Space: Above and Beyond

Plot

In the years leading up to 2063, humanity has begun to colonize other planets. Lacking FTL technology, this is accomplished by taking advantage of transient but predictable, naturally occurring wormholes. Without warning, a previously unknown alien species, the "Chigs", attack and destroy Earth's first extra-solar 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 part because the Chigs have some form of FTL, affording them greater freedom of movement (although this technology appears limited, and the Chigs also primarily utilize natural wormholes).

At the opening of the show, the Chigs have defeated all counterattacks, and have entered the Solar System. 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 veterans. 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.

Prior to the events of the show, there was a war between humans and android artificial intelligences known as Silicates. These human-looking androids, referred to as "walking personal computers", have rebelled, formed their own societies, and wage a guerrilla war against human society from a number of remote bases. The Silicates are also suspected of having some involvement with the Chigs.

In an attempt to defeat the Silicates, a new underclass of genetically engineered and artificially gestated humans were bred to quickly swell the ranks of the military. These troops, collectively known as In Vitroes or sometimes, derogatorily, "tanks" or "nipple-necks", are born at the physical age of 18, and trained solely for combat. In the post-war period the tanks have attempted (with mixed success) to re-enter human society.

Story arcs

Space: Above and Beyond connects episodes through several prominent story arcs beside that of the main arc, the Chig War. In an approximated descending order of significance, these are:

Chig War (2063–)

The Chig War, taking place six 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, covert operations and 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 of the series.

With the Chig War as the main story arc of the series, Space: Above and Beyond probes human emotion in extreme desperation and conflict. The important motifs presented in this story arc can be found in a variety of war dramas: loyalty, courage, and the significance of individual actions.

In Vitroes

As artificially gestated humans, the In Vitroes do not share social equality with the so-called "naturally born". Literally removed ("born") from their individual gestation tanks at physical age of eighteen, they are educated swiftly and harshly to enable them to enter society with at least a nominal idea of how to comport themselves. 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.

Unfortunately, due to their limited amount of emotional development, their deployment in the AI War as troops was not as successful as the pioneers of the In Vitro program nor the military would have liked, as the In Vitro battalions had no emotional connection beyond the most basic to their country, planet or even race; this led to their racial reputation as "lazy" and "not caring for anything or anyone" (episode 1.01/1.02), which contributed to the prejudice against them from "naturals". In Vitroes 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 Hawkes and T. C. McQueen, have to face all the ramifications of such a society from their perspective as In Vitroes.

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 the 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 Hawkes and T. C. McQueen, including a subtle substory of the shifting relationship between Nathan West and a maturing Hawkes (e.g. episodes 1.07, 1.11).

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 Chig mining and prison facilities (episode 1.10). There is a sub-story, 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 also provided an important part of the background story for Vansen, having killed her parents in front of her when she was a child. This became a major psychological hurdle for her to overcome and showed her growth over the series as the race which caused her childhood nightmares reemerged from the dark of space.

Aero-Tech and the UN

The dark Aero-Tech and UN story arcs inject elements 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, the military-industrial complex and perhaps to some degree also the ethics of science in the service of military and corporate interests and moral responsibility.

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).

Ending

The final episode ends in a cliffhanger, with T. C. McQueen badly injured and most of the major cast apparently killed or missing in action, with only Cooper Hawkes and Nathan West remaining. Yet with Earth in a much stronger strategic position, there is hope despite the losses and sacrifices. These closing elements of the plot were written at a point when the producers knew that the show was likely to be cancelled.

58th Squadron aka Wildcards

Recurring characters

One-time characters

Production

While drawing comparisons with Robert Heinlein's novel Starship Troopers, and the movie bearing the same name (though opposite message), according to the producers, the main fictional work that influenced Space: Above and Beyond was one written in response to that story, 1974 science fiction novel The Forever War by Joe Haldeman. In addition, it was inspired by fictional works, such as the 1948 World War II biographic novel The Naked and the Dead by Norman Mailer, the 1895 American Civil War novel The Red Badge of Courage by Stephen Crane, and the Iliad, and the 1962 television series "Combat!." At the same time, Space: Above and Beyond also shares conspiracy elements with other television shows co-produced by the same team, such as The X-Files and Millennium.

Cinematography and visual effects

The series 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).

With 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. Physical special effects still played a significant role. The computer generated effects of Space: Above and Beyond, were created by the visual effects company Area 51 using NewTek LightWave 3D. 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.

Music

Wong and Morgan were looking for a more traditional musical approach than the synthesiser scoring favored on The X-Files; visual effects supervisor Glenn Campbell introduced the producers to the music of Shirley Walker, who had worked on Batman: The Animated Series. Wong and Morgan were initially unconvinced on hearing Walker's synth demos, until it was explained that her musical ideas would be filled out by the orchestra. Wong went on to describe the scoring session as "(his) favorite part of filmmaking." Walker scored the pilot and the entire series, receiving an Emmy nomination for "The River Of Stars," and reunited with Wong and Morgan on many of their later projects (her final film score was for their remake of Black Christmas).

In 2011 La-La Land Records issued a three-disc limited edition featuring Walker's score for the pilot and music from most of the episodes ("The Enemy," "Choice or Chance," "Level of Necessity," "R&R" and "Stardust" do not have any score cues on the album).

Sound Effects

The sound effects used on the show are often reused on the animated series Futurama.

Criticism

A notable criticism from the actor Joel de la Fuente has been quoted in an article by P. G. Min & R. Kim (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":

DVD release

Space: Above and Beyond was released on DVD in the United States and Canada by 20th Century Fox as a set of five DVD-10 discs on November 8, 2005. Episodes feature closed captioning, and the set also contains some of the original television promotional advertisements for the series. Certain pressings feature a distorted image of the Babylon 5 space station—which is unrelated to and does not appear in the series—on the discs' title screens.

In 2011, Space: Above and Beyond was released on Region 2 PAL DVD in Germany by KSM GmbH.

In April 2012, Space: Above and Beyond was released on Region 2 PAL DVD in the UK by Fremantle Media / Medium Rare Entertainment. It contained a new documentary, cast interviews, some episode commentaries, galleries and deleted scenes. The pilot episode is included in the full season set but has also been released separately with just a commentary.

Novelization

There were several books and comic books released based on the show's episodes.