It’s time for another edition of the Primer! We’re back at the end of the month with a British sci-fi/police procedural series that bears the rather unimaginative title of Star Cops. Set in the far off year of 2027, there’s now enough offworld presence that an international police force is established to help maintain law and order in the final frontier. Of course, like all international endeavors, that means a lot of nationalistic posturing and power struggles, on top of tight budgets and low manpower… this is starting to sound familiar, isn’t it? Don’t worry; the show takes a completely different, more realistic approach, but the question remains. Will Star Cops prove to be a bit more creative than its name would lead you to believe, or is it as inane as you fear?

Let’s take a look.

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The Primer is back, unexpectedly as it may be, to cover little known 90’s UFO series and X-Files coattail rider, Dark Skies. Set in the 60’s with the backdrop of the cold war ever-present, Dark Skies poses an alternative to what you thought you knew about that time. But is being a period piece and limiting yourself primarily to UFOs instead of the SFF kitchen sink approach enough for this series to stand on its own, or was it right to be so quickly forgotten? It’s time to find out.

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The Primer is back with another odd, forgotten series: Otherworld. Originally debuting on CBS in 1985, Otherworld tells the tale of the Sterling family, who get lost in an alternate, dystopian world called Thel after being ditched in a pyramid by their tour guide during a once-in-10,000-years planetary alignment. Stranded in a world of androids, beastmen and authoritarian rule–how did they get there, and how can they get back? Given its short, 8-episode season, the odds are against them, but let’s find out. Read more

The Subjectively Obscure Sci-Fi Primer returns for the new year with another unusual genre crossover. We’ve done the SF legal drama; we’ve looked at a sci-fi soap opera; and now, it’s time for the Western genre to have a taste of science fiction goodness. While we often hear about the Western influence on the sci-fi genre, through shows like Star Trek with its “Wagon Train to the Stars,” or most obviously in Firefly, it’s not too often that this influence flows in reverse–but 1995 UPN series Legend is one such example. There have been others, and more notable ones, too, like The Adventures of Brisco County, Jr., so what makes the brief, 12-episode Legend worth a look first? Come along and learn why.

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In keeping with the theme of celebrating Star Trek‘s 50th anniversary recently, I’ll be looking at the most obscure show within that universe: Star Trek: The Animated Series. You might say it’s not that obscure, to which I would point at the “subjective” part of the title. With its odd art style, kid-friendly nature, and dubious canonicity, it’s undoubtedly the least watched and least appreciated of the various Star Trek shows. But does it deserve a second look, and is it worth watching for an adult viewer today? Or should it be tossed in the discontinuity bin alongside such “gems” as Stargate Infinity? Let’s find out as I watch it for the first time.

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A most unusual show appears this month as the subject of the Obscure Sci-Fi Primer in the form of Cleopatra 2525, from the same production company that brought us M.A.N.T.I.S. This 2000 series pretty much hits all the boxes on our obscure sci-fi bingo card: it was originally syndicated; it had a format change, moving from a half hour to hour-long in its second season; a campy, zany premise; low production values; abundant fanservice; and it debuted right at the tail end of the sci-fi boom that hit during the 90’s. It’s sort of got a “Charlie’s Angels after the robot apocalypse” vibe to it. We all know that shows with any one of those problems aren’t necessarily bad, but is there anything to be said for Cleopatra 2525 if it has all of them? Let’s find out.

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As Agents of S.H.I.E.L.D. draws its third season to a close with the promise of a fourth already secured, it’s coming into its own as a quality production within the Marvel Cinematic Universe. But there are quite a few people who, these days, might question where SHIELD really is within the MCU at all any more. The stakes are always getting higher, and the question becomes harder to deny than ever before: how are these events not catching the attention of the Avengers?

Let’s take a look at how SHIELD season 3 developed and what it means for the MCU as a whole, and the connection between TV and film projects within it.

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Doctor Who undergoes its periodic changes from time to time, and our last big change was the arrival of Capaldi’s version of the Doctor last year in series 8. Series 8 was very much a mixed bag, and unfortunately it often seemed like the bad outweighed the good. And in a lot of ways, Doctor Who Series 9 has been much the same, but a clearer vision emerged as it went on. This season has been made up almost exclusively of 2-parters with running subplots, continuing the trend established last year. And there were also huge revelations and things we the fans have been waiting for appearing at last–but was it all done in a satisfying way?

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SHIELD is back at full force in an episode that’s probably among the most grounded they’ve ever had. Keeping a world full of superpowers relateable is tough, but the best way to do that is to focus on emotion and relationships, and that’s where this episode shines.

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Picking up literally where we left off, the team is forced to run in and stop Fitz from getting himself sucked into the monolith. But he’s going to make it happen one way or another, dagnabbit! We just may need some Asgardian’s help. Unfortunately, it’s not the one you’re hoping to see. Or the other one you’re hoping to see.

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