Adam and Eve being driven from the Garden of Eden. In the case of A Matter Of Life And Death, mankind was driven from paradise because of their ontological incompatibility (matter vs. anti-matter). In the Biblical account of the Fall and expulsion from paradise, mankind was expelled not because of who they were, but for what they had done. Interesting.

From: Date: Subj:

[email protected] Sat, 13 Dec 1997 23:06:32 EST Space1999: Art Wallace

Just saw a rerun of a Star Trek (the original) episode called "Obsession." It was the one about the vampire cloud. I noticed the author was listed as Art Wallace. Does anyone know if this was the same Art Wallace listed on the credits of "Matter of Life and Death?" Just curious.

Matter of Life and Death

From: David Acheson ([email protected]) Date: Sun, 14 Dec 1997 13:32:45 PST Subj: Space1999: Art Wallace

It may be possible that the Art Wallace who wrote the original script for MATTER OF LIFE AND DEATH is the same man who wrote the STAR TREK episode in question. I believe that M of L and D's Art Wallace was an American who worked on 1999 in the beginning when ITC was hungry to staff American writers and directors on the show. It would be interesting if they were indeed the same person. Any one knows for sure?

43

off of a satellite. Therefore, they had to make sure every station had a copy of the first episode (a lot of copies) and then each station could run a different episode the second week, and then ship it to another station after broadcast...that way they would need less copies of each episode after number one. This is speculation on my part. I don't know what the initial running order was in each city. If you find a woman unconscious (and bruised) in a medical infirmary, do you take her back to her quarters? No you treat her there in sickbay. So why is Helena in her quarters? Koenig's speech and melodramatic picking of the landing party was just absurd. The planet set is one of the cheeseist I've ever seen. It was just hard to take serious.

From: Date: Subj: Death

[email protected] Mon, 15 Dec 1997 00:50:52 -0500 Space1999: A Matter Of Life And

My random thoughts: Again the use of rear screen projections in Main Missiion, which allow the camera to move while shooting an actual image on the screen. The mooncity costumes credit had it's own unique font. This has been discussed in the past: What is up with the number buttons on Koenig's commlock? Sometimes they are all there, and sometimes a few are missing. I wonder when in the process they decided to make this a generic episode, rather then specifically the second episode. They would have had to reshoot a great deal of material to make the references non-time specific (although some of them make it seem like a great deal of time has passed.) It's possible they did not make this the required second episode of the run simply because they did not want to break with the tradition of having the episodes generic as far as running order. Also, it might have been a matter of cost. In syndication back then, I don't think stations (or certainly not all of them) were getting the show

If this were the intended second episode, I can't decide if they would have the testing equipment they have (like the water tester that can send a signal up to the moon's computer.) That is not equipment they would have before leaving Earth orbit. (I know, someone will say when they approached their first planet they quickly built this stuff.) When the eagle was about to blow, we saw it on the commlock in two different shots. The first one they matted the shot on Koenig's commlock, but ended up cropping out the hood on the screen. The second one, where we see Alan in the cockpit fighting the smoke, was a large tv monitor, that they put a hood over to make it look like a closeup of a commlock. They had to do this because the 2 inch tv's they used for the commlocks would not have shown enough detail when filmed to be seen. It's alright for closeups of talking heads, but not wide shots of eagle cockpits. Except for dramatics, why does the moon get affected and blow up? Also, it is a bad explosion...you see there is nothing in the center of that explosion...not one of their better ones. Koenig dies after saving Helena from the avalanche...and yet we don't see him get hit by even so much as a pebble. Wile E. Coyte should have done so well.

44 Finally, couldn't Lee Russell have made the speech he made to Helena, explaining the problem, 20 minutes earlier, and saved everyone a lot of trouble? The interrogation scene in the commander's office, though beautifuly lit in red, was frustrating because Koenig would not listen. I was shouting at the screen for him to shut up and listen to Lee. And since we wanted a dramatic ending, the script would not allow Bergman to be any smarter in that scene. I like the final touch with Kano's computer results...he was fascinated with an idea that was not at all helpful at that point...which I think made him one of the more normal ones (at least in that episode.)

Year One

From: [email protected] (Anthony J Ritz) Date: Mon, 15 Dec 1997 13:30:48 EST Subj: Re: Space1999: A Matter Of Life And Death What is up with the number buttons on Koenig's commlock? Sometimes they are all there, and sometimes a few are missing.

These are models with stick on numbers. I suppose they didn't do all they could, to make sure this prop was holding up under the use. When shows are filmed, they are not done so under the pretence that the viewer will be able to pick up on certain things. As for the people in main mission, who's only job were to circle the desks, picking up paper from one locating, and depositing it in another. Busy work one can pick up on in multiple viewing.

Black Sun

45

03. Black Sun As commented by the first discussant, this is the episode that perhaps most lives up to the series reputation as the 2001: A Space Odyssey for television. A story that deals with spiritualism and the human condition in an outer space setting. And like 2001 there is no real answer to the questions so we are all left to interpret what happened on our own. He also makes the comment that the scenario is similar to the Titanic disaster story. Paul's guitar playing and Bob and Kano's chess game reminds him of the Titanic's orchestra playing away as the ship was going down. An attempt to keep things going as normal as possible in the face of disaster. Thirdly he brings up the issue of the “Mysterious Unknown Force”. This episode is the first real indication that there may be something out there watching the Alphans and pushing them towards their destiny. The black sun becomes a 2001-style monolith as opposed to a disaster situation by the time the moon enters it. Several episodes that follow in year one seem to indicate that there is indeed some reason that the Alphans are out there. From: David Acheson ([email protected]) Date: Mon, 15 Dec 1997 02:56:49 PST Subj: Space1999: BLACK SUN

Well, we are now heading to episode three the one with the plot device that was supposed to push the runaway moon away from the confines of our solar system and into unknown territory. At least the original drafts for the early episodes and the novelisations built it up this way. Overall, BLACK SUN is an excellent episode that perhaps most lives up to the series reputation as the 2001: A SPACE ODYSSEY for television. A story that deals with spiritualism and the human condition in an outer space setting. And like 2001 there is no real answer to the questions so we are all left to interpret what happened on our own. No big American-style action and adventure this time around. Looking back to the time this aired, one can see why the series was jeered by critics who complained of wooden characters, bad science and senseless storylines - nothing like this had really aired before. No one knew what to make of it. As a kid I was bored by this episode (too slow moving) and would certainly have put it at the bottom of my list. 20 years later, I appreciate the philosophical storylines in the series more than the effects so the episode moves up into the "best of year one". (However, it is still not my favourite.) Apparently, the same appreciation is felt by many list members from the postings to this list that I have seen.

Two things strike me about this episode that I want to bring up. First, the "We'll continue to the bitter end" scenario. Everyone accepted the fact that the Black Sun would be the end of them all but the Alphans continued to do the insanely impossible to keep themselves going. Would Bergman's shield really protect the entire moon? It only covered Alpha! And just how long would the 6 passengers in the escape Eagle survive? The Eagle would most likely run out of fuel and supplies before getting anywhere. But if anyone thinks that this is unbelievable behaviour just think of one word - TITANIC. The scenario is astounishingly similar. Paul's guitar playing and Bob and Kano's chess game reminds me of the Titanic's orchestra playing away as the ship was going down. An attempt to keep things going as normal as possible in the face of disaster. Secondly is the Mysterious Unknown Force that we talk about so much. This episode is the first real indication that there may be something out there watching the Alphans and pushing them towards their destiny. The Black Sun becomes a 2001-style monolith as opposed to a disaster situation by the time the moon enters it. Several episodes that follow in year one seem to indicate that there is indeed some reason that the Alphans are out there. Unfortunately, we never got the chance to put it all together and year two eliminated the concept entirely. Favourite scenes: 1)Helena and Sandra in the Eagle. Helena confesses that when she was a little girl she was afraid of the dark. Sandra replies that she was afraid of doctors. 2)All the fine moments Koenig and Bergman share before entering the Black Sun and during the

46

Year One

time they are in it. The talk with God was rather a friendly chat than a religious experience.(No disrespect meant.) Problem with the episode. The fact that the Black Sun was the medium by which the moon would be pushed to unknown space. If the Black Sun was so close to our solar system then wouldn't Earth's scientists have discovered it years ago? Wouldn't Earth be in grave danger? The novelisation doesn't address this problem and the filmed version avoided a timeline. Thus it is easier to accept the Black Sun concept if shown later in the season. But we are still left with how the moon could get so far out in a human's life time? Still the fine 2001-style storyline more than makes up for the lack of a timeline. The most troubling effect concerns the asteroid and Mike Ryan's Eagle as they were pulled towards the Black Sun. 20 years ago they looked like cardboard cut outs being twirled around. So imagine how bad they look today. Thankfully, the rest of the episode's effects makes up for these two scenes. In all a great directorial finale from Lee Katzin. Question Time: Who was the female voice in the Black Sun? Its never been credited and I have always wanted to know! David Acheson

From: Petter Ogland ([email protected]) Date: Mon, 15 Dec 1997 13:55:04 +0000 Subj: Space1999: black sun

In her magnificent analysis of MATTER OF LIFE AND DEATH last week, Pat wrote among other things: I think the observation that BREAKAWAY is written to introduce Koenig, MoLaD to highlight Helena, and BLACK SUN to show different sides to Victor, is a good and valid one.

In BLACK SUN I feel Helena is given more of a supportive role, much like in

BREAKAWAY, although her on-screen appearance is astonishingly effective, the way I see it at least. The scenes building up for the lifeboat theme are extraordinarily well crafted, I feel, the goodbyes between Victor & Helena, and John & Helena, being highlights of the episode. The focal character in BLACK SUN, as I see it, is Victor. This is an episode which gives very much time for Victor displaying his emotional ups and downs, his boyish fascination with fysics in designing and testing the "Bergman shield", his solitary working hours constructing formulae trying to understand the mathematical aspects of the Black Sun phenomenom, including his irritated comments to computer, his relationship with Kano, his old-age wisdom and more. Some of the most charming side to the episode, I find, is the scene where Victor arrives with his cigars and bottle of Brandy. His contrast with John is extreme with his high spirits as opposed to John's more calmly depressed mode. To me this high spirited behaviour seem to indicate an extreme fear of whats going on. Without anything to do, waiting for the final disaster, making toasts for "what has been", he seems to try to convince himself that the right way to end it all is to go down with a smile, be happy for what has been and to help the others to handle the situation with as least stress as possible. What do people like John and Victor talk about during the last few hours of life? Well, they do not talk about Helena. As John is a "doer" he has made sure that he has "done" something in order to save her. I suppose it didn't really matter whether he believed the chances of survival were greater on the Eagle or on the Moonbase, he just had to do something so at least he had tried. During their final minutes, John and Victor exchange thoughts on science and religion. Even at this moment of his life, although he is the one the brings the subject up, Victor is extremely caucious of talking of God. Being a scientist all his life, I suppose, one gets the impression that the world of numbers and facts

Black Sun

47

is so inherit in Victor that he feels cumbersome by the mere mention of the word "God".

having a sample of them thrifting into unknown space.

Nevertheless, when they hear the childlike voice during the trancelike sequence (I've read somewhere it belongs to Zienia Merton, but who knows), one of Victor's first utterenaces is "Are you God?" There is no speak of Cosmic Intelligence at this moment. Fascinating, isn't it?

Well, there still lots to be said of BLACK SUN. By the way, I found David's introduction absolutely brilliant, and I've read a preview of Tony's contribution which is a wonderful and thought provoking study of quite a lot of central themes and situations from the episode. I hope you ship it soon, Tony, for all to enjoy.

What is the difference of science and religion? Is science all rational thought while religion is pure emotions? In the mind of David Weir and other writers for SPACE: 1999 the issues seem to be quite heavily related. The relationship between modes and function of thinking and feeling is a theme that occured quite often during Year One, I remember, my favourite episode in this respect perhaps being RING AROUND THE MOON, but the theme does also seem to penetrate episodes like MISSING LINK, COLLISION COURSE and WAR GAMES to name a few.

Petter

In THE TROUBLED SPIRIT Victor also show a similar unease while talking about paranormal phenomena, another controversial subject in scientific communities. In the SPACE: 1999 DOCUMENTARY Barry Morse tells us of his special fondness for this episode, saying, in fact, that he wished the series would be more like BLACK SUN in approach to character. All of the three episodes we've discussed so for me far rate among the finest episodes of all SPACE: 1999, all three having the 2001 sort of seriousness approach to problems and conflicts. So far the Alphans have experienced strange phenomena, but still nothing that would prevent the episodes from being watched as "serious" drama. There is still a feeling that they are not too far away from earth in respect of character portrayals and plots. I suppose RING AROUND THE MOON, next episode, with it's surreal images and plot was the first to break the barrier of 2001 realism, and use this efficiently in order to investigate further aspects of the human condition by

From: [email protected] (Anthony J Ritz) Date: Mon, 15 Dec 1997 09:04:50 EST Subject: Space1999: BLACK SUN

BLACK SUN: Episode 3 Hello All ! This happens to be my favorite episode. BLACK SUN is the episode with the happiest ending, but the happy ending is well deserved considering the darkness and depth of what is explored, having to come to terms with death. There is also an interesting spiritual twist, towards the end. Not many shows have ever explored these topics to this length. It is interesting to see each character, and how they endure in a crises of this magnitude. Since we have just talked at length on this episode, I am going to take a different angle at discussing it this time. I want to go character by character, discussing their actions and reactions to the crisis at hand. BLACK SUN is very much like the Titanic disaster. There is a certain doom of a sinking ship at hand. There is even a life boat in BLACK SUN. On the titanic there was heroism that is hardly found in day to day life. The crew in the engine room stayed past the point of flooding, the telegraph operator sent messages until the power died, officers made sure women and children were the ones placed in the life boats, the band played until the end, and the captain was last seen on the bridge. BLACK SUN makes us think about, what some would rather just never think about, the end of everything.

48

Year One

Victor is concerned the second he see the Black Sun for the first time. He is later seen making the calculations necessary to figure out what this space phenomena is for sure. He is worried, arguing with computer as he hastily writes his equations. His plan is a longshot, and he knows it. The odds are against the forcefield holding. In his own words, "It's insane." I'm sure if he had the resources, he would of dumped the forcefield for a better plan in seconds. Time and elements were not on his side though. And doing something is better than doing nothing. As he told Helena, the forcefield is a doctor not giving up on a patient, until he's dead. In a touching scene, Victor places a coat over Helena. Not a word was spoken, but a kiss goodbye was given. Victor watches as she walks away, then slowly walks the opposite way down the corridor himself. This scene shows the compassion between the crew, and that there are times where there are no words. Sometimes, words just are not necessary to convey emotion. Towards the end, Victor comes in with a spacesuit for John, and with a joke tries to lighten the mood. He then walks to the window, cleans a space to view through the frost, and on the other side of the window you can see what Victor is really feeling. He is looking eye to eye with the Black Sun, and his expression is grim. His fear and concern are ever so present, as you see him strain to put on a smile before turning back to John. Victor tries to take solace in the fact that they are lucky they had made it that far. John is intrigued but not comforted by Victor's enthusiasm for the past. Victor then starts to open up a little, he starts to give some insight into his own spiritual beliefs, that he feels somewhat defensive of having John describe them as "god." But he does see John's logic though, what is a cosmic intelligence to him, is God to John. God is relative and specific to each individual, meaning different things to different people. He says the most profound statements I have ever heard. "I suppose we all believe what we want to believe, That is what reality is." He goes on to say "One thing though, the line

between science and mysticism, is just a line, and sometimes it can make me feel quite old." Indicating mans never ending struggle to explain the world around him, the universe and life itself. Alan reaction to the Black Sun is minimal at first. He is seen in the discussion, concerning the forcefield, not saying, but mouthing "Wow," after John's "It's a long-shot" statement. He comes out more when he hears of the survival ship. His confrontation of John in Main Mission is classic. Alan's display is pathetic, even victor turns away and looks down. But how many of us would not feel the urge to plead for our life. Alan couldn't resist, most often being the most emotional, and acting accordingly: The only one to attempt to save Koenig's life in MISSING LINK, as Helena prepared to take him off life support. John knew this about Alan, and during the mission debriefing, Alan goes to say something. John stops him saying, "No goodbyes." Alan nearly in tears, says yes commander. I think he was not going to just say goodbye, but apologize for his plead for life. He didn't realize what he was doing until he got what he wanted, and saw the rest being left to die. His words stuck in his throat, and he wanted to say he was sorry. John knowing he had already embarrassed himself enough, warmly stated no goodbyes, but John's face said, I know, don't worry. Paul is in denial at first, almost not wanting to hear what Victor is saying about the Black Sun. Paul works his emotions away. He has to figure a launch window for the survival ship, with the power requirements necessary for the forcefield. His concern for Sandra becomes evident as he accompanies her to the survival ship. He gives the mile long stare to Alan, as he tries to paint over the sadness with the fonzi thumbs up. He is the last of the crew to man Main Mission. When he is relieved of duty, he hardly knows what to say to John and Victor. Victor quietly nods goodbye, and Paul goes off into the darkness. He is later seen and heard playing the guitar, but his song is of sorrow. Tanya joins him, and the imaginations ponders the possibilities. Kano is not a happy camper. "Computer will have to be deactivated for the process, you can cut through fish scales, we have to use

Black Sun minimum power requirements for YOUR forcefield, and what about computer" are just some of the lines giving insight into Kano's personality. He has built a relationship of sorts with the computer, and has to endure this situations without this friend of his. He is later seen playing chess with Dr. Mathias. The doctor gives him a little psyche-out line of "you'll never beat me, you know." Kano just looks at him like "what are you talking about Willis." Does Kano have a girlfriend? He has his arm around Professor Robinson, after the return of the survival ship. Professor Angela Robinson's only episode that I know of. She had no lines but her scene was incredible. John gives the names over the comm system. Faces are reflecting in the monitors as alpha is glued to every word John is saying. The last name he gives is hers. She is standing in the rear of several people, who stare at her. She is about to speak when everyone simultaneously walks off. She is left there standing speechless like a statue. Her face says it all. Helena is her typical self, in control, helping Sandra after Mike's death, helping Victor after the power mishap, and showing concern for John and Victor after they had the eagle shoot at them, for the forcefield demonstration. She does not like leaving John on the base, while she leaves on the survival ship. She almost goes so far as to say she wanted to die with him. John wouldn't have it, so she was back to comforting Sandra on the survival eagle. John hold the base together till the end. He doesn't fool himself, and accepts the fate from the very beginning. "What can we do? We'll all be dead in three days." He implements the forcefield for moral, and risks the two percent to have Alan shoot at him and Victor, through the forcefield, to better reinforce that everything is being done. He stands in the faces of the other alphans, making decisions that affect everyone, shutting down computer, and implementing a survival ship. He decided on that survival ship, in spite of having to say goodbye to Helena. He can surround himself with work and decisions only so long. As the base shuts down he is seen more and more looking out the window, and sitting at his desk.

49

I will always remember the first time I saw him look out at the departing survival ship. The eagle lifts off so slowly. The person he loves is leaving and there is no reversing fate. It had to be this way. Then after the take off he sits on the stairs of his office. He seems so small, in the left of the screen. His office seems so empty, which is what he is feeling at that exact moment, as he sits with his hands folded and head down. Profound emptiness, there is no more command decisions to make, and the base is now quiet. When Victor comes in and starts to smoke, John asks him what the hell he's doing. Victor tosses it off, knowing it doesn't matter. Then John gets the idea. The struggle is over and it is time to accept fate. John and Victor's spiritual experience is quite interesting. They don't even recall it after waking. They look quite old during the spiritual encounter. The adage old and wise comes to mind, as the two are connected to pure spiritual in-lightenment, for a moment in time. They share in the presence of something wonderful, that Victor can use the word God without flinching. This is truely unknown ground, and where no other television show has dared to go. BLACK SUN is about the double edged sword called life. Life is hardly simple, but a multidimensional array of emotions and feeling that make it up. In the darkened corner of life we store the aspects we most rather not deal with, fear, sadness, and despair. But not experiencing theses emotions, from time to time, would not be experiencing life either. It is the bad times, after all, that make the good times what they are.

From: Date: Subj:

[email protected] Mon, 15 Dec 1997 19:34:18 -0500 Space1999: Black Sun

For the quibbles that I have been adding to this weekly discussion, I found very little in this episode. It is simply one of the best of the series. However, here we go:

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Year One

I noticed for the first time that the episode is "Black Sun", and not "The Black Sun." The meteor swinging over Alpha at the last second was very dramatic and completly ridiculous. For it to have gotten that close to the base, and then been pulled away, the moon would also have been effected. I think it is the greatest character writing to have Bergman say to hell with Main Computer and figure out his calculation errors on his own. I'm surprised he didn't pull out a slide rule. This is a series mechanics complaint along the lines of the inside of the eagle not fitting the outside of the eagle: It has always bugged me that the boarding tube can extend quite far out, and yet inside the travel tube car it is a very close connection from the car to whatever the boarding tube has attached itself. The camera shots made effective use of the huge sets to give a feeling of loneliness when facing this impossible crisis. This episode did what the seventh BBC radio broadcast of "The Hitch Hiker's Guide To The Galaxy" later recommended: when faced with an impossible crisis...get drunk. The two of them, the whole time, from Bergman's enterance into Koenig's office until the crisis is past was very nicely done. And yes the cigar ash flip at the very end capped the episode beautifully. This episode worked in that I was too busy watching it to write very much down. I thought I would be bothered by the fact that the ship made it back to Alpha, but it was so nicely done that I didn't care. I also have to believe in the mysterious force since that force field might have protected the base, but it was not covering the rest of the moon, which would have been torn to pieces. I am a little miffed...if the force was able to do everything else...why couldn't it save eagle pilot Mike Ryan? Finally...is Tanya hot or what?

From: Date: Subj:

QGMorrow ([email protected]) Tue, 16 Dec 1997 01:01:31 EST Space1999: More BLACK SUN

Hi Friends, "Black Sun" is one of my favorite episodes, and one that I never grow tired of watching. And from the recent deluge of positive mail, I suspect that many of you like it a great deal as well. "Black Sun" is meant, I think, to answer some nagging questions of human existence; namely, "Is there a God?" (or an intellegent life force out there that created and watches over all things), "Are we in this alone?", "How do we make sense of the unknown?", etc. The comparing of the discipline of scinece and theology (or "mysticism" as Victor puts it) is just wonderful. In the end I think the conclusion that the episode reaches nicely is that the pursuit of scientific knowledge and questions about God (metaphysics) are both the same--both are seeking Truth (notice I spelled it with a capital "T"). In our modern Western culture the human psyche has been bifurcated (because of the Enlightenment) into "public knowledge" (scientific, or knowledge provable by the scientific method) and "private knowledge" (knowledge gained through intuition or faith). The former is considered superior in that it is demonstratable and accessible to all. Yet, in this episode, that bifurcation is "healed" in my estimation. The pursuit of God and science are brought closer together, and it is acknowledged that there is indeed a Supreme Being out there managing the affairs of the cosmos. And as one discovers more about the creation, one discovers more about the Creator. Whether or not you are personally a theist, "Black Sun" at least posits a intellegent force out there managing the affairs (nicely, I might add) of the universe. As a Christian theologian myself, I am tempted to critique the theology of "Black Sun" in light of the revealed Christian religion I practice, but I always resist that temptation (no pun intended). And I do so because the episode is not meant to be a

Black Sun theological treatise about God. Rather, it is simply meant to communicate that a Supreme Being exists, and that the hard line which we think exists between scientific knowledge and intutitive knowledge is a lot "softer" than we heretofore have imagined. Smashing episode! I especially liked Victor pulling out the cigar prior to the moon entering the black sun and him being chided by Koenig (in an ironic fashion) for it not being good for his health. Quintin Marrow Vista, CA, USA

From: Petter Ogland ([email protected]) Date: Tue, 16 Dec 1997 11:12:11 +0000 Subj: Re: Space1999: More BLACK SUN

You make interesting points here, Quintin. Victor's "private" and "public" beliefs, alternatively speaking of "God" and "Cosmic Intelligence", seem to indicate the dichotomy of religious versus scientific worlds. In the words of Victor it is, however, not a great difference.

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connotations with the traditional religion after the science and religion split along different paths in the late middle ages. Nevertheless, my impression is that his lines of thought are in essence very much the same as John's, and in other episodes, like COLLISION COURSE and THE INFERNAL MACHINE, Victor often explain things from a theological point of view. In the case of BLACK SUN, however, I feel a parallell to the birth of Christian existentialism in terms of Nieztsche and Kierkegaard. Nieztsche, the most controversial of the two, I suppose, was the son of a theologian, and was growing up in the mid 19th century with the emergence of darwinism, Marxism and by the end of the century Freud's psychoanalysis, all phenomenae propelled by the industrial revolution, I believe. In the writings of Nietzsche there is a great concern about the effect of science and technology on society and traditional Christian values. My impression is that he struggled with thoughts concerning how the Christian moral and the religious language should be understood in order to make sense in a scientific and technological society.

Being a mathematician by profession, working with logic and numbers, I feel related to Victor in many ways. Even in the logical world of computers and mathematical thought, we depend more or less completely on faith, intuition and human insight. Science and mathematics is very much like anything else, I believe, except for it's obsessivenes with the precise and the abstract. My understanding of Victor is from this point of view.

This struggle has been going on ever since, I believe, and seems to me to be reflected by Victor in several episodes, but perhaps most clearly in BLACK SUN.

The question Victor asks, I feel, more than the question about whether there is a creator or not, is a question about determinism. Is there something out there that look after us in some way? To John this "something" seems to be "God" in the traditional Christian sense (or Jewish, if we are to believe that John is Jewish as some have suggested).

Hello Alphans!

To Victor it seems as though he cannot use the traditional religious terminology, perhaps feeling that there are too many unscientific

From: Date: Subj:

Kenetrw ([email protected]) Tue, 16 Dec 1997 07:31:08 EST Space1999: BLACK SUN

My thoughts on the episode Black Sun: If I'm Paul, I'm pretty unhappy. He asks Sandra if the asteroid will come close. Instead of actual numbers he gets "Close". He asks Kano something and instead gets a "There's no need to Paul". Can't anyone around here get anything?

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Year One

I thought Mike Ryan's scene was just pitifull. He sounds like a cardboard character and he plays one as well. His "Sir, all it has is a lot of gravity" and "It's big, it's black" lines are just pitiful. Koenig should have yelled back "Yes, Mike. We know it's black". As the scene switches to Victor's room, did anyone notice the "IQ13" on the top of his communications tower? Also, Victor appears to be recharging his comlock. The entire comlock is placed in some sort of recharger unless it's a holder! How about Alan yawning as Koenig says "There's nothing else we can do". Helena looks good as she takes a look at the Black Sun by the window. It is also in this episode that we get a close-up of the wrist watches everyone wears which is supposed to monitor all the life signs of each Alphan. I noticed some matchups that are taking place by this episode. You obviously have John and Helena, Mike and Sandra, Tanya likes Paul, Paul likes Sandra and Kano likes Professor Angela Robinson (of which the Tubb book says she is romantic with Ted Clifford). How about Koenig's small piece of architecture in his office. It looks like two black cylindrical containers welded to two rods. Nice shot of the underside of an eagle from this episode. There is an interesting map on the Main Screen as Koenig and Bergman are drinking their Brandy. I believe this is a grid map which Paul referred to in Episode One. Sandra again plays her role very well. Her heavy breathing during the entrance into the black hole is another reason why her character is always very much alive to stimuli around her environment. The ride through the Black Hole should have been rockier. One critical article I read years ago slammed the series for inconsistencies. For instance, how could the survival eagle make it through when Mike Ryan's eagle blew up? After they go through the Black Hole, the lights come up on Alpha as Koenig and

Bergman say "It held". How could they have come up? The force field was still engaged. Landau does a good job in this scene. His eyes a teary-eyed. Finally, Frank Watts and Neil Binney deserve great credit for the photography in this episode!

Date: Wed, 17 Dec 1997 19:47:45 -0500 From: jhon ([email protected]) Subj: Space1999: Black Sun Also, Victor appears to be recharging his comlock. The entire comlock is placed in some sort of recharger unless it's a holder!

This is indeed a holder for his comlock. You will notice it in a later episode, namely, "Alpha Child." My gripe is: How did Victor make that plexiglass fishscale dome in only a few minutes. "Professor, you didn't answer my question," said Paul "I thought I did," replied Bergman. fade out to commercial "A few minuters earlier, Paul asked...," Koenig stated.

From: JSchill824 ([email protected]) Date: Wed, 17 Dec 1997 22:50:54 EST Subj: Space1999: Black Sun

There have been such good posts on this episode it's difficult to add anything. Here are just a few things. BLACK SUN is about the double edged sword called life. Life is hardly simple, but a multidimensional array of emotions and feeling that make it up. In the darkened corner of life we store the aspects we most rather not deal with, fear, sadness, and despair. But not experiencing theses emotions, from time to time, would not be experiencing life either. It is the bad times, after all, that make the good times what they are.

Black Sun Very Nice Tony! The only thing I'd add is that after hearing Nick Tate talk about his character in this episode I don't believe Alan Carter was "cowarding away" any more. It is still an uncomfortable scene, but Nick seems to think the scene conveyed that Alan wanted to “help” and not just settle on letting death win. "If anyone could get the Alphans to where they were going it would be him!" After seeing him make it back to the base after Breakaway I could believe this interpretation. In a touching scene, Victor places a coat over Helena. Not a word was spoken, but a kiss good-bye was given.

Another great scene Tony, which I liked too! Being a big Victor fan I've always loved this episode. The seen where Victor and Koenig talk with God, is priceless. Who knew that Zienia Merton was the creator? Truly, they took a chance with having a womans voice portray God. A nice change from all the old paintings of a white, green eyed, gray bearded old man. This also allowed God/MUF to be a little more mysterious. There is a wonderful scene where we see Victor open the doors to main computer. It starts with a camera view shot from the floor! We see Victor walk through the doors and the two blue panel walls on either side of him. Its almost like a showdown between mind and computer. Wonderfully shot! Someone mentioned how excellent the camera work was, truly showing the awesomeness of the moonbase interior in this episode. I would have to concur. Lastly I loved chess. Its all shot under the table/chess board, very much like one of the scenes in Hitchcocks North by Northwest as was pointed out by Petter in a past post! In the writings of Nietzsche there is a great concern about the effect of science and technology on society and traditional Christian values. My impression is that he struggled with thoughts concerning how the Christian moral and the religious language should be understood in order to make sense in a scientific and technological society. This struggle has been going on ever since, I believe, and seems to me to be reflected by Victor in several episodes, but perhaps most clearly in BLACK SUN.

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Also very well done Petter! Just think, we are discussing a sci-fic show that has inspired comments about Nieztsche and Kierkegaard. I believe the reason why sometimes we as fans over look the helmet that flipped open on the moon surface or there being no way an eagle could store enough fuel to fly long distances is that S9 talks about big issues that we are all concerned about. Who we are and where do we come from? As Helena says "life and death big questions." Sorry I'll be missing next week! Happy Holidays to you all! Warm wishes, Janet

From: Barry Scannell ([email protected]) Date: Wed, 17 Dec 1997 06:58:30 +0000 Subj: Space1999: Black Sun

All, On Black Sun. The segment when the Eagle is traveling through space and the passangers are made translucent, is spectacular. The tranquil music and the dramatic use of color to show the vastness of space is a powerfull effect. Another list member noted the scene in JK's office where he is sitting on the landing as the camera pulls up and away to show the aloneness. The plight of the Alphans is depicted well in this episode. I wonder are Ara's comments on the Alphans insight into the thoughts of the shows eventual conclusion that may have been dropped as the show went in a different direction ( Thanks Fred ). It brings to mind the Lost Episode with the alphans children discussed last year on the list. Later Barry (Watch 2001 then Black Sun, interesting to see the similarities.)

From: Petter Ogland ([email protected])

54 Date: Subj:

Year One Fri, 19 Dec 1997 10:55:57 +0000 Re: Space1999: Black Sun

Victor had a tremendous impact on the series, I feel. I just watched THE CATACOMBS OF THE MOON last night, Terpiloff's continued study of faith vs. logic as in COLLISION COURSE, but also developing ideas from DEATH'S OTHER DOMINION further, adding a touch of Dante and Tutonic/Nordic mythology, like using the images from Ring des Nibelungen, it's all very interesting, but Victor is severly missed. Watching CATACOMBS OF THE MOON, I was constantly thinking how this might have worked as an episode in the Year One format. Perhaps if Barry Morse was cast instead of Tony Anholt it might have looked interestingly different. What would it have been like if it were Victor that were running things on Alpha in absence of John? It's seldom we see Victor taking much physical action, but on several occations he was appointed head of Alpha when John was somewhere else, like in MATTER OF LIFE AND DEATH, WAR GAMES and also GUARDIAN OF PIRI it might seem. In MISSING LINK there was a comment as to who should take over when John died, and there was some murmur about Victor, Alan obviously not being too keen on that idea. While the trio Helena, John and Tony in episodes like CATACOMBS OF THE MOON almost has a sort of mother-father-child sitcom feel to it, in the case of Year One, Helena, John and Victor seem like real people dealing with real problems, even if the situation almost comes off as surreal. As Janet also have been pointing out, helmets flipping open, or the consuption of eagle fuel, does not seem to be all that important in the total concept of SPACE: 1999. It's like Shakespeare's Anthony and Cleopatra, where he anachronistically lets them play billiards. It really doesn't matter very much to the total impression of the play. While finding quite a lot of the SPACE: 1999 episodes making interesting philosophical statements, I think BLACK SUN poses many of the most interesting. Very much like

BREAKAWAY, with it's view of life as of we are living on a bomb, BLACK SUN is even more black, where the Alphans have only small hopes for survival as the whole world is about to collapse and vanish. After the three first episodes, BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN, all focusing of physical and mental devastation, disillusionment and incapability to do anyting than to except being thrown and trashed, it would be hard for the writers to find new ideas where they could give the Alphans new hopes that would turn into disasters before the end of the episode. It's almost like Tchaikowsky's work after he had completed his fourth symphony. Believing he was incapable of making anything reaching the emotional impact of this work, he had extreme difficulty in creating his fifth symphony. Realising he had outdone himself on the fifth, he was almost out of strength to make his final sixth, the "pathetique". Johnny Byrne did some nice tries with episodes like ANOTHER TIME ANOTHER PLACE, but to me, the three first episodes are exceptional in their straight forward non-ironic approach to these kind of disaster epics. Sometimes it seems like the series ows more to AIRPORT (1970), EARTHQUAKE (1974), SOS POSEIDON (1972), THE TOWERING INFERNO (1976) etc. than to STAR TREK. Also very well done Petter! Just think, we are discussing a sci-fic show that has inspired comments about Nieztsche and Kierkegaard. I believe the reason why sometimes we as fans over look the helmet that flipped open on the moon surface or there being no way an eagle could store enough fuel to fly long distances is that S9 talks about big issues that we are all concerned about. Who we are and where do we come from? As Helena says "life and death big questions."

Thank you very much, Janet. My comments on Nietzsche and Kierkegaard was inspired by Quintin's theological approach to the series. I find it extremely facinating that the mailing list is composed of so many different kind of people. From what I've experienced there are doctors, scientists, policemen, artists, monks, creative writers, technical writers, media people, archologists, computer people,

Black Sun

55

filmmakers, pilots, musicians to name a few professions that seem to be represented. It's fascinating how SPACE: 1999 has influenced such a diversity of people, and how these different viewpoints make such a wonderful debate of the series. The idea of discussing SPACE: 1999 on a weekly basis was a brilliant idea, Mateo. I hope you'll have more time to catch in on the discussion in the next weeks. This was my last letter on BLACK SUN, so far. The concept of this episode being developed and redeveloped so many times during the course of the series, I suppose there will be lots and lots of writing and references to BLACK SUN in our future discussions. My next letter will be concerned with episode four, RING AROUND THE MOON, I believe, one of my definitive favourites.

Date: Fri, 19 Dec 1997 20:45:03 -0500 From: Patricia Embury ([email protected]) Subj: Space1999: Black Sun

This is one of my favorite episodes. I can't add too much to the discussion, it has been wonderful to read the postings. I thought Tony hit it on the head with his character analysis. His analysis of Carter made me see his "lifeboat discovery" scene and confrontation in a different perspective. Because of the acting and the writing, I always found it difficult to watch, because I hate to see the character behave the way I saw him, and how he acts with the Commander in the "farewell" scene. I was curious as to why Carter was left out of the loop. Did Koenig know that Carter would insist on flying? I love the use of the female as "God". It taps into the pagan "goddess" concept that was very prevalent during the ancient gaelic and English culture before the conversion of Britannia to Chrisitianity. I wonder if there would have been a difference if the episode had been written/shot in the US?

From: Date: Subj: CUT

MIKE ATL 5 ([email protected]) Sat, 20 Dec 1997 02:06:23 EST Space1999: Black Sun - SECOND

It is interesting to note that the episode as we see it is a SECOND cut. The office in America thought the show was too slow - so back it went to the editing room. In the original, once the SURVIVAL SHIP left ALPHA, that was it - you never saw it again. (Actually I kind of like that idea and is how I watch the episode now.) This could also explain some of the choppyness in a few of the early scenes ie when Paul asks if we can survive the Black Sun. When you add footage - to keep the time at the alotment you obviously have to cut something out. But what was cut out? Being an editor myself I see this happen quite alot. You make the project the best - then someone, somewhere decides well - change this - just for the sake of change. I have 2 Space: 1999 scripts, Devils Planet and Senace Spectre, both final drafts - and you would be supprised at what was shot and what actually aired - two totally different concepts - in both cases I think it came down to time. If anyone happens to have a final script of Black Sun - I would really be interested to know what was taken out of the episode so the extra scenes could be added. Don't get me wrong folks - I love this episode it really is spectacular - my favorite scene is when Alan gives Paul the thumbs up right befor liftoff - so much is said there - yet it is all visual. Well I think I has said too much - all for now NEXT EPISODE: RING AROUND THE MOON? Mike

From: David Acheson ([email protected]) Date: Sun, 21 Dec 1997 04:22:46 PST

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Year One

Subj: Space1999: The Importance of being Mike Ryan

Ever noticed the Guest Artist credit that actor Paul Jones got in BLACK SUN. All for an appearance that lasted only a few minutes. I always wondered what that was all about! Ted Clifford made just as big an appearance in RING AROUND THE MOON and yet the actor only got a small credit during the ending credits and not during the episode credits. Was Paul Jones someone big at the time in Britain? Much has also been said about Mike Ryan's (Paul Jones' character) relationship with Sandra Benes. Of course year two wasn't in the works when this episode was being filmed. The production crew had no idea someone was going to write that Sandra had a fiance named Peter Rockwell waiting back on Earth. We eventually see some sort of relationship Sandra begins with Paul Morrow as season one wears on. This makes sense as the Alphans need to start new lives now that they are on their own. So what's with the coziness Sandra has with Mike in just the third episode? Fortunately the episode doesn't try to explain in great lengths otherwise a full fledged love affair would yet be another timeline screw up in the series. So we can probably assume Mike was just a real good friend - a brother figure? - to Sandra. Not hard to believe Sandra would faint over his death as she already screamed her way through the first two episodes. Any comments from fellow listmembers? Its funny that there has been talk about how some of BLACK SUN compares to the Titanic

disaster. I said it myself when I wrote my critique earlier this week. Its ironic that the new movie is out this weekend. Well I am off to see it tonight and am keeping my fingers cross that it will be good. Expecting a barrage of negative responses I avoided the reviews but did take a sneak peak from two sources - one Canadian and one American. Both loved the film. I guess I will be my own judge on that. Remember, starting tomorrow the episode of the week is RING AROUND THE MOON and on New Years' week its EARTHBOUND. So far these episode discussions have gone well.

From: [email protected] (B J Dowling) Date: Sun, 21 Dec 1997 15:23:36 +0000 Subj: Space1999: Re: Paul Jones

Paul Jones was lead vocalist with Manfred Mann for a couple of years, and it is his voice on their popular hits "Pretty Flamingo" and "Do-wah-diddy". Also he played the role of Joseph in Rice & Lloyd Webber's "Amazing Technicolour Dreamcoat" on the original soundtrack. Now he regularly tours the UK with his Blues Band, who are (from reports I've read) worth going to see, as well as the occasional Manfred Mann get together tour. He presents the weekly R&B hour on BBC Radio 2.

Ring around the Moon

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04. Ring around the Moon In the discussion of BLACK SUN a few of the discussants developed a discourse concerning the religious and psychological aspects of the episode by applying the philosophical lenses of existentialist thinkers like Nietzsche and Kierkegaard. In order to understand the next episode, however, a different theoretical lens is needed, one discussant argues, and draws the attention to more scientifically oriented thinkers like Wittgenstein, Russell and Goedel. Not only is the fourth episode the climax of the intellectual crescendo developed through the early episodes of the series, he argues, it is also an artistic masterpiece, and makes comparisons with E.C. Escher, German expressionist cinema of the twenties and European art cinema of the sixties and seventies. Other discussants, however, struggle with the understanding of it and have difficulty relating to the contemplative nature of the episode. From: Date: Subj:

QGMorrow ([email protected]) Sat, 20 Dec 1997 21:31:27 EST Space1999: Ring Around The Moon

Dear Friends, The "fun" I receive by finding some correlations between the Season One episodes of Space:1999 and real life really breaks down with "Ring Around The Moon." I know Petter really enjoys this one, but I have watched it several times and frankly don't get it. Quintin Vista, CA, USA

From: Patricia Embury ([email protected]) Date: Sun, 21 Dec 1997 19:05:20 -0500 Subj: Space1999: Ring Around the moon

I have a few thoughts about the episode, having watched it this afternoon. It, for me, is a good episode, not a great one, but it has its moments. Koenig: After Helena was abducted by the aliens, the combination of the camera focus upon him alone in his quarters, then panning to include Victor's entrance, really demonstrated the aloneness Koenig felt without Helena. The dialogue of Koenig ignoring/not acknowledging Victor immediately deepend the mood. The slight grin on his face when Carter took over for the other pilot shortly after his crash, said a great deal. Koenig continues to lead by example, by going out in the Eagle, twice, which, the first time, may have resulted in his and Carter's loss.

Victor: The more I watch this show the more I appreciate, and miss in the 2nd season, the performance of Barry Morse. The last couple of lines of the episode, about knowledge being everything, were superbly delivered. He also seemed more of a "father-confessor/mentor" role to Helena, which was evident in Black Sun. Helena: I don't think Barbara Bain was wooden at all in this episode. She showed an element of being afraid in the muted sense that befits the Russell character. Carter: This is where I have trouble with this episode. Nick Tate was great, being the "Jet Jock: shoot first ask question's later type" toeing the line of insubordination.. However, with having an understanding of the mechanisms behind traumatic injury, I cannot believe that Carter could have escaped with maybe, a concussion and at the most, a cracked rib or two. The force of impact was the same on both sides of the cockpit, so the forces that killed his co-pilot should have been exerted the same on Carter. They were both belted into their seats. Although, you can, in an MVA, have one person killed, and others relatively unscathed, that usually happens if there is a side impact, or one side is impacted more than another. I thought the crash was a little too controlled for the free-fall that was demonstrated by the Eagle spinning out of control. He should have been hurt worse. I also hated the eye creature. It's attachment to a "brain" or intelligence center was a clever idea, but I think it could have been done differently. I've always had a thing against seeing eyes, it just grosses me out. Why didn't Sandra call security right away when Ted

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Year One

Clifford started freaking out? Why did Tanya hide in a corner? It's not like them to shy away from danger. Sure, there is a shock element, but Sandra had more than enough time to react when she saw Paul getting knocked around. Kano: This episode really let the actor humanize Kano. I enjoyed watching him add a sense of humor, and confidence,( with maybe a hint of arrogance?) that all would be okay since he and computer could handle the situation.

From: David Acheson ([email protected]) Date: Mon, 22 Dec 1997 05:34:47 PST Subj: Space1999: Ring Around the Moon

I can hardly believe that we have reached week four so fast in our episode-by-episode discussions. Well, now that we are on the other side of the Black Sun, the Alphans are hopelessly lost in unknown space. Thus we come to the next adventure strangely entitled RING AROUND THE MOON. This is only my own opinion but the episode is rather a dog's breakfast - one of the few clunkers from year one. I respect those who like this episode (I know there are those from previous emails to this list) but I do not quite see the episode in the same way. Thus I will concentrate on my problems with the episode and hope the fans speak their mind. First the plot. The idea of higher intelligent aliens deeming mankind to be a threat to the universe is as old as the hills. Many a bad (and some good) 1950's movies were based on this scenario. Unfortunately, there is not much else to the plot of this episode to keep it interesting. So here we have a tired formula and nothing else storywise. No new character developments, no sub-plotlines, etc. At least MATTER OF LIFE AND DEATH, which has been rated 50-50 by the list from our discussions 2 weeks ago, developed Helena's character quite a bit. This was enough to drive many series fans away from the bad science in regards to antimatter. One may argue that John is visibly more taken by Helena in this episode during his attempts to save her but we have

seen a relationship developing since episode 1. Nothing much new here. Secondly, the problem with Triton itself. If Triton is an alien planet in an unknown part of space how is it that Bergman was able to find its location using old star charts based on positions from Earth? This also brings up the question of how Bergman was able to determine Triton no longer exists when the Tritonians in the probe did not know of this fact. Why wouldn't they keep in contact with their home world during the mission? If they kept communication silence then they could have still figured out their planet's end if Bergman could do it. Aren't the Tritonians more scientifically advanced? The book has a different twist to the story but unfortunately has an even less satisfying explanation. In the novelization Triton is the actual moon of one of our outer planets. For the life of me I cannot remember which planet Triton is a moon of!!!!! Anyway, if Triton is in our solar system I would think its disappearance would not have gone unnoticed by both Earth and the Triton probe. I can see why, even at this real time, we may not detect microbes on other worlds but other civilizations in our own solar system is something else. The good things about the episode? Well, there is the unusual cinematography which sets it apart from all other episodes. And Barry Gray gave us a score much different from the norm. To me it just was not enough to save the episode. I am not sure what to make of Edward di Lorenzo who wrote this story. He was dumped by the higher powers and this episode certainly makes me think that this was the right thing to do. But he did contribute a better story with MISSING LINK. Thus I have a part of me that wonders what the series would have developed into under his guidance and not Johnny Byrne and Christopher Penfold. Thankfully, director Ray Austin stayed around to work on better episodes. Okay fans. Speak up and state your case. David Acheson

Ring around the Moon

From: Date: Subj: Moon

[email protected] Mon, 22 Dec 1997 10:24:10 EST Re: Space1999: Ring Around the The book has a different twist to the story but unfortunately has an even less satisfying explanation. In the novelization Triton is the actual moon of one of our outer planets. For the life of me I cannot remember which planet Triton is a moon of!!!!!

Triton is the largest satellite of Neptune. It is one of the four largest satellites in the solar system and has a retrograde orbit of 5.88 days around Neptune. If I remember correctly, the surface temperature is something like -300 Farenheit so it is not exactly a place to start looking for intelligent life. David J Lerda, [email protected]

From: Petter Ogland ([email protected]) Date: Mon, 22 Dec 1997 19:52:25 +0000 Subj: Re: Space1999: Ring Around the Moon First the plot. The idea of higher intelligent aliens deeming mankind to be a threat to the universe is as old as the hills. Many a bad (and some good) 1950's movies were based on this scenario. Unfortunately, there is not much else to the plot of this episode to keep it interesting. So here we have a tired formula and nothing else storywise.

In my opinion RING AROUND THE MOON is one of the most interesting episodes of the whole series. Relating it to the 1950's is not a bad idea, I suppose. Others have found it more similar to the German Expressionism of the 1920's, I remember. Personally I find it not too unsimilar to the works of Jacques Tati or Luis Bunuel of French and Spanish surrealist filmmaking of the 1960's. I find both the writing and direction for this episode remarkable. Quite like BLACK SUN, I feel, this is filmmaking extraordinaire, leveling much higher standards both in terms of storytelling and execution than what one is usually accustomed to in this genre.

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One may argue that John is visibly more taken by Helena in this episode during his attempts to save her but we have seen a relationship developing since episode 1. Nothing much new here.

I can't understand this, David. One of the strongst sides to RING AROUND THE MOON, as I see it, is its concentration on characters. During the past few months we've had numerous discussions concerning the scene where John wakes up and realizes that Helena is captured by the Tritons, the scene where he is looking out of the window, thinking of Helena, and where Victor suddenly rushes in; at least two scenes that, in my opinion at least, would rank among the finest and most emotional scenes in the whole series. Secondly, the problem with Triton itself. If Triton is an alien planet in an unknown part of space how is it that Bergman was able to find its location using old star charts based on positions from Earth?

We have discussed this at lenght earlier on, I remember, and it is not all that difficult to make logical sense of this, I believe, as I've tried to point out in earlier letters, but, as I see it, it is not a very central point to the proceedings, RING AROUND THE MOON being more of a character drama, more concerned with the logic of dreams and emotions than the external world, as I see it anyway. This also brings up the question of how Bergman was able to determine Triton no longer exists when the Tritonians in the probe did not know of this fact. Why wouldn't they keep in contact with their home world during the mission? If they kept communication silence then they could have still figured out their planet's end if Bergman could do it. Aren't the Tritonians more scientifically advanced?

The point about self reference and the remarks of John and Victor during the epilogue makes me think of the philosophy of logic; Wittgenstein, Russell and above all Kurt Goedel perhaps. In this respect, RING AROUND THE MOON is almost like the visual paradoxes of Belgian painter E.C. Escher, who specialized in illustrating self reference and other mathematical and logical peculiarities.

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Year One

From my point of view, RING AROUND THE MOON, is particularily concerned with 1. The alienation by our computerazition or mechanization of the world (Helena becoming more or less a computer) 2. The paradox of self reference (Russell's paradox, also known as Parmenides paradox, Tarski paradox, the creatan paradox, the lyer's paradox etc., saying something like "This sentence is a lie", one of the Wittgenstein versions, I believe, meaning that no matter how you approach this sentence it makes no meaning and cannot exist in our language.) 3. The meaning of knowledge Is there any point in pursuing knowledge? Why are we persuing knowledge? "All this knowledge... It wasn't the answer after all", Victor says. Both points 1) and 3) was investigated further during the course of the series, point 1) in particular with episodes like THE GUARDIAN OF PIRI, WAR GAMES and SPACE BRAIN. Why are we searching knowledge? Is it in fact possible to find eternal truths? In the present philosophical debate between Alan Sokal and the French structuralists this seems to be one of the focal points. Sokal attacking continental philosophers for being relativistic, even putting questionmarks behind scientific truths, while others mean that science is not capable of explaining the complete human experience, and essentially it is the humans themselves that give meaning to the world by the ways we use our language. The good things about the episode? Well, there is the unusual cinematography which sets it apart from all other episodes. And Barry Gray gave us a score much different from the norm. To me it just was not enough to save the episode.

To me the acting, the music and the cinematography alone makes this a favourite. I think these aspects of the episode are so outstanding that it can be watched because of

this alone. For me RING AROUND THE MOON is a spectacular SPACE: 1999 experience. Even watching it as a symphony of music, colours and editing makes sense. The editing is superb, I think. What do you think, Mike? I am not sure what to make of Edward di Lorenzo who wrote this story. He was dumped by the higher powers and this episode certainly makes me think that this was the right thing to do. But he did contribute a better story with MISSING LINK. Thus I have a part of me that wonders what the series would have developed into under his guidance and not Johnny Byrne and Christopher Penfold. Thankfully, director Ray Austin stayed around to work on better episodes.

I've also read something about why di Lorenzo left the series. I can't remember the reason being he was dumped by higher powers, however. Di Lorenzo was originally intended to be script coordinator, I think, the same type of job that Penfold and Byrne were doing, and I wonder if di Lorenzo's leaving was some of the reason why Byrne was established on a more regular basis. I believe I've also read somewhere that although di Lorenzo is credited on early episodes BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN, he didn't arrive Pinewood until RING AROUND THE MOON, and the work credited to him on the early episodes were actually done by Penfold or Byrne. He got away very well with Penfold and Byrne, however, from what I've heard, and it seems to me that at least Penfold was rather influenced by him in many of his scripts. After making RING AROUND THE MOON, di Lorenzo went on to make MISSING LINK, another great episode in my opinion, and commenced on ALPHA CHILD. ALPHA CHILD was completed by Penfold, however, and perhaps this seems somewhat unfinished, at least as I see it. That Ray Austin did a marvellous job on this episode and quite a lot of others is something that most agree upon it seems. To me Ray Austin, perhaps togehter with Lee Katzin, was one of the greatest acquisitions to the series.

Ring around the Moon Okay fans. Speak up and state your case

Unfortunately I only have two days of this week to comment on this episode. Two weeks should have been more appropriate, I think. RING AROUND THE MOON contains so many wonderful ideas in SPACE: 1999 that were developed further during the course of the series, but I believe there will be references back to this episode every now and then as we follow our trail through the series.

From: "Ellen C. Lindow" ([email protected]) Date: Mon, 22 Dec 1997 18:56:03 -0500 (EST) Subj: Space1999: ring around the moon

I can't say this is my favorite episode. It's not my least favorite either. I save that for Missing Link. There are some rather interesting points here though. The Tritonian's quest for knowledge at all costs is noted, and John wonders what is the point if knowledge is not it. The Alphans, all scientists, seem to be on a journey to discover just this point. Knowledge is not the answer. The wisdom to use the knowledge is. The Alphans spend the entire first season trying to put that together. They meddle in others affairs, such as Balor and the Darians. Compassion also seems to be part of the answer, perhaps a step on the road to wisdom. Compassion will save them in Alpha Child and War Games. By the way, did anyone notice all the references to light in this episode. The Alphans perceived the tritons to be using light as a tool, even a weapon, a defense and a communications device.

From: David Acheson ([email protected]) Date: Mon, 22 Dec 1997 19:19:56 PST Subj: Space1999: German Expressionism/The Holidays

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Reading the above subject line one would wonder what the hell I was up to but I have two topics I want to touch on briefly. First the comparison of the German Expressionism of the 1920's to RING AROUND THE MOON. I do see the similarities and I have read the earlier comments on the list but I still do not agree that RING AROUND THE MOON is a good episode or have the same take as the other comments. I am speaking solely on my tastes and can understand where Petter Ogland is coming from. We just look at the same thing from different angles. I have nothing against German Expressionism. In fact my favourite movie is Fritz Lang's 1926 masterpiece METROPOLIS. A very fine film that, subject-wise, hold up well today. It is just a style I don't think saves RING. Secondly, I am off for the rest of the week(starting tomorrow) to visit my parents. I won't be back home until Saturday so any discussions on RING or anything else will have to be done without me. I just want to take this time to wish all on the list a Merry Christmas or Happy Hannukah! See you all Saturday night!

From: Petter Ogland ([email protected]) Date: Tue, 23 Dec 1997 11:26:15 +0000 Subj: Re: Space1999: German Expressionism/The Holidays

I'm happy you understand where I am coming from by reading my comments, David. I'm not quite sure what you mean by "coming from", but if you refer to the way I feel and think about the episode, I feel complimented. Physically I come from just outside Oslo, Norway. One thing I like about RING AROUND THE MOON is that it is often perceived from very different angles. From my angle it looks like a masterpiece. I have nothing against German Expressionism. In fact my favourite movie is Fritz Lang's 1926 masterpiece METROPOLIS. A very fine film

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Year One that, subject-wise, hold up well today. It is just a style I don't think saves RING.

I value your point that style in it self is not always sufficient. Some of my favourt films, however, like Antonioni's BLOW-UP (1966), Fellini's LA CITTA DELLA DONNE (1979) or Godard's LE MEPRIS (1963), have so much style to them that I almost feel it were sufficient. In the case of RING AROUND THE MOON I feel most aspects of filmmaking cohere to such a degree that it can be enjoyed just because of style. Although I value Ray Austin for all his contributions to SPACE: 1999 (both seasons), I feel he really excelled in this, his debut within the series.

In the SPACE: 1999 DOCUMENTARY Zenia Merton explaines some of Ray Austin's rapport with the actors in RING AROUND THE MOON during the filming of the prologue. Austin was apparently concerned with Sandra being used as an emotional barometre for the series. I don't know how the scene was originally thought of to be, but Austin changed it in some way in order to let Zenia build more character into Sandra she explained. Helena: I don't think Barbara Bain was wooden at all in this episode. She showed an element of being afraid in the muted sense that befits the Russell character.

Have a nice Christmas, David and all. I'm also off by tomorrow, and won't be back until the beginning of January. I think Mateo's idea of weekly watching and discussion of episodes was a brilliant idea for closing the year 1997, and an idea I believe will make the list prosper in 1998.

In my opinion Helena was brilliant in this episode. In fact, after more than twenty years of having seen SPACE: 1999, the image of Helena in BREAKAWAY, MATTER OF LIFE AND DEATH and RING AROUND THE MOON has become something of an icon of the series for me. In these three episodes I think Barabara Bain did explain most of how Helena thinks and feels, what kind of person she is.

From: "Petter Ogland" ([email protected]) Date: Tue, 23 Dec 1997 12:15:43 +0000 Subj: Re: Space1999: Ring Around the moon

It is incredible how much life Barabara Bain gives to Helena, isn't it, by just using her eyes at times. In some of these episodes, in RING AROUND THE MOON not at least, the acting is so convincing it hardly seems like acting at all. It's more like the cast is living the roles.

Like so many others, I suppose, I really enjoy Pat's character studies with each of the episodes. Concerning RING AROUND THE MOON she wrote:

In association with the comments on Carter, you wrote, Pat:

Victor: The more I watch this show the more I appreciate, and miss in the 2nd season, the performance of Barry Morse. The last couple of lines of the episode, about knowledge being everything, were superbly delivered. He also seemed more of a "father-confessor/mentor" role to Helena, which was evident in Black Sun.

Excellent interpretation, I feel. There is so much to be read between the lines in these first episodes. Just look at how alternatetly confused and relaxed Victor appears throughout this episode. Very much similar to BLACK SUN, I feel this is an episode where the actors are given much more space for creativity than usual. The range of emotions, as displayed by all, perhaps Victor and John in particular, is enormous.

... I thought the crash was a little too controlled for the free-fall that was demonstrated by the Eagle spinning out of control. He should have been hurt worse.

How the Alphans survive the eagle crashes is beyond me. I even thought the crash with John in BREAKAWAY looked bad, surprised he didn't look worse. The crash in MISSING LINK was nice, though, indicating that crashing eagles is not completely without risk. In the case of RING AROUND THE MOON I have thought the Tritons had something to do with the landing as John assumes that Alan was concious in order to make a controlled crash.

Ring around the Moon The spinning eagle was a marvellous sight, however, one of my favourite eagle sequences, not unlike the spinning eagle during the titles that seems never to have been used during a regular episode. Kano: This episode really let the actor humanize Kano. I enjoyed watching him add a sense of humor, and confidence,( with maybe a hint of arrogance?) that all would be okay since he and computer could handle the situation.

He-he. Marvellous observation Pat, you have an outstanding ability to observe and interpret emotional subtlties of the series. I'm happy we have you on board!

From: Date: Subj:

[email protected] Thu, 25 Dec 1997 21:42:04 -0500 Space1999: Ring Around The Moon

For me, this episode has not improved in 20 years. My notes as I wrote them: The first mysterious ball of light that always managed to reach Alpha. This ball at least had something inside of it, although after awhile I thought it looked silly when the eye would appear. In the opening, the crewman of the week attacks three people with superhuman strength before anybody calls security? Here was a series with tremendous special effects, and a more leisurly filming schedule then in America...and the best they can come up with for the aliens is Prentis Hancock whispering his lines? It sounded dreadful. Koenig wants an autopsy asap, and Helena says it might not be possible. Why? Is everyone on their coffee break? Koenig usually has a normal picture on his commlock, but they changed it to a bigger one for that one closeup. Alan's defiant attitude was weak writing. They wanted some conflict there, yet they had nothing for Alan to say as an alternative to Koenig's plan. Maybe he had a coffee break to go on as well.

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I agree with others on the list. Donovan dies and Carter lives? And the eagle cockpit had no damage? I bet the actors felt silly in the closeups when they had to act like they were in lunar gravity out on the surface. My pet peeve that I will continue to mention: Why are these people WHISPERING? How about doing their dialogue normally? The whole section where Koenig and Alan go out on the eagle with the new force shield was absoultly pointless. If they had got on the alien probe at that point it might have meant something, but instead they go up, they come down...nothing happens. You could chop that whole scene out and miss nothing. I always thought it was funny where they would take the b/w monitors out of the com posts and put in a cardboard cutout with a red light behind it for "Red Alert". Anybody have an idea what happened with the scene where Koenig and Bergman are in Koenig's office, Bergman says "If they're people...what if they're not?" The scene suddenly ends cold, then the next scene (after the commercials run) begins. I'm watching off the laser discs, so it's not local channel/Sci Fi Channel editing. Anybody know? I think the stupidest thing is if they short out the Alpha computer, the alien probe's force field surrounding the alien ship will deactivate. Gee, maybe if I short out this computer I'm typing on in New York State, the lights in Washington, DC will go out. After all, they are not connected in any way, shape, or form. Seeing Koenig and the security guards walking in the dark alien ship, all I could think was "Don't they have flashlights?" Koenig is getting the alien probe to acknowledge the data Helena is sending. The stupidest line is "This is Triton's universe." Gee, how many are there? And why does Victor have star charts to other universes? And when did the Alphans learn where the Triton space probe was from?

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Year One

This episode has weird echo sounds and long, lonly shots, but it does not have the content.

From: Mark Meskin ([email protected]) Date: Fri, 26 Dec 1997 08:57:47 -0600 Subj: Space1999: Ring Around The Moon

I have to second all the negative points brought up by previous posters, this episode is just plain awful. Its campy, silly, poorly written and acted and would no doubt score high on a top 5 worst episodes list. And what is with this crappy Halloween music, it sounds like something thats being played on the wrong speed. As for no one calling security, Ive noticed that this is a problem in many episodes, either its weak directing of the cast or poor acting, everyone seems to sit still or isn't involved with what's going on during crisis situations. Bad FX! The Triton Probe looks like a tour shirt for the grateful dead. Serious abuses of Astronomical terminology and concepts! Although we have to say this is an ongoing problem for this show, words like Galaxy and Universe really need to be explained to our writers. It sounds like they used the word in strange contexts just because it was a big, neat sounding word. And why does Victor have these charts, and why o why would they have ANY info about Triton!!!!!!!???????????? I hate this episode, I cringe every time I watch it. -Mark

From: Date: Subj:

[email protected] Fri, 26 Dec 1997 10:49:34 EST Space1999: Ring Around The Moon

In keeping with the format proposed, here are my comments on the episode of the week:

1. Goofs/nits: Why don't any of the buttons on the wall computer keyboards have letters, numbers, or any other type of symbol? People are supposed to know what they are transmitting by row and column position? Come on. Music: Vic Elm's composition is only played for a few seconds yet it was enough to have him listed as music associate on all of the Year 1 credits. Did any other compositions by him appear in the series? 2. Plot holes: Large enough to drive a Tritonian space probe through. If this thing is so advanced, wouldn't it be able to figure out that the moon is no longer in orbit around the earth? In fact, wouldn't it know from scanning Alpha's memory banks of all the damage done to the Earth (at least the damage that the Alphans knew about from the news report shown in "Breakaway"). Not to mention the fact of why would they need a human intermediary to transmit data? How come Helena lasted longer than Clifford who croaked after only being activated one time? How come Victor has these star charts that the computer doesn't have that show the location of Triton? That line he quoted out of the about the eyes of heaven made me wince. Is Victor reading Erich von Daniken? I have a feeling that this one was a one or two paragraph story that they tried to flesh out into a full shooting script. It didn't work. 3. Artwork/visuals: Not up to 1999's standards. The force beams are very poorly done especially in the scenes where the Eagles are shown flying towards the space probe. The probe itself is below par. An obvious drawing of an eyeball with a light in the middle of it. 4. Modelwork: Eagle crash looks familiar. Anyone know if it's the same footage used in another episode?

Ring around the Moon

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5. Dialogue Triumphs: "You have a lovely optic nerve, Dr. Russell." 6. Dialogue Disasters: Just about everything else but especially: "This is Triton's universe." Wasn't aware the HST has a picture of the universe. 7. Continuity: Hoo-boy. As far as script continuity, forget it. I think you could take each scene in the 3 acts, mix them around in any order you like, put them together and you wouldn't be able to tell the difference. 10. Bottom line: Some of the psychedlic shots of Helena floating around are interesting. Cinematography is up to Year 1 standards. Acting competent. Just a weak script: D.

From: Date: Subj:

LKJ1999 ([email protected]) Fri, 26 Dec 1997 11:05:27 EST Space1999: Ring Around The Moon

My comments on this episode... This is not one of My favourite episode's from Y-ONE... The number of time's the word Eagle was said (6) Eagle lift off's (4) Eagle landing's (3) Eagle's that crashed (1)... I do like the music . You do not hear it in any other episode's... I also liked the explosion's at the end when the Triton probe blow's up... My favourite dialogue. When Victor tells John. I don't think it will be a surprise John. I have a nasty feeling we are being watched... Bloper's none. Did anyone see any? Ring Around The Moon. Is NO. 10 OF My best liked episode's from Y- one Chas P. LKJ1999

From: Noll) Date: Subj: Moon

[email protected] (Horst Fri, 26 Dec 1997 18:55:19 +0100 Re: Space1999: Ring Around The And why does Victor have these charts, and why o why would they have ANY info about Triton!!!!!!!????????????

Can you remember the Voyager Spaceship ? That would be an explanation why Triton is destroyed, too ...

From: Jhon ([email protected]) Date: Fri, 26 Dec 1997 13:42:13 -0500 Subj: Space1999: Ring Things

This is not the best episode and certainly not the best sci-fi. However, I think the whole idea is pretty interesting and the story is quite unusual. The lunar walk is rather realistic. There are many inconsistencies, but I think the 50 minutes given to the episode are the fault. If this had been a two-parter, themes could have been more fully developed. The story wouldn't have been rushed and scenes cut. Personally, I like the eye and the groovy music. Happy Christmas and holidays to all

From: [email protected] (B J Dowling) Date: Sat, 27 Dec 1997 00:30:36 +0000 Subj: Space1999: Ring stuff

Salute omnes, Just watched Ring Around The Moon, it's one of those episodes which, in the final analysis, doesn't work in the 50 minute storyline format. Bits left out, whether edited or omitted, bits rushed, and stuff which seems out of place in the ethos and atmosphere of Season 1 as a whole left me thinking that although it had potential as an idea to explore, like Deep Purple fronted by Joe Lynn Turner, it just didn't work.

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Year One

A low point of Season 1 for sure. Whether it's the lowest will have to wait until we've seen the whole season. Which reminds me, during my last stint here, I did a survey of the membership to see what the favourite and least favourite episodes were. Damned if I can remember the results (are they in the archives,

perchance?), but it would be interesting to do a similar survey after the weekly story watch exercise has finished... What's next on the schedule?

Earthbound

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05. Earthbound The way one discussant sees the episode, Commissioner Simmonds is a foil, a straw man, made to set off the virtues of the Kaldorians and the Alphans. Nonetheless, in this episode he does a marvelous job of exhibiting what St. Augustine (as well as Calvin, Luther, et al) termed "Total Depravity." The idea of Total Depravity is that man, by nature, and apart from divine grace, is far from morally neutral or even morally good. Rather, by nature man is "depraved," corrupt. That is, he is selfish, immoral, dishonest, etc. I know it sounds harsh, the discussant says, but one has only to look at the evening news to show that this estimation of the human condition is true. Other discussants choose to view the episode from a more secular perspective. For instance, one discussant uses Edgar Allan Poe as a theoretical lens, and sees the episode to be less about virtues and more about the psychology of horror and punishment. This association also hits a note with others. In the mind of yet another discussant, Zantor's despise of human techonology and Simmonds ruthlesness and talk about the Kaldorians being "expendable" generates pictures of Geronimo and General Custer. He then suggests that this kind of analogy was not too unfamiliar at the time, Sam Peckinpah and others reinventing the Western movie genre by looking at it from angles accentuating different contemporary political, sociological and environmental problems. From: David Acheson ([email protected]) Subj: Space1999: Earthbound Date: Mon, 29 Dec 1997 03:21:12 PST

Ouma, was not seen or mentioned in episodes two, three and four. I guess Anthony Terpiloff decided to do something about that.

I am back and I hope everyone had a good holiday. I also hope that those who had tragedies at this time of the year managed to get through it okay. For me, I had three turkey dinners (over the week - not in one day) and seen too many people so I cannot complain. I am all Christmas'd out so am ready for a normal routine again.

By an odd coincidence EARTHBOUND makes it two consecutive episodes where Alpha encounters aliens with a mission to Earth. In RING AROUND THE MOON the Tritonians are bad (a mission to destroy Earth) while in this episode the Kaldorians are good (seeking refuge on Earth). I don't believe this was done on purpose but it is funny it turned out this way.

So I guess we are on a new week of the episode-by-episode discussions. That would bring us to EARTHBOUND. Overall, an okay entry - at least, in my opinion, better than episode four. A pretty good start for Anthony Terpiloff's first script for the series and a better directorial job from Charles Chrichton (his first was episode two). What is memorable about the episode is that it is one of the few that tackles the challenge to clear up a hole in the series. In this case, the fate of Commissioner Simmonds. The series is famous for its timeline errors and inconsistencies between episodes as well as characters that have disappeared without explanation. In the BREAKAWAY novelization Simmonds dies of internal injuries after the accident which blasted the moon out of orbit. However, the filmed episode shows Simmonds very much alive and stuck with the rest of the Alphans. Yet, Simmonds, like

This episode marks the first time we get to see an alien race. The Tritonians were only heard and we only saw their technology. In BLACK SUN we only hear the voice of the god-like being. As in the pilot, Roy Dotrice does a wonderful job as the slimy Simmonds. In fact, he is worse than the first time around. Mr. Dotrice has given us a man of desperation which I think fits the part well. We got to remember that the other Alphans, no matter how unprepared for this journey, are better suited than Simmonds for long-term survival in space. They are all trained astronauts and space specialists. Simmonds is just a politician and he is the fish out of water. He is surviving on reactionary tactics. If he didn't go off in the Kaldorian ship it would be likely he would have cracked up on Alpha at some point.

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Year One

Its interesting to cast Christopher Lee as the peace-loving alien. He gained his reputation for playing mad scientists and monsters in the 1960's. A role reversal that worked out well as I see it. I believe he only played a hero once more in the disaster flic AIRPORT '77. So this is a rare moment in film history. The Kaldorian ship had unfortunately been deemed "the blue potato machine" by myself and a cousin when the episode first aired. To this day we still call it that. Well I have to head off for work so I'll stop here. Not one of the best episodes of year one but not one of the clunkers either. I would say an average to slightly better than average episode. David Acheson

From: Robert Rousseau ([email protected]) Date: Mon, 29 Dec 1997 10:36:25 -0500 Subj: Re: Space1999: Earthbound The Kaldorian ship had unfortunately been deemed "the blue potato machine" by myself and a cousin when the episode first aired. To this day we still call it that.

The Kaldorian ship looks like Jinny's bottle from I dream of Jinny with Barbara Eden and Larry Hagman. From my point of view, this ship is the ugliest we've seen in both season 1 and 2.

Subj: Space1999: Earthbound-great story, concept, corny aliens

I'm probably in the minority here, but I liked Earthbound, and I also like the spaceship. Sure its an ugly blue color and looks like it probably couldn't get across the lake, much less across thousands of light-years. But its unlike (read alien technology) the earth ships and I like things that have the the guts to be well, different. The ship would have benifited from more paneling( sectioning of the surface, so it didn't look like its carved from a solid blue potato) and more dirtying-down. Good story, I wish it would have been shown later in the series though, it would have had more impact. For once it seems the director got the plotting and pacing of the story correct. No lulls filled with "garbage dialog" like Ring around the Moon, which, come to think of it, was one hour of garbage dialog. Nice FX of the eagle dropping a rescue pod, and nice shots of the Kaldorian ship in the underground hangar. And Simmonds finally gets what he deserves. Low Points- The aliens were silly, and seemed like they needed a prozac refill. The set inside the Kaldorian spaceship was cheap and the tent ceiling looked like it was stolen from the circus. Very obvoius soft focus filter on Barbara Bain has to be a low point in series 1 cinematography.

From: Date: Subj:

QGMorrow ([email protected]) Mon, 29 Dec 1997 22:58:07 EST Space1999: More "Earthbound"

Friends, From: Date: Subj:

LKJ1999 ([email protected]) Mon, 29 Dec 1997 18:00:50 EST Re: Space1999: Earthbound

Well I kinda like that ship. I liked the way the ship Twisted and twirled and then Floped on the Lunar surface...

From: Mark Meskin ([email protected]) Date: Mon, 29 Dec 1997 20:24:17 -0600

I, for one, like "Earthbound" a great deal. I think the story is wonderful and the ending ironic. Christpher Lee does a smashing job as the captain of the earthbound crew. The one thing the story lacked, I always felt, was more discussion of why the aliens were on their way to earth, and more information from the Alphans on what the aliens might find once they arrived there.

Earthbound You must know that Commissioner Simmonds is a foil, a straw man, made to set off the virtues of the Chaldorians and the Alphans. Nonetheless, in this episode I think he does a marvelous job of exhibiting what St. Augustine (as well as Calvin, Luther, et al) termed "Total Depravity." The idea of Total Depravity is just that man, by nature, and apart from divine grace, is far from morally neutral (or even morally good). Rather, by nature man is "depraved," corrupt. That is, he is selfish, immoral, dishonest, etc. I know it sounds harsh, but one has only to look at the evening news to show that this estimation of the human condition is true. Anyway, those are my ramblings for the episode. I really do think there is a lot of irony, and just good, old fashioned, moral "comeuppance" in this story. Quintin

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the rest of the command staff, if not the base. Carter's attempt at easing the tension when Koenig returned to Main Mission, and how Koenig responded indicated growth in their relationship. Carter seemed less confrontational, easing off when Simmonds had the power core. Another moment I enjoyed ocurred when all eyes focused upon John when he entered Main Mission. The Caldoran ship looked funny, but worked in its own way. I especially liked the shots of the rescue Eagle flying close to the surface. Carter and Co were launced in Eagle 1 and 2 to initally seek and destroy the ship. How come they looked like Rescue Eagles? They had the red stripes on the side of the cargo pod.

From: Date: Subj:

LKJ1999 ([email protected]) Tue, 30 Dec 1997 21:57:49 EST Space1999: Earth Bound

My comment's on Earth Bound... From: Patricia Embury ([email protected]) Date: Tue, 30 Dec 1997 19:47:42 -0500 Subj: Space1999: Earthbound

I have to admit that I liked this episode. I disagree with Mark, though, and feel that this should have been the second episode, instead of coming later. To me, it had more of a "Breakaway"-ish feeling to it. Although Simmonds dialogue at the beginning indicates some time has passed "I've been to many command meetings.." It could have been used as an indication that their journey is new. Also, I find it hard to believe that Simmonds would not have been given some other duty in the interim... Maybe hydroponics, since politicians can be so adept at "fertilizer" :) I agree with Mark in that the other aliens needed something else to do, or some dialogue, to further develop how they would have contributed/lived on Earth, once they reached it. Christopher Lee was superb, and I liked the way he played across Barbara Bain. I got the idea that his character had a real attraction for Helena, and that Helena was captivated by Zantor. She almost seemed to be flirting with him, in a medical sort of way, when they discussed the cryogenic process. The Koenig/Russell relationship was starting to become obvious to

The number of times the word Eagle was said. (6) Eagle lift offs.(3) Eagle landing's (1) Bloopers... When the Eagle lifts off from the Kaldorian ship. It's off the lunar surface before it's boosters ignite... I like this episode ok. But I have to give it a NO.12 of My best liked episode's from Y-1... Chas P. LKJ1999

From: JSchill824 ([email protected]) Date: Wed, 31 Dec 1997 00:43:26 EST Subj: Space1999: Earthbound

Hi fellow Alphans, I took this note on Earthbound from an old post I sent to Petter. I'm glad to be back. Hope everyone has a safe and Happy New Year! Speaking of Earthbound, I know its not one of your favorites, but the scene where Koenig

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first walks into the Alien ship is beautiful. When the door opens and light streams in and the visually distorted Commander image emerges is really great! It really gives a nice eerie feeling to the scene. I especially liked in this episode there were no malevolent aliens wanting to suck the brains out of the Alphans or zapping them with ray guns as a lot of Sci-Fic can be like. The conflict and drama came from the Alphans themselves. Not over dramatized or understated. After watching this episode again last night I couldn't help but compare the ending with Edger Allen Poe. In the story "The Cask of Amontillado," Fotunado(sp) is walled up alive in a wine cellar similar to Simmonds doom in the Kaldorians spaceship. What a horrid end, even for such a man. It makes one shiver. I also really enjoyed Christopher Lee -- he's always wonderful!!!! :-) TTFN Janet

From: Date: Subj:

[email protected] Thu, 01 Jan 1998 14:57:35 EST Space1999: Earthbound

1. Goofs / Nits: Barry Morse appears onscreen during the opening credits for the first time with this episode. Carter tells everyone that they have five seconds until lift-off in the rescue Eagle. Koenig is shown with his spacesuit in his hand. A quick cut to the Eagle gunning its motors and a cut back and Koenig has his suit on! The boarding tube is circular. In all the other episodes it is rectangular. The rescue Eagle is halfway up from the rescue pod before the thrusters are shown firing. The cargo Eagle pod is shown in the hanger.

Simmond's cubicle seal is broken on top just as the camera goes to pan the spaceship interior. 2. Plot Holes: Where does Simmons get his stun-gun? Great pains are taken to show him stealing Koenig's commlock and then we see him running down a corridor with a stun-gun in hand. He wasn't even in an Eagle so he couldn't have stolen one from there. And why doesn't Alpha have an armory where all the weapons would be located? I can't imagine they would just let them hang there in Eagle pods. 3. Artwork / visuals: Costumes were soso. What are those bubble shaped things that look like payphones outside the travel tubes in the scene where Simmonds and Lee get in the tube to go to the ship. 4. Model work: I didn't think this represented the best work of the series. The crash scene was very fake looking. 5. Dialog Triumphs: "The Commissioner is DISEASED." - Just the WAY Lee says it and that little smirk on his face makes me wonder if Zantor didn't insist to Simmonds that a matrix was necessary on purpose. 10. Bottom Line: Good idea to cast Christopher Lee against type in a good-guy role. Kind of draggy in spots, however. I give this one a B- / C+. Not bad, but not great either. 11. Misc; Does anybody else notice that Martin Landau slaps people on the arm a lot? He wacks Alan on the arm in this episode and in other episodes he gives people that "attaboy" type whack on the arm. In the novel "The Space Guardians" by Brian Ball, some aspects of this episode are used. This was the only episode not novelized since Simmonds was killed off in the first novel. In the novelization of "Missing Link", Raan's

Earthbound "Victor" tells John about a ship found on the moon that could be used to return to Earth. And now time to set up for "Another Time / Another Place" David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: [email protected] (B J Dowling) Date: Thu, 1 Jan 1998 20:31:02 +0000 Subj: Space1999: Earthbound

A happy new year to you all! Here are my thoughts and notes on Earthbound... I couldn't find this episode in the novels, suggesting that it wasn't part of the planned scripts for season 1 at the time the novels were commissioned. So, when Tubb novelised Breakaway, Simmonds was intended to be one of the casualties of the catastrophic explosion. It doesn't help matters much that the Alien Attack video reports Simmonds as a casualty of the disaster. I recognise Anthony Terpiloff's name from somewhere else, but I can't remember where right this minute. I'm pretty sure it's from Callan - I'll have a look through my Callan stuff later on. To the episode... "Ooh, it's that evil bugger Simmonds!" was my first reaction to the first scene of the episode. Seeing as he was reported dead as above, I was a bit surprised at this, but a few questions in the right place put me on the right track. It doesn't say how long after Breakaway this story is set, but it is very clear that Simmonds still gets right up Koenig's nose with great ease. I tried to look at things from his point of view (and managed it, just for a brief second) his given authority over Koenig has been wrenched from him, and now Koenig has reinforced his operational authority to the point

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where Simmonds is addressed as "Commissioner" by the Alphans purely through etiquette and Koenig simply refers to him as "Simmonds" with a clear disdain. Koenig is the boss in no uncertain terms and Simmonds is out of place on Alpha. Why Simmonds is in on command conferences can only be through politeness on Koenig's part. After all, through his own admission, Simmonds has no place on Alpha and no positive contribution to make. The point has already been made that he isn't as well prepared for survival away from Earth as every one else, and hasn't accepted that they'll never get back to Earth. Begs the question what duties he's got on Alpha... The Kaldorian spacecraft is different, just like Gwent's ship. Nothing wrong with that spacecraft don't all have to look like Eagle, Hawks, X-Wings, flying saucers, et cetera. That difference suggests that the beings on board are different. Why red striped pods are used on the two recon Eagles I have no idea. I thought they were rescue/crash units. Koenig's rejection of Simmonds for the boarding party reinforces his out of place status on Alpha. The shot of the main craft separating from the pod is one of only two I can recall, the other from Dragon's Domain. It's amazing how easily spaceships manage to secure boarding tubes, docking tubes et cetera, open doors, engage atmosphere and gravity. I suppose it helps keep the story going... Back on Alpha, Simmonds gets put in his place again by Paul and Alan. I really get the feeling that Carter would love to beat seven bells out of Simmonds. Sandra brings up the visual purely to dissolve some of the tension. Whoops! Helena kills one of the Kaldorians by accident. This marks 1999 out from other sci fi series - Avon would never have done that (he'd only kill intentionally), and I can't see the Doctor muffing opening that chamber. Christopher Lee is wonderful as Captain Zantor, but I'm probably biased because I think Christopher Lee is wonderful in any role he

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plays. He has a voice and grace which so few possess, and it is testimony to the series that he appeared in it. His silence during those early scenes in the Kaldorian ship is great - his looks and minimal gestures get Helena and John talking before he's said anything. I'd like to have seen a scene shoing the introductions between the Alphans and the Kaldorians, but that would have slowed the story down. As it is, Zantor's first lines when meeting Simmonds show him to be intelligent and (on first impressions) compassionate and peaceful. Simmonds sees and tries to take this opportunity to drive home the authority over Koenig he's lost after Breakaway. Koenig tolerates this with the disdain he's treated Simmonds with previously. After all, what can Simmonds do? Paul and Alan will look to Victor rather than Simmonds, and I don't think that any attempt by Simmonds to take command of Alpha would succeed. I wonder if Simmonds is a xenophobe? Discuss. The meeting in Koenig's office confirmed my thoughts on Zantor from his first lines. Placid, peaceful, graceful, intelligent, deliberate strike me as adjectives for Zantor. He sees things simply, as his comments on the computer's mission to the moon show - "It was so programmed - how could it do otherwise?". Simmonds' suggestion of seizing the Kaldorian ship reinforces my thoughts of him as a really nasty piece of work. I don't think that Koenig would let 6 return to Earth unless he could get all 300 plus back to Earth - 6 technicians, pilots or medical staff less could mean problems. One Alphan less doesn't cause such a problem. Koenig comes out with what I think could be his nastiest remark when he says to Simmonds "if I could rig that computer it would shout out your name". His short temper and impatience show with the emergency on the Kaldorian ship - Victor, Mathias and Zantor are calm while Koenig gets ratty. Victor holds him back saying "we must trust him".

Koenig makes a huge mistake by leaving his commlock on his desk in front of Simmonds. Daft or what? The selfish Simmonds makes off with it, and he seems to know the operations of Alpha surprisingly well for a politician. Straight to the power section, stunning guards and technicians along the way. Makes me wonder if he spent time trying to plot a way to get off the base at some point. Here we see a split in opinions over Simmonds' desire to have the spare place on Zantor's ship. Despite his wish (IMHO) to be rid of Simmonds, Alan wants the computer to decide who gets to go. Paul is in no doubt - let him go and be free of the nuisance. Having Alpha by the main power core is a pretty good bargaining tool, and letting him go is the only decision Koenig can make (Personally I'd go for Alan's idea to take him out as he leaves, thinking he's got his way) with Zantor's permission. Zantor's cool "I will be your hostage" line backs up what I said abouthim previously. At this point, Simmonds knows only that Helena has okayed the stasis procedure, not that a matrix needs to be taked by Zantor's computer. So, either Zantor doesn't tell him and thus condemns him to a nasty death, or Zantor offers to make the matrix of Simmonds but the suspicious Commissioner declines the offer. Please don't think me sick if I say I prefer the first theory here. There's definitely something between Helena and Zantor, but I'm no great reader of subtleties between individuals, so I leave that for others to discuss. Their goodbye suggests that this would have been explored if the Kaldorians had been able to stay longer. Simmonds leaves his gun outside the stasis chamber. Whoops! :-) And he doesn't seem phased by the fact that when he wakes up, all his friends wake up too. The mice on the mouse organ, er, sorry - wrong series! (If you don't know or remember Bagpuss, don't worry, I'm still taking the tablets) And it's just a bit arrogant to assume that 75 years in the future, people on Earth will remember Commissioner Gerald Simmonds,

Earthbound MIA 13 September 1999. At this point, Simmonds' hail to Earth control suggests that they haven't been out of orbit for too long, and backs up the suggestion that it should have been second in the series run, which I agree with. Second episodes are usually troubled waters for new series, especially after such a good pilot as Breakaway. Matter of Life and Death didn't work for me as a second story with good content - Earthbound does. When he realises that he's trapped and condemned to slow death in a sealed chamber, I couldn't help feel that he deserved it. Vindictive, moi? If there was any chance for a resuce, Koenig would have ordered one, whether it was Simmonds or not. His pleas for help fading out parallel the newscast in Breakaway where the newscast fades out with the words "beyond the reach...". Koenig's "There's nothing we can do" reinforces Simmonds' self imposed fate, and is a reply to Zantor's earlier line that "it is regrettable that he [Simmonds] should succeed through the use of force". The theme of premature burial is one closely associated with Edgar Allan Poe, and I'll be reading my Poe anthology tonight to get more of his insights on this. I'm reminded of a horror film with Vincent Price in it, where his wife tries to trick him into thinking he's buried her prematurely; it only drives him insane and into thinking he's his late brother Bartolome, of the Inquisition. Anyone remember what it was called? I thinki it was "Diary of a Madman", but I'm not sure. To take a slightly gory point here, discounting the possibility of Simmonds killing himself, what would his cause of death be? Suffocation, as he's in a sealed chamber? There is a talking book of Tales by Poe read by Christopher Lee, which has The Cask of Amontillado and The Black Cat amongst others on it. I played it regularly during my last year as a student, and is well worth getting if you like Poe or Christopher Lee.

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More on Terpiloff if I find he was anything to do with the Callan stuff I've got.

From: [email protected] (B J Dowling) Date: Thu, 1 Jan 1998 20:44:37 +0000 Subj: Space1999: Re: Earthbound The boarding tube is circular. In all the other episodes it is rectangular.

I've wondered about where the boarding tube stops and the travel tube begins - there are quite a few scenes where I just can't see where the boarding tube differentiates from the travel tube. 2. Plot Holes: Where does Simmons get his stun-gun? [....]

As Simmonds has a command commlock, he can go pretty much anywhere he wants. Season 2 show a Weapons Section, so it may exist during Season 1. And he shows that he has a very good understanding of the operation of Alpha by going straight to the power section after arming himself. 3. Artwork / visuals: Costumes were so-so. What are those bubble shaped things that look like payphones outside the travel tubes in the scene where Simmonds and Lee get in the tube to go to the ship.

Isn't there a scene somewhere where they're seen in use? I had them down as pay video phones. In the UK, they were used as soundproof domes for payphones during the 70s and early 80s. 5. Dialog Triumphs: "The Commissioner is DISEASED." - Just the WAY Lee says it and that little smirk on his face makes me wonder if Zantor didn't insist to Simmonds that a matrix was necessary on purpose.

Yup, I thought something like that. 10. Bottom Line: Good idea to cast Christopher Lee against type in a good-guy role.

Good idea to cast Christopher Lee, period! Kind of draggy in spots, ho

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Year One

Another Time, Another Place

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06. Another Time, Another Place According to one discussant, this episode is the episode where all the typical Johnny Byrne elements are introduced; the gothic, the environmental, the distrust of technology and the nostalgia of the "Garden of Eden" of the past, themes that were investagated further in episodes like THE TESTAMENT OF ARKADIA, THE IMMUNITY SYNDROME, THE TROUBLED SPIRIT and END OF ETERNITY. In a response to this, another discussant says that the sees the episode as marking a turning point for the series. The first five episodes were essentially early scripts that were worked on by various soles at the time the series was taking its first steps, he says. In many ways, they were experimental episodes at a time a direction was trying to be forged out of the show. This episode, however, was the first fully scripted Johnny Byrne episode to be filmed and set the gothic, philosophical tone much of the rest of the series would follow. In his opinion much of the style in the development of Space: 1999 was owed more to director David Tomblin than anyone else. From: Date: Subj:

Kenetrw ([email protected]) Sun, 4 Jan 1998 17:31:45 EST Space1999: ANOTHER TIME

Hello again! Happy New Year to all! My thoughts on ANOTHER TIME, ANOTHER PLACE: I like this episode because it get's you thinking about the strangeness of space. The man overboard in main mission in the opening sequence set the drama. This globular cluster smashing into the moon would surely cause some deaths. The double exposed body shots were neat but not quite effective. As Carter and Koenig are talking, notice how sgtrange it is that Koenig is in the backgroundinactive for a bit. Our solar system doesn't look like this. Maybe they were showing Alpha Centauri on the screen since there is a red star. Then again that far into the future our sun will be a red giant. Why was just Regina effected? Bergman states she's living a past/future life. Yet we see later in the episode that Helena, John, Bergman, Paul, Sandra and Carter also have doubles. I wonder how they could go so farther into the future. During Earthbound, we can calculate how far into the future they are75 years away from earth and factoring in how far into the future earth would be. But why this far into the future? Alan's impatience is again interesting. He can't wait to get down to the planet. He is definitely over-eager when it comes to Operation Exodus. Very nice shot as Koenig spins the globe in his office to emphasize a point. Notice how Bergman stops the globe right on

England! I also like how Koenig brushes off his reliance on the computer when he says "computer...computer can't even tell us where we are". It almost looks like Catherine Schell walks by Paul's station in Main Mission (only a view from the back) but I believe this is someone else. The skin peeling of Regina was done very poorly but how could anyone notice if it was done naturally? I don't think the cameras would pick it up. It looks like she's got more of a problem than skin peeling. The echoed screems were great! Once again, poor Bob Mathias gets belted again-out cold! The security man in the hall who comes up to Regina as she's in a deranged state is a howl. Who do you know walks up like Frankenstein to help you? Why does she yell out murderers? Neat how the earth has tilted 5-6 degrees and Europe is in an ice age. Looks like Cuba got blown up by an atomic bomb. The two brains theme was great as well as the two moons. When I first watched this episode and saw the second moon reappear from behind the earth, I really felt a chill! For those scientific out there, are bodies preserved in the vacuum of deep space? Victors whistling was great. He's always calm and thinking. His comment on "back into future time" was interesting. Both shadows (crescent moons) in the sky might not be correct. If both moons are on opposite sides of the earth, the sun can only be to one side. One of the moons should have a shadow facing the other half. Another great patented Sandra scream! Paul's beard! I was wondering after time corrects itself if they would end up with three moons!

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I really thought the special effects photography was great. Notice how the "Old" Helena passes the "Young" Helena on the right and then the Young Helena turns around. I froze frame this shot and I can see how they dubbed this in! Finally, when Koenig asks "Did they ever really exist?" Helena picks up the flowers and I noticed Bergman looks at his watch. Why? Were they running out of time? Were other scenes clipped from this episode at the end? Or is he checking to see if time reset itself?

I always thought she was yelling, "My head!" (I guess if someone had two brains it would hurt like hell :-) )

Did anyone see the SuperBowl One highlight tape which ESPN will be replaying all this month? In between shots of the audience and various Hollywood stars you can see none other than Barbara Bain and Martin Landau in between the short clips of Danny Thomas and Kirk Douglas. It's 1967 and I believe Mission Impossible was on air. Barbara also shouts "Oh No" in another clip showing a pass to Chris Berford. (This SuperBowl I was between the Packers and the Cheifs).

Another Time, Another Place will always hold special meaning for me because it was the first episode I saw in it's entirety back in 1975. It was very unique and different from Trek (which was the only standard I had at the time).

From: Keniji Watanabe ([email protected]) Date: Sat, 03 Jan 1998 21:42:48 -0500 Subj: Re: Space1999: Another Time, Another Place

It makes you think what you would do if the only liveable spot in the world for humans was southern California. I think it must have been the writer's favorite haunting place. Why not Southern France, or Dover, or Outer Mongolia

From: Date: Subj:

[email protected] Sun, 04 Jan 1998 21:13:50 EST Re: Space1999: ANOTHER TIME

-Keniji

Maybe they were showing Alpha Centauri on the screen since there is a red star.

What scene are you talking about? When Sandra observes that there is another solar system, the sun shown is yellow, like ours. Then again that far into the future our sun will be a red giant.

Actually, it is going to take several billion years before the sun's supply of hydrogen runs low and it expands into a red giant. During Earthbound, we can calculate how far into the future they are-75 years away from earth and factoring in how far into the future earth would be. But why this far into the future?

I got the impression that they were only 5 years into the future in this episode. Why does she yell out murderers?

From: jhon ([email protected]) Date: Sun, 04 Jan 1998 23:36:44 -0500 Subj: Space1999: Re: Another Time For those scientific out there, are bodies preserved in the vacuum of deep space? Victors whistling was great. He's always calm and thinking.

Do you know what Victor was whistling? I'll give you a hint: it's a J.S. Bach piece.

From: Petter Ogland ([email protected]) Date: Mon, 5 Jan 1998 11:05:55 +0000 Subj: Space1999: Earthbound / Another Time, Another Place

Happy new year all.

Another Time, Another Place As I've been away for over a week I haven't had the chance to participate in the EARTHBOUND discussion. I really enjoyed reading the mail, however, David's description of the alien ship as "the blue potato machine" was excellent, I think. I've always liked the ship, although it perhaps looks a bit silly in a charming sort of Thunderbirds fashion. I really enjoy David's comments to the discussion. I was a bit surprised, however, that he found EARTHBOUND better directed than MATTER OF LIFE AND DEATH. For me it's always been the other way around, finding Crichton's work on the latter more creative and interesting. It would have been interesting to discuss this further, but perhaps we should delay it for GUARDIAN OF PIRI, Crichton's next effort. Brian also made some very good notes the previous week, I think. Christopher Lee is a brilliant actor. I believe, however, that his performance in EARTHBOUND could have been much better given more emotional output, perhaps with more directorial guidance like what Ray Austin must have done for Peter Cushing in MISSING LINK. Lee is marvellous in sinister roles, certainly the best Dracula there ever was ("Horror of Dracula", 1958), but one of the films where I enjoyed him the most was "The Man with the Golden Gun" (1974) where he was specifically asked by director Guy Hamilton to play the villain as relaxed and sympathetic as possible. An outstanding performance that was, I remember. Apart from the references to Poe at the horrible end of EARTHBOUND, I was under the impression that perhaps Terpiloff was also making references to American history during the days of talks and wars between the native Indians and European settlers. In my mind Zantor's despise of human techonology and Simmonds ruthlesness and talk about the Kaldorians being "expendable" generates pictures of Geronimo, General Custer etc. I believe this kind of analogy was not too unfamiliar at the time, Sam Peckinpah and others reinventing the Western movie genre at that time by looking at it from

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different angles accentuating different contemporary political, sociological and environmental problems. I don't think EARTHBOUND was a very typical Terpiloff script, however, at least it seems rather different from COLLISION COURSE, DEATH'S OTHER DOMINION, THE INFERNAL MACHINE and THE CATACOMBS OF THE MOON. In most of these episodes he seems mostly occupied with investigateing ideas of literature and mythology in a new context. In EARTHBOUND the only thing of this kind is the reference to Poe, I believe, and for the rest of the episode it seems rather political, I think. The one mostly concerned with outer issues such as politics and environment was Johnny Byrne, I believe. Personally I find his first effort of SPACE:1999 scriptwriting ANOTHER TIME ANOTHER PLACE to be one of his very best. In ANOTHER TIME ANOTHER PLACE all the typical Johnny Byrne elements are introduced; the gothic, the environmental, the distrust of technology and the nostalgia of the "Garden of Eden" of the past. These were themes he investagated further in episodes like THE TESTAMENT OF ARKADIA, THE IMMUNITY SYNDROME, THE TROUBLED SPIRIT, THE END OF ETERNITY and others. When reviewing the episodes on order of production, it is perhpas possible to find elements of the series that evolved during the course. This is most apperent in terms of character portraya and visual elements, I believe. When it comes to scripts, however, we know that the scripts where not always filmed in the same order as they were written. Episodes WAR GAMES and DRAGON'S DOMAIN were among some of the first scripts to have been written, from what I've heard, and some of the last to be produced. This may perhaps explain the reason for Simmonds central role in EARTHBOUND, and why he did not appear in other episodes after BREAKAWAY.

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The focus on envoronmental issus in ANOTHER TIME, ANOTHER PLACE seems, on the other hand, to be a thing introduced by this episode no. 6, and was a theme much to reoccur during the series along with other sociologial issus. My impression is that the scripts of Penfold and Byrne contained a much larger amount of social critizism than scripts made by other writers. Perhaps this was due to the fact that Penfold and Byrne were quite young at the time (in their early twenties?), and therefore where more caught up in the general social concerns of the time than more establised writers like Terpiloff who perhaps was more interested in the inner issues of writing. I understand that Edward di Lorenzo was a third part to this trio of young writers during the first third of the series, but left the production for some reason. The writings of di Lorenzo are also extrodinary fresh and interesting, but unlike Byrne, they seem to have been directed towards understanding of the human condition by understanding of the human psyche, and this is one reason why I like episodes like RING AROUND THE MOON and MISSING LINK so much. They are introvert. We can't all have the same taste, however, so I suspect Mark and others who are not so fascinated with RING AROUND THE MOON find ANOTHER TIME, ANOTHER PLACE more to their tastes. In fact, I'm very much under the impression that ANOTHER TIME, ANOTHER PLACE is one of the episodes that very many have on their list of top ten Year One episodes. On my list it would perhaps rate a nine or ten. In terms of plot I think it is one of the best in the series. Johnny Byrne has exclaimed that was was puzzled by the fact that director David Tomblin never made it as a major feature film director specialzing in action and suspence films. I assume that Byrne was quite content with how the script turned out as the episode was produced. To me it's a very fine episode, but I don't get as emotionally exited over this one as with the previous five, I think.

I feel it's perhaps a bit too little character concern, too little concern for the things that make MATTER OF LIFE AND DEATH and RING AROUND THE MOON work so well for me, too many grand gestures and too little acting by eye movements and tone of voice alone as done in the two works mentioned above. To me ANOTHER TIME ANOTHER PLACE is more like "Towering Inferno" (1976), "Earthquake" (1974) or "Airport '77" with it's focus on great drama, rather than the Proustian style of MATTER OF LIFE AND DEATH or the "noveau roman" style of Nathalie Saraute, Claude Simon and Alain Robbe-Grillet in RING AROUND THE MOON, filmed in a style that sometimes seems like the director is paying hommage to Jean-Luc Godard. Petter

From: "Robert Ashley Ruiz" ([email protected]) Date: Mon, 5 Jan 1998 07:53:34 -0700 Subj: Space1999: Re: Another Time, Another Place Eagle Optics

David Lerda wrote: The footage of Koenig, Helena, and Carter stepping out of the Eagle would be reused again in "The Testament of Arkadia."

FYI, it's the same shot but used in different ways. One episode (ATAP) shows the interior of the Eagle's cockpit and then pans to the left before stopping to show the live action. The other omits the pan and thus crops the cockpit. You can see this on the Cybrary's Another Time, Another Place page.

From: NicStepro ([email protected]) Date: Tue, 6 Jan 1998 16:13:50 EST Subj: Re: Space1999: Another Time, Another Place Poor Dr. Mathias gets bonked again. No wonder he left the Medical Unit in Year 2!

Another Time, Another Place Must be the European version where all the sex scenes get left in... Nicolette

From: David Acheson ([email protected]) Date: Thu, 08 Jan 1998 03:34:06 PST Subj: Space1999: Another Time, Another Place

We're at episode 6 already? Wow, where does the time go. I am late into my analysis this time as things pick up heavily at work. I am left with little time emailing from home. A busy start to 1998 indeed! Overall I would say ANOTHER TIME, ANOTHER PLACE is one of my favourites from year one - definitely on the best 10 list of the series. Like BLACK SUN, I did not care too much for it as a kid but appreciate it more today as an adult. Again, I have learned to appreciate good thinking stories over big budget special effects. (Although there are some cool effect sequences in this episode.) I agree with Petter Ogland that this episode also marks the turning point for the series. The first five episodes were essentially early scripts that were worked on by various soles at the time the series was taking its first steps. In many ways, they were experimental episodes at a time a direction was trying to be forged out of the show. ANOTHER TIME, ANOTHER PLACE was the first fully scripted Johnny Byrne episode to be filmed and definitely set the gothic, philosophical tone much of the rest of the series would follow. I believe much of the style though is owed more to director David Tomblin than anyone else. At this time I would put him as my second favourite first year director. He has a knack for beautifully filming these types of stories. Too bad he did not become a big feature film director. Johnny Byrne said he would be a good action director but I would have placed him more as director of big period pieces. But of course I only speculate. Although I was wondering what TITANIC would be like if it was done in his style?

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Unlike STAR TREK, where time travel stories are used far too often, 1999 kept this to a minimum. I believe this was the only such storyline in year one. A visit to one's future self is an interesting twist too. Its easy to do a story where one goes into the past and changes history. Since this was only an alternate timeline the future events we see are only a possibility so the changes in year two do not actually destroy the logic behind the episode. The beginning I always find to be a fascinating sequence as well as Regina's dream sequence. Very gothic and little dialogue. Very artistic unusual for 1975 TV sci-fi. The highlight of the episode for me though is Barbara Bain having a conversation with herself - well, her future self. I often think how eerie it would be if I was in that situation. I am not so sure I would want to meet myself. The marriage of the alternate Sandra and Paul seemed to have forged an idea in the series' writers. It was after this point where the relationship between these two started to happen. The first five episodes showed them only as co-workers and suggested that it was Tanya who had the hots for Paul. Poor Tanya. At least she didn't turn into the Carolyn Powell type. While Judy Geeson seemed to be more prominent back in the 1970's she has not totally disappeared and that is good to see. Once in a while she makes a small guest appearance in a US series. Someone brought up the fact that there was mention of nine planets around the sun when the moon was returning to our solar system. I have to agree that there is a continuity problem in the series. By episode six we had nothing filmed yet about Ultra. No problem right? The producers/script writers should have been more aware at the time DRAGON'S DOMAIN was filmed. Meta was not a problem because it was an interloper from outside. I rambled on long enough. I'll let someone else have a go. And Petter, looking forward to discussing MISSING LINK next week. David Acheson

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Year One Regina's, while starting to split off, reverts back into herself.

From: Patricia Embury ([email protected]) Date: Thu, 08 Jan 1998 18:37:57 -0500 Subj: Space1999: Another time/place

I enjoyed this episode, one of the better ones in the first season. The special effects of the moon and the Alphans separating were great, although Regina's sunburn/peeling looked more like toilet paper stuck to a man's face after he's cut himself shaving. The scence in which Helena confronts herself is well written and acted, and appears seamless. The Eagle shots, especially the crashed Eagle, and exiting the Eagle were good, although their age is showing. The lighting effects: the dimness of some of the sets, i.e., medical center, the alternate Earth and alternate Alpha, and Eagle, really added a surrealistic quality to the episode. The colored lights at the beginning and end were a little cheezy, but an effective way to note the beginning and end of the experience. I appreciate even more the performance of Barry Morse as Victor. The speech he makes in Koenig's quarters/office where Koenig spins the globe is especially effective. Victor becomes the voice of reason when the alternate Alphans confront the landing party. I enjoy watching Carter's character develop more. He is still confrontative and challenging to Koenig, but it is less aggressive than before. Nick Tate did a nice job with the "suprise, Regina thinks you're married" very well, when it could have backfired in the story. I like the way the writers included Carter putting flowers on her grave.

From: Jhon ([email protected]) Date: Thu, 08 Jan 1998 21:09:55 -0500 Subj: Space1999: Favorite space ships/Another Time

The best part of this episode is the sequences with Regina. I like how her personality changes when she sees Alan. Also, did you notice how everyone else's bodies doubled, but

Helena watching Helena through the window was very eerie, but then Sandra screamed. Did she perhaps know about the other Alphans? I like when John and Alan go to the other moon. It's strange how it was those to who went, and found their dead counterparts. Victor's ramblings on the planet while watching the two moons was very natural, and also quite expected. Perhaps everyone knew about the phoenomena. I like how Victor whistles all the time. He's also very good with miniature roses. The story's ending was a little abrupt, but that's what you get when you limit yourself to an hour show. Later all.

From: [email protected] Date: Sat, 10 Jan 1998 13:16:54 -0500 Subj: Space1999: Another Time, Another Place

This is a year one weird stuff happens episode, but it is understandable. My notes: Where did they come up with the pronunciation for Regina? Is it a British thing? Why do they say it like it is spelled Regheena? This episode has a lot of dialogue that was rerecorded after filming (dubbed). I wonder what problem they were having during filming? The short scene in Med Center where they are first talking about Regina was completly meaningless. It also seems like it was originally longer. The dialog was dubbed. The wide shot in the Commander's office where they are talking about Regina is also dubbed. Helena has a line to the effect of "I'm looking for a connection between that event and what

Another Time, Another Place is happening to Regina..." I have always thought that was a dumb line. Do you really think she would have been going through all this if the event had never happened? Another wide shot in the Commander's office with dubbing. I really think those large sets were echo chambers that hurt filming. I would love if someone who knows a year one production person could ask them about that. Isn't it great when VIctor starts philosophizing. And I'd like to think that it drives the rest of the base nuts when he does it. Why is Helena whispering all the time? Regina has two brains? And each one is only half size (or is it one quarter size?) Nothing is done with it and it is just dumb. Does that mean the planet Regina has no brain? I know it was done for drama and story, but would the Alphans have left two bodies in a crashed eagle on the suface of the moon? Do they not take care of their own? Before they know the two moons are going to collide, why is Koenig so anxious to start Operation Exodus? The know there are unknown problems down below...maybe deadly, and Alpha is fully functional and safe. They are in orbit and have all the time in the world. I don't know if it is 100 percent proper scale, but the shot of them exiting the eagle is the best. See how much better Helena looks with a different hair style (the older Helena)? For economic reasons the Alphan's disperse into different settlements? After a few generations maybe, but not when they are still trying to stay alive on a damaged world with limited resources. Have they been on the planet five years? Then the older child is too old. The battle of the Whispering Helenas...just dumb. The idea was good, but it doesn't work. And it is worse because both sound exactly the

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same...like they were dubbed at the same time with the same settings in the studio...it doesn't work. Why does the older Helena just decide to die? I think it is less interesting that way. For a really good read on the subject of people meeting their future and past selves, I recommend the novel The Man Who Folded Himself by David Gerrold. In a way it is very funny that Victor comes up with this philosophical business of the moons colliding and time correcting itself, and everyone just buys it and returns to the moon. It is amazing what can be accomplished when the episode is nearing its end. Why are they wearing simple robes? It looks good and rustic, but would late 20th century technical people go back to simple robes? I wouldn't. It's one thing if they find a good planet and abandon the moon. But I don't buy them completly abandoning a fully operational base in safe orbit to live a rustic life. I think they would have kept Alpha and its technology up and running, to help supply the efforts on the surface.

From: [email protected] Date: Sat, 10 Jan 1998 19:19:39 EST Subj: Re: Space1999: Another Time, Another Place This is a year one weird stuff happens episode, but it is understandable.

Alright! Time for a little scrap! :-) Regina has two brains? And each one is only half size (or is it one quarter size?) Nothing is done with it and it is just dumb.

Have to agree with you on this one here. I think it would have been just as dramatic and more believable to say she had two brain wave patterns. I know it was done for drama and story, but would the Alphans have left two bodies in a crashed eagle on the suface of the moon? Do they not take care of their own?

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I always felt they left the Eagle there because they couldn't get the bodies. Parallel Victor said that the move to Earth consumed all of the Alphans resources including Eagles. Maybe they only had left one operational for trips to Alpha to retrieve anything they thought they would need later. Before they know the two moons are going to collide, why is Koenig so anxious to start Operation Exodus?

Koenig was actually the cautious one. Alan was all gung-ho to go down right away. Koenig was just starting the Phase 1 reconaissance, not the full evacuation. See how much better Helena looks with a different hair style (the older Helena)?

Does anyone know who created Barbara Bain's hairstyle in Year 1? For economic reasons the Alphan's disperse into different settlements? After a few generations maybe, but not when they are still trying to stay alive on a damaged world with limited resources.

Maybe the soil has been so badly damaged that they can only support a limited number of people at each settlement and that is why they scattered. Have they been on the planet five years? Then the older child is too old.

No arguement here. And the younger one is pushing it. The battle of the Whispering Helenas...just dumb. The idea was good, but it doesn't work.

In a way it is very funny that Victor comes up with this philosophical business of the moons colliding and time correcting itself, and everyone just buys it and returns to the moon. It is amazing what can be accomplished when the episode is nearing its end.

I agree the ending was a little haphazard but that is one of the constraints of the TV medium: we have 52 minutes to tell a story, no more, no less. I still think this episode goes far better than shows like "Matter of Life and Death" and "Ring Around the Moon" where the opposite seemed to be the case. They had 15 minutes of story and tried to s-t-r-e-t-c-h it out into an hour. Why are they wearing simple robes? It looks good and rustic, but would late 20th century technical people go back to simple robes? I wouldn't.

Maybe it was a matter of necessity. Wasn't there a loom shown in Helena's house? Eventually those moonbase uniforms are going to wear out. It's one thing if they find a good planet and abandon the moon. But I don't buy them completly abandoning a fully operational base in safe orbit to live a rustic life. I think they would have kept Alpha and its technology up and running, to help supply the efforts on the surface.

Could be they did this at the beginning and gradually phased out their dependence on Alpha over say, a year. Or they may have faced an all or nothing situation where they had to up and relocate everyone to Earth or stay on Alpha. I think that would have been a tough situation for people to accept and that they would take their chances on Earth rather than Alpha.

I have to disagree. I think this was one of the most effective scenes of the episode, if not all of Year 1. Why does the older Helena just decide to die? I think it is less interesting that way.

I think she died inside a long time ago when John died. She hadn't really gotten over her grief and now she has a way to go back and be with him in another life. Kind of touching to me.

From: South Central ([email protected]) Date: Sat, 10 Jan 1998 16:52:21 -0800 Subj: Space1999: Two brains AT,AP

I always thought that she literally had two brains occupying the same space, interwoven, like dense tissue.

Another Time, Another Place

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Also I was always fascinated by the selection of Santa Maria (a real place on the Central Coast of California). As a kid in NYC I imagined what it would be like. As an adult I got to visit Santa Maria a few times. It is a flat farming community with distant mountains, fairly close to the ocean. I thought of the episode everytime I went there. I wonder how Johnny Byrne came to choose Santa Maria? Or was this some American influence by the U.S. backers of the show?

This was a bothersome problem. I always felt uncomfortable with this explanation. Obviously, the Regina on the planet should drop dead immediately without a brain. The timing seemed odd. Why would it take her so long to die. There had to be a better explanation, but I haven't figured out one yet.

Mateo

Yes, if they could. Victor does state that they canabalized all resources, including Eagles. I expect this was the only one left, for emergency use. So what was so important that they had to go back for it?

From: "Ellen C. Lindow" ([email protected]) Date: Sat, 10 Jan 1998 21:19:59 -0500 (EST) Subj: Re: Space1999: Another Time, Another Place

David Lerda did a great job of answering these questions, but I wanted a crack at a few of them too. On Sat, 10 Jan 1998 [email protected] wrote: Where did they come up with the pronunciation for Regina? Is it a British thing? Why do they say it like it is spelled Regheena?

Giving the "G" a hard sound as in "give" instead of a soft sound is not unheard of. I kind of liked the different pronounciation. Isn't it great when VIctor starts philosophizing. And I'd like to think that it drives the rest of the base nuts when he does it.

I always thought the same thing. I expect it amuses some people too. Why is Helena whispering all the time?

Beats me. Could it be the same trouble with the sound on the sets? The whispering really annoyed me. Regina has two brains? And each one is only half size (or is it one quarter size?) Nothing is done with it and it is just dumb. Does that mean the planet Regina has no brain?

I know it was done for drama and story, but would the Alphans have left two bodies in a crashed eagle on the suface of the moon? Do they not take care of their own?

Before they know the two moons are going to collide, why is Koenig so anxious to start Operation Exodus? The know there are unknown problems down below...maybe deadly, and Alpha is fully functional and safe. They are in orbit and have all the time in the world.

Alpha may be fully functional, but so many weird things have happened to them, that I would guess they would all be anxious to get off while they could. Once they've gone into orbit, why wait? How long would the other Alphans wait if Koenig dragged his feet? For economic reasons the Alphan's disperse into different settlements? After a few generations maybe, but not when they are still trying to stay alive on a damaged world with limited resources.

I can think of several reasons. Natural disasters would be less likely to effect the entire population. Hail or floods could wipe out centralized fields, but even if they are separated by only a day's walk, some of the crops could be uneffected. An epidemic-something as simple as the flu, could be stopped easier with smaller communities, and not effect some groups at all. Spreading the population out could also have psychological benefits, instead of everyone seeing each other every day, visits between communities could become special occasions. The communities would create differences and varieties, they would be able to specialize in different things and offer alternative lifestyles.

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Year One Have they been on the planet five years? Then the older child is too old.

Nope, you've interpreted this wrong. John and Alan have been dead for five years. We don't know how long they've been on the planet, but I'd estimate 10 years, at the very least. Maybe more. They also left the number of children on the planet vague. Although Victor alludes that these two are the only ones, he never really says that, just says there will be more as their situation improves. Why does the older Helena just decide to die? I think it is less interesting that way. For a really good read on the subject of people meeting their future and past selves, I recommend the novel The Man Who Folded Himself by David Gerrold.

I agree with David Lerda on this one. Helena was finding an escape back to her loved one, and feeling that her replacement was there and she was no longer so desparately needed. However, The Man Who Folded Himself is Gerrold's best work, I also highly recommend it. Why are they wearing simple robes? It looks good and rustic, but would late 20th century technical people go back to simple robes? I wouldn't.

Do you know how to manufacture zippers? Elastic? Robes are easy to make, requiring very little skill. Have you ever tried to make a pair of pants? Did you know that you have to have the curves for the front and back just right, or they are extremely uncomfortable. Plus they take a longer time to make than robes. Robes can be opened if you're hot, pulled tighter if you're cold, you can bend in them easily without running the risk of tearing the seat out of them. I expect most groups of people would revert to robes pretty fast. It's one thing if they find a good planet and abandon the moon. But I don't buy them completly abandoning a fully operational base in safe orbit to live a rustic life. I think they would have kept Alpha and its technology up and running, to help supply the efforts on the surface.

If you could. Again, these guys haven't had much luck with their space program. Most of their efforts have been unsuccessful. And this place isn't a picnic. In order to build anything

they may have needed everything on Alpha. And what if some kind of disaster strikes the Moonbase and you don't have enough people up there to deal with it, and not enough people on the ground to send adequate help. As Victor said, it was a decision that had to be made. There would have been a lot of options. None of them completely attractive. Koenig had some tough choices. Did anyone notice that the helmets on the dead John and Alan had the names under the visor, while our live John and Alan have their names on the outside of the visors? I think this was a subtle reminder that these were not "our" Alphans, and this was not their history. On a completely different topic, I saw the movie "Wag the Dog" last night.. This political satire has no car crashes, no sex, and no explosions-- well, almost. But it is fantastic. Very much like Mission: Impossible. Robert DeNiro's part could easily be Jim Phelps. Go see it?

From: Deborah Capuano ([email protected]) Date: Sat, 10 Jan 1998 21:41:36 -0500 (EST) Subj: Re: Space1999: Two brains AT,AP

I somehow doubt that the Santa Maria of the story was based on the California one...in a disaster of the sort hinted at, ie the Earth shifting on its axis, there'd be a lot of upheavals before all the volcanic ash settled. and California just happens to be an extremely upheaval prone area. the California Santa Maria would likely have sunk into the sea...

From: South Central ([email protected]) Date: Sat, 10 Jan 1998 20:18:22 -0800 Subj: Space1999: Re: Two Brains

I think if you listen to Victor's comments about the location of Santa Maria he is indeed referring to Santa Maria in California. My VCR is on the blink but if I am not mistaken he says it is in North America and points it out on a map or globe.

Another Time, Another Place Can anybody verify this? Mateo

From: Mark Meskin ([email protected]) Date: Sat, 10 Jan 1998 22:25:42 -0600 Subj: Space1999: Kalifornia

California would not sink into the sea during anytype of upheaval, and the small section of it that is located on the Juan de Fuca? plate is not going to "break off" either. A subduction zone exist off the coast, but most of the activity in the area is related to plates rubbing against on another, not one plate being subducted under another. There are no Volcanoes in this area. On the map victor has, its wuite obvious that Santa Maria is either in BAJA california, or just plain California. On the other hand, its obvious that Santa Maria was decimated pretty heavily too, but since the Alphan Settlers arrived well after the Earth had stabilized this is irrelevant.

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written had me thinking they were 5 years into the future of a parallel universe. Never thought to interpret it the other way. Thanks for pointing that out. However, The Man Who Folded Himself is Gerrold's best work, I also highly recommend it.

Anyone out there know if it is back in print? isn't a picnic. In order to build anything they may have needed everything on Alpha. And what if some kind of disaster strikes the Moonbase and you don't have enough people up there to deal with it,

Not to mention as Koenig stated in "Death's Other Dominion", Alpha could not function without all of its trained personnel onboard. Everyone would have to stay on Alpha or go to the Earth. And after everything they had been through, I'm sure popular opinion would have been to take a stab at restoring life to a devestated world as opposed to continuing to live cooped up on Alpha.

-Mark

From: David Acheson ([email protected]) Date: Sun, 11 Jan 1998 03:36:43 PST Subj: Space1999: Santa Maria

From: [email protected] Date: Sat, 10 Jan 1998 23:56:41 EST Subj: Re: Space1999: Another Time, Another Place

Is the Santa Maria the Alphans went down to on the future Earth the same one that is in California? I say it is supposed to be. I seem to remember that at the time Victor was explaining that Santa Maria was the only spot left capable of supporting human life that he was pointing to the west coast of the United States on Koenig's globe. I don't have the episode on tape but hopefully someone can check this scene out. This is the way I remember it.

David Lerda did a great job of answering these questions, but I wanted a crack at a few of them too.

And I thank you for the compliment. :-) Nope, you've interpreted this wrong. John and Alan have been dead for five years. We don't know how long they've been on the planet, but I'd estimate 10 years, at the very least.

I always thought it was five years as well. The line wasn't very well written. Instead of Helena saying, "Their Eagle crashed on the moon about 5 years ago", she should have said, "They were killed on impact when their Eagle crashed. I estimate they've been dead at least 5 years." Just the way the original line was

And why shouldn't Santa Maria (or the general area) still be around. We know something disastrous happened to the Earth but we never once were told what exactly happened. The Earth's axis was tilted so great devastation would be caused by flooding, volcanoes and earthquakes. Even if the "Big One" hits not all of California will sink into the ocean. The myth has gotten so blown out of proportion. But we also hear talk about radiation. Did a

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nuclear holocaust also take place? The exact cause of the destruction of life on Earth was never pinpointed.

From: David Acheson ([email protected]) Date: Sun, 11 Jan 1998 04:10:37 PST Subj: Space1999: Another Time, Another Place, Another Analysis

Why would the Alphans leave the technological world of Alpha for a rustic start on the devastated future Earth if there was no rush to leave Alpha? Why wouldn't they? I would probably do the same thing. Being holed up on a barren airless world is no picnic either. Space living is also harsh even in the futuristic moonbase of the series. Besides one can start having what is more of a normal life down on the planet. People can live in their own homes and marry and raise their own children. Alpha, at least in the early days, was just not equipped for raising a future generation. People would also begin to have a sense of self-worth. Sure life would not be easy but they would be living their own lives which I believe is important to the human soul. So we can see why the Alphans would sacrifice their technology in order to start all over again. Don't get me wrong. I am not a granolacrunching environmentalist (no offence intended). I myself would love to live in a futuristic technology-filled space age but when face with the same predicament the Alphans ran into I would do what they did. Helena's whispering? Well I always thought the low-keyed chat between the two Helenas as being very dramatic. This is television after all - not real life. I myself find the scene to be the highlight of the episode. The alternate Helena's death makes sense to me. Like others had previously stated, she had died internally since the future John's death. It is possible that it was time that her soul made peace with herself and decided it was time. The human body is more mysterious than we think. Look at how many elderly people die shortly after their spouse dies after spending a long lifetime together. This was the case with my great grandparents. After a long marriage

my great grandmother died early in the year of their deaths and several months later my great grandfather died. We all knew it was a broken heart. He just was not the same and missed her greatly. Sort of touching when we think about this situation. I believe the future Helena's confrontation with our Helena was really a cleansing of the soul. Now it is hard to believe it happened instantly but television has time constraints. As for Alan and Koenig's bodies on the lunar surface? There may have been a reason. Sometimes the greater good is more important than the wants of a few. Unfortunately, we never really are told why they were left behind but I believe that the Alphans had a good reason to do so. I'm sure that the Alphans were heart broken over any decision to leave them their. That's about all. ANOTHER TIME, ANOTHER PLACE still is one of the better Year One episodes. Tomorrow is the start of MISSING LINK week. David

From: Date: Subj:

LKJ1999 ([email protected]) Sun, 11 Jan 1998 07:16:13 EST Space1999: Another Time-Place My VCR is on the blink. But if I am not mistaken he says it is in north america and points it out on a map or globe.

Yes I can verify that he does point at a map . And Victor points at Santa Maria... Chas P. LKJ1999

From: "Petter Ogland" ([email protected]) Date: Sun, 11 Jan 1998 14:55:06 +0000 Subj: Re: Space1999: Another Time, Another Place This is a year one weird stuff happens episode [ANOTHER TIME, ANOTHER PLACE], but it is understandable.

Another Time, Another Place It depends what one means by understandable, I suppose. It is a story which seems much more linear and is told in a much more linear way than for example RING AROUND THE MOON and MISSING LINK. In this way it is perhaps more understandable. If it is more understandable in other ways, I'm not too sure. I have watched this episode repeatedly this week, but am still a bit uneasy on what Byrne et al is trying to tell us, the meaning of the story as such. I think one of the best analysis I've read on ANOTHER TIME ANOTHER PLACE so far was the letter by Quintin some months ago when he drew parallells to the writing of JeanPaul Sartre, Sartre's famous "La Nausee" (1937) in particular. All the play on doubleness in the episode and the play on living two lives, one life as modern man trying to find a home in the universe by use of science and technology and one life as modern man having regressed to primitive measures living of the land, or what's left of it. ANOTHER TIME ANOTHER PLACE is a grim story in many ways, I think. It is, like most of Johnny Byrne's stories, not too optimistic on the behalf of the way mankind is evolving, almost like Lope de Vega and other writers of the renaissance dreaming of an Arkadia of the past when life was simple and all we had to think of was sheparding and working on the fields. In some ways THE TESTAMENT OF ARKADIA almost seems like a remake of ANOTHER TIME ANOTHER PLACE. The moral seems to be the same: The life we humans are meant to live is the rustic life of our forfathers. This is the life we would like to live if it were not for the complexity of modern life with its science and technology. In neither the case of ANOTHER TIME ANOTHER PLACE nor THE TESTAMENT OF ARKADIA is this a viable solution. In the case of THE TESTAMENT OF ARKADIA a couple jump of modern society in order to start a new life of their own, closer to nature, but this jepordizes the whole community.

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In ANOTHER TIME ANOTHER PLACE the central point is that the two worlds will unite and time will resurrect itself. Does Johnny Byrne mean by this that both set of values, the modern and the archaic, should unite in order for humans to lead a better life? Byrne does not state it as a question, it is rather just the way thing goes. Perhaps his philosophical input is that the values of the communities in ANOTHER TIME ANDOTHER PLACE and THE TESTAMENT OF ARKADIA is so inherit in us that they will return no matter how much we may flirt with science and technology. Other comments from JCG and David Lerda: See how much better Helena looks with a different hair style (the older Helena)? Does anyone know who created Barbara Bain's hairstyle in Year 1?

Personally I find Helena looks excellent in Year One, both the way she talks, her body language and appearance in general is in my opinion superb and by all means much, much better than for instance in Year Two of the same series. In Year Two people also have a disturbing tendency of shouting instead of speaking, as JCG has pointed out so frequently. I think she died inside a long time ago when John died. She hadn't really gotten over her grief and now she has a way to go back and be with him in another life. Kind of touching to me.

I definitely agree, David. Just look at the eyes of Landau as he sees the older Helena approaching while the younger is in the background. He seems utterly confused. While I don't regard this episode as highly as MATTER OF LIFE AND DEATH and RING AROUND THE MOON, it certainly has its moments, the scenes on earth, with its excellent eerie lightning and colour are tremendous. It makes quite a contrast to the paradise in the finale of MATTER OF LIFE AND DEATH.

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Year One

From: Patricia Embury ([email protected]) Date: Sun, 11 Jan 1998 12:22:21 -0500 Subj: Re: Space1999: Another Time, Another Place Yes, if they could. Victor does state that they canabalized all resources, including Eagles. I expect this was the only one left, for emergency use. So what was so important that they had to go back for it?

This is going to sound incredibly stupid, but I have to say it anyway. If Alan and John went back for something, then how did the Alphans know they died? Obviously the other Alphans probably guessed something bad happened when they didn't return, but they had no concrete proof. Victor says "You've come back" when he first spots John. Did the duplicate Victor think it was the duplicate John? As for the Regina has two brains, the other Regina probably suffered from the same thing as the regular Regina, an incomplete separation.

From: "Mark Meskin" ([email protected]) Date: Sun, 11 Jan 1998 12:31:04 -0600 Subj: Re: Space1999: Another Time, Another Place

Yes, that sounds right, Ive always thought that line sounded funny until now! I think one of the biggest problem 1999 writers had was keeping things coherent in the early episodes.

From: [email protected] Date: Sun, 11 Jan 1998 16:18:42 EST Subj: Re: Space1999: Another Time, Another Place This is going to sound incredibly stupid, but I have to say it anyway. If Alan and John went back for something, then how did the Alphans know they died?

I would imagine they would have kept some communications equipment operational to maintain contact with any Eagle that was sent

to Alpha. And of course John or Alan would do the dramatic, "We're in trouble! We're going to crash!". I'm sure the Alphans would have been able to put two and two together.

From: Patricia Embury ([email protected]) Date: Sun, 11 Jan 1998 12:35:30 -0500 Subj: Re: Space1999: Another Time, Another Place, Another Analysis Why would the Alphans leave the technological world of Alpha for a rustic start on the devastated future Earth if there was no rush to leave Alpha? Why wouldn't they? I would probably do the same thing. Being holed up on a barren airless world is no picnic either.

Excellent points, David. Don't forget, Earth was, and still his, their home. The pull to go home is probably the the strongest impulse they had. Look at how eager Carter was to go down and look around.

From: [email protected] (B J Dowling) Date: Sun, 11 Jan 1998 19:28:29 +0000 Subj: Space1999: Another Time Another Place

Hi folks, I've spent the weekend (or most of it) away. Here are some brief thoughts on ATAP: I don't know why, but I'm a sucker for mirror universe stories. Some of them are complete garbage, but the good ones do stand out, and usually have several excellent scenes. The Doctor Who story "Inferno" from 1971 pretty much tops my list as the best P-U story, and I would commend it to anyone who is starting to get into the series or would like to see an excellent performance from the late Jon Pertwee. Anyway, I digress... Top performance from Nick Tate in this story the scenes where Regina throws herself at him are truly heart rending (must be his aftershave :-) ) and the scene where he and John find their duplicate corpses in the crashed Eagle is chilling to the bone. Seeing one's own dead

Another Time, Another Place body, like being buried alive, is the stuff of the worst nightmares and horror stories. This portrayal of such scenes, along with their asking the questions it poses (and leaving us with no definitive answer, as per The Troubled Spirit) is something which makes season 1 stand out from other series. There's usually a really heavy philosophical question asked somewhere which gets the viewer thinking about such things. By way of comparison, although several series portray scenes like this, with issues like genocide, self-sacrifice, prolonging life indefinitely, spiritual issues et cetera, very few actually ask the important questions related to those issues to get the viewer thinking. Genesis of the Daleks is the only thing which comes to mind which most people here are likely to know about - the scene where Tom Baker asks "Touch these strands and the Daleks are finished... Do I have that right?" is one of a select few which does just that (Let's ignore the fact thet Sylv McCoy gets rid of the whole Dalek race in Remembrance of the Daleks 14 years or so later for this discussion). I'm not sure exactly what specific question is being asked here, as I've never met my alternate selves (infinite parallel universes and all that kind of thing), but this story seems different in that the alternate Alphans seem to be the same as the "normal" Alphans; reacting in the same way as we would expect "our" Alphans to, despite their going through different experiences. Others (Doctor Who, Trek & DS9) have alternate universes whose characters are very different from what we take as normal. The bit with Regina having two brains is a bit laughable, though any headaches as a result of such a complaint must be murder. At this point, I couldn't help but think back to a tacky horror film called Inseminoid, which also starred Judy Geeson. If you haven't seen it, it's a poorly written, badly acted film with very dodgy but very gory FX. That I thought back to that film says just how badly that scene failed. Security must have got a frightful rollocking after that guard got done over (dare I say

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bonked? :-) ) by Regina. Another gun which shouldn't have been taken. We're looking at what could be called schizophrenia, I think, so why wasn't a full medical analysis done? I can't help but get the feeling that if a full med check was done, all this 2 brain stuff might have been discovered earlier. Can I sound off a little here? No offence intended to anyone, but... Why do all the episodes with some kind of involvement with Earth point straight towards the US? What's the thing with California and Texas? I'll agree with David's view of Alternate Helena's death, her simply existing on a physical rather than emotional level until she finds an opportunity to rejoin her beloved John. Three great scenes in this story get eclipsed by Victor when he tells John, Alan and Helena to go back to Alpha because if they're not there "When time corrects itself, then you will have no place to die". You just can't argue with that kind of statement; its effect is massive, telling them that they could end up in some kind of Purgatory. What an effect that would have on Alpha, if it happened, I dread to think. The tremendous impact of that line does overshadow the ending a little, but from that point onward, there was only one thing for John to do and that was take them back to Alpha, so the overshadowing is quite understandable. What scene could follow that and not be overshadowed? Possibly one of the hardest hitting scenes in the series from the point of view of philosophical impact - no need to be a scholar here, it hits home with great force. Suffice it to say that Barry Morse delivers the line with the gravitas it deserves, and nobody could have delivered it better. It's a strange mixture, this one. Works better than Ring Around The Moon, has some great scenes and some that don't work too well. Overall, the good outweighs the bad, so it lies just below Earthbound in my overall ratings thus far. When are we doing Dragon's Domain & The Troubled Spirit?

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Year One Earth point straight towards the US? What's the thing with California and Texas?

From: [email protected] Date: Sun, 11 Jan 1998 18:17:09 EST Subj: Re: Space1999: Another Time Another Place I don't know why, but I'm a sucker for mirror universe stories. Some of them are complete garbage, but the good ones do stand out, and usually have several excellent scenes. The Doctor Who story "Inferno" from 1971 pretty much tops my list as the best P-U story, and I would commend it to anyone

I remember this one also. Although the creature costumes are laughable. :-) Speaking of Parallel Universe stories, don't forget the Star Trek TNG episode "Yesterday's Enterprise", the original Outer Limits episode "The Man Who Was Never Born" (starring you-know-who), and the new Outer Limits episode "A Stich In Time". Top performance from Nick Tate in this story the scenes where Regina throws herself at him are truly heart rending (must be his aftershave :)

There was a line in the novelization that I wished they had left in. When she first comes charging at him in the Medical Center and passes out, in the novel he says, "What was that about? I hardly know her." I think it would have made the scene a little more dramatic. and the scene where he and John find their duplicate corpses in the crashed Eagle is chilling to the bone. Seeing one's own dead body, like being buried alive, is the stuff of the worst nightmares and horror stories.

Also the scene where John sees his body on the autopsy table before Helena covers it up. Creepy. Genesis of the Daleks is the only thing which comes to mind which most people here are likely to know about - the scene where Tom Baker asks "Touch these strands and the Daleks are finished... Do I have that right?"

Sort of like "Mission of the Darians." - to what lengths will a race go to survive and how will they rationalize it? Can I sound off a little here? No offence intended to anyone, but... Why do all the episodes with some kind of involvement with

Not to sound arrogant here, but I think it had to do with the fact that in those days the American market was so crucial to the show's profits that the writers probably had to put those references in. Why California and Texas? Beats the hell out of me but I'ld hazard to guess that it's because they are famiiar locations within the US. Not all the locations in SF series related to the US. As a kid, I always wondered why the aliens in UFO were always landing in the British Isles. When are we doing Dragon's Domain & The Troubled Spirit?

If we are going to continue to follow the production order, not for a while.

From: Patricia Embury ([email protected]) Date: Sun, 11 Jan 1998 22:39:25 -0500 Subj: Re: Space1999: Another Time Another Place Security must have got a frightful rollocking after that guard got done over (dare I say bonked? :-) ) by Regina. Another gun which shouldn't have been taken.

I'm suprised she could deck him with just a commlock! Can I sound off a little here? No offence intended to anyone, but... Why do all the episodes with some kind of involvement with Earth point straight towards the US? What's the thing with California and Texas?

It seems it's not just 1999 that uses Texas and California. I've read other survivalist-type things that have used this region, and played Wasteland, which I believe was set in this area. Not only is it the name recognition the writers went for, but it is farther south which might enable it to survive some environmental catastrophe involving any of the polar regions. That's my guess, anyway.

Another Time, Another Place From: [email protected] Date: Mon, 12 Jan 1998 09:02:06 +0200 Subj: Re: Space1999: Another Time, Another Place Where did they come up with the pronunciation for Regina? Is it a British thing? Why do they say it like it is spelled Regheena? Giving the "G" a hard sound as in "give" instead of a soft sound is not unheard of. I kind of liked the different pronounciation.

I believe that it is based on the fact that Regina is a Latin word (=queen) and in Latin g is pronounced that way. By the way, how are the first names of some of our favourite Andersons pronounced, Gerry and Gillian? Is it like Jerry and Jillian? -Pertti

From: "Petter Ogland" ([email protected]) Date: Mon, 12 Jan 1998 09:39:31 +0000 Subj: Re: Space1999: Another Time Another Place This portrayal of such scenes, along with their asking the questions it poses (and leaving us with no definitive answer, as per The Troubled Spirit) is something which makes season 1 stand out from other series. There's usually a really heavy philosophical question asked somewhere which gets the viewer thinking about such things.

Good point, Brian. I've also tried to ask myself what Byrne is hinting at in these stories. Perhaps Quintin could eloborate more on this, but Sartre's maximes abount being "doomed to make choices" does seem to make some kind of sense to me. Perhaps the double lives could be read as different ways we perceive ourselfes. I'm not sure exactly what specific question is being asked here, as I've never met my alternate selves (infinite parallel universes and all that kind of thing), but this story seems different in that the alternate Alphans seem to be the same as the "normal" Alphans; reacting in the same way as we would expect "our" Alphans to, despite their going through different experiences.

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The mirror universe of ANOTHER TIME ANOTHER PLACE is very different from the similar mirror effects of the false Victor in MISSING LINK and the evil Koenig in SEED OF DESTRUCTION. The destructive Koenig in SEED OF DESTRUCTION is an intersting character, I think. SEED OF DESTRUCTION is an episode about loyalty, it seems to me, and very much like COLLISION COURSE, it questions the leadership structure on Alpha or how we organize society. An issue also discussed in THE SEANCE SPECTRE and as what you've referred to as the Moses Analogy in MISSING LINK. Unlike SEED OF DESTRUCTION and THE SEANCE SPECTRE, ANOTHER TIME ANOTHER PLACE seems less political or less occupoied with raising questions concerning the military type of organization of Alpha. The episode does, however, seem to raise the question about what we do if we should happpen to meet ourselves in the doorway. The idea of seeing oneself from the outside is a fascinating idea, I think, if horrifying. Sandra's reaction as she sees the double Helena seems quite appropriate. What does it mean to meet oneself in the doorway, anyway? Some of the best points made on ANOTHER TIME ANOTHER PLACE this week was by David Acheson, I find. His description of the Alphans longing for settling down was magnificent. Brilliant insight to the series! was only one thing for John to do and that was take them back to Alpha, so the overshadowing is quite understandable. What scene could follow that and not be overshadowed?

Great point, Brian, I couldn't have agreed more. It's a strange mixture, this one. Works better than Ring Around The Moon, has some great scenes and some that don't work too well. Overall, the good outweighs the bad, so it lies just below Earthbound in my overall ratings thus far.

It will be interesting to hear your views on MISSING LINK, Brian, an episode I regard very highly and find very similar to RING AROUND THE MOON. Personally I like the

92 style of RING AROUND THE MOON better than ANOTHER TIME ANOTHER PLACE, perhaps EARTHBOUND too, but I regard it nevertheless as one of the better episodes of the series and perhaps one of Johnny Byrne's very best.

Year One Date: Mon, 12 Jan 1998 09:59:22 +0000 Subj: Re: Space1999: Another Time, Another Place By the way, how are the first names of some of our favourite Andersons pronounced, Gerry and Gillian? Is it like Jerry and Jillian?

In the SPACE:1999 DOCUMENTARY I think Gerry Anderson referes to himself as "Jerry"... From: Petter Ogland ([email protected])

Missing Link

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07. Missing Link An important turning point in the discussion happened at the stage of discussing the seventh episode. So far the theoretical positioning within the debate was done by referring to different thinkers and intellectual traditions, in very broad terms, but at this time John Kenneth Muir released his book Exploring SPACE: 1999, making it possible for discussants to position themselves in relation to a particular work in literary criticism specifically dealing with Space: 1999. Although discussants disagree with Muir’s interpretations and personal views, the book becomes an important reference for articulating an idea about how the British-made Space: 1999 played an important transitional role in the development of American science fiction from the age of Star Trek to the age of Star Wars. In 1993, however, Pierre Fageolle had written a comparable theoretical work called Cosmos 1999: L'épopée de la blancheur. Although a second edition of the book was released in 1996, this important book does not enter into the discussion until reaching the sixth episode of the second series. Unlike Muir, who mainly sees Space: 1999 in the context of American popular culture, Fageolle developed a broader perspective, quite similar to some of the participants in the 1997-98 discussion, positioning his interpretation of the series by referring extensively to theories of art, music, literature, psychology, religion and politics. In other words, Fageolle and Muir represent two very different positions in how to interpret Space: 1999. On the other hand, not being able to position themselves within the an articulate discourse created in the tension between Muir and Fageolle did not prevent the discussants from continuing their journey of exploration. In the case of the seventh episode one discussant saw it as di Lorenzo continuing his reflection on the relationships between analytic philosophy and society. Other discussants made contributions to the understanding of the episode by comparing it with David Lynch’s The Elephant Man, Lewis Carroll’s Alice in Wonderland, Shakespeare’s the Tempest and Stanley Kubrick’s 2001: A Space Odyssey. From: Petter Ogland ([email protected]) Date: Tue, 13 Jan 1998 10:38:56 +0000 Subj: Re: Space1999: Another Time, Another Place / Missing Link

Hi all, In his introduction to our discussion of ANOTHER TIME ANOTHER PLACE last week, David Acheson wrote: I agree with Petter Ogland that this episode also marks the turning point for the series. The first five episodes were essentially early scripts that were worked on by various soles at the time the series was taking its first steps. In many ways, they were experimental episodes at a time a direction was trying to be forged out of the show. ANOTHER TIME, ANOTHER PLACE was the first fully scripted Johnny Byrne episode to be filmed and definitely set the gothic, philosophical tone much of the rest of the series would follow.

This is very much the way I feel about ANOTHER TIME ANOTHER PLACE. The change from the early episodes to the later ones was a gradual one, however, and it was not nescessarily for the better, I feel, perhaps finding the early experimental episodes to be some of the best in the series.

The next installation, MISSING LINK, is also a rather experimental episode, I feel, not too unlike RING AROUND THE MOON in many ways, perhaps not too surprising as this was also written by Edward di Lorenzo and directed by Ray Austin. It will be interesting to read the discussion concerning MISSING LINK. My impression so far is that there seems to be much more unison appraisal for MISSING LINK than for it's older sister RING AROUND THE MOON. For me, however, the two episodes seem very related, both in terms of writing and execution. Very much like RING AROUND THE MOON, I feel MISSING LINK is a discussion on machines, conciousness and intelligence. While many of the early episodes of SPACE: 1999 investigate ideas in 2001: A SPACE ODYSSEY, the di Lorenzo manuscripts seem, for me at least, to be the ones that goes most deeply into the philosophical aspects in Clarke and Kubrick's work. What seems to be a central theme in 2001 is the development of technology and intelligence; the evolution of intelligence per se from the dawn of man, when we were

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hardly distinguishable from the apes, suddenly developing the simplest form of technology, the club, via the most impressive technology man could create by the end of the 21st century, the space technology, then how intelligence trancends the humans by the machines (HAL-9000), and at last the odyssey of man into himself. Much of the critique of human society in 2001, perhaps trying to make the computers more sympathetic than the humans, is somewhat mirrored in the social critique in MISSING LINK, I feel. The Zennites, dressed like fantasy versions of Flemish renaissance people, live a life of pure though. Zenno is a world of light and though, of pure enlightment, a mathematicians paradise. This kind of life, the life of the scientists, and perhaps a mirror of Alpha itself, is contrasted to the less pleasant side of science such as experiments with animals. The questions about experiments with animals is a central point when the Zennites are about the make experiments with humans as the Zennites seem to feel towards the humans as the humans feels towards the animals. Di Lorenzo seems to be making a point here about the "objectivity" of science, I think. On one hand, because of the objectivity the scientists have to disregard any feelings that might be contributed to the animal subject or any other object they are investigating. On the other hand, as Vanna experiences, the only profound understanding of anythin comes from being able to project ones owns feelings into the subject, especially if one is an athropologist as Raan proposes to be. Very much like in RING AROUND THE MOON, di Lorenzo seems to be interested in this kind of self reference, the problem of analysing something objectively without taking part. In RING AROUND THE MOON the eye of the Triton probe functioned almost like a microscope, investigating Alpha as if it was inhabited by ants or some kind of virus. In MISSING LINK the observers have taken a more humanoid form, but much of the central idea to the plot seem to be the same.

What is the motivation of Raan, anyway? Early in the episode he explaines that the Zennites need to fulfil their knowledge of themselves, and as the humans represent a missing link in their chain of evolution, the way humans function with feelings and all need to be investigated in order to understand why a life by pure though does not seem to work, or does it? Raan proposes to do experiments with Koenig. What does the experiment with the demonlike Victor signify? Well, more on this later. Personally I find RING AROUND THE MOON and MISSING LINK to be two of the most interesting episodes in the series, much because of their though provoking themes and their ability to accentuate problems and ideas that are as interesting today as they were when they were proposed, perhaps because there does not seem to be any simple answers. In this manner I feel more strongly for RING AROUND THE MOON and MISSING LINK than, say, ANOTHER TIME ANOTHER PLACE. While ANOTHER TIME ANOTHER PLACE does seem to have a lot to say about the human experience, I feal, at least for the present, that the problems raised in RING AROUND THE MOON and MISSING LINK are somewhat more profound, at least it feels so in my case. Perhaps I relate more to these episodes as I am a person spending most of my working hours with computers and mathematics. Perhaps. What are your thoughts on MISSING LINK, David? Tony? We havn't heard much from you after your excellent analysis of BLACK SUN, have we? I remember your comments on BLACK SUN stimulated abundance of reflections from other list members. You haven't said too much on MISSING LINK yet. And what about you Quintin, I was surprised we didn't hear more of your views on ANOTHER TIME ANOTHER PLACE, I thought this was a kind of episode that could trigger of endless philosophical and religious associations. I'm also longing for your contributions, Pat. You are certainly one of the most fascinating contributers to this list. I relish your letters.

Missing Link Petter

From: [email protected] (B J Dowling) Date: Tue, 13 Jan 1998 23:23:03 +0000 Subj: Space1999: Missing Link

Hi folks, Working like crazy, deadlines looming with intimidating speed, offline at work... it isn't quite going according to plan at the office. Consequently I'm shattered, and it's only Tuesday! Thoughts on Missing Link will follow eventually, as soon as I can chill, relax and get time to sit down and watch it. Prentis Hancock also appears in the Doctor Who story "The Ribos Operation" (1979). I can't say much more about Prentis or the story, I haven't watched the video yet. Oh, and before I fall asleep on my keyboard, a very off-topic request for our South African based Alphans: Can anyone tell me what the Afrikaans for "Do you speak Afrikaans?" is? Nighty-night

From: Patricia Embury ([email protected]) Date: Tue, 13 Jan 1998 20:41:40 -0500 Subj: Space1999: Missing Link rant

I know there are others on this list who really like this episode. My post will disappoint them. I have to start off saying that this is not one of my favorite episodes. Overall, I found some scenes to be entirely laughable, i.e., the spinning camera effect and Koenig's nightmare sequence with the old hag. The scene in which Koeing spins in his quarters on Zenno saying "I am a man, not an experiment". I laughed. It didn't ring true to me, for some reason. It reminded me of "The Elephant Man." The writers didn't explore the

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experimentation/exploitation theme as efficiently as they could have. They touched on it, and switched the storyline to the Koenig loves (or pretends to love) Vaana. Maybe they were trying to get across that exploitation can take many forms, but it could have been done better. I also didn't believe that Koenig really fell in love with Vaana that quickly, as the novelization states. He was using her to irritate Raan into sending him back to Alpha. Look at the way he smiled and reached for Helena after he awoke on Alpha. The injuries irritate me also. Again, Carter gets off with a minor concussion, while Koenig, and more importantly the others, have more serious injuries. Granted, Victor and Sandra weren't restrained, as Koeing and Carter were, but Carter should have been hurt worse if you add up the force they were traveling vs the force of impact. There were some good things. The Eagle crash and rescue scene were superbly done. The dim lighting on the alternate Alpha gave the atmosphere/sense that something was terribly wrong. The misspelling of Koenig's name on the monitor was the telltale sign that all was not right. Barry Morse was superb. Delivering his speech about saving himself was so out of the Victor character, you knew he had such a mastery over the Victor character that he could deliver those lines flawlessly. Nick Tate, Prentiss Hancock , and Clifton were very passionate, and appropriately worked up. Carter by this time, has become almost fanatically loyal to Koenig as Commander, and doesn't seem to think anyone can fill his shoes. Mathias, although seemed like a vulture, telling Dr. Russell she should remove the life support, really wasn't. The life support removal scenes featured the best character writing. Barbara Bain's delivery of the lines was great, she portrayed the Doctor/family member role perfectly. I didn't care for her CPR/Code skills left a lot to be desired! I know, I've cared for several brain dead or arresting patients in my work. Granted, they couldn't do a real code, because you can hurt a live person by precordial thumping them, and in the 70's, the body of knowledge about CPR, and resuscitation wasn't as developed as it is now. However, you don't thump someone in asystole! She seemed to believe the cardiac monitor she doubted before, and you don't run a code on someone with a pulse. Life support

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can't and won't support someone without a pulse, which Koenig apparently had! They never stopped to check! Peter Cushing did well, but I couldn't help note a very sinister undertone to his performance. I was almost reminded of his portrayal of Governor/ Grand Moff Tarkin, as he deliveres some of his lines. I almost expected him to say "The Alphans are a dead race, Commander, and you, are the last one." Sorry for the length of this post.

From: Riccardo Iommi ([email protected]) Date: Tue, 13 Jan 1998 23:23:36 0700 Subj: Space1999: Missing Link Italian version

Hi Alphans, someone may be curious about how Italian broadcasters translated the original title Missing Link: the answer is THE SPACE LOVERS!

From: "Mark Meskin" ([email protected]) Date: Tue, 13 Jan 1998 22:29:08 -0600 Subj: Space1999: Missing (the boat) Link

Pat hit many of the the points about this pile o crap. Top 3 worst episode. Only Ring are the Moon and Rules of Luton were worse. Everyone is SO out of character. Its funny, I didn't remember this episode from my childhood, and when I fist read the synopsis for it, I thought, Hey what a great script idea. Then I saw it..ugh. The blurb I read filled my mind with Koenig being found by an alien race after his Eagle crashed and then the doctors slowly coming the realization that Koenig is really an ancient ancestor of theirs. What we got was pure garbage. Raan's little mind games with Koenig make no sense at all, and the cool SFx of the Eagle CM being removed is total eclipsed by the fact that we see Koenig and Dr Russell in the Service section! Did Koenig get cut in half when the pressure door close as the module released? No wonder he's near death! One last gripe, how does Carter manage to pull the Eagles nose up at the last minute in a powerless Eagle? Methinks that with his record he's had some supercompressed gas tanks mounted in the front of the eagle, which he can open by pulling on cables which require no ship power.....:-) Just for once I'd have loved to see a crash like that (with the Eagle falling from orbit) smack the moon at high speed and leave a Huge crater. !!!!!!!!! Well at least it would be real! -Mark

Keep an eye on your orbit Riccardo

From: Riccardo Iommi ([email protected]) Date: Wed, 14 Jan 1998 01:52:37 0700 Subj: Space1999: missing link

Hi Alphans, here are a few notes on Missing Link, the first 1999 episode I ever watched (I was only 6 years old). The shot which fascinated me most is Koenig's fight with the monsters (his subconscious? His errors?) and his desperate seeking for help with Victor: in Missing Link we see how the warm scientist has just become a brother figure to Koenig, maybe the reflecting part of his conscience, in contrapposition with the manof-action part of it. In fact, why didn't he ask for help to Helena? Good psychological game. However, I found the episode a bit too slow in his development, and some confusion emerges (what about Keonig? Who is he? Why was Sandra chosen to bring back the commander, and not Helena or Victor?) In the end, look at Koenig's smile: is he awakening from a nightmare?

Missing Link Keep an eye on your orbit

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dreams and nightmares and an very emotional and creative way of filming.

Riccardo

From: "Petter Ogland" ([email protected]) Date: Wed, 14 Jan 1998 11:13:19 +0000 Subj: Re: Space1999: Missing Link rant

Hi all, Pat wrote: I know there are others on this list who really like this episode [MISSING LINK]. My post will disappoint them. I have to start off saying that this is notone of my favorite episodes. Overall, I found some scenes to be entirely laughable, i.e., the spinning camera effect and Koenig's nightmare sequence with the old hag.

I found the camera work excellent in this installment. Creative camera work of this kind seems to be a trademark of Ray Austin. The only one who comes close to it is David Tomblin, I think, perhaps in his THE INFERNAL MACHINE in particular, which includes some rather fancy cinematography. I can't see what should be laughable about MISSING LINK, however, particulary not the spinning camera effect, which was excellent in my opinion. I must admit, on the other hand, that the Koenig's nightmare sequence didn't work all that well with me either, but I didn't think of it as particulary bad, just that it was a bit too theatrical for my taste. As it was rather short, I felt it was ok for illustrating the emotional disturbance as an aftermath of Raan's first experiment. The scene in which Koeing spins in his quarters on Zenno saying "I am a man, not an experiment". I laughed. It didn't ring true to me, for some reason. It reminded me of "The Elephant Man."

I thought this was a rather fine sequence, and by the way, I also liked "The Elephant Man". Come to think of it, the directoral styles of Ray Austin and David Lynch don't seem all that different. Lynch also has this obsession with

I also didn't believe that Koenig really fell in love with Vaana that quickly, as the novelization states. He was using her to irritate Raan into sending him back to Alpha. Look at the way he smiled and reached for Helena after he awoke on Alpha.

I view this differently, but whether Koenig was in love or not is an interesting question. If he were simulating he would have to do this in a very convincing way as the Zennites were capable of reading his mind. After having watched this episode several times I'm now under the impression that he was actually in love. He was doomed to spend the rest of his life on Zenno, so perhaps this was the best he could make out of it. It is particulary interesting when Sandra enters, I think. Koenig is still under the impression that it is all a dream, and that he is not able to return to Alpha. When he finally decides to return he does not seem to bear too many harsh thoughts for the Zennites. Quite to the contrary it seems. There were some good things. The Eagle crash and rescue scene were superbly done.

I agree, and also seem to remember that this crash was voted the best Eagle crash in the whole series by many on poll on this list some time ago. The dim lighting on the alternate Alpha gave the atmosphere/sense that something was terribly wrong. The misspelling of Koenig's name on the monitor was the telltale sign that all was not right.

Extravagant direction by Austin in the sequence, I feel, he seems to be a master of such moody sequences. This sequence and similar sequences in THE TROUBLED SPIRIT were far superior to what Crichton (GUARDIAN OF PIRI) or Tomblin (FORCE OF LIFE) managed to do, the way I see it. Barry Morse was superb. Delivering his speech about saving himself was so out of the Victor character, you knew he had such a mastery over the Victor character that he could deliver those lines flawlessly. Nick Tate, Prentiss Hancock , and Clifton were very passionate, and appropriately worked up.

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For some reason the acting really seem to excell in the Austin and Katzin installments. I feel BREAKAWAY, BLACK SUN, RING AROUND THE MOON and MISSING LINK are far superior to the other episodes we have disucused so far in this respect. In the Crichton and Tomblin episodes the acting seem much more formula. In the episodes mentioned above I sense the characters are much more unpredictable and alive. This aspect alone makes MISSING LINK and the others worth watching I think. Carter by this time, has become almost fanatically loyal to Koenig as Commander, and doesn't seem to think anyone can fill his shoes.

In di Lorenzo's previous effort, RING AROUND THE MOON, Carter seemed rather annoyed by Koenig. I think this 180 degree turn seems very fit for the type of character Carter seems to represent, emotionally driven, popular but extremely dependent on his superiors. I can't remember if there were any confrontations between Carter and Koenig in EARTHBOUND. There was a minor controntation in ANOTHER TIME ANOTHER PLACE, as Carter couldn't understand why Koenig hesitated the landing party, but the kind of suspicion regarding Koenig's ability to make the right choices, perhaps most explicitly elaborated on in BLACK SUN and RING AROUND THE MOON, did not seem to be present. Peter Cushing did well, but I couldn't help note a very sinister undertone to his performance. I was almost reminded of his portrayal of Governor/ Grand Moff Tarkin, as he deliveres some of his lines. I almost expected him to say "The Alphans are a dead race, Commander, and you, are the last one."

Peter Cushing is one of my favourite actors. I just saw him cast as Osric in Sir Laurence Olivier's "Hamlet" (1948). He certainly developed quite a lot since then, but did a remarkable role there as well, much better than Robin Williams in the 1997 Branagh version, I think. Regarding the presence of Peter Cushing I feel just like Brian exclaimed about Christopher Lee in EARTHBOUND. Just the fact that they

casted Cushing makes the episode enjoyable in itself. Petter

From: "Petter Ogland" ([email protected]) Date: Wed, 14 Jan 1998 12:04:04 +0000 Subj: Re: Space1999: Missing (the boat) Link

Hi all, Mark wrote: Pat hit many of the the points about this pile o crap. Top 3 worst episode. Only Ring are the Moon and Rules of Luton were worse.

Oh dear! On my list MISSING LINK rates one of the top 5 best episodes I believe, together with RING AROUND THE MOON and others. RULES OF LUTON is not one of my favourties, however, although I think it gives some insight to how Fred Freiberger was thinking about Sci-Fi, not too unlike his two other scripts. The blurb I read filled my mind with Koenig being found by an alien race after his Eagle crashed and then the doctors slowly coming the realization that Koenig is really an ancient ancestor of theirs.

This sounds nice. I suppose this could have made fine premise for an interesting episode too. What we got was pure garbage. Raan's little mind games with Koenig make no sense at all, ...

It made perfect sense to me, in fact one of the most meaningful episodes in the series as I see it. Lots of interesting ideas being discussed in this one, I feel, just like BREAKAWAY, BLACK SUN and others, an episodes that continues to be interesting during repeated viewing, perhaps, just like RING AROUND THE MOON, an episode that even improves by repeated viewing as there is so much happening.

Missing Link Some of the best episodes are like symphonies, I feel. During the first hearing one often just catches some of the surface themes and structures, while upen repeated listing, new ideas and structures are revealed. MISSING LINK is definitely such an episode, for me at least. By the way, what are your favourite episodes, Mark? Perhaps I like some of the things you like, although you don't seem to share my enthusiasm for what I consider to be definitive highlights of the series. Petter

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always survive Eagle crashes with only minor injuries. It is the opposite of Bergman's Second Law: All Moonbase Alpha Personnel with Purple Sleeves Die / Get Injured (this is a corolllary of the Red Sleeved Starship Enterprise Personnel Principle). Seriously, before Alan left Earth for his tour of duty Alpha he went on vacation in a little town called the Shire. There he purchased a Ring of Power from a hooded figure riding a large horse. Perfectly logical explanation why he survives explosions, fistfights, monsters, time warps, etc. without so much as a discreet patch of band-aid on his head. Enough physics for one day. My head hurts.

From: LKJ1999 ([email protected]) Date: Wed, 14 Jan 1998 17:31:56 EST Subj: Space1999: Did You notice...MIssing Link.

Hi All... Missing Link. Did anyone on this list notice anything new added to Main Mission? This is the first time we see this ( THING) Added to Main Mission... We did not see this thing in the first six episode's... Chas P LKJ1999

From: Date: Subj: rant

[email protected] Wed, 14 Jan 1998 17:39:51 EST Re: Space1999: Missing Link

On Tue, 13 Jan 1998 20:41:40 -0500 Patricia Embury writes: The injuries irritate me also. Again, Carter gets off with a minor concussion, while Koenig, and more importantly the others, have more serious injuries. Granted, Victor and Sandra weren't restrained, as Koeing and Carter were, but Carter should have been hurt worse if you add up the force they were traveling vs the force of impact.

Ah, but that would violate Bergman's First Law: All Eagle Piolts named Alan Carter

From: Patricia Embury ([email protected]) Date: Wed, 14 Jan 1998 20:48:22 -0500 Subj: Re: Space1999: Missing Link rant I can't see what should be laughable about MISSING LINK, however, particulary not the spinning camera effect, which was excellent in my opinion.

I think the spinning camera combined with the blinking lights, was too much for the viewer to digest in such a short time. If they had cut out the blinking lights, it might have played better for me. The two combined, moved the sequence from creative cinematography to an almost garish state. I must admit, on the other hand, that the Koenig's nightmare sequence didn't work all that well with me either, but I didn't think of it as particulary bad, just that it was a bit too theatrical for my taste. As it was rather short, I felt it was ok for illustrating the emotional disturbance as an aftermath of Raan's first experiment.

I'm glad you mentioned this, because it brought up another point. Raan told Koenig that this was his first experiment. Since Koenig "knew" this was the first experiment; he quickly figured it out, and told Raan that he knew it wasn't the real Victor, I think this nightmare was a reaction to his kidnapping.

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Year One I thought this was a rather fine sequence, and by the way, I also liked "The Elephant Man". Come to think of it, the directoral styles of Ray Austin and David Lynch don't seem all that different.

I liked the Elephant Man also. Although Koenig values acting on emotion, allows an emotional component to influence his decisions (i.e., Collision Course), the sequence was overdone, too theatrical. If Landau had stared, or confronted Raan directly, eye to eye, face to face, screaming the lines at him, it would have seemed more in character for me. After having watched this episode several times I'm now under the impression that he was actually in love.

I agree, this is definitely an interesting question to discuss. I think Koenig has had to learn to guard his thoughts, and his expressions, in dealing with the politics involved in Command, both on earth and in dealing with Simmonds. Koenig has demonstrated himself to be a very passionate and emotional person, not the type to give up on anything. I don't think he would settle for life and love with an alien, and ditch Helena so easily. He and Helena have a history, apparantly a good relationship, from the way Helena reacts to the predicament. Maybe it's just the hopeless romantic in me, but I don't see how anyone could just throw that away. When he finally decides to return he does not seem to bear too many harsh thoughts for the Zennites. Quite to the contrary it seems.

The fact that Koenig didn't hold any harsh feeling towards Raan puzzled me. Raan and John discuss lessons they learn, and seem to be great friends. I don't think I could be as forgiving to someone who wanted to stick me under a microscope for the rest of my life. In di Lorenzo's previous effort, RING AROUND THE MOON, Carter seemed rather annoyed by Koenig. I think this 180 degree turn seems very fit for the type of character Carter seems to represent, emotionally driven, popular but extremely dependent on his superiors.

I think this would take some time. Do you know how long of a time between Ring around the moon and this episode occur? I'd have to look at the timeline in the Cybermuseum. The

conflict between Carter and Koenig added spice to the show. Carter is a leader, but he needs to know what is expected of him, so he can fulfill his duty. He needs a C.O that can and will challenge him. I think the show lost a little something when they eliminated some of the conflict between the two characters. Carter didn't have a big role in Earthbound. I don't remember any conflict between the two. Peter Cushing is one of my favourite actors.

Peter Cushing is a wonderful actor. I'm glad they cast him in this role, because his sinisterlike presence added to his performance. I would have liked to see his role deepened somewhat, made more meaningful. It just seemed so superficial, for lack of a better word, almost like a comic book portrayal of a mad scientist. Cushing was so good as Tarkin, because it was such a meatier role. Raan needed more depth. I realize you won't get Shakespeare in a one-hour show, but so much can be done in the limited frame of time.

From: JSchill824 ([email protected]) Date: Thu, 15 Jan 1998 00:37:00 EST Subj: Space1999: Missing Link Tops!

Hi Alphans, My first episode I saw of S9 was Missing Link when I was 12. This could be why its my favorite episode, and what a great lead in to talking about this weeks episode. What can I say, having Peter Cushing and Joanna Dunham gave this already great episode a boost! Plus the filming again is creative and stunning. When I recently got an uncut version of Missing Link it was really great seeing parts that were originally cut to add commercials. In the beginning scenes where John is walking through the Medical Center he passes a mirror and turns to see himself in that mirror. I've never saw this part before - it reminds me of "Alice in Wonderland" - which would relate truly to the story. Its amazing how important each scene is, and if taken out how much the viewer is misses out!

Missing Link My over all take on the show was not the obvious concentrating on the comparing of the feeling vs. thinking issue, but how one handles the pains of separation. A good example of this is when Vanna says that the Zennites do not fear death because they believe in the continuing flow of life. However, when John is about to leave her, she is confused. Separation like this is also a lot like death. How does one handle a loved one now gone? Even Koenig's own people were having a lot of trouble dealing with the loss of their commander. They would have rather had him hooked up to a machine between life and death then to loose him. To give some handle on all this Koenig sums it up nicely when he says "... cross the bridge between your world and mine... as long as you think of me, feel for me, I'll be with you." I know there are many who don’t like this episode (uh hmmm, Hi Barry White sleeve #143 !) but for me this was the best! I guess it helps if you like Martin Landau which I do! I happen to love the great nightmare sequence. All the crazed aliens pulling at John and when John's covered with cobwebs pleading for Victor to help him great! Wow, the way he lifts his hands to clear his face, the weight of those cobwebs ( he edge of insanity. [sic.] Its wonderful! What more can I say Martin Landau is the best! P.S. Thanks Petter for all you wonderful comments again on this episode! Until Tomorrow, Janet

From: "Petter Ogland" ([email protected]) Date: Thu, 15 Jan 1998 17:34:27 +0000 Subj: Re: Space1999: Missing Link rant I'm glad you mentioned this, because it brought up another point. Raan told Koenig that this was his first experiment. Since Koenig "knew" this was the first experiment; he quickly figured it out, and told Raan that he knew it wasn't the real Victor, I think this nightmare was a reaction to his kidnapping.

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This sounds fair, but didn't Koenig say that he was fooled by the projection of Victor because he wanted him so much to be real? I think the sequence with Victor was splendid. It was fascinating to watch how Koenig reacts to Victor's odd behaviour. Unlike how Koenig stood up to Simmonds, in the case with Victor he seems just to be feeling dreadful, withdrawing quickly out of the medical section. Perhaps he is thinking that Victor must have a bad day. It seems, however, that he is not thinking at all, just feeling desperate to get away from the uncomfortable situation. Instead of parrying Victors shouting aggressiveness, he flicker his eyes nervously and backs out. Magnificent interpretation, I feel, from both actors. The episodes induces a state of confusion almost matching the ongoings in COLLISION COURSE. ...I liked the Elephant Man also. Although Koenig values acting on emotion, allows an emotional component to influence his decisions (i.e., Collision Course), the sequence was overdone, too theatrical. If Landau had stared, or confronted Raan directly, eye to eye, face to face, screaming the lines at him, it would have seemed more in character for me.

He-he. It's interesting how Koenig treats Zantor and Simmonds so differently in EARTHBOUND. While he does not seem to show Simmonds any respect at all, he treats Zantor with the same respect that he has for Raan. Perhaps he feels that he knows Simmonds, and knows he can't trust him because of his prevailent opportunism. On the other hand he seems to have some kind of awe for the unknown, feeling there must be some reason while Zantor or Raan are acting the way they are. Neither show any kind of malevolence although we do not know who they are and what they represent. It was rather interesting in EARTHBOUND, I think, that upon seeing how friendly Koenig was with Zantor and his companions, Simmonds tells Koenig to be careful. "They might not turn out to be as friendly as they seem". I remember this sentence made quite an impact on me as a child some twenty years

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Year One

ago, because maybe Simmonds was right? Were Koenig and all being put on by the Kaldorians apparent friendliness? In a later segment, DEATH'S OTHER DOMINON, both Helena and Victor did not read the situation correctly, and it took time before John realised the drafulness of it all. The situation was somewhat similar in next weeks GUARDIAN OF PIRI, except in this case the Alphans were druged by the Guardian or by the promise of paradise. A wonderful episode, by the way, I think I'll watch it tonight in order to be prepared for next weeks discussions. In the case of Zantor, Koenig seemed to be right in his judgement. His judgement of Raan seems to build on a similar intuition. Perhaps the appearance of Raan's daughter, Vanna, makes him think that this magician can't be all that bad, at least he seems to care for his daughter. In some ways MISSING LINK resembles Shakespeare's THE TEMPEST, I think. In the play there is a similar relationship between the magician Prospero and his daughter Miranda. The play also opens with a ship wreck, like in MISSING LINK, and the survivors are guided to an island ruled by light and magic, but also by the wild Caliban conjuring up scenes like the sequence with Koenig's nightmare. One central theme in THE TEMPEST is the love affair between Miranda and Ferdinand from the ship wreck, very much like Vanna's encounter with Koenig, but while Miranda weds her beloved Vanna has to stay behind as John sets sail back to Alpha. Peter Cushing is a wonderful actor. I'm glad they cast him in this role, because his sinisterlike presence added to his performance. I would have liked to see his role deepened somewhat, made more meaningful. It just seemed so superficial, for lack of a better word, almost like a comic book portrayal of a mad scientist.

I liked both the role of Raan and the way Cushing did it. I didn't feel the role to be a mad scientist, although Cushing is an expert in giving life to such characters. His portrayals of dr. Frankenstein, which he did six or seven of between CURSE OF FRANKENSTEIN (1957) and FRANKENSTEIN AND THE MONSTER FROM HELL (1973), where

among his most famous roles on the screen. Even in such roles, or perhaps in such roles in particular, he made an extreme effort out of giving the characters life, trying to be the character rather than to act him, as he explained for instance in his quite interesing autobiogrphy, written in the early seventies if I remember correctly. The benvolent/malevolent characteristics of Raan is a nice example of his acting abilities, I think. It is particularily interesting to see how much Cushing plays his role by using an extremely well modulated voice while at the same time keeping an empty glance on his eyes, looking into the camera or otherwise, indicating that he is not quite there. A wonderful performance, I think. Petter

From: "Petter Ogland" ([email protected]) Date: Thu, 15 Jan 1998 18:23:06 +0000 Subj: Re: Space1999: Missing (the boat) Link 1. Dragon's Domainthe pentultimate Space:1999- a man obsessed and enough space horror to be forever imprinted on my 7 or 8 year old brain. Great music!

Very good episode indeed. Although one of the last episodes to be produced it was one of the first to be written, I believe. The use of Albinoni's Adagio in G minor is superb. While it's a sort of comment on Kubrick's 2001, the effect is quite different, I feel. Kubrick's witty use of The Blue Danube emphasizes some of the satirical aspects of 2001, while Albinoni's Adagio underlines the beauty and the tragedy that so often prevails in SPACE; 1999. The use of the Adagio is perhaps more reminicent of Visconti's use of Mahler in Death in Venice (1971). 2. Black Sunthis IS Space:1999- speculative, erie, philosophical and religous in a story that goes beyond the Series

I was so surprised when I read Muir's "Exploring SPACE: 1999" that he rated this so

Missing Link lowly. Barry Morse mentioned it especially as a favourite in THE SPACE: 1999 DOCUMENTARY, and Martin Landau, in an interview recently added in Robert's Cybrary also comments upon this as his favourite, followed by BREAKAWAY, another episode he was very happy with. 3. Wargamesgreat concept, great sfx, very moody, doomed episode.

Also one of the first episodes written, I believe, and yet turned out to be one of the later ones to be produced. This is certainly one of my favourites. I'm surprised, however, that you rate it so highly as it is so abstract in content and "illogical". Nevertheless, nice to see it on the list. 4. The last Sunset Again, this IS Space:1999. The Alphans find what they've been searching for, right under their noses......and then lose it again.

Once again one of the eight first scripts in the series that was produced at a later stage. Although it is much of a paraphrase over ANOTHER TIME ANOTHER PLACE, I think, it is perhaps the other way around. Byrne may have been inspired by this rather focal episode for his writing of high hopes and deep falls. 5. Breakwaway I actually think this is one of the weaker teleplays, but I like it because its the introduction to a show that is so different and unusual and groundbreaking.

For me this is the first and the best of all SPACE: 1999. It was the first episode I saw. In Norway they followed the line of production, the same sequence we are using for our discussions. I'm not quite sure exactly when it was aired, but I believe it may have been the autumn of 1975. I remember the episode made tremendous impact on me. When I saw it for the second time, over twenty years later, I was surprised to find how enjoyable I still found it. Excellent story, magnificent acting and direction as I see it. If you gave me six choices, I'd pick Testament of Arcadia as well, just for its beautiful music

103 and tastefull narration. The Arcadia as Eden story I thought was crap though :-)

THE TESTAMENT OF ARKADIA was a nice way to finish it up, I think. That it was Johnny Byrne that got the last word was quite nice, I feel. The series had developed quite a lot from BREAKAWAY by now, but very enjoyable nevertheless. Perhaps being inspired by the effect of using Albinoni in DRAGON'S DOMAIN they used Serge Lancen to a similar effect here. By the way, a very orthodox list, Mark, I would say. I believe it would be hard to find anyone who would not have these five on his/hers top 12 list. You have a forceful way of expressing yourself when it comes to episodes you don't like too much, however. You remind me a bit about Ggreg there. What happend to Ggreg anyway? I miss him. Petter

From: [email protected] (South Central) Date: Thu, 15 Jan 1998 11:38:48 -0800 Subj: Re: Space1999: Missing Link rant

I personally find Missing Link to be a "beautiful" episode with an Alien world and culture that is truly "alien". However I want to comment briefly on what Petter said. I never noticed the dead on similarity to The Tempest!!! That was inciteful and cause for much thought. The fact that Koenig chooses to return to Alpha alone not only puts the Tempest in a future setting but it builds upons it. Rather than just transpose it from one time to another, it takes it one step further and asks,"How would the new times and the specifics of the new character affect the outcome of the story?" Very interesting. Mateo BTW I used to say Astheria too--why? I never saw press release material. Is it in the Technical Notebook that way?

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Year One Does anyone know if a good *.JPG file exists of the Zennite city?

From: Date: Subj:

[email protected] Fri, 16 Jan 1998 00:50:03 EST Space1999: Missing Link

Here's my $1.999 cents worth: 1. Goofs / Nits: The most obvious - Koenig's name is spelled wrong on the medical center monitor. Or did they do it that way on purpose to show Raan is fallible? Kano's desk appears out of nowhere. I don't recall seeing it in any of the earlier episodes up to this point. I checked and it wasn't in "Another Time, Another Place" or "Ring Around the Moon." Dr. Mathias gets bonk... er, beat up again, two episodes in a row! Security really needs to get their people in shape when one pilot who crashes every Eagle they've got can kick the crap out of three security men. Was all the music for this episode composed by Barry Gray? 2. Plot holes: I know we discussed this before but it appears they don't have a command hierarchy on Alpha. This doesn't make sense to me. Every organization has a structure so that if the top dog is disabled or leaves the organization doesn't collapse. Yet, for the third time in seven episodes we are shown that this doesn't exist for Alpha. In "Matter of Life and Death" and "Another Time, Another Place" John puts Victor in charge. Now, I like Victor as much as the next guy but he has no official capacity on Alpha. He's a visitor as indicated by his lack of a sleeve color. This is a clear bypassing of proper chain of command. John could put Victor in overall charge of a project but he shouldn't put every facet of the base under his care. This is something I don't think they really thought about that they should have. Just picking nits. 3. Artwork / Visuals: The scene of the Zennite city on the Main Mission big screen is beautiful. The other shots were less effective due to the blobby orange light around them.

The cinematography and direction in the opening sequence were great. They gave a very ethereal, dreamlike quality to the proceedings. I disagree that Koenig's walk through Alpha was too long. The shot in the travel tube was dark and scary. The look on Martin Landau's face when he saw Koenig's name on the monitor with the flat life sign reading was great. I could just hear Koenig thinking to himself, "Am I dead? And if I am, where am I?" The first encounter scene between Raan and Koenig was also good. One minute their on the other side of the room, the next shot they are right next to each other as Raan says, "I hope you enjoy your stay here on Zenno, Commander Koenig." Just the WAY Cushing delivers that line is priceless. The whole episode had a kind of dreamlike quality about it that I liked. 4. Model work: Good Eagle crash and animation of Zenno. The Cargo Eagle makes its first appearance since "Breakaway." The cardboard cutout command module nearly ruins the sequence, however. 5. Dialog Triumphs: "Tanya, you have the most beautiful voice in the world!" "The mind is master of all things." "How does it feel to play God every day?!" "Love is the bridge between all worlds." 6. Dialog Disasters: "I still feel it is more important to feel than to think." I hated every word of this as a kid. But now I can't make up my mind what Koenig is trying to say. Is it, "We got so high and mighty and full of ourselves with our technology and put out feelings on the back burner and where did it get us? Blasted out of orbit of our home world and wondering all over the place in a universe we never made. Let's go back and have some emotions. Maybe it's what makes us human." Comments anyone? 10. The bottom line: B-. Cinematography and direction are good. Acting from Landau,

Missing Link Cushing and Morse is excellent. Barbara Bain, on the other hand, leaves something to be desired. Her weepy dronings are almost laughable. She is totally unbelievable as the doctor who has to pull the plug on the man she loves. She must have been having a bad day or hadn't quite figured out where Helena and John were in their relationship because she just doesn't do her usual good job. The show also got a little draggy in spots. 11. Misc: Barry Morse's portrayal of the "evil" Victor is superb. We had seen him as an "alternate" Victor before in "Another Time, Another Place" but he was playing essentially the same character in the parallel universe: Victor Bergman, scientist-philosopher speculating about man's presence in a universe he doesn't fully understand. This Victor was played perfectly. Just the right level of nastiness and evil without going over the top and degenerating into self-parody. In the novel, the evil Victor told John that a spaceship had been found that could take a small number back to Earth. Kind of blended parts of "Earthbound" with "Missing Link." The nightmare sequence scared the hell out of me when I was a kid. And when Martin Landau wound up covered in cobwebs it was very creepy. He also did a great job in that sequence as Koenig hysterically pleaded for Victor's help. We never saw James T. Kirk so weak and vulnerable and this scene made Koenig come alive for me in later episodes. He wasn't a cardboard hero who solved all the problems and could catch bullets in his teeth, but a real flesh and blood human capable of being pushed to the brink of madness. Thankfully, 1999 did not rely on the lead characters falling in love every other week as seemed to happen on the third season of the original Star Trek. "Matter of Life and Death" was Helena's "lost love" story and "Missing Link" was John's. And that was it. I wish they had kept Vanna's line from the novel about reading an ancient book and experiencing the feeling they once called love. It would have helped emphasize the point that the Zennites had lost their emotions as their intellects evolved. It would have also given a

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motivation to Raan rather than just the old cliche of Earthmen used as guinea pigs by aliens that has been done in every TV SF show since Captain Video. I like Peter Cushing's hat. Puts those "Cat in the Hat" hats that are popular with the young kids around here in the summer to shame. Who was the other Zennite that appeared? His character name was uncredited and the actor was not listed in the ending credits. Anyone know who he is and why he wasn't given credit? Whew! Sorry to be so long. :-P Now time to take a break and prepare for "Guardian of Piri." David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: "Petter Ogland" ([email protected]) Date: Fri, 16 Jan 1998 09:58:22 +0000 Subj: Re: Space1999: Missing Link The cinematography and direction in the opening sequence were great. They gave a very ethereal, dreamlike quality to the proceedings. I disagree that Koenig's walk through Alpha was too long. The shot in the travel tube was dark and scary. The look on Martin Landau's face when he saw Koenig's name on the monitor with the flat life sign reading was great. I could just hear Koenig thinking to himself, "Am I dead? And if I am, where am I?"

Magnificent. This is also how my mind goes when watching these early scenes. It is interesting how Koenig doesn't seem the least bit scared, yet quite perplex. To me it doesn't seem like he does very much thinking, it seems more like "What is this? Where are everybody? Why isn't Paul answering? Why is this place empty?" Janet wrote some quite wonderful lines about these scenes the other day, I remember. For her

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Year One John's covered with cobwebs pleading for Victor to help him great! Wow, the way he lifts his hands to clear his face, the weight of those cobwebs (fear) looks tremendous.

the tricks with mirrors reminded her of "Alice in Wonderland". She wrote: In the beginning scenes where John is walking through the Medical Center he passes a mirror and turns to see himself in that mirror.

For me the scene with the mirror reminded me of the similar scene with Lee Russel in MATTER OF LIFE AND DEATH. Lee seems to be looking into the mirror to see what he looks like. Does he look like Helena's Lee? Is he in fact Helena's Lee? Perhaps John is thinking along similar lines in MISSING LINK. As everybody seem to have vanished, is he sure that he is still there? Perhaps he checks in the mirror to see if it will show his normal reflection. Regarding the eerie scenes in the beginning, perhaps Austin found some inspiration in Nicholas Roeg's DON'T LOOK NOW (1973). In Roeg's famous horror film there is a little red dressed character running around in Venice, filmed in a very similar manner to how Austin lets Vanna run around. It's also a bit similar to the little rabbit in Lewis Carroll's "Alice in Wonderland" (1865). In Tim Heald's book on SPACE: 1999 director Charles Crichton explains Lewis Carroll to be one of his main sources of inspiration for handling SPACE: 1999. My over all take on the show was not the obvious concentrating on the comparing of the feeling vs. thinking issue, but how one handles the pains of separation. A good example of this is when Vanna says that the Zennites do not fear death because they believe in the continuing flow of life. However, when John is about to leave her, she is confused. Separation like this is also a lot like death. How does one handle a loved one now gone?

Very nice put, Janet. David compared MISSING LINK to MATTER OF LIFE AND DEATH in the way it handles the loss of a loved one. I also think RING AROUND THE MOON touches upon this quite nicely, the scenes where John realiess that Helena has been abducted. Quite wonderful in all three cases, I think. I happen to love the great nightmare sequence. All the crazed aliens pulling at John and when

I've felt a bit like Pat here, that the effects where becoming a bit too noisy, but as you point out, Martin Landau uses the opportunity to express extreme fear in a rather convincing manner. It is almost as if all the latent anxity from the empty Alpha sequences, the loneliness and the insanity of it all, are suddenly released upon Koenig. Landau's acting is excellent. David wrote: 6. Dialog Disasters: "I still feel it is more important to feel than to think."

I felt it a bit distracting that they needed a moral at the end of the story, but, just like in RING AROUND THE MOON, the stated moral puts the development of the story so far into a new light, at least it did for me. In the case of RING AROUND THE MOON, the moral was about the reason we are searching knowledge. In MISSING LINK it is the conflict between thoughts and feelings it seems. My impression is that the moral of MISSING LINK is very similar to THE GUARDIAN OF PIRI and partly the premise of THE END OF ETERNITY. On their path of evolution the Zennites seem to have developed enormous intellectual capacity, but emotions have been somewhat lost during the way. Raan is therefore using Koenig in order to try to understand the function of emotions, Koenig being a primitive driven mostly by his feelings instead of following his intellect. In this particular episode, the problem of escaping Zenno is solved emotionally, as it turns out. Koenig lets all rationale go and falls in love with Vanna. He acts by pure instinct, and perhaps without knowing it, saves his own soul from an eternal life under the microscope. Petter

Missing Link From: [email protected] (South Central) Date: Fri, 16 Jan 1998 11:11:25 -0800 Subj: Re: Space1999: Missing Link

In response to djlerda's comments on Missing Link, the best image of the Zenno City is in the "This Episode" section, full-screen and no "blobby orange border". I loved your description of Victor--it was "perfect". You described him as a "scientistphilosopher speculating about man's place in a universe he doesn't fully understand". Great post! Mateo

From: [email protected] Date: Sat, 17 Jan 1998 00:10:54 EST Subj: Space1999: Missing Link (continued)

I also forgot to mention that in the novelization of "Missing Link" it is Paul Morrow who gives the order to pull the plug on Koenig. He is also written as a stronger character and clearly Koenig's second in command. Just thought I'ld pass that on...... :-)

From: Date: Subj:

[email protected] Sat, 17 Jan 1998 14:15:38 -0500 Space1999: Missing Link

Very few comments on this one. I went back to double check this, but Koenig and Carter are not wearing their seatbelts when the eagle crashes. Gee, if they had been wearing them, there would be no episode. I've always liked Kano's spinning console, and this is its first appearance. It looks natural, but it is wrong to be on the surface of the moon and talking into your commlock. First, the suits have radios in them. Second, if the suit radio was not working, you would have to hold the microphone part of the

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commlock up against your helmet so it can pick up your voice carried by the vibrations through the helmet, since there is no atmosphere to carry the vibrations made by your voice. Anyone who has read any amount of SF has seen astronauts touch helmets to talk when the radios didn't work or they needed privacy. It is interesting to see Koenig's name spelled wrong, on purpose, since it is spelled right in the real Alpha. Koenig's trip through the fake Alpha was nicely done in a dream-like state that I find I don't feel like quibbling with minor details. They can be excused in a dream-like situation. Raan says Koenig is right thinking he was brought to the planet in a ship. Hunh? Neat trick being able to swip him from the eagle and leave a duplicate, swipe Sandra out of Medical and leave a duplicate, and then return both without anybody seeing it happen...all using a ship. I have an easier time believing in matter transference in this case. I know some will say it was Raan continuing to manipulate Koenig, but that's weak. I then have to ask why Koenig didn't question it himself. I know this whole business always bothered me, and from the first time I saw this episode. I, for some reason, always seemed to think that Koenig and Sandra's spirits were on the planet, and their physical forms were on Alpha, or that's how I would always remember it. If Koenig is vowing in one scene to keep on fighting, even to die if necessary, then why in the next scene is he in his robe and jammies? "I'll fight you and die if I have to...but first let me get comfortable." I don't think so. The Stockholm syndrome aside, why does Koenig suddenly decide to go for Vana and leave behind his command? It's third season Captain Kirk stuff, and Freddie isn't even producing yet! In part it is weak story structure. I feel they spent too much time on the mechanics of getting the injured Koenig back to Alpha, so they had no time and you are left with Koenig defiant one moment, and hot to trot the next, ready to stay where he vowed he would leave even if he had to die.

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It's time for all of you to groan cause I'm going to mention it again. Whispering. This time Koenig is whispering his lines, and the guest stars are speaking normally...in the same scenes. There is just no reason for it. I feel there is a difference between being soft and expressing awe, and whispering, which can be used for dramatic effect, but only if used sparingly. By the way, I enjoyed the answers and discussions my comments sparked last week. The only thing more healthy than people agreeing is people disagreeing.

From: David Acheson ([email protected]) Date: Sun, 18 Jan 1998 10:18:54 PST Subj: Space1999: Missing Link

Alphans: Am I ever late this time. I honestly didn't think I would make it in time to put my two cents in before MISSING LINK week was up. I have worked over 50 hours so far and am spending a beautiful Sunday afternoon at the office. I decided to take a break and add yet another review to the list. Overall I would rate MISSING LINK in the same category as EARTHBOUND. Average to slightly above average. Not one of the best but not a clunker like I think RING AROUND THE MOON was. Edward di Lorenzo, in my own opinion, has fared a bit better with this script and Ray Austin 's direction was greatly improved. I just did not get the feeling that this was a five or ten minute story stretched to an hour like their earlier effort. In a way it was too bad di Lorenzo left the project at this point because we just don't seem to have a fare assessment of his overall quality. I know some here have also heavily criticized this episode but that is okay. We all have different tastes! Di Lorenzo's departure marked the end of the early attempts (in year one) for ITC to get American writers and directors. He is American isn't he? What worked best for me in the episode is the study of the Alphans' reactions to Koenig's

near-death situation. We clearly started the series off with a bunch of strangers who were like lost sheep in the cosmos after the Breakaway event. Mistakes were made (especially by Koenig)which made the situation (on a human level if not on a scientific level)realistic. But after time we would expect a community to be forged. MISSING LINK shows that this new community has clearly started. The Alphans see Koenig as their natural leader (for good or bad) and can't fathom replacing him with someone else so soon into their journey. Although not in the scripts, I would suspect that after this episode Koenig and his staff would lay out procedures for a new command structure - A made-on-Alpha set of rules to replace the ones created on Earth. Most memorable scene - the coffee cup falling and Kano yelling at the girl in Main Mission. Don't ask me why this scene sticks out! I suspect the coffee wasn't decaf. Paul should have hit the Red Alert alarm to really make it dramatic. And maybe a few security guards running in with their lasers drawn. Would launching an Eagle be too much? Smile. Peter Cushing was great as the alien Raan in my opinion. The story about capturing Koenig's soul was a bit silly but the idea of us being a missing link to an alien species was quite interesting for 1970's sci-fi. Makes sense too if we take into account the later episode THE TESTAMENT OF ARKADIA. Could the Arkadians be the forerunners of both Earth and Zenno. Hmmmmmmm............. As for the comments about Raan being somewhat sinister I believe the comment that di Lorenzo was trying to make was this: The Zennites may just not be all that different from humans after all despite their self-acknowledged superiority. Raan gets jealous and Vana falls in love. For trivia buffs, Joanna Dunham who played Vana was in the Gerry Anderson pilot THE DAY AFTER TOMORROW. The Zennite city was spectacular considering it was a matte painting. But for 1975 this was a great improvement over the poorly painted cities seen in the 1960s. Just too bad the logistics wouldn't allow for a walking tour of the city. I believe with today's effect that

Missing Link would be possible. Just watch STAR TREK: THE NEXT GENERATION to see such effects. Before I go I have a question to the list. My cousin claims that the love music played in this episode (when Koenig and Vana fall in love and kiss) was music from the movie JOURNEY TO THE FAR SIDE OF THE SUN (or DOPPELGANGER as it is known in Europe). He says it is in the scene where the astronauts are sleeping during the long flight to the other planet. I suspect he is wrong but wanted to see what others on this list say.

109 Overall I would rate MISSING LINK in the same category as EARTHBOUND. Average to slightly above average. Not one of the best but not a clunker like I think RING AROUND THE MOON was.

Apart from the more dreamy style of MISSING LINK, as compared to EARTHBOUND, I also find these somewhat similar, perhaps because of the presence of Cushing and Lee in respective episodes. For me these two are the epitome of Hammer Pictures of the sixties, and makes me automatically link them. The long white wigs they both use also make some visual similarities.

David Acheson

From: South Central ([email protected]) Date: Sun, 18 Jan 1998 10:54:30 -0800 Subj: Space1999: Missing Link/Doppelganger music

He is wrong about the music. I had that music on tape and all the 1999 episodes on cassette tape too. I used to listen to them as a kid. The music is not even similar, neither in melody nor istrumentation. You can safely bet on this one. Mateo

From: Petter Ogland ([email protected]) Date: Mon, 19 Jan 1998 10:49:40 +0000 Subj: Re: Space1999: Missing Link

Hi all, David Acheson wrote: Am I ever late this time. I honestly didn't think I would make it in time to put my two cents in before MISSING LINK week was up. I have worked over 50 hours so far and am spending a beautiful Sunday afternoon at the office. I decided to take a break and add yet another review to the list.

None of our discussions are finished before you have made your contribution, David.

I know your not a great fan of RING AROUND THE MOON, David. That's OK. For me, however, RING AROUND THE MOON and MISSING LINK seem intrinsically interrelated, both being written by Edward di Lorenzo and directed by Ray Austin. The intense use of yellow does perhaps make the episodes emotionally related in some way. For me, at least, I get some of the same feeling from watching these two episodes. Edward di Lorenzo, in my own opinion, has fared a bit better with this script and Ray Austin 's direction was greatly improved.

I feel both the di Lorenzo stories to be extremely inadvert and interesting both from a psycological and philosophical point of view. I find it difficult to say which one is the better, but subjectively I find RING AROUND THE MOON more enjoyable, although MISSING LINK may be a bit clearer on the philosophical aspects. Regarding Ray Austin's style of direction, I find both episodes rather experimental and fresh, but once again perhaps RING AROUND THE MOON a bit more stylish and surprising. RING AROUND THE MOON was marred with a few special effects that didn't seem too convincing, thinking of the ray of light forced against the eagles. Other aspects of Brian Johnson's work was rather good I felt, like the spinning eagle in RING AROUND THE MOON and the eagle crash in the beginning of MISSING LINK. Di Lorenzo's departure marked the end of the early attempts (in year one) for ITC to get

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Year One American writers and directors. He is American isn't he?

From what I've read di Lorenzo was an American writer living in the UK at the time. I've also understood that he left the series and let Byrne and Penfold take over the par of script editors. I'm not quite sure when he left. In THE GUARDING OF PIRI he is still credited, I noticed when watching that episode the other night. As a matter of fact, Penfold is not credited writer on this episode, but appears on the introdcution lables as "story consultant". I wonder who was the real brain behind THE GUARDIAN OF PIRI. Perhaps it was di Lorenzo? Or can it have been Charles Crichton, the director? Or were there any other reasons for giving Penfold such a modest credit? [....] I get more and more impressed by some of your writing, David. Have your read John Kenneth Muir's "Exploring SPACE: 1999"? My impression is that we are now going far deeper than Muir ever did in his, in many ways, thought provoking and interesting book. I hope you managed to write something more of an introduction to THE GUARDIAN OF PIRI, if time allows you. As I see it, you have an incredible ability to absorb some of the most striking ideas on this list, adapt them into

your personal interpretation of the series, and then, as it seems, present the results clearly and interestingly in your weekly contributions. Although we do not alway agree on every detail, I feel you are becoming more and more a spokesman for the dedicated reader/writer on this list. I really enjoy your posts. The Zennite city was spectacular considering it was a matte painting. But for 1975 this was a great improvement over the poorly painted cities seen in the 1960s. Just too bad the logistics wouldn't allow for a walking tour of the city. I believe with today's effect that would be possible. Just watch STAR TREK: THE NEXT GENERATION to see such effects.

I think the Zennite city looked OK. Wasn't there a sequence with a space ship passing over the purple sky of Zenno? As matte paintings go, however, I was far more impressed by Keith Wilson's work on MISSION OF THE DARIANS. Some of the interior shots of S.S. Daria created a quite more convincing alien landscape than painting in MISSING LINK. The matte paintings with the eagles in ANTOHER TIME ANOTHER PLACE and TESTAMENT OF ARKADIA were also excellent, I think. Petter

Guardian of Piri

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08. Guardian of Piri According to one of the discussants, the moral of the episode is an old tale so there is no venturing into new territory. Namely we are in the man versus machine debate. On Piri machine took over man quite easily by making man lazy. Then again this was man's own doing, but man has a last chance and that is with Koenig. While man versus machine is not new territory in terms of science fiction, another discussant says, it is a theme that remains important and interesting as the world continues to develop. Space: 1999 manages to comment further on Kubrick's 2001 in this episode, he feels. In the mid-part sequence "18 months later" in 2001, HAL-9000 seems friendly enough in the beginning, speaking of how he fulfills his needs by controling the spaceship. The astraunauts, on the other hand, are almost reduced to apathetic creatures, playing chess against a superior intelligence, having a sun bath like the Alphan's on Piri, eating or making pointless conversation. A third discussant, who often tends to position himself in a existentialist religious frame, says that the moral of the story is profound. Namely, that there is something intrinsically human about failure, pain, death, struggle and labor. Yes, Guardian of Piri is an indictment of the principial escapism of the drug culture. But more than that, it shows in high resolution that without the existential struggles of work, pain, death, etc., we humans are worthless. From: [email protected] Date: Sun, 18 Jan 1998 16:05:14 -0500 Subj: Space1999: Episode by episode THE GUARDIAN OF PIRI

we are using 1 inch reels, they are much thinner and compact. Andre Beauchamp

Hi all! If everything went ok during my personnal blackout, we should be talking about the GUARDIAN OF PIRI episode this coming week. Before you all watch this episode, i want you to see a blooper in it, i saw that blooper a few months ago, after many years watching this episode without seeing it. At that time, i sent a note about it on this list, so i'm sending it again for those of you who want to see it.

From: David Acheson ([email protected]) Date: Mon, 19 Jan 1998 02:44:51 PST Subj: Space1999: Guardian of Piri

Creatures of the Moon: A new week and time to rush in my review of GUARDIAN OF PIRI before I lose the chance at all. It took a Black Sun, a time warp and a few deep space adventures before the moon arrived at the first alien solar system (Zenno). But have you noticed how fast the moon got from Zenno to Piri?

At 28 min. 12 sec. from the beginning of the episode, something funny is happening. At this point John Koenig is leaving medical center and Bob Mathias who was offering a drink to the commander. John is walking in a corridor and you can see many persons packing stuff around him, then a women comes from left to right with a white case supported by a clear strap, then (now that's the blooper) the clear strap brokes and the case hits the floor doing some noise and this noise seems to disturb Martin Landau who is turning himself around to see what happened.

Putting that aside,GUARDIAN OF PIRI remains a personal favourite of mine definitely a top ten episode. I have not really rated them before so I can't say what number but its one of the tops for me. This is the first episode with my favourite combination of first year writer and director: Christopher Penfold and Charles Crichton. They seem to click more times than not.

FYI : the white plastic case who hits the floor is in fact a 2 inches videotape reel case. I had many of them at my job years ago. Now today

The moral is an old tale so we are not venturing into new territory. Namely we are in the man versus machine debate. On Piri

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Year One

machine took over man quite easily by making man lazy. (Then again this was man's own doing!) But man has a last chance and that is with Koenig. Now I know what some may say. The Guardian has managed to take over the minds of 300 Alphans and yet Koenig has not been affected. Sure, this may make Koenig a superhero type but this is television. If he was taken over, end of episode and end of series. We see, for the first time, the Alphans committing mutiny. And Koenig is not happy about it. His first reaction is anger. He slugs Alan in the Eagle on the way back to the moon and tears into the computer in Main Mission when the evacuation is under way. After they depart he sulks. Then the servant arrives and he gets mad again and will fight hell and high water to save his people. To me this switching of emotions make Koenig more believable because he is fallible. Not a cartoon-like figure such as Captain Kirk. Barbara Bain shines in this episode as we see her do something more than be the cool robotic doctor. She shows a playful girlish side that we won't see again until year two. Even Barry Morse is allowed to goof off this time around which is nice to see when it is a rare event. I wish more could have been done about Kano though. He was the star of the first 15 minutes. Being the computer nerd he is left to defend computer when things begin to go wrong on Alpha. Remember that immortal line: "When will they ever learn"? As soon as he is beamed down to Piri his importance to the storyline disappears. It would have been nice to have him fight Koenig or his own emotional attachment when the final confrontation took place on the planet. A minor point overall. This episode is about the sexiest year one ever got. Hairy-chested Alphan males with their shirts off and our Sandra wearing nothing but a towel. And of course, the scantily-clad Catherine Schell. How deliciously sinful! Funny but it took several years before I realized that Catherine Schell was the guest star in this episode. I never knew it the whole time year two originally ran. I mananged to catch a rerun of GUARDIAN OF PIRI one day a few years after the series was cancelled and I

saw her name in the episode credits. What a shocker! I believe this episode is the start of Keith Wilson's (the set designer) love of white plastic bubbles. See them appear in several later episodes including THE AB CHRYSALIS. The universe seems to be filled with these things. Overall, the bizarre, unique look of Piri (and most other 1999 worlds) is what makes it stand out from your standard TV sci-fi planet. That's about all for now. Someone else's turn to talk about the episode. David Acheson

From: Jhon ([email protected]) Date: Mon, 19 Jan 1998 07:40:34 -0500 Subj: Space1999: Piri

Perhaps, one of my favourite episodes, The Guardian of Piri spends half an episode not with the Guardian, but with the Guardian's helper. I guess a planet-sized machine couldn't fit on Alpha to heal Koenig's wounds. Anyway, that's one of my personal peeves; the other concerns Kano and his brain implant experiment. First of all, why do we only hear of this experiment now? It's an interesting tool and could be used more than once. Secondly, why does Dr. Russell explain the history of the experiment to a bunch of nurses aides and technicians? Does she feel the need to fill them with information? Are they going to be promoted to doctor? I feel that this scene could have been shortened to allow for more development of Kano on the planet. Kano could have become part of the force of the guardian, along with the servant of the guardian. He could have walked out of that circular portal with her. The exodus seemed quite short. A typical exodus would take at least 24 hours. There are simply not enough eagles to carry 300 people. I didn't notice any eagles returning to Alpha, besides the one supposedly left for John.

Guardian of Piri Maybe the Guardian transported the remaining Alphans to Piri and let everyone think that they were carried by eagle. I really enjoy the music from this episode. Well, I shouldn't say music, but rather, interesting background sounds. They added to the mystery of Piri. Someone on the set designer crew really enjoys the color red; did you notice how many episodes use red as the primary color of the planet background or landscape? It does really make everything look vibrant.

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"Guardian of Piri" is really a smashing episode. Without delving into all of the technical things that make this episode so grand, I would say only that the moral of the story is quite profound. Namely, that there is something intrinsically human about failure, pain, death, struggle and labor. Yes, Guardian of Piri is an indictment of the principial escapism of the drug culture. But more than that, it shows in high resolution that without the existential struggles of work, pain, death, etc., we humans are worthless. Quintin

The servant of the guardian is very convincing. Every Alphan save one was lured by her gentle cooing. I would have thought that at least one other Alphan would not be affected, particularly, Alan. The final planet scene is both bizarre and excellent. The use of soap bubbles as the planet is coming back to life is so simple, yet it is used so well that it seems natural. Cool use of a cheap special effect. I really enjoy the shot of the moon moving out of orbit. Crowds of Alphans scurrying to the eagles is also quite different for S99. You can even see someone trip and twist her ankle. Very realistic in the sense of mass hysteria. Where did they get the name Piri? If the planet was never before seen, how was this name decided upon and why did it agree with the name that the servant of the guardian used? We hear Victor use the name after his collapse, but the guardian had not directly contacted any Alphan yet. Was the name implanted into computer and her database by the Guardian? Did victor have a fascinating dream which revealed the true name of the planet? Had Kano connected himself to computer without Helena's knowledge? Questions, questions, questions!!! They need to be answered. jhon

From: Date: Subj:

From: [email protected] (South Central) Date: Mon, 19 Jan 1998 12:39:40 -0800 Subj: Re: Space1999: "Guardian of Piri" -- and Other Meanderings

Once again my VCR is broke (actually it is now in the trash--or rather was, I put it in the corner trash barrel and someone fished it out) so I can't watch the episodes again. BUT I have always understood that the way the Guardian gave the Pirians the "Peace of Piri" was by "making them perfect" . This means by slowing and eventually stopping time for them. I have not seen this idea in the posts so far. I did not make this up. I either got it from the episode itself or from the novelization. I think it is in the dialogue spoken by the Servant. Koenig protests that this means death for humans. Perfection = a single "perfect" state = no change = stopping of time. As a kid of 11 I never understood this concept and this episode, until I paid real close attention. Comments?

QGMorrow ([email protected]) Mon, 19 Jan 1998 13:03:35 EST Space1999: Guardian of Piri

Alphans,

Once again I don't think the planet seen in Missing Link over the lunar horizon is Zenno. Mateo

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Year One

From: [email protected] Date: Mon, 19 Jan 1998 20:22:35 EST Subj: Re: Space1999: "Guardian of Piri" -- and Other Meanderings

On Mon, 19 Jan 1998 12:39:40 -0800 [email protected] (South Central) writes: Once again I don't think the planet seen in Missing Link over the lunar horizon is Zenno.

Mateo, I have to respectfully disagree. When Koenig first meets Raan he tells him that the Alphans computer reported that all the worlds in the solar system were dead. Raan replies that the computer read that way because he wanted it to . When Koenig looks in the Main Mission screen and when Raan shows him Zenno, the moon is hanging in the sky. Also in the experiment, Victor tells John that not all of the worlds in the system are dead, one is alive. Now, why the Eagle went out of control and crashed is nevef really explained. Did Raan cause the crash? Surely this would be simple for him to do. With his powers he could make Alan and Koenig push the right buttons. But why? It wouldn't make any sense to risk his lab rat being killed in an Eagle crash. Unless he had to have a subject in a state of near-death in order to steal the subject's soul. Raan said he had waited a long time for an Earthman. Just a little grist for speculation. The idea that Piri and Zenno are in the same solar system (Kryton, I believe) intrigues me. Piri has purple-ish hues in it. Perhaps the Pirians were descendents of the Zennites. They developed their machines to handle all of their physical labors to concentrate on their intellectual pursuits and then made the mistake of developing the Guardian to run the machines. The Zennites could have seen the results and decided to also develop their intellect but hold off on building machines to do their labor. Just a little speculative grist. David J Lerda, [email protected] "Just because we haven't experienced

something doesn't mean it doesn't exist" - John Koenig

From: David Acheson ([email protected]) Date: Mon, 19 Jan 1998 18:57:37 PST Subj: Space1999: Zenno and Piri

Has anyone ever thought of the obvious. If the Guardian had the power to stop the moon dead in its track and Piri was in the same system as Zenno then wouldn't the Guardian try to dominate the Zennites? I just don't buy the idea they are in the same solar system. Besides what would Raan gain from not warning Koenig that the moon was heading directly for Piri? It works better for me if they were in two separate solar systems. David

From: Petter Ogland ([email protected]) Date: Tue, 20 Jan 1998 11:02:05 +0000 Subj: Re: Space1999: Guardian of Piri

Hi all, David Acheson wrote: A new week and time to rush in my review of GUARDIAN OF PIRI before I lose the chance at all. It took a Black Sun, a time warp and a few deep space adventures before the moon arrived at the first alien solar system (Zenno). But have you noticed how fast the moon got from Zenno to Piri?

Have you noticed how they speak about the Universe of Piri in that episode? The only time else I can remember the episodes being concerned with other Universes was in RING AROUND THE MOON. Perhaps Edward di Lorenzo had a greater influence on this episode than what can be read from the credits? This is the first episode with my favourite combination of first year writer and director: Christopher Penfold and Charles Crichton. They seem to click more times than not.

Guardian of Piri I've read that Crichton was more engaged in the development of the scripts than any of the other directors. GUARDIAN OF PIRI was his first collaboration with Penfold as a scriptwriter, I understand. They later continued to collaborate on THE LAST SUNSET, WAR GAMES, SPACE BRAIN and DRAGON'S DOMAIN. Of this lot I find perhaps GUARDIAN OF PIRI and WAR GAMES the most interesting, but value all five efforts on the better half of first year of SPACE: 1999. The moral is an old tale so we are not venturing into new territory. Namely we are in the man versus machine debate.

While man versus machine is not new territory in terms of science fiction, it seems to be a theme that does not seem less interesting overthe years. Working daily with computers I feel quite the contrary. SPACE: 1999 manages to comment further on Kubrick's 2001 in this episode, I feel. In the sequence "18 months later" in 2001, HAL9000 seems friendly enough in the beginning, speaking of how he fulfills his needs by controling the airship. The astraunauts, on the other hand, are almost reduced to apathetic creatures, playing chess with a superior intelligence, having a sun bath like the Alphan's on Piri, eating or making pointless conversation. By the way, reading John Kenneth Muir's "Exploring SPACE: 1999" I'm struck with how much time and space he uses to compare the series to STAR TREK. As I see it, STAR TREK seems only to have been a minor influence in year one, while 2001: A SPACE ODDYSEY seems to have been a rather major influence. The metamorph into year two, of course, is heavily influenced by STAR TREK. This is also what the producers wanted, I suppose, engaging Freiberger to have such a important part in the development of the season for the better or worse. Well, more on this later, perhaps. To me this switching of emotions make Koenig more believable because he is fallible. Not a cartoon-like figure such as Captain Kirk.

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I agree. Sylvia Anderson wanted him even more fallible, I remember reading somewhere, but I think it works out fine the way it does. To me it seems that Koenig is more in a state of shock than anger. I feel that he, like in MISSING LINK, seems to react as if he understands nothing of what is going on, and most of the things he does is out of desperation, perhaps not unlike the conflict with the aliens in WAR GAMES where he acts out of frustration, more or less irrationally, perhaps feeling it is better to do something than just to be an observer. Come to think of it, it is most often Victor that is the sensible one, making plans and ideas, while John is the one who has to make the decisions, and often making them based on intuition rather than on fact. A MATTER OF LIFE AND DEATH is a fine example, I think. Barbara Bain shines in this episode as we see her do something more than be the cool robotic doctor. She shows a playful girlish side that we won't see again until year two. Even Barry Morse is allowed to goof off this time around which is nice to see when it is a rare event.

Not being particulary enthusiastic about how the characters were redefined for the second year, I find Barabara Bain's performance in GUARDIAN OF PIRI, however, very charming. The way she talks and behaves she sometimes resembles a fourteen year old, I think. Incredibly silly! Barry Morse is really goofing off. Some of the lines he produces are delicious, like the one where he sits back to back with Helena on Piri mumbling on about "the true potensial of our brains" or something similar. I really enjoy the satirical parts of THE GUARDIAN OF PIRI. Victor's unexplainable enthusiasm for Piri, at the early stages of the episode, and John's friendly reaction to this is also a highlight, I feel. Just like in many Monty Python sketches, it is sometimes more interesting to watch how people respond to strange behaviour than the strange behaviour in itself. I wish more could have been done about Kano though. He was the star of the first 15 minutes. [....] As soon as he is beamed down to Piri his importance to the storyline disappears. It would have been nice to have him fight Koenig or his

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Year One own emotional attachment when the final confrontation took place on the planet. A minor point overall.

Kano lineing up with the servant of the guardian would be an interesting idea, as Jhon pointed out. This episode is about the sexiest year one ever got. Hairy-chested Alphan males with their shirts off and our Sandra wearing nothing but a towel. And of course, the scantily-clad Catherine Schell. How deliciously sinful!

I have been wondering what this is all about. Perhaps the lightly dressed Alphans are being used as a metaphor for the ecstacy of being under the influence of the Guardian. The way people behave, it also seems like a parallell to the drug culture of the late sixties, epitomized perhaps with the chaos at Woodstock with similiarily lightly dressed and druged people. When they revolt against Koenig, however, the episode seems to draw more on religious fanaticism as Victor acts as a priest before the alter of the Guardian. The episode certainly says something about being careful about going into a non-thinking state and following authorities blindly, no matter how sensible this may seem. Funny but it took several years before I realized that Catherine Schell was the guest star in this episode. I never knew it the whole time year two originally ran. I mananged to catch a rerun of GUARDIAN OF PIRI one day a few years after the series was cancelled and I saw her name in the episode credits. What a shocker!

Catherine Schell really looks smashing in this one. I can understand why she was chosen to take part in ON HER MAJESTY'S SECRET SERVICE (1970), but even more interesting, she is a remarkably capable actress. In an interview Muir did with her some years ago, reprinted in his book, she explains some of her ideas concerning how to play the servant, trying to add some kind of cold and robotic like character to it, and being terribly nervous about what director Charles Crichton would think of this, Crichton being a director of the military school from what I've understood. Nevertheless, I think it turned out brilliantly. THE GUARDIAN OF PIRI seems to me to one of the more relaxed Crichton efforts, not

having the actors jumping around so nervously that they almost have difficulty with acting naturally. Schell is absolutely wonderful, I think. She has some of the same kind of presence as Helena, I think, delivering her lines very much in the same friendly, concerned, but still very controlled manner. Excellent. Really makes one think, doesn't it? I believe this episode is the start of Keith Wilson's (the set designer) love of white plastic bubbles. See them appear in several later episodes including THE AB CHRYSALIS. The universe seems to be filled with these things.

In my opinion Wilson was overdoing it in THE AB CHRYSALIS, with those long sequences of bouncing balls that didn't seem to add too much to the drama except for puzzeling visuals, although THE AB CHRYSALIS was a fair enough episode as compared to other Year II epiodes, I think. Did he use the plastic bubbles in other episodes? More on GUARDIAN OF PIRI later, Petter

From: Date: Subj:

[email protected] Mon, 19 Jan 1998 22:27:23 EST Re: Space1999: Zenno and Piri

On Mon, 19 Jan 1998 18:57:37 PST David Acheson writes: Has anyone ever thought of the obvious. If the Guardian had the power to stop the moon dead in its track and Piri was in the same system as Zenno then wouldn't the Guardian try to dominate the Zennites?

Couldn't there be a range limitation on the Guardian's power? Or the Zennite civilization could have arisen first and was sufficiently advanced to protect itself from the Guardian's designs. (I hear Martin Landau's voice in the distance shouting at me: "Knock it off! It was just a TV show! Move out of your parents' basement and get a life!" :-)

Guardian of Piri David J Lerda, [email protected]

From: Riccardo Iommi ([email protected]) Date: Tue, 20 Jan 1998 05:36:39 0700 Subj: Space1999: Guardian of Piri

"THERE IS ONLY ONE MOTION AND THAT IS PERPETUAL MOTION" (Francis Picabia) Hi Alphans, here are some observations about The Guardian Of Piri: 1. This definitely is one of my top 5 of Y-1 (By the way, here they are: Black Sun, Breakaway, Guardian of Piri, Space Brain, Dragon's Domain) 2. Kano fighting for saving his own face is really great: everyone on Alpha is against him, but he insists protecting his computer (which he considers a sort of brother); at last, when he realizes that the machine is killing the humans, he chooses the extreme sacrifice. Look at the changing in his moods when he faces Koenig alone: good job, mr. Jones! 3. It's difficult to see Bergman happy like a child, and Koenig knows that well. But how about treating the Piri matter throwing off any scientific approach? Bergman, a Nobel Prize? In Koenig's clothes, I would've been a bit confused too! 4. Catherine Schell is really nice, although I recognized her as Maya only years after Piri aired for the first time! 5. Good work also by mr. Phillips with is nerve-broken reply to Helena: seeing Mathias angry is somewhat extraordinary! 6. Poor doctor Mathias gets stunned for the Nth time! 7. Mr. Landau would be awardable just for the solitude scenes: great! 8. How do you see Victor as the leader of the "enchanted"?

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9. Good work from Mrs. Bain: in this episode she appears really charming, letting me envy mr. Landau! 10. The Alphans staring at the Guardian's light, in my opinion, has something in common with drug addiction or even some drug-based religion, just as the script would mean "only a man fighting and suffering for earning a life can be called a man": remember Koenig breaking the monitor with his hand. He refuses the easy way of leaning the wounds and prefers the pain, because "he is a man". Doesn't it look like the fight against the dark side of the Force in Star Wars? Now come on with The Guardian of Piri! Keep an eye on your orbit and thanks, Riccardo

From: South Central ([email protected]) Date: Tue, 20 Jan 1998 14:54:08 -0800 Subj: Re: Space1999: Zenno and Piri

Was Landau actually quoted as saying that? When and where? Thanks, Mateo

From: Date: Subj:

[email protected] Wed, 21 Jan 1998 00:46:00 EST Re: Space1999: Zenno and Piri

No, he never said that. It was a joke. In 1987 (I think) William Shatner was the guest host of Saturday Night Live and they did a sketch of him appearing at a Star Trek Convention. A guy in the audience wearing rubber Spock ears and a T-shirt that said, "I Grok Spock" asked Shatner some inane trivia question. Shatner responded, "C'mon. It was just a TV show, etc., etc." Kind of Shatner's way of poking fun at the EXTREME Star Trek fans - you know the ones who just want to escape from reality

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and totally wrap themselves up in Star Trek and shut out the outside world. I thought it was hilarious but it apparently pissed off a lot of people. I am not aware of any instance of Landau ever saying anything negative about the fans. In fact, I am not aware of Landau saying much about the show, period. David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: Petter Ogland ([email protected]) Date: Wed, 21 Jan 1998 09:51:14 +0000 Subj: Re: Space1999: Guardian of Piri

Hi all, Quintin wrote: the moral of the story is quite profound. Namely, that there is something intrinsically human about failure, pain, death, struggle and labor. Yes, Guardian of Piri is an indictment of the principial escapism of the drug culture. But more than that, it shows in high resolution that without the existential struggles of work, pain, death, etc., we humans are worthless.

I suspected you liked GUARDIAN OF PIRI, Quintin, lots of possibilities for theological and philosophical interpretations in this one. From what I've heard Johnny Byrne is an Irish Catholic. This makes sense to me, watching episodes like ANOTHER TIME ANOTHER PLACE and THE TESTAMENT OF ARKADIA with people dressed like monks and shepards talking about hope and guilt. I don't know much about Penfolds religious or philosophical preferances, but scripts like GUARDIAN OF PIRI, THE LAST SUNSET, WAR GAMES, SPACE BRAIN and DRAGON'S DOMAIN do seem to have some religious aspects to them. Many of the Penfold episodes seem to dwell on philosophical ideas. The scenario of GUARDIAN OF PIRI is, as David Acheson has pointed out, not a terribly original concept in itself. When discussing

man vs. machine, Mary Shelley's novel "Frankenstein" (1817) is often quoted. If not the first to deal with men, science and consequences of science running wild, creating a "monster", the novel was written during the early stages of the industrial revolution, and is as such an interesting comment on problems that have grown no less during the elapse of time. The issue of Man vs. Machine seems to be quite prominent in SPACE: 1999. At times it is a rather central point with episodes like RING AROUND THE MOON, GUARDIAN OF PIRI, THE INFERNAL MACHINE perhaps in particular, but also more indirectly in episodes like BREAKAWAY ("human decision required"), BLACK SUN (Victor's comments to Computer while making mathematical formulae), EARTHBOUND (Zantor showing a not-too-impressed attitude towards human made computers), VOYAGER'S RETURN (human hybris and science with fatal consequences), WAR GAMES (the MISSING LINK like dialogue between the Landaus and the Aliens on the computer like planet with interior which resembles computer hardware), and SPACE BRAIN that draws a parallell between the universe and a computer or a biological organism. For me GUARDIAN OF PIRI seems to be written as a warning against adapting too quickly to the technological advance without considering the change of values that a technological development may induce. In some ways it seems quite fit, I think, that Victor is the first to accept the ideas of the Guardian, being the one that embrases everything that might improve science and technology. Helena behaving like she is drunk, later on, is also a fine idea, I think, her being the most controlled, seemingly totally adapted to the "brave new world" style of life on Moonbase Alpha, that might easily evolve into apathy and death, like it does on Piri. I don't know if Penfold's warning about computers taking over physical and mental work, drugging society, makes sense today. The world is certainly much more digitalised than it was in 1975, but it would be difficult to say whether people feel more or less alienated than they did then.

Guardian of Piri Quintin often quotes French existensialist philosopher Jean-Paul Sartre when discussing some of these episodes, emphasizing the necessety of be in control over ones own decisions. "We are doomed to choose", Sartre says in one of his plays, meaning, it seems, that we are nothing more than machines if we accept everything, or refuse to accept anything, without giving though to which direction our actions and believes may lead us. The existensialim of Sartre, Beauvoir, Heidegger etc. was particulary resonent in the fifties and sixties, I believe, when people had time to reflect about what had caused the second world war, and how the military turned humans into machines, willingly letting others take control of their lives as they perceived this as the only possibility for collective survival. Sometimes one wonders if techonolgy is building a Guardian of Piri today. Personally I believe, in fact, we do, but I don't think it is necessary that we suffer the same fate as the Pirians. Technological evolution so far has mostly illustrated that one problem solved means the introduction of two new ones. I agree with the moral of the episode, however, human perception, human emotions and human thinking is the think that is important for humans as Koenig illustrates by crashing his hand through a monitor to remind himself that he is human. By respecting human values even Piri seems to be able to support human life, if too late for the Alphans perhaps not too late for us. Petter

From: Petter Ogland ([email protected]) Date: Thu, 22 Jan 1998 09:59:54 +0000 Subj: Re: Space1999: Guardian of Piri

119 realizes that the machine is killing the humans, he chooses the extreme sacrifice. Look at the changing in his moods when he faces Koenig alone: good job, mr. Jones!

I remembered when first watching the scenes where Kano faces Koenig, I felt it a bit stilted, as it seemed neither of the actors were being too sure of how to make the scene work, but on repeated viewing I find it better and better. Some of the stilted dialogue, empty gazes and feeling of people who are not totally commited to what they are doing seem to enhance the feeling of embarrasment over the situation. While I still believe that the seemingly militant directorial style of Charles Crichton may have had an impact on the actors by making them more nervous than necessary, this is how it appears to me anyway, the nervousness and lack of total commitment, so apparent in many of the Austin episodes, does sometimes fit well with the intellectual aspects in the Penfold scripts, I feel. Overall I feel GUARDIAN OF PIRI to be of Chrichton's better achievements, if not even perhaps his best, and a very good achievement by Penfold too. 3) It's difficult to see Bergman happy like a child, and Koenig knows that well. But how about treating the Piri matter throwing off any scientific approach? Bergman, a Nobel Prize? In Koenig's clothes, I would've been a bit confused too!

I like the scenes where Bergman shows his child like enthusiasm for Piri while all the other seem deeply worried. Koenig seems genuinely surprised by Bergman's attitudes, and though he would like to join in on Bergman's happy thoughs, but he can't figure out why Bergman is so enthusiastic about the computer reports when all know that Computer does not seem to be perfectly reliable in this matter. Both Landau's and Morse's acting are outstanding in this sequence, I think.

Hi all, Riccardo Iommi wrote: 2) Kano fighting for saving his own face is really great: everyone on Alpha is against him, but he insists protecting his computer (which he considers a sort of brother); at last, when he

4) Catherine Schell is really nice, although I recognized her as Maya only years after Piri aired for the first time!

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I'm surprised that Catherine Schell hasn't been able to do more films than she has. While she is astonishingly beautiful, according to my taste anyway, she's obviously not "just another pretty face". In my opinion her acting abilities are remarkable, both in this episode and as Maya later on. When casting for Maya, it has been said that they decided on Catherine Schell after watching her work in a PINK PANTHER film. How strange, when they had already casted her as the Servant of the Guardian, and therefore should have some experience with her as an actress. On the other hand, the role of the Servant is one that almost makes for serious drama, while Year Two and Maya was much more tonguein-cheek, I suppose, and perhaps they wanted to know if she was capable of acting ridicolously also. 7) Mr. Landau would be awardable just for the solitude scenes: great!

I agree about Martin Landau's performance. No matter how serious or how silly the plots were written, Landau seemed always to be in top form. Personally I like situations where he is able to bring out more of the human sides to Koenig, like how he is living on pills after the others have aborted the moon. The Servant interacts with Koenig on three occasions during the episode. On the second occasion, when she appeares on Moonbase Alpha, the meeting between Catherine Schell and Landau generates magic, as I see it. She looks beautiful as ever, and deliver her arguments with thought, seeming to care for Koenig and convince him that life on Piri actually is the best way of life there is. Koenig, on the other hand, is totally worn out, confused and desperate. Not being able to attack the Servant because of her fragile appearance and beutiful charms, he fists through a monitor. Was there anything Koenig could have done in order to prevent the exodus from taking place? Was exodus after all such a bad thing? Perhaps

the Alphans where happy on Piri? They certainly behave that way. I believe this must have been some of the things he could have been reflecting on while eating pills and drinking water in solitary. In Muir's book he draws parallells to Homer's "The Odyssey" where the crew, in one of the adventures, are being distracted by the singing of the beautiful Sirens. Beauty and charm may not always be what it appears to be. Shakespeare lets Hamlet say something like "A man may smile and smile and still be a villain" about his father-in-law, King Claudius. Petter

From: [email protected] Date: Thu, 22 Jan 1998 14:16:58 EST Subj: Space1999: Zenno and Piri (ad nauseum)

In "The Space Guardians", the novelization of "Missing Link" and "Guardian of Piri", Zenno and Piri are located in two separte solar systems. Raan blocks the Alpha computers from detecting Zenno. In the novel, the Eagle was looking for mineral deposits located on the moon before it crashed. After the Zenno incident, the moon leaves the galaxy (which galaxy is not specified by the book's author, Brian Ball) and Piri is found in orbit around a star in the intergalactic gulf. As for Victor knowing the name of the planet as Piri, in the novel John confronts him on this very point: "Victor," said Koenig slowly, "how do you know the planet is called Piri?" "But what else should a planet like Piri be called? Piri is Pir the planet of peace." I wonder if these lines were in the original script and were cut out for whatever reason later. David J Lerda, [email protected]

Guardian of Piri

From: Jhon ([email protected]) Date: Mon, 19 Jan 1998 07:40:34 -0500 Subj: Space1999: Piri

Perhaps, one of my favourite episodes, The Guardian of Piri spends half an episode not with the Guardian, but with the Guardian's helper. I guess a planet-sized machine couldn't fit on Alpha to heal Koenig's wounds. Anyway, that's one of my personal peeves; the other concerns Kano and his brain implant experiment. First of all, why do we only hear of this experiment now? It's an interesting tool and could be used more than once. Secondly, why does Dr. Russell explain the history of the experiment to a bunch of nurses aides and technicians? Does she feel the need to fill them with information? Are they going to be promoted to doctor? I feel that this scene could have been shortened to allow for more development of Kano on the planet. Kano could have become part of the force of the guardian, along with the servant of the guardian. He could have walked out of that circular portal with her. The exodus seemed quite short. A typical exodus would take at least 24 hours. There are simply not enough eagles to carry 300 people. I didn't notice any eagles returning to Alpha, besides the one supposedly left for John. Maybe the Guardian transported the remaining Alphans to Piri and let everyone think that they were carried by eagle. I really enjoy the music from this episode. Well, I shouldn't say music, but rather, interesting background sounds. They added to the mystery of Piri. Someone on the set designer crew really enjoys the color red; did you notice how many episodes use red as the primary color of the planet background or landscape? It does really make everything look vibrant. The servant of the guardian is very convincing. Every Alphan save one was lured by her gentle cooing. I would have thought that at least one other Alphan would not be affected, particularly, Alan.

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The final planet scene is both bizarre and excellent. The use of soap bubbles as the planet is coming back to life is so simple, yet it is used so well that it seems natural. Cool use of a cheap special effect. I really enjoy the shot of the moon moving out of orbit. Crowds of Alphans scurrying to the eagles is also quite different for S99. You can even see someone trip and twist her ankle. Very realistic in the sense of mass hysteria. Where did they get the name Piri? If the planet was never before seen, how was this name decided upon and why did it agree with the name that the servant of the guardian used? We hear Victor use the name after his collapse, but the guardian had not directly contacted any Alphan yet. Was the name implanted into computer and her database by the Guardian? Did victor have a fascinating dream which revealed the true name of the planet? Had Kano connected himself to computer without Helena's knowledge? Questions, questions, questions!!! They need to be answered. jhon

From: David Welle ([email protected]) Date: Sat, 24 Jan 1998 13:21:16 Subj: Space1999: Guardian of Piri

[…] The Servant rouses the Alphans against John. Even Victor is cheering along, a further mouthpiece for the Peace of Piri. He's been reduced to mindless suplicance, a servant to the Servant of the Guardian of Piri. John and Helena have to defend themselves, and finally goes on the offense against the Servant, and she is silent on the accusation the Guardian's own people no longer exist. Even the Servant is found to be a robot when she is destroyed, which destroys the Guardian as well, freeing the Moon from artificially mantained orbit, and as later discovered, allows life to spring back into existence on Piri, although too late for Alpha. In some ways, there's both contrasts and

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parallels to "2001: A Space Odyssey." In S19, unlike "2001," the computer has had some limits imposed on it, such as when it says "human decision required," yet within that limit, the people of Alpha still rely a great deal on their system. Of course, humanity has learned other things about computers since "2001" and S19 were produced. "Garbage In Garbage Out," for example. Computers are actually very stupid, doing what they are programmed to do, right or wrong. And there's the thing: right or wrong. It's up to humanity to "do the right thing," as it were, with what it creates. Curiously, I think S19 did a better job of pointing that out than "2001" did, for the Alphans, though relying on the computer, do question it... eventually (though Kano far less than anyone else). Also, there's the intelligence factor. I'm not really sure, but weren't both "2001" and S19 produced during the height of AI hype, when many people believed AI would play a major role within a few years? (Artificial Intelligence, not meaning actual sentience, but rather the resemblance of intelligent decisions by a computer.) HAL even has artificial vision which has since been found to be an extraordinarily difficult thing to create. In the Eighties, we started realizing it would take a lot longer to develop what AI was first thought to promise. Only now is "Deep Blue" competing at Grand Master level in chess, and that is just in this one, extremely specialized, highly studied system. But a discussion of AI is far beyond the scope of this post. However, despite all this, SF is still a study of possible futures, and dangers. The Alphans at least have and put limits on their technology and how much they trust them; that they are tools that can be both used and misused, but that they shouldn't get the better of them. HAL did get the better of several people. The Alphan computer, being used by the Guardian, became a liability as well. Yet it is the Guardian that is the ultimate computer run amok. Indeed, the Guardian was made so powerful, with so few limits, that it annihilated an entire world's people, and nearly

did the same to three hundred humans as well. HAL was small beans by comparison. (I'm not degrading the classic and timeless "2001" by any means, just making a few interesting comparisons.) Curiously, while Kano is the ultimate technophile (except for how he hates to actually be plugged directly into the system), there seems to be an element of technophobia about S19 at times. Yet overall, I always liked how most of the Alphans generally used technology as it is: a *TOOL*, which again, can both be used and misused, and can both do remarkable things yet have glaring limits and vulnerabilities -- that we should stay in control, something the Pirians utterly and completely failed in, building a system, the Guardian, that ultimately overcame them. Of course, machine overcoming man is a very old theme, yet the Guardian is interesting because its ends weren't even malevolent, and were actually meant to be peaceful -- the Peace of Piri. Yet it's idea of peace was so utterly extreme that it proved deadly. The ends went too far, and so did the means, and it was the Pirians' fault. Yet the Guardian still acts like a machine -stubbornly carrying out its prime directives, not even considering what it did, continuing on with apparent blindness. I doubt it's malevolent, that it ever had an actual goal of eliminating or repressing life, but is obviously one technology that "got away" from its creators, eventually destroying them. To it, "absolute perfection lasts forever, so the Guardian has suspended time," as spoken by the Servant. The Guardian believes in its form of "Peace," while Koenig protests it's the "peace of death." Of course, there's the "Peace of Piri." What is it? Certainly seductive, certainly deadly. The Pirians were evidently seduced by their idea of peace, eventually built a system that could provide it, failing to think of possible dangers. I talk more of that in the "Brief History" that's at http://www.dct.com/~dwelle/s19piri.html, so I won't go repeating all that here. Yet the Servant earlier spoke of their being many forms of life, with John protesting that they like the form they have, so it makes me wonder

Guardian of Piri whether the Pirians are gone, or if they still exist in spirit, still taken care of by the Guardian. Yet given everything we see and hear suggests that even there, the Pirians would still be in a timeless, mindless state at best, and I still think the episode makes it pretty clear they are altogether lost to the Guardian, though the Guardian refuses to reason that out, and keeps carrying out its Prime Directive, the Peace of Piri. The only missed opportunity is that we really didn't get to hear any thoughts from Kano at the end. Would have been interesting to hear what he thought about machine intelligences after experiencing the mindnumbing, potentially lethal influence of the Guardian. Then there is, of course, the "Servant." I have a few more things to say about her/it, and in general, but I better break here. 1.400 cents, 0.599 more in a moment. ----David

From: [email protected] Date: Sat, 24 Jan 1998 17:13:03 EST Subj: Re: Space1999: Servant of the Guardian of Piri

On Sat, 24 Jan 1998 13:32:51 David Welle writes: the Guardian maximized its advantage through indirect means as well, creating a Servant that would be most attractive in form to the humans, at least to the male half (which begs the question, was there any reason to pick a female form for its Servant, over a male form?)

Perhaps the Guardian chose a female form because Alpha's commander was a male. Since Koenig is the most important Alphan (at least from the Guardian's perspective) it would make sense to send a projection that would most appeal to him. If Alpha had a female commander, the Guardian would no doubt have sent a servant in male form also programmed to make the commander more amenable to its influence.

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From: Patricia Embury ([email protected]) Date: Sat, 24 Jan 1998 20:41:03 -0500 Subj: Space1999: Guardian of Piri

I've enjoyed reading everyone's comments about this episode. I enjoyed it, and share many of the same things others have mentioned, so I won't repeat them. I thought Victor was taken under the Guardian's spell during his period of unconciousness. "I've been having some fantasies.." speech. I do, however, have a question/nit to pick. Why wasn't Carter "taken over" by the Guardian on his first mission? I know they explain it to having flown on manual, but I don't really buy it. Granted, it served the story line, by having Carter and Koenig return to Piri. I liked the way they built up the realization thating that the Alphans were being taken over. All of the actors were wonderful under the spell of the Guardian. The novelization is quite different from the actual episode. Carter goes to the planet first, and is lost with a co-pilot, then Kano goes to the planet in an Eagle with Koenig. Another question/?nit/?blooper: I could swear on my copy, Carter had a bruise on his left cheek. I noticed it in the Command Conference sequence. Did anyone else see it? Also, When Victor brought John the photos, what was Martin Landau looking at? He looked as though he was looking at someone offstage, past Barbara Bain. Did anyone notice that also?

From: "Ellen C. Lindow" ([email protected]) Date: Sun, 25 Jan 1998 11:23:44 -0500 (EST) Subj: Re: Space1999: Guardian of Piri

Good morning all. David Welle has done an extremely eloquent job of commenting on Piri. There are a few things I wanted to add before we move on. David wrote:

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Year One It is apparent that the already suspicious John, upon sight of everything on Piri, and hearing the words of the Servant, only hardens -instead of weakens -- his resolve. He manages to resist the Guardian's direct attack, which only immunizes him more.

There was a complete dearth of material about why _only_ Koenig was so resistand to Piri. Even after Victor succumbed and David disappeared, Helena was still on Koenig's side, but by the time Koenig returned from the planet, she was fully in the Guardian's control. I don't like the episode "Missing Link", and followed the axiom I learned from the Disney movie, "Bambi"-- if you can't say anything nice, don't say anything at all. But in the novels, there was _one_ thing I liked about Missing Link. The novel described the encounter with the planet Piri occuring withing a few days after John's return from Zenno. It speaks of him learning things from Vanna regarding reality and how to tell the difference. The novel was pretty specific that this knowledge was what gave Koenig a kind of immunity to the Guardian's siren song. It could also be that Koenig was able to use this knowledge that he gained from Vanna to fool both her and Raan, thus securing his release from Zenno, although that's not the way the book plays it, describing him as heart-broken and distant from the others, and trying to come to terms with his feelings for Vanna, with confusion about his feelings for Helena. This does help make John's reaction to the Guardian, _and_ the Guardian's choice of an attractive female Servant more believable. David also mentioned: Of course, there's the "Peace of Piri." What is it? Certainly seductive, certainly deadly. The Pirians were evidently seduced by their idea of peace, eventually built a system that could provide it, failing to think of possible dangers.

Somehow I've always associated the "Peace of Piri" with entropy. Maybe it has something to do with the fact that I was taking high school physics when I first saw this episode, or the voluminous amout of hard science fiction I was reading in the seventies. It seemed to me that the guardian was trying to reach an ideal equilibrium. Things moving fast needed to be slowed down. Things moving slow needed to

be speeded up. Hot things would cool, cool things would increase to an optimum temperature. Every thing would stop. And Koenig's explanation that the Alphans couldn't survive that fell on deaf ears. Survival was not the Guardian's optimum goal. Equilibrium was.

From: [email protected] (B J Dowling) Date: Sun, 25 Jan 1998 21:30:20 +0000 Subj: Space1999: Long post: Guardian Of Piri

Hi folks, Before I start my comments on the episodes I've missed, this whole exercise of watching and discussing one episode a week has really worked for me. Ideas and opinions on the work of Ray Austin, David Tomblin, Charles Crichton et al has had me delving through my numerous videotapes to look at their other work in series like The Prisoner and The Avengers. In fact, I can't help but wonder if I'm starting to show signs of overdosing on "cult tv"... Just a few comments on Missing Link - good story, top acting from pretty much everyone and nice cinematography - very reminiscent of some "Avengers" stories. It was good to see it again, especially the performances of Martin Landau, Barry Morse and Peter Cushing, all of whom were outstanding. Joanna Dunham didn't do a lot for me in this story (did she do anything else of note after 1999?). Loved the scenes with the empty Alpha, but I've got a thing about deserted bases, cities, et al. Two questions stand out for me - Koenig falling in love with someone else when he's developing something with Helena? It's all a bit too quick for my liking (that's usually my department...) and doesn't work too well for me. Why does Koenig part on good terms with Raan after he's been manipulated and experimented on like a lab rat? That I'm not sure I understand.

Guardian of Piri On to Guardian of Piri. This is one of my favourite stories, and could have been the starting point for stories dealing with the past of Kano and Dr Russell. Kano's attitude of "When will they ever learn?" is understandable when one considers just how reliant the Alphans have become on Computer. It is almost all-seeing, all-controlling and allknowing and it is Kano who is the link between Alphans and Computer. One of the novelisations has a scene which equates Kano to the position of HIgh Priest of the god Computer. And as a "techie" I think I ought to say a word or two in defence of this attitude - some users do have a habit of blaming the tools they have at their disposal rather than put their hands up and say "Yes, I had my head up my rear, it is my fault, not the computer's". It doesn't happen here, Computer does mess up, but initially Kano feels quite justified in saying that it's user error rather than Computer error. Great scenery as the Eagle goes headlong towards Piri. That red checkerboard effect and those white spheres everywhere look so cool! As the Guardian is exerting its influence over Alpha's Computer, I'm at a loss to explain why it would screw up the Eagle's readings, then allow Victor and then Sarah Graham to suffer and die respectively. Surely the Guradian would want everything to be as normal as possible before their arrival to ensure that as many Alphans as possible were available to it? As it is, Computer is unreliable, and I can't help but sympathise with Kano when he tells Koenig "but we can find no fault". When Koenig says that there's one way he knows to find out how, Kano's reaction is almost that of a condemned man. Here is a plot line which (for me) demands further exploration. Perhaps this scene shows as much as any other in the series the time this was made when Dr Russell gives the nursing staff the briefing of what Kano took part in earlier: "... the intention was to link the enormous memory and calculating ability of the

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computer with the unique thinking ability of the human brain" I recall reading something during my brief studies of AI which said that the human brain can "remember" (store might be a better word) everything which has happened to its owner during its life, even if the owner cannot recall particular incidents. That would require some pretty hefty storage capacity, more than even today's supercomputers have. Better alculation and recall would be the computer's advantages rather than memory, methinks. So Kano's strapped to this bench while Dr Russell tells everyone else that he's the only one of four who were experimented on who's survived in any coherent state. And whilst against the experiments at the outset, Kano's "success" convinced her of the validity of the program. Her line that "Yours was the undeniable success story" doesn't convince him and it sure doesn't convince me. Kano's "Let's get on with it" parallels with Peter Davison's similar line in the Doctor Who story Mawdryn Undead (which was on tv this morning) - a man who's accepted his condemned fate. What are the scientific ethics on this? A 25 per cent success rate where the failures are reduced to mindless vegetables doesn't strike me as ethical. Earth's own "revered ones", to borrow from Death''s Other Dominion. That Kano isn't hooked up to the computer at all before and after this story suggests that the program was halted and not taken any further. It would make wonderful material for a story involving Kano, perhaps best told in the style of Dragon's Domain or Testament of Arkadia. Plenty of material to get to grips with, and would have been good to see more of what makes Kano the way he is, as well as seeing just how the experiments ended up and Dr Russell's involvement with the whole thing. With the plugging leads into people, we could be looking at a parallel to Frankenstein... Back to the story... Kano swore he would never go through the process again, and ends up with what looks like a 5 pin DIN plug in his skull. I dread to think what he was expecting when the thing was started, bearing in mind his (and the three others') previous experiences.

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The cries of pain don't come as a surprise, but to see Dr Russell and Koenig smile when Kano's face takes on the look of a Moonie is a little worrying. Hey folks, when did you last smile like that?

series?). As Koenig walks around the empty Main Mission, it shows just how good Maurizio's Quake level is. I want a moving desk just like Kano.

Kano vanishes and now Dr Russell is having a rough few episodes. After disintegrating a Kaldorian and nearly losing Koenig, she's really put a spanner in Alpha's Y2K strategy by getting rid of Kano...

Computer has relocated to Piri - does this mean that virtually all of it can be moved from Alpha to the chosen Planet? That would mean that a complete Op Exodus would have to move all power generators, solar batteries and everything...

Victor's enthusiasm for Piri makes me wonder just what controls his artificial heart. He passed out through lack of oxygen because the Computer hadn't altered his heart to compensate for this when the Guardian started meddling with Alpha, I recall from the novel. Indeed, Victor's artifical heart and the effects of having one could be a whole debate in itself...

The Servant appears again, and that dress is wonderful! And it's all silly grins on the planet below. Koenig punches out a monitor. He didn't do it properly - if he had then it wouldn't have hurt. I know he wanted to hurt himself, but if you do it properly there's not too much to worry about (apart from the reactions of everyone else in the computer room with you!).

Either way, Victor is behaving a bit out of character.

There are a few good impressions of people who are stoned down on that planet. Hmm... at this point I should say that I have punched out a couple of VDUs in my time, but I haven't touched illicit drugs.

Shades of Rover, the weather balloon with attitude, when we see the spheres up close for the first time. Pete, Ed and Kano are well Moonified, and with that Eagle "just hanging there", something weird is going on. Cue the Guardian's servant and what does Koenig use for his aftershave? This gorgeous lass wearing a very fetching costume (which etched itself into my memory very quickly) walks up to him and kisses him. Just like that. Then they're walking arm in arm, and then she offers him happiness. I must be doing something wrong... When Koenig gets back to the Eagle, Carter also has that Moonified look about him. Reminds me a little of Invasion Of The Body Snatchers, especially when Koenig continues his struggle against the changes everyone else is going through. Somehow the Guardian has spread its influence throughout all of Alpha. I've got to wonder about Bob Mathias, happily drinking the medicine he offers to Koenig... The command conference he runs into is a nice comic touch. Commlock spelt such on the comm screen in Koenig's quarters. Lab module Eagle seen on launchpad (first time in the

Now Koenig's trying to shock Helena out of her daze. If that's the same kit used to plug Kano into the computer, I wouldn't expect it to bring her round. Maybe he knows something we don't... Is Koenig left or right handed - it's no mean feat to be as good a shot with one hand as well as the other, though I suppose it's easier with a gun that doesn't have a kick. Either way, it's usual Koenig stuff and kill the baddie. Everyone rushes back to the Eagles, and there's enough room for everyone. And there's Gareth Hunt putting on an accent as well. I recall posting something about that when this story was run on Bravo - the teletext feature on this story said something about him being cast in a role, but losing it when he had a row with the director. Anyone shed any further light on this? Their destroying the Guradian turned out to be a good thing, but they only found this after they had returned to the Moon. They weren't to know the consequences of their actions.

Guardian of Piri I find that throughout this schedule, I'm almost constantly reviewing my favourite episodes. Force Of Life comes next, and whilst it isn't my all time favourite, the bit where Alan shoots Zoref and recharges him (I did expect the recharging bit) chilled me visibly when the charred remains of Zoref got up and openedits eyes. More on that soon. Brian Dowling - Birmingham, England Online Alphan #144

From: David Welle ([email protected]) Date: Sun, 25 Jan 1998 16:43:58 Subj: Re: Space1999: Guardian of Piri

Okay, I can't resist one more response about Piri... At 11:23 AM 01/25/98 -0500, Ellen C. Lindow wrote: There was a complete dearth of material about why _only_ Koenig was so resistand to Piri. Even after Victor succumbed and David disappeared, Helena was still on Koenig's side, but by the time Koenig returned from the planet, she was fully in the Guardian's control.

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David was attacked directly through the mindcomputer link -- the computer was already (being?) taken over. Seeing as how he's so accepting of what the computer says, in general, may have left him more vulnerable to its influence. Remember the smile? First, there was pain, but then he started smiling; was it just because he got in sync with the computer, or because the Guardian was already influencing him? Sure, he was suspicious this time, but unlike Koenig who's always suspicious, Kano's suspicions of computer were only very recent and superficial. (Why'd he disappear, though? That was curious. Sure, the Servant shows the ability, but why did an Alphan vanish? Maybe, he'd give too much away while linked, even (or especially?) if he was put under its influence.) John left Alan behind in the Eagle, and he likely did very little, just lounging around -not very distant for what the Guardian does to people, so he was left vulnerable then. Beyond the command staff and several others, most Alphans likely didn't know much about the problems, and could easily be taken by unawares by the Guardian's influence.

True. I guess having seen the series a couple times over now, I've become fairly well convinced of the commander's will and stubborness (though it's certainly not infallable, and can be its own trap, as in "Seed of Destruction"). Ellen has a point, though.

John had a moment of vulnerability later, when left alone on Alpha, and was slipping into apathy himself. The Servant reappeared; the Guardian probably figured Koenig was most vulnerable -- and he probably was -- except the Servant only proceeded to remind him of why he was fighting, reenergizing him again.

I think there are possible explanations, though I might be stretching it.

Then again, I might be "stretching" possibilities too far with these ideas, however.

One curious thing with Helena is her statement earlier of how she was "converted" in regards to Kano's direct fiber link -- and one success against three or four terrible failures isn't that good. So maybe she converts from doubt to belief just a little too easily.

What you mentioned about the book drawing connections between Zenno and Piri is interesting too. I think Koenig was already good at picking reality from falsity, but what you mentioned about Zenno certainly could have improved his perception. Did the novelization mention anything about how long he was on Zenno?

Victor is fairly open-minded. This is something that can be beneficial otherwise, but perhaps is one "in" to his mind here. Also, he was medically waylaid, and we did hear that the Guardian got into his dreams during that time. A moment of vulnerability.

Ellen also mentioned: Somehow I've always associated the "Peace of Piri" with entropy.

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Good comparison, one I hadn't considered before. The Guardian remains, however, so that's a form of persistent order, but the order it enforces on life forms amounts to rapid entropy. Life forms are usually the objects increasing order within themselves, while adding a touch more entropy outside of them -which maintains the overall average increase of entropy). The Guardian has not only outdone life in terms of maintaining order,

but increased entropy within the life forms it "Guards." The Guardian has advanced its immediate "universe" (its sphere of influence, I always figured it meant) to a taste of what the universe as a whole might look like in a few tens of billions of years. Okay, I'm done with Piri, I think. :-)

Force of Life

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09. Force of Life From the viewpoint of one of the discussants, the alien force driving Zoref into a mindless killing machine works as a metaphor within Johnny Byrne’s social statement. In this story Byrne manages to say something both about modern life at the factory plant and to indulge in his typical fascination with biology. As Zoref is turning weaker and weaker, the alien force is turning stronger and stronger, and at the end there is the final metamorphosis from Zoref to the alien life form which again leaves Alpha. The discussant also makes a comparison with THE SEANCE SPECTRE of Year Two by saying that the main concern of the episode is not the upper echelon scientists in the main mission, but rather with the down to earth people who do the daily trivial work on Alpha, and very much like in THE SEANCE SPECTRE this does not seem like a very happy lot of people. Their work do not seem particulary interesting or engaging, and it is hardly surprising that they seem to get a bit alienated and edgy over time. In retrospect one might say that the discussion of this particular episode could have been an entry-point for looking at Space: 1999 from a critical or post-Marxist perspective. This did not happen, however. Similarly to what Tulloch and Jenkins (1995) observe in their studies of science fiction audiences, the critical perspectives and political allegories often present in science fiction does not go by undetected by the science fiction audiences, but that does not mean that they necessarily see science fiction as political discourse per se. From: Patricia Embury ([email protected]) Date: Sun, 25 Jan 1998 15:12:50 -0500 Subj: Space1999: Force of Life

I watched this episode this afternoon. Although it's not in my top 5, it has it's moments. It's a nice little change of pace from the usual "take the Eagle to the planet", or alien encounter episode. The alien in this case, is a being that cannot be communicated with, negotiated with, or defeated. The Alphans lose an encounter, but the consequences for the greater population of the base, won't seem to effect them in the long run. The acting by Ian MacShane (nice to see him pre "Lovejoy)and the actress playing Eva was solid. Eva was a strong character, but I thought she cried a little too much in the Medical Center, and not enough at the end of the episode. I also liked seeing the different parts of Alpha, and the daily life of an ordinary Alphan. Although I don't think I'd like a video wake-up call! :) Character development: Nice in certain characters. Mathias got to do more, and they actually did better on the resuscitation scenes. A precordial thump is appropriate when your patient is monitored, but you really want to see the rhythm first. A thump can convert someone in Ventricular Tachycardia ( the ^^^^^^^^) rhythm you see with a thump,(I've done it) but it won't work with asystole (flat line) or Ventricular Fibrillation (~~~~~~~~). I was so

happy they checked a pulse before starting chest compressions. (End of Medical Lesson) Tanya: Level-headed as always. This time, as in the Guardian of Piri, she doesn't scream or hide before calling security. I didn't mention it in my "Guardian" post, but I really admired her attempt to stop Koenig, even though she was in the Guardian's control. Alan: Darn near got himself killed a couple of times, trying to save his friends. I don't know why Zoref didn't touch him , or his wife in the corridor. He just kept going to the reactor. His shot, although reflexive, enabled Zoref to enter the reactor and energize the being. Why didn't Koenig yell for him to wait, like in the Solarium, and run the other way? Maybe it was to show the fallibility/ humanity of the Alphans. Helena: An early warning system is only as good as the person watching it. Out of character for her to sit with her back to the patient she needs to watch so carefully. I admire Barbara Bain's portrayal of Helena the more I watch these episodes. Victor: I just love the way he says he doesn't know what is going on, and it sounds so scientific, official. They used the same people falling over each other footage from "Breakaway"

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From: "Petter Ogland" ([email protected]) Date: Mon, 26 Jan 1998 10:09:16 +0000 Subj: Re: Space1999: Force of Life

FORE OF LIFE is not in my top 5 either, but I dond't think I would place it at the very bottom of the list like Chas suggested. While I agree with Pat that the guest artists make solid performances, I find it difficult to engage fully in Anton Zoref and Eva. Like in THE SEANCE SPECTRE the main concern is not the upper echelon scientists in the main mission, but rather with the down to earth people who do the daily trivial work on Alpha, and very much like in THE SEANCE SPECTRE this does not seem like a very happy lot of people. Their work do not seem particulary interesting or engaging, and it is hardly surprising that they seem to get a bit alienated and edgy over time. In the case of FORCE OF LIFE, I think the alien force driving Zoref into a mindless killing machine works as an okay metaphor for the typical Johnny Byrne social statement. In his story he manages to say something both about modern life at the factory plant and to indulge in his typical fascination with biology. As Zoref is turning weaker and weaker, the alien force is turning stronger and stronger, and at the end there is the final metamorph from Zoref to the alien life form which again leaves Alpha. As Byrne also has pointed out on later occations, the story is very similar to ALIEN (1979), or rahter the other way around, FORCE OF LIFE being made four years before ALIEN. While I admire Byrne's idea, I never was all too enthusiastic about ALIEN, finding concentrating too little on character, and for me FORCE OF LIFE has some of the same coldness to it, more attentive to the idea of the caterpillar turning into a butterfly, as Byrne put it, rather than focusing on social drama like Penfold and di Lorenzo seemd to do to a greater extent. In my opinion Byrne scored better with his similar END OF ETERNITY, produced later

in the series, which deals with similar problems, but giving it a much more human face, namely the Richard III-like psychopat character Balor. When it comes to cinematography and music, however, the episode works splendidly, I think. Tomblin's visual direction is extravagant, and the music is mysterious and moody, not too unlike RING AROUND THE MOON and THE TROUBLED SPIRIT in this sense, I feel. The rather peculiar cocktail music in the solarium is reminicent of the romantic music in MISSING LINK supposedly projected from the mind of Vanna. Petter

From: David Acheson ([email protected]) Date: Mon, 26 Jan 1998 02:44:21 PST Subj: Space1999: Force of Life

Back out into deep space once again, the moon runs into an energy-consuming ball of light in FORCE OF LIFE. This being the second collaboration of writer Johnny Byrne and director David Tomblin. This time I must admit I am a bit stumped at reviewing this one as its one of the episodes I've seen the fewest in reruns and do not have a taped copy laying around. Also, it is not discussed much around this list. Not an absolute favourite but I don't seem to remember hating it. While GUARDIAN OF PIRI was the first episode to experiment with the inclusion of music from sources other than Barry Gray, FORCE OF LIFE had a soundtrack almost completely made up of other music material. I suspect this was to give a different feel to the episode but maybe someone knows the story behind the music of this episode. Most memorable scene for me was the prologue. The eerie effect of Anton Zoref being invaded by this ball of light. The wierd music and bizarre camera angles in this sequence reminds one of the experimental ideas of the earliest episodes. Remember the collapsed Zoref on the floor and the whole scene turns upside down?

Force of Life It was nice to see (for the first time) married couples living on Alpha. Yet another little and subtle fact about our fellow Alphans we get to discover. However, the wife was never a strong character in this or any episode that featured married Alphans. Eva Zoref was nothing but a confused woman who didn't understand her husband's condition and it was much of the same with Melita in SPACE BRAIN and the dying Michelle in CATACOMBS OF THE MOON. With the strong female lead in the series one would think more would have been done with the wife character. Its interesting to note that Ian McShane is our guest in this episode. Today he is known by most North Americans for his role on DALLAS and his lead on the British series LOVEJOY. Back in 1975 we had never heard of him. I always find it fascinating to find long lost work of famous people from the days they were unknown. Piece of trivia: If I remember correctly, not once was an Eagle shown in this episode. The first time an entire episode takes place within the confines of the moonbase. Ever wondered what happened to the object after it left Alpha? I believe the Alphans to be the lucky ones. If this thing continued to travel the cosmos eating energy it would eventually grow to the size where entire worlds would be destroyed. Would it have really turned into a star as Bergman suggested at the end of the episode? I find this hard to believe in light of our scientific evidence of star formation but this series never was big on being scientifically accurate. That's about all. The rest of you probably know this episode better. Go for it! David

From: Petter Ogland ([email protected]) Date: Tue, 27 Jan 1998 11:32:09 +0000 Subj: Re: Space1999: Force of Life This time I must admit I am a bit stumped at reviewing this one as its one of the episodes

131 I've seen the fewest in reruns and do not have a taped copy laying around. Also, it is not discussed much around this list. Not an absolute favourite but I don't seem to remember hating it.

I don't see why anyone should hate FORCE OF LIFE, or any episode of SPACE: 1999 for that sake, but I've also noticed that very few have this episode among their definitive favourites, although the strikingly visual and rather impressive direction of David Tomblin seem to be commented on from time to time. In the SPACE: 1999 they used a sequence from the episode to introduce the interview sequence with Keith Wilson, and some of his interiors do look rather spectacular in this installemnt. For me this is one of the episodes where the artistic aspect of the episode is almost more focused than the episode in itself. While GUARDIAN OF PIRI was the first episode to experiment with the inclusion of music from sources other than Barry Gray, FORCE OF LIFE had a soundtrack almost completely made up of other music material. I suspect this was to give a different feel to the episode but maybe someone knows the story behind the music of this episode.

On the music pages accesible from the RETURN MOONBASE ALPHA site it says: Guardian of Piri "Undersea" composed by Chuck Cassey Force of Life "Cosmic Sounds" composed by Georges Teperino "The Latest Fashion" composed by Giampiera "Videotronics" composed by Cecil Leuter For me the music used on FORCE OF LIFE works very well. If Barry Gray managed to capture some of Kubrick's 2001 feel to the small screen, I think some of Kubrick's feel from A CLOCKWORK ORANGE (1971) coincides with the style on this episode. While Anton is not depicted a "hero" as the amoral Alex in Kubrick's film, there is a disturbing mix of aestetics and nastiness in this episode, I think, most clearly depicted in the

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scene of the second killing, perhaps, where the viewer watches the killing in slow motion from the killers point of view. There is also interesting to notice, I think, how similar Tomblin directs the scenes with the escaped Judy Geeson in ANOTHER TIME ANOTHER PLACE and the killing of the girl in FORCE OF LIFE. In both cases what we seem to be watching is portrayed more like a frightend animal than a human being. Most memorable scene for me was the prologue. The eerie effect of Anton Zoref being invaded by this ball of light. The weird music and bizarre camera angles in this sequence reminds one of the experimental ideas of the earliest episodes. Remember the collapsed Zoref on the floor and the whole scene turns upside down?

Very good prologue, I agree. In the FAB article on Johnny Byrne in the Cybrary, Byrne exclaims his fascination with Tomblin as a director. While I regard the emotional style of Ray Austin more highly than Tomblin, I can understand why so many find him fascinating. He is certainly one of the most artistically inclined directors of the series, extraordinarily visual at times, seemlingly almost to think like a painter. For me Tomblin seems a bit cold, however, especially in his three first efforts ANOTHER TIME ANOTHER PLACE, FORCE OF LIFE and THE INFERNAL MACHINE. His final work, THE TESTAMENT OF ARKADIA, is partly a love story, and as such perhaps a bit less cold. It was nice to see (for the first time) married couples living on Alpha.

Of the three couples, I think Anton and Eva was the most interesting relationship. In SPACE BRAIN I feel the relationship was hardly explored at all, and CATACOMBS OF THE MOON, for me, seemed more like a paraphrase on Wagner's opera Siegfried than being about real people. While Eva is confused and not able to understand her husband's condition, I think she does a good job showing her increasing care and emotions as he turns less and less human. I find it difficult to imagne how the character of

Eva could be improved upon beyond this, and the way she was interpreted was quite good, I think. Piece of trivia: If I remember correctly, not once was an Eagle shown in this episode. The first time an entire episode takes place within the confines of the moonbase.

There were at least three episodes (Year I) were they used no eagles, I believe: FORCE OF LIFE, THE TROUBLED SPIRIT and END OF ETERNITY. All written by Johnny Byrne. Personally I think this was OK in order to focus more on life and relationships on Alpha. Come to think of it, there was perhaps a glimpse of an eagle in the beginning of END OF ETERNITY, but like TROUBLED SPIRIT and FORCE OF LIFE the story developed more or less within the bounds of the Alpha interiors. Petter

From: Paulo Jorge Morgado ([email protected]) Date: Tue, 27 Jan 1998 13:49:06 -0000 Subj: Space1999: FORCE OF LIFE / ENGALE VIDEOS2

Hello all I'm a Newbie in the list but I see I got here just in time for the discussion of Force of Life which is one of my personal favorites. I guess the episode has always been uderapreciated, specially by die sard Season 2 American Fans that prefer more Hi-tech oriented episodes featuring Eagles exploding, or Monster Tongue-in-cheek fighting. I believe that establishing the atmosphere of Alpha on season 1 owes much to Force of Life. It shows exactly how vulnerable Alpha was to external unknown alien forces whose motives, origin and ultimate purpose remained unknown. It showed exactly that stories in the episodes were not necessarily self explanatory and concludible on one episode. The strength of Force of Life is the same strength of other episodes like Dragon's Domain: strange aliens

Force of Life that do not supply answers in plain English. Menaces in pure form. This is where Space 1999 reveals it was ahead of its time: Dragon's Domain is basically a premake of ALIEN and Force of Life anticipates in many aspects the X-Files.

From: Petter Ogland ([email protected]) Date: Wed, 28 Jan 1998 09:27:36 +0000 Subj: Re: Space1999: No Eagles? / Force of Life

[…] Paulo Jorge Morgado wrote: I guess the episode has always been uderapreciated, specially by die hard Season 2 American Fans that prefer more Hi-tech oriented episodes featuring Eagles exploding, or Monster Tongue-in-cheek fighting.

From what I've heard FORCE OF LIFE was attacted by American critics for being meaningless. I'm not to sure what to make of this, but I believe the coldness of the episode would be something very unexpectet if one very thinking in lines of STAR TREK rather than for example 2001. Menaces in pure form. This is where Space 1999 reveals it was ahead of its time: Dragon's Domain is basically a premake of ALIEN and Force of Life anticipates in many aspects the XFiles.

The not-too-optimistic world view in FORCE OF LIFE isn't too different from X-FILES. You have a point there. Concerning ALIEN, I feel both FORCE OF LIFE and DRAGON'S DOMAIN contain ideas which reoccurs in this film, whether it is by coincidence or not. Petter

From: Date: Subj:

[email protected] Thu, 29 Jan 1998 20:51:31 -0500 Space1999: Force Of Life

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I find my nits on this episode stem from those things that should follow real life rules...things which would not stand in the way of the plot. Why do the Alphans freeze when the life form zeros in on Zoref? I find it to be a slight plot device (they can't answer when he calls for help) and a meaningless "let's have something strange happen cause it's sci fi even though there is no reason or logic for it." Mathias is a doctor. Why is he fixing the monitor? Is he a fully trained electronics technician? Maybe he answered an ad in a matchbook. Or maybe it's another less than well thought out incident in an episode that is full of such problems. The command staff was aware of the ball of light at the beginning of the episode. So why when they are discussing the unexplained energy sources, don't any of them think of the ball of light (which is generated by energy) as a possibility? Year one is full of scenes where they are speculating about what is happening, and the speculation is always meaningless and has nothing to do with anything, and is dialog that you can cut and not miss, because the resolution at the end in no way had anything to do with their earlier efforts or speculations. (I'm not saying that is 100 percen true...but that it did happen quite often.) Why is it that a steaming hot cup of coffee (which is more than 98.6 degrees) does not cause any reaction in Zoref when he drains it of energy, but he goes all flush when he drains the energy out of a 98.6 degree body. Dramatic yes, consistent no. A real nit: Mathias says the video monitor's energy cells were completly drained...which is fine except such a unit is hard wired into the power system (in other words, it's plugged in and it doesn't have energy cells...which we call batteries.) It suddenly occured to me that he's been draining all of the energy around him...except from his commlock. That stupid thing is on his person for all of this time, and yet its energy cells still have their power.

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Was anybody besides me screaming at the tv when Hiliary was running down the corridor "Call somone on your commlock you idiot!" Helena investigated two deaths, as well as Zoref at the beginning of the episode, and she did not use one single instrument. Don't you think, especially if the computer is reporting a death, that she would bring a kit of some kind? Suppose the person could be resuscitated? Suppose the death was caused by a contaminant of some kind that could be spread? How is she going to test for anything? Kano responds "2045 lunar time." Thank god he specified, because so many hundreds of light years from earth, I of course would have assumed he was referring to the time in Pango Pango. Here is a bit of terrible writing: Victor is referring to the two deaths when he says "force that killed Dominix and the girl." The girl? The girl! Aside from the dehumanizing aspect of that sentence, it would be logical to assume that a smalll cut off community like that would grow closer over time and everybody would know each other's names...much less a scientist who is investigating a death. A light is aimed on the unconscious Zoref as a safety precaution...if it goes out, he's starting to drain energy again. And yet they didn't attach the light to any sensor to trigger an alarm if it went out (gee, I'm sure Mathias could have rigged up something...since he can service tvs) and Helena sits with her back to the unit both Zoref, and the warning light, are in. Zoref has killed two people and drained a lot of energy out of the base. He is dangerous. Koenig places a guard outside a closed, windowless door. Wouldn't it have made more sense to put the security guard in an eagle and send the ship through a space warp (sorry, this is year one) a black sun so the security guard is on the other side of the universe in case there's any trouble in the medical lab? What is it with the women in this show. Helena is another one you want to give a dope slap to because she doesn't call for help until she's trapped herself in the corner and starts banging on the door. At least bikini clad Tanya (nah,

nah, nah) is survival smart in this episode to call for help. Anyone besides me think it was strange to have a display stand with crystal and rocks in the middle of a corridor? While it looked very dramatic, the sideways tilting of the buildings during the reactor explosions was just stupid. It's one thing on the good ship Seaview, it's another on the moon. Overall, I'm not bothered by a strange ball of light, or the Alphan's inability to really do anything about it...what I don't like is the simple real life things that get trampled on for no reason, and the stupid things that are said and done for lack of story editing or the five minutes it would have taken to look at it and say "this makes no sense." I think you can point to this episode as an example of the form that brought criticism to year one. You can have all the metaphysical stuff you want, but if your characters are not acting and reacting in a real manner, and if the simple everyday stuff is not real, then it doesn't work. I can suspend scientific disbelief so we can have the premise of the moon leaving orbit and reaching new worlds every week, etc, but I cannot except that a doctor is fixing a tv when there is a full technical staff, that guards are placed out of site from dangerous situations they are supposed to be guarding, and that names are not used when one of Alpha's most precious resources, (and a dwindling one at that) a human life, is lost. I think it is stuff like this that led people to compare year one to the supermarionation (spelling?) work. It is difficult for even the best of actors to make some kinds of material work...when the material is just lacking.

From: David Welle ([email protected]) Date: Fri, 30 Jan 1998 01:45:40 Subj: Space1999: Force of Life

[…] Though writing about a fairly contained, intriguing premise, it came off as a mixture of good and bad scenes (or portions of scenes),

Force of Life mixed with odd non-science and some confusing discussions that left me feeling somewhat cheated, as much annoyed as intrigued. I'm not much of a horror fan, but admit S19 can do such a good job that even I enjoy it in some cases -- but this isn't quite such a case, or is but only partially, since it does have a lot of good elements. In my opinion, it just doesn't come together quite right. Well, the plot does progress well, and the action is often quite chilling, but is cut up with a lot of distractingly confusing elements, and some poor characterization by some of the regular cast members. I'm afraid a lot of these types of complaints of mine in regard to this episode are shared with some of the other Y1 episodes -- one set of reasons that I've tended to find Y1 to be frustrating, a little too frequently. It did leave me with some memorable scenes that I did remember parts of for many years: Zoref walking zombie-like yet single-mindedly down the hallways, lights darkening as he wandered down the hallways; and the burnt thing he became at the end, pulling open one set of doors and the much heavier vault-like reactor door. My 1.999 cents, ---David Welle

From: Floyd Resler ([email protected]) Date: Fri, 30 Jan 1998 02:38:55 -0500 Subj: Space1999: Force of Life

Even though it's been a long time since I have seen this episode, I often use it as an example of how the creators of Space:1999 made you, the viewer, feel like the Alphans were at the mercy of the universe. Unlike many episodes of Star Trek, there was no tidy answer for what had happened. Of course, several episodes of Space:1999 were like that and now, as an adult, that really appeals to me. Floyd

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From: Petter Ogland ([email protected]) Date: Fri, 30 Jan 1998 09:57:54 +0000 Subj: Re: Space1999: Force Of Life Here is a bit of terrible writing: Victor is referring to the two deaths when he says "force that killed Dominix and the girl." The girl? The girl! Aside from the dehumanizing aspect of that sentence, it would be logical to assume that a smalll cut off community like that would grow closer over time and everybody would know each other's names...much less a scientist who is investigating a death.

I thought that was a rather interesting remark by Victor. Perhaps he was absent minded and just forgot her name. Anyway, I think it stimulated to the rather cold CLOCKWORK ORANGE sort of feel through much of this episode. What is it with the women in this show. Helena is another one you want to give a dope slap to because she doesn't call for help until she's trapped herself in the corner and starts banging on the door. At least bikini clad Tanya (nah, nah, nah) is survival smart in this episode to call for help.

I feel the behaviour patterns of both Helena and Tanya seemed quite in character. Being a doctor addicted to research work, it seems perfectly natural for me that she turns her back on Zoref and continues research. Personally I feel I could easily have acted the same way in a similar situation. As she is also an introvert, it also seems perfectly natural that her first thought is not calling for help when she panics. A very good sequence, the way I see it. The scene with Tanya in bikini was less psychological I think. Here it seemed David Tomblin went for more menace with a wry smile almost paying hommage to Kubrick. Very misanthropic. It is difficult for even the best of actors to make some kinds of material work...when the material is just lacking.

While you have done a much more thorough analysis than similar critical American reviews I've read earlier on this episode, I believe, the effect is very much the same. FORCE OF LIFE seems to be a favourite target when critisizing SPACE: 1999.

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FORCE OF LIFE is not on my top 5 list either, but not because it "makes no sense", which, in fact, I feel it does to a very large extent, but rather because I feel the story revolves around Anton and Eva who I don't find all that psychologically interesting, and with the regular crew reduced to playing supporing roles. In this respect I find it similar to other Johnny Byrne stories like THE TROUBLED SPIRIT and VOYAGER'S RETURN, the similarity with THE TROUBLED SPIRIT perhaps being the most striking. Now that we have reached FORCE OF LIFE, I feel we have moved quite a bit from BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, RING AROUND THE MOON and MISSING LINK. At this point I feel the series is starting to develop new directions. As the change of direction was apparent already with EARTHBOUND and ANOTHER TIME ANOTHER PLACE, the influence of Johnny Byrne had on the series as a writer is quite striking at this moment. I think that I understand more and more why Byrne speaks so highly of Tomblin. For some reason episodes like ANOTHER TIME ANOTHER PLACE, FORCE OF LIFE and THE TESTAMENT OF ARKADIA seem congruently bleak both in writing and direction. Petter

From: [email protected] (South Central) Date: Fri, 30 Jan 1998 17:46:45 -0800 Subj: Re: Space1999: Force Of Life

The scene where Zoref walks into the Solarium and is seen through a woman's leg is not a nod to Kubrick, but rather to the film, The Graduate where Hoffman's character is seen through the legs of "Mrs. Robinson". Anybody remember this? Mateo

From:

[email protected]

Date: Subj:

Sat, 31 Jan 1998 14:42:59 EST Space1999: FORCE OF LIFE

Hello Alphans! I love the episode FORCE OF LIFE. It was one of the first episodes I saw while still evaluating the series-as to whether I should still watch. I picked the show up sometime in 1975 during the first re-runs. I give this show an A. It has a very eerie feeling to it which is what I get when I even begin to think of the stuff that's out in space. The idea of putting a warning light on Zoref's body to act as a warning system was a real goof. I don't know wether to blame Helena for this. If you have an alien sucking up power, why in the world would you put a light (which gives energy) on him? I liked the alarm call which woke up the Zoref's 30 minutes before duty. Not only do patients wear the blue VIC satin pj's but everyone wears them at night. Nice shot of the scanning sensor tower as the BLUE LIGHT approaches. I like how things looked smooth in the power area as Mark tells Zoref that a condenser blew in panel #3. Then, all hell breaks loose. The upside down shot of Zoref lying on the floor was spectacular! As the intercom blurts out REPORT YOUR SITUATION, it is indeed uopside-down. The strange monitor wire placed on Zoref's head had a strange "S" shape. I recognise this symbol but can't remember where. I think it has something to do with ESP or something. Again, we see the different colored cellophane report covers. Koenig is near one that's BLUE. Again, I love how Bergman answers Koenig's questions: KOENIG: Victor, what caused it? BERGMAN: Ah, that's a good question. Remember Helena's quarters in MATTER OF LIFE AND DEATH? Again, in the Zoref's we see the YELLOW quares with circular knobs. Maybe they control climate osomething. It's in the Zoref's quarters that I thought-I wonder if any Alphans wear any jewelry. Bergman has a ring on his RH pinky. All Alphans are required to wear the Monitor watch on their left hands. These can be adjusted as Bergman does while

Force of Life running down the hallway with the power offtrying to escape the generating area as Zoref walked inside it. ERGOMANIA? Zoref certainly doesn't stop at getting the power he needs. Maybe that's why the aliens chose him. The gloomy music in this episode set the tone throughout. I also liked how Bergman again deflects Koenig's thinking. He says so much for your freak electrical strom theory. Once again, poor Dr. Mathais! No power, patients are dying and vapor-locking, he's always conked on the head, Helena chewed him out when Piri messed up the simple blood transfusion and he said "Dr, I am not a computer!". I really feel sorry for this guy. I can't even think of any Alphan that is a close second for abuse such as this! I really feel for this guy. The special effects and the great shots outside the base really added to the story. I liked the shots where Zoref's uniform are burned to shreds as his eyes suddenly turn WHITE! Check out the small fried pieces of clothing that once were his uniform lying on the ground. With the exception of the corny "Early warning system light", I found very little flaws with this episode. At times, however, I felt the could have filled in some of the spaces where we see Zoref endlessly wandering the halls, or lying down with perspiration pooring off him. Great episode!

From: "Ellen C. Lindow" ([email protected]) Date: Sun, 1 Feb 1998 20:13:01 -0500 (EST) Subj: Re: Space1999: Force of Life

the week almost ended before I had a chance to watch Force of Life. I've always liked certain aspects of this episode, even though it is a "quiet" one. Nothing spectacular happens, and none of the regular cast has an emotional stake in what's going on. Things I liked about the episode.: I enjoyed seeing more of Alpha, and more Alphans, not just the command staff. Too bad that so many of them die in this episode, but it was nice to get a glimpse of how they live, coping with being cooped up on Alpha, not wanting to get

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up and go to work any more than I do in the morning, and catching some rays-- probably prescribed for everyone to keep them healthy. I've never been able to drink tea on a cold day without thinking about Anton's cup of coffee. My hand get so cold sometimes that I feel my tea will freeze up just like his did-- I used to work on a farm and in the winter, I was sure I could freeze just about anything with a touch, of course here, nothing on a farm is inside or heated, heck, I don't even have heat in half the rooms in my house! This episode might even have been better as a second season episode. The only command staff person needed would have been the chief of security investigating these strange deaths. Since it seemed that the SBOL was forgotten the moment it arrived, it could have been a more effective story if no one but the audience had seen it, and no one had a clue what was happening-- that was the end result anyway! It did seem that the critter took Anton over slowly, I liked that. Every time he sucked up more power he got a little stranger, until there just wasn't any Anton left at all. This episode did a good job of relating how totally helpless the Alphans were against unknown phenomena. There was no solution to their problem. From the moment the SBOL merged with Anton, it was inevitable that he die. That's an unusual stand for any SF series. So, what're we watching next?

From: Date: Subj:

[email protected] Sun, 1 Feb 1998 21:12:38 EST Re: Space1999: Force of Life

Alpha Child. Is next on the list ! I like this One !!! Chas P. LKJ1999

From: Paulo Jorge Morgado ([email protected]) Date: Mon, 2 Feb 1998 17:30:00 -0000

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Year One Space1999: FORCE OF LIFE

[email protected] wrote: I give this show an A. It has a very eerie feeling to it which is what I get when I even begin to think of the stuff that's out in space.

Thank you. This exactly the point of this episode, and again, Y1 overall. That feeling of "we don't know what's out there and don't have all the answers." The special effects and the great shots outside the base really added to the story. I liked the shots where Zoref's uniform are burned to shreds as his eyes suddenly turn WHITE! Check out the small fried pieces of clothing that once were his uniform lying on the ground.

Now here are details which add to the story's appeal, and while not the focus/main reason of the show, are cool nonetheless as small incidentals. It's refreshing to see someone focusing on some "positive nits".

From: Paulo Jorge Morgado ([email protected]) Date: Mon, 2 Feb 1998 17:50:34 -0000 Subj: Space1999: FORCE OF LIFE

FORCE OF LIFE is one of the pivotal shows of the series, and displays many of the qualities that made Y1 1999 so memorable, some of which I've elaborated on in my first message last week. It shows exactly how vulnerable Alpha was to external unknown alien forces whose motives, origin and ultimate purpose remained unknown. One of the most interesting and special concepts of this episode, and the series as a whole. this is SPACE: 1999, and is what sets it apart from all other shows, regardless of individual taste or styles. The alien as neither malevolent or benevolent, just an amoral creature or even an animal that is just going about it's natural process of survival. it comes, it feeds and then leaves.

There is no communication, no explanation, nothing. Never has the mystery and unknown of space been better depicted. A very existential, alone in deep space at the mercy of the great unknown universe story, and it is excellent. Paulo May ALPHA's Journey be bright

From: Patricia Embury ([email protected]) Date: Mon, 02 Feb 1998 17:58:42 -0500 Subj: Space1999: In defense of Nitpicking

I have to put my $.02 in about nitpicking. Since we started watching these episodes in order, I have found myself watching them with a more critical eye. Petter's , and other's posts have really helped me see them in different lights, and their views let me see new things in the episodes I may have missed. Therefore, things in episodes that do not make sense, or vilate continuity, really stand out. Continuity in a television program, short story, or any piece of literature is very important, to avoid confusion in your audience, and strong continuity can turn a so-so program, into a great program or piece. To some, highlighting these continuity errors can seem like overcriticism, and I understand and respect that opinion. However, in order to get the fullest enjoyment of an episode, or story, you have to take the good with the bad, the nits with the brilliant moments. If you focus on just the good of an episode, you only get a one-sided view, and lose the opportunity to discover so much more. When you think about what could have been done differently, your imagination is stimulated; you tap into the creative side of yourself that can get pushed back by the day to day rigors of life, your job, etc; you become more fully human. Maybe I'm romanticising this a little too much, but it makes watching the episodes, and reading my e-mail a little more enjoyable.

Force of Life From: mcevoyc ([email protected]) Date: Mon, 02 Feb 1998 20:12:57 -0400 Subj: Space1999: sorry for this, but....

I for one certainly hope that a new 'flame war' does not ignite...it has been so peaceful, civil AND INTELLIGENT these past few weeks. But, I do have one nitpick... I actually had time to watch Force of Life last night and I found one thing that continually annoys me about Moonbase Alpha. I am a teacher and I can easily keep track of over 300 students, staff, and parents. So, if little ol' me can do it...why is Alpha so damned impersonal? Is everyone a stranger on Alpha? Or do they all retire to their own little world at the end of their duty shift? Zoref is awakened by a most impersonal alarm call. Obviously in distress, the best a passing woman can say to Zoref is: "Are you alright?" I mean, Zoref calls for Dominx by his first name when he has his attack...but everyone else is a nameless automaton. And this is not the only episode to do this! And Y1 was not the only time this was done......remember Seance Spectre? Alan's 'crazy red-head' line? I digress. Overall, Force of Life is visually stunning as the sets really move this ep along, but the story is weak. Twenty years later I still hold out hope that the burned out Zoref would turn to Koenig and say why he was consuming energy. Even something as lame as a "You have served my purpose" before entering the generating station would have created far more of a mystery than what we have now! Koenig's "You mean a star?" still makes me cringe! By the way, I do not have the epilogue to Force of Life as my copy ends with the blue

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moving off into space.......anyone care to fill me on what happens in the epilogue? Does Koenig go see 'Technician' Zoref's wife and tell her that 'Technician' Zoref was killed.....sorry for this.......

From: "Mark Meskin" ([email protected]) Subj: Re: Space1999: sorry for this, but.... I am a teacher and I can easily keep track of over 300 students, staff, and parents. So, if little ol' me can do it...why is Alpha so damned impersonal?

Agreed. Alan's 'crazy red-head' line?

yeah, where the hell did that conversation come from? Was he talking about events from years ago, or last week. he acts like she's just landed from a passing ship. Even something as lame as a "You have served my purpose" before entering the generating station would have created far more of a mystery than what we have now!

I like the fact that we never find out why. Thats how life is. Its not tidy. Koenig's "You mean a star?" still makes me cringe!

Same here, really crappy line. By the way, I do not have the epilogue to Force of Life as my copy ends with the blue moving off into space.......anyone care to fill me on what happens in the epilogue? Does Koenig go see 'Technician' Zoref's wife and tell her that 'Technician' Zoref was killed.....sorry for this......

Doesn't Helena comfort her at the end? -Mark

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Alpha Child

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10. Alpha Child One discussant sees the episode as a comment about the consequences of modernity. The impact of modernity on society, as he sees it, is told through a story about how childern in a cold and techonological environment develop into a sort of Frankenstein's monster. He also interpret films like Rosemary’s Baby and The Omen to deal with similar issues below the surface of being metaphysical horror stories. Other discussants suggest films like The Exorcist and Village of the Damned to be more relevant. It is also suggested that Rocky Horror Picture Show is a film that mirrors both the style and parts of the political subtext of the episode. From: Date: Subj:

[email protected] Sun, 1 Feb 1998 22:58:05 EST Space1999: ALPHA CHILD

Hello Alphans! For the episode ALPHA CHILD, I give it a B+. Right from the start, the scene is set. Things are not normal on Alpha when the first child is born. I noticed that Cynthia Crawford is addressed by Helena as "Sue"? We also see the same blue ball from the previous episode. Helena's heavy breathing sets the scene as the Alphans try to cope with this oddity. We are told that Jack Crawford died 7 months ago. He worked in the power station and he and Cynthia had their first child-little Jackie Crawford. I liked how Paul Morrow tries to keep everyones spirits up. It's interesting how all the Alphans try to entertain the little kid, giving him a BLACK SLEEVE just like Koenig's sleeve of command. Little Jackie stares at everything around him-learning. I thought Koenig led on too early in the episode with his "connection" thing. This shouldn't have been clear that early. We also see little Jackie put a commlock into a charger to recharge just like Bergman had done previously. I noticed the audio was awful as Alan is told to GET GOING. Strange. Poor Dr. Mathias! Again, he's slapped around in another episode. Helena turns and chokes him via the alien's grip on her. He also starts convulsing as the aliens tell the Alphans they are all going to die. What I found disappointing was that Jarak said there were 120 of them. Yet we only see two. Perhps some more aliens would have made the show better. All in all, I thought little Jackie played his role very well. The way he curls up into a ball in the corner of Main Mission was great. The way Koenig looks at him in the corner

made me think Koenig thought he was a little monster or something. Great buildup to the shockiscene when we see that the little baby is suddenly a 5 year old! Great!

From: Petter Ogland ([email protected]) Date: Mon, 2 Feb 1998 10:16:50 +0000 Subj: Re: Space1999: ALPHA CHILD

Hi all, The nicest thing about watching ALPHA CHILD after FORCE OF LIFE is the warm and emotional direction of Ray Austin. While not as flamboyant as in RING AROUND THE MOON and MISSING LINK, we get the feeling of being on Alpha, engageing in the problems of the Alphans' not coldly observing as David Tomblin did in FORCE OF LIFE and his other three episodes. From what I've understood, ALPHA CHILD was conceived by Edward di Lorenzo, but elaborated upon by Penfold. To me it seems to be about problems concerning raising childern in modern techonological society, the world as envisaged through Alpha not being designed for raising childern make children turn out to sorts of Frankenstein's monster that turn back upon ourselves. I'm not quite sure if this is what di Lorenzo and Penfold are trying to say, it's not a very clear episode, I think, and I miss both the more selfreferencial style of writing di Lorenzo used in his two earlier efforts and the more expresionistic camera style the Austin found suited for those two.

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ALPHA CHILD as it finally turned out, reminds me more of Penfold's LAST SUNSET, being close to devoid of the philosophical aspects of di Lorenzo's writing, and Austin being much more modest than usual. Nevertheless, unlike LAST SUNSET, I feel ALPHA CHILD is an episode that has at least such a richness in characterization and directional style that it is worth watching over and over again. Austin seems to bring this about with his efforts. Even an incredibly silly concept such as the living stones in ALL THAT GLISTERS, contains a certain amount of style in the way that it was made so that it makes worth while in the long run, I think. While the idea of the Alpha Child is not a totally bad one, I think, there is always the problem of having to work with children. Under the circumstances the portrayal of Jackie is fair enough, I think, from what one could expect. The most impressive acting is by Martin Landau, however, looming over Jackie not unlike John Cassavetes in ROSEMARY'S BABY (1968). There is perhaps also a connection to THE OMEN (1979). It is also nice to see Nick Tate being in top form, showing enthuseasm when playing with Jackie early on and confusion after being told twice by Koenig to get move on. Tate is excellent in this state, I think, some of these scenes are almost as good as the marvellously confused Carter in COLLISION COURSE. Petter

From: "Petter Ogland" ([email protected]) Date: Tue, 3 Feb 1998 10:18:45 +0000 Subj: Re: Space1999: In defense of Nitpicking / Alpha Child

Hi all, Pat wrote: ... Since we started watching these episodes in order, I have found myself watching them with a more critical eye. Petter's , and other's posts have really helped me see them in different

lights, and their views let me see new things in the episodes I may have missed.

Thanks for the kind words, Pat. What fascinates me the most with your mails, however, is the psychological insight in characters and style of portrayal. I remember your insightful comments on John as a person in WAR GAMES really sparked me off. I also remember watching THE LAST ENEMY over again to find out if Victor and Helena were displaying their emotions as vividly as you interpreted them in one of our discussions. Now I can't see that scene without thinking of those e-mails, certainly the highlight of that episode. Another fond memory was the list discussion on the scene between Balor and Helena in the Medical Centre in THE END OF ETERNITY. Although one of my favourite episode, that I have seen a number of times, your description of how Helena lowers her voice in that scene made me have another go at it. A wonderful scene, by the way. I have also enjoyed your medical comments on recent episodes very much. I don't know is those comments should be catalogued as nitpicks, I didn't feel they were meant as critizism of the series, but, nevertheless, extremely interesting and a great contribution to the ongoing weekly discussions. I hope we can have more discussions on characterization soon. FORCE OF LIFE was very poor on this aspect, I feel, no matter how technically brilliant it was in other ways. ALPHA CHILD focuses more on charater, I feel, as one would perhaps expect from a Ray Austin episode. As mentioned earlier, I felt Nick Tate got good opportunity to bring flesh and bones to Alan Carter. As I see it, one of his best performances with the exception of COLLISION COURSE were he really outdoes himself. COLLISION COURSE was the next Ray Austin episode of the series, so perhaps Austin used some of the rapport with Tate to more extent in that one, seeing the possibilities in ALPHA CHILD. It would be very interesting to hear your views on Jarak, Pat. I found the way Penfold and Austin tried to humanize him in the end, when everything was lost, worked quite splendidly.

Alpha Child Julian Glover goes for the British gentleman approach, which makes Koenig and the the Alphan's seem utterly confused, not knowing what they shall do. Certainly one of the highlights of the episode, I feel, but luckily the problem resolves itself.

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ARCHANON. On the other hand, Landau acted like this was someone else's kid and wished he would go home. BTW, whatever happened to Wayne Brooks? Obviously an adult now but what is he doing these days?

Petter

From: David Acheson ([email protected]) Date: Tue, 03 Feb 1998 18:17:16 PST Subj: Space1999: Moonbase Kid (Alpha Child)

I like this episode. Not that its one of the best but its enjoyable nevertheless. Petter, funny you brought up ROSEMARY'S BABY and THE OMEN. How about THE EXORCIST? One would not think of this episode as "child possession" but the last two films came out around the same time (or shortly after)the series aired. And we do seem to have a kid taken over by an unknown force. Interesting connection. David Tomblin, a cold director? I always found him to be quite the opposite - very imaginative and stylish. Ray Austin, in my opinion, does better with ALPHA CHILD than his first two episodes. This is not a slight against Edward di Lorenzo or even Austin but just feel Austin did better with the material this time. The child actor (Wayne Brooks) did a marvellous job of playing the cute deaf-mute who steals everyone's heart but is really using the Alphans for other purposes. No overly dramatic acting here - just subtle. This is what makes the characterization believable. No glowing red eyes,evil smiles(except when he saw his mother go crazy upon looking at him)or evil tyrannical laugh! Just a kid being a kid. He fears Koenig - we later know why but its taken by the Alphans at the time to mean that Koenig is the scary dominate one in black. Victor is taken to be the kind grandfather which was nice to see. Alan is the uncle-figure. Nick Tate seems to have a natural ability with kids - he shows this again in THE MARK OF

What I like best about the episode is that it addresses a growing problem the Alphans find themselves faced with - their future. If a suitable new world is not found, could they continue to grow on the base? Jackie Crawford is the first new generation of Alphans but can they afford to keep others? The thought of continuing the species must weight heavily on their minds. If Alpha stops being a work site and becomes a community it is only natural for people to want to pair up and live what is close to a normal life. Some will want to have children. Can Alpha really be anything other than a work site? In THE EXILES, Helena states to Cantar and Zova that Alpha's life support system doesn't allow for an expansion of their population. The range of answers to their fates however may just be as just as confusing and controversial as the question! Nitpicking time. Dig those ugly silver clothes Jarak and Rena wear. This time the woman wears the slacks while the man wears the hot pants. While not a huge star, didn't Julian Glover have a small role in one of the STAR WARS movies. I seem to think he did. Someone mentioned that it would be more menacing to have many aliens shown rather than two. I disagree. The fact that we actually don't see them all but know that they are there hovering over the base is quite menacing. You are constantly left guessing as to what they are up to next. Its what you don't know that is upsetting. Enough for now. I am at the office late and I should be heading home. David

From: Keniji Watanabe ([email protected]) Date: Mon, 02 Feb 1998 22:36:45 -0500

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Year One

Subj: Re: Space1999: Moonbase Kid (Alpha Child)

He was in "Empire Strikes Back" as an Empire Land force AT-AT commander, also was in "Indiana Jones and the Last Crusade" who was the rich philamthophist (sp) who wanted the Holy Grail and died drinking from a fake Grail in the end. Seen him also on Dr. Who. Just a few FYIs ;) Keniji Watatnabe

For me it's the other way around. I felt he was more creative in the first two, perhaps more engaged in the making. Nevertheless, it's interesting to hear that you think otherwise. ALPHA CHILD is more "down to earth" in style of direction, I suppose, and Austin didn't emphasize the experimental style from RING AROUND THE MOON and MISSING LINK too much in his later works such as COLLISION COURSE, THE TROUBLED SPIRIT, END OF ETERNITY and MISSION OF THE DARIANS either.

http://www.flash.net/~keniji

From: Petter Ogland ([email protected]) Date: Wed, 4 Feb 1998 13:00:22 +0000 Subj: Re: Space1999: Moonbase Kid (Alpha Child) Petter, funny you brought up ROSEMARY'S BABY and THE OMEN. How about THE EXORCIST?

THE EXORCIST, yes. I still find THE OMEN closer, however, focusing on the birth and growing of evil, rather than the kid being taken over. You still have a point, though. David Tomblin, a cold director? I always found him to be quite the opposite - very imaginative and stylish.

What I ment was "cold" in the Kubrick sense. In the Tomblin installments I often get the feeling of objectively watching, even if the cinematography is imaginative and stylish, which I agree it is. In the Austin episodes, on the other hand, the camera keeps wandering around, sometimes focusing on the one who is speaking, sometimes on the one who is responding, sometimes just looking around, much more like if the viewer was an inhabitant of Alpha rather than "cold" observervation. Both directors have very recognisable styles, however, which is nice. Ray Austin, in my opinion, does better with ALPHA CHILD than his first two episodes. This is not a slight against Edward di Lorenzo or even Austin but just feel Austin did better with the material this time.

The child actor (Wayne Brooks) did a marvellous job of playing the cute deaf-mute who steals everyone's heart but is really using the Alphans for other purposes. No overly dramatic acting here - just subtle. This is what makes the characterization believable. No glowing red eyes,evil smiles(except when he saw his mother go crazy upon looking at him)or evil tyrannical laugh!

He-he. Just a kid being a kid. He fears Koenig - we later know why but its taken by the Alphans at the time to mean that Koenig is the scary dominate one in black. Victor is taken to be the kind grandfather which was nice to see.

I liked the "f-l-o-w-e-r" sequence very much. As in so many of the Austin episodes, brilliant, absolutely brilliant acting from Landau and Morse. Alan is the uncle-figure. Nick Tate seems to have a natural ability with kids - he shows this again in THE MARK OF ARCHANON. On the other hand, Landau acted like this was someone else's kid and wished he would go home.

Nice way of putting it, David. Austin and Landau manages to get Koenig quite contrasting to Nick Tate's playful uncle. The underlit Koenig looming over the curled up Jackie is quite effective, and not unlike Cassavetes in ROSEMARY'S BABY, I think. What I like best about the episode is that it addresses a growing problem the Alphans find themselves faced with - their future. If a suitable new world is not found, could they continue to grow on the base? Jackie Crawford is the first new generation of Alphans but can they afford to keep others?

In some ways I think ALPHA CHILD seems reminicent of Johnny Byrne's apparently lost

Alpha Child script CHILDERN OF THE GODS, at least according to his comments in the FAB article to be found in Robert's Cybrary. While I find ALPHA CHILD a bit unfocused in storytelling at times, it seems that one of the ideas it tries to discuss is about the future of Alpha, what kind of childern they might have. Just like CHILDERN OF THE GODS, the childern of Alpha turn against them. Would it be possible to rise childern in such circumstances, the script seem to ask, perhaps Penfold and di Lorenzo sere thinking more genereally about what kind of people would unfold being born around 1975? As the digital evolution unfolds, who knows what kind of world our children may grow up in, for better or worse, it is certainly different than the world of our grandparents. Penfold's warning seems milder in ALPHA CHILD than in the more technophobic GUARDIAN OF PIRI, however, and the ending of ALPHA CHILD with mother and child reunited makes for an optimistic ending. Nitpicking time. Dig those ugly silver clothes Jarak and Rena wear. This time the woman wears the slacks while the man wears the hot pants.

If this was made about five years later I would have guessed it was a reference to ROCKY HORROR PICTURE SHOW (1975). Rena looks very much like Frank'n'further and Jarak like the creature. Perhaps it was directly inspired by this? I assume musical ran for some years before the film was made. Petter

From: Patricia Embury ([email protected]) Date: Wed, 04 Feb 1998 15:48:31 -0500 Subj: Space1999: Alpha Child

When I saw this episode for the first time, I didn't really like it. And before I watched it again, I had the same feeling that I wouldn't like it. Happily, I can say I appreciate it more, and found it to be quite enjoyable.

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I, like Petter and some others, was reminded of the child possession type movies, although I think it was more in the style and feel of Omen, with its premise of the evil child, than a straight posession. If the child had been taken over when it was a little older, and "gone alien" more quickly, I think I would have bought the Exorcist-type premise. The child who played Jackie was able to express so much malice, and show how he was learning about the functions of Alpha through his facial expression. Maybe it was just my copy, but the lighting was quite dark, which added to the aura that something was terribly wrong. The camera angles, especially of Koenig towering over Jackie when he sent Carter to intercept the aliens the second time, seemed to emphasize how big Koenig was in relation to Jackie. I like this episode better than Missing Link, because the background, lighting, camera angles, seem more subdued, more sinister, and doesn't overwhelm the story. The whole aura of expectancy in the opening when the base anticipates the birth, gives way to shock, then dismay and acceptance of a child who is different. The crew in main mission discussing the incident reminded me of "Waiting for Godot", the sense of everyone sitting there, talking, saying so much without really doing anything. The sense of betrayal is palpable in the command staff meeting after Carter's crew fails to intercept the additional ships. Barbara Bain really shines for the majority of this episode. Her absolute shock at the sudden growth spurt was superbly acted, and she was really ready to shoot Carter. She seemed very maternal and nurturing towards young Jackie. Her controlled readiness to shoot played better than a wooden , "Oh lord I don't want to shoot, but I'm possessed".. action. I wasn't crazy about the strangling Bob sequence, but I don't know what could be changed to make it better. Nick Tate was wonderful. Carter made the first move to accept Jackie, flying him around Main Mission, which really broke the ice for the rest of the base. He also had his arm around Tanya when everyone was congratulating each other after the birth. Carter was confrontational, but you could see the respect he had for Koenig in both their first confrontation, and during the command meeting. He looked like a whipped

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Year One

puppy when Koenig called him incompetent. If Koenig had called him this in earlier episodes, I think Carter would have decked him.

My comment's on A- Child... This episode. Is in My top 10 best liked episode's from Y-1...

Martin Landau was excellent as always, and it was nice to see more from the other supporting cast. It was also nice to see the generating area again.

Eagle action. NO. of times the word eagle was said. (5)... Lift off's (1)... Landing's NONE...

From: Patricia Embury ([email protected]) Date: Wed, 04 Feb 1998 16:18:25 -0500 Subj: Space1999: Alpha Child part II Julian Glover

Julian Glover's performance was wonderful. Trying to get used to being in a new body, then seemingly without remorse when begging Koenig for mercy. Anyway, Glover, as mentioned before, appeared as General Veers in the Empire Strikes Back. I may be wrong, and I ask other list members to take a look, but I think it is his picture on the back of the Kenner AT-ST action figure. The picture is gold tinted, so it makes it difficult for me to tell if it actually is him or not. The AT-ST was featured in the Endor battle during Return of the Jedi, in the ESB, Glover commanded an AT-AT (the big one). I'm interested in hearing your opinions.

From: Ekmar Brand ([email protected]) Date: Wed, 4 Feb 1998 23:00:23 +0100 Subj: Space1999: ALPHA CHILD

Hi Alphans! I think the STAR TREK: THE NEXT GENERATION episode (and also the never filmed STAR TREK II episode) "THE CHILD" was a remake of "ALPHA CHILD". Ekmar

From: Date: Subj:

[email protected] Wed, 4 Feb 1998 17:29:37 EST Space1999: Alpha Child.

Blooper's NONE. That I could see... I liked the three alien ships. Also I really liked the sound they make! My Favorite scene & music. When the very big alien ship shows for the first time. By the way this is My favorite ship. From Y1... Chas P. LKJ1999

From: "Petter Ogland" ([email protected]) Date: Thu, 5 Feb 1998 12:36:37 +0000 Subj: Re: Space1999: Alpha Child

Pat wrote: Maybe it was just my copy, but the lighting was quite dark, which added to the aura that something was terribly wrong.

Ray Austin uses the same kind of play with light and shadows in MISSING LINK and THE TROUBLED SPIRIT, too. I like this episode better than Missing Link, because the background, lighting, camera angles, seem more subdued, more sinister, and doesn't overwhelm the story.

It is perhaps more subdued, but I think many of the early sequences in MISSING LINK were sinister enough, the eagle crash, the rescue and Koenig walking around on an mysteriously empty Alpha. While I also enoyed the sequences on Zenno very much, I was too, perhaps a little overwhelmed by the nightmare sequence, though I felt MISSING LINK emplied a style more common with my Ray Austin favourite, RING AROUND THE MOON, to a much greater extent than ALPHA CHILD. ALPHA

Alpha Child CHILD has more in common with his later work on SPACE: 1999, I think. The whole aura of expectancy in the opening when the base anticipates the birth, gives way to shock, then dismay and acceptance of a child who is different. The crew in main mission discussing the incident reminded me of "Waiting for Godot", the sense of everyone sitting there, talking, saying so much without really doing anything.

He-he! This reminds me of earlier discussion of Austin's work where Beckett, Ionesco and surreal painters and filmmakers have been brought in for illustrating his style. Petter

From: David Acheson ([email protected]) Date: Thu, 05 Feb 1998 14:44:54 PST Subj: Space1999: Julian Glover

Alphans: Recently someone wrote that Julian Glover appeared in a Doctor Who episode. I don't remember the name of it but I now do recall such an episode. It was during the Tom Baker years. He played a Count who was really an alien. Now for the trivia part. The role of his wife was played by Catherine Schell. David

From: Date: Subj:

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disturbing. I could never get a reply other that an EEEEWWWWWW!!!! Any theories?

From: Date: Subj:

First of all I'd like to thank Marcy and David for all the work they have done to try to make everyone satisfied. I go away for a few days, and come back to find not only has there been a tornado, but that the mess has already been cleared away. Thanks for not taking the easy way out and dumping the whole thing. Although I am mostly a lurker, I'll be doing my lurking on this list. Although I do like y2 a bit more than y1, I do like both years. I tend to watch tv from a more emotional than intellectual view point which may explain it my reasons for liking Alpha Child. I enjoyed the comparison to Rosemary's Baby etc. I hadn't looked at the episode from that view before. Isn't this what the list is all about? So from my point of view, I find this a tale of loss and betrayal. Loss of hope & innocence: 

[email protected] Thu, 05 Feb 1998 15:40:59 -0500 ALPHA CHILD

Although I haven't seen Alpha Child since the seventies, I do remember it well. When it first aired, I was in high school. My sister, my best friend's sister, and every other female who watched it was totally grossed out by the opening sequence---the baby in the incubator and then when the mother screams there is a five-year old crammed into it. I always wondered why girls found it so

[email protected] Fri, 6 Feb 1998 13:19:34 EST Re: Space1999: Alpha Child



When Jackie first grows, Koenig says something to the effect that 'we knew there could be problems' Helena's reply is that 'they expected, genetic, social, emotional problems' Her loss of hope that she could cope with problems children would face on Alpha medically is gone. Look at Sandra crying, 'happy', then later looking like she's ready to cry, 'you mean we can never look forward to normal children' or some such phrase. Alan ready to chuck it all in. Look at Helena all dreamy-eyed not wishing to leave the baby, hope of her own child, at one point stating she had been looking forward to the birth of the first child, now she's revolted by it.

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Year One 

Koenig trying to like Jackie and not succeeding, looking at and not understanding Jackie, maybe the aliens are friendly, like we are. Trying to get the Alphans to quit feeling for Jackie, and see him, without killing their hope for the future.

just rattling around an opinion Lynn Allard

From: [email protected] (B J Dowling) Date: Sat, 7 Feb 1998 00:51:54 +0000 Subj: Re: Space1999: Julian Glover

A betrayal of love and friendship: 





Victor, patiently, gently, giving of himself filling Jackie's sponge-like mind. Showing him flowers. When Jackie becomes Jarak, Victor lay dying on the same desk they drew the flowers at. Alan treating him as a little buddy. Helena cuddling him when he is frightened. All the people who reached out accepting the abnormal, choking to death. Using Helena as a pawn. The two recurring themes in the series, Helena is willing to die for the base, but not to sacrifice others, so he used that against her. Helena is John's one vulnerable point. She is the one person he seems most willing to listen to, and where he might have to sacrifice some unnamed purple sleeve for the base, he is more hesitant when it comes to sacrificing Helena. So he used her against Koening.

I especially like the contrast of the beginning and ending of the episode. They all wait anxiously, baby pool, Helena glowing, showing off the new 'perfect' baby no feared defects, Sandra crying tears of happiness. Then the end. They are standing in a doorway, doubtful, full of suspicion, Mathias is weeping tears of relief? fear? They are never going to be able to look at that baby, or birth, in the same way again. It makes me think of the phrase from Macbeth, "death hath murdered sleep", that complete joy is wounded. Although the book gives reasons that this one birth was allowed, the episode does not refer to the 'no more births' policy on Alpha. Koenig says they can barely support themselves, but nothing about more births. What was the first episode that states the policy? And how long after Alpha Child is this?

Brian the repository of useless information strikes again... David wrote Recently someone wrote that Julian Glover appeared in a Doctor Who episode. I don't remember the name of it but I now do recall such an episode. It was during the Tom Baker years. He played a Count who was really an alien. Now for the trivia part. The role of his wife was played by Catherine Schell.

Julian Glover has appeared in 2 Doctor Who stories: as King Richard in the William Hartnell story "The Crusades" (1964, I think), and the one David mentions above is "City Of Death", first transmitted in August 1979. In this story Glover plays Count Scarlioni, who is in fact an alien, Scaroth of the Jagaroth. His ship was splintered in time in an explosion some 400 million years ago and he is one of 12 splinters trying to guide mankind to a point where time travel is possible so he can go back in time and prevent the destruction of his ship, which would stop man from evolving. It was part of a season for which Douglas Adams was the script editor, and there were some amusing moments in most of these stories. I recall a scene with John Cleese and Eleanor Bron in the Louvre where they are admiring the TARDIS. The Doctor, Romana and Duggan rush past them into the police box and it dematerialises. Can't remember the dialogue, but it was funny. I'm sure it was released on video.

From: Date: Subj:

[email protected] Sat, 07 Feb 1998 13:09:15 -0500 Space1999: Alpha Child

Alpha Child While watching this I got up and started fixing one of the machines in this crowded apartment...not because I wasn't enjoying the episode or paying attention to it, but because I realized half way through that there was very little for me to write down...which in my way of doing these critiques is the mark of a good episode. Overall I think this episode had a lot of real humaninzing values, reactions and just plain real and decent dialog...which at times has been missing from other first season episodes. I think this episode could have been the key to "humanizing" as was tried during year two. (For instance, I love the whole scene when MM is celebrating the birth: Alan is feeling proud while Sandra is noticing this with the "as-usual-the-man-is taking-the-credit-while-itwas-the-woman-who-carried-the-child-andwent-thro ugh-the-childbirth-pain" reaction...and then Koenig's reaction to Sandra's happy crying with a look of "oh these women." It just doesn't get any better then that. I have to agree with critics at the time that there was just too many strange balls of light. If they didn't want to reveal the alien ships right away, they could have had everything happen as it did, without the occassional shots of the ball of light, which told us, the viewers, already what was happening, when I think it would have been more effective if we were in the dark as much as the Alphans as to why the baby mutated as he did....until the ships revealed themselves. It is charming to see Jackie in a little uniform, but then I wondered about that. Wouldn't you rather put a child in nice looking kids clothes then in a service uniform? They are worried about the kind of life the kid will have on Alpha, so they start by putting him into a uniform that is the very symbol of their being marooned? It is odd that Victor is not in the episode until 12 minutes have gone by. All of his scenes were in his lab...I wonder if Morse was doing a film at the time and was only available for one or two days of shooting.

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Not a lot of discipline in MM if everyone leaves their post to crowd around a viewport to stare at the alien ship hovering overhead. A five year old kid, who as far as the Alphans know has not had the chance to learn what a regular five year old would have, is wandering around the base by himself? Even a regular five year old who had grown up on Alphan would not be let out of sight like that on a space base with the potential dangers that exist. And how is Jackie getting in and out without a commlock? (I already know someone out there is going to say he's using the powers we see him use later on. But that doesn't explain why when Alan sees him out in the corridor his first reaction isn't "Why are you out here by yourself?" We don't see a transition in Alan to see that Jackie has zapped him.) The one bit of dialog that I felt was bad was Koenig saying Carter was incompetent attacking the ships. If his using manual control in firing was supposed to be his being effected by Jackie, then it wasn't made very clear...we've seen many instances when Carter has learned to use his own senses and skills, and have reasons to not trust the computer. The dialog made more sense referring to Carter's freezing in MM, but including the attack made no sense. Another slight problem is Jarek's line at the end "They are only stunned." If he is referring to the bodies in the corridor...you're telling me Dr. Russell could not tell they were still alive when she and Paul examined them? (She replied to Jarek's line "They will recover," and she was giving a reaction of "wow...they're not dead.) If she and Paul thought they were dead, then why did Paul stay with them, rather then join in the pursuit and fight to keep more Alphans from dying? It is a little bit of silly, unnecessary dramatics at the expense of logic.

From: David Welle ([email protected]) Date: Sat, 07 Feb 1998 22:34:28 Subj: Space1999: Alpha Child

Alphans,

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"Alpha Child" is, in my opinion, a fine mix of science fiction and horror, and certainly one of the most memorable episodes of Space: 1999. The episode starts with the Main Mission personnel are quietly yet obviously anxiously waiting for something, Morrow -- and especially John -- pacing. The music in the background doesn't hint at immediate danger, yet gives no indication what is going on. Then a beeping tone, signalling something -- but what? "That's it," John says. "Alan, cut the alarm." "A day to remember," Alan says. Before there's any time to interpret what that means, we find out. It's a beautiful little baby! Amid the harshness of space that we've seen, in a closed base of machines and seemingly endless white walls, and surrounded by blinking lights in the viewscreen is new hope, something which brings tears of joy to Sandra. "We made it!" Paul says. "We." The whole base's emotions are involved in this, the first new life on an Alpha that had been filled with death and horror on so many previous occasions. Then, a blinking blue-green is seen moving through space. Whether the viewer has seen prior episodes or not, that seems to spell trouble -- but the exact form is startling. No one sees this light approach. The medical monitors start going wild, alerting Helena, who immediately starts rising. The Sue Crawford screams, and screams again and again, piercingly, in obvious horror or terror. Suddenly, there is a much older child scrunched up in the incubator where moments before there had been a baby. As a child of six in 1975, I'm sure it scared the living daylights out of me. Years later, when I'd finally see it again in 1992, I remembered essentially nothing, and the buildup and sudden shock sent shivers down my spine. Even now, knowing what will happen, I still get shivers on the back of my neck. Incredible beginning.

Sure, there's another of the well-known "strange balls of light" (SBOL), which, in this case, is a funny bit of deception on the part of the writers, for we immediately start jumping to conclusions that won't quite be correct, for this ball of light will eventually be shown to be something else entirely. They give something away immediately, though, and that's that it seemingly must be connected to the child's transformation. On one hand, this lifts a bit of the mystery (only a bit, though, because we still don't understand the actual connection and more importantly intent); but on the other, it does replace it with something that plays well too. That is the sense that we as viewers know just this bit more than the Alphans do; while we watch them wondering what happened to little Jackie, we can both know a little more yet still be wondering about just as much ourselves. I may fault parts of the series for overplaying the mystery and strangeness at the cost of simple logic or human reaction, but they do well by changing perspectives over different episodes, IMO. That, of course, is due to the different writers and directors. Also, the sense of mystery in this episode does not, unlike in "Force of Life," come at the expense of simple logic and continuity. All in my opinion, of course. But I'm getting ahead of myself, here. Poor Sue Crawford mutters "what happened to my baby," in shock. She was all prepared, psychologically and instinctively, to care for her baby; yet suddenly, she's robbed of that. It's not even that her baby was still-born, which while horrifying to a mother, does happen. No, here, her baby doesn't die, but is suddenly replaced, in an instant, with a five year-old. Shock indeed for someone whose emotions are, by far, the most involved of any of the Alphans. Koenig, in Medical Center, on first sight of Jackie, has this intense stare, as if he's trying to pierce through the mystery. He glances over at Sue too. Well played use of body language and facial expressions, including when he starts smiling at Jackie when the boy opens his eyes, as if John drops his guard to greet Alpha's youngster.

Alpha Child (Amazing what you spot after having seen an episode a few times, because I spotted John and Helena with the same pose as each other for a few seconds, right hands over on the left side of their belts. There's maybe a hint of something here, for their seemingly mimicking each other's actions.) The child is responsive, reaching out in response when Koenig extends his hand. Helena is confused and shaky about the whole thing. She states how (and why) it is scientifically impossible, and she is frustrated. Something else the Alphans have to figure out. And yes, they give a nod to currently known science, indicating this goes beyond what's known. Yes, this seemingly disobeys the Law of Conservation of Energy -- of which mass is a form of energy -- just as Maya does, but the questions become an interesting "how?" and why?" for the characters and audience. The conversation includes this: John:

Helena, we knew there could be a problem. Helena: Yeah, psychological problems, medical problems! Things we could deal with! but this!

Which in then leads to a thought that maybe the father, working with nuclear material, may have been exposed to radiation's mutating effects. It wouldn't be surprising, considering Alpha's history with nuclear material -- but initial checking seems to deny this, though they are going to check further. It is still left as a mystery to the Alphans, who remain unaware of the approaching SBOL. The Alphans, after their joy at the birth, are left depressed at what has happened. Sandra expresses their feelings: "You mean we cannot ever expect to have normal children?" Alan states how the Alphans lead such a strange life. A number of smoothly flowing scenes follow, showing Jackie in various locations, with various people, around Alpha. All the adults like taking up the parent role that the shocked Sue Crawford cannot, including that of teacher (Victor is especially good in the teacher role

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while also being very grandfatherly). They have an obviously bright and intense student, despite the discovery of Jackie's deafness and lack of speech. Again, simple logic is used by one S19 character, stating there'd be no reason for him to know language yet, and why. This use of logic is actually consistent with Helena's previous use, stating why it was impossible for Jackie to have jumped in size; in one case, the impossible happened, in the other, it didn't, but there is full acknowledgement of our current level of knowledge and logic facilities. In these scenes, we as viewers become privy to what the Alphans themselves don't fully realize immediately. While the Alphans get caught up in being part of the child's life, we see how thorougly he takes everything in. Kudos to the child actor, Wayne Brooks, who played this role, for how he looks at things carefully, runs his hands over everything, smiles at times but who also has these intensely serious stares, which combined with the camera shots at the things Jackie is studying (for we can guess he's studying everything of importance on Alpha), make it clear, for those viewers who are looking, that there's more than just intense curiousity, but seemingly a very active intelligence who already has a purpose -- while not making it SO obvious that we want to hit the Alphans for being stupid. The cut-off people, in their enthusiasm for taking part in a new life, largely miss the subtle signs. Victor is showing him the basics of drawing a flower, while Jackie stares at the equipment around him. Jackie even makes use of the commlock to open a door. Interweaved in between those scenes are short views of that ball of light, a reminder that there is something different about this child (not that we necessarily need it, but it is gently used.) Koenig, with his suspicious nature, does spot some of the signs in Jackie's behavior, but really can't be sure what they mean, just as we the viewers see them but do not know (well, on first viewing anyway) what really is going on. Jackie seems to sense this, and generally shies away from him. In the scene with Victor and Jackie, this is again repeated, and for a moment, while John expresses his reservations about Jackie,

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literally behind the child's back, Jackie pauses in his drawing, cocking his head ever so slightly, as if listening to the words -- or maybe the thoughts -- of the two. He's even finishing a drawing of a ship, which he refuses to show. We the viewers get to see he's drawing something that is definitely not Alphan, and can guess someother intelligence is inhabiting him. The ball of light is eventually found to have a ship at the center. That did make me wonder why a ship would put out such a firmly-defined sphere of light in the first place, but I can guess at two ideas: 1) It's a method of deception that can mask the ship's identity within a huge sphere of light, until the "tiny" ship is close enough in the vastness of space to be seen for itself. (It's like a the incredibly tiny nucleus in a atom that is mostly empty space.) Used very sparingly, it's certainly a good method of disguise (used too frequently, and the ships will obviously become known for their giant spheres of light - unless other spacefaring cultures in the area use the same method). Or, 2) It's simply the way the ship travels. I've speculated at length about possible means of faster-than-light travel in S19, but for brevity here, I'll instead compare it (sorry) to the "warp bubble" idea in Star Trek. Here, to get real picky, I figure the ship was actually travelling slower than light, but its drive system may still work by creating a pocket of faster travelling space, and throw out pulses of light within that spherical region, illuminating "it." The ship moves directly to Alpha, and Alan is sent to investigate. On board, he says, "I'll let you know if they fire," then looks at his copilot. A little in-joke between the two characters, and a nice touch. Things are tense in MM. No one is sure about the ship's behavior, particularly the lack of communication. A nit: "The laser charge is at maximum rate." I'm not sure why he uses the word "rate" instead of "power" or "force."

Jackie shows up in Main Mission. Either he's been left unsupervised and wandered over to MM (which wouldn't be surprising considering how thoroughly he's been soaking everything in), or had previously come with one of the people now in MM. The commander sees him. They lock gazes for a second, and Koenig suddenly recalls the Eagle. He gives a convincing speech about the Alphan actions possibly being misinterpreted, and it's just right, IMO, to make one think "maybe, but maybe not." There's the strong hint that something more is going on here, but it's not made obvious at first (though it will be shortly). Koenig:

Ignorance is no reason to start shooting. After all, we're... we're all afraid of the unknown. Let's take Jackie Crawford, for example. [....] I can't understand him, but I'm not about to shoot him.

Excellently written lines. Change to Medical Center, where Jackie is standing near his mother Sue Crawford, and she is screaming franticly to get him away from her, that he is "killing" her. It is a curious line, for knowing what we do know, and what we are speculating about, it is a chilling indication that he isn't just psychologically "killing her" with his shocking transformation earlier on, but that there may be some form of literal killing going on -- or at least a first hint of that. She is in obviously bad shape, and we now suspect there being more to that. Then, the most horrifying part is that little smile that Jackie gives, that just sends chills through everyone, including me as a viewer and Helena as a character. "So knowing. Almost as if he were... mocking his mother's death." Now, John orders Paul to find and watch Jackie, and John's suspicions otherwise harden. "I think he's fooled all of us." Three more ships are arriving, and John has a hunch (likely a strong one) that there's a connection between them and Jackie. Anther fine scene follows, where the three additional ships are approaching and are

Alpha Child watched from Main Mission. Jackie is in the corner, and his stare seems to pierce into Alan's back, freezing him zombie-like for quite a few seconds. I also liked the way Koenig only caught Alan's stillness out of the corner of his eye. Then John approaches Jackie, and the camera is low, looking up at the commander while down at Jackie, who is, curiously enough, in command colors as well. That is an irony, considering what has just appeared and what is to come -- that Jackie (and later as Jarak) is in a remarkable amount of control. Here, though, Jackie curls up under Koenig's wilting gaze. There's a little pitched battle between three Eagles and the three new ships. There's some talk about manual override, which while being a bit appropriate in light of "Guardian of Piri," seems a bit labored here. The Eagles aren't effective, and are downed by a draining force. I've never been able to figure out John tearing into Alan for "incompetence." I think now it might have something to do with that whole "manual firing" business, but for me, it doesn't work until John admits it probably wasn't Alan's fault at all, that it might be Jackie. Jackie is now in Medical Center, and his cells are growing again. Koenig:

Helena: Koenig:

Look, you've got to stop calling that Jackie. .... We might have to destroy it. John, it's a human being. Is it? It had a human form, that's all.

[....] Helena:

If he's their instrument, how do think they'll respond if we kill him?

John heeds the warning in Helena's words, and considering that and the Eagles effectiveness, decide for another approach against the ships which have taken up positions around Alpha (I liked the way they were arranged in the special effects shots too, BTW). **** More in a moment....

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From: David Welle ([email protected]) Date: Sat, 07 Feb 1998 22:34:51 Subj: Space1999: Alien Adult

("Alpha Child" review, continued...) Meanwhile, Jackie is found to no longer be a child. He has again shown remarkable growth, and is now a full-grown man. Though human-appearing, with a curious hairstyle, he is dressed in obviously nonAlphan clothes, which pretty much ends doubt he isn't an Alphan. The clothes are curious too. Where'd they come from? Did he, in his incredible cell growth, somehow grow them? Or are they an extension of some greater power he has? Season Two's Maya wore clothes which never seemed to be an actual part of her (unlike DS9's Odo, whose clothes are actually part of his body), but which she could "hide" or change when she transformed. Maybe "Jackie"s transformational abilities included some ability to create clothes. OTOH, maybe the clothes were "beamed in" from one of the ships. Most likely, though, as with aspect of Maya's abilities, this bit wasn't thought out. It's very minor though. The man now can hear, speak (though it takes a few moments to get going, apparently learning, very quickly, how to use his vocal chords), and has a name -- Jarak. As the episode progresses further, we discover he has a great deal of knowledge about his alien life, and I think he had that in him all along, even as he grew within "Jackie," and that his main point of being a five-year-old was to gain that general (if not universal) acceptance that allowed him to learn so much about Alpha. Okay, there's the language thing again, but since it is so universal to the series, and I've discussed the problem and possible explanations before, I'll leave it be here. :-) Jarak immediately starts taking control, using violence (forcing Helena to choke Mathias) to gain information on whether Jarak's ships are

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being going to be attacked, and then to have Helena recall John and the others. I enjoyed seeing the Alphans on the Moon's surface, taking up positions to fire at the ships. Also displayed good camera angles in the effects, to show they weren't going to shoot from directly underneath the ships, which could have crashed on top of them. Actually, come to think of it, they could have crashed right onto Alpha. Hmmm. Then Sue Crawford opens her eyes and locks her gaze on what her child has become. Does she realize that as now kills her? (Effective use of strange sounds here, as in much of the episode, BTW). "You killed her," Helena says simply. It's horrifying, yet she soon revives, in slightly altered appearance and clothing, and is referred to as Rena by Jarak, who kisses her. It's all freaky in another way as well, for how mother and "son" have been transformed into lovers of some sort.

They could have been criminals on their own worlds, who would kill others of their kind and "jump" into them to try to hide. Since we never see the aliens or hear much about them, they are left a mystery, an intriguing one at that, where we can wonder just what their story really was. In any case, they seem to display particular interest in whose bodies might be taken over. Which of the Alphans seem the most intelligent or curious. We don't know how much of Jarak's form is what little Jackie Crawford might have become, but Rena clearly took over Sue's body. There wasn't much immediate choice for them, but now, with only 120 aliens and 300 or so Alphans, the ones on the ships now have considerable choice available to them. Unnatural selection. Koenig: You won't kill us until you are ready. Jarak: We are ready. [....]

They quickly take control of the base, after which they speak of being wanders like the Alphans, but running from "genetic conformity, rigorously enforced." There's a moment where one can feel a bit -- a little bit -of sympathy for their possible situation, that maybe they have a genuine grievance. But the means they take are violent, overpowering a baby's biology, killing the mother to take her over too, and now proceeding to willing all 300 or so of the Alphans to death, so they can take over 120 of them, for they want to not only find a new home like the Alphans are searching for, but a new biological form. Theirs native forms (which we never see or even hear described, which works well) obviously have a considerable array of powers -- some (or all) of which can still be expressed in human form -- include the remarkable ability to invade another's body at birth or death. A remarkable way to hide, indeed. They apparently believe that they will appear, to their enemies, to be a band of aliens (humans in this case) on an alien base on a small, travelling planet. One wonders why their own people wouldn't be able to recognize them anyway, but maybe the "genetic conformity" was possibly over not using some of these extra abilities.

Jarak:

The designated will die. designated will die.

The

It sounds like they can't quite kill all 300 at once, especially if they're going to be taking over the human bodies at the same time. They'll likely kill the remaining Alphans afterwards. Don't want any "loose ends" able to tell stories to any of Jarak's enemies. They want to present a convincing front. Meanwhile, one Alphan dies horribly from a laser shot, and the rest soon start dying of what is almost like an invisible hands at their throats (kind of like when Helena was forced to attack Mathias). They'll even destroy their ships, reducing their own level of technology, to disappear into the cracks of the universe by hiding in plain sight! It is a well-thought out, if horrifying plot, and the only flaw turns out to be simple timing. Another ship is approaching, a veritable giant (in how it's visually presented, as filmed). This is the well-known and frequently discussed one based on the Discovery of "2001: A Space Odyssey." To me, it's a respectfully done "homage" of sorts, and in both its similarities and differences, is a stunning-looking starship -- beautiful, actually. It soon attacks one of the four other ships.

Alpha Child "They found us," Rena cries; she and Jarak flee. Their lethal control -- part of which might have been coming from the beings in the ship who stood poised to take over (i.e. the 120 others may have been doing part of the killing) -- is broken as one ship falls, crashes (hitting the ground like a dead bug), and then explodes -- its remains left glowing behind a lunar mountain near Alpha. It immediately begins shooting down the very different ships of the renegades. They try to flee, but cannot outrun a swiftly-dealt fate, one they might have been sentenced to a long time before. The Alphans start picking up their lasers while Jarak and Rena flee down the corridors in desparation. Despite their state, and what they say later, they still use similar means as before to take over Medical Center. There's a curious symmetry here, in that they both end up exactly where the two of them started. Jarak:

We wish to negotiate.

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Very touching, as much as the original birth was! Does Sue remember any of what took place? Not likely, I'd guess; at least not the part about being Rena, since she was actually killed for that to take place. Helena: Do you think they [Jarak & Rena] gave themselves up? Koenig: It's a nice thought, but I don't think they had any choice.

**** Summaries **** I'm going to skip most of the breakdown ratings because this review has already taken longer than expected and I have no more time, except to say I thought John characterization was very good here (except for the way he tore into Alan), Helena shined (probably her best role and one of Barbara Bain's best performances). Jackie (as a five year old) was very well written, directed, and acted -while Jarak and Rena were appropriately chilling.

[....] Koenig: Jarak:

Make your demands. Requests. We are no longer in a position to make demands.

Yet in the beginning they still try to act from a position of control, instead of giving themselves up. For awhile, they continue to spout about how glorious the combination of their minds with Alphan bodies would have been. Eventually, though, they appeal for mercy. The Alphans seem to think about it, but as the large warship takes up position over Alpha, Jarak screams how Alpha will be destroyed -which turns out to be mere deception, a last bit of desperation, but also a sign they still aren't trustworthy. In the end, though, it doesn't matter, for the large warship soon takes up position over Alpha, and a beam from its underbelly slips right through Alpha's "hull" to envelope Jarak and Rena, and drive them both back to their original, Alphan forms: Sue Crawford and her baby Jackie, whom she is holding happily.

Overall, while I don't generally like horror much, this episode does have the great benefit of having the pre-1980s sensibility of knowing that horror does NOT equate to gore. Far too often in the 1980s and '90s, movies and, to the degree they can, seem to "think" that to be horror, there has to be lots of blood, guts, and gore. This merely reduces it to the highest -and more "importantly" (to separate "horror" from "action") messiest body count possible. I'm not always fond of "cleaner" horror either, for other reasons, but gory horror is probably the greatest turn off for me of the genre. It's just my opinion, and I may not even be right, but that happens to be my observation. My point, however, is that "Alpha Child" is one of those S19 episodes that involves one in a sense of horror without resorting to gore, while still being very effective and chilling. It is well written, with consistent plot events, characterizations, continuity, logic -- along with good music, effects, and so on. ----David P.S. Hmmm, four reviews of mine for the "Episode by Episode" metathread, and it's been

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a roller coaster of sorts, up and down as far as my episode opinions go. It's been very interesting. I especially enjoy writing about the episodes I like more (thus the greater total length for this and "Guardian of Piri"), but it's still very interesting to write about the other episodes as well, for figuring out just why I like or don't like about all of the episodes. Thanks, Mateo, for such a wonderful idea. I'm not always the quickest writer, but having these weekly "deadlines" of sorts has been good for getting the writing going.

From: [email protected] (B J Dowling) Date: Sun, 8 Feb 1998 16:55:03 +0000 Subj: Space1999: Alpha Child

Hi y'all, David wrote: "Alpha Child" is, in my opinion, a fine mix of science fiction and horror, and certainly one of the most memorable episodes of Space: 1999.

As I'm going through this episode per week thing, I'm finding more and more to enjoy and comment on in each episode - more stands out now than when I first watched most of these stories over the last 5 years. I couldn't agree more with David's assessment here, not only because of the storyline but also because Julian Glover guests in it. Another Shakespearian, like Patrick Stewart, who I think would have made just as good a Captain Picard. His presence in live theatre is simply awesome. We've had a couple of new fathers at work recently, so I can relate in some small way to the anxiety that everyone is feeling, waiting for the birth. It isn't immediately obvious what they're waiting for but the lack of dramatic music and red alert sirens suggests that it's something of importance within Alpha rather than an external event or threat. Even Paul is walking around anxiously! The news is good, and everyone can relax. This story reminds us that this small, isolated

community is as human as you and I, with the same emotional needs and worries. None of this Star Trek stuff where everyone's been through an academy, been prepared for stuff they might meet and all thinking the same set of rules and regulations. This birth is significant - children on Alpha may well be a possibility. This would bring problems of its own, but this good news could be the precursor to something even better... Cue strange ball of light... tacky perhaps, but you just know something is going to go wrong... Screams worthy of a Doctor Who companion shatter the atmosphere of happiness which has been built up in the last two minutes, and the horror is realised - the infant is no longer a baby but an older child. The psychological effect on Sue Crawford is going to be massive - this has shattered Dr Russell's comfort line "He's perfect" and now we know this is no ordinary birth. Incredible beginning.

Ditto. An opening to match Doomwatch at its most horrifying. Sure, there's another of the well-known "strange balls of light" (SBOL), which, in this case, is a funny bit of deception on the part of the writers, for we immediately start jumping to conclusions that won't quite be correct, for this ball of light will eventually be shown to be something else entirely.

At this point, I started seeing comparisons with John Wyndham's "The Midwich Cuckoos", filmed twice as "Village Of The Damned". Premature perhaps, but that influenced my expectations rather than the SBOL. This little kid could be trouble... John looks at him, and Helena's almost horrified reaction here is well acted. And cue the first clutch at straws (well, we think it is...) and why the boy's father is nowhere in sight. The bit where Helena calls Koenig in the technical area and reports Jackie to be a normal 5 year old boy just after Koenig is asked if there's something wrong with the baby doesn't

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work for me - surely she would tell him privately rather than start gossip over the base?

Koenig's intense stare at Jackie afterwards is almost a declaration of war...

Alan's statement that perhaps they had no right to expect the birth to be normal with the crazy life they lead reminds us all that they are, despite all efforts they may make, at the mercy of whatever forces come their way. Human error blasted the moon out of orbit (Hey, haven't I heard that one somewhere before?), they're not prepared for a lot of what will happen to them.

Alan asks the other pilots to select manual override - he still doesn't trust the computer, and prefers gut reaction and manual reflexes. It has no effect and the Eagles are taken out quite cleanly. With Alan being back in the command meeting, one can assume that there were no casualties.

Paul, ever the realist, tries to remind them that life isn't so abnormal as they are thinking. Here is another "Midwich Cuckoos" similarity - over the next few scenes the child takes in everything, and doesn't show any obvious outward signs of taking advantage of the Alphans' sympathy toward him because he's deaf. Alan cuts the ice with Jackie in Main Mission with his picking up Jackie and flying him around. Everyone then starts to accept him, apart from Koenig who has spotted him running his hand over the command desk. I still expected his eyes to glow... More scenes follow with Jackie having a good look around Victor's lab, the power room and an Eagle. Both Alan and Victor are great with children, Alan as the father and Victor as grandfather, perhaps. Victor's point to Koenig that "He senses that you're not as willing to be charmed as the rest of us are" is spot on. And that drawing makes us suspect a little more that things aren't as they might be. Alan's joke to his co-pilot - there's obviously good camaraderie between the pilots, despite their decreasing numbers... :-) Jackie comes into Main Mission, and just as Koenig is ready to order Alan to take action, they lock gazes. Is he exerting some kind of influence? Great lines here as Koenig justifies his action to Alan and Paul. Jackie's smile in the Medical Centre is chilling (what _is_ he doing to Sue?) ... as is his freezing Alan just as he's off to the launch pad.

Koenig calling Alan incompetent smacks of his impotence in the current situation. During the Eagle attack run he tells Carter to turn around and hit the alien ships from behind. Like Carter isn't going to know that? Head of Recon, Chief Pilot, whatever, he's the top guy when it comes to flying Eagles, Koenig isn't. When Koenig says that it might well have been Jackie influencing him, that doesn't lessen the first comment in any way for me. Enter Jarak, obviously having a bad hair day. Now we know that the ships and Jarak are connected. And Bob gets abused again. How effective would one guy armed with one of those single rocket launcher things be against a ship the size of those? More chills - Jarak kills Sue with a gaze, and then brings her back to life. Jarak clearly explains the problems he and his people face, and the quite gruesome way they intend to put their plan into practice. Sympathy, perhaps, for Jarak and the plight of his people, but his methods are quite unpleasant and not justified from our point of view. If 120 of them take over 120 Alphans, and the other 180 odd are killed, how will the base function? Over half the base gone, Alpha would not fare well. One security guard dies very nastily, and other Alphans start to choke a la Darth Vader. Then a huge ship appears, which looks a bit like the bomber in War Games; it takes out the others with ease. Jarak and Rena panic here, and takes Bob hostage on Medical Centre. Now they try and negotiate their integration into Alpha, before the ship above sends down a beam and eliminates them.

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Was Koenig slow to respond in this situation, and not contact the aliens?

per The Exiles?). This and Jack Crawford's death could be parts of extra stories.

Their efforts fail, and they are trapped by the beam from the ship. When Koenig et al break into Medical Center, Mathias and the nurses are okay, and Sue Crawford is sat on her bed with baby Jackie.

As good a story as there was in the series, well written and with some great dialogue. I enjoyed watching this one again!

We see no more of Sue or Jackie in the rest of the series, and I wonder where the decision is made that there can be no births on Alpha (as

---Brian Dowling - Birmingham, England Online Alphan #144

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11. The Last Sunset One discussant sees the episode as dealing with the basic human need to survive in a desperate situation, illustrated by how the Eagle is stranded in the middle of nowhere. Hitchcock did it with Lifeboat and Golding did with with Lord of the Flies. Another discussant agrees with this, but sees the survival story within a larger context of social alienation, lost hopes and false religion. Although Lord of the Flies deals with how savage brutality may be the essential of humanity beyond a thin layer of culture, he suggests Shakespeare’s Tempest as an alternative text for analysing the nature of the episode in terms of how it comments on destructive social dynamics in the small island of modernity where religious hopes and beliefs have been replaced with faith in science and technology. From: South Central ([email protected]) Date: Sun, 8 Feb 1998 11:16:22 -0800 Subj: E x E/Note to Johnny Byrne

Hello everyone! For a few moments there I thought I was going to have to unsubscribe due to some crises here at home (not on the list); but the worst has been avoided and here we go! The next episode for discussion is The Last Sunset, for the week of February 9 - 15. Very interesting comments by all (including Johnny Byrne via Robert!). There was a little bump in the road but WE (all of us) got over it! I for one am enjoying this discussion very much. Much of my work (including an opera--of all things!) is heavily influence by the writing in year one so this is a sort of vindication for me. So many people that I work with look at me strangely when I refer to Johnny Byrne and 1999 as a creative influence! Sorry Johnny, but in Chicano theater circles your name kind of draws a blank. To hear other people talking about the aspects of these stories that inspired me makes me believe that I wasn't hallucinating. Much of the writing of Year One has grace and beauty-but then, we all knew that already. Didn't we. Thanks Johnny! Your work inspired me to become a writer. One day I would love to share a libretto I wrote--focusing on immigrant workers in the U.S. southwest--just so that you can see your voice intermingled with those of the people I've tried to give a voice to. Till then, bye till next week! Mateo

From: David Acheson ([email protected]) Date: Mon, 09 Feb 1998 02:50:20 PST Subj: Space1999: The Last Sunset

Alphans: Only SPACE: 1999 could pull it off! What essentially is a silly idea is turned into one of the finer episodes of year one (not one of the best though). The team of Penfold and Chrichton does it again. What makes this latest adventure different from most of the others is that it becomes a showpiece for many of our regulars. No alien or Alphan guest stars and it is far from being called THE MARTIN LANDAU & BARBARA BAIN SHOW. Kano, Alan, Paul and Sandra are as essential to the story as our main stars. Heck, even Tanya gets a speaking line. The alien-produced gravity and atmosphere on the moon is really a backdrop to the crashed Eagle storyline. For what happens to our fellow crash victims could have easily taken place on an alien planet. Here we are faced with the basic human need to survive in a desperate situation(stranded in the middle of nowhere). Hitchcock did it with LIFEBOAT and, of course, we all know THE LORD OF THE FLIES. (No, GILLIGAN'S ISLAND is not a good comparison.) Here, Barbara Bain shines once again as our calm and collected Doctor - trying to keep things as normal as ever. Its unfortunate though that our little screamer (Sandra Benes) played as the injured, helpless party. It just

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fuels the fire of those who claim 1999 did not have strong female characters. Though I believe, in most cases, Doctor Russell (and later Maya) countered these claims. It was great to see our by-the-book Paul Morrow lose it. This was the meatiest role in the episode. The reason for the comparison to the LOTF mentioned above. A story of how the most disciplined of people can change back to our basic barbaric selves in extraordinary circumstances. The magic mushrooms helped too - Smile. One would expect that our everpopular Alan Carter would have been written to do this part which makes it more of a pleasant change to see that it was Paul who was given the chance. What I found hard to believe in this episode? A minor point overall, but I found it hard that those little capsules from Ariel could produce enough of a gravity and atmosphere on the moon. The capsule in Victor's lab should have blown most of Alpha away in order to do what it was sent to do. It was nice to see our Alphans frolic in the sun once the atmosphere formed and it was deemed to be safe. After 10 episodes of hopelessly being cooped up in the base the Alphans must have had cabin fever. The best comparison I can think of is the first nice spring day after a long winter. I can utterly relate to this scene. Another point to note. Notice Koenig lowering the window to let the breeze into Main Mission. Nice scene but the window should not have been lowered in the first place. Alpha was built as a space station. The base would have been built with thick windows which would not be allowed to be opened. Otherwise, we would end up with explosive decompression when the Breakaway event occured. As for the inhabitants of Ariel? They said it best themselves: "We are neither benign nor malevolent." The gesture of giving the moon an atmosphere and Earth-like gravity was to keep the Alphans away from Ariel rather than to be kind. However, they did come back at the end when it was obvious the moon would not go into orbit around Ariel's sun. Otherwise, the atmosphere would have crushed Alpha after it froze over.

Just some ramblings on episode #11. David Acheson

From: Date: Subj:

[email protected] Mon, 09 Feb 1998 18:14:34 EST Space1999: Last Sunset blooper

I heard from another list member that a sequence was shot of Koenig ordering the installation of the window. He says something like, "Just put it in over there" to the technicians who bring it in. Supposedly this wound up on the cutting room floor. Can anyone confirm or deny for certain? David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: [email protected] Date: Mon, 9 Feb 1998 18:39:59 EST Subj: Re: Space1999: Last Sunset blooper

I know I never saw a sequence. About a window installation !!! Chas P. LKJ1999

From: "Mark Meskin" ([email protected]) Date: Mon, 9 Feb 1998 19:41:38 -0600 Subj: Space1999: Other missing scenes from Last Sunset

Yes, That shot was cut out, along with a very touching shot of Alan fooling with the power window controls on the Eagle. Also, a scene in the same act where Helena and Sandra stick thier heads out the Sunroof on the Eagle XKE was cut to trim the length for broadcast. -Mark

The Last Sunset Date: Subj:

161 Mon, 9 Feb 1998 20:53:00 -0600 Space1999: The Last Sunset

From: Patricia Embury ([email protected]) Date: Mon, 09 Feb 1998 21:01:04 -0500 Subj: Space1999: Last Sunset

Howdy all,

This was a fun episode to watch, not only for the points David mentioned, but also for some of the effects. It was great to see the supporting cast get more meat in their roles, especially Paul and Sandra. Prentiss was very believable, and frightening as a deranged Morrow. Victor tried to make the best of things, and actually came up short. (the character, not Barry Morse). I also detected more of a relationship between Alan and Tanya. Barbara Bain showed a great range of emotion and a struggle to maintain control after the crash, for Sandra's sake. I wasn't reminded of Lord of the Flies, like one of the other posters, I didn't think of it until it was mentioned. I was reminded of the bible story of Moses in the desert, and finding the mana from heaven (the mushrooms) Paul reminded me of an exaggerated version of a tv evangelist/prophet.

One thing that has always bugged me about this episode was: As a child I always heard the sky is blue because of the water vapour in the atmosphere. When the first sunrise occurs, the commander mentions the blue sky.

We got to see Carter really fly an Eagle. Granted, if it had been a heat seeking, or proton torpedo, he would have been toast, but he didn't do too badly trying to avoid it. The Eagle has its limitations in its ability to turn and maneuver. I also enjoyed watching one of Alan's co-pilot's actually survive! :) They acutally developed crash procedures too! You could see a hint of a comradarie between Alan and the co-pilot when they didn't get killed by the probe. My only real nitpick ocurred with the crash scene. The Eagle impacted initially on the nosecone/pilot module, against an outcropping of moon rocks. I don't understand how only Sandra was injured. Carter or Morrow should have sustained injuries besides a torn sleeve.

This is one of my favourite episodes.

I had to look at this scene several times because it bothered me for some reason. Then I noticed it, the shadows on the hills around Moon base Alpha are not being casted by the sun, but some other source. Later, Mike Beaulieu

From: "Mark Meskin" ([email protected]) Date: Mon, 9 Feb 1998 21:59:15 -0600 Subj: Re: Space1999: The Last Sunset

It has nothing to due with water vapor. The blue sky is caused by the nitrogen and oxygen scattering the shorter, bluer wavelengths of light. If the atmosphere were thinner, it would be be a darker blue. Mars has a pink orange sky from all the superfine dust in it.

From: "Robert Ashley Ruiz" ([email protected]) Date: Mon, 9 Feb 1998 19:28:15 +0000 Subj: Space1999: Misinformation Alert

According to the novelization, Koenig ordered the opening window replaced with the old style after the corrosion problem with the Eagles was discovered.

Regarding the opening window in The Last Sunset, look at the background. It's not in Main Mission but in Victor's lab. Also, the actors are looking out at the other Alphans on ground level. Main Mission is ten stories above ground.

From: "Phillip Lapointe" ([email protected])

From: Petter Ogland ([email protected])

162 Date: Subj:

Year One Tue, 10 Feb 1998 10:35:46 +0000 Re: Space1999: The Last Sunset

David Acheson wrote: Only SPACE: 1999 could pull it off! What essentially is a silly idea is turned into one of the finer episodes of year one (not one of the best though). The team of Penfold and Chrichton does it again.

Essentially silly, I agree. THE LAST SUNSET is one of the episodes I remember quite well from childhood. Not because I thought it was more exciting than others, but rather because of its novelty. I even remembered Alan playing badmington in the teaser. Penfold and Crichton is an interesting team, certainly two of the people most responsible for the general Year One feel of SPACE: 1999. THE LAST SUNSET is no exception in this manner, all the concern about alienation, lost hopes, religious issues and social speculations seem present. While Crichton is perhaps the most conventional of directors, I often think of BONANZA seeing episodes like this, he knows his trade. No doubt about that. Penfold is certainly one of the best scriptwriters at the heart of Year One. I do, however, prefer GUARDIAN OF PIRI to THE LAST SUNSET, although there are many similarities, both in style of writing and direction. While I think many of the ideas of THE LAST SUNSET are interesting, for me it does not work too well before the scenes with Paul and Sandra in the desert. After THE LAST SUNSET, Penfold and Crichton continued to collaborate on episodes like WAR GAMES, SPACE BRAIN and DRAGON'S DOMAIN. What makes this latest adventure different from most of the others is that it becomes a showpiece for many of our regulars. No alien or Alphan guest stars and it is far from being called THE MARTIN LANDAU & BARBARA BAIN SHOW. Kano, Alan, Paul and Sandra are as essential to the story as our main stars. Heck, even Tanya gets a speaking line.

This is a very good point. It's my impression that Penfold was more cencerned with this aspect than most others. I suppose one could not expect too much of this in the Terpiloff episodes or other episodes that were written by people who were only slightly associated with the series, but, anyway, I feel Penfold made a fine contribution here. There is a certain parallell to THE LAST SUNSET in Johnny Byrne and David Tomblin's ANOTHER TIME ANOTHER PLACE. This also sheds life on the supporting cast in a similar way, I feel. The alien-produced gravity and atmosphere on the moon is really a backdrop to the crashed Eagle storyline. For what happens to our fellow crash victims could have easily taken place on an alien planet. Here we are faced with the basic human need to survive in a desperate situation(stranded in the middle of nowhere). Hitchcock did it with LIFEBOAT and, of course, we all know THE LORD OF THE FLIES. (No, GILLIGAN'S ISLAND is not a good comparison.)

It almost seems like a story within a story, the ariel probes and the eagle crash having essentially so little to do with one another. For me the part about the lifeboat or eagle crash is the most interesting, and the LORD OF THE FLIES aspect puts it in an interesting perspective. I remember we discussed this about half a year ago. A central character in Shakespeare's THE TEMPEST is the airy spirit Ariel, who causes the tempest of the play and a ship wreck not unlike the eagle crash depicted here. Much like Paul, some of the survivors of the ship wreck get crazy ideas of similar kind when they realize they can survive on Prospero's island. Names and events in THE LAST SUNSET gave me the impression that perhaps Penfold had some of this in the back of his mind, but LORD OF THE FLIES is perhaps an equally illustrating parable of the savage beasts that may lurk behind the most civilized appearance. On the other hand, I find LORD OF THE FLIES perhaps even more illustrating to episodes like THE FULL CIRCLE, which seems to concentrate more on these kind of ideas. I believe William Golding used it mostly

The Last Sunset

As for the inhabitants of Ariel? They said it best themselves: "We are neither benign nor malevolent."

as an allegory to explain the beastliness of World War II. The magic mushrooms helped too - Smile. One would expect that our ever-popular Alan Carter would have been written to do this part which makes it more of a pleasant change to see that it was Paul who was given the chance.

For me, Prentis Hancock's performance is the best and most interesting part of the story. Although his behavious can be viewed from the perspective of LORD OF THE FLIES, I'm more of the impression that Penfold was aiming at exploring the psychology of religious fanaticism. In GUARDIAN OF PIRI, Penfold and Crichton used Victor as a similar mad high priest to the Guardian, in the final real of that episode. The madness of Paul is more like Jack Nicholoson in THE SHINING (1979), I feel. Seeming perfectly natural to being with, his speach grows more and more messiahianic, and the others start exchanging worried looks. I found Paul perfectly cast in this role. While his normally has a tendency for loosing his temper, by overdoing this slightly, the metamorph to the mad prophed seemed perfectly natural. It also sheds wonderful light over Paul in other episodes, illustrating how little in control he perhaps is in tense situations. What I found hard to believe in this episode? A minor point overall, but I found it hard that those little capsules from Ariel could produce enough of a gravity and atmosphere on the moon. The capsule in Victor's lab should have blown most of Alpha away in order to do what it was sent to do.

I really enjoy reading Mark's and others scientific explanations of how things really would have behaved or looked like of Gerry Anderson et al had been more scientifically plausible, but it doesn't bother me very much. If Ariel can bring an athmosphere and gravity to the moon, how utterly ridiculous this might be, it is at least played with a straight face and it is used for dramatic reasons. I find this easier to accept than living rocks and talking trees in later episodes.

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I liked the "voice of God"-like sequence when we hear the inhabitants of Ariel message to Alpha. The message is somewhat typical of Penfold, I think, the episode WAR GAMES bringing about very much the same kind of feeling. Just some ramblings on episode #11.

Excellent ramblings as usual, of course. Petter

From: Date: Subj:

[email protected] Wed, 11 Feb 1998 16:57:47 -0500 Space1999: The Last Sunset

As has been pointed out, this is a great ensemble episode. And while I may spot others later on, it is certainly one of (if not the) best Dr. Russell episodes there is. She is a competent person in this, she takes charge, she has personality, she gets into the fight with Paul and Alan (though I was screaming at the screen for her to give Paul a "well-placed" kick when he was strangling her)and I wish she had just been written like this in more episodes. (And the flip side is poor Sandra...write her one scene where she is strong, and not cringing in the corner.) I like Dr. Russell at a console in MM as the scouting party is analyzing the planet...that is exactly where she should be. I wonder if the producers had any clear idea as to when eagle pilots would and would not wear spacesuits when flying their ships. In this episode they are not as they approach the planet. (They had the same problem in year 2 when Koenig would be wearing his pink parka when flying an eagle...and there was no chance that he was going to be leaving the ship. By the end of the series I think they had figured that out and had him wear his black jacket on the ship.) I may not have been paying attention, but I noticed a lot of movement in the scenes in

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"This Episode"...more then in past ones. It occured to me that was because there is a lot of physical movement in this episode. One of the complaints over the years was that year one was a lot of people just standing around talking...I know Freddy tried to address that. It is dramatic, but why land the eagle on a launch pad right near the base with a possible explosive on it when you can land the ship on the other side of the moon and the two pilots can high tail it out of there in their spacesuits (which are hanging in the rack in the passenger compartment). Or the pilots could have gone into the passenger compartment and MM could have detached it and flown the bomb away, and another ship could have attached to the floating compartment and brought the men home. I wonder if Landau was playing a joke with his commlock and making silly patterns with the missing buttons. Because otherwise there is no reason why the star of the show has a visible, defective prop while everyone else has a proper one. MM's scanners all of a sudden do not see thousands of objects landing on the moon, but Tanya just happens to look out the viewport and sees them...come on! I complained in "Alpha Child" about everyone leaving their post to look out the viewports, but this time when they do it, to see their new atmosphere and first sun rise, it is SO right. Nothing need be said about morning over Alpha...it was the best. In one of the shots in the archway connecting MM with Koenig's office the wall panels are green. I don't remember this in any other episode, and I suppose it was an effect to tie in the idea of a new living atmosphere being brought to the moon (Paul saying it smelled like country air.) The scene outside with the Alphans sunning themselves is great...their first shore leave. I commented on this a year ago, and I remember what I thought watching this episode in 1975...I didn't need a scene to

explain why there is a window that opens. It has been said that a scene was written where Koenig orders a window to be put in. It has occured to me that we saw a window explode out from the atmosphere the space probe was releasing...it could be that was the window that was replaced with an opening one...since it has to be replaced anyway. I cannot tell if the scene where they are playing out in the rain next to the airlock was a sound stage, or if it was actually shot outside. I notice that they had to rerecord dialog when the window was open and the breeze was blowing, and when the rain was hitting the windows. I can't explain why, but I have never liked that speech that Koenig makes when he sends the recon party out. I think it's because there is no reason for it except to let the viewer know what is happening, and so to try and make it sound more real, they only made it more contrived. In the crashed eagle, if every circuit is fried, why do they have to shoot an electronic panel in order to force open the door...or do we need to pretend that is where the physical locking mechanism is that holds the door closed? The lightning hits the ship...not the people. Why don't they just call the overhead ship with their commlocks? (I know, I know...but it takes just a second to think of these things and deal with them when writing, or later when filming.) Is Alan sleeping while people are walking over him, and opening the hatch, and all that dust is falling in, and the wind is howling, and Helena is shouting for Paul to come back? In any other episode Alan would go with Koenig to help carry Sandra back, and to deal with Paul, no matter how much he is hurt. But in order to have a final fight scene with the star, Alan is suddenly not the man he usually is...to the point he doesn't even warn Koenig about Paul. They could not do this and still have the dramatic sunset at the end, so we have all of

The Last Sunset the probes leave having sucked out the atmosphere, and the last one is hovering talking to the Alphans, and the sky is still atmosphere blue. Not logical, but I know why they did it. The ending would have been weaker if we saw the spectacular sunset, and then heard the space probe's explanation...it would have been anti-climactic. The alien's speech is just stupid...or at least the part where he says "we have been watching you since the beginning of time." Where do I start? Let's see...neat trick since we haven't been around since the beginning of time...neat trick that they managed to find us on our tiny little planet how many light years away and yet managed to ignore all of the spacefaring races out there that have powerful weapons and are willing to use them...not bad, you were around since the beginning of time, was it dificult to get a newspaper back then, I mean before time began? The line was put in because it was science fictiony...without any thought as to what it meant. I have no problem with an unseen race who has the technology to observe our heros as they wander by and dispatch the one thing that will distract our friends until it is too late to turn back...but to bring in this beginning of time nonsense just cheapens the whole thing. Their last sunset was spectacular. Period. Anyone notice the moonbase buildings don't look as real in daylight at they do in the usual nightime vacuum shots? Why doesn't Suzanne Roquette get any screen credit as Tanya? And more importantly, why don't I have any pinups of her???

165 Where did those magic mushrooms come from anyway (far out, man)? I think they were a natural phenomenon rather than "manna from heaven." Helena says the oxygen content of Ariel is four times that of earth. Since Earth's atmosphere is 20% oxygen that would make Ariel's 80%. Wouldn't Ariel go up like a match at the slightest spark? I know, I know. Picky, picky.

2. Plot holes: Why didn't the Alphans send a reconnaissance to Ariel at the same time they were scouting the moon? Surely there are enough specialists to conduct to evaluations simultaneously. 3. Artwork / visuals: The opening shot of the Moon and Ariel is one of the best of the series. 4. Modelwork: Good, as usual. When is Alan going to be grounded by Stan/Eval? 5. Dialog Triumphs: Paul: "That was sacred bread Alan! Pick...It...Up!" John: "Somehow, I don't think I'ld like the people." Ariel Satellite: "We believe your intentions. But we could not afford to take the risk." 6. Dialog Disasters: Helena (as Paul is choking her): "No, Paul"

From: Date: Subj:

[email protected] Wed, 11 Feb 1998 12:28:44 EST Space1999: The Last Sunset

1. Goofs / Nits: Koenig's desk is pulled so far forward that if the doors from Main Mission to his office were closed, he would still be in Main Mission.

7. Continuity: Why didn't they take the satellite to the isolation facility seen in "The Exiles?" Probably because no one had thought of that yet. :-) This is the first time an open relationship between Sandra and Paul is shown and it has grown from what we saw in "Black Sun." True, they were shown together in "Another

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Year One Time, Another Place" but that was a parallel time which may or may not occur in "our" universe. 8. MUF: Not applicable. This was just a cosmic billiard ball episode where they bumped into another planet by chance. 9. Roots: This one probably has the most religous references of any Year 1 episode. "Sacred bread", "Second Coming". Not much of a leap from "Israelites" to "Arielites." And of course we have Koenig as a latter-day Moses leading his people to the promised land - except this time it isn't Ariel. 10. The bottom line: A- / B+. A litle draggy in spots. 11. Misc: A great episode for the supporting cast who usually had only one or two scenes per episode. This episode really gave the impression of an ensemble of players. However, Martin Landau, Barbara Bain and Barry Morse were being paid stars' wages so they have to be the focus of the stories. It was nice to see the Alphans react as real people at the sight of the first rainfall, frolicing outside, etc. The ending shot of the last sunset itself was poignant and very touching. To those critics who say that 1999 didn't have strong female roles, I would point to this episode for rebuttal. Even though Sandra was the helpless victim after the crash she was actually out of the base participating in a major survey. We never saw Uhura do anything like that. And Helena saved everyone's butts. It was also interesting to see Space:1999 commit science fiction heresy by having the Ariel satellite frankly tell the Alphans that they were not welcome. It always seems like the advanced cultures in other shows act hostile to "test" the intentions of our intrepid little heros. Test is passed and

mankind is welcomed with open arms. Not so here. Sorry folks but your track record makes you a risk. Come back in a few millenia. I wonder what the inhabitants of Ariel would have done had an Eagle actually gone down? Blast it and say, stay away? Although Koenig was pissed at them for diverting the Alphans I'm sure he realized later the Arielites probably would have done just that. Until next time. David J Lerda, [email protected]

From: "Mark Meskin" ([email protected]) Date: Wed, 11 Feb 1998 20:07:01 -0600 Subj: Re: Space1999: The Last Sunset Helena says the oxygen content of Ariel is four times that of earth. Since Earth's atmosphere is 20% oxygen that would make Ariel's 80%. Wouldn't Ariel go up like a match at the slightest spark? I know, I know. Picky, picky.

It would go up like an Apollo capsule with a faulty wiring harness. Its scarry to think that the Apollo engineers didn't have enough brains to realize that even a little spark from the hatch closing, or a switch could be(and was) disasterous. Plot holes: Why didn't the Alphans send a reconnaissance to Ariel at the same time they were scouting the moon? Surely there are enough specialists to conduct to evaluations simultaneously.

I think that was the whole idea behind Ariel sending the probes to the moon, keep 'em occupied until they are outta range. Artwork / visuals: The opening shot of the Moon and Ariel is one of the best of the series.

Yes, indeed. Modelwork: Good, as usual. When is Alan going to be grounded by Stan/Eval?

I love the close ups on the Eagles in this episode, you can see how much care was put into the detailing of them.

The Last Sunset Continuity: Why didn't they take the satellite to the isolation facility seen in "The Exiles?" Probably because no one had thought of that yet. :-)

Would you transport something that latched onto the Eagle any further than you had too? But bringing it into Victor's lab was sheer stupidity. It easily could have been a nuclear bomb or some type of robot. Putting it INSIDE of Alpha was foolish. This is the first time an open relationship between Sandra and Paul is shown and it has grown from what we saw in "Black Sun." True, they were shown together in "Another Time, Another Place" but that was a parallel time which may or may not occur in "our" universe.

Sandra "gets around". At least with the writers. She's had what, 2-3 fiance's, 3 boyfriends on Alpha, gee, I'm glad I'm not engaged to her :-) Roots: This one probably has the most religous references of any Year 1 episode. "Sacred bread", "Second Coming". Not much of a leap from "Israelites" to "Arielites." And of course we have Koenig as a latter-day Moses leading his people to the promised land - except this time it isn't Ariel.

I think testament of Arcadia was a more religious episode. I always liked the fact that Space:1999's weren't devout agnostics, and believed in something more than warp drive. The bottom line: A- / B+. A litle draggy in spots.

I wish I had more time to comment on this episode, its one of my all time favorites. Its story hits dead center on what Space:1999 is all about. These people are lost, just trying to find a home, and all of a sudden one appears right under there very feet. Misc: A great episode for the supporting cast who usually had only one or two scenes per episode. This episode really gave the impression of an ensemble of players.

Yes. To those critics who say that 1999 didn't have strong female roles, I would point to this episode for rebuttal. Even though Sandra was the helpless victim after the crash she was actually out of the base participating in a major

167 survey. We never saw Uhura do anything like that. And Helena saved everyone's butts.

Yes, It wasn't until STTNG that women in Trek got strong roles. Too bad Denise Crosby wanted to pursue a prolific and rewarding career of commercials and guest apperances on "Lois and Clark". Mark

From: Date: Subj:

[email protected] Mon, 16 Feb 1998 16:22:29 EST Space1999: THE LAST SUNSET

Hi Alphans! This is one of my favorite episodes and even though I am late tossing in my comments, I must say this is one of my favorites. I rate this episode an A+. I find that I particularly like the episodes that really stretch my imagination to full-time. Breakaway did this. Not only must I imagine a group of earth scientists travelling thru space but they are also on a broken-away moon! This episode does this as well. Not only are they on a barren moon but suddenly it has an atmosphere and a blue sky! I found Victor's remark that the object resists analysis very impossible to believe. Why didn't he get out a ruler and start measuring? Taking a sample? We find alot of strange details thrown in on this episode that may or may not have anything to do with the situation: the UV filters turned off a 20,000 feet! Eagle 15 grounded for seizure of it's lateral stabilizers! Cloud forming crystals! Rain over the Taurus Mountains! Potassic Acid tank leaks! It's also in this episode that we see direct evidence that Paul and Sandra are well on their way to each others hearts. Koenig's comment to Victor that Alpha will be right at the bottom of that lake was rather odd. Alpha is a contained unit-totally leak-proof from the outside. Unless he meant the pressure from the water. How deep would the crater Plato be if filled with water? Carter's fight with Morrow is even greater. Morrow definitely strikes me as a religious

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person and the drug effect from the mushrooms only enhances his beliefs no matter how deranged he ends up. His yelling at Carter "You had to pick this area. You had to fly low over these clouds for kicks" is just great. We've always liked our heroes fighting each other. Remember Kirk and Spock teeing off in Amoc Time? How shocked we all were as our heroes, always helping each other, suddenly face-off against each other! pure nostalgia! And a graphite compund fixes it all. great episode!

From: Mark Meskin ([email protected]) Date: Mon, 16 Feb 1998 17:25:36 -0600 Subj: Re: Space1999: THE LAST SUNSET We find alot of strange details thrown in on this episode that may or may not have anything to do with the situation: the UV filters turned off a 20,000 feet! Eagle 15 grounded for seizure of it's lateral stabilizers! Cloud forming crystals! Rain over the Taurus Mountains! Potassic Acid tank leaks!

Yeah, these are some strange comments. I don't remember the UV one though. The lateral stabilizers make sense, I'm assuming Victor means the small rockets that keep the eagle from drifting or sliding sideways(laterally). Alpha is a contained unit-totally leak-proof from the outside. Unless he meant the pressure from the water. How deep would the crater Plato be if filled with water?

I think its at least a couple of miles deep, its over 60 miles across if I remember correct. And a graphite compund fixes it all. I liked the fact that Space:1999 has actual MECHANICAL solutions to problems, and graphite does make a good lubricant. If this

were a Trek Ep, Geordi(or Obrien, or dax) would have waved a tricorder over the Eagle, the TC would have bleeped and blurped, and then(insert name of favorite psuedo engineer here) would have have explained in pure technobabble about the flux dampening field being contaminated with anti-tachyons from the plasma guide waves in the core...or something equally bogus. The next scene would have one of our favourite characters in the rear service section with a 1 foot square panel removed(which, despite the fact this is a critical area or so we are told, the panel removes with a little pull, and uses no fasteners of any kind). Then, we would see a small bogus looking tool made of plastic inserted into a neon lit grid work of colored clear plastic, it would beep or gurgle and poof, our favorite character would talk about the modulation being off or whatever, and its all fixed. Ick! great episode!

Yes, I agree!

From: Date: Subj:

[email protected] Mon, 16 Feb 1998 19:04:44 EST Space1999: Plato.

Hi All... Just to let You know. That's if I remember right. The crater Plato is 59.7 mile's in diameter & 1.8 mile's deep. Plato is very easy to see in small Telescope's! I just thougt. You would like to know that !!! Chas P. LKJ1999

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12. Voyager’s Return Was Johnny Byrne trying to give us another man vs. machine storyline, one discussant asks. Like GUARDIAN OF PIRI, man was trying to build something to better mankind but the machine did not actually take over in this case. It did, however, cause man to redefine himself and his place in the universe. As in typical Byrne fashion, the discussant believes, the moral is not to play God. Another discussant picks up on these ideas by commenting on the Protestant and Catholic cultural background of Penfold and Byrne. Philosophically, VOYAGER'S RETURN is a story about hubris and guilt, very similar to the films of Ingmar Bergman, he senses. It is an episode that gives no clear answers, perhaps more interested in the questions than the answers, like many of the best Space: 1999 episodes. From: Date: Subj:

[email protected] Sat, 14 Feb 1998 19:27:17 EST Space1999: Voyager's Return

This week it's Voyager's Return... You gotta love those Sidon Ship's. If I'm not wrong. Jim Haines. Barry Stokes. Played in a episode of UFO. I think it was Subsmash... Chas P. LKJ1999

You can see water DRIPPING. From the back of Voyager ! A blooper. Or not a blooper. What do You think??? Just before Eagle 2 blow's up. You can see Victor standing next to Kano. Just after the Commander said. Eagle's 1 & 2. Do You read Me. You can see a SHADOW CROSSING PAST VICTOR !!! Victor look's up very fast. As if to say WHO WAS THAT ? The sidon ship's were in two other episode's. Dragon's Domain. & The Metamorph. I also like the sound the Sidon ship's make...

From: [email protected] (B J Dowling) Date: Sun, 15 Feb 1998 11:30:09 +0000 Subj: Re: Space1999: Voyager's Return

This Episode. Is in My top ten. From Y-1... Chas P. LKJ1999

If I'm not wrong. Jim Haines. Barry Stokes. Played in a episode of UFO. I think it was Subsmash...

Er, I think it was. Also played in an episode of Doomwatch - "By The Pricking Of My Thumbs".

From: David Acheson ([email protected]) Date: Tue, 17 Feb 1998 03:19:11 PST Subj: Space1999: The Lost Episode!

Alphans: From: Date: Subj:

[email protected] Mon, 16 Feb 1998 16:24:25 EST Space1999: Voyager's Return.

My comment's on Voyager's Return... Eagle Action... Good in this episode... NO. Of time Eagle was said (29)... Landing's NONE... Liftoff's (3)... Eagle's that explode (1)... Bloopers... On the close up shots of Voyager one.

"The Lost Episode" is how I will always think of this week's episode for discussion, VOYAGER'S RETURN. I went through the 1975-1976 television season believing I saw every single episode of year one. Then came all of year two and the eventual cancellation of the series. Thereafter, I was watching reruns of COSMOS: 1999 (the French version on Quebec television). To my surprise, an epsiode came on that bore no resemblance to anything I ever remembered about the series. It was VOYAGER'S RETURN! It was like discovering a lost episode since I never knew this one existed. Only problem, I didn't

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understand French - even though I was watching the French version of the series at the time. However, I was smart enough to get the general plot of the episode. It would be another year until I finally saw this episode in English. So how do I rate this story? I would put it at average. It just doesn't hold me like some of the better written Johnny Byrne episodes but its not a completely bad episode either. Was Johnny Byrne trying to give us another man vs. machine storyline? Like GUARDIAN OF PIRI, man was trying to build something to better mankind but the machine did not actually take over in this case. It did, however, cause man to redefine himself and his place in the universe. As in typical Bynre fashion, I believe the moral is not to play God.

The three Sidon ships? Although it was never mentioned, were these just scout ships of a much larger fleet or was this all there was following Voyager? Voyager One must have travelled a long way since destroying one of the Sidon home worlds and one presumes Earth was still far off. So could these three ships travel that long distance? They certainly don't look like they can. And could three small ships destroy the Earth? I believe there must have been a larger fleet following behind them. Well gotta run but that's my say on VOYAGER'S RETURN. And yes, we manage to make it to the half-way point of year one. 36 episodes of the series still to go. Glad to see that the episode-by-episode idea hasn't died. David Acheson

Considering the real Voyager probes launched 4 years after the series first aired, and without the Queller Drive technology, the episode became dated faster than most. (Funny how Roddenberry copied the Voyager idea for STAR TREK: THE MOTION PICTURE.) The directorial debut of Bob Kellett was lacklustre and unfortunately he remained that way through the rest of his stay with year one. Would it have worked better with a different director? Easy to speculate but hard to know! What was outstanding about the episode? Jeremy Kemp guest starring as Ernst Queller/Linden. An excellent actor who was very believable as the scientist who meant well but had to fight his conscience all these years. One feels his self-inflicted guilt throughout the episode. He easily joins the ranks of the quality guest stars in earlier episodes like Roy Dotrice, Christopher Lee,Peter Cushing and Catherine Schell. Unlike the others (except for Dotrice) Mr. Kemp is still very active as an actor and can be seen in several movies and TV shows to this day. Jim Haines, Linden's assistant could have easily been played by anyone. However, it appears most people on this list remember the actor, Barry Stokes,as an operative on an episode of UFO. I have heard more about Mr. Stokes on this list than Mr. Kemp.

From: South Central ([email protected]) Date: Tue, 17 Feb 1998 13:41:11 -0800 Subj: Space1999: Voyager's Return

I don't have a VCR anymore but I love this episode! Particularly that scene where Queller is in Medical Centre and Helena is telling him off about trying to prove a point that no one else cares about. That was fine acting from two fine actors! And great scriptwriting. Mateo

From: Petter Ogland ([email protected]) Date: Wed, 18 Feb 1998 13:11:50 +0000 Subj: Re: Space1999: VOYAGER'S RETURN / The Lost Episode!

When I watched the series for the first time, in 1975-76, they were aired in the order of production, the same order as used for our weekly discussions. VOYAGER'S RETURN is one of the episodes that I remember most vivedly, just like THE LAST SUNSET. Good episodes both, although neither are on my upper ten list.

Voyager’s Return I have watched some of the French and German adaptions of Year Two episodes recently, and find both adaptions quite fascinating. While I would miss the voices of such supreme actors as Roy Dotrice, Peter Cushing, Barry Morse etc. whose acting ability recides so much in the use of voice, the dubbing makes things more interesting in some of the Year Two episodes, I feel. The German dubbing was the most well done, I feel, but perhaps the French version was more stylish and more subdued. As in typical Bynre fashion, I believe the moral is not to play God.

I feel the contrast between Byrne and Penfold very much in this episode. While both seem interested in religious awareness and technological alienation, Byrne seems to make a much more holistic Catholic approach contrasting the more individually orientated Protestant style of Penfold. As Norway is mostly Protestant, like most of Northern Europe, I find Byrne interesting, although often different in approach than what I'm used to. My impression is that he is often more concerned with humanity as a whole than with the individual, and often more interested in Nature as a whole than in Mankind. This is perhaps more apparent in episodes like ANOTHER TIME ANOTHER PLACE than VOYAGER'S RETURN where the contrast between the scientific individual Queller is played against humanity as a whole. I agree with David that the final moral of the episode seems to be not to play God, but perhaps also a statement about man's inherit hubris and how Queller, who is a very charming man with great warmth and intelligence, is a victim of his own nature. Philosophically, VOYAGER'S RETURN is a story about hubris and guilt, very similar to the films of Ingmar Bergman, I sense. An episode which gives no clear answers, perhaps more interested in the questions than the answers, like many of the best SPACE: 1999 episodes. It is interesting you mention GUARDIAN OF PIRI, David. In both GUARDIAN OF PIRI

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and THE LAST SUNSET Penfold seem to demonstrate some of his religious views, or perhaps he is warning us about what religious fundamentalism gone astray can lead to. In GUARDIAN OF PIRI, Victor turns into a dangerous religious fanatic, and Paul goes through a similar transformation in THE LAST SUNSET. In the world of Penfold, one often get the impression that mankind is compared to bugs, ants or a virus, while man is represented through the individual that is an unbalanced creature who follow his primitive thoughts and feelings. WAR GAMES seems to one of the most persistent of his episodes in this line of thinking. The directorial debut of Bob Kellett was lacklustre and unfortunately he remained that way through the rest of his stay with year one. Would it have worked better with a different director? Easy to speculate but hard to know!

It was interesting to see and hear Kellett in the SPACE: 1999 DOCUMENTARY. He did not speak of VOYAGER'S RETURN, I think, but explained some the problems and frustrations about writing and directing THE LAST ENEMY and some of the more rewarding parts about directing THE FULL CIRCLE. While Kellett stepped in for David Tomblin, his directorial style seems quite different from the visually stunning Kubrick style of direction. On the other hand, my favourite director is Ray Austin, a stuntman who turned director and did this with flamboyant emotional style during both seasons. When looking at episodes directed by Charles Crichton I often feel the actors slightly below average and his visuals are often less than exciting, but nevertheless, for some reason, which I really don't understand too well, Crichton is constantly being praised as one of the main contributers to the style and success of SPACE: 1999. I even recognise most of the episodes he directed on Year One are on the top half of my list, in spite of the difficulty in understanding him as a director. Bob Kellet, on the other hand, does not seem to generate very much discussion in neither terms of pro nor contra. While not bad, he has

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neither the intellectual style of Tomblin nor the emotional style of Austin, and as such, the direction becomes rather too conventional. He seems to generate better rapport with the actors than Crichton, though. What was outstanding about the episode? Jeremy Kemp guest starring as Ernst Queller/Linden. An excellent actor who was very believable as the scientist who meant well but had to fight his conscience all these years. One feels his self-inflicted guilt throughout the episode. He easily joins the ranks of the quality guest stars in earlier episodes like Roy Dotrice, Christopher Lee,Peter Cushing and Catherine Schell.

Kemp was very good, I agree, but did not leave the same effect on me as Dotrice did in BREAKAWAY, in EARTHBOUND he was less charismatic, I feel, or Cushing or Schell. In the scenes with Barry Morse, he did an outstanding job, however, very interesting to see Victor with another scientist. Jim Haines, Linden's assistant could have easily been played by anyone. However, it appears most people on this list remember the actor, Barry Stokes,as an operative on an episode of UFO. I have heard more about Mr. Stokes on this list than Mr. Kemp.

Jim Haines seemed naive enough to contrast Queller, but I kept asking myself what kind of people they were sending to Moonbase Alpha. Haines seemed to much of an apprentice to be working on the elite team, I think, but who knows what criteria people would be using for sending people to the moon, perhaps he was a relative of Simmonds or somebody else on the Lunar Commision? Petter

From: Patricia Embury ([email protected]) Date: Wed, 18 Feb 1998 20:31:26 -0500 Subj: Re: Space1999: VOYAGER'S RETURN / The Lost Episode! Jim Haines seemed naive enough to contrast Queller, but I kept asking myself what kind of people they were sending to Moonbase Alpha. Haines seemed to much of an apprentice to be working on the elite team, I think,

I wonder if he was working on a degree, and serving on Alpha as part of an internship program? Now, now, I hear those Monica Lewinski jokes just rattling around in your brains. NO MOOOORE! :)

From: "Ellen C. Lindow" ([email protected]) Date: Wed, 18 Feb 1998 21:49:58 -0500 (EST) Subj: Re: Space1999: VOYAGER'S RETURN

I've been busy lately and didn't get a chance to comment on Last Sunset, so I'm just going to tell you my favorite parts of both episodes. These two are among my favorites. They are good solid SF episodes, that seem to show the Alphans adapting to their fate. They accept what comes their way and deal with it much like they will deal with situations they encounter in yY2. The light-heartedness of Last Sunset during the brief time they have atmosphere is the only time the Alphans seem to have any respite from constant dangers, emergencies and harrowing experiences. There are some little touches that give so much life to the characters. As the air is going in Last Sunset, Helena makes a move out of desparation that I just love. Without hesitating, or asking anyone else for advice, she opens up the only oxygen tanks they have and blows up their only chance at shelter, the Eagle. What a gutsy move. In Voyager's Return she seems to be the voice of caution, as Victor tries to persuade John to take a more dangerous course of action, she is adamant about destroying Voyager before it can harm anyone on Alpha. She has very little compassion for Queller--it almost seems personal, did she have to inspect the bodies of the people who died from fast neutron radiation? Or did she have friends there too? You never find out, but she's constantly insisting that this won't work and Voyager needs to be destroyed. At one point she does the Alphan equivalent of slamming a door in someone's face by opening the door with her commlock, then clicking for it to close before she even steps through.

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As usual with a 1999 story, there are layers of the story that remain unexplored. Just how did Jim Haynes end up as the assistant to the man responsible for his parents death? (Keep in mind that everyone on Alpha can't be a top level researcher. Even on Alpha, someone had to be chosen to wash the test tubes and feed the lab rats) Another failed space mission, how did the space agency keep any funding at all? Is there more to Paul's story? How about Helena's almost obsessive opposition? It seems to go well past that of a concerned physician. It's things like this that keep me watching this show over and over.

now projected her frustration with this upon him?

From: "Petter Ogland" ([email protected]) Date: Thu, 19 Feb 1998 09:31:00 +0000 Subj: Re: Space1999: VOYAGER'S RETURN

While I have sympathy for Pat's suggestion that Hains may have been a student working on a degree, my impression is not that he is the type of student that would have been sponsored by NASA or whatever prestige institution at this time. I assume they wouldn't assign just any student to live on Alpha. I think it seems more reasonable that he would be one of the people working on the floor with an interest in science that is, for some reason, being used as an assistant.

In Voyager's Return she [Helena] seems to be the voice of caution, as Victor tries to persuade John to take a more dangerous course of action, she is adamant about destroying Voyager before it can harm anyone on Alpha. She has very little compassion for Queller--it almost seems personal, did she have to inspect the bodies of the people who died from fast neutron radiation? Or did she have friends there too? You never find out, but she's constantly insisting that this won't work and Voyager needs to be destroyed.

It's interesting that you bring this up, Ellen, I've also wondered about Helena's behaviour in this one. In fact, I think Victor is perhaps showing Queller too much of a cold shoulder too, but Victor's behaviour is perhaps a bit more sophisticated than Helena's. It seemed to me that Johnny Byrne tried to use different characters from the regular cast in order to play out the ethical dilemma in this episode without too much concern for how the characters had been build up during the previous eleven episodes. To me Helena seemed a bit out of character, but your suggestions make sense, I feel. Obviously Linden is a very different character than Queller, and if she related to the consequences of the work of the younger and more ambitious Queller perhaps this would explain for some of her attitudes. Perhaps she had been even more ambitious than Queller for this project, and

As usual with a 1999 story, there are layers of the story that remain unexplored. Just how did Jim Haynes end up as the assistant to the man responsible for his parents death? (Keep in mind that everyone on Alpha can't be a top level researcher. Even on Alpha, someone had to be chosen to wash the test tubes and feed the lab rats)

I Year Two there are even aspects of class struggle in episodes like THE SEANCE SPECTRE, but also Y1 episodes like THE FORCE OF LIFE illustrates that Moonbase Alpha is not fully computer managed like the case with HAL-9000 in 2001.

Obviously Linden is becoming something of a father figure to him, which makes it even more difficult for Hains to accept Linden as Queller. Another failed space mission, how did the space agency keep any funding at all? Is there more to Paul's story? How about Helena's almost obsessive opposition? It seems to go well past that of a concerned physician. It's things like this that keep me watching this show over and over.

Yes, I think I'll be watching the episode over again tonight, perhaps along with next week's COLLISION COURSE, an episode I find perhaps even more fascinating. Petter

From: Patricia Embury ([email protected]) Date: Thu, 19 Feb 1998 14:08:54 -0500 Subj: Re: Space1999: VOYAGER'S RETURN

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I think Helena's adamant behavior comes from the recognition of the threat the Quellar drive posed to the population of Alpha. I tend to agree with Ellen, in part, that Helena had some significant prior knowledge or experience of the effect of the drive. However, Helena's response also partially comes from the activation of her "survival mode". Helena's life is endangered as well as the rest of the Alphans, and she doesn't want to see the Alphans incinerated. Another rationale for her behavior comes from a feeling of being cheated. The Alphans have been through quite an ordeal, surviving alien encounters, strange planets and other phenomenon. To die, essentially from a piece of familiar, earth technology, instead of dying in order to defend the base,or some other noble cause, is a real kick in the pants, and may be considered a wasted death. It would be a death without meaning. If anyone watched Babylon 5 last night (it will be repeated on Saturday at 7pm), the Minbari Ranger were discussing this very effectively at the bedside of the Ranger cadet who had been injured.

From: [email protected] (B J Dowling) Date: Thu, 19 Feb 1998 21:35:55 +0000 Subj: Space1999: "Lost" episodes

Hi folks, I've had so little time just recently thanks to work, it makes me wish I was a student again. Comments on The Last Sunset and Voyager's Return to come soon. If some of us fall behind with our viewing, how about a week after the end of Season 1 where those of us who didn't post about an episode at the time get the chance to catch up? Given that we find out so much aboout the recent history of the Space:1999 timeline in Voyager's Return et al, it does beg the thought that perhaps some of our talented fan fiction writers might want to turn their efforts towards one or two mini-prequels to the series. I for one do wonder just how MBA was justified to the authorities, given the assorted failed missions they had. Maybe we were a bit

too harsh on Simmonds and his like. Slimy they may have been, but I think that perhaps their efforts kept the whole space program going.

From: "Petter Ogland" ([email protected]) Date: Fri, 20 Feb 1998 10:36:59 +0000 Subj: Re: Space1999: VOYAGER'S RETURN I think Helena's adamant behavior comes from the recognition of the threat the Quellar drive posed to the population of Alpha.I tend to agree with Ellen, in part, that Helena had some significant prior knowledge or experience of the effect of the drive. However, Helena's response also partially comes from the activation of her "survival mode". Helena's life is endangered as well as the rest of the Alphans, and she doesn't want to see the Alphans incinerated.

Knowing the effect of the Queller drive, perhaps Victor's response is more puzzeling than Helena's. Victor seems to go into a high pitch, just like he did in THE GUARDIAN OF PIRI and later on DEATH'S OTHER DOMINION. Victor getting overtly enthusiastic about something often seems to be a bad omen. Paul also holds strong opinions and in this case shares the views of Helena. I don't think the group discussions in this episode are the best of the series. Perhaps if they were singing their lines, instead of shouting them, it could have made nice opera. Mozart had I great liking for this sort of thing. Focusing more on Helena's emotions rather than her rationale seems like a better approach to understanding, I sense. The way I see Helena, she is basically an extremely emotional person, just like John, but using a much more subtle register to communicate, and in my opinion sometimes a more interesting character because of the obvious limitations she puts on herself. I wonder what influence Sylvia Anderson had on Barabara Bain's interpretation, it seems to fit perfectly with the mode she wanted John Koenig to be played in, focusing less on the superfluous heroic side of the character.

Voyager’s Return Your points about fighting and noble causes does make sense, Pat, but perhaps more within the structure of Year Two, I feel. Perhaps to the contrary I feel that Year One is almost completely void of heroic battles, dying for a cause, and the sort of morale associated with RAMBO and friends. On the other hand, VOYAGER'S RETURN is perhaps one of the Y1 episodes that comes closest to Y2 in this respect, and I can see why the question of "wasted death" can be raised, but I do not feel this particularily congruent with the feel of the series. Perhaps this is why the episode VOYAGER'S RETURN has stuck to my mind after so many years. I've always felt that Kemp played Linden in a very sympathetically, and found it difficult to accept the Alphans harsh judgement of him, anyway. Although he was the inventor of the Queller drive, the Voyager project must obviously have been run by more ruthless people, people like Simmonds. To hold Linden responsible for the effects of the Queller drive makes as much sense as holding Victor Bergman responsible for his ideas in BLACK SUN or COLLISION COURSE if they had worked less well. Petter

From: David Welle ([email protected]) Date: Fri, 20 Feb 1998 15:20:05 Subj: Space1999: Voyager's Return

One of my favorites of the first season -- top ten definitely, maybe even fifth or so. Well, it starts out with two Eagles approaching another "strange ball of light," this one artificially powered. Only when the two Eagles are close does everyone find out what it is. A message comes "This is the voice of Voyager One. Our ship is unmanned and unarmed. We come on a mission of peace and goodwill." It's a human ship! Except... all the command staff on Alpha get panicky and order the Eagles away with haste. What's up? It's already

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an interesting twist and mystery. One Eagle can't pull away, and it's relatively calm pilot has his ship shaken apart -- totally destroyed. "... Greetings from the people of the planet Earth." Oh boy. This would not be the best emissary from Earth, to say the least. Excellent irony. Nit: "Both men under severe stress," Helena says in between. Somehow, I found this line unnecessary to the scene; perhaps it was an anticlimatic moment of sorts. One thing that still goes around in my mind is how Voyager found the Moon. Space is huge, after all, and what is the chance this unmanned probe could meet up with Alpha? It seems like a sublight vehicle, yet is said to have been sent to explore other star systems. We know the Moon has fallen through at least one black hole and has undoubtled (but without mention) passed through other "warps" or "holes" to have visited several worlds. The series rarely seems to be aware of the light speed issue, though. Yes, I can suspend disbelief, but I do tend to prefer some explanation, however science-fictional, over it being utterly ignored; and Voyager's appearing does tend to stretch credibility to -- or beyond the edge -- of my suspension of disbelief. Yet it is right on the edge, and after a few previous viewings, I realized this could probably be one of two things (not necessarily mutually exclusive): 1) a different set of space warps or whatnot could have eventually ended up putting both the Moon and Voyager in the same tiny part of space; or 2) the "Mysterious Unknown Force" at work -- the destiny Arra stated but did not detail, implying there were greater force(s) at work on the Alphans. They did meet up with a remarkable number of Earth-born people and ships out in space, throughout the entire series. This is the case with episodes such as "Matter of Life and Death," "Voyager's Return," "Dragon's Domain," "Death's Other Dominion," "Brian the Brain." Additionally, "War Games" and "Bringers of Wonder" present images of the same; while "Earthbound" presents an alien ship heading to Earth, while "Another Place, Another Time" and "Journey to Where" put

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Alphans back on Earth. In nine episodes, the Alphans see some aspect of Earth technology or people. It seems they see aspects of their "past" to learn from, before they can fully accept their future. Helena said "A history like that, who wants to go back to Earth, anyway" in "Journey to Where." A bit flippantly said, perhaps, but it points to an interesting thoughts on Alpha's existence, and Alphans' slowly adjusting. Anyway, I'm getting ahead of myself, though there is at least a little tie-in, in that Voyager is another reminder of Earth that proves as unwelcome and outright unfriendly as many of the others. One other thing with the constant reminders of Earth is that together they demonstrate a curious form of consistency -- a theme of sorts -- through the series, albeit one that can appear either ridiculous or sublime, depending on the viewer's perceptions of how well the individual episodes and/or whole series presents it/them. I sometimes find them to be both. Coming back to the episode itself, we rejoin Alan, inside his rotating Eagle, as he regains consciousness and takes control. Complaint: "Incredible speed." Again, they don't address the light speed issue at all, one way or another, and that will bother me throughout the episode and elsewhere, and this time don't even bother with unitless numbers, but only vague and essentially meaningless phrases. "To make man's presence known in the galaxy." Voyager, however, would merely be a showcase for Man's arrogance -- particularly one man's, as we later find out. Victor has an almost boyish, if not fully responsible, enthusiasm for the data it might contains; Paul and Helena are much more concerned about the damage it could do; and John listens to all views. That is a particularly nice scene, actually, for it, like the more formal round table meetings, demonstrates the value of hearing many viewpoints. Nit: Why does Victor have to get such basic information as the mission premise, from Main

Computer? I'd think he'd know something about Voyager One himself. Victor argues steadfastly to find some way to regain the data, and they hit on the possibility of remotely getting Voyager to switch off its main Queller Drive, so the Alphans could retrieve Voyager's data bank. "It would take one hundred years to learn what Voyager already knows." A remarkable amount of information about worlds and lifeforms (though I don't know how it would have "medical" information, as Victor states). This would likely include information on alien languages, as some on this group have pointed out in the past, to possibly address part of the whole language issue. Ernst Linden hears from his protege that they are trying to "play games" with the Queller Drive. "Just like Voyager Two all over again," the younger man says. "They remember nothing!" Nit revisited: Hmmm, why is so little remembered about this mission? Well, maybe the world war mentioned in "The Rules of Luton." A little later in this episode, though, more people remember more about Voyagers One and Two, so it still leaves me wondering why Victor needs to look up the most basic information. The command staff tries to shut down the Queller drive, but Voyager acts like any other computer, requiring exact input, input in the correct way. The older scientist, Ernst Linden, reveals to the command staff that he is Ernst Queller, having taken another name, obviously in shame and to hide his identity, at the disaster of Voyager Two, which started its Queller Drive too early and killed hundreds. The saddest irony is that Jim Haines, who works for Linden, lost both his parents to the Voyager Two disaster; but Koenig decides it will not do anyone else any good to find out who Linden really is. Linden starts setting up a transmission system to operate the correct protocol to communicate with Voyager to get it to shut down

Voyager’s Return "Doctor, I hope you're not trying to prove something," the commander says. Everyone is relying on knowledge Linden hasn't used for 15 years -- but Koenig and Carter are forming a backup plan to destroy Voyager One if necessary. Nit: "Intercept positions," Alan orders. The SFX scene that follows for a moment afterwards is rather silly, for the Eagles move a couple dozen more meters apart -- what is the point? I suppose if one Eagle blew up, the others would be less likely to take damage, but it's such a small move that it still looks silly. Jim Haines is not stupid, and eventually figures out that Linden simply knows far too much about Voyager to be any other than its creator, Ernst Linden. Haines attacks Linden/Queller, his pent up, long carried grief turning to rage within seconds, and knocks Linden out -- as well as the system they were both working on. Haines looks shocked, probably at both his realization, and what he did. Haines is repentant, but Koenig is angry. The latter is ready to order the destruction of Voyager, but Linden insists he can repair and complete his machine, despite his injuries. Sandra announces that "three objects" are approaching, Kano announces that Main Computer has found them to be spaceships, and Paul realizes the ships are following Voyager. Voyager One enters the red zone, starts shaking the Eagles and then Alpha, but Koenig waits awhile longer, and Linden's machine finally gets Voyager to shut down and land on Alpha. One little scene I always liked is how the landing pad partially retracts to gain access to the tall ship. A similar scene occured in "Dorzak." The inside of Voyager is noticably huge and empty for an unmanned ship, and that is explained shortly. Ernst Queller's signature is marked within the ship. Then an image of an alien, Aarchon, appears within Voyager. Koenig takes responsibility for Voyager One, and for it, hears a horrifying story. The Sidon people welcomed Voyager One, but two of their worlds were destroyed.

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Nit: "of the outer galaxy." I've always thought that S19 bantered around the word "galaxy" with too much ease. One thing that bothered me about the beginning of this scene was Koenig's accepting responsibility for Voyager. Though noble at its base, which is an action I appreciated, the feel of the words and the scene made it seem like it was done without thought or too casually. Also, both Koenig and Linden hit too strongly on the positive intent, instead of immediately acknowledging or apologizing for Voyager's dark side -- which would have been noble itself. However, this is readdressed later in the episode. The Sidon's mission, however, is one of simple revenge, to destroy both the Moon and the Earth which Voyager One originated from. Koenig: Aarcon: Victor:

[softly] Revenge. We do not recognize this concept. We believe that revenge, sanctioned by authority, is also a sign of a debased culture.

Fine words. Aarchon, through the rest of the episode, appears cold (essentially emotionless, actually) and closed-minded. While the alien anger is understandable, the Sidons are meting out a judgement by a simple, ancient formula: an eye for an eye, or in this case, a couple of worlds for a couple of worlds -- the magnitude has jumped extraordinarily, beyond anything we've experienced on Earth. But the basic concept is still old. This episode, as it continues, demonstrates revenge does not equal justice. It's certainly not a new story, but it is fairly well done in "Voyager's Return." Linden nearly collapses from all this. Then, in Medical Center, there's this exchange: Helena: Ernst:

Helena:

How do you feel? Very upset. Desperate really. All these years believing I had helped to further the boundaries of man's knowledge. And now this.. this.. catastrophe. Doctor. Many.. many people have put science before

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Ernst:

Helena: Ernst:

Year One responsibility. Yes, of course, I know that, but.. the responsibility for what Voyager did to the Sidons, I must bear alone. Two worlds made lifeless. Millions of people dead. I had no wish to harm them.. to harm anyone. They say the road to hell.. Is paved with good intentions.

This too, is well known concepts that are frequently forgotten in the heat of passion. Science has a lot of benefits, but can be dangerous when used improperly or by irresponsible people (not to mention when put in the hands of people who have ill intent from the beginning). Queller did not have ill intent, but he and those who released this mission into space certainly forgot about responsibility for their actions and creations. Not surprisingly, this episode reminded me of the real Voyagers that went to the outer planets of our solar system. They, and more recently Galileo and Cassini, are powered with small nuclear generators, power packs driven by the fission of plutonium. Even with the small quantities involved, huge safety measures were taken with these, from the moment of inception and through construction and beyond, to ensure the chances of dispersal in our atmosphere would be vanishingly small. Too bad NASA got more casual and careless with the Space Shuttle program, leading to the Challenger explosion. The fictional Voyagers, however, were, in basic design, incredibly dangerous; indeed, Voyager Two kicking in its Queller drive too early, and killed hundreds. I doubt Simmonds was involved with V2, but with "Voyager's Return," it becomes apparent that Simmonds wasn't the only foolishly shortsighted person in control of alter-Earth's post-Apollo space program. Exploration is a risky business, for by definition it is exploring new and largely or completely unknown territory. Things will happen and most explorers are fully aware about it, and take measures to be prepared and cautious. Yet there is a huge difference between this common approach and the folly of Voyager One, and I do have some problems accepting that anyone on alter-Earth would unleash this thing into space. At least it

was clear Voyager Two was the one that killed humans (if it had been Voyager One that killed on launch, even alter-Earth's permissiveness wouldn't have allowed allowed a second launch -- I hope). Linden begins to realize this aspect and stops trying to tout the positives of Voyager, and decides to take full responsibility, despite knowing this can only end badly for himself. He heads towards Voyager, though Jim Haines curiously tries to stop him, as if Haines has at least partially forgiven Linden, or at least set that aside to some degree. This is in stark and effective contrast to the Sidons, whom Queller contacts after he launches Voyager... Ernst:

Aarcon: Ernst:

Aarcon: Ernst:

You people have suffered greatly. Therefore, punish me. Do not condemn an entire world for the crime of one man. My purpose was to unite a divided world. To reach out in the name of science and humanity. To illuminate the mysteries of space. To seek out other worlds. And to offer the hand of friendship. There can be no discussion, Ernst Queller. Aarcon, I am guilty of pride and arrogance. It is I and I alone who is responsible for what my Voyager did. These other people are innocent. This plea is dismissed. John Koenig, Prepare to witness the judgement of Sidon. Than you, Aarcon, are no more worthy of life than I.

Though I had quibbles with earlier parts of this episode, it built to a very powerful climax in the above exchange, and what followed. Queller propels Voyager One towards the Sidon ships, and, apparently before they're in range to destroy Voyager, Queller destroys the Sidon ships, himself, and his creation, Voyager. Besides being something of a battle of wills, it is one of the more enjoyably unusual visual battles as well. An irony that adds to this is in how repeatedly Aarchon refered to Voyager One as primitive. One irony is in how this primitive ship

Voyager’s Return manages to destroy their more advanced ones. A subtler irony is that for how often they used "primitive" to refer to the ship, they also seemed to be refering to the humans by extension -- yet can't the Sidons' desire for revenge be considered primitive too? In the final scene, Haines takes out his frustrations and confusions on the very equipment he helped Linden build to access Voyager's computer system. This and his conversation with Koenig are very effective and well done, as is the touch of giving Haines something potentially important to work on, something that represents the only silver lining of the tragic 15-year sequence of events: the data aboard Voyager (all stored in such a small box), which could help the Alphans greatly in the future. As for Queller/Linden, the story is ultimately about attempting to redeem oneself and at least partially atone for the mistakes of the past, even if it necessarily cost his life. My only final quibble isn't even with this episode, in that the rest of the series didn't, at least as far as I saw, didn't make some sort of reference to this data bank and what knowledge may have been derived from it. Did they make any use of it, develop any new approaches or technologies from the information? Actually, this isn't so much a quibble as something that can get one thinking; yet it is disappointing that it wasn't picked up. I know it has to do with the semi-intentional non-continuity of episodes to each other (so there'd be no worry about eps getting reordered in syndication). ** Summary ** A fine episode, with only a few minor exceptions. It was one that built tension and had unconventional twists to some conventional (but important) themes such as revenge vs. justice. It vaguely reminds me of (and I'm going to be killing spelling pretty badly here) Aeschylus's Agammemnon/Orestia/Euripides (or is it Eumenides?) trilogy that I read back in college some eight years ago (a Greek tragedy, written a few centuries B.C., that some say laid the foundation of modern concepts of justice and

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courts as a replacement for often blind and neverending cycles of revenge. The concepts were well presented, and in an engrossing, tension-producing way, also with generally strong characterizations (for the most part) from the guest and regular characters. A very good episode. One of the most memorable, certainly. ----David ** Breakdown Ratings ** Overall: B+/3.0 Characters: Linden:

A/4.0; very well-written and -acted guest performance. Victor: B/3.0; generally good, though I found his initial enthusiasm about Voyager while ignoring the negatives to be a little too much like Linden's -- I thought Victor was a little more responsible than that, and that he'd balance his view a little more, even through his desire to get Voyager's information. Helena: B+/3.5; one of her better performances, with a lot of good and welldelivered lines. Haines: A/4.0; another good performance, and an important character in his own right, and treated as such, as a foil on Linden. Aarchon: A/4.0; Koenig: C+/2.5; I wasn't really satisfied with some of the things he said. Plot: Voyager: B/3.0; I have trouble imagining even an overpermissive space agency would release such a craft into space; but given that, it was otherwise an effective story-telling device. Sidons: A-/3.5; their judgement, which amounts to closeminded revenge, is a major part of the story and is done quite well, become half of the center (Linden being the other

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Year One half) which is about that revenge vs. justice, and the final step at redemption Linden has to make to counter the Sidons' cold, primitive idea of justice.

Other: Effects: Effective Ships: A-/3.0; loved both the very Earth-like look of the Voyager, and the sheer contrast to the very alien look of the Sidon ships, which also looked a lot like bigeyed bugs from the front. Cinematography: C/2.0; average, but nothing extraordinary. Music: Didn't really notice it, which could be either good or bad, I suppose. Makeup: Clothes: Miscellaneous: Eagles: one destroyed (by Voyager); three in flight Other: three alien ships, destroyed; Voyager One, destroyed Deaths: Abrams (sp? first name?) aboard the destroyed Eagle, Ernst Linden; plus many aliens, both before this episode timewise, and aboard the three ships seen here. Injuries: to Linden, from Haines. Quarters:

From: Date: Subj:

[email protected] Sat, 21 Feb 1998 13:38:48 -0500 Space1999: Voyager's Return

My nit summary: Alan is strapped into his Eagle seat, and the ship didn't hit anything, so why is he bleeding down the side of his face after his encounter with Voyager? (Actually I came up with an answer to this: The neutrons break down cell tissue so a weak blood vessel broke and he bled out the ear.) Of course the real problem here is now instead of having other list members go at my nits, I'm now doing it to myself. Gee, maybe this means I never have to leave the house.

A damaged eagle is coming in with a potential injury victim onboard. So the chief medical officer is not at the launch pad waiting to treat the victim, she is having a command meeting in the commander's office. This ties in with another nit where they learn Alan is down safe, and Koenig says take him to med center. This is something that would have been done without anybody having to give an order. It is one of those bits of dialog that exist with out logical reason...you want your command lead to say something. It also means that no other med staff was at the launch pad...going back to my earlier complaint. Koenig's dialog in that same scene in the office is rather strained as he is figuring out what to do...it dawns on him that a computer is running Voyager? What did he think was running it? A monkey? A dolphin? His Uncle Seymour? Again this is dialog trying to show the characters working with a problem, but not in a way real world people would. These people would automatically go on the assumption that a computer was running things...otherwise it never would have been launced in the first place...not with a functional propulsion system on board to keep it going...as well as recording equipment and sensors. The problem here is that the conclusion the scene reaches as to what they need to do is something they would have come up with five minutes earlier. So hearing such intelligent professionals go " what runs it?...gee, it must be a computer!!!...I wonder if a computer can be given different instructions?...etc" makes them sound dumb. The scene is for us to hear the thought processes involved...but it is such elemental stuff that it sounds silly. I love Victor lost in the scientific possibilites that Voyager is bringing them...but I kept yelling at the tv for him to point out that they might be able to send instructions to shut down the drive. Or I can hear Koenig saying: "Helena, I share your concern, but we do have some time before it becomes critical. Victor, can we send commands to Voyager's computer to shut down the drive?" There's the entire latter part of the scene in two sentences...we don't have to see the smoke coming out of Koenig's ears as he brings the pieces together. And I can see Landau doing a breathing pause between "Victor" and "can" which would show the entire thought process.

Voyager’s Return Why is Linden not concerned about an approaching Voyager ship until Haines says they are trying to shut down the drive? Oh no!...give the wrong command and the ship will blow up and nothing will happen. Do nothing and it will pass by and we will all die (but that's all right, let me get back to my work.) Linden approaches MM from upstairs?!? Why does Voyager have a destruct mechanism? Except for the end of the episode, what is the purpose? I think the notion of a "self-destruct mechanism" is an overused cliche. I am sitting here and thinking of the number of different stories over the years where that was used at the end to wrap up the story. Does Alpha have such a "sdm? Do the Eagles? It makes sense on sensitive war ships, but on a peaceful space probe? And does anybody out there know if real life sensitive military and intelligence ships of today have an sdm? I understand Paul being against Linden, but I question Helena's doubts. Voyager Two was a terrible accident, but it wasn't the work of a madman. Why does she question it as if he's a nut job, and not look at him as a possible source of information needed?

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drive too soon by itself...not that it would not accept proper commands. Voyager is sending out its deadly particles out its rear. So how can the eagles and the moon be feeling the effects from way in front of Voyager? If its effects were that strong so they reached in front of the ship, then the ship would have been destroyed by the same particles it itself was sending out. Finally, how stupid are these aliens? They are following a ship with such a destructive potential, and yet they do nothing when it approaches them at the end of the episode. Let's have a show of hands...who here would have blown Voyager out of the sky if it had approached our ships after we announced we were going to exterminate everyone connected with its creation? Yeah...that's what I thought.

From: Patricia Embury ([email protected]) Date: Sat, 21 Feb 1998 15:01:08 -0500 Subj: Space1999: Voyager's Return

This is very minor, but Paul knows Jim Haines personal history? The controller of MM is on personal terms with a young tech assistant? (Although I would accept this if Paul had said his line, paused and noticed everyone looking at him surprised, and remarked that he had learned Haines' history one day during casual conversation.) I think of the recent Babylon 5 episode that followed the two maintence workers through the episode...they are all but invisible to the main characters as they go about their business.

I've posted a couple of times on this subject, but finally got to re-watch the episode this afternoon. I find this to be an enjoyable episode, in my top ten of the series. The special effects were well done, although I recall watching what appeared to be water dripping from the Voyager after the Quellar drive was shut off. I know this was discussed on the list at one point, and was attributed to freon(?), or something else from the rocket engine. (If I recall correctly). I also liked the views in the Eagle cockpit instruments. Does anyone know what those symbols are from, or what they mean?

I am mixed on the issue of Queller saying he thinks he knows what happend with Voyager Two, and therefore he has to go on that assumption with Voyager One. My reaction was "how about just sending the command 'stop engines'"? I'm mixed because maybe the problem was that the drive was not responding to proper commands. But that's not clear. It comes across that Voyager Two turned on it's

It was generally well written, and I have to differ with David in some aspects. I found the lines given to Koenig to be appropriate. Although he wanted to maintain the safety of Alpha, he wants the information the Voyager's memory banks hold. He knows the importance to the future explorations and the possibility of finding a new home. Helena's line of the pilots being under severe stress, was an immediate

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forshawdowing of the trouble encountered by the Eagles. It was probably better to keep it in, than edit it out, because it compounded the threat the Alphan's faced. The rest of her speeches, and her interactions with Quellar, were superbly acted. I still love the way Barry Morse acts when he tells the others that he doesn't know if he can stop the drive in time, and his frustration at the computer in the Voyager when he can't crack the delete code. I think Victor went to computer to refresh his memory. I'm sure he knew the basic mission, but as he said later in the episode "I never studied fast neutrons" or something to that effect. His research at that time may have been directed elsewhere. I noticed a bit of a snicker on Koenig's face when Victor was trying to break the code. Paul was passionate as usual. However, the style, and passion he uses to deliver his speech about the lead and concrete in main mission reminded me of the Monty Python sketch when the men were sitting around talking about their horrible living conditions, and each speaker outdid each other with the horrendousness of the situation. Upon viewing this episode, it seems that Jim Haynes has been out of school for a bit ("remember your school days" when discussing the drive with Quellar)but is probably only recently graduated. It is interesting to discuss how he ended up on Alpha, and the selection criteria used for posting to the base. There were a couple of surprises/nits. Why did Carter have to yell "We're under attack!" and ask "What hit us?", when he could hear it was a Voyager ship? With his experience in space flight, he should know about the Voyager and the effects of the Quellar drive were. One of the Eagle pilots looked a great deal like Jim Haynes. I had to reverse the tape to double check. Also, why was there a big number 8 on one of the panels in the Voyager ship? Does anyone know who did the voice for the Voyager recording? It wasn't credited.

Carter's injury was probably a head laceration from some piece of flung debris. He was awake, alert, oriented, had a patent airway, so Helena really didn't need to meet him at the launch pad. The medics from the crash unit could administer first aide at the scene, and evacuate him to medical center. I think Koenig deliberately ordered Paul to order Carter to the medical center. I think he knows how stubborn Carter could be, especially in the face of an emergency. Remember in the episode where Helena disappeared, after the crash, Carter climbs into the cockpit shortly after regaining conciousness. It also sends a subliminal signal to Helena, to "get lost, we're going to save Voyager with or without you"

From: Date: Subj:

In a season two episode (I believe Brian the Brain) the Alphans are going through the data recorded by Voyager--at least in the novelization IIRC. Can anyone substantiate this?

Don't know about any Year 2 novelizations but in the original Year 1 novelization "Android Planet" by John Rankine the Voyager tapes are referred to. David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: [email protected] (South Central) Date: Sat, 21 Feb 1998 16:35:28 -0800 Subj: Re: Space1999: Voyager's Return

I checked the Y2 novelization and there is no mention of Voyager. I must have confused the books or just "retconned" the whole thing! Mateo

From: Patricia Embury ([email protected]) Date: Sat, 21 Feb 1998 15:10:54 -0500 Subj: Space1999: Re: Carter's injuries

[email protected] Sat, 21 Feb 1998 16:25:51 EST Re: Space1999: Voyager's Return

Voyager’s Return From: [email protected] (B J Dowling) Date: Sun, 22 Feb 1998 00:32:59 +0000 Subj: Space1999: Voyager's Return pt 1

Hi everyone, I loved this episode. Plenty of strands telling us of this timeline's past, how the Alphans suddenly become divided over one issue, passion (perhaps hatred), redemption, and some great hardware. Start looks good when the realisation of it being a Voyager Ship reminds us of Earth. Something friendly to relate to, perhaps. But no, panic sets in - this timeline has a different history of events surrounding Voyager. Carter turns his Eagle back - the only time in the series I can recall him making a retreat. Why if the pilots are wearing spacesuits, aren't they wearing helmets and air packs? It wouldn't have saved Steve Abrams in these circumstances, but it points to a lack of coherent policy when flying an Eagle. Abrams' death is one of the most distressing sights in the series for me. He sees the Eagle falling apart and knows he can't do anything to stop it. Instead of the ship blowing up, we see him sucked towards the blown out Eagle viewport to his death. It still makes me shudder, four years after seeing the episode for the first time. Nitpick: where does this lack of knowledge of previous space flights come from? If Carter knew it was a Voyager craft, he must have known about the Queller drive. So must have the Main Mission staff. Helena knows, but Victor doesn't? Seems odd to me. Was Voyager programmed to return to Earth at some point? The odds of it meeting MBA are very very slim, so I must question Victor's statement that it is "coming home". Certainly it must have valuable information on board, but its presence is splitting the command staff. After Paul's cracking performance in The Last Sunset, we see here more passion coming from beneath the usually controlled personality. One way only to deal with it - destroy it. Helena

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agrees with him, again with some passion and perhaps venom. Victor knows the potential value of the information on board Voyager, and his suggestion that it has medical data on board is simply to try and get Helena to agree to trying to bring it down. It doesn't work. In the novel, I recall Koenig looking through the personnel files for an expert on fast neutrons and finding Dr Ernst Linden. In this version, we first see Dr Linden working in his lab. While not everyone might know at first there's a potentially lethal craft outside, word would get around eventually. Jim Haines passes this info on to Linden perhaps out of shock that earlier events may happen again. We know that another failure in the space programme took the lives of 200 people in a horrible way. Count up all the failures mentioned in the series and wonder what it took to keep the space programme going... This news spurs Linden into action by revealing his true identity to Koenig. What a massive wrench that must be. Having been reviled for an accident for which he must surely have held himself responsible, he has taken a new name, rebuilt his life and career and gained acceptance as a scientist once again. To now have to throw that aside and relive those events is a very courageous thing to do. At this point I'm nearly sleeping on my keyboard, so I'll finish this off tomorrow.

From: "Ellen C. Lindow" ([email protected]) Date: Sat, 21 Feb 1998 21:13:25 -0500 (EST) Subj: Re: Space1999: VOYAGER'S RETURN

Petter said: Although he was the inventor of the Queller drive, the Voyager project must obviously have been run by more ruthless people, people like Simmonds. To hold Linden responsible for the effects of the Queller drive makes as much sense as holding Victor Bergman responsible for his ideas in BLACK SUN or COLLISION COURSE if they had worked less well.

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Don't you think that was exactly what happened with Tony Cellini? I find it interesting that the Powers-That-Be gave Queller an alias and supported his continued research. Alpha was obviously created in an incredibly ruthless political environment.

From: Noll) Date: Subj:

[email protected] (Horst Sun, 22 Feb 1998 11:54:58 +0100 Re: Space1999: Voyager's Return Voyager is sending out its deadly particles out its rear. So how can the eagles and the moon be feeling the effects from way in front of Voyager? If its effects were that strong so they reached in front of the ship, then the ship would have been destroyed by the same particles it itself was sending out.

Voyager has recognized the moon as a new stellar object, therfore it's trying to investigate. To be able to do this, it has to slow down. To slow down it has to change the direction of it's propulsion system and has to activate it. This means, that Alpha is in the direct way of the particles sent out by the drive. But I think this is silly, too, because after the horrible experience of Voyager 2 they couldn't realy be so silly to sent a ship which destroys the objects it should investigate. What interesting thought ! Voyager has to have made a line of destruction throughout it's way ! Horst

From: [email protected] (B J Dowling) Date: Sun, 22 Feb 1998 15:01:02 +0000 Subj: Space1999: Voyager's Return pt 2

Morning all, Now, where was I? This news spurs Linden into action by revealing his true identity to Koenig. What a massive wrench that must be. Having been reviled for an accident for which he must surely have held himself responsible, he has taken a new name, rebuilt his life and career and gained acceptance

as a scientist once again. To now have to throw that aside and relive those events is a very courageous thing to do.

It's already been mentioned that Alpha seems to have been built and manned in a very unpleasant political environment. I've got to agree there. Someone made the decision to give Queller a new identity, and possibly for his own safety, assigned him to Moonbase Alpha. Begs the question what other skeletons are in cupboards waiting to be chanced upon a security guard or a cook who's ex-SAS or CI5? Hang on, that's Under Siege. Anyway, could be more fan fiction material there... We get the distinct possibility here of politicians pushing well-meaning scientists into finishing a project before it has been fully tested and is totally ready. Nothing new there, perhaps. But if it can happen with Voyager, and then with the Meta probe, why not with Alpha itself? Paul, Alan and Helena are against Queller, Voyager and any attempt to land the thing anywhere near Alpha. I can't blame them and in Paul's position I would no doubt think the same. Hell, I'd volunteer to fly the Eagle which blows the thing up. Queller's honesty - "fifteen years ago I would have given you my word... now I can only say I will do my best" - is perhaps why Koenig decides to go ahead with the attempt to land Voyager. Now we find out where Jim Haines fits in to the scheme of things. In a sad twist of fate he's helping the man who he would most likely hold responsible for the death his parents. Koenig's decision to keep Queller's identity a secret makes good sense - we don't know how many others on Alpha had some kind of "involvement" with the Voyager Two disaster. One senses that the discovery of Queller's identity is going to happen... Victor's chat with Queller in that lab next to his work area was a bit dodgy - Jim was right next door and within earshot. If he'd heard all of that conversation, he would probably have known Queller's identity there and then. Whoops! As Queller gets more and more involved with the task in hand, the "facade" of Linden gradually drops away. Haines is uncertain what's happening but seems to keep

Voyager’s Return his faith in Linden/Queller until the doctor says "security codes irrelevant". What horror Jim feels now must be near indescribable. His trust, his faith and belief in what may well have been a father figure to him is shattered by the discovery that he is the man responsible for the death of his parents. He loses it, and I honestly can't blame him at all. Under those circumstances, wouldn't you? Now we start the redemption theme. Despite his injuries, Queller lands Voyager successfully. Three insectoid looking ships follow in its wake... Great hardware, and good continuity with it something season 2 sadly lacks when dealing with earlier spacecraft from Earth. Note the countdown font on the panel signs, and similarities with the Ultra probe from Dragon's Domain. Queller seems almost renewed with energy as he shows Helena, John and Victor around Voyager, then comes the message of bad news... Voyager has been responsible for mass death on two planets. Those affected seek revenge. Great line from Victor about revenge sanctioned by authority being the sign of a debased culture. Poor Queller, the whole Voyager thing is becoming one massive nightmare. It's all too much for him. Alan wants to get in first, for what it may be worth. Queller feels that it is he who must bear the responsibility for the Sidon deaths, even though it isn't explained how those deaths occurred - it might not have been the Queller drive. Deliberately, Queller makes his way to Voyager.

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achieving their objectives whatever the cost. Perhaps the same is true of that mix of politicians and well-meaning scientists which seems to cause us so much trouble in real life and in fiction... Koenig's words to Haines at the end strike me as some of the most motivational things he says during the series. His handing the Voyager memory bank to Haines with the urging "Get to it" gives the young assistant a target to aim for with the motivation of keeping the memory of his mentor alive. Overall, a fine episode which deals with the theme of creator trying to redeem himself for the destruction he has unintentionally wrought very well. Jeremy Kemp is outstanding as Queller, giving one of the finest guest performances in the series. Good to see other pilots rather than Alan and co-pilot doing all the work, and some of the technical areas. I sure wondered what they get up to during the quieter moments! Some of the dialogue I might nitpick over, but one or two others have already done that. Paul, Victor and Helena become almost peripheral in the second half of the story, but their contributions in the first half lay some very firm foundations for the second half. Victor gets the one really outstanding line in the story, though Queller's plea to Archon is eloquent and emotive, and Koenig's words to Haines are encouraging and motivational. Could well be in my top six, this one. It would be interesting to see other folks' story rankings after we've finished season 1.

Jim's request to come with Queller seems to me to be a showing of his forgiveness, and realising he was wrong to lose his rag. That moment where they just look at each other says more than any words could. He makes his intentions perfectly clear to Koenig.

From: David Acheson ([email protected]) Date: Sun, 22 Feb 1998 10:31:45 PST Subj: Space1999: Jim Haines/Byrne and Penfold/Music

If Archon had been a little more reasonable, the destruction of the Sidons and Voyager might have been avoided. It is typical of those seeking revenge that they are so narrow minded and see nothing else other than

Interesting that Petter and Patricia (say that ten times fast) brought up the idea of Jim Haines being an intern on Alpha. This seems to make some sort of sense. Top notch scientists would most likely have assistants who would earn

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Year One Top notch scientists would most likely have assistants who would earn their wings by training under them. I never thought about the believability of Jim Haines being on Alpha. Who I did always wonder about was our favourite target: Shermeen Williams. She does not seem to be emotionally mature to be assigned to a posting on Alpha. More about her when we get to A MATTER OF BALANCE.

their wings by training under them. I never thought about the believability of Jim Haines being on Alpha. Who I did always wonder about was our favourite target: Shermeen Williams. She does not seem to be emotionally mature to be assigned to a posting on Alpha. More about her when we get to A MATTER OF BALANCE. Petter, I agree with your analysis of the differences between Byrne and Penfold (sounds like a British comedy troup). I always felt a religious aspect to many of their episodes but I think you hit the target. Penfold stories are more involved with individuals while Byrne takes a more holistic approach. I never thought of a Protestant versus Catholic approach but what you say makes sense. Byrne does seem to write a lot about sins. Queller coming out of hiding and announcing who he is was much like the person who walks in to a confession booth. David Acheson

From: Petter Ogland ([email protected]) Date: Tue, 24 Feb 1998 09:46:00 +0000 Subj: Re: Space1999: Jim Haines/Byrne and Penfold/Music

I look forward to this. A MATTER OF BALANCE was one of the first Year Two episodes I saw. I wonder what you and Year Two expert David Welle has to say about this. Petter, I agree with your analysis of the differences between Byrne and Penfold (sounds like a British comedy troup).

He-he. I always felt a religious aspect to many of their episodes but I think you hit the target. Penfold stories are more involved with individuals while Byrne takes a more holistic approach. I never thought of a Protestant versus Catholic approach but what you say makes sense. Byrne does seem to write a lot about sins.

I feel religious themes are prevailent in many stories. Apart from Byrne and Penfold, Terpiloff seems to be quite focused on aspects of faith and belief, COLLISION COURSE, our next entry, perhaps being one of the most illustrative examples.

Collision Course

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13. Collision Course The episode is about faith and trust, a discussant says. Koenig had faith that Carter survived the blast, and went looking for him. Koeing, and the rest of the Alphans had faith in Victor, that Operation Shockwave would avert disaster. Koenig had faith that Arra would keep her word, and the Alphans would not be harmed. The Alphans had faith in Koenig's leadership, until they thought he was poisoned. Another discussant agrees about faith and trust, but argues that it also says something interesting about loyalty. The question about whether Arra exists in reality or whether she exists only in the minds of John and Alan is less significant than the attitudes of the Alphans towards John. In some ways it makes SEED OF DESTRUCTION an interesting contrast, as it focuses on some of the same ideas. In SEED OF DESTRUCTION, however, the blind loyalty towards John put the survival of Alpha in jeopardy. There is a line between loyalty and blind loyalty, even when faith and trust is involved. One aspect of COLLISION COURSE is that it explores that line. From: Patricia Embury ([email protected]) Date: Mon, 23 Feb 1998 21:12:29 -0500 Subj: Space1999: Collision course

This is one of my favorite episodes. Yes, there is a disaster looming for the Alphans, but, as stated by an earlier poster, the disaster is not the main focus of the episode. It's about faith, and trust. Koenig had faith that Carter survived the blast, and went looking for him. Koeing, and the rest of the Alphans had faith in Victor, that Operation Shockwave would avert disaster. Koenig had faith that Arra would keep her word, and the Alphans would not be harmed. The Alphans had faith in Koenig's leadership, until they thought he was poisoned. The writing was solid throughout, although there were a few lines I might have edited. Carter's "Where's Arra?" might have gone on a bit long, but was a necessary question in that scene. I also found some of Victor's lines in the opening sequence a little inconsistent. He seemed to say one thing once, then contradict himself a short time later. Arra's speech to Koenig, and his reaction was excellent. The scene where Carter meets Arra in the spaceship was a little too short for my liking. The novelization's dialogue of Arra inside Carter's head was written differently, and the author drew more things from Carter's past to make his effort of controlling the ship although unconcious/semi-concious more dramatic. I liked getting into Carter's head. This is probably easier to do in a novel than in a screenplay, but I would have liked to have seen it. The novelization also had a scene in Medical Center in which Russell shows Koenig some scans of Carter's flight that

suggested someone/something else manipulated Carter's body in controlling the craft. It would have probably been overkill, but it would have been nice to see filmed. The acting was superb. Martin Landau emoted in the opening so well, without it looking cheezy, or fake. You could feel the ension in the air as the last charge was placed, and the explosion detonated. Koenig faced one of the hardest parts of being in command: running the risk of sending a friend out on a potentially fatal mission. The interaction of Barbara Bain and Barry Morse in the second command staff meeting, after Koenig's returned, their facial expressions, making eye contact, led the viewer to know that they were just humoring Koenig, and that something else was up. Nick Tate was superb as the confused and disoriented Carter, desperately wanting to know who Arra was, and why he was picked for his role. Carter's determination to finish the job, despite the dawning realization that he'd probably end up dead, was understated enough to make it believable, not comical. The one Eagle pilot in the first shot was also seen in Voyager's Return.

From: South Central ([email protected]) Date: Mon, 23 Feb 1998 20:27:59 -0800 Subj: Space1999: Collision Course

Did anyone notice that the countdown at the end makes no sense. When the countdown-which is often referred to as having to do with Operation Shockwave--reaches zero...Victor

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yells, "Too late!!" WHY? The countdown then, obviously, was a countdown to collision. But this makes no sense--UNLESS everyone was agreed that OS would be detonated at C minus two minutes or something like that. This is the only thing that ruins an otherwise perfect episode in my opinion. Mateo

From: "Petter Ogland" ([email protected]) Date: Tue, 24 Feb 1998 10:31:58 +0000 Subj: Re: Space1999: Collision course

Pat wrote: This is one of my favorite episodes. Yes, there is a disaster looming for the Alphans, but, as stated by an earlier poster, the disaster is not the main focus of the episode. It's about faith, and trust.

This is one of my favourites too, and I'm happy to see that Mateo regards it so highly as well. I also view this as a story about faith and trust. The question about whether Arra exists in reality or whether she exists only in the minds of John and Alan is less significant than the attitudes of the Alphans towards John. In some ways it makes SEED OF DESTRUCTION an interesting contrast, as it focuses on some of the same idea. In SEED OF DESTRUCTION, however, the blind loyalty towards John put the survival of Alpha in jeopardy. In Year Two the blind loyalty seems to be inherit in characters. In the more psychologically complex world of Year One, the question whether one should follow the advise of John Koenig or not makes perfect sense. Alan was obviously not to be trusted, and even if John was partly sane, earlier episodes like THE LAST SUNSET had shown prominent characters turn wildly insane and totally incapable of responsibility. The most natural thing to do is not to follow Koenig's advise, it seems, and it is highly interesting how the Alphans let go of all reason, abandon their plan and just crash into

the planet. The situation is very similar to if Koenig would have decided to just turn off the Bergman shield in BLACK SUN for no apparent reason. Would the Alphans have accepted that as well? The writing was solid throughout, although there were a few lines I might have edited. Carter's "Where's Arra?" might have gone on a bit long, but was a necessary question in that scene. I also found some of Victor's lines in the opening sequence a little inconsistent. He seemed to say one thing once, then contradict himself a short time later.

I liked the seeming inconsitency of Victor. To me it makes his character more human, and very consistent with Barry Morse's portrayal. More contradictions and more emotions makes him just more interesting in my eyes. The acting was superb. Martin Landau emoted in the opening so well, without it looking cheezy, or fake.

Im constantly impressed at Landau in almost all the 48 episodes. Sometimes he outdoes himself, however, BREAKAWAY, BLACK SUN and RING AROUND THE MOON come to mind, but COLLISION COURSE is also an example of a superior actor in top form. Not surprisingly COLLISION COURSE is directed by Ray Austin who seem to have had a remarkable rapport with the actors, getting all from major to minor cast to excell their performances. You could feel the tension in the air as the last charge was placed, and the explosion detonated. Koenig faced one of the hardest parts of being in command: running the risk of sending a friend out on a potentially fatal mission. The interaction of Barbara Bain and Barry Morse in the second command staff meeting, after Koenig's returned, their facial expressions, making eye contact, led the viewer to know that they were just humoring Koenig, and that something else was up.

Nice you bring this up, Pat, some of the very finest scenes in the whole of COLLISION COURSE as I see it. I wonder how come Ray Austin, a former stuntman, manages to get these kind of miniature scenes to work so perfectly, so finely tuned. Similar round table conferances in episodes like VOYAGER'S RETURN and WAR GAMES seems awkwardly heavy handed in comparison, I feel.

Collision Course Nick Tate was superb as the confused and disoriented Carter, desperately wanting to know who Arra was, and why he was picked for his role.

It's episodes like this, and ALPHA CHILD, the really bring out the character of Alan Carter, I feel. We all know that he is a highly competent pilot and a strong personality, but letting Nick Tate explore and show his weaker sides is highly interesting, I feel, giving much more insight to who this person really is. Petter

From: David Acheson ([email protected]) Date: Tue, 24 Feb 1998 03:18:01 PST Subj: Space1999: Collision Course

I feel like I am missing out on some cosmic joke. Everyone else seems to get the punchline but I am there on the sides still trying to figure it out. What I am referring to, of course, is this week's episode for discussion, COLLISION COURSE. I really hate to be a downer but I just do not highly praise this episode like the many here who have done so in the past. In fact I would put this down as one of the few turkeys in season one (much like I did for the highly debateable RING AROUND THE MOON. Maybe its because Ray Austin directed these two episodes that I do not praise him as highly as Chrichton or Tomblin. Austin has done some fine work in the series though. I do give full credit to Anthony Terpiloff and the production crew to give us something philosophical and mature in sci-fi (compared to the other stuff at that time and even today) but it ended up, for me, a confused mess. I believe the same attempt worked much better with BLACK SUN. This is not a criticism of Terpiloff of which this is his second scipt in the production order. I quite like many of his episodes and his style but COLLISION COURSE does not work for me. The episode is about faith - no question about that. Koenig comes back from an encounter with an ancient alien queen whom most of the

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Alphans have never seen or heard. Add to that an incredible tale of two worlds colliding but nothing bad will happen. Alpha stays the same and the alien world transforms into a higher purpose. Can one blame Helena for confining John to his quarters? The purpose of a good script is to make the audience suspend their disbelief. In fact we had to endure this over the whole premise of the series. Many have done so with this episode but I just was never quite that convinced. Maybe my problem with the episode is my obsession with the unbelievable aspects over the storyline of faith and trust? Its interesting to note that this was one of Margaret Leighton's last appearances on film. I believe the actress died in 1975 - I remember reading that somewhere. In the MAKING OF SPACE: 1999 book Gerry Anderson made some crack about the monster in DRAGON'S DOMAIN being more expensive than having Margaret Leighton guest star. I take it that it was a major coup for them to have the actress on the series. Anyway gotta run off and get ready for work. Sorry I cannot praise the episode the same but that's the way things go sometime. David

From: Mark Meskin ([email protected]) Date: Tue, 24 Feb 1998 21:46:57 -0600 Subj: Re: Space1999: Collision Course Did anyone notice that the countdown at the end makes no sense. When the countdown-which is often referred to as having to do with Operation Shockwave--reaches zero...Victor yells, "Too late!!" WHY?

At a certain point the moon would have moved beyond the point at which the charges were layed, this point obviously wasn't on the planet, or the moon. But after the counter has reached zero, the moon is probably too close to the planet or the charges to do any good. The countdown then, obviously, was a countdown to collision.

Not true, the moon continues to move for about what was it...15 seconds + or so after

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zero, BEFORE it touches the planet. Doesn't matter what speed you guess the moon is moving at, during that 15 seconds it may cover 200 miles or so. But this makes no sense--UNLESS everyone was agreed that OS would be detonated at C minus two minutes or something like that. This is the only thing that ruins an otherwise perfect episode in my opinion.

I love this story, but the premise is pure whoee. First off, space is SO big, that even when GALAXIES collide, very few stars even collide(much less planets), nearly all of the interaction is gravitational. Secondly, Operation Shockwave would never work in space, there is no shockwave generated in a vacuum. Thirdly, the moon would have been torn apart by the planet (which was 34 times the moon's size) long before it collided due to gravitational stress. Its still a good story though ;-) Mark

From: Petter Ogland ([email protected]) Date: Wed, 25 Feb 1998 10:34:32 +0000 Subj: Re: Space1999: Collision Course I really hate to be a downer but I just do not highly praise this episode like the many here who have done so in the past. In fact I would put this down as one of the few turkeys in season one (much like I did for the highly debateable RING AROUND THE MOON. Maybe its because Ray Austin directed these two episodes that I do not praise him as highly as Chrichton or Tomblin. Austin has done some fine work in the series though.

It is somewhat surprising, but still interesting to read this. While COLLISION COURSE is not one of the episodes I remember most vividly from first viewing in 1976, it is one of the episodes that has struck me as SPACE:1999 on its best when watching the series now, some twenty years later. RING AROUND THE MOON is one of my favourite episodes which happen to be directed by Ray Austin, and that is perhaps one of the reasons I care so much for it. Austin headed,

however, about one third of the episodes of Year On and a couple of episodes for Year Two, episodes very different in approach and style. While I find the style associated with the di Lorenzo episodes RING AROUND THE MOON and MISSING LINK his most interesting, the seven other episodes seem highly personal too, very different both from Crichton and Tomblin, and easy to point out. Crichton worked on many of the most "classic" SPACE: 1999 scripts, such as GUARDIAN OF PIRI, THE LAST SUNSET, WAR GAMES and DRAGON'S DOMAIN. Cricthon is not one of my favourite directors though he headed some very fine episodes and collaborated with interesting writers. As a director I think he did his best work on MATTER OF LIFE AND DEATH and GUARDIAN OF PIRI, the latter in particular perhaps, reflecting his attitude towards treating Science Fiction as "Alice in Wonderland" and similar. Tomblin I admire for his visual style. In many respects he is reminicent of Stanley Kubrick and Ridley Scott, I think. Like Stanley Kubrick he seems like a very "cold" director, however, and while certainly committed to his work, I assume, many of his episodes, ANOTHER TIME ANOTHER PLACE, FORCE OF LIFE, TESTAMENT OF ARKADIA, Alpha is presented like a sort of menagerie, I feel. This is perhaps most apparent in FORCE OF LIFE and the scenes with Judy Geeson in ANOTHER TIME ANOTHER PLACE. My feeling when watching a Tomblin episode is more like being to an exhibition than understanding and sympathizing with the characters. Austin, I feel, is, in stark contrast to the others, an extremely empathic and emotional director, often more concerned with emotions than logic, and therefore an excellent choice for episodes like RING AROUND THE MOON, MISSING LINK and COLLISION COURSE. Further to his credit, he is certainly the only director who could make something watchable out of such nonsense as ALL THAT GLISTERS. He left the production after that episode, however, perhaps feeling that there were limits even to what he could do within the later developments of SPACE:1999.

Collision Course I do give full credit to Anthony Terpiloff and the production crew to give us something philosophical and mature in sci-fi (compared to the other stuff at that time and even today) but it ended up, for me, a confused mess. I believe the same attempt worked much better with BLACK SUN. This is not a criticism of Terpiloff of which this is his second scipt in the production order. I quite like many of his episodes and his style but COLLISION COURSE does not work for me.

One of the notable things about Terpiloff, in the context of SPACE:1999, is his ability to make simple, pointed stories with a philosophical, ethical or religious flavour. As regards simplicity he must have been the antithesis of di Lorenzo, whose scripts seem to explode with ideas in all directions at the same time. Terpiloff contributed four episodes to Y1 while di Lorenzo was credited for two, but may have been responsible for the central ideas of either ALPHA CHILD or GUARDIAN OF PIRI, there seems to be contradictory information about this. Of Terpiloff's work for SPACE: 1999, I perhaps find COLLISION COURSE his most interesting, one of his simplest scripts dealing with one of the most difficult philosophical problems concerning faith and trust. I feel that the thing that makes this effort work is the direction of Ray Austin, giving the story a more "confused" style than the other Y1 episodes which he did for Cricthon. It also works better than CATACOMBS OF THE MOON of Year Two, I feel. In fact, my belief is that an episode like EARTHBOUND would have worked extremley much better if it were directed by Austin. What that episode lacks, the way I see it, is the emotional understanding of its characters. This is almost ever present with Austin and very seldom with Cricthon, I feel.

191 The purpose of a good script is to make the audience suspend their disbelief. In fact we had to endure this over the whole premise of the series. Many have done so with this episode but I just was never quite that convinced. Maybe my problem with the episode is my obsession with the unbelievable aspects over the storyline of faith and trust?

I feel that the thing Austin and his crew does is to enhance the contrast in Terpiloff's script of faith and trust by letting the viewers take part in the problem the Alphans are facing. Should they believe John? After all he is the commander, they have trust in him, he has always been right so far etc. On the other hand, what he suggests them to do, just to wait until the moon crashed into Atheria, is incredibly silly. In fact, it defies logic, as Kano says. What would you do, David, being in this situation? I have no idea what I would do, but I feel sympathy with Victor's fatalistic approach, not all that different from how he acted in BLACK SUN. Petter

From: Date: Subj:

LKJ1999 ([email protected]) Thu, 26 Feb 1998 18:35:05 EST Space1999: Collision Course.

My short & Sweet comments on Collision Course. Eagle Action. Very good in this episode... NO. of times Eagle was said. (45)... Liftoff's (1)... Landing's (1)... Bloopers. None that I could see... Arra's Space ship. Was used on. The Metamorph. This episode is on my top 10 list !

Can one blame Helena for confining John to his quarters?

Her actions seem perfectly natural the way I see it, and I feel Austin does very little to reason to blame Helena here. In fact, I feel this is essential to the story, and one of the reasons that it works so well, for me at least.

Chas P. LKJ1999

From: David Welle ([email protected]) Date: Sat, 28 Feb 1998 11:11:11 Subj: Space1999: Arra of Astheria -The Great Purpose of Mutation

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Hello all, I don't know how much time I'll get to analyze "Collision Course" -- one of my Top Five favorite Year One episodes -- today, but several months ago, I wrote a character study entitled, "Arra of Astheria -- The Great Purpose of Mutation," for The Dominion's SCIFI.CON 2.0. "Arra" is at http://www.scifi.com/scifi.con/screen/space19 99/character/arra/ Yes, the virtual booths are still standing. Besides three more character studies and a novel of mine, there is: a comprehensive series overview written by Robert Ruiz; and alien planets exhibit created by Marcy Kulic and Catherine Bujold; and a collectibles exhibit by Phill Wright -- all put together for the Dominion by Marcy. The general address for the S19 booth is: http://www.scifi.com/scifi.con/screen/space19 99/

From: Date: Subj:

[email protected] Sun, 01 Mar 1998 05:59:21 EST Re: Space1999: Collision Course Thirdly, the moon would have been torn apart by the planet (which was 34 times the moon's size) long before it collided due to gravitational stress.

Is this the "Roche Limit?" Its still a good story though ;-)

Plus an outstanding performance from Landau. Even better than usual. Good supporting cast performances, too. David J Lerda, [email protected]

From: Date: Subj:

[email protected] Sun, 01 Mar 1998 15:12:12 -0500 Space1999: Collision Course

I was surprised to see how well I thought this episode worked. Except for one brief exception below, I found the dialog to be well written and sounding like it rang true. Even Arra's big speeches made some sense, and did not have sections in them that were included only because they sounded metaphysical or sciencefictiony. I would be curious to know how much time passed between the filming of this episode and the previous one. Within a minute of its starting, my first sense was that they had been away for awhile. I especially see it in Landau and Tate, and in some of the production values as well. If they are wearing spacesuits in the eagles in case of depressureization (sic?), then they must have their helmets on as well. It was something that was never consistent in the series. The one bit of bad dialog (or thinking) is the idea that "the radiation out there might be different from what we know about" so it is dangerous to send an eagle out with the exact same shielding that the base has...except the entire moon is moving through that self same radiation. Makes no sense...it would if they had said the eagle can't generate as strong a shielding as the base...but they didn't. We have to put on to Dr. Asimov's list this business about explosions in between able to change the trajectory of the moon and A WHOLE PLANET??!! At this point in my notes I wrote "dialog is good." Lines came on top of each other like in real life, ideas and interjections came in from all angles in different scenes like they would for real, and what was being said made sense. Now it is Helena's commlock that is missing buttons. I always thought that the crew's reaction to the impending collison by backing up from the image on the main screen was absolutly real and one of the best things I remember from year one.

Death’s Other Dominion

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14. Death’s Other Dominion From the perspective of one of the discussants, there is a moral to this story similar to many of Shakespeare's tragedies. Do not attempt to play God! In this case: cheating death (or is it life?). The ending is a grim reminder that there is a reason why things are the way they are. Another discussant interpret the ending in a slightly different way. Apart from not attempting to play God, he feels the episode is also about growth and learning as a vital aspect of life, and complacency as the ultimate death. "There can be no children on Thule", one of the inhabitants says. Although somewhat less apathetic than GUARDIAN OF PIRI, the people on Thule do not seem to be a particulary happy crowd, although they have lived for over 800 years with a promise to continue living on forever. In fact, the only one who seems fairly content is Dr. Rowland Cabot who still has a mission, namely his science. All the other don't seem to feel any purpose to life. "Is it death that brings purpose to life?" is Koenig's final question before the curtains fall. From: David Acheson ([email protected]) Date: Mon, 02 Mar 1998 23:34:52 EST Subj: Space1999: Death's Other Dominion

Now that the silliness of the almost-collision with Astheria is over, our band of space travellers enter into a new alien solar system and encounters Ultima Thule. This is one episode that I will admit I do like. Anthony Terpiloff rebounds this time (with his co-writer wife Elizabeth Barrows) and gives us SHAKESPEARE: 1999. The whole episode is played out much like a Shakespearean play. Not only does it feel like theatre as opposed to television but it is probably one of the easiest episodes to transform into a live stage production. It also helps to have a talented stage actor like Brian Blessed along for the ride. Here he plays a well-respected Doctor (Cabot Rowland) who, because of his talent and reputation, has a band of dedicated followers even when it has become clear that he has crossed the boundary. All this without the evil laughs and smiles for the cameras that would be used to full effect in any other program. In fact, he appears to be like the rest of us. John Shrapnel as Captain Jack Tanner is the typical court jester. Everyone else thinks he is the fool but the audience knows that the fool is usually right. Koenig becomes the spokesperson for the audience in this episode and the only one to suspect Tanner is not as insane as he leads people to believe. Its interesting to note the master-servant relationship between Rowland and Tanner.

When the Uranus expedition left Earth it was Tanner who was the master. Nice role-reversal. I must admit the snow storms do not come across today as well as it looked back in 1975 but I do admire the crew to tackle such a sequence. This is really one of the few places in the episode that Alphans other than Koenig get to put some meat into their roles. Alan's fight for survival and his return to the Eagle as well as Helena's brave attempts were nice to see. The latter in particular because the female doesn't scream her bloody head off or awaits a male to rescue her so she can shower him with affection. She is left to fight until she gives out. Of course there is a moral to this story like most of Shakespeare's tragedies. And this one is similar to much of what we have seen in previous episodes: Do not attempt to play God! In this case: cheating death (or is it life?). The ending is a grim reminder that there is a reason why things are the way they are. Score: Tanner 1 Rowland 0. Overall a good episode - still not one of the best but not bad. David Acheson

From: Petter Ogland ([email protected]) Date: Tue, 3 Mar 1998 10:10:01 +0000 Subj: Re: Space1999: Death's Other Dominion

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Shrapnel and Blessed is the best thing about the episode, I feel, and Blessed is perhaps the more believable of the two. While Brian Blessed has a tendency of shouting his lines, it nevertheless fits with the theatrical style of the episode.

profound comments he sometimes make. On other occations he seems genuinely insane. The parallell to Hamlet is perhaps not too far away. It seems Terpiloff has also been inspired by King Lear, and perhaps Julius Ceasar as well.

As David points out, Cabot Rowland is not played too much in the villain mode. This is one of the strong points of the episode, I feel. Very much like the second Terpiloff/Barrows collaboration, THE INFERNAL MACHINE, there is not a real villain, but a person who is so occupied with his own ideas that they finally conflict with communal interests.

The sane Tanner at the end of the episode, wishing Alpha bon voyage, is perhaps not the best ending to the story, I feel. I think it would have been more efficient with a more open ending, not knowing what would happen to the Thuleans after the death of Cabot.

In some ways Dr. Rowland Cabot is not very different from Commisionar Simmonds in Terpiloff's first script to be produced, EARTHBOUND, also directed by Charles Crichton. Both of them live in their own universes and take only superficial interest in the rest of the world if it does not fit in with their plans. In my opinon, however, Blessed's interpretation of Cabot makes more interesting drama, while Simmond's drive is explained as early as in the prologue, one is never being too sure what the intents of Cabot are. On the other hand, in this case of Simmonds, he may get sympathy, perhaps, because he is so totally lost on Alpha, there is less sympathy with Rowland, it's more a question whether his goal is also the others goal. One of the best scenes is when the inspect the Phoenix spaceship, Cabot going Scottish accent and talking about "being like gods" with his eyes sparkling like stars. Koenig takes notice, however, while Helena and Victor apparently do not. John Shrapnel as Captain Jack Tanner is the typical court jester. Everyone else thinks he is the fool but the audience knows that the fool is usually right. Koenig becomes the spokesperson for the audience in this episode and the only one to suspect Tanner is not as insane as he leads people to believe.

John Shrapnel is good both as the sane and the insane Tanner, but some of his transisions are too fast, I feel. One sometimes gets the impression that he is only playing insane in order to not be allowed to make the kind of

I must admit the snow storms do not come across today as well as it looked back in 1975 but I do admire the crew to tackle such a sequence. This is really one of the few places in the episode that Alphans other than Koenig get to put some meat into their roles. Alan's fight for survival and his return to the Eagle as well as Helena's brave attempts were nice to see.

I felt the snowstorm was one of the weaker points of the episode. It would perhaps have been more efficient if it were heavily edited. As Crichton was responsible for the wonderfully tense storm on Terra Nova in MATTER OF LIFE AND DEATH, it's a bit sad to see how Year One lost impetus in some aspects during its course. The most interesting thing about the snowstorm, as far as I'm concerned, is Alan's singing. It's difficult to get the words, but he seems to be singing about Lucifer. Is it an Austrailan traditional? My impression is that it is used to indicated that the Alphan's may have landed in Hell. On the other hand, MATTER OF LIFE AND DEATH is a very different episode from DEATH'S OTHER DOMINION, and the endless scenes fake snow and pointless walking about makes some sense within the theatrical context of the episode. If this episode were to be played on a stage before a live audience, the more cinematographical style of MATTER OF LIFE AND DEATH would not be neither applicable nor sensible. Of course there is a moral to this story like most of Shakespeare's tragedies. And this one is similar to much of what we have seen in previous episodes: Do not attempt to play God! In this case: cheating death (or is it life?). The ending is a grim reminder that there is a reason why things are the way they are. Score: Tanner 1 Rowland 0.

Death’s Other Dominion Apart from not attempting to play God, I feel this story is also about growth and learning as a vital aspect of life and complacency as the ultimate death. "There can be no children on Thule", one of the inhabitants says. Although somewhat less apathetic than GUARDIAN OF PIRI, the people on Thule do not seem to be a particulary happy crowd, although they have lived for over 800 years with a promise to continue living on forever. In fact, the only one who seems fairly content is Dr. Rowland Cabot who still has a mission, namely his science. All the other don't seem to feel any purpose to life. "Is it death that brings purpose to life?" is Koenig's final question before the curtains fall. In some respects the episode is perhaps not unlike FORCE OF LIFE which also seem to raise a similar question about how we lead our lives. Overall a good episode - still not one of the best but not bad.

I'm one of those people who also enjoyed COLLISION COURSE, both for it's philosophical content and for the direction. DEATH'S OTHER DOMINION is an equally philosophical episode, but directed in a very different fashion, much more abstract, almost like Brechtian theatre. There is very little psychology of relationships in this episode, with exception of Rowland Cabot, Jack Tanner and John Koenig, I feel, so obviously it has to be watched in a very different mode than RING AROUND THE MOON, MISSING LINK and COLLISION COURSE. There is also a diminutive musical score, perhaps fitting with the format, contrasting early episodes like BREAKAWAY and MATTER OF LIFE AND DEATH and BLACK SUN, that almost seemed like Barry Gray symphonies. On the other hand, there seems to be the right amount of music within the framwork of a theatrical stageing. The snowstorm is all too long and the laboratory of Cabot looks like it's built of Meccano or similar childrens stuff.

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Nevertheless, the philosophical content seem to transend the theatrical aspects and make it all worthwhile. In fact, the theatrical style perhaps even enhances this. Like David, I do not feel this is one of the best of Year One, but I feel it grows on repeated viewing, and it is an episode I've seen quite a few times. Its style makes it stand out from the series, and there is an interesting fit between style and content in this one which makes it interesting. All the five Terpiloff scripts for SPACE:1999 are rather interesting, I think. Petter

From: [email protected] (B J Dowling) Date: Tue, 3 Mar 1998 14:11:27 +0000 Subj: Space1999: Lucifer

Hi folks, If Alan is singing the song I think he's singing in Death's Other Dominion, it's not a reference to Hell but to a cigarette lighter. I know it as a World War 1 song called "Pack Up Your Troubles" and what I know of it goes something like this: "Pack up your troubles in your old kit bag and smile, smile, smile While you've a lucifer to light your fag Smile boys, that's the style What's the use of worrying, it never was worthwhile So pack up your troubles in your old kit bag and smile, smile, smile" I wouldn't dare sing it, but if you want to hear it sung then Gerald James and David McCallum give it a go in the second Sapphire And Steel adventure. Brian Dowling

From: Gordon & Carol ([email protected]) Date: Wed, 4 Mar 1998 13:48:24 +1000 (EST) Subj: Re: Space1999: Lucifer

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They are the words that I know as well. The only difference being I always thought a lucifer was a slang term for a match, not a lighter? Mind you I could be wrong, I do that frequently you know! :-)

Helena fast. Victor has come away from the last few episodes looking pretty vulnerable to any new idea that comes along, but Helena is usually pretty level-headed unless there's some kind of outside influence.

Catch You Later ( back to Lurk-Mode )

What a gooey death. Did you notice that the body was steaming when Koenig was dradding Helena away from it? How gross!

Carol. Alphan #183 Temporal/Dimensional Historian.

From: "Ellen C. Lindow" ([email protected]) Date: Tue, 3 Mar 1998 20:45:56 -0500 (EST) Subj: Re: Space1999: Death's Other Dominion

I have a love-hate relationship with this episode. I really like the mysticism, the eiree fate of yet another failed space mission, Cabot Rowland's charisma, and the ending showing that death wins. My kids watched the episode with me, and my 13 yr-old called it the whipped cream planet, and my eleven yr old was calling for the landing party to use that rope on Victor's backpack to TIE THEMSELVES TOGETHER!! It seems that if a kid who has never seen snow in her life can figure that one out, Koenig & co should be able to do so. Obviously the women in the Uranus mission have adapted to this planet better than the men- they certainly seemed to need less clothing than the men ;p

From: South Central ([email protected]) Date: Tue, 3 Mar 1998 20:10:22 -0800 Subj: Space1999: Episode by Episode

Just in case you're wondering (I am seriously late this week!)....This week's episode for discussion is Death's Other Dominion. March 2-8. Sorry all! Mateo

From: Petter Ogland ([email protected]) Date: Wed, 4 Mar 1998 09:06:15 +0000 Subj: Re: Space1999: Death's Other Dominion

Ellen wrote: So do you think that Rowland had developed some kind of psychic powers too? Tanner may have had the ability to see the future, but Rowland's charisma seemed rather overwhelming. He sure converted Victor and Helena fast. Victor has come away from the last few episodes looking pretty vulnerable to any new idea that comes along, but Helena is usually pretty level-headed unless there's some kind of outside influence.

This was the last first-run 1999 episode I saw in color. The ending left me screaming louder than Helena, which got me banished to my room for all future SciFi viewing until I left home. (My mother was, and still is, the world champion mundane. She dislikes all SF indiscriminately.)

It is not a bad thing that Victor and Helena were charmed and convinced by Rowland, I think. I only wish the reason why they trusted Rowland could be more efficiently explained to the viewer.

So do you think that Rowland had developed some kind of psychic powers too? Tanner may have had the ability to see the future, but Rowland's charisma seemed rather overwhelming. He sure converted Victor and

All in all the situation is not too unlike COLLISION COURSE, but unlike COLLISION COURSE where we see the problem from both points of view, in DEATH'S OTHER DOMINION we are living

Death’s Other Dominion the experience through the eyes of John which make Victor and Helena seem fairly naive. I believe the episode would have worked better if a more balanced view were presented. On the other hand, then it might have become too much like COLLISION COURSE. The idea concerning Tanner's developed psychic powers is also not unlike John and Alan's relationship with Arra. In CATACOMBS OF THE MOON, Terpiloff elaborates more in this concept, using images from The Ring of the Nibelungen as reference it seems. On the other hand, in EARTHBOUND there is little reference to this kind of thing, with the exception of the irony of fate, perhaps, the the computer had chosen Simmonds after all to leave Alpha. I can't find any obvious references to psychic powers in the same way as in DEATH'S OTHER DOMINION in THE INFERNAL MACHINE, however, although it may perhaps be possible to read it in that way too. It seems to me that Terpiloff is using psychic powers as a metaphor for artistic intuition as opposed to scientific rigor. It could perhaps also be read as the conflict between the creative artist and the critic. Perhaps Rowland Cabot is a reference to American literature and film critic Walther Cabot? Petter

From: [email protected] (B J Dowling) Date: Thu, 5 Mar 1998 01:07:37 +0000 Subj: Space1999: Death's Other Dominion

Hi y'all, Please excuse any typos or very bad grammar, I'm rushing to get this finished so I can dash off to a friend in need... This story is a real favourite of mine. Like Ellen, I like the mysticism, Rowland's charisma and the gruesome ending. Here we go with my thoughts on the story...

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The first seconds of the first scene, seeing the moon above an ice planet - it may be an Eagle's view as it reports back to Alpha, we feel comfortable that this story starts on Alpha. Until we see Brian Blessed and John Shrapnel. Both clad in simple garments clearly not of recent Earth expedition uniforms - that's their most likely origin? - but Shrapnel is wild and unkempt, Blessed is tidier. Tanner's first words suggest he's different "Say I was right. Admit that I, Jack Tanner did foretell, did prophesy, long before you heard from that eyeless instrument" and his general behaviour backs this up. A jester, or a fool maybe. Whatever he may be, Tanner knew before the computer that the moon would approach. This whole scene is pure Shakespeare and I can imagine seeing it at the RSC. Rowland may be the more "normal" of the two of them from what we've seen so far, but Tanner clearly has some kind of power Rowland doesn't understand - hence his question "Now tell me sensible, *how* you knew...". Tanner's reference to Julius Caesar seems to confirm that he is a fool/soothsayer figure. Now we know they are from Earth themselves, and they know that Moonbase Alpha is likely to be manned. Tanner's line "but mortal! With we of the eternal breed there can be no contact!" says that something isn't right. The message they send to Alpha is enough to convince Koenig to send an Eagle down, despite the doom-laden warning in the background. Interesting blue snow gear. Why would a moonbase carry clothing like that? There's no snow on the Moon. The snowstorm and the Alphans' way of getting around isn't great. In fact it's downright terrible! I'd love to hear what John Shrapnel remembers about this story, and I'd love to have a shot at playing the part of Tanner. His howling and subsequent comments get a response from Rowland that tells us Tanner does have some kind of gift. Its origins are unknown thus far, but because of his manner and behaviour, it is difficult to tell when he's being serious.

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Year One

I'm no expert in arctic conditions, so I wonder why Victor and Helena suddenly get all tired and want to sleep? Is it some kind of effect of exposure to cold weather? We see the living area of these other Earth people, ice caves with bits of technology we recognise from Alpha. Ellen wrote: Obviously the women in the Uranus mission have adapted to this planet better than the men-they certainly seemed to need less clothing than the men ;p

Oh yes, I see what you mean! Another prophesy from Tanner? "Good doctor revel while you can, the hour is late our end is near. The road to paradise has seized up". Something is definitely unusual, Tanner's haunting line "A death on Thule would be a marvellous thing" tells us. Helena seems a bit more emotional than usual in this season. Maybe it's as a result of her coming round from the freezing conditions. Now we find out that this was another failed expedition, but from 1986. Tanner is introduced and his antics get some quizzical looks but no explanation. The apparent loss of Alan is treated with due gravitas by Rowland - Tanner's comments about digging him up seem a little distasteful. Rowland's disabling of Thule's comm system and his reaction to Koenig's "Let's go to the Eagle" confirms him as the bad guy in the story. Alan's report to Alpha saying that the others are most likely dead doesn't get the reaction I would have expected. No mention of going back to look for them seems unusual for Alan and Paul. Tanner's "science in the belly and salad on the brain" line is great. That could be applied to so many project-obsessed scientist types. Meant in jest perhaps, but the "you take care - they'll twist you out of mind!" line is said with much more menace.

Now we find out just what is going on here and suddenly Tanner appears sane, rational and very very clear for a frightening moment. Koenig now wears that sceptical look as Rowland's speech grows to the point "We shall be as gods" - and Victor nods in the background. Helena seems convinced by his speech as well. Tanner recognises Koenig's scepticism and shows him the Revered Ones. Kept well away from everything else we've seen, these are the results of Rowland's experiments. Tanner volunteered to be first, and with him reduced to that level, there was nobody to put a counter argument against anything else Rowland wanted to do. Now we find out what caused Tanner's change and what could happen to Victor and Helena. A very close escape. Victor and Helena really come out badly in this episode - both appear very gullible to this idea of immortality. There is a rescue Eagle launched, and Bob Mathias is co-pilot. Bit risky, having both your top medics off base. Does Tanner get a vision that the rescue Eagle is coming down? Koenig's contact with Alpha gets what we know to be the wrong response. Alan's found himself a nice looking lass and wants to move in. Bob, Helena and Victor do as well. Rowland's charisma does seem to be very overpowering. Another prophesy from Tanner - "Death has dominion" - the look in his eyes as he stares at Rowland is that of unhesitating belief. His words to Koenig that "Thule is a jealous woman - she'll never let us go" mean something, but what? Koenig and Alan discuss the vote when Helena screams. And it's a gruesome end for Doctor Rowland, especially with the remains steaming in the passenger pod. I didn't expect this ending when I saw if first time around, but it is a powerful way to finish the story. I wonder if that scene caused the first showing of this episode to be later than the 8pm it was usually scheduled for? It's pretty horrific for 1975 standards.

Death’s Other Dominion Tanner surrounded by some scantily clad women... and sane, reports the new direction for the Thulians. Was his "insanity" a foil for Rowland's ambition and desire? With no one obsessed with the secret of this immortality the Thulians endure, there is no need for Tanner's antics. The final scene was just the icing on the cake the question of mortality defining us as individuals and a race has been asked and investigated. There is now only to confirm that both groups will go their separate ways, mortals and immortals. Haunting doesn't describe the fate of the Thulians - they didn't set out to extend their lifespan as in the Doctor Who story Mawdryn Undead - circumstances way beyond their control dumped them on Thule, and Doctor Rowland's curiosity and eventual obsession then did the rest. Overall, I would give this episode a B-. Brian Blessed is, well, Brian Blessed - convincing, charismatic, strong. John Shrapnel steals the show in the wake of weaker characterisation of Victor and Helena, and gets some good lines into the bargain. Petter's comments about their winning over by Rowland being missed out strike a chord with me and detracts from the story a little. Koenig is strong in his beliefs about humanity, again standing almost alone against the ideas of other Alphans and being proved right in the end. The effects let the episode down rather. The plot and writing are worth a B for the most part, but the snow effects and the Alphans' behaviour in the snow don't really hit the mark.

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that effective - at least from a special effects standpoint. However, I was quite amused at Brian Dowling's comments about behaviour. As Ellen pointed out, the Alphans became lost far too easy - if her daughter could figure out what to do the Alphans are doomed. But since they did become lost I found Helena's behaviour quite natural. Anyone from a northern climate can relate to the loss of senses when one is out in the cold for too long. I remember many a cold, bitter days when I would actually reach a point where I would feel warm rather than the cold. This is quite a false sense of security and one may not realize they are worse off than they feel. It would be more unreal if she fell down complaining she was "oh so cold". Therefore, I am not surprised by Helena "not feeling the cold anymore" but am somewhat surprised that she escaped frostbite or hypothermia so easily. Ultima Thule has, since 1975, been a measuring stick for myself and one of my cousins for cold winter days. In fact my cousin was caught in that ice storm which hit Eastern Canada and the U.S. this past January. His email updates were marked...."From Ultima Thule." Another example of the impact the series had on some people. David

From: [email protected] Date: Sun, 08 Mar 1998 21:19:07 -0500 Subj: Space1999: Death's Other Dominion

Gotta dash, Brian Dowling - Birmingham, England Online Alphan #144

From: David Acheson ([email protected]) Date: Wed, 04 Mar 1998 23:31:17 EST Subj: Space1999: Thulian Snow Storm

I agree with the comments so far about how the snow storm sequences in DEATH'S OTHER DOMINION do not seem to be all

Practically no nits on this one. A very good episode. I have mixed feelings about Helen's blind faith in Dr. Roland. I come up with equal arguments on both sides. And of course her and Victor on the opposite side from Koenig make for the necessary conflict. Dr. Mathias is a fully qualified eagle pilot? Why are his hands on the controls? It was very interesting to see Victor lost in the possibilities so he couldn't see the dangers.

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Year One

I don't blame Alan...any place with sub-frozen tempertures and half naked babes is a paradise. (Unless they have dialog and have to be taken seriously...in which case they have to dress sensibly.)

ice-bound hell. On the surface, howling wind and driven snow reduce visibility and make already bitter temperatures feel worse. They're soon separated from each other and the Eagle, and stumble about.

I like this episode because it's not another invading alien or odd force wanting to destroy Alpha.

Eventually, several awaken, warm and cozy under blankets, and find themselves amongst humans. John, Helena, and Victor are there, but Alan is missing, and the situation is grave, as Dr. Cabot Rowland, the man who invited them down, mentions, for the cold is deadly.

Looking at the people on the planet, I couldn't help but think they could have been the Alphans if our heros had been the ones to settle.

From: David Welle ([email protected]) Date: Sun, 08 Mar 1998 23:55:37 Subj: Space1999: Where Death Has No Dominion?

Well, I seem to have copied over a quarter of my copy of this episode, but I remember the beginning well enough... and I may be a little late finishing this up, but as long as I have.... Two unfamiliar men are looking at a viewscreen and having a strange discussion. "Admit that I, Jack Tanner, did foretell, did prophesy..." he shouts. The other man seems almost both amused and puzzled, from what I can remember, how Jack could know that a moon-sized object would appear; but Jack shouts that it IS the Moon, the "Earth Moon" -a "gift wrapped in enigma." They speak of possible people still being on Moonbase Alpha, but Jack utters a cryptic warning that "With we of the eternal breed, there can be no contact." The other man, though makes contact with Alpha, and speaks of a long life, and that Ultima Thule is a lost paradise. On Alpha, the command staff listens, hearing both this voice and another in the background that contradicts the welcoming voice at every turn, saying to "stay away!" The call is too intriguing, the mystery too great, and several key members head to the planet. What they find is no paradise, but an

They are introduced to Jack Tanner, who flutters about, speaking in a somewhat crazy sounding way. Alan manages to stumble back to the Eagle. I think they may have missed an opportunity for a little extra tension: they could have left the fate of Alan unclear for awhile longer, perhaps. That aside, the Alphans get a warm welcome amongst the humans, who have been reduced to a curious combination of cave-living, with robes and even some cave-woman-like clothing, and some advanced science, as seen already in items like the communications panels we saw earlier. We find out they are survivors of the Uranus mission of 1986, which was presumed lost. These people plunged past the "edge of the known universe." The last expression is a continuation of S19's annoying trend of sometimes overusing grandiose but inaccurate impressions, for the "known universe" could be anything from the Moon (farthest men themselves have gone), the edge of our solar system (farthest our machines have travelled), a few tens of millions of light years (as far as we can observe individual stars), all the way out to some 10-15 billion light years (the farthest objects our observatories have seen, namely quasars). Okay, that's the astronomer in me, protesting again at all the casual, vague references to concepts, sometimes misused. Another, this time meteorological, word constantly used in this episode, both by Alphans and Thuleans, is "smog." Smog is more accurately a combination of fog, smoke,

Death’s Other Dominion and/or pollution. This episode keeps mentioning how the "smog" is interfering with communications, and that the smog is moving in, when a better word would simply be "storm." Is "smog" perhaps an American word that didn't mean the same thing to those in Britain, that it might have been borrowed in a too casual fashion? Okay, from a relatively minor complaint to a relatively minor observation. When Rowland said, "Stop it, Jack," I thought he was going to say, "Stop it, Maya," because it is, in a sense, Mentor's voice (being that both Rowland and Mentor were played by Brian Blessed). He even had the same chiding tone to his voice! It hits me too when he says "Commander Koenig" in that same deep voice. Indeed, there are several parallels between Rowland and Mentor, which I remark more on as I write. Getting back to the action.... As everyone sleeps, Alpha tries to reach the here-to silent Eagle One. It's heard from the Thulean residence. Rowland, sleeping closest, hears it, and rapidly moves to the panels and destroys a circuit board, to silence the voice. The Alphan signal manages to awaken Alan, who had collapsed in exhaustion after having reached the warmth of the Eagle some time before. He tries calling back, but as the people on Alpha realize, the Eagle's signal would be significantly weaker than Alpha's powerful transmitters, and with the "smog...." Alan turns on an Eagle camera showing the whole length of the Eagle, being buried under the continuing blizzard. (Nit: the camera viewpoint is impossible, unless it were extended on some mast at least 10-20 meters high, out of the pilot module.) Later, when Koenig tries using the Thulean's system to reach Alpha, he fails. Rowland makes an excuse about the weather, but it is obvious to us that Rowland has some other agenda. In the morning, Koenig and a few of the Thuleans go outside to try to find the Eagle. Meanwhile, Victor is looking at the scientific efforts on the Thulean base. They're growing

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food ("Science in the belly and salad on the brain," Jack mutters at this point), and building machines with material salvaged from the crashed ship. "They'll twist you out of mind!" Jack shouts. From the beginning, we know Jack seems to have some curious perceptiveness, however much he ends up couching his words in what sound like lunatic ravings. So does he mean something? Helena, who's still sleeping, is awakened by Jack whispering "go home" into her ear. He moves about in his mad way, and one of the women tells Helena the Alphans should not stay. This is the beginning of a great exchange of words: Woman:

Helena:

Woman: Helena:

You must not stay here. There is nothing for you. We are living people frozen in eternity. You must go home to Alpha. But Alpha isn't home. It's a barracks, on a barren rock, flying endlessly through space! We want a real home. A place to live. To.. raise children. There can be no children here. But you asked us to come. There was a voice. It must have been Dr.

Rowland. Woman: Yes. Jack: [surprisingly softly] Oh, yes. The Doctor. But he hasn't told you yet, that here, we live.. forever. That we've been here for eight hundred and eighty years. That we haven't since the day since we landed. That we are the same yesterday, today, and tomorrow. And that the price of immortal life is.. [shouting] Impotence! No growth! No future! No end! Just ever and a day! This!

(I especially love the "barracks" line.) John returns moments after, saying Alan was safe, but left with the Eagle. Helena quickly takes him aside, and tells him what she has heard. Victor makes a confirming word, though I thought he was in another room, so I'm not sure what he heard.

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Year One

Nonetheless, the news is shocking: these people aren't entirely human, as we know it, anymore, for they are immortal! The episode makes up for it's earlier poor use of astronomical and meteorological words by stating that there was probably a "time warp" involved, for Alpha believes the Uranus mission was lost 14 years before, while the Thuleans are claiming they've been here for sixty times longer, and even leave it unclear *who* actually went through a warp. Actually, I suspect they both went through different ones. It almost seem like there's highways and intersections under space, or something, for something has drawn, through very different processes, to the same place -- for as a chance meeting, the probability is so vanishingly small in the sheer immensity in space. Or, of course, it could be the "Mysterious Unknown Force" at work again, for in the end, it seems they leave having learned some new lessons about the universe. I don't remember if there was any reference in this episode to the unlikely nature of this meeting in space, but it's now apparent this would have to go under the category of some M.U.F., or the Alphans' grand destiny, as Arra of Astheria alluded to in "Collision Course." It was an aspect of the series that I mostly missed in childhood, and that I finally see something of as an adult, though I still question what's going on -- which may be the point. One thing is that whatever they've been told, the Alphans apparently don't let it go to their head. Had they made the mistake of /hubris/, they'd have probably made some fatal errors long before (although we get a bitter taste of all that in a later episode, "War Games"). It may not be the Alphans who got an overbloated sense of self-importance and power in this episode, but the Thuleans certainly have one -- or at least one in particular. Dr. Cabot Rowland is trying to figure out exactly *what* has made the Thuleans immortal, but states how difficult that's been without having a mortal subject to compare to. Now he has a few. It seems simple to make some superficial comparisons, and the Alphans

don't seem to think much about it at first, and Victor eventually submits himself to a comparative experiment. I don't want to jump too far ahead of things, but eventually, a peculiar phrase is used. One phrase used at one point later in the episode was "adapt to Thule." Hmmm, what kind of adaptation could this be? "Adapt" is probably a bad word, because I don't see how an individual human body could respond to some situation by becoming immortal. Regardless of whether every source of disease, accident, or external aging factor could be removed, the human body eventually wears out. Of course, no one really knows exactly *why* this happens. Our bodies repair themselves all the time: assuming we're not outright killed, our bodies heal themselves after injury and illness. So why can't the human body keep repairing itself indefinitely? Suddenly, for reasons that obviously aren't even known to the Thuleans, they've become immortal. Obviously, though, they want to know HOW! It's actually a well-posed situation. I don't think it really interested me much as a child. Since then, I've seen a lot of science fiction dealing with immortality, so when I saw DoD again in 1992, it didn't have quite as much impact as it might have been if it were a fresh topic. OTOH, it is one of those topics of eternal interest, pun intended. The S19 approach, as usual, is fairly unique. As I mentioned, no one even knows HOW the humans became immortal on Thule. They had not been striving to become immortal, finally discovering and implementing a method. It just happens to these people who crash-landed and are stranded on this confining world. It comes with a price -- a necessary price -however. Impotence. The Thuleans cannot reproduce, cannot know the joy and freshness of children. How could they? Just as the Alphans are confined on a moonbase with limited capacity that does not leave room for children (with the exception of Jackie Crawford, who was already "on his way" at Breakaway), the Thuleans are even worse off, having survived a crash that left them little, on a world that was nearly as inhospitable as the Moon. They've done well enough carving themselves a place to live in the ice, and there is mention of at least a couple species of plant

Death’s Other Dominion and animal, but the Thuleans survive on little more than hydroponic plants (mostly from seed they brought from Earth), as the Alphans do. How could the Thuleans find a way to support their immortal selves and children besides? On the other hand, the Thuleans would have one advantage over the Alphans, in that the former can did through the ice and rock without having to take so much care to stave off vacuum and even worse temperature extremes. Even if they could reproduce and dig homes and expand food growth so they could spread around the planet -- there'd be a limit, biological and/or technological, to how great a population could be supported, and if everyone's living forever, they ultimately would have no room for children anyway. Of course, the problem is more fundamental than that. If there is no death, there's no physical aging, and if there's no aging, there's no growth. This was as Jack had shouted, but it is of course apparent that it was as literal as it was figurative. As Jack had said -- shouted -- before: "Impotence! No growth! No future! No end! Just ever and a day! This!" Rowland had complained about death cutting off the best minds; but immortality introduces the flip side of the coin. Things become almost completely static. It's the same people, doing much the same thing, year after year. No notable events. Most marriages undoubtedly occurred within the first decade or two, and then that would be the end of major events, people-wise. These people could still change emotionally over time, and they'd learn more and more -though they'd still hit some limits of knowledge, considering their technology advanced little. It would be the same people saying much the same things over the years, with no children to bring fresh perspectives -both in and of themselves, but for how having children can change the way people look at their own lives and "worlds." I rarely get bored, because I find interest in nearly everything, but I have no idea whether I could fill out 880 years, much less an eternity,

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in such a confined area as the Thulean base. Those are concepts not easily grasped by us mortal people. What are these people doing after so long? The problem is that except for Rowland's experiments and Jack's half-mad actions, there doesn't seem to be a lot to do in the Thulean base, other than grow plants. Hmmm... interesting. The plants certainly can't be immortal. They aren't immortal. Obviously, not, because the plants are being eaten; more importantly, they're GROWING. They have to be, or there'd quickly be nothing left for the people to eat. What about the ox-like animal reported to be on the surface? Well, we know *something* has caused the humans to become immortal. Heck, maybe it's something in the plants. That's one thought, but it becomes apparent later that's not the case. They have been busy, though, for Rowland shows them they have been building a ship, a Phoenix rising out of the ashes of the old ship that crashed so many centuries before. Rowland's hope is to find the secret of immortality, then carry that out to humanity as a whole. Cabot:

Koenig: Cabot:

When we have the secret of eternal life; and when this ship is complete, then we shall be free. We shall not be dependent of your lumbering and uncontrollable moon. We shall travel wherever and whenever we please. [....] Then together we'll step forward into the greatest scientific adventure in the history of man. Unencumbered by death, we shall leap from planet to planet, from solar system to solar system. From galaxy to galaxy. We shall be as gods in the universe. [Softly:] Gods... Gods.

Rowland has fallen into the trap of hubris, though in this case he seems innocent of personal glory, being more caught up in helping the species, or so he seems to think. John seems more than a little disturbed sounding, while Victor and Helena are smiling,

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caught up in the scientific and medical wonders of being able to defeat death. There's a lot to say about that, for better and worse, as far as this episode goes. More to follow shortly....

From: [email protected] Date: Mon, 09 Mar 1998 02:20:04 EST Subj: Re: Space1999: Death's Other Dominion

On Sun, 08 Mar 1998 21:19:07 -0500 [email protected] writes: Dr. Mathias is a fully qualified eagle pilot? Why are his hands on the controls?

2nd Rule of the 1999 Universe: Anyone can fly an Eagle. (Kano takes one down in Full Circle!) BTW, 1st Rule of the 1999 Universe: Alan is never killed nor sustains any injuries requiring any medical attention . Corollary to 1st Rule: Alan is never grounded for crashing Eagles. David J Lerda, [email protected]

From: David Welle ([email protected]) Date: Mon, 09 Mar 1998 02:45:18 Subj: Space1999: Death Has Dominion

(cont'd) (arrrghhh, I'm already getting this out late, and now I'm having trouble getting this note through my ISP...) Shortly afterwards, Victor even submits himself to one of Rowland's experiments, allowing the comparison between immortal and still-mortal humans. Seeing the professor look almost zombie-like is disturbing, yet not in the "right" way of well-written horror, but of simply confusing and inconsistent feeling

characterizations, because his reactions and behavior strike me as baffling coming from him. Victor is a good scientist who thinks about the implications, good and bad, of scientific advancements. I don't know what happened to the philosophical Victor here. Yes, Victor is always very curious, and seeks knowledge; but I always thought he was a more responsible type as well -- had more wisdom. Perhaps it is his own older age driving his emotional response. Yet there is no indication this, or anything else, one way or another, as far as I can tell; and I'm left feeling it is way out of character. This bothers me. Maybe that's the point. What is "responsibility" when it comes to the possibility of defeating the scourge of death? Is this a benefit to humanity, that should be pursued, or a danger? Is there a simple answer to *anything* when it comes to this incredible idea? Maybe I have too high of an opinion of Victor's character, and shouldn't expect him to hold to the usual idea of "responsibility" when confronted with the alluring promises of paradise, not just in the idea of immortality, but in the Rowland's constant use of this word. Still, though, it doesn't ring true for Victor, even *with* these possibilities in mind. Of Helena, I have to be critical too, but not about something inconsistent with her behavior, but all too frequent with her. She remarks to Koenig that accepted the medical judgement of Dr. Rowland. Why? It seems too quick, too easy -- her acceptance, I mean -especially when Victor Bergman is still an Alphan that Helena is medically responsible for, to say the very least. This is one of the reasons I've had trouble accepting Helena as a character, especially in the first season: it seems like one more lapse of judgement on her part. Not that she always acts this way, and I can't blame her for being human; but this type of thing is just too frequent with her, in my opinion. Yes, some Alphans had to be the ones that got caught up in the idea of immortality; but, in a sense, it is as if her character was sacrificed just a few too many times for this sort of thing. Instead of deepening her character with different aspects, it was so frequent that it became damaging, in my opinion.

Death’s Other Dominion Freda states: "We have the secret to eternal life. Must we also seek to understand it?" It is one more off-hand dismissal of science as a whole. Characters in this episode constantly ranted "science" this and "science" that, rather than looking at *who* is pursuing the knowledge and how -- not to mention "why" as well. It's not about science itself, but about responsibility vs. foolishness, or even the ancient concept of hubris. Freda does, however, have good reasons to wishing *Rowland's* search to stop, for the only thing he seems to be capable of is destroying people's minds with his experiments. She's seen it going on for centuries, and Koenig has seen more than enough in a few hours. What baffles me is why SO MANY of the Thuleans have given themselves to these experiments in the first place! Not only is Rowland horribly irresponsible, to say the very least, but the people must be like sheep to keep giving themselves to these experiments, when they know the results. Of course, he might not have been able to get any subjects for centuries. Or maybe his silky promises, which we heard several times throughout, were enough to continually convince them that maybe he had made things safer this time. OTOH, we did not see that many "Revered Ones," yet the mad doctor seems to still carry enough respect to be continuing his experiments -- not to mention virtually running the place after the near demise of Col. Jack Tanner's mind. When Koenig tries to pull Bergman out of the glass cubicle, another man -- not Rowland -- ran to stop the commander. John also used the word "dissidents" in regard to those, like Jack and Freda, who tried to get the Alphans to leave, making it seem like Rowland wielded some considerable power and sway over enough of the Thuleans, to remain in authority. Yet other than the word "dissident," none of this was more than hinted at -- but the dissidence was all words until late in the episode. What did the dissidents do in the centuries before Alpha put in its appearance? At times, I don't know whether to be disappointed by this or think this was to leave room for speculation, but I have always felt that it made the actions of the Thuleans seem a bit disjointed. Yet at the same time, though, I mentally applauded them when they finally rebelled and smashed some of

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Rowland's equipment to get Victor out of what seemed to be yet another ill-advised experiment. I haven't said much about Jack Tanner, but he was an essential and well-done addition to the story. Had it been just about Rowland, it might have been a rather more standard type of story about the "mad scientist in search of the secret of immortality." Jack throws in a wildcard (is there a pun here?), and far from weakening the story by being a distraction, he is the vital link to tell the rest of the story about Thule. He's not simple comic relief, either. His seemingly mad ravings are actually something of a voice of sanity; and his words are almost poetic, Shakespearian even. He's the sane muse of a mad world. Rowland's experiments altered him forever, and when he came out of the fog (or should I say smog? -- actually, it seems very appropriate here) of catatonia, he's gained some psychic powers, and a greater knowledge of what everything really means. He may be crazy, and doesn't make much sense most of the time, but his words contains truths about Thule. His knowing of *The* Moon's approach was the first thing that tips the viewer to listen to what he says. This sets Jack up well, for we as viewers have been "clued in," and can watch to see how the Alphans react to him, and whether or when they "get a clue." The writer could have taken another approach, and not given us viewers this clue, but I liked being clued into Jack -- it didn't take away, but added. He also seemed to grasp one other thing about the whole immortality situation. He knew not just the darkside of immortality -- but the deadly side of it. But I'm getting ahead of myself. Alan has returned, for Tanner and Koenig have discovered Rowland's sabotage of communication equipment. Curiously, the system seems to have a lot of redundancy, for a simple circuit swap seems sufficient to bypass the problem. If it's meant as redundancy, it's a good idea. If not, then this is a nit. In any case, Alpha was contacted, and Alan and others have come.

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John finds the rest of the Alphans do not share his overwhelming doubts. Koenig has seen, firsthand, the devastating side-effects of Rowland's attempts to discover the secret of immortality, but the other's just don't get it. He wants to stay -- in no small part ecause of the smiling, scantily-clad women, I'm sure. Curiously, the women only seem to be encouraging the Alphans to stay. Either they don't mind the immortality and the other problems on of Thulean life, or the chance to get new people down to Thule, after so many centuries of the same old people over and over again, allows them to smile. I don't know. Koenig doesn't want Alphans to come here, but Alan (?) argues people should be able to decide if they want to come down or not. Smartly, the episode points out the all or none issue of Alpha. The moonbase takes too many people to run it, and having only part of its staff will cripple it and doom the people remaining, sooner or later, to death. It is one aspect of Alpha's delimna, parts of which are touched in several episodes throughout the series. A general majority vote is what Koenig decides. He doesn't seem to have much other choice, and that's the only comprimise. The Alphans don't share his fears, and if he tried to command the choice, he'd likely be putting himself in an untenable position, and even if he managed to enforce his will long enough to keep the Alphans on the moonbase, he might not keep his position much longer. More likely, he'd have an immediate mutiny. The lure of immortality is strong. Rowland himself decides to go to Alpha to convince even doubters of the paradise he hopes to find, or already has in part -- to show Thule isn't all eternal cold, but an eternal warmth of immortal humanity. Freda wants to go to Alpha to show the other side, but Jack starts screaming that she can't, and even says that Rowland shouldn't either. I'm not exactly sure why, but Freda backs down; though it's probably that she trusts him to know that he knows something. It also seems as if he loves her, though I'm not sure of that, or whether the feeling is mutual. I have only an edited episode from the Sci-Fi Channel, and missing the first quarter besides (though the latter has no bearing on Freda).

Koenig tries to convince to Jack to come, but he refuses. He says, "Thule is a jealous woman. She'll never let us go. NEVER!!!!" Knowing what we know about Jack, we suspect there's some meaning in his words, but what? Before Koenig even has to worry much longer about the vote, the deadly side of Thule's form of immortality makes itself known. Aboard the Eagle, Rowland talks brightly of futures, he abruptly has none. It is startling, for we break from Rowland and Helena talking, to the pilot module where John is asking whether he can count on Alan's support (he cannot, for Alan still doesn't get the commander's concern). Then we hear Helena's screams coming from the back. Koenig and Carter quickly get out of their seats and rush to the back, where they find Helena being held by a skelton's hand. Rowland has turned into a horrifying mixture of what looks like acid-eaten flesh and bare bone. Despite Jack's words about Thule, and that "Death has dominion," what happens is still shocking. It is haunting, to borrow a word Koenig uses at the end, for we suddenly find that the Thuleans have not only been mysteriously blessed and cursed with an immortality whose nature they cannot figure the source of, but they are trapped. Whatever has given them this form of immortality can revoke it at a moments notice, and in a most horrifying fashion. Jealous indeed. It suggests Thule itself is sentient -- or at least contains some vague, unseen, unremarkedupon life form, not unlike the worldcontrolling intelligence of "THE IMMUNITY SYNDROME." Something powerful is at play far behind the curtain. It's all rather bizarre, but it sort of works in that it leaves you wondering. The remaining Thuleans, who appear that they will be led or at least guided by Jack Tanner, their former commander when their ship still plied space. They've decided that they'll abandon Rowland's attempts to figure out immortality, and concentrate on trying to discover a way to repair the damage done to the "Revered Ones" whose minds were badly damaged.

Death’s Other Dominion Koenig mentions how the fate of Thuleans will haunt the Alphans (though his tone sounded just a bit too cheerful for me at this point). It haunts the viewer -- at least this one -- as well. What will they do with all of eternity with their jealous mistress of a world. They are imprisoned in more ways than one, victims of a fate that threw them into deep space, got their ship crashed, killed a few of the crew in the first few days, and turned the rest into confused immortals. That's one harsh "woman," whatever that really means. Did those simple explorers deserve all this? Was it a test? Would they ever be freed from their eternal prison? Would they heal their fellow, brain-damaged people? Would they eventually return to the experiments, to figure out the immortality not so much to spread it beyond Thule, but to break away from Thule? What price, eternity -- and what to do with it? Would they even stay insane, and for how long (indeed, I'm actually kind of surprised they're not all insane already -- but maybe that's another modification of Thule)? Would they decide to launch Phoenix at some point eventually, whether or not they've figured out how to escape immortality? Haunting, indeed. Finally, though I wanted to point out that there were some similarities and differences between Dr. Cabot Rowland and Mentor, and wrote several paragraphs, I think I'll hold off until "The Metamorph" is the current episode under scrutiny, since people will then be more "up to speed" on both characters. Far from cheapening one character or the other (or both), they are both similar and different enough -- and are both well-written and portrayed -- that they both add value the S19's surveying the idea of scientists having crossed beyond the line. I'm just glad that S19 has individuals like Victor and Maya to show the oft-forgotten fact that knowledge and science can be good -- and used for good -- as well. ** BREAKDOWN RATINGS ** Plot: Immortality: good/B+; taking an old theme but turning it somewhat on its head could have been a failure, but wasn't. Dissidents: average/C+; I never

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really got much of a sense of anyone really resisting Rowland's efforts befpre, but At least they were there, and finally took some action. Backstory: good/B; yet another human space mission gone awry, explained in a fairly good way. Ice Planet: good/B+; it was an effective addition to the story, well used except for the repeated use of the word "smog." The planet was somehow just the right place for this story. Characters: Dr. Cabot Rowland: excellent/A-; convincing, except it's unclear how he manages to maintain control after his repeated experiments Jack Tanner: excellent/A+; a wonderfully mad yet sane character who's both an effective counterpoint to Rowland and whimsical in his own turn of words. Freda: not featured much, but a sort of sane version of Jack. I just realized this, but why didn't *her* words have more effect on the other Alphans. Jack finally got through to John and convinced him, but obviously sounded too crazy to be believed by the others; so why didn't the much more sane sounding Freda manage to get through to the others? I don't see this as a problem with Freda as portrayed by the actress, but how the other characters were written to respond. I'm not sure this could have been changed without damaging the story. John: excellent/A; he was consistently sensible. Only missed opportunity is that he could have been shown as being just momentarily tempted by the idea of immortality – just for a moment. Not really a problem, just a thought. Helena: poor/D+; she had plenty of good moments in this episode, but such episodes as this don't leave me much respect for her judgement, including in medical manners. Victor: poor/D; he really lost it here, in a way I found too difficult to believe. Alan: good/B+; well-used in this episode, and he made good of it.

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Year One Other Thuleans: fair/C+; I was left with the impression they were mostly "sheep," in a sense, in that it was a bit hard to grasp why they continued to follow Rowland. Other Alphans: not much left for them, but they did okay.

Other: Physical Effects: fair/C; the snow looked like foam, and I had to consciously ignore that otherwise. Sets: excellent/A-; the interior sets of Thule were welldesigned, and I liked the fact Alphan-style computer panels were present, to show common Earth heritage. Special Effects: the Phoenix was a nice looking ship, but seemed to lack the feel of dimension that most other ships had; was it a well-shown matte painting rather than a somewhat weakly-displayed model?

** SUMMARY ** A good episode with a couple of excellent guest characters but some troubling portrayals of some of the Alphans. An old theme put in a unique light, with a chilling end. Some of the sub-themes bothered me a little, but most of it was well-done. Either way, it was very thought-provoking, as you can no doubt see by the total length of these posts. Call this one good/2.5/B**** (I'm a bit late on this one, but hope to get the next one out early in the week, for a change! :) ---David Welle

The Full Circle

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15. The Full Circle The discussion is introduced by a discussant saying that the last time the episode was discussed, parallells were drawn to the early sequences "The dawn of man" of Stanley Kubrick's 2001 and to William Golding's novel Lord of the Flies with its question about whether man has evolved conceivably during since the stone age or before or not. In some respects, the episode seems to state, man is as primitive now as he has ever been. Other discussants are more interested in the human

and psychological aspects of the episode, specifically how it deals with jealousy. This results in a comparisons with Shakespeare’s Othello and comments about how interplay between individual actors may result in consequences that have unintended, wider and sometimes fatal social implications. From: Petter Ogland ([email protected]) Date: Mon, 9 Mar 1998 10:58:31 +0000 Subj: Re: Space1999: Episode by Episode

man and how it's just the technology and the society that has been developed due to technology that make Helena and John different from wild beasts.

The last time FULL CIRCLE was discussed, parallells were drawn to the early sequences "The dawn of man" of Stanley Kubrick's 2001 and to William Golding's novel LORD OF THE FLIES (1953) with its question about whether man has evolved conceivably during since the stone age or before or not. In some respects, the episode seems to state, man is as primitive now as he has ever been.

While the parts written for Alan and Sandra do not give excessivly more insight into their characters, it's nice that they are given more space than usual in this episode, I feel. Ziena Merton, in particular perhaps, shows that she is quite a capable actress, although her role is more underwritten than it would deserve.

Watching the episode this time I was more focused on the music, as of the recent discussions of the 1976 RCA soundtrack. The main theme for the episode, a "primitive" drum theme, is not included on that album, and I don't know if it in fact is a Barry Gray composition. It has not been mentioned on the list of non-Gray compositions either, however, neither on postings to this list nor on David Acheson's music page, I think. Nevertheless, the music works well, as I see it anyway, but comparing with the episode MATTER OF LIFE AND DEATH, which has a very similar prologue by the way, it does not use very much music in order to give mood. THE FULL CIRCLE was the only Year One episode to be shot on location, I believe, and I think this works quite well. On the other hand, I believe I understand Gerry Anderson's resentment for shooting on location as it is easy to forget that we are on Retha and not on Earth. Dramatically, however, the more the planet resembles Earth the better it seems to display the story's point about development of

Petter

From: David Acheson ([email protected]) Date: Tue, 10 Mar 1998 06:25:12 EST Subj: Space1999: The Full Circle

Alphans: So now we leave the ice world of Ultima Thule for the lush planet of Retha. Unlike Zenno and Piri earlier, we can believe that these two planets may actually be in the same solar system as the existence of one does not affect the storyline of the other. THE FULL CIRCLE is actually the better of the three stories directed by Bob Kellett. While not one of the best (and it does have big flaws!) it is still an entertaining episode. The script is by the team of Jesse Lasky, Jr. and Pat Silver thus it is one of the oddities of year one. Now here is a question for those who are into trivia: Is the Jesse Lasky, Jr. who co-wrote this episode the same as or related to a Jesse Lasky who is listed as one of the co-writers of Cecil

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B. DeMille's THE TEN COMMANDMENTS? I am very curious about this. As Petter mentioned before, it is the only episode of the first year to use location shooting. I think location shooting is just fine if the situation calls for an Earth-type planet. As long as one is not able to make out an exact type of tree or see an Earth animal cross the screen it is fine by me. I guess Gerry Anderson had to give in to the faster pace of filming the second year as location shooting was used more extensively in that season. I agree with those critics who laugh at the idea of the mist. It is hard to believe that the Alphan uniform can digress into cave-wear and back again without a scratch. Helena transforms from a beat up old cave woman into Doctor Russell with hair and lipstick intact. But lets face it! This is television, and despite 1999's lack of scientific accuracy throughout its run, any other show would have done it just as ridiculously. The funny thing is I can live with the mist but not with the just-as-silly collision in COLLISION COURSE (which many here like). This is definitely Helena's episode. Her witchdoctor cavewoman character is a hoot and is one of the few chances the Emmy award winning actress was allowed to play strictly on the most basic level of human emotions. Its not an easy thing to do when no vocabulary is used. I love the growling sounds as she prepares for the kill - poor old Sandra again. Yet, she can be sensitive as she shows when she treats the wounded cave-Koenig. Like THE LAST SUNSET, this episode relies on the regulars more as there is no guest actors. It is great to see Kano being used more extensively than just sitting at the computer. His best part since GUARDIAN OF PIRI. Alan got to play hero again - what else. And it was nice to have Victor along. One of the finer moments was when Kano, Carter and Bergman were eating by the camp fire as night was setting in. Sandra, unfortunately, was the victim once again. Although she looked pretty good in leopard skins. Some guys on this list would probably want to see Tanya on the planet in her cave-wear. Smile.

I see that some have made some comparisons to the Dawn of Man sequence in Kubrick's 2001 and I can even add the movie QUEST FOR FIRE (which came out after the series). However, I try not to take this episode quite as seriously as the two above-mentioned movies. And what about those Rethan nights? Was it something like 2 or 4 hours? I can't remember offhand but it was short. Does the planet speed up when night falls and then slows down when the sun rises? What a dumb line to put into the script. I find it funny that the planet is called Retha. I have an aunt named Retha and always think of her and laugh. At least I don't have a relative named Ultima Thule. As serious 1999 sci-fi this episode fails but on an entertainment level I quite enjoy it overall. David Acheson

From: [email protected] Date: Tue, 10 Mar 1998 08:59:33 EST Subj: Space1999: The Full Circle - A Lite Review And what about those Rethan nights? Was it something like 2 or 4 hours? I can't remember offhand but it was short. Does the planet speed up when night falls and then slows down when the sun rises? What a dumb line to put into the script.

I believe that Victor mentions that night on Retha lasts 2 hours. I'm no physicst but I would think a planet would not be able to form if it rotated that quickly. I find it funny that the planet is called Retha. I have an aunt named Retha and always think of her and laugh.

Is it possible that "Retha" is an anagram for "Earth?" I liked the dinosaur footprint, Sandra's outfit and screaming (man Ziena's got some lungs!), and Kano. That's about all. Overall grade: D

The Full Circle David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: South Central ([email protected]) Date: Tue, 10 Mar 1998 08:12:43 -0800 Subj: Space1999: Full Circle

Just a couple of points: 1. Why not just have them regain their senses at the end, or walk out of the fog, say "Victor?" and faint? Then later, appear bruised but "normal" again? 2. The 4 hour (?) days means 4 hour nights too. Nowhere is it implied that the days are longer than the nights. I LIKED this aspect of the episode. So many young people get locked into scientific falsehoods--like the spinning of the Earth causing gravity and other such nonsense.

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From Hell" (1961). In World War 2 he served in the army. In the late 1950s he and his third wife, the actress and writer Pat Silver, moved to London, writing for television and film, including "The Protectors", "Marlowe- Private Eye" (1984) and "Hammer House Of Mystery & Suspense" (1984). A small bearded man, Lasky was an accomplished swordsman, rider, tennis player, and an authority on weaponry and the wild west. His memoirs, "Whatever Happened To Hollywood?", were published in 1973. He died in 1985. Director Bob Kellett rewrote "Full Circle" extensively. And what about those Rethan nights? Was it something like 2 or 4 hours? I can't remember offhand but it was short. Does the planet speed up when night falls and then slows down when the sun rises? What a dumb line to put into the script.

The Alphans seem to have landed at higher latitudes during that hemisphere's summer (note the coniferous forest- this isn't equatorial). Due to the planet's axial tilt, the nights get shorter the farther to the poles you go.

Mateo

Martin.

From: "Willey, Martin J" ([email protected]) Date: Tue, 10 Mar 1998 12:55:10 -0000 Subj: Space1999: The Full Circle

From: Patricia Embury ([email protected]) Date: Thu, 12 Mar 1998 20:43:43 -0500 Subj: Space1999: Full Circle

Some trivia from David Acheson's comments about Full Circle...

This isn't one of my favorite episodes. It starts off well, with the suspense of the missing party, and the activity on the planet. It also sets up some of the baser human emotions we'll see later, i.e., jealousy. The Carter, Sandra and Paul triangle vs the Sandra, Cave Queen and King triangle draws a nice collary to illustrate the "how have we really changed after so much evolution" theme. Then you have the Carter macho vs the Cave man macho/protect the woman at all cost. When the action is focused upon the cavepeople, after Sandra is captured, I have to fast forward it. I don't know if its overkill of the cave action, but it just turned me right off.

Now here is a question for those who are into trivia: Is the Jesse Lasky, Jr. who co-wrote this episode the same as or related to a Jesse Lasky who is listed as one of the co-writers of Cecil B. DeMille's THE TEN COMMANDMENTS? I am very curious about this.

Born in 1910, Jesse Lasky Jnr was the son of American pioneer producer Jesse Lasky. He became a screenwriter in Hollywood in the 1930s, writing scripts of the films "Union Pacific" (1939), "Unconquered" (1948), "Samson and Delilah" (1949), "The Ten Commandments" (1956) and "Seven Women

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Bain and Landau do well, and the supporting cast is strong, but some of the dialogue and scene set ups don't work for me. Victor's line to Koenig in Medical Center "He's got a ray gun" in reference to Carter stands out for its idiocy. Sandra, although the emotional barometer of the series, screams entirely too much. She demonstrates that she is a much stronger person, by hitting the caveman with the commlock, and hitting Koenig with the rock, than the screaming would indicate. I also don't like that she just opens the eagle door without looking/checking her commlock to see who's outside. If it is Carter returning, then she knows he can open the hatch. Also, Carter kept his stungun holstered during the fight. Why didn't he pull it, and stun the caveman. He certainly had some time to draw it before the caveman attacked him with the stick. I've been thinking of putting up a website entitled "The Nitpicker's guide to Space:1999" I have space on AOL that I've been meaning to play with...hmmm....maybe if it snows this weekend I may have time.

From: "Petter Ogland" ([email protected]) Date: Fri, 13 Mar 1998 10:39:32 +0000 Subj: Re: Space1999: Full Circle This isn't one of my favorite episodes. It starts off well, with the suspense of the missing party, and the activity on the planet. It also sets up some of the baser human emotions we'll see later, i.e., jealousy.

Hm, I've thought of it like this before. Perhaps Othello could be used for comparision? The Carter, Sandra and Paul triangle vs the Sandra, Cave Queen and King triangle draws a nice collary to illustrate the "how have we really changed after so much evolution" theme.

After reading Martin Willey's brilliant production notes to SPACE:1999, I've come under the impression that THE FULL CIRCLE may have been written quite early on in the series, perhaps before the Paul/Sandra relationship was established. According to Martin, director Bob Kellet also made extensive adaptions to the original script,

perhaps bringing out the jealousy theme more clearly. I've not really thought that there was all that much going on between Alan and Sandra, it was Koenig that decided they should fly together, not something they forced themselves to it seems. To me the situations seems more silimilar to the Paul/Alan/Sandra triangle in BLACK SUN. John's interest in Sandra seems more profound, however. What was he thinking of, anyway, as a caveman when Sandra hit him with the rock? And what happend at the end of Act III when he discovered Sandra unconcious behind a tree? Then you have the Carter macho vs the Cave man macho/protect the woman at all cost.

He-he. I love it when Pat is in this mood, drawing parallels and investigating psychological aspects of the characters and episodes. Nick Tate is really out of control in this one, Alan Carter going completely bananas, shooting at everything that moves it almost seems. even Victor start to take notice. I though the "ray-gun" line fitted quite nicely actually. Both using the non-technical term "ray-gun" and stating the obvious, that Alan of course has a ray gun visiting a completly unknown planet which "looks like the jungles of Brazil", just makes Victor more human, I think. A bit absentminded and peculiar perhaps, but very much in character. Sandra, although the emotional barometer of the series, screams entirely too much. She demonstrates that she is a much stronger person, by hitting the caveman with the commlock, and hitting Koenig with the rock, than the screaming would indicate.

I liked the screaming very much, especially in the sequence where she is running in the woods, followed by a hand-held camera. Here Bob Kellet comes close to paying hommage to the horror film conventions of Hammer Films who also shot at Pinewood and in the Blackwood forrest, I believe. More so, I think this sequence comes close to Tobe Hooper's TEXAS CHAINSAW MASSACRE (1974), a distrubingly frightful film, as I remember it,

The Full Circle based almost entierly on soundeffects, screaming and hand-held camera. I also don't like that she just opens the eagle door without looking/checking her commlock to see who's outside. If it is Carter returning, then she knows he can open the hatch. Also, Carter kept his stungun holstered during the fight. Why didn't he pull it, and stun the caveman. He certainly had some time to draw it before the caveman attacked him with the stick.

As most people seem to do in horror movies, they just wander apart and get lost. In the beginning there are at least teams, but when Alan just wanders off without a word to Sandra, perhaps he thinks he is in the Austrailan bush. It is a bit peculiar how everybody acts as if they were on a camping holiday when they all know that there are cavemen living in this area who probably have disposed of the crew from the first landing. Well, well.

Yes, the Cave Koenig's interest in Sandra was much more evident than the Alan, Sandra and Paul set up. I noticed in main mission, when Carter leaned next to Sandra and told her they were going for a ride, Paul made a motion with his head, that to me, indicated displeasure. Sandra also looked immediately at Paul, as if to "get permission," like you would if your boyfriend's best friend asked you to a movie, and he couldn't go. It was more subtle, as if to illustrate the refinement brought about by evolution Pat: “Then you have the Carter macho vs the Cave man macho/protect the woman at all cost.” He-he. I love it when Pat is in this mood, drawing parallels and investigating psychological aspects of the characters and episodes.

Why thanks! Nick Tate is really out of control in this one, Alan Carter going completely bananas, shooting at everything that moves it almost seems.

Petter

From: Date: Subj:

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[email protected] Fri, 13 Mar 1998 12:20:01 -0500 Space1999: full circle blooper

Hi All! After the fight between Carter and the caveman into the ground hole, the caveman used a tree as a ladder to get out. Watch closely the tree, some pieces of the tree are missing, they have been cut with a CHAINSAW ! Andre Beauchamp

From: Patricia Embury ([email protected]) Date: Fri, 13 Mar 1998 18:05:52 -0500 Subj: Re: Space1999: Full Circle John's interest in Sandra seems more profound, however. What was he thinking of, anyway, as a caveman when Sandra hit him with the rock? And what happend at the end of Act III when he discovered Sandra unconcious behind a tree?

Yes, Nick Tate really appeared to be enjoying himself with this episode. I really liked the scene around the campfire, Carter appeared to feel terribly guilty, and action oriented. I liked the screaming very much, especially in the sequence where she is running in the woods, followed by a hand-held camera. Here Bob Kellet comes close to paying hommage to the horror film conventions of Hammer Films who also shot at Pinewood and in the Blackwood forrest

This did remind me of a horror film. although I never saw The Texas Chain Saw Massacre, I was reminded of some of the films that I've seen on Mystery Science Theatre 3000. I think (although I can't be sure) that the last season used a few of the Hammer films. I wonder what Mike and the bots would have made of this episode! :) As most people seem to do in horror movies, they just wander apart and get lost.

I think that's one thing I find so silly in horror films, and one reason why that genre, for the most part, turns me off. The gore is the biggest reason ( I've seen enough at work to last a

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lifetime) but having people do stupid things when they know a killer/monster, etc are on the loose, doesn't allow me to suspend my disbelief enough to enjoy the show. Halloween was probably the last good horror film I saw.

From: Date: Subj:

[email protected] Fri, 13 Mar 1998 18:31:18 -0500 Space1999: Full Circle

certainly wouldn't have removed her perfectly good pants even if she had. I can just hear Sandra saying: "Since I knew it was the Commander, I hit him square in the head with a large rock only three times." So many Alphans have dissapeared, and Carter, Bergman and Kano sleep outside while there are three good comfortable safe ships right there?

It suddenly struck me as odd that Paul is the one to remotely fly the eagles in...why not an experienced pilot?

Sometimes you have to ask yourself "What the hell were they thinking when they made these things? 'RAY GUN??!!!!'"

Everyone can fly an eagle on that base, and yet Sandra has to be strapped in by Alan...I've always hated that.

I've never understood Helena's line just after she came out of the mist to Koenig "We nearly lost you." If they have no memory, the last thing she remembers is walking into the mist with him. What is she referring to?

Their commlocks are a part of their person, and yet Alan leaves his on the ground when he is in the pitt. Why doesn't Sandra see the caveman on her commlock, or why doesn't she comment that she is getting no picture? Anyone else out there screaming at their tv's "Sandra, close the stupid eagle hatch!" when she sees the caveman out there? Forgive me if someone else already pointed this out, but when the third eagle lands, the far one is a cutout or a shaped piece of wood or something. Sandra is missing and they don't notice the mess on the floor of the eagle from her struggle with the caveman? The lengths of the days and nights on this planet make no sense. I would have liked Sandra to recognize and try talking to some of the other cavepeople. It was a nice touch that Helena, even as a cave woman, treated someone's injuries...even the person who fought her man. Her tunic wasn't that bad...if it wasn't for plot, Sandra would never have put that skin on. She

From: "Ellen C. Lindow" ([email protected]) Date: Fri, 13 Mar 1998 19:51:22 -0500 (EST) Subj: Re: Space1999: Full Circle

This episode most reminds me of classic Trek's "Shore Leave". It's a fun episode that takes place outdoors, makes absolutely no sense, and has a kind of camp appeal to it. One of my favorite things about the episode is the relaxed atmosphere, the small talk, a bit of flirting between several characters. For the first time you see them acting like they know each other and have become friends. For the most part, that's missing in the first season episodes. Yes, there are a lot of problems with the episode. It would have been nice to have followed through with the dinosaur footprint. And as a person who has camped on mountaintops and beaches, and even the occaisional gator filled swamp, I can guarantee you I would be locked inside an eagle at night , preferably in orbit, after seeing those footprints. And that pit Alan was in was made with a backhoe. I keep getting visions of grunting, fur-clad cavemen operating heavy machinery

The Full Circle Oddly enough, I really don't have a problem with the ray gun line. It fits in the conversation well. Alan was certainly acting like a comic book character, perhaps Victor was comparing him to Buck Rogers, or Flash Gordon (or even Duck Dodgers). The set was enough to make the most serious crew giddy. Did you catch that great big tusk in the cave? It would make any self respecting mammoth top heavy. And Sandra's leopard skin was obviously there for the same reason the girls on Thule were dressed for Miami Beach.

From: [email protected] (B J Dowling) Date: Sun, 15 Mar 1998 00:29:52 +0000 Subj: Space1999: Full Circle

Hi y'all, This episode is, for me, the funniest in the whole season. I doubt that it was intended to be funny, as it asks the question "Just how far have we actually developed from our stone age ancestors?". That is probably due to the relaxed atmosphere Ellen mentioned. It suddenly struck me as odd that Paul is the one to remotely fly the eagles in...why not an experienced pilot?

Because Carter would pull rank, take over and crash the Eagle? Finding the body of a Stone Age man in an Eagle is a little different to what one might expect normally. It's a good job the guy wasn't alive when the Eagle was boarded or Alan, Doctor Mathias or some poor purple sleeve would probably have been beaten up (again). Everyone can fly an eagle on that base, and yet Sandra has to be strapped in by Alan...I've always hated that.

Doesn't work for me either. If everyone can fly an Eagle, they will all know the pre flight routine prior to lift off. Maybe it was part of the thing between Alan and Sandra which

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never got pursued - strapping her in as a gesture of affection. The disregard some Alphans have for their commlocks is a bit disturbing. Would you lay your house and car keys down by that vegetable patch you work on in your garden? Sandra gets some action in this story, but is a bit hard done by in the overall scheme of things. It seems a little out of character for her to behave as she does when the caveman turns up. I didn't expect her to snap out her stun gun and lay the guy spark out from the hip, but the common sense she has shown in previous stories is disregarded here for the "Doctor Who Companion" set of actions. Victor and Kano fly an Eagle down to Retha. Now adding to the missing recon party of 7, Sandra, Alan, John and Helena. A risky strategy if ever there was one, especially if that dinosaur print belonged to something large, aggressive, carnivorous and hungry. I can relate a lot to Alan in this story. The more I watch the series, the more I see similarities between me and Alan. If someone had made off with a lass I cared about then I'd be after them and looking for blood. Sandra can defend herself if pressed - she really gave the caveman Koenig a belting with that rock! Again we see the same style of clothing for the lasses in this episode as the last - skimpy where possible. The idea of the mist is okay, but it changing the Alphans and their clothing as well doesn't quite work. It would have been interesting to see what the cave Alphans made of their uniforms if they hadn't changed along with their occupants. It may well have jogged their memories. Equally, one of them would no doubt have tried something with the weapons they were carrying. At least the cavepeople weren't like the ones in 1 Million Years BC, with perfect hairstyles and make up to match! Overall, despite the original intent of the story, the episode is a break from the moral and philosophical issues explored in Death's Other Dominion. There are too many things which don't quite work for it to be a contender for

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best story of the season, though it's nice to see Sandra get some action and Kano get from behind his desk. The story gets a C- from me.

things I don't like, leaving this episode locked firmly in my bottom five rankings of the entire series. The episode starts out interestingly enough.

From: Patricia Embury ([email protected]) Date: Sat, 14 Mar 1998 20:20:17 -0500 Subj: Re: Space1999: Full Circle Pat: “It suddenly struck me as odd that Paul is the one to remotely fly the eagles in...why not an experienced pilot?” Because Carter would pull rank, take over and crash the Eagle?

No, even he could fly it remote control. I think Paul had his control over the remote. Doesn't work for me either. If everyone can fly an Eagle, they will all know the pre flight routine prior to lift off. Maybe it was part of the thing between Alan and Sandra which never got pursued - strapping her in as a gesture of affection.

He was being polite, a gentleman. After all, in several places it states that Carter is one, if not the most, well-liked Alphan. Victor and Kano fly an Eagle down to Retha. Now adding to the missing recon party of 7, Sandra, Alan, John and Helena. A risky strategy if ever there was one, especially if that dinosaur print belonged to something large, aggressive, carnivorous and hungry.

Yep, it's a good thing Jurassic Park didn't come out until the 90's, or heaven knows there would have been a dinosaur to contend with... and I don't mean Barney! :)

A reconnaisance mission to the planet labeled "Retha" (an anagram of "Earth") has stopped communicating with Alpha. John has Paul remotely return the Eagle to the Moon. That might not be a bad idea, for the people inside may have been overcome by illness, but on the other hand, Alpha could drag back an empty Eagle, leaving the planetary team high and dry just when they might have needed it. Still, probably a good idea for Alpha to try to see if they can determine anything first, before sending another mission. When it is safely back, they find it empty, except for a dead caveman! A mystery. Did he and his kind have something to do with the Alphans' disappearances? After the usual "This Episode" sequences, when the action of the episode itself starts again, I like the touch of the drumming sounds overlying the preparatory action on Alpha -just the right tone. Nit: why a search radius of 100 miles? How could they expect the first party to get that far away from the initial landing, in what was likely less than a day of exploring -- and even in a moonbuggy? It seems to me a better way of searching would be to *start* a series of short legs crisscrossing a small square (say 10x10 miles), and then maybe extend to neighboring squares -- or to do a spiral search. John:

From: Date: Subj:

David Welle [missing information] [missing information]

Alphans, This, unfortunately, is an episode I've never liked. Not the first time I saw it, as a child; not the third or fourth time as an adult. With each viewing, instead of finding more meaning in between the problems, I have found even more

First, search. Second, photographs. And third, record any sightings of people...

Er, isn't "third" rather redundant? That is, isn't that what they're searching for ("first, search"). John puts Victor in command. Good, showing an explicit hand-off. Alan flirts a bit with Sandra. In fact, there's a little very low key flirting between Alan and Sandra, as well as things Paul says ("love to Sandra"), in several spots of this episode. Alan

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even buckles in Sandra. Patronizing, chivalrous, or flirtateous? Very, very low key.

large radius, I'm seriously questioning Alpha's search and rescue abilities.

This (Sandra's possible relationships) is one aspect, in fact, that for years I really never noticed it or considered whether there was anything more to it. Only a couple other episodes touched on it. Even now, I still scarcely have much of an idea of how Sandra's relationships proceeded, especially since I keep seeing the first season episodes in a few different orders. Maybe I'm being a bit (or more) blind here, but this is *too* subtle for my taste, to the point of failing to be the least bit compelling to me. I don't need to be hit over the head with something to see it, but these are two extremes (too subtle vs. too obvious), and I wouldn't have minded some middle ground. At least that's how I feel.

Now, everyone's lost contact with everyone else except Alpha with Eagle Two.

Anyway, to back up again, the Eagles reach the planet. One touches down, while the other, with Alan and Sandra aboard, heads out on the search mission. John and Helena take a moonbuggy as far as they can, through a lush forest (one of S19's rare on-location episodes). Then, John adds to a marker device that's been attached to a tree. Very clever. This was probably something the Alphans developed after Breakaway, and I'm sorry that they didn't use this idea in any other episode (or did they?). They see huge footprints, almost reptilianlooking, like a dinosaur's -- an element that is never touched on the rest of the episode. Helena thinks they're being watched, and John shoots off his stun gun into a dark spot. Nit: isn't that from the foolish "shoot first and ask questions later" school? Then they head into a patch of mist, eventually followed by the rest of the landing party, which is on foot. The leader of the rest of the landing party calls Alan just before heading into the mist, and the leader says "we'll try and catch up with the commander before dark. See you tomorrow." Tomorrow? On a planet where people have already disappeared, why would anyone stay out of contact for more than a hour, much less until the next morning? With this and Alan running a search with an over-

Just before Eagle Two is going to settle down next to Eagle One for the night, Sandra exclaims, "Alan! Down there; I saw something moving." Alan casually brushes it off, and as becomes apparent, they don't even bother with a quick search, because we next discover Sandra waking up from a sleep, hours later. Maybe it would have been foolish to initially leave the Eagle in twilight, but the least we could have heard is Alan *saying* something like that, instead of dismissing Sandra's words. In fact, there were cavemen out there when they first landed. Then, to continue the foolish methods of searching, Alan disappears on Sandra. He has awakened before Sandra and gone out to search, without even informing her. Again, on a planet where people have been disappearing without a word, this is STUPID. It also gives her an understandable fright. Luckily, she does contact him. Even worse as far as search methods is that Alan really seems to have strayed rather far from the Eagle. It was *hours* ago that Sandra saw movement, and his searching so far away *now* just does not add up, as far as I'm concerned. Soon after, he falls into a pit trap, obviously set by the cavemen, and is knocked out. Sandra gets more frightened when she can't even reach him any more. She contacts the base, and finds out Victor and David are coming in yet another Eagle. Then, Alan wakes up, and in another bonehead move, doesn't even try to contact Sandra on his commlock! The thing is right there with him, laying on the ground, and he doesn't even bother taking the minute it would require to remake contact with others Worse, he doesn't even bother to clip on his commlock before trying to clamber out of the pit! He seems to have utterly forgotten to even think about it.

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As he struggles to get out, cavemen appear around the rim, and one jumps in to fight with (and eventually knock out) Alan. The caveman would have killed Alan, except the latter's commlock starts beeping, which fascinates the primitives. The one in the pit nudges it, sort of reminding me of the apes in 2001:ASO, though that response would be a fairly universal one, IMO. When the caveman accidentally activates the commlock, he sees Sandra (and is understandibly fascinated and confused by the image); but Sandra doesn't seem to see a thing, because she keeps talking as if Alan is on the other end. What gives? Most of the time, the caveman is holding it right; it just isn't consistent with other uses of the commlock, and no explanation is attempted. The cavemen walk off with the commlock, which makes sense; but inexplicably, they leave the length of tree (that the one caveman used to climb out) in the pit, which later allows Alan to escape. Sandra finds out that the third Eagle with Victor and David on board (David's piloting, BTW) is ten minutes away from her. Suddenly, she relaxes, and opens the door. WHY? Why wouldn't she wait until the other Eagle has actually arrived? Why, when everyone keeps disappearing, and she herself said "wild horses" couldn't drag her from the Eagle? She does it *so* casually, too. At the very least, why doesn't she have a stun gun in hand? There's three mounted right there! No one's acting the least bit sensibly. Of course, she pays for that: a caveman is standing right outside, and despite her struggles (including taking a good swing at the man with her commlock, though he ducks it), she gets knocked out and carried away. Earlier, when just two Eagles were on the ground, they looked great. Later, when the third Eagle is about to land next to them, one of the landed Eagles looks all wrong. Most of the far Eagle is hidden behind the body of the other Eagle that's on the ground, but the far Eagle's "head" is oriented, it's body would be angled right through the body of the other Eagle. The angles just don't look right, and the

far Eagle (again, only it's pilot section is seen) almost looks as if it might be a cut-out set in the scene, or something. This persists in the other three-Eagle shots. It suggests there were only two "real" or full models of the same size. Alan, meanwhile, wakes up, gets out of the pit, finds the moonbuggy, then starts returning. Victor and David find the Eagle empty, the latter in very well-spoken bewilderment, "Where's she gone? We were just talking to her ten minutes ago." Sandra wakes up among all the cave people, finds herself the subject of intense interest and then even some competition among a couple men. A cavewoman makes a fuss, out of jealousy perhaps. The cavepeople have spears, fire, torches, but no speach (they only grunt, with little coherence even then). Victor, David, and Alan have built a campfire, not unlike the other people in their cave, both undoubtedly for similar reasons. None of these three say a word, which is sort of understandable. OTOH, they should be discussing a better strategy. Problem is, their current strategy is awful, for WHY are they camping outside? They are on an obviously dangerous planet, and have three Eagles for shelter and protection, so why aren't they in them???? I just don't get it. Do they need to cook the food or something? If so, why don't they have cold rations? It makes no sense. And why does Alan throw half his food out, when I would think there would be some importance placed on conservation, even without outright rationing. Sandra screams as she abruptly realizes that two of the cavepeople are, under all the hair and primitive behavior, Dr. Russell and the Commander. It is a shock to her. It abruptly turns into a very different sort of "cave people" story now. Sandra can't get through to them. Later in the night, her clothes are ripped by one of the cavemen, forcing her to wear the animal skins. Two of the cavemen start competing for Sandra again (it seems at least four men in this episode are interested in Sandra, some more violently than others). Helena curiously, like the doctor she was, tends to the loser, who was

The Full Circle burned in the fire, while the winner goes to take his prize, Sandra. She knocks him senseless and bloody with a rock, and escapes. The other woman, Helena, once jealous over Sandra, is now angry at her in another way -vengance. There's a nice moment where Helena shows the others the rags that were once Sandra's Alphan clothes, as an indication to the others of who to look for. Sandra's being chased through the night; but despite being in fear of her life, she eventually stops, curls up by a tree, and weeps. Okay, maybe she's exhausted, but by this time, all her screaming has been increasingly grating on my nerves. I also can't figure out why, if she had to stop out of exhaustion, she wouldn't remain silent. By now, I've been alternately laughing and cringing at this episode. It is at moments funny in a "campy" way, then just too awful to bear. In the morning, Victor, Alan, and David arise to the sound of chirping birds and the sight of sunlight filtering through trees (it's a pretty moment, even though I still don't know why they camped out on a dangerous planet). They talk to Paul on Alpha, who is concerned for Sandra. Then the three drive off in the moonbuggy to find the others. Abruptly, in a good scene, Alan shouts to stop (eliciting the wonderful response of "I hate backseat drivers!" from Kano). Carter tells him that he's suspicious of the mist, and they decide to go around it. Eventually, they stumble on the cave, where the residents are beatings sticks to bowls, and where one is bleeding badly and groaning ("he's half dead," Victor says). Victor suddenly starts wondering if the man is John, and starts approaching, while Alan abruptly tries to pull Victor back and shoot him, while Victor does a wonderful job of deflecting Alan's arm, and the shot goes awry. Alan discovers what's left of Sandra's clothes, and heads into the cave to find her ("By God if they've hurt her!"). Bergman tells Kano his suspicions, but says nothing to Alan who is plunging into the cave, and it looks like he is ending up letting an enraged Alan plunge headlong after cavepeople who could *all* be Alphans. Yes, Sandra has to be found quickly, and the caveman who looked like John who

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fled out of the cave should be found too, but it seems as if Victor should have shouted *something* to Alan. Koenig is found on the other side of the mist, restored to Alphan clothing but still injured. Bergman and Kano return him to Alpha. Good lines by Victor: "No sign of them at all. Just markers, going into the mist." Having found John in a normal state, he understandably starts thinking John was always John, apparently dismissing his thoughts that the injured caveman might have been John. Luckily, Mathias comes in with the autopsy results on the caveman's body they first found on Alpha. The caveman has artificial "caps" on his teeth, and on that confusing find, was scrutinized even further and discovered to be an Alphan! John puts two and two together, realizing the cavepeople are *all* Alphans. Worse yet, "Carter is down there with a ray gun. If anything happens to Sandra...." Victor says. "Ray gun"? Yuck, that phrase was already hoary ten years before Barry Morse used it. John almost literally leaps out of bed when he realizes the danger Alan could be to Helena, when he was "half dead" back in the cave. His emotion is believable, but even with that and his well-known well, it is just too hard to believe he is so instantly able and strong, when moments before, Mathias (?) was saying he'd need a week of bed rest to recover. Sandra has been found by the cave people and brought back, while Helena has sort of taken over the cave, in a way, taking the place of her apparent and vanished mate, the primitive John who had been leader of them as well. In revenge for the loss of their primitive commander, Helena and the rest are setting up Sandra to be executed and/or sacrificed. Alan finds the group, and from a perch up top, waits. I'm not sure why he waits, because he's already got a powerful weapon and a very defensible position. He waits even longer, with Sandra screaming even louder. Why is he waiting? Is the director trying to heighten the tension? If so, it backfires because it just makes no sense. Maybe it's to fill out the minutes. Then he switches his weapon to "kill." I can understand

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him being angry, but he's got the drop on the cavepeople, and can easily stun them -- so why kill them? It was, however, kind of fun to watch John watch in and stun Alan! The cavepeople are herded into the mist. Helena, for a moment says "John," though I don't know whether to believe that or not. It's meant to be a tender moment, but by this time, I doubt so much of the episode... On the other side of the patch of mist, they all come out as fully restored Alphans. How'd Helena get to the front of the group on the far end of the mist, when she was the last to go into it? Now restored, Helena rushes to John. Helena: We nearly lost you. John: Likewise.

I don't have a clue what Helena means; the statement makes even less sense a few minutes later, when we find out none of the Alphans remember themselves as cavepeople. John: .. Because we couldn't communicate, we... misunderstood.

Huh? That and the surrounding discussion didn't hang together entirely well. Sandra:

We got frightened, angry, jealous, ... vengeful.

That itself is a good summary. The emotions haven't changed in much, and are very recognizable. Helena: Victor: John:

Under the skin, do you think we've changed all that much in 40,000 years? Do you think we ever will? Maybe. Just maybe. I'll let you know in another 40,000 years.

That's a neat little exchange, which does get one wondering whether we have. They leave it hanging in the air, that maybe it's a mixture of yes and no. Every generation complains that the new generation is worse than the old, and the older

people hanker for the "good old days." The good old days weren't so golden, though, and we have to wonder if some things haven't improved after all. Certainly a lot of the living conditions, general health, and to some degree behavior. Civilization has added more layers and depth to human beings. Yet the darker emotions are still there. Most of the time, most people nowadays have more channels to diffuse their aggressions, more ways of reacting than simple and complete destruction, and can -- to some degree almost naturally -avoid going totally primitive. Parents have to teach their young, every generation, so it becomes almost "natural" to each individual. Let that lesson lapse for one generation, and we could be lost. Yet sometimes individuals can fail, or situations can strip away the layers and lay bare raw, even murderous emotion. People have also gained longer memory, and more abilities at a cold-blooded form of calculated intent; we have also gained even deadlier weapons. So there is something of a precarious balancing act, a sort of continued peace punctuated by occasional violence of varying magnitudes. Yet for the bad, it's a wonder that with increasingly powerful weapons and plans and such, that the entire world isn't consumed in a non-stop, all-consuming, global blood bath involving every individual on the planet. Had our emotions remained at such a raw, unfiltered, unmanaged, untaught form, where would we be now? I can't answer the yes/no question in any short form, except to say that it seems a mixture of both. Things change very little in time, which is both fortunate and unfortunate. Responsible parents teach their children responsibility, in the hopes most or all will learn. But irresponsible parents can create children who somehow pull themselves out of the gutter to find something better for themselves, and responsible parents can create irresponsible children who throw themselves headlong into the gutter; they usually don't do well, if they even live long. It is something of a dynamic balance, some pockets worsening, some getting better, and even flipping between those states. The sheer inertia seems to keep something of a dynamic balance on the overall scale; but who can really

The Full Circle see the whole picture? On the small scale, things do get better, and they do get worse, seemingly verifying both viewpoints. There is no simple yes or no, just a need for everlasting vigilance. "The Full Circle" seems a teasingly appropriate title, although the most literal interpretation is for the Alphans who turned primitive and then became "civilized" again. There *were* strong contrasts between the two, albeit lessened by things such as Alan setting his gun to "kill." Unfortunately, that itself was one of the last of a string of hard to accept or believe events. The episode does deliver a few, last, thoughtprovoking lines, but it is built on a non-existent foundation and a very rickety structure of a plot. Plotwise, it seems like it's not so much that the plot is swiss-cheesed with a lot of holes, but that the plot a rickety series of jerryrigged events, namely the frequently nonsensical actions of the search and rescue teams. Besides that, what about the transformation. Okay, I can momentarily accept that a weird time warp exists in the mist, and that it not only affects bodies, but minds as well. It brought out a primitive ancestory to the surface. Yet there are bothersome elements. First, the clothes change; yet I can suspend my disbelief and argue it was some sort of mental reversion acting on a physical level as well -that some sort of "memory" of primitiveness was brought out not only in emotion but in body. It was as if an old, rolled-up, long lost blueprint was dug out of their minds and then carried out. Artificial Alphan clothes turned into animal skins; stun guns turned into spears; commlocks and medical kits into simple tools; even one of the medical stretchers into that thing Sandra was tied to for execution. Except the medical team wasn't carrying one. So did the cave people make it in the short time they had been cave people. Furthermore, there's that pit trap. It's deep, dug into a clay that Alan had great trouble even digging a foot hole into. And if each Alphan's clothes turn into animal skins, where'd that extra animal skin for Sandra come from? Finally, why didn't Santos' teeth caps vanish too? Maybe because they're physically located within their bodies. Maybe Victor would have kept his artificial heart if he'd have gone through.

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** SUMMARIES ** I had forgotten all about the structure Mateo had suggested at the beginning, probably because it was weeks before I started adding to the discussion. Oh well, I'll start using it now. 1. Goofs/Nits: Far too numerous. Hard to judge whether a lot of things belonged here or in the next category, but I'll throw most in here: o Redundant search instructions o John "shooting first" at the unknown o Alan brushing off Sandra's sighting of movement o Alan rushing off without informing Sandra o Alan not calling Sandra from the pit o Alan leaving his commlock laying there o Sandra casually opening the Eagle door o Three Alphans camping outside when they've got 3 Eagles o Sandra collapsing and crying after she escapes o John leaping out of bed so easily o Alan waiting to help Sandra o Alan setting gun to "kill" o Helena near end of episode: last into mist, first out 2. Plot holes: o 100 mile search radius o Alan's commlock not seen again as a "prize" 3. Artwork/Visuals: o Nice location, good misting effects, and melding the fromair visuals to match (including the sight of mist) o Cave sets good, except they could have been lit just a bit more so we could see things better o Cave costumes per the usual "cave movie" genre 4. Modelwork: In general and before, during and after crashes.

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Year One When three Eagles on the ground, one looks very "wrong." o Otherwise, generally good, as usual Dialogue Triumphs: not many o "I hate backseat drivers!" (Kano) o A short part of the final exchange between Helena, Victor, and John. Dialogue Disasters: o "Ray gun" (Victor) Continuity: o "Forward" continuity not maintained: could have used those plastic markers in later episodes. o Sandra not seeing who's calling her on the commlock, without explanation of this inconsistence o The cavemen take Alan's commlock, but why don't we see it again, displayed as a major prize back in the cave? The Mysterious Alien Force: o Was the MUF involved in that mist? Was there a lesson here? Maybe. Roots: o Some of the cave people scenes had hints of the ape people scenes of 2001:ASO, with primitives instead of primates. o Too many of the "cave people" movies. It's hard to approach this genre and avoid silliness or "camp." S19 did okay with the cave- people -- better than with the still-normal Alphans, surprisingly; but parts still made me laugh or cringe. Worked at times; failed at others. The Bottom Line: o Hard to believe a lot of what went on in this episode, oddly more with the normal Alphans than the cavepeople. Still, the cave people sequences alternatively drag, grate, make my laugh, and cringe at times. o Rating: 0.5/Do

5.

6. 7.

8.

9.

10.

o Bottom five of whole series. 11. Miscellaneous: Acting was too frequently over the top: o Sandra: Emotional is one thing (she's generally been good at providing genuine and needed emotion), but all her piercing screaming and crying in this episode got on my nerves -- as well as her thoughtlessly opening the Eagle doors. o Helena: Good/B; It was startling seeing her as a cavewoman. Kind of interesting, and reasonably well done. o John: Good/B-; nothing spectacular, but pretty good. o Victor: Good/B; ditto o Kano: Good/B; Finally gets a mission off Alpha, makes good of it o Alan: Poor/D; I don't respect any of his judgements here, except for when he points out the possible dangers of the mist. 12. Who's on First?

---- David Welle

From: David Welle ([email protected]) Date: Mon, 16 Mar 1998 00:10:39 Subj: Re: Space1999: Full Circle This episode most reminds me of classic Trek's "Shore Leave". It's a fun episode that takes place outdoors, makes absolutely no sense, and has a kind of camp appeal to it.

Ellen, Sorry to jump in, but your words made me feel a bit guilty for taking "Full Circle" so seriously. Maybe I should have lightened up. I do, after all, like "The Taybor" for the light, humorous tone. But that episode *was* going more for the comic aspects to start with, whereas this one was taking itself seriously, IMO. As I said in my long (as usual) post, I did find parts of it laughably "campy," but at times, I just cringed too.

The Full Circle One of my favorite things about the episode is the relaxed atmosphere, the small talk, a bit of flirting between several characters. For the first time you see them acting like they know each other and have become friends. For the most part, that's missing in the first season episodes.

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And Sandra's leopard skin was obviously there for the same reason the girls on Thule were dressed for Miami Beach.

:-)

True, there is a lot more casual friendliness amongst them, and I did like that, even if I still have trouble sorting out just when and who is interested in Sandra.

At least it made more sense in the context of the cave people of "Full Circle." Heck, the outfits were less revealing here. Go figure. (Er, no pun intended.)

Is she interested in Alan first, and then become more interested in Paul, or is the other way around? Anyone?

The one reason I said the cave people stuff worked at times is that it wasn't One Million Years B.C., which was obvious camp with perfectly tanned, dressed, and coiffed dwellers (though I can't claim I didn't like watching Raquel Welch in 1MY B.C. :) I am, however, talking about story here, and since I can't remember 1MY having a story, S19 already did better by trying to make some point, which, as poor as I thought this episode was, did at least make an appearance....

And that pit Alan was in was made with a backhoe. I keep getting visions of grunting, furclad cavemen operating heavy machinery

Thanks, now I'm stuck seeing that. :-) Good one, though. I knew it would have taken a lot of effort to make -- too much for the cavepeople to make in short order, and too far from the mist to be some transformational side effect (which wouldn't make much sense anyway).

Still, I laughed and cringed at too many parts of the caveman scenes. I don't think I've ever seen this "sub-genre" really work well. Oh well.

Oddly enough, I really don't have a problem with the ray gun line. It fits in the conversation well. Alan was certainly acting like a comic book character, perhaps Victor was comparing him to Buck Rogers, or Flash Gordon (or even Duck Dodgers).

I never thought of that. Actually, I mean the "ray gun" reference *did* remind me of Buck Rogers, but I didn't think of Victor's words as a comparison, just as a long overused term. You're right, Alan is acting like a comic book character, and maybe that's why I didn't care much for his character in this episode. It's hard to take the question "do you think we've changed all that much in 40,000 years" entirely serious when Alan was set up as an example for the question, but shown in a comic book fashion. The set was enough to make the most serious crew giddy. Did you catch that great big tusk in the cave? It would make any self respecting mammoth top heavy.

Oh, is that what it was? It was so big I couldn't rightly figure what it was.

From: "Petter Ogland" ([email protected]) Date: Mon, 16 Mar 1998 11:23:49 +0000 Subj: Re: Space1999: full circle After the fight between Carter and the caveman into the ground hole, the caveman used a tree as a ladder to get out. Watch closely the tree, some pieces of the tree are missing, they have been cut with a CHAINSAW !

He-he. I liked that observation. Then Pat commented on something written by me: Yes, the Cave Koenig's interest in Sandra was much more evident than the Alan, Sandra and Paul set up. I noticed in main mission, when Carter leaned next to Sandra and told her they were going for a ride, Paul made a motion with his head, that to me, indicated displeasure. Sandra also looked immediately at Paul, as if to "get permission," like you would if your boyfriend's best friend asked you to a movie, and he couldn't go. It was more subtle, as if to

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You have an incredible eye for these things, Pat. Episodes that I have not been too fond of, such as THE FULL CIRCLE and THE LAST ENEMY, are now getting increasingly interesting due to quite fascinating subtlties. ... Nick Tate really appeared to be enjoying himself with this episode. I really liked the scene around the campfire, Carter appeared to feel terribly guilty, and action oriented.

When watching the episode last week, I was thinking more along the lines of Ellen about the cartoon-like portrayal of Alan. Her reference to Flash Gordon of the 1930s really hit the point, I feel. Nevertheless, reading Alan's erratic behaviour as a clue to philosophical aspect of the story, as David Welle seems to do, illustrating how close Alan's behaviour is to the Cave people, makes a lot of sense to me. The guiltiness of Carter also makes good psychological motivation for his "over-the-top" style of acting, and all in all, I think he does quite well. The scene around the campfire seems to be a pivotal one in order to understand Alan's later actions, and, in fact, makes his performance, as I see it, much closer to earlier outstanding work in episodes like ALPHA CHILD and COLLISION COURSE than the melodramatic wacky style of Buster Crabbe in the 30s. I agree with Brian, however, that the result is almost comic. When Johnny Byrne have been confronted with the question of humour in SPACE:1999, he has sometimes stated the difference in understanding of the term "humour" as he himself understood it and what Fred Freiberger ment by it. While Freiberger apparently was thinking of "one-liners", Johnny Byrne felt there was some intentional humour in Year One based on characters and situations. For me Nick Tate is the best illustration of that. His vast display of emotions is a fantastic acquisition to the series, I think. Petter

From: South Central ([email protected]) Date: Mon, 16 Mar 1998 10:11:12 -0800 Subj: Space1999: Full Circle

I seem to remember from the novelization that the "FOG" was a living entity, amoeba like. Any comments on this? Ideas? I would hate to see the week end with no mention of this. Mateo

From: Patricia Embury ([email protected]) Date: Mon, 16 Mar 1998 17:53:32 -0500 Subj: Re: Space1999: Full Circle

I noticed that also. If it was a life form, why weren't there any traces left on the Alphan's uniforms? The novelization glossed over the ending of this episode and ran right into End of Eternity.

From: Paul Dorion ([email protected]) Date: Mon, 16 Mar 1998 22:21:40 -0800 Subj: Space1999: The Full Circle

I know I am a bit late, but I wanted to express a few thoughts. While I agree with a lot that has been said about this episode, I still appreciate the one and only shot-on-location episode of Year One. In my view, this adds credibitily to an episode that sadly misses it on other fronts (scientific credibility being one). As for some plot holes that have been previously pointed out, here are some thoughts which you will maybe like to consider : 

About Sandra not being able to "see" the caveman on the commlock. Could it be that the commlock was somehow broken by Alan's fall in the pit ? From Sandra's point of view, she would only know that contact has been made, and would probably think that Alan is still

The Full Circle







alive and well, but that his commlock is malfunctioning. She would not necessarily *know* that he is in danger and not necessarily act on this premise. The theory about the "broken" commlock would also explain why Alan doesn't try to contact Sandra when he awakens after falling in the trap, and why he would be willing to leave it there while trying to escape. About Sandra not trying to close the eagle door after seing the caveman: I would think that this is one of those events where time seems to stretch. From Sandra's (and the camera's) perspective, a few seconds seems to pass before the caveman attacks, while in reality only a few tenths of seconds passes before the caveman attacks; Sandra would not have time to close the door. About the curious length of night : someone wrote on the list that a 2 hour night means a 2 hour day. This would only be correct on the equator line of the planet. Anybody living north (I live in Canada), is quite familiar with days being much longer that nights (in summer) or nights being much longer than day (in winter). So a two hour night in such a hot weather is not necessarily wrong if the planet is nearer its sun than Earth is and if they are near the pole. About Carter and other acting out of character : I like the view expressed by others on the list that the whole point of the episode is to demonstrate that it is pretty easy for "civilised" man to regress to a more primitive state of mind, given some stressful circumstances and a particular state of mind. For me, some of the reactions of the moonbase personnel are believable when it is taken into account that these people are missing their two natural leaders of moonbase (Koenig and Russell). In The missing link, Koenig



225 was the only one presumed dead, and look at the stress that was affecting the Moonbase personnel (like Kano for instance). As a matter of fact, Full Circle has a "junior officer acting on their own in a mysterious and dangerous situation" feel about it (such as the Y2 episode The Beta Cloud, for that matter). Finally, poor Sandra took quite a lot of criticism for her displays of emotions and actions in this episode. On this I can only think about some great people I know who are great listeners and are loyal friends that you can count on, but who do not possess a single stoke of heroism in their being... Sandra seems to be such a person, and while a being like this can be something of a burden in periods of crisis, she would be one most capable of cleaning up the mess (both material mess in the sensitive eqiupment of the Command center and emotional mess felt by her colleagues around her) after the crisis by her quiet presence. I sometimes think her character was not given enough credit (maybe because the episodes, rightfully so, showed the crisis and its resolution, but not the aftermath of the crisis). Morrow and Kano would probably be great companions to have in times of crisis, but I would not particularly like to be around them all the time, since they sometimes seems to be lacking some social grace. I would probably prefer to share a cup of coffee with people like Sanh.

Do I make some sense (a valid question since English is not my primary language) ? ;) Paul :D (NOT related to Paul Morrow and not necessarily sharing his emotional attachment with poor ol' Sandra, notwithstanding the preceding paragraphs (in case someone wondered ;))

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End of Eternity

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16. End of Eternity The first discussant finds END OF ETERNITY similar in style and content to FORCE OF LIFE. Although the danger is presented in a form of an alien humanoid the episode is really a study of the enemy within us all. Balor could have easily been a sociopath from Earth, like in Silence of the Lambs. This is probably what is disturbing about this episode, he says, the fact that it could happen anywhere. Other discussants focus on what motivates Balor, drawing parallels with the Frankenstein story, and use Dracula and Marquis de Sade as references for understanding his philosophy and means of action. One discussant relates the conclusion of the episode with the BBC series Pandora’s Box that was examining the consequences of political and technocratic rationalism. From: David Acheson ([email protected]) Subj: Space1999: End of Eternity Date: Tue, 17 Mar 1998 06:20:30 EST

Alphans: I see we are now into END OF ETERNITY week. Looking over the course of the discussions, I am beginning to understand Petter's feelings toward the Ray Austin directed episodes. In particular, Austin seems to "click" with the Johnny Byrne scripted episodes just like Charles Chricton seems to have a similar knack for the Christopher Penfold stories. While the Chrichton-Penfold combination includes most of my favourite year-one episodes I am starting to find out the Byrne-Austin stories act as a second tier for me. Interesting discovery. Although Petter I still rank David Tomblin as my second favourite year-one director (I love the son-ofKubrick style). In that vain, I find END OF ETERNITY very similar in style to FORCE OF LIFE (an earlier Byrne-Austin piece). Although the danger is presented in a form of an alien humanoid the episode is really a study of the enemy within us all. Balor could have easily been a sociopath from Earth. SILENCE OF THE LAMBS anyone? This is probably what is disturbing about this episode - the fact that it could happen anywhere. The blue light in FORCE OF LIFE is just science fiction but we read about the Balor-types in the news. The immortality thing is brought up again but I find it is more background rather than the main point of the story as it was in DEATH'S OTHER DOMINION. The style of direction, music and art design in this episode add to the disturbing quality of the

episode. Barry Gray lets go of his grandiose music and gives us a film library score of eerie tones. This non-music form of music adds to the strangeness/isolation of the episode in my opinion. And check out Balor's abode in the asteroid! The paintings are like something out of Rod Serling's NIGHT GALLERY. Thankfully, the episode is less cheesy than that effort. Its interesting to note Peter Bowles is the guest artist in END OF ETERNITY. I know him more for his comedic performances in many a British sitcom so am fascinated by how well he pulls off the pyschopathic Balor. This is one of the more interesting guest performances in the series. Not much to report on our Alphan regulars. The story is mainly Balor and Koenig as adversaries. The others are just window dressing this time around. Overall a pretty good episode. In my opinion this episode marks the start of the end of the middle slide the series seemed to have gone into. The high quality episodes seem to be at the beginning and end of the first year. To a lesser extend this same thing happened in year two. Bye for now.

From: David Acheson ([email protected]) Date: Tue, 17 Mar 1998 12:34:39 EST Subj: Space1999: Correction to earlier Analysis

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I screwed up royally. What I basically said about END OF ETERNITY I was hopefully factually correct and how I felt about the episode I still stand by. But what a screw up in the beginning Byrne-Austin and PenfoldChrichton comparison. I must have been on some drug. So Petter I hope you read this correction before you comment on my original analysis. The problem was that I did not bother to look at my own web site's episode guide and thought in my head that such and such people were responsible for such and such episodes. When I doubled-checked (hours after I sent off my analysis to the list) I found that it should have been the Byrne-Tomblin combination I was speaking of and NOT Byrne-Austin. In fact, there were only a few episodes Austin directed that were written by Byrne. A big slap in the face for me. Thus I guess my second tier of episodes involve my second favourite first year director after all. Tomblin is in and not Austin. Sorry Petter and anyone else that listened to what I mumbled about before. Still Ray Austin did film some fine episodes (END OF ETERNITY being one of his finer in my opinion) and I still see Petter's original points. I just have a different approach to the directors than Petter has. I am going to hide my head in the sand for a short bit. Bye for now. David Acheson

From: Petter Ogland ([email protected]) Date: Wed, 18 Mar 1998 11:01:00 +0000 Subj: Re: Space1999: End of Eternity I see we are now into END OF ETERNITY week. Looking over the course of the discussions, I am beginning to understand Petter's feelings toward the Ray Austin directed episodes. In particular, Austin seems to "click" with the Johnny Byrne scripted episodes just like Charles Chricton seems to have a similar knack for the Christopher Penfold stories. While the Chrichton-Penfold combination includes most of my favourite year-one

episodes I am starting to find out the ByrneAustin stories act as a second tier for me. Interesting discovery. Although Petter I still rank David Tomblin as my second favourite year-one director (I love the son-of-Kubrick style).

The son-of-Kubrick style is a nice term. As I was watching Kubrick's BARRY LYNDON (1975) Sunday night, I was struck by how similar it was in lightning, camerawork and colour to David Tomblin's ANOTHER TIME ANOTHER PLACE. Concerning the teams Chrichton-Penfold and Byrne-Austin, the statements above seem reasonable to me. What I find puzzeling, however, is that, when interviewed, Johnny Byrne hardly mentions Ray Austin at all. In the Danish interview from 1982, he speaks quite interestingly about Crichton and Tomblin, and even a few words about Kellett, but nothing about Austin that I could notice. Johnny Byrne did, on the other hand, say that he found MISSION OF THE DARIANS to be one of his most satisfiable achievements, an episode where the presence of Austin is also emphatically felt. If I should make a personal guess, I would believe that Ray Austin was more interested in acting and filming, and less occupied with story, and this is why he perhaps felt that he didn't get too much feedback on the stories. Who knows? Before Austin became a director he was a stuntman, the story goes, and this may perhaps explain for some of his highly kinestetic and somewhat personal style of direction. In that vain, I find END OF ETERNITY very similar in style to FORCE OF LIFE (an earlier Byrne-Austin piece).

Although I just thought it was just a slip of the tongue, giving Austin credit for the Tomblindirected episode FORCE OF LIFE, David explains he must have been on drugs or something, making such outrageous statements. He-he. Well, as similar as these two episodes are, Austin using much of the same type of filming along the corridors as Tomblin did in FORCE OF LIFE, I think it's rather interesting when

End of Eternity

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directors or writers get mixed up. What would FORCE OF LIFE look like, anyway, were it directed by Austin? Or what would have been the consequences of Tomblin heading END OF ETERNITY?

development of the story lacks motivation, and Koenig's statement in lines of "how does one kill something that can't be killed?" does perhaps move things away from the psychological aspects of the earlier acts.

In addition to the two above, I think THE TROUBLED SPIRIT has a certain AustinTomblin-Byrne feel to it, though Tomblin had nothing to do with it as far as I know. The resemblence between FORCE OF LIFE and END OF ETERNITY is the strongest, however, and it may be that Austin tried to emulate some of the strikingly efficient Tomblin style from FORCE OF LIFE into his episode.

Nevertheless, the confrontations between Balor and Helena and between Balor and Koenig are fascinating. The plan for getting rid of Balor may perhaps also have inspired Ridley Scott and the makers of ALIEN (1979).

Although the danger is presented in a form of an alien humanoid the episode is really a study of the enemy within us all.

Brilliant, David! Balor could have easily been a sociopath from Earth. SILENCE OF THE LAMBS anyone? This is probably what is disturbing about this episode - the fact that it could happen anywhere. The blue light in FORCE OF LIFE is just science fiction but we read about the Balor-types in the news. The immortality thing is brought up again but I find it is more background rather than the main point of the story as it was in DEATH'S OTHER DOMINION.

It is a bit surprising, I think, that Johnny Byrne seems so much more affectionate for FORCE OF LIFE than END OF ETERNITY. To me this is a much more facinating story, but, as Johnny Byrne says, the success of END OF ETERNITY may rely more on actors and directors than story. I'm not quite sure what he ment by this, but with it's focus on character rather than philosophy, it's not very typical Byrne. The only thing that comes close to this is VOYAGER'S RETURN, I think, which also is a character study of sorts. Acting and style of direction in END OF ETERNITY is, of course, superb. In terms of story, I find the prologue excellent, the two first acts and the beginning of the third very good. The end of Act III is ok, but I understand Byrne's feeling of that the further

Its interesting to note Peter Bowles is the guest artist in END OF ETERNITY. I know him more for his comedic performances in many a British sitcom so am fascinated by how well he pulls off the pyschopathic Balor. This is one of the more interesting guest performances in the series.

An absolutely wonderful actor, in my opinion. The comparision with Anthony Hopkins of SILENCE OF THE LAMBS is very good, I feel. Bowles highly expressive face and wonderful voice control is perfect for this role. Overall a pretty good episode. In my opinion this episode marks the start of the end of the middle slide the series seemed to have gone into. The high quality episodes seem to be at the beginning and end of the first year. To a lesser extend this same thing happened in year two.

I agree with David about high quality episodes seem to be at the beginning and end of the first year. To me END OF ETERNITY (#16) is perhaps one of the most interesting episodes since GUARDIAN OF PIRI (#8). While the late episodes (#16-24) don't quite compare with the first eight from my point of view, I enjoy them perhaps more than many of the episodes from the mid period. Petter

From: Patricia Embury ([email protected]) Date: Wed, 18 Mar 1998 20:47:45 -0500 Subj: Space1999: End of Eternity

It was interesting to see this episode again. It can be argued that once more, the Alphans demonstrate that both curiosity killed the cat,

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and the road to hell is paved with good intentions. They explore the asteroid, it seems, to determine if there are any recoverable minerals and find an atmosphere they can't help but explore. They injure the occupant by setting off a booby trap (the door was wired with explosives) and take him back to Alpha to administer medical aid. They "slow code" the alien and then pronounce him. This was one of the better sequences. I liked the different view from cameras in the ceiling, reflected on the video monitor. The Alphans probably keep video records of their procedures for study, and since they left earth orbit, they could use it for research on different alien species. Then the fun starts! Balor slowly reveals himself as a madman by setting up Baxter to kill Koenig, and then healing Koenig. Note the dried blood on the floor. This is briefly seen, and a nice touch. Balor confronts Helena in medical center. Balor seems charmed by Helena, and generously decides to spare her life, although make it uncomfortable for her if she refuses to help him. The "obsolete" dialogue between Helena and Balor is some of the best written in the episode, and strongly acted by Bain. Helena faces a future of treating torture victims, reviving them only to be hurt again, and being forced to let Balor use her medical equipment to perform only Godknows- what horrible medical experiments on the Alphans. The showdown between Koenig and Balor at the end placed the supporting cast in the same position as the audience, helpless and watching events unfold upon the screen. A crowd, it seems, holes up in main mission, as a "safe" area. Bergman grabs Carter as he attempts to help Koenig, Carter acting as the "everyman" in the audience who wants to "jump into the tv screen and help defeat the enemy." Nice touch. Peter Bowles is superb, and believable as the sociopath/psychopath Balor. I haven't seen any other of his work, but I hear he is a gifted comedic actor. Bain and Landau are very good, as usual. The others don't have a lot to do, but they help set up the rescue from the asteroid, and add to the overall atmosphere. Baxter is a good character, although he seems a bit odd to begin with. The character seemed nice enough, but something about his mannerisms and pattern of speech made it clear that he could be unpredictable if he couldn't pursue his love of flight. I liked the peek into the lives of the other Alphan pilots.

My only nit: Carter is supposed to be Chief of Reconnaissance, and , I assume, in charge of the pilots. Why wasn't he with Koenig when Baxter was grounded both times.

From: Date: Subj:

JSchill824 ([email protected]) Thu, 19 Mar 1998 10:53:50 EST Space1999: End of Eternity

Hi All, Last year was the first time I saw this episode uncut. I was so surprised to find they had cut the whole first scene. This is a shame, because it’s a great opening. The filming in this episode is unique and fits well with the theme of the show. In the beginning when Balor awakes in the Medical Center, the scene switches back and forth between Victor and Koening (who are trying to figure out the history of the asteroid) and Balor (trashing the security guys). The story develops here with little dialogue, but a lot of visual play. I also noticed how often they filmed Balor looking up at him. His dark garment and crazed looks definitely made him more menacing. I have to add here that the fight scenes were great. It must have been Ray Austin’s influence, for it’s very convincing. Has anyone else noticed what I might call well-executed throws in some of Year One’s fighting scenes? Having a background in both Karate and Aikido, I know that it’s choreographed, but they usually set up the throws correctly. Very fun! Who remembers the first time they saw the scene with Baxter, the toy plane and Koenig? - for me it was a true surprise. This scene builds so nicely that I still get a chill on subsequent viewings. Koenig enters the room while Baxter flies a plane like a 6 year old child. Who would have thought Baxter would beat the commander to a pulp in this scene! Wow! - it’s chilling and wonderfully executed. Plus the music here is great; it starts very slow and builds to reinforce the crazed and tormented Mike Baxter. It reminds me of Psycho in that the viewer never really sees Mike make contact with the commander’s face. The viewer is still horrified because the filming here is superb and the viewer feels the effects. The camera at one point is shot

End of Eternity through the toy plane - further taking us "along for the ride." In my opinion Peter Bowles is best villain ever. He was great, and I remember as a kid liking him as a bad guy so much I bought a picture of him holding Koeing's bloody hand. (now that I think of it -- that's kind of morbid :) I still enjoy watching this episode and the closing "Pandora’s Box chat" with Helena, Victor and Koenig (with a black eye) is appropriate. So once again good triumphs over evil and our bruised hero has learned something, “..we have to learn to leave some things alone.” I often wondered what “Return of Balor” would be like.

Although Balor cannot be "killed" in the traditional sense, he would still be held in a type of stasis, in the vacuum of space, until some other poor sap took him in. The force of the vacuum opening might be enough to propel him far enough away from the moon, so that he wouldn't be able to get in another airlock.

From: "Robert Ashley Ruiz" ([email protected]) Date: Thu, 19 Mar 1998 18:15:17 +0000 Subj: Space1999: Killing Balor Balor would just stroll up to another (or the same) and force his way in again. Would anybody like to hazard a theory as to how this "cellular regeneration" thing works and how "immortals" such a Balor can be killed? I mean, if we saw him in half will we get two for the price of one?

Until Tomorrow, Janet

From: South Central ([email protected]) Date: Thu, 19 Mar 1998 11:28:23 -0800 Subj: Space1999: Sequels to episodes

If there is any episode that leaves itself open to a sequel it is The End of Eternity. There is no way Balor would reach lunar escape velocity just by being ejected from a surface airlock. The show got it right when Koenig killed Zova by pushing her out an Eagle airlock---which is a subject for discussion in itself! Balor would just stroll up to another (or the same) and force his way in again. Would anybody like to hazard a theory as to how this "cellular regeneration" thing works and how "immortals" such a Balor can be killed? I mean, if we saw him in half will we get two for the price of one? Mateo

From: Patricia Embury ([email protected]) Date: Thu, 19 Mar 1998 15:55:53 -0500 Subj: Re: Space1999: Sequels to episodes

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I don't see it that way. Even Balor, being basically human, needs an atmosphere. In the context of the story it seems his body would shut down on the lunar surface until his surroundings changed, almost like he's dormant. We saw this with the effect of the explosion. It did affect him but didn't kill him, even though it seemed to at one point. His body needed time to regenerate. At this point, when he's vulnerable, they could have scooped him up and shot him/flew him into deep space.

From: Donald Hayunga ([email protected]) Date: Thu, 19 Mar 1998 23:39:01 -0600 Subj: Re: Space1999: Sequels to episodes

Balor was a super strong being but I doubt he could survive the devistation caused to his body by explosive decompression. Each and every artery and vein and capillary would explode outwards, the skin and other surface area's of the body would be heavily damaged. Also whose to say that while Balor was incapacitated the Alphans didnt put him back in his tomb. After all they did attempt to destroy the asteroid carrying the tomb. Don

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From: David Acheson ([email protected]) Date: Fri, 20 Mar 1998 05:57:51 EST Subj: Space1999: Return to the End of Eternity

Hello Alphans:

From: Allard1234 ([email protected]) Date: Fri, 20 Mar 1998 12:37:58 EST Subj: Re: Space1999: Killing Balor

I thought the purpose of blowing up the asteroid at the end, was to imply it would reform around Balor again. Mary-Lynn

Happy first day of Spring!!!!!It is finally here. Tells you how much I like winter. Anyway, as to the suggestion of an END OF ETERNITY sequel. I don't believe it can be done. My feeling was that although Balor can regenerate his cells, and therefore not die in a normal fashion, he still needed air to breathe. Thus cell regeneration in the vacuum of space would not be possible. I believe Balor would die in space in much the same manner as the Alphans. This would be why Koenig planned to do Balor in this way. Koenig did not need to shoot Balor into escape velocity. Once Balor died, the Alphans would most likely go back out to the lunar surface and find a way to dispose of the body. In fact, the only episode we discussed so far that would have a possible (believable) sequel would be VOYAGER'S RETURN. The Sidons would return to exact revenge on Alpha. But this particular episode wasn't all that strong. I enjoyed reading Janet's and Pat's analysis of the episode and agree with much of what they say. The stuff about Mike Baxter in particular as I forgotten about him. In many respect this episode was very dark in nature - a very disturbing study of the mind gone mad. I just don't believe this episode would have translated so well in year two. Happy Spring everyone! Or Autumn for those down in the southern hemisphere. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

From: "Robert Ashley Ruiz" ([email protected]) Date: Fri, 20 Mar 1998 10:04:42 +0000 Subj: Space1999: RE: Killing Balor I thought the purpose of blowing up the asteroid at the end, was to imply it would re-form around Balor again.

I thought it was just to suggest that it (and by extension Balor) may not be possible to destroy and the Alphans may not be as safe as they think they are -- a very X-Files type of ending. In the end the Alphans didn't really have a reason to destroy the asteroid unless they had returned Balor's body to it. Wonder if something got edited out. Why else might they want to expend energy on destroying an asteroid that wasn't threatening them as it passed in space. It's never mentioned in the story that it's on a collision course with them.

From: Patricia Embury ([email protected]) Date: Fri, 20 Mar 1998 20:32:46 -0500 Subj: Re: Space1999: RE: Killing Balor

I assummed it was for the morale of the Alphans primarily, and secondary as a remote possibility of having it reform around Balor.

From: Date: Subj:

[email protected] Sun, 22 Mar 1998 16:58:52 -0500 Space1999: End Of Eternity

End of Eternity I thought it was funny that they comment that it would have taken the asteroid a thousand years to travel from the nearest star system...yet the moon doesn't seem to have that problem. Victor is shouting inside his space helmet...which he wouldn't do if they were real because then his voice would be transmited via radio. If you can break off a piece of regenerative rock, wouldn't it regenerate into the whole asteroid? When a dangerous alien is beating the hell out of the security guards, why doesn't one of them step back and shoot the alien when the other security guard is clear? Why do they always insist on bare-handed fighting and getting knocked out? Baxter's optic nerve is severly damaged, and yet he is seeing with no trouble? (which is what we must assume, because if he were now severly blinded, he wouldn't wonder why he is grounded.) Would you take a dangerous alien and debrief him in your most sensitive control area (Main Mission?) Not only did Balor heal Koenig, but also his clothing...no blood on Koenig's uniform. It looks good, but no, being blown out the air lock at surface level will not achieve escape velocity (which means Space Warp had it right.) If the laser couldn't destroy Balor, why can it destroy the astroid...even if only temporarily?

From: "Robert Ashley Ruiz" ([email protected]) Date: Sun, 22 Mar 1998 14:25:32 +0000 Subj: Space1999: Re: End Of Eternity I thought it was funny that they comment that it would have taken the asteroid a thousand years to travel from the nearest star system...yet the moon doesn't seem to have that problem.

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That bugged me too, so the justification I use is that they were referring to only the direction the asteroid was coming from.

From: Petter Ogland ([email protected]) Date: Mon, 23 Mar 1998 09:30:28 +0000 Subj: Re: Space1999: End of Eternity I have to add here that the fight scenes were great. It must have been Ray Austin’s influence, for it’s very convincing.

Austin's previous experience as a stuntman may have had something to do with this. Greg once pointed out that the the fights where more prominent in the Austin episodes than others. I'm not sure whether this is right, but I remember the fight in MISSING LINK to be quite convincing. In the scene where Alan hits Dr. Mathias, Nick Tate actually knocks Phillps down, I believe. For a fragment of a second Tate looks rather horrified of what he's done. Plus the music here is great; it starts very slow and builds to reinforce the crazed and tormented Mike Baxter. It reminds me of Psycho in that the viewer never really sees Mike make contact with the commander's face. The viewer is still horrified because the filming here is superb and the viewer feels the effects. The camera at one point is shot through the toy plane - further taking us "along for the ride."

PSYCHO (1960) is a very good comparision, I feel. The use of subjective camera angels, making the audience sometimes feel like the murderer and sometimes like the victim is incredibly effective, I feel, if perhaps a bit sadistic, just like Hitchcock, and makes one wonder what's going on in the mind of the director creating such a sequence in this manner. I feel the execution scenes in MISSION OF THE DARIANS is made with equal flair and nastiness, perhaps a bit like Hitchcock's TORN CURTAIN (1966). In my opinion Peter Bowles is best villain ever. He was great, and I remember as a kid liking him as a bad guy so much I bought a picture of him holding Koenig's bloody hand.

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He is wonderful from the very first scene, I feel. I re-watched EARTHBOUND the other night, but even as Christopher Lee is impressive as the tall dark Zantor, Bowles highly expressive face makes enormous contrast to Lee's stone facade. Personally I find Peter Bowles to be one of the most interesting guest stars of the series, Peter Cushing, perhaps, as the only one with an equal charisma. Petter

From: [email protected] (B J Dowling) Date: Tue, 24 Mar 1998 00:19:42 +0000 Subj: Space1999: End of Eternity

Hi y'all, Snippets from David Acheson's and Petter's contributions alongside my own thoughts. If I should make a personal guess, I would believe that Ray Austin was more interested in acting and filming, and less occupied with story, and this is why he perhaps felt that he didn't get too much feedback on the stories. Who knows? Before Austin became a director he was a stuntman, the story goes, and this may perhaps explain for some of his highly kinestetic and somewhat personal style of direction.

As I recall, Ray Austin acted as stunt coordinator on several Avengers episodes before he went on to Space:1999 and The Professionals. Certainly many of what are considered classic examples of each series had strong writing and production teams, giving the director room to orchestrate the story how he wanted. Ray Austin is still active in television, being named as one of the directors of the new series of The Professionals currently in production. It would be very interesting to see who of the series directors are still in film/tv and if they would be interested in letting us know their thoughts on the series. The episode starts with the Alphans already landed and checking out the approaching object to the extent of blowing a hole in it.

Surprisingly there's a door there and Victor has a magic device which seems to be able to open any door. The flash scene teasers in the credits here are very good, especially the shots of Peter Bowles' face. As an aside, a few words on Peter Bowles. Before I saw this episode, I was familiar with Bowles wearing a moustache in the many roles he has take n on television. With his elegance and near RP accent, the roles he is most known for usually revolve around the character being upper class and very well presented, whether good, bad or comedic. This episode showcases Bowles' talents as something very different to the roles one would expect him to play. The scene where Baxter takes the blast from the "cell" door had me wondering about the authenticity of this part of the sub plot. The blast was fairly powerful, but the explosion itself did not seem that intense. Besides, if Baxter was the pilot, why wasn't he back in the Eagle? The final shot when the Alphans leave the "cell" is truly haunting - that painting really is the stuff nightmares are made of. Freeze that frame and take a good look if you are of strong constitution; the main focus of the painting is reminiscent of Edvard Munch's The Scream, while the background images cunjor up visions of Vald the Impaler. I'm surprised that an image that strong didn't make some sort of impact until later in the story when John and Victor started thinking about the asteroid. The shock effect of that image overshadows the fact that Balor is in a very bad way for me. As Balor is rushed to the medical centre, his heartbeat is heard from the moment the travel tube opens right through to when he "dies". How accurate is the behaviour of the emergency medical team in this situation? I'm unsure as to why Koenig puts two security men on the door of the medical unit. What purpose would they serve outside the unit? If Balor was perceived as a threat, then restraints would probably have been a better idea. That

End of Eternity or an alarm to alert someone when he came around. The scenes where Balor investigates his new surroundings are beautifully directed and scored, the interpolation of the scenes with Victor and John and their contrast make a very good sequence into a great sequence. The eerie quality of Balor's wanderings allied with Bowles' expressive features elevate this sequence over the Zoref wandering sequence in Force Of Life. Bowles' expressive features cover a wide spectrum in just a few short scenes - anger and confusion on first recovering, aggression with the security guards, almost wonder at the Alphan complex and then the scene in Assembly Area D tops it off. Reminiscent of Karloff's Frankenstein monster or Victor Carroun in The Quatermass Xperiment, unable to articulate and seemingly worthy of our sympathy for their inability to do so, but possessing potential for great threat. The parallel with the Frankenstein monster becomes more accurate as the story progresses - near indestructible and with a tendency to hurt people - more like Lon Chaney Jr's portrayal of the creature in The Ghost Of Frankenstein rather than Karloff's interpretation of the role in the three preceding films. The fight scenes are as good as one has a right to expect, having an experienced stuntman and fight co-ordinator directing. The look on Balor's face as he throttles a security guard with one hand is the first show of his true nature we will shortly encounter. That doesn't stop a gang of security guards trying to take him out, or Carter blasting him. I thought "shoot first, ask questions later" wasn't Koenig's policy. I can't help but wonder if Balor was telepathic to some extent - this might account for his unwillingness at first to use vocal communication, but as he encountered more Alphans he realised the way to go and kept his telepathic abilities secret. The camera work throughout the episode is excellent - the first hand view of the action (Balor's wanderings, Koenig on the wrong end

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of Baxter's mad attack) and the quick scene changes work well, rather than looking like a music video. Balor demonstrates clarity, intelligence, logic and expressiveness during his question and answer session in Main Mission (traits of psychopaths, so I'm told). The immortality theme is mentioned again here - in the novels, I think this story happens before Death's Other Dominion. I'm sure I recall the part where Cabot Rowland makes his speech about spreading the gift of immortality throughout the galaxy and Koenig thinking that it reminded him all too much of Balor. When I first watched this, I recall starting to wonder about Balor as he spoke more on what happened on Progron. "Only death gives a purpose to life" is good philosophy as a statement, but when he said "How can you value life if you do not fear death?" I got the feeling he might just be a psychopath. His line "Transcend the limitations of the human spirit" reminded me of a quote from the Marquis de Sade which I can never remember properly! Something along the lines of pain being the most memorable and impression making sensations one can experience. Especially when you consider those frightening paintings. Baxter is told he's grounded. What a blow for a guy who loves flying. How does Balor know this? Koenig and Helena are hardly going to tell Balor what's been going on in the life of the base over the last 72 hours. Baxter is visited by Balor and I don't know what he did to that poor pilot, but the attack on Koenig (great camerawork here) was quite brutal. I take it that the missing scenes of a bloodied Koenig were taken out from this part of the story? The way Baxter dies is gruesome, the fear being apparent in his final state. Were the results of the Baxter autopsy disclosed in the novel? Balor and Koenig meet in the commander's office. Koenig and Victor think they know what they now have to deal with, but the way that Balor admits it to Koenig is truly chilling. The smile and look Balor gives to Koenig as he says "Yes, everything you say is correct..."

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wouldn't be out of place in any great horror film. Comparisons with Anthony Hopkins' Hannibal Lecter are justified here. In terms of story, I find the prologue excellent, the two first acts and the beginning of the third very good. The end of Act III is ok, but I understand Byrne's feeling of that the further development of the story lacks motivation, and Koenig's statement in lines of "how does one kill something that can't be killed?" does perhaps move things away from the psychological aspects of the earlier acts.

I agree with Petter's point here. The "how does one kill something that can't be killed?" line is not really necessary, given what we already know about Balor from the rest of the story. Momentum seems to drop here, though Balor's appearance in the medical unit is a good scene. Helena is quite obviously scared, but still stands up to Balor. There is little she can do, however, should he decide to wreak havoc in there. I think the novel differs from the episode in terms of its ending. If I recall, Koenig meets Balor in a similar place and has a dialogue with him which revolves around Koenig having his own private collection of things which may interest Balor and which he would be able to see if he would just follow Koenig. Balor says something about him being the master and that Koenig should follow him. He goes through the door, it shuts and the airlock opens and sucks him out into space. I wouldn't be surprised if Ridley Scott was influenced by this for the "Alien" film released a few years after. Acting and style of direction in END OF ETERNITY is, of course, superb. The style of direction, music and art design in this episode add to the disturbing quality of the episode. Barry Gray lets go of his grandiose

music and gives us a film library score of eerie tones. This non-music form of music adds to the strangeness/isolation of the episode in my opinion.

Wholehearted agreement with both points there. The episode gives us several chilling and disturbing moments, perhaps more in this episode than any other. The regular supporting cast merely support here, as the whole thing revolves around Koenig and Balor. Not much in the way of special effects, but they weren't needed for the most part. Overall I would give this a B+ - a real favourite of mine and a pleasure to view once again and give some serious thought to. Brian Dowling - Online Alphan #144 Birmingham, England

From: Petter Ogland ([email protected]) Date: Wed, 25 Mar 1998 09:22:04 +0000 Subj: Space1999: End of Eternity

I got a letter from Janet where she makes some interesting comparisons between NEW ADAM NEW EVE and END OF ETERNITY. As I suppose more than I would enjoy this, I forward a short extract from the letter: ... However I did just get New Adam New Eve in the Mail today from Columbian House. Funny after just watching End of Eternity, there were some strange parallels. For example, Magus wants the Alphans to use as a second chance to make "a new species of mankind". Of course Koenig says no and the bad guy gets mad and shows his strength. Showing that if they do not agree he'll destroy Alpha. In the end Koenig again baits the bad guy (Magus) in to falling in the pit. Not too unlike the ending of End of Eternity. When the planet falls totally apart there is reference the Maglos still lives. Not too unlike our feeling of Balor.

War Games

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17. War Games One discussant sees the focal point of the episode being Koenig's irrational behaviour throughout the episode. Why did Koenig jump into war mode so hastily when three Hawks appeared? Hawks may be deadly war vessels but there were only three at the beginning - Alpha had a whole fleet of Eagles! Being cautious is one thing but.....Why did he accuse the aliens of firing first when it was Koenig who ordered the first shots? Another discussant responds to this by comparing the episode with Dr. Strangelove as an examination of the irrationality of the cold war nuclear politics. Other discussants are more concerned with the nature of the alien planet, suggesting Plato’s Republic as a textual reference. This triggers further comments from yet another discussant suggesting an historical line of mathematical rationalism from Plato, via Descartes, towards Russell, Whitehead and the early Wittgenstein as a way of understanding the relationship between instrumental rationality and social consequences implied by the episode. From: Date: Subj:

David Acheson [unknown] [unknown]

Alphans: In my opinion only, WAR GAMES is the definitive SPACE: 1999 episode - the one classic that towers over the rest. BREAKAWAY - and maybe BLACK SUN is probably the only other one that rivals it. There are several other excellent episodes but these are not of this status. This for me is what CITY ON THE EDGE OF FOREVER is to STAR TREK fans and NIGHTMARE AT 40,000 FEET is to THE TWILIGHT ZONE. My fondness for this episode began as a child who watched the series during its first run in the 1975-1976 season. On two separate occasions when I first introduced friends and/or relatives to the series it was this particular episode that was aired. I myself started with BREAKAWAY but it was WAR GAMES that helped me find new fans. Why do I still like it today? It is probably the only episode that lived up to two reputations the series was trying to earn during its run cerebral like 2001: A SPACE ODYSSEY (the Anderson's wish I guess) and an action/adventure series (ITC's hope to capture the American market). Christopher Penfold scripted a delicate balance of the two and Charles Chrichton (who has a knack for Penfold's scripts in the first place) gave us some of his best directorial effort (only matched by the exotic GUARDIAN OF PIRI).

The episode is a grand showcase for the stars of the show: Martin Landau and Barbara Bain. Although it does bother me today when I think about Koenig's irrational behaviour throughout the episode. Why did Koenig jump into war mode so hastily when three Hawks appeared? Hawks may be deadly war vessels but there were only three at the beginning - Alpha had a whole fleet of Eagles! Being cautious is one thing but.....Why did he accuse the aliens of firing first when it was Koenig who ordered the first shots? Why would Koenig evacuate Alpha and fight to settle on the planet when it was painfully obvious they weren't welcome and that they would be eradicated? Aliens 1 Humans 0. Koenig's irrational behaviour is part of our human nature and I believe that this was just one of many things the aliens were afraid of infecting their world. Ms. Bain's best scenes were in medical centre under crisis mode. Here Helena was the dedicated take-charge professional. She was the one who wanted to run to Mathias' aid when he was shot out the window as it broke. Koenig had to stop her. She was in danger of becoming the stereotyped female-captive once her and Koenig landed on the planet. However, Helena showed an amazing ability to rationalize and negotiate even as a hostage as opposed to Koenig's macho man act. It is safe to say that by this episode their relationship had blossomed. Koenig's willingness to bring the Alphans down to the planet and fight to the death for a footing on the world was most likely a male reaction to his woman being captured. Not rational at all but Helena was his. (This brings up the way

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they acted as cave-people in THE FULL CIRCLE as discussed two weeks ago. Has mankind really changed?) Helena was moaning away for John herself when he was floating off in space and she was still a hostage on the planet. She wanted him back with all his faults and fears as she yells out to the aliens. This had gone way further than the googly eyes and familiar smiles of the earlier episodes. Even if the episode was nothing more than a dream sequence, as we later learned, the experience would stick with John and Helena thereafter. I rather like the idea of the planet and its inhabitants being linked as chains in a larger collective. Predates the STAR TREK Borgs by 10 years. The Borgs, however, conquer and absorb all outside influences. These aliens are isolationists. They resist all outside influences. Much more could have been said about this society. For example, why the marvellous city if the aliens sit around in glass boxes and appear to have the power of instantaneous transportation? Did the boxes only act as something ceremonial much like the thrones of a king and queen? Why the need for ceremonial symbols in a collective? Was this more for the Alphan's sake? They were out of the boxes when they fired upon Koenig so the boxes don't appear to be necessary to maintain their life. I guess an hour was not much time. It was rather neat seeing a planet with two suns - the first and only time out of the 48 episode run of the series. Yet this aspect of the planet was downplayed. We saw the two suns but the Alphans made no mention of it. Memorable moments (in no particular order): 1) The wonderful war music played during the battle sequences. Matched only by the more wonderful "Mars, the Bringer or War" used in SPACE BRAIN. I believe this was the piece known as "The Astronauts" composed by Mike Hankinson as listed on my Music of 1999 web page (and mentioned in the past on this list by various members). Not to be outdone, Barry Gray's own scores for the series were put to good use in the episode. 2) The destruction of the alien bomber. Alan's heroic last shot capped off a long battle with a

blinding explosion comparable to the Breakaway event. 3) John floating freefall in space and speech to self near end of episode. Best freefall sequence since Frank Poole's death in 2001: A SPACE ODYSSEY. What a sad and lonely way to wait for the end to come. 4) Sandra in two scenes. One was giving directions to the Alphans to get back from the underground after the attack was over. Minor scene but it shows that she too was a competent officer. Not just a scream-o-meter for the base. She was also fairly composed earlier when John comes into Main Mission and the bomber was on the Main Screen. 5) The nuclear explosion at the end Act IV. Some may criticize the use of such stock footage of a real nuclear explosion - especially one tinted red to match the planet's atmosphere. I loved the 1950's look of this scene- the representation of ultimate annihilation. Nothing scares one more than a mushroom cloud. 6) The best for last. Victor's now famous come-and-seek-us-out speech and the command crew's departure from Main Mission. Victor's speech represents a bit of hope for mankind and goes against the flow of the rest of the episode. One can now imagine a sequel movie where aliens find an abandoned Alpha and listen to the speech. HMMMMMMM! Its easy to get teary eyed watching the cast walk out with arms around each other. Its definitely a family losing a home. We tended to forget how they started off as strangers and ended up as a community. But alas, do not despair. It was only a dream. The proceedings of the hour was only a seconds-long image implanted in the Alphans heads.

From: Petter Ogland ([email protected]) Date: Mon, 23 Mar 1998 12:09:03 +0000 Subj: Re: Space1999: War Games

David Acheson wrote:

War Games In my opinion only, WAR GAMES is the definitive SPACE: 1999 episode - the one classic that towers over the rest. BREAKAWAY - and maybe BLACK SUN - is probably the only other one that rivals it. There are several other excellent episodes but these are not of this status. This for me is what CITY ON THE EDGE OF FOREVER is to STAR TREK fans and NIGHTMARE AT 40,000 FEET is to THE TWILIGHT ZONE.

While you have stated this quite firmly on your "Return to Moonbase Alpha" site, it's interesting to read a more thorough analysis of why you regard this particular episode so highly. Why do I still like it today? It is probably the only episode that lived up to two reputations the series was trying to earn during its run cerebral like 2001: A SPACE ODYSSEY (the Anderson's wish I guess) and an action/adventure series (ITC's hope to capture the American market). Christopher Penfold scripted a delicate balance of the two and Charles Chrichton (who has a knack for Penfold's scripts in the first place) gave us some of his best directorial effort (only matched by the exotic GUARDIAN OF PIRI).

Interesting that you say this. While not the best directed episode in the series as I see it, I have it attached to BREAKAWAY on the UK ITC/polygram video (vol 21), and it suffers a bit from this, I feel. On the other hand, perhaps not less well directed than BREAKAWAY, but certainly very different. When Katzin and Austin get emotional, Tomblin and Crichton get intellectual. There seems to be a difference in character there, both styles quite fascinating depending on which aspects one focuses on. Compared to other works by Crichton, I feel he is close to his best on WAR GAMES, he manage to conjure up some of the same desperate feeling that makes MATTER OF LIFE AND DEATH, GUARDIAN OF PIRI and THE LAST SUNSET, work so well, all these being episodes I remember quite vividly from childhood. I like your points about Penfold and Crichton, David. While there are other directors I feel are better for fleshing out the psychological aspects of the stories than Crichton, his academic style fits very well with the Penfold scripts, and many of these scripts are very good indeed. WAR GAMES, his anti-war

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statement as he has called it, is perhaps a clue for understanding Penfold as a writer. The episode is a grand showcase for the stars of the show: Martin Landau and Barbara Bain. Although it does bother me today when I think about Koenig's irrational behaviour throughout the episode. [....] Koenig's irrational behaviour is part of our human nature and I believe that this was just one of many things the aliens were afraid of infecting their world.

In this episode I believe Penfold uses the Alphans to illustrate how irrational and stupid humans sometimes may be. There is a lot of social critisism along the trail of Space:1999, like Terpiloff/Crichton making comments on our belief in computers and digitalization of the world through the words of Zantor in EARTHBOUND, and perhaps even more so in THE GUARDIAN OF PIRI, the sceptisim of human endevour reaches a climax in WAR GAMES were we are compared to a virus in the universe. Many similar thoughts are dwelled upon in THE LAST SUNSET and SPACE BRAIN. My impression is, however, that much of Penfolds ideas may have evolved from the ideas of Edward di Lorenzo, or perhaps in parallell with his. Watching WAR GAMES and SPACE BRAIN, I often get a RING AROUND THE MOON deja vu, RING AROUND THE MOON being the fourth episode in the series, and perhaps the first episode to state questions about the computerization of the world. Although I have not been able to confirm that di Lorenzo had anything to do with THE GUARDIAN OF PIRI, I have a strong feeling that THE GUARDIAN OF PIRI was in fact his last and third contribution to Space: 1999, not ALPHA CHILD, as have been stated in some sources. Johnny Byrne wrote a letter to this group some time ago, explaining that ALPHA CHILD was actually based on an idea of Ray Austin, di Lorenzo not having anything to do with this as far as he could remember. In the credits to GUARDIAN OF PIRI, on the other hand, Penfold is only adressed as script editor, so it seems likely that there also was a script writer. THE GUARDIAN OF PIRI shares much of the philosophy of RING AROUND THE MOON

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and MISSING LINK, and it even makes the same odd comment on different galaxies and different universes as in di Lorenzo's RING AROUND THE MOON ("This is the Universe of Triton") by talking about the "Universe of Piri". Ms. Bain's best scenes were in medical centre under crisis mode. Here Helena was the dedicated take-charge professional. She was the one who wanted to run to Mathias' aid when he was shot out the window as it broke. Koenig had to stop her. She was in danger of becoming the stereotyped female-captive once her and Koenig landed on the planet. However, Helena showed an amazing ability to rationalize and negotiate even as a hostage as opposed to Koenig's macho man act.

Indeed. While it is not uncommon to have the male represent the rational and the females the emotional aspects of being human, Space:1999 sometimes manages to turn the tables quite nicely, giving John Koenig absurd lines and directives while Helena Russell is calm, rational and controlled. Perhaps this is one of the reasons I like the series so much. Apart from WAR GAMES, this pattern is quite evident in RING AROUND THE MOON and COLLISION COURSE, I think. It is safe to say that by this episode their relationship had blossomed. Koenig's willingness to bring the Alphans down to the planet and fight to the death for a footing on the world was most likely a male reaction to his woman being captured. Not rational at all but Helena was his.

He-he. I really enjoy reading this! (This brings up the way they acted as cavepeople in THE FULL CIRCLE as discussed two weeks ago. Has mankind really changed?) Helena was moaning away for John herself when he was floating off in space and she was still a hostage on the planet. She wanted him back with all his faults and fears as she yells out to the aliens. This had gone way further than the googly eyes and familiar smiles of the earlier episodes. Even if the episode was nothing more than a dream sequence, as we later learned, the experience would stick with John and Helena thereafter.

I don't feel like stressing the "nothing more than a dream sequence" bit too much. Just like in MATTER OF LIFE AND DEATH, the

devastating things happening to the Alphans are real enough when they happen, but obviously there wouldn't be much of a series if they killed off most of the regular characters and made the moon explode in episode two. As MATTER OF LIFE easily could have ended with the death of John Koenig and Helena walking hopelessly out into the bushes, if it were made as a feature film and not as a series, the epilogue of WAR GAMES does not either seem to have much to do with the episode in itself. Were it not that there were still seven episodes to be made, the evacuation of Alpha with Victor's emotional speach and the death of Alan would have made this an interesting pivotal episode that could have changed a lot of the premises for future episodes. If Space:1999 had not been limited by the concept of the moon thrown through the universe, but only used this as an opening premise, perhaps it could have lived longer and focused more on year one type drama for more seasons with making the drastic changes that were made for Year Two. I rather like the idea of the planet and its inhabitants being linked as chains in a larger collective. Predates the STAR TREK Borgs by 10 years. The Borgs, however, conquer and absorb all outside influences. These aliens are isolationists. They resist all outside influences. Much more could have been said about this society. For example, why the marvellous city if the aliens sit around in glass boxes and appear to have the power of instantaneous transportation?

David is in top form this week, I see. Commenting on ones favourite episode certainly makes interesting reading. I hope the fans of THE TROUBLED SPIRIT, THE INFERNAL MACHINE and DRAGON'S DOMAIN plan for long incisive letters like this. 1) The wonderful war music played during the battle sequences.

I couldn't agree more here. A marvellous piece of music, sinister and very appropriate for the war sequences. Is it really Hankinson's "The Astronauts"? I though it might be something unientified and that Hankinson's piece was something during the death of Alan, but I suppose David is correct about this.

War Games I wish someone would make a CD out of library music used on Space:1999. 3) John floating freefall in space and speech to self near end of episode. Best freefall sequence since Frank Poole's death in 2001: A SPACE ODYSSEY. What a sad and lonely way to wait for the end to come.

Wonderful, absolutely wonderful. 4) Sandra in two scenes. One was giving directions to the Alphans to get back from the underground after the attack was over. Minor scene but it shows that she too was a competent officer. Not just a scream-o-meter for the base.

He-he. 5) The nuclear explosion at the end Act IV. Some may criticize the use of such stock footage of a real nuclear explosion - especially one tinted red to match the planet's atmosphere. I loved the 1950's look of this scene- the representation of ultimate annihilation. Nothing scares one more than a mushroom cloud.

It makes one think. Very fitting, I would say, and makes Penfold's anti-war message trancend almost Kubrick's DR. STRANGELOVE proporsions. 6) The best for last. Victor's now famous comeand-seek-us-out speech and the command crew's departure from Main Mission. Victor's speech represents a bit of hope for mankind and goes against the flow of the rest of the episode. One can now imagine a sequel movie where aliens find an abandoned Alpha and listen to the speech. HMMMMMMM! Its easy to get teary eyed watching the cast walk out with arms around each other. Its definitely a family losing a home. We tended to forget how they started off as strangers and ended up as a community.

Almost antithetical to BLACK SUN, it seems. You almost make me readjust my ranking of episodes, David, an extremely well written comment on WAR GAMES this is. While I have found Crichton's style of direction a bit too militant to bring out extraordinary performances of pshycological insight, there is nevertheless something about his style that is a vital part of the SPACE:1999 concept, perhaps the general feeling of terror and angst of the Alphans.

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The scenes with Anthony Valantine are especially efficient, I feel, the rational coldness of the aliens against Koenig's desperate efforts and Helena's pleas are must viewing. WAR GAMES is an episode very different from RING AROUND THE MOON, MISSING LINK and GUARDIAN OF PIRI, and a very good episode in very different ways than these, I feel. From my point of view it represents some of the best writing of Penfold, more profound and interesting than THE LAST SUNSET and SPACE BRAIN, two other quite personal and philosophical episodes, I feel, and a nice touch of excellent chemestry between writer and director. When writing this I feel very much like watching LAST SUNSET, SPACE BRAIN and DRAGON'S DOMAIN, but I suppose it least the latter two have to still wait for a few weeks. Petter

From: Mark Meskin ([email protected]) Date: Mon, 23 Mar 1998 07:42:22 -0600 Subj: Re: Space1999: War Games In my opinion only, WAR GAMES is the definitive SPACE: 1999 episode - the one classic that towers over the rest. BREAKAWAY - and maybe BLACK SUN - is probably the only other one that rivals it. There are several other excellent episodes but these are not of this status. This for me is what CITY ON THE EDGE OF FOREVER is to STAR TREK fans and NIGHTMARE AT 40,000 FEET is to THE TWILIGHT ZONE.

Yup. You hit the nail right on the head. Why did Koenig jump into war mode so hastily when three Hawks appeared? Hawks may be deadly war vessels but there were only three at the beginning - Alpha had a whole fleet of Eagles!

As a warship, the eagle is vastly inferior to the Hawk, Hawks are smaller, faster, more manueverable, and have more firepower. Also, not all of the eagles can fight. I count 7 laser equiped eagles, flight #1 of 3 ships, flight #2 of 3 ships(all destroyed on the pads), and the

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Year One 3) John floating freefall in space and speech to self near end of episode. Best freefall sequence since Frank Poole's death in 2001: A SPACE ODYSSEY. What a sad and lonely way to wait for the end to come.

attack eagle that Carter flies at the end of the episode. The thing that always irked me was how they handled the approach of the ships, it didn't convey to the veiwer very well that the Hawks were bad news. Why did he accuse the aliens of firing first when it was Koenig who ordered the first shots?

The Hawks were sent to attack Alpha, they have NO other use, they are not science ships :-) Why would Koenig evacuate Alpha and fight to settle on the planet when it was painfully obvious they weren't welcome and that they would be eradicated?

They were doomed on Alpha anyway, might as well fight for a foothold on the planet. How they were planning to fight is another question, maybe the other eagles had lasers added before launch. Otherwise they would just be fodder for the Hawks that were sent to intercept them. Koenig's willingness to bring the Alphans down to the planet and fight to the death for a footing on the world was most likely a male reaction to his woman being captured.

No, quite rational, and I don't think it had anything to do with Helena. As Koenig and others stated in this epiosode, Alpha was dead, there only hope was a place on this planet. I wish they had taken it all the way, with the eagles invading and the alphans trying to disembark under fire. I rather like the idea of the planet and its inhabitants being linked as chains in a larger collective. Predates the STAR TREK Borgs by 10 years. The Borgs, however, conquer and absorb all outside influences. These aliens are isolationists. They resist all outside influences.

Yeah, Space:1999 was certainly original. It was rather neat seeing a planet with two suns - the first and only time out of the 48 episode run of the series. Yet this aspect of the planet was downplayed. We saw the two suns but the Alphans made no mention of it.

Hey, you see one sun, youve seen em all! :-)

Better than 2001, Frank Poole never had time to ponder what was going to happen to him, to me thats even more haunting. Ironically, Frank Poole fufilled Koenigs prediction of being some archeological mystery in the novel 3001:final odessey. I wonder if A. Clarke got the idea from WarGames? Mark

From: Patricia Embury ([email protected]) Date: Mon, 23 Mar 1998 14:52:53 -0500 Subj: Re: Space1999: War Games

David Acheson wrote: Why do I still like it today? It is probably the only episode that lived up to two reputations the series was trying to earn during its run cerebral like 2001: A SPACE ODYSSEY (the Anderson's wish I guess) and an action/adventure series (ITC's hope to capture the American market). Christopher Penfold scripted a delicate balance of the two and Charles Chrichton (who has a knack for Penfold's scripts in the first place) gave us some of his best directorial effort (only matched by the exotic GUARDIAN OF PIRI).

Yep, I agree. This is one of my top 5 episodes. I think if they had kept this up throughout the series, the most radical changes made for season 2 may not have been necessary. Why did he accuse the aliens of firing first when it was Koenig who ordered the first shots?

Koenig shot first and asked questions later. Although I think he should have waited until they fired, he knew that the Hawks were meant for war, not peace, that Alpha was outgunned and couldn't defend itself, so he went with his first response: Eliminate the enemy before they eliminate you. Since he saw only one wave of ships, I don't think he felt there would be reinforcements so soon.. Don't forget, Alpha only had a few laser- equipped Eagles which

War Games were slow vessels meant for research and cargo flight. I don't think they had well developed ground defenses or sheilds besides their anti-meteorite screens. Koenig ignored/ seemed to ignore Carter's statement of it being too easy. While all in main mission are rejoicing over their victory, Carter isn't. The evacuation was brought out of the need for survival/fear of death. The entire episode illustrated the Aliens point about the Alphan's fear. They attacked because of the fear of being attacked, they went to the planet uninvited because Koenig was afraid of the entire base dying slowly. People act irrationaly when their level of fear is extremely high. They may become phobic, or murder out of fear. Landau and Bain acted these emotions and situations superbly. Indeed. While it is not uncommon to have the male represent the rational and the females the emotional aspects of being human, Space:1999 sometimes manages to turn the tables quite nicely, giving John Koenig absurd lines and directives while Helena Russell is calm, rational and controlled.

This reminded me of Matter of Life and Death, when Helena, again, saves John from death through her levelheaded action. This was a nice touch for a show made in the 1970s. David wrote: It is safe to say that by this episode their relationship had blossomed. Koenig's willingness to bring the Alphans down to the planet and fight to the death for a footing on the world was most likely a male reaction to his woman being captured. Not rational at all but Helena was his.

Yep, illustrating his fear of losing the woman he loved, and having everything he cared about, fought for taken away from him by Aliens who thought he was nothing more than a virus. Petter wrote: the devastating things happening to the Alphans are real enough when they happen, but obviously there wouldn't be much of a series if they killed off most of the regular characters and made the moon explode in episode two.

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It would have made a nice finale, with the possibility of a sequal left open. I wouldn't like to see Carter killed, though, I'd rather see someone else bumped off. David wrote: 2) The destruction of the alien bomber. Alan's heroic last shot capped off a long battle with a blinding explosion comparable to the Breakaway event.

Nice shot. I guess I was surprised at the dogfight. Carter was an experienced fighter pilot, probably one of only a few on the base. I would think that he would know enough not to engage an enemy head on. It's a nice way to get killed. He could have veered off and approached from the side. Nick Tate performed well. Carter, with fighter experience, knew that there was a strong possibility that he'd end up dead, but was calm and collected, almost eager to get it over with. It seemed, though, from the opening dialogue, that he didn't know about the Hawks, or didn't recognize them. "they're war machines, and that's enough for me" I would think he would have been familiar with them, maybe even flown them. 3) John floating freefall in space and speech to self near end of episode. Best freefall sequence since Frank Poole's death in 2001: A SPACE ODYSSEY. What a sad and lonely way to wait for the end to come.

One of the best dialogue pieces in the entire series. 4) Sandra in two scenes. One was giving directions to the Alphans to get back from the underground after the attack was over. Minor scene but it shows that she too was a competent officer. Not just a scream-o-meter for the base.

She never shed a tear. They let her inner strength shine through. Petter wrote: It makes one think. Very fitting, I would say, and makes Penfold's anti-war message trancend almost Kubrick's DR. STRANGELOVE proporsions.

Especially when they did it in red, to reflect the planet's atmosphere

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[David wrote:] 6) The best for last. Victor's now famous come-and-seekus-out speech and the command crew's departure from Main Mission. Victor's speech represents a bit of hope for mankind [....] Its easy to get teary eyed watching the cast walk out with arms around each other. Its definitely a family losing a home. We tended to forget how they started off as strangers and ended up as a community.

Again, one if not the best pieces of writing in the series. Petter wrote: scenes with Anthony Valantine are especially efficient, I feel, the rational coldness of the aliens against Koenig's desperate efforts and Helena's pleas are must viewing.

Ilsa Blair only seems slightly soothing, calmer. She is still cold, but plays off Bain very well. My only other nit: It was pretty obvious that the last Eagle destroyed was a paper cut-out. I thought I saw the top of it curl before it exploded. My copy of the tape is somewhat dark: I know the episode is dark on purpose, but the scene where Alan dies is especially dark. I can't see the crack in his helmet that well, is his face viewable?

From: Patricia Embury ([email protected]) Date: Mon, 23 Mar 1998 14:59:49 -0500 Subj: Space1999: War Games

Hmmm, twin suns....fear, agression leading to dark action.... makes me think of another movie series..... (I know, Star Wars was undergoing development at this time, but hey, the similarites are striking!)

From: "Petter Ogland" ([email protected]) Date: Tue, 24 Mar 1998 09:52:51 +0000 Subj: Re: Space1999: War Games

Pat wrote, commenting on David's letter: This reminded me of Matter of Life and Death, when Helena, again, saves John from death

While the emphasis of Helena as the calm and rational and Koenig as impationed and nervous is perhaps stronger in WAR GAMES and MATTER OF LIFE AND DEATH, I feel this is rather basic psychological premises for the series that were present during most of Year One. While it seems like a nice touch in 1998, my impression is that some (American?) critics found it hard to accept Helena in 1975, finding a female lead calm and rational. I've always felt, quite to the contrary, that Barbara Bain's portrayal of Dr. Helena Russell was one of the critical ingrediences making the first year of SPACE:1999 worthwhile. On the other hand, Helena is not a feminist, she is no Ripley. The way Barbara Bain balances off the calm, authoritative with the subdued is quite facinating, I feel. While she is fun being off character in THE GUARDIAN OF PIRI and FULL CIRCLE, she was really excellent in the first eight episodes or so, and in WAR GAMES she manages to capture some of the similar bravado. Robert once said that she had a tendency for having her lines bitten off by other characters, especially in the Penfold written scripts. This was used to a great effect giving nerve to her character in SPACE BRAIN, I remember, but I didn't think of my previous watching of WAR GAMES. Perhaps I should have a go at it again to enjoy more of the character play. WAR GAMES is very fine episode from my point of view. Petter

From: "Ellen C. Lindow" ([email protected]) Date: Tue, 24 Mar 1998 22:25:25 -0500 (EST) Subj: Re: Space1999: War Games

I too love this episode. It has occurred to me that perhaps some of the more odd behavior of the Alphans at the beginning of the episode

War Games may have to do with influence from the planet. They are, after all, manipulating this dream. The beginning of this episode if very abrupt, much like the start of a dream. And John and Victor's reactions to the appearance of the Hawks may be part of the "pre-programming" of the dream on the part of the aliens. One minor scene I liked was at the command conference. When they are all preparing for the conference, picking up chairs and dusting them off, Victor walks by Helena and grabs her hand and squeezes it as a gesture of comfort. It's very touching, he obviously knows that she hates losing patients and is in need of comfort.

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kill, maim, and destroy, to entrench our security. Once secure... we go blissfully and ignorantly on, as if we were no trouble at all. Small wonder the ancienct world wanted nothing to do with us. Hmm, a curious thought: consider the ancient planet to be based on Plato's Republic: an ideal but unrealist dream of humanity. To be tasted, but never made home. Chris Hlady [email protected] http://www.escape.ca/~chlady

From: Chris Hlady ([email protected]) Date: Tue, 24 Mar 1998 23:08:43 -0600 Subj: Re: Space1999: War Games

From: Petter Ogland ([email protected]) Date: Wed, 25 Mar 1998 09:59:41 +0000 Subj: Re: Space1999: War Games

War Games, while not the best episode in my opinion, was certainly exciting.

In some ways WAR GAMES does not seem all that different from FULL CIRCLE with it's rather grim view that humans are fighting animals, or even worse, like a virus. Koenig running bersek, smashing the aliens equipment, nicely illustrates the difference between the animals and the platonic philosophers in their glass cages.

It did have a dream-like quality throughout. Victor's speech near the end encapsulated the series's raison d'etre. The compassion expressed between characters was real and human. The tactics of battle were devastating in their seriousness. The insanity of being on war-footing provided the subtle subtext of conflict. I too, chuckled at the stock mushroom cloud images. But considering the real budgetary problems in the production, each transition "clicked" clearly and cleanly. The landing pads inspired me in their impractical existance. They were hardly functional, but like Star Trek's transporters, they got the job done. Dr. Russell's range of emotion, almost mimish, broke through the normal human barriers of solitude. It was like a contemporary dance: in short, art. Cmdr. Koenig's brutality provided a realistic glimpse of the world's problems. We are fighting animals, who given the chance, will

Bringing the ideas of Plato into this was not something that had occured to me before Chris pointed it out, but a very curious and interesting thought it is indeed. While my impression of Plato is that while he had utopian and idealistic views on society, he was a thinker of the sophisic school with high regards for conversation, using Socrates as a hero, and although platonism has been adapted as a philosophy of mathematics, Plato and his followers would be very different from the aliens in WAR GAMES. If one were to look for parallels in the history of western thought, perhaps Descartes would be a better choice, but I assume the logical positivism of Bertrand Russell and friends is more representative of the world that Penfold illustrates in this story. Nevertheless, Alfred North Whitehead, Russell's companion in writing his most well

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known mathematical works, exclaimed that all of science and philosophy is footnotes to Plato, and the logical positivistic view on Plato would perhaps be a fitting description of agenda on the WAR GAMES planet.

I believe I've read that he actually tried to implement the republic on one of the Mediteranian islands three times, all times failing disasterously, one time being thrown off the island and sold as a slave, if I remember it right.

Petter The Republic could have been written as a satire nevertheless, perhaps reflecting on his bitter experience from real life. From: Chris Hlady ([email protected]) Date: Wed, 25 Mar 1998 21:42:21 -0600 Subj: Space1999: War Games

Thanks Petter, for your feedback. I was thinking more about the ideal community Plato had Socrates paint in the Republic, rather than dialogue amongst Plato's contemporaries. I've recently been exposed to the idea that Plato's Replublic was a satire on the impracticality of the communal society. It reads nicely that way ... and is quite amusing. Although, I'm not very familiar with Bertrand Russell, I saw a movie on Wittgenstein that was marvelous. The world of ideas is very seductive. It's this world of ideas, I believe, that War Games situates in conflict with the world of humanity. Victor's appeal to humanity's incompleteness (i.e. he hopes that other worlds can teach us a thing a two) suggests to me that we should never accept a utopian/distopian world. Altogether, War Games is a brilliant script by Penfold, full of wonderful debateable concepts. Chris Hlady

From: Petter Ogland ([email protected]) Date: Thu, 26 Mar 1998 09:25:02 +0000 Subj: Re: Space1999: War Games I've recently been exposed to the idea that Plato's Republic was a satire on the impracticality of the communal society. It reads nicely that way ... and is quite amusing.

Although, I'm not very familiar with Bertrand Russell, I saw a movie on Wittgenstein that was marvelous. The world of ideas is very seductive.

Wittgenstein was a protege of Russell in his earlier years, and Russell held the first part of Wittgensteins philosophical work in high esteem exclaiming he was the greatest thinker ever, I seem to remember. Although a brilliant mind and mentally tortured man, my impression of Wittgenstein is not too unlike Anthony Valentine portrayal of the alien in WAR GAMES. He held a rather bleak view on the world, and the focus on control and logic as opposed to irrationality and emotions running wild. This was not a too uncommon view of the philosophers of the post Word War I area, I suppose, wondering if the civilized world was coming to an end. It's this world of ideas, I believe, that War Games situates in conflict with the world of humanity. Victor's appeal to humanity's incompleteness (i.e. he hopes that other worlds can teach us a thing a two) suggests to me that we should never accept a utopian/distopian world. Altogether, War Games is a brilliant script by Penfold, full of wonderful debateable concepts.

I'm curious what interesting thoughts you will bring up for SPACE BRAIN, the next Penfold effort. We should perhaps wait for that until THE LAST ENEMY and THE TROUBLED SPIRIT have been thoroughly discussed though. I would be highly surprised if anyone would find Plato or Aristotle in THE LAST ENEMY plot, but who knows? Petter

War Games From: JSchill824 ([email protected]) Date: Fri, 27 Mar 1998 11:16:13 EST Subj: Space1999: War Games & Hawks

Hi All, I've said it before and I'll say it again, the Hawks in this episode are the greatest! I only wished they'd found away to keep one on Alpha for later episodes. I also liked the bomber. These are great models and the special effect filming was superb. Such as the way they filmed the bomber with tiny hawks flying beside which gave the illusion of a gigantic ship. Remember this was all done pre-Star Wars, hats off for Bower and Johnson! Besides great effects War Games also gives us an opportunity to see our famous trio once again all give wonderful performances. From Victor's memorable speech to John and Helena's dual dialogue about fear and death makes this episode captivating and intriguing.

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Lastly, one shouldn't overlook the unique filming style done with the scenes dealing with the aliens, Koenig and Russell. The overlapping of images such as colored light, alien equipment, and flames over the character faces is beautifully done and gives an interesting effect to the alien world. Ok,War Games isn't on my top 10, but it is a good episode! Janet

From: Date: Subj:

[email protected] Sat, 28 Mar 1998 17:55:06 -0500 Space1999: War Games

And the little boy woke up from his dream.

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The Last Enemy

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18. The Last Enemy One of the discussants suggests that the episode should be viewed as a drama along the lines of Edward Albee's Who’s Afraid of Virginia Woolf or some of the high pitched marriage dramas of Tennessee Williams, although Shakespeare's The Taming of the Shrew may be even more appropriate. These comments triggers another discussant who has more knowledge about the script writing process for this particular episode and what the original script looked like. This results in further analysis that involves drawing upon the Freud, Nietzsche and the films of Ingmar Bergman. From: David Acheson ([email protected]) Date: Mon, 30 Mar 1998 22:08:31 EST Subj: Space1999: The Last Enemy

After the plateau that was reached by WAR GAMES, it would be fairly certain that almost any episode would find it hard to live up to the same expectations. THE LAST ENEMY had that unfortunate task. Unfortunately, this particular episode seemed almost doomed to failure from the start. Despite the effort to jazz things up with some action/adventure. Was this the spin off effect of the previously filmed episode? Another ITC directive? It is the only episode to be credited as both written and directed by Bob Kellett (director of VOYAGER'S RETURN and THE FULL CIRCLE). He definitely had some experience with the series by this time around but he was not one of the big timers like Austin, Tomblin and Chrichton who all left a definite directorial mark on the show. Still he wasn't completely bad so I would put him into the average category but this too lacks when compared to the others. I think he did his best work in THE FULL CIRCLE. I must admit from the start that I enjoyed THE LAST ENEMY as a kid - big ships and big explosions. As an adult and some twenty years later I do not see much else there. Its predecessor, WAR GAMES, was billed as an action episode but Christopher Penfold gave us some great philosphical ideas (mostly antiwar) to go along with it. What Kellett ended up giving us was CHARLIE'S ANGELS in outer space. I am not sure though that this was his intention. There has been a lot of talk about the issue of the battle of the sexes - the females of one world versus the males of another. I have to admit that I never saw it that way all these years. I agree Dione's all female crew was a

far-fetched idea. However, it was never directly mentioned that the females were the superiors on Betha and they hated the men on Delta. That definitely would have put this episode into the 1950's B film category. Ever see QUEEN OF OUTER SPACE with Zsa Zsa Gabor? So I grew up thinking that we just never saw the other important Bethans and Deltans who were of both sexes. Just call me naive. I often wondered if Bob Kellett got the idea for Betha and Delta being in the same orbit around their sun but on completely opposite sides of it from the Anderson's JOURNEY TO THE FAR SIDE OF THE SUN (DOPPELGANGER). A remarkable coincidence. Funniest moment. When Dione arrives on Alpha in her motorcyle uniform and helmet. Space Biker chick! All that was missing was the Harley! BTW, just who is Caroline Mortimer and did she do anything else after this? Overall, one of the few episodes I enjoyed as a kid that has not agreed so well with me as an adult. I can still watch it but I learn not to take it so seriously now. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

From: Chris Hlady ([email protected]) Date: Mon, 30 Mar 1998 23:01:50 -0600 Subj: Re: Space1999: The Last Enemy

--instigating influence reply-Thanks Dave for: a) your terrific description of the episode: The

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Last Enemy b) your very cool web site: http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html I vaguely remember this episode from when I was a kid, and will be happy to watch it again when I get the chance. --expansive self-interest opinion-The story metaphor, the eternal conflict of the sexes (nicely paralleling Doppelganger), plays well as a timeless theme. Although I agree with you that it wasn't blatantly part of the story, it did serve to propel the story, and to clarify the planets' differences. The denial of sexual differences, I believe, is one of the least agreeable side-effects from my Space: 1999 influence. I found it very difficult to grow up treating men and women differently. While good in once sense - every individual deserves to be treated equally - each relationship is unique and requires finely tuned appreciation of the other's differences. The sexual ambiguity of Space: 1999 episodes, while metaphysically sound, didn't match the reality of what I would face later on (nor should it, of course, but age-appropriate storytelling is another enemy altogether). In my life, I've found myself detached from other people's feelings. Although fairly prevalent among the population, this detachment/ambiguity has crippled my function as a man. I've since spent a fair bit of time trying to redefine what kind of man I want/need to be, and my explorations have been fruitful, if somewhat abstracted. So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex? I'd like to hear some opinions before giving my answer. Cheers, Chris Hlady [email protected] http://www.escape.ca/~chlady

From: Petter Ogland ([email protected]) Date: Tue, 31 Mar 1998 12:17:29 +0000 Subj: Re: Space1999: The Last Enemy

David Acheson wrote: After the plateau that was reached by WAR GAMES, it would be fairly certain that almost any episode would find it hard to live up to the same expectations. THE LAST ENEMY had that unfortunate task.

A striking part of the first year production is the wide scope of episodes, I feel. While THE LAST ENEMY has nothing to do with the change of directions made in year two, it sometimes almost feels like being made for another series. THE FULL CIRCLE is the first episode that comes to mind having a similar oddness to it, perhaps not too strange, as David also points out, both being directed by Kellett. According to Johnny Byrne, who wrote the script for Kellett's first contribution, VOYAGER'S RETURN, Kellett liked to work on his own, and there was very little discussion between him and the writers in the making of his episodes. Personally I feel that VOYAGER'S RETURN is the episode the strikes the most chords with the general SPACE: 1999 feel, but this being somewhat anonymously directed perhaps, I believe I can understand why David favours THE FULL CIRCLE as Kellett's most well accomplished work for the series. In THE SPACE:1999 DOCUMENTARY and ALPHACON, Kellett explains that THE FULL CIRCLE was, in fact, the piece of work he felt most content with, and THE LAST ENEMY, which was apparently working on in collaboration with Barabara Bain, was a rather difficult thing, Kellett having difficulties understanding Barabara's intentions with the script. I must admit from the start that I enjoyed THE LAST ENEMY as a kid - big ships and big explosions. As an adult and some twenty years later I do not see much else there. Its predecessor, WAR GAMES, was billed as an action episode but Christopher Penfold gave us some great philosphical ideas (mostly anti-war) to go along with it. What Kellett ended up

The Last Enemy giving us was CHARLIE'S ANGELS in outer space.

CHARLIE’S ANGELS? He-he. David's sense of humour is one of the things I really enjoy about this list. I must admid though that it also rings true, especially in the early prologue sequences. More so, it doesn't strike me that the female actors playing co-pilots to Dione have been chosen because of outstanding acting abilities. The credibility in some of the scenes in this episode seems dangerously close to zero, but seemingly being a Freudian drama of sorts it doesn't really seem to matter all that much. Anyway, Caroline Mortimer is both beautiful and a very talented actress, I feel, although her best scenes perhaps being on Alpha and not on the warrior ship. I am not sure though that this {CHARLIE’S ANGELS} was his intention. There has been a lot of talk about the issue of the battle of the sexes - the females of one world versus the males of another. I have to admit that I never saw it that way all these years. I agree Dione's all female crew was a far-fetched idea. However, it was never directly mentioned that the females were the superiors on Betha and they hated the men on Delta. That definitely would have put this episode into the 1950's B film category. Ever see QUEEN OF OUTER SPACE with Zsa Zsa Gabor?

The more I watch this episode the more I get the feel of its being derived from ideas concerning strained relationships betweent the sexes. Before filming one of the early drafts was even called THE OTHER SEX. My impression of the episode is that it is partly a serious attempt of using ideas similar to Woody Allen's ALL YOU WANTED TO KNOW ABOUT SEX, BUT WERE AFRAID TO ASK (1972), last sequence, using the outer space environment, the new sun and it's two planets, guns, thundering battle, etc. as Freudian symbolism describing love, death, sex, power, jealousy and so on to describe a rather rough state of marriage. I believe that Gerry and Sylvia Anderson were having a hard time at this moment of production, deciding to depart shortly later, and perhaps the Landaus were also having a bit of a rough. They also decided to separate, although somewhat later I believe.

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While the story is somewhat whimpsical, it does seem to include elements of a triangle between John, Helena and a younger woman. While Helena's jealousy is somewhat subdued, it seems to play a central part in the plot. The epilogue also seems to indicate that this is very much a jealousy drama. Perhaps one could look at THE LAST ENEMY as a drama along the lines of Edward Albee's WHO'S AFRAID OF VIRIGINA WOOLF or some of the high pitched marriage dramas of Tennessee Williams (such as CAT ON HOT TIN ROOF and A STREETCAR NAMED DESIRE), although Shakespeare's THE TAMING OF THE SHREW may be even more appropriate. I keep thinking of Barabara Bain and Sylvia Anderson when watching this, believing it perhaps gives some kind of insight of what was going on on the production set at the time. I believe I can understand Kellett's difficulties in writing and directing this. I don't know how insisten Barabara Bain may have been, but to me the story seems to reflect a female mind to a great extent, trying to say as much as possible at the same time and changing symbolistic imagery along the way making it hard for traditional interpretation one would use when studying the symbolic dramas of the 1870s. I like this aspect, though. Much of the interaction is superb, especially scenes involving John/Dione and Helena/Victor. The episode is a encyclodedia of subtle body language and facial expressions as Pat would testify to, I assume, Pat's earlier description and interpretation of some of the sequences with John/Dione and Helena/Victor is some of the most enjoyably insightful I've read about this episode. Petter

From: Petter Ogland ([email protected]) Date: Tue, 31 Mar 1998 13:17:48 +0000 Subj: Re: Space1999: The Last Enemy The denial of sexual differences, I believe, is one of the least agreeable side-effects from my Space: 1999 influence. I found it very difficult

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Year One to grow up treating men and women differently. While good in once sense - every individual deserves to be treated equally - each relationship is unique and requires finely tuned appreciation of the other's differences.

I have always enjoyed this aspect of the series. The unisex costumes and no-nonsense sort of dialogue in Year One portays a scientific community in a very nice way, I feel, in this line of work the difference of the sexes does not have to be stressed too much. When relaxing, the Alphans seem to reflect the relationship between men and women of the early 1970s, I think, which was considered the normal way of life in the western world from Greek society (500 B.C) until about 1980 when the traditional arrangement seemed unadequate as men and women to a greater extent were doing the same type of work, both professionally and in the domestic. I don't know if this is good or bad, but where I live at least this seems to be the way it is. While later films such as ALIEN, ALIENS, THE ABYSS, TERMINATOR II etc. seems to focus on how women integrate into this new concept of the world, the first year of SPACE;1999 seemed to take this as granted. There was no question about Dr. Russell's judgement or authority as a reference to her being a woman. On the contrary, whether Koenig was doing the right thing or not seemed much more debatable, and in episodes like COLLISION COURSE it's easy to understand Helena and Victor worries. By taking certain things for granted and playing down on the sexual differences, the difference in behaviour becomes much more interesting. Helena being jealous in THE LAST ENEMY works as a fine example of this for me. Beyond her controlled surface we have a person who may be insecure and irrational at times. An other nice example is the conversation of Balor in THE END OF ETERNITY where she suddenly plays "frustrated aggressive working woman" style of emotions. Very good and very interesting is how I see it. In my life, I've found myself detached from other people's feelings. Although fairly prevalent among the population, this detachment/ambiguity has crippled my function

as a man. I've since spent a fair bit of time trying to redefine what kind of man I want/need to be, and my explorations have been fruitful, if somewhat abstracted.

I like the relationship between John and Helena. I understand the Landaus wanted her to be pale and beautiful and him fo be dark and tough, and they certainly achieve this in the opening titles. In many ways it seems that she is a much more intelligent person than he is, but he has the power. Reading the relationship from a Niezchian perspective it is almost an Apollon-Dionyos configuration. Just like Nietzsche points out, the emotions are far superior to the intellect, and the one with the strongest feelings will finally take command. So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex? I'd like to hear some opinions before giving my answer.

Personally I've read the titles LAST ENEMY referring to ourselves. In this case, the cause for Helena's jealousy, prominent but unexplained from the very first scene where Dione appears on Alpha, may be partly an external problem and partly an internal problem and she would have to fight herself most of all. I look forward to more comments, Chris and others. Petter

From: "Willey, Martin J" ([email protected]) Date: Wed, 1 Apr 1998 09:27:35 +0100 Subj: Re: Space1999: The Last Enemy

Petter was speculating about the differences between the original script of Last Enemy (Second Sex) and the broadcast episode. This is from an article I wrote for a fan newsletter some time ago *... From first concept to finished film, an episode will undergo many changes, from major

The Last Enemy

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rewrites of the plot to subtle revisions of dialogue.

launch. As the Satazius closes on the base, one scene of dialogue was cut.

But it is unusual when a final shooting script differs radically from the completed episode. This is true of the script titled "The Second Sex", dated 25th October 1974, and the episode it became, "The Last Enemy", filmed just a fortnight later on 8th November. The episode is also unusual in that the director, Bob Kellett, had also written the script.

Flippantly Victor remarks "Looks like we'll soon know what it's all about. The spaceship, I mean, not eternity."

Last Enemy is a simple adventure story, a "space opera" in which the Moon finds itself in the middle of an interplanetary war. It was filmed immediately after the episode "War Games". Although both episodes feature exciting space battles, the contrast between them is marked: in Last Enemy the action is straightforward and action oriented, while War Games is a metaphysical parable. Although it has some impressive special effects, Last Enemy had a much lower budget than others (most of the money had just been spent on War Games). The action is largely confined to Main Mission and the Command Office, with some padding scenes in the Satazius and a short excursion into Sandra's quarters. Second Sex opens with a male Bethan announcing to Dione that the Moon will soon be in position. In Last Enemy it is Theia who makes the announcement; no male Bethans are shown. Scenes in the script describe the spaceship Satazius moving out from a vast underground bunker and launching from the planet surface. The episode shows somewhat less spectacular, and much cheaper, shots of the ship leaving Bethan orbit. The script contains no scenes or dialogue inside the Satazius; Dione could be alone or have thousands of crew. The episode adds many short scenes of Dione and a crew of three female Bethans in a rather bland and unimpressive control room. The new dialogue inside Satazius adds much cleverly ambiguous menace: "Touch down and assault will be as planned", states Dione. Many of the early sequences of the script were filmed with little modification, including the eerie scenes of the Eagles trying and failing to

"Victor-" protests Koenig. "Sorry, John; I'm a born optimist." Victor gives an enthusiastic lecture about the two planets to Koenig and Helena, both too anxious about the gunship to pay him full attention. "I'm not boring you am I?" he asks as he notices them staring out of the window. "No, Victor." replies Helena. "But don't you find things a little tense?" "That always makes me talk a lot and get very cheerful." The script portrays the Satazius as an almost organic monster, its parabolic reflectors like giant eyes, the rocket tubes adjusted by mechanical arms. However, no missiles are described: only "pencils of light" moving to their targets. The missiles shown in the completed episode are somewhat spoiled by the puny rocket flames, looking like cigarette lighters. Much of the bombardment, as the Satazius fires at the planet Delta and Deltan missiles strike round the base, is as described in the script. A short missing scene occurred at the start of the attack, as Koenig orders everyone to drop to the floor. "Cover your ears. Open your mouths. If you can- keep your body off the floor with your toes and elbows." he advises, to protect them from the blast. After the Satazius is apparently hit, the script describes the escape capsule as a ground vehicle approaching the base. This became a flying craft on screen. In the script Koenig explains why, although he had been willing to attack the battleship, he will not attack the escape craft. "If a buffalo is charging at me, I shoot it. But I don't kill a beetle- unless it's eating my roses."

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Dione is allowed into Alpha and taken to Main Mission. On screen, a new initial scene features Dione demanding sanctuary from Koenig, then threatening that Alpha will be attacked unless they take her in. It is an odd scene, showing Dione's arrogant nature, but the threats are not likely to win support or influence the Alphans. In the script Dione explains "Their planet contains vast reserves of minerals and energy sources. We need them for our survival." Another addition, not in the script, was the scene in which Alan tells Paul of his doubts about the Satazius, wondering if it was as knocked out as it appeared.

For an instant Dione looks startled, then she recovers herself. Koenig cuts in quickly reassuringly. "Don't worry. As soon as we're out of danger we'll send you back in one of our Eagles."

After the Deltan gunship lands and begins another bombardment, Dione's suggestion of an evacuation to Betha was taken much farther in the script. Koenig accepts the offer and orders personnel to prepare to evacuate: a sequence shows Alphans boarding the Eagles in the underground bunkers. The screened episode does leave in Paul's line at the end of the episode, however: "Evacuation procedure negative."

In the script she states "Well, I don't trust her."

After the Deltan gunship is destroyed, the sequence in which the Alphans decide to organise a cease-fire is shortened in the completed episode. In the script, Koenig remarks flippantly that they stick a white flag out of a window; this prompts Victor to suggest a truce. The dialogue with the military leaders Theia and Talos is similar in script and on screen, with the nice comic touches such as Theia's "We have been accused of starting this war. We did not. It started long before we struck the first blow. They were unreasonable. They have always been unreasonable." The demand by Talos that a Deltan gunship should be ready in orbit was not in the script. The remainder of the episode differs in important ways from the script. The scene in which Koenig offers Dione the use of Sandra's quarters was more significant in the script. Koenig explains that as the Alphans must police the cease-fire, there should be no combatants in Main Mission. As Sandra leads her off, Koenig stops her. "Dione. There's still one problem. How are you going to get back to your planet?"

"But Commander- I thought all your people were coming to Betha. From what I have seen here you will like us." The scene after this, in which Koenig, Victor and Helena discuss her offer, is also shortened on screen. It ends with Helena asking "Do we trust her?"

Koenig protests: "Helena- for Heaven's sake. I have to make a decision based on logic and reason. All our lives depend on it." "It's not a matter of logic and reason. It's a matter of feeling." "What feeling? Feminine intuition..." Victor objects: "John, that's not worthy of- " Helena counters "Are you so taken in you can throw that one at me?" "Now Helena-" warns Victor. "Oh shut up, Victor." she replies. "Can we leave personalities out of it. I want to make a clear decision." Koenig declares. Helena is sceptical. "Based on what? A promise from a dewy eyed girl who an hour before had launched her own Pearl Harbour?" The script does not show Dione in Sandra's quarters, or explain how she escapes, though this is shown on screen with Dione teleporting herself. Back on the Satazius, Dione calls Koenig. "You are surprised at me? Really, you shouldn't be. I nearly gave myself away more than once. Do you remember when you asked me how I was to return to Betha? I knew I was going back in my Satazius. I reacted badly: I am sure Doctor Russell noticed." Again, this appears in a different form on screen. Dione

The Last Enemy launches her surprise attack on Delta. Talos then demands that Koenig give him the coordinates of the Satazius. In the script Koenig does, the Deltan missiles destroy the gunship and the episode ends. Evidently the episode ran short, so a long additional sequence was added. Dione prevents Koenig transmitting the coordinates by the obvious step of threatening to destroy Alpha if he does. Koenig stages his own breakdown, demanding to be let aboard the Satazius. He travels to the gunship in a moonbuggy, but Dione realises too late it is a trap: an empty spacesuit in a buggy packed with explosives. The buggy destroys the Satazius, and the Alphans tell Talos to destroy his missiles. The epilogues are slightly different: on screen Koenig is curious about what life on Dione's planet would have been like. In the script Koenig tells Helena that he is concerned he did not recognise Dione's deception:

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suspicions of the Alphans. On screen she is more of a Amazonian warrior, belligerent and arrogant, and the Alphans are more sceptical of her. The screen Koenig not only resists Dione's charms, he is actively hostile to her. The distrusting and resentful Helena all but disappears on screen. As the title changed from "The Second Sex" to "The Other Enemy", and finally "The Last Enemy", the sexual themes of the script were lost. However, by only showing female Bethans and a single male Deltan, Kellett suggests that the space war is itself a battle between the sexes. "The Last Enemy" is one of the weaker episodes of "Space: 1999", but it is entertaining, with thrilling space battles and ingenious deceptions. It is certainly much improved from the "Second Sex" script, although it has lost much of the humour and some nice characterisation. * Nick Tate newsletter 1988.

"How could I have been so wrong?" "We all make mistakes." Helena assures him. "But that could have been a fatal one- for all of us. I'm worried about my judgment." "About women? Forget it. It takes a woman to know a woman." "It's as well you were around: she had me fooled. I'll never ignore feminine intuition again." "Right. It's a thing called jealousy." He looks at her astonished, then laughs and puts her arm around her shoulder. The shooting script of Second Sex was clearly too short to fill a fifty minute episode, and most of the changes were to accommodate additional scenes. Although some additions, such as the psuedo-technical dialogue in the Satazius, are padding, the new scenes generally enhance the tension and excitement of the story. In particular, the new ending is much more satisfying. Dione is a beguiling siren in the script, her intelligence and seductive looks weakening the

Martin Willey [email protected] [email protected] http://www.geocities.com/Area51/8722/ will open soon!

From: Petter Ogland ([email protected]) Date: Wed, 1 Apr 1998 10:14:50 +0000 Subj: Re: Space1999: The Last Enemy

Martin wrote: Petter was speculating about the differences between the original script of Last Enemy (Second Sex) and the broadcast episode. This is from an article I wrote for a fan newsletter some time ago *...

Excellent, Martin! Your analysis of the differences gives tremendous insight to what the story was really all about, and reasonable explanations for why it was changed. I'm astounded by how well we have managed to make sense out of the episode by speculating about differences in the script

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versions. I wonder, though, why so many of the Barabara Bain lines were left out when they after all had problems with filling the 50 minutes and Barabara assumingly was the one that was pushing this episode. Perhaps she got frustrated along the way, Kellett misunderstanding her ideas, and just wanted to get it over with. I find Kellett's script highly amusing, and must say that my admiration for him has grown considerably after I feel I grasp more of the man and what he wants to do. Many of the early sequences of the script were filmed with little modification, including the eerie scenes of the Eagles trying and failing to launch. As the Satazius closes on the base, one scene of dialogue was cut.

Too bad this wasn't included. From what I've understood Bob Kellett seems to have directed a number of British sex-comedies in the 1970s, so this could explain his fascination with filming Sandra in a tiny leopard skin, a sequence he talked very enthusiastically about in the ALPHACON video, and for including this sort of humour in THE LAST ENEMY.

letdown that they excluded so much of the inspired parts. Nevertheless, to me THE LAST ENEMY is becoming more and more interesting the more I learn about it. Thanks Martin, for the enlightment! Petter

From: David Acheson ([email protected]) Date: Wed, 01 Apr 1998 06:15:16 EST Subj: Space1999: The Last Enemy Part Two

Thanks to Martin Willey for the history behind how THE OTHER SEX became the finished product we are discussing this week, THE LAST ENEMY. I can now understand where all this battle of the sexes stuff came from.

This was even better than the sequence with Victor's enthusiasm. I'm really beginning to like Kellett, wonderful sense of humour, very British I suspect though, and perhaps Barabara Bain may have felt offended by it and resisted to do it. What a loss for the episode that this was not filmed!

I agree with Martin that the finished episode was by far superior to the initial script. The episode is un-1999-like as it is but the original was vastly out of line with how year one had proceeded since BREAKAWAY. Some of the dialogue mentioned in Martin's message was painfully bad and reduced the complex ambiguous style of the show down to a rather simple story. If Dione was intended to be a space siren capturing Koenig's heart she wasn't well developed like the servant in GUARDIAN OF PIRI. The rather obvious jealousy of Helena over Koenig's infatuation of Dione reduced the competent medical officer to a childish figure. It also makes no sense to have Victor ramble on and on for no apparent reason other he gets giddy in times of danger. Can you imagine him doing that in WAR GAMES?

The way the filmed version turned out to be, it was rather whimsical, I feel, and by reading Martin's comments I sense a much more coherent story, it just seems too obvious that Kellett was not the man to chose if Barabara Bain wanted a story on female psychology, not from the female point of view anyway. Kellett seems to have had great fun writing the script, however, first draft at least, so it's a bit of a

The filmed Dione was a more mysterious character that I think worked out well. In the beginning we were not too sure what the Satazius' mission to the moon was. She asked for asylum on Alpha and agreed to Koenig's peace offer but we all knew there must be something more to her. Koenig's distrust of her actually fits in well with how Koenig has proceeded so far in the show.

I wonder why they left it out. Was Penfold still with the series at this time? If he was, perhaps he, Johnny Byrne or Gerry Anderson thought it was too silly. Perhaps Barry Morse was objecting? I can't see why, though. Personally I think it would have fitted nicely with the odd character of this episode.

The Last Enemy Thus now I can see that the cheesy CHARLIE'S ANGELS bits were more or less remnants of the original idea. I do believe that having Dione getting orders from a male boss would have cut once and for all all the talk about battle of the sexes. Why this character was replaced by Theia I don't know? I agree with Petter that Caroline Mortimer was competent enough in the role but I do not believe she was one of the stand out guest artists to appear in the series. Overall, my original assessment of the episode has not changed much. However, I now have a better understanding of its development and am thankful Bob Kellett upgraded the story to save it from certain death. David Acheson

From: Petter Ogland ([email protected]) Date: Wed, 1 Apr 1998 12:12:14 +0000 Subj: Re: Space1999: The Last Enemy Part Two

David wrote: I agree with Martin that the finished episode was by far superior to the initial script. The episode is un-1999-like as it is but the original was vastly out of line with how year one had proceeded since BREAKAWAY.

Un-1999-like indeed, but, nevertheless, an interesting effort to explore what was possible within the 1999-format. Similiarily I also find THE FULL CIRCLE and THE INFERNAL MACHINE quite un-1999-like, at least compared to early efforts such as BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN. While these early episodes are the sort of adrenaline that I need every now and then to really get into the SPACE:1999 mood, I also enjoy some of the less typical episodes. While I initially found THE LAST ENEMY to be one of the very least interesting episodes in the series, at the moment I find it one of the most interesting.

257 Some of the dialogue mentioned in Martin's message was painfully bad and reduced the complex ambiguous style of the show down to a rather simple story.

He-he. It depends somewhat on ones point of view, I suppose. While I think the "flowergiving-scene" in DRAGON'S DOMAIN is totally awful, I think Kellett's tounge-in-cheek views on female psychology was very fitting in this one. Victor's speach seemed hilarious. It's almost as though Kellett tried to make the episode a parody of the series. If Dione was intended to be a space siren capturing Koenig's heart she wasn't well developed like the servant in GUARDIAN OF PIRI.

That's a good point. Kellett's visualisation of Dione in motorcycle gear was an intruiging one, I think, and making her more of an Amazone warrior made perfect sense to me. The rather obvious jealousy of Helena over Koenig's infatuation of Dione reduced the competent medical officer to a childish figure.

He-he. Childish, but fun, a bit like THE GUARDIAN OF PIRI actually, except for Penfold's (or may it have been di Lorenzo's?) metaphysical and moral statements. It also makes no sense to have Victor ramble on and on for no apparent reason other he gets giddy in times of danger. Can you imagine him doing that in WAR GAMES?

Makes a rather shivering contast to WAR GAMES, doesn't it? In WAR GAMES it would have been totally out of character, in THE LAST ENEMY or perhaps even in DEATH'S OTHER DOMAIN, it would have spiced up the story, I feel. I wish they had gone for the original script, but, nevertheless, it was great fun to read Martin's comments and to imagine what it might have looked like. I agree with Petter that Caroline Mortimer was competent enough in the role but I do not believe she was one of the stand out guest artists to appear in the series.

Did Carilone Mortimer star in any of the Hammer Horror films of the sixties? Brian, perhaps you know? She has a certain charm to her that makes her seductively dangerous and

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would fit perfectly in the company of Christopher Lee and Peter Cushing. Overall, my original assessment of the episode has not changed much. However, I now have a better understanding of its development and am thankful Bob Kellett upgraded the story to save it from certain death.

He-he. I always enjoy reading David's comments. Petter

From: JSchill824 ([email protected]) Date: Wed, 1 Apr 1998 11:14:22 EST Subj: Space1999: The Last Enemy

I'm glad they didn't stick to the original script of "The Second Sex". Good lord, I read the original script a while ago and all I can say is it's awful!!! Let me stress - I mean really bad! They totally left out the scene where they tricked Dione. In the ending, instead of the Commander going out to the ship (the bomb that is-dressed as the commander) he tells Talos the co- ordinates of the Diones gun ship and its destroyed. That’s it. Kind of a let down after seeing the changed scene. Plus often there were times where I just felt dialogue was out of character. There is even a scene where Helena tells Victor to shut up. :-p I believe the changes in The Last Enemy were well needed. I'd preferred instead how it concentrated on the idea of how war really sucks rather then the "feminine intuition" and jealously garbage. Better that it didn't focus not being an issue of gender war, but just on the pointlessness of war itself. They did a good job showing that there was no diplomacy for these two planets. Funny how when we see the Delta guy Talos, his eyes were usually shut and how both planets circling the sun also never saw each other. Nice metaphor for not being able to “see”, compromise etc.

course they choose space - not a hard decision but a nice ending. Lastly, I could excuse the "CHARLIE'S ANGELS in outer space" as per David's comment, and even the "Emma Peel like" leather space suit Dione wore, but high heels! Not! I'm sorry, but if you were at war, you would not be wearing heals! (Just my opinion) So what I liked about this episode is I have a poster of Diones ship Satazius signed by Martin Bower! Cool ship, not so cool episode. Even with the great special effects and I liked how they deceived Dione in the end, but having said that The Last Enemy still falls short of being a good episode. Janet

From: Mboelke58 ([email protected]) Date: Wed, 1 Apr 1998 13:53:05 EST Subj: Re: Space1999: The Last Enemy

Petter Ogland wrote: believe that Gerry and Sylvia Anderson were having a hard time at this moment of production, deciding to depart shortly later, and perhaps the Landaus were also having a bit of a rough. They also decided to separate, although somewhat later I believe.

This "somewhat later" was "somewhat much later" in 1983. They were divorced in 1993. I think the problem of the Landaus was that they returned to Hollywood and found themselves no longer interesting for the producers, her, having "a reputation as a pain in the ass" as she said in a later interview (due to the famous alleged wage dispute - does anyone remember IMF?) and him being told by his agent "You are hard stuff to sell". Just my personal opinion and a marginal note. Marianne

In the ending I liked the conversation with Helena and Koenig talking about the possibilities of moving to the warring Bethan planet or facing the fate of unknown space. Of

From: Petter Ogland ([email protected])

The Last Enemy Date: Subj:

Fri, 3 Apr 1998 14:01:32 +0000 Re: Space1999: The Last Enemy

Oops! What I wrote was, of course, speculations, as I also pointed out, I hope. Nevertheless, thank you Marianne for putting things right! Petter

259

looked like a budget version of Diana Rigg in The Last Enemy. She resembles Diana somewhat but seems very hard and cold and lacking in charsima of any kind -- part of the reason I don't like the episode much. Of course, Diana is smashing as Emma Peel and would be hard to measure up to. Let's see how Uma Thurman does. Robert Ruiz San Francisco, California USA

From: Date: Subj:

[email protected] Wed, 01 Apr 1998 14:58:50 EST Space1999: The Last Enemy

In the opening scene where Satazius is in orbit around Betha, there are two other small ships visible. They look a lot like the Sidon ships from "Voyager's Return." Can anyone else confirm this? The scale difference between Satazius and the others is so large it's hard to tell. Also, I have a cut out picture of Dione's lifeboat from a fan magazine that happened to find its way as a bookmark in an Orbit novelization that my cousin picked up for me at a used bookstore in England. According to the caption on the picture, the original plan was for Dione's ship to drop out of the bottom of Satazius, hence the egg shape. Don't know if this was in the original script or not but thought I'ld pass it on. Finally, what did Dione ride, a Yamaha, Kawasaki, or Harley-Davidson? David J Lerda

From: "Robert Ashley Ruiz" ([email protected]) Date: Wed, 1 Apr 1998 14:01:08 +0000 Subj: Space1999: Mortimer Peel

Janet wrote: and even the "Emma Peel like" leather space suit Dione wore...

Ha! I have ALWAYS thought the actress chosen to play Dione (Caroline Mortimer)

From: Petter Ogland ([email protected]) Date: Fri, 3 Apr 1998 13:57:42 +0000 Subj: Re: Space1999: The Last Enemy

Janet wrote: I'm glad they didn't stick to the original script of "The Second Sex". Good lord, I read the original script a while ago and all I can say is it's awful!!! Let me stress - I mean really bad!

It's nice with different opinions. While I'm getting more and more enthuiastic about this, Janet, who usually contributes highly enthusiastic psychological and emotional insights to the series, is expressing views complementary to mine on this weeks THE LAST ENEMY. They totally left out the scene where they tricked Dione. In the ending, instead of the Commander going out to the ship (the bomb that is-dressed as the commander) he tells Talos the co- ordinates of the Diones gun ship and its destroyed. That's it. Kind of a let down after seeing the changed scene.

Interesting. I always felt the scene where they tricked Dione seemed a bit redundant. Apart for in BREAKAWAY, I also think the moonbuggy looked too much of a model. It looked perhaps a little bit better in THE LAST ENEMY than in THE INFERNAL MACHINE, but only slightly. Plus often there were times where I just felt dialogue was out of character. There is even a scene where Helena tells Victor to shut up. :-p

He-he. I must admit I raised an eyebrow, reading Martin's extracts from the script, but thinking more along the way this was

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expressing Bob Kellett as a writer and director, I thought it seemed perfect for this kind of episode. Orson Welles is noted for having said something like "A film is as good as it is able to express it's creator." This quote fits nicely with Citizen Kane, I believe, and makes sense with directors like Hitchcock, Renoir, Kubrick, Bergman, Fellini, Godard, Antonioni etc., I think. In a way, this is also how I value Austin, Crichton and Tomblin at their best. These three seem to have contrasting personalities, turning out episodes that are strikingly different in emotional character and content. From what I've read, the collaboration between Johnny Byrne and Bob Kellett on VOYAGER'S RETURN was not the greatest, Kellett being handed the script just goes out and makes it without any exhange of ideas with Byrne what so ever. While it is perhaps the one in the Kellett trilogy that is most coherent with the series as a whole, his style of direction seemed rather anonymous to say the least, this was at least my impression last time seeing the episode. On THE LAST ENEMY, Kellett is given totally free hands, so it seems, and while Penfold and Byrne where reading and adjusting the scripts, the original THE SECOND SEX gives wonderful insight into Kellett's understanding and wanting for the series, I feel. If not as drastic as Fred Freiberger, he certainly tries to make his contribution in both FULL CIRCLE and LAST ENEMY to prevent the formula from drying up. While both Freiberger and Kellett seem to enjoy adding silliness to the series, I must say I still prefer Kellett. Anyway, the Alphans are by now lightyears away from the ideas and concepts of BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN. I believe the changes in The Last Enemy were well needed. I'd preferred instead how it concentrated on the idea of how war really sucks rather then the "feminine intuition" and jealously garbage. Better that it didn't focus not being an issue of gender war, but just on the pointlessness of war itself. They did a good job showing that there was no diplomacy for these two planets. Funny how when we see the Delta guy Talos, his eyes were usually shut and how both planets circling the sun also never saw

each other. Nice metaphor for not being able to “see”, compromise etc.

After WAR GAMES I think it seemed natural to defocus the "how war really sucks" aspect. Personaly I found the ideas circling around feminine intuition and jealousy quite interesting. By cutting down on these psychological aspects I feel the episode inclines more to the STAR TREK formula film making, removing itslef away from the psychological investigation of the human spirit that had been at focus in many of the early episodes like BLACK SUN. It shows less of Kellett both as a writer and director, I would assume. On the other hand, as Kellett seems to angle the episode in a quite new direction by uncharacteristic and unconventional writing, I also understand the worries of Gerry Anderson, Byrne and Penfold in order to make it fit the usual format. One of the ITC directives was that the episodes should be assembled in such a manner that they could be aired in any order without causing frustration for the viewer. In the ending I liked the conversation with Helena and Koenig talking about the possibilities of moving to the warring Bethan planet or facing the fate of unknown space. Of course they choose space - not a hard decision but a nice ending.

My impression was that this was supposed to be a matrimonial wash-up, discussing whether they should split, referring to Koenig flirtation with the younger woman, or, as the finaly did, decide to continue business as usual. With the downplaying of the symbolism in the revised script, this seemed a bit odd, but reading about Kellett's original intents, such an interpretation seems less un-natural, to me at least. Who knows, perhaps Kellett was rethinking his own marriage. Lastly, I could excuse the "CHARLIE'S ANGELS in outer space" as per David's comment, and even the "Emma Peel like" leather space suit Dione wore, but high heels! Not! I'm sorry, but if you were at war, you would not be wearing heals! (Just my opinion)

Totally absurd, of course, but again perhaps it reflects Kellett's sense of humour and his work

The Last Enemy

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with sex-comedies at the time with lovely young ladies running in and out of closets just wearing bikinis or underwear and, probably, high heels as well.

From: JSchill824 ([email protected]) Date: Fri, 3 Apr 1998 11:34:09 EST Subj: Space1999: Petter and The Last Enemy

Petter

Hey Petter and fellow Alphans,

From: "Petter Ogland" ([email protected]) Date: Fri, 3 Apr 1998 14:29:12 +0000 Subj: Re: Space1999: Mortimer Peel Ha! I have ALWAYS thought the actress chosen to play Dione (Caroline Mortimer) looked like a budget version of Diana Rigg in The Last Enemy. She resembles Diana somewhat but seems very hard and cold and lacking in charsima of any kind -- part of the reason I don't like the episode much.

Interesting Robert should say this. Personally I think Caroline Mortimer had great appeal, a wonderful actress on all accounts. Her apparent hard and cold approach to the role was absolutely splendid, I think, very much in line with the sort of Walkure she seemed to represent. It obviously made her incredibly interesting in the short moments when she was playing around with other feelings. Fantastic, I would say, one of the best female performances of the whole series. If they had revised THE SECOND SEX by downplaying graphical action and keeping in more of the psychologically interesting scenes, but straitining up the tongue-in-cheek style, perhaps it would have been more in line with what Ingmar Bergman was making at the time, such as the TV series SCENES FROM A MARRIAGE (1973). The way I see it Carline Mortimer had enormous charisma, perhaps even more than Joan Collins, who also has a supreme command over her acting skills, but had to face a perhaps less spectacular role, pshycologically speaking that is, at least from where I'm standing. Petter

Totally absurd, of course, but again perhaps it reflects Kellett's sense of humor and his work with sex-comedies at the time with lovely young ladies running in and out of closets just wearing bikinis or underwear and, probably, high heels as well.

I'm sorry but the consistency in this bends, buckles, and BREAKS! I don't think I like any of Kellett's episodes except the possibilities of VOYAGER'S RETURN. Funny how usually I'll agree with you Petter, but the buck stops here. This episode - even with the changes still is bad. Plus to focus on the gender issue with the overall as you put it "silliness" would have been damaging and insulting. There is an episode (help me out trekfan) in the original Star Trek series where there were 2 aliens. One was black on one side and white on the other, and the other alien it was in reverse. Their "differences" made them hate each other. When the crew realized what they were fighting about they were horrified. I felt this was well done and appreciated the risk they took when writing the script. To make a comment on such a issues as race, especially back then, had to done with thought and conviction. If The Second Sex was to be such an episode, it should have been approached in this way and NOT silliness, and high heals. (JMO) He-he. I must admit I raised an eyebrow, reading Martin's extracts from the script, but thinking more along the way this was expressing Bob Kellett as a writer and director, I thought it seemed perfect for this kind of episode. Orson Welles is noted for having said something like "A film is as good as it is able to express it's creator." This quote fits nicely with Citizen Kane, I believe, and makes sense with directors like Hitchcock, Renoir, Kubrick, Bergman, Fellini, Godard, Antonioni etc., I think.

I like the quote and Yes it maybe true, but Kellett is no Kubrick, and there still something to be said about constancy. Just look at how we all have problems with the complete changes from y1 and y2. A more gradual change would have made more since and kept the viewer

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believing in the characters and the series as a whole. Lastly I would agree that maybe they were over doing the anti-war theme, but then again take away this and the theme of the Alphans being a plight on the universe and much of y1 would be gone. (that seems harsh, sorry, I still love year one!) Just my opinion, Janet

From: [email protected] Date: Fri, 03 Apr 1998 18:58:42 EST Subj: Re: Space1999: Petter and The Last Enemy There is an episode (help me out trekfan) in the original Star Trek series where there were 2 aliens. One was black on one side and white on the other, and the other alien it was in reverse. Their "differences" made them hate each other. When the crew realized what they were fighting about they were horrified.

Janet, The episode you are thinking about is "Let That Be Your Last Battlefield" written by Oliver Crawford from a story by Lee Cronin. I believe that Lee Cronin was a pen name for Gene Coon, one of Star Trek's producers. The episode guest starred Frank Gorshin (the Riddler from "Batman") as Bele and Lou Antonio as Loki. Lou Antonio also appeared in "Cool Hand Luke" as Koko. This episode has always been one of my favorites and I agree that it was pretty daring for its time. Hell, it would be pretty daring for today. Hope that helps. David J Lerda

From: David Acheson ([email protected]) Date: Fri, 03 Apr 1998 21:36:55 EST Subj: Space1999: Space Babes

I have never seen such talk over one episode as much as I have seen over this week's episode for discussion, THE LAST ENEMY. Janet makes some very valid points. Most I agree with but she is very hostile to Bob Kellett's space babes. For one, I must admit it was a bit silly to have women in revealing clothes driving through the cosmos to blast missles at another planet. This was very unlike what we have seen in earlier 1999 shows. Yes, Ms. Schell wore hardly anything in GUARDIAN OF PIRI but there was a complex and serious plot and her character's ability to appear in a pleasing form was essential to the storyline. I don't believe the crew of the Satazius's battle dresses were. Still the show didn't go completely silly so when I brought up CHARLIE'S ANGELS I really was only referring to parts of this episode. Just keep year two's DEVIL'S PLANET and DORZAK in mind when we want to really discuss CHARLIE'S ANGELS. The greatest sin of this episode was not to fully stick with a moral to tell. Was it an anti-war episode or a battle of the sexes. Neither issues were explored in enough detail to let us know what direction Kellett wanted us to go in. To date its a cute little war episode that I don't mind watching but I cannot take so seriously like WAR GAMES. This was the point of my first message. Caroline Mortimer was a poor-man's Emma Peel. She had the looks and her character at least had some development. All the other aliens were interchangeable. However, I too have to say she did not have the fire that Diana Rigg had in connecting with an audience. I cannot place her as one of the series greater guest stars. Sorry Petter. Even the second year had some stand out actresses - Billie Whitelaw, Carolyn Seymour and Ann Firbank. Still I understand Petter's amusement over Kellett's sex comedies. They may have had a place in some other project but they were just too out of place for 1999 - years one and two combined. Just a few more of my thoughts. Scary that I had so much.

The Last Enemy David

From: Chris Hlady ([email protected]) Date: Fri, 3 Apr 1998 22:16:41 -0600 Subj: Re: Space1999: The Last Enemy So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex?

Answer: Bill Clinton's biographer ;-) Cheers, Chris Hlady

From: Patricia Embury ([email protected]) Date: Sat, 04 Apr 1998 17:23:24 -0500 Subj: Space1999: The Last Enemy

The Last Enemy is definitely a different type of combat scenario than "War Games". War Games was more of a psychological thriller, with a straight up in your face combat. This one has more of a "helpless Alphan" feel to it. There they are, minding their own business when a ship comes from one of the planets, lands, and starts attacking the opposite planet, and the scenario is repeated. Then Dione shows up and a truce is worked out. Koenig knows that they are all dead if there is a full scale assault, even "smart missles" miss their targets eventually. I found it most interesting that the male alien spent most of his conversation with his eyes closed. He almost looked bored or tired with the whole thing. The biker costume was probably done for financial reasons. If most of the money was spent on War Games, they probably recycled this costume from another production. It also did look rather alien in nature, and made Carolyn Mortimer look attractive, and a bit dangerous. She was also dressed a little too formally for the battle. Granted, you want to look your best, but I don't think Norman Swarzkoff (?sp) wore a tux to start the ground offensive in the Gulf War. People seem attracted to things, or other people who have an air of danger around them.

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The jealousy aspect of the episode was a bit subdued. Helena seemed more amused at first, than jealous, when Dione fell on the Commander, then put her arm on his to try to get them to move to her planet. Later, she looked rather tired of it, and, if she had the chance, would probably laid down the law. John seemed to be firmly in control, so Helena didn't appear to doubt his loyalty to her. I would like to thank Martin for posting his article about the episode. It really put things in a different light for me. The "Pearl Harbor" scene should have been left in, but I'm glad they added that scene with Alan and Paul. A nice piece of forshadowing. At first, I took it as a classic "battle of the sexes" type plot, which, let's face it, was a hot topic back in the 70's. From bra burning, to Bobby Riggs vs Billy Jean King the idea for this type of episode has merit. Especially since previous episodes have talked about other topical issues. My question is, did the writer/director make these changes deliberately to focus more of the direction on the " battle of the sexes" theme? I would also like to know what changes/input Barbara Bain was aiming for when she tried to collaborate with the writer. Has she ever said anything publically on this topic? My little nit with the episode: We see parts of the base being hit or exploding near the end of the episode. Koenig says we can't take much more. Then Helena walks in and says they have a lot of causalties. Later in the episode, she states that only a few people have ruptured ear drums. What happened???

From: Date: Subj:

[email protected] Sat, 04 Apr 1998 21:13:38 -0500 Space1999: The Last Enemy

Indeed a very straight-forward episode. The crew on the women's ship lean to one side when their ship get underway? Not even the eagles do that. The women know what the eagles are called? Ultrasonic magnetic distortion? A weapon that sends sound through the vaccum of space?

264 Would the Alphans hear anything flying over their heads outside in the vaccum of space? Is the commander of Planet Delta asleep? "We survived." "Yes, but think of the cost." Does that mean they should have let themselves get killed instead?

Year One We see buildings on Alpha destroyed, Helena runs in saying they can't take anymore casualties, and yet at the end there are only five cases of middle ear damage?

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19. The Troubled Spirit The discussion starts by commenting on the episode from the viewpoint of earlier discussions where Byrne’s Irish-Catholic background have been mentioned. One discussant suggests that the episode could have been written as a a response to the popularity at the time of The Exorcist. These comments makes another discussant contribute a long comparative analysis of themes and cultural background in some of the main works of Penfold, Terpiloff and Byrne. Yet another discussant comments on the central themes in the episode by referring to her own Irish-Catholic background. From: David Acheson ([email protected]) Date: Mon, 06 Apr 1998 05:53:50 EDT Subj: Space1999: The Troubled Spirit

The moon has left yet another solar system behind (Betha and Delta's) and is once again out in the void of deep space. A perfect setting for a little ghost story called THE TROUBLED SPIRIT. In a move back to the core of the series (unlike the previous THE LAST ENEMY), Johnny Byrne gives us a quirky story. This is not one of his best episodes but its not bad either. Ray Austin does the best that he can do with it. Its rather low key but at this point in the sequence it is a welcome relief. Sorry to all fans of explosions and Eagles and space phenomenons. Like FORCE OF LIFE, the entire chain of events take place within the confines of Alpha. The twist to this ghost story which makes it somewhat worthwhile is that the ghost is of someone who is still alive. What an eerie feeling it must be to see your own ghost coming after you. No overly great acting from the guest cast but nothing horrendous either. This episode is the first to feel the effect of a rift between the two financiers of year one ITC and the Italian television network RAI. RAI demanded more Italian actors thus we got Giancarlo Prete in the role of Dan Mateo. I for one have no problem with this move. While the politics of the business should not play a role in a show's development, the reality is that it does everywhere. However, the one thing I admired about 1999,especially in year one, is the feeling I got that Moonbase Alpha was truly an international cooperation. STAR TREK may be recognized for Gene Roddenberry's opening of the doors to nonWASPS on sci-fi TV but SPACE: 1999 boldly carried it further and with no fan fare. In many

respects European television was light years ahead of its American counterpart. Its interesting Petter Ogland brought up in an earlier message Johnny Byrne's Catholic background as an influence in Byrne's scripts. In this case we actually get a space age exorcism. Although this could also be a response to the popularity at the time of THE EXORCIST (Released in 1975 wasn't it?). Thankful Byrne was smart enough to shy away from pirating - no vomit and no head spinning. The opening sequence for the episode is perhaps the most amusing part. No dialogue and new age Indian music. The audience gets what it needs just from the visual. One of the most effective openings in the series. Perhaps the only complaint I have is of how Mateo's ghost is unleashed. Communication with plants? I still don't get the connection other than a seance that went wrong. Not much else to say so I'll turn it over to others to comment. David Acheson

From: Petter Ogland ([email protected]) Date: Tue, 7 Apr 1998 11:22:51 +0000 Subj: Re: Space1999: The Troubled Spirit

The contrast between THE LAST ENEMY and THE TROUBLED SPIRIT is quite remarkable. Perhaps it illustrates some of the differences of attitude between Johnny Byrne and Bob Kellett. While Kellett seems to prefer a satirical view on domestic themes such as married life, Byrne's interests seem more philosophical both in human introspect and life

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from an alien point of view, or perhaps even God's point of view if one prefers. The twist to this ghost story which makes it somewhat worthwhile is that the ghost is of someone who is still alive. What an eerie feeling it must be to see your own ghost coming after you. No overly great acting from the guest cast but nothing horrendous either.

The idea of seing ones own death or ghost is something Byrne also used in ANOTHER TIME, ANOTHER PLACE. When commenting on that episode later, he said he was trying to put the Alphans into the most frightening scenario he could think of. The double vision is a central theme in ANOTHER TIME, ANOTHER PLACE. I wonder where he got this idea. On the premiere viewing of THE TROUBLED SPIRIT in 1975, I found it rather intense. On repeated viewings, the thing I find the most interesting is the rage of Dan Mateo. While my impression of Johnny Byrne is that he is a ver pleasant man indeed, it seems as though he was fascinated by describing hysterical people at the time of making SPACE:1999. In ANOTHER TIME, ANOTHER PLACE, Judy Geeson is nothing more than a bundle of nerves, it seems. Jim Hains in VOYAGER'S RETURN is completely out of control, and so is Dan Mateo in THE TROUBLED SPIRIT. Its interesting Petter Ogland brought up in an earlier message Johnny Byrne's Catholic background as an influence in Byrne's scripts. In this case we actually get a space age exorcism. Although this could also be a response to the popularity at the time of THE EXORCIST (Released in 1975 wasn't it?). Thankful Byrne was smart enough to shy away from pirating - no vomit and no head spinning.

THE EXORCIST may have been released in different countries in different years. From what I've understood, the initial release was in 1973. This year there seems to be a sort of 25 anniversary for the film. Anyway, THE EXORCIST being one of the most talked about films at the time of making THE TROUBLED SPIRIT, I think David's reference seems highly adequate. Another film that perhaps may be worth to mention as a possible influence is THE HAUNTING

(1963). While this was over ten years old at the time, I feel Ray Austin's camera work, use of shadows, sound and wind effects is even more reminisent of this than THE EXORCIST, but this is on the production side, the script in itself, as David points out, may have more of a Catholic angle to it. The opening sequence for the episode is perhaps the most amusing part. No dialogue and new age Indian music. The audience gets what it needs just from the visual. One of the most effective openings in the series.

British guitar session musician Big Jim Sullivan, as seen in the concert sequence, is perhaps most well known for being a part of the rythm section of the James Last Orchestra from about 1978 to 1988, having much of the same function as Freddie Green had for the Count Basie Orchestra. From what I've understood, the music he is playing, which is also being used as a theme for much of the episode, is of his own writing, or something that he was improvising, Barry Gray having nothing to do with this, but very nice and efficient for this kind of episode, I feel. I wonder if this was an idea of Ray Austin, it certainly underlines the emotional content of the script. Perhaps the only complaint I have is of how Mateo's ghost is unleashed. Communication with plants? I still don't get the connection other than a seance that went wrong.

I understand there was some kind of research about plants and conciousness at the time, but neither do I get the idea quite. I've heard about plants being affected by different kind of music and even the human voice, but I don't know what Byrne was thinking of in relating them to the human soul. There is, of course, a rather central theme in very much of Byrne's writing about humans in context of their environment, most persistent perhaps in episodes like VOYAGER'S RETURN and THE IMMUNITY SYNDROME. Petter

The Troubled Spirit

From: JSchill824 ([email protected]) Date: Fri, 10 Apr 1998 10:58:21 EDT Subj: Space1999: The Troubled Spirit

Hello Alphans, I really liked this episode from the story line to the once again unique filming style which I'm so fond of. The dark moody feeling is extremely appropriate in the "ghost story in outer space" theme. The harsh, sharp lighting and dramatic shadows as well as the strange eerie recurring music definitely created a mood. I'd like to just point out two scenes. The first being at the beginning of the episode when Dr. Russell leaves Mateo and goes into the other room. The dark room with strong cast shadow over her while sitting behind the desk, building to where she see the "ghost" is wonderful. I also really liked when Mateo is in the Travel Tube - confused, sweating, scared, spooked by himself is truly great. With very little special effects here, just a shadow of Mateo, this was film really well, placing fear in those who were watching. What can I say, I must be a sucker for anything Ray Austin touched in yr.1 Happy Easter, Passover, and Spring Equinox etc. Janet

From: Petter Ogland ([email protected]) Date: Fri, 10 Apr 1998 15:38:42 +0000 Subj: Re: Space1999: Holidays / Troubled spirit, Byrne and Penfold

David Acheson wrote: Just wanted to wish my fellow listmembers a happy Easter weekend. No big plans myself just relaxing and taking it easy for the next three days.

Happy Easter weekend, David and all. I have no big plans myself, I will probably have another look at SPACE BRAIN, the next episode coming up for discussion next week.

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After the rather interesting conversation about THE LAST ENEMY, there has been surprisingly little said about THE TROUBLED SPIRIT this week, I think. There are many things going for THE TROUBLED SPIRIT, I feel, mostly in the area of style. Byrne and Austin both being in excellent shape for bringing out a spooky atmosphere. I understand Sylvia Anderson was greatly concerned about the making of this episode, fascinated by the psychological possibilities, I suppose. There are interesting psychological aspects of the episode, I feel, and Byrne is digging deeper into the material of the psychology of science that he had commenced upon with VOYAGER'S RETURN and would make further research into with THE BIOLOGICAL SOUL of Year Two, but where the philosophical and psychological content had to be adjusted in order to make the episode fit in with the conceptual changes. I understand that many have found it puzzling that Byrne decided to stay on Year Two for the complete season. From what I've read, he seemes rather less than happy with the new change of direction, but somehow the Johnny Byrne scripts for Year Two still seem unmistakably Johnny Byrne, from my point of view, still the questions about where science is taking us, the worries about mankind and its relationship with nature, the concerns about how we are living and how we should be living. The only episode that seems to deviate rather heavily from these central thoughts was the final entry of Year Two, THE DORCONS, of which Byrne has said that was giving up the battle with Freiberger and just writing the sort of silly thing that would please. THE DORCONS is not the worst of episodes, I feel, quite to the contrary. It seems to reflect its circumstances, though, Byrne obviously having been frustrated over Freiberger's metamorph idea Maya all the time, gives her lines in the episode where she pleads of being killed off. I'm certain Byrne would have liked that very much. He even goes to the length of letting someone say that it's either Alpha or

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Maya, which it obviously was, production ending after this one.

were doing. More on this later, however, when we reach the week for discussing the episode.

The whole idea of using the HAMLET suit as a grand finale, blowing the Helsinor of the Dorcons to pieces also seems like grand aggravations being sent off. Wonderfully done, though, with great style and wonderful choice of actors in the roles of Archon, Varda and Malic. The actor Sundquist (Malic) gives a wonderful impression of what it would have been like to see Malcolm McDowell play Hamlet. Very interesting indeed.

Unlike Penfold, di Lorenzo and Terpiloff, it appears to me that Byrne did not seem to have too many answers to the questions he is rising during the series. As early as in MATTER OF LIFE AND DEATH, Victor has a line about they're being in a new space, they should find new ways of adapting. This occurs to me to be one of the main philosophical questions Byrne is concerned about. Thinking about what the world looked like in 1973, this sounds like a very sensible question indeed. On one hand there was the emergence of science and philosophy of positivism, on the other hand there was the air of revolution both in terms of sex, drugs, rock'n'roll, feminism, Marxism and the Paris revolution of 1968.

Now, Byrne seemed to keep an interest in the series for a very long time, very much longer than Penfold, it seems, who backed off at the end of Year One, perhaps feeling that there was not all that much more to do with the SPACE:1999 concept, his final episode SPACE BRAIN seems to indicate this, apart from the interesting idea of the space brain, being not very much more than a re-hack of BLACK SUN, RING AROUND THE MOON and perhaps also a little bit of THE LAST SUNSET. In the case of Penfold, this sounds quite reasonable, I guess, having made his masterpiece, WAR GAMES, other episodes seems like footnotes to this one, and it would surely have been more interesting to develop his ideas somewhere else. The only episode that seem to contrast WAR GAMES are GUARDIAN OF PIRI and DRAGON'S DOMAIN. In the case of GUARDIAN OF PIRI there seems to be some uncertainty about who actually wrote the original script, Penfold is only credited as script editor on that one. My intuition says Edward di Lorenzo, because of similar type of language and philosophy to RING AROUND THE MOON and MISSING LINK, but nobody seems to know for sure who the writer was. DRAGON'S DOMAIN is on the surface a very different story, one of the first drafts to be written, I understand, although one of the last to be filmed. My impression is that in this script Penfold comments more on the promise of the series than the ususal sort of personal philosophy of the world that he, Byrne, di Lorenzo and other experienced script writes

While Penfold is much more outspoken in some of his scripts, for instance in DORZAK where he something like "it's mans struggle for survival that makes monsters out of us all", a maxime that seems to fit equally well with episodes like THE LAST SUNSET or WAR GAMES, Byrne seems still to be looking for answers. I find it difficult to find a line in one of his episodes that would fit as a basis of philosophy for all or most of the entries. On the other hand, he keeps constantly circling around ideas concerned with human guilt, judgement, the world going astray and hopes of a new Arkadia. While some of the writers, Terpiloff in particular, is extremely critical to the development of science and the science point of view as a dangerously wrong perspective on human matters, Byrne does not seem concerned about this to the same extent, I feel. At least there are no "infernal machines" or "computers uncapable of understanding the human soul" in his stories, I think, well, apart from THE METAMORPH, of course, but even in the case of THE METAMORPH the concern seems to be on the scientists and not on science or scientific ideas. The Werner von Braun sort of story of VOYAGER'S RETURN seems to be the most inquisitive in this matter. Dan Mateo in THE TROUBLED SPIRIT is another scientist with a stubborn mind, a sort of Ernst Queller as a young man perhaps.

The Troubled Spirit There is no doubt that the intentions of Mateo are the best, but "the road to hell..." as Helena Russell says. It's sad that Victor does not make more of a figure in this episode. In VOYAGER'S RETURN his relationship with Ernst Queller was one of the dramatically most interesting parts, I think. In this episode, Victor is more in the background, making schemes in the same manner as he did in COLLISION COURSE. There is no identification between Mateo, the young, and Victor, the old scientist. In contrast we have the sort of father figure that Dr. Warren represents. The relationship between Mateo and Dr. Warren does not seem too unlike the relationship between Jim Hains and Ernst Queller. By the killing of Dr. Warren, Byrne almost comes close to OEDIPUS drama. It would have been perhaps dramatically even more interesting if Dr. Warren was not written into the script, and it was Victor that played this part instead. Obviously he could not have been killed then, but it could have been possible to make some both psychologically and dramatically intense situations. While there is quite many interesting aspects with THE TROUBLED SPIRIT story, it does not seem to say very much, I feel, not at least anything that I have managed to grasp. In the epilogue I believe John Koenig says something about feeling a personal responsibility for every death on Alpha, but this does not have the same sort of punch to it like "Knowledge can't be the answer after all then" from RING AROUND THE MOON or the comments on human development in FULL CIRCLE. On the contrary, just like FORCE OF LIFE, when we were wating for some line to sum up the essence of the episode, we get the impression there wasn't anything to be said. It's a bit like the final notes of J.S. Bach's "Kunst der Fuge" which just abruptly cuts itself off into thin air. Perhaps this is one of the reasons that Byrne continued his work through the whole of Year Two, feeling that he could still use the format for investigating ideas, questions that he was not yet able to answer by the end of Year One. Who knows, I certainly know that I might have chosen this if I where in his situation.

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Petter

From: Petter Ogland ([email protected]) Date: Fri, 10 Apr 1998 15:50:18 +0000 Subj: Re: Space1999: The Troubled Spirit

Janet wrote: ... I'd like to just point out two scenes. The first being at the beginning of the episode when Dr. Russell leaves Mateo and goes into the other room. The dark room with strong cast shadow over her while sitting behind the desk, building to where she see the "ghost" is wonderful.

Sometimes I enjoy the episodes for their style, sometimes for their content. When Ray Austin is at the wheel, the style factor is undisputable. Although he created quite spooky sequences in MISSING LINK too, when Koenig was walking around on the empty Alpha, perhaps the choice of music is something that makes THE TROUBLED SPIRIT even more efficient in creating a haunted atmosphere. Marvellous handicraft. I also really liked when Mateo is in the Travel Tube - confused, sweating, scared, spooked by himself is truly great. With very little special effects here, just a shadow of Mateo, this was film really well, placing fear in those who were watching.

Austin seems to have a method of making the actors excell. This little sequence is brilliantly staged and executed, in fact it reminds me a bit of the kind of filming the Kubrick used in THE SHINING (1979). I especially like the scene where the door jams. What can I say, I must be a sucker for anything Ray Austin touched in yr.1

Happy Easter, Janet! Petter

From: South Central ([email protected]) Date: Fri, 10 Apr 1998 08:58:25 -0700 Subj: Space1999: The Troubled Spirit

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My main complaint with this episode (my favorite) is that the scene where Victor explains his plan to eliminate the ghost (crucial to understanding the ending) is cut. In novelization, Victor talks about having identified the energy wave pattern of the ghost and suggests they build a weapon that would project the opposite wave pattern (I forget the lingo) so that the crests and troughs will cancel each other out. This is clever and logical. This scene must have been filmed because a clip of it shows up in the THIS EPISODE section showing the waves cancelling each other out. At the end of the episode Victor just says, "The area between those terminals is lethal". We are left wondering WHY? How did he come up with a weapon against a ghost??? This is very upsetting. It is like leaving out the most important piece of evidence or explanation in a mystery story! Other wise this would have been a perfect episode. Couldn't they have trimmed 30 seconds from some other scene?? For some reason I have always felt this story spoke to me directly (in truth, the idea of a man being haunted by his own ghost fascinated me). I wonder why? :-) Mateo

From: South Central ([email protected]) Date: Fri, 10 Apr 1998 09:04:16 -0700 Subj: Space1999: Dan Mateo

Why do I and everybody else call this character Dan Mateo. Does anyone ACTUALLY say "DAN" in any scene. If I am not mistaken everyone just calls him by his last name (Mateo). I know that in the novelization he is referred to as Dan Mateo--MOSTLY. In at least one instance in the novelization he is referred to as Paul Mateo. Obviously I am curious about his name. Mateo (Who else?)

From: Patricia Embury ([email protected]) Date: Fri, 10 Apr 1998 21:12:11 -0400 Subj: Space1999: Troubled Spirit

What a spooky episode, but a neat episode. I have to think that Johnny Byrne's IrishCatholicism seemed to be very prominent in this episode. As an Irish-Catholic myself, I didn't notice as obviously as one might think, but I could see it in the reactions of the other characters to the events occurring. Victor's talk of an exorcism, Carter's disbelief in "an old fashioned spook haunting Alpha". The characters in the command meeting nearly sounded like my family.. especially my grandmother, and my friends from my Catholic high school when we discussed matters like these. This perspective adds to the flavor of the episode, especially when combined with the funky music, odd lighting, and camera angles when the "thing" attacked it's victims. The use of the "wind" effect on the plants when the psychic energy appeared was very effective. The scene with Mateo in the travel tube, and the scene in which Mateo and Helena were talking about his experiment, then the creature appears to Helena, not to kill, but to, possibly, invite Helena to believe it exists, were the most affecting. Helena is the only one in the beginning to see the ghost, and not be attacked. Koenig doesn't appear to believe her, and it seems that Helena backs down from her position, or just waffles a little, but is very definite in what she felt. Helena is very strong and well played here, especially her reluctance to use the drug on Mateo. Koenig seems to ignore the warning, that he caused Mateo's death to proceed with the experiment with the force field. If they had put the scene in, that was in the novel, further explaining the experiment, this would have worked more for me. It would have made Koenig's statements at the end seem a little more believeable. Sandra demonstrated her practicality, and focused the meeting when she said that even though the entity may or may not be a ghost, it had to be dealt with. Good line. Carter and Morrow's expressions at the seance were priceless, although I think Sandra, although appropriately frightened, cowered just a little too much.

The Troubled Spirit Happy Holidays to everyone!

From: [email protected] (B J Dowling) Date: Fri, 10 Apr 1998 21:03:00 +0000 Subj: Space1999: OT: Holiday wishes

Hi folks, I've spent most of this afternoon sat in front of the tv watching the announcement of the peace agreement in Northern Ireland. I almost couldn't believe what I was seeing, but today is *definitely* Good Friday. To all on the list, and especially to any Alphans in Northern Ireland, my best wishes for this holiday period. I'm working on a UKVL update over the weekend, including some more Look-In stuff I picked up from Memorabilia. A couple more covers, a nice shot of Tony Verdeschi, and a shot of Gareth Hunt should be up by Easter Monday at the latest. I've also written a tribute to Cozy Powell, who died on Sunday last in a car crash. Any of you who have Rainbow, Whitesnake, Black Sabbath, MSG albums probably have some of his work in your CD collection. That page links to Cozy's Official Website, where more thoughts, reflections and tributes on his life can be found.

From: "Petter Ogland" ([email protected]) Date: Sat, 11 Apr 1998 14:05:30 +0000 Subj: Re: Space1999: Troubled Spirit

I wonder of the problems of Northern Ireland could have effected some of the philosophical perspectives of Johnny Byrne. I seem to remember to have read that he was born in Dublin, and must have experienced much of the difficult political climate of the 1960s and early 1970s.

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This could perhaps explain for his often bleak view of the world and deep concerns about the nature of man. Petter

From: Date: Subj:

[email protected] Sun, 12 Apr 1998 14:55:28 -0400 Space1999: The Troubled Spirit

Despite the stylized shooting and subject matter, this is actually a very straight forward episode. I don't have too many of my annoying, unhelpful plot nits. I am a huge fan of single shot one takes. Watch the restored version of 1776 for many such. This episode has two. The first ran a minute 19 when it started with a close up of a wall and continued down the corridor and ended with a closeup of Mateo. The second was the dialog of the command conference. The entire scene went from character to character in one continuous shot. One thing I can't decide on is the scene where Mateo flings Laura into the equipment cart, and then flings her towards the door. Is this an inconsistency in the writing, an example of domestic abuse in his character or what? Again I can't decide.

From: Patricia Embury ([email protected]) Date: Sun, 12 Apr 1998 15:42:15 -0400 Subj: Re: Space1999: The Troubled Spirit I am a huge fan of single shot one takes. Watch the restored version of 1776 for many such. This episode has two. The first ran a minute 19 when it started with a close up of a wall and continued down the corridor and ended with a closeup of Mateo. The second was the dialog of the command conference. The entire scene went from character to character in one continuous shot.

I'm glad you pointed this out. I never realized it. Neat!

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Year One One thing I can't decide on is the scene where Mateo flings Laura into the equipment cart, and then flings her towards the door. Is this an inconsistency in the writing, an example of domestic abuse in his character or what? Again I can't decide.

I think it's a visual display of the pent-up rage Mateo feels. It helps make the ghost, and the theory that it acts from Mateo's rage more plausable. Laura gets killed in the scene immediately after this. I think it sets up her murder quite nicely.

From: Riccardo Iommi ([email protected]) Date: Sun, 19 Apr 1998 23:05:35 0700 Subj: Space1999: A question: Dan Mateo (sorry I'm late)

Hi Alphans, what time is it on Alpha in the closing scene of The Troubled Spirit? Bye, Riccardo

From: Horst Noll ([email protected]) Date: Mon, 20 Apr 1998 22:18:10 +0200 Subj: Re: Space1999: A question: Dan Mateo (sorry I'm late)

11:59

Space Brain

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20. Space Brain As one discussant sees it, this episode is within the frame of the usual Penfold plotlines - mankind being deemed a virus or at least something undesirable. The difference this time around is not that some thinking entity deems mankind to be that way but it's the Space Brain's biology that, in the end, treats the moon and its inhabitants as a foreign entity. Two other discussants comment on similarities they see with the film Fantastic Voyage. Another recurring theme in the discussion is the relationship between SPACE BRAIN and RING AROUND THE MOON. From: David Acheson ([email protected]) Date: Mon, 13 Apr 1998 06:31:09 EDT Subj: Space1999: Space Brain

Alphans: Christopher Penfold and Charles Chrichton team up again to give us yet another classic year one episode: SPACE BRAIN. This episode is within the frame of the usual Penfold plotlines - mankind being deemed a virus or at least something undesirable. The difference this time around is not that some thinking entity deems mankind to be that way but it's the Space Brain's biology that, in the end, treats the moon and its inhabitants as a foreign entity. More on that later. Unlike the previous Penfold aliens this one actually wants to work with the Alphans to avoid a pending collision. Chrichton, who has a magic touch with Penfold's stories in my opinion, turns a quaint little thinking man's story (not Penfold's best) into a space epic. Great fun no matter how many people actually believe the overflowing dishwasher. More on this later too. I suppose that it was only a matter of time before Shane Rimmer showed up in 1999. He added his voice in almost all of the earlier Anderson puppet shows and guested in UFO. Since 1999, he has done the voice of DICK SPANNER and played the Brogan character in the SPACE PRECINCT pilot. Actually, his Kelly character is not all that awe inspiring. Like FORCE OF LIFE, it was interesting to see a married couple on Alpha. However, I just didn't think Kelly and Melita were as fleshed out as Anton and Eva - whom I earlier accused of not being fully developed characters. Sure Kelly may have been a friend of Alan but there should have been a lot more there. Also, give us some reason why Melita is standing by her man.

The Earth of the 1999 universe must have been into the science of man's brainwaves and thought patterns. First, in GUARDIAN OF PIRI, we learn of the experiment Kano undertook with linking himself to a computer. Now Koenig oversteps Helena's fears and has himself linked to Kelly's brain. Another interesting factor about the science experiments of Earth before Breakaway occured. Was this an area that Penfold was interested in as he was involved with the scripts of both episodes. I rather like the idea of the Space Brain itself. TV series budgets usually limit aliens to be humanoid characters or at least fake rubber creatures. This time, budget and the effects department combine to give us what can be best described as a living space phenomenon. A galactic being probably eons old and home to many worlds. This is probably the most original part of the otherwise not-so-original Penfold plotline. Now to the infamous foam. Our own bodies uses its immune system to attack foreign intruders. It is believable then that the Space Brain's own immune system would treat the moon the same way. What has always been the sore point on this list is the execution of this sequence in the episode. Most fans are divided on this point. Some look at the foam used to represent the antibodies and laugh. Others simply live with it. I am of the latter. Sure I know its foam and I have made many dishwasher/laundry machines jokes over the years. However, I still think the acting, outer space shots and the music used kept the scene rather dramatic and not so schlocky as the scene could have really turned out. I credit Chrichton with keeping the sequence focused. No talk about this episode is complete without bringing up "Mars, the Bringer of War" by Gustav Holst. This is surely the best use of

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library music in the entire series. The fairly dramatic score helps make Chrichton's job easier. A scene which could have been slow paced or rather comical is suddenly intensified. A space epic is unfolding. Before I end, the worst line in the episode? When Kelly wakes up and rips off those electrodes and utters that overdubbed line, "You must not touch my brain!". Makes me laugh everytime I hear that. Enough said for now. Just some ramblings on this episode. Overall not Christopher Penfold's most original scripts but one that I find to be executed very well. One of my favourite episodes but not the best one. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

From: Petter Ogland ([email protected]) Date: Tue, 14 Apr 1998 09:29:40 +0000 Subj: Re: Space1999: Space Brain

David Acheson wrote: Christopher Penfold and Charles Chrichton team up again to give us yet another classic year one episode: SPACE BRAIN. This episode is within the frame of the usual Penfold plotlines - mankind being deemed a virus or at least something undesirable. The difference this time around is not that some thinking entity deems mankind to be that way but it's the Space Brain's biology that, in the end, treats the moon and its inhabitants as a foreign entity.

This theme seems to be quite consistent in the Penfold plots, I think, a rather bleak view of the world that was also shared with Johnny Byrne it seems, highly coherrent with the use of music, lighting and general theme of the moon being hurled out into outer space. I had another look at BREAKAWAY again last night, and I must say that I'm quite astonished by how well the very first episodes of SPACE:1999 worked. While episodes like THE TROUBLED SPIRIT and SPACE BRAIN have nice aspects to them, I find there

is a distinct difference of style and content comparing with the first five episodes. In some ways, as Mateo also points out, SPACE BRAIN seems in some ways to be a reconstruction of RING AROUND THE MOON, but to a great extent leaving out the metaphysics that makes RING AROUND THE MOON interesting as a story. Personally I don't feel that Penfold's central idea is fully explored by paying hommage to RING AROUND THE MOON in this way, but as I understand it, Penfold wanted to leave the whole thing by now, and obviously wasn't too interested in elaborating too much. On the other hand, the basic concepts of SPACE BRAIN seem perfectly coherrent with Penfold's typical writing and concerns about human endeavour. The episode GUARDIAN OF PIRI, of which he has been involved in to a great extent it seems, there is a sequence where Victor turn into a sort of mad high priest leading the Alphans to worship the Guardian, typically of Penfold of writing such a thing, I would suppose, being concerned about how people are carried away by their feelings, and perhaps in particular, how assembles of intelligent individuals turn into unintelligent mobs representing a sort of virus of the universe. "The struggle for life makes monsters of us all", he says in DORZAK. In THE LAST SUNSET the Alphans are guided away from settling as the inhabitants of the newly found planet see nothing more than death, horror and devastation in the path of human exploration, nicely illustrated by Paul Morrow's fit. In WAR GAMES, perhaps Penfold's most interesting achievement, his views on the goal of human life is perhaps most elaborately painted out. SPACE BRAIN seems like a footnote to earlier episodes, I feel, Penfold perhaps sensing that he has said what he wanted to say about SPACE:1999 at this point. While not as efficient as previous episodes perhaps, as it is rather difficult to identify with the space brain and neglect the Alphans, the space brain point of view seems to be what is stressed in the epilogue.

Space Brain Apart from the obvious visual and mechanical references to RING AROUND THE MOON, SPACE BRAIN also seems to drain on BLACK SUN. In RING AROUND THE MOON the Triton space probe was presented and maintained as an enemy throughout the episode, in SPACE BRAIN there is a certain ambivalence concerning the brain that reflects aspects of BLACK SUN and COLLISION COURSE, I think. The religous experience in BLACK SUN, in particular, seems to correspond to the sort of feeling Penfold seems to try to communicate in the Alphans penetration and destruction of the mind. More on that later. Unlike the previous Penfold aliens this one actually wants to work with the Alphans to avoid a pending collision. Chrichton, who has a magic touch with Penfold's stories in my opinion, turns a quaint little thinking man's story (not Penfold's best)into a space epic. Great fun no matter how many people actually believe the overflowing dishwasher. More on this later too.

Penfold spoke about his good rapport with Crichton concerning the view on characters in the series. Perhaps there is an equal amount of abstractness in their view on the world and the process of filmmaking that makes the PenfoldCrichton episodes work so well. To me this seems to be a perfect match, just like ByrneTomblin and di Lorenzo-Austin. Apart from the three first episodes of SPACE:1999, BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN, I think the episodes that worked the best were perhaps the three constellations above. I suppose that it was only a matter of time before Shane Rimmer showed up in 1999. [....] Actually, his Kelly character is not all that awe inspiring. Like FORCE OF LIFE, it was interesting to see a married couple on Alpha. However, I just didn't think Kelly and Melita were as fleshed out as Anton and Eva - whom I earlier accused of not being fully developed characters. Sure Kelly may have been a friend of Alan but there should have been a lot more there. Also, give us some reason why Melita is standing by her man.

Quite interesting, yes. One of the things that makes RING AROUND THE MOON work so well with me is the contrast in Helena's character when she is taken over and when she is her normal self. This is partly contained in

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the episode in itself by letting her display a wide varity of emotions in response to different situations. In the case of Kelly, we get very little information on what kind of a person he really is, and whatever our impression is, it does not seem to contrast this very much when his brain is being taken ver. In fact, it is difficult to say if he is being programmed or if he is handling on his own behalf. In some ways Kelly reminds me of Baxter in THE END OF ETERNITY, who could also have benefitted from being more developed. Melita is almost a non-person, I feel, her character contributes very little to neither the dramatic nor the psychological aspects of the episode as I see it. I rather like the idea of the Space Brain itself. TV series budgets usually limit aliens to be humanoid characters or at least fake rubber creatures. This time, budget and the effects department combine to give us what can be best described as a living space phenomenon. A galactic being probably eons old and home to many worlds. This is probably the most original part of the otherwise not-so-original Penfold plotline.

One aspect I like very much with SPACE BRAIN is how Penfold is constantly letting Victor and Koenig chop off Helena's lines. I don't know why he does this, but it ha a rather interesting effect of diminishing Helena's authority, quite contradictory to episodes like COLLISION COURSE and THE LAST SUNSET where it is almost the other way around. No talk about this episode is complete without bringing up "Mars, the Bringer of War" by Gustav Holst. This is surely the best use of library music in the entire series. The fairly dramatic score helps make Chrichton's job easier. A scene which could have been slow paced or rather comical is suddenly intensified. A space epic is unfolding.

For some reason I think Mike Hankinson's "The Astronauts" was a better illustration than "Mars, the Bringer of War". Perhaps Crichton or the musical editor was struck by the Holstlike character of Hankinson's piece when making WAR GAMES, and wondered what it would sound like using Holst. Personally I think "Mars, the Bringer of War" works okay in SPACE BRAIN, but, actually, I believe it

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would perhaps have been even more at home in the context of WAR GAMES, first act. One nice thing about Holst is that he seems like an obvious predecessor of Barry Gray. If one where to characterize Gray's impressionistic and partly expressionistic style of writing music, I believe Holst would be a very good candidate, perhaps with a little touch of Ravel, Stravinsky and other composeres from the beginning of the century. One of the reasons I prefer the first episodes of the series to the later has perhaps much to do with musical scoring. Episodes like MATTER OF LIFE AND DEATH and BREAKAWAY are marvellous just on account of their aural value, I think. Martin Willey wrote that the first six episodes were fully scored, for the rest they just recycled the music with addition of the library material. Of these I think the first four in particular are extremely well done, on EARTHBOUND and ANTOHER TIME, ANOTHER PLACE I feel the music is used very sparingly and less efficiently, just like later episodes. Enough said for now. Just some ramblings on this episode. Overall not Christopher Penfold's most original scripts but one that I find to be executed very well. One of my favourite episodes but not the best one.

I don't know if I would consider it a favourite episode. It is definitely on the better half, however, and an interesting illustration of the joint work of Penfold and Crichton. I believe would rate it about equally interesting with THE LAST SUNSET, somewhat less spectacular than WAR GAMES. Philosophically, it is perhaps more interesting and understandable than DRAGON'S DOMAIN, but still not a masterpiece, neither in terms of Penfold/Crichton nor in the total context of SPACE:1999 as I see it. Petter

From: David Acheson ([email protected]) Date: Thu, 16 Apr 1998 21:12:08 EDT

Subj: Space1999: Dashing through the Foam (Space Brain Part Two)

Alphans: Mateo and Petter both brought up the idea of similarities between RING AROUND THE MOON and SPACE BRAIN. Well, I do not see much similarity between them. Sorry. I tried to find them. As one who is not a fan of the former episode I may be biased though. I agree with Petter that SPACE BRAIN is not Christopher Penfold's most original idea. In fact, I may even agree that, by this time in the game, Penfold was already entertaining ideas of departing from the project. Even without Fred Freiberger, would Penfold be willing to return for another full season overlooking the series? He certainly made more overtures to that than Johnny Byrne who appeared willing to go for a second round. However, I believe its the execution of the story (whom I will credit Charles Chricton) that makes it the favourite I make it out to be. Petter puts in the better half of year one but only so. I will have to disagree with him on that and move it much higher on the scale. Chrichton turns a rather loose story into a tightly executed production and saves it from being a rather bland or incoherent entry. After all, Chricton couldn't even rely on an outstanding guest cast like some episodes had. Although I enjoyed THE LAST SUNSET I have to admit I liked this one more but maybe not as much as GUARDIAN OF PIRI and WAR GAMES. I still say the use of Holst's "Mars, The Bringer of War" was an excellent choice. It would have been far too cliche to have it in something like WAR GAMES during a battle sequence. Putting "The Astronauts" in WG and "Mars" in SB was a beautiful switch in my opinion. One thing I did not mention in my previous letter which I rather enjoyed was the underrated opening. A brief "day in the life of Moonbase Alpha....". Night shift, Koenig in office doing puzzle, skeleton staff holding down the fort in Main Mission. Weary eyed, Koenig walks out and small talks with staff before heading off to his quarters and some sleep. A rather nice personal touch we see too

Space Brain little of in year one but not hit-you-over-thehead obvious like the year two style. Anyway just one man's opinions. I just happen to like this episode. Looking forward to the upcoming weeks. We are down to the last 4 episodes of year one. But then we get another 24 to follow. They will probably fly by just as fast as the discussions to date.

From: Petter Ogland ([email protected]) Date: Fri, 17 Apr 1998 08:23:33 +0000 Subj: Re: Space1999: Dashing through the Foam (Space Brain Part Two)

David Acheson wrote: Mateo and Petter both brought up the idea of similarities between RING AROUND THE MOON and SPACE BRAIN. Well, I do not see much similarity between them. Sorry. I tried to find them. As one who is not a fan of the former episode I may be biased though.

Personally finding RING AROUND THE MOON to be one of the most exciting episodes of all, finding similarities between SPACE BRAIN and this should perhaps indicate a very high regard of SPACE BRAIN as well. In RING AROUND THE MOON the Alphans are confronted with the eye-brain Triton probe, which they cannot escape. In SPACE BRAIN they are locked on a trajectory towards destruction by the space brain, which is quite similar in context, I feel, although perhaps even more similar to the scenario of BLACK SUN and COLLISION COURSE. The similarities of the fate of Kelly and Helena in each episode, respectively, is also striking, I feel. Then there is the idea of the eagle being sent towards the brain which is returned. This makes me think of three instances in RING AROUND THE MOON where they missioned eagles towards the probe. Well, in RING AROUND THE MOON there seemed to be a message about conflicting parts in our lifes concerning our search for knowledge, our need for socialising and how the fanatical researcher Helena turns almost

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into a machine when she abandons society. In some ways RING AROUND THE MOON seems to be a forerunner of THE INFERNAL MACHINE in its philosophical discourse, and much more effective as I see it. SPACE BRAIN does not seem to concern itself with philosophical issus to a great extent, I feel, apart from the idea of the space brain in itself, a point which is emphasized in the epilogue. To a certain extent I feel that SPACE BRAIN follows the plot of FANTASTIC VOYAGE (1966), where a miniature submarine travels inside the human body, climaxing in a fight against antibody if I remember correctly. Anyway, this seems to fit with Penfold's view of the human race as a virus in the body of the universe and makes sense out of the otherwise odd epilogue where Koenig talks about the destruction of the brain in terms of devastation for all the galaxies dependent on it. Penfold seems to ask the audience to have a look at Alpha from the point of view of the universe, as a contaminating organism, rather as to identify with Koenig, Bergman and Helena. If the eight episodes Freiberger had a look at in order to evaluate the series were mostly the Penfold and Byrne written material, I understand he might have felt a little bit estranged from the Star Trek perspective on sci-fi. On the other hand, it grabs much of the essence of the SPACE:1999 perspective on scifi, I feel, right from masterpieces like BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, RING AROUND THE MOON and onwards. I agree with Petter that SPACE BRAIN is not Christopher Penfold's most original idea. In fact, I may even agree that, by this time in the game, Penfold was already entertaining ideas of departing from the project.

I seem to remember that Penfold had already left before the completion of SPACE BRAIN. Watching the epsisode for the first time a long time after it was completed, he was partly satisfied, I think I've read somewhere, still being content with the central idea of the space brain, but not too happy with some of the execution, perhaps finding the foam a bit too

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silly. I don't know about the foam actually, it work fine by me, but I know that some have found it somewhat distracting. Even without Fred Freiberger, would Penfold be willing to return for another full season overlooking the series? He certainly made more overtures to that than Johnny Byrne who appeared willing to go for a second round.

Penfold was specially invited to write a script for Year Two, and he deliverd what turned out as DORZAK. While I don't find this the worst of all Year Two episodes, I seem to remember to have read that Penfold felt that the script was totally ruined after Freiberger had gone through it and made his adjustments.

feeling of the episode. In fact, I think he scored much better in this one than in THE INFERNAL MACHINE (prologue music) and THE TESTAMENT OF ARKADIA ("Picture Of Autumn") which I feel wer less fortunate. One thing I did not mention in my previous letter which I rather enjoyed was the underrated opening. A brief "day in the life of Moonbase Alpha....". Night shift, Koenig in office doing puzzle, skeleton staff holding down the fort in Main Mission.

Does anyone recognise the motif on Koenig's puzzle. To me it looks like Flemish renaissance, a bit similar to Jan van Eyck. I assume it is one the great masters. Anyone else got a clue?

However, I believe its the execution of the story (whom I will credit Charles Chricton) that makes it the favourite I make it out to be. [....] Chrichton turns a rather loose story into a tightly executed production and saves it from being a rather bland or incoherent entry.

SPACE BRAIN certainly has a Crichton feel to it, which is perhaps a nice thing in itself, Crichton's seemingly military style of direction has maybe brought some of the nervousness to the set that perhaps was an aquisition to the series. At least in collaboration with Penfold this seemed like a splendid solution, working on a Terpiloff script, like DEATH'S OTHER DOMINION, this approach seemed very less successful, but perhaps better with a small margin than the even less satisfying Tomblin effort with THE INFERNAL MACHINE. More on this next week, however.

Anyway just one man's opinions. I just happen to like this episode. Looking forward to the upcoming weeks. We are down to the last 4 episodes of year one. But then we get another 24 to follow. They will probably fly by just as fast as the discussions to date.

I had a look at THE INFERNAL MACHINE last night in order to prepare for next weeks discussion. Not one of my favourites actually, but I know there are those who regard it very highly so I look forward to discussing it. There are still many days left of SPACE BRAIN week, however. By the way, was Mateo's question regarding Paul/Dan Mateo in respect to THE TROUBLED SPIRIT resolved? Petter

I still say the use of Holst's "Mars, The Bringer of War" was an excellent choice. It would have been far too cliche to have it in something like WAR GAMES during a battle sequence. Putting "The Astronauts" in WG and "Mars" in SB was a beautiful switch in my opinion.

You may have a point there, David. The use of Albinoni was also not a cliche the way it was used in DRAGON'S DOMAIN, is it perhaps whould have been using The Blue Danube or Also sprach Zarathustra, quite to the contrary Albinoni's Adagio contributed to make some of the best special effect sequences the since the prologue to BREAKAWAY, I feel. Most of all I felt that Allan Willis choice of music matched extremely well with the general

From: [email protected] (South Central) Date: Fri, 17 Apr 1998 06:19:01 -0700 Subj: Re: Space1999: Dashing through the Foam (Space Brain Part Two)

Petter summed up my thoughts incredibly well--not an easy task as I had not actually communicated them to the list in any way other than an open-ended question! (Regarding the similarities between Space Brain and Ring Around the Moon--though I sheepishly admit I had not given the similarities much more thought than that of an external force utilizing

Space Brain Alphans as biological computer interfaces. Human Instrument Digital Interface?--groan--) As to the Dan/Paul Mateo thing. Can someone check the final credits and see if a first name is listed. By the way, has any actor's name ever been misspelled so many ways--I don't even know what his real name is! Prette, Prente, Prete? I have seen it all three ways. Has this actor ever been in any other work that has been seen outside of Italy. The set for Hydroponics was used in more than one episode. Does anybody remember which other episode features this set?

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"It's neither a sun, a star or a planet." It's not a car or an automoble. It's not an elevator or a lift. It's not light or illumination. It's not dessert or afters. It's not suspenders or braces. (Lord, please stop me before I come up with any more.) A technical who cares nit, but the boarding tube between the two eagles would have sheared right off under the force of Koenig trying to redirect the runaway eagle. Very dramatic to see the foam cover an eagle on the pad, but they leave an eagle on the pad? For that matter, they don't lower the pads and close the doors over the pads?

Mateo

From: Date: Subj:

[email protected] Fri, 17 Apr 1998 12:10:28 -0400 Space1999: Space Brain

I like the quiet life scenes that start this episode...including Paul with his feet up at his post reading a book. What is Koenig reacting to in the corridor before the symbols start appearing on the screen? It looks like they had originally had the drumroll into the opening, but cut it (I'm guessing) for time reasons...cause it is not smooth...and it does not seem to me to be a deliberate hard cut. Except for reasons of plot, what can Kelly do on a space walk that both men can't do on the eagle looking out the viewports? "Orbital reference 397, that's where..." It is weak writing to have Koenig list two or three times the events at that point in space...or else they think we viewers are too stupid to follow the plot, so they keep explaining it to us over and over again. (It's also part of the complaint I've made before that they add dialog to show the character's thinking process, but they only endup stating the obvious, and in the case of this episode, several times over.)

I have always loved the "through the brain" sequence, but how does inside pressure keep the moon itself from getting crushed, or the outside of the buildings, or the launch pads, or the...ah well, it is a favorite episode of a favorite series, so we forgive.

From: JSchill824 ([email protected]) Date: Fri, 17 Apr 1998 12:19:45 EDT Subj: Space1999: RE: Dashing through the foam

Petter wrote: To a certain extent I feel that SPACE BRAIN follows the plot of FANTASTIC VOYAGE (1966), where a miniature submarine travels inside the human body, climaxing in a fight against antibody if I remember correctly.

Funny you should mention this Petter, when I was a kid I too made this comparison when watching Space Brain. (ala antibodies and such) Space Brain though not on my top 10 favorite list, I still do enjoy watching it. I especially liked the unique filming style similar to parts in War Games whereby they show multiple overlapping images during dialogue. This took place in Space Brain when Koenig is hooked up to Kelly. While in the trance like state, Koeing seems to be looking at himself, the alien writing, lights and the brain together like a collage. I believe this "experimental or

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unique" film style is appropriate for sci-fiction. What a great opportunity to blend concepts and meaning with visually stimulating images that coincides with the overall story! Being quite fond of college artists such as Ernst, Heartfield and Elleouet I can see why I enjoy this in the episode. Lastly I'm happy they used Holst's "Mars, The Bringer of War" in S9. I've always like this piece and like it even more now, for whenever I hear it I think of Victor and Sandra watching the foam making its way to Main Mission! (Very Fun!!) Janet ps. Petter I think you're right, it does look like Van Eyck, however it has been some time since I've studied the Flemish and Dutch masters. Can anyone read if it says "Jan van Eyck was here" anywhere? Sorry artist inside joke :-)

From: Patricia Embury ([email protected]) Date: Fri, 17 Apr 1998 20:19:16 -0400 Subj: Re: Space1999: Space Brain This theme seems to be quite consistent in the Penfold plots, I think, a rather bleak view of the world that was also shared with Johnny Byrne it seems, highly coherrent with the use of music, lighting and general theme of the moon being hurled out into outer space.

At least in this episode, the focus seemed to be on our inability to communicate. The brain tried to help the Alphans, which is a big difference from Ring Around the Moon, and the neutral Black Sun. The Alphan's ignorance, and stubborness cost them the chance to alter their course to ssave the brain. SPACE BRAIN seems like a footnote to earlier episodes, I feel, Penfold perhaps sensing that he has said what he wanted to say about SPACE:1999 at this point. While not as efficient as previous episodes perhaps, as it is rather difficult to identify with the space brain and neglect the Alphans, the space brain point of view seems to be what is stressed in the epilogue.

The brain's point of view is stressed, but it seems that the helplessness and guilt of having an innocent and valuable entity destroyed because the alphans failed to take Kelly seriously until it was too late, is the most important point. Helena feels bad because she left Kelly to die in the foam. Carter disobeyed orders and brought Kelly back because of stubborn loyalty that could have cost Carter his life or his sanity. Apart from the obvious visual and mechanical references to RING AROUND THE MOON, SPACE BRAIN also seems to drain on BLACK SUN. In RING AROUND THE MOON the Triton space probe was presented and maintained as an enemy throughout the episode, in SPACE BRAIN there is a certain ambivalence concerning the brain that reflects aspects of BLACK SUN and COLLISION COURSE, I think.

Their experiences with the Black Sun seemed to temper their reactions in certain scenes. Koenig's speech to all hands in main mission tempered with the" Titanic"-like interior shots of all hands running for shelter as the hallways filled with the antibody-foam, inaddition to the soundtrack used, really set a somber mood, that was a nice contrast to the more "revelative" nature of Black Sun In some ways Kelly reminds me of Baxter in THE END OF ETERNITY, who could also have benefitted from being more developed. Melita is almost a non-person, I feel, her character contributes very little to neither the dramatic nor the psychological aspects of the episode as I see it.

I agree. I would have liked to see the cut scene in which Carter and Kelly fight in the Eagle cockpit. There is a still photo of it in the novelization, and is included in the novel. If they had used the sequence in the novelization, I think the viewer would have had a better understanding of the Carter-Kelly friendship. Melita was a token screamer... I cringed as a health care professional during that scene in Medical Center when Kelly is about to be treated, and Melita comes in, only to have Koenig and the nurse shoo her out. Helena should have been able to speak to Melita. Although Koenig may not want Melita to know all the details, Medical Center is Helena's domain, and Koenig should not have butted in to patient care.

Space Brain I had to wonder why they left the Eagle on the pad for the foam to crush. Venting a launch area is one thing, but why waste the valuable Eagle. Also, did anyone notice that Kelly and Carter's helmet's did not appear to have any oxygen connection? Granted, the backpack was different, but the jet pack should have fitted around the oxygen/life support pack.

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From: Riccardo Iommi ([email protected]) Date: Sun, 19 Apr 1998 23:03:48 0700 Subj: Space1999: A question: Space Brain

Hi Alphans, Who is the great poet seen on Koenig's puzzle in the opening scene? Riccardo

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The Infernal Machine

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21. The Infernal Machine The discussion starts with a reference to Martin Willey’s internet site where Mary Shelley’s Frankenstein novel is suggested as a possible source of influence both for this episode and BRIAN THE BRAIN. One discussant sees similarities between Gwent and HAL-9000 in Kubrick’s 2001. Other discussants mention Star Trek’s “The Ultimate Computer” as a natural point of comparison. From: Petter Ogland ([email protected]) Date: Tue, 21 Apr 1998 09:30:09 +0000 Subj: Space1999: The Infernal Machine

On http://www.geocities.com/Area51/8722/ytim.ht ml, Martin writes about THE INFERNAL MACHINE and BRIAN THE BRAIN. Seemingly very content with THE INFERNAL MACHINE, he's not totally enthusiastical about BRIAN THE BRAIN. In both instances he points to Mary Shelley's "Frankenstein" (1817) as a possible source of influence. In my case, BRIAN THE BRAIN is an episode that I've only seen in the French dubbed version where Brian is interestingly given the name Marcel, an idea that worked quite well, I think. For me BRIAN THE BRAIN does not seem to work all that bad, it's a childrens story in a childrens format. Brian in himself seems to be a sort of Dennis-the-Menace, perhaps not evil, but rather a difficult child, I would say. In some ways BRIAN THE BRAIN is perhaps closer to ALPHA CHILD than THE INFERNAL MACHINE. THE INFERNAL MACHINE, on the other hand, is a children’s story ill-put, I feel, in Year One which seemed to have been addressed for family viewing, not just for children, the season containing episodes like BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, etc. dealing with matters of life, hope and survival. THE INFERNAL MACHINE is perhaps one of the episodes that Fred Freiberger would have approved of, I suspect, and, from my point of view, would probably have worked better in the Year Two format. While the intentions, and some of the philosophical ideas presented in this episodes,

could perhaps make one think of HAL-9000 in Kubrick's 2001, the execution of the story and other aspects of it, however, makes it resemble THE WIZARD OF OZ more than anything else, I think. Perhaps this is the influence of Elizabeth Barrows. Terpiloff, while obviously fascinated with mythology and the fantasy genre perhaps more than sci-fi, often fared much better on his own as I see it. On the positive side, however, Wilson's production design is quite impressive, in fact, some of his most impressive work since FORCE OF LIFE, as I see it, perhaps because he is again working together with visually stunning director David Tomblin that makes good advantage of the sets on a few occations. My favourinte scenes are when they enter Gwent and the burial of Companion. There are a few interesting points in the script as well. At one time Kano speaks about "Trust, hope and ...", the central ideas in most of Terpiloff's scripts, I understand. In regards of loneliness etc., this is parallelled to a great extent in THE TAYBOR, and even as this epiosde is even more silly, it gives the loneliness a human face, a sort of comic strip version of Arthur Miller's "Death of a Salesman". One could perhaps say that THE INFERNAL MACHINE was to a certain extent about communication and isolation. While the father of Gwent has given himself eternal life through Gwent, the value of such a life seems to be rather so-so, obviously blind in more than one sense. He is to others and consequently also blind to his own needs. Self-preservation is the ultimate vanity, Victor says. There are some interesting ideas presented in the script, it's just so sad that it's so static and takes so long before it gets interesting. From my point of view, the part with the dying

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Gwent in Act IV is the part of the episode that contains sensible dialogue. I know that there are others who enjoy this episode more that I do. It will be interesting to hear what other have to say, perhaps there is more to this episode than what I feel at present. Petter

From: Tom Miller ([email protected]) Date: Thu, 23 Apr 1998 22:41:32 -0700 Subj: Space1999: Earthfall

A short time ago someone had a link for used booksellers on the net where I saw the Earthfall title listed. If you can, please reply either on the list, or direct to me. Thanks. Infernal machine---I have always been a fan of fiction where ego is shown to overtake even the best intentions. Gwent had no home on alpha...His mind would have felt out of place there. Winters is an alright person, slightly out of place, I agree. But Kano never impressed me as much of a leader type.... The tanks could have been developed during the long trek. There is no mention of time between events in year one... Definitly, top five... Tom Miller

From: Date: Subj:

[email protected] Thu, 23 Apr 1998 16:42:19 -0400 Space1999: The Infernal Machine

Not much to say about this one. It works and Leo Mckern is in it. Two nits: Gwent may be physically blind as far as inside his own "body", but you're telling me he cannot process the video portion of a transmission?

It was for dramatic reasons, but in a structure that big, I do not believe the breathable air would start to go within seconds like that. It would take them awhile to use it up before they started to weaken. Maybe if that had happened in the beginning of the episode, then it would have taken longer for them to start suffocating. Of course, if the producers had wanted to adjust the format, then instead of Gwent destroying itself, Koenig would have invited the machine to stay on Alpha and be a compaion to the base and travel with them (although with the size of that ship, how about loading all personnel aboard and finding a planet?...oh damn, I just ended the series.)

From: Date: Subj:

[email protected] Thu, 23 Apr 1998 19:50:08 EDT Space1999: The Infernal Machine

1. Goofs / nits: Oxygen going too fast - I always got the impression that a considerable amount of time did pass. Kano was trying to establish communications as they lay there. Or when Gwent shut himself off, perhaps the fresh oxygen was automatically expelled out some ventilation system. Laser equipped tanks - where did these come from? If Alpha is primarily a research base why would they have these? Or could they have been rigged up from spare parts? Not that I'm complaining, I thought they were cool. 3. Artwork / visuals - N/A No planets in this one. Special effects work great, as usual. I think Gwent's control room set is the best "alien set" of the whole series. The only one that I can think of that comes close is the War Games set. I'm sure optical tricks and forced perspective were used but it looked immense. Wilson did a great job. 4. Modelwork: No doubt about it, those tanks are great. Gwent's design was sufficiently bizzare as well.]

The Infernal Machine 5. Dialogue triumphs: "A lonely, blind creature looking for his death." 7. Continuity: That last eagle which picked up John, Victor, and Helena sure made it there to Gwent pretty fast. :-) The relationship between Sandra and Paul is shown once again (even though Paul doesn't appear. According to a little episode guide that I have from SFX magazine, Prentis Hancock was recovering from surgery for removal of a growth from his neck). 8. MUF - Not applicable 9. Roots - Ditto 10. Bottom line - A. Drags just a bit. The "force field" sequence was really unnecessary. I always felt they put it in there to make Gwent more of a sympathetic character so the audience would identify with him at the conclusion. 11. Misc: Again, only my opinion but I didn't care for the actor who played Winters. I wish Koenig had given command to someone else in Main Mission, Kano for example. Also, does anyone notice that Koenig likes to work late? We saw him getting off in the early morning in "Space Brain" and in this episode an Alphan says, "Good morning, Commander" as he exits his office. Since the "super computer" seems to be a staple of science fiction, all I can say is that "Infernal Machine" was far superior to Star Trek's "Ultimate Computer." Again we see the theme that seemed to run through Year one: the perils of the quest for immortality. "Death's Other Dominion", "End of Eternity", "Infernal Machine", and "Mission of the Darians" all had their warnings about this. One of the top 5 episodes of the series.

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From: "Atomic Possum" ([email protected]) Date: Thu, 23 Apr 1998 21:08:11 -0500 Subj: Re: Space1999: The Infernal Machine Prentis Hancock was recovering from surgery for removal of a growth from his neck).

I thought that was his head (joke). all I can say is that "Infernal Machine" was far superior to Star Trek's "Ultimate Computer."

Well, no disrespect to the classic Trek, but this episode does take a similar story from a different side...It makes the machine itself the main character. A very interesting way to approach a similar theme..perhaps even a better way, as it allows a very emotionallybased story. Is it just me, or is this one of the most emotional stories of all? One of the top 5 episodes of the series.

No doubt. Is it just me, or does Victor seem at some of his most 'groovy' in this episode? I happened to watch it YESTERDAY, before I resubscribed, and was very impressed with the way Victor came across in this episode. His final speech to Gwent was particularly well done...he looked both pained and somewhat amused with the hubris of Gwent's existance. As the head science guy on Alpha, it is particularly striking that Victor is the one with the philosophical/metaphysical side as well. It is this kind of complexity that makes Victor such a fascinating character, and why he is so sorely missed in Season Two. Darn you, Fred Frieberger! Jon "Mr. Wonderful" Stadter

From: "Petter Ogland" ([email protected]) Date: Fri, 24 Apr 1998 08:11:48 +0000 Subj: Re: Space1999: The Infernal Machine 11. Misc: Again, only my opinion but I didn't care for the actor who played Winters.

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I rather liked the Winters character, cold and scientific, seemed very reasonable for this kind of series, but would perhaps have fitted more in the earlier episodes that had generally more "realistic" approach to drama. or is this one of the most emotional stories of all?

Leo McKern does an impressive job as both the master and the slave, but so does Willoughby Goddard in THE TAYBOR. Apart from the impressive visuals and generally good taste of Wilson, this could have easily have been presented in a Year Two format, I feel, exchanging Maya for Victor. One of the top 5 episodes of the series.

It's nice to see that so many find regard this episode so highly, although I have difficulty understand why. My list of top 5 episodes would consist of the first five of the series; BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, RING AROUND THE MOON and EARTHBOUND, well, perhaps exchanging EARTHBOUND with MISSING LINK, GUARDIAN OF PIRI or WAR GAMES. Personally I find THE INFERNAL MACHINE among the less satisfying Year One episodes, perhaps enjoyable to the same extent as some of the better Year Two episodes. Nevertheless, I'm curious why others enjoy this so much, and I admit Gwent has a few good lines, especially in Act IV. I also liked what David Lerda called a dialogue triumph: "A lonely, blind creature looking for his death." I wonder what Terpiloff and Barrows were actually thinking of when writing this. In some ways it seems consistent with the general apathy in DEATH'S OTHER DOMINION, people totally fascinated with science and technology getting trapped by apathy, blindness and finally looking for death. DEATH'S OTHER DOMINION does not rank too high on my list either, however, not having very good vibrations with what Terpiloff seems to be saying and how his is saying it. Personally I find EARTHBOUND and COLLISION COURSE much more fascinating, while equally absurd, feeling that

they are much more in touch with the initial concept of SPACE:1999. It is this kind of complexity that makes Victor such a fascinating character

I also feel Victor to be an enormously fascinating character, especially in the early episodes, the first five in particular, but Barry Morse also gives excellent performances in MISSING LINK and VOYAGER'S RETURN, giving more insight to his character, perhaps also in GUARDIAN OF PIRI. In my opinion DEATH'S OTHER DOMINION and THE INFERNAL MACHINE are rather on the weak side in the manner Victor is written, and it is almost impossible for Barry Morse to make something out of it, I feel. THE INFERNAL MACHINE is somewhat better though, perhaps, in this respect. The lines about vanity in act IV are rather good, I feel, and well performed. Petter

From: South Central ([email protected]) Date: Fri, 24 Apr 1998 10:52:01 -0700 Subj: Space1999: The Infernal Machine

This is one of my favorite episodes. But this letter refers to the positive and negative highlights only. Negative: I am embarassed by the melodramatic way in which Leo McKern flops his head down on the table when Companion dies. This marrs an otherwise wonderful performance. Positive: I LOVE the piano music used during the scenes after Gwent decides to give up the ghost. (WHO DOESN"T?) Actually all the incidental music is really wonderful. Positive: The line and its delivery. "Amen. Ah, men!" This line shows us that Gwent respects humans for their weaknesses as well as their strengths. He has the mind of a man, but he is no longer a man. This is subtle and quite wonderful.

The Infernal Machine Positive: That set! MISC: Now that I think about it. This episode does have a lot in common with Brian the Brain: Computer who need fuel part anyway. In BTB, they should have remembered Companion's advice and given Brian what he wanted and let him be on his way. Who cares! At least in TIF it was THEIR supplies. In BTB it was a fuel cell that didn't even belong to them! Mateo

From: "Mark Meskin" ([email protected]) Date: Fri, 26 Jan 1996 16:16:37 -0600 Subj: Space1999: Infernal machine

Hi all, A few comments on this episode, I'm not going to get deep into. Its OK as epiosdes go, I'd rate it number 14 best of season wise. Winters: Thumbs down. Annoying. Alien Space Craft: I know why they tossed it against a wall after shooting, I would have done so before shooting. Leo Mckern: Thumbs up. Sets inside Gwent: Thumbs up, some of the best sets ever. Lunar tanks: Thumbs up, but wish they all looked the same. hardware this specialized is expensive to design, from a reality standpoint I'd have to wonder how alpha could have 3 types of tanks.......a few copies of one design, that I can believe. I like the idea that someone brought up about them being originally designed for mining. Battle Sequence: So-So. We see eagles blow up, but Carter apparently missed that little detail. Fuel Rod: I have a real problem here. If this stuff is going to powewr gwent for x-number of years, Koening is no going to be handling it

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with his bare hands. Its most likley radioactive and high toxic. Yet Koenig picks up a chunk like he's just throwing another log on the fire. And whoever heard of putting the gas tank in the living room? Serious flub here.

From: Patricia Embury ([email protected]) Date: Sun, 26 Apr 1998 15:59:11 -0400 Subj: Space1999: Infernal machine

I'm afraid I don't agree with the majority of the list members on this episode. I don't think I'd put this episode in my top five. Maybe towards the bottom of my top ten. Some of it just didn't flow for me. I also think the "force field" sequence with Victor could have been omitted, and the funeral scene could have been a little better written. Granted, they didn't know Companion, but they could have said something better than "I commend this body to space". What I liked: I have to disagree with Petter. I felt Victor's part was written pretty well. I especially liked his offhand comments when they first walked onto Gwent's ship. I was suprised when Gwent didn't pick Victor for his new companion. I was suprised at the choice of Koenig, especially since Koenig disagreed with Gwent, and became argumentative with it. Granted, Gwent may have been looking for someone to control it, but Victor seemed to be the only one to really talk to it. Leo McKern. He was most effective as the voice of Gwent, and added a nice balance/contrast as the living companion. His bewilderment upon first meeting the Alphans was a chilling indication that a problem existed. I've loved seeing him since "The Prisoner". The sets. The set design/interiors were probably the best of the first season. Stuff I didn't get: Winters: I don't have a problem with him being controller. However, why did Koenig tell him to refer to Carter if he had a problem, and why didn't he appoint Carter in the first place? After all, Carter is a member of the command staff, Winters is a

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main mission operative. Maybe the writer's did this to develop a sub-plot of conflict between Carter, who is a bit of a hot head in this episode, to Winter's "iciness" (pardon the pun) Note the disagreement when Gwent first appeard, Carter doing his own thing: using the excuse of following Koenig's orders to lauch the strike force. They cooperated later when they planned the assault party (note Winters' thumbs up to Alan as they entered the travel tube.) What did they do with the supplies when they left Gwent? It looks like they left them on the cart in the antechamber. Why didn't they take them with them? The Eagle that exploded and then reappeared. There is a shot of Gwent firing on the first pair of Eagles that attacked. It looked like it hit one of them, destroying it. Yet, when Winter's asks for an update, Carter says that there is superficial damage to both Eagles. What gives?

From: "Petter Ogland" ([email protected]) Date: Mon, 27 Apr 1998 07:58:11 +0000 Subj: Re: Space1999: Infernal machine I'm afraid I don't agree with the majority of the list members on this episode. I don't think I'd put this episode in my top five. Maybe towards the bottom of my top ten.

I begin to wonder about who's in majority. I appears to me that THE INFERNAL MACHINE is either on someones top five or bottom five. I enjoyed Pat's points about what she liked, like the design for the interiors which she finds to be some of the best of the first season series. I have to agree on that, the only episode with equally impressive interiors being FORCE OF LIFE, as I see it. Both THE INFERNAL MACHINE and FORCE OF LIFE were directed by David Tomblin, so there may have been some connection to why the sets are so well done. According to Johnny Byrne, Tomblin took a deep interest in each particular episode, at least in the case of ANOTHER TIME ANOTHER PLACE, FORCE OF LIFE

and TESTAMENT OF ARKADIA, the three episodes Tomblin constructed from Byrne manuscripts. THE INFERNAL MACHINE was the only non-Byrne script Tomblin worked with on first season, which is rather sad. As I've understood, the idea was the Crichton, Austin and Tomblin should split the 22 non-Katzin episodes among themselves, but as it turned out, Crichton and Austin did about one third each, and the final third was split among Tomblin (4 episodes) and Kellett (3 episodes). Johnny Byrne seemed extremely content working with Tomblin, and in my opinion, the three episodes made in collaboration with him are some of his finest. Byrne also did three episodes with Ray Austin, of which I find END OF ETERNITY the most fascinating, apparently the least fascinating accoring to Byrne's introspection on his own work, but perhaps the Johnny Byrne episode I enjoy the most is his adaption of Art Wallace script for what turned out to be MATTER OF LIFE AND DEATH, a wonderful episodes in all respects, as I see it, also one of Crichton's most impressive works according to my taste. The best part of THE INFERNAL MACHINE is the direction, I feel, with it's nice use of Keith Wilson's tremendous sets. The story in itself is a slight modification of DEATH'S OTHER DOMINION, I feel, also written by Terpiloff and Barrow's, but comparing these to installments, the most striking thing is perhaps the difference in style of production in the hands of Tomblin and Crichton. While Crichton makes great use of the dialogue aspects from the Shakespeare-similar DEATH'S OTHER DOMINION script, staging the episode more or less as if it was a theatre production, Tomblin is purely visual, using a language more reminicent of directors like Stanly Kubrick and Ridley Scott. Crichton already had one Terpiloff script to his credit, EARTHBOUND, which in my opinion is much more intriuging episode, one of the first eight scripts that were do define the Space:1999 concept, but, in the hands of Crichton, there is again a focus on words and action, and very little effort put into

The Infernal Machine understanding the psychology of the main protagonists, I feel. The Terpiloff script that was put best to use, in my opinion, was Ray Austin's adaption of COLLISION COURSE. While COLLISION COURSE was equaly absurd as most of Terpiloff's scripts, I feel that Austin managed to make the actors explore their figures to a greater extent than what was to be expected from a script written by Terpiloff who seemed less familiar with the original concepts for the series. What I liked: I have to disagree with Petter. I felt Victor's part was written pretty well. I especially liked his offhand comments when they first walked onto Gwent's ship. I was suprised when Gwent didn't pick Victor for his new companion. I was suprised at the choice of Koenig, especially since Koenig disagreed with Gwent, and became argumentative with it. Granted, Gwent may have been looking for someone to control it, but Victor seemed to be the only one to really talk to it.

Very similar to DEATH'S OTHER DOMINION, I felt that John, Helena and Victor were just a random choice of characters used in this episode used in order to tell the story of Gwent and his companion. The episode could easily have been used as material for Star Trek or any other Sci-fi. This also goes for many other episodes, especially those made during the second half of the first series. To me very many of the best episodes were among the original eight scripts, that is BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, FULL CIRCLE, THE LAST SUNSET, WAR GAMES, DRAGON'S DOMAIN and EARTHBOUND. The quality of these episodes was weakened as the series dragged on, I feel, although all of these were fairly good. The best episode of the series, from my point of view, was RING AROUND THE MOON, however. The wonderful collaboration between di Lorenzo and Austin, where everything seemed to click. An almost perfect episode. Petter

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From: Tom Miller ([email protected]) Date: Sun, 26 Apr 1998 23:56:50 -0700 Subj: Space1999: follow up on infernal machine...

I sent some comments on this one before, but in responce(defence) of Winters, Carter has flight command experiance, but the post of Controller requiers administration skills as well. Carter is too reactionary to be in charge, so many rough edges. The fuel rod could have been just a catalist that was need to power the craft. It could have been inert to humans...At least I hope so. Tom Miller

From: Patricia Embury ([email protected]) Date: Mon, 27 Apr 1998 19:59:25 -0400 Subj: Re: Space1999: follow up on infernal machine...

Interesting comment! Do you think Koenig was trying to develop Winters? Or, do you think Winter's choice was deliberate, because Koenig thought Carter was too impulsive, and Koenig didn't trust him completely?

From: "Tom Miller" ([email protected]) Date: Mon, 27 Apr 1998 22:36:49 -0700 Subj: Re: Space1999: follow up on infernal machine...

I beleive koenig wanted a strong administrater in Winters, and know alan was not ready to command the base. Developing new staff would be an essential part of day to day survival, for no new staff could come from Earth....

From: David Acheson ([email protected]) Date: Tue, 28 Apr 1998 06:07:33 EDT Subj: Space1999: The Infernal Machine

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Not since the gap between Terra Nova and the duplicate Earth have the Alphans been travelling through space without bumping into a solar system. Wow - deep space since Betha and Delta! Just a casual observation.

and that the machine took over the identity forcing its creator to be a tag along. That was the way I had always interpreted the episode. Am I correct in my assumption or am I way off base?

Anway, to the matter at hand. My late analysis on last week's episode for discussion. THE INFERNAL MACHINE marks the return of Anthony Terpiloff and Elizabeth Barrows to the fold - their last effort being DEATH'S OTHER DOMINION. In my opinion, sorry Petter, I feel this is one of their better contributions to the series. Like DOD, there are Shakespearean elements about but not as heavily so. What works for me is the more personal approach the episode took towards philosophical ideas. Definitely a showcase for our three main actors - Martin Landau, Barbara Bain and Barry Morse. Yet it still remains within the structure of year one. Petter, again I disagree with you - this one is not season two material. However, I can see SPACE BRAIN as one of Freiberger's action adventure stories.

I have always wondered why Paul was so obviously absent from this episode and this Winters character was in Main Mission. Thanks to those who have mentioned Prentis Hancock having surgery. I agree with those who believe Winters was a better choice than Carter as a replacement. While Winters is not a memorable character by any stretch of the imagination, the role of Main Mission Controller is an administrative one. Carter was an Eagle Pilot so had no place in that position. One realistic aspect of the plotline indeed. Flies in the face of television convention of putting the next popular actor into the spot. Sorry Nick, Alan was a great role but..........

Again, David Tomblin's visually stunning directorial style is evident and works quite well with this somewhat different story. I tried to think of the other year one directors doing this but kept coming up with Tomblin as the best choice. The moral of the story again is simple. Another man vs. machine plotline. GUARDIAN OF PIRI did it on a philosophical level but this story brings it down to a more personal one. While not much is known about the Pirian Guardian (Do we care for it? - NOT!), Gwent comes off as a tragic figure. The machine just got too cocky and it took Koenig's slap in the face to make it realize its own vanity. Its own suicide turns us away from hating it to feeling sorry for it. One of the few first season guest characters we can actually feel for. Leo McKern was great in the role of Companion (and I suspect it was his voice that was the voice of Gwent). Just one of the many great first season actors that lent their talents to this exceptional series. A question for members! I always understood (if it was not directly mentioned in the episode) that the Companion was the original Gwent

Overall a good episode. Not one of my top five but one of the good year one stories. Now that I have got caught up on to this week's episode: MISSION OF THE DARIANS. I finally get to review something with Joan Collins in it. This should be interesting.

From: Petter Ogland ([email protected]) Date: Tue, 28 Apr 1998 11:43:46 +0000 Subj: Re: Space1999: The Infernal Machine

I've never thought of THE INFERNAL MACHINE in terms of Shakespeare, but perhaps this point of view could give more insight. What about King Lear? Come to think of it, the dying king, the fool and the loneliness could perhaps be suitable for comparison. Did you have other plays in mind, David? Julius Ceasar? Perhaps this is not too farfetched. Anyway, I feel there is a very close relationship between THE INFERNAL MACHINE and DEATH'S OTHER DOMINION, both concerned with progress, apathy and finally death. The bottom line to DEATH'S OTHER DOMINION is Koenig questioning himself about whether death is the only thing that gives meaning to life. This point of view does not seem out of

The Infernal Machine focus in the context of Gwent as a lonely, blind machine looking for death, and it makes one wonder if Dr. Cabot Rowland in fact knew what would happen to him as he left Ultima Thule. What works for me is the more personal approach the episode took towards philosophical ideas. Definitely a showcase for our three main actors - Martin Landau, Barbara Bain and Barry Morse. Yet it still remains within the structure of year one. Petter, again I disagree with you - this one is not season two material. However, I can see SPACE BRAIN as one of Freiberger's action adventure stories.

It's interesting that you mention this, David, and from my point of view a little bit surprising, feeling that SPACE BRAIN was an episode much closer to the Space:1999 canon suggested by the early eight scripts BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, EARTHBOUND, LAST SUNSET, WAR GAMES, FULL CIRCLE and DRAGON'S DOMAIN. While Landau, Bain and Morse are in view most of the episode, I don't feel that it in this case makes a guarantee for a great story. In fact, I feel the three main protagonists are used in THE INFERNAL MACHINE in the same manner as Landau and Catherine Schell were used in, say, THE RULES OF LUTON, in other words, choosing three other actors would have made no difference. In fact the episode could easily have been used as framework for any other sci-fi series, I believe. The script for THE RULES OF LUTON could easily have been used as in an episode of Scooby-doo, for instance. It is perhaps not fair to compare THE INFERNAL MACHINE to THE RULES OF LUTON, these are very different types of episodes indeed. Looking upon THE RULES OF LUTON from the Fred Freiberger point of view, this is perhaps one of the best episodes of the second season, illustrating in which manner Freiberger wanted the series to look, and perhaps one the most honost and interesting episodes seen from this perspective. SPACE BRAIN, while perhaps one of the least complex and least psycologically and philosophically interesting of Penfold's efforts does, however, take the advantage of using

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central themes and central characters of the series, and even if it is recycling of RING AROUND THE MOON and BLACK SUN etc. to a certain extent, I feel SPACE BRAIN is a much deeper and satisfying episode than THE INFERNAL MACHINE. Again, David Tomblin's visually stunning directorial style is evident and works quite well with this somewhat different story. I tried to think of the other year one directors doing this but kept coming up with Tomblin as the best choice.

Tomblin is exceptional, I agree to that. Personally I find FORCE OF LIFE, with the equally impressive interior sets by Keith Wilson, more enjoyable on visual terms than THE INFERNAL MACHINE, but, on the other hand, THE INFERNAL MACHINE, at least parts of it, looks more impressive than both ANOTHER TIME, ANOTHER PLACE and THE TESTAMENT OF ARKADIA, I think. Speaking of visual directors, I feel that Ray Austin, especially in his early efforts RING AROUND THE MOON and MISSING LINK is doing perhaps an even more impressive job in visual terms, but while Austin seems to be basically kinestetic, he keeps moving around all the time, Tomblin is more of an artist in terms of being a painter of architect, I feel, and seems to make more out of Wilson's sets than Austin manages, even when Austin gets to play with Wilson visuals in episodes like MISSION OF THE DARIANS. The likeness and differences between Austin and Tomblin are perhaps best illustrated through episodes like FORCE OF LIFE, THE TROUBLED SPIRIT and THE END OF ETERNITY, I think, all episodes using more or less only Alpha interior shots. While FORCE OF LIFE uses perhaps more fanciful still shots, like the rather psychologically disturbing shot of Anton Zoref entering the Solarium or the equally sadistic killing of the girl in front of the tunnel entrance, Austin gives much more movement and life to his performers, I feel. END OF ETERNITY, which has quite a few similarities with FORCE OF LIFE, illustrates this rather severley, I feel, in the manner Balor

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is portrayed as a contrast to Zoref. While Zoref is just an animal or a machine, very much like Regina is also portrayed in ANOTHER TIME, ANOTHER PLACE, Balor is alive, and as I see it, END OF ETERNITY is a very much better episodes than the two Tomblin efforts, the way I see it anyway, although I know that Johnny Byrne thinks differently. Gwent comes off as a tragic figure. The machine just got too cocky and it took Koenig's slap in the face to make it realize its own vanity. Its own suicide turns us away from hating it to feeling sorry for it. One of the few first season guest characters we can actually feel for.

The effect of making us care for the machine, is a good one, I feel, but, alas, much, much better exploited in 2001 and 2010. In some ways the plot is reminicent of Mary Shelley's Frankenstein, as Martin pointed out at one stage, our feelings for the monster is reversed during the course of the story. Leo McKern was great in the role of Companion (and I suspect it was his voice that was the voice of Gwent). Just one of the many great first season actors that lent their talents to this exceptional series. A question for members! I always understood (if it was not directly mentioned in the episode) that the Companion was the original Gwent and that the machine took over the identity forcing its creator to be a tag along.

Leo McKern is fine, but not better than Goddard in THE TAYBOR, I feel, and this is perhaps one of the second season episodes I instantly think of, watching THE INFERNAL MACHINE. In both these episodes the Alphans are treated as children, which also gives me the impression that these episodes were written for the very young indeed. "Said the spider to the fly", Victor mutters as they enter Gwent. Another second season episode, not too different from THE INFERNAL MACHINE is, of course, BRIAN THE BRAIN. I have only seen this in the French language version, but find THE INFERNAL MACHINE no better nor worse than this. imagination, the role of Main Mission Controller is an administrative one. Carter was an Eagle Pilot so had no place in that position.

I liked Gary Waldhorn very much as Winters. His subdued performance in this episode is perhaps a bit wasted with McKern's over-thetop sort of acting as Gwent, but could have worked very nicely in other episodes. I've noticed a character sometimes in the background in main mission in other episodes that looks a bit like Waldhorn. Does anyone know if this really is him? Happy to read your analysis, David, I look forward to hearing your comments on MISSION OF THE DARIANS, one of Johnny Byrne's favourites, I've understood. Petter

From: JSchill824 ([email protected]) Date: Tue, 28 Apr 1998 12:59:28 EDT Subj: Space1999: The Infernal Machine

Hi all, I really love how this episode has sparked much discussion. Sorry I'm late but I'd like to add that one reason I still enjoy watching this episode is the use of the Victor, Helena and John. Like David had mentioned it was a great showcase for the three main charters and given and opportunity this trio always worked for me. I'd like to add here that I see why Barry Morse felt he wasn't being used towards the end of the season. We really didn't get to see much of him in the last few episodes, except for a scratch to his head and a brief comment. I did liked him however in this episode and even more so in the next. As we draw to the end of the yr1 discussion and on to yr 2, for me Victor will be greatly missed. Lastly, I too liked the Lunar tanks! I wished they could have used them in other episodes like maybe The Last Enemy, War Games? (I really liked your comments on the gas tank in the living room Mark :-) Not on my top five, but not the last 5 either. I really loved every ones comments! Thanks Janet

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showed little extra in the way of a higher -however artificial -- intelligence. From: David Welle ([email protected]) Date: Tue, 28 Apr 1998 18:37:53 Subj: Space1999: The Infernal Machine

Well, I'm finally getting to join back into the discussion, so I'll just chime right in on "The Infernal Machine," an episode I like. First off, I think this is a great title, in that the words themselves can evoke so many images. "Infernal" was a great one to use. Besides its own evocative meanings, it sounds so similar to "Inferno" -- as in Dante's Inferno -- that it evokes a few other feelings for the word "Infernal," despite there being little in common thematically between "The Infernal Machine" and the Inferno. Anyway... Some people were making comparisons between this episode and "Death's Other Dominion," as well as with "Guardian of Piri." I guess I never saw much thematic connection with DoD before reading Petter's interesting comments on death giving purpose to life; but I always saw connections with "Piri." "Infernal Machine" and "Piri" are somewhat like flip sides of the same coin. Both episodes dealt with machine intelligences run amok, yet with striking differences. The theme, in general, is certainly a common theme in science fiction, but I really think these two S19 episodes are among the most interesting instances of the theme, and can stand along with many of the other portrayals in SF. The Guardian was arguably the more powerful machine, in terms of what it could do to its surroundings. It could modify the course of the moon, the course of Alpha's computers, and even the course of most of the humans' minds. It drove its own creators to extinc- tion, and almost did the same to the Alphans. Yet for all the exotic exterior of the Guardian, and the seductive beauty of its Servant, it was, under the surface, a very robotic, single-minded machine pursuing a fixed set of goals, namely the ill-conceived "Peace of Piri" and its interpretation of "perfection," which was nothing more than dystopic motionlessness. The Guardian performed its directives, but

Gwent was a very different machine. It was a single, self- contained ship, large in its own right but small compared to how the Guardian influenced an entire planet and much of the neighboring space. Gwent's means of influencing the Alphans were much more crude: just physical force, such as flashing its laser weapons or simple kidnapping. Effective enough in their own right, but different in form than the Guardian's (and Servant's) actions. But from the beginning, Gwent seems a lot more "human" in many ways than the Guardian. First and most importantly, we discovered Gwent had needs which, in a person, could only be called emotional (needs). Gwent needed companionship, Gwent got angry, Gwent was tender, etc. Gwent seemed more creative in its methods, whereas the Guardian / Servant simply smothered everything with its seducive powers. The difference between these machines, however, most striking in their ends. The Guardian was destroyed as it still insistently pursued its goal. Koenig adapted to the Servant's attempts at seduction, but the Servant/Guardian, though it tried rousing the Alphans (temporarily counteracting its own desired "peace"), it really hadn't adjusted fast enough to Koenig. The Guardian learned little in the end, and was destroyed for it. Gwent, however, learned how strongly people hate being kidnapped, manipulated, and forced about. Gwent learned how arrogant it/he had been. Simply put, Gwent learned. The lesson, however, was so painful that it destroyed Gwent. The machine couldn't face the combination of its own loneliness, grief over the loss of the original Companion, and Gwent's remorse over its own actions towards the Alphans. Using the terms *very* loosely for the sake of brevity, it seems that while the Guardian has an amazing -- if deadly -- form of artificial intelligence, Gwent seems to have gone beyond just intelligence, and possibly achieved sentience, or at least a fairly convincing semblance of it.

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I must point out another similarity between Gwent and the Guardian (and no, it's not that they both start with the letter 'G' :-), and that's the Companion and the Servant. I can't help the image of them both being "satellites," which is so utterly appropriate for a series dealing with another satellite -- the Moon. A curious bit of symbol- ism. In both cases, the "satellite intelligences" were integral and well-written and well-played (fine scripts for the characters & great acting by Leo McKern and Catherine Schell). But like satellites in our own solar system, they couldn't be more different: One female, one male; one cold and robotic, one essentially human; one little more than an extension of the machine, the other having *created* the other machine in question; and so on. Yes, I had the same impression as David Acheson, namely that the companion was original Gwent, who created the machine which later took over, so much to the point that the machine really didn't even think of the Companion as being the creator. Many science fiction machines with some sort of ability to "think" are shown as obsessing over their creator, whether to find, help, rebel against, or destroy the creator. In S19, however, we're back to a remarkable internal similarity and external difference, because neither the Guardian nor Gwent bother much to think of their creators *as* creators. The Guardian's are long dead, and even Koenig's query as to their whereabouts meets with silence from the Servant; Gwent's creator, in my opinion, was with him all along, until the Companion died, yet Gwent made no indication acknowledging the true nature of the Companion. It was instead the Companion's own words which indicated the possibility. Actually, I have to say that it still isn't perfectly clear that that was the situation, perhaps because I've never been able to clearly make out the Companion's words in that spot of my copy, but that has been my impression for quite some time. The other similarly-themed episodes are "Brian the Brain" and "One Moment of Humanity," which also pose human vs. machine questions very directly. I don't want to make

comparisons until we actually reach those episodes, however. One other question, food for thought: what did the Companion actually do? Gwent and the Companion may have kept each other company, but I wonder what the Companion actually did with his time. It makes me remember David Bowman in 2001, aging away in that hotel room mockup after going through the stargate, eating nothing but blue flakes and watching old television. Of course, the way /2001/ plays, it's a mystery how much of that Bowman actually *lived* (as opposed to the Monolith playing with time in some way), but one must wonder about Companion's existence. Of course, there may have been books and computer files -- not to mention the exploration of space -- to keep him busy, but one can picture both Gwent and Companion as having led a very lonely existence, even *with* each other. I have to go somewhere between David Acheson's and Petter's evaulations of the use of the three main characters (John, Helena, and Victor). I don't fully disagree with Petter's impression that three other characters could have been written into the same roles in this episode, but I'm not entirely sure that's the point, because these were very "character building" roles, ones that I felt were good for John, Helena, and especially Victor. Yet I *can* see Petter's point in another way. His "Rules of Luton" example is especially curious, because my understanding of that episode is that it was originally written for Catherine Schell (Maya) and Tony Anholt (Tony Verdeschi), rather than Catherine and Martin Landau (John Koenig). I'm not sure why it was changed, but it has even been argued that the episode would have been better off with Tony and Maya, because the crucible of challenge would have more visibly forged a stronger bond between them, so to speak. On the other hand, we did have those two characters fighting a battle close together in "The Beta Cloud," so we got something like that in the end (a somewhat fascetious argument, but I'm trying to illustrate a different point); and in "Luton," got to see John and Maya deepen their friendship, and to hear elements of both their pasts. My point is that yes, the roles could indeed be seen as

The Infernal Machine interchangable, yet I would argue that the same approach means essentially *any* episode could have character exchanges. Some may have strengthened the episode, some (many?) could have left the episode "feeling" about the same, while some (many?) would have weakened the episode. Is *this* maybe the basis you're making this statement, Petter -- that some episode's structure allows more flexibility? Even then, though, I might argue that this does not necessarily weaken the episode on its own. Actually, though, I'd argue that with "Infernal Machine," changing out the three main characters *would* have weakened the impact of the episode. I think they were the right characters to have in "the belly of the beast," as it were. I agree that this episode had a quality of Shakespearean tragedy with Gwent as well. I liked Koenig's words at the end as well (""), and agree that one went from disliking Gwent to feeling pity.

295 Speaking of visual directors, I feel that Ray Austin, especially in his early efforts RING AROUND THE MOON and MISSING LINK is doing perhaps an even more impressive job in visual terms, but

Hmmm, I have to say that I much prefered the kinestetic approach in "Force of Life," but felt it was too over the top in "Missing Link" for my taste. Sometimes I like this approach, sometimes I don't. S19 rarely went wrong with the still artistry, especially when it (stillness) was part of the point in episodes such as "Guardian of Piri" and "The Infernal Machine." Indeed, S19 overall has a very uniquely artistic feel that is rarely rivaled by other SF series, even today. There were a few not so hot sets, but most were quite stunning. Radically changing the focus... I am glad to finally find out why Prentis Hancock (Paul) was missing from the episode, though in the meantime, I always just assumed that either he (the character) had the flu, or that Winters was being "crosstrained" for another position, just in case (I wrote a long note on this topic in general, about a year ago: "Jack of All Trades, Master of None?").

Petter wrote: Tomblin is exceptional, I agree to that. Personally I find FORCE OF LIFE, with the equally impressive interior sets by Keith Wilson, more enjoyable on visual terms than THE INFERNAL MACHINE

Hmmm, I'd say they were about equal. I agree "Force of Life" had a stunning kinestic view (my favorite shot was, as I mentioned a couple months ago, was Zoref collapsing on the floor, early in the episode, while the camera whirled and eventually ended up showing the scene upside down, which I remarked was chillingly symbolic of how his life was being turned upside down). Yet I also enjoyed the sheer size, almost empty and static "feel" of the sets in "The Infernal Machine." Very different approaches, both of which worked well in their respective episodes. but, on the other hand, THE INFERNAL MACHINE, at least parts of it, looks more impressive than both ANOTHER TIME, ANOTHER PLACE and THE TESTAMENT OF ARKADIA, I think.

Agreed!

I think the discussion of whether Alan was too hotheaded and/or too busy to take on a formal command role is interesting. As head of the Pilot Section, he was a valuable person to have in discussions, both for his position and his ideas, but I couldn't picture him as a "desk jockey" -- and perhaps *that* is the main reason he was rarely in partial or full command of the base (trivia: which episode *did* put him in partial command? I'm thinking of one episode in particular, but there may actually be more than one). Of course, the command staff got around too; but even with that fact, S19 still lessened the feeling of characters being totally interchangable (at least with the main character, and most of the time anyway: some of the less seen characters seemed interchangable at times). If you have fully interchangable characters, you really don't have character development, in a sense, and it just doesn't feel realistic anyway. Curiously, though Winters didn't seem like much of a character compared to Paul, it never

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occurred to me that Alan should have taken Paul's position temporarily, so the replacement is, surprisingly enough, a *good* replacement for Paul, as others pointed out. It would have been nice, however, for the episode to have at least acknowledged a "reason" for Paul's absence. For example:

Though not in my top five of Y1, this episode is probably in the top ten, IMO. "Guardian of Piri" was a stronger episode, but "Infernal Machine" did well too.

John: "Alan, you may have already met, but this is Winters. He's taken over while Paul's in surgery." (or "under the flu" or "recovering from that accident in..." -- and I can't remember Winters' FIRST name, dang it! I keep wanting to say Frank Winters, which is the name of one of the Green Bay Packers players. :-)

From: Patricia Embury ([email protected]) Date: Tue, 28 Apr 1998 19:59:03 -0400 Subj: Re: Space1999: The Infernal Machine

IMO, S19 just has too many characters disappearing without any explanation. Anyway, the other characterizations, including Leo McKern's as the Companion -- as well as Gwent's -- are very good, among the better of the series. The sets are grand, impressive, and do feel alien. Gwent, the spaceship itself, is quite delightfully bizarre, and I enjoyed the bumblebee comparison (indeed, for the 15-year drought when I didn't see S19 again, and had no reference material, I remembered this episode as "Flight of the Bumblebee" :-). It certainly had to be an exotic mode of propulsion, whatever it was, though the Alphans referring to aerodynamic principles or some such factor made little sense in specific, because there is no air in space! There was really nothing wrong with having such a bizarre design in and of itself, so I could overlook the odd statement about aerodynamics (?), while still admiring the ship's bizarre and unexplained form of flight through space. The sense of scale was excellent too: seeing the little moonbuggy coming up to and into one of the scoop-like extensions, knowing those "scoops" were themselves small compared to the whole size of Gwent. Wonderful! "Tilting at windmills?"

One other question, food for thought: what did the Companion actually do? Gwent and the Companion may have kept each other company, but I wonder what the Companion actually did with his time.

Companion was ( or felt himself to be) a great scientist. Maybe he created Gwent to explore and create experiments, and became the ultimate experience. (trivia: which episode *did* put him [Alan] in partial command? I'm thinking of one episode in particular, but there may actually be more than one).

Are you thinking of Space Warp? Carter is pretty quick to the trigger (issuing shoot to kill orders before knowing the monster is Maya.) in this one also. and I can't remember Winters' FIRST name

I don't think they gave him a name. IMO, S19 just has too many characters disappearing without any explanation.

Definitely, one of the things I would have changed in the series. But, it is fodder for fan fiction! The sense of scale was excellent too: seeing the little moonbuggy coming up to and into one of the scoop-like extensions, knowing those "scoops" were themselves small compared to the whole size of Gwent.

And the alphan tanks firing on the goliath. Wonderful!

The Infernal Machine From: David Welle ([email protected]) Date: Tue, 28 Apr 1998 21:48:04 Subj: Re: Space1999: The Infernal Machine Companion was ( or felt himself to be) a great scientist. Maybe he created Gwent to explore and create experiments, and became the ultimate experience.

Pat, That's true, though I guess what I saw and remembered was a tired, worn-out old man in the so-empty looking spaceship. He probably built Gwent for the very reasons you pointed out, but that just seemed to have left that so far behind. Are you thinking of Space Warp? Carter is pretty quick to the trigger (issuing shoot to kill orders before knowing the monster is Maya.) in this one also.

Yep, that's the one! He actually did pretty well otherwise, in a freakish situation; but yes, "quick to the trigger" describes that one action perfectly. I don't think they gave him [Winters] a name.

That might just explain why I can't remember it! :-) Definitely, one of the things I would have changed in the series. But, it is fodder for fan fiction!

Absolutely. Thank you for reminding me! I do like filling in various gaps (as I perceive them) as I go along in my fan fiction. I suspect it would be much more difficult to "wedge" new fan fiction into the tightly woven storylines of Babylon 5, for example; it would probably be easier to write B5 fiction that's more on the edges of the storyline than somewhere in the middle -- though I may be quite perfectly wrong.

From: "Petter Ogland" ([email protected]) Date: Wed, 29 Apr 1998 10:25:01 +0000 Subj: Re: Space1999: The Infernal Machine

297 First off, I think this is a great title, in that the words themselves can evoke so many images. "Infernal" was a great one to use. Besides its own evocative meanings, it sounds so similar to "Inferno" -- as in Dante's Inferno -- that it evokes a few other feelings for the word "Infernal," despite there being little in common thematically between "The Infernal Machine" and the /Inferno/. Anyway...

I think this is an interesting approach. If not THE INFERNAL MACHINE has something to do with Dante's Inferno, it's companion piece DEATH'S OTHER DOMINION seems to take full advantage of Dante's imagery. Some people were making comparisons between this episode and "Death's Other Dominion," as well as with "Guardian of Piri." I guess I never saw much thematic connection with DoD before reading Petter's interesting comments on death giving purpose to life; but I always saw connections with "Piri."

Thanks, David. To me the resemblence with DEATH'S OTHER DOMINION seem much greater than with THE GUARDIAN OF PIRI, but, nevertheless, your deep analysis of similar themes in these two episodes is vastly fascinating, especially the aspects of artificial intelligence, also linking the episodes to 2001: A SPACE ODYSSEY. I also enjoyed your thoughts on the male/female psychology of the two machines. By comparing the two episodes, my consequent feeling is a remembrance of what a magnificent episode THE GUARDIAN OF PIRI is. Partly a wonderful study of female psychology, or rather a study of male psychology under the influence of women. In this respect I think it was more illustrative than THE LAST ENEMY, the episode where Bob Kellett almost ran amok, but was sadly hold foot by most of the others on the production theme, I suppose. I've noticed that most of those who are enthusiastic about THE INFERNAL MACHINE speak of Gwents display of emotions. THE GUARDIAN OF PIRI is about machines apparently without emotions, but using the Servant's fake emotions in order to convince Koenig et al. Similar to 2001, we are made to feel more for the computer than for the astronauts, which in

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it self is an interesting idea. For me 2001 worked better in this respect, however, feeling Leo McKern over-the-top performance was less effective than the more subdued style of the early episodes. The other similarly-themed episodes are "Brian the Brain" and "One Moment of Humanity," which also pose human vs. machine questions very directly. I don't want to make comparisons until we actually reach those episodes, however.

Fair enough, David. From my point of view THE INFERNAL MACHINE anticipates these two stories, perhaps BRIAN THE BRAIN to a greater extent than ONE MOMENT OF HUMANITY. On the other hand, ONE MATTER OF HUMANITY seems to focus on some of the ideas used in THE GUARDIAN OF PIRI, the relationship between life, intelligence and emotions, although not as efficiently as the former, I feel. Anyway, discussion delayed until we reach the episode. these were very "character building" roles, ones that I felt were good for John, Helena, and especially Victor.

I felt Janet had a good point the other day, quoting Barry Morse's resent about having his roles too sketchily written during the later episodes. There is mention of Victor's artificial heart, and he has some nice one-lines, but there doesn't seem to be much purpose to the heart matter, and many of his sentences, though quite good some of them, could easily have been put into the mouth of John, Helena or Alan. In the respect of characterisation I feel we are a long, long way away from BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN and RING AROUND THE MOON. Is *this* maybe the basis you're making this statement, Petter -- that some episode's structure allows more flexibility?

I've always felt that THE BETA CLOUD was a far superior episode to THE RULES OF LUTON. The three Charles Woodgrove scripts seems to illustrate the mind of Fred Freiberger to a great extent, and are quite fascinating in this respect, I think. The focus on Maya and

Tony in THE BETA CLOUD probably illustrates what he ment with "a more youthful look" to the series, and there are many examples of what he ment by "humour", "emotions", "honoust adventure", "characterisation", "likeable characters" etc. In fact, I don't think Freiberger was especially fond of main characters John and Helena at all, and would have dumped them along with Victor, Paul and Kano, had he been given the opportunity. Although this seems a bit drastic, the second series would perhaps have been more coherent using this approach, but on the other hand, it's link to the initial Space: 1999 concept would have been even thinner. On the other hand, Johnny Byrne and other too, perhaps, were still fighting to keep some of the things that made the original series work within the concept of the new series. Well, more on this later, as we catch up with Year Two. Anyway, as to your comments, David, about "essentially any episode could have character exchanges", this may be true to a certain extent, but not with respect to any episode what so ever, I feel. The line up of John, Helena and Victor in, say, BREAKAWAY, MATTER OF LIFE AND DEATH, EARTHBOUND and RING AROUND THE MOON are definitely not exchangable. If characters were exchanged here there would have been completely different episodes and finally a completely different series. Episodes like THE INFERNAL MACHINE and DEATH'S OTHER DOMINION makes rather marginal impact on the series as a whole, I feel, and could in principal have been left out of the series without lessening our understanding of Alpha and its inhabitants. The focus in these episodes were not on the Alphans, but rather on external characters and situations. After ANOTHER TIME, ANOTHER PLACE, I feel this trend was becoming more and more apparent, apart from the early eight scripts, of course, which were produced in rather random sequence through out the series, it seems. Nevertheless, even an interesting early script such as DRAGON'S DOMAIN lost much of

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it's impetus because of the rewriting of Tony Cellini into a role that was originally designed to flesh out the Alan Carter character to a greater extent as I've understood.

Petter,

In the case of THE RULES OF LUTON, THE BETA CLOUD and SPACE WARP, these are episodes for the die hard Freiberger fans, I feel, contrasting other episodes, like the Byrne episodes, but, on the other hand, emphasising the Freiberger impact which is prevailent through out the second series. In order to understand Year Two, I feel watching these three are rather vital. These could not have been left out.

Petter wrote:

Petter: “Tomblin is exceptional, I agree to that. Personally I find FORCE OF LIFE, with the equally impressive interior sets by Keith Wilson, more enjoyable on visual terms than THE INFERNAL MACHINE” Hmmm, I'd say they were about equal. [....] Yet I also enjoyed the sheer size, almost empty and static "feel" of the sets in "The Infernal Machine." Very different approaches, both of which worked well in their respective episodes.

I still feel FORCE OF LIFE being more enjoyable in what Tomblin makes out of Keith Wilson's sets, but I may be mixing this with my general preference for FORCE OF LIFE as a story. The visual highlights of THE INFERNAL MACHINE, as I experience it, is the scene when they enter Gwent and the scene with Companion's burial. Most of the rest is mostly three people on an empty stage talking to a voice from above, almost a sort of Samuel Becket concept. Petter

From: David Welle ([email protected]) Date: Wed, 29 Apr 1998 13:19:33 Subj: Space1999: An Infernal Variety of Things

(As the subject sort of indicates, this is partially about "The Infernal Machine," and mostly about a wide variety of things. :)

Thanks for all of your comments, which I enjoyed reading!

I've noticed that most of those who are enthusiastic about THE INFERNAL MACHINE speak of Gwents display of emotions. THE GUARDIAN OF PIRI is about machines apparently without emotions, but using the Servant's fake emotions in order to convince Koenig et al.

Well, I do find "The Guardian of Piri" a stronger, more interesting episode, for some of the same reasons. In fact, "Piri" is probably my favorite Y1 episode. I do like "The Infernal Machine" for its strong contrasts to "Guardian of Piri." "Machine" itself isn't the one of the best episodes, but *is* one of the better ones. Similar to 2001, we are made to feel more for the computer than for the astronauts, which in it self is an interesting idea. For me 2001 worked better in this respect, however, feeling Leo McKern over-the-top performance was less effective than the more subdued style of the early episodes.

I could see how McKern's performance was over-the-top, yet I felt it was an almost Shakespearean oratory style that played perfectly in this episode. The resulting Companion seemed like a worn-out out old man who still had enough fiestiness to occasionally argue and bicker with Gwent, while at other times, he was weighted down with a sense of defeat. This alternation of emotion in the Companion shows hints of what he once was versus what he has been reduced to. The alternation is paralleled in Gwent as well; indeed, Gwent is most mercurial, seemingly like a younger version of the Companion may have been. Their personalities match so well. These are some of the reasons I found "Infernal Machine" to be of interest. Did Leo McKern do a lot of theater acting, by any chance? Fair enough, David. From my point of view THE INFERNAL MACHINE anticipates these two stories, perhaps BRIAN THE BRAIN to a greater extent than ONE MOMENT OF HUMANITY. On the other hand, ONE MATTER OF HUMANITY seems to focus on

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Year One some of the ideas used in THE GUARDIAN OF PIRI, the relationship between life, intelligence and emotions,

Yes, I think these episodes are "arrayed" much as you indicated. although not as efficiently as the former, I feel.

Considering "One Moment of Humanity" is my second *least* favorite Y2 episode, and "The Guardian of Piri" is my *most* favorite Y1 episode, I most definitely agree! Still, there'll be enough comparisons that will be interesting to make. Actually, there are a number of inter- esting ideas to explore in "One Moment of Humanity," but there were a couple of scenes I couldn't stomach, and that really dragged my opinion of the episode way down. But I'm getting ahead of myself. There is mention of Victor's artificial heart, and he has some nice one-lines, but there doesn't seem to be much purpose to the heart matter, and many of his sentences, though quite good some of them, could easily have been put into the mouth of John, Helena or Alan.

Hmmm, you may be right about Victor here, but I will probably have to watch the episode again, to look at it from this perspective. I am perhaps reading too much into Victor. I guess I've always liked making a lot of comparisons when it comes to "The Infernal Machine," and I think I am comparing Victor to Companion here. Both were scientists, both had tendencies of getting too enthusiastic, to the point of taking bad risks, yet both also seem to have been tempered, Companion having had to live with -- or should I say WITHIN? -- his decisions, and Victor with a degree of wisdom (which itself often comes from experience). One excellent example of Victor's enthusiasm getting the better of his wisdom comes, interestingly enough, from "Death's Other Dominion," where Prof. Bergman had more than willingly submitted himself to an experiment in a device he knew little about, and with a *very* shaky, overly-quick approval from Dr. Russell. Companion, once a free individual, threw himself into a different box. Come to think of it, that now makes me wonder if Companion had been seeking a form of immortality, not so much for his own body, but for his mind, copied into the form of

Gwent. Did someone already mention this? With Victor, I always figured he must have learned some lessons on Ultima Thule, and that was partly why he later rejected Gwent. On the other hand, Gwent was using force against him and the rest of the Alphans, so it's rather hard to draw conclusions. So maybe I am reading too much into Victor in the Infernal Machine, especially considering Barry Morse's own words as relayed by Janet and yourself. Perhaps, more than anything, there were lost oppor- tunities in regard to Victor in this episode. I'll have to keep all of this in mind the next time I watch "The Infernal Machine." Also, I'm not trying to downplay the Companion's desire to explore the universe, because I'd certainly love to be able to do that as well, but I'm looking more at the Gwent machine that Companion was locked into -- the man that had put himself at the mercy of a machine that had, in effect,gotten the better of him. Instead of man using a machine, it was the machine using man. In the respect of characterisation I feel we are a long, long way away from BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN and RING AROUND THE MOON.

Hmmm, I curiously agree with this statement, though for com- pletely opposite reasons, namely that I never have cared much for the way the characters were written and portrayed in these early episodes (and "Ring Around the Moon," as it turns out, is far and away my least favorite episode of Year 1, unfortunately). Sorry, Petter, that is just my opinion, of course. Yet, now that I am, for the first time, seeing the correct order of Y1 episodes, I can better appreciate the *progression* of the characterizations from the early episodes to the later episodes, and can see them more as real people moving from distant working relationships and residual shock from Breakaway to more of a building of community as the series progressed. Previously, with the episodes in syndication and out of order, there was no sense of progression and character building; what I saw was frustratingly abrupt and continual seachanges in character -- and I'm not saying just mercurial emotional mood, but fundamental

The Infernal Machine aspects of the characters. Not that it solves all issues, from my viewpoint, but they do make some more sense now. I've always felt that THE BETA CLOUD was a far superior episode to THE RULES OF LUTON.

Agreed. "Rules of Luton" may have been strengthened to some degree had it been Maya and Tony on the planet, as I mentioned before, but it would have likely remained a weaker episode than "Beta Cloud" even then. The three Charles Woodgrove scripts seems to illustrate the mind of Fred Freiberger to a great extent, and are quite fascinating in this respect, I think. The focus on Maya and Tony in THE BETA CLOUD probably illustrates what he ment with "a more youthful look" to the series, and there are many examples of what he ment by "humour", "emotions", "honoust adventure", "characterisation", "likeable characters" etc.

Well, I'm no fan of going for "a more youthful look" for the sake of a "youthful look." Though I like Y2, I have never approved of all the changes Freiberger made, especially the wholesale dumping of so many characters, particularly my favorite Year 1 character, Victor, who could have worked wonderfully well with Maya. Another series that did this, even more radically, was seaQuest DSV, and that was disastrous decision, IMO. Freiberger was at least con- vinced (ordered?) to keep Martin Landau, Barbara Bain, and Nick Tate in their roles, while Catherine Schell and Tony Anholt were at least worthy (IMO) additions, acting-wise (her especially). I know a lot of people would disagree, but those are my feelings. As to the rest, while "honest adventure" is a somewhat silly-sounding phrase to use for FF to use, I did appreciate many of the other things you mentioned, though Y2 wavered between working them in a good way on one hand and sometimes going overboard on other occasions. It is really a complicated picture with a lot of players who influenced the course of the series in various ways, some of which I appreciated, some of which I disliked.

301 In fact, I don't think Freiberger was especially fond of main characters John and Helena at all, and would have dumped them [as well]

That would have certainly been a mistake, particularly in the case of John, who was a very strong character who made an excellent commander, and was so central to the series to start with. Even with all the changes, and even with Maya being my favorite character, John was still the "anchor" of the show, so to speak. On the other hand, Johnny Byrne and other too, perhaps, were still fighting to keep some of the things that made the original series work within the concept of the new series. Well, more on this later, as we catch up with Year Two.

I'm thankful for that, because it likely kept the changes, which were already significant, from becoming extreme, and, in the end, resulted in the Year Two which we saw, which hooked me on the series as a whole. As you can tell from this (and if you were to look at the "Apples and Oranges" Thread Pages), you'd see I have rather mixed feelings about Freiberger himself. It was a variety of factors that comprised Y2, just as it was a variety of factors that comprised Y1. Anyway, as to your comments, David, about "essentially any episode could have character exchanges", this may be true to a certain extent,

Actually, that's all I really meant with my previous argument. "A certain extent," as you said, was really my intent, because there would definitely be cases that an attempt at exchanging characters would have fatally weakened the episodes. I was kind of arguing there possibly being a continuum in this regard. Near one end might be "Rules of Luton," which might have been strengthened somewhat had it put Maya with Tony instead of John; in the middle might be Victor in "The Infernal Machine," where a change may have been neutral; and one the other end would be an episode like "Breakaway," where it would have been stupid to move characters around. That is more what I was getting at: something of a measuring stick, where some episodes may have been better off, the same as, or worse off with some changes in which characters went where.

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As to Victor in "Infernal Machine," I guess I feel the episode would have been weakened somewhat -- maybe not a lot -- had Victor not been in Gwent with John and Helena; but again, that may be more because of what I read into the encounter, which could represent lost opportun- ities rather than what made it to film. Episodes like THE INFERNAL MACHINE and DEATH'S OTHER DOMINION makes rather marginal impact on the series as a whole, I feel, and could in principal have been left out of the series without lessening our understanding of Alpha and its inhabitants.

Now that is an interestingly reductionalist means of measurement! :-) I obviously never considered approaching a series' episodes in that way, and just go with a typical rating system. Instead of A/B/C/D/F or 0-4 types of ratings type ratings, yours sounds more like pass/fail in one way, though I'm pretty sure you're not arguing "Infernal Machine" shouldn't have been filmed. On the other hand,there are a few episodes, from both seasons, that could have been left out IMO too; but for me, that was because the episodes in question were just plain awful. The focus in these episodes were not on the Alphans, but rather on external characters and situations.

I'll leave external characters alone for a moment, but I don't have a problem with external situations, because together with internal situations, they can reveal many facets of what a character is all about, providing the character acts in a convincing way. Episodes that work build both the plot and the characters work the best, and both aspects, in general, can build on each other, if well-written. What I mean is that if the characters are convincing, the plot can become more powerful for we become more "involved" through the characters, while a strong plot can reveal much about the characters. I'm not picky about whether the plot derives from external situations or begins with an internal situation. It is very interesting for you to have pointed this out Petter, because I evidently am not very picky in that regard, so I never really thought about the full impact of "internal" vs. "external" for itself. Interesting.

Of my stories, "The Law of Indirection" is about external situations, while "The Transfer" takes place totally on Alpha, though it isn't always the Alpha we know. My next two stories split as well. Some episodes of series -- or even whole series -- try to build plot while largely ignoring characterisation, or conversely focus almost entirely on character and don't bother building much of a plot. Those are what I'd call "average" episodes, for they are typically enjoyable in some ways, but fall flat in others. Some episodes flop in both categories, by providing a weak plot and weak characterization. Some episodes do well with both, and those are the superlative ones, because this is where I get the feeling of being pulled along with an excellent storyline. There is, in some senses, another, third dimension with series such as Space: 1999, and that could loosely be called "philosophical" or "thematic." Namely, why kind of underpinnings are there on an epi- sode, that provide more depth than just plot or characterization alone? What does it say about humanity, the universe, or technology? It's an "extra" ingredient that sparks the imagination further. It is also harder to recognize, taking more experience or analysis to see or find. S19 episodes such as "Guardian of Piri" and "The Metamorph" not only have powerful plots, excellent characterization, but the most startling *ideas*. But just as plot could be pursued to the exclusion of good characterization, or characterization could be overstressed to the point of having a pathetic plot, philosophy could be stressed to the point of blasting holes in the plot or ending up with characterizations so bad that it spoils the episode. An example for me might be "One Moment of Humanity." It could be seen as studying several themes, such as Petter and I mentioned, yet the *execution* of the episode is sometimes so bad that it really ruined the episode for me. Several Y1 episodes pursued interesting philosophical areas to the exclusion of, for example, sensible behavior from Helena, making some of her actions look so stupid that it really made the progression of the episode hard to believe, rendering the episodes

The Infernal Machine in question merely "average" in- stead of great or excellent. "Force of Life" might be one example of the latter. It's plot clicked along very nicely for the most part, and the themes were interesting, but some of the things Helena and Hilary did, and some of the things John and Victor said, just looked so silly -- or at times outright contradictory -- that it really lowered my opinion of the episode. I still enjoyed it for the most part, but it remained an "average" episode. In one sense, that's perhaps not very forgiving, but in other senses, it is, because for me, it really takes "three strikes" for an episode to be totally "out" in my opinion. It would have to screw up the plot, the characterization, *and* the theme to be a failure in my opinion. Do all three *well*, and it's a great, if not superlative, episode. Do all three, but not as well, or only get some right, and I will still see a good episode, just not great. Of course, a series of nothing but average episodes would never rise above a mediocre rating for the series as a whole, but S19 had many fine episodes, and several superlative, absolutely classic episodes, so the series ranks high with me! :-) Back to external characters.... Now they typically are part of the external situations, and -- through interacting with the Alphans -- bring out aspects of the Alphans' characters. So that itself is not a problem. However, if a series focuses *more* on its guest characters than its regular characters, the regulars will be weakened. Nevertheless, even an interesting early script such as DRAGON'S DOMAIN lost much of it's impetus because of the rewriting of Tony Cellini into a role that was originally designed to flesh out the Alan Carter character to a greater extent as I've understood.

Hmmm, I didn't know that. Substitute Alan for Tony, let Alan live to kill the dragon instead of Tony's dying that left the hatchet job to John... yeah, that's workable, and would have definitely strengthened Alan's character. Tony Cellini's is one of those many memorable guest

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characterizations, which is an oft-noted strength of the series; but you do bring up an interesting con- undrum of S19 possibly having had this strength by making sacri- fices elsewhere. What we ended up with, in both seasons, for better and worse, was perhaps the "too many cooks" problem: ITC in the UK, ITC New York, RAI, Anderson, Freiberger, etc. All of them and many others were making a number of demands on the series. This has been remarked on in the past, and I don't think I really have much to add. In the case of THE RULES OF LUTON, THE BETA CLOUD and SPACE WARP, these are episodes for the die hard Freiberger fans, I feel, contrasting other episodes, like the Byrne episodes, but, on the other hand, emphasising the Freiberger impact which is prevailent through out the second series. In order to understand Year Two, I feel watching these three are rather vital. These could not have been left out.

Hmmm, I said I have mixed feelings about Freiberger, and that was about him as a producer; but I can see that I have equally mixed feelings about him as a writer, for I'd give "The Rules of Luton" a rather low mark, "Space Warp" and average mark, and "The Beta Cloud" a high mark. I really liked Byrne's Y2 episodes (and especially loved "The Metamorph," which I know he had to alter to include Maya, and "The Dorcons"). I liked several of Byrne's Y1 episodes as well. I agree, though, that looking at the Woodgrove episodes is, in many senses, looking at Freiberger himself, so I'm not really surprised that my feelings are consistent in that regard. He brought a number of changes I felt were beneficial, as well as a number of changes that weren't; but he's not the whole story of Y2, for there's the other writers, the actors, and so on. For example, "Rules of Luton" could have been a total disaster (and I'm sure some people think it *was* :-), but the acting of Martin Landau and Catherine Schell salvaged something from this script. The characterization at least came through, even if little else did, IMO. The visual highlights of THE INFERNAL MACHINE, as I experience it, is the scene when they enter Gwent and the scene with

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Year One Companion's burial. Most of the rest is mostly three people on an empty stage talking to a voice from above, almost a sort of Samuel Becket concept.

Well, the "voice from above" approach is certainly not one I would recommend using frequently, but in this episode, I thought it worked well, in the sense of god-like demands raining down from above, and how the Alphans reacted. Again, not that "The Infernal Machine" is really that strong, because it doesn't make my

top five. I haven't tried listing a top ten, so I actually am not entirely sure that "Infernal Machine" would make that either. It has elements of all three things -- plot, character, and ideas -- and is above average with all of them, but not really super- lative with any one of those, much less all three like "Guardian of Piri" was. I call "The Infernal Machine" ~2.5 on a scale of 0-4, a B-. ----David

Mission of the Darians

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22. Mission of the Darians For some discussants, the focal point of the episode is the limits of what people will do to survive, comparing it with Soylent Green, Goliath Awaits and The Starlost. For other discussants the main theme is oppression and emancipation, seeing the episode as a metaphorical comment on imperialism, colonialism and managerialism of different kinds, commening on corruptions like “true science” and “clear knowledge” in the context of false conciousness and fake religion. From: South Central ([email protected]) Date: Wed, 29 Apr 1998 20:21:49 -0700 Subj: Space1999: Mission of the Darians

So how many of the 14 original Darians are left after Carter barges in? The race banks destroyed, what is the critical number for continuance of the human race (by conventional means, ie., not cloning). How many savage Darians are on the ship? This question has much import for Alpha. Is 311 enough of a varied gene pool to carry on the human race with out serious inbreeding happening? Mateo (no one else has comments about this episode?) oh yeah, great music!

From: David Welle ([email protected]) Date: Thu, 30 Apr 1998 14:00:06 Subj: Space1999: Mission of the Darians

Alphans, Well, I really seem to be on a roll, this time on *this* week's episode! :-) Petter and I were bantering around terms like "companion episodes" and "flip sides" in regard to comparing "The Infernal Machine" to "Guardian of Piri" and "Death's Other Dominion." While Petter compared "IM" to "DoD," I compared "IM" to "Piri." Now, though, I find myself wanting to compare "Mission of the Darians" to "Death's Other Dominion." Both deal, at least in part, with the theme, "What price immortality?"

That's DoD's main focus, of course, and it shows a high price indeed. Stagnation, madness, entrapment, and a very nasty-looking death if you unwisely think you can leave the world with your immortality intact. The approach is, of course, very different in "Mission of the Darians." I won't get the chance to delve as deeply into each scene, but there is still a lot to cover, part of it the questions Mateo already raised. The Alphans find themselves approaching not a planet, but an extremely large "ark," which is transmitting a distress signal. Both the ark and the signal are reasons to send a mission to the ark. Once in proximity, the Eagle is dragged to the docking bay -- the Eagle little more than a speck compared to the ark in a very effective special effect. Once aboard, things quickly fall apart, in typical fashion. The Alphans get separated. Helena Russell and Bill Lowry end up in the clutches of "barbarians," while John Koenig and Victor Bergman are themselves attacked by spacesuited figures, but wake up in what seem like more pleasant surroundings. Appearances can, of course, be deceiving, and that becomes a truism in this episode. At first, though, appearances seem the truth. The barbarians process Bill and Helena, declare Bill a mutant, for his missing finger, put him in a box (people are getting boxed in all the time in this series, aren't they? :-), and then he vanishes, in pain and terror. They declare Helena "clear," and proceed to offer her up as some sort of sacrifice to "Neman," who sounds like a god to the barbarians. Spacesuited figures appear, and despite the sudden interruption by Paul and Alan, one spacesuited figure spirits Helena away, while the other is left behind to be revealed as a

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human to the barbarians, who once saw the figure as a messenger of their god. Meanwhile, John and Victor are finding out more of what is going on. The distress signal, they discover, was referring to a disaster that had taken place centuries ago. The signal had never been turned off. The effects of the disaster are, however, terrifyingly evident, not just in the "wilderness" that makes up much of the ship, inhabitated by degenerate savages who themselves Darians, but in the few remaining "true" Darians. One is the etherally beautiful Kara, who takes an interest in John. Victor starts making disturbing discoveries about the systems of the ark, however, and he and Koenig confront Kara, and find out the rest of the story -- the dirty secret hiding under the beautiful exterior of these Darians. The savages were once Darians themselves, but cut off by the nuclear disaster, turned uncivilized, while the "true" Darians remained elsewhere on the ship, civilized but few in number. The "civilized" Darians could not reproduce themselves, and for hundreds of years, had been sustaining themselves by having tricked the "barbaric" Darians into providing sacrificies from the "barbarian" populations to the "civilized" population, who killed and used the organs of the barbarians to continually replacing their own. This isn't even organ donation from individuals who died for unrelated reasons, but instead is outright murder and harvesting. It is like the "civilized" Darians are growing their own crop -- a "crop" of their own people, however savage and/or partially mutated they are! Not for food, but for use of their organs. Beneath beautiful exteriors hide the dirty secrets. Kara is defensive of the practice, not so much because she likes it, but because that is she feels it necessary. Of course, it has turned her beauty essentially ageless, albeit with having to go through numerous surgeries as her extended life continues. (They're lucky their brains haven't died -- maybe they found other methods of extending that key organ's life as well.)

As if not revolted enough by this, John discovers a reason to be even more horrified, for when they get to a room where a lot of barbarians' bodies lie in wait for use, John discovers Helena is there. Koenig understandibly flies off the handle, and Kara quickly revives Helena. Things, however, are spinning out of control elsewhere. The discovery that the "heavenly" appearance of the spacesuited figures hid mere men has angered the "barbarians," who, led by an angry-looking Alan, break through to other sections of the ship, to hunt down "Neman" and the rest of those behind the unholy structure of terror. One problem is immediately evident in that the horde looks ready to kill, and that will not solve the problems aboard the Daria. The confrontation comes quickly, and ends disastrously for one of the elite, Neman himself. The former "god" meets his end at the hands of his key worshiper. Neman is shoved right through the bank of vials holding all the "pure" genetic material of the Darians. It was to be the future of the Darians. The mission was to reseed their people elsewhere in space, and the seeds came with them -- but have lost it now. The genetic pool has, quite literally, become nothing put a pool on the floor, and a stain on Neman. Kara is roughed up, and would have likely been killed too, except Commander Koenig manages to halt the rampaging, and forges something of a truce between them. The Alphans, less one of their own (which visibly saddens Helena in a fine moment back on the Eagle), leave the Darians to an uncertain future, a mess with some hope for repair. It seems that the "civilized" Darians have lost their future immortality. They had discovered how to maintain to cheap, poor-man's form of immortality, and, for centuries, have confined themselves in it, but the Alphans are the catalyst of the destruction of that system. Mateo wrote: This question has much import for Alpha. Is 311 enough of a varied gene pool to carry on the human race with out serious inbreeding happening?

Mission of the Darians Well, I want to briefly mention that cloning would perhaps only delay the inevitable. Unless you can guarantee absolute, 100% accuracy, you start getting what I've heard called "replicative fading." Just like using a photocopier and then making a copy of a copy of a copy of a copy..., where the print fades bit by bit (you could "darken" the copy, but the bits will still start turning into a blur of dark ink instead), copying an entire set of chromosomes artificially will led to an accumulation of errors, and since mutation is rarely beneficial or even neutral, the clones -and be extension the whole population -- will become nonviable after several clonic generations. Of course, bacteria and other asexual organisms are continually "cloning" themselves, but they are extraordinarily accurate, far more than we could be with technology, without at least centuries of development of cloning (if at all, and momentarily ignoring the ethical questions), by which time the population would likely be dying anyway. Cloning would take enormous expertise at minimum, expertise which life has already had on its own for billions of years or from the beginning. As to conventional means... I've heard a variety of figures, but the impression I've formed is that you need at least two dozen or so to even hope to have a viable genetic pool, and that if you don't have at least two or three times that figure, the two dozen individuals would each have to have several children, each child through different adult pairings adults. To be able to start out with monogamous relationships, the minimum is probably several dozen. As an aside... that immediately implies a problem for two episodes: "Testament of Arkadia," where Luke and Anna are to become a world's "Adam and Eve"; and "New Adam, New Eve" which puts the issue right in the title (!) with two couples (John & Maya, Tony & Helena). Of course, in both those episodes, we have other forces at work, and I think I'll wait until we discuss the issues in those episodes.

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For a population left to itself, however, without any outside influences, I don't believe there is a single "critical number" per se, because I think it would largely depend on how much genetic variety there was to begin with. Anthropologists speculate that throughout history, villages, though non-moving themselves, would exchange at least a few individuals in each generation. Marriages were the obvious and typical way. A marriage between a man and woman of neighboring villages would not only cement better "political" relations between villages, but bring "fresh blood" (i.e. new genes) into the villages. This kept the population of small groups from becoming inbred, and is especially critical for small villages. Had a small village, based in one location on Earth for centuries, been suddenly and utterly cut off from all other populations, it would become inbred eventually. Such a "village," as I just discussed, would not have a particularly great genetic variation, even with some interbreeding with neighboring villages, because they would have all been based in the same locale for centuries. Of course, it's not that simple in history either, for any one location wouldn't just experience a low-rate diffusion of individuals in intermarrying, but every few centuries, there would be upheavals from wandering or warring populations, which would remix people to a sudden, brief, but greater degree. The genetic "pool" was constantly being stirred up, and had its own edies and currents. Yet, except for some startling exceptions, this was still a somewhat localized and rather sporadic phenomenon, and a single village might largely "escape," or find itself back at having a relatively uniform population (by "relatively uniform" I do NOT mean "identical," I just mean similar, and with only small differences, relatively speaking, compared to the rest of the world as a whole). Yet had a same-sized small "artificial" village been created by first mixing people from every part of Earth, and then cutting it off, the amount of genetic variety would be far greater than a "natural" village suddenly cut off from everyone, perhaps enough to avoid inbreeding.

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Or, put another way, the greater the initial genetic variety in a specific-sized community, the lower the critical number needed to form a viable population in isolation, and the better chance of avoiding inbreeding. Given the size of Alpha's population, and the fact that it's members came from all over Earth, making for an even healthier genetic pool, I'd guess that was almost certainly a viable population on its own, without having to resort to cloning or other radical means. I'm even speaking in terms of Alpha's population perhaps plunging to 250 before they could make planetfall, or losses shortly after planetfall. Even 200 shouldn't be a problem. Another advantage Alpha would have had with its greater genetic variety is that any major disease which suddenly cropped up would have less chance of wiping out most of the population. A fixed village, even with interbreeding with neighboring villages, could be almost completely wiped out by a major plague, and the few survivors would likely have to move to neighboring areas both for immediate needs and for genetic needs. Not that a really nasty plague couldn't crop up and wipe out most of the human population of Alpha, to the point were the survivors might not be able to avoid inbreeding, but a lesser plague could find it harder to spread in a more varied population. Not to get too far off topic, but Alpha, surprisingly enough, faced another problem in terms of its small size: its plants. If forced to settle on a planet whose native plants were useless in food terms, Alpha would have to rely planting from its hydroponics and its seed stores, and one can only hope that *those* populations are sufficiently varied as well. Remember the Irish potato crop failures in the 1840s? If I recall the details correctly, only one narrowly-defined type (i.e. "breed") of this cultivar was used, and when a blight started in one area, it quickly spread because the lack of variation in the cultivar meant most of the Irish potatoes were more or less equally vulnerable to the same contagion. The result was massive blight, which caused starvation in the human population, and sudden emigration of some of the Irish population to other countries. Indeed, getting back to Alpha, the problem not only existed for planetfall, but theoretically on

Alpha itself, though Alpha's essentially closed system after Breakaway shielded it from new contagions, unless one were to mutate and take hold on Alpha. Alpha's position always struck me as being knife's edge as far as their current population surviving, especially considering that to remain populated, quite a few people are needed to run the place; but I always thought that if they survived to the point of planetfall, and if they survived the first few years, that they had enough population and genetic variety to be more than viable on a new world. Yet it is also apparent that since everyone is confined in one place in the meantime, a single disaster, whether it be a very destructive attack, or a virulent and letal disease, could leave so few people behind that even if they could survive long enough to have children, they still might not be a viable population. The "War Games" attack, for example, had it been real, lowered the population to something like 150, if I remember correctly (it's been a few years since I've seen that episode). It's questionable whether 150 could have run Alpha even if it *were* intact; but since Alpha was so badly damaged, they could no longer live there, and had no choice but to relocate to the planet. That number would have been enough, as far as I know, to avoid inbreeding, but had the native population continued attacking the Alphans once they settled, the population would have likely continued dying. Later in Alpha's history, they ended up with an extra wildcard in the form of Maya, who, assuming she was even compatible in the first place (which is a whole messy question on its own) brings in her own unique genetic material, though given she's only one, her genes would take many generations to spread through enough of the population to have any real impact, so her immediate influence on the question of inbreeding is moot. Of course, I could throw in one more wrench, and that may be that different species may require less or more in the way of numbers to avoid inbreeding. That may be true of the species on our own planet. However, for the sake of discussion, I've been assuming the Darians are essentially human. After all, quite

Mission of the Darians a few humanoid, and even quite humanlooking, populations exist in the S19 "universe," so there evidently was one or more cultures seeding humanoids across numerous worlds, and many, perhaps including the Darians and Psychons, may still be compatible and thus similar. Fourteen "true" Darians are, by most hypotheses, not enough to be viable, even if they resorted to mixing parentage, and I guess that was why I figured the "true" Darians resorted to such horrifying measures as they did. Of course, there were several other options, one of which was forced on them when the gene bank was destroyed, which brings up the rather key question to the whole Darian existence. After the disaster centuries before, the "civilized" Darians, once they discovered "savage" survivors, had a few options. One was what they chose. Another option would to perhaps kidnap some individual "savages" to breed with. This isn't much less brutal either, but it seems somewhat better than what they actually did. Even "better" would have been to kidnap "savages" as children, not just to eventually breed with years later, but to bring them up as "civilized." The best would have been to try to find some way to civilize the rest of the population. However, the last option was probably seen as far too difficult to the so few, and seemingly fragile, "true" Darians that were left, who could have been killed off before they made sufficient progress. As to the "in between" options, the "true" Darians probably couldn't imagine tainting their "pure" genes with the supposedly "mutant" genes of the savages. Could you imagine Kara being anything but utterly repulsed by the very idea of sleeping with a savage? This irrational attitude only delayed the necessity, which was eventually forced on them by the Alphans. As far as how many "originals" were left after Carter and the horde barged in, I don't think it was very clear. Neman was obviously killed, and Kara almost was too, before Koenig could put a stop to the rampage, so I suspect at least a couple others were killed too.

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I really wonder if the Alphans only ended up replacing brutal order past with future chaos, because to this day, I figure there was at best a 50-50 chance of the truce Koenig made between the two groups lasting long enough for the few remaining "civilized" Darians to make much of an impact on the "barbarians," either in restoring their common genetic heritage or mending the huge split in their society, before the "true" Darians, cut off from the possibility of maintaining themselves the way they had been, simply (and finally) died. A daunting task indeed. In fact, in one of my stories, I made very brief mention of an alternate course after Alpha's altering the Darians, and that was Koenig had failed to settle the rampaging "savages" down, and had no choice but to take the "pure" Darians with them to Alpha, leaving the Daria and its remaining Darians to their fate. Of course, this brings up even more questions. Presumably, the "pure" Darians would throw their genetic lot in with the Alphans', while the "savages" would go on, and maybe build their own civilization over the centuries, rediscover what their own ancestors once knew about the ship.... Hmmm, sort of sounds vaguely like "The Starlost." Thinking of the Daria *before* its encounter with Alpha... the "true" Darians had centuries to figure out and start implementing some way of bridging the enormous gulf between them, but in their snobbish arrogance, they did nothing of the sort, prefering to hijack bodies and organs, go through constant surgery, only to end up facing that the same daunting question after the Alphan encounter. Of course, there is a question about what the Darians did, and that's whether or not it would have really worked. Well, we're getting to the point where people can have organs replaced and continue on, though not without taking massive amounts of immuno-suppressants in many cases. There was actually another solution open to the "true" Darians, I think, and that would have been to break open the gene bank and use at least some of it to boost their current gene pool back to a viable level, and start growing in

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population, instead of remaining stagnant. Yet had they done that, they would have even more certainly kept their "underclass" down, and likely would have destroyed them at some point, when their own population was strong enough to make the attempt. Given their already horrifying acts, I wouldn't put it past them, even with Kara's vehement "we had no choice!" type statements. They may not have liked what they were doing in some ways, but they had already crossed the line. What a mess. No matter what, by the time the "cloud" cleared from the initial disaster, the Darians -- as a whole -- were trapped in a horrible situation, and they made even more horrifying decisions. It is a very difficult, hard episode to watch, for it is rather horrifying. For me, the feeling is not unlike "The Silence of the Lambs," which was very well-acted and with a tense, thrilling, terrifying plot, but was so terrifying and disgusting that I don't particularly care to see it again. I hate "peering into" minds and souls that are so dark. Neither Neman or Kara are as utterly insane as Anthony Hopkins' character was, but they aren't much less troubling, perhaps even more so because Kara and Neman don't "look" particularly crazy. Kara seems so beautiful in appearance and behavior, until we start to see her aged, half-rotted soul. A messy, disturbing set of topics indeed. Wasn't this episode banned by a few countries back in the Seventies because of the cannibalistic theme?

What would the Alphans do if put in a similar situation as the Darians? ---David Welle

From: David Welle ([email protected]) Date: Thu, 30 Apr 1998 16:52:09 Subj: Space1999: Maybe the Whovians Among Us...

... can clarify a memory which suddenly came to mind. It seems to me that the Doctor Who episode which introduced the character Leela (who became a Companion -- there's that word again -- of the fourth Doctor, played by Tom Baker) involved some sort of culture living in the ruins of its own past, divided into a "civilized" group which sometimes paraded about in spacesuits to impress the "savage" part of its population. I remember one of the groups was called the "Seberteem," which I think was supposed to be a corruption of the phrase "Survey Team." Does anyone remember the name and first broadcast date of this DW episode? Something tells me it isn't as similar to parts of "Mission of the Darians" as I'm remembering it here, so maybe someone can clarify this for me. Or if there *are* further similarities, maybe someone can point them out. Thanks

This episode also bears similarities in subject matter to "Soylent Green," "Goliath Awaits," and "The Starlost," but twisting their themes together, resulting in a episode involving a form of immortality, cannibalism, and the concept of a space ark. It also visited, in premise, "Breakaway," for the Daria suffered a nuclear disaster, just as the Alphans had. "Mission of the Darians" is a hard episode to watch, and isn't one of my favorites; but it does raise a lot of troubling questions, some of which have little or nothing in the way of answers, but which have lots of potential implications, including for Alpha.

From: "Brian Dowling" ([email protected]) Date: Thu, 30 Apr 1998 23:35:08 +0000 Subj: Space1999: Re: Maybe the Whovians Among Us...

Story 4Q from Season 14, The Face Of Evil. Exact transmission dates not in my Doctor Who - The Seventies book, but place it around late 1976 or early 1977. Two tribes, each descended from a section of a spaceship crew - the Tesh (Technicians) and

Mission of the Darians the Sevateem (The Survey Team). The story revolves around the trouble caused by the Doctor on an earlier encounter with the spaceship now wrecked on the planet below he repaired the computer during this previous visit, caused it to go crazy and crash land on a planet. This psycho computer allows the Tesh to develop into hi tech psychics and the Sevateem to degenerate into savagery. Eventually The Doctor and Leela manage to restore the computer's sanity and normality is restored. At least that's a summary of the book. I have vague recall of the story's last run on UKGold, and aside from the two polarised groups, I can't recall any similarity between this and Mission of the Darians. I might have the novel somewhere...

From: "Atomic Possum" ([email protected]) Date: Thu, 30 Apr 1998 19:34:49 -0500 Subj: Re: Space1999: Re: Maybe the Whovians Among Us...

That's basically it. More specifically, the Doctor overlaid his own personality to rectify the computer Xoanon. However, he failed to wipe it from the computer, and it's schizophrenic existance led it to create an experiment in eugenics---pitting the refined intellectual group against the very physical savages, 'playing out his own internal conflict,' or something like that. It's not really very much like "Mission of the Darians" at all.... The spacesuit was simply a relic used by the high priest of the Sevateem, along with other various gadgets. Actually, Mission of the Darians is a bit more like "The Time Machine," with the savage Moorlocks subjugating the peaceful Eloi to use them as food....not quite the same, but a bit closer...

From: David Welle ([email protected]) Date: Thu, 30 Apr 1998 21:30:07

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Subj: Re: Space1999: Re: Maybe the Whovians Among Us...

At 07:34 PM 04/30/98 -0500, Atomic Possum wrote: It's not really very much like "Mission of the Darians" at all....

Oops, I'm barking up the wrong tree. Thanks everyone for all of the information!

From: JSchill824 ([email protected]) Date: Fri, 1 May 1998 11:52:20 EDT Subj: Space1999: Our Mission

David Welle wrote: The Alphans find themselves approaching not a planet, but an extremely large "ark," which is transmitting a distress signal. Both the ark and the signal are reasons to send a mission to the ark. Once in proximity, the Eagle is dragged to the docking bay -- the Eagle little more than a speck compared to the ark in a very effective special effect.

Nicely put David, thanks. I really enjoyed this episode as a kid and still do today. Once again the music and filming style (Ray Austin) is great. Plus it was good to see Paul get off the base and hooked up with Alan. (I would have liked to have seen more of these two characters develop together in other episodes) I thought that it was interesting that this story breaks up into 3 separate stories that all blends back to one. It calls for a more complex and interesting episode. Victor is also given a little more to do and I love the shot of him standing in front of the picture of Daria. Another thing I liked about this episode is how well Austin & crew did at making the Darian space ship seem so large. Like the shot of the city with dead vegetation and the blackness of space through the background. Or Victor and John walking through the corridor of the ship wide eyed and voices which echoed. And lastly Paul seemingly running long distances to catch up with the Darian and Helena. All gave a good impression to me of this ship being huge!

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Yes, this episode is a little more violent/disturbing then others. I remember as a kid feeling really bad about the "mutant" and Bill being how Daivd put it "boxed" and then zapped. Or how about the dead bodies that moved when being jarred in the 'parts dept'. Kind of ghouly. Funny, I don't always remember what I felt watching S9 as a kid but I remembered these scenes vividly. I felt the quite ending was very appropriate and good contrast to the rest of the episode. Both Victor and Paul attentive to Helena, concerned for what she'd been though, and Helena remembering Bill Lowry humming was touching. Too often in shows they kill off the "security guard with no remorse for the character being a person. I liked that there were many times during S9 that Alan, Koenig etc. felt the lose of there fellow Alphan. (I'll never agree that the characters of S9 being "wooden". ) Can't wait to hear from the rest - Pat, Petter, Daivd L., Ellen, Monica? P.S. Does anyone remember at the 1st or 2nd Spacecon someone asked Nick Tate if he'd ever gotten hurt doing a fight scene. He laughed and said no just the opposite, that when in MOD(?) he was be held, he arched his back and his back felt -- GREAT. :-) Janet

From: Patricia Embury ([email protected]) Date: Fri, 01 May 1998 20:54:33 -0400 Subj: Space1999: Mission of the Darians

I have to admit, I started becoming uncomfortable watching this episode. It wasn't anything that I disliked, I believe that this was an intentional effect on the viewer by the writer of the episode. This is a hallmark, to me, of good horror writing. The violence wasn't gratuitous, and it revealed the nature of the barbarians and helped Carter get the truth revealed. The use of forshadowing was so good, and the plot elements/the horrors of what the Darians were doing, were revealed in sequence really built up the discomfort. Carter even asked Koenig, on the return, if he would

do the same thing, which Koenig laughed off. I only wished Koenig hadn't have laughed, and maybe come up with a serious answer, or a long pause fading into black. I know Koenig was repeating Carter's attitude/brushoff to Kano, but I don't think it fit as well. I had a different take on what the Darians were doing, however, from what some of the previous posters have mentioned. The 'genetic purity' aspect, and the zest of the "pure Darians to maintain themselves through acts of barbarism, reminded me a bit of the Nazis. I thought it was very fitting to have Neiman (?sp) have his head put through the DNA structure. I won't batter the organ transplant thing, but they were starting to do them during that decade, so those facts would be as accurate as possible for the year in which it was written. We know so much more today about HLA matching and antirejection methods. I hope this episode doesn't change anyone's mind about signing an organ donor card :) The barbarians would have had to have had enough genetic similarity to find a match for the intended recipient. I liked the development and teamwork of Carter and Morrow working together, especially after Morrow's magic mushroom trip in Last Sunset. It's too bad Morrow didn't get off the base more frequently. I liked when he paused to see how Carter was faring during the fight, and then went through the doors to find Helena. You could almost see him debate what to do. The special effects were good. I enjoyed the vastness of the ship. I thought I recognized the corridor used again in "The Day After Tomorrow", when the party enters the ship. The scene in which the Alphans get caught in the tractor beam and get pulled into the docking area, especially the look of the docking area initially, really reminded me of the sequence in Star Wars with the Millenium Falcon and the Death Star. I wonder if Lucas used this idea. I wasn't crazy about the number of shots of Joan Collin's legs, at least I thought they were her legs. The costume didn't flatter her terribly

Mission of the Darians well. I kept thinking how lopsided she looked. Also, Helena was wearing a pantsuit when she boarded the Eagle, but she had a slip on when they sent her with the spaceman. I realize that they did this to cover some skin, because an actress in a bra and panties wouldn't have made it back then, but it seems a bit odd watching it now. Does anyone know the title of the song the security guard was humming? I recognize as it coming from an opera or operetta, but I'll be darned if I know the title!

From: Tom Miller ([email protected]) Date: Fri, 1 May 1998 18:20:21 -0700 Subj: Space1999: Mission notes

Mission of the darians is dark. A deep look into what mankind would do for survival. It is reminicent of HG Wells "the Time Machine", where in the future, decimated by war, mankind moved underground and began to prey on itsself. Mission shows Morrows logical and strong side, no overreaction, methodical. It is also another chance for the alphans to abandon the base. This is simular to the Star Trek Voyager badies who organ harvest in order to keep alive from a hostle diseze.. Tom

From: David Acheson ([email protected]) Date: Fri, 01 May 1998 22:26:24 EDT Subj: Space1999: Mission of the Darians

Better late than never. On to this week's episode for discussion, MISSION OF THE DARIANS. Not one of the top five but still a pretty good one from a pyschological viewpoint. Johnny

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Byrne gives us the familiar space ark tale with a dark edge that is expertly directed by Ray Austin. The space ark I am referring to is the S.S. Daria, the mammoth ship passing by the runaway moon and to which a small expedition is sent. After all, it is emitting a distress signal. As it turns out the ship has been adrift for many years in a bad state. Much of the original Darian civilization on board deteriorated and new societies were developed. So far its the same plot as the cheesy Canadian sci-fi series from the early 1970's, THE STARLOST. This one goes beyond the simple plot and delves into the very future survival of the ship's inhabitants. A future many of us so-called civilized people would find disturbing breeding babarians to provide a badly needed food chain for the few remaining original Darians. However, given the extraordinary circumstances, the audience is left with the question: Would we have done things any different? Its easier to judge than to be judged! Was there alternatives the Darians could have explored over the years. Or was it the Metropolis scenario - the priviledged accepting their easy life without a thought for those who they live off of. Koenig then becomes the Maria-figure who shakes their complacency loose and becomes the mediator. Someone earlier compared the plight of the Darians to those of the Alphans. I must admit there are definitely comparisons to be made. Koenig must always wonder how they will continue to survive their journey through nowhere. Yet, for morale purposes, not let the weight of it show. Alpha, by this time, has already had some threats to its food and power supply. The episode is another ensemble showpiece. In this respect, it can be compared to MATTER OF LIFE AND DEATH, THE LAST SUNSET, and THE FULL CIRCLE. Although the characters were more interesting in the earlier ones. Paul gets a chance to join another expedition and add another small contribution to the series. His best was in THE LAST SUNSET (flipping out on magic mushrooms) but at least he is contibuting. Alan, of course,

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is the hot headed Alan of earlier episodes. Shoot first and ask questions later. Only Sandra and Kano was missing. However, Sandra would probably just scream her way through the sacrific scenes. The guest cast was rather large this time round. Usually there is only one or, at the most, two alien guests. We have three main ones and several supporting ones. Unfortunately, there is no big breakout guest character. Yet, despite the ribbing she gets from the DYNASTY years, Joan Collins passes as acceptable. Her Kara, however, doesn't come across as memorable like her now-classic Edith Keeler on the STAR TREK episode, THE CITY ON THE EDGE OF FOREVER. One funny thing to pass along and please don't laugh. As a kid I thought Joan Collins was a blonde. It wasn't until she joined up with DYNASTY (and I was much older) that I realized she was really a brunette. Looking at the episode now, I realize the long blond hair is a wig but I never noticed during my childhood years. The effects and Keith Wilson's designs seem to be of superior quality in this episode. Not since the Zenno city on MISSING LINK have we seen such great matte painting work. Filming probably only took place on a few small sets but we get the impression that the Daria is monstrously huge. Thats about all for now. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

incredible consequences for the Alphans, and perhaps for those of us on crowded Spaceship Earth as well. Once concern I have is that the Dariens seem to have trouble defining survival. Whose survival is important? At times they seem to be talking about genetic survival, at other times cultural survival. Despite their emphasis on the gene bank for making "pure Dariens" once they reached their destination, I got the feeling that they were more interested in preserving their culture. They bring to my mind images of the Nazis, searching for the pure master race, and the Dariens were every bit as ruthless as the Nazis. Both seemed to believe that the genetic inheritance of the race would determine the behavior of the society. I'm not convinced that is the case. I think those Dariens would have been in for a serious surprise when they started hatching genetically pure kids who wouldn't necessarily think like them-- in face they would have very little in common with them, needing to use their energies to survive in a completely different environment. Kara and her friends, with their frills and high heels, didn't strike me as pioneer material. One of the interesting things about the episode is that you constantly wanted to think the best of the Dariens. Right up to the point where you realize that they would be trying to use the Alphans to boost their protien levels and organ banks, you're hoping that maybe they can make a go of working with them. The choices the Dariens made were tough choices, and at every turn, they might be reasonable, given the circumstances under which the choices were made (compare this to the rise of Nazi Germany, again). But it turns out in the end that the Dariens are more deliberate than you would think. How many other well meaning space-farers had been lured to their deaths by the Dariens?

From: "Ellen C. Lindow" ([email protected]) Date: Sat, 2 May 1998 15:32:15 -0400 (EDT) Subj: Space1999: Definitions of survival

The Dariens biggest mistake was destroying their breeding stock. Of course the barbarians were dying! They were culling the worst of the mutations, but also killing off the best! Idiots.

I just got a chance to watch Mission of the Dariens, which I really enjoy. this episode is definitely an open ended-- make you think -sort of episode, and the questions asked have

From:

[email protected]

Mission of the Darians Date: Sun, 03 May 1998 20:18:50 -0400 Subj: Space1999: Mission of the Darians

One thing really bothers me in this episode: It appears that Paul and Alan are watching the events when the mutant woman is put in the death chamber. They then (I assume) watch as the security guard is put in the chamber and killed. Them crouching there with two lasers, which could stun everybody and free the guard and Helena. Unless there is something I missed, either they just watched the whole thing happen (and after the woman's death they knew what was going on) or there is a gaping hole in the structure of the story. It is amusing that the Daria ship will take 100 years to reach it's destination, while the randomly traveling moon is a safer bet. Anyone else laugh out loud that it was Joan Collins eyeing the rough barbarian men and thinking "Hummm...I'm gonna mate with them...all of them." Very nice at the end with the empty eagle seat. Usually these shows tend to forget the dead extras by the end of the episodes.

From: "Petter Ogland" ([email protected]) Date: Mon, 4 May 1998 10:53:13 +0000 Subj: Re: Space1999: Mission of the Darians

David Welle wrote: Now, though, I find myself wanting to compare "Mission of the Darians" to "Death's Other Dominion." Both deal, at least in part, with the theme, "What price immortality?"

This is an interesting comparision, I feel. There are many comparisons that could be made. Martin Willey has written a very interesting comparison with THE DORCONS on his site, focusing on the themes of democracy and Greek history. Trying to understand Johnny Byrne and his contribution to the series, I think Martin's

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comments make a lot of sense. Personally I would perhaps also have a look at the other late Byrne/Austin contributions, such as THE END OF ETERNITY and THE TROUBLED SPIRIT. The three Byrne/Austin collaborations show interesting aspects of both Byrne and Austin, I feel. The grim side of Byrne's writing takes on extra proportions with Austin's emotional and kinestetic directing. In the case of MISSION OF THE DARIANS the result is impressive, but not very pleasant. It is a very difficult, hard episode to watch, for it is rather horrifying. For me, the feeling is not unlike "The Silence of the Lambs," which was very well-acted and with a tense, thrilling, terrifying plot, but was so terrifying and disgusting that I don't particularly care to see it again.

I feel very much the same, and I noticed that Janet said something similar. Peter Bowles as Balor of END OF ETERNITY has some of the Anthony Hopkin's charm and wittiness, I feel, but how the Darians explain everything they do in a friendly manner and do, in fact, seem like charming and likeable people, makes things worse. I hate "peering into" minds and souls that are so dark. Neither Neman or Kara are as utterly insane as Anthony Hopkins' character was, but they aren't much less troubling, perhaps even more so because Kara and Neman don't "look" particularly crazy.

Balor is obsessed with power and proving the his actions of the past were ethically correct, psychologically disturbed in a similar way to the less villainous Tony Cellini in DRAGON'S DOMAIN, but the Darian's do not seem particulary disturbed. They claim that their actions are solely motivated from the will to survive, and we know that in extreme circumstances even cannibalism has in real life been the result of this will. My impression is that Johnny Byrne is investigating to which extremes humanity is willing to go in order to survive, using, like he did in VOYAGER'S RETURN, references to World War II and the Nazi ideology. The theories of some races being superior to others is probably as old as when two different races met for the first time, but the name Darians does sound a bit like Aryans, and the story

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seem to focus a sort of "white man burdon" idea as well. The Darians do not only have a will to survive, they also have a mission, a higher purpose of survival. Perhaps more than Nazi ideology, I get the impression of the Darians being modelled after the Cecil Rhodes and Rudyard Kiplings of the imperialist Victorian England where certain types of rationalist explanations would have to be given in order to have England live and prosper without constantly thinking of how the Indian and African natives might be experiencing this. Better even, as many people believed who lived in these countries, the natives were as children compared to the civilzed world, and had to be treated accordingly. From this point of view the talk about giving the less fortunate a god to believe in, "true science", "clear knowledge" etc., makes some kind of sense. Byrne seems in this episode, like in THE END OF ETERNITY, to be asking with what right we have to meddle in other peoples lives and decisions. Being an Irishman living a sort of exile in Endland, this does not seem to be too illogical a thought to state, I feel. What would the Alphans do if put in a similar situation as the Darians?

This seems to be the central question Byrne is rising. What would we do if we were the Darians? Would we give up and extint ourselves, as the Kaldorians propose in EARTHFALL, or would we fight to survive at any cost? It is a disturbing episode, I feel, and while philosophically interesting, it doesn't seem a

particulary happy watch. Survival at all cost does make one think, but it's difficult achieve too much enthusiasm for. I believe Johnny Byrne has stated that this was the episode he was most pleased with in regard to Year One. I understand that it is also partly influenced by the Icelandic "Njaal's Saga" from the thirteenth century. Keith Wilson said once that he understood it was a sort of Space: 1999 version of Fritz Lang's silent classic "Metropolis". I enjoyed reading some of David Acheson insightful comments in this respect in a recent letter. As I write this, it's already turned DRAGON'S DOMAIN week. I believe there is still a lot more to be said about MISSION OF THE DARIANS, but there have been some rather intense posting during the weekend, so perhaps we should move on with DRAGON'S DOMAIN as this is an episode that often seem to attract much attention. Petter

From: [email protected] Date: Wed, 06 May 1998 22:27:01 EDT Subj: Space1999: Mission of the Darians (belated)

Overall grade: B The only comment I have is that when this episode was rebroadcast in the DC market on WJLA, channel 7, the scene in the transplant room with the Darian placing the body on the mortuary table was cut. Anyone else out there have that scene cut in your area?

Dragon’s Domain

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23. Dragon’s Domain The first discussant argues that the story is based one of our basic childhood nightmares - that creature in the dark. Penfold sets the monster on an earlier space mission from Earth that went wrong. Only the captain survives to tell the tale but almost no one believes him. This is where the psychological aspects of the episode plays in. Is man prepared for the long-term effects of living in space? Was Tony Cellini, the captain of the doomed mission, in control of his faculties? A second discussant argues that the main issue is not all that much Cellini per se but rather how John and Helena contrastingly view him. John thinks of him as a hero, Helena as a psychological case. As it turns out, or as it is rather presented through-out the episode, he is bits of both. The second discussant’s impression is that Penfold is saying that most heros are more or less psychological cases in disguise. From: David Acheson ([email protected]) Date: Mon, 04 May 1998 06:30:18 EDT Subj: Space1999: Dragon's Domain

Episode 23, DRAGON'S DOMAIN, and Christopher Penfold's and Charles Chricton's last filmed collaboration for the series. This one is yet another of their classics - at least, according to many series fans. Yet I must admit that, even though I like this episode, I liked it a lot more as a kid. The story is, of course, based one of our basic childhood nightmares - that creature in the dark. Penfold sets the monster on an earlier space mission from Earth that went wrong. Only the captain survives to tell the tale but almost no one believes him. This is where the psychological aspects of the episode plays in. Is man prepared for the long-term effects of living in space? Was Tony Cellini, the captain of the doomed mission, in control of his faculties? This was a particularly relevant issue in the early days of the real space program and definitely is still today? Helena and Koenig became the spokesmen for both sides of the issue in the episode. The creature itself was a huge improvement at the time over the rubber -suited monsters in the 1950's sci-fi thrillers. Although, less makeup work still made THE THING a classic. However, great strides have been made in special effects over the past twenty years. Thus the tentacled creature looks less hideous than it would be done today. It never moved and always was behind the doorway. The tentacles flailed like they were on wires. Still it worked for that time period and as a boy of 11 it did its deed of scaring the hell out of me. How many list members will admit they went to bed thinking that thing was hiding in the closet? I

also believed that if the series was networked in the US, as ITC originally wanted, this episode would have been seriously redone. The image of a creature devouring and spitting out its human victims was too much for American network TV at that time. I liked the flashback approach to the episode. It was a different approach from the earlier 22 episodes and gave us some great insights into the lives of Koenig and Russell before their current assignments on Alpha. We learned Helena, in particular, was already a highly dedicated professional with a high power job in the Space Commission. A big change from the days of Lieutenant Uhura on STAR TREK. We also got to see some of the teacher-student relationship between Koenig and Bergman that was only hinted at in BREAKAWAY. It has been mentioned in the past that the Cellini role was originally written for Alan Carter. While it would be nice to see a character study of one of the regular support cast, the story would not have ended the same way. Remember everyone, Cellini dies in the second monster encounter. This works as the only sentence Cellini could impose on himself over his guilt of running away and abandoning his crew the first time. This aspect of the episode is what truly makes it a tragedy. Carter probably would not have been killed off - not without a lot of nasty fan letters. It was nice that Penfold did make Cellini a friend of Koenig. It makes us think of the fine line between friendship and duty and even reality and the unreal. The tragic storyline could be maintained yet still be a personal one. The flight sequence to Ultra and the use of Albinoni's "Adagio in G Minor" was a nice

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touch. Reminds me of the introduction of the Discovery in 2001: A SPACE ODYSSEY. Not much of a coincidence though as the series was being billed as the 2001 for television. The biggest possible blooper in the series appears in this episode. In the first flashback sequence we see Koenig, Cellini and Bergman discussing who will command the Ultra probe. The newscast from Earth gives the date as sometime in September 1996. The next scene is the launch of the probe from the Interplanetary Space Station in lunar orbit. Helena's voice over gives the date as some day in June 1996. Whoops! I'm surprised no one caught that before final editing and it went to air. Overall a good effort from the PenfoldChricton team. I prefer other works from them more but definitely not bad at all.

with pride of his own achievements. In the sequences showing the older Cellini, he still has the childlike egocentrical world view, but deeply disturbed by realising that his map of the world someway does not make sense. All this is splendid, I think. It also makes sense the different ways Helena and John are perceiving him. John holds some of the same simplistic world view at times, and he sympethises with Cellini. Perhaps Penfold is trying to cast Cellini as the John Wayne sort of idol of the WWII generation. At the time of making Space:1999, I assume this type of hero was no longer all that valid, people were beginning to look at things more from the Helena point of view, asking themselves what kind of people the John Waynes of this world really were like. Films like DR. STRANGELOVE would contribute to this, I believe.

David Acheson

From: Petter Ogland ([email protected]) Date: Mon, 4 May 1998 12:13:07 +0000 Subj: Re: Space1999: Dragon's Domain

From the hand of Penfold, who likes to compare the human race with a virus etc., this makes excellent opportunity to investigate the thoughts and values of John Koenig. While emotionally somewhat different, the values of Cellini and Koenig do not seem all that different. The flight sequence to Ultra and the use of Albinoni's "Adagio in G Minor" was a nice touch. Reminds me of the introduction of the Discovery in 2001: A SPACE ODYSSEY. Not much of a coincidence though as the series was being billed as the 2001 for television.

There are many interesting aspects to DRAGON'S DOMAIN, I feel. While it has a very simple basic story of the tormented astronaut Cellini, the main issue does not seem to be all that much Cellini but rather how John and Helena contrastingly view him. John thinks of him as a hero, Helena as a psychological case. As it turns out, or as it is rather presented through-out the episode, he is bits of both, but as with our experience with Penfolds earlier contributions, this is perhaps no surprise. My impression is that he is saying that most heros are more or less psychological cases in disguise.

The miniature work with the use of Albinoni is absolutely excellent. It's such a marvellous idea, that it's quite astonishing that it wasn't put to use in some earlier episode. A similar idea was used in the next episode, THE TESTAMENT OF ARKADIA, but DRAGON'S DOMAIN is quite unbeatable in this respect.

I believe that if this episode had been directed by Tomblin instead of Crichton perhaps the less sane element of Cellini's character would have been even more explicit, perhaps more like Regina in ANOTHER TIME, ANOTHER PLACE. But, anyway, the way he is presented works quite well. In the sequences representing 1996, he seems like a five year old child, full

The low point of DRAGON'S DOMAIN is the characterisation of John and Helena, I feel, which is absolutely awful in some cases. Perhaps they were sensing that the series needed more "characterisation" and "humour" even before Freiberger arrived on the set. Making jokes about toothbrushes, bringing flowers, John joking with Kano about playing

Dragon’s Domain chess all day etc. is just horrible. It's obvious that the series was drawing to an end, and things were getting out of control. From what I've understood, DRAGON'S DOMAIN was one of the early eight drafts for the series, made before any production was done, and by the time it was produced, Penfold had already left the set. Perhaps the script was too short or otherwise needed rewriting to fit in. In this case it seems as though, instead of having a scriptwriter fill in the holes, they made Landau and Bain improvise dialogue it seems. The dialogue in itself isn't all that bad, it's only that one gets the impression of a hybrid between I LOVE LUCY, or whatever 1960s sit-com the Landaus were thinking of, and Space:1999. The only thing that is missing between the one-liners is a laughing track. Hysterical canned laughter! I can't understand how Gerry Anderson, Sylvia, Johnny Byrne etc. could have accepted this. Probably they didn't. It's more likely that it was improvised on set, and as Crichton had to fill some minutes here and there didn't care to much how it was done. Very well, probably without knowing it the production team were making preparations for Year Two style acting, and DRAGON'S DOMAIN is perhaps the smoothest link between the seasons in this respect. All in all, DRAGON'S DOMAIN isn't that bad. It's only sad to think what might have come of it if it had been made earlier on in the series of production. As it turned out, I feel it's about average quality. Petter

From: "Petter Ogland" ([email protected]) Date: Wed, 6 May 1998 08:23:15 +0000 Subj: Space1999: Dragon's Domain

Martin gives an interesting perspective on DRAGON'S DOMAIN on his web site, showing how this and THE TESTAMENT OF

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ARKADIA differ significantly from earlier episodes, the first ones in particular. Apart from the use of music and mythology, Martin, contrary to how I feel, however, seems to feel an enhancement of the series by introduction of "humour"; the toothbrush joke, the flower joke, Cellini's comments on his sex life and Alan's comment as he recovers from Cellini's second knockout blow. While I can agree that this is definitely different from the more "serious" approach of the early episodes, for me it seemed like a step in the wrong direction. From my point of view it seems as though the crew and cast didn't care all that much about the series any longer, and hence put in jokes at random just to make the episode flow without too being to demanding. On the other hand, the path they are heading onto here is similar to the path of Year Two. Barry Morse said that there were both economic and artistic reasons for him not taking part in Year Two. In quite a lot of the later Year One episode, I feel the artistic reason is showing, and perhaps in DRAGON'S DOMAIN more than ever. While, to me at least, Victor Bergman is perhaps the most interesting figure in the early episodes, in DRAGON'S DOMAIN the concept of Space:1999 has changed to such a degree that his character does no longer seem all that relevant. He is given a few odd lines, but the philosophical part that was put to such an tremendous effect in episodes like BLACK SUN and RING AROUND THE MOON is no longer quite as apparently visible. On the other hand, DRAGON'S DOMAIN gives a lot of concern to the maturing relationship between John and Helena. In some ways I feel that DRAGON'S DOMAIN is in this respect explaining some of the parts that were not included in the final draft for THE LAST ENEMY, another episode concerned with matrimonial issues. Comparing DRAGON'S DOMAIN to MATTER OF LIFE AND DEATH, however, is rather devastating, I feel, at least in aspects of psychological aspects and characterisation, MATTER OF LIFE AND DEATH being the

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finest study of the relationship between John and Helena, as far as I can see. I've understood that DRAGON'S DOMAIN was based on one of the first eight early drafts, along with BREAKAWAY, BLACK SUN, MATTER OF LIFE AND DEATH, EARTHBOUND, FULL CIRCLE, LAST SUNSET and WAR GAMES. It was along with LAST SUNSET and WAR GAMES written by Penfold, while the other episodes were written by seperate people. While DRAGON'S DOMAIN in some respects seems like odd man out as a Penfold script, more concerned with people than ideas, there seems to be a central idea in focus of this episode as well, namely our understanding and use of mythology in a modern context. From a contemporary philosophical point of view, thinkers like Jean-Francois Lyotard, for instance, the political narrative does no longer exist, a point that also seem pregnant in Penfold's story, I believe. Lyotard did not believe in the economic narrative either, in felt the need to focus on Freud to explain how the economy really works ("libidial economy"). I feel there is a certain parallell in Penfold's thinking here, showing the lack of communication between Cellini, Bergman, Koenig and Dixon, and showing how the political narrative is substituted with a psychologcal/mythological narrative in order to make sense out of a world like moonbase Alpha. Petter

I'm not sure I under stand how this is relevant, but what does the sensible scientist wear?? and arguing with Dixon on an emotional level rather than rational,

Ever had something that you have put a LOT of yourself into fall apart? Believe me, you are never rational when you have to defend yourself in such a situation. In addition, I think Koenigs little speech to Dixon was sort of an Anthem to Space:1999, we do not know everything, we still have much to learn. seemingly expressing a total lack of responsibility for the project.

Yeah, that's sorta a good point, I'd have prefered if there was a scene in which Koenig had grilled Cellini one on one. Hit him really hard, and make Cellini fight for his side of the story. Then Koenigs defense of him would have had a little more impact. Another neat idea, would have been to not let the viewer see all of what happenned at Ultra, let the viewer have that same doubt in the back of their heads the way Victor did. I wonder if Abe Mandell of ITC New York had visited Anderson just before the making of DRAGON'S DOMAIN. In so many ways the style of this episode is distorted from the original SPACE:1999 concept

Define "original concept". That concept seemed to bend just fine for R.A.T.M. as far you were concerned. the loud jackets, the sit-com type dialogue,

Sit-com dialogue??? what are you refering to?

From: "Mark Meskin" ([email protected]) Date: Fri, 8 May 1998 20:15:51 -0500 Subj: Re: Space1999: Dragon's Domain

[Latter part of note follows.] Both Landau and Morse look silly in this sequence, I feel, wearing loud jackets, foreshadowing the Season 2 style, as if they were construction workers not scientists,

the "new" Helena of the past that seems absolutely incompatible with the Helena from BREAKAWAY and BLACK SUN.

Its 4 years later, she's more mature, and she's more introverted. People change, thats a fact. I feel, wonderfully written, acted, at least until the attack of the monster that is a bit jarred by Cellini's strange behaviour, like his hesitation to close the doorway and the long time it takes before he gets out of the cockpit. On the other hand, this may have been ment to illustrate his psyche, indicating that he was not totally stable even to begin with.

Dragon’s Domain Not unstable. Cellini has enourmous guilt over what happened, and for good reason, he DID hesitate. But if he hadn't he'd have died with the crew, and the story would have been entirely about Koenig finding his long lost friend D.R.T. when they encountered the spaceship graveyard. While the sequence in Dixon's office is rather silly, the actor portraying Dixon is excellent.

How is it silly? There alwasy has to be an escape goat. Just ask Ollie North.

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opened...they should have been in the process of opening at that point. As previously pointed out, the newscast date and the space probe launce date in Helena's narration are in conflict. This is something only a radio person would find interesting, but in the space probe cockpit, they are wearing Senheiser headphones. They have a nice sound, but if you have the volume up too high, you get feedback when you open your mic.

Rather than feeling that if they had kept closer to the DRAGON'S DOMAIN style in Season 2 they would have made it a better series, I feel this was excactly what they were doing. DRAGON'S DOMAIN seems like a hybrid of Season 1 and 2, I feel, showing that it would be unfair to blame Freiberger too much for the course the series was taking.

I didn't go back to double check this, but did Helena say in her narration that the flight out to Ultra was eight months, but Tony survived for six months alone on the flight back? Are we assuming that search parties were out two months in distance looking for the probe?

No way! That is so off the wall! Where do you get this stuff?

Great that the atmosphere and gravity are still working on the five years deserted space probe.

At the time of DRAGON'S DOMAIN, the season 1 approach to SPACE:1999 was already close to being a thing of the past.

Peter, the "Season 1 approach" was not some drugged out metaphysical art show. Dragons Domain fits the format of all the good S1 episodes just fine. Mark

From: Date: Subj:

[email protected] Fri, 08 May 1998 18:23:14 -0400 Space1999: Dragon's Domain

It's funny to see Helena using a portable typewriter. It's like on Lost In Space (tv), which takes place in the late 1990's, seeing them use a slide rule. A very minor continuity blooper: When Tony is heading into the front of the eagle in his pajamas, the first set of hatches opens, and he is far into the connecting section, and we can see the second set of hatches into the cockpit are still closed. But when we cut to him striding into the cockpit from well within the connecting section, the doors are already

I saw a string on one of the tentacles when Tony was fighiting the monster at the end. What's with these wandering planets anyway? Ultra, Meta, the planet on Star Maidens? The ultimate question is whether Anton Phillips was relieved or jealous that Alan kept getting beat up in this episode and not Mathias.

From: Patricia Embury ([email protected]) Date: Fri, 08 May 1998 21:31:25 -0400 Subj: Space1999: Dragon's Domain

I have to admit, I really love this episode! I place it in my top 3. The episode simply works on all levels. The story was good, conventional sci-fi with a twist, the acting was solid, and the effects were marvelous. Having Helena narrate it as a flashback gives the actions/events a bit more 'credibility' with the viewer, capturing it for the 1999 universe than the typical "meet the monster and kill it" type plot that is part of standard sci-fi fare.

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The story starts off with a bang, with Cellini's nightmare and him planting the axe in the commpost. My question/nit here is, shouldn't there have been some sparking? The action with the monster, Alan getting knocked out twice moves the story along. The monster isn't shown merely to show the monster kill people gratuitously. The argument scene between Helena and John is well done. I have to disagree with Petter. The toothbrush line is an attempt of Helena at one-upmanship vs sarcasm, in order to knock John down a notch or to. Koenig was so convinced he was right about Cellini, he wasn't willing to listen to another point of view. The line could have been delivered differently, perhaps. It was delivered in a light tone, almost as a joke. If it had been delivered with dripping sarcasm, the intent would have been more clear. Helena, by this time, is learning John's little quirks and how to deal with them ( and vice versa). I'm glad the episode was not done from Carter's perspective as had been originally intended. To have Carter viewed as a hysteric would have changed too much in his backstory. His career would have been ruined, and there would be no way he would have been promoted to Reconnaissance chief in the atmosphere shown in the space program by Dixon. Dixon was a bueracrat first and formost. He was willing to play the political game to further the space program.

From: "Ellen C. Lindow" ([email protected]) Date: Fri, 8 May 1998 22:24:14 -0400 (EDT) Subj: Space1999: Toothbrush controversy & other dragons

I agree with Mateo, if this series can spark this kind of a discussion twenty years after it was filmed it must be something special. I liked the toothbrush scene. Koenig strikes me as the steamroller type. Once he made up his mind, he will do it his way, and ignore all other input. Fortunately for Alpha he was damn lucky most of the time. and when he wasn't right, Helena didn't hesitate to use any method

necessary to point it out to him. Pat, I don't agree with you. The line shouldn't be delivered with sarcasm. She was trying to get his attention by saying something completely out of place, to make him attend her. He was tuning her out. David mentioned that Helena had probably learned some of John's quirks and how to deal with them. Sarcasm wouldn't have worked on him. At that moment she was just trying to get his attention. There was a tremendous amount of detail in this episode, which makes the gaffs more disappointing. Their time sense leaves a lot to be desired. If they left in late 1996 and took 8 months to get there and 6 months to get back it would be nearly 1998 before they returned. An inquiry would take months, so would Cellini's recovery. John would have had to move directly to work on the Meta probe from being grounded. I can't see Cellini being in a position for John to request his assignment to the moon, even as late as September 1, 1999. Helena's report of a different departure date may simply be another instance of different points of view being explored. She may not have the dates correct. The hospital scenes were well done. Helena _is_ more like her second season character, as if she was in shock after breakaway, and had to recover her balance and her normal personality. During most of first season they are in extremely stressful, extremely exotic situations. Anyone who would not react to this with some kind of shock would not be a normal human being.

From: [email protected] Date: Sat, 09 May 1998 00:58:41 -0400 Subj: Re: Space1999: Toothbrush controversy & other dragons I agree with Mateo, if this series can spark this kind of a discussion twenty years after it was filmed it must be something special.

I agree too ! I liked the toothbrush scene.

Sorry, not me, and also the scene where they choose the mission commanderon a flip... here was a tremendous amount of detail in this episode, which makes the gaffs more

Dragon’s Domain disappointing. Their time sense leaves a lot to be desired.

Speaking of time, did some of you notice that Cellini was suppose to hit theclock panel on is commpost ? and he didn't because they change it for this scene. The hospital scenes were well done.

I'm wondering, what kind of odour could we get by leaving 3 dead bodies in a closed compartment for 3 years ? Doesn't seem to smell too strong... Johnny Byrne told me a story about the monster in this episode. After they shot all the scenes with the monster in the Ultra probe, they took the monster over the L and M stages parking lot and left it there for many months, nobody wanted it. Each and every time that Johnny was taking a walk with his two dogs, both dogs went to p... on it !!! I now know, a lot of fans who paid many thousands dollars for models, costumes or props. How much do you think the monster could worth today ? I'm sorry Johnny !, but i think you missed an occasion here... I love this episode, one of my top 5 with ATAP, FORCE OF LIFE, BREAKAWAY...and TESTAMENT OF ARKADIA which is my #1 because it's the one i remember the most from it's original broadcast in 1975. And it's our next week discussion episode... Andre Beauchamp

From: David Acheson ([email protected]) Date: Sat, 09 May 1998 06:51:37 EDT Subj: Space1999: Commander Russell?

Thanks Pat for recognizing the sarcasm in the DRAGON'S DOMAIN toothbrush scene. That is exactly the way I have seen the scene for years. She must have done Koenig good because the next few minutes he pouts and walks out the door saying something about

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writing another letter to the Space Commission. What a he-man that Koenig is. Our episode-by-episode discussions have made me revisit my views of the characters. I used to think Helena was so robotic, especially in year one, that she was wasted in the show. Now I am thinking she was the most complex character and somewhat more stable than John in most situations. She would have made the perfect commander for the base today. (But being the pre-VOYAGER era, ITC would have balked at a female commander.) Let's just say I now have a new appreciation for the character and Barbara Bain. Koenig still comes across as more realistic than a superhero type like Captain Kirk. Its nice to see he has faults but I am starting to see quite a bit of them during our discussions. However, the way the stories were written in both seasons, it was usually Koenig's faults that saved the Alphans. Helena's rational approach would have killed them off most times. Twenty years later and I am still finding new aspects of the show. David

From: "Petter Ogland" ([email protected]) Date: Sat, 9 May 1998 17:10:40 +0000 Subj: Re: Space1999: Dragon's Domain I'm not sure I under stand how this is relevant, but what does the sensible scientist wear??

Problably not all that relevant, but I wondered why would they dress so loudly. There doesn't seem any need to. In hospitals people don't. In the military people don't. If they were construction workers on an oil rigg or something like that, I understand it would be vital to be seen, but on Alpha it seems odd, I think. The contrast between Dixon and the Alphans becomes hence much more explicit than would be necessary, I think. Instead of people in equally responsible positions, or nearly equally responsible positions, it seems like the guys who are fixing the telephone cables have just visited the president of the

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telephone company. Even if this is the case, metaphorically speaking, I feel it adds to worse by emphasizing this difference in level of authority. The final impression is almost of school boys visiting the head master. Ever had something that you have put a LOT of yourself into fall apart? Believe me, you are never rational when you have to defend yourself in such a situation. In addition, I think Koenigs little speech to Dixon was sort of an Anthem to Space:1999, we do not know everything, we still have much to learn.

I may have been distorted by Keith Wilsons change of style. If the situation had been presented on a more even level, like with Koenig and Simmonds in BREAKAWAY, much of the dialogue would perhaps also have worked better. I believe I basically agree to what you are saying, but didn't feel to convinved by the way it was presented. Define "original concept". That concept seemed to bend just fine for R.A.T.M. as far you were concerned.

What I ment with "original concept" was, of course, BREAKAWAY and the early drafted scripts that seem to follow the same investigation of the human condition being hurled into space, trying to survive, find a place to settle down and make a life.

There were many more interesting aspects that Mark brought up in this letter, but I see I have to end here. Petter

From: Patricia Embury ([email protected]) Date: Sat, 09 May 1998 20:26:12 -0400 Subj: Re: Space1999: Toothbrush controversy & other dragons I'm wondering, what kind of odour could we get by leaving 3 dead bodies in a closed compartment for 3 years ? Doesn't seem to smell too strong...

The way the bodies were charred wouldn't have left much to decompose. The ventilation system/air purification system of the ship was still working, apparently, so the smell may have been trapped and recycled.h Something else I noticed while watching this episode. The effect used before the monster enters the ultra probe (the white cloud) is the same cloud effect used, I believe, in Space Brain.

Watching RING AROUND THE MOON, not one of these early scripts, although the fourth episode to be produced, I still find that the Alphans have not been accustomed yet to be living in space. In fact, much of the charm of this episode resides, I feel, in that they are not coping with the situation, very much like MATTER OF LIFE AND DEATH and WAR GAMES.

From: Date: Subj:

On the other hand, DRAGON'S DOMAIN is one of the early drafts, from what I've understood, but it is produced at a much later stage and has apparently been rewritten to fit in with how the actors, writers and producers were feeling about the series at the end of it. Perhaps distorted was not the right word to use, but rather evolved. I feel that DRAGON'S DOMAIN is a vital episode for understanding the evolvement of Space:1999 from season 1 to season 2 that we are about to enter shortly.

Chas P. LKJ1999

LKJ1999 ([email protected]) Sat, 9 May 1998 21:23:42 EDT Re: Space1999: Dragon's Domain

What white cloud was that? I remember spinning light, before the monster enters the probe. Also i don't remember any cloud in Space Brain. I guess i will have to take out the laserdisc, and take a look.

From: [email protected] Date: Wed, 13 May 1998 21:56:24 EDT Subj: Space1999: Belated Dragon's Domain

Here's my $1.999 cents worth:

Dragon’s Domain 1. Goofs / Nits: The most obvious Announcer messes up date of launch 2. Plot holes: How did Koenig get Cellini reassigned to Alpha? Koenig was put in the doghouse by Dixon in September 1997. That would have given him two years to get back in the good graces of the space commission. I guess he could have done it by sucking up to Simmons when Simmons replaced Dixon. I guess he could have used the Meta probe deaths to justify putting Cellini back on active status. "We have a shortage up here and he's a trained pilot." 3. Artwork / Visuals: Cellini's quarters were nice although I wonder where how he got authorization to have all of those weapons, especially since Helena thought he was mentally unbalalanced. I know we hashed this out before but it still bothers me. Having been in the military, I know how they tightly control what you are allowed to possess in military quarters. The set design of the Ultra Probe interiors and the monster itself were great. 4. Model work: Outstanding. The best of the series, especially that spaceship graveyard. 10. The bottom line: A+. The best episode of the series. Not too metaphysical but not too concrete. The focus on Cellini and the doubts of those around him put this one a notch above the typical space monster tale. Of course, the very effective use of the Albinoni music helps as do the flashback sequences. That last sequence of the Eagle leaving the graveyard with the Adagio playing in the background and Helena's voice over narration top off this excellent episode. 11. Misc: As has been noted, this story was originally supposed to be about Allen. That would have been a major format boo-boo. Why would a so

325 recently disgraced captain be put in charge of the Meta probe? I wonder if anyone at ITC would have caught this if they hadn't been forced to rewrite the role for an Italian?

Sorry I was late. David J Lerda, [email protected] "Just because we haven't experienced something doesn't mean it doesn't exist" - John Koenig

From: South Central ([email protected]) Date: Tue, 11 Aug 1998 16:26:06 -0700 (PDT) Subj: Space1999: Dragon's Domain dates.

In the novelization--based on the script--the first news report about the soon to be announced head of the probe is refered to as: "Space News, dateline, nine, three, ninety-six" If I am not mistaken in the UK this would be the NINTH of MARCH, in the U.S. it would be the THIRD of SEPTEMBER. I don't know if the voice over in the show was done by an American or a British person. If they misread the date then this would account for the error. The March date would work as the launch date was in June '96. Perhaps somebody just read the script wrong. Mateo

From: [email protected] (South Central) Date: Mon, 10 Aug 1998 20:52:17 -0700 (PDT) Subj: Re: Space1999: Dragon's Domain

I think the scariest element of Dragon's Domain is that the monster was waiting for him. It is no coincidence that that graveyard of ships just "appeared" in the moon's path. The

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novelization has interesting things to say about it. He wanted to fight the monster again. I think the feeling was mutual.

Bergman: The past is always with us in memory banks. Sometimes in more detail than we expect. I believe it has another real presence. Koenig: In what sense?

That is frightening. To realize that your the nightmare you are obsessed with--is, in turn, obsessed with you! Mateo

From: South Central ([email protected]) Date: Tue, 11 Aug 1998 16:30:11 -0700 (PDT) Subj: Fwd: Re: Space1999: Dragon's Domain

I may be wrong about what the novelization says and doesn't say--it's been a long time since I read it. Anyway, he[re]'s some more comments looking for feedback. The novelization doesn't actually mention this. I don't want to give you the wrong impression. Just a sec while I get it off the shelf. Dum-de-dum I'm back. The novelization features the following exchange between Koenig and Bergman:

B: Every scene, every act, every spoken word is a complex web of energy. Energy can neither be created nor destroyed. It goes on existing. I believe it is transmitted like a programme, as the ripples go out in a lake. It goes out beyond the gravisphere of Earth. Space is shot through with the drifting record of past time. K: And with delicates enough receptors your "programmes" [italicized] could be played back? B: Why not? K: When you've finished your engine you should work on it. You'd solve all the archeologists' problems at one go. B: It isn't as farfetched as you think. The part about the monster waiting for Cellini is my idea. That's just the way I have always seen it. Mateo

The Testament of Arkadia

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24. The Testament of Arkadia The episode is a fitting end to the series, one discussant argues. Although many questions remain unanswered, it ties up some mysteries from prior episodes and brings humanity full circle. BREAKAWAY led us all to believe the event of September 13 was purely an accident. BLACK SUN, however, hinted that a mysterious unseen force was watching over our runaway Alphans. Koenig and Bergman even got to talk with this entity - God perhaps? This force was hinted at again in COLLISION COURSE as was the possibility the Alphans were out there on some purpose. THE TESTAMENT OF ARKADIA is an examination of the overall purpose for mankind. Other discussants join in by commenting on the religious and political aspects of the episode, relating the narrative about search for meaning and purpose to Jesus Christ Superstar and Godspell. From: South Central ([email protected]) Date: Mon, 11 May 1998 10:02:33 -0700 Subj: Space1999: Episode by Episode

This week's episode is The Testament of Arkadia, from Monday, May 11 to Sunday, May 17. On Monday, May 18 we start discussions on the four original Space:1999 year one novels. The first of these is: Alien Seed by E.C. Tubb. I never liked Tubb's novelizations when I was younger; I felt they didn't follow the episodes close enough. This prejudiced me against his original novels. However about 10 years ago I read all the Space: 1999 year one books in order. I realized that I liked Tubb's original novels alot. (So I tried some of his other novels...let's just say that didn't last long.) Alien Seed was very entertaining. I look forward to reading it again. Now, if I could just finish the book I am reading now, AND WE ARE NOT SAVED by Derek Bell--you know, critical race theory, the usual. :-) Mateo

From: David Acheson ([email protected]) Date: Mon, 11 May 1998 06:34:14 EDT Subj: Space1999: The Testament of Arkadia

Episode 24 and the final one of the first year of the exceptional series SPACE: 1999. How many of us thought that when we started the episode by episode discussions that we would

make it so far? I myself thought we would die out after a few weeks! THE TESTAMENT OF ARKADIA is one of my new-found favourites and, in my opinion, a fitting end to the season. As a child, I did not care so much about this non-action episode but, like so many others, I have learned to appreciate the philosophical approach as an adult viewer. So why is it a fitting end to the season? Although many questions remain unanswered, the episode ties up some mysteries from prior episodes and brings humanity full circle. BREAKAWAY led us all to believe the event of September 13 was purely an accident. BLACK SUN, however, hinted that a mysterious unseen force was watching over our runaway Alphans. How else could the moon survive the entry into the black sun? Koenig and Bergman even got to talk with this entity - god perhaps? This force was hinted at sparingly during the remaining course of the show as the series was more focused on the Alphans as fighters and not as pawns for intergalatic gods. However, this force was hinted at again in COLLISION COURSE as was the possibility the Alphans were out there on some purpose. What that purpose was, no one knew! THE TESTAMENT OF ARKADIA completes this chapter nicely by having the Alphans drawn to what turns out to be the intergalactic birthplace of humanity. Two Alphans are selected as the catalyst to bring life back to the long-dead world. Should 1999 have not been renewed for a second season, THE TESTAMENT OF ARKADIA would have served as a secondbest possibility for wrapping up the series. The

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best, of course, would have had some storyline of determining the remaining Alphans' futures. Johnny Byrne delivers one of his best scripts this time around and I am glad David Tomblin came back to the show to direct it. Their best partnering since ANOTHER TIME, ANOTHER PLACE. Tomblin's "son-ofKubrick" style works best with such metaphysical stories. His style and Byrne's Catholic background, in many ways, turn this episode into a religious experience. Austin, Chrichton and Kellett would not have been able to do the same with this type of storyline. One question though! Why did they do this episode in the narrative/flashback style since this approach was done in the previously filmed DRAGON'S DOMAIN? While DD had to tie in events from the past into recent events, THE TESTAMENT OF ARKADIA could have easily been told in real time. Was the attempt to make Koenig's log entry something akin to writing the bible and continuing the religious theme of the episode? I'll leave this to others to ponder. Not a lot of new growth for our regulars here but I loved the scene where Helena confronts Luke and Anna in the Eagle on their way back to Arkadia. She's not afraid to confront her captors and try to rationalize with them. I think she is better here than with the bald aliens in WAR GAMES. Unfortunately, Luke and Anna are too determined to want to listen - they have their own purpose. Orso Maria Guerrini who played Luke Ferro was one of RAI's commitment to put an Italian actor on the show. Okay but nothing spectacular from him. This practice ended with this episode as RAI failed to return for year two. ITC continued on their own. His British co-guest Lisa Harrow (Anna Davis)was not that much better but is more known by me. She has appeared from time to time on British television shows and movies. So there we have it. Year One all wrapped up. Should we go onto the four novels as the vote is suggesting then I will eagerly listen and wait four weeks until the next episode entry, THE METAMORPH. Perhaps though we should spend some time this week as well summing

up our feelings over year one in general? Anyone game?

From: Simon Morris (simes01@globalnet-co-uk) Date: Mon, 11 May 1998 14:35:18 +0100 Subj: Space1999: Re:TESTAMENT OF ARKADIA / SPACE:1999 GENERALLY

I have been fascinated by the episode by episode analyses over the past few months. They have really opened my eyes to a whole new side of SPACE:1999 that I never really appreciated. To be honest I have not contributed to the analyses till now because -to me at any rate - SPACE:1999 was primarily a science fiction ADVENTURE series and rattling good entertainment. When the first year was screened in the UK starting in September 1975 I was 13 years old,and in those days I was not inclined to look too deeply into the scripts for hidden meanings and subtexts. Having the entire two years worth on video now (and with the series starting tonight again on BBC2) I can look again at the series with the sensibilities of a 36 year old rather than a 13 year old. Some episodes that I appreciated first time around (such as the effects-laden WAR GAMES) I now regard as clinkers,whilst stories that I disliked in 1975/76 such as TESTAMENT OF ARKADIA I find repeatedly make gripping viewing. And there are episodes which I now as in 1975 regard as barely watchable- MISSING LINK and RING AROUND THE MOON are the candidates there (sorry Petter). Petter's thoughtful analyses of each Year 1 episode have helped my appreciation of the series. I freely admit that I continue to regard SPACE 1999 as an adventure show above all else,and some of the aspects which Petter and others see I fail to see myself. Yet who can argue with the superb writing of Johnny Byrne and Christopher Penfold,who both wrote scripts that had a little bit more to them than the general "hackwork" which many TV writers crank out. You only have to read the interviews which Johnny has given to see that he deeply cared about the series,and that his episodes were carefully crafted as explorations

The Testament of Arkadia of mans condition,examinations of mans sense of wonder in a universe where he is but a tiny part. If we genuinely HAD a Moonbase with earthmen thrust into this fantastic adventure,you get a sense that this is how it REALLY would be: a group of flawed people who don't have all the answers and who are struggling to come to terms with their situation. As I see SPACE 1999 primarily as a superlative adventure show, I was less disappointed than many with the change of direction in Year 2. I suppose the show had set out its stall clearly for the second seadsonand it was now unequivocally (for better or worse) an action adventure show. I personally liked Year 2 on its first screening and continue to do so(more for certain individual elements than as a "whole package"). But I thought that the loss of Byrne and Penfold was a grievous error. If they had been allowed to stay and nurture the image of the show that they had AND added extra characterisation as Freiberger did I'm sure the series would have gone from strength to strength. As it is,Y2 remains very entertaining and a swift way of passing 50 minutes. Y2 probably is my favourite series in some ways.....but I don't think it can be viewed on anything other than one level in the majority of episodes. And thats a great pity. TESTAMENT OF ARKADIA is probably my favourite Y1 show,and on its first screeing I didn't appreciate it at all.(after all,I was only 13 years old as I said...) Since that time,I have seen it many times and I would like to share with you all why. Quite simply,several years ago I was a fledgling member of an Ambulance Service here in England(and indeed I remain employed in the Ambulance Service to this day). One night I was called along with my partner to a remote farmhouse in the middle of nowhere after a 999 call alerted us to a young lady in early labour. The weather was appalling...we did not have a four wheel drive vehicle. And we had a 30 mile journey to the Maternity Hospital. We battled our way to the address,loaded the lady and gingerly made our way towards civilisation. Not 15 minutes into the journey she went into labour. You can have no idea of the panic that sets in when something happens that you are totally unprepared for ....that you have only recently covered in basic training...that only

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YOU can sort out because you've got no back up. I cannot to this day describe the sense of pride,wonder,and achievment that I felt as I delivered that lady's baby (my partner shouting encouragement but leaving me to the hard work as I had to do it some time!!!). All too often in my job we see distress,suffering,and destruction...and we are called upon to put broken things back together. The opportunity early on to actually see the gift of CREATION.....I had stars in my eyes for the rest of my shift,an unbelievable experience. And when I got home,one of the first things I saw on TV was the episode of TESTAMENT OF ARKADIA. I've never been a religious person,but the sense of wonderment and spirituality which seemed to permeate the episode just struck a chord with me....a story of creation and the mystery of life,I supposeexactly that which I had experienced earlier in the day. This was the clearest evidence of a script being elevated to an "experience". Nothing on TV has so touched me since,solely because of this unusual experience. Of course,my own imagination and interpretation comes into play when I view the story...but what a memory to give a person,and for that I thank Johnny Byrne. Any script which can tap into a person's experiences like that,you take your hat off to. It only makes you weep for the loss of Johnny's "Children of the Gods" story.......... I look forward to discussing Y2 and hope to contribute somewhat more. I agree with David Acheson that perhaps a brief summing up of Y1 would be in order(mine stands as above I think)...and -as Petter stated- these comments will attest to a magnificent series containing some of the best drama ever in a science fiction series. Simon Morris

From: Petter Ogland ([email protected]) Date: Wed, 13 May 1998 10:22:22 +0000 Subj: Re: Space1999: The Testament of Arkadia THE TESTAMENT OF ARKADIA is one of my new-found favourites and, in my opinion, a fitting end to the season. As a child, I did not care so much about this non-action episode but,

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Year One like so many others, I have learned to appreciate the philosophical approach as an adult viewer.

I agree to this, THE TESTAMENT OF ARKADIA being a perfect ending to season 1, bring attention back to the basic premises of early scripts like MATTER OF LIFE AND DEATH and ANOTHER TIME, ANOTHER PLACE. After THE LAST SUNSET (episode no. 11) there was not very much talk of finding a planet to settle down. In itself this was fair enough, I feel, otherwise every episode would have to be a footnote to MATTER OF LIFE AND DEATH, so it's nice that the writers tried to explore other themes. Nevertheless, the final episode of the season hitting upon this again was a fine thing, the way I see it. THE TESTAMENT OF ARKADIA completes this chapter nicely by having the Alphans drawn to what turns out to be the intergalactic birthplace of humanity. Two Alphans are selected as the catalyst to bring life back to the long-dead world.

I don't feel like taking the narrative as literaly as this, but still I feel metaphysical questions from episodes like BLACK SUN and ANOTHER TIME ANOTHER PLACE are being reinforced. I don't feel COLLISION COURSE being a metaphysical episode, but rather a psychological episodes investigating the meaning of hope and belief contrasting rational thought using quasi-religious imagery. The focus seems to be on Koenig rather than on Aetheria. Anyway, THE TESTAMENT OF ARKADIA gives a post-apocalytic view of the world, and investigates how there after winter is always a new spring. Whether the planet is called Arkadia or Earth doesn't seem be much of a point. Johnny Byrne had already described how the Alphans finally set foot on a future Earth in ANOTHER TIME ANOTHER PLACE, and THE TESTAMENT OF ARKADIA seems almost to be just an anecdote or an elaboration on an aspect of that episode.

Unlike Penfold's description of humankind as a virus, Byrne describes the same yearn to live and multiply even under the most un-livable conditions in a more sympathetic manner, although Luke and Anna are throwing all concern of the well-being of Alpha aside following the divine suggestion to settle down on Arkadia. Johnny Byrne delivers one of his best scripts this time around and I am glad David Tomblin came back to the show to direct it. Their best partnering since ANOTHER TIME, ANOTHER PLACE. Tomblin's "son-ofKubrick" style works best with such metaphysical stories. His style and Byrne's Catholic background, in many ways, turn this episode into a religious experience.

I couldn't agree more. Byrne and Tomblin seems like the perfect combination for this final entry. From what I've understood David Tomblin also had a great say about the script. I believe he, in fact, requested a script of this kind from Byrne while Byrne was a bit hesitative about what he felt would be too explicit use of religious metaphors, too obvious. Personally, though, I think of THE TESTAMENT OF ARKADIA along with ANOTHER TIME ANOTHER PLACE as two of Byrne's most accomplished pieces for the series, the two episodes where I feel that Byrne is speaking his mind most clearly. FORCE OF LIFE is also quite good, but less obvious, and as a metaphore for how life lives on for it's own sake, not as efficiently communicating as, say, Penfold's WAR GAMES, at least this is how it works for me. END OF ETERNITY is perhaps a further elaboration on this theme, but ending up being somewhat weak on the philosophical side, as Byrne himself has stated, although quite magnificent in terms of direction by Austin and stupendous guest appearance by Peter Bowles as one of the most interesting villains of season 1. Was the attempt to make Koenig's log entry something akin to writing the bible and continuing the religious theme of the episode? I'll leave this to others to ponder.

This is the best suggestion I've heard considering the point of voice-over narratives. The only explanation I've heard before was that Landau was contracted to spend more time

The Testament of Arkadia on the episode than it required, so they had to through in some voice-overs. Nevertheless, David's speculations about reference to writing the Bible seems artistically very plausible, I feel. I believe Byrne had already some of these voice-overs in his early manuscript, but additional ones were added later on. Not a lot of new growth for our regulars here but I loved the scene where Helena confronts Luke and Anna in the Eagle on their way back to Arkadia. She's not afraid to confront her captors and try to rationalize with them. I think she is better here than with the bald aliens in WAR GAMES. Unfortunately, Luke and Anna are too determined to want to listen - they have their own purpose.

Personally I think both sequences are magnificent. It never occured to me to compare these before, but they represent highlights in each of the two episodes, I agree to that. Another very fine sequence, that Ellen has written a lot and very well about before, is the early moring routine on the eagle as they are about to enter Arkadia. I find this superb. Orso Maria Guerrini who played Luke Ferro was one of RAI's commitment to put an Italian actor on the show. Okay but nothing spectacular from him.

There have been some comments on the dubbing of Orso Maria Guerrini. Some of the Italian actors had difficulty with the English language, I've understood, and therefore dubbing was necessary. According to Johnny Byrne, who telles about it in some interview concerning THE TROUBLED SPIRIT, says it was done with an English expert with fake Italian accent. So there we have it. Year One all wrapped up.

It's been tremendous to watch all these 24 episodes systematically. Perhaps a four week break is fine way of recharging the batteries for season 2. A four week summing up of feelings for year one in general sound fine by me. The two last episodes DRAGON'S DOMAIN and THE TESTAMENT OF ARKADIA are very interesting as a point to start summing up, I feel. While DRAGON'S DOMAIN start to

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look forward, and is to a certain extent already changing aspects in the direction of year two, THE TESTAMENT OF ARKADIA is more like a reflection of the episodes made so far, in particular looking back to the origin of the series and what motivated the Alphans in the early episodes. Petter

From: South Central ([email protected]) Date: Wed, 13 May 1998 09:44:43 -0700 Subj: Space1999: Episode by Episode

I have seen new people on the list this week. I invite you all to participate in our ExE thread. In it we discuss the episode one by one, week by week. This week concludes the Year One episodes (Yes, we've been at it for 24 weeks!) with The Testament of Arkadia. The next four weeks will focus on the four original Year One novels. One novel per week in the following order: Alien Seed Android Planet Rogue Planet Phoenix of Megaron. Then we move on to Year Two episodes, starting, of course, with The Metamorph. We watch the episode and discuss/debate/analyse/reminisce about it. You are all welcome to participate in this very successful thread. The next for weeks are also for any straggling thoughts on Year One or any observations of the season as a whole. Welcome to the list (not that I have anything to do with running it or anything)! Mateo

From: Mark Meskin ([email protected]) Date: Sat, 13 Jan 1996 19:44:17 -0600

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Subj: Re: Space1999: The Testament of Arkadia

I really like this episode from a story side, its a great story, and it does tie in nicely with the MUF and metaphysical themes of previous episodes. I only have one big gripe....I think personally the concept proposed in TOA is pure bunk. Its such a nice closed loop, but I find the idea that life on earth arose somewhere else pure crap. Isn't that funny? I enjoy watching this ep. immensely for the acting, the story(not the concept!!!), the great music, I even think Koenigs voice over is superb, and does a nice job of setting the tone of the episode. I guess its a personal belief problem, but I'd still give TOA 4 out of 5 stars. What that purpose was, no one knew! THE TESTAMENT OF ARKADIA completes this chapter nicely by having the Alphans drawn to what turns out to be the intergalactic birthplace of humanity. Two Alphans are selected as the catalyst to bring life back to the long-dead world

I could have gone for this, if the whole birthplace of Humanity was left out. I don't feel like taking the narrative as literaly as this, but still I feel metaphysical questions from episodes like BLACK SUN and ANOTHER TIME ANOTHER PLACE are being reinforced.

Holly Cow! I agree with Peter!! :-) I don't feel COLLISION COURSE being a metaphysical episode,

Oh well, now I disagree... Collision Course is in the same vein as Black Sun, Another Time ANother Place, and TOA. The metaphysical aspects are undeniable. but rather a psychological episodes investigating the meaning of hope and belief contrasting rational thought using quasireligious imagery.

Ok, I'll go along with quasi-religious imagery, but I disagree with your interpretation of its purpose. Anyway, THE TESTAMENT OF ARKADIA gives a post-apocalytic view of the world, and

investigates how there after winter is always a new spring.

Nice Observation, I thought the same thing. Unlike Penfold's description of humankind as a virus, Byrne describes the same yearn to live and multiply even under the most un-livable conditions

That's what a virus does, but yes, Byrne puts a more humanitarian spin on it. Should 1999 have not been renewed for a second season, THE TESTAMENT OF ARKADIA would have served as a second-best possibility for wrapping up the series. The best, of course, would have had some storyline of determining the remaining Alphans' futures.

I for one, am glad it remained openended. I hate a story that is all done. :-( And Space:1999 lives because of this. Space: Above and Beyond put the capstone on its story by killing all the characters off in the final episode, thus ending the story. I like the fact that the Alphans didn't find a home, well not yet. Ithink there Journey should be more like that of the Jews leaving Egypt, and wnadering for 20 years....it fits the epic scope of Space:1999 better I think. Tomblin's "son-of-Kubrick" style works best with such metaphysical stories. His style and Byrne's Catholic background, in many ways, turn this episode into a religious experience.

I agree with you David! Personally, though, I think of THE TESTAMENT OF ARKADIA along with ANOTHER TIME ANOTHER PLACE as two of Byrne's most accomplished pieces for the series, the two episodes where I feel that Byrne is speaking his mind most clearly.

Duho! I have to agree with Peter...again! This is the best suggestion I've heard considering the point of voice-over narratives. The only explanation I've heard before was that Landau was contracted to spend more time on the episode than it required, so they had to through in some voice-overs.

Yes, I heard the same thing, but aside from being to flashback eps in a row, I have no problem with it, I think it was handled quite

The Testament of Arkadia well, and as I said earlier, helps to set the tone of the epiosde. Perhaps though we should spend some time this week as well summing up our feelings over year one in general? Anyone game?

Year 1 rocks! Hows that. It was definately groundbreaking, and certainly more of a thing man's Sci-Fi than previous TV attempts. Its odd that as a child year one's ominous mood, and cold style had such an impact on me, even though I(as an 8 year old, mind you) prefered series 2(Maya was a big attractor, yes). Its now as an adult, that I really appreciate series 1. There will never, ever, be anything like it again. What a loss. Mark

From: Petter Ogland ([email protected]) Date: Thu, 14 May 1998 10:25:16 +0000 Subj: Re: Space1999: Re:TESTAMENT OF ARKADIA / SPACE:1999 GENERALLY

Magneto wrote: Petter: “Byrne had to fight for THE IMMUNITY SYNDROME, I understand, and other scripts, such as CHILDREN OF THE GODS, Byrne's greatest achievement ever in terms of SPACE:1999 according to Gerry Anderson, were rejected by Freiberger.” this is the first I've heard of this script. is it in the cybrary, or is there anywhere else with more information about it?

I believe the script is lost. There is a lot of information about it in Robert's Cybrary, however, both in terms of what Byrne has explained in interviews and what others have said about it. David Welle has also communicated with Johnny Byrne, I believe, so he may have something on his site. Another interesting site in respect of fascinating and obscure scripts is, of course, Martin Willey's site.

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Petter

From: Petter Ogland ([email protected]) Date: Fri, 15 May 1998 10:26:38 +0000 Subj: Re: Space1999: The Testament of Arkadia I really like this episode from a story side, its a great story, and it does tie in nicely with the MUF and metaphysical themes of previous episodes.

I keep wondering why people speak so much about a Mysterious Unknown Force (MUF) in SPACE:1999. After discussing the 24 episodes of season 1, I can't remember talking all that much about MUFs. Who introduced the MUF concept anyway? My impression is that it has come from some American critic who wanted to talk about SPACE:1999 in a derogatory way after failing to understand FORCE OF LIFE on STAR TREK terms. Nevertheless though, I agree with you, Mark, about the MUF and metaphysical themes, metaphysical themes in particular perhaps, not feeling that the MUF concept had very much to do with SPACE:1999. Were the words "Mysterious Unknown Force" ever used in the series? I hope you're not talking of the unknown force, not gravity, not magnetism, as Victor says when the moon stops on its way past Arkadia. These kind of forces, perhaps introduced to poke fun at elementary physics, is not something I'm very much in favour of. I feel it's OK to stretch and at times slightly ignore the laws of physics for the sake of drama, but I feel more comfertable when the writers are not overdoing this. Sometimes overdoing this thing tends to draw attention away from the more interesting aspects of the story I often feel. I only have one big gripe....I think personally the concept proposed in TOA is pure bunk. Its such a nice closed loop, but I find the idea that life on earth arose somewhere else pure crap. Isn't that funny?

Personally I don't take that aspect of the story too seriously. I assume that since Johnny Byrne had already done ANOTHER TIME,

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ANOTHER PLACE, he didn't want to make another story that was too similar and didn't want to use Earth again in a similar fashion, or perhaps he would and someone else, Tomblin perhaps, didn't want to repeat the formula. I believe it could easily have seemed too depressive to have the Alphans return to an extinct Earth, although this is more or less what it must have been like for the first group of Alphans in ANOTHER TIME, ANTOHER PLACE. On the other hand, the return to an extint Earth seems to be very much the content of the TESTAMENT OF ARKADIA fable. Byrne is telling about how life arouse on Earth, and how it will arise again after human kind has destroyed itself. Byrne is taking a rather sinister point of view on human kind as a premise, but this is more or less his usual style it seems, at least then. Personally I like the idea of Arkadia. I enjoy watching this ep. immensely for the acting, the story(not the concept!!!), the great music, I even think Koenigs voice over is superb, and does a nice job of setting the tone of the episode. I guess its a personal belief problem, but I'd still give TOA 4 out of 5 stars.

I felt Koenig's voice over was much better than Helena's in DRAGON'S DOMAIN which I found awful, the way she used her voice that is. This was a Helena very different from BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN. It sounded as though she was already into season 2. I agree with the music, Lancen's "Appassionata" especially, enhancing the beauty of the visual splendor of Brian Johnson and Keith Wilson. I felt less confertable with Arel Dutur's "Picture of Autumn", in particular finding the part with drums, bass and chorus making what should be emotional highlights sound a bit cheap. Petter: “I don't feel like taking the narrative as literaly as this, but still I feel metaphysical questions from episodes like BLACK SUN and ANOTHER TIME ANOTHER PLACE are being reinforced.” Holly Cow! I agree with Petter!! :-)

Excellent!

Ok, I'll go along with quasi-religious imagery, but I disagree with your interpretation of its purpose.

One of the reasons I like COLLISION COURSE is that it's only Koenig and Alan that are having revelations. Just like the Alphans I feel that not even the viewers are too sure about whether Arra exists. Personally I prefer to think of it as Koenig and Alan going psychotic, hearing voices and seeing angles, perhaps as a result of radiation sickness. This seems to be the way Victor and Helena are perceiving it. The lines Margarth Leighton are given seem almost deliberately ridiculous. Perhaps Terpiloff was trying to stretch his imagination on how stupid or confused he might manage to make Koenig appear while still make the Alphans unsure as to whether he was well intact or not. This feeds well off during the climax, I feel, and it's wonderful to see the determined and rational Helena and the equally sensible Victor Bergman giving in on John at the final moment. Says a lot about human kind, doesn't it? While not the top five sort of episode, I nevertheless feel director Ray Austin's wonderful understanding of social dynamics and feel for subtle psychology makes this immensly entertaining. For me it has very little to do with metaphysics, perhaps with the exception of what actually happend when they actually should have crashed. On the other hand, just like in MATTER OF LIFE AND DEATH, WAR GAMES and perhaps even the actual breakaway in BREAKAWAY, the final solution to the drama feels like being of less importance, it's the building up to the climax that is interesting. This was a deviation from THE TESTAMENT OF ARKADIA, however, but perhaps anticipating some of the general season 1 summary for the next weeks. Its now as an adult, that I really appreciate series 1. There will never, ever, be anything like it again. What a loss.

The Testament of Arkadia A loss yes, but as Victor says in BLACK SUN: Cheers to all that was! I remember having a great time in 1975/76, experiencing and living the world of SPACE:1999 as a child. It really struck a chord with me then, as I now, almost 25 years later, still feel the vibrations of it. SPACE:1999 was a fantastic experience. For me it appeared just at the right time and contained the perfect balance of action, drama and philosophy. While my initial reason for rewatching the series was nostalgia, today I find the series a wonderful example of what television drama can be at its very best. Magnificent! Petter

From: Mark Meskin ([email protected]) Date: Mon, 15 Jan 1996 23:10:33 -0600 Subj: Re: Space1999: MUFs and all that other stuff

[Returning from the MUF discussion...] So Mark, why do you think the Arkadia thing is pure bunk! So is the premise of 1999 when you really think about it!

My first and biggest problem with it, is that it reminds me too much of the creation vs Evolution argument. Now, let me preface these comments with the fact that I am a Catholic who believes in evolution and do not see a conflict with that and my religion. All the evedince that points to evolution in the world would have to be some grand trick in the creation argument. Same thing would apply to the Arkadia argument. For Arkadia to be so similar in terms of flora and fauna, the ENTIRE ecosystem would have to have been recreated here on Earth. The scale is just massive, and for the plants and animal fossils to have been recognizeable to the Alphans there would have had to have been no evolution fo the species between the time Arkadia was abandoned and present day Earth. This brings us to the timeline problem. For the Alphans to have found remains on Arkadia the time that has passed must have quite short, from a geological and evolutionaI time frame.

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Even a few hundred years would have been enough to turn those trees to dust. But lets just say, that for the sake of the argument, Arkadia is completely inert, with no bacteria, no harsh radiation from its sun, and has a dry, cool, windless climate. Say we really stretch believabilty and say 5000 years have passed. Nothing would remain, not exposed like that, out in the open.Not to mention, why isn;t there any residual radiation from the holocaust which destroyed arkadia. Even if we give plenty of time, and push the arrival on Earth way, way, back in time we are stuck with the fact, that humanity would be incompatible with the ecosystem on this planet(everything, the proteins, the bacteria, etc) and would never be able to just "live off the land" unless they brought there entire ecosystem with them. Then what the hell are all those fossils in our rocks? Why the grand scheme to decieve us. IF another ecosystem were supplanted by an alien one the eveidence would we undeniable. And an ecosytem would have had to develope here first, on its own, for there would be no oxygen in the atmosphere without it. Otherwise it would look just like another dirty ball of rock to a traveler in need of a new home. I could go on and on about this, the idea is pure crap. I have no problem with stories about mankind starting elsewhere. Its the flip side of us setting up colonies elsewhere. I believe the FOUNDATION stories by Isaac Asimov had the same idea about mankind starting eons ago on one planet. Although no one knew which planet it was and Earth was just one of a number of possibilities.

Thats a whole nother argument, and one that any archeologist worth his salt on a world in the Foundation could prove easily. A lot the foundation series was written in the 50's when we didn;t no as much about evolution as we do today. But its still my favorite series of Novels. I rather live with this scenario that with the crap of two worlds touching and one transforming as we got in COLLISION COURSE. As we said before, to each his own.

That another example of an MUF. Face it folks, the moon would have been torn apart by tidal forces long before it reached the surface of Arkadia. I hardly think Petter that DRAGON'S DOMAIN is the spiral downward for the series

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Year One as you make it out to be. It is not my absolute favourite but I must disagree about it being somewhat on the road to year 2.

I never said that! Oh, youre talking to Petter now. I agree, DD has nothing to do with s2. Mark

From: Mike Lynch ([email protected]) Date: Sat, 16 May 1998 10:39:43 -0400 Subj: Space1999: Arkadia vs. Evolution

I have to agree with Mark on this. As much as I like "Testament of Arkadia," and feel that it is an excellent note to end Series 1 on, there are inherent problems with the presented evolutionary timeline. Perhaps the biggest issue is the fact that if human life began on Arkadia and was transplanted on Earth then at what point in our evolution did this happen? It would have had to have happened at the point that humans evolved to to classification of homosapien, only because if it had been at any time prior to that it would be almost impossible to ensure that the evolutionary path of the Arkadians would match that of Earth. However, even if the Arkadians populated Earth at, or around, the time of the evolution of homosapiens the ability to evolve along the same lines as Arkadia would be damned near impossible... especially when looking at global evolutionary paths that encompass both plants and animals. There is also the problem of the use of Sanskrit on Arkadia. This would insinuate in and of itself that Arkadia and Earth did not evolve along the same lines. Humans haven't used Sanskrit as a common form of communication for hundreds of thousands of years, yet it was still in use on Arkadia when it was destroyed (or so it can be presumed). Also Sanskrit was not used by all human beings, only those of a specific geographical region, so this would seem to indicate that perhaps only a small portion of Earth's population originated from Arkadia... or that a small population of Arkadians came to Earth, and then proceeded to populate the entire planet!

However, there is one particular aspect of this episode that wonderfully ties together several other episodes of both seasons: in "Missing Link" Raan states that Zennites are every bit as human as Koenig, and that Koenig represents the Zennites before they evolved to their current point. This statement would seem to indicate that the Arkadians "seeded" planets other than Earth. There is only one small problem: the Zennites are proof positive that evolutionary paths varied for the human race once off Arkadia. The presence of other humanoid races throughout both seasons of the show could also be linked to Arkadia - such as Psychons, Golosians (Cantor and Zova), Dorcons, Dorians, etc. But again, each of these would indicate variations in evolution. All of this aside, I still enjoy "Testament of Arkadia" and I'm willing to suspend my disbelief because of that. I guess that's part of what being a loyal fan is: that you are able to look past such problems and enjoy the show all the same. Mike Lynch

From: David Acheson ([email protected]) Date: Sun, 17 May 1998 09:21:13 EDT Subj: Space1999: Evolution and Arkadia

I think Mike Lynch hit it right on the mark. I myself believe in evolution and realize that there are some inherent problems in the Arkadia storyline. However, its a nice little story even as such. So like Mike, I can live with it. As for the possibilities the Arkadians populated other worlds? I brought up the Zenno thing back during our MISSING LINK discussions so I thank Mike for mentioning it again. He also brought up the possibilities of all the other humanoid races encountered. I believe STAR TREK: TNG did a storyline to that effect. An alien gene was found which was the ancient forerunner of what would eventually split into humans, Klingons, Romulans and Cardassians among others. This stays within the idea of evolution but must admit its a totally different evolution of the

The Testament of Arkadia type we understand today. For me good sci-fi can deal with other possibilities as well as realities. I've mentioned before scientific facts do not play the overwhelming role in me accepting a sci-fi storyline. I don't care about the aerodynamics of the Eagle or whether a nuclear explosion can actually knock the moon out of orbit without destroying it. That's just me. Perhaps one of the reasons I enjoy 1999 so much but that so many non-fans out there think its the stupidest thing ever made. That is how my own brother views the series. To this day he still picks on me over my childhood fascination with the show. (I have learned to ignore his comments). Anyway Mark I understand your hesitancy to accept the Arkadia thing. Now if someone can convince me that COLLISION COURSE is actually a good story than I will be happy. Thanks everyone for hearing me out.

From: Mike Lynch ([email protected]) Date: Sun, 17 May 1998 13:52:14 -0400 Subj: Re: Space1999: Evolution and Arkadia I believe STAR TREK: TNG did a storyline to that effect. An alien gene was found which was the ancient forerunner of what would eventually split into humans, Klingons, Romulans and Cardassians among others. This stays within the idea of evolution but must admit its a totally different evolution of the type we understand today. For me good sci-fi can deal with other possibilities as well as realities.

Interesting that David should mention this. We all know that several Star Trek: TNG "borrowed" plots, characters, technology, and theories from Space: 1999 (just as Space: 1999 "borrowed" from the classic Star Trek series). Now I am not criticizing the borrowing idea, in fact I see it as a form of homage to an acknowledged and acclaimed source. However, borrowing from a source and not expanding upon it or offering a new perspective can lessen the impact of the original source as well as make the new "version" appear cheap and shallow. That being said: did anyone catch the preview for next week's Deep Space Nine? For those who

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didn't let me fill you in: O'Brian's daughter is sucked through a "hole" in space/time and reemerges a savage protohuman-like woman... ring any bells? Can we say THE FULL CIRCLE? Now going by the preview it looks as if there is enough of a variation in the surrounding story line that won't come across as a direct re-make, but I just found it to be a little amusing. Getting back to the discussion at hand: The ideas presented in TESTAMENT OF ARKADIA are some of the best from the first season, and I think that this episode could have conceivable been called NEW ADAM, NEW EVE (though being relatively new to this group this may have been mentioned earlier). Admittedly, had the name been that of NANE then the focus of the episode would have been shifted away from the Arkadians and the impact may have been lessened, if not lost. But the ideas and theories present in TAO, though somewhat flawed, are excellent. Whether they were the basis for the Star Trek: TNG episode that David mentions, or not, is not necessarily as important as the fact that the ideas in TAO examine classic elements of sci-fi. TOA for that reason becomes (for lack of a better word) a classic example of science fiction. Anyway, I wont harp on this subject since it has already been hashed out over the past week. I've mentioned before scientific facts do not play the overwhelming role in me accepting a sci-fi storyline. I don't care about the aerodynamics of the Eagle or whether a nuclear explosion can actually knock the moon out of orbit without destroying it. That's just me.

Agreed. (Just a thought: why would the aerodynamics of the Eagle ever fall under criticism? The Eagle was designed primarily for use in low to zero atmosphere - where aerodynamics would be of little consequence. So it would just seem that criticizing the ship's aerodynamics would be... well... pointless.) Mike Lynch

338 From: Date: Subj: Force

Year One Chris Hlady (chlady@escape-ca) Fri, 15 May 1998 11:16:53 -0500 Space1999: Mysterious Unknown

yada yada

He's gone man. No more Seinfeld. No more yada yada yada.

artistic licence yada yada abused but so what yada yada chris Chris Hlady http://www.escape.ca/~chlady

From: Date: Subj:

Chris Hlady (chlady@escape-ca) Sat, 16 May 1998 10:40:36 -0500 Space1999: Yada bits

Yada yada arkadia funny sanskrit yada yada muf amuses

From: Chris Hlady ([email protected]) Date: Sun, 17 May 1998 00:58:53 -0500 Subj: Re: Space1999: Yada bits

Hi Mark, Yeh it's over, and I don't care. Why should I? But, the lessons of Jerry are ubiquitous. Why ramble over something if you can "yada yada" it? If I "yada yada", it's because I'm too bored or unimpressed to compose a sentence. Now, you might think of this as rude, but I find it saves a lot of time and, at the same time, reminisces about things that no longer exist...like Space: 1999. Ho hum, enough lecture. I've been re-coloring a lot of old space: 1999 pics from the archives and may soon put them up on my webpage. It's always nice to make something old something new. Cheers, Chris

yada yada loved asimov's foundation series yada yada fiction reinforces the wonder of reality yada cheers chris

From: Mark Meskin ([email protected]) Date: Tue, 16 Jan 1996 13:54:24 -0600 Subj: Re: Space1999: Yada bits

Its over.

From: Patricia Embury ([email protected]) Date: Sun, 17 May 1998 20:13:43 -0400 Subj: Space1999: Testament of Arkadia

This is one of the best episodes of the first season, and a fitting way to wrap the first season. The narrative viewpoint worked better than if it had been done in a straightforward storytelling mode. It adds to the overall mysticism of the episode. My friends, mysticism is the key to this episode. Mysticism/religious belief surrounding the creation of humanity, combined with "the circle of life" idea is the focal point. The setting of an Earth-like, postapocolyptic world and the combination of

The Testament of Arkadia classical pieces and a more "Jesus Christ Superstar/Godspell" sounding piece with the revelation in the cave add to the wonderment, and spiritualism of the events. The time frame for the Arkadians to supposedly bring life to Earth is deliberately difficult to plot out. It's not supposed to make sense. We as the viewer, must believe, take on faith, that the Arkadians visited Earth at some point and either mingled with the local population, or just camped out and stayed. They planted the seeds of modern society, as the Alphans were to plant the seeds of life back on Arkadia. The end shot of Koenig closing the book, laying his pen on top of it, could be interpreted as Koenig writing a new "Testament" or biblical chapter for the people of Alpha. Very effective.

on religion, politics and their interplay. Wonderful, Pat!

The Alphans who went to the planet were completely blown away by their discoveries. Koenig looked to be in a state of deep worry, or at least very upset by events when Luke and Anna approach him with the idea of living on the planet. It can be argued that he was concerned with the future of Alpha, but, we've never seen him that upset before. Everyone else was very subdued, including Alan, who was remarkably restrained during the events of Helena's abduction. You could tell that he and Morrow really wanted to do something, but they were either more accepting of Koenig's leadership, or resigned to playing out the events as they unfolded.

Mark responded:

From: "Petter Ogland" (petter.ogland@dnmi-no) Date: Mon, 18 May 1998 09:41:56 +0000 Subj: Re: Space1999: Testament of Arkadia

Good points, Pat! I never thought of Dutur's "Pictures of Autumn" as a reference to "Jesus Christ Superstar" or "Godspell". From this point of view it makes a lot more sense. While I initially felt the Dutur theme was rather awkwardly chosen, obviously not making this link, now I feel it gives new dimentions to the story. The parallells to the filmed version of JESUS CHRIST SUPERSTAR (1973) are quite striking, I feel, the early seventies search for a deeper meaning to life by a combination of post-hippie thought which casted new lights

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From: Petter Ogland (petter.ogland@dnmi-no) Date: Mon, 18 May 1998 09:25:59 +0000 Subj: Re: Space1999: The Testament of Arkadia & the MUF

Earlier, I wrote: One of the reasons I like COLLISION COURSE is that it's only Koenig and Alan that are having revelations. Just like the Alphans I feel that not even the viewers are too sure about whether Arra exists.

No, I never get that impression when I watch this episode, especially since we get to "meet" Arra early in the episode. Maybe if the sequence in the alien ship had been deleted in favor Koenig just going out, being captured, and returning without us the viewer ever knowing what went on in the alien ship.

Initially it seems like there is someone external to Alan speaking to him, yes. On the other hand, later when is on Alpha and believes he is speaking to Arra, and strechting out to reach her, he is in fact standing nose to nose with Helena. This sort of switch between internal and external worlds sees almost to be a tradmark of director Ray Austin. At least it is a trick he uses in many episodes; RING AROUND THE MOON, MISSING LINK, THE END OF ETERNITY. Suddenly the camera is watching from some of the casts point of view. In COLLISION COURSE we are sometimes observing Alan and sometimes we are being presented with what he is experiencing from his own psychotic view. The psychologcial aspect of the episode is what makes sense to me. If it were made by somebody else, Crichton perhaps, who tend to focus on other aspects, I believe I would have found it of very less quality, perhaps more like the other Terpiloff stories EARTHBOUND, DEATH'S OTHER DOMINION and THE INFERNAL MACHINE, which in spite of

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their references to E.A. Poe, Shakespeare, Dante Alligieri etc. feel like some of the weakest episodes of season 1. No, I think you are thinking on our terms again. Arra was an alien, an alien on a much different plane than Humanity. Can you imagine if Her way of convincing Koenig was to say, "Look here Commander, we've got a little problem...I need your moon to smack my planet..............." It just wouldn't work. I like the dialogue, its suitably mysterious, and its no help to Koenig who as usual, is on his own.

I still find the dialogue mysterious and ridiculous. How could she possibly convince Koenig that the most sensible thing would be to have the moon smack into Aetheria? It is incredible how a man like Koenig accepts to "do nothing" when his normal pattern of behaviour is to do just anything, whether sensible or not, in similar situations. The whole scene seems be constructed on the logic of dreams the way I see it. Obviously Koenig is communicating with someone or something, or perhaps just being programmed like Helena was in RING AROUND THE MOON. All the Alphans see is that his eagle is being swallowed by this ship and then later returned back to the moon. His meeting with Arra seems as real to me as his meeting with "Victor" in MISSING LINK. Petter

From: [email protected] Date: Wed, 27 May 1998 23:26:19 -0400 Subj: Space1999: The Testament Of Arkadia

I wasn't kidding about being lucky to get in an episode each week. It's taken two weeks, plus a few days after viewing to get five minutes to write this unwanted review. Anyway... Another episode that hard cuts to the opening credits...cutting the drum roll. I again wonder if it was for effect or for time constraints. Anyone else wonder why the power loss doesn't affect the eagle? (And I know someone

is going to say the unknown force who wants the ship to reach the planet to restart the seed...The problem with that is why don't the characters wonder about that?) A few reviews back I made an off topic reference to Lost In Space (tv) using a slide rule in 1997...and I forgot Bergman uses one in this episode. Although I don't think it's the reason, one could argue that it is in character for him to still be using one. A great deal of the dialog, including the scenes in the eagle are dubbed, and I can't figure out if they had a lot of technical problems during this episode, or if it was to match the sound of the guest actor's dubbed lines. Dialog on the planet surface was also dubbed, but the funny thing is that gives it a more removed feeling which helps create the feeling of them being outside, even though in this episode they are on a sound stage. It is hysterical that they never take notice that all the aliens they encounter speak an earth language (english) but they are shocked to find a different earth language (sanskrit) on the planet. Of course we understand there are some things we must blink at to make the story possible. Mathias' scenes were the worst in the series. The dialog made him sound like a petulant child, and was completly unbelievable. Also, I question how there always seems to be critical care patients in Medical Center that are unrelated to the current story when there is a power outage. I would think under their cirmstances, the odds would be that the medical facilities would be empty (or certainly not critical care patients) at any given time. This business of patients dying because of power cuts (and this is not the first time this was used) is a cheap device (like having a nameless guard outside a closed, windowless door so he can rush blindly in and get killed.) One minor blooper: we see the docking tube within inches of attaching to the ship, and we cut directly to the inside where the eagle hatch is open and someone is standing there in the hatchway, and we hear the sound of the tube attaching!

The Testament of Arkadia

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overtones, filming style, and narration were all wonderful. From: JSchill824 ([email protected]) Date: Thu, 14 May 1998 10:21:45 EDT Subj: Space1999: Good-bye dear friends

Just a few notes on the last two episodes of year one. What can I say but I liked them both. Dragon Domain discussion has stirred a lot of comments. As for me I've always enjoyed this episode and think it still holds up well. My only criticism would be that I thought Dr. Russell was weak on the psychotherapy and seemed a little too hostel towards her patient (Tony) JMO. As for the Testament of Arkadia, I felt that if this would have been the last of S9 series it would have been a great ending. The religious

What an appropriate time for me to sign off, for I have a wonderful opportunity to travel to Egypt with my husband. We've been saving for 2 years and are going with 16 students and my old art history professor from the Northern Illinois University Art History department. Its been a dream of mine to visit Egypt for a long time! We leave Saturday and I can't wait! Robert, Petter, David(s), Ellen, Pat, Mark, Mateo, etc. keep up the great discussions! I'll miss you all. Until Tomorrow, Janet

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Year Two

Year Two

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YEAR TWO DISCUSSION On Monday the 15th of June 1998, Mateo Latosa started the discussion of Year Two episodes. The discussion continued from from week 25 to week 48 in 1998. There were 57 discussants participating in the Year Two discussions, as compared with the 49 discussants participating in the Year One debate. As with the Year One discussion, some discussants made one or two comments through out the whole proceedings while others contributed an average of three or four comments per episode. The diagrams in figure 3 show the statistical distribution of the number of discussants for each episode. The data is compared to the estimation of the Year One popularion, using the revised parameter estimates discussed in the introduction to the Year One discussion. The diagram on the left gives a visual comparison of the frequency statistics from the Year Two sample against the Year One estimate. The diagram on the right shows the Year Two time series within the context of statistical process control (SPC) using the Year One control parameters. 5

0,2

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25 20 15

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Discussants UCL = 18

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Figure 3. Engagement in the discussion measured by the number of discussants for each episode

With the exception of the attendance for the discussion of episodes 4-8, the Year Two process is within the bounds of statistical variation defined by the Year One control parameters. This indicates that the engagement in the Year Two discussion was more or less on the same level as the Year One discussion. JOURNEY TO WHERE was the episode causing the greatest participation (50 discussants), closely followed by RULES OF LUTON (48 discussants), and THE TAYBOR (42 discussants). The comments in regard of JOURNEY TO WHERE were mostly positive. In the case of RULES OF LUTON, the comments were more mixed, with some discussants seeing it as one of the least successful episodes of the series. In the case of discussing THE TAYBOR, the discussion forum was visited by an anthropologist from the University of Montreal who contributed engaged and insightful comments about Taybor as a “trickster”, and the the role of tricksters in various cultures. The Year One discussion resulted in an output of 523 emails. The diagrams in figure 4 show the statistical distribution of the 635 emails that were produced during the Year Two discussion. The data is compared to the estimation of the Year One popularion, using the revised parameter estimates discussed in the introduction to the Year One discussion. The episodes signalling more than expected output of emails are JOURNEY TO WHERE (50 emails), THE TAYBOR (42 emails), THE RULES OF LUTON (48 emails), THE MARK OF ARCHANON (39 emails), THE BETA CLOUD (43 emails) and THE BRINGERS OF WONDER – PART 1 (38 emails). In general, however, the output process is within the statistical bounds defined by the Year

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One discussion. Despite the fact that the Y2 discussion resulted in an email output that was more than 20% larger than the Y1 discussion, this could be explained by particular events rather than changes in the process capabilities.

Em ails

10

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Figure 4. Intensitiy of discussion measured by the weekly output of emails

In the introduction to the Year One discussion, two different Y1 wrap-up emails were used for illustrating different perspectives on the first series. In a similar way this introduction to the Year Two discussion concludes with an anticipatory mail from the Y1 wrap-up, a thoughtful email from the Y2 wrap-up commenting upon Y2 and its relationship to Y1, and a polemic email from the Y2 wrap-up where a Y1 supporter comments on the episode by episode Y2 summary contributed by a Y2 supporter. From: Brian Dowling ([email protected]) Date: Tue, 19 May 1998 22:20:40 +0000 Subj: Space1999: End of Season 1/ Start of Season 2

Hi y'all,

At this moment, my gut reaction comparing the two seasons is that season two's stories do not have as much an intellectual level as the season one stories did. Look at the references we have quoted in the discussions thus far, as varied as Poe, de Sade and Dante.

Although I've not thrown in my GBP0.02 worth on some of the episodes, I have faithfully watched them and made notes on them all. Maybe at some point I will be able to transcribe them and post them...

The emphasis on a quicker pace for season two seems to have left less room for the themes of where we are in the universe, what forces surround us and such issues that were often to the fore in season one.

One overriding thing from this exercise has been that I've carefully looked at each episode rather than just casually viewing it, and enjoyed the stories more as a result of doing this. I hope that I will be able to do this with the season two stories and give them the same objective (or as near objective as I can manage) assessment.

It will be interesting to see if I still feel the same after seeing the season two stories again... Brian Dowling - Online Alphan #144 Birmingham, England Compiler of the Space:1999 UK Video Log http://www.homeusers.prestel.co.uk/hellion/ "I can't resist your touch of evil"

So far I have found several things I had not noticed before, and I am looking forward to this again with season two. From: "Anthony D." ([email protected])

Year Two Date: Thu, 26 Nov 1998 14:46:03 -0800 (PST) Subj: Space1999: Y2 Summary (really) - Petter for a Day - Pt III

OK, I'll make this brief as I rambled on too long in my other posts. When Y2 first appeared 20 years ago, I was excited that a new season of Space:1999 was coming to television. I loved all apsects of the shows...the new sets, characters, etc. As a kid, I *sorta* missed Bergman and the others, but not for long. I loved the action episodes the best, especially Space Warp as we got to see all these "geez whiz" parts of Alpha. The stories were good for the most part, Maya was exicting and the humanity/humor added to the series was refreshing and welcomed. As I grew older and went back to the series from time-to-time, I would watch Year One episodes and miss the granduer of it all...While Year Two had all the good elements of a series, it was also missing something important...the "thing" that made Space:1999. I don't know what that thing is/was...but it's there. Helena's "wooden" acting, Koenig's over the top acting, Bergman's non-science science...it's there...but I'm not sure where...but that's what is missing from Year Two...no grandeur, mystery, etc. No MUF...these people *need* a MUF -- there is nothing wrong with a MUF --- this was sort of a "religious" aspect added to the series either by intention or by fate...but it was there...to take this MUF away took away the very life of Space:1999 as portrayed in Year One. I look at Year Two as an almost totally different series. Neither equal or unequal to Year One, just different. Watching the episodes back to back on the Columbia House tpaes allows one to see the contrasts so clearly. While I love Barbara Bain's performance in Year One, I also love her Year Two performance, though for very different reasons....Year Two was about human characters who happen to be on a moon adrfit in space. Year One was about a scientific community accidently thrust into a void. Very different. As someone somewhere said (either on this list or on a Web site), they were only

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seconds from death...in Year One. Year Two, being underground and all, didn't give the same impression. The grandeur in space was gone. No more could you go to a window in Main Mission and see a planet, stars, little satellites from another world give the Moon air. You couldn't see alien ships approach (or leave), a "Force of Life” leave Alpha as it continued its metamorphisis or life return to Piri...No, Year Two had everything come through a view screen...not quite the same...the taybor's ship was remarkable, but again it was viewed thru a TV screen only. Star light was not existent in this world, the awe and mystery of space was sheilded from its wanderers...safer? Perhaps...but perhaps too safe...too formulaic... Was Year Two rubbish? Certainly not. Yes, it had its overwhelming share of rubber monsters, but if it added fans to the series, if it showed our beloved Alphans in all new adventures, it could not be rubbish. As I get older (well at least for now), I will love Year One a bit more than Year Two...but respect Year Two for what it was...a "re-tuned" series that desparately needed to widen its audience to stay alive. In the end, the operation was a success, but the patient died. Anthony ps: oops - I rambled!

From: "Petter Ogland" ([email protected]) Date: Thu, 3 Dec 1998 15:26:07 +0000 Subj: Re: Space1999: Year Two in a Nutshell

Simon wrote: Ratings are Excellent,Good,and Fair. I don't think there would be many that I could rate excellent,whilst one or two that I rated "fair" would better be described as "crap".

To me all of Y2 comes close to “crap”, so its rather difficult to discriminate. Perhaps I'll go with stars *** meaning best (“Excellent” on Simon's terms), ** meaning average (“Good”

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on Simon's terms), * meaning worst (“Fair” on Simon's terms). 1. The Metamorph- fairly intelligent script,good guest characters,lots of action. Excellent(and a better start to Y2 than "Breakaway" was for Y1 IMO...). Excellent

** - The inital let-down for those who loved SPACE:1999. Some interesting ideas planned in Byrne's original script, few surviving in the produced version. 2. The Exiles- nasty alien guests and a strong story which flags a bit for me once Helena and Tony are on Golos. Good music score. Good.

** - Another script written before production of Y2. The story seems to have survived fairly well, although sets, music, type of acting and so on is a disapointment for those who still remembered the original SPACE:1999. 3. One Moment Of Humanity- not especially original and terrible dancing scenes. But a good episode for Barbara Bain and a touching ending. Good.

** - The first episodes in the new series that make some serious attempts at camp, the dancing being a typical example of this and as such is closer to three stars perhaps than two. On the other hand, in order to distinguish it from the most campy entries such as ALL THAT GLISTERS and DEVIL'S PLANET it only deserves two stars. 4. All That Glisters- Well, I quite liked it for being amusing without meaning to be. A bit like Patrick Mower in fact... Good.

*** - The best episode so far. Everything that could possible go wrong went wrong with this one. Educated poet gets his script entry shattered to pieces by Freiberger. Landau threatens to leave set. Talking rocks, Irish cowboy, zombie Tony, all captured by Y1 veteran director Ray Austin with magnificent flair. Perhaps the best entry of the season. 5. Journey to Where- I always find it a bit tedious to be honest..a well worn time travel story which was quite entertaining but nothing new. Fair.

** - Some excellent characterisation by Freddie Jones. Splendid artwork by Keith Wilson and Brian Johnson, ecological concern

written somewhat more convincingly by James than Miles, although the Scottish part of the story is boring. 6. The Taybor- nice to see them try a less serious and more whimsical episode,but fails in just about every area. Nice light hearted score by Wadsworth but thats about it. Fair (aka "crap") ** - Almost two and a half stars as the episodes relishes both in camp and intellectual writing, obviously intended to be a critisism of consumer society and economical systems. 7.The Mark of Archanon- intelligent,good characterisations and performances,sympathetic aliens. Not bad at all. Could almost have been Y1. Excellent.

* - Camp, but in the wrong way. As I only have watched the episode in French, I may have missed out on points, however, that makes Simon so enthusiastical about this one. It seems pretty pointless from where I'm standing. 8. The Rules of Luton- a stupid premise from the word go. Saved only by some exchanges of dialogue between Maya and Koenig and some nice location work. Fair (and I *do* mean Fair,as I've never regarded this episode as crap. For one thing,unlike some Y1 episodes I don't think it ever aspired to be anything special..)

* - Extreme camp. Badly acted, badly written, badly use of location constituated with a completely uninspired direction. Sadly it is not bad in a way that makes it enjoyable like ALL THAT GLISTERS, quite to the contrary it is, in my opinion, one of the most boring episodes of the season. It is to Y2 what INFERNAL MACHINE is to Y1, a sleeper. 9. Brian the Brain- the title was a mistake . Brian is of course a noble name(in case a missile is launched at me from the Birmingham area..)but this was too much like LOST IN SPACE for me. Fair.(Got that Brian? Its not crap. Really. It isn't. OK,Bernard Cribbins isnt going to play King Lear,but......!)

** - Okay writing by Jack Ronder, but in execution it comes close to LOST IN SPACE, I agree. It could have been THE SURVIVORS in space, and the central theme about computers and emotions could have made it a rival to GUARDIAN OF PIRI if it was given the Y1 treatment, I suppose.

Year Two

10. New Adam New Eve- great!!! Best Y2 episode. Witty script,great acting by Guy Rolfe and Martin Landau. Some dubious aliens and lizard-type SFX,but who cares? One of the best of all 48 eps IMO. Excellent.

*** - One of the best Y2 episodes in my opinion. Quite contrary to the typical Freiberger output this is intelligent writing perfectly adequat for the format. 11. Catacombs of the Moon- well,Fanderson always praises this as the most literate of Y2. Well its not...its a poorly edited or patched together episode which may well be a poor version of Terpiloffs original script. I didn't enjoy being heavy-handedly battered over the head with its theme of FAITH. Yeah,I got that much. Crap dialogue is crap dialogue regardless of whether Terpiloff or Freiberger wrote it,and theres quite a bit here. Fair(and close to "crap").

** - The proof that Terpiloff was basically a Y2 type of writer. 12. The AB Chrysalis. Crap. (Uhm,sorry. I mean: a boring load of tripe. Bouncing balls,lots of fog and supposedly naked ladiesnice though they were,couldn't save this one.) Nice "Hope is better than despair" speech etc. Faintly amusing epilogue,but that about it. Crap.(And if you ask how I can rate ALL THAT GLISTERS higher than this, I can tell you it was quite easy thanks)

** - An abstract episode of the RING AROUND THE MOON type that tries to treat the camp sets and style to create something meaningful. Only half successful at this, I think. 13. Seed Of Destruction- strong story,even if the Doppelganger idea isnt very original. Loads of conflict between characters,a fine dual performance from Landau,and a refreshing lack of an unfunny epilogue. Excellent.

** - Landau and Bain try to convince us that they still can act. The caricature definition of characters ruin some of the fun, but still one of the better Y2 efforts at charcter conflict. 14. The Beta Cloud- all sound and fury. Plenty of pace and action and a cracking score from Derek Wadsworth but depresses me more each time I view it. The brief interlude where Maya and Tony start kissing is utter bollocks(sorry Emma,but it is...it comes at the wrong point in the script and is plain embarrassing). Amusing

347 epilogue though. That and the music lifts this to a "Fair" rating.

** - Awful entry in the typical brainless Freiberger style. It gets two stars as it represents Y2 at its most brainless, representing the vision "the future is fantastic" of Freiberger. Slightly better than the two other Woodgrove episodes. 15. Space Warp- as above. Depressing use of Maya's metamorphic abilities and a piss-poor story solely designed to fulfil production needs(eg cast availability while an episode is shot back to back). Same score as previous episode and again it lifts the rating just about to "Fair". (Though "crap" is probably closer...)

** - Nothing but a display of Maya transformations, rubber monsters and running around in the corridors. Not as bad as RULES OF LUTON, although, arguably, not as good as BETA CLOUD. Two stars in order to range it slightly above unwatchable things like RULES OF LUTON and THE MARK OF ARCHANON. 16. A Matter of Balance- Not bad in my opinion. Hilarious costuming for Vindrus, naive acting by Lynne Frederick and a ludicrous monster. But rather enjoyable all the same. Good

* - Embarrasing rubber monsters in apple yard settings. The episode that was in production when the SPACE:1999 teams was interviewed and filmed on location in 1976. 17. The Lambda Factor- an effective episode quite intelligently written on the whole. I'm not sure I go along with the view that Landau's performance was any better than normal in this one but I was quite impressed with Deborah Fallender as Carolyn. Good.

** - Average psychic episode. 18. Seance Spectre- stupid title,but quite a good idea behind the usual chase scenes and Koenig acting the superhero. Ken Hutchison hams it up a touch but basically I liked his performance. Good.

* - Internal friction in the Alpha social structure causes un uppheaval that Koenig cannot handle. Endless and meaningless confrontations between Koenig and the leader of the mutinists.

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Year Two 19. Dorzak- interesting story and quite a good performance from Lee Montague. Suffers from the loss of Martin Landau and I never found the romance aspect between Sahala and Carter entirely convincing. Fair

** - Poor episode whose only redeeming quality is what Penfold was actually planning to say before it all got crunched up by Freiberger. 20. Devils Planet- melodramatic title but theres more to this episode than the catsuits and whips. Some nice dialogue for a relatively minor character(Roy Marsden as Craal),spicy exchanges between Elizia and Koenig and a fairly interesting premise to begin with. Good(better than I always expect when I come to watch it...)

*** - Hold no barrels dive into the world of camp. Sheer tastlessness in the style of ALL THAT GLISTERS, although tightly clad amazon women with whips makes it enjoyable in a more perverse sort of manner. 21. The Immunity Syndrome- welcome back Johnny Byrne. Y2 atmosphere and character,with thge heart and substance of Y1 and a genuinely sympathetic and intelligentlywritten alien. Excellent.

** - Freiberger forcing Byrne to rewrite THE FACE OF EDEN. Produced at the end of the series when Freiberger obviously was not as concerned with the scripts as he was in the beginning and we luckily skip some of the humour and Maya metamorphs. 22. The Dorcons- sorry,not impressive. Standard adventure and not even especially amusing. Fair.

** - Byrne's remake of MISSION OF THE DARIANS while at the same time getting his revenge on Maya and Freiberger for stealing his position as script consultant and, perhaps more so, destroying his best contributions to the series. 23/24 The Bringers of Wonder- part one was by far the best segment,but this 2 parter had action,humour,characters,romance,alien menace, etc etc. It looks better on the big screen

and I have to give it an "excellent" rating just for its scale. I bet Feely's original draft was even better.

** - Not as good as NEW ADAM/NEW EVE as it is watered down by rubber monsters, Maya transformations and running around. The intellectual content is of high quality, however, and could perhaps have made a nice single episode. I have to say that,on balance,when I want to watch a SPACE 1999 I tend to pick up a Y2 episode than a Y1 as I simply find them pacier and more entertaining generally. Thats not to say that I don't find several Y1 episodes very good as well...Johnny Byrnes scripts are some of the best tv ever IMO...just that I preferred *some * of the Y2 ingredients preferable to those of Y1. It would have been great for all if there had been more attempts(perhaps by Gerry Anderson himself) to meld the best aspects of Y1 with some of the better ideas that Freiberger had for Y2...especially characterisation). If I pick up a tape to enjoy it is normally a Y1 episode. Most of the Y2 episodes I have are either dubbed into German or French, which make them distincly more watchable. Especially on the French tapes I have to concentrate more in order to get the dialogue. I have a few Y2 episodes in English too, and while Catherine Schell is definitely more enjoyable with her natural voice, just like Barry Morse in Y1, Barbara Bain's voice does not have the same sensuality as her dubbing actresses do. I agree that the output of Johnny Byrne has resulted in some of the best tv ever, notably things like VOYAGER'S RETURN, END OF ETERNITY and MATTER OF LIFE AND DEATH. Freiberger's contribution to SPACE:1999 was only to accelerate it's downfall, the way I see it. Petter

The Metamorph

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01. The Metamorph Although this episode was written by one of the most influencial script writers of the first year, the first discussant argues, the subject of a machine capable of restoring a whole planet to its pristine past by draining the psyche of living entities was not one of his best concepts. It was Fred Freiberger's introduction of Maya changed the story for the better, he says. It is in this context that Byrne shows his talent by writing a wonderful father-daughter relationship which he believes became the crux of the episode - not the brain drain machine. Another discussant respond to this by suggesting that the part of the episode dealing with the biological computer could be seen in the context of technological alienation, how people are being alienated or having their souls drawn out of them as they adapt to technological society. For this discussant, the introduction of the metamorph character Maya was a bad move, seeing it as a symbol of Freiberger’s strategic move towards the Saturday Morning audience’s preference for Hanna-Barbera cartoons, and a corruption of the sci-fi format that made the series effective as a reflective analysis of contemporary political themes. From: David Acheson ([email protected]) Date: Mon, 15 Jun 1998 06:13:23 EDT Subj: Space1999: The Metamorph

one. It became unfortunate Byrne's contribution to year two would not leave the same kind of mark as his work on year one did.

THE METAMORPH was my introduction to the second season of SPACE: 1999 and the second episode of the series I saw on Canadian television. When the CBC aired the series in the 1976-1977 season, it began with an airing of BREAKAWAY so all I was expecting was a rerun of year one shows. I never read any material or heard anything about a new and changed season in the works. The week following BREAKAWAY's rerun, THE METAMORPH unfolded. Watching the new opening I first thought the series was preempted that week for some special. When I realized it was SPACE: 1999, my eyes practically popped out of my head.

I was never amused by Byrne's original idea. The subject of a machine capable of restoring a whole planet to its pristine past by draining the psyche of living entities came across as a somewhat silly concept. Even done in the year one style I am not sure that I would have rated it as one of Byrne's best. Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.

Fast forward to today. My feelings towards this episode now? I have mixed reactions to it but do think it is one of the better episodes of the second year. Not a classic opener like BREAKAWAY became but.....I will try to minimize the overall changes made to the series by Fred Freiberger (for better and probably more for worse) and stick to the particular episode. I am glad Johnny Byrne stuck out the drastic changes to the show's direction and reworked his original manuscript THE BIOLOGICAL COMPUTER/THE BIOLOGICAL SOUL. Johnny Byrne was part of 1999's soul in year one and any contribution to make to year two would be better than none at all. Especially since Christopher Penfold (the other part of year one's soul) departed near the end of year

Add to Byrne's wonderful dialogue some of the best acting the series saw - Catherine Schell as Maya and Brian Blessed as Mentor. Blessed plays Mentor deliciously like he did as Cabot Rowland in DEATH'S OTHER DOMINION. His stage training certainly shows in his characterization. Ms. Schell proved to be an equal to Mr. Blessed and the two played off each other wonderfully. Whether Maya's addition to the series was a smart move or not was one thing but its hard to not be impressed by her introduction to the series. Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode. The director was Charles Crichton who, like Byrne, was one of the few year one crew to

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Year Two

stick to the second year. While I continuously praised Chrichton's work in year one, in particular the Christopher Penfold scripted shows, I must say I am not as impressed with his work in year two. THE LAMBDA FACTOR and THE METAMORPH are the only two episodes of the second season I feel Crichton did a reasonably good job on. To this day I don't know if it was the scripts or that Crichton just was unable to get into the show the second time around. Thankfully, he had those wonderful year one stories or else he would have been branded as the director of A MATTER OF BALANCE. I feel the volcanoes on Psychon were phony from an effects point of view but admire their use in the episode. This was the first of several year two planets which dared to be different. Many of year one's worlds had strange coloured atmospheres but were all Earth-like. I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters. I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted. Changes I liked? The second season uniforms were a vast improvement but stuck to year one's formula. I think Derek Wadsworth score was another vast improvement to the series. I like Barry Gray's score very much but felt it was much like his earlier series. Mr. Wadsworth's mix of jazz and pop came across as something original and I fail to find one score since then that has sounded close to his. I have realized this recently upon purchasing the infamous bootleg Wadsworth second season CD. Biggest problem with the episode? Well, I'm sure everyone on the list will agree on this - No explanation at all for any of the changes in the new season. Most of all, the disappearance of Professor Victor Bergman. This is even more disturbing when we know Johnny Byrne drafted a manuscript including a discussion of Bergman's death only to have the powers above deem it to be removed. The famous

fights with the executives (namely ITC) continue for yet another year. I am not sure what Anouska Hempel's Annette Fraser was all about as the character was not essential to the story. However, it is a nice piece of trivia knowing that the one time actress turned famed hotelier/designer once appeared on the series. Overall, THE METAMORPH was an interesting start to a new year. Unfortunately what followed failed to build up what was started. Year two could have turned out a lot different. David Acheson

From: Mike Lynch ([email protected]) Date: Mon, 15 Jun 1998 17:42:56 -0500 Subj: Re: Space1999: The Metamorph

[…] Now, aside from that there are aspects of the show that I enjoy - such as Psyche's design and brilliant coloring (I'm a sucker for bright orange anyway). I also like Brian Blessed's rather Shakespearean treatment of Mentor. Actually it's not entirely Shakespearean - there is a hint of the gothic in his portrayal as well which is very nice. He rather reminds me of Falstaff's evil alter ego. I also enjoy Maya's playfulness and believable devotion to her father - this also has a hint of Shakespearean innocence. The sets and miniatures are excellent, as usual, and I particularly enjoy the shot above Mentor's ship as in ensnares the Eagle and we see a truly remarkable (and believable) view of the planet's cloudy atmosphere. The dialogue (for the most part) is also very well crafted... I especially enjoy Koenig's desperate attempt to convince Maya of her father's true intentions. However, the weakest point in the episode's dialog has to be: MAYA: Leave Psyche... Psyche made you do evil! What happened here? It sounds as if Maya regressed back to First Grade. I realize that

The Metamorph Maya was under a great deal of stress, but she was very well spoken up to, and following, this point. I also felt that the introduction of Tony Verdeschi was very well done. We see Tony as a man loyal to his Commander, the base, and his fellow Alphans. His strength and loyalty are set in motion in THE METAMORPH and don't seem to waver from this point through the rest of the season. I actually find Tony to be a better Controller/First Officer than Paul, though I like Paul Tony isn't such a mirror of Koenig and stands out as an extremely individual character. Of the Season Two episodes THE METAMORPH is an enjoyable look into the lives of our beloved Alphans, but IMHO it doesn't stand out as much as an episode like THE MARK OF ARCHANON (another one of my favorites!).

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David Acheson wrote : I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters.

I agree. Too bad Sandra was out for some episodes while being replaced with the Yasko character. Some feel Verdeschi is very similar to Alan Carter. I personnaly feel they have different perspective on things; on this subject, his disagreement with Alan over the false-Koenig actions in SEED OF DESTRUCTION help to put both characters into perspective. Mike Lynch wrote: I especially enjoy Koenig's desperate attempt to convince Maya of her father's true intentions.

Truly strongful performance by Landau. The acting highlight of the whole episode IMO.

Mike

David Acheson wrote: From: Paul Dorion ([email protected]) Date: Mon, 15 Jun 1998 16:47:07 -0400 Subj: Re: Space1999: The Metamorph

The Metamorph is surely not a personal favorite of mine. Others have already described the many plot points that seem farfetched or downright silly. David Acheson wrote: Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.

Mike Lynch wrote: I also enjoy Maya's playfulness and believable devotion to her father - this also has a hint of Shakespearean innocence.

I must agree though that it is a good introduction of the Maya character, and Catherine Schell sure looks stunning in her dress.

Changes I liked? The second season uniforms were a vast improvement but stuck to year one's formula.

While I regret the absence of Victor and the change of scenery from Main Mission to Command Center, the new uniforms looks good to me, and the newfound teasing between Koenig and Helena is delightful. By the way, it seems very realistic to me that two such strong-headed and independant characters would be engaged in playful teasings and use sarcastic wit in front of colleagues as a mock attempt to mask their mutual feelings. By the time (almost a year since Breakaway), everybody on the base would be aware of the feelings shared by those two leaders, and such mature individuals would not be ashamed to express their feelings, albeit in a underhanded way. I feel the contrast with the way Tony and Maya are developing -- and showing -- their relationship is insightful. David Acheson wrote: I think Derek Wadsworth score was another vast improvement to the series. I like Barry Gray's score very much but felt it was much

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Year Two like his earlier series. Mr. Wadsworth's mix of jazz and pop came across as something original and I fail to find one score since then that has sounded close to his.

I totally agree ! IMHO the MAIN enhancement to this new feel of the series -- more "honest"action-oriented -- is the suspenseful music composed by Wadsworth. Each "cut" is truly evocative and faithfully describes -- and enhances -- the mood of the scene. Wonderful stuff, and actually my all-time personal favorite soundtrack. The music was actually the main reason why I recorded the episodes on audio tape, over two decades ago. The "action theme" (while Koenig destroys the brain-draining machine) is edge-of-your-seat stuff (but IMO is best used in the suspenseful fourth act of Seance Spectre). Paul :D

From: "Atomic Possum" ([email protected]) Date: Tue, 16 Jun 1998 08:33:03 -0500 Subj: Space1999: The Metamorph

I know many people have a tremendous affection for this episode (Robert?), but it' s never been a big favorite of mine. Largely, I think it has to do with the lack of definition given to Mentor, and the resolution of the story. Mentor seems to come off rather simplistically, rather flat and two dimensional. Granted, this story is a Maya vehicle, but it might have been nice to see some more emphasis on Mentor's psyche--to let him verbalize why he does what he does, and to perhaps get a vision of where he might have gone too far. As it is, we get a lot of stuff at the beginning with the Eagles and stuff, but Mentor doesn't get developed. Remember in THE RULES OF LUTON, where Maya talks about her father, how he could never leave Psychon because her mother was buried there? Mentor comes off far better and far more sympathetic in her speech in that episode than I think he does in THE METAMORPH.

he smashes up the computer, and we get Brian Blessed voice-overs as the whole thing explodes. It would have been nice to have some kind of confrontation, some kind of clash of sides, some emotional conflict that might have brought the whole thing to a more satisfactory resolution. As it is, nothing is resolved, Mentor is merely beaten. There was a lot more that could have been done, either showing Mentor how he had been corrupted by his obssession with restoring Psychon, or--well, SOMETHING!!!!! Something a little more literary would have improved this episode a hundredfold. Yeah, nice visuals. Yeah, Catherine Schell (rrrowr, rrrowr). And I like Maya. But the episode just seems a little less than it should have been...... Jon "Mr. Wonderful" Stadter

From: "Robert Ashley Ruiz" ([email protected]) Date: Tue, 16 Jun 1998 07:58:41 +0000 Subj: Space1999: Re: The Metamorph

Mr. Wonderful wrote: As it is, nothing is resolved, Mentor is merely beaten. There was a lot more that could have been done, either showing Mentor how he had been corrupted by his obssession with restoring Psychon, or---well, SOMETHING!!!!!

Ah, Jon, but it's all there, shown to you rather than told to you. You have only to look at Brian's performance to see it. Mentor is a man who got blinded by his dream, and remember, Maya sums it up when she says "Psyche made you do evil!" It's my thought that Psyche amplified Mentor's hopes and dreams and corrupted them along the way, leading to disaster. He's as much a victim as anyone -part of the reason I like the story so much. I haven't joined in with an episode by episode contribution yet, but perhaps I'll pop in the laserdisc so I can discuss this one further. Robert Ruiz

I think that this adds to the unsatisfactory ending. Koenig convinces Maya to free him,

The Metamorph

From: Petter Ogland ([email protected]) Date: Tue, 16 Jun 1998 10:23:36 +0000 Subj: Re: Space1999: The Metamorph

David Acheson wrote: Fast forward to today. My feelings towards this episode now? I have mixed reactions to it but do think it is one of the better episodes of the second year. Not a classic opener like BREAKAWAY became

I feel the same way here, David. There is not much of an opener start in this one, except numerous metamorphs of Maya apparently without any reason except to introduce her character and abilities to the audience. Maya does also seem more naive in this episode, perhaps closer to Freiberger's original intentions. I am glad Johnny Byrne stuck out the drastic changes to the show's direction [....] Johnny Byrne was part of 1999's soul in year one and any contribution to make to year two would be better than none at all. Especially since Christopher Penfold (the other part of year one's soul) departed near the end of year one.

Yes. His contributions, however, THE IMMUNITY SYNDROME and THE DORCONS are some of the more interesting episodes from my point of view. But, as you state in the case of director Charles Crichton, the interest in Byrne's work is perhaps more due to how we understand him through Year One and then see how he still tries to fight for integrity in Year Two, although he more or less gives up when they reach THE DORCONS. I feel very much the same about Penfold's DORZAK and Terpiloff's CATACOMBES OF THE MOON. It is difficult to see how much of the produced scripts had been reworked by Freiberger, but as episodes I think these are mostly interesting as anecdotes to Year One. Someone pointed out that it seemed as if Terpiloff was trying to make a parody of his Year One material with his Year Two entry. I don't know if this is true, but it is an interesting thought. I was never amused by Byrne's original idea. The subject of a machine capable of restoring a

353 whole planet to its pristine past by draining the psyche of living entities came across as a somewhat silly concept. Even done in the year one style I am not sure that I would have rated it as one of Byrne's best.

I often find Byrne difficult to understand even in Year One. His nod to Catholicism, Irish mythology and the Anglo-Irish political situation is not something I can connect to directly, although many of these aspects are treated in a way that make them more universal, for instance using the a war psychopat as an ingredience in THE END OF ETERNITY and using working class alienation as a vehicle for studing the FORCE OF LIFE. In Year One I found it a lot easier to follow Christopher Penfold, Edward di Lorenzo and David Weir. Anthony Terpiloff was also something of an enigmatic writer, I think, difficult to understand on a deeper level. I wonder what Byrne ment with the "biological computer" in this context. Did it have something to do with technological alienation, in other words people being alienated or having their souls drawn out of them as they entered techological society? It's difficult to tell, actually, as this type of thinking does not seem particulary prevailent in his Year One work, I think. One could perhaps read something out of the anti-nuclear energy technology statements inherit in ANOTHER TIME ANOTHER PLACE and THE TESTAMENT OF ARKADIA. On the other hand, these apparent statements could perhaps more easily be interpreted in his concern with the Anglo-Irish conflict, and then nuclear weapons and weapon industry in general. I feel inclinded to think as David here, finding it difficult to understand what Byrne actually wanted to say. Freiberger's requests for modification certainly doesn't help very much in this way, as Freiberger obviously wanted to play down anything that would give the show meaning and emphasise aspects that would make it more in correspondance with his previous experience at Hanna-Barbera.

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Year Two Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.

Martin Landau was one of the things the remained the most constant during format change, I feel, although the more subtlties of Year One are now completely lost due to running around is more in focus than actual character play.

While I basically feel that the introduction of the metamorph character Maya was a very bad move, i.e. Freiberger's move towards towards the Saturday Morning audience, although perhaps a financially wise move, I believe I can understand David somewhat here. The best thing about THE METAMORPH, as I see it too, is the father-daughter relationship and how she step by step grips loose from her old view of the world to a more realistic view.

[....] THE LAMBDA FACTOR and THE METAMORPH are the only two episodes of the second season I feel Crichton did a reasonably good job on. To this day I don't know if it was the scripts or that Crichton just was unable to get into the show the second time around. Thankfully, he had those wonderful year one stories or else he would have been branded as the director of A MATTER OF BALANCE.

Well said.

Basically, this is the experience of the 5-10 year old of understanding that his/her parents are not perfect, and is probably well suited for the audience that Freiberger was aiming at. If naive, I still think that the show could make sense to those above the age of 7 as well. As we change jobs, meet new people and get around in the world we have to change our opinions or views of the world. I know that I for certain have changed my perspective a lot of times while discussing different issues in concern with episodes of SPACE:1999. The ability of Maya to change forms is interesting in this aspect, I think. What Byrne/Freiberger perhaps is saying here is that she has been adapting to her fathers views by changing her appareance and opinions under the belief that she was the one that should modify. I think this fits nicely in with the pre-1980s concept of women, that they are mainly brainless creatures that should adapt to the mans concept of the world. From a mans point of view this doesn't seem too bad, and in my experience women are often more flexible than men. Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode.

I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted.

I certainly don't know, but I assume there were financial reasons. Anthon Phillips said something about this I think, in regard of why he didn't stay on. Petter

From: "Petter Ogland" ([email protected]) Date: Tue, 16 Jun 1998 16:20:18 +0000 Subj: Re: Space1999: The Metamorph Mentor seems to come off rather simplistically, rather flat and two dimensional. Granted, this story is a Maya vehicle, but it might have been nice to see some more emphasis on Mentor's psyche--to let him verbalize why he does what he does, and to perhaps get a vision of where he might have gone too far. [....] Mentor comes off far better and far more sympathetic in [Maya's] speech in ['Rules of Luton'] than I think he does in THE METAMORPH.

I think this is an interesting reflection. As Maya in THE METAMORPH is a Freiberger character written through the pen of Johnny Byrne, I don't find it surprising that other aspects of Maya are emphasised when Freiberger is given the oportunity to write directly himself.

The Metamorph Although there is hardly much time for character development in the Freiberger/Woodgrove episodes, due to the running-around type of plot, there are minor sequences where Freiberger stop the action in order to have the characters expose parts of their personal history or hidden emotions that contrast the general feel of the episode. Personally I think this works quite well. The Freiberger approach is quite different to Byrne's, and relative to the season, I feel his thinking makes sense. Petter

From: David Welle ([email protected]) Date: Tue, 16 Jun 1998 20:28:01 Subj: Re: Space1999: The Metamorph

Petter Ogland wrote: The best thing about THE METAMORPH, as I see it too, is the father-daughter relationship and how she step by step grips loose from her old view of the world to a more realistic view.

One of several strong points. For much of her life, her whole world has been the caverns (catacombs, maybe?), and her whole interpersonal life has been her father. As well as her father might have taught her about the outside universe and other people, she couldn't have any direct experience outside of that. Basically, this is the experience of the 5-10 year old of understanding that his/her parents are not perfect,

Well, Maya may have *understood* that her father was not perfect, but that doesn't negate the sense of love and trust, and by no means makes her think her father capable of monstrous acts. Yes, too, she *was* naive, without a doubt, but even I, at 28, am running into things that make me realize I was naive about certain things. Perhaps naivete and wisdom are something of opposites, and wisdom can take decades to learn. Of course, naivete and trust can be close. Naivete can also be something of a sister to

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simple stupidity -- the difference being that, again, naivete can come from trust (in humanity, in one's parents, one's government, etc.) and not even thinking there can be something different. Also, Maya had her disagreements with Mentor even before she found out the truth about her father. and is probably well suited for the audience that Freiberger was aiming at.

Well, I don't think it's like that at all, mainly because I don't think it's that simple, for the above reasons and a couple more. People vary a lot here on Earth, for one thing, from those that outright hate to their parents, through those who have greater to lesser degrees of conflict, to those who have few -- even into older ages. I've heard of individuals into their thirties who are still very much tied to one or both parents, even if the one gets married. That's of course an extreme, and like other extremes, is rarely if ever a good thing. With Maya, there was *no* one else but her father. No other relationships that would pull her away, and given her gregarious, friendly nature, had little choice to love and trust her father, or she'd be terribly lonely, unhappy, angry even. She could have easily gone that way, but it bespeaks another sort of *strength* that she didn't, even if that trust proved its own trouble later, in the form of naivete. Most things in life are double-edged to some degree or another, anyway. Then there's the other factor: as similar as Psychons seem to us emotionally, that still implied differences. Even from the start, Psychons seemed resilient and adaptive, from the first two examples. Later, we heard from a somewhat sad-sounding Maya that Psychon was a happy place, which only confirmed my first impressions. If naive, I still think that the show could make sense to those above the age of 7 as well.

Makes plenty of sense to me! :-)

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Year Two As we change jobs, meet new people and get around in the world we have to change our opinions or views of the world.

Agreed. Happens with me too (though I haven't changed jobs for seven years -- but the turnover has gotten so high that I meet plenty of new people there anyway, plus those I meet outside of work :-). Maya had no opportunity to meet new people or get around, from some undetermined young age up until the time of the Alphan encounter. Actually, I think she met some other aliens in just the same way as she first met John and the other Alphans, but most of the aliens were probably more angry and aggressive than even John had been -- and they were likely so different -- that they may have scared Maya more than anything, making it easy for her father to explain that the aliens were hostile and had to be kept in a forcefield. Mentor's excuses than could ring true in Maya's ears. The reason Maya seemed confused by John's attitudes is that he had at first seemed so similar to Psychons in appearance and emotion that she was surprised when he didn't. Regardless, that wouldn't have been a day-today thing -- certainly not a chance for a relationship -- and, of course, Mentor protected Maya, keeping her absolutely safe. She didn't have a lot to *challenge* her perceptions. No peers to draw at her emotions and make her want more independence, and probably no hard knocks in life. Mentor more than went out of the way to be a good father, and Maya had nothing else to rely on. Had she been I know that I for certain have changed my perspective a lot of times while discussing different issues in concern with episodes of SPACE:1999.

Me too! The ability of Maya to change forms is interesting in this aspect, I think. What Byrne/Freiberger perhaps is saying here is that she has been adapting

Like I said, the metamorphosis aspect almost suggests adaptability in GENERAL, at least symbolically, which Maya seemed to prove very well in subsequent episodes.

to her fathers views by changing her appareance and opinions under the belief that she was the one that should modify.

Curiously, though, I hadn't consider that exact angle. I think this fits nicely in with the pre-1980s concept of women, that they are mainly brainless creatures that should adapt to the mans concept of the world. From a mans point of view this doesn't seem too bad, and in my experience women are often more flexible than men.

Well, Maya proved anything but brainless, but in regard to just this one episode...? Hmmm, interesting question. Well, she never struck me as brainless even there, simply naive. Those are not mutually exclusive traits, after all. There are a lot of aspects to life, and even more individual things. One extreme may be a great intelligence for scientific facts or the like but little understanding of relationships. Or understanding of immediate relationships but little understanding of other cultures or the rest of the world. Or understanding of humanity's dark and light sides but no ability to balance a checkbook. Even these are extremes: most people are more complex combinations of great or partial strengths and great and partial weaknesses, and even that balance can alter as one gains a variety of experience and wisdom. David Acheson wrote (and then Petter responded): David: “Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode.” Petter: “Martin Landau was one of the things the remained the most constant during format change, I feel, although the more subtlties of Year One are now completely lost due to running around is more in focus than actual character play.”

I agree totally about Martin Landau, and he's one of the reasons I still think of S19 as the same series, not two different series. A lot changed, but a lot also stayed largely or totally the same. Landau as Koenig was definitely in the latter category.

The Metamorph

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David Acheson wrote: I feel the volcanoes on Psychon were phony from an effects point of view but admire their use in the episode.

They've "aged," for sure; but on the other hand, I've never seen a realistic volcano explosion special effect, until "Dante's Peak." Regardless, the Psychon volcanos did effectively demonstrate the nature of the world, and I too admired their use. David Acheson wrote: This was the first of several year two planets which dared to be different. Many of year one's worlds had strange coloured atmospheres but were all Earth-like.

One of the things I like about Y2. David Acheson wrote: I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters. I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted.

True, though I happened to like the Tony character. He was introduced both for humor and as a love interest for Maya, and in both regards, worked out well. I suppose another, existing character (or two) could have been promoted to take these "duties," and I suppose that could make some interesting "what if?" scenarios (Paul becomes a jokester, Maya falls in love with Alan); but again, I really thought Tony and Maya (and Tony Anholt and Catherine Schell) played so well off each other that it would be very hard to see another combination. I still miss Barry Morse's Victor (he was the part of Y1 that I missed the most in Y2), though, and would have loved seeing him and Maya interact. ---David Welle

From: "Robert Ashley Ruiz" ([email protected]) Date: Wed, 17 Jun 1998 02:09:07 +0000 Subj: Space1999: The Metamorph

[…] MENTOR'S CHARACTER: As I said before, I see Mentor as a victim of Psyche, just like the others. In essence it's the Frankenstein story where Mentor has succeeded in creating an artificial entity with the best of intentions, only to have it corrupt him over time and destroy him in the end. Watch him the way he speaks of Psyche, almost like a lover, referring to it as "her" at times, and clearly mesmerized -- that is, until Koenig begins to break it up and then Mentor's passions shift from wanting to protect Psyche to thinking only of Maya's being saved by Koenig as Psyche's influence diminishes. "Psyche, Commander. A biological computer, created from the minds and bodies of those of our people who survived the disaster which overwhelmed us when nature ran wild." "You've seen this planet -- a volcanic furnace. Through Psyche I shall transform it, change it back into the beautiful world it once was; a world fit enough for our civilization to begin again." Koenig counters with, "Alright, Mentor, you have a beautiful dream. We'll talk more about it after I see my people." Watch Brian's performance as he responds with the following: "Commander! Psyche! Psyche needs energy to complete its task -- energy that is only found in the minds of intelligent life forms. In other words, Commander, the machine needs your Alphans." The telling thing in here is the way Mentor responds with "Commander! Psyche!" It's as if he can't understand why Koenig is concerned at all with his people when he is exposed to this wondrous artificial and indeed magical entity.

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Another telling exchange is the following: Koenig says, "You expect me to submit my people to this...obscenity?" and Mentor responds with, "Your presence here in space has given me a chance -- perhaps my only chance -- to make my world live again! This "perhaps my only chance" speaks of Mentor's desperation and single-mindedness. Judging from the small number of creatures in the pits and the relative sizes of the ships in the crater in comparison to the Eagle (which we know holds up to 10 people), he had never had a vessel in his grasp with so much raw material to offer Psyche at one time as he now finds with the Alphans' moon. Now he has 297 Alphans to sacrifice and for all he knows his dream of restoring the planet is just within his grasp. MAYA'S TRUE TRANSFORMATION: While Maya transforms physically any number of times in The Metamorph, her most important transformation in the episode is from ignorance to awareness. She clearly has loving and devoted blind faith in Mentor, and she has accepted his explanation for everything until the Alphans make her aware of the reality of her existence. "My father would harm no one," she states with absolute determination and loyalty. Listen to her words and watch her face in the following exchange: MAYA: "Negotiate? With a liar! You disgust me. We welcome you as friends and you plot to kill us." KOENIG: "What do you expect us to do, stand by while Mentor destroys us?" MAYA: "My father is an honorable man!" KOENIG: "Why do you think he wants us here?" MAYA: "You know why! Without help we can't transform this planet. Other people helped us." KOENIG: "Yes! Yes! And what's happened to them?" MAYA: "They attained happiness. Rapport with Psyche benefits everyone." KOENIG: "Maya, that machine destroys people's minds!" MAYA: "Is there no vile thing you won't say against my father?"

KOENIG: "Go down to the caves and see for yourself." MAYA: "Nobody's allowed down there, they're radioactive." KOENIG: "Who says so, Mentor?" MAYA: "There's nobody down there, I tell you!" KOENIG: "Maya, we've been there. Go and see! See what we've seen. Mindless hulks, destroyed by your father!" MAYA: "That's not true!" KOENIG: "Go and see, and then come back here and let us out, so we can stop him!" MAYA: (awareness growing that they may be telling the truth) "No." KOENIG: "Maya, please! Go and see!" MAYA: (still wanting to believe in her father but perhaps not quite able to do so) "You're lying!" KOENIG: "Go and see! Go and see!" MAYA: (as she retreats, shaking her head, not wanting to believe) "You're lying!" At this point Maya runs to the caves even though she has been told and believes them to be radioactive. Inside she sees Mentor's captive miners and is horrified. It's true. She is so horrified she makes a hasty retreat. She then returns to the imprisoned Alphan's, dejected, and sees undeniable final proof, the images of Mentor destroying Alpha. Finally convinced irrevocably, she frees the Alphans, once again reiterating the bond between her father and herself by asking only that they promise that Mentor will not be harmed. As Koenig and Maya enter the Grove of Psyche, Mentor is stunned to see his daughter, again proving the strong family bond, as he clearly can't believe what he's seeing and it's the last thing he expected. Koenig quickly begins to bash Psyche with the intent of destroying it completely. Watch the dialog below and watch Brian Blessed's performance. As Psyche is progressively destroyed by Koenig, Mentor's concern switches from his artificial creation to his flesh and blood daughter. MENTOR: "No, Commander! To release Psyche's energy will destroy the whole planet!" MENTOR: "Maya, you must stop him." MAYA: "I was in the pits! I saw what was down there! I saw!"

The Metamorph After Mentor realizes it's too late and that Psyche and the planet are beyond saving: MENTOR: "Get her away, Commander! Get her away!" KOENIG: "Mentor, come out." MENTOR: "Get Maya away! Take her away, Commander. Save yourselves! Save Maya! MAYA: "Come with us, father! Leave Psyche! Psyche made you do evil!" MENTOR: "No! Understand Maya, please! I wanted to do good, I wanted to restore our planet! I didn't want to hurt anyone!" Now we've already been told that Mentor's taught Maya the art of molecular transformation so why can't he transform himself and escape the fire? I've come to see this as Mentor realizing what he's done with Psyche's demise and the lifting of its influence. What Mentor's left with is the realization of what he's done and the fact that he can't live with the shock of it. There are no alternatives for Mentor. The planet is breaking up around him, Psyche is gone, his dream is gone, and if you look forward to The Rules of Luton, it's explained that Mentor didn't leave Psychon because Maya's mother's tomb is there. Koenig has said to him, "Mentor, come out," implying that Mentor can come out if he wishes (at least initially), but I interpret the story as filmed to mean that Mentor couldn't live with himself and only wanted Maya to be saved. He also may not have been able to live with his sense of shame as might be reflected in Maya's eyes, and so he chose death. CATHERINE SCHELL'S ACTING: I have often thought that if nearly anyone but Catherine Schell had played Maya the character would have been very cartoonish and out of place in the series. Watch her toward the end of the episode as Maya escapes Psychon entering the Eagle for the first time. Many a director would have told the actors to just jump in their seats, but Catherine as Maya runs blindly into the Eagle and then seems lost, she hesitates, and Helena puts her arm around her to nudge her into the proper place. That's a great moment. No dialog, but it's real. Just a moment of hesitation, just as there would have been in real life. This is but one example. Catherine gives a superb performance all

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throughout the series, handling even the silliest dialog with aplomb. And notice also, that ending with Bain, Landau, and Schell. That chemistry between Koenig and Maya that's been talked about in the past is there from the very beginning. OLD E-MAIL FROM JOHNNY BYRNE ABOUT THE ORIGINS OF THIS EPISODE (WHAT HE HAD IN MIND WHILE WRITING IT): This is an abbreviated version of e-mail between Johnny and myself, discussing my script of Maya's introduction to Alpha and trying to make all the stuff we see on screen about Psychons gel cohesively. From: Johnny Byrne To: Robert Ruiz Date sent: Tue, 21 Oct 1997 Hello, Robert Your plan for Maya and Psyche sounds good to me. I considered something similar when drafting the episode (this was after I knew I had to include Maya. In your case, you seem to have little choice but to go on what's there on film. One thing I would like to ask you, Johnny, is whether Mentor was envisioned as also having the power to transform. It doesn't seem so from the episode.

I never considered Mentor having the powers to transform. Nor to my almost certain knowledge did Freddy or anyone else. I think Freddy was so overwhelmed by a transforming Maya that he simply forgot to ask himself this question about Mentor, or indeed where the power came from. Maya playing with her power early in the episode was featured more to plant the notion than any other reason. I do remember I wrote in a sleek Ocelot for her first shape change and not the somewhat larger bedraggled beast that showed up on the day. As for me, even one Psychon transforming was too much! If you did want to explain how she came to have the power, the answer could quite believably lie in Psyche, one of the gifts she would have bestowed on behalf of Mentor - it being a power only accessible when young.

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Mentor would have been biologically past it by the time he had created Psyche. Take care - Johnny From: Robert To: Johnny Date sent: Mon, 20 Oct 1997 I never considered Mentor having the powers to transform. Nor to my almost certain knowledge did Freddy or anyone else. I think Freddy was so overwhelmed by a transforming Maya that he simply forgot to ask himself this question about Mentor, or indeed where the power came from. Maya playing with her power early in the episode was featured more to plant the notion than any other reason. I do remember I wrote in a sleek Ocelot for her first shape change and not the somewhat larger bedraggled beast that showed up on the day. As for me, even one Psychon transforming was too much!

I agree. I pointed out to the list at one point that I think the reason people love Maya is they really love Catherine Schell. Nobody seems to really get a special thrill out of the character's ability to transform. Most could do without it. In addition, the character's history implies a more lost approach to life, a really touching drama. Freddy artificially forced the character into something she wasn't, something she wouldn't be, and I think the viewers knew this and rejected the trick to a large part. Catherine is amazing the things she had to do and the conviction she did them with -- even something as mundane as consulting her console's readouts. To me it seems the point of an alien character should be to stand as a counterpoint to the humans in the story, but Maya came off as being the most human Alphan of all. If you did want to explain how she came to have the power, the answer could quite believably lie in Psyche, one of the gifts she would have bestowed on behalf of Mentor - it being a power only accessible when young. Mentor would have been biologically past it by the time he had created Psyche.

I like that explanation but I somehow have to work in all the facts about Psychons from The Metamorph, The Rules of Luton, and Dorzak. Mentor tells her "I taught you the art of molecular transformation, and see how you use it", which implies that Mentor knew of it even

if he wasn't capable of it. Dorzak, considerably Maya's senior, has no trouble transforming once Maya shows him how. Maya also tells him "only Psychons have the unique molecular structure." I'll play with it some. Maybe it's a way of explaining it but it would imply that Maya has miraculous powers to pass on Psyche's gift. I'm sure I can work this in better than I can explain that Maya and Mentor are living in what is essentially a survival bunker and yet their clothes are pure nobility, not practical at all for their situation! From: Johnny To: Robert Date sent: Wed, 22 Oct 1997 Dear Robert - Don't be surprised if I fall behind in my responses - the hell of deadlines never ceases. :) You're comments about Maya as played by CS are spot on. Also my comments about Maya and transformation must be consistent with what showed up on screen. While we might retrospectively redefine the nature of her power, and how it applies to Mentor, it's best, as you rightly say, to build on our perceptions about it - I had completely left Dorzak out of the equation. I'm also toying with the idea of Mentor having a fatal flaw that brings on his downfall in the end. After most of the Psychons left the planet and Mentor refused to give up and leave his wife's tomb [as explained in The Rules of Luton] desperation made him "feed" Psyche by less than ethical means, and in essence he pays the price in the end. It's sort of the Frankenstein story in essence.

The fatal flaw in the otherwise perfect human being - the stuff of classic Greek tragedy here, Robert. The Frankenstein concept is completely apt in this context.

From: David Acheson ([email protected]) Date: Wed, 17 Jun 1998 13:55:56 EDT Subj: Space1999: The Metamorphing Maya

Read David Welle's emails to the list and can say I agree with almost all that he says about THE METAMORPH. It definitely was not an episode about the machine called Psyche but

The Metamorph was centered more on the wonderful fatherdaughter relationship. I believe Johnny Byrne figured this out eventually with the title change from THE BIOLOGICAL COMPUTER and THE BIOLOGICAL SOUL. While some may say all the metamorphing Maya did in the opener appeared to be pointless one has to remember that this new plot device for this character had to be introduced somehow. I have no problem here with the numerous transformations because it fits in with Maya's playfulness - a characteristic she shows many times throughout the series. She comes across as a kid with a new toy assuming she has just recently learned this metamorphic technique. This appears to be backed up with Mentor's stern fatherly way of telling her to cut it out. Its interesting to note the ealier comments about Maya being naive. I guess she was now that we have gone over this episode but she is also very imaginative and smart. These two qualities help her to grow into her future life with the Alphans. In many ways Maya comes across as a university student just graduating and ready to enter the real world for the first time. Perhaps it is seeing Maya grow as a person that makes her appear more human (real) than the others and puts her on my list as favourite 1999 character. I myself do not think adding Maya was a cartoonish move nor do I believe that Freiberger and ITC was specifically looking for the Saturday morning crowd. I do think Freiberger's work at Hanna-Barbera would have had some influence on his life but so would any other project he had worked on in the past. One can easily compare year one to Gerry and Sylvia Anderson's earlier puppet shows. Also I would think that Freiberger and ITC would have loved to have an American network prime time commitment instead of the syndication route. So, yes, Freiberger wanted to bring in an younger crowd (namely teens and young adults) but he wanted a broad base for the series. The unfortunate part was the way it all fell into place. So Petter, I understand your basis for mentioning this point but I believe there was a lot more to it. One can point to STAR TREK: DEEP SPACE NINE to point out that a shape shifter does not equal a cartoon figure.

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I however am not as pro season two as David Welle. I do believe some episodes (or moments) came off rather cartoonish (to be discussed when we get there) but not all. THE METAMORPH was rather closer to the socalled "honest adventure" story that Freiberger and ITC wanted (I cannot honestly call this episode cartoonish). Both seasons had their own set of faults. In the end, I do prefer year one but am still a fan of both seasons. David Acheson Site Administrator, Return to Moonbase Alpha http://www.geocities.com/WestHollywood/Hei ghts/4376/moonbase.html

From: "Petter Ogland" ([email protected]) Date: Thu, 18 Jun 1998 15:13:47 +0000 Subj: Re: Space1999: Vests, Boosters, Signage, Sylvia Speaking of Sylvia, some articles say she added to the human element of the show but others who were there say she had hardly any contribution other than input on costuming, etc.

I've heard the same thing, but to whatever extent she contributed, even if it may have been mostly through Gerry or in privat discussions with the others, her opinions seem to be the same; wanting to add more to the human elements of the series. According to one of the Johnny Byrne interviews she was particulary interested in episodes like THE TROUBLED SPIRIT which is, of course, an episode with primal focus on human relationships. Petter

From: Petter Ogland ([email protected]) Date: Thu, 18 Jun 1998 09:22:46 +0000 Subj: Re: Space1999: The Metamorphing Maya

David Acheson wrote: Read David Welle's emails to the list and can say I agree with almost all that he says about

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Year Two THE METAMORPH. It definitely was not an episode about the machine called Psyche but was centered more on the wonderful fatherdaughter relationship.

David Welle seems to be the authority on Year Two on this list, I agree with that. I enjoyed his mail very much too. While some may say all the metamorphing Maya did in the opener appeared to be pointless one has to remember that this new plot device for this character had to be introduced somehow. I have no problem here with the numerous transformations because it fits in with Maya's playfulness - a characteristic she shows many times throughout the series. She comes across as a kid with a new toy assuming she has just recently learned this metamorphic technique. This appears to be backed up with Mentor's stern fatherly way of telling her to cut it out.

This is a good point, I feel. Reading the correspondance between Robert and Johnny Byrne on the subject, one almost get the feeling that Freiberger also was in a playful mood with respect to his metamorph character, totally obsessed Johnny Byrne calls it. I wonder if it is possible to view him also as a kid with a new toy by the way of recently gotten the idea of the metamorph concept and enjoying the visualisations of the metamorphic technique. I liked Robert's point, however, that perhaps most are more impressed with what Catherine Schell made out of the metamorph character than the metamorph character in itself. I was very impressed by Catherine Schell in THE GUARDIAN OF PIRI. It's a complete mystery to me why she did not become a major star. She has a sort of Audry Heppurn quality to her, I think. I wonder if the slight German accent could have anything to do with her not fitting completely in British and American TV and film production. It appears to me that she must have been the one who was enjoying doing Year Two the most, and is certainly the face that comes to mind when I think of the second season. I myself do not think adding Maya was a cartoonish move nor do I believe that Freiberger and ITC was specifically looking for the Saturday morning crowd. I do think

Freiberger's work at Hanna-Barbera would have had some influence on his life but so would any other project he had worked on in the past. One can easily compare year one to Gerry and Sylvia Anderson's earlier puppet shows.

Yes, this is an interesting point, I think. My impression is, however, that the Andersons were doing puppet stuff while they could not afford real actors and tried constantly to improve the quality of their shows as to make the puppet series more and more impressive. THUNDERBIRDS was the most successful one, I believe. Someone have been mentioning Gerry Anderson's experience with the puppet shows as a negative influence on the Year One SPACE:1999, at least negative in the way that he was more concerned with technical solutions than character development. I think Edward di Lorenzo and Christopher Penfold make an internal joke out of this in RING AROUND THE MOON where head of technical department is named Anderson. Sylvia Anderson, on the other hand, seems to have been very concerned with character development, and, apparently, wanted the Year One characters to be even more human than they turned out, in other words having Koenig make more erronous decisions, focus more on both strong and weak sides to all characters, thinking more in lines of Proust, Ibsen and Mann rather than plain adventure. The main difference between the Andersons and Freiberger, as I see it, was than Freiberger seemed to be that Year One was made due to team work while Year Two was more in the lines of a Freiberger dictationship. At least so it appears when reading interviews and comments from actors and crew. While Freiberger could perhaps have made very interesting contributions as a part of the theme, perhaps more like Penfold obviously more diplomatic easy-going style during first season, Freiberger's obsession with driving through his ideas, highly in contrast to what everybody else were thinking it appears, had a definitive impact on the series, I feel. Even if the Andersons backgroup in supermarionation could be compared to

The Metamorph Freiberger's background at Hanna-Barbera, and is in fact a very interesting similarity I think, the consequences appear very different to me. Freiberger was obvsiouly a believer of strong leadership, and appears to have been running productions the way John Koenig would have done it. Gerry Anderson seem more like a Victor Bergman type of person to me, obviously a man who knows very much and expect to be listened to as the man in charge, but does not force his opinions upon others. Also I would think that Freiberger and ITC would have loved to have an American network prime time commitment instead of the syndication route. So, yes, Freiberger wanted to bring in an younger crowd (namely teens and young adults) but he wanted a broad base for the series. The unfortunate part was the way it all fell into place. So Petter, I understand your basis for mentioning this point but I believe there was a lot more to it. One can point to STAR TREK: DEEP SPACE NINE to point out that a shape shifter does not equal a cartoon figure.

I agree very much David, I suppose there is much to be understood here in terms of what market Freiberger had in mind. I haven't seen all that much DR. WHO, but my impression is that in the UK DR. WHO was originally made for a younger audience than the first year of SPACE:1999. As the Andersons realised that cost of each episode of SPACE:1999 would be tremendous they perhaps found out that they would try to aim for a market as large as possible and then decided for family entertainment as opposed to childerns entertainment. From Freiberger point of view, however, perhaps the childerns entertainment market was a much more interesting market, perhaps thinking of spin offs such as toys, and in the US it was obviously big enough for the production costs of the series. I believe it is possible to see Freiberger as a very rational and practical man, and to understand him on financial terms although one does not agree with him artistically. I however am not as pro season two as David Welle. I do believe some episodes (or moments) came off rather cartoonish (to be discussed when we get there) but not all. THE METAMORPH was rather closer to the socalled "honest adventure" story that Freiberger and ITC wanted (I cannot honestly call this

363 episode cartoonish). Both seasons had their own set of faults. In the end, I do prefer year one but am still a fan of both seasons.

The thing that makes me wonder the most is the Freiberger rethorics, using such terms as "honest adventure", "real relationships", "humour" etc. To some of us there is nothing more "honest" about the running around in BETA CLOUD than catastrophy in BREAKAWAY or the devastating attacks in WAR GAMES. What must have confused quite many must have been the attacks Freiberger made on Year One. Although I feel I understand him more and more, I believe he would have been easier to understand if he put forth his point of view on Year One in a more rational way without too many emotionally ladden words obviously meaning different things to different people. Petter

From: "Simon Morris" ([email protected]) Date: Fri, 19 Jun 1998 12:42:45 +0100 Subj: Space1999: The Metamorph

Hello All When Space 1999 was first screened in my area in 1975/6 (at that time I was living in Shropshire and my local station was ATV Midlands[no longer around and much missed!]), I made careful notes of all the dates and times that each episode was screened on that channel,for both Y1 and Y2. Thus I can tell you that,on ATV Midlands, THE METAMORPH premiered at 5:40 pm on Saturday 4th Sept 1976. Year 1 had been screened at the peak time of 7:00pm every Thursday throughout its run. However perhaps indicative of the problems to come Y2 was shifted about into several different days and timeslots,with THE IMMUNITY SYNDROME and THE DORCONS being held over completely until May 1978 and August 1978 respectively.Shameful treatment basically by the company that made it. So. What of the episode? In 1976 it was so totally unlike the first season that I could not believe it was the same series,and ever since I

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have effectively regarded them as two different shows. That way - as I have said before - I avoid ulcers from the Y1 versus Y2 argument! I was initially very disappointed by the Main Theme for Y2,composed by Derek Wadsworth. Ok....it was fast and pacey. But so was Barry Gray's Y1 theme. I grew to like Derek's theme but I never liked the swoop/sound effect section of the theme where Maya and the Catherine Schell caption appeared. Made it difficult to hum the theme,you see! However I liked the visuals that accompanied the main titles,in particular Landau swivelling round in his chair and firing his Stun Gun. Mind you, I thought the animated "RED ALERT" caption that flashed over the computer panels in the opening titles was bloody juvenile. Never liked that bit. Another thing that I thought spoiled Y2 a bit. I would have preferred the "Hook" to appear BEFORE the Main Titles,as they had done in Y1. With the new series,you launched straight into the main titles and theme music before fading into the "hook".(Was this the same in the US as well,or did local stations re-edit them so that there was a hook first,THEN the titles?). Personally I think the shows would have played better if they had shown a hook first then played the titles,but I suppose kicking in the titles first gave the show a certain "immediacy" that they were looking for.......... Other than that,the change in style and approach was immediately visible. And, I have to say,that I agree with many of the changes that were made. THE METAMORPH is a fast paced and fairly straightforward actionadventure story in my opinion,generally lacking in any philosophy or metaphysical aspects and I suppose being exactly what Freiberger had promised. To compensate,there was a new and(I believe)very welcome and necessary emphasis on characterisation. Mentor is not an out-and-out"black hat villain". There is a complex side to him and,because of his plain desire to regenerate a dying world,I think there is a certain amount of sympathy for his deluded obsession that "the ends justify the means". How often has that cry been heard already throughout our History! The part is well played by Brian Blessed who seems to have relished the part...in fact to me there is a slight 'hammy' feel to his performance. I wouldnt put it in the same class

as his performance in DEATHS OTHER DOMINION,but compelling on its own terms. Mentor is,by turns,both charming and deadly. By contrast,the addition of Catherine Schell as Maya was a delight.I have always believed that Maya was a well-conceived character(largely due to Catherine)which was only spoiled by some of the stupid "humour" that Freiberger introduced. The combination of impish humour,attractiveness and innocence was a beguiling one. I never felt comfortable with Maya's molecular transformation abilities and felt that she would have been as compelling without them. In this episode - as in others - I think they were overused. The sequence near the end of the episode where Maya changes into various different creatures(including stupid guy-ingorilla-suit)as a means to get away from Koenig was just a commercial measure to show viewers(and tv station buyers)as many different transformations as possible. Too comic-book. Overall(since I want to be brief),I thought THE METAMORPH was an impressive through obviously different opening episode. Plenty of pace and action and more engaging characterisations.Okay,more straightforward in approach than most Y1 episodes but far less slow moving than some Y1 episodes and quite frankly far better than certain Y1 episodes (RING AROUND THE MOON and MISSING LINK spring readily to mind,showing that if people think Y2 was crap[I don't]then Y1 had more than its fair share of crud as well). As others have written,other aspects were a great improvement(uniforms etc)...and I have to mention once again an effective,driving and pacy score from Derek Wadsworth. All in all,an enjoyable episode and an excellent start to Y2. Simon Morris

From: "Brian Dowling" ([email protected]) Date: Sat, 20 Jun 1998 22:19:51 +0100 Subj: Space1999: The Metamorph

The Metamorph Hi folks, My thoughts on the season 2 opener are based mostly on some notes I made a few years ago when I didn't know as much about Space:1999 as I do now. I've kept most of them in, they may stimulate debate. The Metamorph The new title sequence is right at the very beginning - no teaser/intro. I'm not keen on that idea, so it will be interesting to see if the structure of the story precludes the teaser. New music and title sequence: the new music is faster, not perhaps as grandiose or funky as the first season, but I like it. The title sequence does suggest that this season is being aimed at those who have never seen the series before one thinks of the Glen A Larson "Buck Rogers", or perhaps the US syndicated version of "The Avengers" [the narrative intro "extraordinary crimes against the state...." was specially put on for the US market, and not heard over here]. Why the red alert thing? Seems pretty meaningless to me, unless it's a "good looks" thing. The new computer panels (if that's what they are) are indicative that there have been changes to some of the cosmetics of the show. The titles confirm this - Koenig turning round in his chair and firing - what, if anything does this prove? Another "good looks" or "action" thing, perhaps, as opposed to the season 1 titles where we just see Landau & Bain standing there - not punchy enough for some, methinks. Personally speaking, the soft focus on Barbara Bain doesn't work. I understand it was something she insisted on - can't help but wonder why. And no "action" scene for her in these titles. Can a doctor have "action" scenes? More specifically, can a female doctor have "action" scenes?

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production role rather than just the creator [Terry Nation's Daleks or "Blake's 7" come to mind, where his name is to the fore as the creator, but he does not have any degree of control outside of anything he writes, produces or directs for those projects], that suggests that he may be getting more involved in some way. {as this last bit was written, I did not know of Gerry's divorce with Sylvia or the politics with ITC New York) 342 days after leaving Earth orbit? So all of season 1 happened in less than a year? We might have a continuity problem here... Anyway, I can't help but think of "Captain's Log..." as I'm watching this. Do we really need another summary to go on top of the one we've seen in the titles? Taking a look at the hardware on show in the care unit, it appears that the computer like font which was quite to the fore in season 1 has been replaced. Where's Main Mission gone? This new place where Koenig and others are is like a sardine tin! And *what *the*hell* IS that jacket thing he's wearing? Inside of the Eagle, there has been some redesigning. They now have televisions they can watch in flight. Makes it a bit cramped in there. I like the new patches on the sleeves. Carter's not in the Eagle - wonder where he is? Helena is in the new command/control area. See Carter briefly, no other recognised characters yet. Wasn't the planetary scan just a little too short to determine that there is no life on the planet? A sweeping statement one might not have expected to see in season 1.

Catherine Schell is the new recruit to the show, and quite nice she looks too.

Ooh, an SBOL... that's a new looking laser gun. Wonder what spares they used to build that? The chase scene - why isn't Alan trying to do something here? If he isn't involved with Eagles, what is he doing now?

This is plainly a Gerry Anderson production, rather than earlier series which were a Century 21 production. If he's putting his name to the

Combat eagles and another sweeping statement from Picard - they should know by now that all things are possible! They can't be that self

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centred to have ignored everything else they have been through so far.

a bloody great lion staring at you... Please, what have I done to deserve this?

Brian Blessed appears, with a lion in the background. Do they have lions on this planet as well? See Dr Mathias. See the guy behind Koenig infuence his decision about the rendezvous, whoever he may be...

A biological computer? If you take the definition of a computer as something which is artificial and therefore free of any organic content, that is pretty much an oxymoron.

The new jackets look quite cool, apart from the collars on Alan and Tony's jackets. But this was the 70s when it was filmed. Saying that, how come there has been some kind of upgrades to the computers and wardrobe? Hardly a moonbase struggling to maximise resources if they can hand out new uniforms to everyone. Maya appears. Wow! That dress! That smile! I think I'm in love. Er, what's happened to the inside of the Eagle? Where's the connector tube between the cockpit and the pod gone? SBOL strikes again, and they find themselves in another spaceships graveyard - doesn't anybody remember Dragon's Domain? Alphan recycling seems to have improved they're drinking more coffee in this story than we've seen throgh all of season 1! No security guy in the team! Picard carrying heavy weapon - I've got a feeling that I know what could happen soon... Tha Alphans see the cave zombies. In some ways it's kind of like Erdington on a Saturday... Isn't Helena's diagnosis of brain damage a little hasty? I know it helps advance the plot a little, but it could be brainwashing or conditioning of some sort, like hypnosis. Just being picky. Hologram of Mentor - uses "Koenig" rather than "Commander" - Picard gets blasted (I said I knew what was going to happen) and Helena screams! Somebody tell her this is Space:1999 and not Doctor Who! That's very unlike the Helena we know from Season 1. What a cell to wake up in! The colour is awful! And a lion as well! Its the kind of scenario where you'd have the hangover from hell and awake to find yourself in a bright red cell, with

Koenig is still his determined, stubborn self, especially when he realises what's in store for the Alphans courtesy of Mentor and Psyche. Cue the blackmail from the baddie - what other choice does Koenig have? Directive Four sobers Tony up, especially when we find out what it means. First it means that he must destroy the place from which the signal came, and second it means that Koenig and crew don't intend to mess around when any threat is facing them. Maybe they haven't ignored the important lessons from their previous encounters. I am again reminded of Star Trek, and the occasions that self sacrifice was attempted. Alan wants to take Koenig's head off, and I don't blame him. I would if I were in his position. Maya's awakening to the truth comes as a result of Koenig's stubbornness - how many times does he exhort her to go to the caves and look for herself? The turmoil she must be feeling now, her view of her father shattered completely as he attacks Alpha. Why does Koenig goes ape and start smashing Psyche? Wanting revenge for the mindless state of Torens or the damage to Alpha? Hardly the actions of a man who wants to stop Mentor, not to harm him. As the place collapses around him, Mentor himself wakens up to the reality of the situation. Maybe he was something akin to the obsessed scientist who sees only his dream above all other things, and at whatever cost, and only realises the truth as the (and usually his) end approaches. Once again we see Helena almost hysterical at Torens' death. So out of character from what we had before... The Alphans escape, Psychon blows up and it's all smiles in Command Center. Helena seems more shaken by Torens and Picard's deaths

The Metamorph than that of Bill Lowry in Mission Of The Darians. That was very nasty... And the funny thing is that Maya doesn't seem to hold anything against Koenig for destroying her planet; "Oh yeah, that's fine - waste my home planet and all life on it - I don't mind". She has to go with the Alphans now, but there's got to be some resentment at that. After all, killing someone is the extreme way of both harming them and stopping them. As a season opener, it is nowhere near as strong as Breakaway. We see some new characters, but very little is actually fleshed out other than Tony's cynical and sometimes sarcastic nature. Koenig is still as we knew him from season 1, but Helena seems as if she's spent some time at the Doctor Who Companions School Of Acting. Many of the changes may need to be explored as the season carries on, certainly from a personnel point of view. Three are missing (Bergman, Morrow and Kano), with only one replacement - Tony. Maya will most likely come in as well, but how much of a crutch will her metamorphic abilities become as the season continues? If properly handled, the development of Maya could become something very interesting. It looks different in many areas, with not much acknowledgement of what has gone before. The music is still good, and this story seems to be pacier than anything from season 1. Looking back on it, I might be tempted to use the analogy of the recent Doctor Who tv movie comapred to the series, to describe season 2 compared to season 1. Same name, many same things, some good performances, but some bad things, ignorance of what has gone before, and dodgy writing. And there are those who love one, the other or even both sides of the argument. Brian Dowling

From: David Welle ([email protected])

Date: Subj:

367 Mon, 22 Jun 1998 00:01:56 Space1999: The Metamorph

[…] I agree it is indeed a pity Catherine Schell didn't gain more prominence. I don't know that the accent was necessarily the problem (and heck, I liked the accent), but it seems she's best known for her roles in /Space: 1999/ and "Return of the Pink Panther," at least here in the U.S., where most of her other work goes unseen, outside of roles in "On Her Majesty's Secret Service," /Doctor Who/, and -- if you can find them -- "Moon Zero Two" and "Madame Sin." […] David Welle

From: "Simon Morris" ([email protected]) Date: Tue, 23 Jun 1998 12:14:22 +0100 Subj: Space1999: Re: Character Motivation Y1 versus Y2

Hi All, I've been watching a few Y2 episodes over the weekend and I'm somewhat pleased to announce that I find them generally more entertaining than I ever remember. In fact I enjoyed the majority far more than some Y1 episodes which quite frankly I found slow and boring. As Paul Dorion stated,I too probably lean more toward Y2 but also enjoy Y1. As I've previously said,I avoid ulcers by looking at each Year as almost 2 different series,and Paul says he likes Y1 but from a different perspective. Examining the series is proving to be intensely subjective,isn't it? Because if you don't *like* Y2 (or not as much as Y1)you're going to be looking for faults which in my view aren't always there. Therefore I - like Paul -totally disagree with Mateo's assertion that most Y2 guest characters were one-dimensional evil guys. On the contrary,most have some sort of motive for their actions,however weakly they might be written into the script. These motives

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are generally NOT for completely self-centred purposes.

faceted characterisation in a cloud,or a trio of trees,or a living rock that needs water.....:-) )

For example

Space 1999 has been criticised in the past for a generally pessimistic view of the future,as opposed to the revered Roddenberry/Star Trek vision of goodness humanity and optimism. I've never agreed with this.But it does seem that some people want SPACE 1999 to follow the Star Trek sort of philosophy,mainly as its a politically correct philosophy etc. Throughout the history of the world there has been distrust arguments,suspicion and inhumanity. There is no reason to suppose it won't continue in the future....why shouldnt Space 1999 show these character traits? I've always thought that we should champion Space 1999 for being different(both Y1 and Y2) and yet all too many seem to want it to be a Star Trek clone. Personally I don't see why a sci-fi adventure show(which is what Space 1999 is at the end of the day,folks!) actually needs a philosophy as such anyway.

Mentor: Wanted to restore his planet. Vindrus: Survival of his species outside of the Anti Matter world Charles Logan: Well intentioned but misjudged his transfer his transfer attempts in JOURNEY TO WHERE Brian the Brain: Personal Survival yes,but no different to Gwent in series 1 IMHO Pasc: He was -at its most basic - a sick man. Even the out and out evil beings were no different to some of the characters appearing in Y1 and Paul Dorion has touched on these so I shan't repeat them. Its the old thing isnt it...."The end justifies the means". We've all come to learn that this is no justification for the basic inhumanities happening in the world...but its still being used as a justification isn't it? And it always will be! While I agree that there were many portrayals of *evil* in Y2 (Rules of Luton, Beta Cloud,The Bringers of Wonder)where sadism,violence and selfishness seem to be the motivating force, I do not accept that other characters were one dimensional. (Mind you,its hard to look for any sort of multi

I can stand any amount of criticism of Y2 thats slung around: there is plenty that was done wrong in the season. But lets not pretend that there wasn't a certain amount of crap in Y1 either. Simon Morris

The Exiles

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02. The Exiles The first discussant believes that the episode had potential. It is not a bad storyline - psychotic aliens cryogenically frozen and exiled for their crimes only to be reawakened years later by innocent passerbys. Although the story echos certain elements of END OF ETERNITY, the discussant suggests that the cultural context for understanding this particular entry could be the situation of the naive, married student revolutionaries caught up in a idealistic political struggle. Instead of a campus in the US, Asian or South America we have an alien world as the setting. A lot more could have been done but he believes this may have been too heavy for Freiberger's light hearted approach to the series. Looking at it from this approach, he says, he gets a better understanding of what was said in the context of the previous episode about how the cartoonish nature of the second series has a negative impact in articulating the often interesting ideas written into the scripts. From: David Acheson ([email protected]) Date: Mon, 22 Jun 1998 06:18:27 EDT Subj: Space1999: The Exiles

With the new metamorph character introduced, the runaway moon runs into its first adventure with Maya as a resident of the base. Thus begins our discussion of the second episode of year two, THE EXILES. I will begin by saying that I didn't mind this episode so much as a kid but, upon recent viewing, in my adulthood I have to admit I was greatly disappointed by it. I will get to the reasons later. First I believe the episode had potential. Its not a bad storyline - psychotic aliens cryogenically frozen and exiled for their crimes only to be reawakened years later by innocent passerbys. STAR TREK did it successfully with Khan and even 1999 did a variation of it in year one with Johnny Byrne's END OF ETERNITY. The only difference there was that Balor was immortal so was not frozen. Despite the lack of originality, THE EXILES still follows one of those concepts that can be done over and over successfully. If done correctly. I have no qualms with the script writer who in this case is Donald James. The first of the newcomers to the 1999 world, Mr. James is no stranger to Gerry Anderson. He co-wrote JOURNEY TO THE FAR SIDE OF THE SUN with Gerry and Sylvia and contributed to the scripts for UFO. I actually enjoyed his other two stories he wrote for year two (JOURNEY TO WHERE and THE SEANCE SPECTRE) so I cannot blame my disappointment over this episode solely on him.

Same goes to veteran director Ray Austin, a frequent contributor to year one. However, he does not appear in peak form here. If I remember correctly, Ray Austin had difficulties with the Freiberger regime unlike other veteran Charles Chricton who managed to stay for most of the season. So what are my problems? To start,shoddy and rushed production values and bad acting. On the former: I noticed on the last viewing how almost all of Cantar and Zova's lines were redubbed. Was something wrong with the microphone when the episode was filmed? There has been similar complaints by list members of this redubbing in the series but I have yet to find it on as large a scale as in this episode. Secondly, Peter Duncan and Stacy Dorning were just awful as our young exiled aliens. They were picked to fit in with Fred Freiberger's obsession with the younger crowd but I just could not find them very convincing. With some noticeable exceptions, I found the occasional lack of quality actors in the second year somewhat disturbing. The youth issue could have been played out beautifully given the right producer and actors. Naive, married student revolutionaries caught up in a idealistic political struggle. Instead of a campus in the US, Asian or South America we have an alien world as the setting. A lot more could have been done but I believe this may have been too heavy for Freiberger's light hearted approach to the series. Looking at it from this approach I get a better understanding of Petter Ogland's cartoon comments. Most embarrassing scene? The part at the beginning where Helena and Maya are in

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Helena's quarters and later play a trick on John Koenig by having Maya transform into Helena. Besides the awful "porno-type" music the comedy here was just plain silly. I have no problems with introducing humour into the characters. However, this somewhat long piece was in the show only to say the obvious "We are doing a comedy sequence". This was indicative of the problems caused by Freiberger's changes. I still believe his changes were meant well but they were usually executed poorly. What did I like? Besides the basic storyline, I enjoyed the use of the research lab separated from the rest of the base. A wonderful and sensible concept which only begs the question: Why didn't they have this in year one? Bergman was pretty reckless by bringing the SPACE BRAIN meteor and the capsule from Ariel into his lab inside the base. Year two appeared to show the Alphans being more creative with new ideas and gadgets. I also like the sequence where Koenig, Maya and Zova were getting ready for a space walk to retrieve the remaining exiles in lunar orbit. As he did with Balor, Koenig has a trick up his sleeve. He literally pushes Zova out of the Eagle and off into space. Very dramatic sequence done at the right time and shows that Koenig is still the boss and won't take crap from bad aliens. Not a philosophical moment indeed but one that makes you cheer just like you did when the Death Star blew up in STAR WARS. Except for the comedy sequence above, the music by Derek Wadworth was better than in THE METAMORPH. Brian Johnson's effects also appear to be in fine form in this episode. Overall, I believe this episode could have been a lot better and is one of the few episodes I would actually like to see be redone today. It had potential but was poorly executed given the constraints it had. David Acheson

From: Date:

[email protected] Mon, 22 Jun 1998 07:27:32 EDT

Subj:

Re: Space1999: The Exiles

I truly enjoyed this episode very much. My favorite scene was in Helena's quarters, where Maya and her played the trick on John. It's nice to see the characters having a little fun. We've always seen these characters so serious at least this scene gives us a look into their private life. Christina

From: Paul Dorion ([email protected]) Date: Mon, 22 Jun 1998 14:22:57 -0400 Subj: Re: Space1999: The Exiles

One of the main reasons I like this episode so much is the way Donald James structure the plot. The prologue (teaser) and the first three acts end with panache, and each time the cliffhanger is bigger the the previous one(s). Each scene propels the plot forward, with the possible exception of the two-Helena scene (although it helps generate more tension later when Zova threaten Koenig while disfiguring Helena's sculpture). Most embarrassing scene? The part at the beginning where Helena and Maya are in Helena's quarters and later play a trick on John Koenig by having Maya transform into Helena. Besides the awful "porno-type" music the comedy here was just plain silly.

IMO, the "porno-type" label would more fit the music composed for the drunk-Taybor scene (in "The Taybor") that the one used in the scene in Exiles (although I have to agree that, of all the music composed by Wadsworth for Y2 (aboce 150 themes!), this "cut" is of a somewhat lesser quality). In a technical point of view, I also like the editing very much. One marvelous scene occurs when Cantar and Zova attack Tony And Maya in the generator room. Maya leaping in the air while transforming to a panther is a must-see scene. But my favorite scene for this episode is the Command Center scene in the prologue where the Alphans discover the cylinders, wonder what they are and realize they might be

The Exiles missiles. The flawless editing (note how the camera pans from one character to the next during this tense dialog) adds to the wonderful acting of Landau, Merton, Anholt (and others) and the mysterious though low-key music (probably my favorite theme - apart from the title theme) all contribute to create a mysterious, nail-biting, tense and suspenseful scene. *A lot* goes in that scene (initial discovery-hypothesis-initial analysis-initial reaction-further analysis-ultimate decisionaction) which is a fitting tribute of the teamwork of the command center crew; the viewer is made aware that the members of the command center crew *are* professionals and that they work as a team during a crisis. Very very effective scene on how to deal with a unknown -- and potentially dangerous -phenomena. Except for the comedy sequence above, the music by Derek Wadworth was better than in THE METAMORPH.

I agree, IMO the best of the six soundtracks composed by Wadsworth. Paul :D

From: Date: Subj:

[email protected] Thu, 25 Jun 1998 17:27:51 -0400 Space1999: The Exiles

I've always thought Koenig's line "I want that thing as far from Command Center as possible" was a little odd. Is it all right if it blows up the rest of the base? It is a sensible development that they have removed research areas in the caves...making me think the idea was a development after they left earth. That looks like Paul's MM console in the cave, complete with the remote eagle control. Very funny that Helena is taking a reading from the computer using an IBM punch card, when everywhere else on the base they use the video screens and readouts.

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This is one for the scientific types out there, but I thought that being in orbit meant weightlessness...if they were being acted on by the moon's gravity, they would be pulled down...ah well, the needs of plot. I was sitting here wondering why Cantor's lines are all dubbed. The only non "he must have been really awful" answer I could come up with is that they found in post production that some of his dialogue needed serious fixing, and the actor wasn't available, so they brought someone in and had to dub all of his lines so they sounded the same. Zova's lines are not dubbed. It's also possible he sounded too British for whomever's tastes. Helena's any new births may or may not be an acknowledgement of Alpha Child. It's interesting to hear the senior members arguing ethics vs their own survival. Yes the double Helena scene was pushing the humor thing a bit too far. I liked Bain's different body language as Maya/Helena...but I notice they also dubbed her lines to give Maya/Helena a different sound (which of course is what I argued they should have done in the dueling Helenas scene in Another Time, Another Place.) But I did like how Koenig tricked Helena into reveling herself by ticking her off about the kissing. That to me was very real. Just last night I was talking to my lady and I was laughing about how I knew exactly what to say to get under her skin. I like the year two women...they leap right into danger, like the extra who dove right into the fire to rescue her fellow Alphan. May's panther change was excellent, but why does she let herself just get shot by Zova? (Oh damn, there goes that plot thing again.) Koenig's tossing the guard out of the way before he shoots the access panel to the Power Room has always looked stupid. His exaggerated movements before he shoots is also bad since he doesn't know when they will shoot off the explosion to make it look like he just shot his laser.

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Here is that quick shot of Helena screaming, and Cantor is laughing (not very convincingly) and then looks into the camera. Now did he make a foolish mistake, or was he directed to look into the camera? Even though she was the "bad guy" and had it coming, I think it was a daring thing for them in 1976 to have the male hero of a tv show kill a woman, as Koenig did when he threw Zova out of the eagle. In earlier times they would have had Cantor go back to Alpha and have him killed (cause he is male) and have Zova age. Of course they couldn't have done that last part the same because they would have had the woman (in this case Helena) cowering in the corner, and the male (Tony) would have been the hero. Except they wouldn't have done that because again you don't kill a woman....and you don't have the man do it. In a way, this might have been an early example of freedom due to being syndicated, rather then being on a network. And of course I like how Helena figures it out and stops Cantor. Bain's delivery of the line "Who said there was an emergency?" when Helena returns is perfect. Yes the tag scenes can reach annoying levels, but still I like Koenig realizing he just can't win against Helena in the friendly war of the sexes thing. Gee, two episodes and Mathias hasn't been beaten up...no wonder he left the series.

Date: Subj:

Thu, 25 Jun 1998 20:35:50 EDT Re: Space1999: The Exiles It is a sensible development that they have removed research areas in the caves...making me think the idea was a development after they left earth.

Especially since the Ariel satellite from "The Last Sunset" was brought straight to the technical section. Same with the crunched up Eagle in "Space Brain." If an isolation facility existed prior to Breakaway, there are two prime candidates for it. Very funny that Helena is taking a reading from the computer using an IBM punch card, when everywhere else on the base they use the video screens and readouts.

Victor and Kano always did a good job reading paper tape output, so why not Helena. :-) It's also possible he sounded too British for whomever's tastes.

Methinks this is the reason. Helena's any new births may or may not be an acknowledgement of Alpha Child.

More likely, just sloppy writing. Probably the result of not having the same story consultant between seasons It's as if the events of the first year didn't even take place in Y2. Even though she was the "bad guy" and had it coming, I think it was a daring thing for them in 1976 to have the male hero of a tv show kill a woman, as Koenig did when he threw Zova out of the eagle.

Yes, I too was surprised that Koenig just threw her out the door. No nice death by laser or anything like that. From: Date: Subj:

[email protected] Thu, 25 Jun 1998 17:37:12 EDT Re: Space1999: The Exiles

Hey i like Mathias! To darned bad we did not see much of him in Y-2... Chas P.

From:

[email protected]

And of course I like how Helena figures it out and stops Cantor.

I always found it a little contrived that they were wrapped in Saranwrap so Cantor could be killed off with a scratch. Kind of reminded me of when they found Woody Allen wrapped in aluminum foil in "Sleeper." Gee, two episodes and Mathias hasn't been beaten up...no wonder he left the series.

The Exiles I believe he left in a contract dispute. Anyone have the details? David J Lerda

From: Mike Lynch ([email protected]) Date: Sat, 27 Jun 1998 13:38:20 -0500 Subj: Space1999: The Exiles (even more)

I rather enjoy this episode, and feel that it adds the promise of a strong second season to the series (even though that promise would be let down a few episodes later). As Paul stated the opening sequence in the Command Center is excellent. The assessment and apprehension displayed by the core members is beautifully done. Not only do we see that everyone works as a team, and handles unknown situations in a professional manner, but we feel as if we are a part of the Command Center staff. The combination of camera work and dialogue fully immerse the audience in working in the Command Center. Granted, some of the dialogue is a bit dated (the "atomic stingers" comment for example), but we still buy it. The rather controversial "double Helena" scene is rather fun, in my view, and I feel the only weak spot is Landau's acting - it seems forced. Otherwise, I like the playfulness of Maya and Helena and the scene further insinuates Maya's acceptance and integration into Alphan life and society. I also felt that the entire treatment of the alien canister was very well handled and well written. Koenig didn't have is staff just rush out and grab one and bring it back. It was studied, analyzed, "flight" patterns were observed ("they're in clusters of two, three, and four"), and when they were brought back they were taken to an isolated research facility. Granted this IRF looked rather like the Bat Cave, but its presence was very believable, even down to it's layout. The remote arm on the Eagle, however, strikes me as a little odd. Season Two seams to constantly boast new elements on almost a per episode basis (the

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booster Eagle in THE METAMORPH, the grab-arm Eagle in THE EXILES, the remote laser on the Eagle in THE AB CHRYSALIS, the re-entry glider in THE IMMUNITY SYNDROME, etc.) only to never utilize them again (with the exception of the booster Eagle). I hate to revert back to my previous BATMAN reference, but this is very much in the fashion of the 60's BATMAN series. New gadgets are constantly appearing that conveniently do exactly what is needed at the given moment, only to disappear forever once their purpose is complete. The design of the arm was well done, and didn't appear to be just thrown own, but I would have like to have seen this later, or at least heard a reference to it. I'm not going to discuss into the gorilla-suit alien... (as if I really needed to?) How did the Alphan life-support system play a key factor in transporting Cantor, Zova, Helena, and Tony to Golos? Wouldn't it have made more sense to have written this as one of the Nuclear Generating Facilities? Granted, this wouldn't have tied-in to Cantor's pleas to re-animate his comrades, but I'm sure a somewhat feasible reason could have been written into the script as to why the power needed to be modified. Perhaps something along the lines of: modifying the output potential of one, or all three, of the NGFs would then allow the necessary modifications to be made to the life-support system. Koenig's apprehension would have worked just as well had the threat been to the base's power supply. As has already been agreed Maya's mid-air transformation is one of the best transformations of the series. I'm still a little confused as to why she didn't try to attack Zova as she reached for the stun gun (or at least tried to scare her some more to keep her away from it), but that's ok... it was still a really cool move. :) No one should ever have let Barbara Bain moan or scream in this series... her screams as Zova disfigured the sculpture were believable and very disturbing... but what the hell was that noise she was making when Cantor was "adjusting" the life-support system? She did this in GUARDIAN OF PIRI as well... and it's just down right embarrassing. It sounds like

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some twisted variation of an orgasm. If I wasn't a die-hard fan of the series I would fast forward past this (in both episodes), but I feel some deeper duty not to. In an earlier e-mail from Simon he said that he felt Tony's line "Lets not explode down there like a couple of rockets..." was poor dialogue. I don't agree at all, and rather find this to be an excellent moment in the show. Tony has a very tactical view of situations as the Chief of Security, and this line demonstrates that (just as the "atomic stinger" comment does). Tony is a man that can think on his feet, but can also take into account the consequences of certain actions: running down the hall and into the fray would not be wise if they wanted to catch Cantor and Zova off guard, or not raise any suspicion. Personally - I feel that this brief moment not only adds to the character of Tony Verdeschi, but adds to the episode. Uhh... just a question: Mathias told Zova that the effects of the stun would wear off in an hour... so how long was Tony out after Cantor stunned him? That's one short hour. The scene where Koenig stuns Cantor is very awkward. This is just a blatant act of violence by Koenig, and doesn't seem at all to be his character. Cautious? Yes. Apprehensive? Yes. Malicious? No. I understand the motives, but the actions don't match. Tony's exclamation, "Have you lost your mind!" seems to fit what I feel whenever I watch this episode. Koenig, though he is generally a very level-headed man, can act irrationally at times when under stress or the influence of a given situation (such as his initial desire to remain with Vana in THE MISSING LINK). Even when he is though to be "hot headed" he has never lashed out like he did at Cantor. Cantor's "waking up" in Medical revealing that he had just pretended to be stunned was very creepy, and added the perfect balance (and twist) to Koenig's bizarre actions. So even though I find this scene disturbing Cantor's part makes it all worth while. Lastly: I think Maya and Tony's little exchange at the end of the episode is very refreshing, and adds the needed levity to the show following the harrowing events that have transpired. "I'd rather be known as a man of good taste," is a

great little poke at Maya, and I particularly enjoy Sandra's watching over Tony's shoulder. Mike

From: Simon Morris ([email protected]) Date: Sun, 28 Jun 1998 15:21:33 +0100 Subj: Re: Space1999: The Exiles (even more) In an earlier e-mail from Simon he said that he felt Tony's line "Lets not explode down there like a couple of rockets..." was poor dialogue. I don't agree at all, and rather find this to be an excellent moment in the show. Tony has a very tactical view of situations as the Chief of Security, and this line demonstrates that (just as the "atomic stinger" comment does). Tony is a man that can think on his feet, but can also take into account the consequences of certain actions: running down the hall and into the fray would not be wise if they wanted to catch Cantor and Zova off guard, or not raise any suspicion. Personally - I feel that this brief moment not only adds to the character of Tony Verdeschi, but adds to the episode.

Yes. Having thought about it Mike you are right on this point. Although some people did not care for the character of Tony Verdeschi.I thought he was an improvement on the way Paul Morrow was presented in Y1 (and by that I do not mean the acting of Prentis Hancock,which was excellent when he was given a chance to shine;I mean the way the character was written,very little characterisation ever given etc). I'm still not sure that the actual dialogue in this scene was very good though to illustrate that side of Verdeschi! I'd rather be known as a man of good taste," is a great little poke at Maya, and I particularly enjoy Sandra's watching over Tony's shoulder.

The first bit of the epilogue(and the line you quoted above)was a genuinely amusing and witty exchange as you say. The remaining bit with Koenig and Helena("Make me a pretty nose" etc) made me cringe though. Incidentally,if you watch this sequence very carefully you will notice the way the whole shot is framed. As Verdeschi turns round to look at Sandra,debating whether to respond to

The Exiles her challenge to kiss Maya,you can see a tiny movement behind him,(a flash of hair I think) where Catherine Schell is sneaking out of her position so that the "old hag" is now sitting there. Look carefully behind Verdeschi and you'll see what I mean. Simon Morris

From: "Ellen C. Lindow" ([email protected]) Date: Mon, 29 Jun 1998 08:33:28 -0400 (EDT) Subj: Space1999: Metamorph/Exiles

Hi guys, I'm mostly back from vacation and am catching up on the y2 discussion. We watched Metamorph and Exiles last night. I thought Metamorph was a pretty good introduction to the Y2 changes. To me, the lack of any mention of missing Y1 cast members just gives more possibilities. If they've never said Victor is dead, he doesn't have to be. That way when I write fan fiction, I can play it either way. Same with Kano and Morrow. Usually, I prefer to believe that they were transferred to other places on the base and are busy doing other things. I like the new costumes. All that beige drove me nuts. John is pretty much the same. He plays everything close to the vest, not even letting his key staff in on major directives, or quick decisions. Although directive 4 had been worked out in advance with Tony, his "deal" with Mentor was not unlike the sequence in the Last Enemy when he turns a laser on Main Mission and asks Dione for sanctuary, or Black Sun when he quietly has a team ready the survival Eagle without telling his senior staff. He appears to think several moves ahead of his opponent like a good chess player should, and the other Alphans never see it coming. Helena's character has changed a good deal. She seems more ready to let her emotions show in places where she would have held them in check before. There's a new tension between her and Koenig, and I don't know if that was something coming from the actors' personal lives, or done consciously. As professional as Landau and Bain have always been, I really have a hard time believing that

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they allowed personal problems to interfere with a role they were playing. In Y1 the two seemed so comfortable together in subtle little ways: her smile when she sees him above her as she wakes in Zantor's stasis chamber, the way he protects her during the explosions in War Games, sharing a coffee cup on the way to Arkadia. In Y2, the physical attraction is still there, but she tends to pull away from him during moments that should be more intimate than anything we saw in Y1. I'm not talking about the kiss scene with Maya as her double (I kinda liked that scene. If you had a friend that could metamorph into your exact double, it would be too tempting to resist.) But at the end of the Exiles he goes running down the corridor to welcome her back, then stops when he sees her, and they start joking with each other. Sure, it was a tension breaker, but a hug would have been better. Just about the same thing happens in this week's episode when John talks Zamara into taking him and Maya to the planet. (Oh, David, I expect that John would have said anything necessary to get Maya down to the planet with him too, I believe he would have told Zamara that Maya was the love of whoever was down there, Tony, Alan, Sandra-- well, maybe not Sandra, not in 1976) When they get to the planet, John holds her at arms length. Perhaps Landau and Bain were given conflicting directions along the lines of "we want to heat up the attraction between Koenig and Russell, but not too much, don't overdo it." So the little touches stopped, and the more obvious affection was evident, but stopped short of feeling like true affection. One scene in Exiles has always bothered me, and that's where John is talking about not allowing the exiles a home on Alpha. Well, he was right to do so since this little group of sociopaths is about the worst we've scene since Jarak, but he didn't know that at the time. John says that their life support system can't handle it, then referrs them to Dr. Russell who parrots the same information, looking uncomfortable. You almost get the feeling that Koenig wants to hear Russell say it because it's an old argument and he's trying to reinforce his position. I'm still of the opinion that in the long view, new births are imperative. They should be doing everything in their power to expand. If they don't they're all going to die. And I expect that would be Russell's position, but she

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isn't going to start the argument again with "outsiders" around. OK, that's my 2 cents worth. I'll watch "Humanity this week. E

From: "Ellen C. Lindow" ([email protected]) Date: Mon, 29 Jun 1998 16:00:00 -0400 (EDT) Subj: Re: Space1999: Metamorph/Exiles

David Lerda wrote: From: Robert Gilbert ([email protected]) Date: Mon, 29 Jun 1998 12:17:55 -0600 Subj: [none or unknown] To me, the lack of any mention of missing Y1 cast members just gives more possibilities. If they've never said Victor is dead, he doesn't have to be.

Yeah, maybe he is just laid up with a broken hip, neck, whatnot (I seemto remember something about him "Lying, spine broken" from one of the novels)? Maybe he got Alzheimers Disease? Maybe he was like Captain Pike (from Star Trek) except the Alphans were unable to build him a wheelchair with light which was mind controlled (which brings up another point, Captain Pike could still operate a Speech Synthesizer using what is called "Scanning" --- He would have a switch (the same "mind control" switch which was used on Star Trek) and it could be attached to a Device (such as a Light Talker (TM)). The way this Device operates is rather complicated but simple: there is a set of lights which correspond to letters. These lights flash in sequence and when the corresponding light lights to the letter he wants --- he presses the switch! I believe Gene Roddenberry Screwed up on the whole "Captain Pike" scenario! I like the new costumes. All that beige drove me nuts.

Yes, but how could they: make new Costumes, Build a new Command Centre,and stick STOOPID labels on everything (such as the forementioned "WEAPONS RACK")? I, too, believe Russell has grown from Y1! I also thought the Heckina Clonesscene was corny but believable! Of course, in the 70's --this kinda behavior was common, but now it seems out of place (passe)!

during the sequence where Koenig's mind is being scanned, the interrogator states that Alpha's population is 298. If I recall, at the opening of "The Metamorph", Helena says the population is 297. So somewhere in the gap between the episodes, there was one birth.

Well, when I first read this I thought, that would be right. It wasn't a birth, it was an arrival: Maya. But... they also lost 2 people so they were really down to 296 at the end of the metamorph episode. That means a gain of 2 by the time of Devil's Planet. Beats me!

From: Mike Lynch ([email protected]) Date: Mon, 29 Jun 1998 16:32:03 -0500 Subj: Re: Space1999: Metamorph/Exiles

Ellen C. Lindow wrote: John is pretty much the same. He plays everything close to the vest, not even letting his key staff in on major directives, or quick decisions. Although directive 4 had been worked out in advance with Tony, his "deal" with Mentor was not unlike the sequence in the Last Enemy when he turns a laser on Main Mission and asks Dione for sanctuary, or Black Sun when he quietly has a team ready the survival Eagle without telling his senior staff. He appears to think several moves ahead of his opponent like a good chess player should, and the other Alphans never see it coming.

I really like this analysis of John, and even thought I've noticed this quality in him before I've never likened it to a chess player... but you're right - it's exactly like a good chess player. Which leads me to ask: Could it be that this is why John was one of Kano's chess partners (as we see in DRAGON'S DOMAIN)? Not to mention that it would seem that chess would be the natural outlet for someone who has such a strategic/tactical view of situations - it would keep them "fresh" and always thinking.

The Exiles ...Makes you kind of wonder why Tony brewed beer, since his position would call for a very similar style of thinking.

377 How about that scene in the Exiles where Helena ruptures Cantor's protective membrane then bounces around the room drawing his fire and taunting him while Tony hides under the table! Some security chief.

Mike Cantor had stunned Tony. He was unconcious, not hiding. From: "Ellen C. Lindow" ([email protected]) Date: Mon, 29 Jun 1998 17:48:21 -0400 (EDT) Subj: Space1999: Beer vs. Chess

Well, I think it's pretty obvious that tony was much more a beer person than a chess person. With apologies to all the Tony fans out there, my opinion is that he was nicely decorative, but not particularly useful. How about that scene in the Exiles where Helena ruptures Cantor's protective membrane then bounces around the room drawing his fire and taunting him while Tony hides under the table! Some security chief. Then again, I expect this is exactly the kind of guy John would want for backup. A solid, follow orders sort of guy without a lot of imagination. John was never much one for explanations and with Tony you really wouldn't need to be. Kind of like a rook in a chess game. Always there, rather predictable, but ready to act when needed. And in case anyone is wondering, Helena would obviously be queen, Alan and Paul knights, Victor and Maya bishops, Sandra the other rook, and any slob without a contract were the pawns. (Anyone interested in chess and computers in science fiction should read the book Wyrm by Mark Fabi. It's one of the best books I've read in a long long time. It also touches on the Y2K problem, armageddon and the existance of God. I _highly_ recommend it.)

From: Patricia Embury ([email protected]) Date: Mon, 29 Jun 1998 18:36:48 -0400 Subj: Re: Space1999: Beer vs. Chess

Then again, I expect this is exactly the kind of guy John would want for backup. A solid, follow orders sort of guy without a lot of imagination. John was never much one for explanations and with Tony you really wouldn't need to be. Kind of like a rook in a chess game. Always there, rather predictable, but ready to act when needed.

I think Tony is a beer person, but I disagree with some reasons. He is more down to earth, a guy to get his hands dirty. However, he wasn't always predictable. In the "double Koenig" episode, he questions Koenig, and turns against Koenig. Carter, who is more of a solid, be there when they need you type, stays steadfastly loyal to Koenig, until it is obvious that Koenig is not who he appears to be.

From: Mike Lynch ([email protected]) Date: Wed, 01 Jul 1998 17:00:36 -0500 Subj: Space1999: Back to the Exiles for a moment...

I realize we're on to ONE MOMENT OF HUMANITY, and I apologize for jumping back a week, but I just wanted to add this: I was watching THE EXILES last night, and I paid particular attention to the music played during the "duel Helena" scene since I never really gave it much thought. The term "porno disco" just doesn't strike me as appropriate. As a matter of fact, even after paying attention to it I wasn't thrilled or displeased with it - I see it as being just filler... rather like the goo that fills Freshen Up gum: it doesn't exactly add to it, but nor does it take away from the experience. The music in this scene is very indicative of the type music that was in a great many shows that aired between 1975 and 1977. It actually reminds me of the type of music played at a light-hearted moment in "CHiPs." Yes, it's

378 cheesy by today's standards, but at the time it was rather common. Anyway, that's just my .02¢ Mike

Year Two From: Date: Subj: Exiles

[email protected] Wed, 01 Jul 1998 19:08:01 -0400 Re: Space1999: Back to the for a moment...

Yes, I think the Alternate Theme Two on the year two cd is so 70's...a cross of SWAT, Charlie's Angels and every other show coming out of the Aaron Spelling factory at that time.

One Moment of Humanity

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03. One Moment of Humanity As pointed out by the first discussant, again we get a man vs. machine storyline which we saw several times during Year One. However, as he sees it, this episode comes across more like Pinocchio. The androids who want to be human. They stared at every little action just like children (or even cats) fixed on something that interests them. Although linked in a chain, a la WAR GAMES, the androids began to show their own individuality which, in the end, would destroy them. Another discussant relate the episode to the discourse on whether one have to watch actual violence to become violent or whether one can learn violent behaviour by watching violent films, like news footage, the Zapruder film, or execution in the street in Vietnam. From: David Acheson ([email protected]) Date: Mon, 29 Jun 1998 06:07:41 EDT Subj: Space1999: One Moment of Humanity

A new week and a new episode for us to discuss - ONE MOMENT OF HUMANITY. This episode, the third one to be produced in the second season, is one that I enjoy. Not so much from the average storyline but more from the actors involved who gave it life. This story was written by Tony Barwick who, like Donald James of THE EXILES, was a newcomer to the 1999 universe. As with Mr. James, Tony Barwick was not a stranger to Gerry Anderson as he also contributed many scripts to UFO years earlier. Here we get a more cohesive story than the cut-up feeling one got from THE EXILES which suggests that maybe the writer was more prepared for the second season changes or at least had more time to fit in the changes. Perhaps some list member here has more information on the production background of this particular episode? At least the embarrasing introduction of humour to the show was taken care of in the previous episode so no such need for a long comedy sequence in this one. The so-called "warm" and "fuzzy" moments were kept to a minimum, were very short and somewhat believable. Charles Chricton comes back once again to direct this episode. One of his better year two efforts as he seems to have a good rapport with Barbara Bain who is given major screen time. Landau and Bain always seemed to have praised Chricton so he probably knows what makes them tick.

Again we get a man vs. machine storyline which we saw several times during year one. However, in many ways, this episode comes across more like Pinocchio. The androids who want to be human. An interesting tale but, as Mateo pointed out, not without its faults. Yes, they were interested in getting rid of the human Vegans but they did not necessarily have to view human violence to find a way to kill them off. Yet, they were almost child-like in their sophisticated ways and were probably more inqusitive than anything. They stared at every little action just like children (or even cats) fixed on something that interests them. Thus they may have actually wanted to see what violence looked like. Although linked in a chain (a la WAR GAMES) the androids began to show their own individuality which, in the end, would destroy them. Zamara, wonderfully played by Billie Whitelaw, was the queen bee. Ms. Whitelaw, in my opinion, was one of the more memorable guest actors in year two. She is still around today but I will always remember her as the crazy nanny in THE OMEN. The episode was one of the few second season showcases for Barbara Bain. Here, the new and improved Helena Russell, is the centre of attention. Granted she didn't need to wear the party dress all the way through the episode but it was part of that "lets make her glamorous" kick. At least, the part about preparing for the party at the beginning of the episode gives her a reason to be wearing it. Although only shown a few brief times in year one, we get to see Helena in a more leadership role rather than being a doctor. She clues into the hint that all on Vega may not be what it seems long before Tony does and it is her that makes the decision to seek out the "numbered ones". Although she first falls for the drugged coffee trick, she

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comes to realize that Zarl and Zamara are the culprits setting her and Tony up. Which begs the question of how good a security officer is Tony anyway? Two minor irritants! One: if this is only the third episode in production why are Tony and Maya mentioned as being in love to Zamara. They never bothered to say anything to each other before and not until much later in the season (THE BETA CLOUD). Can they really be in love at this point? Two: I like the idea of Vega having a thin unbreathable atmosphere (a move away from year one-type worlds) but how did a human colony develop on Vega? Was there some catastrophe in the planet's history after human life developed? Or did they settle there from elsewhere? Arkadia perhaps? Trivia: Noticed that Vega's surface is really Ultima Thule without the snow! That's my take on ONE MOMENT OF HUMANITY. Not a favourite but enjoyable nonetheless. David Acheson

From: [email protected] Date: Mon, 29 Jun 1998 20:25:08 -0400 Subj: Space1999: One Moment Of Humanity

I like how Helena jumps forward medically and challenges Zamara about the danger of tampering with their nervous systems. Koenig says "keep our line of communication open, as agreed", except that is not what Zamara said. Is it bad writing, or is Koening trying to get more out of her? It is interesting that they have to see emotions in person, in order to learn them. How long has this been going on, where the real Vegans have to cover themselves? They were able to get 100 percent of their population to cooperate? Has it been going on for years? What about child birth? Medical treatments? The androids can't watch a recording and experience that? I

had a cat which would sit and watch the tv when birds were on, but the androids can't? Which explains why even if the Vegans didn't have violent films, or got rid of them, why Zamara didn't watch whatever entertainment films were on Alpha (or even news footage...the Zapruder film, the execution in the street in Vietnam, etc.) Someone on the list asked if Tony & Maya would be together already by the third episode. If you go by Helena's log, it is 173 days after planet Psychon, or almost 6 earth months. A relationship could have developed by then. I also think it is possible that Koenig was taking an opportunity to get Maya onto the planet (it looks like it is played that way) and that Maya is displaying a reserve that could be embarassed shyness, or trying not to react and alert Zamara. Since I advocate that these episodes were meant to run in any order (despite the log entries), it is very possible that it was deliberately staged so you could draw either conclusion, based on when it aired on your local station (of course you can also try to factor in Maya's changing her hair in the teaser casue she's told Tony liked it.) Either Helena is not changing her dress for days or weeks, or the events on the fake Alpha took place in just a few hours, in which case it is questionable that despite the events that "had to have been done by the other," neither Tony or Helena would have jumped to those paranoid conclusions. I know I mentioned this in regards to one of the Year One episodes (can't remember which) but the air would not run out that quickly on the base (even the fake one), and if it did (because the aliens were causing it) Tony and Helena should have realized that. Unfortunatly the doors are starting to open by themselves. One of my favorite things about the design of the show in year one was the commlock, and their door function. You didn't have to look at the set design and wonder where the electric eye or sensor was to make the door know when to open on its own. When Helena and Tony realize it's a trick, there's a sudden cut of the aliens fading behind the panel, and then an awkward cut to our

One Moment of Humanity heros. I wonder if there was an extra scene cut from there, or if we are supposed to conclude that they caught a glimpse of the aliens behind the panel, and that confirmed that it was a trick. Also, how did Helena conclude that it was a fake Alpha? Cause she saw them behind what had to be a fake panel? I'm curious what happened there. It doesn't look right for Koenig to be making googly eyes at Helena while the androids whisper to each other. They are prisoners, and they would not be making eyes at each other...they would be watching the enemy. I have always found the whole "choreographed" love making scene very clumsy at the least, and stupid at the most...and Koenig's anger also, therefore, stupid. But I wonder if it's because they didn't want to risk being as blatant as would have been necessary to portray it realistically...which basically would be rape. So we are supposed to watch the scene and cast it into realistic terms in our own minds, which then would make Koenig's reactions more realistic. I would have liked to see Helena vocally stop Koenig in the middle when he jumps up in anger. Finally, towards the end, is Helena falling under Zarl's spell? What is that all about? One of my favorite musical themes is the one at the end as the real Vegan's take their masks off now that the androids are deactivated (and I was very disappointed that it was not on the year two cd.) I like the tag to this episode. They didn't always have to end with a humerous, reflective scene. It ends with another of my favorite musical themes (that was on the year two cd, and which I have had on my answering machine, and which is heard when my computer shuts down.)

From: David Acheson ([email protected]) Date: Mon, 29 Jun 1998 22:57:27 EDT Subj: Space1999: The Watchful Vegans/Trials of being Helena

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Someone brought up the idea that Zamara and her android friends could have easily read Alpha's library to witness human violence. This is in response to my mentioning that they might have possibly wanted to witness actual violence as opposed to finding more mundane ways to kill off the human population. This is true but lets face it - its not as effective (or as exciting in their case) to read about it or look at pictures of it as it is to see in real life. This seemed to be the overwhelming desire the Vegan androids had. Notice when Zarl gets primed up to kill that there are several androids hanging around with almost orgasmic anticipation on their faces. On another unrelated note. Favourite line in the episode: "You're a liar! It sticks in your throat, you decrepit hag". I often wondered if they did this scene many times over without once cracking a smile. Good opportunity for a blooper for sure. Poor Helena, first the clay face treatment in THE EXILES and now the insults from androids in ONE MOMENT OF HUMANITY. Apparently kissing her causes death too. Surprising she didn't develop a complex. David Acheson

From: Marcy Kulic ([email protected]) Date: Tue, 30 Jun 1998 00:49:37 -0700 (PDT) Subj: Re: Space1999: One Moment of Humanity Two minor irritants! One: if this is only the third episode in production why are Tony and Maya mentioned as being in love to Zamara. They never bothered to say anything to each other before and not until much later in the season (THE BETA CLOUD). Can they really be in love at this point?

They didn't seem to be very obviously close as they were in later episodes. I always thought it was just a ploy, a way for Koenig to get Maya down on the planet to help him. Perhaps it was even the beginning of their true relationship. Although I don't have the talent to write fan fiction, I like having vagaries in the stories so I can fill in the gaps with my imagination.

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Philippa Sidle, David Welle and Ellen Lindow have all made wonderful use of these to create their stories. Two: I like the idea of Vega having a thin unbreathable atmosphere (a move away from year one-type worlds) but how did a human colony develop on Vega? Was there some catastrophe in the planet's history after human life developed? Or did they settle there from elsewhere? Arkadia perhaps?

My take always was that they polluted their world in the drive for technology. I liked most of this episode, but the seduction scene with Helena and Zarl makes me cringe, even just thinking about it. The whole thing seemed very staged and phony. I find it hard to credit that a man such a Koenig would jeopardize his people to stop Helena from doing a silly dance with an android. Marcy

From: "Tom Miller" ([email protected]) Date: Tue, 30 Jun 1998 07:12:14 -0400 Subj: Space1999: humanity ect...

I agree with Marcy. I rewatched this episode last night, I just received it from Columbia House, and I compare it to the Year one episode on the same tape Mission of the Darians. Just in story writting alone, the Daria has more pure evil slowly built up, where we are thrust into the androids world suddenly. Koenig does raise his hand as if to strike Joan Collins on the Daria, but the threat of vilonce seems just that, a threat. Would not the androids be more likely to get Koenig going by threatining the base itself, or even letting him come to the planet and seeing the base slowly freeze to death. I found the concept of Humanity to be great, but the story line slightly rushed and thus weak... Tom....

From: "Simon Morris" ([email protected])

Date: Wed, 1 Jul 1998 12:18:05 +0100 Subj: Space1999: One Moment Of Humanity

Hello All, Well,this one premiered on ATV Midlands on Saturday 25th Sept 1976 at 5:40 pm. (Interestingly, "Journey to Where " had been screened the week before,and "The Exiles"the week before that. In fact,the entire running order adopted by Lord Grade's own tv station was not the one apparently recommended by ITC!) Anyway,I never cared for this episode the first time around but have grown to like it more over the years. I suppose its not a terribly original story (robots looking for human emotions and "shortcircuiting" when they find them),and I have always been dubious about the premise that they can only learn to kill by observing the Alphans commiting violent acts. Nevertheless,the story is fairly well written and acted and the ending - although cliched - is suitably touching. I always cringe at scenes in sci-fi shows which call for the actors to "freeze" as the Alphans do when Zamara appears on Alpha. I'm not even sure this was absolutely necessary,even if Zamara *did*want to wander around and examine each person in Command Center in turn. Presumably it was felt to be the msot *sci-fi* sort of thing to do. To me it always seems faintly ludicrous. I thought there was some good acting by Martin Landau at the start. For example he almost loses his temper and has to force himself to bite back his words and regain control,i.e.: "AND WHAT GUARANTEE DO I HAVE OF(pause for control)...your goodwill?" There is also IMO an excellent performance by Billie Whitelaw (both at that time and today one of England's most respected serious actresses) which contains the right degree of underlying menace and even a degree of malice.(Are they sure they haven't got enough human-like emotions?!) Leigh Lawson's performance as Zarl seems less assured but in a way this contributes to a picture of an android

One Moment of Humanity who has some doubts within himself as to whether he is doing the right thing in "playing" with Tony and Helena ("But it seems so cruel...."). Lawson again was and still is a respected National Theatre actor,and it is gratifying to see such talent in the series. I always find it amusing the way Tony can barely control his temper when he tastes the awful food and jumps up ready to throw it at Zarl(also the way he spits it out in anger). Considering the insults thrown at him I think Tony Anholt plays the scene well and it doesn't go over the top. I'm not sure that these sort of insults would provoke a man to kill,and neither do I think that anyone swinging a punch or two is actually going to teach an android how to kill! Still,I suppose a certain suspension of belief is called for in these circumstances. The erotic dance didnt work for me,unsurprisingly as I should think this would be very difficult to tackle on a family show. The movements were worked out by Lionel Blair,well known as a dancer and entertainer on stage and screen in England but I fail to see how Koenig got stirred up so much. Zarl barely touched Helena(he regained his senses just in time heh heh.....just kidding)! Also,while being a self-confessed supporter of Derek Wadsworth's music as the most positive aspect of Y2,I didn't really like the pieces that accompanied the dance (particularly the mad zylophonist playing through the piece). Even hearing the full length version on the Wadsworth CD failed to convince me. However I did enjoy the music that accompanies the scenes of the Vegan computer shutting down and the humans taking off their masks,and the music that closes out the episode as Zarl dies. Appropriately sad and touching and one of Wadsworths best themes. Speaking of the humans taking off their masks,did you notice number 16,the gorgeous dark haired girl I mentioned in a previous post,who appeared as an Alphan in episodes like THE EXILES and BRINGERS OF WONDER! Good grief! What was she doing on Vega? Or does she have a twin sister? Or a Doppelganger in another dimension? (Or were the production team saving money using the

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same roster of extras for a multitude of roles?) In my opinion a slapdash piece of continuity with other such examples popping up in the season. I'm aware that in the original script(or at least one version) there was the usual humorous epiloue involving Koenig and Helena. Some of this appears in the Michael Butterworth novelisation of the episode. Thankfully commonsense prevailed and this was cut from the final episode, resulting in quite a touching finish to the episode,"freeze-framing" on Helena's grief-stricken face as Zarl dies. Together with the music which accompanies the scene,this makes the epilogue one of the most effective of Y2 in dramatic terms even if its not terribly original. Any of the added humour in the original script would have diluted the power of the final scene as transmitted and maybe this final scene is the one that fans remember most in the episode. All in all, a well acted story while not being terribly original...but enjoyable all the same. Simon Morris

From: [email protected] Date: Wed, 01 Jul 1998 10:36:51 -0400 Subj: Re: Space1999: One Moment Of Humanity In fact,the entire running order adopted by Lord Grade's own tv station was not the one apparently recommended by ITC!)

That is one list I did not see. Can somebody point me to a list showing ITC's official running order?

From: [email protected] Date: Wed, 01 Jul 1998 16:35:17 EDT Subj: Re: Space1999: One Moment Of Humanity There is also IMO an excellent performance by Billie Whitelaw (both at that time and today one of England's most respected serious actresses) which contains the right degree of underlying menace and even a degree of malice.(Are they sure they haven't got enough human-like emotions?!)

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I've always liked her even though I've never seen that much of her in American shows. She played Marie Antoinette in a movie called "Start the Revolution Without Me" which was a parody of the French Revolution. I would recommend it, if you can find it anywhere. Leigh Lawson's performance as Zarl seems less assured but in a way this contributes to a picture of an android who has some doubts within himself as to whether he is doing the right thing in "playing" with Tony and Helena

Well, my only complaint is with the costumer Lawson's chest could have done with substantially less exposure. The erotic dance didnt work for me,unsurprisingly as I should think this would be very difficult to tackle on a family show.

I have to agree that the "erotic" dance, wasn't. Mostly due to that awful jazz which accompanied it. All in all, a well acted story while not being terribly original...but enjoyable all the same.

I was reminded of the ending in Star Trek's "Requiem for Methusaleh" in which the android dies. This was one of the better episodes of Year 2, IMO. I'd give it a B- / C+. David J Lerda

Fanderson) the Y2 order is (and I'll abbreviate because its a tedious task!): The Metamorph Exiles Journey to Where Moment/Humanity Glisters Archanon Taybor Brian the Brain Luton New Adam Seed of Destruction AB Chrysalis Catacombs Space Warp Matter of Balance Beta cloud Lambda Factor Bringers 1 Bringers 2 Seance Spectre Dorzak Devils Planet Immunity Syndrome Dorcons Personally I doubt there is much hard logic or any real substance to the way ITC decided on the "preferred order", but I wonder if Brian Dowling might have more info on his website? Simon

From: Simon Morris ([email protected]) Date: Thu, 2 Jul 1998 00:38:46 +0100 Subj: Re: Space1999: One Moment Of Humanity

The video releases of Year 1 and Y2 in the UK (with the exception of the compilation features,which were eventually released properly some time later in their "episodic" format) were released by ITC Home Video according to their own preferred order. I'm not sure how long this preferred order has been around or on what basis ITC decided on it. The lists have been published by Fanderson before and they may be on the Fanderson website though I really wouldn't know. Offhand I can't find the Y1 order,but briefly (as provided by

From: "Brian Dowling" ([email protected]) Date: Thu, 2 Jul 1998 20:54:48 +0100 Subj: Space1999: Space:1999 video release order Personally I doubt there is much hard logic or any real substance to the way ITC decided on the "preferred order", but I wonder if Brian Dowling might have more info on his website?

And I got rid of the brief sumamry/breakdown page a while back! Ah, c'est la vie. The video release order is as per the UKVL; the only thing I am aware of which influenced the order was that PolyGram (who didn't own ITC at that time) had the rights to the 8 episodes comprising vols 21 to 24, which prevented a timely ITC release continuing after Vol 20.

One Moment of Humanity Anything else which helped influence the order is known only to the people at ITC Video at the time. Here are the Volumes and their episodes... Season One Vol 1: A Matter Of Life And Death / The Infernal Machine Vol 2: Dragon's Domain / The Testament Of Arkadia Vol 3: The Last Enemy / Mission Of The Darians Vol 4: The Troubled Spirit / Space Brain Vol 5: End Of Eternity / The Full Circle Vol 6: Death's Other Dominion / Voyager's Return Vol 7: Alpha Child / The Last Sunset Vol 8: Force Of Life / Guardian Of Piri Vol 9: Missing Link / Another Time Another Place Vol 10: Earthbound / Ring Around The Moon Vol 21: Breakaway / War Games Vol 22: Collision Course / Black Sun Season Two

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Vol 11:The Exiles / Journey To Where Vol 12: One Moment Of Humanity / All That Glisters Vol 13: The Mark Of Archanon / The Taybor Vol 14: Brian The Brain / The Rules Of Luton Vol 15: New Adam New Eve / Seed Of Destruction Vol 16: The A-B Chrysalis / Catacombs Of The Moon Vol 17: A Matter Of Balance / The Beta Cloud Vol 18: The Lambda Factor / The Seance Spectre Vol 19: Dorzak / Devil's Planet Vol 20: The Immunity Syndrome / The Dorcons Vol 23: The Metamorph / Space Warp Vol 24: The Bringers Of Wonder I & II On a personal note, my favourite tape is volume 2 - Dragon's Domain and Testament of Arkadia. This is because they are both told in the same style, but are both thought provoking and damn fine stories. My least favourite tape of the set is a tie between vols 14 and 18, my criticisms of these stories (as well as their good points) coming soon in the ExE thread.

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All that Glisters

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04. All that Glisters Several discussants see similarities between this episode and Star Trek’s “The Devil in the Dark”, but there is little exploration in terms of how this similarity might help for understanding the political subtext of the episode. In the final contribution, however, one discussant suggests that the episode was perhaps intended as to deal with the politics of ecology with an emphasis on the oil crisis that was high on the agenda at the time. From: David Acheson ([email protected]) Date: Tue, 07 Jul 1998 20:20:14 EDT Subj: Space1999: All That Glisters

Came back last night from my vacation and just resting at home today before heading back to work tomorrow. Gives me time to get caught up on almost a week of messages. So we are now into the fourth episode of year two - ALL THAT GLISTERS. This turkey ties with A MATTER OF BALANCE as the most pathetic of all 1999 episodes. It has everything against it: bad storyline, bad special effects, bad sets, bad acting. The screenplay was from Keith Miles who appears to be a newcomer to the 1999 universe and it was also his last script filmed. Whether he submitted any further storylines I do not know. Whether he was capable of writing any better storylines I do not know but I do know I do not like this entry. I have not been able to find out on the internet what other programs Mr. Miles might have written for so I cannot objectively rate him. Veteran year one director Ray Austin directed this one. During our discussion two weeks ago on THE EXILES, it was mentioned that Ray Austin appeared to have some difficulties with the Freiberger regime and the year two changes. One can somewhat tell due to the messy execution of an otherwise fine storyline. Well, I must say even the talented Ray Austin wasn't able to save this episode. Since this was his last effort for the second season I assume he gave up on the series by this point. Generally I do not like living rock stories. Never seen one I liked yet. I didn't care for the Horta episode on STAR TREK as a kid and felt much the same way when ALL THAT GLISTERS first aired. It was a full hour of a rock looking for water.

The rock itself looked pretty bad. Looks like something I made back in kindergarten. The set of the planet's surface was downright cheap looking - like STAR TREK's low budget planets and not the usual 1999 soundstage planet settings. I realize the point was that the planet was arid and rocky (another move from year one-type worlds - the idea of which I admire attempting)but it looks like a soundstage. Either Keith Wilson, set designer, was off that day or they had no budget for this episode. Fortunately, this was the only real bad planet set the series had. I did like the idea of Alpha having to seek out minerals from nearby planets and asteroids (a concept used a lot in year two) but cringe when it is made-up minerals that are being sought. Is there such a thing as milgonite and just why is it needed for Alpha's life support system? It was easier to get away with such things on STAR TREK due to the further timeline and the more advanced science. Set a show far beyond your lifetime and people will argue less about the science. The only guest star in this episode was the unknown Patrick Mower who, unfortunately, adds nothing to the one dimensional character he played. Dave Reilly is the big-hat wearing Texan who loves the ladies. The episode could have easily been played out without this character leaving it as a vehicle for the regulars much like we saw in year one with THE LAST SUNSET and THE FULL CIRCLE. Too bad they did not go this route. There was somewhat of an attempt to deal with Maya's introduction to Alpha which was commendable. After leaving the sheltered life with her father, Maya appears somewhat awkward with Reilly's advances. He jokes around but finds her attractive nonetheless. She probably had not many males before this (Psychon or otherwise) telling her she was

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attractive. I agree with many of the fans on this list that more of the introduction of Maya to the base should have been explored in the early Year Two episodes. I don't think every Alphan would have so easily accepted her as one of them right from the day she arrived. Its a rarity in the second season but the female voice of Alpha's computer can be heard in the Eagle. This is the only time I remember it being in the second season but some listmembers do remember the voice in THE MARK OF ARCHANON. Still, its a voice that disappeared quickly in the Freiberger year. Overall, the episode just did not Glister. Despite some fine year two work this was the type of work that only added fuel to the Freiberger bashing. Year one had some turkeys too but, in my opinion, even the worse did not compare to this. Thankfully, the second season marched on.

Ray Austin is no stranger to action stories and sequences, but can't save this near turkey... Watching this one tonight will be fun... More later, Brian Dowling - Online Alphan #144 Birmingham, England

From: Chris Hlady ([email protected]) Date: Wed, 8 Jul 1998 18:51:29 -0500 Subj: Re: Space1999: All That Glisters

Hi Brian, I just watched this episode a week ago. I was surprised. At first, I thought, what are those people thinking? Later, I decided that I liked a number of things about this episode.

David Acheson

From: "Brian Dowling" ([email protected]) Date: Wed, 8 Jul 1998 07:31:50 +0100 Subj: Re: Space1999: All That Glisters The only guest star in this episode was the unknown Patrick Mower who, unfortunately, adds nothing to the one dimensional character he played.

Unknown in the US maybe, but Patrick Mower was one of the most recognised actors in the UK during the 1970s. Dubbed "Action Man", Mower is known for leading roles in Callan and Target, as well as several guest appearances in pretty much every well-known 70s tv series. I agree that he doesn't add much to the O'Reilly character and his Irish accent was about as good as mine, but I think the O'Reilly character was something of a turkey to start with (An Irish cowboy? Come ON! What were the writers and production crew on?).

First, the silhouette of the space cowboy against the alien sky. Blew me away when I thought about it. Considering the success of Dallas in the years following, this episode suggested a tremendous amount of love for the Texas mythology. Give the devil his due, this alone stands this episode in good stead in my opinion. Second, the western courting of Maya. I was charmed. I perceived that, due to feedback from the first season, the producers chose to show what works, and what doesn't in budding romantic relationships. The line "you think the rock is all I care about" introduced the complex cowboy to the future world. The tension in Maya's understanding of her new companions was well played. "Too close, too quick can be dangerous" suggested a woman establishing boundaries that needed to be respected. Many men still aren't capable of distinguishing between infatuation and a relationship. Throughout series two, little lessons like this are invaluable to developing healthy social relationships. Third, the riddle of what different coloured spotlights mean. "Red is death" is a bit of an exaggerated mood ring, but the principle of colour representing mood suggests

All that Glisters discernment of intent. Intent, misunderstandings, and compassion were welcome benefits of this episode. All That Glisters views well 20 years later in the context of our changing world. Where current drama can be slim on such subtleties, it's a joy to view a drama that handles nuances indirectly. **** in my opinion.

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As for *you* not seeing such things in Y2 episodes, no problem. If you saw what I saw, you would have lived my life. As it is, I'm sure you're enjoying your own. I do try and examine the creative process. Eg. What unstated things may be implied by the final filmed version? I may be wrong, but I like to question.

Look forward to feedback, Chris

As well, for me, a viable reason sometimes justifies a horrible end product. In such a case, I try to focus on the viable reasons. Sometimes, it's a stretch.

Chris Hlady

Chris

From: Simon Morris ([email protected]) Date: Thu, 9 Jul 1998 19:47:18 +0100 Subj: Re: Space1999: All That Glisters-yet again!!

From: Simon Morris Date: [Either 09 or 10 Jul] Subj: Re: Space1999: All That Glisters-yet again!!

This is a very interesting analysis I feel,Chris.....:-) I wonder if you are a connoiseur of the Ray Austin "deep thought" school of meaningful drama and direction? On the other hand,I suspect you were laughing like hell when you wrote the above. Laughing as hard as I was when I read it!!!! If *I*started to see stuff like that in Y2 episodes(or even Y1 episodes :-)!) I'd be ready for the lunatic asylum.....!!!!! Simon

From: Chris Hlady ([email protected]) Date: Thu, 9 Jul 1998 14:39:13 -0500 Subj: Re: Space1999: All That Glisters-yet again!!

Hi Simon, I have no idea what you're talking about in regard to Ray Austin. But, I'm glad you enjoyed a good laugh while reading it. I do try to carve an interesting (and humourous) construction in my writing. Some may like it, some not, some may not understand it, but to me, that's beside the point. I enjoy the writing.

Hi Chris ref: Ray Austin,there was a List member who thought Ray Austin was the greatest director ever and that one of his episodes in Y1(Ring Around the Moon)was a Work of Art. And it was repeated to the List at every opportunity. In the end another List member got so exasperated that he fired off a rather pointed note telling him to stop saying the same thing several times over. Unfortunately the first List member now seems to have left the List which is a pity as he made a lot of interesting contributions and I'd have loved to see what he thought of Y2 episodes. (If you are new to the List you may not have been aware of all the above but I can assure you the irony in my "Ray Austin" comment hasn't been lost on some of the longer serving List members! Regarding your comments above,I think they were very thought provoking. I too can see good in most things and,despite everything,I still enjoy ALL THAT GLISTERS(as well as all the other supposedly rubbish episodes of Y2(eg RULES OF LUTON,SPACE WARP,etc). In fact,the Y2 episodes are my favourites of all 48 SPACE 1999 episodes.

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My philosophy was made clear on the List a long time ago:- to me,SPACE 1999 is simply a superior sci-fi series with action adventure elements,or "Its only a tv series"(and not High Art). The difference to me between the two seasons: Y1 is sci fi with action adventure elements. Y2 is action adventure with sci-fi elements. In your previous comments to the episode I felt sure you were somewhat tongue in cheek. If that is what you feel,I respect that although I can't see that sort of thing myself(I suspect a lot of others won't either when it comes to "All That Glisters"!). But I hate a lot of the anti Y2/Freiberger comments that come out of the List. How can Space 1999 fans present a united front to STAR TREK fans when there is sometimes civil war amongst 1999 fans re: the Y1 versus Y2 issue? I look forward to reading more of your comments Chris. What I've seen so far- I like. Best Wishes simon

From: South Central ([email protected]) Date: Wed, 8 Jul 1998 16:24:04 -0700 (PDT) Subj: Space1999: All That Glisters

A while ago people were discussing this episode and saying that what the rock wanted wasn't just water. It wanted the Alphans to take it in its entirety from the planet. Is this true? Mateo

From: "Tom Miller" ([email protected]) Date: Thu, 9 Jul 1998 12:08:11 -0400 Subj: Space1999: glistens/where

There is not much more critisism for this than has already occured on the site. But let me ad one more thing. Bring the entire command staff here, why that's just great. One of the

better command desicions. The reason tony was left behind in the previously discussed episode was that Koenig wanted him to be in command if there was a problem. This is one of the reasons I am a die hard year one fan... Cheers from Northern NY.... Tom

From: "Simon Morris" ([email protected]) Date: Thu, 9 Jul 1998 19:26:23 +0100 Subj: Space1999: All That Glisters

I have to be honest and say that I always enjoy this episode. I really don't know why when it has to be one of the dumbest. Watching it repeatedly only makes some of the silly dialogue even more apparent,but maybe that adds to the charm! I would certainly agree with Chris Hlady that the episode shouldn't be completely written off. The central idea behind the script is nothing new,and parallels have been drawn between "All That Glisters" and the Star Trek episode "Devil In the Dark" which I have never seen but have heard what the show was about. The problem with Space 1999's version of this sort of story is the way it is executed. The idea of a living rock just seems silly as presented hereand makes for some excruciating dialogue throughout the episode. I liked Keith Wilson's set. It looks like it took a long time to construct and I think they made an impressive job of it. I also quite liked the Dave Reilly character,except that(as Brian Dowling pointed out) the idea of an "Irish Cowboy" was basically silly. Why did they not get Patrick Mower to play Reilly as "himself"? Mower was neither an Irishman or an American in the episode and he seemed to forget the Irish accent in parts of the script...just speaking in his own voice. I can't remember now...but I'm sure Mower comes from Liverpool-Irish stock or something. Why not just play the part as he would any other? (Incidentally I'd just like to back Brian Dowling by saying that Mower was

All that Glisters certainly one of *the* leading men on British tv in the seventies. While I'd agree he was no "character actor",he has always been a dependable face in many UK series,such as the government agent Cross in "Callan", Detective Superintendent Steve Hackett in the BBC Police drama "Target" and also as Det Chief Inspector Tom Haggerty in Thames TV's "Special Branch". In fact,if Mower had played Reilly as he had played Haggerty(the same name wouldn't have been out of place either!)the character might have come off as more properly drawn). IMHO any fault in the character of Dave Reilly lies with the writer/producer of the script rather than Mower's performance..... I presume the decision by Koenig to reduce to minimum power to conserve energy(on landing)was a device to allow the lighting on the Eagle to be reduced so that they could come up with a few shadows etc to induce some basically artificial suspense. There is some nice character work in the episode,Reilly flirting with Maya(and who can blame him?),Tony's jealousy(and who can blame him?),Koenig's exasperation with Reilly ("You've got a one track mind in a stone age skull!!"),and I suppose a sugary ending which establishes the basic goodness and humanity of the Alphans,i.e: "OK,it tried to kill us but what the hell----lets help it to live by starting the rain cycle again". Universally decent of them,I thought......! But the episode is full of dumb dialogue. Here's the stuff that made me cringe: "If I can break up the romance between you and this rock...."(Koenig) "Rocks understand me Commander .None of my wives did,but the rocks do"(Reilly) "The rock hit me with a blue light. It caused a paralysing pain....."(Koenig) "Maybe its like humans. When they panic,they don't think too well." (Koenig) Reilly to Maya: "You too huh? You think the rock is all I care about..."

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I guess a lot of this is subjective,and what I thought were stupid lines someone else will like . I am aware that this script was being rewritten while it was being shot so it is difficult to tell if Keith Miles or Fred Freiberger is responsible for the script going off the rails.One thing though: Keith Miles was an experienced scriptwriter in England who contributed to various drama series and historical serials. He is also a novelist. I suspect Freiberger may be the bigger villain here,and while I don't argue with his assertion at the time that this was a very *sci-fi*-type story,the way it was done in the televised version did not impress. As I say,I did enjoy the episode---but I have to forgive a hell of a lot of downright stupidity in the way the episode was mounted. No other regular cast members,not even a shot of Alpha.....its as if they were trying to save money early on in the shooting schedule! As a supporter of Derek Wadsworth's music in the second year I regretfully cannot say that the score here adds anything to the episode,basically being a compilation of cues from previous episodes(including one sequence in the Eagle which was cut and looped to play the same bars endlessly!). And the mismatching of some SFX shots(eg the different eagles-one with extended passenger module and then one without)was extraordinarily sloppy work by Brian Johnson and his team. There should ultimately have been a re-write from page 1 of this script before they ever went and shot it. And if it *still* stunk,then they should have scrapped the whole story. Sorry 'bout that,Fred......... Simon Morris

From: "Simon Morris" ([email protected]) Date: Thu, 9 Jul 1998 19:34:53 +0100 Subj: Space1999: All That Glistersagain

One other thing I forgot: Chris Hlady in a previous posting quoted the following reply by Koenig as "Worst Come Back":

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HELENA: "For God's sakes John,don't go near it. It could kill you!"

Now if a Cross character had been in All That Glisters, that would have been interesting!

KOENIG: "So could old age......"

Chris's point about the cowboy and the pioneer / Dallas thing is a good one, though cowboys and all that kind of thing aren't my cup of tea. And can I ask without offending anyone or starting a flame war what is so good about Texas?

I don't know,maybe it was Martin Landau's flip and casual delivery,but I LOVED that line!!!!!!!! Simon

From: Chris Hlady ([email protected]) Date: Thu, 9 Jul 1998 14:28:03 -0500 Subj: Re: Space1999: All That Glisters-again

Hi Simon. Great comments. In my part of the world, that line is known as a groaner. For the record, I tend to appreciate "groaners" that make utterly no sense. Very funny. It was amazing watching Landau's acting in the two seasons of Space, and to compare it with his role in the X-Files. He's an excellent actor. Chris

From: "Brian Dowling" ([email protected]) Date: Thu, 9 Jul 1998 20:37:15 +0100 Subj: Space1999: Re: All That Glisters

Hi folks, I had another look at All That Glisters today, and what I wrote earlier is still what I'm thinking. Patrick Mower could have played Dave O'Reilly without the Irish accent, which does drop a few times during the story. Incidentally, Mower guested in an episode of The Sweeney (I think it may have been a 2 parter?) as an Australian. For me, the two characters were very similar and the (dodgy) accent didn't really enhance either character. I did enjoy the Callan stories Mower appeared in, culminating in the suicide of Cross at the hands of a Ukranian assassin in Cambridge.

So far during Y2, the guest cast has been a high standard, but if one takes the idea that FF and crew were aiming at the US Market, I can't help but feel that some of the Y1 guests would have been better suited for US exposure. Compare David Acheson's comments about Patrick Mower to what Simon and I have said for a good example. Freddie Jones, Patrick Mower, Isla Blair, Leigh Lawson and Billie Whitelaw, are all well known actors in the UK, but I wouldn't have thought they would have much audience pull in the US. Hey, I was only 4 at the time, so please correct me if I'm wrong. Like Simon, I do like Koenig's off the cuff "so could old age" riposte to Helena. That's one of his best replies in the series for me. Dave's flirting with Maya and Tony's reaction is good, though might I say that Irish charm usually works , but that would probably have ruined the episode! :-) It would have been nice to see more of the Dave-Maya thing, and how Tony would react. The idea of John, Tony, Helena, Maya and Alan all going along does make me wonder what would happen if... you see where I'm coming from? Bets please on who would run Alpha if they all failed to return... Fraser? Sandra? Yasko? For me there is one main character too many in the story. It's a bit cluttered. Poor Tony just looks jealously at Dave, gets blasted, used by the rock, blasted again, and then looks jealously at Dave again. I think the story could have been rewritten without Tony there (see previous para), and Alan gets the blast from the rock.

All that Glisters The ending is a bit cheesy (is it me or when that final scene gets frozen, it takes on a yellow shade?), and some of the dialogue isn't so hot ("Ooh, I can feel that Milgonite!" comes to mind), but I did enjoy the episode. Yeah, I had a good giggle in places, but to my mind that's better than cringing and thinking "That's total crap". But Brian The Brain is a later episode.

Dave's flirting with Maya and Tony's reaction is good, though might I say that Irish charm usually works >SIGH