Honing in on Sci Fi Subgenres: Space Westerns

Space westerns are probably one of the most fun sci fi subgenres out there. They pair the aesthetics and ideals of traditional westerns with the flash and bang of science fiction.

While the genre isn’t a huge one, there are some notable TV shows and films as well as book and comic books in the genre. Maybe you know a few!

But, the misconception that without cowboy hats and gunslingers, a piece isn’t a space Western is largely flawed. Many conventions of the Western film or comic book have made their way into modern science fiction and influenced its storytelling. You may have seen a movie and not even realized it’s roots in Western cinematography.

The Origin of the Space Western

The space western is the love child of two different genres: sci fi and the western. Westerns are sometimes considered a speculative fiction, though traditional Westerns are down to earth, without aspects of science fiction, fantasy, or the paranormal.

Space westerns actually got their roots in early American comic books. C.L. Moore, one of the early female science fiction writers, created the character of Northwest Smith who popularized the planet-jumping, gunslinging, space cowboy.

In the early 1940s, superhero comic books became less popular, so to fill the void, publishers started pairing Western stories with science fiction ones, and the line between the genres was slowly erased.

However, the space western really came to the limelight with movies like Star Trek and Star Wars as well as with shows like Firefly and Cowboy Bebop.  

Types of Space Westerns

So as I’ve seen it there are a couple different ways we can break down kinds of space westerns as a sci fi subgenre.

First there are the science fiction films that employ classic Western-style story structure.

Star Trek is a good example, where the vast universe acts as the untamed West, the final frontier. It’s about adventure and chivalry, both of which are Western themes. Prospect is another good example of a space western film. It pairs the story elements of a Western with the setting and conflicts of a sci-fi world.

Second, there are Western films that integrate science fiction. Think of the film Westworld, and the later TV show as well. The characters aren’t in space, it’s not a space opera, but it pairs the aesthetics of the Western with modern science fiction.

And the final distinction I’ve made is a healthy mix of the two genres. Firefly and Serenity are my prime examples of this sci fi subgenre. The wardrobe, weaponry, slang, and storytelling tone of Firefly places it firmly in the Western genre. But, the space ships, interplanetary travel, and alien creatures root it in science fiction.

However, these two seemingly polar opposites come together as a seamless piece. When watching Firefly, I never felt like I was torn between one setting or another. There was nothing amiss, and that’s exactly how a good science fiction should operate.

space western firefly cast
The crew of Serenity, from Firefly,
image from The Verge


Characteristics of a Space Western

Thinking about this topic made me come up with a checklist of characteristics that make up a space western. There aren’t many, but they’re distinct.

  • A strong lead character, often physically adept and righteous. Much like a white-hat cowboy.
  • An animal sidekick. In many Westerns, this is the hero’s horse, but it can manifest as other things. R2-D2, for example, might be Luke’s horse equivalent. Or Ein, the Welsh corgi from the space Western anime, Cowboy Bebop.
  • Western literature has popularized the outlaw character, the rogue. Picture characters like Han Solo.
  • Wide, aesthetic shots. In space Western films and shows, wide landscape shots or panning scenes hark back to classic Western cinematography like in A Fistful of Dollars. A more modern example might be the director’s cut of Logan, which turns the film black and white.
space western sci fi subgenre
Scene from the noir cut of Logan,
image from Entertainment Weekly

Space Westerns That Are Still Riding Into The Sunset

The space western genre does for me something that traditional Westerns have failed to do, which is to bring the genre up to speed.

Watching old Western films is enjoyable, don’t get me wrong, but sometimes the outdated habits or cliches make them uncomfortable to watch. Let’s just say some of them haven’t aged well.

But, space Westerns, at least some of the modern ones, hand out that gunslinging hero candy like it’s Halloween, without having to worry about getting sick from too much chocolate. I love Firefly, and yes there are some things I’d change about it, but I find it more palatable than a classic Western from the days of the Silver Screen.

And I love seeing the conventions of the space Western make their way into other sci fi subgenres, like space opera. The Expanse operates a lot like Firefly, but without the brown trench coats and Colt-esque revolvers.

All in all, space Westerns bring the best parts of both Western and science fiction together into a unique mesh of styles. I’m excited to see what the next few years brings for the genre.

If you liked this post and want to see more content about sci fi subgenres, leave a suggestion in the comments down below!

6 Must-Listen-To Science Fiction Podcasts

Listening to a great science fiction podcast is one of the many joys of a long car ride. Frankly, they’re the only thing that keeps me sane when driving long distances. But if you’ve never delved into the world of sci fi podcasts, 2021 is the perfect time to start.

You might be interested in discussion-based podcasts, with author interviews and thoughtful conversations. Or, there are story-based podcasts, with ongoing plots and characters, a serialized drama, if you will.

And if you still haven’t found the perfect indie science fiction podcast for your ears, we got you! Here are 6 of the best science fiction podcasts out there.

  • The Geek’s Guide to The Galaxy
  • We Fix Space Junk
  • Within The Wires
  • The Great Chameleon War
  • Murmurs
  • The Geek State Podcast

The Geek’s Guide to The Galaxy

science fiction podcast

Created by John Joseph Adams and David Barr Kirtley; hosted by Kirtley. The ongoing podcast is discussion-based, and it features interviews and conversations with authors and media people about fantasy and sci-fi in books, movies, comics, and games. It also talks about related subjects such as history, science, and critical thinking.

The podcast has 481 episodes. Each episode has an average length of 1 hour and 50 minutes, and you can listen to it on Youtube or Google Podcasts.

For more information, visit their website geeksguideshow.com.

We Fix Space Junk

sci fi podcast

Created and produced by Battle Bird Productions, the ongoing, story-based podcast, is an award-winning dark sci-fi sitcom, following the space tales of Kilner and Samantha, two repairwomen traveling the galaxy, dodging bullets, meeting new creatures, and carrying out odd jobs on the fringes of the law.

The podcast is hosted by Beth Crane and Rebecca Evans, alongside numerous voice actors such as Vicky Baron and James Carney.

The podcast has a total of 81 episodes. Each episode has an average of 10 minutes and can be listened to on Apple Podcasts, Spotify, and Google Podcasts. You can also buy special episodes of the podcast on battlebird.productions.

Within The Wires

science fiction podcast

Created and produced by Night Vale Presents, the Within The Wires podcast is an ongoing, story-based podcast with a dramatic anthology in the style of epistolary fiction.

Each season follows a different type of story, with different narrators and timelines.

The podcast is on its fifth season so far, a 10-episode season following Indra and Nan’s romantic relationship, all episodes in the form of voicemails narrated by Amiera Darwish. Janina Mathewson is the co-creator of the podcast, and the host of the show is Lee LeBreton with voice acting by Julia Morizawa.

The podcast has a total of 40 episodes. Each episode has an average of 16-18 minutes and can be listened to on Spotify, Youtube, Google Podcasts, and Audible. More information on nightvalepresents.com.

The Great Chameleon War

science fiction podcast

Created and produced by Justin Hellstrom, the ongoing, story-based podcast is a rated-m surreal audio drama about altering reptiles, cursed dreamscape explorers, and caustic imagination. They call it the Nesting Zone: a surreal rim of the jungle around Mt. Tahoma, prowled by transdimensional reptiles.

The Amanuensis (Justin Hellstrom) catalogs his expedition up the volcano slope and records stories of explorers caught in the evolving dreamscape. The podcast is currently on its second season, with 05 episodes.

Each episode has an average length of 20-30 minutes and can be listened to on many platforms, such as Youtube, Apple Podcasts, Spotify, Podchaser, Transcripts, Deezer, Audible, and Google Podcasts.

You can also support them on Patreon and buy their merch available on their website thegreatchameleonwar.com.

Murmurs

science fiction podcast

A BBC Sounds original hosted by James Robinson and Ella Watts. The story-based podcast tells ten mind-altering tales from some of the best new drama podcasters.

The podcast has many writers, like Chris Sugden, Eno Mfon, Jesse Schwenk, Janina Mathewson from Within the Wires podcast, and Beth Crane from We Fix Space Junk podcast.

The podcast has ten episodes in total, with the last episode aired on January 16th of 2020. Each episode has an average of 20-30 minutes and can be listened to on Podchaser, Google Podcasts, and BBC Sounds.

For more information, visit bbc.co.uk. Be careful not to confuse it with Loud Murmurs (another podcast)!

The Geek State Podcast

sci fi podcast

Created, produced, and hosted by Chris Luby, the discussion-based, ongoing pop culture podcast discusses the latest news, reviews, and conversations about various topics and genres: Star Wars, Marvel Universe, you name it.

The podcast has a total of 59 episodes. Each episode is an average of 1 hour and is available on various platforms such as Audible, Podchaser, Google Podcasts, Spotify, Stitcher, and even on their PodBean website thegeekstatepodcast.com.

Did you like our list? Do you know or already listen to any of the podcasts we mentioned? Let us know in the comments!

And if you enjoy this kind of content, keep following our blog for more topics!

Prospect: A Solid Sci-Fi Movie on Netflix

I didn’t know anything about Prospect, merely stumbling across it via the suggested for you feature on Netflix.

I took a chance and fired it up. Originally, I was a bit skeptical, because I’d never heard of the film companies that worked on the film, and thought it might be a low-budget, B-rate sci fi movie.

But then, 20 minutes in, I spotted Pedro Pascal, and my fears were assuaged. I’m not saying Prospect is the best sci fi movie on Netflix, but it was pretty darn good.

The Details

Prospect is a 2018 film written and directed by Zeek Earl and Chris Caldwell. Earl and Caldwell previously made commercials and short films with their company, Shep Films, and Prospect was their first movie.

The film stars Sophie Thatcher, Jay Duplass, and Pedro Pascal (who many people know from the wildly popular Star Wars show, The Mandalorian).

Prospect received mixed reviews, with some critics praising the world-building, while others noted that Earl and Caldwell’s character development was lacking.

The Premise

The story follows Cee, a teenage girl who travels to a foreign moon with her father to mine for precious gems.

Along the way, Cee’s father is killed by Ezra, a rogue miner/mercenary stranded on the moon. Despite that, Cee and Ezra have to work together to find a way off the moon before their short window for escape passes them by.

sci fi movie on netflix prospect pedro pascal
Poster for Prospect,
Photo from Wikipedia


Signals Sci-Fi Movie Review

Above all else, Prospect is a simple film. Unlike some other popular sci-fi films, its scope isn’t massive. Nothing about saving the universe or the fate of humanity. Instead, the film places its focus on the interactions of a couple of people, and the conflict is all about Cee and Ezra putting aside their differences to survive.

Personally, stories that operate in a microcosm—or at least, not on a universal scale—always seem more satisfying to me. For example, I’d prefer to watch the Luke Cage Netflix show than the Avengers movies. Luke Cage feels more realistic, which I guess isn’t what people watch superhero literature for, but c’est la vie.

Anyways, I like the small scope of Prospect, because it makes it easier to focus on the characters.

Cee’s father, Damon, has about 25 minutes of screentime, but from the first scene, it’s easy to dislike him. Once he dies, it creates an interesting dynamic between Cee and Ezra. She hates him for killing her father, but also recognizes how different he is from Damon, better in some ways.

Some critics have said that Ezra’s character is pretty stale, and the only reason it’s interesting is because Cee acts as a foil—or a reverse foil?—and in some ways, I agree.

We don’t get very much information about Ezra’s past, only that he is stranded on the forest moon because his crew committed a mutiny and took his ship. Other than that, the audience is left guessing his past.

But I don’t think the story is supposed to be about Ezra. His presence is a catalyst for Cee’s character growth, her ‘coming of age’ if you will.

We know much more about Cee. Even the little details give us a glimpse into her past. Her conversations about her mother, her escapism through music and reading, her calm demeanor in sticky situations, all those things make her a vibrant, deep character.

The Verdict

Prospect’s pacing was on point, and visually, it was a simple film. The whole story takes place on the forest moon, but there isn’t very much variation in the scenery. A lot of green! I’d have like to see a bit of deviation of color.

While the film was entertaining, it leaves a lot of unanswered questions.

  • What happened to Earth?
  • What year is it?
  • What’s Ezra’s past?
  • What will happen next?

Some of these things are arbitrary, nonessential to the story. However, I would have liked to have a firmer understanding in the world Prospect is framed in. Maybe I’m just being a stickler or a massive sci-fi nerd, but I feel like knowing the year is a must.

Overall, Prospect was a good first film from Shep Films. Its simplistic story model let you focus on the character interactions, but sometimes those interactions fell flat. The film is missing a few key details to really root in a place and time, and sometimes the film expects viewers to grasp the sci-fi concepts without having previously explained them.

I’d give Prospect a 7/10. Sophie Thatcher and Pedro Pascal made a great duo, and I’d like to see more of their adventures, but I definitely felt like there was room for improvement.

So, not the best sci-fi movie on Netflix, but worth a watch if you don’t have something more interesting to watch.

Classic Sci Fi TV Shows You’ve Never Heard Of

Anyone involved in the sci fi community knows the big classic sci fi TV shows. Shows like Babylon 5, Star Trek, Battlestar Galactica.

Many of these shows solidified space opera’s place on the TV schedule, and popularized the sci fi genre with new, flashy filming technology and celebrity faces.

But, in the background, there were smaller sci fi classics on air, too. Even hardcore science fiction fans might have a hard time remembering this list of sci fi TV series.  

Project U.F.O.

While many people think of The X-Files as the definitive extra-terrestrials-among-us program, the trend actually started many years before Chris Carter’s iconic show.

Project U.F.O aired on NBC for 2 seasons from 1978 to 1979. The show was created by Jack Webb and Harold Jack Bloom.

This classic show followed two US. Air Force investigators as they worked there way through a number of UFO sightings and phenomena. Many of the episodes are based on actual case files from Project Blue Book, the Air Force’s undercover study of extraterrestrials from 1952-1969.

While The X-Files deviated into more supernatural and folklore-ish waters, Project U.F.O. stayed in it’s lane, focusing strictly on UFO phenomena.

Dick Spanner, P.I.

Dick Spanner, P.I. isn’t a show you might toss in with other classic sci fi TV shows like Stargate and Xena, but it’s certainly a classic in its own right.

The stop-motion animation series has 22 episodes and aired in the UK in 1986. The show became popular for its witty voice and pithy format. Each episode is around 6 minutes.

Now, what’s the premise? Well, Dick Spanner is a robot private investigator in a futuristic city. Yup, definitely science fiction.

It’s a fun little hour of stop-motion animation, with an interesting tone!

Jupiter Moon

Most little-known sci-fi shows are lucky if they run for half a season. But, Jupiter Moon stands out as an oddball, having run for over 10 episodes!

The British sci fi soap opera broadcasted in 1990 on the Sci Fi Channel, and ran for 6 years.

Jupiter Moon logo,
from Wikipedia

This sci fi TV show is set on a space colony orbiting Callisto, in the year 2050. Instead of an intergalactic military space drama like the Expanse, Jupiter Moon is a show about simpler problems, and human relationships. Certainly a slower pace than a lot of current or upcoming sci fi tv shows.

While not particularly deep or provoking, Jupiter Moon is a fun show to watch once and remember vaguely.

5 Days To Midnight

5ive Days to Midnight aired in 2004 as a 5-part miniseries. The show followed J.T. Neumeyer, a physics professor, as he slowly discovers he’s traveled through time. But the clock is ticking, because in five days, he’s going to die.

It’s an intriguing show, and the miniseries format fits the story well. The first two episodes show the first 4 days of the story, while the last episode is dedicated to day 5.

Neat premise, and it’s more palatable than this next show:

Honorable (Horrible?) Mention: Woops!

Woops! was once called one of the worst TV shows of all time. And I can see why.

Woops! aired for only 10 of their 13 episodes in 1992. It follows six survivors of nuclear war that gather on a farm in hopes of rebuilding society. This sitcom attempts to humorize the plights of a typical last-people-on-Earth story, like reproduction and future generations. However, the 1990s humor and sitcom format didn’t match well with the post-apocalyptic vibes.

The episodes are kind of hard to find, but I did manage to watch a few on Youtube. They’re base-level humor, with a lot of cliches and stereotypes floating around like a doom-cloud. If your Youtube recommendations dry up and you have 20 minutes to waste, check it out.

Until Next Time…

If you know of a show that’s not on this list, drop it in the comments! We might be back in a while with another blog about old TV shows!

Upcoming Sci-Fi Shows We’re Excited For

During the last COVID-19 lockdown, I spent a lot of time binging Seinfeld. Not everyone’s cup of tea, and I agree by the end of it I was ready for some good, speculative television.

But, as I scrolled through Netflix and Hulu, I really didn’t find anything that piqued my interest.

However, there are a lot of upcoming sci-fi shows (and fantasy ones, too) that have me pretty excited. Let’s check them out:

The Wheel of Time (2021)

The Wheel of Time is an upcoming fantasy TV show from Sony Pictures and Amazon Prime Video, based on the book series by Robert Jordan.

The Wheel of Time is probably going to be the next Game of Thrones, but with more magic. The series follows Rand al’Thor, a young farmboy who discovers he’s the mystical hero from ancient lore, the Dragon. There’s intrigue, danger, magical-objects-that-people-shouldn’t-be-touching, and sassy bards with colorful cloaks.

If you love Lord of the Rings, this show is for you.

The show has already been approved for a second season, and we can expect the premiere on Amazon Prime Video sometime before the end of the year.

The Sandman (TBA)

Neil Gaiman is no stranger to television and movie deals. His work is all over the silver screen, including American Gods, Good Omens, Stardust, and now, Anasi Boys, having found a home at Amazon.

But, talks about producing his Sandman comic book series have largely gone unnoticed until now. Warner Bros. and Netflix signed a deal to start producing The Sandman as a television series, to stream on Netflix.

The show follows along with the comic book series (published from 1989-1996), exploring the world of sleep and dreams. Tom Sturridge has been cast as Dream, the main character, and many other notable names make up the supporting cast, including Stephen Fry, David Thewlis, Patton Oswald, and Gwendoline Christie.

As of now, The Sandman does not have a set air date.

The Book of Boba Fett (December 2021)

The Mandalorian really swept Star Wars fans, new and old, off their feet. It was funny, thrilling, immersive, and everything Star Wars was meant to be.

Plus, it re-introduced Boba Fett, the famous bounty hunter. He’s now getting his own spin-off show, which will premiere on Disney+ in December 2021.

The Book of Boba Fett is a part of a collection of Star Wars shows, including The Mandalorian, Ashoka, and Rangers of the New Republic, which will all be interconnected.

Not much has been released about the show, but it’s clear that Temuera Morrison and Ming-Na Wen will both be reprising their roles as Boba Fett and Fennec Shand.

Image from starwars.com

Foundation (September, 2021)

The Foundation series (published from 1943-1993) by Isaac Asimov were wildly popular and influential to the science fiction genre, and now the series is finally coming to the big screen.

Apple TV acquired the rights to the series in 2018, and production began from there. The showrunner, David Goyer, said that his vision is to show the world o f Foundation in 80 episodes—80 hours of film. Whether his dream will become a reality, it’s too soon to say.

But, if a star cast and an Expanse-esque trailer mean anything, Foundation is likely to be very interesting, in the slightest.

The show is set to premiere in September 2021 on Apple TV.

Cowboy Bepop (2021)

You may be familiar with the popular space-bounty-hunter anime from 1997, Cowboy Bepop. The show has become a cult classic for anime and science fiction fans alike. In the show, a ragtag team of bounty hunters travel the galaxy tracking down criminals.

In 2017, it was announced that Netflix would be producing a live-action version of Cowboy Bepop, and it’s recently been slated for a fall 2021 release.

So far, there hasn’t been a trailer for the show, but the producers have released a behind the scenes teaser featuring one of the main characters, the corgi, Ein.

As new details about these upcoming sci-fi shows become available, we’ll be sure to keep you updated! In the mean time, check out some of our other blog content!

The Cloak & the Fox: The Green Knight Movie Review

I’m a big fan of Arthurian fantasy books and movies. I’ve been fascinated with the genre ever since I was a kid. But now that I’m older, my interest has shifted from the big sword-fights and knights on horseback to the intricacies of storytelling, and how current writers are bending the genre.

Arthurian legend is such a rich bank of subject matter, because a lot of the stories already vary in how they’re told. Some people take Le Mort d’Arthur by Thomas Mallory as gospel, and others are fans of T.H. White’s The Once and Future King.

I even took a stab at bending the genre with my story “Esclados the Red,” which follows a little-mentioned knight on his journey of self-discovery and acceptance with his sexuality. It was a fun story to write, and I was exhilarated to be writing in such a large—and loved—genre.

The Green Knight movie doesn’t go quite as far to bend the genre, but it certainly provides a fresh take on the centuries-old story of Sir Gawain.  

The Green Knight Movie

The Green Knight film was released in theaters on July 30th, 2021. The film was written and directed by David Lowery, whose other work includes movies like Ain’t Them Bodies Saints, Pete’s Dragon, and The Old Man & the Gun.

The Green Knight stars Dev Patel as Gawain, and is based on the 14th-century chivalric romance, Sir Gawain and the Green Knight.

Sir Gawain and the Green Knight is by far one of the most popular stories in the Arthurian universe, and Lowery’s film was quite faithful to the source material in terms of plot.

But the movie really shines when it comes to the visual elements.

The Big Orange Cloak

Visually, the movie is stunning. I’ll give it that.

It alternates between very dark scenes inside foggy forests and dim castle halls, to bright yellow and green forests. The contrast is astounding, and the coloring was certainly something Lowery emphasized.

Speaking of color and contrast, the best example of this is Gawain’s big orange-ish cloak. Even when Gawain is trekking across dark landscapes, his orange cloak still sticks out, providing a pop of color to on otherwise drab scene.

Dev Patel as Gawain
Photo from The Los Angeles Times

There’s one scene in particular that really struck me as the pinnacle of cinematography.

Gawain jumps into a pool of water by moonlight, and at first the greenish water slowly fades to darkness. Then, out of nowhere, a flash of crimson light illuminates the pool, with Gawain floating in the water. It’s marvelously executed.

The Fox

Arthurian fantasy books and movies have the potential to get quite grim, but The Green Knight is able to maintain a balance between moments of despair and fun adventure.

For the first part of Gawain’s journey to the Green Chapel, he treks alone through the medieval landscape. He crosses bloody fields and haunted forests, giving the film a dark, brooding vibe.

But, at a certain point, a red fox becomes Gawain’s traveling companion. Together, they continue to traverse the grim landscape, but now, the feeling is less of doom and more of adventure.

The cute fox adds an element of mystery to Gawain’s journey, but it also lightens the mood. I’m all for protagonists with animal companions, and this fits the bill.

The Green Knight Movie Review Score

Overall, I really enjoyed The Green Knight. It was fairly faithful to the source material while taking enough liberty to put a new spin on an old story.

Visually, the film was a work of art. The detail that went into color choice and lighting is clearly noticeable.

And the way the film is segmented into titled sections was a really neat idea, and it felt like a visual novel with distinct chapters, moreso than a single film.

I only had two gripes with The Green Knight.

First off, the pacing was a bit slow. The build up for the first hour was almost laborious, but the filmography was able to keep my interest until the story progressed into the really meaty sections.

Second, I was mildly confused at points. Flashforwards melded too-seamlessly with the present timeline, leaving me scratching my head for a few minutes before everything snapped back to reality. This really only matters at the end of the film, and it’s not even that big of a deal, just something that confused me a little.

All said and done, I give The Green Knight an 8/10. A solid rendition of the classic story, and hopefully the first in a new wave of Arthurian fantasy books and movies.

If you liked this review, check out some of our other reviews!

The Last Airbender is our Dream, Legend of Korra is our Reality

The time-honored question: Avatar: The Last Airbender vs. Legend of Korra.

Those who instantly shout, “The Last Airbender!” are our stalwart defenders, but the Korra fans are our realists, our breath of fresh air.

The Last Airbender is our childhood, and that’s fine because the show is good. It is witty, fun, it has character. But in some ways, it is unrealistic, and fits into nostalgia almost too well.

Legend of Korra is radically different. We can argue for days about worldbuilding or comedy or animation, but I feel there are three fundamental reasons why LoK was the show we needed.

It uses the Avatar structure to explore:

  • Relationships
  • Friend group dynamics
  • Motivated, realistic villains

(Spoilers for all seasons of The Last Airbender and The Legend of Korra).

Love in Avatar Korra’s World

Relationships can be tough, awkward, unbearably cute, or [insert adjective here]. In TLA, Aang and Katara beat back and forth for the entirety of the show, ultimately ending up as each other’s soul mates. That’s a good love story, right? As viewers, it’s nice to have the hero succeed romantically, but is it really satisfying?

Mako and Korra have a rocky relationship from day one, but gradually they grow to love one another, they fight, they break up, it gets sticky, etc. Doesn’t that reflect near perfectly what many of us go through? And isn’t it more emotionally satisfying to watch Korra’s romantic journey, for her to ultimately end up with someone better for her after her hardship?

LoK does what TLA does not, and it broaches friendship after a failed relationship, or even a failed relationship in general (Sokka and Yue are one example, but they didn’t fail because of fundamental character differences, they failed because Yue had to fulfill her duty.)

In this way, LoK is a more vivid representation of the real-world experience, and a valuable teaching tool for young viewers about the expectations for relationships.

Maintaining Friendships Through Hardship

Arguably one of the best things about TLA is the road tripping, the Team Avatar bonding time (my favorite is when they go to the play on Ember Island).

While fun to watch, is the Aang Gang really how most friendships work? Many have argued that one of LoK’s faults is that Team Avatar isn’t as connected as it was in Aang’s time, but I think that this is one of the best things about Korra.

It demonstrates that friendships are work, and that people can drift apart. One of the most sentimental moments occurs in season two when Bolin admits to Asami that he feels like Team Avatar is falling apart, that everyone is doing their own thing.

Even though the characters lead their own lives apart from the team—Bolin the movie star, Asami and her company, and Mako the cop—they ultimately make time for one another in the broad scheme of things and defeat the villains together. It is almost like reassembling a D&D group for another jaunt, and it feels more realistic than the extended sleepover that is the Aang Gang.

Motivated, Relatable Villains

Okay, this is the part where everyone yells about how great a villain Azula was, and I will admit, she is a pretty iconic baddie. Her blind ambition and wickedness make her formidable, but what is she fighting for?

She’s obviously attempting to reconcile her childhood and please her father like she wasn’t able to please her mother, but for the most part she follows the Firelord’s desires for world domination.

Ultimately, that is what the series is about, fighting back against a rising imperialist regime. The most interesting villains are interspersed throughout the series, like Hama, the bloodbender seeking revenge, or the sly bureaucrats of Ba Sing Se. But their screen time is limited and when they disappear, the impending doom of annihilation returns.

LoK is a bit more realistic, and the villains are infinitely more relatable. Amon is radical, but he simply wants equal rights for non-benders, the minority in Avatar Land. Taking peoples’ bending away was cruel, but we understood why he did it.

Season two was pretty weak as a whole, and Unalaq lapsed back into the annihilation trope. And Zaheer was a little more radical than Amon, but we could clearly understand his goal, and in all honesty, he just wanted equality too, but approached it from a socio-political angle.

Kuvira is by far the most intriguing villain LoK has to offer, because we saw her start off fighting the Red Lotus and defying anarchy, and we witnessed her grow to want peace and prosperity for her people, even if she had to forcibly unite the Earth Kingdom.

Kuvira’s harsh rhetoric at the beginning of Season 4

She has motives, but she fell prey to power, like many leaders or politicians do. While what Kuvira did in pursuit of her Empire was wrong—the reeducation centers, destroying local cultures, and attacking Republic City—I was saddened to see her get arrested.

Her course for a United Empire echoed the imperialism of Ozai’s Fire Nation, but at least we understood why she was doing it. She was more antihero than villain, and she reminded me of Zuko from the original series, a Zuko who took a more radical stance. Perhaps if Kuvira had an Uncle Iroh she might have been able to join Team Avatar too.

In Conclusion

Don’t get me wrong, I love the The Last Airbender. It was a large part of my childhood; I remember there were days when I was a kid where I’d sit around with my brother watching the show on DVD, playing the Avatar trading card game.

But, as an adult, I find that Legend of Korra makes you think, it’s more complex, and the characters are more developed.

No matter on which side of The Last Airbender vs. Legend of Korra argument you might fall, it’s clear there’s something for everyone to enjoy in both shows, be it the simple nostalgia of Aang’s crew, or the sometimes-awkward dynamic of Korra and her friends.

If you liked this review, check out some of our other reviews on the Signals From the Edge Blog!

Oxygen Is One of the Best Sci Fi Movies on Netflix

I wasn’t sure what I was expecting when I sat down to watch Oxygen, a new sci-fi movie on Netflix.

The description was fairly simple; a woman wakes up in a stasis pod and is rapidly losing oxygen (hence the title) and must remember her past to find a way to fix the problem before she perishes.

It seemed like a premise I’d seen done before, but I couldn’t pinpoint from where.

Regardless, I grabbed my bowl of ice cream and settled in. Little did I know I was about to watch one of the best sci-fi movies on Netflix. It was:

  • Riveting
  • Artistic
  • And a tad frightening

Oxygen Isn’t About Escape, It’s About Control

The whole film revolves around Elizabeth Hansen, who wakes up in a claustrophobic cryo-stasis pod. Her oxygen is being depleted, and she has the length of the movie to figure out why (which is about 100 minutes).

As a writer, I was always told to never start a story with a character waking up. It’s too simple, it’s an opt-out of any kind of backstory building, etc. etc.

But Oxygen starts in just that fashion, with Elizabeth coming to in her stasis pod, and I think it works. After all, if the premise revolves around a stasis pod keeping people alive indefinitely, then the largest conflict would be waking up before the scheduled time, right?

If only it were that simple.

For 3/4ths of the film, Elizabeth’s prime objective is to either escape the pod on her own before the lack of oxygen kills her, or find someone on the outside to get her out. She’s assisted—and held back—by M.I.L.O., the artificial intelligence Medical Interface Liaison Officer responsible for her wellbeing.

With M.I.L.O.’s help, she’s able to make contact with the outside world, but with each call she places to the people on the outside, the plot becomes more convoluted.

Just as we as viewers think we know what’s going on, the movie takes another wild turn, subverting our expectations.

Personally, it’s a genius move. If I had to watch a film that takes place entirely in a stasis pod for an hour and a half—when the only conflict is getting out—I’d become bored very quickly.

But Oxygen becomes more than just a fight for survival; it’s a fight for control over one’s body, mind, and autonomy. And that’s why it’s so good.

The Making of a Top Sci-Fi Movie

In some scenes of the film, Elizabeth is reading social media posts and academic journals, which appear in French. I figured it was a stylistic choice, but only after I read more about the film’s production did I realize why there was such a heavy emphasis on the French language.

Oxygen, or Oxygene, as it is called in France, was a collaboration between American and French filmmakers. Planning started back in 2017, and filming took place in July of 2020. (Which was a bit haunting, seeing as how it was the height of the COVID-19 pandemic and staple part of the film is a worldwide disease that claims Elizabeth’s loved ones.)

The film was directed by horror expert Alexandre Aja, whose previous films include The Hills Have Eyes and High Tension.

Aja said when talking to Variety that Oxygen is a “real emotional escape game” and he certainly takes that idea to the next level. Filming entirely in one location, the stasis pod, doesn’t leave a lot of room for deviation, so he had to get creative.

The lighting and camera angles help portray Elizabeth’s emotions, since dialogue isn’t really a big part of the film. The red lighting of the low oxygen environment elevates the feeling of containment, while the soft white lighting provides a brief respite from the tension.

All of these things were on Aja’s mind as he directed this film, and it certainly shows.

Alexandre Aja and Maurie Laurent on set of Oxygen
Photo from The Film Stage

In Conclusion

Oxygen is a one of the best sci-fi movies on Netflix I’ve seen in a long time. The attention to detail, dynamic story, and moments of horror makes it quite a ride.

If you find yourself with an hour and a half to spare and a penchant for some mind-boggling sci-fi horror, I highly suggest checking Oxygen out on Netflix. I give it a 9/10.

Are you a fan of new, exciting science fiction? Be sure to check out the latest issue of Galaxy’s Edge! It has original short stories, book reviews, and interviews with popular authors!

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Mind Over Matter: How Robbie Reyes Conquers Science

Superhero literature, be it blockbuster films or comic books, is inexplicably tied with science. Many of the greatest superheroes—and supervillains—were created using science, like Captain America or the Incredible Hulk. And some use their big brains and expansive wealth to wield science like a weapon.

But, there’s a special segment of superhero lore that revolves around anything but the scientific. In these annals of comic book history, there lives heroes and villains that operate outside the realm of science.

Mutants, Inhumans, gods and goddesses, monks: the list goes on.

However, one anti-hero comes to mind when we think of the supernatural. Ghost Rider.

While the 2007 and 2011 films starring Nick Cage might have turned off long-time Ghost Rider fans, newer iterations of the flaming-head hell-raiser have brought new life to the character.

Robbie Reyes’ Ghost Rider prominently appears in season 4 of Agents of S.H.I.E.L.D. and the All-New Ghost Rider comic book series released in 2014. (Spoiler warning for both).

Two Origin Stories for Robbie Reyes

As with any book (in this case, comic book) to film adaption, there’s bound to be some inconsistencies. When it comes to Robbie Reyes, the differences are both minute, and…well, not.

Reyes’ origin story as it’s told in Agents of S.H.I.E.L.D. and as it’s told in All-New Ghost Rider are fairly similar. Reyes takes out his 1969 Dodge Charger RT for a ride, is gunned down either a rogue militant group or a gang, and ends up dying.

However, the distinct point of deviation is where the Ghost Rider comes from.

In AoS, the previous Ghost Rider, Johnny Blaze, shows up and imparts the spirit of the Ghost Rider into Reyes.

But in All-New Ghost Rider, the demented spirit of Reyes’ serial killer uncle, Eli Morrow, possesses Robbie, giving him Ghost Rider-like abilities.

The story lines diverge a bit from that point, but a common theme remains: mind over matter, spirit over science.

How Robbie Reyes Beats Science

While there are some differences between the Robbie Reyes Ghost Rider characters we’ve discussed, there’s one thing that ties the stories together: the battle against science.

It might seem like a trivial aspect of the story, because Reyes’ real battle is fought against his own rage and that of the spirit processing him. But let me digress.

One of the prominent themes of Agents of S.H.I.E.L.D. is the power of science. The majority of the problems Coulson and his team face up to season 4 are solved by Fitz and Simmons, their head scientists.

And it’s a great theme that sends a positive message to all real-life scientists. It says “your education and skills are your superpowers.”

But, when Robbie Reyes shows up, he continually challenges science. Fitz and Simmons can’t grasp his abilities, even though they made it their mission to understand powered individuals (specifically the Inhumans Daisy, Lincoln, and Yo-yo).

Reyes breaks out of Fitz’s containment module, escapes from a parallel, limbo dimension, and survives numerous scenarios where he should have died. All of his screen time is spent defying science like it’s his sole mission.

Even against seemingly insurmountable foes, like Eli Morrow, with his ability to create matter, and the rogue android, Aida, Reyes finds victory. Both antagonists base their power in science—with a bit of dark magic thrown in—and Ghost Rider prevails.

All-New Ghost Rider

In the All-New Ghost Rider comics, science takes on a physical manifestation in Dr. Zabo and his Blue Krue.

Everyone Reyes faces is juiced up with a powerful steroid concoction that transforms them into either super-soldiers or monsters. But Reyes manages to conquer his foes with relative ease, once again demonstrating Ghost Rider’s power over science.

Reyes in the All-New Ghost Rider shows us that no amount of body modification or scientific tampering can match strong willpower.

Even though Reyes undergoes extreme duress—financially, emotionally, and physically—he never stops trying to control the spirit inside of him. And in the end, he learns to harness the power without giving into the spirit’s evil demands. Science just so happened to be the fire he needed to reforge his identity.

By defeating the Blue Krue and Dr. Zabo, Reyes solidifies his presence in his neighborhood as the Ghost Rider, a hero. For the people of Hillside Heights, their savior is one they never expected, and that in itself speaks volumes to Reyes’ determination for success—or his fear of failure.

What the Reyes Ghost Rider Tells Us About Reliance on Science

In today’s world, the ever-forward step of science makes it very easy to fall into the trap of reliance on technology.

Picture it:

  • Working all day on a computer
  • Driving home in your smart car
  • Managing your home with Alexa or Google Home
  • Scrolling on your phone, playing video games, or watching TV for entertainment

Perhaps that was a bit dramatic.

But the point remains that as technology continues to advance, our lives become even more intertwined with it. In many cases, that’s a good thing—better medical equipment, cleaner energy, more accessible knowledge.

Yet, if we’re totally absorbed in our technological realities, we start to lose sight of everything else around us.

Sometimes, our saving grace—our breath of fresh air—comes from embracing the unknown. Reyes didn’t completely understand Ghost Rider, but he learned to control it to his benefit. Should we be doing the same? Sometimes the answers to our questions are right under our noses, only if we took the time to look down instead of ahead.

Anyways, it’s something to think about.

In Conclusion…

The real message that Robbie Reyes sends to viewers is this: no matter what your skill, be it biology, mechanics, engineering, video games, writing—anything, really—if your mindset isn’t fully focused on success, then you won’t accomplish your goals.

Reyes shows us that when you put your mind to it, you can overcome any obstacle. And while in his case he has the help of a demonic spirit to break the rules of science, he wouldn’t have been able to save his friends if it hadn’t been for his iron-strong willpower.

No matter how accomplished we are in the sciences, without a solid moral center and unbroken spirits, we won’t achieve anything worth recording in the annals of history.