Space Opera is one of my favorite sub-genres of science fiction, and in recent years has gained a new lease of life (I recommend reading The New Space Opera anthology for good snapshot of the current state of affairs). Like all definitions, saying what exactly is and isn’t space opera can be a highly subjective exercise, but for me, works of space opera all try for a certain grand sweep: the canvas is broad, often involving a good chunk of at least one galaxy. The themes are big–space opera is where entire space-faring civilizations can collide–and awesome technologies are frequently brought into play.

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Fringe, J.J. Abrams’ (of Lost and Alias fame) latest show, last night featured the unintended fall out from an attempt to grow humans in tanks. Since the goal of the original attempt was to produce fully grown soldiers, bypassing the normal wait time of 9 months plus 18 years, some liberties were taken with growth hormones in order to accelerate aging. Thus fall out, such as a baby that goes from conception to death of old age within a few hours.

Growing human beings outside the confines of a real uterus–ectogenesis–has been a staple of science-fiction since at least Aldus Huxley’s Brave New World: it was a critical element in The Matrix, and even featured in a recent Doctor Who episode. It’s also been a staple of real science for some time: in 1996, Japanese researchers were able to keep goat fetuses alive and developing for 3 weeks in their artificial womb. In 2002, researchers at Cornell were able to keep human embryos alive and developing for several days, after which the experiments were terminated to stay within embryonic research ethics rules.

This real research is driven by the desire to help childless people, or dangerously premature babies, and not, say, a hankering for a super-soldier production line. But if the day comes when we can produce a child with just a smear of genetic material and a machine, then we will have to do some deep thinking. On the one hand, this kind of technology could allow us to colonize distant star systems (instead of trying to keep humans alive for hundreds of years of interstellar travel, send a robot and some DNA), while on the other it could lead to the creation of an entirely new underclass of humanity, a la the “tanks” of Space: Above and Beyond.

Nowadays, many TV shows spend as little time as possible on the opening credits, racing to the main action after a few seconds. There are reasons for this (shorter credits can mean more time for the actual show for one), but a side effect is that there is less room for a theme to hit its stride. This is a pity, as a great theme can not only pull you into a program’s world, it can also become a shorthand for the entire show’s vision: just whistling the first few notes of The Twilight Zone theme still speaks volumes, nearly 50 years after the show first aired. So, as nod to a fading art, here are my favorite science fiction TV themes from the good old (pre-1980) days:

• The Twilight Zone: (1959) Yes, it has those distinctive notes, but also has Rod Serling’s mesmerizing monologue.
• Doctor Who: (1963) Not only a great theme in itself, it is an important composition in musical history that introduced electronic music to a mass audience.
• Star Trek (1966): William Shatner’s “Where no man has gone before…” monologue might have been a little too much Horatio Hornblower without the fast-paced music that evoked adventure on the high frontier.
• Captain Scarlet: (1967) Actually, I love the theme music of all Gerry and Sylvia Anderson‘s classic Supermarionation shows such as Thunderbirds or Stingray, but Captain Scarlet‘s theme wins for being the perfect expression of space-age pop.
• The Six Million Dollar Man: (1974) It just doesn’t get any more iconic than this. Incidentally, Bruce Peterson, the test pilot whose real-life crash provided the film for the introductory sequence, was none too fond of seeing the accident that cost him an eye and his testing career constantly replayed on television.
• Battlestar Galactica: (1978) While I prefer the re-imagined version over the original in many respects, have you ever tried humming the new theme music? The sweeping orchestral score of the original perfectly set up the grand tone needed for the space opera that followed.

First of all, an insight (and some elementary logic) about Comic Con: Everybody loves Japanese stuff. Everybody loves porn. Everybody loves Japanese porn.

And onto the Torchwood panel:

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U.S. viewers of Doctor Who are currently being treated to a goosebump-inducing two-parter penned by Steven Moffat, who also wrote the genuinely terrifying “The Empty Child” episode a few seasons back. In his latest offering, Moffat presents us with a library haunted by flesh-eating shadows. The library itself is a wonderful conceit: in the 51st century, e-books and neural downloads and [insert exotic paperless technology here], are all so ho-hum that the people of the future decide to reprint every book ever published on good old fashioned paper. Not surprisingly, it takes an entire planet to store the resulting tomes.

It all sounds completely absurd until you realise that books are currently holding up a lot better than digital technologies when it comes to long-term archiving.

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Recently, as part of the time-and-space traveling adventures on Doctor Who, the Doctor and Donna wound up in Pompeii, the day before the infamous volcanic eruption that would simultaneously put the town on the map and wipe it off the face of the Earth. (warning, minor spoiler follows)

Turns out that—guess what?—aliens were tapping the volcano for geothermal energy. It may seem odd, on first glance, that superadvanced aliens would rely on boring old lava for a power source rather than some fancy technology, but it turns out that there is a vast amount of energy beneath our feet. Places like Iceland have been tapping geothermal energy for decades, but the U.S. is increasingly getting in on the act as well as we discussed in DISCOVER’s April issue :

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