From: South Central (Tamazunchale@web44tv.net) Date: Mon, 15 Jun 1998 10:22:28 -0700 Subj: Space1999: YEAR TWO!! EPISODE BY EPISODE
THIS EPISODE: The Metamorph
Discussion from Monday, June15 through Sunday, June 21. Dive in, the Y2 fans have been holding it in for 28 weeks--they are ready to EXPLODE!
Not really a Y2 fan myself, all I can say is "dazzle me!" I look forward to hearing what makes it so special for everyone and thereby increase my appreciation for Y2!
No holds barred discussion.
Mateo
From: David Acheson (dkach@hot44mail.com) Date: Mon, 15 Jun 1998 06:13:23 EDT Subj: Space1999: The Metamorph
THE METAMORPH was my introduction to the second season of SPACE: 1999 and the second episode of the series I saw on Canadian television. When the CBC aired the series in the 1976-1977 season, it began with an airing of BREAKAWAY so all I was expecting was a rerun of year one shows. I never read any material or heard anything about a new and changed season in the works. The week following BREAKAWAY's rerun, THE METAMORPH unfolded. Watching the new opening I first thought the series was preempted that week for some special. When I realized it was SPACE: 1999, my eyes practically popped out of my head.
Fast forward to today. My feelings towards this episode now? I have mixed reactions to it but do think it is one of the better episodes of the second year. Not a classic opener like BREAKAWAY became but.....I will try to minimize the overall changes made to the series by Fred Freiberger (for better and probably more for worse) and stick to the particular episode.
I am glad Johnny Byrne stuck out the drastic changes to the show's direction and reworked his original manuscript THE BIOLOGICAL COMPUTER/THE BIOLOGICAL SOUL. Johnny Byrne was part of 1999's soul in year one and any contribution to make to year two would be better than none at all. Especially since Christopher Penfold (the other part of year one's soul) departed near the end of year one. It became unfortunate Byrne's contribution to year two would not leave the same kind of mark as his work on year one did.
I was never amused by Byrne's original idea. The subject of a machine capable of restoring a whole planet to its pristine past by draining the psyche of living entities came across as a somewhat silly concept. Even done in the year one style I am not sure that I would have rated it as one of Byrne's best. Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.
Add to Byrne's wonderful dialogue some of the best acting the series saw - Catherine Schell as Maya and Brian Blessed as Mentor. Blessed plays Mentor deliciously like he did as Cabot Rowland in DEATH'S OTHER DOMINION. His stage training certainly shows in his characterization. Ms. Schell proved to be an equal to Mr. Blessed and the two played off each other wonderfully. Whether Maya's addition to the series was a smart move or not was one thing but its hard to not be impressed by her introduction to the series.
Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode.
The director was Charles Crichton who, like Byrne, was one of the few year one crew to stick to the second year. While I continuously praised Chrichton's work in year one, in particular the Christopher Penfold scripted shows, I must say I am not as impressed with his work in year two. THE LAMBDA FACTOR and THE METAMORPH are the only two episodes of the second season I feel Crichton did a reasonably good job on. To this day I don't know if it was the scripts or that Crichton just was unable to get into the show the second time around. Thankfully, he had those wonderful year one stories or else he would have been branded as the director of A MATTER OF BALANCE.
I feel the volcanoes on Psychon were phony from an effects point of view but admire their use in the episode. This was the first of several year two planets which dared to be different. Many of year one's worlds had strange coloured atmospheres but were all Earth-like.
I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters. I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted.
Changes I liked? The second season uniforms were a vast improvement but stuck to year one's formula. I think Derek Wadsworth score was another vast improvement to the series. I like Barry Gray's score very much but felt it was much like his earlier series. Mr. Wadsworth's mix of jazz and pop came across as something original and I fail to find one score since then that has sounded close to his. I have realized this recently upon purchasing the infamous bootleg Wadsworth second season CD.
Biggest problem with the episode? Well, I'm sure everyone on the list will agree on this - No explanation at all for any of the changes in the new season. Most of all, the disappearance of Professor Victor Bergman. This is even more disturbing when we know Johnny Byrne drafted a manuscript including a discussion of Bergman's death only to have the powers above deem it to be removed. The famous fights with the executives (namely ITC) continue for yet another year.
I am not sure what Anouska Hempel's Annette Fraser was all about as the character was not essential to the story. However, it is a nice piece of trivia knowing that the one time actress turned famed hotelier/designer once appeared on the series.
Overall, THE METAMORPH was an interesting start to a new year. Unfortunately what followed failed to build up what was started. Year two could have turned out a lot different.
David Acheson
From: Mike Lynch (Mike-Lynch@big44foot.com) Date: Mon, 15 Jun 1998 17:42:56 -0500 Subj: Re: Space1999: The Metamorph
I never saw this episode when it first aired... I don't know why, but it is one of the few episodes I never saw during the show's original run. And interestingly enough I never thought twice about the sudden appearance of Maya and Tony, or the disappearance of Paul and Victor. In the mind of a six year old things like this can be missed rather easily when you aren't looking for them.
My first viewing of THE METAMORPH was about four years ago after acquiring a rather poor bootleg (which I have since "upgraded" to the Columbia House version). This is not one of my favorite episodes... I like it, it is enjoyable, but I constantly feel like saying, "Just do something already!" Every time there is a build up in action it just seems to peter along with no great climax - one such example is Helena, Alan, and Bill getting brain-sucked with Koenig deliberating over his options. He finally bows to Mentor and orders "Directive Four." Once Mentor discovers Koenig's plot Mentor sets out on destroying Alpha... yet the base seems to be acquiring rather minimal damage (compared with WAR GAMES and THE DORCONS). Somehow I feel that this entire train of events ends rather "lightly."
I also have a slight problem with Psyche: they entire premise of a biological computer that requires the mental powers of life forms to operate at peak performance is rather hokey. Now, I love the set and design of Psyche - it is one of the best out of Season Two, but I have a problem buying its premise. And I can't help but think that if Mentor didn't spend so much time using Psyche to transform rocks into space ships, attack Alpha, project images of himself, destroy ships, and transform rock into his servants (I assume that the "drone" that Koenig shot was originally stone based on Picard's comments, and the fact that it turned into a pillar of rock) he would have more of the power he claims to need to restore the planet. And one has to wonder: was it Psyche that turned Psychon into the "environmental hell" that it was? If destroying Psyche brought on the destruction of the planet then the computer was obviously tied into the planet somehow... it could be possible that the computer drained much of the planet's resources to sustain itself, thus eventually bringing on the extermination of all life and livable conditions (actually this is a thought I rather enjoy entertaining since it adds an interesting twist to Mentor's obsession with restoring the planet).
Another aspect that I have a problem with is the time factor. It only takes ten minutes for an Eagle to reach Psychon! Either the Moon is EXTREMELY close to the planet, or the Eagles in Season Two are incredibly fast. I tend to see this aspect as a sign of some things to come later in the season - such as floundering dates. And let's not forget that an Eagle was able to escape the effects of a planet's destruction in far less than ten minutes. In the AB CHRYSALIS the Moon was over 12 hours away from the planet and was still feeling the effects of its explosions, but when Psychon blew up there were no shock waves, no residual effects, no debris to threaten the safety of Alpha, or the Eagle returning home... nothing. The planet blew up and everyone was happy.
Now, aside from that there are aspects of the show that I enjoy - such as Psyche's design and brilliant coloring (I'm a sucker for bright orange anyway). I also like Brian Blessed's rather Shakespearean treatment of Mentor. Actually it's not entirely Shakespearean - there is a hint of the gothic in his portrayal as well which is very nice. He rather reminds me of Falstaff's evil alter ego. I also enjoy Maya's playfulness and believable devotion to her father - this also has a hint of Shakespearean innocence. The sets and miniatures are excellent, as usual, and I particularly enjoy the shot above Mentor's ship as in ensnares the Eagle and we see a truly remarkable (and believable) view of the planet's cloudy atmosphere. The dialogue (for the most part) is also very well crafted... I especially enjoy Koenig's desperate attempt to convince Maya of her father's true intentions. However, the weakest point in the episode's dialog has to be:
MAYA: Leave Psyche... Psyche made you do evil!
What happened here? It sounds as if Maya regressed back to First Grade. I realize that Maya was under a great deal of stress, but she was very well spoken up to, and following, this point.
I also felt that the introduction of Tony Verdeschi was very well done. We see Tony as a man loyal to his Commander, the base, and his fellow Alphans. His strength and loyalty are set in motion in THE METAMORPH and don't seem to waver from this point through the rest of the season. I actually find Tony to be a better Controller/First Officer than Paul, though I like Paul Tony isn't such a mirror of Koenig and stands out as an extremely individual character.
Of the Season Two episodes THE METAMORPH is an enjoyable look into the lives of our beloved Alphans, but IMHO it doesn't stand out as much as an episode like THE MARK OF ARCHANON (another one of my favorites!).
Mike
From: Paul Dorion (pdorion@mediom.qc4tag.ca) Date: Mon, 15 Jun 1998 16:47:07 -0400 Subj: Re: Space1999: The Metamorph
The Metamorph is surely not a personal favorite of mine. Others have already described the many plot points that seem farfetched or downright silly.
David Acheson wrote:
Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.
Mike Lynch wrote:
I also enjoy Maya's playfulness and believable devotion to her father - this also has a hint of Shakespearean innocence.
I must agree though that it is a good introduction of the Maya character, and Catherine Schell sure looks stunning in her dress.
David Acheson wrote :
I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters.
I agree. Too bad Sandra was out for some episodes while being replaced with the Yasko character.
Some feel Verdeschi is very similar to Alan Carter. I personnaly feel they have different perspective on things; on this subject, his disagreement with Alan over the false-Koenig actions in Seeds of destruction help to put both characters into perspective.
Mike Lynch wrote:
I especially enjoy Koenig's desperate attempt to convince Maya of her father's true intentions.
Truly strongful performance by Landau. The acting highlight of the whole episode IMO.
David Acheson wrote:
Changes I liked? The second season uniforms were a vast improvement but stuck to year one's formula.
While I regret the absence of Victor and the change of scenery from Main Mission to Command Center, the new uniforms looks good to me, and the newfound teasing between Koenig and Helena is delightful. By the way, it seems very realistic to me that two such strong-headed and independant characters would be engaged in playful teasings and use sarcastic wit in front of colleagues as a mock attempt to mask their mutual feelings. By the time (almost a year since Breakaway), everybody on the base would be aware of the feelings shared by those two leaders, and such mature individuals would not be ashamed to express their feelings, albeit in a underhanded way. I feel the contrast with the way Tony and Maya are developing -- and showing -- their relationship is insightful.
David Acheson wrote:
I think Derek Wadsworth score was another vast improvement to the series. I like Barry Gray's score very much but felt it was much like his earlier series. Mr. Wadsworth's mix of jazz and pop came across as something original and I fail to find one score since then that has sounded close to his.
I totally agree ! IMHO the MAIN enhancement to this new feel of the series -- more "honest"-action-oriented -- is the suspenseful music composed by Wadsworth. Each "cut" is truly evocative and faithfully describes -- and enhances -- the mood of the scene. Wonderful stuff, and actually my all-time personal favorite soundtrack. The music was actually the main reason why I recorded the episodes on audio tape, over two decades ago. The "action theme" (while Koenig destroys the brain-draining machine) is edge-of-your-seat stuff (but IMO is best used in the suspenseful fourth act of Seance Spectre).
Paul :D
From: South Central (Tamazunchale@web44tv.net) Date: Mon, 15 Jun 1998 14:21:13 -0700 Subj: Re: Space1999: The Metamorph
Annette Fraser and her partner were just there to add "compassion". Fraser returned a few times, did she?
How could one eagle loaded with explosives destroy an entire planet. I figure that it was sent to destroy Mentor's enclave but the dialogue suggests otherwise--then again the planet was unstable. When it is destroyed it is a pitiful explosion for something carrying a doomsday weapon. Then again, a nuclear bomb is pretty harmless unless triggered correctly--not counting the pollution aspect.
Could anybody who had served with Koenig that long think he would sell them out. Granted in Collision Course they thought he was irrational, not selfish. This is much later. Helena fooled???
I now have a VCR again and will be able to participate in the discussions again.
Mateo
From: "Atomic Possum" (atomicpossum@toast4tag.net) Date: Tue, 16 Jun 1998 08:33:03 -0500 Subj: Space1999: The Metamorph
I know many people have a tremendous affection for this episode (Robert?), but it' s never been a big favorite of mine. Largely, I think it has to do with the lack of definition given to Mentor, and the resolution of the story.
Mentor seems to come off rather simplistically, rather flat and two dimensional. Granted, this story is a Maya vehicle, but it might have been nice to see some more emphasis on Mentor's psyche--to let him verbalize why he does what he does, and to perhaps get a vision of where he might have gone too far. As it is, we get a lot of stuff at the beginning with the Eagles and stuff, but Mentor doesn't get developed. Remember in THE RULES OF LUTON, where Maya talks about her father, how he could never leave Psychon because her mother was buried there? Mentor comes off far better and far more sympathetic in her speech in that episode than I think he does in THE METAMORPH.
I think that this adds to the unsatisfactory ending. Koenig convinces Maya to free him, he smashes up the computer, and we get Brian Blessed voice-overs as the whole thing explodes. It would have been nice to have some kind of confrontation, some kind of clash of sides, some emotional conflict that might have brought the whole thing to a more satisfactory resolution. As it is, nothing is resolved, Mentor is merely beaten. There was a lot more that could have been done, either showing Mentor how he had been corrupted by his obssession with restoring Psychon, or---well, SOMETHING!!!!! Something a little more literary would have improved this episode a hundredfold.
Yeah, nice visuals. Yeah, Catherine Schell (rrrowr, rrrowr). And I like Maya. But the episode just seems a little less than it should have been......
Jon "Mr. Wonderful" Stadter
From: "Robert Ashley Ruiz" (cybrarian@cybrary1999-4tag.com) Date: Tue, 16 Jun 1998 07:58:41 +0000 Subj: Space1999: Re: The Metamorph
Mr. Wonderful wrote:
As it is, nothing is resolved, Mentor is merely beaten. There was a lot more that could have been done, either showing Mentor how he had been corrupted by his obssession with restoring Psychon, or---well, SOMETHING!!!!!
Ah, Jon, but it's all there, shown to you rather than told to you. You have only to look at Brian's performance to see it. Mentor is a man who got blinded by his dream, and remember, Maya sums it up when she says "Psyche made you do evil!" It's my thought that Psyche amplified Mentor's hopes and dreams and corrupted them along the way, leading to disaster. He's as much a victim as anyone -- part of the reason I like the story so much.
I haven't joined in with an episode by episode contribution yet, but perhaps I'll pop in the laserdisc so I can discuss this one further.
Robert Ruiz
From: David Welle (dwelle@on44line.dct.com) Date: Tue, 16 Jun 1998 20:38:43 Subj: Re: Space1999: Re: The Metamorph
Well spoken, Robert! I thought there were a lot of intriguing depths to Mentor, and was one of the most complex and interesting characters of the whole series.
In fact, based on a suggestion from Marcy, I wrote a character study on Mentor several months back for The Dominion's scifi.con 2.0. It's still there, as part of the site Marcy organized with several others, so rather than go over Mentor in the same detail here, I'll just point you at the specific URL:
http://www.scifi.com/scifi.con/screen/space1999/character/mentor/
(There are also character studies of three other alien characters, as well as the rest of the S19 Exposition.)
----
David Welle
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Tue, 16 Jun 1998 10:23:36 +0000 Subj: Re: Space1999: The Metamorph
David Acheson wrote:
Fast forward to today. My feelings towards this episode now? I have mixed reactions to it but do think it is one of the better episodes of the second year. Not a classic opener like BREAKAWAY became
I feel the same way here, David. There is not much of an opener start in this one, except numerous metamorphs of Maya apparently without any reason except to introduce her character and abilities to the audience. Maya does also seem more naive in this episode, perhaps closer to Freiberger's original intentions.
I am glad Johnny Byrne stuck out the drastic changes to the show's direction [....] Johnny Byrne was part of 1999's soul in year one and any contribution to make to year two would be better than none at all. Especially since Christopher Penfold (the other part of year one's soul) departed near the end of year one.
Yes. His contributions, however, THE IMMUNITY SYNDROM and THE DORCONS are some of the more interesting episodes from my point of view. But, as you state in the case of director Charles Crichton, the interest in Byrne's work is perhaps more due to how we understand him through Year One and then see how he still tries to fight for integrity in Year Two, although he more or less gives up when they reach THE DORCONS.
I feel very much the same about Penfold's DORZAK and Terpiloff's CATACOMBES OF THE MOON. It is difficult to see how much of the produced scripts had been reworked by Freiberger, but as episodes I think these are mostly interesting as anecdotes to Year One. Someone pointed out that it seemed as if Terpiloff was trying to make a parody of his Year One material with his Year Two entry. I don't know if this is true, but it is an interesting thought.
I was never amused by Byrne's original idea. The subject of a machine capable of restoring a whole planet to its pristine past by draining the psyche of living entities came across as a somewhat silly concept. Even done in the year one style I am not sure that I would have rated it as one of Byrne's best.
I often find Byrne difficult to understand even in Year One. His nod to catholisism, Irish mythology and the Anglo-Irish political situation is not something I can connect to directly, although many of these aspects are treated in a way that make them more universal, for instance using the a war psychopat as an ingredience in THE END OF ETERNITY and using working class alienation as a vehicle for studing the FORCE OF LIFE.
In Year One I found it a lot easier to follow Christopher Penfold, Edward di Lorenzo and David Weir. Anthony Terpiloff was also something of an enigmatic writer, I think, difficult to understand on a deeper level.
I wonder what Byrne ment with the "biological computer" in this context. Did it have something to do with technological alienation, in other words people being alienated or having their souls drawn out of them as they entered techological society?
It's difficult to tell, actually, as this type of thinking does not seem particulary prevailent in his Year One work, I think. One could perhaps read something out of the anti-nuclear energy technology statements inherit in ANOTHER TIME ANOTHER PLACE and THE TESTAMENT OF ARKADIA.
On the other hand, these apparent statements could perhaps more easily be interpreted in his concern with the Ango-Irish conflict, and then nuclear weapons and weapon industry in general.
I feel inclinded to think as David here, finding it difficult to understand what Byrne actually wanted to say. Freiberger's requests for modification certainly doesn't help very much in this way, as Freiberger obviously wanted to play down anything that would give the show meaning and emphasise aspects that would make it more in correspondance with his previous experience at Hanna Barbera.
Believe it or not, Fred Freiberger's introduction of Maya changed the story for the better. Byrne shows his talent here by writing a wonderful father-daughter relationship which I believe became the crux of the episode - not the brain drain machine.
While I basically feel that the introduction of the metamorph character Maya was a very bad move, i.e. Freiberger's move towards towards the Saturday Morning audience, although perhaps a financially wise move, I believe I can understand David somewhat here.
[EDITOR'S NOTE: Triggers a thread called Maya = Saturday Morning?.]
The best thing about THE METAMORPH, as I see it too, is the father-daughter relationship and how she step by step grips loose from her old view of the world to a more realistic view.
Basically, this is the experience of the 5-10 year old of understanding that his/her parents are not perfect, and is probably well suited for the audience that Freiberger was aiming at.
If naive, I still think that the show could make sense to those above the age of 7 as well. As we change jobs, meet new people and get around in the world we have to change our opinions or views of the world. I know that I for certain have changed my perspective a lot of times while discussing different issues in concern with episodes of SPACE:1999.
The ability of Maya to change forms is interesting in this aspect, I think. What Byrne/Freiberger perhaps is saying here is that she has been adapting to her fathers views by changing her appareance and opinions under the belief that she was the one that should modify.
I think this fits nicely in with the pre-1980s concept of women, that they are mainly brainless creatures that should adapt to the mans concept of the world. From a mans point of view this doesn't seem too bad, and in my experience women are often more flexible than men.
Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode.
Martin Landau was one of the things the remained the most constant during format change, I feel, although the more subtlties of Year One are now completely lost due to running around is more in focus than actual character play.
[....] THE LAMBDA FACTOR and THE METAMORPH are the only two episodes of the second season I feel Crichton did a reasonably good job on. To this day I don't know if it was the scripts or that Crichton just was unable to get into the show the second time around. Thankfully, he had those wonderful year one stories or else he would have been branded as the director of A MATTER OF BALANCE.
Well said.
I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted.
I certainly don't know, but I assume there were financial reasons. Anthon Phillips said something about this I think, in regard of why he didn't stay on.
Petter
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Tue, 16 Jun 1998 16:20:18 +0000 Subj: Re: Space1999: The Metamorph
Mentor seems to come off rather simplistically, rather flat and two dimensional. Granted, this story is a Maya vehicle, but it might have been nice to see some more emphasis on Mentor's psyche--to let him verbalize why he does what he does, and to perhaps get a vision of where he might have gone too far. [....] Mentor comes off far better and far more sympathetic in [Maya's] speech in ['Rules of Luton'] than I think he does in THE METAMORPH.
I think this is an interesting reflection. As Maya in THE METAMORPH is a Freiberger character written through the pen of Johnny Byrne, I don't find it surprising that other aspects of Maya are emphasised when Freiberger is given the oportunity to write directly himself.
Although there is hardly much time for character development in the Freiberger/Woodgrove episodes, due to the running-around type of plot, there are minor sequences where Freiberger stop the action in order to have the characters expose parts of their personal history or hidden emotions that contrast the general feel of the episode.
Personally I think this works quite well. The Freiberger approach is quite different to Byrne's, and relative to the season, I feel his thinking makes sense.
Petter
From: David Welle (dwelle@online44.dct4tag.com) Date: Tue, 16 Jun 1998 20:28:01 Subj: Re: Space1999: The Metamorph
Petter Ogland wrote:
The best thing about THE METAMORPH, as I see it too, is the father-daughter relationship and how she step by step grips loose from her old view of the world to a more realistic view.
One of several strong points. For much of her life, her whole world has been the caverns (catacombs, maybe?), and her whole interpersonal life has been her father. As well as her father might have taught her about the outside universe and other people, she couldn't have any direct experience outside of that.
Basically, this is the experience of the 5-10 year old of understanding that his/her parents are not perfect,
Well, Maya may have *understood* that her father was not perfect, but that doesn't negate the sense of love and trust, and by no means makes her think her father capable of monstrous acts. Yes, too, she *was* naive, without a doubt, but even I, at 28, am running into things that make me realize I was naive about certain things.
Perhaps naivete and wisdom are something of opposites, and wisdom can take decades to learn. Of course, naivete and trust can be close. Naivete can also be something of a sister to simple stupidity -- the difference being that, again, naivete can come from trust (in humanity, in one's parents, one's government, etc.) and not even thinking there can be something different.
Also, Maya had her disagreements with Mentor even before she found out the truth about her father.
and is probably well suited for the audience that Freiberger was aiming at.
Well, I don't think it's like that at all, mainly because I don't think it's that simple, for the above reasons and a couple more. People vary a lot here on Earth, for one thing, from those that outright hate to their parents, through those who have greater to lesser degrees of conflict, to those who have few -- even into older ages.
I've heard of individuals into their thirties who are still very much tied to one or both parents, even if the one gets married. That's of course an extreme, and like other extremes, is rarely if ever a good thing.
With Maya, there was *no* one else but her father. No other relationships that would pull her away, and given her gregarious, friendly nature, had little choice to love and trust her father, or she'd be terribly lonely, unhappy, angry even. She could have easily gone that way, but it bespeaks another sort of *strength* that she didn't, even if that trust proved its own trouble later, in the form of naivete. Most things in life are double-edged to some degree or another, anyway.
Then there's the other factor: as similar as Psychons seem to us emotionally, that still implied differences. Even from the start, Psychons seemed resilient and adaptive, from the first two examples. Later, we heard from a somewhat sad-sounding Maya that Psychon was a happy place, which only confirmed my first impressions.
If naive, I still think that the show could make sense to those above the age of 7 as well.
Makes plenty of sense to me! :-)
As we change jobs, meet new people and get around in the world we have to change our opinions or views of the world.
Agreed. Happens with me too (though I haven't changed jobs for seven years -- but the turnover has gotten so high that I meet plenty of new people there anyway, plus those I meet outside of work :-).
Maya had no opportunity to meet new people or get around, from some undetermined young age up until the time of the Alphan encounter. Actually, I think she met some other aliens in just the same way as she first met John and the other Alphans, but most of the aliens were probably more angry and aggressive than even John had been -- and they were likely so different -- that they may have scared Maya more than anything, making it easy for her father to explain that the aliens were hostile and had to be kept in a forcefield. Mentor's excuses than could ring true in Maya's ears. The reason Maya seemed confused by John's attitudes is that he had at first seemed so similar to Psychons in appearance and emotion that she was surprised when he didn't.
Regardless, that wouldn't have been a day-to-day thing -- certainly not a chance for a relationship -- and, of course, Mentor protected Maya, keeping her absolutely safe. She didn't have a lot to *challenge* her perceptions. No peers to draw at her emotions and make her want more independence, and probably no hard knocks in life. Mentor more than went out of the way to be a good father, and Maya had nothing else to rely on. Had she been
I know that I for certain have changed my perspective a lot of times while discussing different issues in concern with episodes of SPACE:1999.
Me too!
The ability of Maya to change forms is interesting in this aspect, I think. What Byrne/Freiberger perhaps is saying here is that she has been adapting
Like I said, the metamorphosis aspect almost suggests adaptability in GENERAL, at least symbolically, which Maya seemed to prove very well in subsequent episodes.
to her fathers views by changing her appareance and opinions under the belief that she was the one that should modify.
Curiously, though, I hadn't consider that exact angle.
I think this fits nicely in with the pre-1980s concept of women, that they are mainly brainless creatures that should adapt to the mans concept of the world. From a mans point of view this doesn't seem too bad, and in my experience women are often more flexible than men.
Well, Maya proved anything but brainless, but in regard to just this one episode...? Hmmm, interesting question. Well, she never struck me as brainless even there, simply naive. Those are not mutually exclusive traits, after all. There are a lot of aspects to life, and even more individual things. One extreme may be a great intelligence for scientific facts or the like but little understanding of relationships. Or understanding of immediate relationships but little understanding of other cultures or the rest of the world. Or understanding of humanity's dark and light sides but no ability to balance a checkbook. Even these are extremes: most people are more complex combinations of great or partial strengths and great and partial weaknesses, and even that balance can alter as one gains a variety of experience and wisdom.
David Acheson wrote (and then Petter responded):
Koenig himself remainded true to his year one self. Sometimes friendly but sometimes crusty and able to manipulate Maya into helping the Alphans against her father. Martin Landau's scenes with Maya and Mentor were perhaps the second best thing in the episode.
Martin Landau was one of the things the remained the most constant during format change, I feel, although the more subtlties of Year One are now completely lost due to running around is more in focus than actual character play.
I agree totally about Martin Landau, and he's one of the reasons I still think of S19 as the same series, not two different series. A lot changed, but a lot also stayed largely or totally the same. Landau as Koenig was definitely in the latter category.
David Acheson wrote:
I feel the volcanoes on Psychon were phony from an effects point of view but admire their use in the episode.
They've "aged," for sure; but on the other hand, I've never seen a realistic volcano explosion special effect, until "Dante's Peak." Regardless, the Psychon volcanos did effectively demonstrate the nature of the world, and I too admired their use.
David Acheson wrote:
This was the first of several year two planets which dared to be different. Many of year one's worlds had strange coloured atmospheres but were all Earth-like.
One of the things I like about Y2.
David Acheson wrote:
I was happy to see John and Helena, of course, but even more happy to see Alan and Sandra were back. These were my favourite year one secondary characters. I didn't care too much for Tony Verdeschi but he was there to stay. To this day, I cannot figure out why Freiberger introduced the character out of nowhere when there were other background characters who could have been promoted.
True, though I happened to like the Tony character. He was introduced both for humor and as a love interest for Maya, and in both regards, worked out well.
I suppose another, existing character (or two) could have been promoted to take these "duties," and I suppose that could make some interesting "what if?" scenarios (Paul becomes a jokester, Maya falls in love with Alan); but again, I really thought Tony and Maya (and Tony Anholt and Catherine Schell) played so well off each other that it would be very hard to see another combination.
I still miss Barry Morse's Victor (he was the part of Y1 that I missed the most in Y2), though, and would have loved seeing him and Maya interact.
----
David Welle
From: David Welle (dwelle@online4tag.dct44.com) Date: Tue, 16 Jun 1998 21:11:16 Subj: Re: Space1999: The Metamorph
At 05:42 PM 06/15/98 -0500, Mike Lynch wrote:
Every time there is a build up in action it just seems to peter along with no great climax - one such example is Helena, Alan, and Bill getting brain-sucked with Koenig deliberating over his options. He finally bows to Mentor and orders "Directive Four."
I thought things kept building and building and building, from one nice climax to the next, more powerful one. I thought the episode was perfectly paced.
Once Mentor discovers Koenig's plot Mentor sets out on destroying Alpha... yet the base seems to be acquiring rather minimal damage (compared with WAR GAMES and THE DORCONS).
A couple of Eagles, a portion of the base, at least a few deaths isn't that minimal; but yes, compared to the two other episodes you cite, it was.
The cat toying with the mouse? I always saw it as something like that, among other things. Maybe he was holding back from some last hesistancy, that he admired Koenig in some ways, and simply couldn't finish the job. Or maybe he was still hoping to force them to his will. A couple of intriguing possibilities.
I also have a slight problem with Psyche: they entire premise of a biological computer that requires the mental powers of life forms to operate at peak performance is rather hokey.
I thought it worked; but of course, like anything particular premise, it either works for a person or it doesn't -- rarely in between.
I can't help but think that if Mentor didn't spend so much time using Psyche to transform rocks into space ships, attack Alpha, project images of himself, destroy ships, and transform rock into his servants (I assume that the "drone" that Koenig shot was originally stone based on Picard's comments, and the fact that it turned into a pillar of rock) he would have more of the power he claims to need to restore the planet.
The point of all these little tricks was to herd more people towards Psyche. Any life-fearing individual of any species will avoid perceived danger. Sure, those efforts drained power, but if he didn't force people to the planet, into the caves, and imprisoned, he wouldn't be able to get any more energy at all. Obviously, Mentor thought the expense would be outweighed by the payment.
it could be possible that the computer drained much of the planet's resources to sustain itself, thus eventually bringing on the extermination of all life and livable conditions (actually this is a thought I rather enjoy entertaining since it adds an interesting twist to Mentor's obsession with restoring the planet).
Wow! Never thought of that. An intriguing possibility. Mentor may have built Psyche to counteract initial planet problems, but maybe Psyche accelerated them. Fascinating thought, and it does add further interest.
Another aspect that I have a problem with is the time factor. It only takes ten minutes for an Eagle to reach Psychon! Either the Moon is EXTREMELY close to the planet, or the Eagles in Season Two are incredibly fast.
I always figured that was closest approach. Ten minutes may be a stretch, but I guess I never noticed.
I tend to see this aspect as a sign of some things to come later in the season - such as floundering dates.
Ah, the dates. 342 d.a.b. seemed early, 2400 seemed too high, and some of the dates in between didn't make much since either. I still thought there'd be value in going in that order, to explore how consistent (or not) they were, but Mateo, Ekmar, and I got outvoted! :-)
And let's not forget that an Eagle was able to escape the effects of a planet's destruction in far less than ten minutes. In the AB CHRYSALIS the Moon was over 12 hours away from the planet and was still feeling the effects of its explosions
I don't know. Who knows how far away damage would really be. If Earth exploded in that manner, the worst that might have happened to the Moon (I'm talking our real-life Moon, in orbit) may have suffered only a couple new craters, fairly widely spaced. The force (and thus damage) of any explosion drops with the square of the distance. Also, "AB Chrysalis" posited an intent -- and perhaps much more power -- with that system of explosions. It was meant to warn aliens far before they reached the planet.
Still, I admit that a little more ought to have happened to the Eagle that escaped Psychon, and I've actually written that into a new story I'm creating.
Now, aside from that there are aspects of the show that I enjoy - such as Psyche's design and brilliant coloring (I'm a sucker for bright orange anyway). I also like Brian Blessed's rather Shakespearean treatment of Mentor. Actually it's not entirely Shakespearean - there is a hint of the gothic in his portrayal as well which is very nice. He rather reminds me of Falstaff's evil alter ego. I also enjoy Maya's playfulness and believable devotion to her father - this also has a hint of Shakespearean innocence. The sets and miniatures are excellent, as usual, and I particularly enjoy the shot above Mentor's ship as in ensnares the Eagle and we see a truly remarkable (and believable) view of the planet's cloudy atmosphere. The dialogue (for the most part) is also very well crafted... I especially enjoy Koenig's desperate attempt to convince Maya of her father's true intentions.
Oh, yes, these are all things that helped make "The Metamorph" my favorite S19 episode, and one of my all time favorite science fiction episodes.
However, the weakest point in the episode's dialog has to be:MAYA: Leave Psyche... Psyche made you do evil!
What happened here? It sounds as if Maya regressed back to First Grade. I realize that Maya was under a great deal of stress, but she was very well spoken up to, and following, this point.
It does sound corny in one way, but perfectly convincing in another; and in the context of the episode, fits perfectly. She's just had her whole world figuratively crash around her, and it's literally starting to come down as well, and has had all of about five minutes to handle this. She still finds it hard to believe that her *father* would do this, and seeks something else to blame it on -- Psyche. Given *time*, she'd be able to reflect on all of this, and that is shown: by "Dorzak", she was wondering, "Is there some flaw in Psychon nature that turns us into monsters? First my father. And now you." I am pursuing that idea even further.
I also felt that the introduction of Tony Verdeschi was very well done. We see Tony as a man loyal to his Commander, the base, and his fellow Alphans. His strength and loyalty are set in motion in THE METAMORPH and don't seem to waver from this point through the rest of the season. I actually find Tony to be a better Controller/First Officer than Paul, though I like Paul Tony isn't such a mirror of Koenig and stands out as an extremely individual character.
Agreed, on all points.
----
David Welle
From: South Central (Tamazunchale@web44tv.net) Date: Tue, 16 Jun 1998 14:59:02 -0700 Subj: Re: Space1999: The Metamorph
If Mentor had been portrayed as a desperate man fighting his own morals to fulfill his dream of restoring Psychon... If every drained mind drained just a little bit of his mind, and his sanity, so that in the end he saw no other course of action but that of continuing on...
Alas, twas not to be. He was just a heartless megalomaniac--his feelings for his daughter aside, of course. But even mass murderers love their children. Doesn't do much to redeem their characters. I don't know.
How many characters in Y1 were out and out EVIL guys?
Russell? NO
Triton Probe? NO
Raan? NO
Jarek? Maybe--Heartless, not evil.
Balor? OH YEAH!
Rowland? NO
Space Brain? NO
Neman? Maybe, though he justified his atrocities and took no pleasure
from them. Neman as resigned NAZI?
Gwent? NO
How many characters from Year Two were unidimensional EVIL guys?
From: LKJ1999@aol4tag.com Date: Tue, 16 Jun 1998 19:03:25 EDT Subj: Re: Space1999: The Metamorph
How about Cantar & Zova... But Zova is a Gal, does that count???
Chas P.
From: Ens Melissa Crane (magneto@bc.seflin4tag.org) Date: Tue, 16 Jun 1998 19:29:27 -0400 (EDT) Subj: Re: Space1999: The Metamorph
what about Magus? or the Seed of Kalthon? the Judges of Luton, or Elizia of Entra...oh, let's not forget The Bringers of Wonder...
From: "Robert Ashley Ruiz" (cybrarian@cybrary1999-4tag.com) Date: Wed, 17 Jun 1998 02:09:07 +0000 Subj: Space1999: The Metamorph
This rambles so feel free to skim, but there's good stuff from Johnny Byrne at the end so you might want to hang in there. For ease, I've broken it up by subject headings.
I watched The Metamorph again and reconfirmed thoughts on Catherine Schell. What a gorgeous woman, a wonderful actress, and what a gorgeous dress to put her in. (I'd lose the Ostrich feathers on the sleeves, but other than that, perfect.)
NEW IN SERIES 2:
A couple things appear for the first time in this episode. Helena's Alpha Log Recorder is an absolutely stupid idea since she lugs this cumbersome thing around between Medical Center and Command Center (or there are duplicates of it), but of course she could just record her logs into the microphone of her commlock directly into Computer. A better change for Series 2 was the Eagles' new floor mounted command module view screens which were added to allow a two-shot of the actor's conversing in a single shot, avoiding lots of over the shoulder and viewscreen insert shots. Great design by Keith Wilson. Weapon's Section is new and a nice addition, even if it is a redress of the command consoles from the ships in Dragon's Domain and Voyager's Return.
SERIES INCONSISTENCIES:
At the beginning of the episode Helena states the Alphan population is 297, down from 311 at Breakaway. I don't care what they say about no births being allowed on Alpha, after all those Alphan deaths in Series 1, to get these numbers Jackie Crawford must have had SOME new peers added to the Alphan populace. The other thing I noticed is the computer wall in the Eagle sports "X5 Computer" where it normally sports "X3 Computer." X5 Computer was a designation for the computer in Main Mission.
ANDROMEDA PATCH?
I know Mare Ganea Fitzgerald wrote that that patch with the A on it was for people involved with some Andromeda medical project, but many people wear it in this episode: Koenig, Russell, Carter, Picard, and possibly others. I always thought of this patch as symbolizing Alpha, but perhaps not. It just seems bizare that all these people in diverse fields should have been involved in the same medical project.
NEW FACES:
Lew Picard and Annie Fraser: Wish they'd kept them both. I always expected Annie Fraser to reappear after The Metamorph but of course it never happened. Speaking of Lew, what's up with the spelling of his name. As a Frenchman, wouldn't it more likely be Lou Picard rather than Lew?
OLD FACES:
Sahn is well characterized in this episode compared to later episodes. After a weak start with a gasp when Fraser and Torens get abducted in space, Sahn holds her own against Tony and seems his equal and confidante even though he's clearly senior (pulls rank later in the episode by saying "Return to your position" after Sahn argues with him about carrying out Directive 4).
PSYCHON FASHION:
What's up with Mentor and Maya's clothes? They're totally impractical for their lives and duties in the Psychon bunker. They're basically living in a utilitarian bunker and yet they dress like royalty in impractical flowing gowns. Since I own and have tried on Brian Blessed's Mentor costume, I can tell you that it would be a little bizare to work in it (the cape over the wrist would always get in the way and be dragging). From their clothes alone it's easy to envision that somewhere in the bunker they have absolutely sumptuous living quarters where they have surrounded themselves with wonderful Psychon art, furnishings, and probably a vast library. Their servants seem to have been created from rock by Psyche, thus solving the labor problem.
PSYCHON MAKEUP:
Mentor's makeup always bugged me a little because it wasn't like Maya's -- he seemed to lack the face shading she sports. Now that I've watched the episode on laserdisc I can see that he does in fact have at least a shaded point (actually a rounded point) below his hairline on his forehead like hers (a detail that just looks like his hairline on VHS [to me anyway]). His ears aren't brown like Maya's, but Catherine's ears are only brown in the first few episodes, so Psychons (or possibly just female Psychons) either change their coloring as they age, or this is Psychon makeup and part of the Psychon ideal of feminine beauty. Child Maya in Seance Spectre doesn't have brown ears either I don't think.
Speaking of gorgeous, did you catch Barbara Bain's new look? Much improved. It's hard to believe it's three years since they started filming Breakaway and she actually looks younger and more attractive than ever. I think the new hairstyle and her clingy uniform collar help quite a bit here. Her acting is also MUCH improved. She's warm and charismatic in Series 2, just as she's described in real life, and she has a rather attractive figure. Can you say "tummy tuck" in between seasons?
MAYA'S TRANSFORMATIONAL ABILITIES:
Mentor says: "Stop it, Maya. I teach you the priceless art of molecular transformation and see how you use it -- foolish games."
Maya's abilities at the time of The Metamorph seem to be something she's recently learned and is dabbling with on her way to mastering them. This would explain why we see her lounging around as a lioness, etc. which we can hardly imagine her doing "just for fun" in later episodes.
MENTOR'S CHARACTER:
As I said before, I see Mentor as a victim of Psyche, just like the others. In essence it's the Frankenstein story where Mentor has succeeded in creating an artificial entity with the best of intentions, only to have it corrupt him over time and destroy him in the end. Watch him the way he speaks of Psyche, almost like a lover, referring to it as "her" at times, and clearly mesmerized -- that is, until Koenig begins to break it up and then Mentor's passions shift from wanting to protect Psyche to thinking only of Maya's being saved by Koenig as Psyche's influence diminishes.
"Psyche, Commander. A biological computer, created from the minds and bodies of those of our people who survived the disaster which overwhelmed us when nature ran wild."
"You've seen this planet -- a volcanic furnace. Through Psyche I shall transform it, change it back into the beautiful world it once was; a world fit enough for our civilization to begin again."
Koenig counters with, "Alright, Mentor, you have a beautiful dream. We'll talk more about it after I see my people." Watch Brian's performance as he responds with the following:
"Commander! Psyche! Psyche needs energy to complete its task -- energy that is only found in the minds of intelligent life forms. In other words, Commander, the machine needs your Alphans."
The telling thing in here is the way Mentor responds with "Commander! Psyche!" It's as if he can't understand why Koenig is concerned at all with his people when he is exposed to this wondrous artificial and indeed magical entity.
Another telling exchange is the following:
Koenig says, "You expect me to submit my people to this...obscenity?" and Mentor responds with, "Your presence here in space has given me a chance -- perhaps my only chance -- to make my world live again!
This "perhaps my only chance" speaks of Mentor's desperation and single-mindedness. Judging from the small number of creatures in the pits and the relative sizes of the ships in the crater in comparison to the Eagle (which we know holds up to 10 people), he had never had a vessel in his grasp with so much raw material to offer Psyche at one time as he now finds with the Alphans' moon. Now he has 297 Alphans to sacrifice and for all he knows his dream of restoring the planet is just within his grasp.
MAYA'S TRUE TRANSFORMATION:
While Maya transforms physically any number of times in The Metamorph, her most important transformation in the episode is from ignorance to awareness. She clearly has loving and devoted blind faith in Mentor, and she has accepted his explanation for everything until the Alphans make her aware of the reality of her existence. "My father would harm no one," she states with absolute determination and loyalty. Listen to her words and watch her face in the following exchange:
MAYA: "Negotiate? With a liar! You disgust me. We welcome you as
friends and you plot to kill us."
KOENIG: "What do you expect us to do, stand by while Mentor destroys
us?"
MAYA: "My father is an honorable man!"
KOENIG: "Why do you think he wants us here?"
MAYA: "You know why! Without help we can't transform this
planet. Other people helped us."
KOENIG: "Yes! Yes! And what's happened to them?"
MAYA: "They attained happiness. Rapport with Psyche benefits
everyone."
KOENIG: "Maya, that machine destroys people's minds!"
MAYA: "Is there no vile thing you won't say against my father?"
KOENIG: "Go down to the caves and see for yourself."
MAYA: "Nobody's allowed down there, they're radioactive."
KOENIG: "Who says so, Mentor?"
MAYA: "There's nobody down there, I tell you!"
KOENIG: "Maya, we've been there. Go and see! See what we've seen.
Mindless hulks, destroyed by your father!"
MAYA: "That's not true!"
KOENIG: "Go and see, and then come back here and let us out, so we
can stop him!"
MAYA: (awareness growing that they may be telling the truth) "No."
KOENIG: "Maya, please! Go and see!"
MAYA: (still wanting to believe in her father but perhaps not quite
able to do so) "You're lying!"
KOENIG: "Go and see! Go and see!"
MAYA: (as she retreats, shaking her head, not wanting to believe)
"You're lying!"
At this point Maya runs to the caves even though she has been told and believes them to be radioactive. Inside she sees Mentor's captive miners and is horrified. It's true. She is so horrified she makes a hasty retreat. She then returns to the imprisoned Alphan's, dejected, and sees undeniable final proof, the images of Mentor destroying Alpha. Finally convinced irrevocably, she frees the Alphans, once again reiterating the bond between her father and herself by asking only that they promise that Mentor will not be harmed.
As Koenig and Maya enter the Grove of Psyche, Mentor is stunned to see his daughter, again proving the strong family bond, as he clearly can't believe what he's seeing and it's the last thing he expected. Koenig quickly begins to bash Psyche with the intent of destroying it completely. Watch the dialog below and watch Brian Blessed's performance. As Psyche is progressively destroyed by Koenig, Mentor's concern switches from his artificial creation to his flesh and blood daughter.
MENTOR: "No, Commander! To release Psyche's energy will destroy the
whole planet!"
MENTOR: "Maya, you must stop him."
MAYA: "I was in the pits! I saw what was down there! I saw!"
After Mentor realizes it's too late and that Psyche and the planet are beyond saving:
MENTOR: "Get her away, Commander! Get her away!"
KOENIG: "Mentor, come out."
MENTOR: "Get Maya away! Take her away, Commander. Save yourselves!
Save Maya!
MAYA: "Come with us, father! Leave Psyche! Psyche made you do
evil!"
MENTOR: "No! Understand Maya, please! I wanted to do good, I wanted
to restore our planet! I didn't want to hurt anyone!"
Now we've already been told that Mentor's taught Maya the art of molecular transformation so why can't he transform himself and escape the fire? I've come to see this as Mentor realizing what he's done with Psyche's demise and the lifting of its influence. What Mentor's left with is the realization of what he's done and the fact that he can't live with the shock of it. There are no alternatives for Mentor. The planet is breaking up around him, Psyche is gone, his dream is gone, and if you look forward to The Rules of Luton, it's explained that Mentor didn't leave Psychon because Maya's mother's tomb is there. Koenig has said to him, "Mentor, come out," implying that Mentor can come out if he wishes (at least initially), but I interpret the story as filmed to mean that Mentor couldn't live with himself and only wanted Maya to be saved. He also may not have been able to live with his sense of shame as might be reflected in Maya's eyes, and so he chose death.
CATHERINE SCHELL'S ACTING:
I have often thought that if nearly anyone but Catherine Schell had played Maya the character would have been very cartoonish and out of place in the series. Watch her toward the end of the episode as Maya escapes Psychon entering the Eagle for the first time. Many a director would have told the actors to just jump in their seats, but Catherine as Maya runs blindly into the Eagle and then seems lost, she hesitates, and Helena puts her arm around her to nudge her into the proper place. That's a great moment. No dialog, but it's real. Just a moment of hesitation, just as there would have been in real life. This is but one example. Catherine gives a superb performance all throughout the series, handling even the silliest dialog with aplomb. And notice also, that ending with Bain, Landau, and Schell. That chemistry between Koenig and Maya that's been talked about in the past is there from the very beginning.
OLD E-MAIL FROM JOHNNY BYRNE ABOUT THE ORIGINS OF THIS EPISODE (WHAT HE HAD IN MIND WHILE WRITING IT):
This is an abbreviated version of e-mail between Johnny and myself, discussing my script of Maya's introduction to Alpha and trying to make all the stuff we see on screen about Psychons gel cohesively.
|
From: Johnny Byrne To: Robert Ruiz Date sent: Tue, 21 Oct 1997 Hello, Robert - Your plan for Maya and Psyche sounds good to me. I considered something similar when drafting the episode (this was after I knew I had to include Maya. In your case, you seem to have little choice but to go on what's there on film.
One thing I would like to ask you, Johnny, is whether Mentor was envisioned as also having the power to transform. It doesn't seem so from the episode. I never considered Mentor having the powers to transform. Nor to my almost certain knowledge did Freddy or anyone else. I think Freddy was so overwhelmed by a transforming Maya that he simply forgot to ask himself this question about Mentor, or indeed where the power came from. Maya playing with her power early in the episode was featured more to plant the notion than any other reason. I do remember I wrote in a sleek Ocelot for her first shape change and not the somewhat larger bedraggled beast that showed up on the day. As for me, even one Psychon transforming was too much! If you did want to explain how she came to have the power, the answer could quite believably lie in Psyche, one of the gifts she would have bestowed on behalf of Mentor - it being a power only accessible when young. Mentor would have been biologically past it by the time he had created Psyche. Take care - Johnny
From: Robert
I never considered Mentor having the powers to transform. Nor to my almost certain knowledge did Freddy or anyone else. I think Freddy was so overwhelmed by a transforming Maya that he simply forgot to ask himself this question about Mentor, or indeed where the power came from. Maya playing with her power early in the episode was featured more to plant the notion than any other reason. I do remember I wrote in a sleek Ocelot for her first shape change and not the somewhat larger bedraggled beast that showed up on the day. As for me, even one Psychon transforming was too much! I agree. I pointed out to the list at one point that I think the reason people love Maya is they really love Catherine Schell. Nobody seems to really get a special thrill out of the character's ability to transform. Most could do without it. In addition, the character's history implies a more lost approach to life, a really touching drama. Freddy artificially forced the character into something she wasn't, something she wouldn't be, and I think the viewers knew this and rejected the trick to a large part. Catherine is amazing the things she had to do and the conviction she did them with -- even something as mundane as consulting her console's readouts. To me it seems the point of an alien character should be to stand as a counterpoint to the humans in the story, but Maya came off as being the most human Alphan of all.
If you did want to explain how she came to have the power, the answer could quite believably lie in Psyche, one of the gifts she would have bestowed on behalf of Mentor - it being a power only accessible when young. Mentor would have been biologically past it by the time he had created Psyche. I like that explanation but I somehow have to work in all the facts about Psychons from The Metamorph, The Rules of Luton, and Dorzak. Mentor tells her "I taught you the art of molecular transformation, and see how you use it", which implies that Mentor knew of it even if he wasn't capable of it. Dorzak, considerably Maya's senior, has no trouble transforming once Maya shows him how. Maya also tells him "only Psychons have the unique molecular structure." I'll play with it some. Maybe it's a way of explaining it but it would imply that Maya has miraculous powers to pass on Psyche's gift. I'm sure I can work this in better than I can explain that Maya and Mentor are living in what is essentially a survival bunker and yet their clothes are pure nobility, not practical at all for their situation!
From: Johnny Dear Robert - Don't be surprised if I fall behind in my responses - the hell of deadlines never ceases. :) You're comments about Maya as played by CS are spot on. Also my comments about Maya and transformation must be consistent with what showed up on screen. While we might retrospectively redefine the nature of her power, and how it applies to Mentor, it's best, as you rightly say, to build on our perceptions about it - I had completely left Dorzak out of the equation.
I'm also toying with the idea of Mentor having a fatal flaw that brings on his downfall in the end. After most of the Psychons left the planet and Mentor refused to give up and leave his wife's tomb [as explained in The Rules of Luton] desperation made him "feed" Psyche by less than ethical means, and in essence he pays the price in the end. It's sort of the Frankenstein story in essence. The fatal flaw in the otherwise perfect human being - the stuff of classic Greek tragedy here, Robert. The Frankenstein concept is completely apt in this context. |
From: South Central (Tamazunchale@web44tv.net) Date: Wed, 17 Jun 1998 10:27:38 -0700 Subj: Re: Space1999: The Metamorph Eagles
(summarizing private letters)
Anyone know why they didn't use the entire Eagle set throughout Y2? Why the passenger module lets directly on to the cockpit and the connecting corridor is gone?
(new)
Then again, this is Y2--Do we WANT to know?
Church Lady: Hmmmm. What could have caused them to do that? Hmmmm, I wonder... Could it have been, well, I don't know... Could it have been....FREDDY!!!!!!!!
Mateo
From: "Robert Ashley Ruiz" (cybrarian@cybrary1999-4tag.com) Date: Wed, 17 Jun 1998 12:50:04 +0000 Subj: Space1999: Re: The Metamorph Eagles
Reportedly, the forward connecting or "access" corridor of the Eagle set was removed for Series 2 due to space limitations on the soundstage. In Series 1 the Alphan sets (with very few exceptions, such as Main Mission) were set up as needed -- that's why Medical Center changed in virtually every episode and implied a much larger moonbase than during Series 2. In the schematic of the soundstage it looks like they DID have room to do it, but chose not to so they could line up the Eagle's door and the Travel Tube Reception Area and Travel Tube car. This is probably also why they shortened the Travel Tube car for Series 2, going from six seats to four.
Robert Ruiz
Cybrarian of the Space: 1999 Cybrary at:
http://www.cybrary1999.com
From: David Acheson (dkach@hot44mail.com) Date: Wed, 17 Jun 1998 13:55:56 EDT Subj: Space1999: The Metamorphing Maya
Read David Welle's emails to the list and can say I agree with almost all that he says about THE METAMORPH. It definitely was not an episode about the machine called Psyche but was centered more on the wonderful father-daughter relationship. I believe Johnny Byrne figured this out eventually with the title change from THE BIOLOGICAL COMPUTER and THE BIOLOGICAL SOUL.
While some may say all the metamorphing Maya did in the opener appeared to be pointless one has to remember that this new plot device for this character had to be introduced somehow. I have no problem here with the numerous transformations because it fits in with Maya's playfulness - a characteristic she shows many times throughout the series. She comes across as a kid with a new toy assuming she has just recently learned this metamorphic technique. This appears to be backed up with Mentor's stern fatherly way of telling her to cut it out.
Its interesting to note the ealier comments about Maya being naive. I guess she was now that we have gone over this episode but she is also very imaginative and smart. These two qualities help her to grow into her future life with the Alphans. In many ways Maya comes across as a university student just graduating and ready to enter the real world for the first time. Perhaps it is seeing Maya grow as a person that makes her appear more human (real) than the others and puts her on my list as favourite 1999 character.
[Refering to to the Maya = Saturday Morning? thread:]
I myself do not think adding Maya was a cartoonish move nor do I believe that Freiberger and ITC was specifically looking for the Saturday morning crowd. I do think Freiberger's work at Hanna-Barbara would have had some influence on his life but so would any other project he had worked on in the past. One can easily compare year one to Gerry and Sylvia Anderson's earlier puppet shows. Also I would think that Freiberger and ITC would have loved to have an American network prime time commitment instead of the syndication route. So, yes, Freiberger wanted to bring in an younger crowd (namely teens and young adults) but he wanted a broad base for the series. The unfortunate part was the way it all fell into place. So Petter, I understand your basis for mentioning this point but I believe there was a lot more to it. One can point to STAR TREK: DEEP SPACE NINE to point out that a shape shifter does not equal a cartoon figure.
I however am not as pro season two as David Welle. I do believe some episodes (or moments) came off rather cartoonish (to be discussed when we get there) but not all. THE METAMORPH was rather closer to the so-called "honest adventure" story that Freiberger and ITC wanted (I cannot honestly call this episode cartoonish). Both seasons had their own set of faults. In the end, I do prefer year one but am still a fan of both seasons.
David Acheson
Site Administrator, Return to Moonbase Alpha
http://www.geocities.com/WestHollywood/Heights/4376/moonbase.html
From: "Barry Scannell" (bjscannell@spry44net.com) Date: Wed, 17 Jun 1998 11:15:45 -0500 Subj: Space1999: The Metamorph Eagles
Hello,
This episode is a pleasure to watch, lots of action and Maya is well ... Maya. How many women do you know can get away with that dress? It is a good start to the second season.There are a number of unique views of Eagles. I don't like the missing hallway but we've been through that already.
The Eagle trying to break away from Mentors ship is well done. Nice impression of thrust with the Freon jets.
There is a rare close up view of the landing pad and gear, a nicely detailed prop. On Battlestar Galactica 1980 (SFC yesterday) there were full size Viper Props in a field on Earth. I was thinking how nice that would have been to see the actors interacting with a full size Eagle prop in the series. There were a fiew almost as good camera trick composites though.
There is a shot of an Eagle, preparing to go to its death as per Tony and the wepon section guy, lifting off from an Open landing pad with two others moving in the background. A lot of SFX work here.
I have a fiew of these screen shots up on my site.
http://home.sprynet.com/sprynet/bjscannell/screenshots.htm
The graveyard ships are not unfamiliar to us. There are a number of Alpha Nuke Charges laying arround and the Monsters ship from DD.
Later,
Barry
From: jcg@vh4tag.net Date: Wed, 17 Jun 1998 20:49:21 -0400 Subj: Space1999: The Metamorph
In the very beginning of the opening, why is there a basketball flying at us?
Not that it was needed, (or was it?) but that is a good summary of the basic plot of the series in the weekly opening.
They've gone through another space warp...which is at least an acknowledgement of the problem of how they are so far out in space.
I like hearing that they are in need of resources (in this case a mineral.)
Who says they changed the format from year one? We have an actor who can't speak english and has his lines dubbed-in sounding like a bad foreign film dubbing job.
And it is definitly still year one cause there's yet another strange ball of light.
I would like to launch a world wide search to find one person from the year two production team who honestly thought that vest Koenig is wearing was a good idea. What were they thinking? The others had their (what I call) base jackets on. Was his not ready yet when they filmed? Also, it seems to me a definite desire to keep him covered up.
At least we can count on Sandra (which is the name Tony calls her) to gasp in freight when something happens!
I like the idea of the supporting actors having credit in the opening episode titles, instead of at the end of the show.
Just like the beginning of year one, it looks like they did some rear screen projection on the big screen. The close up when Mentor is first talking to them, and later when Koenig issues directive four, I think, were projected from behind and filmed in real time, rather then the images being added later to the blank screen (as they did with the other shots on the screen.)
I wonder how much trouble the bubbling tubes were during filming (as far as noise). I noticed a couple of times where Maya's lines were dubbed in.
I have always prefered the year two version of the uniforms. For one thing they look like they fit each actor better, rather then one size fits all with no shape to them. I think the i.d. badges are a good symbol of how they wanted to change the shape and feel of the show, by introducing something they (whether it's Freddy or someone else) would have done if they had been making the decisions from the beginning.
The addition of the side monitor in the cockpit is an excellent addition...it makes for a better interaction with the actor in the shot and on the monitor, and it saves production time because you don't have to go for a seperate close-up of the monitor itself for some of the lines (and I'm sure I will be eating those words in the weeks to come.)
Another saving technique is having the actor (in this case Landau) stand behind a wall with a hole cut out, and light it so it looks like an image on a viewscreen...cuts down on post production time and cost.
I like seeing Helena find the mineral and put some in her pocket...for once it's not a "they had it and couldn't keep it" thing that a lot of stranded shows have done over the years...ranging from Irwin Allen to Voyager to Gilligan.
One of you nice folks complained about this idea that an eagle could destroy the planet. I think despite the dialog it could just as easily mean as George Carlin points out when people say we are destroying our planet: "We aren't destroying this planet. It's not going anywhere...we are!"
Except for needs of plot and dialog, why is Koenig in the cell with the others if Mentor thinks he is a turncoat?
Someone out there (and forgive me for not attributing, but it's a miracle if I can even read the postings these days) complained about the flying time to the planet being 10 minutes. I did not see anything that indicated it was that close. I think it was just the cutting of scenes together and the viewer has to know that time is passing. There might be an argument made that they should have made the time factor clearer, but I don't think it was necessary.
I think it would have been more interesting if they had saved Torrens. They would have then had to deal with him. But of course they could not do that if they wanted to make 23 more episodes that could stand independently and not build on each other.
What ever you think of Maya's transforming ability, I realized the zoom-into-the-eye bit was chosen because they had to have something visual that worked week to week. When she realizes Mentor is gone and she has given up, they have a slow back-and-forth disolve from the beast to her...but it just doesn't work. The other technique that was full on camera was in The Dorcons when they have a quick transformation using a quick out-of-focus-into-focus...but that was done for the heat of the moment in that scene, and I don't know if that would have carried for an entire series (of course, yes, the eye blink could get tedious as well.) It makes me wonder how they would have done Odo on DS9 if they didn't have the current state of editing onto tape and computer generated effects.
From: Simon Morris (simes01@global44net.co.uk) Date: Thu, 18 Jun 1998 12:25:33 +0100 Subj: Re: Space1999: The Metamorph
I would like to launch a world wide search to find one person from the year two production team who honestly thought that vest Koenig is wearing was a good idea. What were they thinking?
Yes,thats a good point. In THE METAMORPH's opening teaser, Koenig wears that awful bathrobe-type garment that never appears in any other episode (thank God). I wonder why? I'm certainly not surprised that it didn't resurface in other episodes. Another point that interested me (on seeing some of the original jackets a few years ago) was how the blue and red jackets worn by the cast in general were not finished to as high a standard as the ones worn by Martin Landau and Barbara Bain.
In the same vein,the "additional booster units" which were added to the Eagle in this episode were obviously a new piece of equipment. One wonders if they had always had them on Alpha since the days when the Moon was still in Earth's orbit,or whether they were built once they'd left orbit. If the latter is the case you have to wonder how they thought it was worth it(after all they had managed through Y1).
Then again I suppose that would also beg the question how/why did they decide to make new uniforms,add new viewscreens to Eagle cockpits,stick stupid labels on everything (WEAPONS RACK, ALARM,etc),add stun/kill switches to their guns,change typefaces on all the signage,etc etc!!!!
I haven't viewed the Y2 episodes for quite a while,but am I right in thinking the "additional booster units" didn't reappear through the rest of the series?
Simon Morris
From: "Robert Ashley Ruiz" (cybrarian@cybrary1999-4tag.com) Date: Thu, 18 Jun 1998 08:05:15 +0000 Subj: Space1999: Vests, Boosters, Signage, Sylvia
Koenig wears that awful bathrobe-type garment that never appears in any other episode (thank God). I wonder why?
Because Martin hated it with a passion. He reportedly hated it so much he said so, signed it, and gave it away to a fan.
I'm certainly not surprised that it didn't resurface in other episodes. Another point that interested me (on seeing some of the original jackets a few years ago) was how the blue and red jackets worn by the cast in general were not finished to as high a standard as the ones worn by Martin Landau and Barbara Bain.
That doesn't surprise me. They had to create tons of background players' jackets and the extras didn't have to be happy with them. Bain and Landau did. The same thing happens with props where they have "hero" props for closeups and more toyish versions for everything else.
In the same vein,the "additional booster units" which were added to the Eagle in this episode were obviously a new piece of equipment.
These were a great idea for getting the show's second season going. It was a way of saying to the audience not to sit back and think they knew everything just yet, there were more surprises in store along the way. The Metamorph isn't the only episode in which booster units were used. Another type was used in New Adam, New Eve and I think somewhere else too (or maybe not). Anyway, whatever additional booster units are featured with the episodes they appeared in in the Spacecraft section of the Cybrary's episodes pages.
Then again I suppose that would also beg the question how/why did they decide to make new uniforms,add new viewscreens to Eagle cockpits,stick stupid labels on everything (WEAPONS RACK, ALARM,etc),add stun/kill switches to their guns,change typefaces on all the signage,etc etc!!!!
That signage did get pretty stupid, "Weapons Rack" in particular, but one can't blame the production department for trying to improve or wanting to change things. Someone wrote about where the badges came from. Watch Dragon's Domain and you see similar badges, Series 2 jackets, etc. that pop up later, all compliments of Keith Wilson. Keith never liked Gernreich's uniforms and clearly wanted to incorporate this kind of thing from the beginning, but Gerry and Sylvia wanted Gernreich's name on the credits.
I haven't viewed the Y2 episodes for quite a while,but am I right in thinking the "additional booster units" didn't reappear through the rest of the series?
As above, the ones from The Metamorph never reappeared but other types did.
Speaking of Sylvia, some articles say she added to the human element of the show but others who were there say she had hardly any contribution other than input on costuming, etc. Since there is so much on either side of the debate it's difficult to understand just what the truth is.
Robert Ruiz
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Thu, 18 Jun 1998 15:13:47 +0000 Subj: Re: Space1999: Vests, Boosters, Signage, Sylvia
Speaking of Sylvia, some articles say she added to the human element of the show but others who were there say she had hardly any contribution other than input on costuming, etc.
I've heard the same thing, but to whatever extent she contributed, even if it may have been mostly through Gerry or in privat discussions with the others, her opinions seem to be the same; wanting to add more to the human elements of the series.
According to one of the Johnny Byrne interviews she was particulary interested in episodes like THE TROUBLED SPIRIT which is, of course, an episode with primal focus on human relationships.
Petter
From: LKJ1999@aol4tag.com Date: Thu, 18 Jun 1998 16:55:37 EDT Subj: Re: Space1999: The Metamorph
It's to bad they did not use the booster units on all the eagles! The booster Eagle has to be the best space ship ever made, nothing comes close to it. I LOVE IT!!!
Chas P.
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Thu, 18 Jun 1998 09:22:46 +0000 Subj: Re: Space1999: The Metamorphing Maya
David Acheson wrote:
Read David Welle's emails to the list and can say I agree with almost all that he says about THE METAMORPH. It definitely was not an episode about the machine called Psyche but was centered more on the wonderful father-daughter relationship.
David Welle seem to be the authority on Year Two on this list, I agree with that. I enjoyed his mail very much too.
While some may say all the metamorphing Maya did in the opener appeared to be pointless one has to remember that this new plot device for this character had to be introduced somehow. I have no problem here with the numerous transformations because it fits in with Maya's playfulness - a characteristic she shows many times throughout the series. She comes across as a kid with a new toy assuming she has just recently learned this metamorphic technique. This appears to be backed up with Mentor's stern fatherly way of telling her to cut it out.
This is a good point, I feel. Reading the correspondance between Robert and Johnny Byrne on the subject, one almost get the feeling that Freiberger also was in a playful mood with respect to his metamorph character, totally obsessed Johnny Byrne calls it. I wonder if it is possible to view him also as a kid with a new toy by the way of recently gotten the idea of the metamorph concept and enjoying the visualisations of the metamorphic technique.
I liked Robert's point, however, that perhaps most are more impressed with what Catherine Schell made out of the metamorph character than the metamorph character in itself.
I was very impressed by Catherine Schell in THE GUARDIAN OF PIRI. It's a complete mystery to me why she did not become a major star. She has a sort of Audry Heppurn quality to her, I think. I wonder if the slight German accent could have anything to do with her not fitting completely in British and American TV and film production.
It appears to me that she must have been the one who was enjoying doing Year Two the most, and is certainly the face that comes to mind when I think of the second season.
[Refering to to the Maya = Saturday Morning? thread:]
I myself do not think adding Maya was a cartoonish move nor do I believe that Freiberger and ITC was specifically looking for the Saturday morning crowd. I do think Freiberger's work at Hanna-Barbara would have had some influence on his life but so would any other project he had worked on in the past. One can easily compare year one to Gerry and Sylvia Anderson's earlier puppet shows.
Yes, this is an interesting point, I think. My impression is, however, that the Andersons were doing puppet stuff while they could not afford real actors and tried constantly to improve the quality of their shows as to make the puppet series more and more impressive. THUNDERBIRDS was the most successful one, I believe.
Someone have been mentioning Gerry Anderson's experience with the puppet shows as a negative influence on the Year One SPACE:1999, at least negative in the way that he was more concerned with technical solutions than character development. I think Edward di Lorenzo and Christopher Penfold make an internal joke out of this in RING AROUND THE MOON where head of technical department is named Anderson.
Sylvia Anderson, on the other hand, seems to have been very concerned with character development, and, apparently, wanted the Year One characters to be even more human than they turned out, in other words having Koenig make more erronous decisions, focus more on both strong and weak sides to all characters, thinking more in lines of Proust, Ibsen and Mann rather than plain adventure.
The main difference between the Andersons and Freiberger, as I see it, was than Freiberger seemed to be that Year One was made due to team work while Year Two was more in the lines of a Freiberger dictationship. At least so it appears when reading interviews and comments from actors and crew.
While Freiberger could perhaps have made very interesting contributions as a part of the theme, perhaps more like Penfold obviously more diplomatic easy-going style during first season, Freiberger's obsession with driving through his ideas, highly in contrast to what everybody else were thinking it appears, had a definitive impact on the series, I feel.
Even if the Andersons backgroup in supermarionation could be compared to Freiberger's background at Hanna Barbera, and is in fact a very interesting similarity I think, the consequences appear very different to me. Freiberger was obvsiouly a believer of strong leadership, and appears to have been running productions the way John Koenig would have done it. Gerry Anderson seem more like a Victor Bergman type of person to me, obviously a man who knows very much and expect to be listened to as the man in charge, but does not force his opinions upon others.
Also I would think that Freiberger and ITC would have loved to have an American network prime time commitment instead of the syndication route. So, yes, Freiberger wanted to bring in an younger crowd (namely teens and young adults) but he wanted a broad base for the series. The unfortunate part was the way it all fell into place. So Petter, I understand your basis for mentioning this point but I believe there was a lot more to it. One can point to STAR TREK: DEEP SPACE NINE to point out that a shape shifter does not equal a cartoon figure.
I agree very much David, I suppose there is much to be understood here in terms of what market Freiberger had in mind. I haven't seen all that much DR. WHO, but my impression is that in the UK DR. WHO was originally made for a younger audience than the first year of SPACE:1999. As the Andersons realised that cost of each episode of SPACE:1999 would be tremendous they perhaps found out that they would try to aim for a market as large as possible and then decided for family entertainment as opposed to childerns entertainment.
From Freiberger point of view, however, perhaps the childerns entertainment market was a much more interesting market, perhaps thinking of spin offs such as toys, and in the US it was obviously big enough for the production costs of the series. I believe it is possible to see Freiberger as a very rational and practical man, and to understand him on financial terms although one does not agree with him artistically.
I however am not as pro season two as David Welle. I do believe some episodes (or moments) came off rather cartoonish (to be discussed when we get there) but not all. THE METAMORPH was rather closer to the so-called "honest adventure" story that Freiberger and ITC wanted (I cannot honestly call this episode cartoonish). Both seasons had their own set of faults. In the end, I do prefer year one but am still a fan of both seasons.
The thing that makes me wonder the most is the Freiberger rethorics, using such terms as "honest adventure", "real relationships", "humour" etc. To some of us there is nothing more "honest" about the running around in BETA CLOUD than catastrophy in BREAKAWAY or the devastating attacks in WAR GAMES. What must have confused quite many must have been the attacks Freiberger made on Year One. Although I feel I understand him more and more, I believe he would have been easier to understand if he put forth his point of view on Year One in a more rational way without too many emotionally ladden words obviously meaning different things to different people.
Petter
From: "Simon Morris" (simes01@global44net.co.uk) Date: Fri, 19 Jun 1998 12:42:45 +0100 Subj: Space1999: The Metamorph
Hello All
When Space 1999 was first screened in my area in 1975/6 (at that time I was living in Shropshire and my local station was ATV Midlands[no longer around and much missed!]), I made careful notes of all the dates and times that each episode was screened on that channel,for both Y1 and Y2. Thus I can tell you that,on ATV Midlands, THE METAMORPH premiered at 5:40 pm on Saturday 4th Sept 1976. Year 1 had been screened at the peak time of 7:00pm every Thursday throughout its run. However - perhaps indicative of the problems to come - Y2 was shifted about into several different days and timeslots,with THE IMMUNITY SYNDROME and THE DORCONS being held over completely until May 1978 and August 1978 respectively.Shameful treatment basically by the company that made it.
So. What of the episode? In 1976 it was so totally unlike the first season that I could not believe it was the same series,and ever since I have effectively regarded them as two different shows. That way - as I have said before - I avoid ulcers from the Y1 versus Y2 argument! I was initially very disappointed by the Main Theme for Y2,composed by Derek Wadsworth. Ok....it was fast and pacey. But so was Barry Gray's Y1 theme. I grew to like Derek's theme but I never liked the swoop/sound effect section of the theme where Maya and the Catherine Schell caption appeared. Made it difficult to hum the theme,you see! However I liked the visuals that accompanied the main titles,in particular Landau swivelling round in his chair and firing his Stun Gun. Mind you, I thought the animated "RED ALERT" caption that flashed over the computer panels in the opening titles was bloody juvenile. Never liked that bit.
Another thing that I thought spoiled Y2 a bit. I would have preferred the "Hook" to appear BEFORE the Main Titles,as they had done in Y1. With the new series,you launched straight into the main titles and theme music before fading into the "hook".(Was this the same in the US as well,or did local stations re-edit them so that there was a hook first,THEN the titles?). Personally I think the shows would have played better if they had shown a hook first then played the titles,but I suppose kicking in the titles first gave the show a certain "immediacy" that they were looking for..........
Other than that,the change in style and approach was immediately visible. And, I have to say,that I agree with many of the changes that were made. THE METAMORPH is a fast paced and fairly straightforward action-adventure story in my opinion,generally lacking in any philosophy or metaphysical aspects and I suppose being exactly what Freiberger had promised. To compensate,there was a new and(I believe)very welcome and necessary emphasis on characterisation. Mentor is not an out-and-out"black hat villain". There is a complex side to him and,because of his plain desire to regenerate a dying world,I think there is a certain amount of sympathy for his deluded obsession that "the ends justify the means". How often has that cry been heard already throughout our History! The part is well played by Brian Blessed who seems to have relished the part...in fact to me there is a slight 'hammy' feel to his performance. I wouldnt put it in the same class as his performance in DEATHS OTHER DOMINION,but compelling on its own terms. Mentor is,by turns,both charming and deadly.
By contrast,the addition of Catherine Schell as Maya was a delight.I have always believed that Maya was a well-conceived character(largely due to Catherine)which was only spoiled by some of the stupid "humour" that Freiberger introduced. The combination of impish humour,attractiveness and innocence was a beguiling one.
I never felt comfortable with Maya's molecular transformation abilities and felt that she would have been as compelling without them. In this episode - as in others - I think they were overused. The sequence near the end of the episode where Maya changes into various different creatures(including stupid guy-in-gorilla-suit)as a means to get away from Koenig was just a commercial measure to show viewers(and tv station buyers)as many different transformations as possible. Too comic-book.
Overall(since I want to be brief),I thought THE METAMORPH was an impressive through obviously different opening episode. Plenty of pace and action and more engaging characterisations.Okay,more straightforward in approach than most Y1 episodes but far less slow moving than some Y1 episodes and quite frankly far better than certain Y1 episodes (RING AROUND THE MOON and MISSING LINK spring readily to mind,showing that if people think Y2 was crap[I don't]then Y1 had more than its fair share of crud as well). As others have written,other aspects were a great improvement(uniforms etc)...and I have to mention once again an effective,driving and pacy score from Derek Wadsworth.
All in all,an enjoyable episode and an excellent start to Y2.
Simon Morris
From: "Brian Dowling" (brian@hellion.prestel4tag.co.uk) Date: Sat, 20 Jun 1998 22:19:51 +0100 Subj: Space1999: The Metamorph
Hi folks,
My thoughts on the season 2 opener are based mostly on some notes I made a few years ago when I didn't know as much about Space:1999 as I do now. I've kept most of them in, they may stimulate debate.
The Metamorph
The new title sequence is right at the very beginning - no teaser/intro. I'm not keen on that idea, so it will be interesting to see if the structure of the story precludes the teaser.
New music and title sequence: the new music is faster, not perhaps as grandiose or funky as the first season, but I like it. The title sequence does suggest that this season is being aimed at those who have never seen the series before - one thinks of the Glen A Larson "Buck Rogers", or perhaps the US syndicated version of "The Avengers" [the narrative intro "extraordinary crimes against the state...." was specially put on for the US market, and not heard over here].
Why the red alert thing? Seems pretty meaningless to me, unless it's a "good looks" thing. The new computer panels (if that's what they are) are indicative that there have been changes to some of the cosmetics of the show.
The titles confirm this - Koenig turning round in his chair and firing - what, if anything does this prove? Another "good looks" or "action" thing, perhaps, as opposed to the season 1 titles where we just see Landau & Bain standing there - not punchy enough for some, methinks.
Personally speaking, the soft focus on Barbara Bain doesn't work. I understand it was something she insisted on - can't help but wonder why. And no "action" scene for her in these titles. Can a doctor have "action" scenes? More specifically, can a female doctor have "action" scenes?
Catherine Schell is the new recruit to the show, and quite nice she looks too.
This is plainly a Gerry Anderson production, rather than earlier series which were a Century 21 production. If he's putting his name to the production role rather than just the creator [Terry Nation's Daleks or "Blake's 7" come to mind, where his name is to the fore as the creator, but he does not have any degree of control outside of anything he writes, produces or directs for those projects], that suggests that he may be getting more involved in some way.
{as this last bit was written, I did not know of Gerry's divorce with Sylvia or the politics with ITC New York)
342 days after leaving Earth orbit? So all of season 1 happened in less than a year? We might have a continuity problem here... Anyway, I can't help but think of "Captain's Log..." as I'm watching this. Do we really need another summary to go on top of the one we've seen in the titles?
Taking a look at the hardware on show in the care unit, it appears that the computer like font which was quite to the fore in season 1 has been replaced.
Where's Main Mission gone? This new place where Koenig and others are is like a sardine tin! And *what *the*hell* IS that jacket thing he's wearing?
Inside of the Eagle, there has been some redesigning. They now have televisions they can watch in flight. Makes it a bit cramped in there. I like the new patches on the sleeves. Carter's not in the Eagle - wonder where he is?
Helena is in the new command/control area. See Carter briefly, no other recognised characters yet.
Wasn't the planetary scan just a little too short to determine that there is no life on the planet? A sweeping statement one might not have expected to see in season 1.
Ooh, an SBOL... that's a new looking laser gun. Wonder what spares they used to build that? The chase scene - why isn't Alan trying to do something here? If he isn't involved with Eagles, what is he doing now?
Combat eagles and another sweeping statement from Picard - they should know by now that all things are possible! They can't be that self centred to have ignored everything else they have been through so far.
Brian Blessed appears, with a lion in the background. Do they have lions on this planet as well? See Dr Mathias. See the guy behind Koenig infuence his decision about the rendezvous, whoever he may be...
The new jackets look quite cool, apart from the collars on Alan and Tony's jackets. But this was the 70s when it was filmed. Saying that, how come there has been some kind of upgrades to the computers and wardrobe? Hardly a moonbase struggling to maximise resources if they can hand out new uniforms to everyone.
Maya appears. Wow! That dress! That smile! I think I'm in love.
Er, what's happened to the inside of the Eagle? Where's the connector tube between the cockpit and the pod gone? SBOL strikes again, and they find themselves in another spaceships graveyard - doesn't anybody remember Dragon's Domain?
Alphan recycling seems to have improved - they're drinking more coffee in this story than we've seen throgh all of season 1!
No security guy in the team! Picard carrying heavy weapon - I've got a feeling that I know what could happen soon... Tha Alphans see the cave zombies. In some ways it's kind of like Erdington on a Saturday...
Isn't Helena's diagnosis of brain damage a little hasty? I know it helps advance the plot a little, but it could be brainwashing or conditioning of some sort, like hypnosis. Just being picky.
Hologram of Mentor - uses "Koenig" rather than "Commander" - Picard gets blasted (I said I knew what was going to happen) and Helena screams! Somebody tell her this is Space:1999 and not Doctor Who! That's very unlike the Helena we know from Season 1.
What a cell to wake up in! The colour is awful! And a lion as well! Its the kind of scenario where you'd have the hangover from hell and awake to find yourself in a bright red cell, with a bloody great lion staring at you... Please, what have I done to deserve this?
A biological computer? If you take the definition of a computer as something which is artificial and therefore free of any organic content, that is pretty much an oxymoron.
Koenig is still his determined, stubborn self, especially when he realises what's in store for the Alphans courtesy of Mentor and Psyche. Cue the blackmail from the baddie - what other choice does Koenig have?
Directive Four sobers Tony up, especially when we find out what it means. First it means that he must destroy the place from which the signal came, and second it means that Koenig and crew don't intend to mess around when any threat is facing them. Maybe they haven't ignored the important lessons from their previous encounters. I am again reminded of Star Trek, and the occasions that self sacrifice was attempted.
Alan wants to take Koenig's head off, and I don't blame him. I would if I were in his position. Maya's awakening to the truth comes as a result of Koenig's stubbornness - how many times does he exhort her to go to the caves and look for herself? The turmoil she must be feeling now, her view of her father shattered completely as he attacks Alpha.
Why does Koenig goes ape and start smashing Psyche? Wanting revenge for the mindless state of Torens or the damage to Alpha? Hardly the actions of a man who wants to stop Mentor, not to harm him. As the place collapses around him, Mentor himself wakens up to the reality of the situation. Maybe he was something akin to the obsessed scientist who sees only his dream above all other things, and at whatever cost, and only realises the truth as the (and usually his) end approaches.
Once again we see Helena almost hysterical at Torens' death. So out of character from what we had before...
The Alphans escape, Psychon blows up and it's all smiles in Command Center. Helena seems more shaken by Torens and Picard's deaths than that of Bill Lowry in Mission Of The Darians. That was very nasty...
And the funny thing is that Maya doesn't seem to hold anything against Koenig for destroying her planet; "Oh yeah, that's fine - waste my home planet and all life on it - I don't mind". She has to go with the Alphans now, but there's got to be some resentment at that. After all, killing someone is the extreme way of both harming them and stopping them.
As a season opener, it is nowhere near as strong as Breakaway. We see some new characters, but very little is actually fleshed out other than Tony's cynical and sometimes sarcastic nature. Koenig is still as we knew him from season 1, but Helena seems as if she's spent some time at the Doctor Who Companions School Of Acting.
Many of the changes may need to be explored as the season carries on, certainly from a personnel point of view. Three are missing (Bergman, Morrow and Kano), with only one replacement - Tony. Maya will most likely come in as well, but how much of a crutch will her metamorphic abilities become as the season continues? If properly handled, the development of Maya could become something very interesting.
It looks different in many areas, with not much acknowledgement of what has gone before. The music is still good, and this story seems to be pacier than anything from season 1.
Looking back on it, I might be tempted to use the analogy of the recent Doctor Who tv movie comapred to the series, to describe season 2 compared to season 1. Same name, many same things, some good performances, but some bad things, ignorance of what has gone before, and dodgy writing.
And there are those who love one, the other or even both sides of the argument.
Brian Dowling
From: David Welle (dwelle@online4tag.dct44.com) Date: Mon, 22 Jun 1998 00:01:56 Subj: Space1999: The Metamorph
I've already written quite a few comments about this episode, but have a few more things to say, even though I'm a bit tired from this weekend's muggy heat. My ISP also seems to be groggy (keeps dropping the connection, email is at a crawl, Usenet is down, the web is pitifully slow -- arrrghhh!).
The father-daughter relationship of Mentor and Maya has already been discussed extensively, and I agree it is a strong point of the episode. Brian Blessed and Catherine Schell really played off each other very well, showing the talent of both actors.
Mentor is a very interesting character, showing several sides to his character, and is very well portrayed by Brian Blessed, who gives his character a very Shakespearean style, as someone else mentioned, which fits very well. Again, I have a character study of him (at http://www.scifi.com/scifi.con/screen/space1999/character/mentor/), which presents one interpretation of who Mentor was and what might have driven him.
Mentor, not unlike his daughter, had a sense of humor, albeit buried by layers of restraint or twisted by bad intent. With Maya, he had obvious affection and seem to counter her boisterous sense of humor with some wry humor of his own. When she wasn't around, he played cat and mouse games with his targets, stringing them along, sending out balls of light, ships that turned into balls of light, friendly messages, guards that turned into rocks, holograms with force fields and turned into balls of light. It's all designed to lure in and capture victims (spider and fly?); but at the same time, he seems to enjoy it, like when the Eagle broke free of the ship, using its boosters: Koenig called the base and seemed to think he was home free; Mentor heard, and smiled, knowing he had more tricks up his voluminous sleeves -- that the Alphans weren't going anywhere.
Maya is my favorite character, as most people here know well, and she is given a very strong introduction in this episode.
In regard to her metamorphic abilities (to start with), I agree that the games she plays in this episode fit the character of one who's recently learned the metamorphic talent and is practicing, and even showing off. Only natural, and I don't think the metamorphing is overdone in this episode.
Even her first appearance, as a lioness, before Koenig is a wonderful touch. If she's relatively new to the talent, she may not realize that the creature is a predator from the Commander's home planet, and his seeing her like not only scares the commander, but further sets Koenig's distrust of all things Psychon ("you Psychons are full of fun and games" -- perfect line). He has to overcome a very negative first impression of Maya to realize that she may be innocent afterall, and try to use her as the lever to escape. Koenig indeeds takes advantage of her in this way.
Her first number of transformations fit the mold of playful. The pivotal one is when she turned into a dove to move most rapidly through the caverns. There's a bit of irony -- intended or not -- in her being a symbol of peace in the middle of horrors. Her last few transformations are desperate attempts to reach her father, despite the chance of risk to herself. In this episode, it all works well as an extension of her own personality.
Of course, there's the preponderence of Earth animals. Real world reason: not many options other than creatures from Earth and "rubber suit" style creatures from elsewhere. Fictional reason: well, none was ever posited on screen, so I always figured that maybe Mentor captured a ship whose owner was an animal collector of sorts. Post-Psychon, we can assume Maya was exposed to whatever small animals were on Alpha.
Despite this several paragraph discussion of metamorphosis, I do have to agree with everyone else who said the best part about the character of Maya was her personality, as portrayed by Catherine Schell. Her talent adds an even more exotic aspect to her character (and a talent that can be interesting in its own right); but yes, in the hands of a lesser actress, could have flubbed real badly. The real charm of Maya is her personality, and how much of Catherine Schell's obvious charm showed through. She's also beautiful.
I agree it is indeed a pity Catherine Schell didn't gain more prominence. I don't know that the accent was necessarily the problem (and heck, I liked the accent), but it seems she's best known for her roles in /Space: 1999/ and "Return of the Pink Panther," at least here in the U.S., where most of her other work goes unseen, outside of roles in "On Her Majesty's Secret Service," /Doctor Who/, and -- if you can find them -- "Moon Zero Two" and "Madame Sin."
Her acting talent showed through in many of the little things as well. The scene Robert pointed out, of Maya running into the Eagle, and then looking lost until Helena guides her, is an excellent example. I often wondered if Catherine had suggested that reaction -- as if she had already "gotten into" the character, and would understand that the Eagle represented the first time Maya was immersed in an alien environment, with different shapes, color schemes, smells, sounds, and other distractions. A moment of fear and confusion.
I agree with Robert in that I have a hard time being able to picture anyone else who could have brought the same liviliness, humor, beauty, intelligence, and acting skills to the role. Like Robert said, gorgeous dress, too. (As far as the ostrich feathers: they gave an even more graceful look when she moved, but did look a bit limp when she was standing still, and close up.)
I am not surprised that the powers that be picked Catherine for the role, and I am very glad they did! :-)
"The Metamorph" was a fine introduction to her.
Psyche was interesting as well. Created by Mentor to save the planet, it seems (by the end of the episode) that it is like fungi, threads of itself spread through the planet, in an attempt to gain control over it, because when Psyche is destroyed, it is like energy and commands run wild, a twitching body without a brain. Energy released all at once in the wrong places.
An interesting point was when Fraser was knocked out by one of Mentor's guards. Torens was still put through Psyche moments later, but Fraser was saved until later -- making it obvious that Psyche's victims needed to be conscious, presumably to get the most "mental energy."
Psyche was, to borrow a phrase, Mentor's dream given form -- one designed to TRANSform. The means to restore Psychon; but at some point, the "means" overcame the end, it seems, for at some point, for it seems Mentor never stopped to think about what sort of means he was using to get to the glorious ends. The charcter study that's posted elsewhere actually covers something of this. One aspect that deserves further mention is something of a mystery left by this episode: whether Psyche is sentient, and somehow controlling Mentor. Someone broached this idea before, and leaves an interesting question of how much control Mentor and Psyche each had over the other.
Another question is how much contact Maya had had with Psyche during her life. Obviously, it wouldn't have been the central portions, considering how thoroughly Mentor hid the shameful secret from her; but maybe she learned some things through Psyche.
In regard to never seeing Mentor transform, there could be a couple reasons. Robert touched on a couple possibilities in his long note.
Psyche thus remains something of an interesting enigma -- ones that aren't muddied by poor characterizations or plot surrounding it, as sometimes happened earlier.
Robert wrote:
Speaking of gorgeous, did you catch Barbara Bain's new look? Much improved. It's hard to believe it's three years since they started filming Breakaway and she actually looks younger and more attractive than ever. I think the new hairstyle and her clingy uniform collar help quite a bit here. Her acting is also MUCH improved. She's warm and charismatic in Series 2, just as she's described in real life, and she has a rather attractive figure.
I agree. She already seems much more intelligent and caring, in my opinion, as well as more attractive.
The telling thing in here is the way Mentor responds with "Commander! Psyche!" It's as if he can't understand why Koenig is concerned at all with his people when he is exposed to this wondrous artificial and indeed magical entity.
I noticed that too. Besides what you said, his tone is as if from a parent to some child who has a short attention span. Chiding, almost.
Robert's "Maya's True Transformation" comments were very appropriate. That was always one of the most powerful parts of the episode in my eyes. What a jolt for a sheltered person to receive. She showed a great deal of strength in being able to move forward.
**** A few other short notes:
The roles of Bill and Annette Fraser, though small and limited, worked well in the context of the episode. Instead of just a "no name" being sent in the first mission, it was someone with a bit more development. Bill would of course return in some subsequent episode, albeit without Annette being anywhere in sight.
The sets were well-done. The cave system was particularly complex and realistic-looking, with the right mix of intent and hodge-podge about it. The inner quarters were done in a consistent orange, which may not look palatable to us, but which Psychons may have been more used to. The spackled artwork seen in the "Grove" (the main control room, where Psyche was housed), I always thought may have been created by Maya as a child. :-)
I liked that for once, the Alphans got what they were looking for, even if they got a lot more trouble than they wanted, and an unexpected new resident. The thing they were looking for was the titanium, and Helena managed to find at least some of what was needed.
There are other topics (e.g. Command Center vs. Main Mission) which I could discuss as well, but are of a general nature that I'll save for later.
One final note was one I've agreed with and/or voiced in the past was who things changed without explanation. It was rather silly to drop a scene that may have taken but a minute -- that scene being something which could at least explain a couple changes. Heck, even a couple extra words inserted into the log report (a la Robert Ruiz's ideas, I think -- except for the "AI" and Tony parts)...:
"Moonbase Alpha Status Report [....] the move of command from the vulnerable Main Mission underground to Command Center was completed this morning. Victor Bergman is recovering from a failure in his mechanical heart, but remains weak. After Main Computer was damaged and lost its AI system, David Kano has requested and received a reassignment in the Systems room, to more closely monitor what remains [?]. Paul Morrow is recovering from his nervous breakdown, and is under the care of Dr. Mathias, who is, unfortunately, not sure he can ever regain command form. Tony Verdeschi, has replaced Morrow as first officer. [Then the rest of the log as shown in the episode.]
Okay, it is a little wordy, but would have helped to smooth -- at least a little -- the change.
**** Summary
Obviously, I like this episode. Strong plot, characterization (of Alphans and aliens), and themes. The weakest part, IMO, was the lack of something explaning the change of command location and staff.
In the 15 years where I didn't see S19, from age 7 to 23, this was the episode I remember the best, and even after multiple viewings in the last five years, this still ranks as my favorite episode of S19 and one of my favorites in science fiction.
A+/4.0
David Welle
From: Paul Dorion (pdorion@mediom.qc4tag.ca) Date: Mon, 22 Jun 1998 16:39:25 -0400 Subj: Re: Space1999: The Metamorph
Here we go again ...
Although I prefer Y2 myself (but also like Y1 episodes, if somewhat from a different perspective), I can understand why Y1 fans feel disappointed with Y2. I also wholeheartedly agree that there are some mediocre episodes in Y2 (as there were in Y1 by the way). To this day, I cannot watch The Taybor nor New Adam New Eve without embarassment. Dubious plots, dumb characters and rubber-suit monsters can be used to describe the low points of a few S1999 episodes.
While I can relate to this, I am amazed this new point of comparaison between Y1 and Y2, and am somewhat dubious of the validity of the statement about Y1 guest characters being well-rounded characters while Y2 characters would be unidimensional evil guys.
Mateo, please explain how Rowland's character in Death's other dominion or Neman's character in Mission of the Darians can be perceived as well-rounded characters (as opposed to unidimensionally evil) while Mentor would fall under the latter category ? IMO all three characters are very similar in that, while being obsessed with their goal, they eventually took actions in the belief that the end justified the means. It seems clear to me (even in the first viewing) that Mentor's goal may be viewed as a good and noble one (from the Psychon point of view), but that along the way, the dream was corrupted by the means used to achieve it. It was always clear that Mentor's loyalty was directed to his fellow Psychons first and foremost; to him, our beloved Alphans were "inferior aliens" who had a minute chance of survival and who might as well "contribute" to his great goal than die a meaningless death on their out of control planetoid... He was somehow putting them "out of their misery" (note how some arguments sounds familiar, even in those "enlighted" days...). Does this really sound as an unidimensional character? A morally-impaired character, sure, but an unidimensional one?
Feel free anybody to explain to me the fundamental difference between the "balanced" presentation of Gwent in the Infernal Machine and the "unidimensional" view of Brian in Brian the Brain. What about the "fundamental" difference between the goals/motives of Jarak (Alpha's Child) and Vindrus (A matter of balance)? Or between Raan (Missing Link) and the androids in Moment of Humanity? What are the actual differences of the perils related to the dream-like existence controlled by the Pirian computer as opposed to the one created by the radiation-craving beings in Bringers of Wonder? How about the "real depth of character" displayed by the Archon leader (Voyager's return)? The Triton probe would not be an "out-and-out villain", but the seed of Kalthon (Seeds of destruction) would be???
The way I see it, BOTH Y1 and Y2 have a record of sometimes showing stereotypes of various threats to the Alphans without being able to fully demonstrate the guest character point of view or even complex motivation(s). I certainly do not find this a Y2-only related problem.
As a matter of fact, it was actually a Y1 episode (and a personal favorite one at that) that brought this point to the extreme, as absolutely no motivation (good or evil) is offered for the actions of the alien blue light in "Force of life". Now this is the ultimate in one-dimensional guest character, wouldn't you think?
Paul :D
From: Patricia Embury (Patriemb@sprint44mail.com) Date: Mon, 22 Jun 1998 19:42:11 -0400 Subj: Re: Space1999: The Metamorph
when the Eagle broke free of the ship, using its boosters: Koenig called the base and seemed to think he was home free; Mentor heard, and smiled, knowing he had more tricks up his voluminous sleeves -- that the Alphans weren't going anywhere.
He was testing the Alphans to see how intelligent they were. Maybe Psyche needed a certain intelligence level to profit from the experience.
Even her first appearance, as a lioness, before Koenig is a wonderful touch. If she's relatively new to the talent, she may not realize that the creature is a predator from the Commander's home planet, and his seeing her like not only scares the commander, but further sets Koenig's distrust of all things Psychon
Possibly some of the animals were also native to Psychon. Mentor stated that the Alphans were like the Psychons. Maya lived a very sheltered existence, from what we know in this episode. She probably knew about the lion, and may either have used the form as an easy one to master, a fun one to master, or it may have been the newest form she mastered. Who knows, she could have been sending a subtle message to Koenig, that she wasn't someone to mess around with.
The roles of Bill and Annette Fraser, though small and limited, worked well in the context of the episode. Instead of just a "no name" being sent in the first mission, it was someone with a bit more development.
I think the roles were well set, but, I thought Annette was a little too doey eyed. The last bit made me a bit nauseated. Blowing a kiss at your husband is fine, but the look in her eyes, and how she stared at him was a bit much.
The sets were well-done. The cave system was particularly complex and realistic-looking, with the right mix of intent and hodge-podge about it.
I noticed one of the volcanos starting to melt! Also, one of the mines from Collision Course was reused as a spaceship.
Something should have been said about the missing crew. I wonder why Directive Four was only known to Verdeschi. Granted, if they had been on a recon mission, it could have been tortured out of a captured Command Staffer, but it seemed unlikely that the fact that a plan such as Directive Four was unknown to the Command Staff.
Carter was another strength. Note the little "morality play" or Carter seemingly acting as Koenig's conscience in the cell, after John issues the directive. The way he looked at Koenig as Koenig paced. Very effective. Overall, the episode was a good one, one of the best of the season.
From: LKJ1999@aol4tag.com Date: Mon, 22 Jun 1998 19:58:47 EDT Subj: Re: Space1999: The Metamorph
All of the space ships You see, were used from Y-1! I never noticed the volcano melting! Have to check it out!!!
Chas P.
From: Mark Meskin (plastic.gravity@new44rock.com) Date: Mon, 22 Jun 1998 19:47:22 -0500 Subj: Re: Space1999: The Metamorph
Most are from Dragons Domain.
Arra's shuttle from CC is there as well.
Mark
From: "Simon Morris" (simes01@global44net.co.uk) Date: Tue, 23 Jun 1998 12:14:22 +0100 Subj: Space1999: Re: Character Motivation Y1 versus Y2
Hi All,
I've been watching a few Y2 episodes over the weekend and I'm somewhat pleased to announce that I find them generally more entertaining than I ever remember. In fact I enjoyed the majority far more than some Y1 episodes which quite frankly I found slow and boring. As Paul Dorion stated,I too probably lean more toward Y2 but also enjoy Y1. As I've previously said,I avoid ulcers by looking at each Year as almost 2 different series,and Paul says he likes Y1 but from a different perspective.
Examining the series is proving to be intensely subjective,isn't it? Because if you don't *like* Y2 (or not as much as Y1)you're going to be looking for faults which in my view aren't always there. Therefore I - like Paul -totally disagree with Mateo's assertion that most Y2 guest characters were one-dimensional evil guys. On the contrary,most have some sort of motive for their actions,however weakly they might be written into the script. These motives are generally NOT for completely self-centred purposes.
For example
Mentor: Wanted to restore his planet.
Vindrus: Survival of his species outside of the Anti Matter world
Charles Logan: Well intentioned but misjudged his transfer his transfer
attempts in JOURNEY TO
WHERE
Brian the Brain: Personal Survival yes,but no different to Gwent in series
1 IMHO
Pasc: He was -at its most basic - a sick man.
Even the out and out evil beings were no different to some of the characters appearing in Y1 and Paul Dorion has touched on these so I shan't repeat them. Its the old thing isnt it...."The end justifies the means". We've all come to learn that this is no justification for the basic inhumanities happening in the world...but its still being used as a justification isn't it? And it always will be!
While I agree that there were many portrayals of *evil* in Y2 (Rules of Luton, Beta Cloud,Bringers of Wonder)where sadism,violence and selfishness seem to be the motivating force, I do not accept that other characters were one dimensional. (Mind you,its hard to look for any sort of multi faceted characterisation in a cloud,or a trio of trees,or a living rock that needs water.....:-) )
Space 1999 has been criticised in the past for a generally pessimistic view of the future,as opposed to the revered Roddenberry/Star Trek vision of goodness humanity and optimism. I've never agreed with this.But it does seem that some people want SPACE 1999 to follow the Star Trek sort of philosophy,mainly as its a politically correct philosophy etc. Throughout the history of the world there has been distrust arguments,suspicion and inhumanity. There is no reason to suppose it won't continue in the future....why shouldnt Space 1999 show these character traits? I've always thought that we should champion Space 1999 for being different(both Y1 and Y2) and yet all too many seem to want it to be a Star Trek clone. Personally I don't see why a sci-fi adventure show(which is what Space 1999 is at the end of the day,folks!) actually needs a philosophy as such anyway.
I can stand any amount of criticism of Y2 thats slung around: there is plenty that was done wrong in the season. But lets not pretend that there wasn't a certain amount of crap in Y1 either.
Simon Morris
[EDITOR'S NOTE: There are a few more comments about this episode in the next episode thread.]
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