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22650 " Irresistible " received largely positive reviews from critics . Entertainment Weekly rated " Irresistible " a B + , saying it was based on " an unsettling concept to begin with " that was reinforced by " Chinlund 's skin @-@ crawling one @-@ man show " . Todd VanDerWerff of The A.V. Club rated the episode A , praising the acting , particularly of Chinlund as Pfaster , and describing it as " legitimately scary , a sign of a show that was pushing itself in new and interesting directions " . The only criticism was for the scenes where Scully hallucinates Pfaster shapeshifting as " pretty silly , almost feeling like an attempt to make sure something vaguely paranormal is in the episode so the fans don 't get bored with what is ultimately a very good episode " . Jessica Morgan of Television Without Pity gave the episode a B + grade . Writing for Den of Geek , Nina Sordi ranked " Irresistible " the sixth best X @-@ Files episode , saying that " excluding CSM and his cronies , Pfaster has got to be the most disturbing villain that our favorite agents have encountered " . Den of Geek writer Juliette Harrisson named it the " finest " stand @-@ alone episode of the second season , describing it as " a genuinely creepy 45 @-@ minute horror movie " . Connie Ogle of Popmatters listed Pfaster among the best monster @-@ of @-@ the @-@ week characters of the series , and IGN 's Christine Seghers ranked Chinlund the seventh best guest star in the history of the show , considering that " what makes him all the more frightening is how downright passive and polite he is up until the moment he 's going to kill ; the perfect camouflage for a modern @-@ day monster . " TV Guide listed Pfaster among the scariest X @-@ Files monsters describing him as " evil incarnate " .
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22651 Chris Carter said " Irresistible " was effective for " being really scary " , and that not only it was one of his favorites but inspired him to create the television series Millennium later .
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22652 = Thunderbirds ( TV series ) =
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22653 Thunderbirds is a British science @-@ fiction television series created by Gerry and Sylvia Anderson , filmed by their production company AP Films ( APF ) and distributed by ITC Entertainment . It was produced between 1964 and 1966 using a form of electronic marionette puppetry ( dubbed " Supermarionation " ) combined with scale model special effects sequences . Two series were filmed , comprising a total of 32 episodes . Production ceased after Lew Grade , the Andersons ' financial backer , failed in his efforts to sell the programme to American network television .
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22654 Set in the mid @-@ 2060s , Thunderbirds is a follow @-@ up to the earlier Supermarionation productions Four Feather Falls , Supercar , Fireball XL5 and Stingray . It follows the exploits of International Rescue ( IR ) , a life @-@ saving organisation equipped with technologically @-@ advanced land , sea , air and space rescue craft ; these are headed by a fleet of five vehicles named the Thunderbirds and launched from IR 's secret base in the Pacific Ocean . The main characters are ex @-@ astronaut Jeff Tracy , the founder of IR , and his five adult sons , who pilot the Thunderbird machines .
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22655 Thunderbirds began its first run in the United Kingdom on the ITV network in 1965 and has since been broadcast in at least 66 other countries . Periodically repeated , it was adapted for radio in the early 1990s and has influenced many TV programmes and other media . As well as inspiring various merchandising campaigns , the series has been followed by two feature @-@ length film sequels , a live @-@ action film adaptation and a mimed stage show tribute . The second of two TV remakes , the computer @-@ animated Thunderbirds Are Go , premiered in 2015 .
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22656 Widely considered to be the Andersons ' most popular and commercially successful series , Thunderbirds has received particular praise for its effects ( directed by Derek Meddings ) and musical score ( composed by Barry Gray ) . It is also well remembered for its title sequence , which opens with an often @-@ quoted countdown by actor Peter Dyneley ( who voiced the character of Jeff ) : " 5 , 4 , 3 , 2 , 1 : Thunderbirds Are Go ! " A real @-@ life rescue service , the International Rescue Corps , is named after the organisation featured in the series .
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22657 = = Storyline = =
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22658 Set between 2065 and 2067 , Thunderbirds follows the exploits of the Tracy family , headed by American ex @-@ astronaut turned multi @-@ millionaire philanthropist Jeff Tracy . He is a widower with five adult sons : Scott , John , Virgil , Gordon and Alan . The Tracys form International Rescue ( IR ) , a secret organisation dedicated to saving human life . They are aided in this mission by technologically advanced land , sea , air and space vehicles , which are called into service when conventional rescue techniques prove ineffective . The most important of these are five machines named the " Thunderbirds " , each assigned to one of the five Tracy brothers :
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22659 Thunderbird 1 : a hypersonic rocket plane used for fast response and accident zone reconnaissance . Piloted by primary rescue co @-@ ordinator Scott Tracy .
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22660 Thunderbird 2 : a supersonic carrier aircraft that transports rescue vehicles and equipment to accident zones in detachable capsules known as " Pods " . Piloted by Virgil .
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22661 Thunderbird 3 : a single @-@ stage @-@ to @-@ orbit spacecraft . Piloted alternately by Alan and John , with Scott as co @-@ pilot .
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22662 Thunderbird 4 : a utility submersible . Piloted by Gordon and normally launched from Thunderbird 2 .
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22663 Thunderbird 5 : a space station that relays distress calls from around the world . Manned alternately by " Space Monitors " John and Alan .
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22664 With the engineer Brains and Jeff 's elderly mother , as well as the Malaysian manservant Kyrano and his daughter Tin @-@ Tin , the family reside in a luxurious villa on Tracy Island , their hidden base in the South Pacific Ocean . In this location , IR is safe from criminals and spies who envy the organisation 's technology and seek to acquire the secrets of its machines .
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22665 Despite its humanitarian principles , some of IR 's operations are necessitated not by misadventure but deliberate sabotage motivated by greed for power and wealth . For missions that require criminal investigation , the organisation incorporates a network of undercover agents headed by English aristocrat Lady Penelope Creighton @-@ Ward and her butler Aloysius Parker . Based at Creighton @-@ Ward Mansion in Kent , Penelope and Parker 's primary mode of transport is FAB 1 , a specially @-@ modified Rolls @-@ Royce . The most persistent of IR 's adversaries is the criminal known only as the " Hood " . Operating from a temple in the Malaysian jungle , and possessing abilities of hypnosis and dark magic , he exerts a powerful telepathic control over Kyrano , his estranged half @-@ brother , and manipulates the Tracys into missions that unfold according to his nefarious designs . This allows him to spy on the Thunderbird machines and , by selling their secrets , make himself rich .
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22666 = = Production = =
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22667 Thunderbirds was the fourth Supermarionation puppet TV series to be produced by APF , which was founded by the husband @-@ and @-@ wife duo of Gerry and Sylvia Anderson with their business partners Reg Hill and John Read . Pitched in late 1963 , the series was commissioned by Lew Grade of ITC , APF 's parent company , on the back of the positive audience response to Stingray .
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22668 Gerry Anderson drew inspiration for the series ' underlying concept from the West German mining disaster known as the Wunder von Lengede ( " Miracle of Lengede " ) . In October 1963 , the collapse of a nearby dam flooded an iron mine in the municipality of Lengede , killing 29 miners and trapping 21 others underground . Lacking the means to drill an escape shaft , the authorities were forced to requisition a heavy @-@ duty bore from Bremen ; the considerable time necessary to ship this device by rail had significantly reduced the chances of a successful rescue . Recognising the advantages of swifter crisis response , Anderson conceived the idea of an " international rescue " organisation that could use supersonic aircraft to transport specialised rescue equipment quickly over long distances .
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22669 Seeking to distinguish his 26 @-@ episode proposal from APF 's earlier productions , Anderson attempted to pitch stories at a level that would appeal to both adults and children . Whereas previous series had been shown during the late afternoon , Anderson wanted Thunderbirds to be broadcast in a family @-@ friendly primetime slot . Sylvia remembers that " our market had grown and a ' kidult ' show ... was the next step . " The Andersons retired to their holiday villa in Portugal to expand the premise , script the pilot episode and compose a scriptwriters ' guide . According to Sylvia , the writing process depended on a " division of labour " , whereby Gerry created the action sequences while she managed characterisation . The decision to make a father and his sons the main characters was influenced by the premise of Bonanza , as well as Sylvia 's belief that the use of more than one heroic character would broaden the series ' appeal . The Tracy brothers were named after Mercury Seven astronauts : Scott Carpenter , John Glenn , Virgil " Gus " Grissom , Gordon Cooper and Alan Shepard .
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22670 The series ' title was derived from a letter written by Gerry 's brother , Lionel , while he had been serving overseas as an RAF flight sergeant during World War II . While stationed in Arizona , Lionel had made reference to Thunderbird Field , a nearby United States Army Air Forces base . Drawn to the " punchiness " of " Thunderbirds " , Anderson dropped his working title of " International Rescue " and renamed both the series and IR 's rescue vehicles , which had previously been designated Rescues 1 to 5 . His inspiration for the launch sequences of Thunderbirds 1 , 2 and 3 originated from contemporary United States Air Force launch procedure : Anderson had learnt how the Strategic Air Command would keep its pilots on permanent standby , seated in the cockpits of their aircraft and ready for take @-@ off at a moment 's notice .
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22671 In the DVD documentary The Thunderbirds Companion , Anderson explained how a rise in filming costs had made overseas distribution revenue even more important and essentially caused Thunderbirds to be made " as an American show " . During the character development and voice casting process , the Andersons ' main priority was to ensure that the series had transatlantic appeal , thus increasing the chances of winning an American network deal and the higher audience figures that this market had to offer . Scripts were typed in American English and printed on US @-@ style quarto @-@ size paper .
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22672 = = = Filming = = =
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22673 Thunderbirds was filmed at APF 's studios on the Slough Trading Estate between 1964 and 1966 . In preparation , the number of full @-@ time crew was expanded to 100 . Shooting began in September 1964 after five months of pre @-@ production . Due to the new series ' technical complexity , this was a period longer than for any of APF 's earlier productions . To speed up the filming , episodes were shot in pairs , at a rate of one per month , on separate soundstages and by separate crews ( designated " A " and " B " ) . By 1964 , APF was the UK 's largest commercial user of colour film , consuming more than three million feet ( 570 miles or 910 kilometres ) of stock per year .
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22674 Alan Pattillo , a veteran scriptwriter and director for APF , was appointed the company 's first official script editor in late 1964 . This move was aimed to reduce the burden on Gerry Anderson who , while reserving his producer 's right to overall creative control , had grown weary of revising scripts himself . Direction of episodes was assigned in pairs : Pattillo and David Elliott alternated with the less experienced Desmond Saunders and newcomer David Lane for each month 's filming . Due to the difficulties of setting up takes , progress was slow : even on a productive day , it was rare for the crew to complete more than two minutes of puppet footage In a contemporary interview , Hill noted that Thunderbirds contained several times as many shots as a typical live @-@ action series . He explained that rapid editing was necessary on account of the characters ' lack of facial expression , which made it difficult to sustain the viewer 's interest for more than a few seconds per shot .
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22675 After viewing the completed 25 @-@ minute pilot , " Trapped in the Sky " , Lew Grade was so impressed by APF 's work that he instructed Anderson to double the episode length and increased the series ' budget per episode from £ 25 @,@ 000 to £ 38 @,@ 000 . As a result , Thunderbirds became not only the company 's longest and highest @-@ budgeted production , but also among the most expensive TV series to have been made up to that point . The crew , who had been filming at a rate of two 25 @-@ minute episodes per fortnight , faced significant challenges during the transition to the new format : eight episodes had already been completed , scripts for up to ten more had been written , and substantial rewrites would be necessary to satisfy the longer running time . Anderson lamented : " Our time @-@ scale was far too drawn out . ITC 's New York office insisted that they should have one show a fortnight ... Everything had to move at twice the speed . " APF spent over seven months extending the existing episodes .
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22676 Tony Barwick , who had impressed Pattillo and the Andersons with an unsubmitted script that he had written for Danger Man , was recruited to assist in the writing of subplots and filler material . He found that the longer format created opportunities to strengthen the characterisation . Science @-@ fiction writer John Peel suggests that " small character touches " make the puppet cast of Thunderbirds " much more rounded " than those of earlier APF series . He compares the writing favourably to that of live @-@ action drama . The new footage proved useful during the development of the first series finale , " Security Hazard " : since the previous two episodes had overspent their budgets , Pattillo devised a flashback @-@ dominated clip show containing only 17 minutes of new material to reduce costs .
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22677 Filming of Series One was completed in December 1965 . A second series was also commissioned late that year and entered production in March 1966 . Barwick became a full @-@ time member of the writing staff and took over the role of script editor from the outgoing Pattillo . The main puppet cast and vehicles were rebuilt ; in addition , the art department expanded some of the standing sets , including the Tracy Villa lounge and the Thunderbird 5 control room . To accommodate the simultaneous filming of the TV series and Thunderbirds Are Go , APF purchased two more buildings on the Slough Trading Estate and converted them into new stages . As crew and studio space were divided between the two productions , filming of the TV series progressed at half the previous speed , as APF 's B crew produced one episode per month . Filming on Thunderbirds Are Go was completed by June , allowing A crew to resume work on the series to shoot what would prove to be its penultimate episode , " Ricochet " .
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22678 Production of Thunderbirds ended in August 1966 with the completion of the sixth episode of Series Two . In February that year , it had been reported that Grade had been unable to sell the series in the United States due to disagreements over timeslots . In July , he cancelled Thunderbirds after failing in his second attempt to secure an American buyer . The three major US networks of the time – NBC , CBS and ABC – had all bid for the series , with Grade repeatedly increasing the price . When NBC withdrew its offer , the other two immediately followed .
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22679 By the time of its cancellation , Thunderbirds had become widely popular in the UK and was being distributed extensively overseas . Grade , however , believed that without the financial boost of an American network sale , a full second series would fail to recover its production costs . He therefore asked Anderson to devise a new concept that he hoped would stand a greater chance of winning over the profitable US market . This became Captain Scarlet and the Mysterons .
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22680 = = = Casting and characters = = =
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22681 Voice @-@ recording sessions were supervised by Pattillo and the Andersons , with Sylvia Anderson in charge of casting . Dialogue was recorded once per month at a rate of two scripts per session . Supporting parts were not pre @-@ assigned , but negotiated by the cast among themselves . Two recordings would be made at each session : one to be converted into electronic pulses for the puppet filming , the other to be added to the soundtrack during post @-@ production . The tapes were edited at Gate Recording Theatre in Birmingham .
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22682 In the interest of transatlantic appeal , it was decided that the main characters would be mostly American and therefore actors capable of producing an appropriate accent were used . British , Canadian and Australian actors formed most of the voice cast ; the only American involved was stage actor David Holliday , who was noticed in London 's West End and given the part of Virgil Tracy . Following the completion of the first series , Holliday returned to the US . The character was voiced by English @-@ Canadian actor Jeremy Wilkin for Series Two .
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22683 British actor David Graham was among the first to be cast . He had previously voiced characters in Four Feather Falls , Supercar , Fireball XL5 and Stingray . Beyond the APF productions , he had supplied one of the original Dalek voices on Doctor Who . Cast alongside Graham was Australian actor Ray Barrett . Like Graham , he had worked for the Andersons before , having voiced Titan and Commander Shore in Stingray . A veteran of radio drama , Barrett was skilled at performing a range of voices and accents in quick succession . Villains of the week would typically be voiced by either Barrett or Graham . Aware of the sensitive political climate of the Cold War and not wishing to " perpetuate the idea that Russia was the enemy with a whole generation of children watching " , Gerry Anderson decided the Hood ( voiced by Barrett ) should be Oriental and placed his temple hideout in Malaysia to defy the viewer 's expectations .
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22684 Although Lady Penelope and Parker ( the latter voiced by Graham ) were among the first characters developed , neither was conceived as a major role . Parker 's Cockney manner was based on a waiter at a pub in Cookham that was sometimes visited by the crew . On Gerry Anderson 's recommendation , Graham dined there regularly to study the accent . Anderson 's first choice for the role of Penelope had been Fenella Fielding , but Sylvia insisted she take the part herself . Her Penelope voice was intended to emulate Fielding and Joan Greenwood . On Penelope and Parker 's secondary role as comic relief , Gerry explained , " We British can laugh at ourselves , so therefore we had Penelope and Parker as this comedy team . And in America they love the British aristocracy too . ' "
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22685 As well as Jeff Tracy , English @-@ Canadian actor Peter Dyneley voiced the recurring character of Commander Norman , chief of air traffic control at London International Airport . His supporting character voices were typically those of upper @-@ class Englishmen . Shane Rimmer , the voice of Scott , was cast on the strength of his performance on the BBC soap opera Compact . Meanwhile , fellow Canadian Matt Zimmerman was selected at a late stage in the process . The expatriate West End actor was given the role of Alan on the recommendation of his friend , Holliday : " They were having great difficulty casting the part of Alan as they wanted a certain sound for him , being the youngest brother . David , who [ was ] a bit older than I am , told them that he had this friend , me , who would be great . "
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22686 Christine Finn , known for her role in the TV serial Quatermass and the Pit , provided the voices of Tin @-@ Tin Kyrano and Grandma Tracy . With Sylvia Anderson , she was also responsible for voicing most of the female and child supporting characters . Other minor parts were voiced by Charles Tingwell , Paul Maxwell and John Tate ( the father of Nick Tate ) , who were not credited for their contributions .
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22687 = = = Design and effects = = =
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22688 The puppet stages used for the filming of Thunderbirds were only one @-@ fifth the size of those used for a standard live @-@ action production , typically measuring 12 by 14 by 3 metres ( 39 @.@ 4 by 45 @.@ 9 by 9 @.@ 8 ft ) in length , width and height . Bob Bell , assisted by Keith Wilson and Grenville Nott , headed the art department for Series One . During the simultaneous filming of Series Two and Thunderbirds Are Go in 1966 , Bell attended mainly to the film , entrusting set design for the TV series to Wilson .
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22689 Since it was necessary for the art department 's interior sets to conform to the effects department 's exterior plans , each team closely monitored the other 's work . According to Sylvia Anderson , Bell 's challenge was to produce complex interiors on a limited budget while resisting the effects department 's push for " more extravagant " design . This task was complicated by the unnatural proportions of the puppets : Bell struggled to decide whether the sets should be built to a scale proportionate to their bodies or their oversized heads and hands . He used the example of FAB 1 to illustrate the problem : " As soon as we positioned [ the puppets ] standing alongside [ the model ] , they looked ridiculous , as the car towered over them . " He ultimately adopted a " mix @-@ and @-@ match " approach , in which smaller items , such as tableware , were scaled to their hands and furniture to their bodies .
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22690 While designing the Creighton @-@ Ward Mansion sets , Bell and his staff strove for authenticity , ordering miniature Tudor paintings , 1 ⁄ 3 @-@ scale Georgian- and Regency @-@ style furniture and carpeting in the shape of a polar bear skin . This realism was enhanced by adding scrap items acquired from household waste and electronics shops . For example , a vacuum cleaner pipe serves as Virgil Tracy 's launch chute .
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22691 = = = = Puppets = = = =
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22692 The head puppet sculptor was Christine Glanville , who also served as the lead puppeteer . Glanville 's four @-@ person team built the 13 members of the main cast in six months at a cost of between £ 250 and £ 300 per puppet ( approximately £ 4 @,@ 569 and £ 5 @,@ 483 today ) . Since pairs of episodes were being filmed simultaneously on separate stages , the characters needed to be sculpted in duplicate . Facial expressions were diversified by means of replaceable heads : as well as a head with a neutral expression , each main character was given a " smiler " , a " frowner " and a " blinker " . The finished puppets were approximately 22 inches ( 56 cm ) tall , or 1 ⁄ 3 adult human height .
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22693 The puppets were made up of more than 30 individual components , the most important of which was the solenoid that synchronised lip movements with the characters ' pre @-@ recorded dialogue . This device was positioned inside the head unit ; consequently , torsos and limbs appeared relatively small . The puppets ' likenesses and mechanics are remembered favourably by puppeteer Wanda Brown , who preferred the Thunderbirds marionettes over the accurately @-@ proportioned ones that first appeared in Captain Scarlet : " The puppets were easier to operate and more enjoyable because they had more character to them ... Even some of the more normal @-@ looking faces , such as Scott and Jeff , for me had more character than the puppets in the series that came afterwards . " Rimmer speaks positively of the puppets ' still being " very much caricatures " , since it made them " more lovable and appealing ... There was a naive quality about them and nothing too complex . "
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22694 The appearances of the main characters were inspired by those of actors and other entertainers , who were typically selected from the show business directory Spotlight . According to Glanville , as part of a trend away from the strong caricature of previous series , APF was seeking " more natural faces " for the puppets . The face of Jeff Tracy was based on that of Lorne Greene , Scott on Sean Connery , Alan on Robert Reed , John on Adam Faith and Charlton Heston , Brains on Anthony Perkins and Parker on Ben Warriss . Sylvia Anderson brought the character of Penelope to life in likeness as well as voice : after her test moulds were rejected , sculptor Mary Turner decided to use Anderson herself as a template . Terry Curtis was also an original sculpture of Supermarionation puppets .
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22695 Main character heads were initially sculpted in either Plasticine or clay . Once the general aspect had been finalised , this served as the template for a silicone rubber mould . This was coated with Bondaglass ( fibreglass mixed with resin ) and enhanced with Bondapaste , a putty @-@ like substance , to accentuate contours . The Bondaglass shell was then fitted with a solenoid , leather mouth parts and plastic eyes , as well as incisor teeth – a first for a Supermarionation production . Puppets known as " revamps " , which had plastic heads , portrayed the supporting characters . These marionettes started their working lives with only a mouth and eyes ; their faces were remoulded from one episode to the next . Particularly striking revamp moulds were retained and , as their numbers increased , photographed to compile an internal casting directory .
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22696 Wigs were made of mohair or , in the case of the Penelope puppet , human hair . Puppet bodies were built in three sizes : " large male " ( specifically for the Tracys and the Hood ) , " small male " and " small female " . Sylvia Anderson , the head costume designer , devised the main characters ' attire . To give the puppets increased mobility , the costume department generally avoided stiff synthetic materials , instead working with cotton , silk and wool . Between 1964 and 1966 , the department 's stock numbered more than 700 costumes .
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22697 Each puppet 's head was fitted with about 10 thin tungsten steel wires . During the filming , dialogue was played into the studio using modified tape recorders that converted the feed into electronic pulses . Two of the wires relayed these pulses to the internal solenoid , completing the Supermarionation process . The wires , which were sprayed black to reduce their visibility , were made even less noticeable through the application of powder paint that matched the background colours of the set . Glanville explained the time @-@ consuming nature of this process : " [ The puppeteers ] used to spend over half an hour on each shot getting rid of these wires , looking through the camera , puffing a bit more [ paint ] here , anti @-@ flare there ; and , I mean , it 's very depressing when somebody will say to us , ' Of course the wires showed . ' " Positioned on an overhead gantry with a hand @-@ held cruciform , the puppeteers co @-@ ordinated movements with the help of a viewfinder @-@ powered CCTV feedback system . As filming progressed , the crew started to dispense with wires and instead manipulate the puppets from the studio floor using rods .
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22698 Due to their low weight and the fact that they had only one control wire per leg , the puppets were unable to walk convincingly . Therefore , scenes involving movement were filmed from the waist up , with a puppeteer holding the legs below the level of the camera and using a " bobbing " action to simulate motion . Alternatively , dynamic shots were eliminated altogether : in an interview with New Scientist , director of photography John Read spoke of the advantages of circumventing the lack of agility so that the puppets " appear , for example , to walk through doors ( although the control wires make this impossible ) or pick up a coffee cup ( although their fingers are not in fact jointed ) . " Live @-@ action shots of human hands were inserted whenever scripts called for more dexterous actions to be performed .
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22699 = = = = Special effects = = = =
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