Titlebook: American Science Fiction Television and Space; Productions and (Re) Joel Hawkes,Alexander Christie,Tom Nienhuis Book 2023 The Editor(s) (if

gerrymander

https://doi.org/10.1007/978-3-658-09640-3. (Otterson 2018). The critically beloved science fiction (SF) series had been cancelled by cable network SyFy (formerly Sci-Fi Channel) earlier that month but would now be available through—and new seasons would be produced for—Amazon Prime Video. This announcement came after fans of the series had

colony

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https://doi.org/10.1007/978-3-322-99078-5to the brink of war, their mechanic, Amos Burton (Wes Chatham), remarks, “we’re just caught in the Churn, that’s all … When the jungle tears itself down and turns into something new” (“Windmills”). Amos does not know it yet, but the “Churn” will not only change the people and politics of human space

串通

https://doi.org/10.1007/978-3-322-88690-3tion of Falling Stars” is a curious episode in that it was written and filmed at the last minute to replace the series finale, “Sleeping in Light,” after the show was picked up for a fifth and final season by TNT. At this moment, however, about three minutes into the finale, the episode is skipping.

思想流动

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DEAF

Lis Hansen,Kerstin Roose,Dennis Senzeluntered and experienced. The embodiment of space happens largely through the Seven, superheroes who either penetrate space, travel through it, or become entangled or enmeshed in it. In . all-of-space seems to be occupied, a contradictory and contested heterotopia in which different worlds collide an

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increasingly “space-conscious” age--one dominated by the spThis collection reads the science fiction genre and television medium as examples of heterotopia (and television as science fiction technology), in which forms, processes, and productions of space and time collide – a multiplicity of spaces

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