Eruditorum Press

Some sort of samizdat wind effect

Terry Farrell

Sensor Scan: Quantum Leap

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I remember quite well when the first trailers for Enterprise debuted. I’ll save talking about exactly how much of an event it felt like for me (that’s two books from now, after all), but one thing in particular caught my attention straight away: There were these two guys (in *baseball caps*) sitting in what I assumed to be some form of shuttlecraft talking about how the new Warp Drive engine would allow them to go to “Neptune and back in six minutes”. One of those guys looked awfully familiar-Was that…was that who I thought it was?

Omigish it is! It’s Scott Bakula! The guy from Quantum Leap is on Star Trek! And he’s the new captain! 

Quantum Leap is a show I have fond memories of. It was never something I followed religiously; I was only ever a casual viewer. But it was a show that seemed to always be around, it eventually developed a kind of comfort blanket appeal for me and, in retrospect, seems actually sort of lovely and wonderful. I remember Starlog Magazine covering it back in the day when it was on the air, talking to Bakula, Dean Stockwell and the show’s creative team, so it was one of those shows that was one of my early introductions to science fiction. In much later years, I remember it primarily as the lead-in to the Sci-Fi Channel’s reruns of the Original Star Trek in the late-1990s and early-2000s. Sometimes I would tune in early to watch a whole episode, while other times I’d just catch the tail end of one before TOS came on. Either way it was something I always enjoyed and appreciated whenever I managed to see it: It always seemed a rather pleasant and charming little series.

A great deal of Quantum Leap‘s appeal for me comes from Scott Bakula’s character, Doctor Sam Backett. He’s a quantum physicist heading up a research programme looking into the possibility of time travel, and when the government threatens to shut the project down Beckett protests by throwing himself into the quantum accelerator, “leaping” through the time-space continuum. Thus begins the series’ central gimmick: Every episode Beckett “leaps” to a new point in time and *into* the body of a different person. Soon, Beckett and his friend Al Calavicci (Dean Stockwell’s character) and their AI friend Ziggy (series executive producer and narrator Deborah Pratt) discover that Sam’s leaps through time are caused by his behaviour in his present time: In particular, his efforts to right a wrong or correct an injustice that subtly alter the course of history. Upon this revelation, Sam is emboldened to keep leaping through the timeline to do what he can to change history for the better.

It’s this simple, unpretentious conviction to do good, to be a good person and to do what you can, no matter how humble the act, to make the universe a better place in your own small way that makes Sam such an endearing character for me.…

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Sensor Scan: Red Dwarf

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This is going to be another of those essays that crop up every now and again where I am 1000% confident my readers know far, far more about the subject matter than I do.

I never watched Red Dwarf. In fact, I’d never even *heard* of it until I started hanging around niche sci-fi analysis blogs four years ago. Apparently, this is something that’s been a huge part of a lot of people’s lives for many years now though, and given there are ten (going on eleven as of this writing) seasons of this show plus a fair amount of tie-in material, there’s no way I could be expected to put together a comprehensive retrospective of this thing, so, sorry in advance. What I’ll try to do instead is briefly take stock of some observations I’ve made about Red Dwarf‘s fandom and how they feel the show fits into the larger narrative of voyaging starship stories.

The curious thing I’ve noticed about Red Dwarf fans, at least the ones I’ve read and from what I’ve been able to discern through my admittedly limited interactions with the fandom, is that they seem to spend more time talking about Star Trek than they do talking about their own show. I have seen Red Dwarf labeled more than a few times as an explicit parody of Star Trek, or as “Britain’s answer to Star Trek: The Next Generation”. The general argument seems to be that while the USian Star Trek: The Next Generation concerned itself with the pretentious, po-faced navel-gazing of a bunch of upperclass neo-colonialists, the British Red Dwarf follows the adventures of two chicken soup machine repairmen (one of whom is actually dead), a malfunctioning AI and the descendant of of race of hyper-evolved cat people stuck together on a ramshackle mining ship three million years from anywhere who are not particularly concerned with terribly much, and certainly not Seeking Out New Life and New Civilizations.

To me, this argument is merely an extension of a pre-existing cultural tension that separates the United States from the British Isles: The unflattering comparison to Star Trek: The Next Generation is typically accompanied by a(n at least implied) statement about the difference in values between the US and the UK, with a tacit premise that UK values are superior due to their self-effacing modesty and lack of jingoistic expansionist fever dreams. It is also, in my opinion, what we would refer to in modern parlance as a “humblebrag” and further evidence of the inane, self-conscious, warlike factionalism of science fiction fans that is but one reason among many that I hate science fiction fans. As much as I’d rather not, I’m going to take some of these accusations seriously, as there is at least one level at which they have something resembling merit.

Star Trek does, in fact, have something of a class problem and it’s one the future creative teams on Star Trek: The Next Generation do actually and explicitly make worse.…

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Sensor Scan: Hellraiser and Hellraiser III

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The psychology behind horror movies interests me. I know there have been studies done that show a link between fear and endorphin release, and that a lot of their popularity has been attributed to the rush your brain gets when the pleasure and fear senses get crossed. But do we actually watch horror movies to get scared? There’s a whole massively popular genre of campy, no-budget horror movies that no one could possibly be remotely frightened of, yet is beloved precisely because of how cheap, fake and ridiculous it is. Then there are people who just really like seeing blood and guts splattered all over the screen: They’re not getting anything deep or meaningful out of the experience, they just like the lurid spectacle.

I know for me, while horror is not a particular favourite genre of mine, the bits of it I partake in I enjoy because of the way they build atmosphere. That’s sort of been a defining theme in all of my various media interests: I like things that can build a mood and a feeling. A lot of the reason I’m so partial to the German Expressionist movement and the early Universal Horror movies is because of the way those films use light, colour and design to craft a surreal mindscape the convey certain themes and emotions. I mean, that’s no real surprise at this point and by now I really need to come up with some new words to describe what I like to see in media.

But I also like horror movies that use their horror trappings to explore something that’s horrific or somber in real life, like how Alien made generations of men uncomfortable with themselves by turning rape culture and patriarchy into something repulsive and monstrous. The original Godzilla should really be considered a horror film, and there the horror comes from not just the obvious allegory (atomic weapons, natch), but in that classic Japanese trope of modernity’s shortsighted disconnect from the natural universe. But as much as we’re supposed to be horrified at the destruction of Tokyo, we also sympathize with Godzilla herself, and take pity on the tragic plight she endures. As much as we’re aghast at the destruction left in her wake, we want Godzilla to win.

Which, weirdly, leads into the Hellraiser series. An adaptation of Clive Barker’s novel The Hellbound Heart helmed by the author himself, the first Hellraiser film is an examination of the role pain and violence play in the human psyche as conveyed through a horror movie. It concerns a magical puzzle box that, when solved, opens a portal to the realm of the Cenobites, creatures of a monstrous visage who practice a form of ritualistic sadomasochism and self-mutilation in an effort to explore and understand carnal experience, them seeing no distinction between pleasure and pain. It’s definitely an intriguing concept, especially for a horror film in 1987. With a set-up like that, there’s a lot of potential for metacommentary on the whole genre, filtered through an examination of real-world S&M lifestyle.…

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