Speculative fiction is full of stories about people who've lost their identity – AMC just gave us a dreamlike remake of The Prisoner in which Number Six forgets who he really is, and Dollhouse returns Friday with more mind-erasing fun. But it's weird to see the trope of "fighting for selfhood" merged with that action-movie staple, the entertaining killing spree.

Recently, I was re-watching chunks of X-Men: Origins: Wolverine and thinking about that movie's insane body-count — both before and after Logan starts trying to regain his elusive humanity. In Wolverine, the mutant known as Logan is caught between his bestial nature and his dignity as an individual. For a hundred-odd years, he is a slaughter machine for the military, and then he joins a super-secret mutant taskforce. But in mid-atrocity, he suddenly starts questioning orders, and then he goes… rogue. (No, he doesn't bleach part of his hair and start talking in a Southern-girl voice. He just wanders off the reservation.)

The point is, Wolverine is just as much of a killing machine after he starts asserting that he's not just part of the machine, or not just an animal. He never makes the connection between the sacredness of his own personhood, and the sacredness of human life in general. I get that you have to fight for your freedom sometimes, but the movie makes a big point of showing Wolverine killing when he could just as easily disable his opponents — one of the movie's few great fuck-yeah moments involves cold-blooded murder. (Sure, he's killing scumbags. But he was just as much of a scumbag twenty minutes earlier.)

Likewise, Terminator Salvation (newly on DVD) gives us Sam Worthington's tormented cyborg Marcus, who discovers that he's basically a reanimated corpse with metal parts — and he makes the choice to be human, slaughtering several of John Connor's men in the process. (During his heroic escape from the resistance compound.) But it's okay, because Marcus' emergent selfhood is more important than any sense of self all of those dead people might have possessed. (Actually, I might need to — shudder — rewatch this sequence. I know a bunch of the rebels die, but some of them die due to hydrobots that attack afterwards. Does Marcus actually kill anybody directly, or just cause their deaths by tearing apart their security?)

And then, of course, there's District 9, in which Wikus also fights to regain his humanity — by putting on a battlesuit and shredding people with alien weapons. This film at least subverts this trope a bit, by having Wikus use alien weaponry that he's only able to use because he's losing his humanity — and the film doesn't exactly reward Wikus for his mass murder.

This odd combination — the hero who devalues human life in the process of exalting his own — has been around for ages, but seems to be on the rise. RoboCop and the Universal Soldier movies give us cyborg heroes who struggle to re-humanize while killing lots of other humans. Michael Bay (surprise!) gave us The Island, in which a clone grown as an organ donor kills his "original" self, along with a number of other people, on the way to becoming a full-fledged person.

For almost as long as there have been action movies, there's been the high body count: watching a Rambo movie in the 1980s, you don't stop and think that everyone of these bodies flopping to the ground is another person who won't come home to his/her family. It's one of the conventions of action movies that we accept that this carnage isn't really happening – even as the movie expects us to suspend our disbelief about a guy falling out of a helicopter on fire and surviving, it asks us to maintain full disbelief that mass murder is taking place in front of us.

On some level, too, we stop thinking that those people dying in front of us are really people – especially in a movie with tons of bad CG (like Wolverine). We can watch the corpses piling up because we know they're not human.

But the action-movie body count and the "search for identity" plot are great separately — I love a good John Woo bloodbath — but they sit uneasily together. The more people we see your cyborg or mutant kill — and the more casually they're killed — the less we can identify with our hero's quest for selfhood. The whole thing starts to feel more like a first-person shooter, and the main character more like a video-game avatar, rather than an individual who Deserves Human Rights and all that stuff.

If life is so cheap, then who really cares about Logan's quest for self? Not to pick on Wolverine, but these questions keep coming back as you watch the movie, as if they have a mutant healing factor.

How do you square the contrast, between the hero's inalienable uniqueness and everyone else's disposability? Maybe it's because Our Hero is a Nietzschean ubermensh, whose will to power makes his individuality more precious than everyone else's? What do you think?

Just as the 1980s predicted that all futures were most likely dystopian (Unless they were Star Trek), they also brought the idea that the sheriffs of the future would most likely take those "fascist pig" comments to heart and start modeling themselves as leather-wearing, faceless figures with a love for violence and a distaste for personal freedoms. Anti-authoritarian zeitgeist, or something more sinister? Consider the evidence:

Judge Dredd (1977)
Appears in... The comic strip that's appeared in 2000AD, his own series, and the we-only-wish-we-could-forget-it movie.
Would you describe him as personable? Not exactly. Cloned from a former high-ranking official of Mega-City One, Joe Dredd's life is focused on one thing and one thing only: The Law. And if you're unclear on what that may entail, Dredd - or any number of his fellow Judges - will be happy to help teach you. Preferably by arresting you for ignorance and letting you work it out yourself in jail.
Does he have special weapons or vehicles? Oh yes. Primarily, his suped-up ride the Lawmaker, and his multiple-bullet-firing (including heat-seeking and armor-piercing) Lawgiver gun.
What about a fascistic outfit?

Yes. Although we're not sure about the knee-pads.

Plexus Rangers (1983)
Appears in... Howard Chaykin's wonderful American Flagg comic.
Would you describe them as personable? Definitely - Almost all of Chaykin's corporate cops policing the United States while taking orders from the Mars-based Plex HQ are, in their own ways, charming. Corrupt, selfish and lacking in most redeeming values, yes, but definitely charming.
Does he have special weapons or vehicles? Nope. Use of subliminal advertising and robot cops aside, the Plexus Rangers are pretty old-school. There's a talking cat, though. Does that count?
What about a fascistic outfit?

Yup.

Justice Peace (1986)
Appears in... Various Marvel comics, whenever they need a time-traveling hard-ass from the future.
Would you describe him as personable? Yes - as long as you can prove that you're not a criminal. Coming from the World War VIII-era of Future Earth, Special Agent of the Federal Police Force Peace - regular beat Brooklynopolis - will stop at nothing to get his man. Not even time-travel to make sure that the crime doesn't even happen in the first place.
Does he have special weapons or vehicles? He's got a time-traveling flying bike called the Hopsikyl. That's got to count for something, right?
What about a fascistic outfit?

Um... No? But then again, it's was mid-1980s Marvel Comics.

Robocop (1987)
Appears in... The eponymous movies, comics and cartoon series.
Would you describe him as personable? If it was backwards day, sure. Poor Alex Murphy may have been gunned down in the course of duty on the streets of Detroit, but OCP - clearly fans of The Six Million Dollar Man - had the technology to rebuild him... except for that whole "personality" thing. But are you surprised, considering the four Directives he had, making decisions for him?
Does he have special weapons or vehicles? His whole body is a special weapon.
What about a fascistic outfit?

Not really. It was more functional than stylish, for one thing...

Marshal Law (1987)
Appears in... The comic book.
Would you describe him as personable? Depending on your taste for schizophrenic, sadistic, war-flashbacking psychopaths, potentially. When he's not the unstoppable, S&M-flavored superhero-killer Law, veteran supersoldier Joe Gilmore is almost an upstanding citizen of the wonderfully-named San Futuro. Problem is, he's normally the unstoppable, S&M-flavored superhero killer.
Does he have special weapons or vehicles? Given to carrying around (and using, of course) guns as big as Kevin O'Neill's imagination could make them, the better question may be "does he have any normal weapons?"...
What about a fascistic outfit?

Almost ridiculously so.

It wasn't all doom and gloom - After all, there were some cuddlier examples of future police forces based in older, more optimistic fantasies of tomorrow - but the storm trooper ideal that dominated more than a decade of SF policing remains a strong one (Consider the non-Tom Cruise cops of Minority Report), even if we're more likely to see robots taking over the world than police officers in mainstream SF these days. Here's hoping that those who try and imagine real futures of law enforcement are a bit more imaginative - and a little less enamored of the idea of living in Mega-City One.

Thanks to S.J. Edwards, Elizabeth Bear, DJ Chaotica, Larry-Bob Roberts, Zack Stentz, Daphne Gottlieb, Paul McEnery, James McGirk, Jessy Randall, Kevin Schmidt, Morgan Johnson, Susie Kay, Kat Page and David Fraser for the suggestions!

The Mayor In City Of Ember
He's the textbook example of a corrupt mayor who's only interested in saving his own skin. He knows the underground city of Ember is on its way out, and soon it'll be uninhabitable due to power failures and dwindling supplies. But instead of trying to cope with the problem, the mayor tries to hoard as much stuff for himself as possible, in a secret room — and puts together meaningless commissions to study the problem. Here he is in this video, eating sardines in the grossest possible manner.

Lando Calrissian in Star Wars: The Empire Strikes Back
Okay, so Lando is the kind of scoundrel we love to watch. And he's a perfect counterpart for Han Solo. But would you really want him in charge of your city? His Cloud City of Bespin seems like a pretty corrupt, messed-up place. And then he goes inviting Darth Vader and his crew there, which is not good city planning at all. And then after Vader has demolished half the city in his battle with Luke Skywalker, Lando takes off and leaves his city behind. Call that leadership?

Aunty Entity in Mad Max: Beyond Thunderdome
She does keep the city of Bartertown humming along — except when she gets stuck into an idiotic power struggle with Master/Blaster, and everything grinds to a halt. Plus she rules with an iron fist, and forces people to fight to the death in a deadly arena. That's not the kind of leadership our post-apocalyptic cities need!

Mayor in RoboCop 2
He makes deals with drug dealers and criminals. And then he mismanages the city's finances and winds up handing the entire city over to the evil OCP. This clip pretty much says it all. And when he's in a tight corner, he just loses his shit.

Mayor Wilkins, in Buffy The Vampire Slayer, season 3
Your average terrible mayor may let the city fall apart, or make deals with drug lords, or bulldoze your house for no reason. But a really awful mayor, like Wilkins, makes cozy arrangements with vampires and tries to kill off the town's only protector. And then tries to turn into a demon so he can eat the high-school graduating class. Now that's bad leadership.

Vilos Cohaagen, in Total Recall.
He's an evil administrator of the Mars settlement, keeping the mutants down and ruling with an iron grip. He uses mind-control and brainwashing to keep his minions in line. And worst of all, he won't give the people air. WTF, Cohaagen?

Mayor Bentham Rudgutter, in Perdido Street Station by China Miéville.
He's always described as sitting "regally on his throne," or sitting "behind his desk with an air of utter command." He rules over New Crobuson, with its corruption and oppression — and he's not averse to making deals with the city's crime syndicates as well as its demons. He systematically rounds up dissidents and has them tortured, and he's not above imposing martial law if the situation gets out of hand.

Father in Equilibrium
Father rules over the city-state of Libria and outlaws all human emotion, even the love of a small puppy. To this end, he keeps the people doped up on a drug called Prozium, and keeps everyone under constant surveillance. (Similar to other figureheads like Big Brother in 1984, or Mustapha Mond in Brave New World — except that Father just rules over one city.) The only good thing "Father" has going for him is his kick-ass gun-centric martial art, gun-kata. Woo hoo!

Judge Cal, In Judge Dredd
This character, closely based on the Roman emperor Caligula, seized power after he had the Chief Judge of Mega-City One assassinated. In Mega-City One, the Chief Judge has absolute authority — an arrangement that's caused some problems on several occasions. So Judge Cal goes completely nuts, making it a crime to criticize him and appointing a goldfish as his deputy. He even shoots Judge Dredd! Dude!

Mayor Prentiss in The Knife Of Never Letting Go by Patrick Ness.
Prentisstown is not a nice place to begin with — there are no women, and the males can all hear each other's thoughts all the time, whether they want to or not. But Mayor Prentiss makes matters worse, by figuring out a way to control men's minds. He declares himself President and invades the neighboring settlement of Haven, where there are some women. And that's just the beginning of his reign of terror. Runner up: The mayors in Truancy by Isamu Fukui.

Stout, who also does many of the concert posters for Flight of the Conchords, has an ever-growing series of posters from classic and more recent films (and, for good measure, the geek-themed comedy series Spaced). Many of these posters were created specifically for the Alamo Drafthouse CInema in Austin, Texas to promote their "Big Screen Sci-Fi Classics." He also made the "Remember the Alamo" poster for the theater, which contains visual references to an absurd number of films across the genres.

[Tyler Stout via FFFFOUND!]

Natalie Portman is attached to star in Aronofsy's film Black Swan, about an aging ballerina who's locked into a competitive situation with a rival dancer — who may be real, or a supernatural entity, or a figment of the ballerina's imagination. Black Swan has been in development hell at Universal since early 2007, but now that Aronofsky's scored a big hit with the Wrestler and Portman's on board, studio insiders see it going into full swing as soon as this year. (Also, the script got a needed lick of paint from development exec Mark Heyman.) Apparently, it's a "spine-tingler" along the lines of The Others, the Nicole Kidman movie where you don't know what's real.

As for RoboCop, it's not sounding good. The Hollywood Reporter's sources refer to it as not "ready to go," which means it's probably on the back burner for now. Which, as I said, is good news if you hate remakes. Although I have to admit, I'd way rather see Natalie Portman play a one-woman cyborg SWAT team than see her as a neurotic ballerina. [The Hollywood Reporter]

There's already precedent for science fiction shows living on past cancellation on Saturday mornings - Lost in Space, and more famously, Star Trek both had stints as cartoons, after all, and Happy Days even became a science fiction show when it became a cartoon:


It wasn't just television shows, of course; why could forget The Real Ghostbusters or Robocop keeping the flame alive for the failed movie franchises?



With all that in mind, can you blame us for thinking of these five dearly beloved - well, and Knight Rider - shows that could perfectly translate into the animated format so that they could stick around for a few more years (and hopefully get the Futurama treatment, coming back to life with a complete season order)?

Terminator: The Sarah Connor Chronicles
Why it'd work: Man versus machine, including time-traveling and ridiculous stunts? The biggest surprise is that the Terminator franchise hasn't made it to Saturday mornings already.
Why it may not be the best idea: Could the show's larger questions about the nature of identity and predestination thrive in an animated series? And, even if they could, would the audience be even smaller without Summer Glau, Brian Austen Green and Lena Hedley to make it look pretty (admittedly, in bruised and bloody way) each week?
Verdict: There could definitely be a Terminator cartoon... But a Sarah Connor Chronicles cartoon...? We're not convinced.

Pushing Daisies
Why it'd work: Quirky, filled with color and with four detectives solving weird mysteries on a weekly basis, it's a less-annoying Scooby Doo with Ned's magic finger replacing the comedic titular dog.
Why it may not be the best idea: Would network standards and practices have a problem with a cartoon with such a high body count every episode? Would the show's tendency towards the saccharine seem even more pronounced with animated actors?
Verdict: If it could keep the level of writing as the original - and Chi McBride and Kirsten Chenowith as voice actors - we'd happily tune into an animated Daisies every week.

Knight Rider
Why it'd work: It's a man fighting crime with the help of his talking car. Let's face it; this should've been a cartoon to begin with. Maybe the scripts would've been better than this recent go-around, if it had.
Why it may not be the best idea: Without the real-life car porn, is there any point to Knight Rider at all? Also, could the show's creators resist the lure of turning KITT into a Transformer now that CGI budget constraints would be gone?
Verdict: Thanks to the thoroughly generic nature of the original, there's nothing worth tuning up for a Knight Rider cartoon model.

Firefly
Why it'd work: High adventure on the space waves with a band of colorful characters risking life and limb as they try to survive? It's like Dungeons and Dragons grown up and transplanted into orbit.
Why it may not be the best idea: Would it hurt too much? Perhaps - or maybe we just wouldn't be interested if we couldn't see Jewel Staite on a regular basis. But Whedon's series work in large part because of the actors as much as the writing, and it just wouldn't be the same without them.
Verdict: Sadly, we're saying that the Serenity should stay grounded.

The Middleman
Why it'd work: From its origins as a comic book to its broad cartoony comedy as a television show, this is another series that has always felt like a cartoon despite its flesh and blood stars. Plus, as a cartoon, imagine everything it could get away with but couldn't afford on an ABC Family budget!
Why it may not be the best idea: We have no reasons why. Seriously, this is a no-brainer.
Verdict: Did you miss the part where we called it a no-brainer above?

So, did we forget a show that would be perfect for the animated treatment? Do you think that we're insane for arguing that a cartoon Firefly wouldn't work? And, most importantly, who do we have to beg for a Middleman animated series?

An MGM spokesman told us the project is still on track — though not for a 2010 release, as reports initially suggested. The rep said that the studio had told distributors at an event a couple weeks ago to expect the movie in 2011. He said director Darren Aronofsky (The Wrestler, The Fountain) and screenwriter David Self (Road to Perdition) were still working on the script, and that no casting had been completed.

The new Dynamite Comics Robocop title announced this week is only the latest of many Robocomics, so Robologists shouldn't pore over its pages expecting details about the plot of Aronofsky's movie, the MGM spokesman said, though he added that he wouldn't be surprised to see another comic tie-in once the movie is released. He didn't have anything else to add about the movie, only that "Darren and David are working on it now, and we look forward to seeing it in 2011." And so do we.

Originally announced in a press release earlier this week, Dynamite's new Robocop series will be an ongoing monthly comic that will, apparently,

continue to explore more of the dangers of Detroit, its citizens, and Officer Murphy's continued dealings with the scum that stalks the streets — all the while missing his human side.

Dynamite president Nick Barrucci talked to Newsarama.com about whether we should expect something along the lines of the original movie, or the something-we'd-rather-forget Robocop 3:

[W]ithout saying too much, I will say that going to the root of a character is usually a good idea, building on that, taking away some of the layers that were built over the years – while it's the most difficult thing in the world picking and choosing what is canon and what isn't. You make decisions and hope you're right... I think that that I can come out and say that without the violence, the cutting edge shockingly violent nature of the first movie we wouldn't be talking about RoboCop. We want the first RoboCop movie [and] that's what made it so great.



The series, written by British writer Rob Williams (2000AD, Star Wars), will launch later this year.

Nick Barrucci on RoboCop & Writer Rob Williams [Newsarama.com]

Bernard Herrmann

Herrmann is one of the most celebrated composers in Hollywood history, having scored classics from Citizen Kane to Psycho to Taxi Driver. He makes our list for his groundbreaking score for 1951's The Day The Earth Stood Still (pictured above), with its prominent use of the theremin. After this movie, use of the eerie, otherworldly, electromagnetic instrument became the signature sound of sci-fi scores.

Louis and Bebe Barron

The Barrons took Herrmann's innovation a quantum leap further with their score for 1956's Forbidden Planet, which featured not a single traditional acoustic instrument. The husband-and-wife team's collection of all-analog burbles and bleeps sounds delightfully retro today, but the movie's all-electronic score was, at the time, controversial. Still, the sounds ideally complemented the tale of an isolated planet beset by an invisible monster.

Jerry Goldsmith

Goldsmith's 1968 score for Planet of the Apes swung the pendulum back toward traditional orchestration for sci-fi movies. Well, sort of; his tense, percussive score (echoing Charlton Heston's attempt to hold onto his sanity) included a Brazilian instrument called a culka that sounds like hooting monkeys. Goldsmith would go on to write many other memorable sci-fi scores, notably, Alien (1979) and the majestic theme for Star Trek: The Motion Picture (1979), which would be reworked for TV as the theme for Star Trek: The Next Generation.

John Williams

With the original Star Wars (1977), John Williams became the gold standard of sci-fi composers. His Wagnerian use of leitmotifs created instantly memorable themes for the major characters, and his grand opening fanfare is so thoroughly evocative of the movie that it instantly transports viewers back to the sense of awe and wonder they felt when they first saw that imperial cruiser fill the screen. Williams has scored just about every film Steven Spielberg has made; his five-note theme for Close Encounters of the Third Kind (1977) became a character in itself.

Vangelis

The Greek new age composer is best remembered for his electronic score for Chariots of Fire, but his work on Blade Runner (1982) was similarly stellar, a mix of electronica, noirish brass, and traditional orchestral sounds that matched the movie's polyglot futurism.

James Horner

Yes, now he's known for syrupy goo like Titanic, but he got his start as a scrappy Roger Corman factory worker (Battle Beyond the Stars, 1980). He soon graduated to Star Trek II: The Wrath of Khan (1982), where he expanded on Jerry Goldsmith's score for the first movie to include nautical themes (fit for all those Moby-Dick references in the script). His elegaic music surrounding Spock's death and funeral was an early sign of Horner's ability to create music tearjerking enough to make a Vulcan cry. (Genre fans will also recall Horner's memorable scores for 1983's Krull and Brainstorm.)

Alan Silvestri

Silvestri, who's scored nearly every Robert Zemeckis film, is a disciple of John Williams who has a knack for creating a grandiose sound that makes his patron's movies seem bigger and zippier than they are. Case in point: his first big job, the Back to the Future trilogy (1985/89/90). Heard now, it instantly evokes Marty McFly zipping along on his skateboard, or Doc Brown firing up the time-traveling DeLorean. Silvestri's other genre works include Predator, The Abyss, and both Lara Croft movies.

Danny Elfman

Elfman, whose work is so closely associated with Tim Burton that he seems to be the musical portion of the director's brain, combines a reverence for traditional movie orchestration with an irreverence toward classical melody, bred perhaps of his days as the frontman for Oingo Boingo. The result is a frenetic, jumpy, off-kilter sound that's nonetheless grand and majestic, a sound that makes Elfman's music instantly recognizable, not to mention well-suited to such Burton genre pastiches as Ed Wood (1994) and Mars Attacks (1996).

Basil Poledouris

Poledouris created stately, mournful scores for movies with rugged, damaged heroes (the Conan the Barbarian films) and lent a gravity to Paul Verhoeven's science fiction films (notably, 1987's RoboCop and 1997's Starship Troopers) that helped ground their deadpan satire in real human emotions.

Bear McCreary

The ubiquitous 30-year-old composer (who'll be performing the score from Battlestar Galactica this Saturday at a free concert at Los Angeles' California Plaza, as well as next month at Comic-Con) is the sci-fi scorer of the moment, thanks to his television work on BSG and Terminator: The Sarah Connor Chronicles. His tension-filled scores, mixing traditional orchestration with less orthodox instruments (accordion, bagpipe, duduk, erhu), is completely integral to his shows; particularly BSG, where his Middle Eastern/metal rearrangement of Bob Dylan's "All Along the Watchtower" (familar and strange at once) was key to understanding the plot and characters.

LexCorp (DC Comics)
Hailed as one of the largest, most diversified multinational corporations in the world, it also happens to be founded by Lex Luthor, who runs it with his characteristic ruthlessness. The list of cities and countries where the corporation has holdings is basically as long as the list of cities and countries on Earth, and the number of companies controlled by LexCorp is almost as long and just as varied. Unfortunately, as of One Year Later, with Lana Lang acting as CEO, the corporation seems to be heading towards bankruptcy. The "No Helping Superman" rule still applies to all employees, however.

Primatech (Heroes)
The Primatech Paper Company of Odessa, Texas is the first Primatech facility the show introduces us to. Of course, they do a lot more than just make paper—They capture and "study" folks with enhanced abilities, but, really, what they do best is operate in a moral gray area. A very dark gray area.

Blue Sun (Firefly and Serenity)
While it's still unclear exactly what the corporation does, it seems pretty implicit that it isn't good. Although most of the Blue Sun products seen on the show seem as innocuous as coffee cans and crackers, River's actions, such as ripping off their labels on food and slashing Jayne with a knife when he wears their logo, suggest that there's something more going on. Some suggest that there's something in the food, but the stronger hypothesis seems to be that Blue Sun is somehow connected to the experiments done on River and is perhaps working with the Alliance.

Merrick Biotech (The Island)
Merrick Biotech's business is keeping clones of their customers around, just in case said customers should need a transplant of some kind. Basically like the ultimate life insurance, right? Except for the fact that it's illegal to allow the clones to be conscious and sentient, which, of course, Merrick Biotech lets happen and lies to their clients about. Therefore, the corporation has an entire population of fully-conscious human beings living totally unaware of the fact that they're basically just an organ farm. And that's just not cool.

Fatboy Industries (The Middleman, TV series)
In the final episode of the series, Wendy Watson is transported into a classic example of a Mirrorverse, where the megacorp of Fatboy Industries is a totalitarian presence, having taken the place of the government. Unfortunately, the morality of Fatboy in Wendy's real world is still unconfirmed, as there's a hint of "more than meets the eye" to both the corporation and its ambiguous founder, Manservant Neville. (This is underscored by the fact that the rest of Mirrorverse turns out to be not so very different from the real world.)

Buy n Large Corporation (WALL•E)
While maybe not inherently evil, the Buy n Large Corporation did govern Earth (perhaps much like the Mirrorverse Fatboy Industries) and did a very poor job of it. Even if rendering the planet uninhabitable wasn't exactly the gameplan, Buy n Large's role in that happening probably makes it a worse corporation than most of the others on this list.

Tyrell Corporation (Blade Runner)
The Tyrell Corporation produces the replicants, lifelike androids designed to the work deemed to dangerous and demeaning for humans, and is named for Dr. Eldon Tyrell, the founder and genius inventor of the replicants. While it's debatable how truly "evil" the Tyrell Corporation is, there is a definite sinister quality to their dealings and it's nigh impossible to deny that they definitely smack of "evil corporation."

Veidt Industries (Watchmen)
A lot of what was said about LexCorp could be repeated here. Once again, the ruthless ambition of the corporation paired with the questionable morality of its founder leaves us wondering how much to trust this (powerful, financially successful) corporation. Meanwhile, the impending release of the film was paired with a Veidt Industries commercial contest, leading to all sorts of fake '80's advertising:

Weyland-Yutani (Alien franchise)
Perhaps the gold standard of evil megacorporations, Weyland-Yutani's main gig is merciless profiteering, no matter what (or who) needs to be sacrificed in the process. (Fun fact: Their logo can be seen on some of the weapons in Firefly and they're said to be a client of Wolfram and Hart in Angel. Maybe this has something to do with the fact that Joss Whedon wrote Alien Resurrection.)

Cyberdyne Systems Corporation (Terminator films)
While the corporation is said to be benign in the first two films, manufacturing parts for bigger companies, they then make the mistake of creating Skynet, a system of artificially intelligent supercomputers that control (among other things) nuclear missiles. This was not a smart move. In fact, it's just un-smart enough to warrant Cyberdyne's inclusion on this list.

Yoyodyne (The Crying of Lot 49 and V. by Thomas Pynchon)
Yoyodyne is a defense contractor that's described in The Crying of Lot 49 as "a giant of the aerospace industry," and a few characters in the novel work for the company. While the morality of Yoyodyne isn't firmly sealed either way, the thread of conspiracy woven throughout the work suggests that it isn't all it seems. (The name "Yoyodyne" is mentioned, as you might remember, in The Adventures of Buckaroo Banzai Across the 8th Dimension.)

Earth Protectors (Up, Up, and Away, 2000 TV movie)
Ostensibly a group designed to teach middle schoolers the importance of environmentalism, Earth Protectors' favorite method of persuasion is brainwashing. And while handing out CD's brainwashing kids into recycling isn't a completely bad thing, brainwashing the parents to rob banks is another thing entirely. (Actually, brainwashing in general? Not recommended.)

Omni Consumer Products (Robocop)
Described as dystopian and inhumane, Omni Consumer Products (OCP) is an example of military capitalism taken to the extreme, until the corporation no longer cares who gets hurt or killed as long as the PR stays good. OCP is depicted as having its fingers in almost every branch of life, as long as there's money to be made from it. One of their strokes of genius comes from running both criminal organizations and a private police force, thereby ensuring a continued demand for both crime and justice.

Soylent Corporation (Soylent Green)
It's 2022 and the world is overpopulated and hungry. Who better to step in than the Soylent Corporation with their rations of tasty wafers known as Soylent Red and Soylent Yellow? Well, okay, they aren't that tasty, but thankfully, Soylent's come out with a new flavor: Soylent Green. Much more delicious. So what's the catch? Well, we all know what Soylent Green is.

GeneCo (Repo! The Genetic Opera)
After an epidemic of organ failures, GeneCo steps in to give transplants to those in need. Benevolent, right? Well, sure, until the boss, Rotti Largo, gets permission to repossess the organs of people who renege on their payments. And once a corporation is taking out your insides, the benevolence is kind of gone.

He Was Abducted by Aliens

Mostly Harmless by Douglas Adams: Arthur Dent, one of the token Earthlings traveling through the stars, discovers a Tennessean singer with the initials “EP” at an alien bar called “The Domain of the King.” Dent and Ford Prefect buy a pink spaceship from the fellow and tip him an obscene amount for singing “Love Me Tender.”

Animaniacs “Space Probed”: One fateful night, the Warner siblings find themselves aboard an alien spacecraft. A quick inspection of the ship proves that they’re not the ship’s first Earthling guests. Elvis has beaten them to the punch, along with Amelia Earhart, Bigfoot, and Jimmy Hoffa.

Good Omens by Terry Pratchett and Neil Gaiman: Death, one of the Four Horsemen of the Apocalypse, insists he never laid a hand on Mr. Presley, no matter what some pub quiz game says. Chances are that Elvis either is flipping patties at a Burger Lord in Des Moines, or was abducted by aliens who thought him too good for our world.

He Is an Alien

Men in Black: If MIB taught us anything, it’s that anyone you’ve ever suspected of being from another world actually is, from Dennis Rodman to your kooky third grade English teacher. As for the King, he didn’t die, Agent K coolly informs us; he just went home.

“The Bride of Elvis” Kathleen Ann Goonan: Elvis wasn’t just the King of Rock ‘n’ Roll; he was a King, a royal member of an alien race. Fearing his party-hearty ways on Earth would lead to his premature demise, his caretakers, known as “Brides,” place him in a death-like coma until their ship returns to take him away.

He Faked His Death

Bubba Ho-tep: Weary of his fame, Elvis decides to take a breather and find someone else to endure his endless public adoration. He exchanges lives with the world’s most convincing Elvis impersonator, but when the facsimile dies on the can, no one believes that Elvis is the genuine King. He lives out his remaining days in relative peace, at least until the mummies and vampires start showing up.

Death Becomes Her: All individual who partake of Lisle von Rhoman’s immortality elixir must eventually disappear from the public eye. But Elvis can’t resist the occasional tabloid photo op.

Preacher by Garth Ennis: Jesse Custer picks up a number of hitchhikers as he heads towards the Alamo, but perhaps the most memorable is the shadowy Southerner who rhapsodizes on his long-surrendered fame. He never says his name, but reveals his identity as soon as he slides into Custer’s car with a “Thangyu Verrmuch.”

The Chronicle “The King is Undead”: In an episode written by The Middleman’s Javier Grillo-Marxuach, the journalists of tabloid newspaper The Chronicle discover that all Elvis impersonators are, in fact, vampires. And it seems that when the King learned this horrifying truth, he faked his death, adopted the name of his stillborn twin, and became the world’s foremost hunter of the Elvis-themed undead.

The X-Files: In “Shadow,” conspiracy-obsessed Fox Mulder jokes that Elvis Presley was the only man to successfully fake his own death (Andy Kaufman apparently bit it for real). But when the Lone Gunmen investigate an Elvis impersonator only to discover that he isn’t actually Elvis, the trio begins to worry that the King may truly be dead.

He’s Alive and Well, in an Alternate Universe

Armageddon: The Musical by Robert Rankin: A group of aliens become frightfully distressed when their favorite soap opera – the planet Earth – is about to be canceled due to Armageddon. To extend Earth’s airtime, they decide to create an alternate plotline in which Earth’s destruction is delayed. So they send Barry the Time Sprout back in time to persuade Elvis Presley to resist the draft, thus averting US involvement in Vietnam. The time-traveling Elvis ends up creating some alternate histories of his own, including one in which he’s worshipped as God.

He’s Been Copied

Thriller by Robert Loren Fleming: The short DC series features Kane Creole, an Elvis clone turned bank robber. Creole’s none too pleased with the way his creators desecrated the original Elvis’ remains and angrily kills them off.

What If? “What If Thanos Changed Galactus Into a Human Being?”: In this hypothetical tale, Thanos responds to Galactus’ attack on him by transforming the planet eater into a human being. But the remade Galactus isn’t just any human; he’s a perfect copy of Elvis Presley – before the weight gain and the undignified toilet death. Galactus can even sing and dance like the King, and when Galactus is offered the chance to return to space godhood, opts instead to remain on Earth and keep Elvis’ legacy alive.

He’s Really Dead. Honest.

Elvissey by Jack Womack: Elvis may be dead, but that doesn’t stop a cult from emerging in the year 2033 claiming him as semi-divine. In an attempt to maintain their monopoly on the human consciousness, a multinational corporation sends two of its agents to retrieve a young Elvis Presley from an alternate history’s past. But the Elvis they bring back is less “King of Rock” than “sexual predator.”

Sookie Stackhouse Mysteries by Charlaine Harris: Elvis hasn’t made it into True Blood yet, but in the source material, the King was discovered very slightly alive by a vampiric morgue attendant. The misguided vamp decides to make the overdosed Elvis undead, but the resulting creature, answering only to “Bubba,” is somehow brain damaged by the process. The other vampires treat him as a dimwitted errand boy, and try to keep him clear of any household pets.

“You Know They Got a Hell of a Band” by Stephen King: Presley is the mayor of the ironically named town of Rock ‘n’ Roll Heaven, a spot in the afterlife where all the great, tragically deceased rock stars of the world gather and subject “normal” residents to interminable concerts for all eternity.

Odd Thomas Series by Dean Koontz: Elvis numbers among the ghosts who befriend the specter-spotting Odd Thomas. Elvis is reluctant to leave the world of the living because he’s not prepared to face his mother’s spirit.

Six-String Samurai: After a Russian nuclear attack destroys an alternate America, Elvis becomes the literal king of a chunk of the American Southwest. After four decades of rule, he dies, and America’s remaining musicians vie to fill his rhinestone-covered shoes.

RoboCop 2: Lest we had any doubt about the King’s demise, RoboCop 2 settles it. The megalomaniacal drug dealer Cain has Elvis’ skeleton, which is sealed inside a glass coffin.

The Twilight Zone “The Once and Future King”: Not only is Elvis unequivocally dead in this Twilight Zone episode, he actually died long before 1977. Gary, an Elvis impersonator, gets sent back to 1954 and meets his idol. But when he tries to prematurely introduce Elvis to rock music and his famous shaking hips, a baffled Elvis becomes enraged and Gary is forced to kill him in self-defense. Gary then takes on Elvis’ identity and spends the next two decades living out every Elvis impersonator’s dream.

Talking to reporters recently, Aronofsky said that the planned remake of Paul Verhoven's 1989 classic was still in such early stages that it almost wasn't worth talking about:

We have a long way to go... [U]ntil there's a screenplay, there's nothing to really talk about. Until we're going, it just doesn't exist for me. It's just like we're trying to get something good, and we'll see what happens.

When it does get going, however, the director of such movies as Pi and The Fountain plans for the movie to investigate the way in which we're all already cyborgs:

Before you get an MRI, they give you a list of like 38 different things, how you can have metal in your body... From a shutter in your eyelid to a pacemaker, screws and all this stuff you can have in your system. I realized, 'Wow, we are cyborgs.' I mean, everything's not inside us, but the way we're connected to the technology and everything is right there.

Does this mean that we can expect the newest version of Murphy to have to stay away from microwaves? Only time will tell.

The Robocop remake is tentatively scheduled for 2010.

Aronofsky Aims For Hardcore RoboCop [Scifi Wire]

DJ Mayhem and MC Mouthmaster Murf, both members of The Anomalies, have created this ten-minute rap rendition of RoboCop, frequently incorporating lines from the movie in their rhymes:

This isn’t the pair’s first rapping scifi remake. Earlier this year, they gave Predator the same musical treatment.

[via Neatorama]

Talking to Empire Magazine, Aronofsky called the new movie

...[A] real reinvention... Me and David Self are working on the screenplay. He's a great, great writer and we're trying to do something new and fresh.

You may recognize Self's name from Road To Perdition - and he's also rumored to be working on two Marvel movies, Ghost Rider 2 and Deathlok - which suggests that he'll have the right kind of comicky take on this particular Judge Dredd rip-off. But don't take Aronofsky's talk of a fresh take and reinventing the movie to be any kind of slam on Paul Verhoven's original movie:

I'm a big fan of the original. It still holds up as an amazing film, and I think it's more just looking at that same type of material in the 21st century and seeing where it leads us.

Such a fan of the original, in fact, that he's already hinting at a Peter Weller cameo. Personally, my fingers are crossed that Nancy Allen will manage to make an appearance.

Darren Aronofsky Talks RoboCop Remake[Empire]

Automan.

I don't even know if I need to explain this one. It's another Glen Larson show, along the lines of the original Battlestar Galactica, except it's about a guy who's a holographic computer game image come to life. And he goes out and fights crime! — but only when the city's electricity usage is at low levels. If too many people plug in their electric blankets, he vanishes. He's like Tron, only in the real world. And he has a sidekick named Cursor.

Blake's 7

This one is an even bigger WTF, given what a cult following this show has in the U.S. Yes, there are U.K. DVDs, so if you're willing to pay import prices and have a region-free player, you're all set. There were rumors of American DVDs of this show, about a freedom fighter who teams up with criminals to fight an evil galactic federation, several years ago when a TV revival was first floated. But they never materialized, maybe due to rights issues. Also not on U.S. DVD: Blake's 7 creator Terry Nation's series The Survivors.

M.A.N.T.I.S.

Still no DVD, but ooh! Looks like it's available as a video on demand! Still, I am disgruntled. This was announced as coming out on DVD back in 2003. WTF? For those who missed it, this was an early Fox show about a paralyzed scientist (the awesome Carl Lumbly from Alias) who puts on a super exoskeleton/armor suit, and goes out to fight evil. It also boasted an early appearance by our ruler, Gina Torres (I shouldn't need to put anything in parentheses after her name.)

Captain Power And The Soldiers Of The Future

We posted a couple clips from this one a while back — it's an early show from Babylon 5 creator J. Michael Straczynski. It's like a post-apocalyptic saga, with evil cyborgs and laser gun fights. It's pretty much the perfect TV show.

Journeyman

I'm actually kind of shocked about this one. I would have thought this show would do really well on DVD, since it's like a novel in episodes, about a guy who finds himself zIpping between the past and the present, while trying to save his marriage and job and stuff. It's like a metaphor for our modern dislocation. Also available as a video on demand though.

Alienated

Okay, I know almost nothing about this show, but I need to see it on DVD after reading the description: "The plot centers on the Blundells, a typical suburban family living in Victoria who undergo strange (often sexual) changes after being abducted by space aliens (who remain unseen throughout the series)." Plus it's Canadian,which means it's automatically really sophisticated.

Cosmic Slop

This was an African American Twilight Zone-esque anthology show that aired on HBO back in the 1990s. I have been seeking it on DVD for many years. It was co-produced by Reginald Hudlin, and took its name from the famous Funkadelic song. In the first segment, aliens turn up and promise to make America fantastically wealthy forever — if we'll let them take all of our black people away. Another segment is based on a Chester Himes story about a poor squabbling couple who have a rifle mysteriously delivered to their door.

Space Island One

I loved this show when my local PBS station showed it, and we included it on our list of great unsung TV shows. Here's what I said then: The crew of a corporate-funded space station mostly deals with scientifically plausible problems (with a couple of exceptions) and the stories focus on the ethical problems that come with profit-focused science. I should add that the characters get deeper and richer the more you watch this show, until you suddenly discover that the nicest guy on the show is deeply fucked up in a way you never expected. I would maim for DVDs of this show.

The Clangers

Okay, I have no clue if this show would hold up today; I've only seen a few tiny clips since I was a little kid and I watched it religiously. It's a stop-motion claymation show about little aliens living in peace and eating blue-string pudding. You know it's a great show because it's the favorite entertainment of The Master, the evil time traveler from Doctor Who. It's like acid induced proto-Teletubbies in space. I freely admit I may have rose-tinted glasses on when it comes to this show. Here's a clip.

Max Headroom

This one is really a no-brainer. This show influenced so much of today's television and was such a seminal cyberpunk masterpiece. Its brain-exploding superfast adverts, "blipverts," are like a warning of how ADD-focused advertising is becoming. We need a box set that includes his early appearances as a music video show host, his short-lived TV series as an investigative reporter, and his various TV commercial and music video appearances.

RoboCop

Okay, I mostly want to see this because it sounds incredibly cheesy and hilarious. I included it on my list of the worst TV shows based on movies, but it also sounds pretty amazing. RoboCop doesn't actually kill anyone because it's kid-friendly viewing, and villains include Dr. Cray Z. Mallardo and Boppo The Clown. Also not on DVD: the TV series of Logan's Run, Starman and Timecop.

Mann And Machine

I found out about this show when I was doing our round-up of human-A.I. buddy comedy chemistry. And now I can't believe there are no DVDs! It sounds so awesome. It's about a human cop who hates androids, but he has to team up with a hot gynoid partner. And then he sends her on dates with serial killers, and they end up living together. Come on? Why isn't this on your shelf right now?

The Middleman

It is definitely not too soon to start demanding our DVDs of this awesome show's first season. This could turn into one of those big-selling DVD items that converts tons of new fans and indoctrinates them in time for the inevitable second season. (Inevitable, I tell you!) Seriously, in case you're new to io9 and our obsession with this show, this Avengers-esque story of a young artist who goes for a temp gig and becomes the sidekick to a nameless man who fights alien monsters is one of our fave recent TV series, and the real reason DVDs exist is so we can proselytize about shows like this.

Life On Mars (British version)

This head-injury time-travel cop show was a hit on BBC America, and now there's an American remake with name actors in it like Harvey Keitel and Gretchen Moll. So why are there no DVDs on the horizon? After the American remake totally fails to recapture the British magic, we'll need to see the real thing. (I'm still watching the Brit episodes, thanks to the magic of TiVo.)

Space Cases

This Nickelodeon series featured a young Jewel Staite as Catalina, the super-cool space kid with the yelling powers. It was written by Peter David and Lost In Space's Bill Mumy, and featured weird plots and joyously silly acting from guest stars like George Takei (playing the stentorian Warlord Shank.) It was one of the few kids' shows that you'd want to watch with your kid the requisite 20 times. Your kids demand these DVDs!

Spider-Man And His Amazing Friends

For some reason I've been hearing about this show a lot lately. It's the seminal Spider-Man cartoon where he teams up with Ice-Man from the X-Men and Firestar, plus a super-dog. Graeme recently suggested Spider-Man 5 should be based on this awesome cartoon. So why can't we watch it and judge for ourselves?

Time Trax

Okay, you're going to start questioning my sanity now. But I loved this show when it was on the short-lived PTEN syndicated network back in the early 1990s, because it was so goofy. Dale Midkiff is a cop from a dystopian future (where white people are a persecuted minority) and he has to go back to our time to chase down time-traveling criminals. In every episode, a boxer from the future uses his future-boxing powers to win boxing matches. Or a future car mechanic uses future car mechanic powers or whatever. And the future cop has a holographic sexy librarian helping him! It's so awesome. Why is there no DVD?

Tripods

And finally, the BBC TV adaptation of this classic book series about teenagers fighting War Of The Worlds-esque alien invaders was brilliant and arresting. It featured then-cutting edge special effects and a cool alien-fighting coming-of-age storyline. I haven't seen it in 20 years, and I'm dying to see it again.

Runners up: Jake 2.0 never really won our hearts, because we were waiting for Jake Panther. Also: Animorphs; Charlie Jade; Century City; Century Falls; Dark Skies; Doctor Who: the TV movie; the Star Wars Holiday special (does someone really want that on DVD?), Exosquad; First Wave; The Man From Atlantis; Future Cop; Hard Time On Planet Earth; Manimal; Men Into Space; The Night Man; Now And Again; Out Of The Unknown; Probe — when you search for this on Amazon, you get lube!; and Project UFO.

MTV asked, presumably, about the setting of the movie in the hope of discovering just what it means for the new movie to be "not a direct sequel" to the original series. Aronofsky offered the following meaningless explanation:

We’re deep in it, [b]ut there’s not much to say until there is a screenplay... I don’t think it’s set anywhere that’s recognizable.

So, wait. Does that mean that Detroit will be unrecognizable because it's the future, that it'll be in some generic, probably Canadian, city altogether? Or that Aronofsky's just going to film it in such a crappy way that you won't be able to tell where anyone is at any point?

Darren Aronofsky Hints ‘Robocop’ Will Take Place In ‘Unrecognizable’ City [MTV Movies]

Professor Noel Sharkey, Professor of Artificial Intelligence and Robotics at Sheffield University, has been researching robotic trends internationally, and feels that we'll be ready to worship our new robot overlords as early as 2040:

Machines could take over many crime-fighting tasks from the police by 2040, a leading British robotics expert has said. Professor Noel Sharkey believes that by 2084 advanced robots will have human-like features and will be able to detect weapons as well as recognising drunks and aggressive behaviour in large areas... The report also predicts autonomous police cars will appear by 2070 which will be able to recognise speeding cars, identify licence plates and automatically deduct fines from bank accounts at the same time as adding points on driving licences.

Sounds like some kind of robot-driven future dystopia? It should; the report, while genuine, was commissioned to promote the UK release of Terminator: The Sarah Connor Chronicles on DVD.

Crime-fighting robots 'by 2040' [Press Association]