Supercar – LEGO MOC

When I was about 10 years old I discovered Supercar and went absolutely nuts for it. It was at a time when I was exploring the wider Gerry Anderson universe beyond shows like Thunderbirds, Stingray, and Captain ScarletSupercar‘s charming simplicity, both in terms of format and in the way that it was produced, made it very accessible. The rudimentary specials effects which became more and more sophisticated as the series went on never put me off, and in fact they intrigued me. Being able to actually see the nuts and bolts of how the show was put together was inspiring to me as a young film maker. The back projection and fly-by-wire techniques felt very achievable, even though they remain to be tricks that only seasoned professionals can pull off convincingly. Inspired as I was, and because I was also a young LEGO fan, I built my own models of Supercar, Black Rock Laboratory, and all the characters, and I made an episode all by myself. It wasn’t great by any means, but as a kid it was a pretty magical experience.

Fast forward almost 15 years and I’m still a Supercar fan, and I’m still a LEGO fan, but my collection of LEGO parts is a little bit bigger than it used to be. I thought it was about time I revisited this childhood favourite.


As with my Space Precinct Police Cruiser, I started building “the marvel of the age” with no plans or designs. For reference I had my model of Supercar from Product Enterprise, a few colour shots of the original models that are readily available online, and some vague memories of what my original LEGO model looked like – although I wasn’t planning on sticking to that design very closely.


I started by gathering any red curved pieces I had to hand and tried to come up with the best way to construct Supercar’s nose section using SNOT (Studs Not On Top) building techniques to get the right curves in the right places. Fortunately the Product Enterprise model is in roughly the same scale as LEGO’s minifigures so it was relatively easy to mimic the same shape by eye. The width determined for the front of the model would obviously affect the size of the cabin and the back of the model so it was important to try out multiple options to find the right solution.


Getting the cabin right was quite a challenge. As with the Police Cruiser MOC, I was limited by my selection of windscreen pieces. Perfectly re-creating Supercar’s curved dome-like canopy wasn’t going to be possible with my part selection so I simply had to go with the widest windscreen pieces I had. I’m fairly certainly these exact same pieces were used on the model from my childhood. Often sections from the canopy of the original studio model were removed to allow for camera access or puppet wires, so I decided to leave the model without side or roof panels. In the series, all five members of the Supercar team are shown to (just about) fit in the cabin with the pilot seated at the controls on the port side. I tried to squeeze in as many seats as I could to give the illusion that everyone could climb in, but in reality the seating area is only four studs wide, and LEGO minifigures are just over two studs wide – meaning there is only space for a crew of two. For display purposes, however, only Mike needs to be sitting at the helm. The Mike Mercury minifigure I created uses the exact same pieces as the figure who starred in my childhood LEGO film.

SNOT construction was used along the sides of the car until I reached the rear of the cabin where the wing section started. Getting the shape of the swept wings right was something of an issue and in the end, the angle was so slight that I decided it would be easier to make them completely perpendicular to the car and ignore the sweep of the wings altogether. This presented an exciting possibility. With tile pieces and some carefully placed plates inside the body, I was actually able to make Supercar’s wing retractable, just as they appear in the television series.

I personally think that Supercar looks much more impressive with the wings extended, but it’s nice to have the option to tuck them away for landing. The back of the car was just built up using traditional studs on top construction with some black studs attached at the back to represent the exhausts. A careful selection of curved slopes formed the striking shape of the two rear fins. The blue panels surrounding the antenna couldn’t be made as large as they appear on the original model because of how much space the fins were taking up, but the features are at least hinted at. The antenna itself sits on top of a hinge semi-buried in the main body.

That about wraps up the build process. The whole model managed to come together over the course of an afternoon. She could probably benefit from the addition of a few decals to better match the original model, but for now this is the best rendition of a LEGO Supercar that I could possibly achieve. It’s a massive improvement on my old model, yet every time I look at her I’m transported back to a time when I was a pioneering young film maker dangling my Supercar model over a bathtub ready to re-create the opening titles… maybe history will repeat itself…

Stay tuned for more LEGO Gerry Anderson creations and feel free to add feedback and suggestions in the comments below!

Space Precinct Police Cruiser – LEGO MOC

One of the hobbies that has kept me busy over the past few years is building LEGO versions of vehicles from the worlds of Gerry Anderson. If you follow Security Hazard on Facebook you may have seen a few of these.


The Police Crusier as it sits on my merchy merch merch shelf.

In search of inspiration for a new project, I found myself glancing at my shelves, and at the Space Precinct Police Cruiser beautifully rendered in toy form by Vivid Imaginations. This was very much the flagship of the extensive Space Precinct merchandise range from the mid-1990s. The vehicle seemed like a good shape and size to be produced in LEGO at minifigure scale. I didn’t want to purchase any parts especially for this build and felt reasonably confident that I could achieve a passable finished product with my exisiting collection of LEGO pieces.

I started by recreating the likenesses of Lt. Brogan and Officer Haldane in minifigure form borrowing from my selection of spare heads, wigs, torsos, and legs. The vintage police uniforms felt very appropriate and the fairly basic faces actually captured qualities of the characters very well.


With the minifigures in place, the first major puzzle to solve was how to recreate the large, sloped windscreen. After trawling through my large box of windows and doors the solution came in the form of two 6 x 3 x 1 transparent slope pieces. Although it would have been nice if the windscreen had been one solid piece, capturing the right overall shape was more important to me. The same ethic was applied to the rest of the build in so far as the overall look had to be right using what I had available, even if certain colors or angles weren’t the neatest  or most accurate choices.

That being said, I worked from four pieces of source material in order to make this model as recognisable as possible. The first was the Vivid Imaginations toy which is possibly one of the most underrated Gerry Anderson toys ever produced. The level of detail, combined with all of its play features, clearly show a lot of time and effort went into making this an impressive artefact for all ages to enjoy. The second source was David Sisson’s model of the craft. His website has a great article about the construction and a gallery of the finished product. Thirdly, I studied Graham Bleathman’s cutaway artwork from the Space Precinct annual. Then, last but not least, I looked at clips from the series itself. This step was important for figuring out the details (or lack thereof) of the interior.

With a windscreen picked out and all of my source material carefully studied, I sat down in front of my drawers full of LEGO pieces and started constructing the front section, by far the more challenging half of the model. Capturing the angle of the hood involved using carefully placed hinge pieces and then using a lot of SNOT (Studs Not On Top) construction to cover it all up. Keep in mind that I hadn’t done any prior design work or planning for this model. I often find building off the cuff makes for the most interesting experience, and develop solutions to problems as they come up.


One major difference between the Vivid toy and the original craft is the placement of the lights on top due to the way the gull wing doors operate. I was facing a similar plight until I managed to track down some hinged window pieces in my collection which meant I would accurately be able to position the light on top of the cabin, rather than behind. Unfortunately I appear to be lacking the “glass” to go in said windows, but you get the idea!

As I advanced towards the rear of the build, things became a lot simpler. The main body of the craft is basically a block with the engines stuck to the side. The very back of the model tapers somewhat so more sloped pieces and detailing for ventilation became important.


The boosters are probably the least accurate part of this build. Although the shape is pretty spot on, the colours are a bit mismatched because ultimately I just had to find four identical parts from my collection that would do the job. At least the cones are black rather than bright pink. Some more SNOT construction was needed to produce the smaller emergency rockets attached to the side – a detail that is only vaguely hinted at on the toy but came as a great surprise when studying the actual craft more closely.


With the main structure now in place I started to added little bits of detail, including roughly recreating the underside of the model – an area that is easy to forget about but definitely needs a little attention on all builds of this size. The final touch was the landing pads which I decided to include since the model would generally be displayed on a tabletop rather than “in-flight”.

Et voilà! This model is rather special to me. Although I’ve had a few pieces of merchandise in my collection for some time now, I’ve only really discovered Space Precinct very recently with the new DVD release from Network. I love the ambition of the show and the exciting, shadowy, diverse version of the future that it paints. The design of the police cruiser represents the overall spirit of the show of being a familiar cop show but with a futuristic sci-fi spin put on it – something to which LEGO easily lends itself.

If you enjoyed this creation, comment below with your thoughts about what I should build next, and follow us on Facebook for the latest updates!

As a bonus, and as requested by artist and actual grown up Chris Thompson, here is a video of me swooshing the model around to the theme music…

Remembering Shane Rimmer (1929-2019)

On March 29th, 2019, the actor Shane Rimmer passed away at the age of 89. As well as providing the unmistakable voice of Scott Tracy in Thunderbirds, Shane had a long and expansive career in film and television as both an actor and a writer.

AC and Jack have recorded a special edition of the Security Hazard Podcast to remember Shane’s work as well as personal experiences of meeting the man himself at a number of events over the years.

Our sincerest condolences go out to Sheila, his widow, and all of Shane’s family and friends.

The Most Special Office

Hello again! The combination of moving house recently and a busy work schedule means that I have not been able to focus on writing for this blog as much as I would have liked. With things settling down a bit now, and after a few recent happenings, I am fired up once again to bring you Anderson-themed musings.

Today’s post has to do with my recent house move and my opportunity to realise a dream I have had for a long time. Say hello to my new office.


I call it an office, it’s more of a man cave which spares the rest of our house from being cluttered with memorabilia from Gerry Anderson shows. Most of this stuff has lived in boxes for the past two and a half years after my move from the UK to the US. Before that much of it resided in my parents’ attic because of limited space. I have been collecting basically since birth. A lot of the toys you will see are mine from when I was a kid, and some are even hand me downs from my older brothers. Many items are far from being in pristine condition but the achievement is more in the fact that I have been able to hold onto them for this long, and that they survived the transatlantic shipping process.


Time for a tour! Let’s start with the basics. The room is about 7′ x 10′ and before moving anything in there the entire hardwood floor had to be refinished due to some very careless painting in the past. The desk was about to be thrown away at my “real life” job so with great difficulty it was transported here. The shelving and the chair are from IKEA.


One corner is dominated by empty boxes. Yes, I took most things out of their boxes to put them on display. They look prettier that way. I kept the boxes for posterity, though.


The desk is mostly dedicated to my LEGO hobby. Yes, I also dragged an enormous collection of LEGO bricks across the Atlantic too. All the pieces have sorted and organised into drawers and boxes to make the process of building MOCs that little bit easier. You can also spot my own, custom built LEGO vehicles from The Investigator among many other things. The monitor and speakers are only connected to a Google Chromecast device. I deliberately chose not to have a full PC set up in this room because I want it to primarily be a space to enjoy my collection and work on LEGO builds, rather than constantly checking social media and emails and the like. The monitor is mostly there to display reference images for LEGO builds which I can cast from my phone via the Chromecast. When not in use, the monitor displays the sci-fi artwork of Chris Thompson.

Speaking of which, above the desk hangs one of my favourite pieces of Anderson artwork. Chris’ incredible vehicle size chart which showcases a vast selection of aircraft, ground vehicles, submarines, and space satellites from across the entire Gerry Anderson canon. I find myself staring at it for hours at a time. Next to that is a Terrahawks poster, also designed by Chris which came from the Big Finish table at Andercon 2015. Dominating one wall is Eric Chu’s incredible Thunderbirds movie-style poster which I was lucky enough to have signed by David Elliott, David Graham, and the late Jeremy Wilkin at Andercon 2015. I have all sorts of other posters and signed photos stashed away but there’s only so much wall space.


The final artwork piece is much more personal. A few years ago, Fanderson ran a ‘design a pod vehicle competition,’ with the winner getting to have their vehicle built out in 3D by Chris Thompson and signed by Gerry Anderson. In the end, the club decided to have all of the entrants’ artwork realised by Chris and presented to Gerry for signing. It was not long after I received this piece that the news broke about Gerry’s Alzheimer’s diagnosis. I will always feel incredibly privileged that he took the time to look over and sign this piece of artwork. I was never fortunate enough to meet Gerry properly besides us bumping into one another on the way into a convention. So this may not be worth much to anyone else but it carries a lot of significance to me, in part because it is completely unique, and I’m grateful to Gerry, Chris, and Fanderson for making it happen.

Onto the bulk of the collection, and I’ll spare explaining every single item to you but will try to give a rough summary of what is on each shelf as well as any items of particular interest.


Above the shelves I have framed the famous portraits from the series one set of the Tracy lounge. These postcards were a backer gift from the Thunderbirds 1965 project and look absolutely cracking. Maybe one day I’ll take copies of them, punch holes in the eyes and replace them with light bulbs that beep every time I receive a phone call. Standing atop the shelf itself is a complete collection of Thunderbirds statues from the early 2000’s. Unfortunately that’s all I know about them. I have all the boxes but not one of them states the manufacturer or any other information. Each statue was limited to 10,000 copies so these aren’t all that rare, but they’re not exactly the prettiest pieces – particularly the rather hideous vehicles. That said, they were a lot cheaper to collect from eBay and car boot sales than the Robert Harrop equivalents.


The next shelf is dominated mostly by my collection of Konami models, and the various supersize Thunderbirds vehicles including those from the 90’s, early 2000’s, and I even have a small section dedicated to the 2015 Thunderbirds Are Go TB2, and all of the little toys that came free with the Thunderbirds Are Go comic. I have not had a good opportunity to collect much merchandise from the revived series.


The shelf below is probably the biggest hodgepodge of the lot. The left hand side consists mostly of Dinky toys in varying conditions. My Product Enterprise collection consists of Supercar, Fireball XL5, an SPV, a SHADO Mobile, and the Lt. Gay Ellis talking figure. All of these were bought before Product Enterprise went out of business and the prices for their models tripled on eBay. My Robert Harrop collection consists of just an X-20 from Stingray, and the lovely little Dick Spanner produced for the first Andercon. 12″ figures from Thunderbirds and Captain Scarlet stand proudly at the back – towering over smaller figures from Terrahawks, Thunderbirds, Stingray, and a few from Captain Scarlet. Vehicles from Terrahawks and New Captain Scarlet finish off this section.


Below that is a collection of Tracy Islands. I’ve written about these in more detail in this article. I have never had the opportunity to display all of them at once so this is pretty special. A small corner of this shelf is also dedicated to pieces from Doctor Who and Red Dwarf – collections I would love to expand one day.


The final shelf is a mixture of Space PrecinctStingray, and then various bits and bobs which didn’t quite fit anywhere else.


Then, because it was too darn big to fit on the shelves, we have the 2001 Cloudbase surrounded by all sorts of other Captain Scarlet pieces from the 90’s and early 2000’s on top of an IKEA chest of drawers which have spare bedding and all that sort of thing in them.


Finally, a few pieces have not found a permanent home. These are a Captain Scarlet Spectrum Command Team set, a Thunderbirds Rescue Pack, a set of those same vehicles in gold, and finally a Pelham puppet of Twizzle from Gerry’s first puppet series, The Adventures of Twizzle. This puppet is in superb condition considering its age and actually looks better than the original puppet that was used on-screen. I hope to find a way to hang him up safely on display, but right now he lives in the comfort of his original box and tissue paper.

If there are any items you really want to take a closer look at from my collection, just post a comment below. If you have a room dedicated to your Gerry Anderson collection I would love to see that too.

Stay tuned for more reviews and articles coming soon and let me know what you would like to see next!

Gerry Anderson’s Firestorm Minisode Launches on Saturday 27th October!

Long time, no speak! I promise to be much more active on this blog in the near future, but for now I am breaking radio silence to bring you an important announcement.

Since 2014, Anderson Entertainment have been working hard to bring us a new puppet series by the name of, Gerry Anderson’s Firestorm, based on the format originally drawn up by the man himself in 2001. After a lot of hard work a pilot minisode is going to be premiering online and at MCM London Comic Con on Saturday, October 27th at 1:40pm UK Time.

It is essential that as many people as possible see this minisode which is full of physical models, explosions, and state of the art Ultramarionation puppets. There are a few things that you (yes, YOU!) can do to help. Your mission, should you choose to accept it, is outlined in full on the Gerry Anderson website here:

It’s very simple – spread the word on social media to all of your friends and followers. The more people that TV distributors see are interested in Firestorm, the more encouraged they will be to want to make a full series. You can even contact distributors directly and tell them you want more Firestorm.

To keep up to date with all the latest news about Firestorm you can follow on Facebook, Twitter, Instagram and YouTube.


Investigating The Investigator

One of the key purposes of a pilot episode is to answer questions that viewers (and financiers) may have about the format of the series. It can set up a few mysteries to engage the viewers for the rest of the series, but for the most part, a pilot  should intelligently impart exposition through an exciting and intriguing plot. The Investigator, Gerry Anderson’s 1973 return to mixing Supermarionation with live action, has baffled fans for years. It’s a bizarre concept filmed in an equally bizarre way. We previously reviewed the film in full (which you can read here) and essentially concluded that it raises more questions than it answers.


If you are not familiar, The Investigator is a benevolent, omnipresent, omnipotent, and omniscient alien being who has come to Earth from an unknown planet in the future. He wants to help humanity learn from its mistakes and make bad people repent for their crimes. In order to assist him “more easily”, The Investigator miniaturises a boy and a girl, John and Julie, and gives them a special car and boat to get around the island of Malta. The pilot film sees John and Julie pursuing Stavros Karanti, an art connoisseur who is attempting to steal a precious 14th Century masterpiece.

It’s quite a head-scratcher, and the questions which the pilot episode raises point to flaws in the format, or areas which needed further development. If this series had gone ahead, would those questions have been answered? Let’s explore those questions and plot-holes in order to speculate what could have happened if The Investigator became a full series.

I should preface by saying that had The Investigator been commissioned, I have a very strong feeling that a new “first episode” would have been produced. Lessons were learned during the disastrous production of the pilot which more than likely would have encouraged Gerry and co. to want to start all over again. With a healthy budget, one would assume that the series would have been more studio-based rather than facing the problems of taking the puppets on location again. The shoot in Malta had proved very difficult, but for the purposes of this article let’s assume that the series would continue to be set in glamorous Malta. My first question would therefore have to be:

Why did The Investigator come to Malta?

Malta is a very small country and in the grand scheme of things does not have a major crime problem. Yet The Investigator decided to make a small cave on the coast his hideout while John and Julie ran around the island to chase an art thief. From a production point of view, the location was chosen because Gerry was impressed with the island during filming of The Protectors. But surely an alien destined to fix all the wrongs in the world would want to focus on countries where crime poses a bigger risk to the population of the planet?

Maybe Malta was just a practice run for him and he had bigger plans to visit countries all over the world the right wrongs. This would have been extremely ambitious for the series but would have given the show the international flavour that 1970’s action adventure shows were desperately seeking.

Or, what if The Investigator was seeking out John and Julie specifically and thus came to Malta to track them down? If The Investigator did have plans to take his mission global, would John and Julie have gone travelling with him, or would new agents be chosen in each country? This brings us to a bigger question about the pilot episode:

Who were John and Julie and why did The Investigator choose them?


It’s difficult to like John and Julie because we learn next to nothing about them in the pilot film. They are a boy and girl who inexplicably have matching blue jumpsuits. That’s about it. Are they brother and sister? Are they friends? Are they in a relationship? Do they live in Malta? Are they just there on holiday? Do they have a family? Are they children, teenagers, or young adults? Consider what we learn about the Tracy family in Trapped In The Sky. We may not learn much about the individual characters’ quirks and personalities, but we at least get a grasp of the family dynamic and what they are doing.

One must assume that John and Julie were going to remain as the main stars of the series. A new first episode would desperately need to show how John and Julie became involved with The Investigator in the first place. The Investigator pilot film should have established all this but instead tried to show what a typical episode would be like, leaving all of us wondering how any of this came to be in the first place.

Let’s assume that The Investigator went looking for John and Julie specifically to help him because of their strong moral fibre and instinct for fighting injustice. But in the pilot they don’t sound especially excited to be doing all of this. In fact they seem to be doing it against their will and are thoroughly unprepared and scared by what’s going on. This isn’t helped by the fact that John and Julie are one-third their normal size. Which leads me to…

Why were John and Julie miniaturised?

The Investigator claims that John and Julie will be able to assist him more easily now that they are two-foot-tall. But it’s clearly a hindrance and for every moment that being tiny helps them out, there’s another which demonstrates how ruddy inconvenient it is. Maybe over the course of the series, John and Julie would have learnt how best to use their reduced stature while on missions. Future episodes could have put them in situations where being small actually gives them an advantage.

Are they going to be two-foot-tall forever now? We assume that it is only a temporary affliction but there’s no confirmation of that fact given. Maybe they were only miniaturised for this one episode, and future episodes would have seen them given different powers and abilities for fighting crime, although I get the feeling that this was supposed to be the main gimmick of the series and would probably have been worked into every episode.

Why Stavros Karanti?


Of all the horrible people in the world, why did The Investigator decide to go after an art thief who basically doesn’t harm anyone except a church? He also wasn’t a particularly hardened criminal and probably could have been broken with an egg spoon. Maybe The Investigator was trying to make John and Julie’s first mission an easy one, or maybe Shane Rimmer and Sylvia Anderson couldn’t think of anything else that would possibly happen in Malta when they were writing the script.

So yes, catching an art thief is something that two inexperienced and miniaturised teenagers could conceivably manage with The Investigator’s help. If, however, The Investigator really wants to stop humanity’s greed and injustice he should probably recruit some real secret agents who know a thing or two about capturing criminals. That ultimately would make for a much more exciting series – a special division of the CIA or MI.6 who use The Investigator’s powers to tackle seriously bad stuff going on in the world.


Ultimately, The Investigator as a character had a huge amount of potential and was a rather exciting idea. Unfortunately it was forced into a mediocre plot with a couple of mediocre characters. If The Investigator were ever revived as a series, one would essentially have to strip out every element of the original pilot film and just leave the title character. A secret service organisation receiving the assistance of an all-powerful alien being has exciting possibilities and a lot of dramatic potential. Based on Joe 90 and The Secret Service, I’m actually astounded that the Andersons didn’t do something more like that, rather than the bizarre story that we ended up with…

Read our full review of The Investigator here!

A Terrahawks Christmas Carol

The Security Hazard team have been hard at work to bring you something special this Christmas. Have you ever thought that there might be a likeness between the classic literary figure of Ebenezer Scrooge, and evil alien android Zelda from Terrahawks? Well wonder no more as we bring you a specially written and performed Terrahawks Christmas special which puts a Terrahawks spin on the famous Dickens tale of A Christmas Carol.

Listen now to this fan-made audio episode performed by Jack Knoll, Andrew Clements, and Chris Dale.

We hope you enjoy, and stay tuned for more exciting Gerry Anderson fun from the Security Hazard blog in the new year. Thank you all so much for your patience and I can’t wait to share with you some very special bits and pieces in 2018.

Merry Christmas and a Happy New Year!


Captain Scarlet – 50th Anniversary Sets From Big Finish!

Big Finish have been very busy making sure Captain Scarlet and the Mysterons gets the 50th anniversary celebration it deserves. There’s a lot of fantastic audio drama on offer, and we’ve been lucky enough to review the Captain Scarlet 50th Anniversary Box Set, and Spectrum File One. But here’s a full list of all the sets that are on offer and their contents:

Captain Scarlet 50th Anniversary Box Set

Mini albums

Introducing Captain Scarlet by Angus P Allan
Captain Scarlet and the Mysterons by Angus P Allan
Captain Scarlet is Indestructible by Richard O’Neill
Captain Scarlet of Spectrum by Angus P Allan
Captain Scarlet versus Captain Black by Richard O’Neill

Adapted TV stories

Big Ben Strikes Again by Tony Barwick
Manhunt by Tony Barwick
The Trap by Alan Patillo
Special Assignment by Tony Barwick
Heart of New York by Tony Barwick
Model Spy by Bill Hedley
Flight 104 by Tony Barwick
The Launching by Peter Curran and David Williams

Also includes a brand new sixty minute Captain Scarlet anniversary documentary.

Spectrum File One

An adaptation of the 1967 John Theydon novel, Captain Scarlet and the Mysterons narrated by David Graham and performed by Wayne Forester and Liz Morgan.

Spectrum File Two

An adaptation of the 1967 John Theydon novel, Captain Scarlet and the Silent Saboteur narrated by David Graham and performed by Wayne Forester and Liz Morgan.

Spectrum File Three

An adaptation of the 1967 John Theydon novel, The Angels and The Creeping Enemy narrated by David Graham and performed by Wayne Forester and Liz Morgan.

Needless to say it’s a pretty comprehensive set of releases diving full on into the Captain Scarlet phenomenon based on three formats, the original television episodes, the mini album adventures, and the novels.

Let’s kick off by exploring the Captain Scarlet 50th Anniversary Box Set.


The set opens with the five stories which were written and recorded especially for the Century 21 Mini Album records released back in the 1960’s. They are beautifully presented here. The source material that the Big Finish team had to work with would have been limited and no doubt varying wildly in quality. A lot of careful work has gone into making everything sound fantastic and like they were recorded yesterday.

The mini album adventures make for fascinating listening. The television series had the luxury of a particularly large voice cast, and spectacular special effects to accompany the stories. The cast was cut down somewhat for the recording of these which features some performances of guest characters from cast members who would normally stick strictly to their regular roles. Francis Matthews, Ed Bishop, and Donald Gray have rather distinctive voices, so hearing them in other roles here is somewhat amusing. There’s some rather unusual dialogue overall and some wonderfully over the top performances, with the cast attempting to make sure all of the drama that would normally be visible on screen is fully injected into the dialogue. The stories themselves range from being exactly the sort of thing you would see in the television series, to being a little more… bizarre. Said bizarreness surely culminates in the story Captain Scarlet versus Captain Black which sees Captain Black take two children hostage in an incredibly disturbing manner. The stories are presented in the order that they were released, and rather brilliantly we’re treated to the Lyon’s Maid and Kellogg’s adverts of the period between each episode for a really authentic 50th anniversary experience. The five mini album stories are a must-listen for Captain Scarlet fans to give you some extra stories featuring the original cast as you’ve never heard them before…

A little bit of Barry Gray goodness is slipped in at this point as we’re treated to the opening and closing themes in all of their forms, including some unused tracks.

The 50th Anniversary Box Set continues by presenting 8 original television episodes adapted for audio with linking material from the original cast. Some of these were released back in the 60’s, but many use material especially recorded by Ed Bishop in the 90’s and released for public listening for the first time. It’s a great selection of episodes spanning across the entire series and a thrilling variety of adventures. If you’ve ever wanted to enjoy a Captain Scarlet episode while you’re on the move, this is undoubtedly the best way to do it.

The set is wrapped up with a brand new documentary featuring members of the production team. Newly recorded interviews, rare archive material, and narration from Jamie Anderson definitively tell the story of Captain Scarlet. Mike Trim, Shane Rimmer, Alan Perry, Liz Morgan, Gerry Anderson, Mike Jones, Nick Williams, Mary Turner, Leo Eaton, Derek Meddings, Tony Barwick, Sylvia Anderson, Alan Shubrook, Peter Holmes, Crispin Merrell, Barry Gray, Ed Bishop, Mike Noble, and Lee Sullivan all offer their insights on the production and the legacy of the series.

The contributors give a full and frank overview of the series and what it was like to work on. The cancellation of Thunderbirds, the debate over the scale of the new Supermarionation puppets, and the darker tone of the series are all matters that are touched upon with opinions from both sides. Some great new stories come to light, particularly from the archive material provided by Susan Harman and the estate of Simon Archer (Gerry Anderson’s first official biographer). The intense workload at the studio is covered in depth. Century 21 were a well-oiled machine by this point and the schedule was relentless, and hearing about the lengths that were gone to in order to keep things moving are extraordinary.

The documentary is an excellent addition to the set and one of the highlights of the 50th Anniversary as a whole.

As if a big fat box set of classic adventures wasn’t enough, we have some newly recorded stories in the form of the Spectrum Files releases. Three novels published in the 1960s re-told as audio-books, narrated by Supermarionation veteran David Graham, and with character dialogue performed by Wayne Forester and Liz Morgan. This provides the listener with the detailed description of the novel, and the dramatic potential of the television series.


With so many of the original voice cast either unavailable or no longer with us, Wayne Forester takes on all of the male roles, while Liz Morgan performs all of the female characters. Wayne Forester played Captain Scarlet in Gerry Anderson’s New Captain Scarlet with a new and fresh approach, but his revival of Francis Matthews’ original Cary-Grant-esque interpretation captures the essence of the characterisation superbly. The same can be said for all of his re-creations of the original characters. Every voice has been carefully honed to the point that you instantly know which character he is playing, but his performances aren’t labored with the effort of trying to get every line pitch perfect. Forester sounds comfortable with every single one of the voices, an art that is often lost when one actor has to re-create a large number of impressions. In addition, he plays every guest character both in a starring role and in the tiniest of cameos, and each one has a distinct voice too.

Liz Morgan’s return to the roles of Destiny, Harmony, and Rhapsody Angels is very welcome indeed, and her re-creations of Symphony (originally performed by Janna Hill) and Melody (originally performed by Sylvia Anderson) are also of a great standard. She throws herself into the characters and gives some wonderful performances.

The narration provided by David Graham guides you through the story and the ever-changing locations with great charm and energy. He is not only a brilliant character actor, but it turns out a thoroughly engaging storyteller. It’s a pleasure to hear him read. Even though we know all about Cloudbase, the Spectrum organisation, and all other important aspects of the Captain Scarlet format, David Graham makes them sound fresh and original.

I don’t want to spoil the story of Spectrum File One too much, but let’s just say that it takes the epicness of the original series and turns it up to eleven. I’ve never been fortunate enough to read the original John Theydon Scarlet novels, but these audio-books certainly do develop upon the original format and do things that couldn’t have possibly been done in the television series. The locations are many and varied, taking us on a whirlwind adventure. The story is everything you could possibly want from a Captain Scarlet feature film and more.

The production of this release is of the usual stellar standard that we expect from Big Finish, with lots of special treats dotted about here and there. Original sound effects are put to great use, while re-imagined music reminds us that this is a new interpretation. The revamped staccato drum beat is a particular favourite of mine.

In short, the Captain Scarlet 50th Anniversary Box Set is a celebration of everything that the original series achieved, and the exciting stories that were told. The Spectrum Files releases are something bold and new, telling outstanding stories in a resourceful and exciting way, celebrating the legacy of Gerry & Sylvia Anderson’s classic format by daring to do something different with it.

All of the Captain Scarlet and the Mysterons releases from Big Finish are available online as CD box sets, or digital downloads! Visit The Gerry Anderson Shop or

Watch the trailer for Spectrum File One now!

Captain Scarlet – Attack On Cloudbase

Directed by Ken Turner

Teleplay by Tony Barwick

First Broadcast – 5th May 1968

There is one thing that Supermarionation series are notoriously bad at by today’s standards – ending. There isn’t a single final episode of a Supermarionation series that draws anything to a conclusion, or does anything to particularly stand out. In the early days this was quite simply because Gerry Anderson and the team were always planning to make more. A third series of Supercar was on the cards for many years after the second series ended. The shows were also episodic and only had the most minimal over-arching story-lines, so there wasn’t necessarily that much to wrap up anyway. It also allowed the shows to have a life beyond television for many years afterwards in the form of comic strips and merchandise. It was also great for overseas distribution because it meant episodes could pretty much be shown in any order anyone fancied, and stop at anytime without missing the grand finale.

Clip shows became a chosen method to save the budget and the schedule as the production on each series was coming to an end, and it made an adequate ending to the series to simply reflect upon past adventures. The Inquisition was Captain Scarlet‘s swan song clip show. As clip shows go, it’s pretty intriguing, though it still does little to satisfy viewers who want to find out who the victor is in the long and grueling war of nerves between Earth and Mars. Fortunately, we have Attack On Cloudbase to depict the final battle between Spectrum and the Mysterons. It would appear that it was never intended to be an ending, and anyone who has put themselves through the pain of watching it until the very end will know why that is. Despite that I heartily recommend saving this one for the end of your marathon… just be sure to turn it off after precisely 22 minutes and 45 seconds…

As the sun beats down over a remote desert, Symphony Angel is returning to base after completing a patrol. Presumably she’s just hunting for wild Mysterons. We haven’t seen Symphony much over the course of these reviews but she’s risen in the ranks somewhat and become the go-to Angel, often stealing the limelight away from Destiny. Partway through the series she was given a dramatic new hairstyle which perhaps was intended to make her seem a little less like a damsel in distress, and more of a dynamic agent for Spectrum… although that is rather a lot to read into a hairstyle…


A strange humming and whooshing noise ensues before the rear end of the craft just explodes. The source of the noise and the explosion remains a mystery but we must assume it to be the work of the Mysterons… for some reason… Symphony keeps her cool remarkably well and gives her position which Lieutenant Green identifies. Looks like this is just your bog-standard run of the mill crash landing really.


Symphony ejects from the aircraft. Has anybody kept a tally of how many Angel aircraft have been lost over the course of the series? I feel like it’s a lot… This emphasises a point I made in my first review that the vehicles are very much treated like tools and facilities rather than the stars of the show. In Thunderbirds it was a big deal when Thunderbirds 1 and 2 got shot down. An Angel aircraft getting shot down in Scarlet is just par for the course…

Symphony watches as her aircraft ploughs straight into the desert below. The model set is filmed from above with a handheld camera to create the point of view perspective very effectively. Barry Gray’s sombre music combined with the POV shot makes this a rather unsettling moment as it soon becomes apparent that Symphony is completely isolated and will be stuck in the desert for some time. Gray’s score for this episode is particularly superb.


The aircraft goes up one more time just to really hammer the nail into the coffin.


In a rather silly move, Symphony has decided to abandon her seat and her flight helmet which Lieutenant Green is still trying to communicate with her on… I can only assume that it’s very hot but all the same, what a silly thing to do.


Symphony is rather regretting wasting all of her energy on that jaunt across the dunes. The punishing sun starts to make her feel faint. You have to appreciate the delicate craftsmanship that goes into these tiny puppet heads when they’re filmed up close.

Soon enough she’s passed out next to an ex-cow…


The Mysterons have made their threat, and it’s a biggy – they will spare no effort to ensure that Cloudbase is totally destroyed. As Scarlet remarks, it was pretty inevitable that this would happen, but nobody mentions that this has been threatened before in Dangerous Rendezvous and they got ruddy close to succeeding. But there’s a very real sense that this is the big one… Oh and by the way the search for Symphony has begun…


The Colonel is somehow looking more stern than usual. He outlines the precautions that are being taken. Cloudbase will be sealed from all external contact, and any plane coming within a 100 miles will be “warned off” which is a polite way of saying threatened with violence. The radar watch will be doubled which basically just means people are paying extra close attention to the radar, and the crew’s shifts are altered to 4 hours on duty, 2 hours off, around the clock… which means everyone’s going to be ruddy tired soon.


Meanwhile, Symphony wakes up just in time to watch one of her comrades fly straight past her at a very low altitude. I mean, why bother searching if you’re not even paying attention, Destiny? It’s always a thrill to see a model on the same set as a puppet. It just stitches the whole thing together rather nicely.


Symphony is a tad disappointed. It is eerie sometimes just how realistic and correctly proportioned these puppets are, and full length shots like this one really show them off at their best.


Nothing to report, Destiny? Nothing at all? Tut tut…


Colonel White gives the order to recall Destiny Angel. If you look really carefully in this shot, his lip starts moving before he actually says anything.


Green points out that it’s a bit silly to leave someone stranded in the middle of the desert just because Destiny couldn’t be bothered to look out of the window. But alas, his case is not heard and he has to give the order for Destiny to give up the search. It’s worth noting that the Lieutenant Green puppet head seen here has different coloured eyes to that seen in earlier episodes, among other slightly different facial features. Voice artist Cy Grant is brilliant at giving this fairly one-dimensional character a good deal of charisma.

And so the Angel aircraft turns around to head back to Cloudbase, leaving Symphony to have a little snooze.


Despite the fact that Blue is supposed to be worried and concerned about Symphony in this scene, his body language suggests otherwise. When I’m worried about the survival of  someone close to me, I tend not to put my feet up and read a blank document…


Captain Magenta is manning the radar watch… I know… The original script for the episode actually specified that a new character called Lieutenant Sienna (some sources suggest they were in fact a Captain) was watching the radar. However, the cost of producing a brand new Spectrum uniform so late in the series was deemed unnecessary and the role went to Captain Magenta.


Scarlet and Blue barge in to keep an eye on Magenta, who does refer to Scarlet as ‘sir’, which could possibly have been left from the original script which had Sienna as a lower rank to the other officers. Magenta claims that everything is fine and nobody has come within range except for Destiny. Blue is now thoroughly cheesed off.


This is how cheesed off he is.


He demands an explanation from Colonel White as to why Destiny has been recalled. This leads to much wailing and gnashing of teeth between the two. It’s an opportunity to get some emotion out of these characters who are often criticised for being too flat and militaristic. Indeed, the best Captain Scarlet episodes are those that give the regular characters some personality, and fortunately there are quite a few that do so. It’s worth noting that this is the only episode not to feature any guest characters, and the cast is limited to seven voice artists, for the most part just playing their one main role. I feel it makes their performances that little bit more dynamic and theatrical. More than any other episode, the recording session would have probably run just like a play. I could even be bold enough to say that the photo below was taken during the recording of this particular episode:


Left to right: Janna Hill (Symphony Angel), Ed Bishop (Captain Blue), Francis Matthews (Captain Scarlet), Donald Grey (Colonel White and Voice of the Mysterons), Gary Files (Captain Magenta), Cy Grant (Lieutenant Green), and Liz Morgan (Destiny and Rhapsody Angels). As regular players such as Jeremy Wilkin or David Healy don’t feature in this photograph, and also don’t feature in this episode, I would assume that Attack On Cloudbase is the script they are performing. It’s a lovely photo and a rare opportunity to actually see the conditions that the shows were recorded in.


Anyway, Colonel White reports that Spectrum Ground Forces are out looking for Symphony now, and Captain Blue wants to join them. More yelling ensues. Here’s a wonderful bit of dialogue: “What’s the matter with you man, are you in love with the girl?”


“I suppose I am. Yes, I am.” The blossoming romance between Blue and Symphony is rather underplayed throughout the series so it really hits one on the nose here. It’s rather an interesting move actually to make Blue the romantic male lead of the series while Scarlet is the lead with all the action. In New Captain Scarlet the role is entirely diverted to Scarlet so that he’s entangled with Destiny and simultaneously fighting Mysterons. Destiny does identify Scarlet’s body in The Mysterons, but beyond that, there’s little implication that the two are that close in this series. John Theydon suggests an attraction between Scarlet and Rhapsody Angel in his 1967 novel, Captain Scarlet and the Mysterons.


During Symphony’s slumber, she utters the word, “Adam.” Can’t think why she would be doing that…


Night has fallen and things are ultra tense.


Colonel White waits in the observation tube. Lieutenant Green just gawps at him.


Magenta continues to look more important than he has any right to.


Scarlet is nomming on a sausage. He doesn’t seem worried at all. The puppets are intentionally not shown trying to eat very often because it does spoil the illusion somewhat. We know they can’t do it, and seeing Scarlet’s mouth open to eat the sausage just looks silly.


The Angels are all in uniform and waiting on standby. Rhapsody is up on deck in Angel 1.


Colonel White is beginning to despair. It’s been 14 hours and there’s been no sign of any dodgy Mysteron activity.


Then it begins.


When looking up close, one can clearly make out that the lines on the radar screen are drawn on with marker pen, and the radar blip is simply a small flashlight being operated behind the screen.


Magenta claims that the unidentified craft is flying at Mach 4! He also says that it’s 47 miles away, even though it’s at the very edge of the screen. So I guess the exclusion zone was actually a 100 mile diameter of Cloudbase rather than radius… either that or the radar screen isn’t big enough.


Green is nervous, wishing that the craft were something else. But as the craft hovers near the base, Colonel White accepts the inevitable and sounds action stations.


Scarlet is just about to mush a tomato into his fiberglass head when a terrific siren sounds. It’s a shame there aren’t moments like this in the rest of the series because it’s very exciting to have everyone scrambling.


Destiny is frantic while Melody and Harmony can only just be bothered to stand up.


Angel 1 takes off. I believe this is the first time we see a launching at night.


Rhapsody Angel, who sadly doesn’t have a very prominent role in the series, is about to take on the unidentified flying object…


With a lump in his throat, Green tells Rhapsody to take care. I think someone might have a little crush of their own…


Rhapsody can’t believe what she sees.


A flying saucer. An actual, proper flying saucer which flickers with light in the darkness. Rather deliberately, there isn’t a lot of detail to these Mysteron ships. Who knows whether there are actual Mysterons aboard, or if these are just remote controlled drones. It takes the viewer completely by surprise because I think the last thing we ever expected to see was a totally conventional attack from the air by physical Mysteron ships. That isn’t their style at all, but it does mean things are serious. It’s a fantastic revelation.

Rhapsody is warned to pull away by the Colonel and does so. But a strange noise, the same one we heard before Symphony’s crash earlier, starts to get louder and louder…


With a terrific bang, the aircraft is consumed by a mysterious red smoke which probably has lots of ruddy dangerous chemicals in it.


Rhapsody is blasted out of the sky. She’s dead now. She’s the first major character to die since the first episode and it has an incredible impact. It indicates that this episode is going to be an absolute bloodbath.

Green is on the verge of tears. White declares that the Mysterons themselves, not just their agents but actual Mysteron beings, have come to wreak total annihilation. Heavy stuff.


An emergency meeting is called with everyone on Cloudbase in attendance except for Captain Grey who is presumably manning the radar in place of Magenta. But don’t worry, we’ll see Grey a bit later. This is one of only two episodes which feature the entirety of the regular cast – the other is Flight To Atlantica. Cloudbase has made a move to the Himalayas, one of the rare instances where Cloudbase’s ability to go anywhere in the world is actually mentioned.

At the end of the briefing, White and Scarlet share a strangely intimate moment. Everything seems to be leading up to the Colonel telling Scarlet that he’s in love with him. He ends up just asking him to get a haircut. But what was he going to tell him?? Maybe White is Scarlet’s real father…

Scarlet remarks to Blue that the Colonel is a wonderful man… there’s definitely some sort of undertone here but I can’t quite detect what it’s supposed to be. It certainly throws the multi-faceted relationship between Scarlet and White into perspective – sometimes they hated each other, sometimes there was a lot of respect on display from both. Through it all, it looks a lot like a hidden romance may have blossomed…


Symphony is still snoozing in the desert. Pretty sure she’d be dead by now.


Now everyone is just waiting for the next move. Captain Blue has forgotten how to sit in a chair but Grey and Ochre are too polite to say anything.


Magenta is in charge of monitoring the one flashing light on the screen. I think even he can manage that.


Green is becoming impatient, desperate for the carnage to begin… It’s wonderful to see him impassioned about something for once.


White calms him down, an indication of the father and son type relationship that the two have developed.


Here come the troops…


Magenta struggles to count them because of course he does.


Colonel White is ready to launch another Angel but Scarlet volunteers to take them on.


Destiny is ruddy fuming about it, either because she wants to avenge Rhapsody’s death, or she loves killing Mysterons, or because she doesn’t want to risk Scarlet’s life. Answers on a postcard please.


There were a limited number of Mysteron ship models for the effects team to work with so you might notice that the one in the background of this shot is rather less detailed than the other two.


Scarlet 1 is ready for launch. This is the only time that somebody other than an Angel pilot flies one of their aircraft (aside from the Mysterons in Seek and Destroy). Scarlet’s flight helmet is the same one that he last wore in Expo 2068.

Scarlet 1 is given launch clearance. Green makes a wonderfully catty remark about the fact Scarlet’s indestructibility makes him nothing more than a big girl’s blouse. It’s a valid point in some  respects, but I suppose the drama in each episode comes more from the audience wondering whether Scarlet really will survive this particular stunt. His indestructibility relies entirely on unproven science so could give up on him at any moment.


Scarlet approaches the squadron. It’s apt that the Mysteron spacecraft have no distinctive external features. It makes them more intriguing and alien.


The Angel aircraft soon suffers the same fate as Rhapsody’s. There’s no sign at all of anything being fired from the spacecraft. It’s as if the Mysterons have an aura which just triggers complete destruction.

Scarlet attempts to steer the aircraft back to Cloudbase but it ends with a rather disastrous landing.

All of this is just so bizarre and out of the ordinary. To see a failed landing on the deck of Cloudbase, and Scarlet out of action already, is really unsettling. There’s no question that this episode is very out of the ordinary indeed.


Doctor Fawn is quietly minding his own business getting the sick bay ready. Of course, much like Paul Maxwell, Charles Tingwell left the series at quite an early stage and thus we haven’t heard Doctor Fawn speak since the sixth episode, Operation Time. Meanwhile, Captain Blue and his team are rescuing Scarlet. All this while the Mysteron ships advance towards Cloudbase.


Their first attack on the base strikes the sick bay, quietly killed Doctor Fawn. Nobody notices for a little while yet though.


Smoke billows from the slightly smaller Cloudbase model as the ships gather to launch their full assault. Barry Gray’s score for this sequence is unique. Gerry Anderson felt that this episode needed something special to suit the hopeless, devastating mood.


The radar implies an enormous number of ships. In actuality I think we only see three fully built models of the Mysteron ships in total.


Magenta is asked to count all of the ships… time to nip out for a coffee…


Another enormous hole is punched in the deck of Cloudbase. This is all starting to feel very final. While the three models hover in the foreground, we can see flashing lights in the distance to represent the other ships.


In the sick bay, Blue announces the death of Doctor Fawn rather matter-of-fact-ly. Not only that, but Fawn’s assistant whom we have never ever heard about or seen before is qualified enough to determine that Captain Scarlet himself is dead.


White struggles to come to terms with the loss. It’s a proper gut-punching moment.


The assistant is revealed to be none other than Captain Black. It seems more than appropriate that in all the chaos and destruction, the Spectrum agent turned Mysteron has come to haunt his former colleagues. At this point one has to assume that Blue is just so delirious and traumatised he doesn’t notice that it’s Captain Black… right?


Green has to comfort the Colonel. The emotion is piled high!


Magenta interrupts the somber moment to deliver his counting report. White treats him like a complete moron… which he sort of is…

Before the radar room gets wiped out and Magenta is forced to cease counting, we’re treated to some gorgeous shots of the Mysterons surrounding Cloudbase and blowing it up.


White mourns Magenta with a scathing comment about his eagerness and nothing more… what a git.


Cloudbase struggles to maintain altitude, causing the Angel aircraft to slip off the deck. This really has to be one of the most dramatic sequences in all of Supermarionation history.


With the engines almost entirely knocked out, Cloudbase solemnly descends through the cloud layer… the Mysterons are victorious… blimey…


The Amber Room is hit next, killing the remaining Angels. Despite the entire base being tipped at an angle, everything stays exactly where it should be on the tables and furniture as if it was all glued down in preparation for the attack…


Cloudbase will crash in 2 minutes… that is what is going to happen. Everyone is either dead or about to die. This is absolutely horrific.


As the base falls, one Mysteron ships come in for a really close shot. Without the mysterious glare that the lighting of the other ships have, this one does look suspiciously like a retro saucepan lid…


Lieutenant Green announces that everyone else is dead… before being killed himself…

As the smoke clears, Colonel White is left alone with Captain Blue who has broken his arm. Green’s body remains slumped over the control panel. The only option left is for them to put on a power-jet-pack and abandon Cloudbase. But Blue is too injured. The end is nigh.

White takes one last moment to consult his medals. Will he go down with his ship and all those who have served him so loyally? Or will he take a chance and escape to carry on Spectrum’s work? He ultimately decides to remain with his command.


Colonel White reports to Spectrum Headquarters London for the last time.


The Mysterons have won.


With military dignity, Colonel White prepares for the end…




… nope…

I mean… that… no, I’m sorry, it doesn’t matter how many times I watch this episode I cannot accept that ending. Why does it all have to be a dream? Yes, it’s not the end of the series but it ruddy well should have been because that crash sequence was the perfect finale. How bold would it have been to just polish off all of the main characters, let the Mysterons win, and stop there? It would be held in higher esteem than any other moment from the entirety of Gerry Anderson’s career.

The problem is that the majority of the episode is just too well done for us to accept that the whole thing was a dream. Dream episodes are a Supermarionation staple, but most of them deal with something totally fantastical happening and we accept the fun and fiction of it all fairly on. It doesn’t work when you pose a very probable scenario and let is play out in a very emotional and, for the most part, realistic way. And hey, if you still wanted to make it a completely fictional scenario, do something original with it. Maybe the Mysterons could have been planning their attack and watching it play out in their mind’s eye, or in the case of the re-edit for the compilation film Captain Scarlet vs. The Mysterons, time was reversed at the end so that it did really happen but the Mysterons showed some mercy. “It was all a dream,” is such a horrendous cliché I’m still baffled that any of the creative team thought it was a good idea.

Anyway, aside from that ending this episode is pretty much perfection. The drama, the tension, the sheer emotion that is on display is unbeatable and puts Attack On Cloudbase far above the rest of the series in my opinion. It’s everything you would want to see in the ending to such a dark and grim story about an intelligence taking revenge for the destruction of their own people in a long and bitter war. The characters are all on top form thanks to beautiful humanisation in the writing from Tony Barwick, and brilliant performances from the voice artists. The grave tone and the strangeness of the Mysterons is visualised in the most extraordinary ways by Ken Turner and the team working in the effects and puppet departments. The story fits the running time perfectly, with a lot of action squeezed in, but plenty of time for quieter characters moments which all built up the tension superbly.

This brings us to the end of our month celebrating the 50th anniversary of Captain Scarlet and the Mysterons. I hope you’ve enjoyed analysing these fan-selected episodes with me and take this opportunity to appreciate the series as a whole in a new way. It’s a fantastic show with a great deal of depth to it and endless possibilities. From a technical and a writing standpoint it has aged very well indeed, possibly better than any of the other Supermarionation series.

But stay tuned for more Captain Scarlet goodness. Coming very soon to the Security Hazard blog we have been given the opportunity to review the brand new Captain Scarlet 50th Anniversary Box Set and Spectrum File One from Big Finish! Audio adventures galore with these incredible releases which celebrate 50 years of Captain Scarlet superbly! Spectrum Is Gold!

Captain Scarlet – Lunarville 7

Directed by Robert Lynn

Teleplay by Tony Barwick

First Broadcast – 15th December 1967

We’ve previously established that most Captain Scarlet episodes fall into one of two categories – either someone is going to be assassinated, or something is going to be destroyed. Well it’s time for me to eat those words because Lunarville 7 doesn’t conform to either of those trends specifically. In fact there is no clear threat from the Mysterons whatsoever. Instead, Spectrum are thrown into a very delicate diplomatic incident, the results of which are extraordinary. There’s no doubt that Lunarville 7 is a classic because it does something rather different from most Scarlet episodes. It’s the first part of an exciting trilogy which sees Spectrum come closer than ever before to learning the secrets of the Mysterons. On top of this, most of the episode takes place off-world which is surprisingly unusual for a show about vengeful space aliens from Mars. There’s lots of fantastical tech on display, some of which is very different from the norm. The regular and guest cast are kept to a minimum, creating a tight plot which sees the key Spectrum personnel isolated in an extremely volatile situation.


David Healy had recently joined the voice cast, most likely to step into Paul Maxwell’s shoes. The Lunar Controller is undoubtedly one of his most fondly remembered Captain Scarlet roles before he went on to play Shane Weston in Joe 90. The Controller establishes that man’s first successful landing on the Moon was in the 1970’s. Production of this episode pre-dates the first Moon landing in July 1969 by some years, but the plan was certainly in place that man would reach the Moon by the end of the decade so I’m not entirely certain why the writer, Tony Barwick, assumed that it would take a little longer. Anyway, come 2068, mankind have achieved an awful lot in 100 years of Moon colonisation.


This is Lunarville 7, one of the many bases on the lunar surface which houses some of the 4000 people who now live and work on the Moon. Lunar habitation is a concept which Gerry Anderson would come back to time and again throughout his career. In many ways, the Lunarville installations are some of the more realistic and modest interpretations of a moonbase that we see. UFO’s SHADO Moonbase, and Space: 1999‘s Moonbase Alpha are rather more grand than the simple domes (which look suspiciously like colanders) that we see here.

The control room is dominated by a device which looks like a Dalek mated with a computer bank. The big, round windows look out on the lunar surface… or at least a fairly good painting of it. The Lunar Controller drops a number of bombshells. He announces that the Moon is not going to play any part in the fight against the Mysterons. He’s a bit late in the game for that I would have thought. Similarly to the setup in UFO, I would have thought Spectrum would immediately try and occupy the Moon  in some capacity, and that Lunarville would play a key part in monitoring Mars. He then announces that he has been able to contact the Mysterons and negotiate a peace treaty. That one certainly comes as quite a surprise. Presumably the folks on Earth have been working on trying to speak to the Mysterons directly ever since the first attack. Rather curiously the Controller then says that the Moon does not take sides, but basically they’ve taken the Mysterons’ side on this… I think it’s fair to say he’s not a very nice chap and that there’s something very fishy going on. Cuts from this speech which feature in Barwick’s original script include the Controller’s hopes that people will one day live, work, and die on the Moon without ever leaving…


This is Orson, he’s a bit of a creep.


The Controller asks SID about the transmission. With a very computery voice, SID responds. This all seems phenomenally retro now but an intelligent computer that can talk is basically as futuristic as you can get in the realms of Supermarionation. There is speculation that SID is voiced by Gerry Anderson himself, seeing as he provided the robotic voice of Robert in Fireball XL5 a few years earlier. It’s a charming theory, but I doubt it very much.


Naturally, Spectrum are befuddled by the Controller’s announcement. Colonel White starts with the fact the Lunar Controller has effectively declared the Moon’s independence. He didn’t really state that outright, so maybe the concept was more clearly determined in the original script. Captain Scarlet immediately questions whether the Lunar Controller can actually do that. White isn’t bothered but someone probably should be. I mean a Mayor or Member of Parliament for a particular constituency can’t just say, “Nah, we’re out mate,” at the drop of a hat. Does the Lunar Controller even have any political power over the Moon? Was he democratically elected? Is the Lunar Controller effectively the Moon equivalent of the World President? If so, the World President was a bit thick to sign away that power.


Anyway, the focus of this mission is going to be less about overthrowing the Lunar Controller’s rebellion, and more to do with his supposed contact with the Mysterons. Scarlet immediately speculates that he could very well be a Mysteron Agent and that the Moon is now basically under Mysteron control. The Mysterons don’t take control of people in serious power very often, but it does make for a fascinating concept. What if the ruler of a country was killed and reconstructed by the Mysterons? An entire nation faced with the propaganda of the Mysterons could become a very powerful weapon indeed. Infiltrating the very heart of the World Government and throwing it into disarray would be unbelievably intriguing. Unlike previous Supermarionation series, you can really dive into the politics of Captain Scarlet and speculate just how the world functions, giving it that more realistic and mature edge.


Colonel White is sending his men to the Moon. Their purpose will be to find out whether the Lunar Controller really has made contact with the Mysterons. It’s certainly a prickly situation.


This is your standard issue Moon rocket. It bears a very close resemblance to the Saturn V rocket which was about to undertake its first mission at the time.

Despite XK3 being written clearly on the outside, the astronaut refers to it as XK5… which is just the level of competence you want from the bloke who’s going to take you to the Moon. The astronaut himself wears a hat similar to those worn by Spectrum officers, but the emblem states SP (Space Patrol?).


The rocket soon blasts off and three beautiful jets of smoke stream downwards. This indicates that the model was filmed upside down in order to achieve a more convincing effect. In no time at all they’re leaving the Earth’s atmosphere and heading for the Moon. Very little fuss or bother behind this simple rocket launch. It’s just a run of the mill commute in the world of Captain Scarlet.


… Was this really the only person you could get to fill in for Lieutenant Green? Skippy the Spectrum Dog would make a better assistant than Captain Magenta. In every respect, Captain Magenta is the most colourful member of the cast and thoroughly entertaining in most cases. He’s a bit goofy but is relentlessly loyal and eager… far too eager. Still at least he refers to the rocket by its proper name.

Colonel White delivers his final briefing. You’ll notice that the astronaut has swanned off… somehow… and has left Lieutenant Green in charge of flying the rocket. He mentions that the Lunar Controller has banned personal radios. Is it not crystal clear by this point that something very bad and fishy is going on? White also drops the bombshell that an unauthorised complex is being constructed in the Humboldt Sea on the far side of the Moon. Bad and fishy doesn’t even cover it now.


Orson and the Lunar Controller prepare for Spectrum’s arrival. It’s their first visit to the Moon… and potentially their last. With no direct Mysteron threat outlined, one could assume that their plan is to kill Captain Scarlet, Captain Blue and Lieutenant Green. Now you may wonder why it would be necessary to bring them all the way to the Moon in order to do that. Well the isolation and radio silence is probably a major benefit. But they still don’t try terribly hard to actually kill them, and to be fair, the Controller only says it “could” be their last visit so maybe that isn’t the plan at all. If I have one criticism of this episode it’s that the Mysterons lack a clear plan of action.


The XK3 touches down. Captain Scarlet continued the practice of dressing the models and sets with random kit pieces, and you’ll recognise some of the pieces surrounding the landing pad as the little square bits stuck to the front of each Thunderbird 2 pod.


Orson arrives to take the Spectrum team to the Lunar Controller. The creep.


He passes them some recognition discs. How convenient that three objects that are programmed to be completely unique should also happen to look totally identical. I’ve often pondered what the ‘L’ arrow is supposed to mean. I think it just indicates which is the left side of the disc. Orson also has some Moon dirt under his thumbnail.


While Orson stands in the background guard the space mailbox, the Spectrum lads gang up on the Lunar Controller. He introduces us properly to SID…


Speech Intelligence Decoder… which is a pretty meaningless acronym but sounds clever. SID would later be the acronym for Space Intruder Detector in UFO. This SID is basically an Alexa or a Google Home but with a much cooler voice. He identifies people via their recognition discs which is a pretty neat system.


The Controller boasts that SID “controls everything in Lunarville…” So SID controls Lunarville… or to put it another way, SID’s the Lunar Controller… there’s food for thought. Anyway, Green decides to taunt the Lunar Controller by pointing out that brilliant as SID is, he was designed and developed on Earth. Oh he won’t like that much.


Old grumpy guts can’t contain his lunar pride like some kind of over-zealous racist and puts Green in his place. The Lunar Controller is rather fond of the Moon, like an axe-murderer is rather fond of the sound of chainsaw on skull. He does, however, claim that the Moon is now democratic and free. So people did actually vote for him as their leader presumably which is a bit worrying. Still, crazier people have made it into office without being manipulated by the Mysterons… we assume…


Scarlet looks at the Controller like he’s the last rotten potato in the vegetable patch. Despite his obvious insanity, the meeting with the Lunar Controller has to continue as if nothing has happened. Scarlet hands over a letter from the World President which probably says something along the lines of, “If you love the Moon so much why don’t you marry it?”


Anyway, Orson has offered to take the Spectrum team out for a trip in this funny contraption, the moon mobile. It’s almost a certainty that this vehicle formed the basis of the moon mobiles seen in UFO. The boarding tube detaches from the rear in a slightly suggestive manner.


Orson’s chair in the cabin is recognisable as the pilot’s chair of Thunderbird 2 from the second series of Thunderbirds. Scarlet and Blue’s seats can be seen as the pilots’ chairs in the Angel aircraft. Green probably got his chair from a jumble sale.


The craft hops across the lunar surface. The sequence is filmed with the camera running at an incredibly high speed to slow the motion down as much as possible. This is partly to simulate the low gravity, and partly to eliminate the amount of wobbling this rather lightweight model appears to be doing. It certainly looks like a vomit-inducing ride.


Lunarville 4 is spotted during the trip. This is where most of the food is grown, using water forged from the hydrogen and oxygen which is present on the Moon… don’t ask me how, I’m a Supermarionation reviewer, not a chemical engineer.


Orson refuses to take Scarlet and the gang to the Humboldt Sea, and does so by raising as much suspicion as he possibly can. Scarlet says that the Humboldt Sea is on the far side of the Moon and is never visible from Earth, and while the far side is indeed hidden from view, part of Mare Humboldtianum is just about visible from Earth part of the time. Either way, Orson turns the moon mobile around and claims that it’s time to head back, even though they’ve only just left.


The journey back will probably be a bit awkward now.


The Spectrum officers are introduced to their spacious sleeping quarters. We don’t actually see them walking into the room because the puppet wires couldn’t possibly get across the threshold.


Scarlet immediately suspects that the place is bugged so encourages Blue and Green to make some really lame small talk.

Sure enough, creepy Orson is listening in on his creepy headphones. Scarlet soon fines the microphone and has a rather splendid scheme in mind.

Orson is intrigued by the sudden silence. Here comes some of the finest dialogue ever written for Captain Scarlet…






Beautiful stuff, and no matter how many times I see it I still laugh out loud. Scarlet yanks out the microphone.


The Lunar Controller manages to resist slapping Orson over the head for being such a useless twerp. He has tightened the net, programming SID to seal all exits and only obey his instructions. It’s deliciously evil stuff.

Blue sleeps with the same magazine next to his bed that Alan Tracy can be seen reading in the Thunderbirds episode, Day of Disaster. Scarlet is restless and has headed straight for the control room to interrogate SID.


Scarlet requests a moon mobile but is denied permission, what with the present state of emergency that has been declared. It turns out that all of Lunarville 7 has been evacuated. There are several thousand people living on the Moon, and a fair number of them must presumably inhabit Lunarville 7, so how did Scarlet, Blue and Green not notice that everyone had swanned off. It would also probably have had more impact if we’d actually seen any of these people wandering around at some point.


Scarlet wakes up Blue and they pretty much agree with little doubt that the Lunar Controller must be a Mysteron. Then Scarlet reckons that “the answer” may be found in the Humboldt Sea… the answer to what exactly? Why the Lunar Controller is a Mysteron and being all Mysterony about everything?


Scarlet pops into the Lunar Controller’s room to borrow his recognition disc. It does tell us one thing about the Mysterons – they do need to sleep.

They’ve soon acquired a moon mobile and Blue is confident enough to take control. Green is navigating using a schoolboy’s map of the Moon. Curiously, Scarlet and Green swap seat-belts for one particular shot. One does wonder why the moon mobiles were even fitted with different coloured seat-belts in the first place. It’s apparently going to take them two hours to reach the Humboldt Sea. Two hours of bouncing up and down constantly… anyone else queasy?


The moon mobile looks like an angry Bulldog in sunglasses in this pose.


Just before giving up, Green spots a light coming from a distant crater, Crater 101. No idea what the words ‘Gobi Delta’ are supposed to refer to but it sounds like somebody in the art department just made up a lunar landmark.


The effects team did a beautiful job rendering the lunar landscapes for this episode. They look incredible.


Scarlet orders Blue to stop the moon mobile just before they fall straight into the crater. They have a good long look at their findings.

As I’m sure we all suspected, a Mysteron complex is being constructed within the crater. It’s another fascinating insight into how the Mysterons work. Robots and pre-programmed machines are needed to carry out the task of building the complex. It raises many, many questions. Why do the Mysterons need a second complex? Why do they need robots to build it? What are all the component parts of the complex for? To see them hiding away in a crater quietly constructing and growing stronger makes them synonymous with insects or pests building a nest. Is the complex simply there way of putting their stamp on a location? Maybe Mars wasn’t their first home…  Blue says it’s “exactly as the film from the MEV on Mars showed it.” It still baffles me that Captain Black was able to just disappear when he brought the Zero-X back to Earth…


The Lunar Controller has woken up and he’s ruddy fuming that Spectrum have escaped.


SID announces the arrival of the moon mobile, even though his little red light doesn’t flash when he speaks on this occasion. Curiously SID manages to identify that Captain Scarlet has entered Lunarville 7, even though he’s still wearing the Lunar Controller’s recognition disc.


Scarlet and the lads arrive looking very tough and ready for a rumble. They are authorised to arrest the Lunar Controller.


He uses the words “Earth men” which is a pretty tell-tale sign that he’s a Mysteron. The Controller then states that once the Mysterons have finished taking over the Moon, they will come to take over the Earth. That’s a curious change of tactic. The Mysterons have never really expressed any desire to inhabit the Earth, they just wanted to wreak terror and avenge the attack on the Martian complex. Suddenly they’re planning some kind of conquest. Anyway, Scarlet says the complex will be destroyed… because that went so well last time…


Scarlet demands a lunar rocket from SID who gladly accepts the request.


The Controller is more than a little baffled. He orders Orson to “seize them.” Oh this will be good. One P.A. against three Spectrum officers…


Either Blue is waving goodbye or…


Oh dear. In live action shows it’s never convincing when a hero karate chops the villain unconscious, but in the realms of Supermarionation it’s even more laughable.


When he learns the truth about losing his recognition disc, the Lunar Controller has a bit of a funny turn. The music indicates that many marbles have been lost as he starts to yell at the computer.


Then he threatens SID with a pointy finger… well I don’t know about you but I’m ruddy terrified now that the Controller’s pulled his finger out…


Because the finger didn’t end up doing much for him, the Controller ends up pulling out his gun and threatens SID with it, as if the computer will suddenly change its mind. So the Controller opens fire like a complete moron.


SID is sorry…


The base starts to shake for some reason. The lads head for the rocket as fast as possible, sensing that complete destruction is on the horizon.


SID is soooorry. The loud wailing noise which plays over this moment is brilliant. It signals the deterioration of the base, the deterioration of the Lunar Controller’s mental health, and the deterioration of the Mysterons’ plan.


In the next shot of SID exploding, the Controller has mysteriously vanished. One is supposed to assume that he is dead on the floor, but you never know with the Mysterons…


The destruction of SID has triggered the destruction of the entire base. That’s quite a bad safety feature. What happens if you accidentally spill a glass of water down SID’s speaker grille? The XK3 is back on the launch pad ready for lift off. Presumably the main lunar rocket is in orbit ready to dock.


The gang blast off just in time before Lunarville 7 is completely wiped out. The detonation is ruddy big and ruddy marvellous. Good thing everyone has already been evacuated.


The team is back on Cloudbase safe and sound. Colonel White sounds rather jolly when he announces that Lunarville 7 is totally destroyed… even though that’s an awful lot of money down the pan. He proceeds to read a note from the World President who wishes to convey his thanks to Captain Scarlet and “the other members of Spectrum.” Wow, I’m sure Captain Blue and Lieutenant Green are feeling so warm and fuzzy inside.


“We have won the round, but not the fight.” In other words, there’s more still to come! As we’re not reviewing Crater 101 or Dangerous Rendezvous let me just say that it makes a very good trilogy indeed. Spectrum’s perilous mission to discover more about the Mysterons is full of danger and excitement. Dangerous Rendezvous suffers from a little bit of random padding in the middle of it, but other than that it’s a solid story arc with tons of drama.

But looking at Lunarville 7 specifically, it’s a brilliant teaser to bring us into the second half of the series. The Mysterons are stepping up their game with a much bigger and more devastating plan than ever before. Their Mysteron agents are some of the smartest we’ve seen so far. The stakes are huge in this episode, and maybe some of that gets lost because of the limited 25 minute running time, and the amount of time we have to spend watching moon mobiles slowly hop up and down – that being said they are pretty cool. In fact all of the special effects are very nicely done.

The claustrophobic atmosphere of this story is prevalent, and while there isn’t too much of a sense that the Spectrum team are in too much danger, you still get a strong feeling that they are completed isolated and the only ones who can save the Moon from Mysteron domination. Naturally they succeed thanks to Captain Scarlet’s quick-thinking and the Lunar Controller’s complete insanity. His instability is great for keeping us on our toes and I’m glad we get to see a Mysteron agent with a bit of passion behind him for a change.

Next week, the Mysterons themselves have come to Earth to annihilate Spectrum once and for all. Who will win the final battle? Stay tuned for our review of the utterly incredible Attack On Cloudbase.