With Babylon 5 standing as one of the crowning achievements of serialized television in the 90’s, it’s no surprise that it eventually got a spinoff. And Joe Michael Straczynski (henceforth, JMS) had plans that were just as big–a full five season arc, just like Babylon 5 had. Babylon 5 always painted itself as the “anti-Star Trek,” so I think many people were surprised to see it branching out into spinoffs in the same way as that franchise. Unfortunately, TNT executives had little patience or understanding as to what they’d signed up for and didn’t give the show a chance to finish, killing it after only 13 episodes (heck, before they’d even aired). So once again we’re left to examine what could have been: Crusade season 2.

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As we return to the Subjectively Obscure Sci-Fi Primer, we hit upon possibly the most obscure show yet: little known 90’s show and companion to The X-Files, VR.5. Debuting in 1995 and set in 1995, it’s about as “near future” as sci-fi can get. It lasted for one 13-episode season, although several of those never even aired, since it was yet another victim of Fox and the Friday Night Death Slot. As you might guess from the title, this cyberpunk show deals with the concept of Virtual Reality–specifically a multitude of different levels of virtual reality, with the eponymous 5th level referring to perfect immersion, indistinguishable from reality. Or almost, anyway, as we’ll see in a moment.

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This month’s edition returns to a show that had its moment in the Obscure Sci-Fi Primer spotlight just a few months ago. Like so many other Fox shows, Space: Above & Beyond was canceled before it had a chance, after being yanked around by the network for a few months. From the start, the creators had hoped the show would last at least 5 seasons, which in and of itself is a pretty common desire for showrunners (5 seasons times 22 episodes equals 110 total, enough to secure syndication, which in the 90s is where the big money came from). And while this show is hardly a well-planned out 5 year arc like Babylon 5, the creators, James Wong and Glen Morgan, did have some plans for Space: Above & Beyond season 2 sketched out before the show was canceled (and even discussed the possibility of a theatrical continuation). So let’s dig in and find out where this very military show might have headed had it continued.

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It’s that time again: the Subjectively Obscure Sci-Fi Primer is here to introduce you to our next little-known sci-fi series. This month’s subject is the cyberpunk-esque series TekWar, based on a series of novels by Captain Kirk himself, William Shatner. Naturally, that means Shatner has a role in the show, but it was 1994 and he was a little past the action hero days by then. Set in 2045, TekWar is a cop show (Shatner originally thought of it as “TJ Hooker in the future”). It started off as a series of TV movies, four in all, before being adapted to a single-season series. While the show didn’t last long, TekWar spawned a franchise of sorts and has comics running even now. We’re going to look at both the TV movies and the series for this, as they share the same cast (and may or may not be in continuity–I’ll get to that later).

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In between the cries of “it’s 2015, I was promised a hoverboard,” it might be easy to forget that certain technologies actually did sprout from sci-fi like that. Science fiction is unique among literature in this regard, in that its fans can go on to shape the world to be more like the fictional ones that they love. Ideas that were once conceived of as cool plot devices are now everyday items. But what makes sci-fi so great at moving people? And why are only certain sci-fi tech pieces appearing on the scene, while others (like the aforementioned hoverboard) languishing on the sidelines? Let’s dive into the topic of defictionalization to find out.

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Time for another new experiment here at RetroPhaseShift. I’m going to take a whack at disassembling some of the overly common tropes in sci-fi (or dare I say it–cliches). For our first entry, we’re going to go with the crazy robot/AI trope, looking at where it came from, how it has effected the genre in the time since, and possibly even its effects on the real world. Let’s get into the teardown, shall we?

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The Terminator franchise has always been a bit scattered, to say the least. Each new installment tends to take what it wants from what came before, and ignore the rest, something that it was uniquely capable of due to the mechanics of time travel it used. Terminator: The Sarah Connor Chronicles was one of these, drawing from the first two films while ignoring all but a few select points (like Sarah’s cancer) from the third. It also ended up in the particularly strange situation of having a film come out during its run that subsequently ignored its continuity AND most of Terminator 3‘s. The show actually got off to a great start, with high ratings and critical praise, until it had the bad luck of getting caught up in the 2008 Writer’s Strike. The first season was abbreviated, but fans were reassured that it would return for season 2. And it did, but without Fox’s confidence this time. Finding itself in the Friday Night Death Slot after the mid-season hiatus, it languished there until cancellation. While the showrunner, Josh Friedman, has absolutely refused to give any clues as to how the show would’ve ended or where it would have gone after that agonizing cliffhanger it signed off with, other people involved in the show have been willing to share what they knew. From these threads, let’s piece together The Sarah Connor Chronicles season 3 that could have been.

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One of the things that I, for whatever reason, rarely get around to talking about here is animation. When I recently highlighted the fact that some of those alien costumes and makeup application processes used in live action series can be brutal, I made sure to point out that one of the few exceptions to the “TV aliens must be human-like” is if CGI is used to create the alien from scratch. Which does, of course, bring up the question: why don’t we see more science fiction told exclusively through animation? Read more

This month, the Subjectively Obscure Sci-Fi Primer returns to the cyberpunk side of things with Total Recall 2070. Don’t be fooled by the title, as it has practically nothing to do with the similarly-named Schwarzenegger film; it’s more of a separate (if not particularly accurate) adaptation of the same Phillip K. Dick story, “We Can Remember It For You Wholesale,” although it’s so different that the author isn’t mentioned in the credits at all. Produced in Canada, it originally aired in the US on Showtime alongside Stargate SG-1, before that show jumped networks. Showtime really had a thing for turning movies into series that had very little in common with the original film, apparently. As is typical for these obscure shows, it managed only one season, but what’s there is worth a look. It’s like Almost Human, if Almost Human didn’t hate itself for being sci-fi. Read more

So, after the abysmal premiere of a certain recent miniseries, people’s reactions to the various twists seemed to suggest a question was forming in the minds of sci-fi fans everywhere: why, exactly, are psychic or telekinetic powers considered to be an acceptable plot device in sci-fi? It’s certainly a divergence from most of the other tropes of sci-fi. After all, one of the ground rules that separates sci-fi from fantasy is “technical possibility.” We believe aliens could exist; we believe Artificial Intelligences are possible; traveling through the stars in massive spaceships? Well, we’re already halfway there. Sure, the execution isn’t always terribly realistic, but those are generally concessions to storytelling than deliberate breaks from reality. Star Trek‘s aliens mostly look like humans because Star Trek is a TV show and the characters have to be played by human actors (at least, until very recently with CGI). Psychic powers are the one exception that’s still often considered to be part of the sci-fi writers’ workbag–so why?

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