#thunderbirds analysis

For starters, the opening scene of the show is crafted so beautifully. Firstly, we the audience see the danger before we see who in danger. Even though this is such a simple, subtle thing, it’s so effective because this is the perfect way to define what the show is and what it’s about - daring rescues of those in situations which in our world would seem near impossible to aid, which just adds to the heroics of IR.

Furthermore, the way the characters are introduced is incredible. As with before, we hear the man’s voice before we see him - creating a similar effect as to previous. But he is presented in such a way that leads our eyes up his form and to his head because we know that he is the one making the SOS which makes the sudden interruption of the child so much better. It’s an “oh shit he’s not alone” type reaction, even though the child is very visible next to him. Also the way they are positioned in the balloon, how it’s at an angle, makes the father falling out seem almost inevitable. Plus, the idea to give them hats makes the scene even better because the act of them falling off and out of shot just adds to the tension.

As a quick little side piece, the use of music is fab. I would go more in-depth about the music if I could but I’m not very well music versed being an art kid; that and it’s been a few years since I last played clarinet so some things are a little vaguer now. To begin, the music in the first 20 seconds - it’s in a repeating pattern, three times up once down twice in a row. Then it goes to a lower register when the father begins to speak which not only allows us to hear him much clearer but also adds to the danger of the scene. Then after he climbs back in it begins to crescendo upwards before including a motif (that I’m pretty sure is used in other episodes) but sounds more heroic-y (I think it shifts to major key but I’m not sure).

The arrival of TB2 from the clouds is so well done, my god. Not only is how it appears so well handled, but the music that accompanies it too. Its presence in the scene is so well crafted. The balloon is to the side, still swaying out of control as to still elicit the danger, but the camera is zooming out. This makes the balloon seem smaller so that when TB2 appears it looks, frankly, fucking huge. What’s even better is that we hear then see it. We hear its engines so clearly that it cuts through the music. We can’t see it but we know where it will appear because the balloon is kept to one side of the screen. The music when it appears is also handled so well. Instead of the faster, scaling initial notes, they’re now much more drawn out. Yes these notes are still scaling upwards, but instead being fear-inducing it leans towards heroism especially with what I think is a gong 34/35 seconds into the ep which really just adds to the feel (it’s uplifting!!). And after, it goes into one of the main motifs played when on rescues. And then it changes AGAIN!!! Just as he grabs the child, it picks up - it gets faster. Nothing has happened but you know that something will. Also the wide shot at 48s initially doesn’t appear to furthering the story, but what it does do is further dramatise the danger. Simply “look, we’re 10,000 ft in the air. There is nothing around us.” You see this openness and you know that that man will fall and he does. And just before we get the drama… BAM intro sequence. It builds so much suspense because you know what’s happening, you know someone’s life is at stake but you have to wait through an incredible cool intro sequence to find out what happens.

A few things I want to point out first is the introduction of the characters. They are introduced one by one, which is such a good way to understand who is who particularly to a newer younger audience. Furthermore, the way in which they are introduced further add to their characterisation. We see John as head of communications and responds to calls which, compared to the original, is a much more defined role with him now appearing in every episode. Brains is busy doing technical stuff, Penelope and Parker still have their air of aristocracy which is enhanced by the music. Alan is shown to be the youngest (even though we know he is) through a mission which is basically baby sitting. And Grandma Tracy being a terrible cook is such a funny little addition to the show which really furthers the characters personalities and interactions compared to the original where it was more of a “we must save them” and end it there.

As a little tangent, I would like to say that Kayo being given her own craft is such a good implementation for her character, since in the original as Tin Tin she has a much wider, less defined role and was basically one of the few women Sylvia had managed to put in (which was quite significant since the original was incredibly male heavy). But since Kayo has her own ship, the possibilities for her characters became so much more and I think definitely a character that really helped the series since her personality is much tougher than the brothers. Moreover, having her be such a change from Tin Tin is generally just a really good touch since it leans away from the casually misogyny of the original and really brings her into her own.

Anyway on to details !! One of THE most astounding things I’ve seen in the shown (which I know also happens in the last ep of s1 but done by the Hood) and it’s when Virgil moves the chair. For those who are missing out on the incredibleness of this lays in the fact that this is CGI flawlessly interacting with a miniature element. And it’s the fact that it stops so abruptly just makes me think that absolutely everything was done purposefully - since, in my mind, having the chair go from A to B like it does allows them to animate the CG to blend better with the environment and any little mistakes you see from the chair are overlooked because you focus back on the movement. This all happens 5:57 mins into the episode btw :3.

The puppetry! The puppetry! The submersible rig is an actual miniature (or “bigature” as Weta puts it). By having it be a miniature you can capture the janky movements as it falls apart and not have it feel uncanny as what we are seeing can be recognised as real and not CG. (This goes for all the little bits of rocks and dust we see kick up too)

Now one of the major drawbacks I can see from the CGI miniature mix is that it doesn’t always fit quite well. I’ve mainly noticed it with TB2 (I have a fav ok babes?) and how the shadows interacts around it. During its launch sequence, the shadow underneath the craft looks a bit weird and the bottom of TB2 doesn’t quite blend with the environment. Other moments I’ve seen of similar things happening is in Breakdown when it lands (has the same weird shadow goings on) but also when it flies by the camera where it looks unbearably CG. Idk if I mentioned in the last post, but the main reason why the show is able to mix the media’s so well is bc of the interaction with one another - the ships are usually around dust, smoke whatnot so looks less like a sticker slapped on to it but is instead integrated.

Another fun little detail is the music that plays when Gordon goes to find the seismic device (10:25) which is near always played when they talk about their father. Someone in the reblogs of the post (linked at end) mentioned that it always cuts halfway through, never fully playing (which changes when they get their Dad back)

Talking about their dad, even though it’s not said he’s missing we know he is from Virgil’s words from the beginning “no one’s losing their dad today.” In one sentence we hear what has happened to their dad but has see a glimpse into the underlying trauma that came with his “death.”

I did want to do this more analytically but I can’t help but ramble TuT