For Whedonites, there's a simple choice of Single Issue Of The Week, and that's Angel: A Hole In The World #1, the first issue of a mini-series adapting the episode of the television series where Fred said goodbye and Illyria said hello. In a week weirdly quiet on the single issue front, it'd be a strong contender for everyone else as well.

Other single-issue choices would include DC's two Batman anthologies, Batman 80-Page Giant and Batman: Arkham Asylum Special, and IDW's Transformers: Bumblebee #1). But then there's also the first issue of Boom! Studios' Incorruptible, a companion to their Irredeemable series that asks what happens when a bad guy decides to go good (Clue: It's not as easy as you'd hope). Superhero thrills and spills will be yours.

Elsewhere, take out the credit card for some impressive trades and collections: Dark Horse Comics has a couple of coffee table art books (The Art of Emily The Strange and Drawing Down The Moon: The Art of Charles Vess). But there's also Star Wars: The Thrawn Trilogy, a hardcover collecting the comic versions of Timothy Zahn's three follow-ups to George Lucas' better cinematic threesome.

But while we're mentioning art books, IDW also has a great collection of mid-century sci-fi in the oversized The Art of Steve Ditko hardcover.

In similar media mode, Dynamite's Battlestar Galactica: Cylon War fills in some backstory of the Sci-Fi Channel incarnation of the show, and DC's Fringe collection does the same for those wondering what the deal was with William Bell and Walter Bishop in their younger days.

Those looking for violent superheroics can find their fill with Marvel's output for the week, which includes paperback versions of Secret Warriors Vol. 1 and the demonic X-Men book X-Infernus, as well as a hardcover collection of Thunderbolts: Widowmaker. Tis the season, after all.

Just like last week, next week and every other week of the year - well, except the week after next, because of the holidays - the complete list of everything hitting stores tomorrow is right here for your perusal, and you can find your local comic store here. Just remember: Start planning your skip week activities right now, before it's too late.

In this era of franchises based on pre-existing... well, franchises, really, it should be tough for brand new characters to make any significant impression, but I feel like we've been spoiled for choice in some ways; beyond the five mentioned below, I could've also gone for Y The Last Man's Yorick Brown, Scott Pilgrim's Kim Pine (Because, really, it's all about Kim. Admit it), Fringe's Walter Bishop or Dollhouse's Adelle DeWitt, to name just a few more. I'm not talking about the most important characters of the last ten years, or even the most popular, please understand; this is purely a (selfish and subjective) question of quality, for once. These, however, are my top 5:

Benjamin Linus
Color me one of those people who drifted in and out of Lost throughout the first two seasons of the show... Well, until Ben entered the picture. Michael Emerson's smarmy, knowing performance as "Henry Gale" brought something that the show had needed since the beginning: A Bad Guy. Or, at least, someone who we didn't know much about, but were pretty sure we shouldn't be trusting nonetheless. As we've learned more about the character since then, it's been Emerson's performance that's led the way, convincing us about a control freak who likes to think that he's one step ahead of everyone even though he's lost sight of the bigger picture. In a show filled with great characters - Locke was so close to making my top 5 - Ben stands apart as the best of them all.

Thaddeus S. "Rusty" Venture
Cynical, selfish and entirely delusional when it comes to his importance in the world, The Venture Bros.'s patriarchal figure may be one of the most oddly complex, nuanced character on television these days. On the surface, he's a self-centered coward emotionally scarred from a childhood as a Boy Adventurer who resents his life, his family and pretty much the rest of the world, but the longer the show goes on, the more we see a different Rusty: The father who's grooming Dean in his image - because there's no way that could go wrong - excited about sharing his passion for prog rock and science (and, surprisingly, offering support and advice in times of need), for one thing, or the man who's so pissed off by trouble ruining his plans that he ends up doing heroic deeds just to make his own life easier. Never mind that he's also genius enough to successfully clone his kids for years, replacing them if and when they died... Rusty Venture isn't the kind of man you could rely on, but he certainly makes for entertaining viewing.

Gaius Baltar
And talking of people you can't rely on, Battlestar Galactica's Baltar may have been chosen by God/The Gods/Some Higher Power/Ronald D. Moore to lead humanity towards its new home, along the way discovering a spiritual side, falling in love and growing as a human being, but that wasn't why we loved him so much. No, with Baltar, it was all about the weasel. Whether he was trying to maneuver himself into even greater positions of power, trying to stay alive after surrendering the colonies to the cylons on New Caprica or just trying to seduce whatever character had caught his attentions that week, Baltar was never better than when he was being weak and giving in to his worst impulses. James Callis' performance was one of the best things throughout the entire series, giving us a character that we Loved To Hate To Love, as well as some of the few moments of genuine comedy throughout the entire run. You just know that he'd have given up that whole farming thing within a month of the finale, don't you?

Donna Noble
She didn't fall in love with the Doctor. It's worth repeating: She didn't fall in love with the Doctor. After Rose and Martha, that fact alone made this particular Doctor Who companion feel like a breath of fresh air, but there was so much more to her than that: Her enthusiasm, and heart. Her ability to say the wrong thing in almost any occasion. Her self-confidence, misplacing in many ways, but making her feel like the Doctor's peer and friend instead of someone who believes everything he says and puts him on a pedestal (Catherine Tate deserves all credit for making that charming and irritating at once). Given her (intentionally) annoying first appearance in "The Runaway Bride," it's surprising that Donna turned into the companion I'll miss most from this new run, but it's definitely true; her exit was heartbreaking, entirely fitting and proof that Russell T. Davies loved her too much to kill her off. I'm selfishly hoping she survives "The End Of Time," too.

Kate Kane/Batwoman
Still relatively new, there's something fascinating about DC Comics' latest Batman spin-off. Under writer Greg Rucka's control - and, given her few appearances elsewhere, only under Rucka's control - Kate Kane is at once a reminder of, and refusal of, Bat-cliches. Yes, she was born of family tragedy, but her response wasn't to focus her entire life towards justice, but instead run off the rails in self-destructive behavior. Like Batman, she sees herself as a soldier, but she actually approaches her missions in that mindset, no doubt helped by her father and their shared military background. Most refreshingly, Batwoman is wonderfully fallible - Misunderstanding a prophecy to be about her own death in the recent "Elegy" storyline - and, at times, unlikable. Given her relatively few appearances since her debut in 2006's 52, it's surprising that she comes across as so rounded and real a character, but she does - and we hope her career is as long-lived as her male counterpart.

But enough about our love of Dr. Zachary Smith updates and redheaded women - What're your choices for the character who's made the greatest impression on you after appearing for the first time at some point during the last ten years? The comments are there for a purpose, after all...

The 1990s were really the heydey for wonderful but not-quite-convincing space skirmishes. We used to see tons of ships flying around our screen, often too many to count. Unlike Battlestar Galactica's quick cuts and weird handheld camera footage, these 1990s space wars were usually filmed with an unflinching eye or a slow pan, letting you see every computer-generated line and explosion.

And it's totally awesome.

You can compare these massive space shoot-outs to video games, but it's not entirely accurate — because the absolute best of these TV shoot-em-ups have more sensory overload, and you can't even imagine trying to interact with them. (I have seen a few video game cut scenes that approach this level of overload though.) You get ships flying in every possible direction, or a hundred individual starships on screen at once, and all you can do is sit there and drool. It doesn't look real, but your imagination fills in the gaps, which only makes it better.

That's really the key — these space battles are super elaborate and over the top, and that helps them draw on your imagination.

Remember when you used to imagine what a whole fleet of Federation and Klingon Starships flying into battle would look like? And then Star Trek: Deep Space Nine finally gave it to us, and it was completely unreal looking, yet amazing:

It wasn't really until the 1990s when you could have tons of ships flying in formation, like these SA-43 Hammerheads from Space: Above And Beyond:

Possibly my favorite 1990s CG space battles came from Babyon 5, however. They were even cheaper looking than Trek's battles, but even more ambitious. Look how much stuff they pack into every frame of these battles. And every penny they don't have for CG effects is more than made up for by the conviction of the actors:

For people who grew up on space battles as shown on the original Trek, Space: 1999, Blake's 7 or even the first few seasons of Star Trek: The Next Generation, these dogfights are revelatory. If space battles in the late 1970s and 1980s were all about trying to match the dog-fighting feel of Star Wars, then 1990s space battles were all about massive fleets going at it, sustaining massive casualties and fighting on. And yes, the massive casualties are a big part of why these battles rock so hard — you don't ever quite believe that each of those Federation starships has hundreds of crewmembers aboard, dying every time there's another flare on your screen, but it's still kind of horrifying and exciting to think so.

It really is all about suspension of disbelief — these battles ask more suspension of disbelief from you, but they give more back as well.

Here's some amazing battle footage, showing crowds of ships swarming, in this snippet from Andromeda as well. (Skip the first minute or so of this video):

And some awe-inspiring Farscape action:

And then there's Doctor Who's fake but oh-so-lovely Dalek fleet:

I suspect that we'll see a wave of nostalgia for these 1990s-style fleet-on-fleet battles, one of these days. Just like today, geeks feel nostalgic for guns that went "pew-pew-pew" and models roaring around fake starfields, in another decade everyone will be discovering the beauty of computer-generated space mayhem.

For now, though, the only place you can get this kind of star-fighting (in the United States, anyway) is on Syfy:

British site Den Of Geek ran a summary of everything we know about Caprica\, and this line caught my eye:

The story arc of the show will take us from the creation of the first Centurion cylons, and is due to end with the very first cylon war.

This was marked as fact, rather than fan speculation, but I can't find any basis for it. The only other place I can see any support for this claim is a speculative comment on Ain't It Cool News from last summer.

My question is, is this even possible? Battlestar Galactica: Razor showed us the last day of the first Cylon war, featuring a grown-up William Adama. Willie Adama is supposed to be nine years old in Caprica, and the first Cylon war supposedly lasted twelve and a half years. So I guess it's barely possible that if the series ends with Willie Adama as a tween or teen, you could see the start of the First Cylon War, if Adama joined the service as a 18-year-old.

In any case, I sort of hope this story is true, since it would actually make Caprica a bit more compelling if it had a defined end point. At the same time, going from the creation of the first Cylon to outright war with the Cylons within just a few years feels a bit speedy. What do you think?

Note: I'm not including the Star Wars prequels here, because the big letdown was The Phantom Menace in 1999. After that, the other two movies couldn't really be letdowns.

The Dark Knight Strikes Again. This was the moment we realized Frank Miller wasn't really Frank Miller any more. He agreed to do the long-awaited sequel to his most famous and groundbreaking graphic novels, the story that redefined Batman for a generation — and he turned in a bland caricature of his earlier brilliance. You can complain all you want about the assitude of All-Star Batman And Robin and The Spirit, but TDKSA was the start of the hackery. Worst moment: When the Joker turns out to be the much-abused Dick Grayson, and Bats kills him without a second thought.

Fox's Reign Of Terror. Firefly should have been one of the great success stories of the 2000s. It's hard to remember now how invincible Joss Whedon seemed going into Firefly — with two hit shows under his belt, he was the writer of several huge movies. And now he was bringing his patented mixture of rollicking adventure and twisted artiness to a space opera. Sure, Firefly's "Cowboys in Space" thing may have confused people at first, but the show really does sell itself, after just a few minutes' viewing, thanks to vivid characters. The failure of the TV show didn't just damage Joss Whedon's career — it damaged media SF as a whole, helping to push us towards canned remakes and reboots. And Firefly's demise was just the first of a trail of broken dreams and disappointments, culminating in the cancellation of Terminator: The Sarah Connor Chronicles and the burial of the promising Virtuality.

NASA and the space program. The decade did hold some great achievements for NASA, including the Mars rovers and some probes traveling outwards into the solar system. But it's hard not to feel a bit crushed by the fact that NASA is retiring its fleet of space shuttles without having a replacement lined up. We're going to have to hitch a ride with the Russians from here on out, and it feels a bit, well, disappointing. Especially with science-fiction promising us that this is our time to explore the solar system and beyond it, the stars themselves.

Ang Lee's Hulk. Before this movie came out, I would have sworn that Ang Lee never made a bad film. His track record included arthouse sensations like The Wedding Banquet, The Ice Storm and Sense And Sensibility, but also the brilliant actioner Crouching Tiger Hidden Dragon. He was also perhaps the most artsy director to take on a superhero icon to date (no offense, Tim Burton). There was every reason to believe Hulk would be both epic and heartfelt — but instead, we got gamma-irradiated poodles, daddy issues and a Hulk who sulked. We probably won't ever get a really great Hulk movie now, after two failures, which sucks. The Hulk deserves a proper outing, in which he fights monsters and marauders and crushes buildings. The Hulk needs to discover that he's not the worst monster in his world, and have larger-than-life adventures. Ang Lee just wasn't capable of giving that to us.

The Matrix sequels. This seems like a no-brainer in retrospect, but maybe you need cyber-Colonel Sanders to take you back and explain to you how much we were all looking forward to The Matrix 2 & 3. Ten years ago, The Matrix was the freshest thing to come out in ages, despite playing on ideas that books had explored for years. Its blend of fetish and noir and cyberpunk and Hong Kong action felt viciously original. And there were just so many ideas for the sequels to explore, so many mysteries about the machine world to uncover. And then... we just sort of descended into muddle. And long rave scenes. And blind Jesus. Walking out of The Matrix Reloaded, I remember someone turning to me and saying, "Well, that wasn't even the best powerpoint presentation I've sat through lately."

Identity Crisis and Infinite Crisis. DC Comics' biggest "event" storylines of the mid-2000s seemed to be groping towards a more adult, more flawed view of their major superheroes, with some of comics' most talent writers on board. But they overshot, landing in angstville and bombarding us with retcons that rewrote the "Satellite era" of the Justice League. As if in an attempt to capture the cachet of Alan Moore's Batman: The Killing Joke two decades earlier, these stories gave us female heroes being raped or abused, and turning into murderers. And Batman saying to Superman, "The last time you inspired anyone was when you died." The melodrama was thicker than the walls of Superman's Fortress of Solitude, and yet when it was all over, it was hard to understand what any of it had been about. The superheroes were closer to a bickering family (calling each other by their first names all the time) and the threats they faced seemed more existential and less external.

Superman Returns. There were a slew of other disappointing superhero movies in the past decade — but mostly you knew going into them that they were going to be ass. Who really thought Brett Ratner would make a good X-Men movie? Even Spider-Man 3 showed every sign of being ass-flavored long before it came out, despite Sam Raimi's involvement. But this film was Bryan Singer coming off two great X-Men films and The Usual Suspects, and he was doing the gutsy move of making it a sequel to the two Donner movies instead of going for the standard-issue reboot. Singer doing Donner — how could it be bad? Uh. Well, there's the part where he changed Clark Kent into Stalkerman. And then there's the Son Of Superman thing. But also, maybe, there's just the fact that the Donner movies were of a different era, and you can't bring that back.

Heroes seasons 2-4. Just imagine, for a moment, if this show had lived up to the promise of its first season. I know it's almost impossible to picture it, but just try. This mutant soap opera thrived on showing us the complications and craziness that come from secret super powers, against the backdrop of a sinister mutant-hunting conspiracy and a super-powered serial killer. But the show wrote checks it couldn't cash, including showing us Claire growing into her heroic destiny and Hiro becoming a future shaved-headed badass. Most of all, the show ducked out on its very title, opting to show us histrionics and family squabbles in place of actual heroism.

Watchmen. It was perhaps the greatest graphic novel of all time — almost certainly the greatest superhero comic of all time — lovingly recreated on screen by the ultimate OCD nerd. Every panel of the comic, recreated as concept art, then as storyboards, then as living, breathing people in costumes, surrounded by CG. Finally, a movie made by us for us. Except. The result, though lovely as anything, looked sort of lifeless once you took it out of the Smashing Pumpkins music-video trailers. The characters didn't quite live and breathe — especially Silk Spectre II, who needed to be the heart of the story. And the ending wasn't just missing a giant squid, or some other huge monstrosity to replace it — it was also lacking a certain coherence and urgency. Once people start talking about power signatures, it suddenly turns into an episode of Star Trek: Voyager. Maybe Watchmen could never have lived up to the book, but it could have been more thrilling than this, with a different Silk Spectre and a more thunderous ending.

Battlestar Galactica's big finale. I know that opinions will differ on this one — but just consider. BSG's finale was one of the most hyped things of recent years. We read endless interviews in which Edward James Olmos, Ron Moore and various others told us that the final episode would shake us to our very cores, and make us weep and smear paint and throw up on ourselves. Meanwhile, Syfy ran promos over and over again that said that "All Will Be Revealed," and I don't remember an asterisk leading to a disclaimer explaining that "All" in this context actually meant a limited number of things, not including how Starbuck came back from the dead or what the hell was up with the Opera House. Even if you think this was the most brilliant conclusion in history, you have to admit BSG promised too much.

It's a strange mix of new releases this week, as the industry seems to be slowing down for the holidays and yet still managing to release a few must-reads (including a strong contender for book of the year), but we'll get to them later.

Instead, let's start with the TV and movie tie-ins of the week: Battlestar Galactica: The Final Five collects the mini-series that told a possible backstory for everyone's favorite Cylons, and it's better than you might expect. Meanwhile, Star Trek Alien Spotlight: Cardassians fulfills a similar role for Deep Space Nine's ridge-headed badguys. It's clearly backstory week, because Marvel's Ender's Game: War of Gifts special issue also fills in some blanks. Thankfully, DC's Dante's Inferno video game tie-in is much more straight-forward in just adapting the game... that adapts the classic story. Boxes within boxes!

Over in the superhero school of thought, DC have their annual Holiday Special to warm the cockles of your heart, after which you'll be ready for the triple-X-Men-threat of Genext United (The future children of the X-Men unite!), X-Men/Spider-Man (The X-Men and Spider-Man team up during different parts of their history!) and Nation X (The X-Men have their own island! And... stuff... happens on it?). If all of that sounds too much, we'll direct you to the much-anticipated-by-us Spider-Man And Secret Wars, a new series that retells the classic story with far fewer dated references.

Elsewhere, Image have a new Tank Girl special, Tank Girl: Nuggets to offer up festivities for kangaroo lovers. There's also Pilot Season: Murderer, a one-shot that you — yes, you — could help make into an ongoing series about a man who is compelled to kill in order to keep living.

But as topical as that may sound, it doesn't come anywhere close to being book of the week. No, that honor belongs entirely to the first issue of Daytripper, a new series by Brazilian brothers Gabriel Ba and Fabio Moon that is as beautifully written as it is illustrated (Visually, it's easily one of the best things you'll have seen this year); admittedly, it's not the most io9-friendly story — it's very grounded in real life, at least in the first issue — but, having seen the first two issues in preview, it's definitely something we'd recommend as one of the best things we've read in a long time.

As ever, the complete Diamond Distributors shipping list will tell you everything that's hitting stores tomorrow, and the Comic Shop Locator will tell you where to find said stores. We just hope that, by the time you get there, you'll be more in the mood for magical realism than killing people.

Included in the gallery is the first picture of Luciana Carro as Pryah, who works for Daniel Graystone. But you may remember her by her BSG nickname, Kat.

[Syfy via Battlestar Blog]

Mad Max: Fury Road:

Just how big is the set for this film? Says star Tom Hardy:

It's massive. It's enormous," he continued. "It's like turning a mountain upside down and pouring it through a sieve.

Any clue what that means? It sounds epic, anyway. [MTV]

Avatar:

Not sure if we've already run this clip or not, but if not, then enjoy:

And here's a clip we definitely haven't shown you before. I love Neytiri wearing her sunglasses to ride her dragon. [Cineplex via Slashfilm]

The Lovely Bones:

Weird nitpicks: After Stanley Tucci's creepy pedophile murderer tosses his victim Susie Salmon's charm bracelet in the water, but keeps the "house" charm. But then we see all the charms expand into ice sculptures or clouds or topiaries — but the house charm is still among them. Also, before Susie dies we see her reading Seventeen magazine, but after she dies, she fantasizes she's the cover girl in Groovy Teen magazine. Towards the end of the movie, Susie sort of inhabits the body of a goth girl who looks like Emly the Strange, and makes out with Emily's boyfriend, whom Susie loved before she died. Then Susie goes to heaven permanently, and we see Emily and her boyfriend spooning, with no mention of the weird ghost possession make-out that just happened. [Black Book Mag]

Kick Ass:

A new character poster gives us a better look at the Red Mist. Bigger version at the first link. [AICN via Cinemablend]

Endangered Species:

A few new details about Eli Roth's Transformers-meets-Cloverfield movie. It's set against an urban backdrop. He's tweaking the script at Quentin Tarantino's suggestion. He's going to do some visual-effects tests, the results of which will determine how he shoots the thing. It's very character-driven, and he has some actors he's dying to work with. [MTV]

Eclipse:

A new picture of your favorite couple, Edward and Bella. [SpoilerTV-Movies]

Doctor Who:

As you may have heard, the show was filming in Croatia this past week, with the Doctor, Amy and new companion Rory in tow. (And some are claiming that Rory is Amy's boyfriend — is he the new Mickey Smith?) The Croatia filming appears to be for an episode taking place in the past, judging from some of the costumes. But don't believe the British media chatter that it's an episode about vampires — it's almost certainly the Van Gogh episode that Richard Curtis wrote. More pics at the links. [Sky and Hello!]

Here are a bunch of promo pics from "The End Of Time," David Tennant's swansong, one or two of which we may have shown you before. They include your first look at the alien, shapeshifting Vinovicci. [BlogtorWho and BSCReview]

Meanwhile, Britain's Radio Times has another cast list for "End Of Time" part 2, which conflicts with the IMDB version. Notably, no Harriet Jones. Hmmm...

David Tennant - The Doctor
John Simm - The Master
Bernard Gribbins - Wilfred Mott
Timothy Dalton - The Narrator
Catherine Tate - Donna Noble
Jacqueline King - Sylvia Noble
June Whitfield - Minnie Hooper
Claire Bloom - The Woman
David Harewood - Joshua Naismith
TRacy Ifeachor - Abigail Naismith
Lawry Lewin - Rossiter
Sinead Keenan - Addams
Alexandra Moen - Lucy Saxon
Karlo Collins - Shaun Temple
Teresa Banham - Governor
Barry Howard - Oliver Barnes
Allister Bain - Winston Katusi
Sylvia Seymour - Miss Trefusis
Pete Lee-Wilson - Tommo
Dwayne Scantlebury - Ginger
Joe Dixon - The Second
Julie Legrand - The Partisan
Brid Brennan - The Visionary
Krystal Archer - Neys
Lachele Carl - Trinity Wells
Paul Kasey - Ood Sigma
Ruari Mears - Elder Ood
Silas Carson - voice of Ood Sigma
Brian Cox - voice of Elder Ood
Nicholas Briggs - voice of Judoon

[BlogtorWho]

Caprica:

This Battlestar Galactica prequel just cast another actor to play William Adama — no, not the future Admiral, but his grandfather. Aleks Paunovic will play the father of Joseph Adama and grandfather to little Willie in some flashback scenes, and he'll be a recurring character. Paunovic already appeared on BSG, playing Sgt. Fischer. [Aleks Paunovic via Battlestar Blog]

Lost:

A deserted area of Hawaiian rainforest hides a new camp which has been set up for this show's sixth season. It doesn't look like much, though. More pics at the link. [SpoilersLost]

Another new set — a ship of some sort, or rather part of one. It's apparently designed so they can rock the deck back and forth and make it look like the ship is caught up in a huge storm. And considering that some prisoner types were hanging around in baggy brown clothes, it may be the Black Rock. More pics at the link. [SpoilersLost]

Jose Yenque tweeted that he's joining the cast of this show. [Twitter via SpoilersLost]

Also, Fionnula Flanagan told an Irish talk show she'll be back for two episodes as Eloise Hawking, not surprisingly. [SpoilersLost]

Fringe:

The cast reveals the names of the Observers, and discusses their significance. [Fringe Television]

Meanwhile, I'm hard-pressed to tell exactly what's going on in this new set video. I think Anna Torv is being blown across a parking lot by some mysterious force, but hard to say. There are seven more videos from the same person under this YouTube account. I do like one commenter who says the intrepid fan making these recordings should shave his/her head and wear a fedora. [Anon120409 on Youtube]

And here's a sneak peek and "scenemaker" for Thursday's new Walter-and-William episode. [FringeRus]

Supernatural:

The show is casting one of the Four Horsemen for the episode "My Bloody Valentine:

[FAMINE] 50 to 80 years old... He is one of the Four Horsemen of the Apocalypse. He is withered, weak, raspy. This character is a creepy and destructive old man filled with a voracious hunger...GUEST STAR

[CUPID] 30s to 40s, doughy, out of shape, naked, his humorously loving character greets everyone with enormous bear hugs that almost break their ribs. He is overflowing with love and positivity to an almost humorous and narcotic degree (think Will Farrell in "ELF" sptv050769)...GUEST STAR

[SpoilerTV]

Also, Julie McNiven says that when Anna goes back in time and tries to kill baby Sam in episode 13, it's for the best reasons:

Everything Anna does is motivated by wanting to do the right thing, wanting to do what she feels is going to keep this apocalypse from happening. I see Anna as always doing what she thinks is right and she's very strong about that and doesn't want to hear anything otherwise.

And she says there's some great hand-to-hand combat and throwdowns in the episode, and hints that Anna does actually survive to try and kill more babies in the future. [AOL]

The Survivors:

There will be a "high octane" second series of this British remake at some point, but no date yet. And here's what happens:

The series picks up moments after the thrilling cliff-hanger to the first series and the survivors are now struggling not just with the difficulties of day-to-day life amidst the ruins of the post-virus apocalypse but also with the threat of other emerging communities and the machinations of the sinister Lab.

As the series begins, Abby is being held by Whittaker and Fiona at the Lab. There, she learns that the scientists have avoided infection and are looking desperately for a vaccine which they believe her unique immune system alone will generate.

Meanwhile, the family races to save Greg's life as he lies dying from a gunshot wound. Drawn into a burning hospital by their search for the necessary medical equipment, Al and Anya are caught in an avalanche of rubble as the building collapses around them. Tom is faced with the stark challenge of rescuing his friends from a seemingly insurmountable disaster, with only Sarah and Naj to help him.

Characters returning for this high-octane second series are Abby, a devoted mother with a missing son; Greg, a loner, hiding the pain of his past; Anya, a doctor who has seen too much; Al, a playboy who becomes a surrogate father to the young and headstrong Najid; Sarah, a hedonist used to getting her own way; Tom Price, handsome, dangerous and a high-security prisoner before the virus hit; and Samantha Willis, the last surviving member of the British Government.

[Survivors BBC TV]

V:

So just who are the Visitors? Laura Vandervoort explains that they're basically Canadians. Also, she says her character is definitely somewhat evil, but she's not sure how much yet. [Multipleverses]

FlashForward:

Apparently the reason why the show took a week off was simple: Major, huge developments happen in the episodes that were going to be episodes 15 and 16, and the network looked at those scripts and decided they should be episodes 13 and 14 instead (so, less treading water.) And it's not clear whether the original episodes 13 and 14 were scrapped, or just retooled to appear later in the season. Also, the biggest reveals of the season happen in the next two episodes, 11 and 12, says David S. Goyer. [EW]

Chuck:

Episode 3x11 will be "Chuck Vs. The Final Exam." [ChuckTV]

And one more new promo reveals that we'll be seeing a "Whole New Chuck." He's a reluctant spy no longer.

Sanctuary:

In next week's episode, "Penance," Michael Shanks guest stars as an abnormal named Jimmy who has a special David Cronenberg-esque pouch in his stomach, which he can use to smuggle things for the Sanctuary — including, in this case, a dangerous abnormal. Some bad guys get involved, and he's forced to go on the run with Kate, leading to a big secret for the two of them being revealed. And then in the following week's "Sleepers," Will and Magnus are in Mexico looking into some missing teenagers, and they run into vampire Nikoka Tesla, who's up to no good. [Sci Fi Wire]

Additiional reporting by Mary Ratliff.

Okay, that's obviously not completely fair; after all, this last ten years have also seen things like Lost and Twilight winning over new fans, not to mention the end of the Harry Potter book series. But there's no denying that this has been a decade of recycling ideas: James Bond, Batman and Star Trek all got movie reboots (Trek also got a television one, if you count Enterprise), Star Wars gained new life as a TV show, Doctor Who and Battlestar Galactica was reborn to much acclaim, unlike fellow television reboots Bionic Woman, Knight Rider and V. We even have Tron waiting in the wings for next year, along with a new Charlie's Angels TV show. The most successful "new" media franchises were Transformers and Spider-Man - based on ideas that are over two decades old (You could even argue that things like Lost and Twilight are simply mashing up old ideas into relatively new forms; they're definitely standing on the shoulders of giants, at least). So what happened?

It's easy to just say "Well, the geeks are in charge of media now," even if it's not necessarily untrue. But that doesn't explain how they got there, and why they're not making us fall in love with all manner of new things, instead of retreads of old flames (Does Fringe count as new, or just an updated X-Files?). Personally, I think the blame is shared pretty much equally between creators and the audience. For all that we may cry YARM whenever someone talks about their dream to make the ultimate Logan's Run project, it's as much a desire to succeed as creative backwards-looking that's behind it; audiences, for the most part, tend not to support the new in numbers necessary to make it a big success. Look at the most successful movies of the last ten years: Each one is based on a concept that people grew up on.

So, is it simply nostalgia? Perhaps; it's tempting to play armchair psychologist and stroke the chin, commenting on a return to childhood things following the trauma of 9/11, but it doesn't quite fit, because how does that explain the domination of 2000's The Grinch or 1999's Phantom Menace? You can see definite post-9/11 tropes throughout the pop culture that followed (A simpler morality, where good guys always won and could save us from death from above, in many cases; stories of people dealing with increasingly familiar apocalypses in others), but I don't think that the prevalence of reboots was necessarily one of them. It's not laziness, either; some reboots (Battlestar Galactica, for example) put in as much work as any original concept in terms of worldbuilding and creation.

In the end, it may simply be the result of conservatism on everyone's parts: Audiences don't want to spend time or money on something they don't know will entertain them, and studios/creators don't want to spend time or money on something that they don't know will have an audience waiting for it. Movies like District 9 or Moon, web content like Dr. Horrible and the increasing use of comic books as source material for other media back this up, to an extent; the new ideas, and new voices, now have to find new - and cheaper - outlets through which to make themselves known, and become popular and proven enough for the big time. Maybe that'll have happened by the time they've been around long enough to be nostalgic about.

So here are the most insane SF soaps we could think of — but I bet we missed some good ones. What are your favorites? Pipe up in comments with the lurid details!

Top image by Dennys Ilic. Additional reporting by Josh C. Snyder.

Heroes

You can pick any character from this show and get a headache trying to figure out all the story twists he or she has gone through. Take Matt Parkman: He's trying to keep his marriage together — No, wait! Now he's living with Mohinder and co-parenting Molly the mutant-detecting girl! — No, wait! Molly is out of the picture! And now Matt is becoming an African-esque shaman! — No, wait! Now Matt is in love with Daphne the speedster, who's the Love Of His Life! — No, wait! Now Matt is back with his wife, and will never think about Daphne again! — No, wait! Etc. etc. etc. My favorite, though, is probably Peter's girlfriend trapped in an alternate dystopian future — whom we will never mention again! Ha ha ha ha urk. (Matt Loves Daphne wallpaper from Fanpop.)

Alias

This show started off pretty coherent — but around the third brainwashing or the tenth revelation that Sidney's mother's cousin was really the spy behind brainwashing Sidney to think her half-sister was a chicken. I defy anybody to explain to me the tangled backstory of the Bristow family.

The Cat Who Walked Through Walls by Robert A. Heinlein:

I made a dreadful mistake: This was the first Heinlein book I ever read — and it may have ruined me for Heinlein forever. In the late Heinlein novels, every character ever shows up, and they mostly have sex together, interspersed with a lot of drama and philosophizing. It's a sequel to The Moon Is A Harsh Mistress as well as Number Of The Beast, and features characters from several other books — including Jubal Harshaw, Lazarus Long and Hazel Stone, and it turns out that all of Heinlein's characters have previously unsuspected connections to each other. As reviewer James W. Harris puts it:

Having all of his "good" guys sound like a convention of smarmy talking wife-swappers is just gross. I hate to sound like a teenage girl, but damn, Heinlein's kissy-kissy talk and innuendo just made me want to puke. And making his classic characters act out in this limp-dick porn flick is just tragic. Having them go on and on about how they were going to kill people for bad manners is just a little psycho to me. Evidently a lot of people and situations annoyed the hell out of Heinlein and he used this book to vent. Some people want to call this satire but I think that's whitewash.

Maybe Heinlein lost his mojo and these multiverse stories were the best he could do. Personally, I thought The Rolling Stones was a perfect novel, and bringing back Hazel Stone was a fictionally fuck-up of an idea, ditto for the cast of The Moon is a Harsh Mistress. Maybe I am a prude because I just don't want the Hazel Stone, grandmother of Castor and Pollux, joking about being stretched out of shape by giant 25 centimeter cock.

All of Heinlein's personally favorite characters get put into a fictional juicer and blended into weird rabble of sex obsessed mob that chirp a weird innuendo patter and are almost impossible to tell apart. When I read these multiverse stories I can't help but believe that horniness was driving Heinlein crazy. These later stories are preoccupied with sex, killing people, responding to annoying people, the reliability of witnesses, rude people deserving capital punishment, and so on.

Venture Bros.:

At least this show is ridiculous on purpose — the ultra-demented story of the Venture clan has gotten more and more involved, with Sergeant Hatred's struggle against his pedophilic past taking center stage, and deformed clones and weird villain love affairs aplenty. Most of all, there are the labyrinthine family elements crossing over into everything, like the revelation that Dean was also the head of the Guild. The same characters and their families end up being connected in ever more improbable and weird ways, making our heads spin.

Battlestar Galactica:

I have four (or possibly five) words for you: "Hotdog is the father." Whaaa? There's also the great way Baltar went from being a slimy scientist to being a slimy politician to being a slimy cult leader — and what happened to the baby that Baltar and Six were going to have together? Oh and while we're on the subject, what about Saul Tigh being crazy-chicken in love with Caprica Six — until she has a miscarriage, and then he never thinks about her again? It all makes you want to grip your television and scream (in a Krazy Starbuck voice) "You're going the wrong way!"

Sonic The Hedgehog (comics):

According to the always great TVTropes website, this comic-book tie-in to the popular video game went whirling off on crazier tangents than a flying hedgehog on crack. To quote TVTropes:

The Archie Comics Sonic The Hedgehog series twisted Sonic's love life into a Gordian Knot: Originally hooked up with Sally Acorn, she got stuck ruling the country and shoved the relationship to the side to focus on her new duties, prompting Sonic to fall in with Mina Mongoose, starting a rivalry between the two women for Sonic's affection. He then started seeing Fiona Fox on the side, which not only pissed off Mina and Sally, but Tails, as well, who had a crush on her due to falling in love with a robotic duplicate created by Robotnik several years earlier (don't ask). Eventually, Mina got her own boyfriend, Sally got Sonic once again, and Tails got tossed into a brick wall by Fiona, who gave them all the finger to have a relationship with Sonic's evil clone from another universe. And that's not even counting the mini-tangle between Antoine, Sally, Bunnie Rabbot, and Antoine's evil clone from the same universe Fiona's new beau comes from.

Got it? Great.

Gundam Wing:

Okay, let's get this straight... Relena Darlian discovers she's really adopted, and her real name is Relena Peacecraft, one of the last survivors of the pacifistic (duh) Peacecraft tribe. And then it turns out that Zechs Marquise is her long lost older brother. Meanwhile, she gets obsessed with Heero, a young whackjob who keeps announcing he's going to kill her, not unlike the "I'm going to rape you" guy in Welcome To The Dollhouse. And that's just scratching the surface of the most confusing, tangly saga of all time, involving endless backstory and weird family crap.

Angel:

I was going to do Charmed, Angel's fellow WB series which had the whole "my ex-husband is a half-demon" thing, but Angel is so much more ridiculous — mostly because of Cordy, who is in love with Groosalugg, until she's in love with Angel instead, but meanwhile she's turned into a half-demon and then she becomes a Higher Power, until she comes back and has sex with Angel's son — who, as someone points out, is practically her stepson since she helped care for him as a baby — and then becomes pregnant and evil — until she gives birth to an evil god. Nothing on parent show Buffy was as incestuous and ridiculous as Cordy's arc on Angel. Oh, actually, wait — Cordelia was pregnant twice on Angel.

Robotech:

Sure, it was supposedly about the giant mechas, but it was really all about the tragic loves and the tormented Rick-Minmei-Lisa love triangle. To quote Wikipedia,

In early 2013, while sitting at an outdoor cafe, [Lisa] contemplates the love triangle between the three of them when she overhears two men talking about how women were "dealt all the aces" when it comes to relationships, to which Lisa says to herself "that's all you know...here's one woman who would trade every ace in the deck for one Rick Hunter.

Sigh. Twoo Love. Here's a great fanvid featuring the music of White Town. Yay!

X-Men (comics):

This, of course, is the most insane soap opera imaginable. At this point, the X-men have had illegitmate babies from the future, secret love affairs, doomed passions and multiple bad transcriptions of all sorts of accents, from Cajun to Scottish. My favorite ridiculous soap-opera twist might be Madrox's night of passion with two female members of X-Factor: Siryn and Monet, resulting in a pregnancy that isn't quite a normal pregnancy. But then there's also the whole insane Rogue/Gambit thing, the Scott/Jean/Wolverine/Emma love doodaddle, and of course Professor X turning out to be secretly in love with Jean Grey. That's just scratching the surface, really. If you want more info, check out the X-Men relationship map — which is probably already out of date!

We're lucky enough to feature Quantum Mechanix's authentic replica of the Cylon targets used on Battlestar Galactica before any other site — even Quantum Mechanix's own site. They're model-makers who brought you the amazing animated-style BSG figures, the Cylon raider filming minature, the U.S.S. Enterprise model, the detailed map of Firefly's 'Verse, and most of all the perfect replica of the Serenity.

Here's the full description for the Cylon poster, so you can prepare to take aim with your credit card:

Take Out Your Aggression on a Target That Deserves It!

Battlestar Galactica is one of the most ground-breaking television shows of all time. Not just in terms of storytelling and visual effects, but in every detail – set design, soundtrack – even the background props.

In our continuing quest to bring you affordable, screen-accurate replicas of the iconic props from TV's greatest saga, we are proud to present our screen-accurate replica of the Cylon Centurion practice target as seen on Galactica's shooting range.

Reproduced from the same digital files used to print the screen-used props, QMx has painstakingly reproduced this practice target on an 18"x24" poster printed on 60-pound flat-finish paper stock. We've even die cut the poster into the same distinctive trapizoid shape (why do Colonials hate right angles so much?) and we've included the scoring form in lower right corner of the poster.

All for just $9.95 per poster. Perfect way to prepare for the fight against our Cylon oppressors, when that day inevitably comes.

It'll be available soon over at Quantum Mechanix.

Want to see Dirk Benedict transform slowly into a King Cobra? Here's the crucial sequence. It all just proves that if it's 1973, you should not go to work for a professor named Dr. Stoner.

And here's the film's original trailer:

Don't say it... Hiss it!! And yes, the film really does end with snake guy versus mongoose. There can be only one!

Spock
Died: Sacrificing himself by bringing the warp engines back online at the end of Star Trek II: The Wrath of Khan, leading to his dying from exposure to radiation.
Undied: His body was resurrected in Star Trek III: The Search For Spock thanks to the Deus Ex Machina powers of the Genesis Planet, and it turned out that his soul had lived on all along thanks to mind melding with Bones.
Cause of Undeath: Mind-meld and blatant plot ridiculousness in order to keep the fans happy. Admittedly, it was all set up in Star Trek II, but still.
Does It Count As Death?: Well, his soul was alive the entire time in Bones, but his body had enough time to go through a funeral and being shot off into space, so... 50/50? But not really, let's face it.

Ellen Tigh
Died: Poisoned by her husband after (in his eyes) betraying humanity in "Exodus, Part II" at the start of Battlestar Galactica's third season.
Undied: Instantly downloaded into a new body as part of the Fifth Cylon retcon, as revealed in the fourth season's "Sometimes A Great Notion."
Cause of Undeath: Traditional cylon download/rebirth.
Does It Count As Death?: Well, she was instantly reborn, which suggests that she was never actually dead as such, but the whole Fifth Cylon thing muddies the waters... especially when she was reborn as someone who wasn't exactly the Ellen she was when she died. We're going with "Kinda, but not really."

Boba Fett
Died: Falling into the Sarlacc's mouth in Return Of The Jedi.
Undied: Climbing back out of the Sarlacc's mouth in comic sequel Star Wars: Dark Empire.
Cause of Undeath: He was swallowed by apparently never chewed or digested and climbed his way out, apparently.
Does It Count As Death?: If you believe Dark Empire, not in the slightest. George Lucas apparently disagrees, however; it's said that he edited Fett's last appearance in the special edition of Return Of The Jedi to make it clearer that it's meant to be the end of the character.

John Sheridan
Died: Avoiding certain death by nuclear explosion at the end of Babylon 5's third season finale, "Z'ha'dum," by jumping into a pit so deep that it was impossible to survive. Oh, and then there was that nuclear explosion, which presumably would've destroyed the pit and everything within it anyway.
Undied: At the start of the show's fourth season, Sheridan was revealed to be in a limbo between life and death because of his love for Delenn. With the help of - and 20 years worth of lifeforce from - helpful fellow limbo-ite Lorien, he comes back to the land of the living.
Cause of Undeath: As Ewan McGregor in Trainspotting would say, choosing life. Who knew it was that simple?
Does It Count As Death?: Nope. Think of it as getting as far as death's foyer, before deciding to turn back because you'd changed your mind.

Tasha Yar
Died: Wanting out of her Starfleet contract early, Denise Crosby got her character killed at the hands of a gloopy, ooky oil monster in the first season episode of Star Trek: The Next Generation "Skin of Evil."
Undied: Thanks to time travel shenanigans, turns out never to have died in the alternate timeline of third season episode "Yesterday's Enterprise," and then manages to return to the past of the original timeline at the end of the episode in a way that still doesn't make a lot of sense.
Cause of Undeath: Alternate timelines having prevented her from dying in the first place.
Does It Count As Death?: Well, a Tasha Yar definitely died. In fact, as we learn upon the appearance of the second Yar's daughter Sela, the other Tasha was killed unsuccessfully trying to escape from the Romulans, so it looks as if any and all Tashas would end up dead one way or another.

Superman
Died: At the hands of the apparently unstoppable Doomsday in 1993's The Death of Superman storyline.
Undied: Midway through the follow-on The Return of Superman storyline, when it's been revealed that none of the four characters who've taken up the mantle are the real thing.
Cause of Undeath: He woke up. No, really; the audience is pretty much told that he'd never died in the first place, he'd just gone into superhibernation in order to heal from the fight.
Does It Count As Death?: Not at all, but it definitely counted as a moneyspinner for DC Comics, who went on to kill Green Arrow and Green Lantern within the next couple of years, as well as teasing deaths for the Flash and breaking Batman's back.

Bucky
Died: Trapped on a bomb that mentor and Nazi-fighting partner Captain America had managed to jump off of before it exploded, as explained way back in 1963's Avengers series.
Undied: In 2005's "Winter Soldier" storyline of Captain America, where he got reintroduced and prepped to become the new Captain America in 2007.
Cause of Undeath: Turns out that Bucky was, in fact, blown to bits by the exploding bomb... It's just that they were pretty large bits. Large enough to rebuild him into a brainwashed no-good commie assassin who gets put on ice between missions, until he meets Cap, goes rogue, remembers who he is, and then uses his mighty Russian technology for the good of American mankind.
Does It Count As Death?: What's brainwashed Russian assassin for no?

The Flash
Died: Which one? Barry Allen died in 1985's Crisis On Infinite Earths. Wally West disappeared and was, at various times, presumed dead/missing/no-one could make up their mind in 2004's Infinite Crisis, and Bart Allen kicked the bucket in 2007's The Flash: The Fastest Man Alive #13.
Undied: Wally came back in 2007's Justice League of America #10, Barry in 2008's Final Crisis #1 and Bart in 2009's Final Crisis: Legion of Three Worlds #4.
Cause of Undeath: Both Barry and Wally had, it turns out, never died. Barry had been swallowed into the Speed Force, which is the cosmic... thing... that gives all super-speed characters their powers in the DC Universe, while Wally's fate was ultimately (after a couple of failed attempts that were quickly contradicted) decided upon a variation of "He took his family on vacation to an alien planet and didn't tell anyone." Don't ask. Bart, meanwhile, did die, kind of... but his teenage self was trapped in a futuristic lightning rod and then magically released in the 31st century to fight Superboy Prime. Again, it's probably better if you didn't ask.
Does It Count As Death?: No question for either Barry or Wally (No), but Bart... I have no idea. I've read Legion of Three Worlds multiple times, and still don't understand the explanation that's given there; let's just never mention it again and pretend it didn't happen.

Jason Todd
Died: As the result of a real-life phone vote to see if Todd, the second Robin (as in Batman and), should be killed at the hands of the Joker. Seriously, 1988's comic industry, what the hell were you thinking?
Undied: 2004's Batman revealed that Todd was not only not dead, but had magically aged more than most other characters in the DC Universe in his off-panel absence.
Cause of Undeath: Superboy was punching the walls of reality, and things went a bit weird. You know how it is with these superheroes and their punching the walls of reality; history gets rewritten all over the place. Just be glad that Batman didn't end up as Batdinosaur. Although, now that we think about it, that'd be awesome.
Does It Count As Death?: Magically contradicting Schrodinger and his cat, Jason Todd both did and didn't die. His official history has it that he died, and then just came back to life thanks to the punching of reality, meaning that he was still alive. So, while it ultimately doesn't count as permanent death, there was a death in there somewhere.

Jean Grey
Died: In 1980's famous Uncanny X-Men #137, where she sacrifices herself for the good of the universe to stop herself from becoming overwhelmed by the godlike power she possessed that might lead her to eat a couple of planets if she got peckish.
Undied: It's revealed in 1986's Fantastic Four #286 that the Jean Grey who killed herself was never actually Jean Grey at all, but the Phoenix force, who's been cosmically imprinted with Jean's personality. Don't worry; the Phoenix force was already back by that point anyway.
Cause of Undeath: Jean hadn't died (at that point), and the resurrection of the Phoenix force was somewhat implied by the name - The official explanation was that the Phoenix force hadn't actually died either, just lain dormant until someone else (Jean's daughter from an alternate timeline. If you don't already know, don't ask) claimed it.
Does It Count As Death?: Before the retcon and ruined Chris Claremont's X-Men once and for all you bastards, it did. Now? No-one died until years later, when Jean really got the Phoenix power and then ended up dying anyway. Guess there's something unlucky about the name or something.

White's Deviant Art gallery includes tons of these amazing paintings, some of which are still for sale. They're all acrylic on stretched black velvet, generally around 14 by 18 inches, although some are as big as 18 by 24. And they're like your most vivid dreams about robots, spaceships and aliens, only brought to life in pure velvet.

Says White:

I am a huge scifi geek. I saw this velvet painting on the Star Wars Collector's Archive, and I thought it was so cool in an awesome, yet cheesy way. I figured I could reproduce it pretty quickly. I was wrong. Painting on velvet is a lot harder than I thought. I did a few more, which were a little better, but they were still more like the "oh god that's so bad that it's funny" velvet paintings that seem so prevalent. I stopped trying for a while, and then had the idea, instead of trying to make them "cheesy", that I would try to paint them as realistically as I possibly could. Slowly, the paintings got better, and I started to get the hang of working on velvet. So, the more realistic paintings in my "deviantart" gallery are the more recent ones.

Check out more of his artwork here: [Bruce White on Deviant Art]

While Johnson isn't involved in the new television series, he still holds the movie rights to V, and he's convinced that whether the new show is a success or a flop, it can only mean good things for him:

If the show succeeds, it gives us an opportunity to go out with a one sheet that says, 'You like the show, now see the original classic reborn,' [and] if the show doesn't do well, we can always say, 'Here is the "V" you've been waiting for.'

If you've been waiting for a relatively-low budget independent movie, that is:

When I discovered that I controlled the motion picture rights to 'V,' I suddenly had a lot of new best friends. All the major studios, Fox, Paramount, MGM, Warners, wanted to buy the rights with a whole lot of money. They see it as a $200 million tentpole picture, and want to bring someone else to direct. I took a deep breath and said no... I got into the business to direct and do what I do. So what we've been endeavoring to do is to set up an independent production and produce this movie for $50 million. So I can hang on to the director reins and make sure it gets done.

Why are we worried that a Johnson-directed movie may end up like Richard Hatch's Battlestar Galactica sequel? Because Johnson says things like this:

There's a sense that not only do I know the themes, but it's also because I've had that one on one connection with the audience over the years... I really listened to them and have got a pretty good sense of how to make 'V' work.

Fanservice, here we come...?

The television reboot of V premieres on ABC on November 3rd.

'V' voice revisits familiar turf [Variety]

I'm keeping my lips sealed on exactly what the clip is all about, but suffice it to say that every fan of the original series is going to go apeshit over it.

There's no mention of this little treat on the disc itself (it's a secret), but here's what you need to do to access it:

- Go to the extras menu

- Highlight the Admiral to Director featurette

- Now navigate to the right with your remote

- You should see the BSG Seal appear – hit enter and enjoy!

The Plan came out on Tuesday.

via Darth Mojo