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Musings on Space Opera

This thread is intended to be a place for me to muse/rant about various dumb things people do in Space Opera movies and shows. I have been boning up on them, of late, and I'm beginning to realize that people from other galaxies are very stupid.

Feel free to join me if you find something space operatic to be particular muse-worthy.
In Farscape, why doesn't the crew just eat Rygel XIV? He's annoying, he doesn't really help all that much, and he looks like something they would eat in a space opera.
In Star Wars, how did the Rebellion manage to not notice the fact that the Empire was building a planet-sized gun until it was finished?
In The Humanoid, why did they name their Space Buddha after the GPS company Tomtom?
@clousems said in #3:
> In Star Wars, how did the Rebellion manage to not notice the fact that the Empire was building a planet-sized gun until it was finished?

It's easy to hide in space, and hard to start a rebellion. It was also rather easy for the Empire to exterminate large populations -- e.g. Kamino, Geonosis...
So is it that the real future appears to be boring, so we prolong space opera instead? Such a non-solution -- space opera is often boring. Look at how they've prolonged Star Trek into really sleep-inducing stuff like "Discovery."

Back in the days of the Golden Age of Capitalism, or maybe a little earlier, the assumption was that some sort of technology would be invented, or anomaly would be discovered, that would allow ordinary human beings to travel at speeds faster than light. "Man" would then "go out into the stars," and discover the universe portrayed in Star Trek, in which extraterrestrial life appears as other people with new and fascinating ethnicities, and other planets as exotic versions of Earth. But they couldn't be too exotic -- imagine the cinematic difficulties of portraying a planet with two-thirds, or one-and-a-half times, the gravity of Earth.

And then you had the Star Trek fantasy technologies. There's no way the Star Trek "transporters" are possible.

The Star Trek universe thus developed into an elaborated version of the Marvel Comics universe. Space opera developed into fantasy, Fifties and Sixties fantasy, and (to be honest) fantasy that only remains interesting today insofar as it suggests the current state of the world. People care about galactic empires because real-life empires have not entirely disappeared from the world.

The failure of SETI to find anything of interest brings up another speculation:

www.mic.com/impact/the-milky-way-is-probably-full-of-dead-alien-civilizations-according-to-physicists-53931796

So they destroyed themselves, or so the speculation goes. How? One obvious answer came to mind: their technologies were at best capable of producing societies that were addicted to fossil fuels. Once the fossil fuels were used up, their civilizations disappeared. And that was the end of the story for them.
It is kinda funny that we run out of ideas for space opera*, considering that, as a writer, you can literally do anything imaginable in them. Yet, even the iconic space opera are merely reframed versions of classic Westerns.

Why can't we at least rip off some other genre? I'd love to see The Godfather or Deep Red in space. Even if you restrict your genres to those wherein people explore uncharted, mystical, or unusual regions as part of the plot, you've still got Quatermain-style adventures, Wuxia and Italian Jungle movies to draw from.

* I should probably know this already, but are multiple operas called "opera" or "operas"? Isn't "opera" itself plural?
@clousems said in #7:
> It is kinda funny that we run out of ideas for space opera*, considering that, as a writer, you can literally do anything imaginable in them. Yet, even the iconic space opera are merely reframed versions of classic Westerns.

The best space opera is stuff like Ursula K. LeGuin's "The Left Hand of Darkness," in which the people are ambisexual, or LeGuin's "The Dispossessed," about anarchists on a dry, cold planet, or any of Joan Slonczewski's works.

As I suggested in another off-topic thread, the cool stuff is in written fiction which made (and makes) damn little in the way of money, whereas movies and TV stuff tends to cling to ideas with which viewers are already familiar (because of budgeting requirements).

To choose an obvious example: you could make some really good movies out of Poul Anderson's "Polesotechnic League" and "Dominic Flandry" space operas, or Larry Niven's "Known Space" stuff, but the obvious return is in Star Trek and Star Wars. So what you get to see is Star Trek and Star Wars. I might add that you get to see Star Wars because George Lucas was willing to take risks to do Kurosawa's "Seven Samurai" in space back in the Seventies, when such a thing was possible, and you see Star Trek because, back in the Sixties, Gene Roddenberry was willing to take a risk on it and Lucille Ball insisted that it be kept on the air for as long as she could convince Paramount.
And I still want to see the alternate take of Star Wars Episode III in which Darth Vader, newly encased in his black suit, break-dances to James Brown's song "I feel good," only in his case the lyric is "I feel evil"...

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