Space 1999 – TV where the Moon went “See Ya!” to Earth (and all logic).

Welcome to Space: 1999, the British-made, American-targeted 1970s sci-fi series that asked the bold question, “What happens when Earth’s moon decides it’s had enough of orbiting and just takes off into the cosmos?” Spoiler: chaos, space monsters, and some serious model work ensue. Created by Gerry and Sylvia Anderson (you know, the marionette legends behind Thunderbirds), this show is a glorious relic of a time when the future was all about big hair, bell-bottoms, and spaceships that looked like they were constructed in a garage by someone with too much glue and a love for model kits.

The basic premise is both brilliant and absolutely bonkers: on September 13, 1999 (don’t worry, you didn’t miss it—it was the future then), the moon is blasted out of Earth’s orbit thanks to a catastrophic nuclear explosion. Because of course, that’s how physics works. It’s essentially Gilligan’s Island, but instead of a tropical atoll, our 300 or so survivors of Moonbase Alpha are floating aimlessly through space on a runaway moon. No chance of getting rescued here—unless you count the occasional alien encounter or space-time anomaly that pops up in the weekly monster-of-the-week plots.

The Alpha Crew: Serious Faces, Serious Sci-Fi

Leading this ill-fated lunar expedition is Commander John Koenig (Martin Landau, who must have made a pact with the devil because his cheekbones defied gravity long before the moon did). Koenig is the serious, determined leader who spends most of his time glaring dramatically into the middle distance while contemplating the profound mysteries of space—and the complete lack of logic involved in being hurled across the universe on a moon with no propulsion system.

Alongside Koenig is Dr. Helena Russell (played by Barbara Bain, who was married to Landau at the time, which must have made for some interesting on-set dynamics). She’s the chief medical officer of Moonbase Alpha and manages to keep everyone alive despite the weekly threats from space diseases, rogue aliens, and the crushing emotional toll of having your home planet somewhere in a galaxy far, far away.

Rounding out the main cast is Barry Morse as Professor Victor Bergman, the scientist who, let’s be real, should’ve been the one to point out that the moon flying off into deep space is a surefire recipe for disaster. But hey, 1970s sci-fi logic means no one really questions how a chunk of rock with a finite oxygen supply can keep a whole base of humans alive while zipping through galaxies. Suspend your disbelief, people—this was the era of disco.

Year One: Serious Sci-Fi with a Side of Existential Dread

The first season of Space: 1999 is a beautifully crafted, ultra-serious sci-fi show. In fact, it’s so serious that sometimes you wonder if the cast thought they were shooting a Shakespearean tragedy in space. There’s very little explanation for the weekly weirdness, which is actually kind of refreshing—aliens show up, things get strange, and Koenig broods intensely. Some episodes are practically a masterclass in minimalist dialogue and maximum dramatic pauses.

The show leaned heavily on its 2001: A Space Odyssey vibes—think slow pacing, moody lighting, and plenty of existential crises. The Alpha crew are essentially space refugees, drifting through the universe with no real hope of finding a new home. It’s bleak, it’s haunting, and it’s often incredibly stylish, thanks to Gerry Anderson’s obsession with cool-looking miniatures and futuristic set designs.

Year Two: Space Monsters and Silly Fun

Then we get to Year Two, where everything changes. Out goes the dark, philosophical tone, and in comes a fast-paced, monster-filled thrill ride. Enter Fred Freiberger, the producer who famously turned Star Trek into a carnival of strange aliens in its third season. His fingerprints are all over Space: 1999 Year Two, where the show took a hard left turn into Saturday morning cartoon territory. Suddenly, we’ve got space monsters, action-packed plots, and an entirely new alien regular: Maya, played by Catherine Schell, who can shapeshift into anything she wants. Because if you’re going to throw logic out the window, why not go all the way?

Year Two is undeniably fun, but it’s also completely at odds with the first season. Where Year One was a somber exploration of survival and the unknown, Year Two is basically, “What alien beastie can we throw at the moon this week?” There’s more action, more color, and about a hundred percent more campiness. It’s like someone decided the audience wanted a cross between Doctor Who and Lost in Space—and you know what? They weren’t wrong. It’s a different kind of ride, but it’s still a good one.

The Legacy (and legend) of Space: 1999

Even though Space: 1999 only lasted two seasons, its legacy is long-lasting. The show’s miniatures and special effects were groundbreaking for the time (seriously, that Eagle Transporter ship still looks awesome), and the production values were through the roof. Sure, the plot could get a bit wonky, and the tone shift between seasons was, well, jarring, but it’s all part of the charm. This was a time when sci-fi didn’t need to explain itself—it just was, and you were along for the ride whether you liked it or not.

For fans of classic sci-fi, Space: 1999 remains a cult favourite. Whether you prefer the brooding, philosophical Year One or the campier, monster-filled Year Two, there’s something for everyone in this lunar oddity. So, next time you’re looking for a retro-futuristic binge-watch, why not hop on board Moonbase Alpha and see where the ride takes you? Just remember—don’t expect too many explanations. Just sit back, relax, and let the moon take you to the weirdest corners of space.