(‘Voyager’s Return’).The original Writer’s Guide recognised the rather unique viewpoint that the Alphans were effectively an invading presence in the galaxy, stating, ‘The Moonbase will be left upon its own to survive, to seek a friendly planet to colonise, and to defend itself against other space-lives, for now they are invading aliens.’ (This perspective had also been acknowledged when the production team had considered Space Intruders as a title for the series.)
The show went on to demonstrate frequently that the Alphans have much to learn about the universe they live in, and they aren’t always welcomed by those beings they meet on their journey. Aliens encountered throughout Space: 1999 are usually vastly advanced in terms of science and medicine. They might, for example, have mastery over anti-matter or have perfected immortality or suspended animation – frequently referred to as ‘stasis’. Some aliens are malevolent (‘End of Eternity’), while others are seeking the Alphans’ help (‘Mission of the Darians’) or welcome their friendship (‘Earthbound’).
The Alphans themselves were an extension of present day thinking, rather than originating from a far-flung futuristic time. Thus the series and its characters found a large audience that identified with various aspects of the Alphan plight – who doesn’t relate at times to the thought of being alone, lost or at odds with the universe around them? Issues confronted in various episodes include faith (‘Collision Course’), vanity (‘The Infernal Machine’), cannibalism (‘ Mission of the Darians’), and obsession (‘Dragon’s Domain’) – sometimes on the part of the Alphans themselves, and other times on the part of the beings they encounter.
The episodes of Space: 1999 would feature a variety of story settings ranging from alien planets to spacecraft, while some would be entirely Alpha-bound segments. Christopher Penfold has said: ‘When we began, we were in very much the same situation as the characters. We had the basic premise of a colony stranded on a runaway Moon, without any means of controlling its movements. Obviously, there was a limit to the dramas that could take place on the Moon itself and it was only as the writing of the series developed that ever-widening potentialities presented themselves. Gerry Anderson’s own description is that the Moon is a rogue planet wandering at random through space. But with the gravitational pull from other planets and stars, there is always the possibility of finding a new home … which could offer fresh life for the Moon’s inhabitants. This is a theme that runs through the scenarios: the search for a new home away from the artificial environment of the Moon. But as fresh ideas were tossed around, we realised more and more that there are mysteries in outer space that are beyond man’s understanding and that we could dramatise these. Time, as we know it, means nothing. Distance, as we know it, is incomprehensible. We assume that there is life on other planets, with civilisations and mental developments millions of years older than on Earth. The possibilities are as limitless as space itself.’
As part of efforts to ensure that the series would appeal to a United States audience, American writers Irving Gaynor Neiman and Art Wallace were commissioned to provide early scripts. Neiman’s contribution, ‘A Breath of Death’, progressed as far as a second draft before it was deemed unsuitable and abandoned. Wallace’s contribution, ‘Siren Planet’, was re-written and became the second episode filmed, ‘Matter of Life and Death’.
One defining aspect of Space: 1999 ’s Year One has long been described as the ‘Mysterious Unknown Force’, though it is never identified as such on screen. This MUF is present throughout the first series to varying degrees, and at its core is the concept that the Alphan journey into space did not occur by accident: it was pre-destined since
The show went on to demonstrate frequently that the Alphans have much to learn about the universe they live in, and they aren’t always welcomed by those beings they meet on their journey. Aliens encountered throughout Space: 1999 are usually vastly advanced in terms of science and medicine. They might, for example, have mastery over anti-matter or have perfected immortality or suspended animation – frequently referred to as ‘stasis’. Some aliens are malevolent (‘End of Eternity’), while others are seeking the Alphans’ help (‘Mission of the Darians’) or welcome their friendship (‘Earthbound’).
The Alphans themselves were an extension of present day thinking, rather than originating from a far-flung futuristic time. Thus the series and its characters found a large audience that identified with various aspects of the Alphan plight – who doesn’t relate at times to the thought of being alone, lost or at odds with the universe around them? Issues confronted in various episodes include faith (‘Collision Course’), vanity (‘The Infernal Machine’), cannibalism (‘ Mission of the Darians’), and obsession (‘Dragon’s Domain’) – sometimes on the part of the Alphans themselves, and other times on the part of the beings they encounter.
The episodes of Space: 1999 would feature a variety of story settings ranging from alien planets to spacecraft, while some would be entirely Alpha-bound segments. Christopher Penfold has said: ‘When we began, we were in very much the same situation as the characters. We had the basic premise of a colony stranded on a runaway Moon, without any means of controlling its movements. Obviously, there was a limit to the dramas that could take place on the Moon itself and it was only as the writing of the series developed that ever-widening potentialities presented themselves. Gerry Anderson’s own description is that the Moon is a rogue planet wandering at random through space. But with the gravitational pull from other planets and stars, there is always the possibility of finding a new home … which could offer fresh life for the Moon’s inhabitants. This is a theme that runs through the scenarios: the search for a new home away from the artificial environment of the Moon. But as fresh ideas were tossed around, we realised more and more that there are mysteries in outer space that are beyond man’s understanding and that we could dramatise these. Time, as we know it, means nothing. Distance, as we know it, is incomprehensible. We assume that there is life on other planets, with civilisations and mental developments millions of years older than on Earth. The possibilities are as limitless as space itself.’
As part of efforts to ensure that the series would appeal to a United States audience, American writers Irving Gaynor Neiman and Art Wallace were commissioned to provide early scripts. Neiman’s contribution, ‘A Breath of Death’, progressed as far as a second draft before it was deemed unsuitable and abandoned. Wallace’s contribution, ‘Siren Planet’, was re-written and became the second episode filmed, ‘Matter of Life and Death’.
One defining aspect of Space: 1999 ’s Year One has long been described as the ‘Mysterious Unknown Force’, though it is never identified as such on screen. This MUF is present throughout the first series to varying degrees, and at its core is the concept that the Alphan journey into space did not occur by accident: it was pre-destined since
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