Artist Joanna Mulder was showing off her amazing wares at NYC's King Con this weekend, and they are just brilliant. Check out her site as well — any artist who knows how to incorporate Enemy Mine into an ad, and put our two favorite droids into love's sweet embrace is uber-talented. Here are a few of my favorites...

Purchase these shirts and a lot of other great geeky items at Etsy.

Thanks for the tip OMG_Ponies.

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]

Captain Kirk velvet painting from The Velvet Store

Admiral Ackbar velvet painting from eBay auction.

Velvet Yoda painting for sale here, for just $1,500. Cheap!

Velvet Yoda Elvis painting, from BoingBong

Unicorns in space, from BoingBoing!

Star Wars poster on black velvet, from Mike Jackiw.

U.S.S. Enterprise on black velvet — sorry this is so low-res, but I had to include it. From Who Would Buy That? via Site Du Jour.

Chewbacca, plus weird creepy angel heads, on black velvet. From Brancusi7 on Flickr.

Baby Princess Leia on black velvet, from Bonnie Burton at the Star Wars Blog. (Thanks Bonnie!)

Admiral Ackbar (again!) From Indignico Inc. on Flickr.

Unicorn on the Moon! From Indignico Inc. on Flickr.

Wesley Crusher! As presented to Wil Wheaton. From Indignico Inc. on Flickr.

The Winchester Bros. From Indignico Inc. on Flickr.

A Sleestak, in contemplation. From Indignico Inc. on Flickr.

The Joker. From Indignico Inc. on Flickr.

Kim Jong Il and another Sleestak (why??) From Indignico Inc. on Flickr.

Apparently Wheaton did a lot of voice work for the Romulan crew, and it's all thanks to fellow voiceover-artist Greg Grunberg's Twitter outreach to Wheaton. The clip and casting extra is from the Star Trek DVD, which will be released November 17, 2009.

Casting Spock:

Wil Wheaton's Cameo:

From Wil's Blog on the whole voice dubbing experience:

I met JJ at an ADR stage a few days later, where he told me the entire plot of the movie (and, for the record, hearing JJ Freakin' Abrams tell you the plot of his Star Trek is even more awesome than you'd expect) and showed me some of the scenes that I'd be dubbing. I ended up providing voices for all the Romulans on Nero's ship, including the guy who tells him that "it's time" at the very beginning of the movie. (Yeah, how cool is that?)

[via Trek Movie and Wil Wheaton]

Anyone else shocked this was how they chose to use Baird? We can see why it got cut — it doesn't exactly paint Kirk as a sensitive guy when dealing with alien species, but damn if Chris Pine isn't turning his charm up to 11 here.

Star Trek will be out on DVD Nov. 17. [Borders]

Thanks to Erica Brown for the tip.

Star Trek 2:

It's been a few days since we've featured an almost koan-like vague utterance from one of the creators of this film, so here goes. J.J. Abrams says it would be a "challenge" to recast Khan Noonien Singh, but no more so than recasting Kirk, Spock and the others was. And he adds: "While I don't want to approach the second film as a remake of episodes we've seen in the past... nothing is off limits in terms of what we're discussing." So it won't be a straight-up remake of an original series episode, except that it might be. [MTV]

2012:

Roland Emmerich gives SciFi Wire a rundown on the monuments he destroys in this new movie. This time around, the White House gets pulverized when a tidal wave carries an aircraft carrier, the John F. Kennedy, into it. "I've got JFK kind of coming back to the White House, which I thought was ironic," says Emmerich, who's obviously a big Alanis Morrissette fan. Also, a big cruise ship, meant to evoke the Poseidon, rolls over. A big crack appears in the ceiling of the Sistine Chapel. The Basilica, in the Vatican, tips over and falls on people. Also, the Christ the Redeemer statue in Rio de Janeiro collapses "because I'm against organized religion," says Emmerich. (He wanted to destroy an Islamic monument, but feared a backlash.) [Sci Fi Wire]

Let Me In:

Matt Reeves has started filming his American remake of this Swedish classic, and Overture Films says it'll pay homage to the original, but reinvent it. [ShockTillYouDrop]

Doctor Who:

Here's the official synopsis for "Waters Of Mars," coming up Nov. 15:

Mars, 2059. Bowie Base One. Last recorded message: "Don't drink the water. Don't even touch it. Not one drop."...

Lindsay Duncan stars as Adelaide – the Doctor's cleverest and most strong-minded companion yet.

She and The Doctor face terror on the Red Planet as they battle against a mysterious alien living within the terrarium of life on Mars' surface which infects its victims using a water compound it creates.

Neighbours, Flying Doctors and Casualty star Peter O'Brien also guest stars as Ed, Adelaide's second-in-command at the base.

[Blogtor Who]

Someone else who went to the screening says that the "deadly water" storyline is clumsily executed. (The phrase "Water always waits. Water always wins" is spoken.) But generally it's great stuff. The dilemma the Doctor faces in the episode paves the way for his ultimate demise, and there are hints that the events of "The Runaway Bride" and "Fires Of Pompeii" will be important to the Doctor's future. Also, Russell T. Davies confirmed that Donna's mom and the Master's wife (Lucy Saxon) will be back in the final episodes, which we pretty much knew already. [Unreality TV]

Steven Moffat answered questions at the Screenwriters' Festival. He's a big fan of Peter Cushing's TARDIS from the 1960s movies, so don't be surprised if there are touches of that in the new TARDIS layout. He says the 1996 TV movie proves that you can't get too grown up with the series, and it should remain a children's show. And he's writing six episodes of the season, plus Richard Curtis is writing one — leaving six mystery slots. And Matt Smith is playing the Doctor as a much older man who just appears younger, not unlike Peter Davison. Moffat's biggest challenge? Writing the final episode.

[Den Of Geek and Digital Spy]

And here's the first clip from the animated episode, "Dreamland." I cannot get used to the look of this animation... [BBC]

Lost:

Even though Juliet is definitely dead, she's a major player in the final season, days Damon Lindelof:

Juliet basically birthed season 6 by the actions that she takes in the final seconds of season 5. She is completely responsible for the end game of the show. So the character is going to be seen in a slightly different light this year. We gave her that action for a reason, and that's because she's so important to the fabric of the story.

[EW]

Is Ben the Final Cylon? Damon Lindelof says the final season's mood, and maybe some of the storylines, are summed up by Bob Dylan's song "Visions Of Johanna":

I have that song on my iPod, and when I hear it I think about the show," said Lindelof. "There are certain lyrical phrases in that song that are very well-suited to 'Lost.'"

[MTV]

V:

Here's another sneak peek from tonight's premiere episode, which I'm pretty sure we haven't shown you. [E! Online]

Supernatural:

OMG here's the official synopsis for episode 10, "Abandon All Hope," the episode two major characters won't survive:

SAM AND DEAN FACE OFF AGAINST LUCIFER - Sam (Jared Padalecki), Dean (Jensen Ackles) and Castiel (Misha Collins) track down the Colt and head off to find Lucifer (guest star Mark Pelligreno) to send him back to Hell. It's a hunters' reunion when the crew joins forces with Bobby (Jim Beaver), Ellen (guest star Samantha Ferris) and Jo (guest star Alona Tal) for what could be their last night on Earth.

[Devoted Fans Network via SpoilerTV]

Caprica:

Three new TV spots include some new footage. [Galactica Sitrep]

Fringe:

This week's episode is all about Broyles,and revisits a case from his past. We learn that he chose the Fringe Division over his marriage four years ago, and has lived to regret it. [E! Online]

FlashForward:

Here's the official description for episode nine, "Believe":

BRYCE BEGINS SEARCHING FOR THE WOMAN SEEN IN HIS FLASHFORWARD, AARON BECOMES CONCERNED OVER TRACY'S ODD BEHAVIOR, AND MARK TRIESTO TRACK DOWN THE PERSON WHO ALERTED OLIVIA ABOUT HIS DRINKING DURING HIS VISION

[SpoilerTV]

Smallville:

Here's the official description for "Pandora":

BACK TO THE FUTURE - Tess (Cassidy Freeman) kidnaps Lois (Erica Durance) to find out where Lois went after she disappeared for weeks. Lois's memory of the future depicts a Metropolis under Zod's (Callum Blue) rule and Clark (Tom Welling) powerless under the red sun, while Chloe (Allison Mack) forms a resistance group with Oliver (Justin Hartley). After learning of these future events, Clark makes an important decision about Zod.

[Kryptonsite]

Clark's black suit is just a bridge to his classic Superman costume, and once the Justice Society convinces him to embrace his human side, he can don more of the red and blue again. The season may even see him creating a costume with a bit more color, like Tobey Maguire in first Spider-Man movie. [TV Guide Magazine]

Here's another clip from Friday's new episode, featuring Tess and Zod.

Twilight:

Here's our first glimpse, from Eclipse, of Xavier Samuel as Riley, a baby vampire whom Victoria (Bryce Dallas Howard) uses as a pawn in her revenge on Bella. [MTV]

Star Wars: Clone Wars:

Here's a new image from tomorrow night's all-new episode, in which:

Anakin, Ahsoka and Ki-Adi-Mundi lead a landing party to destroy a droid factory that Poggle the Lesser has rebuilt on Geonosis, but things go terribly awry when Separatist gunners shoot down the Republic ships. Despite heavy losses, Anakin and Ki-Adi-Mundi must rendezvous in time to destroy the enemy factory before it can begin production.

True Blood:

Even though Godric is dead, the show's creators are considering exploring his 1,000 year history with Eric through flashbacks. [E! Online]

Additional reporting by Josh C. Snyder.

I have to confess, it's very hard for me to watch horror movies. It's not that I don't enjoy the occasional scare, and it's not that I'm worried about ghosts and monsters following home (although I will confess to a mild fear of zombies). No, it's just that when the body count starts rising, I start feeling, well, sad. I don't come out of the theater pumping with adrenaline; I'm too distracted thinking about the people who died and the loved ones they've left behind.

The plots of several pieces of horror are discussed below, so be warned there may be spoilers.

The movie that really hit this home for me is not a science fiction movie, but Wes Craven's Scream. In the movie's opening sequence, Drew Barrymore is terrorized by a knife-wielding serial killer one night while she's home alone. As the killer is chasing her down, her parents pull up in the driveway. For a brief moment, it looks like she's saved, but in the next shot, we see the parents, happy from a pleasant evening out, and their daughter pulled down by the killer before she has the chance to cry out for help.

How horrible. It's a suspenseful moment to be sure, but one that evokes horror more than terror. Horrifying that she was so close to salvation only to meet a brutal end, and horrifying that her parents will find their daughter mutilated on their lawn and spend the rest of their lives wondering what would have happened if they have come home just a little sooner. It's a scene tinged with more tragedy than terror.

Horror is a genre that picks and pokes at our deepest anxieties. It's a reminder that we live in an unstable world, and that no matter how careful or good we are, we could at any time be struck with death, disfigurement, or madness. A lot of horror movies appeal to our limbic systems, to that part of our brain that wonders what lurks in the shadows and triggers a happy release of hormone every time someone shouts "Boo!" And there is undeniably an artistry to that, to the sort of jumps and thrills so frightening that, weeks later, you're still checking under the bed for demons from Hell. But often the horror that still lingers for years afterwards are the ones that play on the less primal — but still very human — fears of losing the ones you love and being left alone in the world.

When Heartbreak Drives the Horror

Horror protagonists don't always make the best choices. They insult powerful witches, run up the stairs when they should run out the door, and try to capture the man-eating alien instead of killing it. And when Louis Creed buries his son Gage in the Micmac burial ground in Stephen King's Pet Sematary, we know it's a bad idea. He knows it's a bad idea. But he so desperately hopes that he can repair his wounded family that he is willing to make a terrible and utterly wrong decision. And when Gage comes back only to murder his mother, Louis too easily manages to talk himself into burying his wife in the same graveyard.

It should be a forehead-slapping moment, but it's depressingly relatable. That Gage comes back as an undead monster is pretty horrifying (he did make our list of scariest characters in film), but what's more horrifying is what grief can drive Louis to do. His grief is so potent, so unbearable that he's willing to make monsters out of his loved ones in the hope that seeing them again will mend his heart.

It's an idea that harkens back to WW Jacobs' "The Monkey's Paw," that famed exercise in truly depressing horror. After the Whites receive a wish-granting monkey paw, they wish for money, only to lose their son in an accident and receive compensation for his death. In that moment, they understand the nature of the monkey paw: it grants wishes, but in a perverse way. Still, the husband defers to his wife's terrible, maddening grief and wishes their son back to life. But, like Louis Creed, Mr. White must make his son dead again — knowing what comes back couldn't possibly be right — doubling his guilt and grief.

There are reasons why stories like "The Monkey's Paw" endure, and why its ideas find its way into so many other works of horror. They force us to access our fears of losing those closest to us, asking us how far we would go to keep them with us. Perhaps the most frightening thing about these stories that many of us will face terrible grief in our lives — and perhaps even guilt at the deaths of our loved ones — and we could be capable of making the same terrible decisions as the people in these stories, even if we don't get the opportunity to act on them.

When Losing Someone Makes Things That Much Worse

Even when grief and loss aren't the focus of a horror story, a moment of terrible loss can have more impact than even the most terrifying monster. 28 Days Later adds a frightening bit of realism to the zombie apocalypse, but it never forgets that the fear of losing your life is little match for the sadness that comes in a world suffused with death. When Jim discovers that his parents committed suicide in the face of violent death (leaving a note begging him not to wake from his coma), it's a bright spot of pain in a movie already filled with terror. But when our merry band of survivors becomes something of a family, with Frank playing the wise and protective father, the apocalypse seems survivable, almost manageable. Then Frank becomes infected with the Rage virus, and it's not just another zombie movie death. It puts a lump in your throat and reminds you that the zombie outbreak isn't all fun and killing the Infected — it's actually horribly sad.

This threat of loss adds dimension to other horror movies as well. Take The Ring, a film already terrifying in its J-horror weirdness. That The Ring turns a VHS cassette into an object of terror is incredibly impressive, but it's when Rachel's son Aidan watches the tape that the clock really starts ticking. Faced with the death of her son, Rachel must not only save herself, but survive long enough to keep Samara from killing her son as well. It adds a deeper, driving motivation to an already scary movie.

Joss Whedon is perhaps the master of this particular brand of horror. Though the series was filled with man-eating monsters, death in Buffy the Vampire Slayer is often random, senseless, and poignant. Few moments in the show stand out as clearly as Joyce's death from an aneurysm, or Tara's from a stray bullet. The central theme in Buffy is that family and friends make life grand, even when your life is filled with mayhem and violence. In such a world, few things are as horrifying as losing part of your family, and such deaths always left the characters unbalanced, even psychotic with grief. Even the show's most calculated death, Angelus' slaying of Jenny Calendar, is designed to maximize heartbreak. It's not enough that Angelus kills her; he also has to place her in Giles' bed with a trail of roses leading up to it, in a mockery of romantic seduction. And that heartache, far more than fear, drives Giles to hate and try to destroy Angelus.

When Your Loved One Turns Monstrous

This is a staple of vampire and zombie movies, when you find you must destroy the creature wearing your loved one's face. Buffy tried this in the very first episode, turning Willow and Xander's friend Jesse bloodsucker and forcing Xander to kill him an episode later. It's not the strongest instance of this particular trope (I'm not sure if Jesse is even mentioned later in the series), but it's a solid introduction to the horrible nature of vampires. Zombie movies are stronger in this regard. Even Shaun of the Dead, a movie mostly devoted to the funny side of the undead, goes suddenly tearjerker when we learn Shaun's mother has been bitten by a zombie. This bit of sadness is then compounded by the ensuing debate over shooting Shaun's dead mother in the head. Even though everyone knows it has to happen, Shaun can't bring himself to let it happen, and even the normally logical Liz argues against it. And when his mother inevitably rises from the dead, Shaun is the one who must shoot her body, a shockingly tearful moment from the zombie romantic comedy.

It's another work from Stephen King, The Shining, that offers a more realistic view on why this concept is so horrifying. Jack Torrance is a man so driven to drink that he gives his soul over to the hotel for alcohol. In the movie, it's played more as slasher horror, with Jack Nicholson gleefully hunting down his wife and child, but it's a grim reminder that the people we love could become the people we fear, or that we ourselves might be capable of inflicting terrible harms on our loved ones.

When Hope Is Your Worst Enemy

Few genres are as relentlessly obsessed with death as post-apocalyptic fiction. In Cormac McCarthy's The Road, death abounds; most of the world is dead, bands of rapists and murderers prowl the road, and the protagonist's wife has killed herself. The protagonist is not concerned for his own survival — he's already dying — but for his son's. He's confronted with the wrenching knowledge that he might have to kill his son to save him from an even worse fate. But he hopes for something better, hopes that he will find good people with whom his son could make a future. The whole book is a dirge for civilization, but the father's hope might only leave his son open to future horrors — and tragically, the father dies without knowing his son will fall in with good people after all.

In The Walking Dead, zombies are less agents of fear than they are death incarnate, and the comic often plays on themes of hope and how we cope with loss. Hope is tragic as much as it is necessary for survival. A farmer keeps his undead family in a barn by his house, hoping there will someday be a cure. The survivors hope to rebuild some semblance of civilization, but lose some of their number every time they think they've found peace. And as brutal and horrible as death is for the ones who die, the grief of the survivors is far more powerful and frightening.

The Fear of Dying Alone

It's telling that the very first episode of The Twilight Zone , "Where Is Everybody?" deals with loneliness, and the human need for companionship. It's a theme that inspired one of the more unnerving episodes of Star Trek: The Next Generation. In "Remember Me," Dr. Crusher sees the her son and everyone else aboard the Enterprise disappear, until she's the only one left (of course, it turns out that she's the one who has actually disappeared, in this case into a static warp bubble). The episode has a Twilight Zone quality to it, but it's especially bleak that Crusher is at the center of it. Here is a woman who has already lost a husband to the hazards of Starfleet, whose closest friends routinely put their own lives in danger, and whose son is joining the very military organization that took her husband. "Remember Me" is, more than anything, a metaphor for the very real possibility that she could end up alone. Even Garfield, of all things, played with this idea in its surprisingly depressing 1989 Halloween run, where the orange fat cat wakes to a future where his house is abandoned and he never exists.

Even the episode of The Twilight Zone that was most optimistic about the apocalypse, "Time Enough at Last," deals with loneliness. After a nuclear attack wipes out everyone around him, Burgess Meredith is about to commit suicide until he realizes there's a library full of books to keep him company. It's only when he breaks his glasses that he feels truly alone, and that loneliness is more frightening than anything that goes bump in the night.

(Thanks to Graeme for suggesting "Remember Me").

Spike TV has an official clip from the new trailer (which is available in much higher resolution over at Spike's site):

But it turns out there's less to the Klingons than meet the eye in some scenes. According to a snippet of making-of footage which turned up online recently, some of the Klingons were actually little kids in Klingon costumes, shot from angles to make them look like grown-ups, so the sets would look huge.

Star Trek will be out on DVD Nov. 17. [Borders]

After compiling 43 clips of science-fiction dream sequences, we started to wonder exactly why we invade people's dreams so often in SF stories. What purpose does this unreality serve?

We all want to venture past our own limited little reality fields and pop our limiting bubbles of experience — and sometimes aliens, spaceships, time-machines and weird mutations just aren't enough to make that possible. Sometimes we have to get all the way liminal. Stand in the doorway for a bit.

But more specifically, here are some reasons why science fiction gets so dream-happy:

1) The cheap foreshadowing

So we haven't thought about the Borg in months, and they haven't flashed so much as a single implant around these parts. But they're never far from our thoughts — or our dreams, for that matter. And it's just a nifty coincidence — and by "nifty," we mean "ominous and horrifying" — that our hero has a terrible dream about the Borg right before they pop up again. Such a dream does double duty: it reminds us of exactly what the Borg are about and why they're so fearsome. And it sets the mood for another round of Borgian devilry.

2) The prophetic dream

This is similar to the use of dreams as foreshadowing, but usually the foreshadowing dream also includes some actual useful information that our heroes can decipher and use against the monster/villain later. The prophetic dream is a plot device as well as (or sometimes instead of) a grace note. It's not just thrown in for effect, it's actually providing useful info, or at least clues to future developments. The frequent dream sequences in Buffy The Vampire Slayer often set up developments years down the road, like the coming of Dawn. A cruder version is the Doctor's dream at the start of the Doctor Who story "The Time Monster," which gives him tons 'o' clues.

3) Escaping the straitjacket of realism

Science fiction often works really hard to establish a mood of complete realism, paradoxically because it features so many elements that don't, and maybe couldn't, exist in our world. And sometimes, the only excuse for letting go of that need for realism is to stick in a dream sequence, where everything goes loopy.

4) Heightened realism

On the other hand, if people really did meet aliens or their own grandparents, or whatever, people would probably have severe, bizarre mental reactions as a result. Reactions that, honestly, would seem over the top or crazy if you tried to depict them normally. So sometimes the only way to convey a realistic sense of humans coming face-to-face with the unreal is by representing their terror and confusion in the form of an alarming dream. It's actually a form of added realism.

5) Thematic gracenotes

This is something that seemed to leap out from many of the dream sequences we looked over. Like Fahrenheit 451, for example — the hero is facing a conflict, or a mind-blowing decision, and we see that mental anguish amplified in a dream sequence. Preferably full of whirling shapes, and faces going around in a circle. Whoosh.

6) The easy scare that doesn't break any toys

Oh no, Ripley has an alien in her stomach, and it just burst out! Oh, except she doesn't, and it didn't. False alarm, folks.

7) Padding the running length.

What do you mean, we still have another ten minutes left? Do we have any explosives we haven't set off? No? Can we afford another monster costume or some extra CG? No? Okay, how about a long, trippy dream sequence where people stand around and recite e.e. cummings. It's puddlewonderful — in space! The fans will be debating what it means for decades...

8) Up the surrealism ante.

Imagine you're David Lynch. Okay, that may be asking too much. But pretend for a moment that you're impersonating a guy (or Laura Dern) and who has weird hair. And the person you're impersonating has done a lot of drugs, and it's making him or her have loopy visions of worm babies. What can you possibly do to make this guy (or Laura) have more weirdness on top of that? How about a totally batfreak dreamsequence, preferably featuring David Bowie? Or maybe a tiny radiator lady with facial hair?

9) Meeting the alien

Sometimes alien creatures (and gods, and demons) are so alien that no real-life encounter will work. The only way we can talk to them, or have any kind of meaningful communication, is in a dream, or a dreamlike world, where everything is semi-nonsensical and there's a bit of vaseline on the lens... because we're meeting a consciousness that's totally unlike our own.

10) Extra sexiness without consequences

And most importantly, we want to see Mulder shirtless and handcuffed. We want to see Sookie and Eric doing the wild thing. We crave random titillation, and we don't care if it makes sense in the context of the story. In fact, the less sense it makes, or the more it hints at undercurrents of sexitude under the surface, the more exciting it is. So it's almost mandatory for dream sequences to include "I can't believe they went there" friskiness.

The truth is, we want to be smacked in the face with strangeness. Our desire for the bizarre and ridiculous is so much greater than our pitiful suspension of disbelief that you need to short-circuit the whole "is this really happening" question.

MTV's Splash Page blog quotes Abrams, who wrote a screenplay for an unmade Superman movie years ago, as saying that he wouldn't necessarily say no if asked to return:

It was a very passionate character for me. As a kid growing up it meant a lot to me. It would be wonderful and fun to see that brought back. I don't know what Warners is thinking or what their plan is. It would be a blast.

This seems like a no-brainer for Warners, who are already facing the possibility of having to pay damages to the families of Superman's creators if they don't have another Superman movie in production by 2011. But does even that mean it's likely to happen?

J.J. Abrams Says Returning To Superman 'Would Be A Blast' [MTV Splash Page]

Geocities had a fantastic DIY sensibility that encouraged absolutely anybody to put up a website. And people used it to upload articles from their old fanzines, and create sites on incredibly niche topics, like all the different versions of the Fourth Doctor's scarf we saw on Doctor Who, or the history of obscure TV shows. Nowadays, people would probably start blogs instead — but it's hard to keep a blog about Tom Baker's scarf going for terribly long.

Is there another fansite for science-fiction disco wizard Meco on the internet? We couldn't find one.

Anyway, we searched through Geocities in its last remaining moments, and pulled up some of our favorite sites that cover obscure or odd topics, plus a few of the silliest. What are your favorites that you'll miss when it's gone?

Jellied Jar-Jar Binks! Ummmm... yeah. Okay. http://www.geocities.com/rhelynn/SFC/
A really fun unified timeline for all science fiction stories (well, a lot of them, anyway...)




http://www.geocities.com/Area51/Zone/3746/Scarf.html
Nobody will ever be this earnest about The Matrix again. Sadly. http://www.geocities.com/hollywood/theater/9175/neo/matrix101.html

Did you know there was a Space Family Robinson series for years before Lost In Space? I didn't.
Admit it, you want an easy to find repository of the original screenplay for Star Trek V. I love the part where they explain that the universe is real, and this movie will adhere to REAL science. http://www.geocities.com/ussmunchkin7/Star_Trek_V.htm

http://www.geocities.com/~mikehartmann/ads.html
http://www.geocities.com/ktesh_kag/SMrecipes2.htm
This seems to be some kind of Star Wars parody site, but I couldn't quite figure it out. It's cute, though.
http://www.geocities.com/asnapier/nano/n-sf/
http://www.geocities.com/Hollywood/4953/trout.html
http://www.geocities.com/Hollywood/Studio/6600/bwld.html
http://us.geocities.com/naran500/index.html







http://www.geocities.com/terabithia.geo/string.html
http://www.geocities.com/Area51/5555/

This appears to be the official site for Jupiter Moon, a somewhat obscure and short-lived science fiction series from England, containing reams of information. Hard to imagine that info will be available anywhere else...

Plus there's also a chance that this is fan made, in which case this person is a very impressive artist. The attention to detail is wonderful, especially with all the giant nods to early Communist propaganda. It's got us wishing we'd have Klingon choristers going caroling at our houses come December. [Via TrekMovie, thanks Kyle!]

Star Trek:

Zoe Saldana says she can't wait to take off her shirt again, although she presumably doesn't know if that's happening in the new movie. She also hints that filming may take place next year after all, despite all those delay reports. [E! Online]

So what's the new one about? J.J. Abrams offers some vague ideas:

The second one has an obligation to go deeper and maintain the fun and adventure in the sense of optimism and scale that [Gene] Roddenberry created. But I do think it has to evolve and not become some polemic over-the-top, on-the-nose allegory. It needs to be something that is not just about the characters meeting each other and having their first adventure; it needs to be about having their most meaningful one.

But he says it definitely won't be called Star Trek 2.[MTV]

Harry Potter And The Deathly Hallows:

There's an insanely detailed description of Bill Weasley's wedding scene, at the link. [HP4U]

Doctor Who:

The Eleventh Doctor lands in a graveyard and has a jolly chat with his new companion Amy, in some new set pics. Theories suggest this is for a two parter starring Sam Davies, a child actor, playing Elliott. And there are a couple of Youtube videos of the filming as well. Photos by the amazing Scooty, more at the link. [Gallifrey Base and BlogtorWho]

And the writer of the next animated adventure, "Dreamland," talks about the creation of an American companion for the Doctor, Cassie Rice. [BlogtorWho]

Sarah Jane Adventures:

Digital Spy has more details about this week's long-awaited two-parter, guest-starring David Tennant as the Tenth Doctor. Tennant doesn't show up until the end of part one, and his first words are, "Stop this wedding!" Sarah Jane's relationship with businessman Peter Dalton moves quite quickly, although there is liberal use of cue cards saying "One Week Later." The Trickster appears to behind the whole business, and when the Doctor shows up, he's quickly parted from Sarah Jane as well as his TARDIS. He's got the kids to help out, though, and one of them receives a massive electrical shock. The Doctor says "Allons-Y" and "I'm so sorry." And he's referred to as "the man of ice and fire," and told "the gate is waiting for you." At the end, Sarah Jane tells the Doctor (I think) that nobody will ever forget him. One more pic at the link. [Digital Spy]

The Prisoner:

A big batch of new stills from the AMC miniseries remake. Fingers massively crossed! [UGO]

Fringe:

A bunch of pics from the Nov. 12 episode "Of Human Action." The gang investigates a kidnapping that rapidly turns into a hostage situation in New York, and discovers an unknowable force has "mind-blowing consequences." And they go to Nina Sharp for help. [Fox]

And here's a casting call for a character we'll be meeting in episode 2x12:

[CDC FIELD HEAD ARNOLD MCFADDEN ] Male. Open Ethnicitys. This authoritative man in his mid 40s is brought in to help prevent a potential bio-terrorism event...GUEST STAR

[SpoilerTV]

Supernatural:

I'm pretty sure this is a new clip from Thursday's episode, featuring a super-aged Dean. [TrekMovie]

And here's the synopsis for the ninth episode, which I would be dreading if it wasn't written by Eric Kripke himself:

IT'S A SUPERNATURAL CONVENTION! Super fan Becky (guest star Emily Perkins) uses Chuck's (guest star Chuck Benedict) phone to trick Sam (Jared Padalecki) and Dean (Jensen Ackles) into attending a Supernatural fan convention, complete with fans dressed up as Sam and Dean. One of the activities is a live action role playing game, but things quickly turn sour after a real ghost appears on the scene.

[SPNSite]

Smallville:

We'll be meeting a new villain in episode 9x12. Could this be Amanda Waller?

[ANDREA POTTER] 35 – 55 yrs old. A heavyset, imposing and ruthless African American woman. She has sinister plans for the citizens of Metropolis…Do not limit your suggestions to heavyset. This role is established in Episode #912 but is a RECURRING GUEST STAR role.

[SpoilerTV]

Producer Kelly Souders warns: "You will see more people than you can imagine die in the first 12 [episodes]. Luckily it's Smallville, so not all of them stick." He says some of these deaths may take place in the future, and we also may see some people snuff it in some of Lois' visions. [TV Guide]

Geoff Johns twittered that his episode featuring the Justice Society is actually "an insane DCU infused two-part epic. Part I is 'Society' and Part II is 'Legends.'" And yes, it features Stargirl, Dr. Fate and Hawkman. [Twitter via SpoilerTV]

Heroes:

Another episode, another flashback. Here's a casting call for episode 4x15, one of the truncated season's final episodes:

[20 YEAR OLD SAMUEL] 20 Male. Caucasian. A passionate rock & roller in love with his childhood sweetheart. Dangerous and charming. We are casting the young version of the actor Robert Knepper…Please see attached photo. Actor will not have lines but will be featured and paid.

[SpoilerTV]

And the episode before that, 4x14, will be called "Let It Bleed." [The ODI]

Stargate Universe:

Here's a clip from Friday's new episode, "Water," that I don't think we've shown you yet.

And here are some stills from the episode. [SpoilerTV]

Additional reporting by Mary Ratliff.

Actually, my absolute favorite of all time has to be this weird sequence from Futureworld, with the red ninjas, and the bondage, and the sexy, sexy gunslinger action:

If you can explain to me exactly what that dream about Yul Brynner symbolizes, I'll buy you your own lifesize Yul Brynner gunslinger robot.

Even though science fiction often strives to portray bizarre or other-worldly things happening in our "real" world, it often reaches for the most jagged tool in a film-maker's kit: the dream sequence, in which things are practically required to get loopy and unreal. Some creators — like, say, David Lynch and Joss Whedon — love the dream sequence more than others. But it pops up surprisingly often. With the melty faces, and the people falling in space, and the weird animal costumes, among other things...

Here are 40 or so dream sequences that we love, divided up by era...

1920s through 1970s (Or if you want to view it in a non-gallery format, click here.)

1980s. (Or if you prefer a non-gallery format, click here.)

1990s. (Or, for non-gallery format, click here.)

2000s. (And it's available as a non-gallery page, here.)

I wouldn't dream of claiming that we included every amazing SF dream sequence, ever. So what are your favorites? What did we miss?

Sources: UGO, Wikipedia, FinestFive and IMDB, among others.

Let's quickly get the superhero stuff out of the way, shall we? DC is launching a new Azrael series, mixing Batman and The DaVinci Code for a new religious hero to light Gotham's streets. Or something.

DC is also putting out a hardcover collection of the much-delayed, but much-awesome Final Crisis: Legion of Three Worlds series, that redefined the Legion of Super-Heroes franchise at least until the next reboot.

Marvel sees that collection and raises Captain America: Road to Reborn, another hardcover collection, this time of the Cap issues leading up to Steve Rogers' return. Marvel also offers Dark Wolverine Vol. 1: The Prince, a collection of the first solo stories starring Wolverine's bastard (in many senses of the word) son, and the special issue Dark Reign: The List - Hulk, in which gamma irradiated monsters come face to face with Marvel's current New World Order (I predict smashing).

Keeping outside of monsters for the time being, Nexus: Space Opera and Star Trek: Mission's End offer your fill of interstellar drama for the week, with the former bringing back the cult space cop superhero from its 1980s indie comic heyday and the latter offering a take on the final days of James Kirk's original five-year mission. Sticking with movies, the first issue of GI Joe Movie: Snake Eyes lets Ray Park, the movie's own silent ninja, co-write a story about his own character.

But none of those, as fine as they are - and Nexus and Star Trek are both particularly fine - hold a candle to Image Comics' reissue of Five Fists of Science, Matt Fraction and Steven Saunders' alternate-history tale of Twain and Tesla teaming up to save the world from forces more ancient and deadly than many could imagine. If ever there was a book I could eagerly recommend to the majority of io9 readers, it'd be this one. Go forth and buy.

Oh, but not yet. We've still got the Hallowe'enish books to go! You know about Angel Vs. Frankenstein after yesterday's preview, but IDW also has Frankenstein's Mobster, a pun-laden, funny gangster romp recasting of Mary Shelley's misunderstood monster, and Spike Omnibus, a collection of stories about Joss Whedon's other vampire with a soul, for horror fans this week.

Marvel, meanwhile, has the first issue of The Stand: Soul Survivors, a new series adapting part of the Stephen King novel, and DC are putting out their annual DC Universe Hallowe'en Special filled with spooky shorts starring superhero favorites. 'Tis the season, after all.

Whether you're looking for things going bump in the night, or giant steampunk inventions designed to scare the world into peace, you'll be able to find it on this week's shipping list from Diamond Distributors, and then inside your local comic store. But, seriously: At least leaf through Five Fists Of Science. You'll thank me afterwards.

Inception

Cillian Murphy has apparently read the Inception script. His thoughts? Excited but vague:

"It's conceptual. It doesn't fit into any genre," he explained. "There are elements of different types of things in it but it is all from Chris' imagination. I've never read anything close to it before."

[MTV Movies Blog]

Thor

An eagle-eyed reporter noticed Dominic Cooper was reading casting slides for Thor. Although Cooper cautioned that nothing has been finalized, the part he was reading for is Fandral the Dashing, a member of the Warriors Three, a team of Asgardians who fight alongside Thor. So we might be seeing the trio (and Cooper) in the movie. [Movieline]

Stan Lee is disappointed that Kenneth Branagh didn't consider him for the role of Odin, though he will have a cameo in Thor. [Collider]

Battlestar Galactica: The Plan

The TV Obsessed has another spoilerific review of The Plan, including the fact that the Simon who has a wife and kid on one of the ships in the fleet airlocks himself rather than destroy the ship or be revealed as a Cylon — but he gets found out anyway. And Cavil sets off Five's explosive suicide vest himself. Also, we see the beginnings of Leoben's Kara obsession as he sits alone and listens to the fleet traffic. Cavil randomly stabs a little boy for no reason, just so we'll know how evil he is.

And there are some cool apocalyptic images of the Cylon attack on the Colonies. [The TV Obsessed]

The Imaginarium of Dr. Parnassus

Interviews with Terry Gilliam and the cast offer a few more glimpses of the trippy fantasy movie:

2012

If the latest stills from Roland Emmerich's disaster porn teach us anything, it's that the apocalypse will be wet. [IGN]

X-Files 3

David Duchovny would like to do a third film, but if it happens, he'd like to focus on the aliens and conspiracy that were central to the show's mythology. [IGN]

Eclipse

Kirsten Prout has been cast as Lucy, a vampire who appears only in flashbacks. A vampire named turns Jasper Hale into a vampire during the Civil War and recruits him for her vampire army. Jasper eventually betrays Maria and two of her soldiers, including Lucy. [MTV Movies Blog]

Dollhouse

It looks like Paul Ballard and Echo are going to lock lips in an upcoming episode, but that doesn't mean Paul has completely given himself over to the Dollhouse. Tamoh Penikett says that although Paul's been drinking the Kool-Aid a bit, he's going to have more issues with his new corporate role. [E! Online]

And we get a better look at Summer Glau and her poor, poor (left) arm in November 6th's episode "The Left Hand." [Spoiler TV]

Supernatural

In the November 19th episode, "Abandon All Hope," Lucifer will capture Castiel while the latter is on a recon mission in Missouri. Lucifer interrogates Castiel by trapping him in a burning ring fueled by holy oil. [TV Guide Magazine]

Heroes

Executive producer Adam Armus drops a few more hints as to which male original cast member will die:

"We always pull surprises on Heroes. That's all I have to say. It is an epic battle. It's an epic struggle between two very well-loved characters, and it's going to be really compelling."

So, who will be involved in this epic struggle? Hiro and Ando? Parkman and Sylar? Nathan and Sylar? [SCI FI Wire]

FlashForward

In the November 5th episode, "The Gift," the apparent connection between a Blue Hand club and some recent suicides leads Mark, Demetri, Gough, and MI6 agent Fiona Bands to investigate. Aaron will receive a surprise visit from an army buddy of his late daughter's. While Demetri reveals his lack of flashforward to Zoey, Nicole will help Bryce solve the mystery of his while volunteering at the hospital. [Spoiler TV]

Smallville

Lois throws some punches in this preview from Friday's episode "Roulette." [via Spoiler TV]

The Justice Society is assembling on Smallville and three of the members have been identified. Stargate SG-1's Michael Shanks will be playing Hawkman, Andromeda's Brent Stait will play Doctor Fate, and Aliens in America's Britt Irvin will play Stargirl. [IGN]

The Sarah Jane Adventures

This Thursday marks the beginning of the two-part serial "The Mad Woman in the Attic." We get an early glimpse of Donald Sumpter as Erasmus Darkening, Suranne Jones as Mona Lisa, and Eleanor Tomlinson as Eve. [Blogtor Who]

And in the second part of the serial, we'll see a pair of very familiar faces: the Third and Fourth Doctors. Granted, we'll be seeing Jon Pertwee and Tom Baker in flashbacks using archival footage, but we'll also see Sarah Jane's future — one featuring another familiar Doctor. The vision of the future will involve the phrase, "He is returning, he is coming back," and we'll see the TARDIS appear in the Bannerman Road attic. In another flashforward toward the end of the episode, where we'll encounter none other than the Tenth Doctor, David Tennant. Sarah Jane's robotic sidekick K9 will also be back, supposedly for good. [Den of Geek]

Additional reporting by Alexis Brown and Charlie Jane Anders.

In case the above clip isn't self-explanatory, Greenwood is an evil scientist, who created the ultimate cyborg killing machine, which then developed an unfortunate conscience. And the flannel-shirted woman, Deputy Reardon, is Isaac the Cyborg's best friend — they share many heart-warming scenes where Isaac is sort of autistic. The woman to whose head Deputy Reardon is holding a gun is another evil scientist, who's been having second thoughts and Knows Too Much. Oh, and I love the clanging noise the fire extinguisher makes as it slams into Isaac's head. Someone had fun with that one.

Mostly, though, Cyborg Soldier is worth watching for Greenwood's incredibly brie-tastic performance as Simon, the movie's main villain. Greenwood relishes saying lines like, "I'm going to fry your brain until there's only enough to spoon into a testtube. Then I'm going to scrape up the DNA and the tissue samples, and I'm gonna build you again."

According to TrekWeb, the Star Trek Season 3 Blu-Ray set will include the longer cut of "Where No Man Has Gone Before," which has never aired or appeared on DVD or VHS. (The Youtube video above includes all the sections that are different.) The original cut started with a view of our galaxy, while Captain Kirk talks poetically (in an "Enterprise Log," about Earth and its sun being specks of dust as the Enterprise ventures out of the galaxy. There's also a long scene of the crew stalking down a hallway as the ship goes on full alert, and a bit more Kirk/Spock banter. Not only that, but the opening and closing credits are totally different, with the televised "whoooo-ooooo" music being replaced by some music that sounds more like the show's other incidental tunes.

Given that the season three box set also includes season three, it's good that there's some incentive for fans to buy this thing.

Separately, Roberto Orci and Alex Kurtzman told the Screenwriters Expo in L.A. that they think the next Star Trek movie is coming out in 2012, not 2011 as we've been told previously. Orci and Kurtzman had planned to have the screenplay done by Christmas, but with the new timeframe, they're going to take longer with it. As for what happens in Trek 2, says Kurtzman:

They're established now in the second movie and they're finally a crew so it will resemble what you see in terms of they are already who they are.

Which sounds very zen, somehow. [TrekWeb and Coming Soon]

Visit Klenginem for tour dates.

As part of a larger piece in Variety about the JJ Abrams-related army of creators taking over genre entertainment, Orci says:

Cinematically, this generational movement is kind of like hip-hop... Entertainment exploded when we were kids. We all became students of film and TV because we were so saturated with it. Now our (work) is kind of like hip-hop where we're sampling things we all know and love.

We're unconvinced that "sampling" really works as a musical metaphor for something like Star Trek, GI Joe or Transformers, mind you. Isn't that more like Goldfinger's cover of "99 Red Balloons"?

Abrams keeps it all in the fan family [Variety]

And yes, we're only doing this list because Chip Overclock demanded it.

Evil overlords of braininess:

The Gamesters of Triskelion from Star Trek: I'm willing to bet dollars to quatloos that you've already appreciated this classic tale of gambling addicts who have itchy betting fingers despite not having fingers. If not, then this trailer is all you really need to know.

Mother Brain in Metroid In this NES classic, the boss of the game was giant, disembodied glob of grey matter surrounded by a futuristic security system. If feminist gaming pioneer Samus Aran ran out of missiles, there was no way to beat Mother Brain. The whole "running out of a common item at the final boss of the game" spiel was an infuriating conundrum typical of early Nintendo games.

Brain from Doom Patrol. This brilliant scientist was caught in an explosion which reduced him to a brain, and nothing else. Luckily, Monsieur Mallah, the gorilla he'd uplifted to genius intelligence, loved him and kept him alive inside a tank. Niles Caulder, the scientist who engineered the explosion, later transferred race-car driver Cliff Steele's brain into the robot body he'd built for Brain.

Disembodied brain develops psychic powers:

Donovan's Brain by Curt Siomak, and the 1953 movie of the same title, are about an evil millionaire whose brain is put in a vat, and then he develops mental powers, allowing him to control those around him. The movie co-starred Nancy Davis, the future Nancy Reagan.

The Brain Spawn in Futurama — they're evil overlords, but they also have telekinesis. They're not actually in jars, but they're definitely disembodied. And they try to conquer the Earth, until Fry stands up to their leader, Big Brain (sorry, foreigners):

The Outer Limits, "The Brain Of Colonel Barham" Mea culpa — I wrongly put this one into "robot bodies you can load your brain into" — but it fits way better here. Colonel Barham, an astronaut, volunteers to have his brain loaded into a robot body so he can go to Mars, but then he goes nuts and develops evil psychic powers and controls people with his mind:

Marvel What If, "What If The Fantastic Four Had Gained Different Powers?" In this "what if" tale, instead of getting stretchy-limb powers, the FF's Reed Richards becomes a super-smart disembodied brain, with mental powers. "I promise I will never dominate your brain again," he promises Ben Grimm.



The brain that cheated death:

They Saved Hitler's Brain! You only think Hitler died at the end of World War II — in fact (wait for it), they saved his brain!

Doctor Who, "The Brain Of Morbius" features an evil Time Lord named Morbius who wants to rule the universe — so the Time Lords, instead of giving him the kid-gloves treatment they give the Master, go ahead and execute him. But his followers save his brain and keep it in a vat. The brain is eventually transplanted into a weird hybrid body, with a bubble head:

"William And Mary" by Roald Dahl. William dies of cancer, but he has his brain preserved inside a machine that can keep him alive for 200 years. His wife, Mary, considers taking him home — but only so she can smoke in front of him and watch television, two things he hates seeing her do. This story was made into an episode of the Tales Of The Unexpected TV series.

Packaged for space travel:

The Mi-Go in Lovecraft's Cthulhu mythos are fungoid, crustacean extraterrestrials, who transport humans from Earth to Pluto, by removing your brain and putting it in a "brain cylinder."

Operating cities or spaceships:

Spock's Brain from Star Trek is probably the most famous example of this trope — what is brain? Brain is the ultimate city infrastructure planner! (Sexy babes steal Spock's brain and use it to run their city. It makes total sense.)

The Ship Who Sang by Anne McCaffrey is all about a girl whose physically disabled so she's put in life support to help run complex systems, and when she hits adolescence, her brain is removed and she becomes the "mind" of a spaceship — until she falls in love. Aw.

Neon Genesis Evangelion's MAGI computer system is run by disembodied human brains.

Tin Man: In this Syfy reimagining of the Wizard Of Oz, the Wizard turns out to be the disembodied brain of the Scarecrow's counterpart, and it runs a doomsday device. (Thanks, TVTropes!)

RoboCop 2: The second RoboCop is really just the brain of a psychopath, transplanted into a robot body. Which works out great!

Krang from Teenage Mutant Ninja Turtles sort of fits this one as well — he gets reduced to just a brain-like entity, and then his ally Shredder builds him a humanoid exo-suit, with his disembodied brain-creature in the tummy. Mmmm tummy brain...

"Becalmed In Hell" by Larry Niven. In this story in the "Known Space" series, the injured Eric's brain is used as the computer of a ship exploring Venus, using the empty fuel tank as a dirigible. When it's time to return to Earth, Eric announces there's a problem, and they have to land. But the "normal" human astronaut, Howie, decides the problem is actually with Eric himself.

Random weird disembodied brain:

The Man With Two Brains features brain surgeon Steve Martin falling in love with a woman's disembodied brain, as he searches for a gorgeous body to transplant her into. As Martin helpfully explains, "I can't fuck a gorilla!"

L'oncle Irvin ("Uncle Irvin") in City of Lost Children featured a talking brain in a tank named . He suffered from migraine headaches, and spouted pearls of wisdom throughout the film.

The Harlem Heroes in 2000 A.D. are a basketball team one of whose members gets destroyed, except for his brain, which is — you guessed it — in a jar. And he still gets to stay on the team.

The Curious Dr. Humpp is a random disembodied genius brain, who can only survive as long as his acolyte siphons off the sexual energy from hot young men and women, and beams these orgones into his cerebellum. We featured a clip here.

Mother Brain in Captain N: The Game Master This Saturday morning cartoon show. She was voiced by Levi Stubbs, better known as the voice of Audrey the carnivorous plant from Little Shop of Horrors.

Star Wars features the B'omarr monks, whose brains live in jars, but sometimes spider droids carry them around, and you can just glimpse them in Jabba's palace if you squint like a Hutt.

Ghost In The Shell features many characters who've kept their organic brains but scrapped everything else. And according to TVTropes, this is a common motif in Dragonball, Kara No Kyoukai, Appleseed, Captain Future and Tengen Toppa Gurren Lagan as well.

Additional reporting by Cyriaque Lamar.

In a keynote speech at the New York Television Festival, Ron Moore explained that the writers on Star Trek: The Next Generation would generally leave scientific terms out of their scripts, even if a certain technology was being held up as a solution to the episode's problems. The writers would use the word "tech" in lieu of actual terminology, and rely on the show's science consultants to fill in the blanks. The scripts the science consultants received would look something like this:

La Forge: "Captain, the tech is overteching."

Picard: "Well, route the auxiliary tech to the tech, Mr. La Forge."

La Forge: "No, Captain. Captain, I've tried to tech the tech, and it won't
work."

Picard: "Well, then we're doomed."

"And then Data pops up and says, 'Captain, there is a theory that if you tech the other tech ... '" Moore said. "It's a rhythm and it's a structure, and the words are meaningless. It's not about anything except just sort of going through this dance of how they tech their way out of it."

And that, Stross notes, is precisely what is wrong with so much science fiction. In fact, he says, it's anathema to what science fiction is really about. Science fiction is about observing the human condition when circumstances and technologies change. For example, how would world civilizations cope with an impending asteroid strike? How do convenient new gadgets and gizmos alter our daily lives and the way humans interact with one another? The drama of science fiction, he argues, come from those changes of circumstance. But when a show like Star Trek treats technologies as interchangeable, the science fiction is reduced to mere set dressing:

Star Trek and its ilk are approaching the dramatic stage from the opposite direction: the situation is irrelevant, it's background for a story which is all about the interpersonal relationships among the cast. You could strip out the 25th century tech in Star Trek and replace it with 18th century tech - make the Enterprise a man o'war (with a particularly eccentric crew) at large upon the seven seas during the age of sail - without changing the scripts significantly. (The only casualty would be the eyeball candy - big gunpowder explosions be damned, modern audiences want squids in space, with added lasers!)

In the end, Stross says, Trek delivers characters that are no different from the characters that have inhabited television since its inception. They may have wondrous technologies and travel to alien worlds, but they are strangely unchanged by the experience. He suspects that if Trek had treated technology as integral to the story rather than as an afterthought, the series would have created more alien — and more interesting — characters.

Why I hate Star Trek [Charlie's Diary]

Help me out please! Which episodes should I watch first? Which episodes are absolutely skippable? What do I need to know before plunging into the Andromeda-verse?

While Star Trek bascially depended on Nimoy's involvement to work, at least for the writers, Shatner was nowhere to be found in the reimagining of the Trek lore.

Abrams explained to reporters, at the Trek DVD junket last week, that one of the hardest decisions for him was not to include William Shatner in the film — however, it just wasn't logical in the big scope of the story and where on the timeline they wanted to set the movie.

The idea ... was a forgone conclusion, we wanted him in the movie. The problem was his character dies onscreen in one of the Trek films and because we decided very early on we wanted to adhere to Trek canon as best we could. ... The required mechanations to get Shatner into the movie would have been very difficult to do given a story where he was himself and also give him the kind of part he would be happy with. It was this thing where it would have felt like a gimmick in order to get Shatner into the movie, which would have honestly, to me, have been distracting.

Sure, they could have set the film before "Generations," but then what would the story have been? I concede it would have been totally possible, but it would not have been the same film.

He went on to explain that the special feature delves into the very issue of how do you try to get him in the film? How do you "put him in the movie when we want him in it so badly, and yet the story" just doesn't fit in the context of the movie?

No word on whether the scene Orci and Kurtzman originally wrote with Shatner's Kirk Prime in it is discussed in the Conundrum special, however.

Abrams definitely doesn't sound like he's against the idea of including Shatner in a later film, even saying the two have a lunch date planned for the near future.

"Would it have been fun to have him in the movie? Of course. Would it have been great to work with him? No doubt."

On November 17, Paramount is releasing the highest-grossing Star Trek movie of all time on DVD and BluRay. The DVD version has considerably less than the BluRay — the latter version has "branching pods" embedded in the special features. Think of it like a non-hidden Easter Egg, a special featurette within the features.

Disc One of the two-disc DVD version contains the film, along with commentary from J.J. Abrams, Robert Orci and Alex Kurtzman, executive producer Bryan Burk and producer Damon Lindelof. There's also a special called "A New Vision," featuring Abrams' style and drive to make the film real and relatable, as well as a gag reel.

In addition, the second disc is of course more fun stuff, including four features, DVD-ROM accessible content (free trials of Star Trek D-A-C for XBOX 360, PC and PlayStation network), and deleted scenes.

The deleted scenes include optional commentary and are:

o Spock Birth
o Klingons Take Over Narada
o Young Kirk, Johnny and Uncle Frank
o Amanda and Sarek Argue After Spock Fights
o Prison Interrogation and Breakout
o Sarek Gets Amanda
o Dorm Room and Kobayashi Maru (original version)
o Kirk Apologizes to the Green Girl
o Sarek Sees Spock

Abrams said that he was always thinking about the DVD, saying he was constantly making sure things were being filmed and recorded specifically for the DVD, getting video crews in the mix as early as possible.

And that prevalence of cameras is wildly apparent on the Blu-Ray edition.

The first disc of the Blu-Ray edition has the film and the same commentary as the DVD, as well as a BD Live feature giving viewers access to the latest NASA news about space. It has an RSS feed of the news as well as a space pic of the day. The second disc has the same specials as the DVD's disc two above, plus six (!) others and those crazy "branching pods."

Disc two of the Blu-Ray adds on these special features.

• Starships - An in-depth look at the creation of the film's starships and vessels.
• Planets - How the art department created the look for planets such as Delta Vega.
• Props and Costumes - Paying homage to the original series was very important with this update, and here's how they did it.
• Ben Burtt and the Sounds of Star Trek - Sound designer Ben Burtt shares the music he created for the newest Trek.
• Gene Roddenberry's Vision - The vision of Gene Roddenberry as told by J.J. Abrams, Leonard Nimoy, previous Star Trek writers and producers, and scientific consultant Carolyn Porco.
• Starfleet Vessel Simulator -Here you can see a 360˚ model of the Enterprise and the Narada including some looks inside as well some fun firing their weapons onscreen.

Most of the features contain extra content within. "To Boldly Go" contains some of these mini-specials, including "The Shatner Conundrum," accessible while watching the overarching main special or by the menu, as seen above.

There is also a digital copy of the movie included with both releases.

In any case, suffice it to say any Trekkie worth his or her weight who doesn't own a Blu-Ray player (especially this poor college girl) is definitely pining for one right now.

Perhaps because Marvel were worried that we'd be bored otherwise, the House of Ideas is putting out a star-studded week of new releases this week, with the special Deadpool #900 issue, a new Spider-Man anthology series (Web of Spider-Man), the one-shot Iron Man: Iron Protocols (written by Surrogates creator Robert Venditti!) and the collected edition of long-running-but-that's-only-because-it-was-horribly-delayed-in-the-middle Ultimate Wolverine Versus Hulk, as written by Lost's Carlton Cuse.

IDW keeps the big name action going: The publisher puts out Star Trek: Countdown (the surprisingly enjoyable prologue to the JJ Abrams movie, starring the crew of Star Trek: The Next Generation.) Also, there's Star Trek: Crew (Another surprise, as John Byrne follows the early career of Number One - from "The Cage" - and makes it work.) Plus Seduth 3-D from Clive Barker (as previewed yesterday) and Left Undead, a new take on that old "cop-killed-then-brought-back-by-voodoo" idea from Lost writer Paul Zbyszewski.

If you'd rather read some George Lucas-inspired comics, Dark Horse has a special #0 issue prologue for Star Wars: Invasion, as well as the deco noir of Dean Motter's Mister X: Condemned.

DC, meanwhile, corners its own version of the horror market, with the massive Absolute Death slipcovered collection of Neil Gaiman's goth avatar of release, a new collected edition of Judd Winick's vampire story Blood And Water, and the fun House of Mystery Hallowe'en Annual, showcasing some of Vertigo's current and upcoming series.

All of that, however, is just an appetizer to the Act-I-Vate Primer, a hardcover collection of work from the self-styled "premier webcomics collective". Offering 16 original stories by some of webcomics' brightest and best, it's easily the best of a strong bunch this week.

As usual, you can see the full list of everything reaching comic stores tomorrow here and then find your local comic store here. Just remember to support the internet in your analog purchases, if you know what I'm saying.

At the junket for the DVD release, Abrams told us that his friend Victor Garber is featured on the DVD in a deleted scene as a Klingon. In the scene, Garber is all costumed up as a Klingon on the prison planet Rura Penthe.

In the scene, which had some shots slip into the trailer, Nero is stranded on the prison planet and is chained to a table, about to be tortured by the Klingons. A Klingon threatens him with the very slug we later see Nero force upon Capt. Pike. Garber's voice rings out as the interrogator, demanding Nero tell them how he came from the future.

It seems like a scene merely meant to show some cool Klingons costume updates and tell us what the heck Nero was up to for all those missing years, as well as clue the audience into the passage of the 25 years before we get to see grown-up Kirk. But it does have Nero's most quotable line from the trailer: "The wait is over."

Sadly, Abrams said, the Klingon prison scene had to get cut for theaters.

It's one of those things I hated to cut for a number of reasons. One of them was I loved the design, I love the world, I love the story — in that moment it was really cool, and I'm excited for people to see this scene. But also, Victor Garber, who's one of my favorite actors, played a Klingon in the movie. [He] had a ton of makeup, a very heavy, hot costume [that] we shot with him. And I had to call and tell him that his scene wasn't in the film and a huge consolation for me was, it will live forever on the DVD and Blu-Ray. I'm psyched for people to see that.

BUT, he cautions, that doesn't mean we will or will not see some more of the Klingons in the future. He says that half the fun of essentially starting your own franchise is coming up with new experiences for your characters. And with Star Trek, there's already so much to gather from to cobble together new stories.

I don't want to do something that is so inside that ... only die-hard fans will appreciate [it]. But I guarantee you whatever the story - we're just now working on the script, we're just beginning the process of story breaking - whatever the final movie ends up being, I know it will be something that will at least be intense; it'll work on its own terms and be something that you don't need to know and study Star Trek to get. But if you are a fan, hopefully, it will sort of be gift after gift of connections, references, characters, things that you hopefully as a fan hold near and dear.

Me? I want the Borg.

Please?

We sat with writers Orci and Kurtzman at the Paramount Star Trek DVD junket eagerly awaiting details on the next Trek. Right away they cleared up recent rumors that they've already created a storyline for the second outing — they have yet to sit down and lock themselves in a hotel room as they did the first time around. As fans of the series in all its incarnations, they have yet to settle even on who exactly they want to include, says Kurtzman, let alone whether to tackle weightier world issues.

But what about the rumored Gitmo plot line? Orci stated that the reports that they're writing a commentary on torture and the Bush doctrine (while never entirely out of the question) are a little absurd, since they've barely begun work on the sequel.

We have nothing. The torture thing was just a 'for instance.' Someone said, 'Modern day issues?' And we said, 'Yeah, sure, modern day issues.'

We're not doing a story about Gitmo. I read on some site that it was going to be about Guantanamo Bay. But now that we've established the characters, we can have a more philosophical allegory, where what's happening in the future represents our world — like the best versions of it in the '60s did with women's rights, racial equality, [and] progressive issues.

We're still just brainstorming internally, and we're going to get together soon and bust our riffs out and see where it takes us.

Also, we'd like to note there was a bit a torture in the first already. So should they revisit this, let's hope they break new ground with it.

In a separate interview, director J.J. Abrams agreed with his writers' remarks, saying that it's never as simple as making a political statement.

"It's not like we're looking to make the second movie some kind of heavy political allegory - I think it's important that there is metaphor to what we know, and that there is relevance. And I think that allegory is the thing that made shows like The Twilight Zone and Star Trek resonate and still vital today."

He continued on, explaining that where the first film was all introductions — to the world, to the characters, to the time period — the second has a duty to go deeper and examine this new world and grow with it.

Part of what's really cool about looking at concept art from remakes, revamps and rethinks of classic space sagas is seeing how designers reinvent the classic shapes and original images. But another huge part is seeing how designers add new ships and create new concepts to graft onto the existing lore, and try to make it all fit together. So you have Spock's Jellyfish ship and the Narada in Star Trek, and a host of new ship designs in Battlestar Galactica and Star Trek. And sometimes, like in Lost In Space, you just have to start from scratch if you want to create something really cool looking.

Here are the revamped spaceship concept art pics (plus a few other goodies) that prove remakes may be drek on the whole, but they do give us some amazing art to drool over:

Star Trek: Reinventing the Enterprise and creating other new classic ships.

Superman Rebooted: spaceships and a Kryptonian space battlesuit.

Stargate Universe concept art: inside the Destiny

Doctor Who: redesigning the TARDIS interior, circa 2005.

Lost In Space: a weirdly awesome space fighter.

Planet Of The Apes: Awful movie, but amazing spaceship design.

Battlestar Galactica: bringing her back out of mothballs.

Star Wars prequels: the concept art is better than the movies. Really.

Star Trek:

Writer Roberto Orci answered fan questions on the Don Murphy message boards. Among other things: He and cowriter Alex Kurtzman won't let Scotty become a one-note joke. And he likes the Borg a lot, but also says you have to admire the Klingons' style. But the movie's script is "still a twinkle in our eye." Quick, let's start a rumor that the script is finished and it features Scotty become a Borg! [TrekWeb]

Thor:

A Swedish news site is reporting that Skellan Skarsgard has joined this movie's cast in an unspecified role. At one point, his son Alexander was rumored to be up for the movie's lead. We already know Brian Blessed is Odin — so could this be another Norse god? [Ystads Allehanda via Cinematical]

New Moon:

The New Moon Illustrated Companion book is out, including some big spoilers. At the birthday party, Edward explains the history of the Volturi to Bella, her hand gets wounded, and he faces off with Jasper. The film has a big challenge showing Bella's depression after Edward leaves, so it conveys the passage of time by (no kidding) having Bella sit in her chair, and a camera circles around her while the seasons change outside her window. And Bella's clothes are linked to Edward's, color-wise, to show that she's devoted to him. And after Edward leaves, she stops taking care of her appearance. [Twilight Groupie]

The Vampire's Assistant:

John C. Reilly plays Larten Crespley, the ringmaster. And he says Crespley keeps mortals at arms' length because they grow old and die, while he stays young forever. But he's involved with Salma Hayek's character. [ShockTillYouDrop]

Lost:

More Locke-Helen developments — the show was filming a scene where Locke drove up to Helen's house in a blue Chevy van in a wheelchair ramp. And an observer gathered that there was about to be an unpleasant scene between the two former lovers. [Hawaii Weblog]

Rumor has it that Jacob has a child — and it's one of these people: Jack, Kate, Sawyer, Juliet, Hurley, Locke, Michael, Ben, Bram, Desmond, Caesar, Ilana, Ben, Richard Alpert, or Sayid. Note: This is a rumor, it is something you read on the Internet with no source cited. On the other hand, so was the identity of the man in the coffin, until it turned out to be true. So, grain of salt and all that. [SpoilersLost]

Doctor Who:

Eyewitnesses at yesterday's filming suggest that the reason for Amy's ridiculous police costume is because she's taking part in a "hen night," or bachelorette party, in which everyone dresses up. And there are some set videos, in which the Eleventh Doctor squats down at one point and says something disparaging about humanity — they're at the link. [Paul Mount]

Fringe:

What's coming up on this show? Let Lance Reddick explain:

We've got a real page-turner of an episode coming up that's all about the Observers. And there's a whole episode about Broyles revisiting a case, a killer, that's the one that got away for Broyles. That episode introduces my ex-wife (Karen Holness) and talks about why we got divorced, and what my relationship with Fringe Division was in the past, versus what it is now.

[E! Online]

FlashForward:

In episode six, we'll meet a big tough guy who has no lines, but he'll speak in future episodes, according to a casting call. [SpoilerTV]

Supernatural:

In an upcoming episode, Sam and Dean go to a Supernatural fan convention. [E! Online]

Stargate Universe:

Here are some pics from Friday's episode, "Air Part 2". [SpoilerTV]

Chuck:

The title of episode 3x08 is "Chuck Vs. The Nose," according to writer Ali Adler on Twitter. [SpoilerTV]

Heroes:

Sure, Claire's roommate Gretchen seems to be getting kind of stalkery — and it gets more intense this coming week when the sorority girls come calling. But there's more to Gretchen than meets the eye, and the Greek system may actually be evil. [E! Online]

I was thinking about this the other day, when I was watching Gene Roddenberry's Genesis II TV movie. I was wondering why this post-apocalyptic story of tyrannical dominatrices and mutants was less interesting than Star Trek, and I couldn't escape the conclusion: Genesis II was less interesting because it was less fun — and especially less escapist. Instead of cool people on an awesome spaceship packed with fantastic toys, like Communicators and Tricorders, you had a guy trapped in Planet Of The Apes without any apes. And with an extra helping of Roddenberry's signature preachiness.

And I started thinking about escapism, and why we tend to look down on it. We have a bias — myself included, on occasion — against works that allow people to burst out of the bonds of unpleasant reality. They're automatically less smart or interesting than works which seek to confront you with the real world's unpleasantness, to impress on you how unsavory our world really is.

Escapism is the candy-coated pill, the sedative designed to lull you away from realizing quite how messed up things are — and how much culpability you, as a no-doubt middle-class person, have for the situation. Escapism is opium, soma.

The distinction between escapist and "realist" fiction isn't even a matter of utopian versus dystopian narratives — after all, much escapist fiction is dystopian, and plenty of realistic fiction has an utopian impulse at its core. But when movies or books depict someone escaping from the world's unpleantness, or just offer a vision which allows the watcher or reader to escape through their imagination, then we deplore the cowardice of anyone who seeks to run away from their problems in this way. Most of all, escapism is inherently just not serious.

Escapism: pulpy and tacky

Ursula K. Le Guin makes the case against escapism very potently in her essay "Escape Routes," gathered in the collection The Language Of The Night: Essays On Fantasy And Science Fiction:

What if we're escaping from a complex, uncertain, frightening world of death and taxes into a nice simple cozy place where heroes don't have to pay taxes, where death happens only to villains, where Science, plus Free Enterprise, plus the Galactic Fleet in black and silver uniforms, can solve all problems, where human suffering is something that can be cured — like scurvy? This is no escape from the phony. This is an escape into the phony. This doesn't take us in the direction of the great myths and legends, which is always towards an intensification of the mystery of the real. This takes us the other way, toward a rejection of reality, in fact toward madness: infantile regression or paranoid delusion, or schizoid insulation. The movement is retrograde, autistic. We have escaped by locking ourselves in jail.

And inside the padded cell people say, Gee wow have you read the latest Belch the Barbarian story? It's the greatest.

They don't care if nobody outside is listening. They don't want to know there is an outside.

Because the most famous works of SF are socially and culturally speculative, the field has got a reputation for being inherently "relevant." Accused of escapism, it defends itself by pointing to Wells, Orwell, Huxley, Capek, Stapeldon, Zamyatin. But that won't wash: not for us. Not one of those writers was an American. My feeling is that American SF, while riding on the tradition of great European works, still clings to the pulp tradition of escapism.

That's overstated, and perhaps unfair. Recent American SF has been full of stories tackling totalitarianism, nationalism, overpopulation, pollution, prejudice, racism, sexism, militarism, and so on: all of the "relevant" problems.

She was writing this back in the 1970s, so the specific accusations about SF are outdated. But as a summation of the "escapism is childish and not literary" viewpoint, it's pretty much perfect. And as you can tell, a big part of the hatred for escapism comes from a desire to be literary, and to be taken seriously by the upper echelons of the (supposedly monolithic) literary world. Writing in The Magazine Of Fantasy And Science Fiction in 1976, Barry N. Maltzberg raged that the literary/cultural establishment "either does not know we exist or patronizes us as pulp hacks for escapist kids."

One more quote. In his book On SF, Thomas M. Disch characterizes escapism as a "security blanket," and adds:

There are times when all of us would rather flee our problems than confront them head-on with the heightened awareness that genuine art forces on us. For such times, nothing will serve but escapism.

He goes on to say that certain trashy SF authors are as bad as Star Trek or Magnum P.I. (even though the latter show constantly bombarded us with Magnum's Vietnam War flashbacks.)

If you read these quotes carefully, a few things jump out at you. First of all, there's the equation of escapism with "pulp" traditions — which was obviously a big deal for authors like Le Guin and Maltzberg, who were trying to escape (sorry!) from the "pulp" label and prove that they deserved a higher grade of paper stock. And then there's the idea that escapism prevents your SF from being "relevant" or commenting on real-world issues — when, in fact, the most escapist narratives are often the most topical. (Just watch the original Star Trek.) There's the idea, which was way more prevalent in the 1970s, that explicit social commentary automatically made your work better or smarter.

There's also a certain feeling of disapproval, even dismay, that people are having too much fun. If I hadn't read tons of books by Le Guin and Disch, and discovered first hand how enjoyable (and frequently, how escapist) their work can be, I would think both authors wrote dry Socialist Realist works, in which their protagonists were born and died in the same gutter.

There has been a move to re-embrace escapism in recent years — Michael Chabon's The Amazing Adventures Of Kavalier And Clay was about the fictional creation of a Golden Age superhero who was actually called The Escapist. And Chabon shows us exactly how The Escapist's real-world origins reflected the political and social trends of the 1930s and early 1940s, and how much his adventures reflect the struggles and traumas Sammy and Joey are going through in their real lives — everything from Sammy's secret homosexuality to Clay's family trapped in Nazi-controlled Eastern Europe becomes part of the secret backstory of the Escapist and the League of the Golden Key. In Chabon's novel, backstory is the story — when you try to strip the League of the Golden Key and the other details from the Escapist's origin, you chip away at what makes the Escapist who he is, and the reasons why he does what he does.

It's no coincidence, of course, that Chabon has also been a champion of bringing the pulps back into the sphere of the literary — he edited two anthologies of mock-pulp science fiction stories for McSweeney's a few years ago, chock full of literary and genre superstars doing pastiches and homages to the plot-heavy stories of the past. Authors like Chabon and Dave Eggers are able to celebrate the pulpy and retro in a way that Maltzberg never could back in the 1970s, because they're already assured of their literary status, and need not fear being marginalized. (And meanwhile, the "new space opera" and posthuman SF novels that throng on our shelves are the very picture of escapism, with their heroes who live for zillions of years and can port themselves into new customized bodies whenever they feel like it.)

But in any case, we're now far enough from the pulp era that the "pulpy" label has lost much of its sting, even as unabashedly pulpy urban fantasy heroines in tight pleather pants are eating science fiction's market share for lunch. So maybe it really is time to reclaim the word "escapism" and transform it into a paean to works that liberate and illuminate us.

A theory of escapist art

So I promised you an explanation of why escapism is the highest form of art — and yes, there may be a slight amount of hyperbole involved there. At the same time, escapism has given us some of our greatest speculative art works, and has the potential to spawn even greater ones in the future, if we recognize it for what it is.

First of all, let's dispose of this false dichotomy between "escapism" and "realism." Neither of those things is ever entirely pure, and each always contains elements of the other. Any time you have a flight of fancy, or a grace note, or an elivening metaphor, in a "realist" work, you are engaging in escapism. Because whenever you invoke the imagination, or suggest another world (made out of thought, or images) beyond your protagonist's "real" world, you're allowing the reader a brief escape. And in fact, if you look at "real life," some of our "realest" experiences involve escape.

Think about that old literary standby, the "coming of age" narrative — it is the most pure escapist story you can have, even if it doesn't always have a happy ending. (More on happy endings later.) The "coming of age" tale is about someone outgrowing his or her childhood, and casting off the stifling restrictions of parents, school and conformist expectations. It is a story about reaching escape velocity, and bursting out of childhood's gravity well. This is never a tidy process in real life, nor is it often in literature. But it's the original escapist tale, and in many ways, it's the template on which all other escapist tales build.

The reverse is also true — escapist elements don't automatically make a work less realistic. Just as the "coming of age" story is about escape in the "real" world, it's more than possible to tell a realistic story about a world that repesents an escape from our reality. We've all accepted, by now, that you can tell a realistic story about that ultimate avatar of escapism, Batman. (Batman is in many ways a more escapist figure than Superman, because Batman is just like us — except that his amazing training and gadgets turn him into an unstoppable force.) Look at Paul Pope's amazing, stark graphic novel Batman: Year 100. And if you want SF that comments on real-world issues, it's hard to get more topical than the first few seasons of the Battlestar Galactica remake.

And that leads to another point — escapism can be incredibly dark. I said earlier that many escapist works are dystopian, and it's clearly true. The "last survivors of a post-apocalyptic world" story is full of escapism — for one thing, you're one of the chosen few, and you're incredibly special and wonderful as a result. You no longer have to pay taxes (like Le Guin's heroes), and you live in a world where the worst has already happened. And many escapist films are show someone escaping from an incredibly dark world, even if it's only through the power of the imagination. Think of Guillermo Del Toro's beautiful Pan's Labyrinth, which is at its core a work about the escape into fantasy. Even if both the real world and the fantasy are dark and disturbing. Or Terry Gilliam's Brazil, which takes place in a dystopian world and shows us Sam Lowry's flights of the imagination as well as his attempts to escape in real life. Did I mention that escapist works don't have to have happy endings?

At the same time, who says that realism is the best thing a literary work can aspire to? It really is true, as many SF writers have said lately, that we live in a world that's changing so quickly, that any attempt at pure realism will become historicism instead. And then there's the subjective nature of "reality." But most of all, realism is like art that attempts to be purely representational: it can't show any deeper reality beneath the surface, nor can it reflect all of the stuff that's happening just beyond the frame of our perceptions. We've all lived through historical moments where a new meme or phenomenon seemed to "come out of nowhere," only to look inevitable in retrospect, once we see all of the early indicators that we ignored at the time, because they were outside of the narrative we were telling ourselves about "reality."

If the goal of a literary work (and remember, "literary" is not synonymous with "good." More on that here) is to reflect "reality," then "realism" is one tool among many for doing so. And escapism is another.

I already suggested, above, that metaphors are inherently escapist because they take us away from the strict view of what the thing "is." And the reverse is also true: escapism is a metaphor. TV shows like Lost In Space and Star Trek are so transparently metaphors for the hopes and fears of the Space Age that it's impossible to watch them now without thinking about what people were living through at the time. You get as revealing a mirror into the Space Age, Cold-War psyche from Star Trek as you do, say, from John Updike's Rabbit Run and Rabbit Redux. The stuff Star Trek tries to say about the politics of the 1960s is fascinating, but even more fascinating is the stuff that it says without meaning to, about Manifest Destiny and the post-colonial project of redeeming the Third World.

We tend to think of escapism as a childish impulse, but that's by no means always true — like Brazil, or The Secret Life Of Walter Mitty, many great escapist works are about adults, who are trapped as only adults can be, in prisons partly of their own making, and look for a way out.

Escapism also shows what we're trying to escape from — this seems like an obvious point, but it's one that often seems to be overlooked. This changes over time, and also varies from creator to creator. Some escapist works are concerned about breaking out of a totalitarian, oppressive state, others are more concerned with running away from middle-class American life. There's escapism from war, from conformity, from individualism, from failure, from success. Whether or not an escapist work explicitly shows us what we're escaping, it's still always there, revealed by what the escapist elements aren't. Escapism always reveals what we're escaping, and serves as a mirror of whatever the artist (or corporate overlord, as the case may be) views as the most horrendous elements of current reality. It's convex where dire reality is concave, like a plaster cast mold. If your goal is to get the clearest possible picture of "reality," looking at that reflection may be your best shot.

And yes, escapist entertainment does reflect the era that spawned it. The Space Age gave us lots and lots of space heroes, but today's escapist avatars are much more likely to be superheroes — who existed during the Space Age, but were much more confined to comics and the occasional weak TV series. Actually, thinking about it some more, our most escapist works currently seem to fall neatly into three categories: superheroes, vampires and post-apocalyptic survivors. All of whom share a few categories that seem emblematic of our times: they're individualistic, they're special, and they're often at odds with a world that doesn't understand how special and great they are. In other words, they're the perfect heroes for a time when we're no longer involved in a collossal economic struggle like the Cold War, but instead are facing a crumbling middle class and a number of insoluble global struggles, in North Korea, Iraq and Iran, among others. Escapism illuminates our times.

Escapism also does go hand in hand with the epic, the same impulse to celebrate great heroes that gave us the Odyssey and the Iliad.

Returning to the Le Guin quote, it strikes me that what she's describing as escapism is actually better described as "weak story-telling." Stories in which there are no consequences, in which the choices are easy and the heroes always right, aren't escapist — they're just bad.

If escapism is frequently tawdry and dull — if our culture gives us Transformers 2 instead of Superman II — blame the creators, don't blame escapism itself. In fact, holding a low opinion of escapism (and saying things like "It's just a movie about explosions and robots, don't expect too much from it") lets the Michael Bays of this world off the hook too easily.

Let's give the last word to C.S. Lewis, who's quoted by Arthur C. Clarke as having once said, "Who are the people who are most opposed to escapism? Jailors!"

Fall is officially in full effect, which means the big bad summer sci-fi season is over! Now, personally, I set my bar so impossibly high that no film could ever come close to pleasing me unless our lord and saviour Michael Bay himself were to direct it. But perhaps some of you plebs are able to enjoy lesser entertainment - though I fail to see how you can watch anything beyond those low brows of yours. So, now that we've had a little while to absorb and reflect the entertainment we've witnessed, what really was a disaster? So, enjoy a mini "clip-show" to refresh your memory and then vote on what was truly a disaster!


WATCHMEN:



DOLLHOUSE:



TERMINATOR SALVATION:



BSG FINALE:



STAR TREK:



X-MEN ORIGINS - WOLVERINE:



TRANSFORMERS-REVENGE OF THE FALLEN:



GI JOE:



SUMMER GLAU:



DISTRICT 9:



OTHER:



Now go vote... and argue!!!

I also want to use this change in format to bring a little news. For a while now, I've been trying to bring you the best Disaster I can with the time that I have when not busy with other ventures. But, in less than two weeks, I will be welcoming a tiny disaster of my own into the world. So between that and other "official" work that I've been involved in, I will be having far less time to put together a weekly "This is a Disaster". So I am going to take a short hiatus.

I will return, I would just rather promise future greatness than deliver regular mediocrity.


I'll still be lurking around here doing the odd 'shop when time and inspiration meet. But if you want to see what work I'm up too check out my blog. I have big plans for ROACH, so continue to check there periodically. And if you are curious what the fuck I'm going to do with a baby, I just started a new blog that I will do my best to keep up with so follow along there.

Thanks for all your interest so far and I will return before you notice I'm gone.

-Garrison Dean

We couldn't be more excited for the release of Genesis II, which was one of a few attempts by Roddenberry to create another science-fiction TV show to rival the popularity of Star Trek. Just from the clip above, you can get the flavor of it — like much of Trek, it's preachy and yet cerebral. The Tyranians (their name sums them up, conveniently) are mutants. They have two navels, and they enslave and dominate all the regular humans. That device that Lyra-A (Mariette Hartley) is showing Alex Cord, her stim, is actually like Star Trek's "agonizer," which the Tyranians use to keep the humans in line. So it's sort of giggle-worthy when she says it "confers dignity."

Here's the official description for the DVD, which is exclusively available through the Warner Archive:

"My name is Dylan Hunt. My story begins the day on which I died." Gene Roddenberry, the creator of Star Trek, brings fans another enthralling tale of the future. Set in a time between now and the era of the starship Enterprise, Genesis II follows Hunt (Alex Cord), who awakes after 154 years of suspended animation into a post-apocalyptic world that's torn between the peace-loving citizens of Pax and the militaristic, mutant Tyranians. Both want Hunt to join their cause. But the Tyranians have two cruel weapons to persuade Hunt: a device of torture called a stim. And an alluring mutant (Mariette Hartley) with two navels…and one ice-cold heart.

"GENESIS II" Starring ALEX CORD Guest Stars MARIETTE HARTLEY TED CASSIDY

And PERCY RODRIGUES As Primus Kimbridge Written and Produced by GENE RODDENBERRY

Directed by JOHN LLEWELLYN MOXEY A NORWAY Production in Association with WBTelevision

This version of Dylan Hunt is a scientist, and not quite as badass as the version played by Kevin Sorbo in Andromeda. But he still manages to see through the Tyranians' pretense of being enlightened rulers. Maybe the pain sticks and the evil name clue him in somewhat. And yet — Mariette Hartley! With two navels!

Genesis II actually aired on CBS, but it didn't get picked up as a series, alas. And it's never been available on home video — until now.

Also being released on Tuesday: Planet Earth, which was Roddenberry's second attempt at making a pilot about Dylan Hunt in the future. In the second version, the role of post-apocalyptic dominatrix is played by Diana Muldaur, who also appeared in the Trek episodes "Is There In Truth No Beauty?" and "Return To Tomorrow," and played Dr. Pulaski in TNG. It also features the monstrous Kreeg soldiers, who have the head-bumps that Star Trek: The Motion Picture's Klingons made famous.

Both Genesis II and Planet Earth will be out on DVD on Tuesday, as part of the new Warner Archive DVD series. So now where's our Questor Tapes DVD?

Oh, and there will be some spoilers for recent TV episodes here — most notably Fringe.

This is mostly a list of people whose characters died or departed forever, but then they went on to play a totally different character. This doesn't include people whose characters died and then came back to life, which is a totally different trope. (And I'm not including actors who played more than one minor character in a show, or a minor character followed later by a major character.)

Garret Dillahunt on Terminator: The Sarah Connor Chronicles.

This amazingly versatile actor plays Cromartie, a Terminator sent from the future to kill John Connor. And after a season and a half of cat and mouse games, Cromartie finally gets blowed up good. But then his body gets repurposed and used as a UI for the childlike AI known as John Henry. (You could also say the same for Brian Austin Green, but that's slightly different — he came back as the exact same character, Derek Reese. It was just a different timeline where Derek hadn't died (yet.))

Sheryl Lee on Twin Peaks.

Laura Palmer dies (as you may have heard), but then actor Sheryl Lee shows up as Laura's nearly identical cousin Maddy. Good thing they wouldn't kill off the same actor twice... right?

Ali Larter on Heroes.

Larter plays the troubled webcam girl Niki, who's also the psychotic killer Jessica sometimes. But then Niki/Jessica dies... but it turns out Larter has an identical sister named Tracy. (And another one named Barbara, but apparently we'll never actually meet her.) And there's a mad scientist guy involved, who decided to give one sister weird water powers, and the other sister weird "psycho mirror" powers, because hello, mad scientist!

Doctor Carson Beckett on Stargate Atlantis

This jolly Scottish doctor is great at cooking up retroviruses and coming up with last-minute saves... but after he died at the end of the third season, fans were outraged. Good thing he was able to come back as his own clone. Also notable: Elizabeth Weir dies, but comes back as a machine intelligence (although I'm not sure if Torri Higginson ever played the mecha-Weir.)

Kirk Acevedo on Fringe .

This is the somewhat spoilery one: Acevedo's character, Charlie, dies at the end of the first episode of season two. But he's been replaced by an evil (or at least morally suspect) shapeshifter from an alternate world — where, presumably, there may also be another Charlie Francis running around. So we could eventually see Acevedo playing a third character. (And then a fourth, when the shapeshifter impersonates alt-Charlie?)

Amy Acker on Angel.

We were heartbroken when Fred died, but then chilled and shocked when she was reborn as the psychotic demon god Illyria. And then we learned to love her new persona almost (well maybe half) as much as her original one.

Terry O'Quinn on Lost.

Locke appears — emphasis on appears — to be stone dead, although maybe he's alive in another timeline? In any case, after Locke died, someone (or some thing) impersonated him, allowing O'Quinn to stretch his acting muscles and play Locke as, well, kind of a dick.

Denise Crosby on Star Trek: The Next Generation.

Oh. The pain. Tasha Yar dies, but then Crosby later reappears as Tasha Yar's daughter (from an alternate timeline) with a Romulan. You see, Picard sent alt-Tasha back in time to the Enterprise-C so it could be destroyed by Romulans and the timeline could be repaired, but alt-Tasha didn't die, and so she shacked up with the Romulans, and... oh, whatever. It's Crosby with pointy ears. Look!

Steve Bacic on Andromeda.

He plays Gaheris Rhade, who betrays Dylan Hunt and is killed in the show's pilot episode — although Gaheris reappears several times in flashbacks and one alternate history episode later. And then in later seasons, Bacic takes on a new character Telemachus Rhade, who's the descendant of Gaheris. (Thanks to Xicer for the heads up!)

Lalla Ward on Doctor Who.

Okay, so Ward's character, Princess Astra, didn't actually die — but she did get written out of the show forever. And then the Doctor's Time Lady companion, Romana suddenly decided to regenerate, and randomly chose to refashion herself into the guise of Princess Astra. You could also mention Anthony Ainley, who played Tremas in "Keeper Of Traken." Tremas died — but then his body got taken over, and he became the new incarnation of the Master — but Tremas was always just intended to be a new host body for the Master.

Katee Sackhoff on Battlestar Galactica.

This is another edge case — Starbuck definitely died, because there was a body. But did she come back to life? Is Sackhoff playing a different character in the final season of BSG? Your theory is at least as valid as mine, because I haven't a clue. Like the video says, "You Will Know The Truth."

Thanks to Alexis Brown, Meredith Woerner, Sam J. Miller, Paul McEnery, Sean Passmore, Katrina James, Rus McLaughlin, Kathleen Warnock, Robert Hewitt Wolfe, S.J. Edewards, David Daw, Debcha, Barclay Sylvester, Karen Meisner, Brooklyn Erica, and "Dillahunt News" on Twitter (is that actually Garret Dillahunt, or a fan?), plus anyone else who helped out.