I just discovered that one of my 90s friends has passed. Lucy Zinkiewicz (1968-2018) was an incredible force in Australian science fiction fandom. I had the privilege of sharing a few events with her. (Trivia: We also share the acknowledgements page in the Doctor Who Discontinuity Guid e.) There seemed to be nothing she couldn’t do, and she set an amazing example for up-and-coming fans on how to participate in conventions, panels and how to make any fan experience worthwhile. She will be greatly missed.

A post could never really do justice in honouring anyone. Nothing less than an in-person speech and a statue would be close to being acceptable. So, with that in mind, I’m dedicating this quite humble post to her, focusing on one of Lucy’s interests – psychology.

So, let’s talk about nostalgia. If you’re a writer, and you’re lucky enough to be able to write something for a long running series, absolutely include as much canon tweaking and nostalgia firing that you can.

In 2017, Doctor Who released the generally average story The Empress of Mars. But, BUT, right near the end, there was an unbelievable nostalgic reference that had me gasping in shock, all my hair on end, even in places I’d forgotten it existed, crying with disbelief. A character from the show in the 70s reappeared filling in a history gap that only classic fans like myself would be aware of. This had me rocketing Empress of Mars from a mundane, just another Ice Warrior story, to the gold annals of space opera in my book. Not only did it feature Alpha Centauri, the producers also got the original actress back, at the age of 91, to voice the character again. I recognised her instantly. To go to that much trouble for fans, for the voice actress to still be alive, for the writer to actually add that missing page to the future history books – I think I went to another dimension for a moment. Certainly, I finally knew what hyperventilating felt like.

Some backstory for those who’ve only ever watched widescreen Doctor Who. In the Seeds of Death, (1969) the Ice Warriors were ‘evil.’ In the Curse of Peladon, (1972), the Ice Warriors were ‘good’. What the hell happened in between?! The Empress of Mars, in 2017, answered that question. For new fans it was a non event. For classic fans it was the WTF moment of the century. Ysanne Churchman returned to Doctor Who to reprise her role as Alpha Centuari and invite the Ice Warriors into the Galactic Federation. In 2020 Churchman is 95. Wouldn’t it be awesome if she could return again? Still, that return was such a mind blowing, unexpected moment, it would be hard to top it.

If you’re a writer on a long running TV show, you just have to bring back old characters for the fans. It is such a unique psychological shock that can only be done in long running series. It’s like Bones McCoy appearing on Star Trek: The Next Generation, or Yoda appearing in the Mandalorian. It is such a legendary thing to do. Even better if you can do it without anyone knowing before the screening. Getting John Simm to reprise his role as the Master in Doctor Who when the series already had a new Master was a stroke of genius. Bringing Nicholas Courtney back as the Brigadier in the Sarah Jane Adventures served the fans of Doctor Who on a less intensive show while protecting Courtney’s health. If the producers had known his time was limited, I’m sure they would have written him into the main series asap. Having Captain Jack Harkness played by John Barrowman suddenly appear in an episode of Doctor Who in 2019 when he hadn’t been in Doctor Who since 2010 is trading on new fan nostalgia. Probably not hyperventilation level but close.

Why do we react to this familiarity? If enemies reappear like the Cybermen in Doctor Who or the Borg in Star Trek, there’s that frission of recognition, and a seratonin hit that adds pleasure to the viewing, keeping you watching. But if an old character reappears, like Scotty in ST:TNG Relics in 1992, there’s that emotional connection, too. A character you might have grown up with, or connected with in some way, played even better by the original actor, now older and wiser, directed by even more respectful directors. It’s why multi Doctor stories in Doctor Who are so good. (I think I’ve watched the 50th anniversary Doctor Who episode 20 times now, and cried every time.) Star Trek: Picard was awesome in bringing back Data, Seven of Nine, Riker and Troi, and I’m so looking forward to seeing Guinan next year, but the series was really about giving Jean Luc Picard a completely new, away from ST: TNG, series. In this sense it didn’t have the frission that additional episodes of ST: TNG might have. Even so, it was an amazing series and just having Patrick Stewart back as Picard was amazing for me.

Which brings me to my main point. Star Trek: Lower Decks is a naff, poorly executed, ribbing of Star Trek fans that should absolutely be denigrated and hated on and I’m calling for it to be cancelled forthw…. What, they referenced a ‘bird of the galaxy’? No, wait, John deLancey reprised his role as Q? What, Riker and Troi are played by Jonathan Frakes and Marina Sirtis? Oh, my God, it’s actually good???

I almost hyperventilated when Riker said “I’m sorry I’m late. I was watching the first Enterprise on the Holodeck.” For those who watched the final episode of Star Trek: Enterprise, you know what I’m talking about. Lower Decks is so for the fans that pointing at the screen in recognition is probably de rigueur.

Star Trek: Lower Decks – I’m now a huge fan. Hit me with some more Gorn! Looking forward to the next season.

This post is dedicated to the late and great Lucy Zinkiewicz who loved science fiction in all its forms, and introduced me to Monty Python, amongst other things. R.I.P.

Current SF First Episode Rant

Can we have some ‘REAL’ SF please?

Alright, who’s decided they’re going to destroy live action SF?

Of course, I understand that science fiction is really something for subscribers, or government sponsored free to air TV. It certainly doesn’t lend itself to advertising too easily. Though, if marketers really were on the ball, every SF episode would be advertising the latest technology, mobile phones, apps and more. If we’re into tech we’re into SF and visa versa. VR googles and bendable mobiles would be the ideal thing to advertise.

But, what’s with the ‘accessible scene followed by plot twist’ to get those who are not so interested in SF to be interested? I think this is an old trope from the 60s, and has no place in today’s SF. Consider the 60s mentality of almost a decade getting ready for the moon landing and seeing the rocket launch.

Guys, SF fans are over that. We don’t need the lead up.

Disappointed

Anyway. Why this rant? Friends repeatedly recommended me to watch Stranger Things. First ep starts with a Dungeons and Dragons game in the 80s. Following scenes are set in the 80s, with a school. Limited budget?

Friends said I should check out Philip K Dick’s Electric Dreams. Although the trailer looked a bit hodgepodge, I thought, you know, give it a go.

Started with a contemporary scene. What?

Episode 2 was better but if it is over 700 years in the future, why are they using LCD screens, and why does one of the main characters have a double row of mail pigeon holes above his desk?

Read reviews of Black Mirror. Thought, yeah, alright. Flicked through all episodes. Most were contemporary. The first episode starts with the Prime Minister sleeping in bed. <Raises eyes heavenward>

If it is on free to air TV, and the goal of the channel is to attract a new audience to sell advertising too, fair enough. I understand these have to exist and create revenue somehow. But, for something to be billed as science fiction, then made available via Netflix, Amazon video, or other pay per view portal, I would expect to pay for something, well, science fictiony!

So, I thought, well, I really should check out episode 3 of Lost in Space. Two bottles of wine got me through the first two, so surely the third will start out not so saccharin, now that the crazy Doctor Smith bitch is in residence. (Very excited. Parker Posey is going to bring some awesome scenes to that show.) But guess what?! It started with a scene in a house on Earth over food and wine. Looks like that bottle of Muscat I started drinking is going to need a sister.

Now, I’m not saying LiS was bad. It continued with a nice twist, and I love the fact that there wasn’t an explanation as to what she did next, leaving it to us simple viewers to work it out, but, still, why the ‘reality’ scene at the beginning? And why is this so common now? It’s not just the USA and the UK doing it. It’s every country that produces SF. Did someone write a manual? No, it was a dot to dot book, wasn’t it?!

Modern SF Episodes

Step 1. Write an accessible scene for those stuck on the lounge who didn’t bother to hit the remote. Let them think it’s a basic soapy story with a mystery. Make the scene as realistic and contemporary as possible, but slightly mysterious and interesting, so that they don’t think to change to something else.

Step 2. Add an interesting twist that isn’t too confronting that gets them to think that, woah, wait, WTF is going on.? Okay, I’ll watch a bit longer.

Step 3. Slowly introduce the SF element bit by bit, but always have flashbacks to reality on Earth, just so they doesn’t feel left out.

Step 4. Make the scene end on a poignant, cliffhanger note related to Earth life so that they sit in their lounge thinking about it long enough to play a tech or relationship ad.

Step 5. The next scene after the ad should also help ease them back into the series without being too confrontational or too otherworldly.

Step 6. Leave enough mystery so that they decide to watch the next one.

Tired

Was very happy when both The Discovery and The Orville started as I was sure that the writers knew how to write real science fiction. Then it turned out Discovery was about love and loyalty, and The Orville was about divorce.

Sigh.

Ok. Rant over. Overall, I love both Star Trek: Discovery and The Orville. I want more of that (just, no boxing episodes, thanks). Please powers that be, please consider some SF scripts that don’t bother with the contemporary stuff.

Why not look into what producers did in the 50s? Contacted soap producers and got their advice on how to make a show where they could sell washing soap. Or the 70s – got advice on how to create a show that would sell action figures.

Or the 90s. Created shows that would sell music.

Why not contact SF writers, producers, directors etc and ask them what they could do to create a compelling show that would increase the sale of high tech stuff.? There’s so much possible advertising revenue just begging to be matched with SF.

Mobile Phones

VR glasses

Computers

Fitwear

Relationships

Bitcoin

A.I. Investments

Robot merchandise

Alexa and Google Home assistants

Drones

The list is endless

And you wouldn’t need to start with a contemporary scene. You could start with a futuristic one using ‘ancient’ contemporary gear.

Looking forward to a new series on Netflix or Amazon video that starts immediately with a science fiction scene that only science fiction lovers will understand.

Exploding binary stars followed by non-humanoid aliens surviving and looking for help? Anyone?

Or, aliens and humans working together to solve a problem in another galaxy in the far future?

I live in hope.

At least Doctor Who didn’t bother with the whole contemporary start to…

What? Russell T. D? Why did you have Rose working in a clothing store? Steven M? Why did Bill turn up at a contemporary uni? Chris Chibnall? Is the Doctor really going to crash land in 2018 London and meet a family?

Wait. The first episode in 1963 started in a school?

OMG!

Back to reading books.

😛

Tag: star trek

Evocative Nostalgia