Oooh, lordy. This one was rough, folks.
During the SGU intersession, but before V S2 started up again, I decided to fill some gaps of
Space Opera knowledge through the wonders of Netflix. I settled on the 1995-6 series
Space: Above and Beyond, created and written by Glen Morgan and James Wong, of
The X Files fame. However, despite a cameo by David Duchovny in episode #19, this was no
X-Files.
More like, by the time I finished I felt like I'd just witnessed a 24-part Marine Corps circle-jerk.
So - The year is 2063, and the world is at war.
Everyone's a tough guy. The men are tough, the women are tougher, even people bred in petri dishes ("In-Vitros") are tough. Everyone talks in deep, husky tones, presumably to appear more manly - but at some point I think the dialog actually dropped off of the human-audible frequency range.
The testosterone, it burns....
The war is against a shadowy unnamed race, dubbed by humans as "Chigs". If ever there was a made-up word to sound like a racial slur, that would be it. These "Chigs" are one-dimensionally evil, vile, and "alien" in every sense. Let there be no mistake, audiences were not meant to trouble their heads with any moral grey area when it comes to the enemy.
The interplanetary hostilities begin following a "Chig" attack on a human settlement, supposedly without provocation. The alien side is initially vastly superior, and so the situation for humans is desperate. The series surrounds the exploits of a handful of new recruits (who pretentiously dub themselves "The Wildcards") thrust into the midst of battle in an under-manned war.
Oh, and so there is no doubt, let there be no doubt everyone on this show loves, LOVES,
LOVES being in the Marines. This is driven home in
every freaking episode. All the characters volunteer without hesitiation for dangerous missions. They all go around shouting to one another how awesome their squadron is and how honored they are to serve together and how great it would be to die today. They sing themselves to sleep with drill marches, and quietly chant "Semper Fi" in times of stress and anxiety. I only wish I were exaggerating all this.
However, considering most "military sci-fi" shows tend to characterize the command structure closer to the
Star Trek archetype*, it was interesting to see things go the other way. Even if all the shouting did tend to result in viewer-migranes by the end of the show.
Morgan Weisser, who plays Nathan West, gets top billing on this show. Which is a little confusing because really early on, the writers run out of stuff for him to do. I guess there's only so much to be done when the main character only joined the Marines to find his girlfriend, and no one will actually let him
do that. Based on story focus, I'd say the
de facto primary is a 3-way tie between Vansen (Kristen Cloke), Hawkes (Rodney Rowland) and McQueen (the creepy James Morrison).
There were some pretty decent side-storylines of the A.I.s (artificial life that rebelled against humans) and the In-Vitros (an only semi-believeable storyline about a slave race bred for warfare). Behind all the machismo, there was an honest attempt at fleshing out a real and textured world of the future.
Space: Above and Beyond was nominated for two Emmys and a Saturn award (is there a category for over-acting?).
The series ends on a rather final, and depressing note. Three out of five "Wildcards" are killed on their final mission, and their commander loses his legs in an explosion. That's certainly one way to give the middle finger to the network that just cancelled you!
* - where the crew spent more time in the Holodeck and attending Klingon Tai Chi classes than they did actually manning their posts. Discipline? Forget it, they couldn't get Troi out of her catsuit and into a regulation uniform for at least 4 seasons, and I'm not sure any more success was had in getting Wesley on the bridge in something other than butt-flap pajamas.
Tags: sci-fi
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