On here, one of my most popular topics is “What Could Have Been,” where I go over the now-public plans for seasons and shows that never developed. But what about those times when these major losses were narrowly averted? Once in a while, things align just right, and looking back, it’s hard to imagine how the show could have continued without this one aspect. And yet, there were many moments of serendipity that ended up playing a huge part in these shows’ success. So today, we honor just a few of those close calls by looking at “What Almost Wasn’t,” with 4 near misses from the annals of Sci-fi history, focusing today on casting and characters.

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There’s no denying that Star Trek is a massive cultural force in America and throughout the world. It’s become almost synonymous with sci-fi, and the pop culture image of the nerd or geek stereotype is inevitably a young man with some kind of Trek paraphernalia on him. So it’s no shock that, as time went on, people would try to draw attention to their own works by comparing them to Star Trek. And thus emerges this idea of “the Anti-Trek,” a nebulous descriptor if ever there was one. It’s a term that’s been applied from shows as varied as Blake’s 7 in the 70’s to Farscape to the reimagined Battlestar Galactica. To figure out just what this means, and establish what traits an “Anti-Trek” must possess, we’ll have to examine the show itself and what each series is comparing to.

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I’ve talked a lot here about franchises, the advantages that they offer to fans and the reasons they are so appealing to the studios. But the reality of the franchise phenomenon has a lot of downsides, too, and as the size of moviegoing audiences shrinks and the number of live TV viewers dwindles, these downsides have only become more prevalent. Today, let’s delve into the dark side of franchises, and explore why giant franchises aren’t always a good thing.

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One of the most interesting opportunities presented by science fiction shows is that of the alternate universe. It gives us a glimpse at another version of our heroes, in a reality where things turned out slightly differently. Perhaps they lost the climactic battle, or maybe someone died early on and caused the group to splinter. Sometimes the differences in these alternate universes (or realities, or timelines, or any other different world from the primary) can be absolutely huge–entire characters might be missing or new ones exist in their place, or worse, the entire landscape of the setting is changed, like with Star Trek‘s Mirror Universe. But there are also these, alternate universes where one can’t even quite imagine how they got to the state they’re in.

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If you’re not a fan of Doctor Who, you probably wouldn’t know it, but the recent episode “Kill the Moon” has been divisive, to say the least. Most of the disagreement hinges on one thing: the believability of the plot. Scientific accuracy in science fiction is often a sticking point for fans. Some enjoy very “hard” sci-fi, kept extremely realistic by using only technology that is plausible today. These kinds of shows are rare, since that means no faster-than-light travel, no artificial gravity (which is very hard to film), no humanoid aliens, etc. The alternative is “soft” sci-fi, which bends the rules of reality for the sake of storytelling. On TV, this is often not just story-influenced, but influenced by the budget, as well. Star Trek didn’t use human-like aliens because they wanted to; they didn’t have a choice, as puppetry or stop-motion would be too expensive, and CGI wasn’t an option in the 60’s (and barely an option for TNG in the 80’s). Even today, CGI often breaks the budget, so having CGI aliens in every episode isn’t possible. So why are some deviations from real science okay, and some not?

While I don’t want to focus too much on “Kill the Moon,” some discussion of it is necessary, so spoilers for that episode ahead, if you care. Read more

There’s been a bit of a theme as of late, with most of my recent posts dealing with cancellation and renewal and cliffhanger endings. So today we’re going to keep that rolling by taking a look at how the Netflix binge-watching trend has affected the development of TV versus the way things used to be in the past.

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Crossovers are a funny thing; as I alluded to earlier in the week, most early crossovers were between popular shows on the same network that weren’t necessarily meant to be in continuity with each other when they were created. That’s how we end up with things like Adam West’s Batman and the original Green Hornet in the same universe. This tends to have some strange consequences, where previous in-jokes (like Batman watching Green Hornet on TV) no longer make sense or cause outright contradictions when trying to combine the two continuities. And while a main character crossing over is by far the easiest, most obvious, and hardest to deny of all the crossover types, there are many, many other ways for two shows to imply that they coexist in the same universe–some of which don’t even necessarily require permission from one of the shows! And that’s how we end up with these, some of the weirdest crossovers seen on TV.

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When you have a shared universe, one of the biggest benefits is the crossover–bringing characters from one show within the property over to another show. Agents of SHIELD is starting off its second season tomorrow with a crossover of sorts, featuring flashbacks with Agent Peggy Carter before her own spinoff starts early next year. While this situation is a little different, as both Agents of SHIELD and Agent Carter are spinning off from the same parent property, they still have enough in common to enjoy the benefits of a crossover. And with that in mind, I thought it would be a good time to examine the crossover and how it helps with the cohesiveness and plausibility of a shared universe. Read more

Agents of S.H.I.E.L.D. was heralded upon its arrival as something revolutionary. A television series, set in the same universe as films, affected by the fallout of each one as they were released while allowing viewers to keep an eye on this world in the interim. It’s something not too different from how Defiance‘s MMORPG connection was described. And, much like with Defiance, it’s something that actually has been seen before, although few people tend to think of it in the same way. This time, however, it’s a much better known property: Star Trek. You see, when The Next Generation started in the 1980s, the feature films with the TOS crew were still being produced. Let’s take a look at some of the significant differences between the approaches of these two series and how the concept of a shared universe has evolved.

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I think everyone’s familiar with the Star Wars prequels, and how universally panned they are. There are a lot of reasons: bad writing, bad acting, pushing the limits of CGI and greenscreen way past where the early 2000s could realistically support them… but not all of the problems are so easy to explain. Some of them aren’t limited to just Star Wars, but rather common afflictions of all (or at least most) prequels. So today we’re going to examine the concept of the prequel, as one of the inevitable ramifications of the rampant efforts towards franchise creation over the last 20 years, and look at just where they often go wrong.

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