Here's a complete list of all the methods we found for jogging your memory from science fiction tales, from the least fantastical to the most. (The end of the list, sadly, includes some items that you're unlikely to be able to find at your local office supply store.)

Use an acronym.

Suppose you've got a beautiful blue time machine that goes by the ungainly name of Time And Relative Dimensions In Space — you can always shorten it down to TARDIS, which is much easier to remember. That's what the Doctor (and his granddaughter Susan) did in Doctor Who.

The same goes for Marvel Comics' super-secret spy organization, the Supreme Headquarters, International Espionage, Law-Enforcement Division (S.H.I.E.L.D.) The only problem with acronyms is, people will change what they stand for when you're not looking — S.H.I.E.L.D. now stands for Strategic Hazard Intervention, Espionage Logistics Directorate in the comics, or Strategic Homeland Intervention, Enforcement and Logistics Division in the movies.

There's also the General Unilateral Neuro-link Dispersive Autonomic Maneuver (GUNDAM), and lots of other examples, here.

Write yourself a post-it note.

This may be the most foolproof method out there. In Star Trek: Voyager, Chakotay falls in love with a member of a species that erases itself from your memory after a while — and also somehow deletes all computer records. To guard his memories of their torrid, torrid love affair, Chakotay writes himself a paper note explaining everything that went on.

Similarly, in Scott Westerfeld's novel Uglies, Tally Youngblood undergoes the surgery to become a Pretty — but first she writes herself a note explaining all the plans she made to reverse the surgery. Because she won't remember them after she's become a Pretty.

In the movie Push, Nick gets someone to erase his memories and the memories of all his friends, so the mind-readers can't follow their plans. But he writes letters for himself and everybody else, to help them remember at the crucial moment — and there are instructions on how long to wait before reopening the letters.

And this technique is also used by Gwen Cooper in Torchwood (with so-so results), Noah Bennet on Heroes and Kurt on Odyssey Five. There's a great list over at TVTropes.

Keep a diary:

This is one step further than just writing a little note to yourself. In Gene Wolfe's novels Soldier in the Mist/Soldier of Arete, the protagonist loses his memory every single day. And he doesn't realize that his ability to converse with gods, ghosts and other mythic figures is unusual. He writes himself a detailed diary, and the first line of it is, "READ THIS EACH MORNING."

Lost's Daniel Faraday keeps a diary too, and seems to use it to remind himself of a lot of stuff he's forgotten as a result of some time-travel experiments that went wrong. Among other things, he doesn't remember writing the stuff about Desmond Hume being his constant.

Make up a song:

That's what Draycos does in Timothy Zahn's novel Dragon And Thief: A Dragonback Adventure. Draycos sees Jack being taken away on a spaceship, and needs to remember the words written on the ship's side — but they're in English, a language Draycos doesn't know. Says Draycos, "Alien symbols are difficult for one unfamiliar with them to memorize. But I am a poet-warrior of the K'da, and so as you were taken aboard the ship, I composed a song." For example, to describe the letter A, his lyric goes, "Two soldiers lean to, with joined hands." Or to describe the letter O, he sings, "Squeezed ring of fire, and what is more/A fire burns within its core." If you have an easier time remembering goofy song lyrics than unfamiliar symbols, this could work for you.

Leave yourself some objects to trigger a memory:

In Paycheck, Ben Affleck sees his own future, but then has his memory erased. So he leaves himself an envelope full of tiny objects, including a nail and an old penny, and a lottery ticket. They mean nothing to him — until he realizes that they're each incredibly useful at just the right moment. And they do help jog his memory, sort of. The Doctor on Doctor Who is constantly tying a knot in his hanky to remind him of things — but then he has to leave another knot in his hanky to help him remember why he made the previous knot.

Make yourself a video:

That's what Arnold Schwarzenegger does in Total Recall — he's forgotten his true identity as an agent of Mars intelligence (or maybe there was never anything to forget?) And now he leaves himself a video to explain everything — except maybe his past sellf isn't quite telling the exact truth.

Rodney McKay also leaves himself a video message in Stargate Atlantis after everybody loses their memories in the episode "Tabula Rasa." He tells himself to find Teyla quickly, or hundreds of people are going to die.

Create a memory key or "memory palace":

This one is a bit more involved. In John Crowley's modern fantasy novels, the Aegypt tetralogy, we meet the real-life philosopher Giordano Bruno, who had created a complex occult memory system, based on assigning graphical images to different pieces of information, allowing you to access them easily later. One such scheme involved concentric circles, and could allow you to set aside tons and tons of information. The Aegypt novels include the adventures of Bruno, who becomes the librarian of the Secret Library of San Domenico, keeping track of the huge collection of heretical texts using his amazing memory powers:

He knew and remembered every book, where it lay in Fra' Benedetto's cases, who had asked for it, and what was in it. In his vast and growing memory palace, the whole heavens in small, all that took up next to no room at all.

Also, in Orson Scott Card's Intergalactic Medicine Show, Tzu creates a "toy cupboard" in his mind, among other techniques for creating an order for random facts:

He learned to memorize longer and longer lists of things by putting them inside a toy cupboard the tutor told him to create in his mind, or by mentally stacking them on top of each other, or putting them inside each other. This was fun for a while, though pretty soon he got sick of having all kinds of meaningless lists memorized. It wasn't funny after a while to have the ball come out of the fish which came out of the tree which came out of the car which came out of the briefcase, but he couldn't get it out of his memory.

The Mentats, or human computers, in Frank Herbert's Dune seem to use a variety of techniques, including memory keys (and sapho juice) to remember tons of information with perfect clarity. There's a Yahoo group where would-be Mentats have posted advice on how to train your mind to be as clear as that of a Mentat — or a Vulcan.

Tattoo yourself:

It works for the guy in Memento.

Take smart drugs:

It's pretty amazing what you can do with smart drugs, but in Woody Allen's story "Think Hard, It'll Come Back To You," a smart drug called Cranial Pops can help you recall any weird bit of information that may have gotten away from anyone, allowing you to be the hit of a party — until they wear off and you crash.

Use hypnosis:

Lots of science-fiction heroes use hypnosis as a memory aid. In Robert Heinlein's Citizen Of The Galaxy, Baslim hypnotizes his foster son Thorby, so he can memorize a coded message to the Space Police, as well as a letter to a space captain to help Thorby get off the planet. When Claire forgets her assault by Ethan on Lost, the castaways use hypnosis to help her remember, and Fox Mulder on X-Files uses hypnosis to remember his sister's abduction by aliens.

More complex spins on the idea of jogging your memory using hypnosis include the hypnotic trigger that sets off River Tam and activates her killing-machine programming in Serenity:

And the images that make Chuck Bartowski suddenly recall bits of spy information stuck in his brain, in Chuck:

Wear video goggles or use image-recognition capability:

In David Brin's Earth, people wear True-Vu lenses that record everything they see, so they can recall stuff later. And in Amitav Ghosh's novel The Calcutta Chromosome, an object recognition computer can wring out all the details about objects you've seen. Science-fiction author Charles Stross suggests soon it'll be cheap and easy to store visual data on everything you've seen all day for a year, raising all sorts of questions about the boundaries between private memory and public records. Already, researchers have developed smart video goggles that will track what you see.

More way out solutions:

You could get a storage system in your head containing all the information you need to safeguard, as in Johnny Mnemonic by William Gibson (and the movie of the same name.) You could burn your own initials into your brain to remind you that you erased your own memory, like Zaphod Beeblebrox in The Hitchhiker's Guide To The Galaxy. You could use Wonder Woman's magic lasso to restore your memories, if you know where to track her down. You could transfer your memories into someone else, like Data in Star Trek: Nemesis or Spock in Star Trek II: The Wrath Of Khan. You could record your memories, like the people in Strange Days, or the dolls in Dollhouse. You could use a de-neuralizer to restore your memory, like Agent J in Men In Black II.

Top image: Citizen Of The Galaxy by Phil Golyshko. Additional reporting by Josh C. Snyder and Cyriaque Lamar.

Eco-Apocalypse

2012: It's pure global catastrophe in Roland Emmerich's film. Earthquakes, tsunamis, volcanic eruptions — every possible natural disaster seems to conspire to wipe out all life on Earth.

Decipher by Stel Pavlou: The year 2012 sees an increase in solar flare activity as scientists see unusual energy signals coming from Antarctica. It soon becomes clear that the sun could be on the verge of triggering a deluge, and all the world's cities could go the way of Atlantis.

Death from the Skies

2012: Supernova: If you're looking for something beyond the usual asteroid strike, here's a different sort of celestial doomsday. A nearby star goes supernova, threatening the Earth's survival, prompting an international team of scientists to launch nuclear warheads to reduce the effect of the impact.

2012: Doomsday: On December 21, 2012, one day before the predicted apocalypse, it is revealed that a celestial object is about to collide with Earth. But this time, it's religion, not science that averts the ultimate disaster.

World War III

Blood of the Beast: Roughly half the population dies in the war of 2012, but the world's chemical weapons render nearly all the men on Earth sterile. The world is repopulated by clones, but 19 years after the first clones are harvested in 2012, the world goes to pot once again.

Zombie Plague

Zombies: A Record of the Year of Infection: The dead start rising early in 2012, and soon the plague has spread across much of North America. And corporate greed has ensured that you can become a zombie even if you've never encountered the walking dead.

I Spit On Your Rave: The film doesn't get released until next year, but its zombie apocalypse starts at the 2012 London Olympics, when a virus is released. Humanity is quickly gobbled up, leaving the zombies to their own devices.

Alien Invasion

The X-Files: Alien colonization has always been a distinct probability in the X-Files universe, and in the episode "The Truth," the Cigarette Smoking Man reveals the date of invasion: December 22, 2012.

2012: The War of Souls by Whiley Strieber: Michael Bay is looking to adapt this tale of alien invasion. It turns out that the world's ancient monuments provide a gateway for alien invaders looking to conquer Earth and eat humanity's souls. And, if the invasion is not prevented in time, the gateways will open December 21, 2012.

RahXephon: The end of the Long Count Calendar marks another alien invasion, this one by the Mulians. The Mu declare war on humanity and enclose the city of Tokyo inside a spherical barrier.

Domain Trilogy by Steve Alten: Scientists may suggest that the dinosaurs were killed off by a meteorite, but the truth is that they fell prey to an ancient weapon buried beneath the Gulf of Mexico. And, if we don't learn the truth about those extraterrestrial exterminators by December 2012, we could be next.

Doctor Who "Dalek": Fortunately, the Doctor and Rose manage to stop Henry van Statten's captive Dalek before it can surface from his Statten's Utah bunker in 2012. Otherwise, the Dalek could have very well exterminated a good chunk of humanity.

A Glitch in the System

Wapsi Square: It's not that the Mayans predicted the end of the world in 2012, it's just that the quantum clock that runs the world must be reset at precisely the time and date the Long Count Calendar runs out. Otherwise, time resets back to an earlier point in time, trapping us all in a time loop. But you won't notice it — after all, it's happened several times before.

Goats: After the untimely demise of God, the Mayan programming firm One Death was hired to keep the multiverse going. Unfortunately, a glitch in the system will cause the multiverse to crash on December 21, 2012, unless the prophesied Programmer can be located in time.

PW2: 2012 by MC Miller: Former professor Hamilton Ray begins to notice strange patterns and synchronicities in in the universe, and develops a theory about a Probability Wave, something that's about to bring about a radical change in the universe at the end of 2012.

The World Is Radically Transformed

The Invisibles by Grant Morrison: The world as we know it may come to an end on December 22, 2012, but it's hardly doomsday. Instead, humanity ascends to the Supercontext, the next level of existence, at the word of Jack Frost.

JoJo's Bizarre Adventure by Hirohiko Araki: The priest Enrico Pucci acquires the stand Made in Heaven, which gives its user the power to rewrite the universe. And in 2012, Pucci attempted to remake the universe to suit his master Dio Brando. However, Pucci died before the universe could be completely rewritten, causing it to return to something close to its original form.

Shadowrun: Similarly, the world doesn't end in the Shadowrun universe, but as the Mayan calendar resets, the world undergoes a dramatic transformation. Magic returns to the Earth, allowing individuals, governments, and corporations to utilize a potent combination of cutting edge technologies and newly harnessed magic.

Additional reporting by Josh Snyder.

Let's start with Electropolis, the new Dark Horse collection of Dean Motter's Retrofuture Deco Noir story (Preview here). Filled with robot detectives, femme fatales and the power of electricity, it's just one of many off-beat genre books appearing at comic book stores this week.

And if Electropolis' pulp fiction is your thing, then maybe the Batman/Doc Savage Special (Dark Knight Detective versus Man of Bronze!) will also float your boat, after all. Or maybe Sky Doll: Doll Factory, a collection of unseen material from the awesome European strip Sky Doll, will provide your reading material for the next few days.

But if you prefer your heroines a little less suggestible than Sky Doll, the first issue of Tank Girl: Skidmarks is probably more your speed. Unsurprisingly, we'd also point you in the direction of the debut of Locke & Key: Crown of Shadows, but we're biased.

Maybe you're looking for something you've already seen in major motion pictures? That's okay; not only is there a preview issue of the new series of Wall-E, but there's also Star Wars Purge: Seconds To Die, which follows a young Darth Vader killing off as many Jedi as possible, post Revenge of The Sith. And that's not all! There's also a paperback collection of DC/Wildstorm's recent The X-Files series.

For those who can't get enough of those superheroes, then I'd recommend the first issue of Warren Ellis' Supergod, his latest "What if superheroes were bastards?" series. Or, on the opposite end of the superhero spectrum, the Absolute Justice hardcover, collecting Alex Ross' expansive love letter to the Super Friends (No, really).

In between those two extremes, there's Dynamite's Project Superpowers: The Black Terror Vol. 1 collection, DC's Green Lantern: Agent Orange collection, which leads into the current Blackest Night storyline, Supergirl: Who Is Superwoman? (in which Sterling Gates and Jamil Igle manage to undo years of abuse and make Supergirl a likable, working character again - good job, people) and the Authority: The Lost Year Reader (reprinting Grant Morrison and Gene Ha's two completed issues of their abandoned run, ahead of Keith Giffen and other artists aiming to complete the story in their absence).

There's also Marvel's PunisherMax (Yes, one word. It's the new "mature readers" title for the character, and maybe Marvel thinks pushing words together is more adult?), Green Hulk/Red Hulk collection (Heroes' writer Jeph Loeb writes a couple of gamma-irradiated monsters in a couple of adventures), the first issue of Strange (Mark Waid's reboot of the former Doctor Strange, Sorcerer Supreme). And also, there's all manner of X-Men books: the Dark Avengers/X-Men: Utopia collection, as well as collections of Wolverine: Tales of Weapon X, Wolverine Weapon X: Adamantium Men and Wolverine/Gambit. All your Wolverine needs should definitely be met this week, let's face it.

If there are any other needs looking unserviced, I'd recommend checking out the complete list of books shipping from Diamond Distributors this week, and then remembering that your local comic book store can be found here. If this week seems overly expensive, don't worry; there's an entire skip week at the end of the year to get some of that money back. Look at it as a loan. Or something.

The reason why I say that so emphatically is, there's a tendency to avoid watching a television show if you think it's already pre-cancelled. Why give your heart to a piece of ephemeral pop culture that won't even last the five-to-seven years that a successful show lasts? Why become fixated on a story you know won't end? Part of the answer is that we are science-fiction fans, and having our hearts broken is part of the deal. But you also have to keep the faith alive that it won't happen this time.

So in case you've missed our grindingly depressing coverage (mirroring everyone else's) of V's misfortunes, it's had a troubled ramp-up. First it was put on a production hiatus for a few weeks, then it was announced that showrunner Jeff Bell (who was showrunner on Angel's final season) was being demoted — he's still around as a writer, but he's no longer in charge. Then before the first hiatus was even over, a second hiatus was announced, and the show was on hold for at least a couple of months. And then the network decided to air only four episodes, this month, and then put the show on hold until after the Olympics, in March.

And today, there's the news that Scott Peters, the show's creator who replaced Bell as showrunner, was himself ousted. His replacement, luckily, will be Scott Rosenbaum, who's been a producer on Chuck and The Shield. Judging from the USA Today article, it sounds like the root of all these problems, including the production turnovers and delays, is the network's discontent with the show's creative direction. Here's USA Today's succinct explanation:

[T]he series remake has run into roadblocks. V's pilot episode was well-received by advertisers and critics, but ABC's late-summer decision to start the show two months earlier than planned – in part to dodge American Idol and the broadcast of the Winter Olympics, also in Vancouver – led to script problems, which forced reshoots and a five-week production break.

The first of three planned story arcs was condensed from six to four fall episodes. And the show will test viewers' loyalty with a three-month hiatus; remaining episodes won't surface until March. A promotional campaign that called for planes to skywrite red V's over national landmarks was scuttled after publicity over potential environmental effects.

And Thursday, in a response to the show's production problems, Peters (USA Network's The 4400) was replaced at the helm of the show by Scott Rosenbaum (Chuck, The Shield), though he is expected to stay aboard as an executive producer.

"We had a great pilot, then a couple of great episodes, but we had a disconnect on where we were going from there," says ABC Entertainment Group chief Stephen McPherson. Though no stranger to tinkering (he made extensive changes to the original Grey's Anatomy pilot), "I hadn't had the experience of that before." But McPherson accepts "a little blame for rushing them."

Mitchell, who plays hero FBI agent Erica Evans, says the resulting changes merely speed the pace of storytelling to pack a bigger wallop, including big cliffhangers in the Nov. 24 episode. Filming on that episode is set to wrap today, giving actors another unexpected 10-week break as the show is retooled. (Mitchell will trek to Hawaii to shoot new Lost episodes.)

So, yes. A troubled show, even before its first episode airs — and this does remind me a bit of similar behind-the-scenes stories about Bionic Woman, Dollhouse, Life On Mars, and countless other shows that had difficult gestations leading to troubled runs. But these things aren't fore-ordained, and a show can beat the odds.

Here are some reasons why I'm still cautiously optimistic about V in spite of all of the negative buzz:

1) The pilot really is great. From what I hear, the pilot that airs tonight is much the same one we all watched at Comic Con, and it's truly impressive. I went into the pilot expecting, at best, pleasant mediocrity or a watered-down tribute to the geek TV of our childhoods. And instead, I was surprised by what a cracking great piece of television it is. The story of the aliens who arrive promising great wonders, but quickly turn out to be a lot worse than we realize, is retold at a zippy pace and revamped for our wired, media-savvy culture. And it's provocative to have a show that says that despite all of our proud cynicism and air quotes, we're still suckers for the first super-advanced civilization that shows up offering us small-pox-infested blankets.

2) The cast is terrific. This matters a lot. You know who they never replaced during Bionic Woman's behind-the-scenes dickering? Michelle Ryan. You could have swapped in a dozen different producers, and it wouldn't have made Ryan watchable. In V, Elizabeth Mitchell is proving that her sparks of versatility on Lost weren't just illusions — she's really great as the show's heroine. (And how great is it that we actually have a female lead on a network show, who's not Michelle Ryan?) Given time, Mitchell could be as great as Lena Headey as Sarah Connor. Also, Whedonverse alums Alan Tudyk and Morena Baccarin are also just as great as you'd hope — and Baccarin is so natural as a smarmy alien leader, you'll almost forget Inara.

3) Maybe all the tinkering really will make it a better show in the end. Rosenbaum coming on as show-runner is actually great news — and if he can bring a bit of The Shield to V, then we'll be doing great. Also, I'm not entirely sad to hear they're tightening the pace. When I hear that six episodes were compressed to four, or that a show is going to cut to the chase faster, I often secretly rejoice — the biggest pitfall with a show like V is that the mysteries will be sustained for too long, that characters won't figure stuff out until long after the audience has, and that we won't get to see people fighting aliens until season three. As the SF Chronicle's Tim Goodman points out, this sort of molasses-slow storytelling has already overtaken fellow ABC show FlashForward (which might get renamed "inch forward" soon) — so it would be a shame if it happened to V as well.

4) We sort of owe it to ourselves to support any show about alien invaders. It's not as if we have a bevy of alien-invasion shows to choose from, or really a bevy of shows about aliens period. American television seems to have abdicated the territory it once owned, of first contact, alien attackers, galactic imperialists, and so on. I am prepared to apologize for mocking the boring alien makeup on shows like Star Trek: Voyager, if it means that we'll get aliens on TV once again. But for now, if there's even a hope of getting a show about meeting people unlike ourselves on television again, we need to grasp it with both hands.

5) I'm hoping that the creative stew of influences will still yield something really subversive and interesting. Peters, who created The 4400, is still on board as a producer according to USA Today, and Angel's Bell still seems to be in the mix as well. And the pilot definitely contains a huge dose of the paranoia and concerns about selling out that those earlier works were all about. (There's the journalist who's willing to ask only softball questions of the alien leader, as well as the religious figures who hitch their wagon to the aliens' star.) So maybe if those things remain part of V's DNA, and they aren't part of what gets sacrificed in the network's headlong dash to create soft and mushy enough for the general public to chew and swallow, then we'll still get a show that challenges us and reminds us that science fiction, even on television, can be a thing of amazement.

So yes, it's worth risking another disappointment. V is on ABC tonight at 8.

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.

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.

Monday:

House -
How long will we have to suffer with this kinder, gentler House? Probably not for too much longer, as Foreman is now in control of the medical scooby gang. Can't wait to see which upstart doctor House makes cry this time, over on FOX at 8 PM.

Day After Disaster -
In the event of a nuclear attack, the first 24 hours are the most critical for deciding how many people live or die - so says the History Channel. Learn the Department of Homeland Security's plan for a nuclear attack on Washington D.C. at 8 PM.

Heroes -
While dealing with the repercussions of his heroism, Peter meets a new woman with special abilities. Claire is dealing with the ripples of her choices as well, with the revelation of her secret to her nosy new roommate. Elsewhere, Samuel hunts for memories of his brother, and Matt deals with the return of Sylar. Come on, NBC: let's keep this "not horrible Heroes" streak going, at 8 PM.

Big Bang Theory -
Lewis Black guest stars as an entomologist helping the boys settle a bet regarding the species of a cricket on CBS this week. Back on the ranch, Leonard and Penny are trying a different approach after awkward intimacy check at 9:30 PM.

Movies:

The Teen Titans track down criminal mastermind Brushogun in Teen Titans: Trouble in Tokyo on Cartoon Network at 6:30 PM.

Tuesday:

The Universe -
Studying star clusters, both open and globular, and what they reveal about the nature of galaxies and the expansion of the universe. Make a wrinkle in your brain with the History Channel at 9 PM.

Movies:

In The Eye, Jessica Alba gets some poor dead girl's eyes, and suddenly she can see. As if that's not crazy enough, she begins to see dead people — not in the same awesome way as Haley Joel Osment, more in a totally creepy way that requires her to hunt down the original owner of her eyes. That's on Showtime at 8:15 PM.

Wednesday:

Ghost Hunters -
Famous rocker Meat Loaf (no, seriously) heads out with the team to investigate an allegedly haunted island in New York. This will be the first Ghost Hunters that we're actually excited about. But if he doesn't sing, we're out. Eddie is back at 9 PM on the Syfy Channel.

Destination Truth -
Ghost sightings near the site of the Chernobyl disaster send Josh and the team to the Ukraine on Syfy at 10 PM.

Eastwick -
So just who is that devilishly handsome stranger that rode into town on the back of the wind who can stir up sex? And exactly how does one stir sex? Well ABC is determined to show you, in a PG manner, at 10 PM. Joanna and Penny try to unearth some real facts about Darryl Van Horne, talking to a reporter and an eccentric shut-in. Back in town, Roxie and her daughter deal with the repercussions of her "date night" and Kat tries to get out of her marriage without resorting to killing her husband.

Movies:

The most recent, anti-climactic X-Files movie — that's The X-Files: I want to Believe in case you've already blocked it out — is on Cinemax at 8:15 PM.

Thursday:

FlashForward -
What's more important than the present? Every person on the planet is now a prophet, and it's terribly dangerous. Or maybe magically delicious. As the cast struggles to figure out how to bring forth, or avoid, their individual visions, we see more characters, more offshoots, and more of Dominic Monaghan. But who was that mysterious figure in the Detroit Stadium and why, of all places for the FBI to be checking, did they decide to hit up that venue first? All the answer will most likely not be explained, on ABC at 8 PM.

Vampire Diaries -
The CW continues to push the vampire fetish right off a clip at 8 PM. This week Elena allows Stefan to take her to the Founder's Party where of course temptation incarnate, Damon, tells her about his family's past — leading Elena to question Stefan to no avail.

Supernatural -
All I really want is to see Sarah Palin as President in the post-apocalyptic world of 2014. Don't get me wrong - definitely, NEVER EVER in real life. But tonight, as the literal bromance spends more time apart, we see an alternate reality where the Alaskan runs the country, Sam becomes Lucifer's vessel, and Castiel loves orgies (despite how well his last sexual foray went). On CW at 9 PM.

Fringe -
This week on "what will Walter say next," a bomb goes off at a Philadelphia train station. The gang is stumped, Peter is sassy, Olivia is tough and they all go to Iraq because: time peg! Let's hope this means we're dragging skeletons out of Peter's closet, since he spent quite some time there. Don't miss the Easter Egg-filled goodness on FOX at 9 PM.

Movies:

Marvel's spinoff The Meteor Man makes his movie debut (and finale?) as a bumbling inner-city superhero battling crime, and heights. On BET at 8 PM.

Friday:

Star Wars: The Clone Wars -
The second season begins tonight with two episodes, as Cad Bane attempts to steal a Jedi Holocron and Anakin and Ahsoka hunt him down. Cartoon Network delivers the Star Wars we never even knew we wanted, but now can't live without, at 8 PM.

Ghost Whisperer -
There is an evil chain mail this week. Seriously an EVIL CHAIN MAIL. So in order to avoid getting caught up in the EVIL CHAIN MAIL link, send 4 emails to CBS asking them to bring back Moonlight. Then watch Ghost Whisperer at 8 PM, or just send CBS the emails...your call.

Smallville -
John Corben is transformed into a cyborg after a car accident. As a machine man, he uses his newfound strength and powers to hunt down The Blur, and kidnaps Lois to do so. We're still waiting for CW to roll out the Wonder Twins episode, so we can stop watching already. But Brian Austin Green, who plays Corben, will tide us over until then. Don't miss the shirtless Kryptonite-powered cyborg action at 8 PM.

Dollhouse -
Echo's maternal instincts kick in on the job when she's imprinted with the emotions of a new mother. Alexis Denisof returns as Sen. Perrin and continues his hunt for the prostitution ring known as the Dollhouse. And Adelle visits November, because maybe she's not as done as a doll as we previously thought. Fox rolls out the second episode of Dollhouse season two, at 9 PM.

Stargate Universe -
The "darkest installment of the" Stargates launches this week, with a two-hour premiere, calculated to give even newbies a chance to jump in. Robert Carlyle plays Dr. Nicolas Rush, a man intent on ... well, actually we're not entirely sure. He does, however, assemble a team to tame the mysterious ninth gate, which leads to an undiscovered expanse of space. Eli, played by David Blue, is the young hotshot Rush has brought along to "voluntarily" lend his brain. The third Stargate show gives us familiar cast members (with guests Amanda Tapping and Richard Dean Anderson) but a much darker Stargate this time around — and forget exploration: the piecemeal team must work on surviving, first and foremost, on Syfy at 9 PM.

Spoiler alert? Witness two possible deaths in this four-minute preview from Syfy.

Movies:

Nic Cage uses his powers of future vision to help prevent a terrorist attack in Next on FX at 6 PM. So ... how can he foresee an attack if his "power" only allows him a two minute glimpse into the future?

Saturday:

Movies:

In a description so boring and vague that you have to wonder why they're hiding that obvious images of demons and the devil, a young Christian girl has her faith shaken when suicides rock her small town, in From Within on Syfy at 7 PM.

Sunday:

Raging Planet -
The fury of blizzards are examined on the Discovery Channel, via computer simulations. The 1995 "arctic hurricane" that devastated Tromso, Norway, is examined using archival footage and testimonials. Moral of the story? Don't get caught in a blizzard if you can avoid it. Those suckers are earth wreckers. Unleash the furry at 10 PM.

Movies:

The Incredibles makes you wonder if Marvel and Disney weren't in bed before now, on the Disney Channel at 9 PM.

Jennifer Check (Jennifer's Body)
Nature of Her Hunger: Demonic Possession — the result of a "virgin" sacrifice gone wrong.
Preferred Food Group: Boys, although she might make an exception for Amanda Seyfried.

Cal Thompson's ex-girlfriends (Peeps by Scott Westerfeld)
Nature of Their Hunger: Parasitic Infection, passed along through sexual activity.
Preferred Food Group: Whatever crosses their paths.

Lyekka (Lexx)
Nature of Her Hunger: Innate. She may look humanoid, but she's really a carnivorous plant.
Preferred Food Group: Pretty much anything and everything (including whole crews and countries at once), though she keeps her gums off the Lexx crew, out of affection for Stan.

The (Mostly Female) Carnivorous Dinosaurs of Jurassic Park (Jurassic Park)
Nature of Their Hunger: Innate. If you're going to keep Raptors and Tyrannosauri around, you have to expect a few casualties.
Preferred Food Group: Meat in general.

Heidi Barrie and Rhonda Kelley (Buffy the Vampire Slayer "The Pack")
Nature of Their Hunger: Hyena Possession, though they weren't very nice to begin with.
Preferred Food Group: High school principals.

Jodi Melville (Smallville, "Craving")
Nature of Her Hunger: Meteor-rock radiation, combined with an intense desire to be thin.
Preferred Food Group: Anything with fat on it.

Bilquis, The Queen of Sheba (American Gods by Neil Gaiman)
Nature of Her Hunger: Sacrificial. She devours men during the sex act to maintain her fertility goddess power.
Preferred Food Group: Men, though her preferred orifice for intake is not her mouth.

Zenelle (Madman)
Nature of Her Hunger: Mantis-like. Females of her species devour their mates.
Preferred Food Group: Men she's bedded, with the exception of one of the Mutant Street Beatniks, with whom she's fallen in love.

The Women of Eureka (Eureka, "Maneater")
Nature of Their Hunger: Chemical. An ancient spore turns the dial up on Carter and Dr. Stone's pheromones, and if what happened to the wolf whose lady friend got a whiff of his pheromones is any indication, the women of Eureka literally want to eat them up.
Preferred Food Group: Carter and Stone, though they never actually manage to sink their teeth into them.

Paula Gray, Doris Kearns and the Other Women of Dudley, Arkansas (The X-Files "Our Town")
Nature of Their Hunger: Cannibalism in an attempt to gain immortality.
Preferred Food Group: Anyone not in the cannibalism club. But they don't screen for diseases, and a good bit of the town ends up with Creutzfeldt-Jacob disease.

Frau Totenkinder (Fables)
Nature of Her Hunger: Sacrificial. She eats children to increase her magical power.
Preferred Food Group: Children, including her own infants.

Jillian Boone (Fringe, "Midnight")
Nature of Her Hunger: Bacterial. She's been infected with a sort of vampiric syphilis as part of an elaborate blackmail ploy.
Preferred Food Group: Spinal Fluid

The Women of Moodley (Doghouse)
Nature of Their Hunger: Infection by an Airborne Toxin.
Preferred Food Group: Men.

Giganta (DC Comics)
Nature of Her Hunger: Murderous. When you're giant, it's a handy way to dispose of people.
Preferred Food Group: Ryan Choi, The Atom, though just she ends up puking him up later.

Maryann Forrester (True Blood)
Nature of Her Hunger: Epicurean. She happens to know the perfect recipe for human (and shifter) hearts (and makes Tara an unwitting accomplice to her cannibalism), though she also needs a humanoid sacrifice for her god.
Preferred Food Group: She has a particular affinity for supernatural beings, though nothing undead.

Janet Weiss and Columbia (The Rocky Horror Picture Show)
Nature of Their Hunger: Unwitting. When you're invited to a dinner party, you generally eat what's placed in front of you.
Preferred Food Group: Meat Loaf — as in the person, not the stuff that's baked with tomato sauce.

Lizzie (My Favorite Martian)
Nature of Her Hunger: Monstrous. Thanks to a gumball that transforms humanoids into other creatures, Lizzie (who is normally shaped like Darryl Hannah) turns into a carnivorous alien beast.
Preferred Food Group: Bad guys.

Giggerota the Wicked (Lexx)
Nature of Her Hunger: Epicurean — in her words, she "likes to eat."
Preferred Food Group: Pretty much anything, although she finds brains too salty.

Audrey II (Little Shop of Horrors)
Nature of Her Hunger: Innate. She's a mean, green mother from outer space.
Preferred Food Group: Anything human.

Helen Sherman (Torchwood, "Countrycide")
Nature of Her Hunger: Epicurean. She and the other villagers happen to enjoy human flesh.
Preferred Food Group: Travelers.

Miss French (Buffy the Vampire Slayer, "Teacher's Pet")
Nature of Her Hunger: Mantis-Like. Actually, she is a giant praying mantis.
Preferred Food Group: Male virgins, no matter how much they boast about their supposed "experience."

Every Female Zombie Ever
Nature of Their Hunger: Innate. Fish gotta swim, zombies gotta chomp.
Preferred Food Group: Any living human, but there's sometimes a special emphasis on brains.

Bloody Disgusting are reporting that Anderson's comments to the effect that we can expect a third X-Files movie somewhere around 2012 (Perhaps that's the terrible disaster that will spark the end of the world as promised by Roland Emmerich, countless ancient prophecies and fixed Google searches) are part of a possible reboot of the franchise that's currently being discussed by the powers that be, although they add that "[n]othing is set in stone, all should be taken as rumor until confirmed."

We're not too surprised that an X-Files reboot would be considered, considering the critical drubbing of the last movie and a remake/reboot-happy Hollywood that sees no problem in rebooting Battlestar Galactica less than a year after the last version, but it has to be asked: Doesn't Fringe already do that job pretty nicely? Do we even need any new X-Files anymore?

News Bites: Alba on 'Machete' Set, New 'Pandorum' Poster, a Third 'X-Files', New Discoveries! [Bloody Disgusting]

Some people interpreted last week's top 10 list of silly alien prosthetics as hating on low-budget science fiction, or dissing the hard work of makeup artists — and that was definitely not the intention. But when you've seen the same few ideas crop up again and again, you tend to get a bit jaded.

For me, personally, Star Trek in the 1990s and early 2000s ruined me for boring humanoid aliens. After the endless parade of people in vinyl pajamas, with different smushy bits of latex on their faces every week, I got rubber-nose fatigue. There's a lot to love about 1990s Trek — Deep Space Nine was frequently brilliant and prescient, and Voyager had some standout episodes — but the infinite assembly of silly faces was not one of the things I loved.

Oh, and the picture above is from Davosmith's amazing Flickr set of Manchester's Fab Cafe. Here's another image from the same set, featuring another one of the creatures on this list:

So here are ten aliens that were obviously done on a shoestring budget, but which absolutely knock your space boots off:

10. The Daleks, on Doctor Who.

The evil genetically engineered cyborgs on Doctor Who are like mini-tanks with buzzing bee voices, and they scared the pants off generations of British (and some American) kids. They've had their ups and downs — if the first Dalek story you saw was "Day Of The Daleks," "Destiny Of The Daleks," "Remembrance Of The Daleks" or the recent one where they turn people into pigs and then dress in zoot suits, you won't understand what the fuss is about. Watch "Genesis Of The Daleks" or "Dalek." (Before you jump on me in comments, I do like "Remembrance," except the Daleks wobble horribly and look just decrepit.) In their prime, though, the Daleks glide along, rasping with anger and pointing their terrible egg-whisk guns. They're utterly cheap — and horrifying. And you only occasinally Runners up: debatable whether the Cybermen are aliens, but they do often look cool. Also, the Draconians and Zygons make the rubber-mask thing look brilliant, and the Forest of Cheem also doesn't look bad at all. I also like the Slitheen, but only design-wise.

9. The Aliens from The Arrival.

Directed by David "Pitch Black" Twohy, this 1996 alien invasion film was probably made for three Snickers wrappers and a handful of arcade tokens — but I really love the look of these aliens, and they way they move on their weird satyr-ish horse legs. Here's a slinky alien transforming itself into a hawt babe, probably because it just watched Species. Also, I love the flaps that cover up its brain, and how they undulate. Nice stuff!

8. The Visitors from V.

They look human most of the time, but when we get the occasional glimpse of their real lizard faces under their human masks, it's super-effective — as long as we don't linger. Here are a couple of choice moments. I love Diana picking at the shreds of her human disguise, like they're a scab (at about 4:00 in the first video). And the speech in the second video is the greatest thing ever:

7. Greedo and the other cantina aliens, in Star Wars.

Weirdly, later live-action Star Wars movies have never featured aliens that felt as interesting and lively as the first glimpse we got in that cantina scene. Of course, we've already exposited about our love for Greedo, but all of the quick glimpses of aliens in this scene have a liveliness that makes you feel like they're each the star of a cool story. Not bad for an underdog film with a tiny $8.5 million budget (not much even in 1977) whose crew was busy trashing the set and making fun of the Wookiee costume.

6. The Jem'Hadar in Star Trek: Deep Space 9.

They actually jumped out at me when I was compiling pics for the post about silly-looking facial prosthetics last week — there was a picture of a Vorta surrounded by Jem'Hadar troopers, and I had to crop the Jem'Hadar out of the image, because they actually looked kind of cool. Something about the way their prostheses work with their faces really feels realistic, and all of those scenes of them struggling with their addiction to ketracel white feel engaging rather than run-of-the-mill. Runner up: Species 8472 in Voyager had some moments of genuine creepitude as well.

5. Black Oil in The X-Files.

A sentient alien virus that can live in hibernation for thousands of years, it appears as a liquid, not unlike crude oil. But it can move on its own, and it's sentient, and it can take people over. There's nothing cheaper than just having some black goo oozing around, and yet it's completely convincing and compelling, and doesn't feel like any life form you've encountered on Earth.

4. The Aliens in District 9.

Obviously, this movie's still fresh in our minds, but the downtrodden aliens in the film look different than anything we'd already seen. Their twitching face-tentacles can't help grossing you out a bit, even as their big pleading eyes lay claim to your sympathy. With a budget of around $30 million, this film is the equivalent of Star Wars or Alien back in the day — a low-budget film that succeeds thanks to a lot of inventiveness born of desperation. And great storytelling, of course. I almost left this film off the list, because we've covered it so much lately, but it clearly belongs.

3. The Vorlon from Babylon 5.

These energy-based life forms are among the First Ones, and inspire a quasi-religious awe among people who see them. So its fitting that their headgear and robes look so alien and unfamiliar. As Sheridan tells Kosh at one point, he can't even tell if it's the same Vorlon under all that covering, or different Vorlons in the same guise.

2. The 456, on Torchwood.

To me, this is the absolute best way to do an alien species on a budget. Shroud it in toxic smoke — and mystery — and just show little glimpses of evil tentacles. The way these creatures shriek and spatter the walls of their enclosure with alien puke will stick in your mind long after you're done watching the miniseries "Children Of Earth." This official still is actually a better look at the 456 than we ever get in the actual television show — and even in this image, they're somewhat indistinct and obscene looking. They're the perfect mixture of mysterious and disgusting, just right for aliens who want to molest your children.

1. The Xenomorph, from Alien.

The studio originally only wanted to give director Ridley Scott a $4.2 million budget, until he showed them storyboards and Mobius illustrations. But, says Scott in a recent interview, "The [revised] budget started out at $.8.2-million and ended up at 8.6, which I think in those days was still relatively cheap. We didn't have the money to do pretty well anything... But in a funny kind of way, you get very clever when there is very little money, because it makes you think." Scott had a stroke of luck when writer Dan O'Bannon took him aside and showed him H.R. Giger's art "like he was showing me a dirty book," and they brought in Giger to design — and sculpt — the alien costume and other alien artifacts. But the other key, says Scott, was disguising the fact that this was still a man in a suit:

We started with a stunt man who was quite thin, but in the rubber suit he looked like the Michelin Man. So my casting director said, ‘I've seen a guy in a pub in Soho who is about seven feet tall, has a tiny head and a tiny skinny body.' So he brought Bolaji Bodejo to the office, and he was actually from Somalia, funnily enough," Scott remarks, having much later directed BLACK HAWK DOWN, which was set in Somalia. "I said, ‘Do you want to be in movies,' and he said sure. And he became the alien. I had him for two months. In the cockpit, there's a pack of cigarettes that says ‘Bolaji.'

Thanks to Alan Bostick, Alasdair Stuart, Madeline Ashby, @Nightwyrm on Twitter, Marlin May, Andrea Zanin, Melinda Adams, Rina Weisman, Micky Shirley, Susie Kameny, Greta Christina, Serene Vannoy, Rus McLaughlin, Minal Hajratwala, Annelise Ophelian, Seth Kaufman, David Fraser, and James Limbach for suggestions!

According to Variety, HBO executives approached Spotnitz some time about the possibility of developing a medical thriller. Given that Spotnitz spent eight years writing for The X-Files, it's not terribly surprising that he gave the idea a near-futuristic twist. Humanitas takes place in a future more medically advanced than our own, where doctors are able to manipulate genes and create viruses, resulting in a host of ethical dilemmas and general anxiety that a pandemic is imminent.

Spotnitz's second project with HBO is flung much farther into the future. He is looking to adapt The World Inside, Robert Silverberg's novel about humanity in the year 2381. The human population has exploded thanks to a strictly enforced culture of free love and uncontrolled reproduction, and most of the world's population lives inside vast, sprawling buildings and never go outside. It's an apparently utopian society of unfettered sex, happiness drugs, and mutual reliance, where everyone lives in harmony. But it's also a closely monitored and regulated society with no privacy or individuality, and deviation from the social norms can be punished by death. But a computer engineer in one city finds he has perverse thoughts of leaving the building and exploring the world outside.

Of course, there's no guarantee that either show will get picked up, but it's encouraging to see HBO, a channel whose recent speculative offerings have tended more toward modern fantasy, take an interest in shows with a scientific and futuristic bent.

[Variety]

As the Cyberpunk Project writes in an essay called "Neuromancer Afterlife":

"I am the dead, and their land."

With life redefined, so comes a new afterlife. New gods, new demons, new inhabitants. And many different levels, reincarnations. The body can be remade, copied, clones carry on the family line. Cold sleep, cryogenics extending presence, slow wasting. Cons tructs, down loads of the soul, ghosts. Digital purgatory, brain death.

"For thousands of years men dreamed of pacts with demons. Only now are such things possible."

Omnicient, omnipotent, omnipresent. Demons or gods, they possess power. They are worshipped and feared. The AIs. Religion has advanced with technology, heaven and hell can be interfaced with, the powers addressed. Science has brought back that which was previously done without. Some hint o f symbiosis, of the immortal hive. Others fear them like the lords of Hell. To themselves, they just are. They exist, they reside. They are the infinity of angels on the head of a pin, the threads of the matrix. They, It, is All.

"To live here is to live. There is no difference."

Memories are virtual, we relive them without physically manifesting. Perhaps the mind can be reproduced, decanted into a simulated environment. Perhaps what we ta ke for granted every day is such an experience. It is the age old question of who we are. How do we define ourselves? Bits, bytes? By the flow of information, by wiring, by memory, data? In the Virtual age, what do we become? And were do we go? Is this salvation?

Several people in Neuromancer by William Gibson. Super-hacker Case meets his girlfriend Linda Lee, who was murdered in Chiba City, but her consciousness lives on in the cyber-matrix. And then he and his friends have to steal a ROM containing the personality and memories of McCoy Pauley, aka The Dixie Flatline. And at the end of the book, mocking inhuman laughter suggests that Pauley may have been reanimated permanently in cyberspace, thanks to the help of Neuromancer/Wintermute. As one book puts it, he gets an unsettling vision of his life continuing in cyberspace after his body dies.

Reno in Hardwired by Walter Jon Williams. This uber-hacker dies in the "real" world, but his consciousness lives on in cyberspace, and even manages to ambush the bad guys electronically at the end of the novel.

Pulse (movie). A haxx0r named Josh steals and distributes (why?) a computer virus that opens a portal to the world of the dead. And then he commits suicide, but he keeps popping up on the computer, sending people messages and videos and mortgage-refi spam. (It was 2006.) And later in the movie, you can see spooky dead children trapped inside the computer, and the implication is that the computer is trapping their dead spirits. The only way to escape is to get out of cellphone coverage, because the cellphones have it too. Veronica Mars, why don't you just use your awesome sleuthing skills to solve this one?

River Song and friends in Doctor Who, "Forest Of The Dead". River Song does the time-honored thing of knocking the Doctor out so she can take his place in the brain-frying machine and get cooked to a sizzle. But luckily, FutureDoctor has left a handy escape clause that PresentDoctor can use to bring her back from the dead: her fancy sonic screwdriver retains a copy of her consciousness, and he's able to upload her into the planet-sized library's computer system, where she's stuck taking care of a couple of snot-nosed virtual kids forever. Way better than being dead, right? Right?

Eva Friedel in Memories: Magnetic Rose. This famous opera singer retires to a space station, but when she dies, she leaves behind an A.I. imprint of her personality. Unfortunately, it's damaged and incomplete.

The Mailman and Ery in "True Names" by Vernor Vinge. The Mailman backs up his brain into the system, but his consciousness runs so slow, he only manages to experience fifteen or twenty hours of human awareness in the several years he's running online. Ery plans to do the same thing, only better:

She was grinning now, an open though conspiratorial grin that was very familiar. "When Bertrand Russell was very old, and probably as dotty as I am now, he talked of spreading his interests and attention out to the greater world and away from his own body, so that when that body died he would scarcely notice it, his whole consciousness would be so diluted through the outside world.

"For him, it was wishful thinking, of course. But not for me. My kernel is out there in the System Every time I'm there I transfer a little more of myself The kernel is growing into a true Erythrina, who is also truly me. When this body dies," she squeezed his hand with hers, "when this body dies, I will still be, and you can still talk to me."

The story's hero, Mr. Slippery, thinks about stopping her, but realizes this is an inevitable end-point of human evolution.

Dr. Londes and his cult in Cowboy Bebop, "Brain Scratch." The imaginary Dr. Londes starts a cult that believes in achieving immortality by digitizing your brain and zapping it up to the network. But it turns out Dr. Londes doesn't exist at all, he's just a construct.

Alex McCandless in Freejack. In this movie, which is almost more awesomeness than two hours can contain, Emilio Estevez is a racecar driver who is about to die in a spectacular crash, but his body is whisked forward in time to the dystopian future of 2009. He's held prisoner by Mick Jagger, and it turns out that Anthony Hopkins wants his body. Because Hopkins died in an accident while on a business trip, and his mind is preserved in cyberspace, where he and Estevez face off in a virtual world. Can Estevez keep Hopkins from downloading himself into his body?

Moloch in Buffy The Vampire Slayer, "I, Robot... You, Jane." Somehow scanning a demonic spellbook causes the trapped demon to get scanned into the interweb, and it starts having steamy chats with Willow. Ah, cyberlove.

Kenshiro "Zero" Cochrane in Ghost Rider 2099. Zero is a hacker in the futuristic world of Marvel's 2099 universe. He gets hit with a poisoned flechette in Transverse City, but as his body dies, he jacks his consciousness up to the cyberverse. A group of A.I.s living in Cyberspace — in an area known as the Ghostworks — retrieve Zero's concsiousness and download it into a fancy new robot body, to become Ghost Rider 2099, the cyber-spirit of cyber-vengeance. It's cyber!

Almost everyone in "Sweats" by Keith Brooke, in the anthology We Think Therefore We Are. In this story, everybody (or at least everybody rich) gets to go to a virtual afterlife after dying, which also allows a murder victim to prosecute (and persecute) his murderer after death. Even up to the point of stealing his murderer's body and downloading himself into it.

David and Invisigoth in The X-Files, "Kill Switch." A hacker named David develops a way to upload his brain to the net in this episode written by Gibson. And that turns out to come in handy, since later on David's dead body is found, with a cyber-helmet attached to his head. The A.I. that used to be David takes Mulder prisoner because he wants a copy of a killer virus called "Kill Switch" that Mulder has. In the end, both David and his girlfriend, Esther aka Invisigoth, manage to escape into the internet together. In another Chris Carter creation, the short-lived TV series Harsh Realm, Thomas Hobbes is declared dead after his brain is uploaded to a virtual apocalpytic war scenario called "Harsh Realm."

Magi in Neon Genesis Evangelion. The supercomputer "Magi" is created from the mind of Ristsuko Akagi's dead mother. It has "the mother, the scientist and the woman" balancing out its brain. Also, two of the "Evas" are made from the souls of two characters' dead moms.

Graves in Star Trek: The Next Generation, "Schizoid Man." This pompous scientist is dying, but he has a plan to transfer his brain into a computer network. Instead, though, he downloads his consciousness into the android Data, whereupon he starts reciting crappy poetry about himself, feuding with Picard and whistling showtunes from Wizard Of Oz. Some people just don't deserve cyber-immortality.

Juliana Soong in Star Trek: The Next Generation, "Inheritance." Juliana Soong dies, but her husband Noonien saves her by transferring her into an android body so realistic, she can't even tell she's not the original Juliana. And later on, Noonien achieves a kind of immortality after his own death, by leaving a subroutine in Data's brain that makes Data dream of him.

Roushana Maitland in Song Of Time by Ian R. MacLeod. The protagonist of this year's Arthur C. Clarke Award-winning novel is a concert violinist who's about to pass into a "virtual afterlife," when she discovers a half-drowned man on the Cornish coast.

Lawnmower Man (the movie). Jobe, the idiot turned cyber-savant, kicks Pierce Brosnan's ass — but then he gets caught in an explosion that destroys the building his body is in. Good thing Joby's found a "backdoor" to the mainframe his consciousness was trapped in. Now cyberspace is his oyster. His salty, slimy, cyber oyster. Full of slimy, salty bad cybersex.

Everyone, in Silicon Karma by Thomas A. Eaton. Someone invents a viable mindscanning technology, which means that everyone goes to cyberspace after he/she dies. And of course, naughty people learn how to hack the afterlife and mess up everyone's experience of Heaven.

Nono in FAQ:Frequently Asked Questions. The hero of this indie film runs away from a totalitarian government, and then at the end of the movie, he sees his dead girlfriend, Angelique, reincarnated inside an erotic broadcast online. He somehow leaves his body behind and goes inside the erotic internet to be with her. (Or does he? It's an art film, so who knows what actually happens?)

Jonathan Wilde, in The Stone Canal by Ken MacLeod. Any novel that starts with the line, "He woke, and remembered dying" automatically earns inclusion on this list. In Stone Canal, the anarchist leader Jonathan Wilde lived on Earth 600 years ago, but a group of radicals retrieve his consciousness from online, and put him into a new body. The only trouble is, this new Wilde isn't quite the same person as the original.

A few people in Ghost In The Shell: S.A.C. This anime series features a few people who die but have their consciousnesses saved in virtual networks. For example, in Ghost In The Shell: SAC: Solid State Society, Koshiki gets permission to work from home via a cybernetic body. And then he dies due to illness, but it's two years before anyone notices, because his cybernetic body keeps going under his control, and his consciousness appears to be preserved.

Hellraiser: Hellworld. This direct-to-DVD sequel revolves around an evil MMO called Hellworld (at hellworld.com.) One of the players, Adam, commits suicide, and Pinhead tells Adam's father, "Your son was quite the prodigy. He opened the gateway to Hell. But you never believed yourself, did you?" The other teens who play Hellworld are invited to a special Hellworld party at a spooky mansion, with sex and drugs and blood and guts. Reality blurs together with the MMO world, and the hapless teens realize they're partying... in cyberhell. Or something.

Frankie in "Xanadu" by Thomas M. Disch. Frankie dies and finds his consciousness uploaded to a virtual world. It's all sunshine and puppies at first, until the company that runs this afterlife falls on hard times and needs to raise some more capital. Suddenly, all of the people in cyber-Heaven have to work for a living again — and due to a clerical error, his consciousness is downloaded into a woman's body and he has to work as a prostitute. Probably not the eternal reward he had in mind.

Caprica (TV Series). Long before the Cylons had a plan — or a sexy red dress for that matter — a monotheistic cult-member blows up a monorail in Caprica, killing everyone on board including Zoe Graystone, daughter of computer genius Daniel Graystone. Luckily, she's a computer genius too, and she's already uploaded her consciousness to the 'net, creating a cyber-avatar called Zoe-A that lives on in the virtual orgyspace. (Becuase, of course, the human brain only takes up 300 megabytes of storage space.)

Mr. Hormel in "New Hope For The Dead" by David Langford. In a similar vein, Mr. Hormel is a fully paid-up resident of the digital afterlife, with a trust fund in place to guarantee his eternal rest. Unfortunately, the global economy takes a nosedive, and he's faced with three choices: going into storage as a .zip file until the economy improves, having his clock/processor speed slowed down so that a century passes in a few weeks for him, or working for a living. And the third choice isn't even as fun as it sounds. (You can read the whole thing here.)

Everyone in The Accord by Keith Brooke. The Accord is a virtual realm, where you can upload your consciousness, so it'll live on after you die. (As someone in the novel says, "If you want to enter Heaven, first you must be saved." Ha ha.) Noah has an affair with Priscilla inside the Accord, but her husband finds out and murders her. Noah kills himself so he can be with her in the Accord — but there's a catch. The version of you in the Accord isn't who you were at the moment of death, but who you were the last time you uploaded. The Priscilla who lives on inside the Accord is younger and doesn't remember loving Noah at all. This novel takes place in the same universe as "Sweats," mentioned above.

Vance in Batman Beyond, "Lost Soul." Vance died many years ago, when he was an old man. But his consciousness was digitized and became an A.I. After his son dies of a heart attack, his grandson Bobby reactivates him, so he can help run the family business. But instead, Vance tricks Bobby into putting him online, so he can take over all of Gotham City's computers. And then he takes over the cybernetic Batsuit! Oh noes!

The alien entity in Stargate: SG1, "Entity". This disembodied consciousness, which apparently was originally a living being, travels through a wormhole and downloads itself into the mainframe. Eventually it escapes and downloads itself into Sam Carter's body.

Eiri Masami in Serial Experiments Lain. (Thanks to SumatiAmphimonous for suggesting this one.) The project director of Protocol 7 is in charge of advancing the Wired, the sum total of human computing power, but he also aims to copy his brain into the Wired so he can live forever. A few days after he succeds in doing this, he dies in the "real" world. He aims to convince Lain, a 14 year old girl, to follow in his footsteps.

Paul Durham and others, in Permutation City by Greg Egan. (Thanks to WRyan for suggesting this one.) In the future of 2045, rich people are backing up their brainwaves into complete duplicates, known as Copies, and the Copies have started agitating for full personhood and civil rights. Along comes huckster Paul Durham, who proposes to create a virtual-reality city for the wealthy to live in. Durham disembowels himself in the bathtub, but thousands of years later he's still bopping around Permutation City.

Additional reporting by Alexis Brown. Thanks also to Zack Stentz, Rus McLaughlin, Jack Random, Tim Chevalier and @NoMentionOfKev, @anewthought, @Lazybastid and @cartoonmoney on Twitter.

Bell, is known for his work on X-Files, Alias and the best part of Angel (right around the time the lonely vampire took charge of Wolfram and Hart). In fact, Bell was showrunner for the final season of Angel.

"Like many people, I have fond memories of whatching the original miniseries," Bell said. "And to see how they did it now, it's epic. (Exec producer/scribe) Scott Peters did a fantastic job relaunching it. It seems like there are so many ways that you could go with this story."

While Bell's deal is for two years, the alien invasion series is on a year-by-year contract. The first year will consist of 13 episodes, and the next could have more (or none). The drama will begin in January. Scott Peters, of The 4400 fame, and the brains behind the updated V, will remain an executive producer.

[Variety]

The Daily Express is reporting that Anderson will appear in new Doctor Matt Smith's first season, and she'll be playing The Rani, the Time Lady who crossed swords with the Doctor a couple of times in the 1980s. Originally played by Dynasty actor Kate O'Mara, the Rani was an amoral scientist who didn't care who got hurt by her crazy experiments. She wasn't actually evil, just morally challenged. And she needed a constant supply of human brain fluid to pay for her shiny Hot Topic outfits. Despite appearing in two of the worst 1980s stories, the Rani isn't intrinsically horrible, and could turn out to be a fun character if given a decent makeover - and a better actor, like Anderson.

The same source who told the Express the Rani is coming back also insisted the new production team, led by Steven Moffat, is eager to bring in tons of new villains. So which is it? [via DenOfGeek]

Think about it; even the runaway successes don't make it past a seventh season. With the exception of the original and most recent series, all of the Star Trek series lasted seven seasons. Buffy lasted seven, as well, and BSG lasted four and a bit (The miniseries always feels a little like a season zero to me). The only three shows to break this rule that I can think of are Doctor Who (which ran for 26 years originally, then went on hiatus for 16 years before returning), Stargate SG1 (10 seasons) and Smallville (About to head into its ninth).

The practical answer, I'm sure, would involve actors wanted to stop playing starship captains and go off and do something else for the Hallmark Channel or guestspots on Leverage or whatever; seven years seems the limit on contracts for most actors aside from Tom Welling and Allison Mack. But what keeps SF shows from just swapping out actors and leads like Law & Order and continuing on regardless? Part of me wonders what the fan raction would've been had Star Trek: The Next Generation had introduced the cast of Deep Space Nine into the show around its sixth season and just continued with them as a new Enterprise crew for an eighth, and beyond, with the cast and crew of Voyager joining in at a later date. Could we have had fifteen years of Star Trek, or would fans have jumped ship because their favorite characters were gone?

You could make the argument that no show deserves to run 15 years no matter what the genre; certainly I'd admit to dropping out of er way before the ten year mark, never mind making it all the way to the end. It wasn't that I was bored of the cycling in and out of numerous characters who shared similar traits and ever-increasingly dramatic personal demons, but also that the stories themselves became repetitive and predictable. The same could be said of the final years of Star Trek: The Next Generation, Voyager and Stargate SG1 (and of recent seasons of Smallville and Doctor Who, for that matter). Even the last couple of years of Buffy and Deep Space Nine began to feel stale, as if the writers had told all the stories that they'd wanted to. Is there something about sci-fi drama that exhausts itself in its need to constantly up the scale and scope of its stories each and every year? Perhaps actors seeking greener pastures isn't the only reason why even successful SF ends around the seven year mark; maybe the creators run out of new ideas that they're able to create on a weekly television budget, as well (After all, Star Trek: First Contact was one of the best Next Generation stories despite coming years after the seventh season of the series).

Part of me wonders why we haven't really seen a successful sci-fi procedural set up so as to allow for characters to come and go more freely than a Star Trek, but also to take advantage of a syndication-friendly done-in-one format without the constant demands of an ever-growing internal mythology and backstory... A CSI: Mars, or whatever. The closest things I can think of to that would probably be The X-Files, which tried to replace its stars in its eight season (Hey, another show to add to my list of 7+ seasons! X-Files ran nine, of course) without much success... probably because of the crushing weight of the show's mythos being tied directly to the original leads, and SciFi's Eureka, although that seems to be creeping towards a "bigger picture" backstory ever so slowly. It seems like an obvious idea, considering the success of police and medical procedurals, but science fiction shows always seem to gravitate towards intricate backstories and centering the shows around the characters, instead of the plots, as some kind of cliched way of giving "regular" audiences something to hold onto amongst the technobabble. But, as Lost and Battlestar Galactica push SF TV towards a model of shorter, more novel-like approaches, it'd be nice to see Eureka or even SciFi's new Warehouse 13 demonstrate that SF TV can do something else, and have the longevity of more "mainstream" shows.

We got to see a preview screening of Trespass a few days ago, and it was pretty fun, although possibly trying too hard to emulate a real 1950s movie.

During the Q&A after Thursday night's screening, and the movie's panel at Wondercon, director Goodwin insisted there was no irony in his 1950s pastiche. Or rather, that any irony would come from us viewing the film, not from the film itself. Movies from the 1950s are unintentionally funny when we watch them now, so Goodwin and collaborator James Swift decided that if they made a 1950s-style SF film now, and played it absolutely straight, it would be unintentionally funny as well.

So you have the cheap rubber-suit monster, the slightly wobbly flying saucer (but done via CG), the theremin, and the painfully earnest acting and dialogue. There's even a thing where someone walks alongside a moving car and the background scrolls behind the person and the car, but when the car stops the background is out of sync.

The rubber monster, the Gota, looks like a "seven-foot-tall penis, with eye in the middle," Goodwin said in the Q&A after the screening. "We put those little fringey things over its eye to try and take that off it." He said he made everybody watch tons of old 1950s movies, to try and keep this one as true to their spirit as possible, and every prop or piece of decoration is as authentic as possible.

What saves Alien Trespass from being just a pure campfest is the quality of the performances. Goodwin managed to score a surprisingly great cast, including Eric McCormack (Will And Grace, Free Enterprise), Jenni Baird (The 4400), Robert Patrick (Terminator 2) and Dan Lauria. They bring absolute conviction to their performances and never wink at the audience or start playing it for laughs.

"When you look at the original movies, [like] It Came From Outer Space, the actors were good and everything, but when you look like it now, it's really funny," said Goodwin. "We had to act like we were living in the 50s, and try really hard." In some ways, with all the world's troubles today, it was nice to go back to a time when "life was simpler, gentler and nicer," with "nothing to worry about except instant nuclear holocaust."

The movie's plot is pretty formulaic and never quite rises above the level of slavishly imitating 1950s storylines. A UFO which crashes near a small town, and two occupants lurch out: the Gota, a one-eyed monster that kills humans, leaving only puddles of water behind, and the spaceman who was keeping it prisoner. The spaceman, Urp, takes over the body of a local astronomer, Ted Lewis (McCormack) and tries to hunt down the Gota before it reproduces and overruns the world. But the town's residents think Lewis has gone crazy, and blame him for the rash of disappearances in town. Meanwhile, a group of joy-riding teens are the only ones who've seen the monster, but nobody will believe them.

The movie starts with a fake 1957 newsreel explaining how all copies of the film Alien Trespass were destroyed after a dispute between the studio and the movie's star. So we're meant to be seeing a lost classic here, that's been miraculously dug out of a basement.

Just to make it absolutely clear this is a 1950s homage, there's a scene where the kids go to a theater to watch The Blob. And we see a clip of the scene where the kids are in the movie theater, and the Blob oozes in and attacks them. And while the Trespass kids are watching this scene - you guessed it - the Gota comes into the movie theater and chases everybody out. It's totally meta.

If you've seen every single 1950s classic several times, and you wish there was one more film along the lines of It Came From Outer Space or The Blob for you to watch, Alien Trespass is literally made for you. I like those 1950s movies, but they're not my favorites, and I don't really enjoy this kind of nostalgia fest. So Alien Trespass wasn't really my cup of tea, but you might find its poker-faced retro-camp totally awesome and fun.

The movie opens April 3 in select markets, and then goes a bit wider the following week. Goodwin and Swift are depending on word of mouth to make this film succeed, so if it sounds cool to you, definitely tell your friends.

It's difficult to separate an actor from her character, especially when the acting is of high caliber. Of course, actors deserve to have private lives just like all other creative professionals, and if some of them don't read the Lord of the Rings trilogy every year (like Dominic Monaghan), well, that's just who they are. But it's a special gift from actor to fandom when the people who play beloved heroes turn out to be more than a little like the heroes themselves. They might not fight caped evil in their daily lives, but these eight actors possess that crucial bit of understanding that keeps them from phoning in their roles — and convinces their admirers that they're worth every jaw-drop and swoon.

Kristen Bell
After three years as teenaged noir super-sleuth Veronica Mars, Kristen Bell had to move on to something different — and she chose Heroes. Having watched the show since day one, Bell told the minds behind the show that she was a huge fan; the rest, as you know, is history. She's living proof that part of being a great actress is having a deep personal investment in the story you're being paid to tell. Audiences appreciate the hell out of that. And in a fantastic interview with the A.V. Club, Bell further showed her respect for her fans:

The bottom line is, everyone's a loser in their own right. Here's why I like geek culture: People like what they like because they like it. They're not trying to fit into any mainstream likes or dislikes. You want to dress up like a Star Wars character and go to Comic-Con? Do it, if that's what makes you happy. People might look at you as super-weird, but if that's your obsession, go for it.

Damn straight, Kristen! And I expect to see you in our next cosplay round-up.

Wil Wheaton
The man you know as Wesley Crusher just might be the poster boy for actors-in-fandom. Whether or not you like his Star Trek character, you have to admit that his subsequent work as a blogger has made the lives of many geeks, nerds, and fans very happy. He's written extensively and thoughtfully on his experiences in the world of Star Trek and in real life, producing three books: Dancing Barefoot, Just a Geek, and The Happiest Days of Our Lives. He currently blogs at Wil Wheaton dot Net in Exile.

David Tennant
Nobody had to explain Gallifreyan customs to David Tennant when he took the role of the Tenth Doctor on BBC's Doctor Who. He'd already been watching the program for years. In fact, he is a self-described "Doctor Who junkie" and once cherished a Tom Baker action figure. Now an action figure himself, Tennant took us through the production history of the show in a memorable episode of Doctor Who Confidential entitled "Do You Remember the First Time?" — and by the way, it turns out that pretty much everyone on the team these days was a childhood fan.

Felicia Day
You may know her as Dr. Horrible's lost love Penny or a Potential Slayer from Sunnydale, but it turns out that Felicia Day's geekiest — and awesomest — work yet is the creation of the online web series The Guild. Her tribute to gamers is adorable, hilarious, and subtitled in Chinese, Japanese, Italian, French, and German. Yeah, she's one of us.

Nathan Fillion
One of the hallmarks of devoted sci-fi fandom is allowing a fantastic story to become your reality. So Nathan Fillion, who played Captain Malcolm Reynolds on Firefly, endeared himself to me forever when he started making posts to internet fan forums and signing them "The Cap'n." The Serenity star is my kind of man: He devoured comics as a child, holds frequent Halo tournaments as an adult, and has this to say about his experience as the leading man of a sci-fi western (from Firefly: The Official Companion):

I put on my costume in my trailer and took one last look in the mirror. They called me to the set and I remember coming right from my trailer to inside the door of the set. When you walked into the studio, the ship was just to your left with the big open cargo bay door looking at ya. I remember walking up the cargo bay door for the first time in costume. I believe it was David Boyd, our director of photography, who turned and saw me walking up and turned back around to the crew and said, "Captain on deck." Some people clapped and it was kind of neat. It was a reception I will remember always.

David Duchovny
Nothing says commitment like writing two episodes of the show you star in, directing three others, and contributing to the story of five more. He may have left The X-Files a bit too early for some of our tastes, but Duchovny and creator Chris Carter were very much in cahoots as far as this celebration of unexplained phenomena is concerned — and that demands some respect. As Duchovny told the Los Angeles Times, it's an honor to be part of sci-fi culture:

The X-Files was said to be the first Internet show. We had chat rooms and fan sites and all that. Look, I'm usually five or six years behind whatever is hip. So it was around 2000 that I started doing e-mail and finally started understanding what all that was about. ... My initial response — and I still hold this to be true — is that it takes the place of some of the functions of a church in a small town: A place where people come together, ostensibly to worship something. But really what's happening is you’re forming a community. It's less about what you're worshiping and more about, "We have these interests in common." Someone has a sick aunt and suddenly it's about that, raising money to help her or sharing resources to make her life easier. That's what it was about with The X-Files on the Internet.

Ben Browder
Ben Browder's starred in the much-loved Australian-American series Farscape and American-Canadian series Stargate SG-1. Other actors in his position might bitch about being pegged as a sci-fi actor, but not Browder; he was heavily invested in both series, and seemed to have as much fun making them as people did watching them. He snagged a story credit for SG-1 and wrote two episodes of Farscape. As you can tell from the panel recording below, Browder learned his stuff while doing it: he says, "when people tell you that some long arc show which is five years in making is planned in every detail from the beginning, they are full of it!"

Simon Pegg
Simon Pegg will be Scotty in the J.J. Abrams Star Trek film, and is one of the creators and stars of the tongue-in-cheek sitcom Spaced — he plays a sci-fi enthusiast and aspiring comic book writer. He certainly brings a lot of talent to both sides of the screen, and when he guest-starred in Doctor Who, Pegg told the BBC:

Doctor Who was a big part of my childhood ... I'd got into Doctor Who just before Jon Pertwee regenerated into Tom Baker, and as a kid I never remember the special effects being as primitive as they were. It scared the hell out of me but I loved it. I particularly recall monsters like the Sontarans, who had very strange heads; the giant insects in "The Ark in Space" and in one episode, Julian Glover tearing his face off to become this one-eyed creature.

He's speaking, of course, of alien menace Scaroth, who manipulated human history for his own ends in the serial "City of Death." If that brilliantly campy special effect impressed Pegg, he had to have been totally immersed in the story, and that is true sci-fi cred any day.

Salutes all around for these glorious nerdy thespians! Now — who'd I miss?

Thanks to tipsters Heather, Sarah, Ellen, and Lily!

Image from Adventures in Time and Space.

Maybe that pigeonhole is bigger than we thought. Duchovny commented in a recent interview with Sci Fi Wire:

I never thought of The X-Files as science fiction. I always thought of it as playing this character in this world. The world was recognizable to me. It wasn't The Jetsons. It was present time. You couldn't fly. You couldn't transport our bodies over a teleport and all that stuff, so it was the real world, and it didn't feel like sci-fi to me.

Point taken — but, uh, remember your UFO poster? That room full of bug-eyed green fetuses? The computer that developed free will? (Not to mention the abducted sister, the abducted partner, the alien worm virus, the malevolent slime, the supernaturally strong clones ....) That's science fiction, buddy. And there ain't no shame in it.

We've gotten into trouble before playing genre-labeling games, but in the spirit of Michael Chabon, it must be said: Science fiction is, indeed, just good storytelling, with far-out ideas that are backed by what we know of the universe so far — and it spurs us forward to discover more. As Duchovny put it later in the interview, The Dark Knight suffocated theaters this summer (and is now suffocating joyful DVD and Blu-Ray players everywhere); there's a reason for that. Science fiction is for everybody, and it's here to stay.

Duchovny definitely understands that last bit. Though most non-Philes seem to be pooh-poohing the idea of any more Mulder and Scully, he's still into it:

I always talk to [X-Files creator] Chris [Carter] about how fascinating today it would be to take this guy from his early 30s and let's take him into his mid-50s, late 50s. Maybe nobody wants to see 60-year-old Fox Mulder, but we can grow him. We can take him through life's hardships and changes. It doesn't have to be this cartoon where nothing changes. You can actually form the flow of this movie and the expanse of this show to embrace actual passage of time and what that does to a person and relationships. To me, that's interesting as an actor and as a person. As an intellectually based character, you don't give a damn what he looks like.

Well, to a point. As long as Old Fox Mulder doesn't look like the freakishly speed-aged Doctor from "The Last of the Time Lords," I'm on board.

Duchovny Still Believes in X-Files [via Sci Fi Wire]

Image from Scificool.com.

Sure, the Doctor (version II, anyway) eventually got to tell Rose Tyler he loved her, and they shared a nice smooch in Doctor Who's season 4 finale. But if you watched the Confidential, you know that actors David Tennant and Billie Piper provided much sweatier minutes of mackage than the two-second bit that was deemed appropriate for the kiddies. (I suggest watching it in slow motion for maximum shortness of breath.)

If you're not yet excited to see Eliza Dushku stretch her thespian legs in Joss Whedon's Dollhouse — or turned on by Dexter's Desmond Harrington — you certainly will be after this little firebomb of a clip. Wrong Turn may be from a dumb horror movie that pits college students against cannibalistic mountain men, but it's certainly got one scorching moment in it, and here's the proof.

Julianne Moore is something like the duchess of psychological sci-fi horror, with impressive stints in movies like Children of Men and Blindness (we won't talk about Evolution). In this deleted scene from The Forgotten, she and Dominic West can barely keep their hands off each other — and so they don't.

The Iron Man trailer seemed to promise us an onscreen meeting of the lips between Robert Downey, Jr. and Gwyneth Paltrow, but it never quite happened. They did, however, film it, and this montage of set pictures gives us a glimpse of what could have been ... in Tony Stark's mouth.

All right, this last one isn't a kiss, but finding a cut kiss for this show would have been impossible: No kiss is too naughty for Torchwood. BBC Two did, however, draw the line at a Jack/Ianto crotch grab — so I guess it's a good thing we have the internet to show us the things that television won't dare to. John Barrowman and Gareth David-Lloyd are in top (and bottom) form in this thrilling deleted scene.

If it's comics based on film and television, then this week definitely spoils you for choice; IDW alone is putting out the first issue of Star Trek: The Last Generation (An dystopian alternate-timeline version of TNG), the collection of Transformers Movie Sequel: The Reign Of Starscream, and a 3D Transformers Spotlight on Optimus Prime. DC Comics aren't far behind; they've got both the second hardcover collection of Heroes' webcomics (which is better than the first, but I'll say more about that tomorrow) and the first issue of a new X-Files series being released, alongside Batman: Gotham Underground (a collection of the recent series of the same name about Batman's villains) and The Spirit Special, which brings together some of Will Eisner's original stories that inspired Frank Miller's movie.

Marvel, meanwhile, are having a relatively quiet week, but Marc Guggenheim's Young X-Men gets its first collection, while Garth Ennis's non-mature readers take on The Punisher gets a weighty hardcover omnibus all to itself. Less weighty - but no less ridiculous - is Image's Youngblood Hardcover, in which one of the worst comics of the 1990s (by Rob Liefeld, a man who never met a face he couldn't cross-hatch into oblivion) is remixed and rewritten by comics iconoclast (and Ben10 co-creator) Joe Casey.
But even that accomplishment is overshadowed by a book from San Jose-based indie publisher SLG/Amaze Ink: Space Raoul brings together cartoonist Jamie Smart's weird and wonderful tales of somewhat misshapen and inept hero from Space Command. It's childish, doesn't take itself too seriously and is bizarrely awesome; go look for it and you won't regret it.

If you don't know where to look for it - and all of the other books from the complete list of this week's new comic releases, then I would suggest you hit up the Comic Shop Locator Service). Go on; embrace your inner child one more time.