Television series
Joe 90
A British puppet series where a nine-year-old boy gains temporary adult expertise through his father's brain-pattern technology, becoming a secret agent. Crackling with invention, endearingly earnest, and visually inventive—Gerry Anderson at his most playful. For anyone charmed by '60s sci-fi optimism, practical effects, or the sheer audacity of making a child the action hero.
Should you watch it?
Watch it if you enjoy the earnest charm of 1960s puppet adventure, the same Gerry Anderson workshop that gave us Thunderbirds, and a premise where a child's cleverness is the whole gadget.
Skip it if the stiff, jerky movement of marionette puppets and the fixed, formulaic episode shape will feel slow to anyone raised on modern effects.
What it asks of you: Half-hour episodes, one season of thirty, taken in small bites; the pace is brisk and sincere, the tone gentle rather than gritty.
Not sure? Find tonight's pick in a minute.
If you liked this
Thunderbirds1965
The show that made Anderson's reputation. Spectacular puppet action, gleaming retro-futurism, and a family of genius brothers running a covert rescue operation. Every episode crackles with ingenuity.
But The pace is deliberate and the dialogue occasionally wooden. Some episodes run slow if you're used to modern editing.
Captain Scarlet and the Mysterons1967
Anderson's darker turn: a secretly indestructible agent battling alien intelligence with military precision and genuine stakes. Supermarionation at its technical peak, with sets that astound.
But It's grittier and less whimsical than Anderson's other work. If you want escapism over tension, this leans the other way.
The Prisoner1967
Surreal, philosophical spy thriller about conformity and identity starring Patrick McGoohan. Every episode is a maze. Haunting, beautiful, utterly original—nothing quite like it.
But Deliberately cryptic and frustrating. The lack of conventional resolution enrages some viewers. Very 1960s in its formal ambition.
Not sure tonight? Get a pick in a minute, starting from Joe 90
The wildcard
Something you would not have found on your own.
Danger: Diabolik1968
Both celebrate the stylized heroism of the innocent or amoral outsider operating in glossy, retro-futuristic worlds. Both trust visual invention over psychological depth.
A master criminal and his lover outwit authorities in a gorgeous, candy-colored pop-art heist film. Mario Bava's direction is pure visual intoxication—it's like watching a comic book come alive in color.
But A thin plot doesn't matter because the movie knows it's ephemeral fun. If you need emotional stakes, this won't provide them. It's pure aesthetic.
More like this (7)
Doctor Who2005
A time-traveling alien exploring the universe—vast in scope, endlessly inventive with its monsters and ideas. The best serials are genuinely intelligent science fiction.
But Uneven across eras and budgets. Some stories drag; some companions grate. Requires patience and tolerance for camp.
Department S1969
A three-person team solves impossible crimes with style and wit. Sharply written, beautifully shot, witty without being arch. Sophisticated fun in color.
But Less spectacular than Anderson's work—more cerebral spy show than action spectacular. If you want visuals, this trades on plot.
The Saint1962
Roger Moore as Simon Templar, a gentleman thief helping the desperate. Charming, fast-paced, and genuinely clever. Moore is irresistible and the writing is sharp.
But Lighter weight than serious espionage drama. The humor can tip into camp if you're not in the mood.
Jason King1971
A crime novelist becomes a secret agent. Stylish, mod, endlessly entertaining. Peter Wyngarde is wonderfully eccentric and the show knows it's ridiculous fun.
But Campy in ways that won't age well for everyone. The gender politics are very 1970s—not offensive exactly, but dated.
The Avengers1961
Genius spy and martial artist tackle surreal threats in '60s Britain. Witty, inventive, beautifully designed. The best episodes are genuinely clever about ideas and form.
But Patchy across seasons and eras. The early episodes are rougher; later ones sometimes trade on style over substance.
A Kid for Two Farthings1955
Both centre on a child protagonist whose innocence and belief give him power in an adult world. Both use that reversal as their deepest theme.
A magical-realist East End story where a boy believes he has a unicorn. Gentle, inventive, utterly charming—shot in rich color with a wonderful ensemble. It's whimsy that earns itself.
But Deeply of its era and place. The sentimentality won't work if you resist period charm. Also very slow by modern standards.
The Magus1968
Both are about skill-transfer and hidden identity—but where Joe 90 uses those ideas for heroism, The Magus uses them as psychological torture. Same mechanics, inverted moral register.
A young man on a Greek island is manipulated by a mysterious millionaire through elaborate, reality-bending games. Visually stunning, genuinely unsettling. An underrated puzzle box with real menace.
But Baroque and sometimes impenetrable. The film asks you to distrust everything; some find that exhilarating, others exhausting. Ambiguous in ways that frustrate.
People
Production
- Gerry AndersonExecutive Producer