Space: Above and Beyond

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Space: Above and Beyond
Space: Above and Beyond intro.
Genre	War drama Military science fiction
Creator(s)	Glen Morgan and James Wong
Starring	Lanei Chapman Kristen Cloke Joel de la Fuente James Morrison Rodney Rowland Morgan Weisser
Theme music composer	Shirley Walker
Country of origin	United States
Language(s)	English (with 2 occurrences of Traditional Chinese subtitle)
No. of seasons	1
No. of episodes	24 (List of episodes)
Production
Location	Australia  United States
Running time	45 minutes approx.
Broadcast
Original channel	FOX Network
Picture format	NTSC/480i60
Audio format	Dolby Surround
Original run	24 September 1995 – 2 June 1996
Links

Space: Above and Beyond (sometimes also Space 2063, and also abbreviated as S:AAB) is a short-lived 1990s American science fiction television show on the Fox Network, created and written by Glen Morgan and James Wong. Originally planned for 5 seasons, it ran only for the 1995–1996 season. It was nominated for two Emmy Awards and one Saturn Award.

The show, set in the years 2063–2064, focuses on a group of United States Marines, members of the United States Marine Corps Space Aviator Cavalry, 58th Squadron, or the "Wildcards". They are based on the spacecraft carrier USS Saratoga, and act as infantry and also pilot the SA-43 Endo/Exo-Atmospheric Attack Jet (Hammerhead) fighter spaceplane. With a budget of approximately 1.5–2 million USD per episode, it was the most expensive science fiction television show at the time of its production.

The show depicted a more rigid command structure and organization of forces than contemporary science-fiction shows like Babylon 5 and Star Trek. The show remains something of a cult series. This is partially related to the fact that the series received significantly better ratings during its second run on the Sci Fi Channel, as compared to the mediocre ratings in its initial run on the Fox Network. Criticism has been voiced by the producers, citing the lack of marketing, frequent slot changes, and constant pre-emption for sporting events as responsible for its poor ratings while running on the Fox Network.

Contents 1 Plot 1.1 Story arcs 1.2 Other topics explored 1.3 Ending 2 Criticism 3 Cinematography and visual effects 4 Characters 5 International broadcasts 6 DVD release 7 Episodes 8 See also 9 References 10 External links

[edit] Plot

According to the producers, the main fictional work that influenced Space: Above and Beyond was the 1974 science fiction novel The Forever War by Joe Haldeman, in addition to other fictional works such as 1948 World War II biographic novel The Naked and the Dead by Norman Mailer, the 1895 American Civil War short story The Red Badge of Courage by Stephen Crane, and the Iliad. Another possible influence, although denied by the producers, is the 1959 novel Starship Troopers by Robert A. Heinlein, as they share a significant number of motifs (excluding the politically controversial nature of Heinlein's work). Possible influence also came from the 1962 World War II television series Combat! and the 1987 Vietnam War series Tour of Duty. At the same time, the show also shares conspiracy elements with other television shows co-produced by the same team, such as The X-Files and Millennium.

In the years leading up to 2063, humanity has begun to colonize other planets. Suddenly, a previously unknown and mysterious alien species, the Chigs, attack and completely destroy the first outer space Earth colony and then destroy a second colony ship. The bulk of the Earth military forces sent to confront the Chigs are destroyed or outflanked. In desperation, unproven and under-trained outfits like the 58th "Wildcards" are thrown against the Chigs. The Wildcards are the central focus of the series, which follows them as they grow from untried cadets (receiving their initial training by none other than Full Metal Jacket and Mail Call's R. Lee Ermey) into veteran pilots and Marines. Although the unified Earth forces come under the control of a reformed United Nations, the UN has no armed forces of its own and therefore navies such as the U.S. Navy and the Royal Navy operate interstellar starships.

The Space: Above and Beyond milieu includes an underclass race of genetically engineered and artificially gestated humans who are born at the physical age of 18, and are collectively known as InVitros or sometimes, derogatorily, "tanks" or "nipple-necks". The InVitros have replaced the previous underclass group used by humanity, which are the Artificial Intelligences (AI), also known as Silicates. These are human-looking androids, also referred to as "walking personal computers", who have rebelled, formed their own societies and wage a guerrilla war against human society. Although they were originally designed only to serve and not to question orders, an unsatisfied engineer who worked on the project implanted a computer virus, which introduced the idea of taking a chance to the Silicates (the "Take a Chance" Virus). It was said in the show that by taking a chance, they were then allowed to choose, thus allowing them to realize their state and fight against it. They are identifiable by their eyes, which have crosshairs instead of irises. The Silicates are also suspected of having some involvement with the Chigs.

[edit] Story arcs

With the growing popularity of story arcs in science fiction on television in the 1990s, and also evidently inherited from other series created by the same producer team, Space: Above and Beyond features several prominent story arcs connecting episodes, beside the main setting, the Chig War, which technically can also be regarded as a story arc in itself.

In an approximated descending order of significance, these are:

The Chig War (2063—) 

The Chig War, taking place 6 years after the AI War (2047–2057), represents a major setback for human space exploration. In the first half of the season, and up to approximately episode 1.16, the Chig War progressed rather grimly for humanity (e.g. episodes 1.09, 1.15), but with superior military strategies like covert operations or disinformation (episodes 1.13, 1.21), the humans are able to gain an upper hand and are able to launch major offensives (episodes 1.22, 1.23), although neither the War nor the story arc concludes at the end.

With the Chig War as the main story arc of the series, Space: Above and Beyond probes human emotion in extreme desperation and conflict, and a generation that will grow up with them. The important motifs which can be gleaned from this story arc are those that can be found in a variety of war dramas: loyalty, courage, and possibly most importantly in the narrative perspective of Space: Above and Beyond, the significance of individual actions.

See also: Chigs

Nathan West and Kylen Celina 

The Nathan West and Kylen Celina story arc is a theme present in many episodes following Kylen, who had been taken hostage by the Chigs (episode 1.03). Instead of her, the device appearing in most of the episodes is an audio recording photographic tag, with the recording of Kylen saying: "I believe in you." (episodes 1.01 ff.) When Kylen was rescued and was onboard the Saratoga briefly before returning to Earth, she replaced the recording with : "I believe in all of you." (episode 1.24)

The relationship between Nathan West and Kylen Celina is the most prominent story arc except for the overall setting of the Chig War, and is also placed against and interwoven with the Chig War story arc, adding the motif of hope and faith to the Chig War story arc. As the hope for a rescue of Kylen Celina appears to be a key symbol of hope and motivation for the "Wildcards" (e.g. episodes 1.06, 1.12, 1.24), this story arc also appears to be the driving force of the overall series.

The InVitros 

As artificially gestated humans, the InVitros do not share equal social rights with those viviparously born, or so called "naturally born". They are derisively termed "tanks" by regular humans, which seems to be a double entendre, describing not only their method of birth but also their physical toughness, which is always greater than "naturals", and the disposable nature of them, the first to come in battle, the "tanks" that open the way for the infantry. InVitros also seem to refer to themselves as "tanks" amongst themselves. Before its abolition, they were subject to indentured servitude (episode 1.05), and there is still considerable racial segregation and resentment by normal humans (e.g. episodes 1.01, 1.07), and governmental abuse for morally dubious purposes (episode 1.13). Two main characters, Cooper Hawks and T. C. McQueen, have to face all the ramifications of such a society from their perspective as InVitros.

This repeating theme explores topics such as racism and prejudice in a society, and also freedom. It differs from other story arcs in its complexity in form of a division into two substories. One is presented as historical narration by the characters (e.g. episodes 1.05, 1.18) or flashbacks (episode 1.13); the second occurs in the present, with the experiences of Cooper Hawks and T. C. McQueen, including a subtle substory of the shifting relationship between Nathan West and a maturing Hawks (e.g. episodes 1.07, 1.11).

See also: InVitro

The Silicates 

The Silicates, or AI rebels, stole military spacecraft at the end of the AI War and went into space (episode 1.04). During the Chig War, Silicates collaborate with the Chigs, acting as mercenaries (episodes 1.04, 1.16, 1.19) and operating mining and prison facilities for the Chigs (episode 1.10). There is a substory arc, Paul Wang and Elroy EL, in which Paul Wang must deal with the fact that under torture, he falsely confessed to having committed war crimes (episodes 1.10, 1.16, 1.19).

The Silicates story arc has been compared by some with the topic of the 1978 science fiction series Battlestar Galactica, and especially the 2003 Battlestar Galactica reimagining.

Nathan West and Neil West 

The relationship between Nathan West and his younger brother Neil is a short story arc in the episodes 1.02, 1.17, and 1.18. It is used to explore the emotions associated with the amount of human loss and sacrifices to a much greater degree than any episode before 1.17.

Aero-Tech and the UN 

The dark Aero-Tech and the UN story arc injects an element of conspiracy and high-level cover-up. Aero-Tech, founded in 2015 (episode 1.24), appears to be a monopolistic aerospace and defense supplier. It is connected with the UN by Aero-Tech's clearly evident political power, both with the UN (with a former Aero-Tech director becoming the United Nations Secretary-General in episode 1.07) and with the armed forces, as evidenced by its control over advanced technologies (episodes 1.03, 1.10, 1.16). It is also suspected that Aero-Tech was aware of the Chigs before the rest of humanity, and deliberately endangered the Vesta and Tellus colonists (episodes 1.07, 1.24). Aero-Tech further gathers, uses or withholds key strategic information in pursuit of its own corporate agenda (e.g. episodes 1.03, 1.09, 1.10, 1.16).

The Aero-Tech and the UN story arc explores topics such as power, Intrigue, politics, and perhaps to some degree also scientific ethics and responsibility. It clearly exhibits the influence of two other television series the producers co-produced — The X-Files and Millennium (in fact, the Aero-Tech corporation was mentioned in the Millennium series, being in fact a front company for ODESSA — this would link the X-Files also with SAAB, as Millennium took place in the X-Files universe.

Some viewers claim that the story arc does not appear to be a natural part of the overall plot, and that it is poorly developed and left unresolved by the cancellation of the series.

[edit] Other topics explored

Beside the story arcs described above, there are 5 "disconnected" episodes not used to carry on any of the story arcs beside the overall Chig War story arc. These are episodes 1.06, 1.08, 1.11, 1.14, and 1.20. Some of the episodes have a less prominent motif, while others explored topics outside any of the main story arcs. Yet other topics also have been explored in episodes related to a story arc. Examples of these additional topics are: fear and revenge (episode 1.04), loss and sacrifice (episodes 1.06, 1.11), subconscious fears (episode 1.08), parapsychological abilities and responsibility (episode 1.14), drug addictions (episode 1.20), desperation and hope (episodes 1.13, 1.22). Beside the story arcs, several episodes also explore other private relationships of the characters in war time (e.g. episodes 1.05, 1.15, 1.18).

[edit] Ending

The final episode 1.24 ends in an open-ended fashion, where T. C. McQueen is badly injured and most of the major cast is apparently killed or missing, with only Cooper Hawkes and Nathan West remaining. Yet with Earth in a much stronger strategic position, there is the motif of hope, despite the losses and sacrifices.

Although sometimes perceived as a cliffhanger, it was the ending the producers chose when it was evident that the show was about to be canceled. Even with this ending, the producers still planned a possible continuation in a second season, with T. C. McQueen returning to Earth to treat his injuries sustained in episode 1.24, possibly given an AI prosthetic leg, and the "Wildcards" receiving a new female commanding officer.^[1]

[edit] Criticism

Space: Above and Beyond has been criticized for various unrealistic depiction of the military in the series,^[2] some of which are:

• SA-43 pilots are not just trained, but regularly deployed as infantry on routine patrols or on the front line, implying that pilot training is effortless and readily available.
• Pilot trainees are sent into their training mission without any leadership or leadership structure among them (the idea being that the more forceful member would eventually take command^{[citation needed]}).
• Very undisciplined and unprofessional behavior of military members
• Ground patrols teams are assembled with commissioned officers only.
• The "Wildcards" have unisex quarters.

On the other hand, the use of trained flight officers for frontline ground deployment is explained within the series quite early, as manpower shortages caused by the sudden defeat of the main Earth military forces in the series pilot required their utilization. It is also hinted that Marines aviators (as opposed to regular air force pilots) are required to perform as ground troops as well as maintain a satisfactory standard of piloting ability (compare the contemporary motto "every Marine a rifleman").

Trading realism against narrative aesthetics or constraints by a television series is not unusual, and Space: Above and Beyond is not the first series to make such a trade-off. But being a science fiction television series with an unusually strong emphasis on military themes for its time, Space: Above and Beyond found itself in the unique situation of being scrutinized for details in various depictions of military structure and strategies. Some of the criticized aspects, like the intermixing of pilots and ground troops, are also present in later science fiction television series such as Stargate SG-1 and Battlestar Galactica.

Another notable criticism from the actor Joel de la Fuente has been quoted in an article by P. G. Min & R. Kim^[3] (under the pseudonym "Michael", on p. 744), in which he describes his perception of a possibly stereotypical nature of his character Lt. Paul Wang, for which (referring to the Silicates story arc) he felt "discomfort" for a role that he describes as "a cowardly soldier who betrayed his comrades":

“

Whenever I see Asians in military uniform, I cannot help but recall common images of Asians from the Vietnam War and World War II. They were “yellow-bellied cowards” who took the lives of loyal Americans. They were treacherous and crafty, impossible to gauge. Wang could be seen as all of these stereotypes, I thought.

”

However, Paul Wang gives his life willingly in the last episode, staying behind to hold off Chig forces while Nathan West and Cooper Hawkes lead the POWs, including West's long-lost-love, to safety.

[edit] Cinematography and visual effects

Space: Above and Beyond featured a very dark and desaturated color grading, apparently inherited from the cinematography of series such as The X-Files and Millennium, co-produced by the same team, but taken to a greater extreme. The strength of desaturation employed in many scenes reaches the level that makes them almost black and white (quantitatively, the saturation in CIE xy color subspace of a typical scene in Space: Above and Beyond is in the range 0.03–0.15, approximately 1/4 of a typical contemporary film or television program). This is quite unique among science fiction series of the time and is very different to series like the space opera Babylon 5.

With the trend of science fiction on television in the 1990s, and the increasing affordability of computer systems with performance suitable for 3D rendering, Space: Above and Beyond relied heavily on computer generated imagery (CGI) for space scenes. Yet unlike CGI-only series such as Babylon 5, physical effects still play a significant role. The digital effects of Space: Above and Beyond, done by the visual effects company Area 51 using NewTek LightWave 3D, was leading at its time, although from today's perspective some of the models used — (such as the USS Saratoga and the alien carriers) — lack detailed textures and bump maps, which gave them a strongly polygonal appearance.

[edit] Characters

• Lanei Chapman — 1st Lt. Vanessa Damphousse (USMC)
• Rodney Rowland — 1st Lt. Cooper Hawkes (USMC, InVitro)
• James Morrison — Lt. Col. Tyrus Cassius "T. C." McQueen (USMC, InVitro)
• Kristen Cloke — 1st Lt. Shane Vansen (USMC, promoted to Capt. in ep. 1.18)
• Joel de la Fuente — 1st Lt. Paul Wang (USMC)
• Morgan Weisser — 1st Lt. Nathan West (USMC)

Recurring Guest Characters

• David Jean Thomas — Gen. Alcott (USMC)
• David St. James — Adm. Broden (USN)
• Amanda Douge — Kylen Celina (Aero-Tech, Tellus colonist)
• Edmund L. Shaff — "Chaplain" (USN)
• Bill Hunter — Sec. Gen. Spencer Chartwell (UN)
• Robert Crow — "Controller" (USN)
• Doug Hutchison — Elroy EL (AI)
• Kimberly Patton — Feliciti OH (AI)
• Harriet Sansom Harris — Amb. Diane Hayden (UN, becomes Sec. Gen. in ep. 1.07)
• John Lendale Bennett — "Master of Arms" (USN)
• Tucker Smallwood — Cdre. Glen van Ross (USN)
• Michael Mantell — Howard Sewell (Aero-Tech, member of the Board of Directors)
• James Lesure — Lt. Charlie Stone (USMC)
• Melissa Bowen — Lt. jg Stroud (USN)
• Gennie Nevinson, Loren Chase — Anne West
• Angus Grant, Marc Worden — Neil West (becomes Pvt., USMC in ep. 1.07)
• Tasia Valenza — Lt. Kelly Anne Winslow (USMC)

Notable One-time Characters

• David Duchovny (uncredited) — Alvin El 1543 aka "Handsome Alvin" (Silicate)^[4]
• Dale Dye, Capt., USMC (ret.) — Maj. Jack Colquitt (USMC)
• R. Lee Ermey, GySgt., USMC (ret.) — "Drill Sergeant" (USMC)

[edit] International broadcasts

BBC2 (United Kingdom) Channel 2 (Israel) Fox Network (United States) HRT (Croatia) Kanaal 2 (Belgium) Kanal A (Slovenia) M6 (France)

Polsat (Poland) Pro Sieben (Germany, Austria) RPC Canal 4 (Panamá) SBS6 (The Netherlands) Sci Fi Channel (United States) Seven Network (Australia) SIC (Portugal)

Space: The Imagination Station (Canada) Star World (India) TV 2 (Denmark) TV 2 (Norway) TV4 (Sweden) VOX (Germany) Paikallistelevisio (Finland)

In Norway the series was given the name "Skvadron 58", or "Squadron 58", in Germany and Finland it is called "Space 2063".

[edit] DVD release

In 2005, Space: Above and Beyond was released on DVD in United States by 20th Century Fox. The DVD set is in DVD-10 discs and features closed captioning, as well as the television advertisements used to promote the series, but no other additional material. Strangely, the DVD title screens feature a slightly distorted image of the Babylon 5 space station — an image which does not appear in any of the episodes and which is not related to the series in any way.

[edit] Episodes

• List of Space: Above and Beyond Episodes

[edit] See also

• Chigs
• InVitro
• SA-43 Hammerhead
• Silicate (AI)
• USS Saratoga (SCVN-2812)
• Military slang
• Military rank

[edit] References

[edit] External links

• Space: Above and Beyond Alumni News and Reviews
• Space: Above and Beyond the Bitter End — information, resources, and FAQs
• Space: Above and Beyond at Morgan & Wong Online
• Space: Above and Beyond Intelligence Center — technical information and resources
• Space: Above and Beyond Ready Room — multimedia and resources
• The Poetry of Space: Above and Beyond
• The Film and Television Music of Shirley Walker — the score and other works of the composer
• Space: Above and Beyond episode summary at Action TV Online
• Space: Above and Beyond category at Open Directory Project
• Space: Above and Beyond at the Internet Movie Database
• Space: Above and Beyond at Rotten Tomatoes

Television and film works by James Wong and Glen Morgan
The X-Files • Space: Above and Beyond • Millennium • Final Destination series • The One • Willard • Black Christmas