Directed by John Kelly
Teleplay by Alan Fennell
First UK Broadcast – 7th February 1965
Location, location, location – that’s the golden rule of real estate isn’t it? So who the heck thought it was a good idea to build a city underneath a volcano? Deep Heat is a real back-to-basics kind of Stingray episode. It’s got subterranean aliens. It’s got an unusual location. It’s got Troy, Phones, and Marina facing grave danger while Commander Shore and Atlanta sit at home and worry about them. Everything you might expect from a classic Stingray episode. So without any delay, lets get comfortable, tune in and bring on that lava!
Right then, an underwater volcano that’s looking mighty hazardous. Now, this might be the point when you expect me to launch into a history/science lesson about submarine volcanic eruptions and how much they do or don’t look like what we’re shown in this episode. Well, yes, you’re going to get a short one. But I’ll save you some time and just say that the way the eruption and the volcano are portrayed on screen is pretty much what you might expect to see in real life. Obviously it’s simplified down a bit for the sake of telling the story, and we don’t know how many modifications were made to the volcano by the inhabitants living underneath, but by and large the visuals are spot on. There are estimated to be more than a million submarine volcanoes spread out across the world’s waters, and they most commonly occur on tectonic plate boundaries. Being under the water, the lava cools much more quickly than on the surface, forming solid rock and in some cases resulting in new land masses being formed. One of the most famous examples of this ocurring was when an island called Surtsey off the south coast of Iceland was formed by eruptions between 1963 and 1967. Could this activity have inspired Alan Fennell to write this episode? It’s impossible to say, but very little was known about undersea volcanoes at the time, so Fennell pretty much had free reign to write whatever he wanted about this impressive phenomena of the deep.
Bizarrely, the title of today’s episode shares its name with a popular brand of pain relief medication.
Meet the most annoying thing you will ever have to listen to. And don’t just take my word for it – feast your eyes on the early work of digital artist Chris Thompson. This is the WASPs’ new toy, an unmanned sea probe which was probably built out of whatever junk was underneath the table in the special effects workshop. It’s merrily floating along, minding its own business. Something tells me it might be encountering that volcano very soon.
Meanwhile, at Marineville, a very nice picture of the probe has been stuck on the wall and is flashing a bit. This informs Commander Shore and Lieutenant Fisher that everything is going well. There’s some technical dialogue spewed back and forth to make it all sound terribly important.
The technical jargon turns into pure exposition for the benefit of the audience as Fisher and Shore share with each other just how brilliant it is that the probe doesn’t need a crew, much like a satellite exploring space. Sure enough, I have a nugget of history for you – in 1957, the same year the Soviet Union launched Sputnik into space, the United States launched the first ever autonomous underwater vehicle to explore the cold depths of the Arctic Ocean. The chart which Shore has on his clipboard appears to be the same one used by the nurse observing Thompson in last week’s episode, Invisible Enemy, but a new title has been added to the top with the name ‘SEA PROBE’. Amazing that the prop was re-used AND that such a tiny detail was adjusted. The scene ends with Shore taking a dig at a certain Stingray captain who gets to put his feet up while the probe does all the work.
Sure enough, down at the Blue Lagoon, the party is just getting started. This episode sees the introduction of ‘The Wasps’ – a jazz band who have a big part to play in the upcoming episode, Tune of Danger. The piano is X20’s as seen in An Echo of Danger, while the bass is likely a refurbishment of the bass which was last seen in the back of X20’s dressing room in Count Down and Stand By For Action – which likely started life being performed by Mike Mercury in the Supercar episode King Kool and then Lt. Ninety in the Fireball XL5 episode Space City Special. The drum kit has a similar history, having previously been played by Robert the Robot in Space City Special, and by Mitch the Monkey in King Kool.
Curiously, the bar is being tended by the same puppet that’s portraying the piano player. Also enjoying drinks are the two reporters at Phones’ inquiry from An Echo of Danger – more commonly known as Jacques Jordan from The Man From The Navy and the news reporter from Tom Thumb Tempest. Troy and Phones are decked out in their usual formal evening wear, while Atlanta and Marina are in their dinner party gear from The Man From The Navy. If you look at the bottom of this frame, you can fairly clearly see how the flexible material being used for the floor is folded over the edge of the set.
Troy enjoys teasing the gullible Phones with horror stories about being out of work thanks to the new probe handling all of the underwater exploration on their behalf. Troy just better be grateful that the probe makes a more annoying sound than he does.
Speaking of which, the little blighter eventually finds its way to the crater of that volcano. It’s an impressive set, appearing thoroughly enormous compared to the probe and that shoal of fish swimming by.
Back at the tower, Shore and Fisher are quick to notice the probe’s sharp increase in depth. Attempting to demonstrate his keen geographical knowledge of the area, Shore declares that there are no cracks or fissures in the area, only to be proved wrong moments later by studying a map which pretty clearly shows the volcano. Silly sausage.
Meanwhile, Troy is being a smug twerp by bragging about the big bottle of champagne he’s ordered. Okay Captain Moneybags, how about paying off the millions of dollars in gambling debts you were racking up in The Disappearing Ships? The label is suspiciously hidden from the camera, which means this probably isn’t a real bottle of champagne – apparently the Andersons weren’t in a generous mood that day. I’m sure the production team drank the bottle regardless.
Just before the cork is pulled, the party is interrupted by Commander Shore delivering the news that the probe has vanished. I think this is the first time since The Ghost Ship that one of the communicator watches has been used. Curiously, Shore reports that the craft was “mapping the sea bed.” If that’s the case, how come there’s already a map of the area behind him? Maybe it’s an old map, or maybe I’m a pedantic twerp.
Stock footage of the loudspeakers has been darkened to make it look like nighttime while actions stations is sounding. Stingray is launched and the mission is pretty straightforward – go find the probe. Just in case the supposedly extinct volcano sucks Stingray down too, the crew are armed with a high frequency tracking pack which can transmit a signal from up to four miles beneath the sea bed.
Atlanta thinks its preposterous that a volcano could go that deep. Yeah, guess what, they can. Making its third appearance in a row on the desk behind Atlanta is the sonar decoy device from An Echo of Danger, or Thompson’s emergency beacon from Invisible Enemy if you’re that way inclined.
Whizzing along at top speed, all your favourite stock shots of Stingray are knitted together to form this unnecessarily tense sequence of the gang racing towards the volcano. Seriously, why all the drama? It’s not like it’s going anywhere.
Sure enough, they arrive at the volcano and after taking a quick look down into the crater, Stingray begins to sink uncontrollably. Nice driving fellas.
It really doesn’t take long at all for the radio to stop working, which is a bit rubbish. The tracking pack is switched on and fortunately the noise is only a tiny bit annoying as opposed to be very bloomin’ annoying.
Some shots of Stingray’s descent have been flipped, which is noticeable by the ‘3’ on the fin appearing the wrong way round.
At 1,000 feet down, Phones is instructed to go and take a sounding to figure out the total depth of the crater. He stands up in a manner which defies how knees are supposed to work.
While the team wait nervously for the echo to bounce back to them, I’m intrigued by this shot of Marina. First of all, you might recognise this as quite a familiar publicity still of Marina. In fact, fun bit of trivia, it quite bizarrely turned up out of context in the Thunderbirds video game for the Gameboy Advance. If you do recognise it, you might also be fairly convinced that the background behind Marina is supposed to be blue. Well – it is. At least, that’s how it appeared in previous releases. For some reason, the folks at Network who restored this episode for the Blu-ray have taken the liberty of colour correcting the moving rock behind Marina to better match what’s seen in the model shots. Evidence of the blue is still visible around Marina’s hair. Now, I don’t really have an issue with the way it looks in the “original” version episode. I’ve always taken the blue hue as a result of Stingray’s windows being slightly tinted, or that it’s an effect deliberately added to the back projection footage to make the water outside look like water. I certainly wouldn’t consider it a mistake, but likely a deliberate choice by the production team. And even if it were a mistake, I wouldn’t want it to be corrected on such an otherwise definitive release of the series. I’m not too upset about it – these little tweaks happen and it’s not like the original colour is lost forever, and I probably wouldn’t have even noticed if this shot of Marina wasn’t so familiar to me – but it does sting a little bit. This particular episode was also interfered with on the 2001 release of the series, with the full colour opening titles replaced with the original monochrome version for some reason. Coupled with the fact that the original VHS release of the episode was heavily edited to form part of the Invaders From The Deep compilation movie, it means that there has yet to be a version of Deep Heat made available publicly which doesn’t have something missing or changed slightly from the original broadcast. Make of that what you will. I won’t lose any sleep over it, but I’ve also banged on about it now for far longer than I should have done.
Troy sure doesn’t look happy that the echo is taking so long to reach them. Either that or he’s mad at the colour correction too.
Finally, the sound comes back and reveals that the crater is two and half miles deep. The Shores reach a similar conclusion based on the strength of the tracking signal. We’re reminded that Stingray can withstand the pressure of such depths, which is a jolly convenient way of telling us that we don’t have to worry about it in the same way that we did in The Big Gun. I guess those improvements to Stingray’s hull which were mentioned at the end of that episode actually did get put in place.
Anyone bring a crossword book? This is taking a while. It’s all very tense of course. Goodness knows what they might find at the bottom. Troy’s sense of modesty perhaps?
Well dang, they’ve gone and done it again – more of that back projection footage has been switched from blue to brown. It’s much less noticeable than it was in the previous shot. I mean, at least they made the switch consistently. It would have been weird if some shots were still blue.
Atlanta and Troy apparently share a moment of telepathy when they both realise it’s probably a good time to slow Stingray down. The tanks are blown, and there’s bubbles aplenty, which must have been a right pain to work around when the restoration team were colour correcting the view out of the window. Have I pointed that change out enough yet?
Stingray slows down and finally hits the floor with a clunk. Deploying the landing skids probably would have been a good idea. It’s almost like Troy and Phones enjoy scratching the paintwork on the hull. The bottom of the crater isn’t exactly much to look at. There’s a concrete floor and a small capsule, next to which the probe is parked. That’s it. I was hoping there’d be a Tesco Express or something.
The Stingray crew are having a difficult time seeing what’s outside because of how darn dark it would be that far underwater. Then, suddenly the place is fully illuminated, and Troy gives the hammiest performance of someone blinded by a light I think I’ve ever seen.
Thanks to some back projection (which is the colour it’s supposed to be), we can now see an airlock door visible through Stingray’s windows. It’s got a completely different door to the one we just saw on the model set.
Just in case things weren’t weird enough, there’s suddenly a disembodied old man yelling at the Stingray crew to exit the craft and climb into the airlock. Apparently the voice is coming from all around them. We won’t question how a loudspeaker presumably fitted inside the crater is supposed to be heard so clearly from inside a submarine through the water.
We know the mysterious voice isn’t all that friendly because they decide to point three missiles at Stingray. In actual fact, we’re being shown the same missile emerging from the same hatch from three different angles. Barry Gray’s music does most of the heavy lifting to make these little darts appear threatening. It’s certainly been a bizarre turn of events. After the commercial break, I guess we’ll find out what all this is about!
Back at base, Atlanta is terribly worried that the tracking signal hasn’t changed for 15 minutes. So now we know the exact amount of time it takes for Troy and Phones to get threatened by a mysterious voice, change into their diving gear, and leave Stingray… just in case you were keeping track of that sort of thing.
As the lads swim across and enter the airlock, I noticed two things. The first is that Troy bumps into the hatchway as he enters, causing the whole set to wobble. Then there’s the fact that the hatchway has been cleverly designed with a large gap at the very top so that the puppet wires can get through.
Marina has been left behind on Stingray because the plot requires it…
The illusion of the airlock emptying out is simply achieved with the water tank in front of the camera draining slowly.
Now then, who’s ready for an interesting continuity error? Can you spot the difference between these two shots? Yes, the elevator is going down now smarty-pants, but anything else? Well, first of all the red tip on the very end of the antenna of the tracking pack has gone missing. And, more importantly, Troy looks… different. The puppet’s hair is suddenly taller, his complexion is paler, and his eyebrows are a slightly different shape. So, as you may know, there were originally two versions of the puppets for Troy, Phones, Shore, Atlanta and Marina used by the two individual puppet stages at APF – one stage supervised by Christine Glanville and directors Alan Pattillo and John Kelly, and one by Mary Turner with directors David Elliott and Desmond Saunders. All the even-numbered episodes in the commonly accepted production order were produced by the Turner stage, and the odd-numbered episodes on the Glanville stage. This meant that the two stages could shoot episodes simultaneously because the puppets for key characters didn’t need to be shared between units. However, there are some very subtle differences between the puppets that are used – for example the colour of Phones’ hair is subtly different in the Glanville episodes compared to the Turner episodes. Now, for some reason, the Troy Tempest puppet on the Glanville stage was revamped with all the modifications noted above during the production of The Cool Cave Man (when we get to that episode, I’ll have a great deal of fun pointing out every time the puppet changes). But how does this affect Deep Heat and the shots we’re looking at now, when it was apparently produced a couple of months earlier? Well it’s possible that during post-production a decision was made to reshoot some of these scenes inside the elevator, but this must have happened at some point during or after the shooting of The Cool Cave Man because the new Troy puppet is being used. Alternatively, the production order for Stingray might not be quite what we think it is. Had these scenes been reshot before the puppet changed, we probably wouldn’t have noticed. For more continuity issues surrounding the specific version of a specific puppet being used by a specific stage, read my first eleven or so reviews of Thunderbirds.
Excuse the long tangent, but getting back to the plot, the Shores have noticed that the tracking pack is descending again rather quickly. For a touch of melodrama, Atlanta suggests that they might be heading for the centre of the Earth. Yes Atlanta, because the tracking pack definitely wouldn’t have melted into nothingness before they got anywhere close to the centre of the Earth, and it definitely only takes a matter of minutes to make the almost 4,000 mile journey to the planet’s core…
Hello new Troy. We’ll be seeing more of you later in the series. Thanks for turning up early and forcing me to write an essay about the logistics of the AP Films puppet stages.
Over four miles beneath the sea bed, the elevator finally reaches the end of its journey. But where are they? I’m still holding out for that Tesco Express.
When the door opens, a very interesting room is revealed. In addition to some modern and technical pieces of equipment, we also have chairs carved out of solid volcanic rock. So whoever these people are, they discovered electronics before they discovered cushions. Either that or they have buns of steel to be able sit down on a chair like that every day.
Troy’s face is now back to the way it used to be which I’m sure you’ll be relieved to hear.
Instead of actually using the incredibly uncomfortable furniture, our hosts have instead been crouching down behind the lumps of stone for reasons unknown. They don’t even shout “surprise” when they pop out. Also, where the heck did that bowl of fruit come from?
Right, time for an info-dump. The name of this place is Voldana. These two chaps are called Torata and Fragil, and they are the only two people left down here from the civilisation known as Centralius. Yup, once again there’s only two of them. In fact, these are the same puppets that were previously seen as Nucella and Chidora in Emergency Marineville but heavily repainted and modified. They look stunning but new puppets would have helped to make them feel a bit more special. Fragil describes their former city as “dynamic” which is an odd choice of adjective. Sadly this is the only room left. Maybe all the comfy chairs were left elsewhere… It turns out that all the other inhabitants were killed when the volcano decided to wake up and start erupting again. Coming back to what I said at the top of this review, someone really should have checked that the volcano was 110% extinct before they built a city anywhere near it. If you’re not sure, pick a different spot, it’s that simple. All that aside, pay close attention to Fragil’s lip while Torata is talking – it looks like the lip sync operator is having trouble timing when to switch the electrical signal from the dialogue back and forth between the two puppets.
A handy diagram is available to explain just how dumb it was to build a city inside a volcano (unless your name happens to be Blofeld). Not sure who this diagram is supposed to benefit, seeing as the map of the actual city doesn’t have any landmarks or names on it.
Apparently all the lava is roaring around behind that door. Needless to say, Troy, Phones and the Centralians must have an incredible tolerance for the heat and ridiculous amounts of sulfur dioxide in the air which should be tearing their lungs apart. There’s an awful lot of exposition to explain why we’re all here. Torata and Fragil needed a craft to escape the destruction of their city and reach the surface, because they can’t breathe underwater. Again, the choice to build a city in an undersea volcano baffles me. So they used “electronic suction aparatus” to lure the probe down to them. Did they happen to have this equipment lying about or was it installed before the city was destroyed? When they discovered that the probe didn’t have comfy chairs inside, Torata and Fragil set their sights on Stingray and desperately threatened the crew with missiles in order to catch a ride to safety. Phones points out that all this “wasn’t very friendly” in tone that a primary school teacher might use when talking to a child that’s been sharing inadvertently xenophobic comments with their friends. Had this life-threatening situation been established from the outset, Troy and Phones could have brought down extra breathing gear and we’d all be laughing our way back to Marineville. But it wasn’t, so they didn’t. How surprising – these thickie twins who built a city underneath a volcano of all places also didn’t think to tell their rescuers to bring down the vital tools needed to complete the rescue. Ah well, time for them to turn into proper villains and threaten more violence in order to steal the air tanks they need.
Troy and Phones are also forced to hand over their own guns. Phones is so upset he’s going cross-eyed. Troy is quietly optimistic that they’ll find another way out. Climbing four miles while holding your breath is looking like your only option right now, buddy.
Volcano starting to sound quite angry now.
Then the absolute twerp reveals his true colours and deliberately blasts the door holding back the lava. Something tells me this whole scenario wasn’t a result of poor planning at all, but a jolly way to murder some terraineans and pinch their submarine.
For a door that can hold back lava, it sure didn’t take much to blow the thing up. Prepare for some absolutely glorious special effects sequences.
The nasty scoundrels make their escape in the elevator while lava and fire pours into the control room. It’s not exactly looking good for Troy and Phones…
Well look who was conveniently left behind on Stingray.
Torata and Fragil exit the airlock, this time with the gap above the hatch hidden from view.
With some very quick thinking, Marina stops our villains in their tracks by closing the hatch! Ha! Serves them right. Bit mean of Marina to immediately judge that these are bad people, but maybe she quickly noticed that they were wearing the WASP breathing gear and put two and two together. That would be some smart detective work. As Torata and Fragil turn to head back to the airlock, one of them must have suffered a very broken arm because elbows shouldn’t bend that way… unless that’s just a thing that makes the Centralians so bloomin’ dynamic.
Feeling cheated out of their free ride to victory, Torata and Fragil are heading back downstairs to give Troy and Phones a jolly good telling off. Can you tell I don’t like these guys? I don’t even like them in a pantomime villain kind of way where you hate them but you also love them for being amusing. They’re just straight up weirdos.
Things are looking pretty bleak. Troy and Phones are struggling to remain standing in all of the smoke, while fire and rock and lava tumbles down around them. To achieve the effect of fire dribbling down from the roof, it looks like the special effects crew dropped a thread covered in something rather flamable and set it alight. Works for me! It feels like the end of the world is unfolding here. It’s a nightmarish scene of smoke and darkness and flame and the whole of reality caving in around our heroes.
The elevator shaft appears to be the same one used in Subterranean Sea.
Torata and Fragil have decided that Troy and Phones must be experienced enough to be able to hold their breaths underwater while they swim back to Stingray and open the hatch. That sounds less like a plan and more like wishful thinking. But heck, what do I know? Maybe there’s a whole week of WASP training dedicated to holding your breath. If you get through the first day without passing out you get a special badge.
This wall just looks like someone’s thrown some chili con carne over it.
Phone is absolutely thrilled to hear that the elevator is coming back. He’s so happy that his eyes have gone wonky.
There was apparently an incident during the filming of these sequences where flaming lava poured off the set during a take and set the camera operator’s trousers on fire. I’d be willing to bet this was the shot in question because it looks flipping dangerous.
Would the gentlemen care for a smack over the head with a heavy boulder?
Oh look, Troy has his new face back on. Presumably that means this scene also required some reshooting.
Plasticine has been added over the villain’s eyes to make him appear unconscious, as Troy valiantly drags his victim into the elevator.
Control room very much on fire now. Still, at least those awful stone chairs will survive all this. Some of these moments take me back to the days of Fireball XL5‘s special effects, where the crew clearly just set fire to the set and hoped for the best. It looks fantastic but boy does it feel unsafe.
Troy and Phones finally make their escape. That elevator is certainly getting some mileage today.
Reader, go and test your smoke alarm. Oh, you didn’t build your home beneath a volcano? Well test it anyway.
The fire is now chasing the elevator up the shaft. That’s a pretty terrifying thought.
Torata and Fragil have recovered from their head injuries remarkably quickly considering they’ve also been inhaling sulfur dioxide by the tonne. Still, Troy has plans to take them on a nice trip back to Marineville where I’m sure the cheerful doctor will fix them up with a smile and some predictions of doom and gloom.
The carnage rages on down in the cave. An entire rockface collapses, revealing some kind of gantry structure from the studio in the background.
Here’s a fun continuity error. Marina is supposed to still be alone on Stingray, but judging by the WASP badge in the bottom left corner of the frame, this shot is taken from earlier in the episode when Troy was in fact sat right next to her.
What do you think the ratio of oxygen to sulfur is in Troy and Phones’ lungs right now? I doubt it’s good. Ignoring that for a moment and assuming they’re in perfect health, it probably is possible for our aquanauts to hold their breath for the minute or so it would take for them to reach Stingray. It probably helps that the water is nice and toasty warm from all that magma down below.
Marina spots her chums making their way back and opens the hatch again. Hurrah!
Just in time too – the elevator gets blown to bits in such an enormous explosion I’m surprised Stingray wasn’t taken out too.
Stingray gets a move on and it’s now a race to the top of the volcano between our heroes and the lava. Just as we saw in the underground cavern, the crater is filling up with smoke and fire beautifully, with tons of air bubbles thrown into the water tank in front of the camera to add to the explosive atmosphere.
A near miss as Stingray just about dodges a big blast.
That back projection footage still getting colour corrected by the Network team. They’re certainly committed!
The Stingray model getting dangled extremely close to the flames there. Troy’s great plan is now to dive Stingray out of the way of the eruption as soon as they get out of the crater. It’s not so much a plan, just an application of common sense.
Stingray dodges the blast by the narrowest of margins and boy is it an impressive bang. The explosion on the surface appears to be an alternative take of the new colour explosion seen in the opening titles from Invisible Enemy onwards.
Footage is reused from Subterranean Sea to show Stingray getting seriously knocked about by the tidal current.
Atlanta’s been getting tearful while all this has been going on. Presumably the tracking pack that Troy has been wearing very suddenly started working again and let the tower know that they were rapidly coming up from below.
Marina and her new friends are having an unintentionally hilarious time trying to stand up while Stingray rocks around all over the place. Clearly they weren’t paying attention to the fasten seat belts sign.
More shots of Stingray hitting the sea bed from Subterranean Sea. It’s a pretty spectacular crash so I’m glad they used it twice.
One of the villains has casually broken an ankle, while Marina’s trapped under a table and I couldn’t tell you what direction the bloke at the back is facing but I’m fairly sure he’s snapped his neck.
Stingray finally comes to stop. It makes sense in the context that it’s repurposed footage, but I’m not sure why Stingray has its front hatch open at this precise moment.
Atlanta’s in desperate need of an update over the radio but nobody’s really in a fit state to give her one for a moment. Stingray sure can take a beating!
Troy finally reports in that all is well, and that he has some prisoners ready for the Marineville Jail. That place is really starting to fill up. Atlanta and her father are delighted to learn that everyone is safe. The commander won’t be so ecstatic when he sees Stingray’s repair bill, or realises the fancy new sea probe is toast. Speaking of toast, Troy wants that darn champagne from earlier. We also learn that the waiter at the Blue Lagoon is called Luigi which is pretty much at the top of the list when it comes to naming waiters in a television show.
Everything is back to the way it was at the beginning of the episode. Smug Troy finally gets his smug champagne. If you watch very closely before the episode fades to black, you’ll notice that Luigi manages to pour half the bottle into the glass, and half over the table. The champagne also appears to be green. Must be a good year.
Deep Heat is both spectacular and incredibly average. The story is a relatively simple affair and takes a back seat compared to the grand display of special effects which just keep getting better and better. When Alan Fennell asked for a volcano, he jolly well got a volcano. This is one of the most dangerous and hopeless situations Troy and Phones have ever found themselves in, and John Kelly with the expertise of Derek Meddings’ team sells that with every ounce of petrol going spare. Maybe that’s all a good Stingray episode needs for some viewers, but I might have liked more of a character-driven narrative. Rather than being forced with missiles to go down into the base of the volcano, Troy and Phones should have been answering a call for help intentionally, or investigating their natural curiosity about the place. Similiarly, the motivation of the villains wasn’t clear and would have benefitted from further development. Were they evil or just desperate? Was blowing the volcano door open to kill Troy and Phones quicker really a humane act of kindness, or did they enjoy it a bit too much for that? Torata and Fragil didn’t have any special characteristics or flaws to make them interesting, and their entire plan sprang from the pure luck of Stingray turning up when it did. So I wouldn’t necessarily place this episode too high on my list of top notch Stingray stories, but it’s a heck of a fireworks show, and who doesn’t enjoy fireworks? Well… dogs don’t enjoy fireworks… but I know for a fact that dogs don’t have much of an opinion about Stingray anyway.
Next week, we’re off on another globe-trotting voyage with the Stingray crew as they journey to the heart of Africa to go In Search of the Tajmanon! But will they find more than they bargained for on this exciting expedition?
www.filmedinsupermarionation.com by Century 21 Films Ltd.
Filmed In Supermarionation by Stephen La Rivière. Third edition published in 2022 by Century 21 Films Ltd.
Stingray: Adventures In Videcolor by Andrew Pixley. First published in 2022 by Network Distributing.
Submarine Volcanoes by Oregon State University
Surtsey by UNESCO World Heritage Convention
Autonomous Unmanned Underwater Vehicles Development Tendencies by Salimzhan A. Gafurov and Evgeniy V. Klochkov. Published in Procedia Engineering Volume 106, 2015, Pages 141-148.