UFO: A Retrospective Review of the Cult 1970 Sci-Fi Series

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Imaginative

UFO is a British science fiction television series first broadcast in 1970, created by Gerry Anderson and Sylvia Anderson. Over the decades it has earned a cult following for its unique blend of imaginative futuristic style and surprisingly sober storytelling. The series follows a secret military organization in the then-future year 1980 as it defends Earth against mysterious alien invaders. Known for its vivid late-1960s-inspired design – from purple-haired Moonbase operatives to sleek model spacecraft – UFO also tackled darker, more adult themes than Anderson’s earlier family-oriented shows.

Background and Production

By the end of the 1960s, Anderson was renowned for his hit “Supermarionation” puppet adventures such as Thunderbirds and Captain Scarlet and the Mysterons. Eager to move into live-action drama, he teamed up with his wife Sylvia and producer Lew Grade to develop a new science-fiction series mixing real actors with the kind of elaborate vehicles and special effects that had defined his earlier work. The result was UFO, Anderson’s first fully live-action TV project. Production began in 1969 with filming at MGM-British Studios in Borehamwood, England. Partway through the 26-episode shoot, the studio shut down, forcing a move to Pinewood Studios and causing a lengthy delay. Despite these hurdles, the team delivered a single season of episodes on a relatively large budget for the time, designed to appeal to a slightly older audience than the one for Anderson’s previous kids’ series.

Anderson’s recent live-action film Journey to the Far Side of the Sun (1969, also known as Doppelgänger) was a direct precursor to UFO. That movie’s premise of secret space exploration and its props, sets, and even some cast members carried over into the new series. UFO was produced through the Andersons’ Century 21 television company and distributed by Grade’s ITC Entertainment. It premiered on the ITV network in the UK in 1970, and later reached North America in 1972 via syndication. Its association with Anderson’s earlier “kid-friendly” shows led some broadcasters to initially slot UFO in children’s viewing hours, which was at odds with the show’s more mature content.

Setting and Premise

UFO is set in what was then the near future of 1980. In this imagined 1980, Earth faces a covert extraterrestrial threat: alien beings from a dying planet are traveling across space to abduct humans and harvest their organs. In response, the world’s major powers have secretly united to form a defense agency named SHADO (Supreme Headquarters, Alien Defence Organisation). Operating under the guise of a British film studio, SHADO directs the fight against the alien incursions while keeping the danger hidden from the public.

Commander Ed Straker, played by American actor Ed Bishop, leads SHADO from its headquarters beneath the fictional Harlington-Straker film studio outside London. Straker reports to an international council but often must make unilateral decisions to protect Earth. The series establishes that SHADO has built a layered planetary defense system to detect and engage any incoming UFOs:

• Space Surveillance: An automated tracking satellite in Earth’s orbit, code-named SID (“Space Intruder Detector”), constantly scans for unidentified craft approaching Earth.
• Moonbase Interceptors: A secret base on the Moon houses three Interceptor fighter spacecraft. These sleek, one-missile fighters launch to destroy UFOs in space before they reach Earth’s atmosphere.
• Skydiver Submarine: An undersea craft called Skydiver patrols Earth’s oceans. It carries a dart-like jet (Sky One) that can launch from underwater and engage alien ships in the air if they slip past the Moonbase.
• Ground Response: On Earth’s surface, SHADO deploys mobile armored vehicles and rapid response teams as a last line of defense to handle aliens that land or infiltrate on the ground.

This combination of early warning systems, lunar and atmospheric interceptors, and ground forces provides the show with a range of action settings – from outer space dogfights to underwater battles and land pursuits. Each episode typically features some aspect of this cat-and-mouse conflict with the alien invaders. Notably, the aliens themselves remain largely mysterious. They are humanoid in appearance and use flying saucer-like craft, but their motivations are only partly understood. The grim revelation of their organ-harvesting intent sets a dark tone. In later episodes, hints emerge that the aliens might even be abducted humans under mind control, adding an extra layer of paranoia to the threat.

Characters and Cast

The central figure of UFO is Commander Edward Straker, portrayed by Ed Bishop. Straker is a former U.S. Air Force colonel turned enigmatic studio executive – a cover for his true role as SHADO’s commander-in-chief. He is depicted as intensely dedicated to the alien defense mission, often at great personal cost. One storyline reveals that Straker’s all-consuming commitment to SHADO led to the collapse of his marriage and a family tragedy, highlighting the character’s driven and sometimes grim demeanor. Bishop’s performance anchors the series, giving Straker a steely resolve and hinting at the loneliness beneath his no-nonsense exterior.

Supporting Straker is a rotating ensemble of operatives who bring a variety of personalities to the fight against the aliens. In the first half of the series, his right-hand man is Colonel Alec Freeman (played by George Sewell), a veteran pilot who serves as SHADO’s second-in-command and Straker’s closest confidant. Freeman often provides a more affable, human touch in contrast to Straker’s cold focus. Another key character is Colonel Paul Foster, played by Michael Billington. Foster is introduced as a test pilot who stumbles upon evidence of the UFOs; after nearly exposing SHADO’s existence, he is recruited into the organization and becomes one of its top field agents. Foster’s character offers the audience an entry point into SHADO, as he has to learn the ropes and grapple with the reality of the alien war.

On the front lines at SHADO’s Moonbase is Lieutenant Gay Ellis (portrayed by Gabrielle Drake), who commands Moonbase’s cadre of Interceptor pilots and female radar operators. Ellis – instantly recognizable by her purple wig and silver outfit – exemplifies the show’s futuristic style. She and other Moonbase staff rotate back to Earth periodically, a fact the series uses to explain certain cast changes. Later episodes feature Colonel Virginia Lake (Wanda Ventham), an electronics expert who joins SHADO and eventually becomes Straker’s scientific adviser at HQ. The recurring cast also includes characters like Lt. Nina Barry (Dolores Mantez) at Moonbase and Dr. Douglas Jackson (Vladek Sheybal), SHADO’s enigmatic medical officer and scientific researcher.

Notably, UFO was ahead of its time in assembling an international and diverse cast of characters. SHADO’s personnel include men and women of different ethnic backgrounds in various positions of authority – something relatively uncommon in 1970 television. For example, one Interceptor pilot, Lt. Mark Bradley (played by Harry Baird), is of African descent, and the show touches on interracial romance in one episode. Some character interactions and attitudes reflect the era’s social views, occasionally leading to awkward moments (such as a scene where a superior officer pointedly asks a black pilot if his skin color affects his love life – a line cringe-worthy by modern standards). Overall, the actors deliver earnest performances, but the show’s focus on hardware and action often means the character development is kept straightforward. Critics at the time sometimes remarked that the human actors came across almost as stiff as Anderson’s former puppets, but others have since appreciated the subdued, controlled approach as fitting the show’s tone.

Production Design and Visual Effects

A SHADO Interceptor spacecraft on Moonbase, one of the miniature models featured in UFO’s special effects sequences. The series’ production design was a standout element that set UFO apart from other TV fare of its day. Gerry Anderson brought with him a crack team of special effects experts, notably Derek Meddings, who had orchestrated the model work on all the earlier Anderson puppet shows. In UFO, Meddings and his crew created a plethora of detailed miniatures and practical effects. The alien UFO spacecraft, for instance, were depicted as silver, spinning flying saucers that emitted an eerie whirring sound – an effect achieved through creative audio electronics. The SHADO vehicles were equally memorable: the Interceptor fighters and Moonbase itself, the Skydiver submarine (with its detachable Sky One jet), and the tank-like SHADO Mobiles were all realized with impressive model craftsmanship. Many sequences feature these models in action, whether launching from silos, streaking through space, or engaging in explosive combat. For a television budget, the miniature effects were remarkably polished, approaching the quality of contemporary film productions. This attention to visual detail helped make the show’s fantastical concepts feel tangible on screen.

The series embraced a bold futuristic aesthetic, from the Moonbase crew’s purple wigs and metallic uniforms to the sleek, space-age sets. UFO’s visual style is distinctly rooted in late-1960s futurism. Costume designer Sylvia Anderson created eye-catching attire that reflected contemporary fashion trends projected into an imagined 1980. SHADO’s female Moonbase operatives wear shiny silver catsuits paired with striking purple bobbed wigs – a purely aesthetic choice meant to signify “future” but one that became an iconic image of the show. Male operatives on the Moon and submarines sport colored jumpsuits or even mesh vests in some cases, while officers on Earth often wear Nehru-style high-collar jackets. The color palette is bold and bright, with a lot of metallic sheens, which gives UFO a pop-art visual appeal. Sets and props also channel futuristic modernism: SHADO’s headquarters features sleek angular furniture, bright computer panels with flashing lights, and a general “Space Age” office look that wouldn’t be out of place in a 1960s world’s fair exhibit. Because the show was filmed in 1969–70, its vision of 1980 is both optimistic and whimsical – a Tomorrowland version of the future with moonbases and cool cars. (The car that Straker drives – a low-slung, gull-winged coupe – is a particularly memorable prop; in reality it was a modified Ford that, while great on camera, was reportedly difficult to drive.)

The audiovisual presentation is rounded out by a memorable musical score. Longtime collaborator Barry Gray provided the music for UFO, including its brassy, up-tempo theme tune that plays over the opening credits. This jazzy theme sets an energetic tone as viewers are introduced to quick cuts of rocket launches and busy control panels. In contrast, the end credits of each episode roll silently over a haunting, wordless melody – a melancholic piece that underscores the show’s more somber and mysterious side. The sound design is also worth noting: special audio effects, like the pulsating sound of the UFOs or the beeping of the SID satellite, added texture to the viewing experience. All of these production elements – models, sets, costumes, music – combine to give UFO a distinct personality. Even today, the series’ retro-futuristic look is instantly recognizable and nostalgically appealing, encapsulating a late-60s vision of the coming space age.

Themes and Tone

Though packaged as an action-oriented sci-fi adventure, UFO frequently explores surprisingly weighty territory. The series balances its futuristic battles with storylines that explore the personal and moral dimensions of an endless secret war. A persistent theme is the extreme sacrifice and strain placed on those defending Earth. Straker, for example, is depicted as having given up a normal life – an entire episode (“Confetti Check A-OK”) is devoted to flashbacks of how keeping SHADO’s existence secret destroyed his marriage. The human cost of duty recurs in other characters’ stories as well, lending the show a somber undertone. Unlike earlier Anderson productions where heroes often saved the day with a smile, UFO presents its protagonists as fallible and often burdened individuals.

The show also ventured into topical or more “adult” themes that most science fiction TV of the era avoided. Several episodes address issues like the psychological effects of combat stress and paranoia, the complexities of maintaining relationships under secrecy, and even subjects like drug hallucinations. In “The Long Sleep,” for instance, an alien encounter ties into a plot about a young woman’s LSD-induced visions – a storyline reflecting the counterculture influence of its time. UFO doesn’t shy away from unhappy or unsettling endings either. Often, an episode will conclude with a pyrrhic victory or lingering ambiguity (a captured alien dies before revealing anything useful, or a character suffers a personal loss despite the mission’s success). This was quite unusual for science fiction television in 1970, which audiences might have expected to be more escapist.

Tonally, UFO is an interesting mix. It merges the flamboyant, colorful sensibilities of the late 60s with the cynical, darker mood that would characterize much of 1970s genre cinema. On one hand, the visuals – the mod costumes, shiny vehicles, and funky music – give the show a playful, almost campy veneer. On the other hand, the content can be deadly serious and even bleak. This contrast can be jarring, but it also makes the viewing experience distinctive. One episode might feature a tense subplot about a traitor in SHADO’s ranks or a life-and-death moral dilemma, all while the characters are wearing bright purple wigs and driving futuristic sports cars. The series is earnest in its storytelling, never winking at the audience about the outlandishness of its world. This sincerity in the face of occasionally absurd trappings results in a tone that is uniquely UFO. Some viewers find it off-putting or dated, while others come to appreciate it as part of the show’s charm.

Another notable aspect of UFO is how it balances science fiction plotlines with more grounded drama. In fact, not every episode is centered on the aliens or tech – a number of stories are essentially human dramas or mysteries in a sci-fi setting. There are episodes focusing on internal power struggles within SHADO, political maneuvering to secure funding, or investigations of personnel under suspicion of alien influence. These plots sometimes play out like espionage or procedural dramas, only occasionally intersecting with overt sci-fi elements. For fans expecting non-stop alien combat, such episodes may feel slow. They underscore that UFO was attempting to be a broader thriller series, not just a kids’ action show. The presence of interpersonal conflicts, touches of romance, and ethical debates gave it a somewhat more mature flavor, even if the execution occasionally stumbled due to the limits of 1970 television writing.

Reception and Legacy

When UFO first aired in 1970–71, it met with a mixed reception and faced challenges in finding its ideal audience. In the UK, different regional broadcasters treated the show differently – some aired it in prime time for adults, while others, misled by the Gerry Anderson brand and the colorful visuals, scheduled it in children’s TV slots. This inconsistent positioning may have hurt its initial impact. Viewers who expected a light-hearted space romp were confronted with a show that could be quite dark and violent, whereas adult science fiction fans might not have been aware that this new Anderson project was intended for them. Despite these hurdles, UFO did build a following. In international markets, particularly in the United States, it was shown in syndication (often on local CBS affiliate stations, as a lead-in to popular shows like All in the Family). Early U.S. ratings were promising, indicating that there was interest in the series’ concept.

In terms of reception, UFO garnered both praise and criticism. Some television critics at the time didn’t know what to make of it – one American reviewer famously described the series as combining the worst traits of Batman and Star Trek, suggesting it was too campy on the surface and too sluggish underneath. Other critics acknowledged the impressive production values and the attempt at a more serious tone. As years passed, retrospective assessments have been kinder. Science fiction magazines and websites have lauded UFO for being ahead of its time in certain respects. Reviewers point out that the show remains quite watchable, especially for fans of retro-futurism, due to its striking design and still-engaging core premise. The special effects, while obviously dated, are appreciated as a showcase of pre-digital ingenuity. The musical score and opening title sequence, in particular, are often singled out as iconic.

Commentators have also noted that the latter batch of episodes (produced after the long hiatus) lean more into action and spectacle, whereas the early episodes were moodier and more character-driven. Some feel this shift improved the show’s entertainment value, while others miss the more introspective approach. Behind the scenes, it’s known that pressure from the network led the producers to inject more straightforward action in the second half of the series, fearing that the “soap opera” elements were slowing things down. Ironically, those human elements are now part of what makes UFO interesting to modern eyes, distinguishing it from a simple monster-of-the-week series.

UFO ended after one season of 26 episodes, not due to lack of ideas but largely because of business decisions. A second series was actually commissioned at one point, with the intent to move the setting almost entirely to the Moon (reflecting how popular the Moonbase scenes were with audiences). Gerry Anderson and his team began pre-production on UFO’s sequel, even tentatively titled “UFO 1999,” and started expanding the Moonbase concept. But before filming could start, a decline in U.S. ratings for the final episodes made the financiers get cold feet. The project was scrapped, leaving Anderson with a wealth of unused designs and concepts. Determined not to waste them, he repurposed many of the ideas into a new show – which became Space: 1999. Debuting in 1975, Space: 1999 took the base-on-the-Moon idea in a different direction (the Moon is blasted out of Earth’s orbit in that series), and it featured a new cast. Fans of UFO can still spot the lineage, though: the first episode of Space: 1999 even reuses an actress from UFO (recasting Gabrielle Drake’s role with a similar-looking actress) and carries forward the ethos of a realistic, hardware-focused sci-fi drama.

Beyond its direct sequel, UFO’s legacy can be seen in later science fiction media. The basic scenario – a covert organization protecting the Earth from alien threats – has cropped up numerous times in different guises. Shows like The X-Files in the 1990s would also revolve around secret government operations against aliens (albeit with a very different tone and format), and films like Men in Black played the concept for comedy. Even the idea of a Moonbase launching fighter ships has echoes in other franchises (the design of the Interceptors has been compared to the Colonial Vipers in the original Battlestar Galactica, which came a few years later). These similarities suggest that UFO might have been an influence, or at least a forerunner, to some later pop-culture staples. In the realm of video games, the 1990s strategy game X-COM: UFO Defense (also known as UFO: Enemy Unknown) clearly drew inspiration from the show’s premise, putting players in charge of an international agency combating alien invasions with bases, interceptors, and research labs – essentially an interactive homage to UFO’s SHADO.

For many years after it aired, UFO was somewhat forgotten in the mainstream, existing primarily in the memories of those who saw it in childhood or via late-night reruns. Yet it maintained a cult fandom. Dedicated clubs (such as the Gerry Anderson fan club known as Fanderson) kept interest alive, and merchandise from the show – like the die-cast Dinky toys of the SHADO Interceptor and Mobile – became collector’s items. In the 2000s, the series saw a revival of attention through DVD releases and marathons on specialty TV channels. A restored high-definition Blu-ray edition introduced UFO to a new generation of viewers and nostalgists, complete with vibrant visuals that highlight the production design. There have even been attempts in Hollywood to reboot or adapt UFO: a film adaptation was reported to be in development around 2009, with director Matthew Gratzner attached and actor Joshua Jackson rumored to star as Straker. Ultimately, that project stalled, and as of the mid-2020s, UFO remains un-remade – perhaps waiting for the right moment when its retro appeal can be paired with modern storytelling.

Summary

UFO stands as a unique artifact of early 1970s television science fiction – a show that wears the swanky style of its era on its sleeve even as it delivers stories with unexpectedly dark and thoughtful undercurrents. It’s a series where shiny purple-wigged heroines and model spaceships coexist with bleak alien plotlines and human drama. This unlikely combination makes UFO both a product of its time and, in some ways, ahead of its time. While some aspects (like the fashion and practical effects) are now charmingly dated, the show’s willingness to address serious themes and to envision an international, technologically unified defense force gives it a certain timelessness.

Revisiting UFO today, one can appreciate its ambitious scope and the craftsmanship behind it. It’s not a flawless show – episodes can be uneven, some acting is stilted, and the tonal shifts between pulpy sci-fi action and somber drama won’t work for everyone. Yet, for fans of science fiction history or Gerry Anderson’s body of work, UFO remains a fascinating watch. Its influence can be discerned in later genre hits, and its cult status is well deserved. In the end, UFO offers a compelling mix of escapism and edginess. It invites viewers into a vividly imagined 1980 that never was, asking them to ponder the price of security and secrecy, all while enjoying a rocket-fueled, color-splashed ride. For that and more, UFO retains a special place in the pantheon of sci-fi TV classics.

Last update on 2025-12-21 / Affiliate links / Images from Amazon Product Advertising API