After my usual morning routine of checking my email, social networks, and sfx.co.uk, today I came across some great news. Three months after the sad death of Gerry Anderson, not only is his legacy is still alive as ever, but the shows that he was working on seem to still be in development.
Despite growing up thirty years after they were first made, Thunderbirds, Stingray, and Captain Scarlet and the Mysterons were highlights of my childhood. They captured my imagination, were undoubtedly an inspiration for me pursuing a career in film/television, and are a treasured part of my nostalgic VHS collection.
Although I’m afraid to say I’ve seen less than half the shows he produced, there hasn’t been one I’ve seen and not enjoyed (Space Precinct was also a personal favourite), and this just helps to point out how prolific and imaginative a creator he was.
Not one to rest on his laurels however, it seems that he continued to work as long as his Alzheimer’s would let him, and today Anderson Entertainment have announced that there is still more to come, as they are “actively pursuing a number of new Gerry Anderson projects“.
As much as this prospect delighted me, there was also part of me that was sad as well.
On one hand for Anderson himself, and the simple fact that he won’t be there throughout the production of whatever these projects may be. But also because no matter how good film and TV projects that don’t involve their original creator are, they also have the potential to be so much more.
I know it’s a comparison I always seem to use, but to be fair, there’s not much else that has had such a lengthy and celebrated-auteur-centric history as Star Trek.
Although it continued going from strength to strength after the death of Gene Roddenberry in 1991, and with new producers came new ideas such as the stationary Deep Space Nine, none of his sucssesors have explored sexual equality in the same way Roddenberry did with race and gender in the 60’s.
Despite giving interviews in which he stated that Season 5 of The Next Generation would feature gay characters, even today, 21 televisual seasons and five feature films later, we are still waiting to see if J.J. Abrams will live up to the fact that it “should happen and I would love to be able to be a part of that” with Star Trek: Into Darkness.
In many ways Roddenberry and Anderson were more similar than I think they’re generaly given credit for, both being influential figures who played their part in the ‘Golden Era’ that revolutionised TV on both sides of the Atlantic. Another possible unlikely comparison however, is James Cameron. Or at least their creations.
When it comes to his films, James Cameron created not just memorable characters in The Terminator and T2:Judgement Day, but an iconic and unique family situation that even the Tracys can’t outdo. Both written and directed by Cameron, they each give different insights into what is an intriguing relationship between lovers, mother and son, and son and absent & adopted father figures, but which the following film Rise of the Machines overlooks.
With Hollywood still seeing the money potential, even after Cameron reportedly announced that T2 finished the story he wanted to tell, the further cinematic adventures were perhaps even more inevitable than 2004’s Thunderbirds. Made by “an American company who didn’t know anything” it is not surprising that the film was a failure with both the box-office and critics. As Anderson was not even hired to be creative consultant, he can only be respected for turning down a six-figure offer to endorse the film by attending its premiere.
Although two Supermarionation Thunderbrids films were previously released in ’66 and ’68, Anderson’s genius is something which has fared much better on the small screen. Like the later Terminator series The Sarah Connor Chronicles which, as its title suggests, focused on the family rather than machines, Anderson was able to frame his shows’ legendary special effects around stories that focused on equally captivating characters.
This is something that his fans all over the world can be reassured by, as back in January 2011 Anderson himself announced he was working on a new Thunderbirds TV series. This was confirmed by ITV and Weta last month, and is no doubt be one of the new projects still being worked on.
In addition to this, the head of production at Anderson Entertainment is none other than Anderson’s own son Jamie. Whilst his media credentials may be somewhat untested as of yet, surely the son of one of the most iconic, and principled, TV producers of his generation is a good bet to ensure the fruition of these new projects will be as close to Anderson’s original vision as possible.