Destination: Moonbase Alpha (6 page)

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 dawn of time. The Alphans are following a destiny that will see them ‘prosper and increase in new worlds, new galaxies,’ where their ‘odyssey shall know no end’ (Arra, ‘Collision Course’). The MUF may have had a hand in allowing the Moon to survive being ripped out of Earth orbit in ‘Breakaway’, something critics of the show love to point out as being scientifically impossible. Obviously if their journey has been pre-destined then the small matter of blowing a Moon out of planetary orbit is a minor event to plan in the metaphysical scheme of things. Consider also that the Moon survives the crushing forces of the ‘Black Sun’. This must be thanks to the presence of the MUF, as Professor Bergman – and the other Alphans – clearly lack confidence that Bergman’s own force field will protect them. Bergman asks Koenig if he ever wonders just how or why they have survived and proclaims that he is not exactly thinking about God, but a ‘cosmic intelligence’. On this journey through a black hole, the Alphans talk with a mysterious voice – God? The Mysterious Unknown Force? It is left decidedly unclear, in true
Space: 1999
style, allowing the viewer to place together the pieces of the puzzle, just as the Alphans themselves are doing. In ‘War Games’, Commander Koenig professes his belief that God ‘or someone or something’ is looking after them, and that they will survive. He comments that there is no rational explanation as to why the Alphans have survived their perilous journey. Of course there isn’t – the explanation is not rational: it is one of a mystical faith in an unknown entity.

Then, in the season’s last episode, ‘The Testament of Arkadia’, the Moon is stopped cold in space by an unknown force, and Alpha’s power levels start to drop. On the planet Arkadia, amazing discoveries are made that clearly show that mankind originated not on Earth, but on this seemingly alien world. The Arkadians themselves had spread the seeds of life into the galaxy, as their world was about to die. And there are mysterious forces at work that want the Alphans to complete the cycle and bring life back to the dead world of their ancient ancestors.

Regarding the MUF, Christopher Penfold said: ‘My father was a clergyman in the Church of England. I have arguments with close friends about the position I adopt, which is one of agnosticism as opposed to atheism. My argument is that atheism is itself a form of belief, and belief is the point at which you begin the abandonment of reason. Those are the sorts of themes I wanted to put forward. I recognise the huge power of the hunger for spirituality, and experience it as strongly as anybody else. But as to the ways in which that can be channeled, I would like it to be much more sophisticated than doctrinal forms of religion … I think that was the area in which we boldly went. There was an element of feeling that we were children who had been given a whole lot of new toys to play with, and we could do something quite different in terms of television drama. The opportunity to do a drama that was a drama of ideas was something we very avidly espoused.’

At a time when the concept of long-term story arcs in science fiction television storytelling was still undreamt of,
Space: 1999
’s first 24 episodes incorporated a remarkable number of plot threads and character developments tying them together and defining their position in Year One. Some of these elements are subtle; to be discerned, they really require the episodes to be viewed in production order, which differed from transmission order. Throughout the cycle of this first season, the Alphans succeeded on their own merits as Earthmen in space, fulfilling numerous seemingly pre-destined encounters.

Amazingly, these first 24 episodes were fully produced prior to any broadcasting arrangements being made …

The plan ITC and Lew Grade had with
Space: 1999
was to produce the series and sell it to an American network on the strength of the production values and on the appeal of popular American actors Martin Landau and Barbara Bain being cast in the lead roles. Indeed, Landau and Bain had been cast partly because a US network had made a verbal agreement to purchase the series if they were the stars. The series was to debut in September 1974, but the executives changed at the US network, and the prior verbal agreement was worthless.

The American market was vitally important financially as the huge investment made in the series could not hope to be recouped without it, and so ITC again tried to sell the series to the American networks for the 1975 fall season. The networks, however, turned the series down. As Abe Mandell said in October 1975: ‘The networks just don’t like to accept any project they don’t have complete control over,’ and
Space: 1999
was by that point a
fait accompli
. Besides, added Mandell, ‘It’s all shot in England, far out of reach, and they don’t like that idea.’

ITC, not willing to concede failure, proceeded to embark on the first major syndication effort in television history, touring around the
United States and selling the series directly to the individual broadcasters that would air it, including network-affiliated stations. Many of these stations eventually pre-empted programming from their own networks in favour of
Space: 1999
. In those days, that was quite a major departure, but these stations were eager to broadcast
Space: 1999
as the 1975 fall network schedule was largely being judged a colossal disappointment. The shows most frequently dropped in favour of
Space: 1999
were
The Invisible Man
(NBC),
Barbary Coast
(starring William Shatner, on ABC) and CBS’s
The Montefuscos
and
Fay
. Other shows that were replaced by the adventures of Moonbase Alpha included: (on ABC)
Welcome Back Kotter
,
Happy Days
and
The Six Million Dollar Man
; (on CBS)
Rhoda
and
Phyllis
(both spin-offs from
The Mary Tyler Moore Show
),
Good Times
and
Cher
; (on NBC)
Ellery Queen
and
Sanford & Son
.

On
12 March 1975, ITC ran a four-page feature in
Variety
proclaiming
Space: 1999
to be ‘The Ultimate Adventure Series,’ and hyping the ‘Simultaneous world-wide premiere in 101 countries in September 1975.’ The ad consisted of quotes from station executives around the United States, as well as a letter from Abe Mandell in which he wrote: ‘We wish to thank all our friends in broadcasting for the unprecedented way in which they have so enthusiastically welcomed our new space science fiction series,
Space: 1999
. It is completely overwhelming …
Space: 1999
is a dramatic and unqualified sales success in every way that a new product can be judged a sales success, and in some new ways. Many local stations have bought the series to pre-empt prime time network entries starting in September ’75 … Everyone has told us that
Space: 1999
will be the big hit of the 1975-76 season.’

Among the vast amount of praise heaped upon the series by the 36 television executives quoted in the ad were the following:

‘The special effects are really out of this world and Martin Landau and Barbara Bain are excellent. We are betting that New Yorkers will eat up
Space: 1999
, and I expect the rest of the country will as well.’ – Hendrick Booraem, Jr., Vice President/Programs, WPIX, New York City.

‘
Space: 1999
is the finest programme that I have seen in years and I cannot understand how the networks let this slip by.’ – Robert M. Bennett, Vice President, General Manager Operations, WCVB-TV (ABC), Boston.

‘
Space: 1999
meets the test of all family programming. Great production values! Great star quality! By far the most promising and exciting first-run series for the coming season.’ – David E. Henderson, President Broadcast Division, WJAR-TV (NBC), Providence.

‘I can’t tell you how happy we are to own
Space: 1999
. It’s a magnificent show – superb acting – and has splendid special effects.’ – Ro Grignon, Vice President and General Manager, WDAF-TV (NBC), Kansas City.

This has got to be one of the best-looking hours of television I have seen … The effects approach those only seen previously in movies like
2001: A Space Odyssey
. Best of all the storyline and the scripts will support the fantastic job done in effects, sets, and attention to detail. Martin Landau and Barbara Bain once again look like real winners.’ – Tay Voye, Director of Program Operations, WTVJ (CBS), Miami.

‘I’m certain that the star power coupled with the outstanding special effects and cinematography will make the show a real winner.’ – Art Glenn, Vice President and General Manager, KMGH-TV (CBS), Denver.

‘It holds viewers glued to their seats. This programme tops them all.
Space: 1999
will set a new standard of programme excellence. Top talent, top production, top writers, equals top of the world.’ – Robert J. Sinnett, Vice President and General Manager, WHBF-TV (CBS), Davenport/Rock Island/Moline.

‘At last – a series that should provide edge of the chair excitement for the entire family. We can’t wait to read the numbers in the fall.’ – Charles Whitehurst, Vice President and General Manager, WFMY-TV (CBS), Greensboro/Winston-Salem/High Point.

‘
Space: 1999
is without question one of the best-produced programmes I’ve seen. I am very surprised that one of the networks didn’t make it part of their program schedule.’ – Conrad L. Cagle, Director of Television Operations, WAVE-TV (NBC), Louisville.

‘It’s the best thing I’ve seen in many a moon. I look forward to the return of the Martin Landau-Barbara Bain magic.’ – Doug Duperrault, Assistant to the President, Program Director, WFLA-TV (NBC), Tampa.

‘The special effects are fantastic, the writing is excellent and the stars add the right dimension that makes me feel ITC and WCPO have a winner.’ – Ben Havel, Assistant General Manager, WCPO-TV (CBS), Cincinnati.

‘
Space: 1999
is San Antonio’s kind of show! We know we’ll own that time period next fall.’ – James Schiavone, Vice President & General Manager, KSAT-TV (ABC), San Antonio.

‘One of the most fantastically exciting and extremely well-produced series I have seen. Production qualities exceed anything I’ve seen.’ – Frank Chappell, President of Broadcast Division, KARD-TV (NBC), Wichita.

‘An exciting concept, fine production and outstanding stars, should make it an excellent series.’ – Everett H. Hughes, Program Manager, WDBO-TV (CBS), Orlando.

‘This series has a great cast along with top quality production. We look to great success with
Space: 1999
.’ – Tom Rose, Assistant General Manager, WLWI-TV (ABC), Indianapolis.

‘We think
Space: 1999
is the best combination of stars, sets and special effects we have seen in one show.’ – A. Phillip Corvo, Program Director, KGTV (NBC), San Diego.

‘Television has needed a believable new sci-fi series since the advent of the seventies.
Space: 1999
fills the void with class. For fantasy, realism, quality and exciting entertainment, the search has ended with
Space: 1999
.’ – Don E. Fuller, Vice President and General Manager, WSJV-TV (ABC), South Bend/Elkhart.

While
Space: 1999
was a British series, the UK market was not as large or as important to its financial success (or failure) as the US market was. Also, ironically, its country of origin was virtually the only other one apart from the US where it was not networked. Although it was transmitted on ITV, one of the two major channels, it suffered badly by being scheduled differently and in undesirable and constantly changing time slots – sometimes early Saturday morning, or late at night – in the different ITV regions, such as ATV (Midlands), LWT (London), Yorkshire (North East), Granada (North West), Anglia (South East) and HTV (Wales and West Country). In addition, the series did not receive as much media coverage in the UK as it did in the US, and much of what it did receive was negative.