The Space Race Part III: Space in Pop Culture
A still from the 1967 film "Destiny in Space I" (Digital Remaster from 1996)
The First Space Race touched every aspect of American, Russian, and German life. No analysis of the First Space Race would be complete without discussing the effect of the Race on pop culture across the world. Storytellers in film, TV, comics, and print novels were fascinated by the beginning of humanity's quest to conquer the greatest, largest frontier in existence. The endless frontier. However far away the settings might have been from Earth, their formulas, stereotypes, and ideologies were firmly rooted in the Great Power competition raging between America, Eurasia, and Germany. Government propagandists on all sides played a role, especially in totalitarian Eurasia where they actually took the lead. This great adventure into the unknown was both shaped by human ideas, and in turn shaped the future of many cultures.
It would be a disservice to neglect the role of the Cosmonauts, Space Troopers, and
Weltraumeroberers in shaping this Space Age pop culture. Every nation lionized their explorers as heroes and patriots of the highest order, and this was expressed in many ways. In the United States, Space Troopers and their families became celebrities of the highest order. John Glenn and William Howard Jr. were especially favored by the USSC for press coverage, with both men appearing on the cover of
Time magazine and getting front page interviews in the
New York Times and
Washington Post respectively. This is because, quite simply, both men fit the mold the government wanted all their Troopers to fit. They were devout Protestants (Presbyterian and AME) and fervent patriots. They were devoted,
loyal, husbands. They had adorable and functional families. Neither man drank or smoked to excess. Their ideas of a perfect day were, respectively, "
Performing my duties as an elder at my church, then leaving to have a nice picnic lunch in the park with the family. Annie makes the best cherry pie, and she packs it with a quart of whole milk for the family" and "
Going down to the Gulf Coast with my family and having chicken salad sandwiches with Cherry Cokes on the beach. I also enjoy showing the children memorials to the great Colored Troops that have gone before so they have a fuller appreciation for our hard-won freedoms." The rest of the Troopers were decidedly less wholesome. Dick Armstrong, second man on the moon, was an excellent example. When he wasn't working, his favorite thing to do was hop into his navy blue Ford Mustang (courtesy of the Ford Motor Company) and cruise with attractive young women who were not his wife. He infamously got entangled in an affair with Beaconsfield sex symbol Esperanza Cortez, "
The Dark Argentine" who he would later leave his wife and three children for. Most Troopers didn't go quite this far in terms of leaving their wives, but infidelity was rampant among most Troopers. Furthermore, in the younger class, the heavy drug use and partying that characterized much of the Kennedy years was readily apparent. The media ate it up, covering any dalliance with Beaconsfield sex symbols, impromptu drag race, or boozy party they could. The worst of it was somewhat suppressed in the Patton years by heavy-handed censorship, but such things were well-known by the mid-70's.
Germany did not have quite the same celebrity culture as the Americans. What they did have was a cult of aristocracy. The doings of the royal families and aristocracies of Germany, France, Britain, Scandinavia, Bulgaria, the UBD, and the Tripartite Empire were followed as closely by Europeans as the doings of actors and athletes were by Americans. German
Weltraumeroberers soon found themselves courting the duchesses, baronesses, countesses, ladies, viscountesses, and even princesses of the European nobility. Kaiser Bernhardt I, now pushing 60, declared all
Weltraumeroberers to be members of a new order of "Teutonic Knights of the Cosmos" in 1961. This meant that every
Weltraumeroberer was a member of German aristocracy based on "martial merit" and could freely intermarry with the European aristocracy. Most prominently, Elias Scholz married Crown Princess Helena of Bulgaria in 1965, and their wedding was a European obsession. Sofia was crushed by over 750,000 guests and well-wishers on the June 11th wedding date. Many
Weltraumeroberers engaged in indiscretions similar to those of their American counterparts, but like in Eurasia, news of these indiscretions was completely stamped out by the state in favor of presenting a solid image of state values. Finally, Eurasia especially made their cosmonauts propaganda tools of the State. Many of the younger ones were actually of the Eurasian Race, and presented as the vanguard of humanity's future going into the stars. Many Russian cosmonauts took Asian brides to help further Moscow's plans to mix the races in Central Asia, Mongolia, Tibet, and Manchuria. There were several cosmonauts who objected to Moscow's control of their personal life in this fashion, who would mysteriously disappear afterwards. All merchandise with their likenesses would be "returned for quality evaluations" and never seen again.
It wasn't just the square-jawed men of the stars who captured the world's imagination, their journey did too. While some imagined that the Space Race could unite humanity, the majority of the American, German, and Eurasian populations didn't see it that way. With explicitly imperialist and expansionist foreign policies a feature of all these nations' lives since the 1860's or before, the Space Race and its future promise was seen in explicitly imperial terms. Many policy experts predicted future Scrambles for Mars and the Moon. In pop culture, this was reflected in an explosion of stories and films about explorers and armies going into the stars to conquer in the name of civilizations that were little more than thinly veiled representations of Earthly nations. In America this was especially reflected in two popular film and TV franchises. The first was the TV show "
Captain Roy Lightstar's Adventures." Roy Lightstar, played by brown-haired, green-eyed Texan Buck Champion, was an independent filibuster from the Lightstar Nebula (space Texas), a proud member of the United Federation of Humanity. He traveled around the galaxy with his loyal crew seeking new cultures and races, and then using means both peaceful and violent to incorporate them into the Federation for Country, Freedom, and Glory. Many of the races he did encounter were, again, somewhat veiled versions of various human cultures both ancient and present. Many of Roy's adventures took place in the Del Gloria Galaxy Cluster, filled with a variety of similar but distinct races that closely mirrored many Hispanic cultures, including Mexicans, Hondurans, Colombians, Peruvians, and Chileans. The adventures in these areas would all follow a similar formula: Roy Lighstar would arrive in a part of the cluster torn by strife or poverty, he would use his phaser and wisdom to crush wrongdoers and establish peace, and somewhere along the way he would become involved with a strong, lusty, but ultimately kind local woman. In other adventures, he would fight off rapacious Space Germans, seduce and imprison a spy from Space France, and help protect the ancient Empire of Zondorf (Space China) from traitors and evil neighbors. Although the episodes could be formulaic, the writers were brilliant, and after Lightstar's 1961 debut, the show became one of the most popular on TV, later spawning several film franchises.
Roy Lightstar with his longtime on-off human girlfriend Delilah Friedmann (promotional still for the 1974 film Roy Lightstar: Beyond the Ethereum)
The other major franchise spawned by the Space Race was "
Destiny in Space." Set in the year 2325, the films revolve around the stories of Union of Humanity's Space Marines fighting ruthless wars against vicious space empires who would trample humanity and several weaker species increasingly under human protection. The first film, Destiny in Space I, was basically a World War II movie set in the stars as the Union of Humanity waged war against the Lizard People of Zylon-9 (who ruled Earth in the very distant past, Brit-boy), the Bouncing Slugs of Elyion-5 (Bonjour, France), and the Cosmic Octopi of Neron-12 (Hi, Japan). The movie was a 3-hour bloodfest filled with battles, monologues that were thinly veiled celebrations of the American Way, and bombastic, swaggering generals willing to "
Bomb the bastards from the Space Age to the Stone Age!" It was a runaway hit, and became the top-grossing movie ever, a title which it held until the second one came out two years later. The second and third
Destiny in Space films, released in 1969 and 1972, were very different. Filmed during a time of tremendous tension with Eurasia over China and the true extent of their genocidal campaigns, these films instead focused on the Union of Humanity's grueling war with the Empire of Ru-Caldaria. The Empire was portrayed as a race of humanoids with abnormally large foreheads and tremendous body hair. They became the antithesis of the liberty-loving, Brahmin burger eating Union of Humanity. The Ru-Caldarians under the control of aged warlord Zeres the Terrible, were a vicious, expansionist regime from another galaxy. According to a revelatory monologue by Union President Samuel Banasik, the Empire's modus operandi was to conquer a territory, either colonize it with their people or "
use various methods to alter the DNA of the locals" (as close as one could get to mentioning mass rape in a mainstream film), suck the territory dry of all resources, and then conquer more territories to sustain their new populations. Ru-Caldarian culture was stiflingly conformist and collectivist, allowing no room for difference or thought, and ruled over by corrupt, decadent warlords. In OTL terms, picture a combo of Space Soviets, Space Romans, the Borg, and the Combine.
Destiny in Space would be popular for decades, and would see reboots and prequel series.
Although the Americans were the most prolific in their output, spawning many books, comics, and series besides these two, the Germans and Eurasians were no slouches. In Berlin, the TV serial "
Star Voyage" was immensely popular. Captain Johann Spitta of the Empire of Humanity's Starfleet, led a pan-European crew including an Austrian Lieutenant, a Polish medic, an Italian Gunnery Sargent, and several Ukrainian soldiers, including a female trooper named Anastasia Tereshchenko who Captain Spitta later married. Although several American films and shows had shown women in combat, this was the first German media to do so. This pan-European imperial force voyaged across the stars looking for "
savage planets to spread civilization to." While there are some similarities to American TV and film, German TV was much less tolerant and forgiving. While a Roy Lighstar show would obviously celebrate imperial expansion, and depicted foreign/alien peoples in a stereotypical manner, those people were also generally shown to be good people, or to have good people among them. American space heroes frequently befriended, cooperated with, bedded, and even married aliens. Roy Lightstar was famous for being able to adapt to alien cultures as well, even if he clearly preferred "Human" culture. The pan-Europeans of
Star Voyage were not so benevolent. Starfleet made it their "Prime Directive" to use all necessary force to overawe and subjugate the "uncivilized creatures of the cosmos." There are several episodes were Spitta, upon judging a particularly savage race to be irredeemable (often these races were mishmashes of Russians and Jihadists), simply exterminates them and declares the opening of the planet to unlimited settlement. When they weren't exterminating natives wholesale, Spitta and Starfleet were "helping" these pitiful savages eliminate their own cultures to begin the process of assimilating into the Empire. There was little intermarriage in German sci-fi, as it instead focused on Berlin's policies of preventing any mixing between races while attempting to assimilate and co-opt them via various mechanisms. One 3 part series actually featured the decaying Republic of Arianas, declining thanks to the mixing of its "pure humanoid strains." The Republic was, of course, a thinly veiled reference to America. Mixing among (white) humans was, however, portrayed positively. Like their American counterparts, Star Voyage would spawn films, toys, and other media.
Eurasian sci-fi was perhaps the most blatant, and sinister, of the cultural products of the three powers. The most famous was Eurasia's TV series "
Comrade Orlov's Cosmic Travels," first released in 1968 after much refinement and some panned imitations of German and American serials. This was also an imitation, but the writing and production values were much better. It was also used to justify some disgusting crimes against humanity. As knowledge of Eurasia's gulags and forced race mixing became known, the state didn't confess or deny. Instead, it justified. Comrade Orlov did a lot of work in this regard. Over the course of the second season, Comrade Alexei Orlov of the Union of New Humanity suppressed rebellions in recently "liberated" lands. He was openly depicted as mass imprisoning civilian populations and forcing alien women into marriages with his "New Union Men." These were depicted as good things, with the imprisoned thanking Orlov for enlightening them (they were then freed) and forced mixed marriages were portrayed as leading to harmonious unions. Comrade Orlov was denounced in the United States and banned in the German world, not that it was very popular outside of Eurasia anyway. Within Eurasia, however, the show's abnormally high quality made it a hit among the population. It also absolutely helped justify Eurasia's brutal race policy and ongoing expansionism. Rather than deny what was so plainly happening, Comrade Orlov and other media justified it for the Eurasian people. This propaganda helped steel the country for the downturn of the early 70's as American and European companies pulled some (but not all) investments out of the country. Once the economy picked back up in the latter part of the decade, a full-feature Comrade Orlov film would be made, the first of many.
Admiral Schmidt, Captain Spitta's superior and mentor in Star Voyage (1971)
Comrade Orlov prepares to order the invasion of a "backwards and disharmonious planet" (1973)
Promotional artwork for Destiny in Space I (1967)