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Originally Posted by Doodler
After blowing an inch or two of dust off my memory, I seem to recall on episode of this series that actually throroughly and completely impressed me. The one with the downed human and alien pilot having to work together to get to the moon base, only to have the alien blasted on site by the human rescue team.
Depressing, but stunningly well done.
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That one was Survival. The thing I particularly liked about it was that it used the implications of being on the moon to good dramatic effect. If you crack a window on the moon, bad things will happen! And although we hear spaceships roaring past in vacuum, it's made clear here that the characters can
not hear sounds in space. This too is put to good dramatic effect, as Paul Foster, with his damaged radio, is unable to converse with people standing a yard away.
Compare that with a recent Sarah Jane Smith adventure. The evil Slitheen family, for no terribly convincing reason, switch the sun off. When that happens, there's no eight minute delay before its effects are felt, and apart from some of SJS's neighbours remarking that that's unusual, there are no lasting consequences once it's been switched back on again. Really, why bother taking on big concepts if they aren't going anywhere?
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Originally Posted by peteshimmon
The episode I remember is where Straker
returns his son to his estranged or divorced
wife and the kid gets run over outside the
gate. With the boy very ill, he promises
special help from overseas. But events
frustrate this and the boy dies. And this
was broadcast at tea time on a Saturday.
Must have really upset some young viewers!
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That's the aptly-named A Question of Priorities.
I think I probably saw this one as a boy when it was first broadcast. I probably found it sad at the time, but that sort of thing is generally more depressing when you're much older. In the playground, one routinely guns down one's schoolmate several times a day. Even the actual death of one classmate (aged 10) distressed me less then than it would now.
But yes, in dramatic terms, the death of Straker's son was pretty darned devastating. We'd already been shown the flashback episode when Straker had got married and his wife had given birth, and other episodes referred to his family situation - it wasn't as if his son was introduced just to get a cheap shock.
The rest of that episode was pretty good too. A UFO apparently firing on another UFO, an alien occupying the home of a very frightened blind old lady, and then - most movingly - the alien leaving the home when he knew he was going to be killed so that she would be spared.
Straker's ex-wife's reaction to her son's death after Straker had promised her everything would be all right was also very powerful. Some critics of UFO have remarked that the characters are even more wooden than the puppets in Gerry Anderson's earlier shows, but this is lazy and inaccurate. Episodes like this found the balance between exciting sci-fi action and genuine human drama. Most other shows never even tried; certainly few succeeded (alas, none of Gerry Anderson's later work came close). Over two decades later, the Buffy series (and its spin-offs) attempted to mix fantasy horror with domestic reality, and while it was admittedly pretty successful, it was way too smug about it.
Other stand-out UFO episodes include Flight Path. Paul Roper, a SHADO operative very much in love with his wife, is blackmailed into betraying SHADO. When he is found out, he volunteers for a dangerous mission on the moon in order to redeem himself. Unfortunately, following a misunderstanding, the aliens have had his wife executed. But Straker withholds this information, knowing that Roper's chances of surviving his mission are so remote that he might never need to know...
In ESP, the wife of an inexplicably telepathic man hears a strange sound outside her house. She pulls back the curtains, and the last thing she sees is a UFO flying low above her lawn, approaching the house on a high-speed collision course. Later, the widower manages to convey just how desperate the aliens are to survive.
In the banned episode The Long Sleep, a young couple on LSD encounter a group of aliens who are burying something in the grounds of a house. The young couple have no conception of how much danger they are in - and not just from the aliens. When the young man decides he can fly from the roof of the house, he learns the hard way that gravity doesn't make exceptions.
But one of the most disturbingly amoral episodes has to be Four Sided Triangle. A young woman, bored of her marriage to an older man, is persuaded by her lover (Patrick Mower) to murder her husband when he comes home from work. So when the front door opens, she guns down the man who comes in before realising she's just killed an alien... When SHADO arrive, they assume she killed the alien in self-defence, and they administer a drug to her and Patrick Mower and her husband to make them forget the events of the past day. Only afterwards do Straker and Freeman realise they've walked in on a murder which not only was going to happen, but which
still will happen! "Should we do something about it?" asks Freeman. "We're not in the morality business," replies Straker. So they let events run their course, and an innocent man is murdered.
They don't write 'em like that any more.