Tag Archives: television

[November 8, 1965] You Must Be Mythtaken (Doctor Who: The Myth Makers)


By Jessica Holmes

Yes, I am quite proud of myself for that title. This month, we’re taking a trip back to a time where the line between myth, legend and fact becomes blurred. Doctor Who has a new producer in John Wiles, who has some big boots to fill, and a new writer for this serial, one Donald Cotton. Let’s dive in and see how they got on.

Continue reading [November 8, 1965] You Must Be Mythtaken (Doctor Who: The Myth Makers)

[October 10, 1965] Doctor Where? (Doctor Who: Mission To The Unknown)


By Jessica Holmes

Probably weren’t expecting me to be back so soon, eh? We’ve got a very, very unusual story this week, courtesy of Terry Nation. Why is it so unusual? Let’s find out.

Continue reading [October 10, 1965] Doctor Where? (Doctor Who: Mission To The Unknown)

[October 4, 1965] Galaxy Bore (Doctor Who: Galaxy 4)


By Jessica Holmes

Hello, dear readers! Summer’s passed, there’s a cold snap in the air, and Doctor Who is back on our television sets, which means that I get to waffle on to you about it at great length. Did you miss me?

We’re kicking things off with a strange new world and a new writer. I don’t believe we’ve had William Emms pen an episode before, so shall we see how he got on?

Continue reading [October 4, 1965] Galaxy Bore (Doctor Who: Galaxy 4)

[September 8, 1965] Still a Stranger in a Strange Land (THE STRANGER SERIES 2, AUSTRALIAN TV SF)


by Kaye Dee

Back in April, I wrote about The Stranger, Australia’s first locally-produced science fiction television show. The second series completed its run on the Australian Broadcasting Commission (ABC) in late July, so this month I wanted to look at how the story of the Soshunites and their Earthly friends has played out across six new episodes.

The new series of The Stranger opens with the same credits sequence and eerie theme music, although the otherworldy script used for the title has been slightly modified for series two

The ABC Takes Another Chance

When the first series came to its dramatic conclusion, the Soshunites had been granted permission by the United Nations to leave Soshuniss, their moon-turned-spaceship, and settle on Earth. This could have been a suitably happy ending for the story. However, after taking an initial gamble with producing a children’s science fiction adventure for television, the ABC decided on a second bold step. The ratings success of The Stranger, and its popularity with adult audiences, encouraged the national broadcaster to refocus the new series towards an older age group, with a significantly larger budget and a prestigious family audience timeslot at 7.30pm on a Sunday night, making it Australia’s first locally-made prime-time science fiction series.

With Mr. G. K. Saunders again writing the script, all the original cast and production crew have returned for a story that is considerably more complex than the earlier series, involving international politics, intrigue and a ruthless business mogul planning to exploit the Soshunites’ arrival on Earth for his own profit.

Episode 1

Broadcast on Sunday 20 June, the opening episode of series two picks up immediately after the events at the end of the previous series: in fact, together the episodes could be considered a two-part story. The UN’s decision to allow the Soshunites to settle on Earth has been prematurely leaked to the press by a US Senator. Panic ensues, with newspaper headlines proclaiming that an alien invasion is imminent.

In Australia, Soshunite emissaries Adam Suisse (whose Soshunian name, we now know, is Sinsi) and Varossa await the return of Prof. Mayer, who has been acting on behalf of Soshuniss at the UN. Suddenly, the home of their hosts, the Walsh family, comes under siege by the press and television crews. Seeking to protect the aliens, Col. Nash, the Security chief, confines them in Adam’s former home on the grounds of St Michael’s School, with a police guard. While Nash has so far been friendly, his attitude begins to change when Adam, rankled by what he sees as imprisonment (he clearly doesn’t understand the persistence of newshounds!), informs him that there has been a change of leadership on Soshuniss.

In one of Mr, Saunders’ characteristics twists, the female Soshun, whose policy was that her people would only settle on Earth if invited, has been replaced by a new male leader. This new Soshun is determined to establish his people on Earth, and when Adam says he agrees with this policy, Nash begins to suspect that perhaps the Soshunites are not as peaceful as they have portrayed themselves up till now.

The hypnotic stare of a Soshunite pilot as he uses his mind-control abilities to kidnap Peter Cannon!

Meanwhile, Peter Cannon, one of the three teenage children who befriended Adam and the Soshunites in series one, secretly uses Adam’s space radio to contact Soshuniss, trying to advise the Soshun of the situation. Unaware of the change in leadership, when a Soshunian spacecraft arrives Peter approaches it. The pilot then induces him to board the ship using the Soshunites’ mind-control abilities…

Episode 2

In New York, Prof. Mayer receives a visit from Rudolph Lindenberger, the world’s richest man. (Imagine, he claims to be a billionaire! And even though a US billion is considerably less than a British billion-that’s still a fantastical amount of money to be anyone’s personal fortune). Lindenberger tries to persuade Mayer that, as an American, he must use his influence with the aliens to ensure that their scientific knowledge is handed over to the United States. Mayer believes that Lindenberger is a misguided patriot, but his son Edward smells a con and believes Lindenberger is looking to line his own pockets.

Arriving on Soshuniss, Peter is taken to the new Soshun and learns that the Soshunites are now desperate to land on Earth because their computers have determined that there is no other suitable planet that they can reach. The Soshun tells Peter that his people have a powerful weapon that will be used if they are not given permission to land. With Adam and Varossa still on Earth, Peter has been kidnapped to be held as a hostage to ensure their safety.

Lindenberger's aide, Blake, tries to pump Edward Mayer for information about the Soshunites as they fly to Australia

Once Mayer and his son, Edward, arrive in Australia, plans are made to move Adam and Varossa to the Parkes Radio Telescope, in country New South Wales, which will be turned into a space communications facility. Joining them, will be the Mayers and teenagers Bernie and Jean Walsh. Along with Peter, these are all the people who have been to Soshuniss. This will keep them safe from the reporters, but is there another motive?

Adam has now decided that he does not trust Nash. Using their mind-control powers, he and Varossa subdue their police guards and escape. Varossa is shot and captured by another police officer, but Adam jumps into Nash’s car and uses his hypnotic ability to make the driver obey his will.

Episode 3

Varossa is in hospital, recovering from his wounds, although Nash keeps this secret from Mayer and the Walshes. The Security chief discovers that no-one can remember anything after being under the Soshunites’ mind control, including Nash’s driver: Adam has disappeared, his whereabouts unknown. Nash proceeds with his plan to move everyone else to Parkes. Although they evade the pursuing newshounds, Lindenberg’s henchman, Blake, realises where they must be heading. Adam, too, is also travelling to the vicinity of Parkes.

The Parkes Radio Telescope is Australia's most significant scientific instrument and the largest fully-steerable radio telescope in the world. It features in the opening credits of both series of The Stranger and plays a prominent role in series two. A pity the Soshunites destroy it in Episode 5!

Visiting the General Manager of his Australian subsidiaries, Lindenberg reveals that his plan is to make sure that the Soshunites are settled somewhere under his control. He intends to exploit their advanced knowledge to generate huge profits for his businesses – “in the billions”! Edward Mayer was right to distrust his motives.

On Soshuniss, the Soshun decides to demonstrate the Soshunites’ advanced knowledge. Peter is placed under mind control and forced to write a letter to the Prime Minister of Australia. His arrival in Canberra from Soshuniss, it says, will be proof of the power of the Soshunites. Meanwhile, Nash and the others have now arrived at the radio telescope, which is searching the skies for signals from Soshuniss in orbit. As the episode ends, they think they have found it!

Searching for Soshuniss. Professor Mayer joins senior telescope operator Dr. Scott in the control room of the Parkes Radio Telescope

Episode 4

With Soshuniss located, Mayer learns that there is a plan to “fit Moon rockets [presumably American] with nuclear warheads” if no peaceful agreement can be reached with the Soshunites. Meanwhile, Jean has experienced a strange dream that Adam wants her to collect a letter from the post office in a village not far from Parkes. Convinced it is a telepathic message from the Soshunite, Jean escapes secretly from the living quarters at the radio telescope and retrieves the letter. Unfortunately, Lindenberg’s assistant, Blake, who has now arrived in Parkes, manages to tail Jean, and overhears when she calls the boys to tell them where Adam is hiding.

When the three teens reach his hideout, they realise that Nash has been less than truthful, as they know nothing about Varossa’s shooting when Adam enquires about him. Adam asks the youngsters to bring him his radio, which has been brought to the telescope’s lab for study, so that he can contact a Soshunian spacecraft. Blake has been eavesdropping and phones Lindenberg with the news. The ruthless businessman immediately flies to one of his company properties near Parkes.

Even though Adam hides in an old country showground, the persistent Blake manages to track him down

Mayer, as yet unaware there is a new, militaristic Soshun, tries to convince Nash that the Soshunites are completely peaceful. However, his arguments are destroyed when Peter is discovered in a deep coma, of a type unknown to Earthly medicine, in the private Members Courtyard at Parliament House. A threatening letter from the Soshun to the Prime Minister is clutched in his hand, delivering an ultimatum: Earth must allow the Soshunites to land, or they will use their weapon.

Meanwhile, Jean, Bernie and Edward take a risk and enlist Mayer’s help to retrieve Adam’s communication device. Mayer is shocked to learn that, as with the information about the new Soshun, Nash did not inform him that Varossa was shot and captured.

Episode 5

As Mayer attempts to obtain the Soshunian radio, one of Lindenberg’s henchmen tries to steal it at gunpoint from the radio telescope’s lab. In the ensuing confusion, Bernie manages to grab the device and races up the through the telescope building chased by Blake. Desperate to escape, he climbs up onto the telescope’s antenna and makes his way precariously across the dish surface, still pursued by Blake. Suddenly the antenna begins to tilt alarmingly, and they both begin to slide.

The radio telescope operators have realised Bernie is in danger and moved the antenna so that he can slide safely down the surface of the steeply tilting dish and leap off as its rim nears the ground. Blake on the other hand, is left clinging for his life on the elevated side of the antenna. Dr. Scott, the senior telescope operator, then sneaks down to the lab and coshes the gunman holding Mayer and the others at bay. The radio telescope personnel help Blake down from the dish, but he and the gunman escape. Like Mayer, Edward and Jean, Blake follows after Bernie, who is already on his way to Adam with the space radio. Meanwhile, Bernie and Jean’s father has arrived at the telescope, after hearing news of Peter’s mysterious appearance in Canberra.

Hanging on for dear life! Lindenberger's henchman, Blake, clings to the tilted dish of the Parkes radio telescope during his pursuit of Bernie. This scene was actually filmed on the telescope

Mayer tells Adam what has happened to Peter and the three teens are shocked at this ruthless move by the Soshun. Mayer also decides to divulge the secret information about the plans to attack Soshuniss with nuclear weapons. To persuade the Soshun that the scientific community and most people on Earth are of goodwill and would welcome the Soshunites, Mayer offers to travel to Soshuniss on the spacecraft that is coming to collect Adam, to act as a human shield for the Soshunites.

Blake secretly records this conversation. When Lindenburg hears it, fearing the collapse of his plans to exploit the Soshunites, he devises a new strategy. Blake will kidnap Adam and transport him to a private island owned by Lindenberg, off the east coast of Australia. It has facilities large enough to house the entire Soshunian population (numbering just 300). Adam will be persuaded to invite the Soshunites to settle there in secret, so that they will be safely away from Soshuniss if it is attacked – and completely under Lindenberg’s control.

As revenge against Mayer for not falling in originally with his plans, Lindenberg also decides to use Blake’s recording to convince Nash that the professor is a traitor who has betrayed the Earth’s defence plans.

Nash’s Security team, Blake and his henchman, Walsh and the Soshunian spacecraft all arrive at Adam’s hideout at the same time and chaos ensues. Blake kidnaps Adam, who escapes using his hypnotic powers. Nash shoots Mayer in the leg to stop him boarding the Soshunian spacecraft, which hastily departs without either Mayer or Adam.

Episode 6

The final episode of the series is action-packed! Thinking Adam safe, the youngsters have returned to the radio telescope, but Nash arrests Adam, Mayer and Walsh. As they stop at Lindenberg’s farm for medical assistance to the professor, it becomes clear that the Security chief no longer trusts the businessman and now suspects his motives. Mayer persuades Walsh to escape and make a dash to Canberra. He must convince the Prime Minister that the threat from the Soshun is real. If the Soshunites are refused permission to settle, they will crash their moon-ship into the Earth: this is their weapon! Since they will be condemned to a lingering death wandering in space if they cannot land, they have nothing to lose.

Nash takes Adam to the radio telescope, where Bernie, Jean and Edward are now also under house arrest. When Adam realises that the antenna is being used to track Soshuniss so that it can be targetted by the nuclear-armed rockets, he secretly radios the Soshun. High-powered signals from Soshuniss destroy the telescope’s control system, rendering it useless.

Following Walsh’s meeting with the Prime Minister and the destruction of the radio telescope, Nash, Adam and Mayer are summoned to a meeting in Canberra. Dr. Kamutsa, the UN Secretary General’s personal representative, has also arrived. The Prime Minister has astutely realised that the current situation with Soshuniss has arisen from confusion since the initial information leak. He wishes to send Dr. Kamutsa to Soshuniss to discuss a “peaceful and harmonious” resolution and indicates that he already has a search underway for an area in Australia where the Soshunites can settle. 

When Adam contacts the Soshun, the leader insists that Bernie, Jean and Edward, whom he trusts, be sent to Soshuniss as emissaries and hostages, to demonstrate the good faith of the Earth. It is eventually agreed that Dr. Kamutsa will accompany the children as an advisor and they are all transported to Soshuniss. 

Upon arrival, Jean uses a ploy to persuade the Soshun to send medical aid to Peter, who is still in hospital in a coma. The Soshunite leader agrees and negotiations begin. Meanwhile Lindenberger makes a final attempt to gain control of the Soshunites, by publicly offering his private island as their new home – to which he will have access as the owner. However, Mayer and the Prime Minister adroitly outmanoeuvre the businessman, who is trapped into donating his island freely to the Australian Government: it is then placed under UN administration as the Soshunites’ new home.

Welcome to Earth. The Lord Mayor of Sydney formally welcomes the Soshun and his entourage to the Earth and Australia in front of Sydney Town Hall

With a resolution to the Shonunite’s desire to settle on Earth, and Varossa and Peter now out of hospital, Mayer reveals to Adam that he deliberately overplayed the Soshunite threat to crash their world into the Earth: he knew that Earth’s gravity would actually break up the spaceship-moon before it could strike the planet. Adam confesses in turn that the Soshunite’s strategy was all a tremendous bluff. Not only did they know that Soshuniss would be unable to destroy the Earth, they were so lacking in power that they were, in fact, unable to break the spaceship-moon out of its orbit around the Earth. The Soshunites would have died in orbit if their gambit failed and they were prevented from settling on our planet.

The story ends with a grand civic reception at the Sydney Town Hall, in which the Soshun and his people are welcomed to the Earth and Australia. In the final scene, Adam and Varossa depart from the steps of the Town Hall in a small Soshunian spacecraft, flying across Sydney Harbour and out to sea – towards their new home….

A Successful Transition

To judge from its ratings and the generally positive response from the television critics, the ABC should be satisfied that its experiment in prime-time science fiction television has paid off. Certainly, my sister’s family were engrossed, and even though I detected a few holes in the plot and more than a few holes in the science, I give Mr. Saunders full credit for creating a complex, multi-faceted story that turned the children’s adventure of the first series into an exciting family thriller. The story built and maintained its tension and air of uncertainty well, especially with the mistrust created by the multiple twists of Mayer’s bluff and Soshunites’ desperate double bluff. It also included moments of wry Australian humour to appeal to adult audiences, with jibes at bureaucrats and politicians, the military mindset, big business and even our “great and powerful friend”, the United States.

War of the Worlds! The fear of an alien invasion that generates tension in series two of The Stranger is highlighted in this preview article in TV Times

This series’ switch from the juvenile to family/adult category certainly gave more scope for the storyline, enabling it to move beyond the purely Australian focus of series one, to a more international outlook. Particularly interesting is the inclusion of the character of Dr. Kumatsa, a black African diplomat (played by American Negro actor Mr. Ronne Arnold, who has recently decided to live in Australia) as a representation of the role that the newly independent nations of Africa may one day play in the world.

Location, Location, Location

The noticeably higher budget for the second series, enabled producer Mr. Storry Walton to indulge his love of location filming. The Canberra scenes were filmed in Parliament House itself. Prime Minister Menzies even gave his personal permission for the scenes involving the Australian Prime Minister (played with suitable gravitas by veteran Australian actor Chips Rafferty) to be filmed in the private Prime Ministerial offices. Similar official approval was granted for filming at the Sydney Town Hall, which required the construction of a mock-up Soshunian spacecraft at the top of the forecourt staircase, as part of excellent special effects sequences showing the arrival of the Soshun and departure of Adam and Varossa to inspect the Soshunites’ new home.

Flying saucer lands at Sydney Town Hall! The imposing entrance to this iconic Sydney building is transformed into a set for location filming in the final episode of The Stranger

Various other outdoor scenes were filmed around Sydney, the Blue Mountains and Parkes, but ironically, the situation with the Walsh home was reversed. Although the original scenes of Headmaster Walsh’s house in the first series were filmed at a private home, to minimise disruption to the generous owners the house was faithfully replicated in a studio for the remainder of series one and series two. 

The Commonwealth Scientific and Industrial Research Organisation (CSIRO) also gave unprecedented co-operation, presumably in return for the undoubted publicity it provides for the agency. The chase across the Parkes radio telescope in Episode 5 took place, not on a studio set, but on the telescope itself, which was manoeuvred as required for the filming. Actors playing the roles of telescope staff were even permitted to be filmed at the actual controls of the multi-million pound instrument. As with the first series, the CSIRO also provided general scientific advice to the production, which even found its way into some of the dialogue with reasonable accuracy.

The Future?

The sale of the first series to the BBC means that those of you in Britain should be seeing it within the next twelve months, and a sale of the series to the US is also nearing finalisation. While the second series has drawn the story of the Soshunites’ search for a new home to a satisfying conclusion, the ending still leaves open the possibility of a third series. It would be interesting to see how our alien friends cope with the challenges of living in, and adapting to, a new world. I guess only time will tell if the ABC decides to take on another challenge with science fiction television.






[August 8, 1965] Navigating the Wasteland #2 (1964-65 in (good) television)


by Gideon Marcus

Oases

Three years ago, I reported on the state of television in the wake of former FCC-chief Newton Minow's pronouncement that television was a 'vast wastelend.'  Since then, I have remained a devoted fan of the small screen, if not completely addicted to 'the boob tube.'  Indeed, the Young Traveler and I have our weekly favorites we do not miss if we can at all help it.

And so, as we sail through the sea of summer reruns, gleefully anticipating the Fall line-up, I take delight in awarding the Galactic Stars of Television for the 1964-65 season.

Burke's Law 1963-65

Amos Burke is what would have happened if Bruce Wayne's parents had never been shot – he's a Beverly Hills playboy millionaire who also happens to be the dapper Captain of Homicide for the L.A. Police Department.  In each episode, Amos, with the aide of grizzled Sergeant Hart and youthful Detective Tilson (and occasionally the doe-eyed Sergeant Ames), solves a murder mystery.

It's light, it's fun, and in many ways, it's the last example of the great tradition of noir, bantering cinema.  I understand that Amos will be ditching his side characters and the expensive celebrity cameos to go full Secret Agent next season. That's a pity, though it's also possible that the format has exhausted its supply of stories.  How many people can get murdered in the Valley, after all?

The Addams Family (1964-)

In Fall 1964, there was not one, not two, but three sitcoms that debuted with a fantasy premise.  The most popular of them has been Bewitched, about a spell-casting housewife (Elizabeth Montgomery) married to a drip of an adman (Dick York), and who is not allowed to use witchcraft.  Suffused with marital strife, unfulfilled womanhood, and all-around dreariness, I can only imagine it's doing so well because it's the only one of the three in color.

The second of them is The Munsters, a lowbrow family comedy starring a cast of movie monsters: head of the household is Fred Gwynne as a Frankenstein retread; his wife, Lily, is a cross between Bride of Frankenstein and Bride of Dracula; their son is a wolf boy; their father is an old Transylvanian bloodsucker.  It's basically The Flintstones set in Disney's Haunted Mansion (coming soon, we're told).  I'm afraid it mostly sails under my head.

But the third.  Oh the third.  The Addams Family, based on the venerable comics of Charles Addams, is thematically similar to the Munsters and tonally the opposite of Bewitched.  John Astin plays Gomez Addams, the Man (though not the head) of the Addams house, which is a gloomy old mansion filled with an Alexandrian Library of oddities.  The indescribably beautiful Carolyn Jones is the severe and queenly Morticia Addams.  Other members of the family include the falsettoed weirdo, Uncle Fester; Morticia's knife-throwing mother (funnier by spades than "Granny" from the ongoing The Beverly Hillbilies); and the adorable and explosives-loving Pugsly and Wednesday Addams.  The towering butler, Lurch, and the disembodied hand, Thing (both played by Ted Cassidy), round out the cast.

Both Addams and Munsters play up their family's kookiness relative to their neighbors.  What makes Addams so much more effective is the subversive and clever humor.  For one thing, Gomez and Morticia (unlike virtually every other TV couple) are absolutely in love.  They respect each other completely, they support each other's ambitions, fight for causes together.  Of course they had to be played as complete whackoes… otherwise, who would believe it?

For another, Astin and Jones play their roles with more subtlety than their counterparts on Munsters.  There is more casual absurdity (Gomez' cigar lights itself on occasion), less stopping the action to showcase each gag.  Each comedic element, from the door knock that pulls out, releasing a foghorn bellow, to the omnipresent noose that, when pulled, shakes the entire house and immediately summons the butler ("You raaang?"), to the bear rug that growls when stepped on, to the fish mounted on the wall with a half-eaten leg still sticking out – they never fail to entertain.  Indeed, every time someone is newly introduced to them, their reactions are always funny.

Of course, I may be biased.  In many ways, Janice and I are Morticia and Gomez.  We have been known to sword-fight in our living room, we still adore each other after decades of marriage, "our house is a museum", and some would say "we really are a scre-am."

So, if for nothing else, you should watch The Addams Family to get a window into the lives of the Traveler family!  Just mind you don't trip over Lorelei's blasting caps…

My Living Doll 1964-1965

This is one of the few SF shows this season, though only just barely.  Bob Cummings plays… Bob Cummings… playing a psychiatrist who inadvertently becomes custodian to Rhoda, a high-functioning android who happens to look just like Julie Newmar (you may remember her as the highlight of the otherwise terrible Twilight Zone episode Of Late I Think of Cliffordville).  Cummings takes it upon himself to teach Rhoda how to be more human.

This should be an awful show.  There are a million opportunities for Doll to be an anti-feminist nightmare, and indeed, Cummings doesn't help matters, being about as slimy as a Bob Cummings playing a sitcom character can be.  But Julie Newmar saves the show, electrifying every scene she's in (not enough, often!) with her incredible comic poise and line delivery.  Every gawkily precise movement, every hilariously echoed line, every uttered "Does not compute" is an absolute show-stealer.

Apparently Bob Cummings didn't enjoy being upstaged by his co-star, and he departed in a huff five episodes before the season's end.  Sadly, Doll will not be renewed for next year; but at least we're getting a promising show in its time slot called Lost in Space.

Here's hoping we see more of Julie Newmar in the future.  She's a riot.

Secret Agent (Danger Man) (1964-)

We don't get too many English imports, but of the few we get, Danger Man is easily the best of the lot.  This is actually the second iteration of the show, the first having aired back in 1960 and arrived in the States the following year.  Back then, it was a half hour in length; now it's a full hour.

The subject is John Drake, deftly played by Patrick McGoohan.  He is the anti-Bond: competent, unswervingly good, respectful of women. 

I'd go into more detail, but I don't have to; The Young Traveler has already extolled the virtues of the show at length.  I urge you to explore her review.

Password (1961-)

A game show?  Really?

I was surprised as you, actually.  Game shows, in general, are at the same level of soap operas – low budget affairs churned out on a daily basis to fill time and move products.  On paper, the concept of the show should not be compelling: two celebrity guests are given a succession of words, which they then try to get their series of non-celebrity guests to utter.  Each is allowed just one word at a time as a clue, play alternating back and forth between the teams.

But host Allen Ludden (Mr. Betty White) really takes his program to a higher plane with his witty banter and knowing glances to the camera.  Plus, it's always a delight to see a Lucille Ball or Carol Burnett or Sammy Davis Jr. or (especially if you're The Young Traveler) a Tony Randall get to be their effervescent and clever selves.

Rocky & Bullwinkle (1959-1964)

Technically, Rocky & Bullwinkle completed its five year run last year.  However, it has gone into syndication, and we are getting to catch up on the episodes we missed.  It's as funny now as it was when I first reviewed it, three years ago.  Catch it if you can!

Twelve O'Clock High (1964-)

Three years ago, COMBAT! set the bar for World War Two shows.  The quality of that show has decidedly declined over time: Rick Jason and Vic Morrow are still trying to liberate that same French town in an effort that has taken several times as long as the actual European campaign. 

Enter Twelve O'Clock High, COMBAT!'s aerial counterpart (and a rough adaptation of the Gregory Peck movie from 1949).  Robert Lansing plays General Savage, leader of a B-17 bomber group based in England.  Episodes have had a wide variety of subjects.  Some have dealt specifically with bombing tactics – in one episode, the formation experiments with "bomb on leader", the practice of one plane determining the time that the entire group would release their payloads.  Another episode is built around an elaborate decoy mission that is planned to hide the formation's true objective.

But most of the episodes deal with the raw human nature that is revealed when exposed to the harsh environment and moral quandaries inherent in warfare by mass bombing.  There are group leaders afflicted with battle fatigue, a pilot who gets court-martialed for breaking formation to cover the forced descent of a comrade plane, a conscientious objector who must decide which principles he wants to live by.  And anchoring all of it is Lansing's gruff but expressive performance as a tired leader driven to see the war to the end, and desperate to preserve the life of each of his men.

Sadly, it looks like Lansing has been given the heave-ho after just one season, to be replaced by a more blandly handsome person (whose profile isn't entirely composed of crags).  This is unfortunate, and I have trouble believing that show will maintain its quality and gravitas without him.  Still, it was great while it lasted.

and finally…

Voyage to the Bottom of the Sea (1964-)

Don't be surprised.  I come here not to praise Voyage but to bury it.  Since I spent so many inches talking about the best shows of the season, I wanted to showcase the other end of the quality scale.

Wow, what a stinker of a show, as bad as the movie that launched it.  Insipid plots, hackneyed dialogue, ludicrous science.  Production so bad that Harlan Ellison wouldn't let them use his name on the episode he wrote. 


(Fans of Burke's Law will recognize the byline — it's the name of the hack writer played by Sammy Davis Jr., who appeared in one of the several episodes Ellison penned).

Feh.  Don't fail to miss.

The Steppes

Inbetween the aforementioned bright spots and the Marianas Trench of TV that is Voyage, you've got all the rest.  The decent stuff like The Fugitive, Andy Griffith, The Man from U.N.C.L.E., The Lucy Show.  The drab sitcoms like Mr. Ed, Petticoat Junction, The Cara Moore Show, My Favorite Martian.  And the countless other programs that maintain television's other derogatory nickname, 'The Idiot Box.'

But then, Ted Sturgeon always said that 90% of everything is crap.  That we get anything worthwhile out of the small screen is miracle enough for me…

And hopefully now for you!



[Come join us at Portal 55, Galactic Journey's real-time lounge! Talk about your favorite SFF, chat with the Traveler and co., relax, sit a spell…]




[July 26, 1965] Too much Monk-y Business (Doctor Who: The Time Meddler)


By Jessica Holmes

Hello, everyone! Following the harrowing experience inflicted upon me earlier this month, with The Chase proving to be a disappointment, and the affront to my very soul that was Dr. Who And The Daleks, I had begun to fear that I would never recover. However, The Time Meddler has been a balm for my poor soul. Dennis Spooner, thank you. Thank you for giving me some Doctor Who that I can genuinely enjoy.

Text reads: The Watcher

Continue reading [July 26, 1965] Too much Monk-y Business (Doctor Who: The Time Meddler)

[July 10, 1965] "Since I fell for you" (a Young Traveler's crush)


by Lorelei Marcus

Love. The fluttering of butterflies, entire acceptance of another, passionate desire, comradery, compassion, a word. Love is used so often and means so much that it's practically a cliché. I hear it applied to numerous names on the radio, such as "Johnny," "Wendy," and "my darling in Michigan." Nearly every man on television has a woman to love or fall in love with. And perhaps the most visible example at the moment is the squealing masses of girls my age who claim to be in love with the Beatles. I once, foolishly, saw myself above it all. Sure I like to date, and I love my parents, but those gooey feelings that seem to saturate every cranny of our culture were beyond me and my maturity.

That is, until America's most charming actor came along.

This is how I fell hard for handsome, clever, talented teen idol of the century: Tony Randall.

My first real encounter with Tony Randall (one Password game I don't remember aside) was his starring role(s) in Seven Faces of Dr. Lao. The movie itself was whimsical and fun, but it was certainly Randall's acting that made it a memorable experience. He blends into each of his seven roles perfectly, to the point that I first believed they were played by different actors!

He's at his best though, when he is playing Dr. Lao; specifically when he drops the stereotypical façade of a foolish Chinese man and becomes the traveled scholar underneath. Suddenly he is standing straight and tall, almost regal in his confidence. His voice is deep and carrying, but his demeanor is kind, wise, and gentle. He speaks in a perfect and precise manner and his words discuss the magical secrets of the universe. I hadn't known it at the time, but despite all the makeup and effects, this role was one of the closest to Randall's true self.

At this point, I was awed by Randall's performance in the movie, but felt little beyond that. Dr. Lao was a few thousand years too old for my tastes, and I had yet to see the man behind him more clearly. Then my father's and my weekly Password viewing happened to feature a very special guest. I was quite excited, not necessarily because it was Tony Randall on Password, but simply because it was an actor that I recognized and admired. At least, that's how it started.

I was folding laundry while watching the TV, and I found my attention frequently drifting away from my linens and to the man on screen (no, not host Alan Ludden.) Randall was fascinating to watch. He always sat with perfect poise and spoke with wonderful rich tones. And he was absolutely erudite, forcing me to pull out a dictionary a few times. His brilliance aided in his gameplaying as well, as I believe he is the only player in Password history so far to win four games in a row!

It was an experience. The feelings crept up on me and changed. I admitted later that night to my father that I may have had the teensiest tiniest insignificant little crush on Tony Randall. After a bout of laughter and teasing, suddenly our dining room table was covered in TV guides and movie schedules in a desperate search for a single starring name. This wasn't just a harmless crush anymore, but rather a crusade to expose myself to as much Tony Randall content as possible.

That's how the family ended up at the local theater watching one of the last viewings of Boys Night Out, a movie starring James Garner, Tony Randall, and a host of others. Three married men and one recently divorced make a plan to share a luxurious apartment where they can each escape from their lives at home with a beautiful girl for a night. Except the beautiful girl they find turns out to be a sociologist, so those nights don't go quite as expected. It was a cute film with hopeful messaging and a good ending. Not to mention how amazingly colorful the sets and costumes were.

Unfortunately the direction wasn't the best, making the movie a little boring in parts. It didn't help that Tony Randall was only in some of the scenes. Even when he was on screen he played a man meant to be weak, average, and unintelligent. Randall did a fantastic job portraying the character, down to the deliberate slouching, but it was infuriating to watch because he was playing the complete opposite of the man I wanted to see– himself! Sadly this would become a trend…

Next we found a drive-in playing a double feature revival night of Barbara Eden movies. Funny enough both films also happened to star Tony Randall. First we watched The Brass Bottle, your typical genie story. Randall plays a young up and coming architect (a role better suited for literally any other male actor in Hollywood) who accidentally frees a genie of near limitless power who now answers to his every whim. Of course the genie is a few thousand years out of date, so how he executes those orders varies from inconvenient to disastrous for Randall's character.

Overall the movie was terrible, even with Randall's superb acting (once again wasted on a slouching, sputtering fool.) The one good scene is when Randall gets to interact with the mule and has to ad lib. for part of it. Randall also executes quite a few fantastic girly screams. That's it though; otherwise it's a one star movie.

The second movie carried a little more promise: Will Success Ruin Rock Hunter? was Randall's breakout role into cinema, after all. Randall plays a young up-and-coming marketing executive – I'm noticing a pattern here – who accidentally seduces a movie star and is turned into the world's best lover overnight, causing chaos to ensue in his life. The movie had too much it wanted to do. It took time in the introduction and halfway through for comedic bits poking fun at television and marketing. Its main plot sacrificed character development for ridiculous slapstick that wasn't particularly funny, and ultimately the ending was thrown out too, to fit in a speech about the moral. Despite all these flaws, it was still a better movie than Brass Bottle. It was clever in a few parts, and watching Tony Randall be mobbed by teenage girls was hilarious.

Both films are a testament to Randall's acting skills. He takes these roles of such generic characters and plays them to a T. This means aside from some very brief moments where the mask slips, I don't actually get to watch the actor that I know and like. For instance, I know that Tony Randall started in stage productions and is a professionally trained dancer. Yet twice in Rock Hunter he is forced to dance poorly, going against all his instincts and training, and he succeeds (at dancing poorly)!

Randall has so much potential as an actor, and yet no one can seem to cast him in anything but comedic romps (excluding the unusual case of Dr. Lao)! It makes me wary of the new Fluffy movie that's just come out. Especially considering Randall himself had an unpleasant time filming with the lion. I will still see it of course – I have a duty to uphold – but I've found that Randall's name in the credits doesn't guarantee I'll enjoy a film he's in.

On the bright side, television has been kinder (both to him and me) than the movies. I got to see Randall on What's My Line? last week and he was as composed and well spoken as ever. I hear he'll also be on Password again in the next few weeks, so have something to look forward to.

I also hope to see him in one of his stage shows. With all the character and energy he brings to each role on the screen, I bet he really shines under the spotlight. Nevertheless, whatever he's in next, be it on film, video, kinescope, or (if I'm lucky) on a stage, I'll be there to watch it.

Because I have a big old crush on Tony Randall.

This is the Young traveler, signing off.



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[June 28, 1965] An Hour Of My Life I Will Never Get Back (Doctor Who: The Chase [parts 4-6])


By Jessica Holmes

The title of this article says it all, really. This serial is… well, it’s really quite something, and I don’t mean that in a good way. So, to recap: the Daleks are chasing the TARDIS through time and space, taking them to exotic places like a desert world beset by monsters, a mysterious ghost ship, and… a New York tourism hot-spot. Let's see where they wind up next.

Image description: In the foreground there is a staircase with smoking braziers. In the midground are Barbara, Ian and Vicki. The Doctor is in the background.

Continue reading [June 28, 1965] An Hour Of My Life I Will Never Get Back (Doctor Who: The Chase [parts 4-6])

[June 22, 1965] Standby for Action! (Gerry Anderson’s Stingray)


by Kaye Dee

“Standby for Action!” is the dramatic opening line of the opening titles for Gerry and Sylvia Anderson’s most recent marionette science fiction series, Stingray, which then go on to promise us “Anything can happen in the next half hour!” And with over 39 episodes of undersea adventure Stingray lives up to that promise.


World Aquanuat Security Patrol Commander Shore warns us that “Anything can happen in the next half hour” in the Stingray opening titles. Note the caption “in Videcolor” in the background, telling even viewers watching in in black and white that the show is made in colour

Stingray completed its first Australian screening run a few weeks ago on June 9, having commenced on the national broadcaster, the Australian Broadcasting Commission (ABC), on September 16, 1964. As I’ve recently discovered from my friend at the ABC, this was, unusually, three weeks before the show commenced screening in Britain: as you might recall from my article about the long-delayed arrival of Doctor Who in Australia, we are more likely to be months, if not years, behind in screening television series from overseas. In fact, the Andersons’ earlier series, Fireball XL5, still hasn’t arrived on our shores, but I’ve heard that it will be shown on one of the commercial television channels later in the year.


The Stingray, series title. I’ve read that Gerry Anderson said an undersea show was the next logical step after the land and space exploits of his earlier series Supercar and Fireball XL5

Although I haven’t yet seen Fireball XL5, I discovered Stingray alongside the Andersons’ first Supermarionation puppet creation Supercar, which has been repeated this year on the ABC after first screening in 1963. While Supercar is good kiddie fun (thanks to my niece and nephew for introducing me to both these shows), Stingray shows an order of magnitude of improvement, technically and in the imaginativeness of its storyline.


Stingray, the most advanced submarine of 2065 and titular star of the show

Stingray is a science fiction undersea adventure series, set in the twenty first century (in 2065, as one episode informs us), following the exploits of the crew of Stingray, the most advanced submarine in the World Aquanaut Security Patrol (better known as WASP), one of the armed services of the World Government, charged with policing and protecting civil activities on and under the world’s oceans. However, in Stingray’s world, there are many peoples and civilisations under the sea and, although they have been largely unknown to the surface world previously, many of them have become angered by the “terrainean” exploitation of the resources of the oceans.


The Stingray crew, Troy Tempest, Phones and Marina, the mysterious woman from the sea.

In the first episode, the crew of Stingray, Captain Troy Tempest and his navigator/hydrophone operator, nicknamed “Phones” (apparently his full name is given in the promotional material for the series, but it never gets mentioned on screen), are captured by Titan, King of undersea city of Titanica. When his god (represented by a giant fish that looks like a cross between a grouper and a coelacanth!) rejects Troy and Phones, Titan condemns them to death, but they escape, aided by Marina, the mute daughter of the ruler of another undersea kingdom, whom Titan has been keeping as his slave. Marina returns with Troy and Phones to the WASP home-base of Marineville and becomes a member of the Stingray crew, using her knowledge of the undersea world to assist in their missions.


Titan, the evil King of Titanica, the arch-enemy of the Stingray crew, and his minions, the Aquaphibians.

This sets the stage for the series, with Titan and his creepy henchmen X-20 and the Aquaphibians, becoming the WASPs’ main undersea adversaries. While many stories involve battles with, or thwarting plots against, the WASP, or the surface world in general, by Titan and his allies, there is plenty of other action for the Stingray crew as well: we see them involved in exploration, participating in marine archaeology, undertaking rescue missions, investigating piracy and terrorism, assisting undersea peoples, becoming embroiled in international diplomacy and even discovering the truth about the Loch Ness Monster! Of course, being a children’s show, some of the stories are silly, and there are too many ‘dream episodes’, where strange things happen, for my taste – but many have a tongue-in-cheek humour that can be appealing to adults, and others touch on grown-up ideas such as whether or not we should exploit the mineral resources of the ocean floor.


Stingray in its pen under Marineville, awaiting the call to “Action Stations”

Unlike many kids’ adventure shows, the storyline is not completely static but has some developments over time, with Marina being initially somewhat under suspicion as a possible agent of Titan, but gradually becoming accepted, especially by Atlanta Shore, who was romantically involved with Tempest before Marina arrived on the scene. Troy finds himself enthralled by Marina but seems unable to make up his mind between the two women. It must be a first for a children’s television show that it not only portrays a ‘love triangle’ but also makes it the focus of its closing credits, which incorporate the love song “Aqua Marina”.


Atlanta Shore, Troy’s original love interest and her father WASP Commander Sam Shore in Marineville Control. A person with paraplegia in a hovering ‘wheelchair’ as a military commander has to be a role model for disabled children: in the future you can do anything!

I also find it interesting that Stingray includes two handicapped characters among its main cast, both of whom are shown to be vital members of the WASP. Marina may be mute – and episodes deal with her crewmates wanting to help her learn to speak, and the problem of Marineville Control communicating with Marina by radio – but she is intelligent and more than capable of rescuing Troy and Phones on more than one occasion. The Commander of the WASP, Sam Shore, is a paraplegic, who gets around using a hover chair – and an entire episode is devoted to the story of how he was crippled on active duty — but he is in overall charge of the organization. These have to be heartening role models for children afflicted by polio and other disabilities. 


Gerry and Sylvia Anderson and some of the Stingray production team with one of the models of Stingray

Stingray is impressive technically. Those dramatic opening statements at the beginning of the title sequence introduce a series of action shots of Stingray, a lot of explosions, Stingray’s home base Marineville going to red alert (which means the entire base sinking underground and ICBM’s being deployed into launch positions), and an amazing scene of Stingray leaping out of the water, chased by one of Titan’s submarines in the shape of a gigantic mechanical fish. And it’s all accompanied by a staccato, jazzy theme that really works with the visuals.


I’d love to know how they created this dramatic scene of Stingray leaping out of the water, chased by one of Titan’s submarines

The models of futuristic submarines, aircraft and other technology of the twenty first century are beautifully detailed, and the finely crafted miniature sets perfectly match the size of the marionettes, which I understand are about 20 inches tall. I’ve read that the AP Films production team moved into a completely new studio to produce Stingray, which included two sound stages, so that they could shoot two episodes at a time, plus a special stage for filming special effects and huge indoor tanks for filming ocean surface scenes. The ‘underwater’ scenes are apparently shot on a dry set, but filmed through a special fish-filled aquarium in front of the camera, to create a forced perspective of an undersea environment: the kids certainly think it has actually been filmed underwater.


The beautifully detailed model of WASP Headquarters Marineville. The sequences of parts of the base sinking underground during an alert are really impressive

I like the Stingray marionettes, too: they are less caricatured than in Supercar, in fact some of them look like they’ve been modelled on real people. The Troy Tempest puppet reminds me of James Garner, and badguy X-20 looks – and sounds – a lot like Peter Lorre! The puppet faces are also given added realism by having glass eyes, unlike the painted eyes of the earlier puppets. Something I find really interesting is that the marionettes can apparently be fitted with different heads, sculpted so that the face is smiling or frowning, which allows them to express emotion in a way that wasn’t possible in the earlier puppets.


Tell me Troy Tempest isn’t modelled on James Garner!

Stingray also has another claim to fame, it seems, as the first television series in the UK to be filmed completely in colour, even though it will be some years yet before Britain gets colour television (and probably a decade yet before we see it in Australia). I understand has been done in order to improve the possibility of sales into the American market, so I hope it works, and the Andersons make enough profit from Stingray to embark upon a new series in the not-too-distant future.

In the meantime, I look forward to belatedly seeing Fireball XL5 and enjoy it as an interim step between Supercar and Stingray!



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[June 14, 1965] Our Best Man (the Young Traveler's favorite secret agent)


by Lorelei Marcus

Spy King

A thrilling trend has swept its way across the screen recently. Suddenly everyone is keen on viewing the exhilarating day to day of the best secret agents film and television have to offer. They are dapper, cunning, and they challenge the world's darkest foes with masterful plans and interesting gadgets.

Yet among this sea of shadow-dwelling men there is a spy who stands above the rest as the best secret agent of all time. He's British, attracts women like a magnet, and works for a morally ambiguous organization to bring justice to the world.

I'm of course talking about John Drake.

Secret Agent, or Danger Man as it is called in its original airing in Britain, is the best fictional depiction of special intelligence on television. The sophisticated writing and wonderful performance from Patrick McGoohan has earned the show my weekly attention, as it should yours.

Now some may protest at the boldness of my claim. After all, how can a show almost no one in the States has ever heard of reign champion in the crowded secret agent genre? Especially with opponents such as The Man from U.N.C.L.E. and of course, the James Bond movies. Except, it becomes quite obvious when broken down that Secret Agent contains every possible desired aspect of the secret agent genre and excels where its rivals are lacking.

Exhibit 1: Stakes

Part of the spy appeal is the larger-than-life nature of their profession. Secret agents are frequently thrown into scenarios where their actions can change the face of the modern world. Secret Agent not only captures this drama, but on a level of such elegance and nuance that even the smallest of crises has you on the edge of your seat. John Drake is frequently sent to foreign countries to interfere or investigate governmental affairs; however no two jobs are ever alike. Sometimes he is stuck in the middle of a rebellion. Other times he's hunting down traitorous agents.

No matter the mission, John Drake always executes his work with a level of care, intelligence, and competence equalled by no other hero on television. The diversity and complexity of conflicts grounds the show in a realism akin to our own world. Not to mention the portrayal of other ethnicities and countries is done with unparalleled accuracy and respect. Every episode is exhilarating, mysterious, and well written, and there is yet to be one I didn't like.

To reinforce Secret Agent's excellence I'll compare it to the biggest secret agent film of the season: Goldfinger.

I would summarize the movie's plot, but to be frank it's been a few months and there wasn't much of one to begin with. Goldfinger was less a spy movie and more James Bond failing over and over and then being saved by the more competent people around him.


"I'll be over there, bailing you out…as usual."

Then there's Goldfinger's villain. While John Drake's foes are always complex and rarely monomaniacally evil, the titular villain, Goldfinger, throws subtlety out the window. Now, there's nothing wrong with the booming, big bad villain, but they also have to be cunning to properly challenge the hero. Except Auric Goldfinger's plans make no sense and reach a level of convolution so extreme that the movie must take 15 minutes to explain them to us.


Don't tell your evil plan! James Bond could be hiding under your little Fort Knox!

Sure there are the high-stakes threats of mass genocide and collapse of world economy, but they feel so large that that they are bound to backfire. James Bond has to win because otherwise the whole canonical universe would become unusable. Not that Bond doesn't try everything in his power to screw it up. Even after hearing Goldfinger's entire secret plan, he only barely manages to save the day by convincing Goldfinger's right hand woman to do it for him.


"Oh don't look at me. She's the one who'll be doing all the work."

The differences in quality are so vast that the two almost shouldn't be compared. The Bond Films are idiotic, nonsensical drivel in comparison to the grounded masterpiece that is Secret Agent. However for some reason James Bond is the much more popular and well-known franchise. Perhaps it's the higher budget and flashy special-effects, even though Secret Agent is often better at those, too.

Exhibit 2: Gadgets

All spies have to use fancy tools to save the world — because it's really cool to watch. Who doesn't get excitement from the technologies that make it possible to listen to secret conversations or track down criminals? Though James Bond does get some arguably neat secret weapons and tech, he always manages to lose them or destroy them in some bumbling foolish manner. Also, Bond's inventions are often beyond the realm our modern world, and require a suspension of disbelief.

John Drake instead often uses tools actual spies use such as bugs and microdots. That doesn't mean they aren't fun. The most fascinating part of each episode is witnessing Drake's plans unfold, and how he uses his technological tools is simply a part of that entertaining process. Realism does not inhibit creativity.

Beyond their use, the neat factor of these gadgets comes in how Drake transports them. In one episode, rather than an impossibly small phone in his shoe, Drake must obtain a radio while undercover by intercepting a package of meat that has the transmitter hidden inside. My personal favorite so far is a blowgun in the shape of the fishing rod that shoots listening bugs. The cleverness of the show never ceases to amaze me.

Exhibit 3: Charisma

Simply put, a secret agent has to be likable. Without charm, an agent would be unable to assume alternate identities convincingly– and also not be fun to watch. James Bond does not have the redeeming qualities needed to be a good agent: he is actively bad at his job. Morevoer, he cares more about dating than the fate of the world; in one grotesque scene in Goldfinger he actively forces himself onto a woman for no reason but selfishness.

Once again, the comparison is stark: John Drake is the complete opposite. He is the best at what he does, and because of that he never loses, but it's never a given. It's always his own wit that gets him out of close shaves and tough jobs. He also has an incredibly strong moral compass, always trying to do the right thing.


John Drake, equally at home as the suave man of society and a meek music aficionado.

This makes for incredibly interesting tension with MI9, the organization he works for, because they sometimes send him on missions that aren't necessarily moral. The internal conflict of Drake doing his work because he's the best at it, but sometimes having to do "wrong" things in that line of work creates wonderful character drama.


Drake has no qualms about telling off his bosses. But he does the job anyway.

Exhibit 4: Partners

Secret Agent consistently has some of the best portrayals of female characters on all of television. Many women fall for John Drake due to his innate and thorough confidence, and yet not once does he ever make a move. He is incredibly respectful and human in his treatment of women, as equals rather than objects for physical pleasure. And though many women are attracted to Drake, that does not lessen them as characters. The wealth of interesting and strong female characters on this show is unparalleled in any other broadcast I've ever seen.

In fact, Secret Agent goes out of its way to feature women, agents and otherwise, who are as talented and and resourceful as Drake. There are often several in an episode. Beyond that, the globetrotting Danger Man frequently works with locally based allies. Whether Western European or Eastern, South Asian or African, Caribbean or Middle Eastern, Drake's counterparts are played as competent professionals, and (usually) by actors of the appropriate background (with the occasional, unfortunate example of "brown/black/yellow face").

It's truly both astounding and refreshing to see such wonderful representation, and the willingness to let Drake share the limelight with other strong characters makes each episode almost an ensemble production.

Q.E.D.

It is, thus, irrefutable that Secret Agent is the best spy show ever to be shown on a screen — of any size. It is perfection, with sublime writing, engaging acting, fascinating characters, realism, and a progressiveness desperately needed but rarely seen anywhere else. It is currently midway through its second season in America, and there will hopefully be a third in Britain at the end of summer. Whichever side of the Pond you live on, please make sure to catch Secret Agent. You won't want to miss it.

This is the Young Traveler, signing off.



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