Before he would go on to create such classic series as Fireball XL5 and Thunderbirds, Producer Gerry Anderson fine-tuned his process of “Supermarionation” on the 1961 series, Supercar. Like the shows that would follow, the process involved filming 18” tall marionettes, each with the ability to move their eyes and mouths, and these movements were then synchronized with the dialog. Making the puppets walk proved to be a more difficult task, so Anderson simply had them spend most of their time seated in vehicles, such as the Supercar.

Supercar was an engineering marvel, a vehicle capable of operating on land, sea, air or even outer space. Designed by Professor Popkiss and his trusty assistant, Dr. Beaker, operation of the all-terrain vehicle was placed in the capable hands of pilot Mike Mercury and cohort Jimmy Gibson. And just for good measure, their monkey friend, Mitch, tagged along. But there were plenty of sinister outside forces that wanted the car for their own evil purposes, namely Masterspy and his inept sidekick Zarin, as well as British bad guys, Harper and Judd.  

The true star of the show, however, was always the Supercar. At the beginning of each episode, viewers were treated to what would eventually become a trademark of Anderson’s work, the launch sequence. Engines revving, interlock properly activated, the hanger doors would open and the vehicle would take off vertically, ready to embark on its next mission – whether it be under the depths of the ocean, traversing rugged terrain or keeping the skies safe. Even fog, smoke and clouds didn’t hinder its travel capabilities, thanks to its “Clear-Vu” television monitor in the cockpit.

Supercar would run for two seasons, with a total of 39 episodes produced. While the technology was still relatively primitive, it allowed Anderson to refine and improve his creative ideas. And even though Supercar delighted young audiences with its innovative approach, it was only a glimpse into the future of Supermarionation. The best was yet to come.