I'm looking at Space:1999's Moonbase Alpha, and trying to answer a few questions:
- is it related to the SHADO moonbase from UFO?
- how did it travel so far in space?
- is Elon Musk really planning to build it?
Let's find out...
In Space:1999 Moonbase Alpha is a 4km wide settlement in the Plato moon crater. It's both a research centre and a monitoring station for the vast amounts of nuclear waste Earth has dumped on the Moon.
Sounds like fun.
But that's the problem with setting sci-fi on the Moon: nothing tends to happen there. Sure there's filing to do, computers to monitor, occasional meteors fly by etc, but where's the dramatic action?
There's literally no atmosphere...
Well the Moon's a good forward operating base if you need to intercept flying saucers. And that was part of the premise behind Gerry Anderson's first major live-action TV series in 1970 - UFO!
For all its purple wigs and silver jumpsuits UFO was actually quite a dark series, which was a shock for Gerry Anderson fans expecting a real-life version of Thunderbirds. SHADO was, well a shadowy organisation, dedicated to killing aliens. Pretty bleak stuff.
The SHADO Moon Base was pretty small: set up in 1980 it consisted of five interconnected spheres to house the Interceptor crews and space monitoring staff.
Fortunately there was plenty of drinks and smoking in space was actively encouraged.
26 episodes of UFO were made - just. MGM-British studios went bust towards the end of production and there was a five month delay in finishing filming as new studios were sought.
This led to a disjointed and sometimes quite weird second series.
Another problem was the show's premise: there were only three Interceptors on the moon, each armed with one missile. If four UFOs attacked at once then Earth was done for.
Once UFO started to become popular in America in 1973 a third series was commissioned. To suit US tastes it had to be set on the Moon, so Gerry Anderson began planning how to expand the SHADO Moon base.
But... the US ratings for UFO suddenly dropped once the 'weird' final episodes of series 2 were aired. ITC Entertainment pulled the plug on UFO series 3, and that was that.
Undaunted, Gerry Anderson reworked the concept and pitched it again...
Menace In Space would feature Commander Steve Maddox, head of lunar defence force WANDER. Aliens would kidnap him, realise humans were savage and warlike, and would wrap Earth in a force-field. But the Moon would be allowed to 'wander' freely across space, along with Maddox & Co.
After a few tweaks - and a lot of trans-atlantic negotiations - Space:1999 was born. A nuclear explosion would send the Moon hurtling across space, meeting metaphysical aliens, transcendental plotholes and the cold indifference of many TV critics.
So was Moonbase Alpha still related to the SHADO moonbase of UFO? Not according to the Space:1999 handbook - a promotional item sent to TV studios to publicise the show. It suggests Moonbase Alpha was set up in 1997 to study alien broadcasts and to mind all that nuclear waste.
However Gerry Anderson's Space Report - a regular column in Starlog magazine - did hint that SHADO and Space:1999 were in the same fictional universe. And in real life Space:1999 was the step-child of the UFO series 3 project. So who can say.
More baffling was how the Moon in Space:1999 managed to travel so quickly across space. And what happened to Earth once it left? And what's with all this gravity on Moonbase Alpha? And all that beige?
Well Moonbase Alpha is surrounded by anti-gravity pylons! These stabilise the base's gravity, deflect meteors and allow aliens to take over peoples' minds. Don't ask why there's normal gravity in the Eagle Transporters though. There just is.
The unisex series 1 beige costumes for Space:1999 were created by Austrian fashion designer and topless swimsuit pioneer Rudi Gernreich. By Series 2 these had been jazzed up somewhat.
Not long after leaving Earth's solar system, the Moon passed through a black hole and later through a couple of "space warps" pushing it even further out into the universe.
I know, I know, three impossible things...
...and all the nuclear weapons ever created couldn't blast the Moon out of orbit, and Earth would be destroyed etc. Harshing on Space:1999 for not being hard sci-fi misses the point: the show is about space being weird and frightening, not about physics and engineering.
So if Elon Musk is really going to set up a Moon Base Alpha as a stepping stone to colonising Mars then he may want to re-watch Space:1999. Life in space can be pretty boring, and the number of astronauts taking guitars into space should be a cause for concern.
I hope that's answered some of your many questions about Space:1999. We shall never see its like again!
More stories another time...
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He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.
Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel...
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice.
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic?