Space: Above and Beyond

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Template:Infobox television Space: Above and Beyond (sometimes also Space 2063, and also abbreviated as S:AAB) was 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. 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, or Hammerhead, spacecraft. With a budget of approximately 1.5–2 million US dollars per episode, it was the most expensive science fiction television show at the time of its production.

The series was criticized for its depiction of military forces. This was odd, given that while the show was futuristic science fiction, it was significantly more grounded in its approach to military command structure and the attendant disciplines than contemporary science-fiction shows like Babylon 5 and Star Trek. Despite that, the series even now maintains a core of fans. 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.

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 (exluding 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.

Spoiler warning: Plot and/or ending details follow.

1 Plot
2 Criticism
3 Cinematography and visual effects
4 Characters
5 Episode list
6 Availability
7 See also
8 References
9 External links

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Plot

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 two colonies. 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 into veteran pilots and Marines. Although the human forces come under the control of a reformed United Nations (UN), the UN has no armed forces of its own and navies such as the U.S. Navy and the British 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. They 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, a human hacker infiltrated their mainframe and entered in the viral idea of taking a chance (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.

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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 the article: 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 rights with those viviparously born, or so called "naturally born". They are derisively termed "tanks" by "naturally born" 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 abolishment, they were subject to indentured servitude (episode 1.05), and there is still considerable racial segregation and resentment by "naturally born" 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 ramificationss 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), and the other one is the maturing of Cooper Hawks and other experiences by him and T. C. McQueen in the present, including a subtle substory of the shifting relationship between Nathan West and Cooper Hawks (e.g. episodes 1.07, 1.11). (see also the article: 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 are collaborating with the Chigs, performing mercenary work (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 explores the element of conspiracy and high-level cover-up. Aero-Tech, founded in year 2015 (episode 1.24), appears to be the monopolistic aerospace and defense supplier. In this story arc, Aero-Tech 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 is aware of the existence of the Chigs, and consciously 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, political instrumentation of individuals, 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. This story arc is controversial among some viewers, who claim that it does not appear to be a natural part of the overall plot. In fact, the story arc is poorly explored in the season, and unsatisfyingly unresolved with the cancellation of the series.

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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 the Earth force in a much better strategic position, there is the motif of hope through initiative, despite 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 for the first season, 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], [2]).

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Criticism

Space: Above and Beyond has been criticized for various unrealistic depiction of the military in the series, 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.
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 utilisation. It is also hinted that Marines (as opposed to regular infantry) 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 (2000), in which he describes his perception of a possibly stereotypical nature of his character Lt. Paul Wang:

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.

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Cinematography and visual effects

Also apparently inherited from the cinematography of series such as The X-Files and Millennium, co-produced by the same team, but taken more to the extreme, Space: Above and Beyond featured a very dark and desaturated color grading. 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.

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Characters

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

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

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Episode list

1.01 Pilot (1)
1.02 Pilot (2)
1.03 The Farthest Man from Home
1.04 The Dark Side of the Sun
1.05 Mutiny
1.06 Ray Butts
1.07 Eyes
1.08 The Enemy
1.09 Hostile Visit (1)
1.10 Choice or Chance (2)
1.11 Stay with the Dead
1.12 The River of Stars
1.13 Who Monitors the Birds?
1.14 Level of Necessity
1.15 Never No More (1)
1.16 The Angriest Angel (2)
1.17 Toy Soldiers
1.18 Dear Earth
1.19 Pearly
1.20 R&R
1.21 Stardust
1.22 Sugar Dirt
1.23 And If They Lay Us Down to Rest ... (1)
1.24 ... Tell Our Moms We Done Our Best (2)

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Availability

Image:SpaceaboveandbeyondDVD.jpg Some of the broadcasters of this series were:

In 2005, Space: Above and Beyond was released on DVD in United States by 20th Century Fox. The DVD features closed captioning, but no other additional material.

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