In the early 1970s, Great Bird of the Galaxy and Star Trek revered creator Gene Roddenberry attempted to launch a new science fiction TV series entitled Genesis II. Today, this program is something of a legend to thirty-something genre buffs. Myself included. I for one have often wished that a clever producer would inherit this promising property and remake it today as a new series.
For those whose memory banks have failed, the Genesis II pilot basically filled in a period of Earth “future” history, post 20th-century (and post-World War III, or in Genesis II terminology, “The Great Conflict“) but pre-Star Trek Age.
In other words, the proposed series would have depicted Earth’s adolescent struggles as man emerged from a deadly childhood (consisting of war and lust…) and became — in the words of of Gene Roddenberry’s teleplay — a “grown up.” Roddenberry commissioned twenty hour-long scripts for Genesis II, and they’re all still out there, even in 2011: a veritable first season’s worth of adventures ready to produce right now. One of those stories, by Alan Dean Foster (“Robot’s Return”) even became the basis for Star Trek: The Motion Picture and “V’Ger.”
Despite a library of twenty scripts ready to produce, despite a fascinating premise about future Earth’s evolution, CBS passed on Genesis II in favor of a TV version of Planet of the Apes (1974). Refusing to surrender, Roddenberry re-fashioned elements of the Genesis II premise and produced a second (more colorful and action-packed) version of the material called Planet Earth. If you’re a fan of the 2000 – 2005 syndicated outer space series Andromeda, you may also recall that certain elements of that Kevin Sorbo series (including the name of the Genesis II hero, Dylan Hunt), were incorporated from this 1970s TV movie and pilot.
Genesis II commences in the late 1970s with a Buck Rogers-style premise. American scientist Dylan Hunt (Alex Cord) takes part in a suspended animation experiment deep inside a NASA facility inside Carlsbad Caverns (and adjacent to the Continental Defense Command). As Dylan is put to sleep in a pressure chamber, there is an inconveniently-timed rock fall and the facility is permanently buried, destroyed. Hunt is left for dead. Abandoned.
In voice-over narration, Hunt reports “My name is Dylan Hunt…and my story begins the day on which I died.” He then reports (accompanied by flashbacks…) how he served as the chief of the suspended animation project (known as Ganymede) since 1979, and how he arrived at the Carlsbad facility (from Washington DC) on a highly-advanced “sub-shuttle” which could travel 1135 kilometers an hour. The plan was to connect every nation in the world with these sub-shuttles, thus “bridging” continents. The sub-shuttles were necessary because surface and air travel had grown too vulnerable to attack (apparently, according to the prescient dialogue, China was on blazing ascent).
In the year 2133 AD — some 154 years after the cavern accident — Dylan Hunt is awakened by team members of an organization called PAX (Latin for “peace.”) Pax’s leader is a stoic, impressive black man, Primus Kimbridge (Percy Rodrigues), and he is accompanied on the rescue mission by a feisty human woman named Harper-Smythe (Lynne Marta) and a gorgeous half-Tyranian mutant, Lyra-a (the foxy Mariette Hartley).
In a scene demonstrating Gene Roddenberry’s finely-developed penchant for kinkiness, Dylan Hunt’s physiological revival nearly fails (his skin has actually turned blue…). To survive, Hunt’s body needs to “want to live.” Yes — as Dylan reveals in voice over — there is apparently a deep connection between “the will to survive” and “the need to reproduce.” It is that connection that spurs metabolic revival post-suspension.
Cutting through the techno-jargon, what this means simply is that Lyra-a must make love to Dylan to restore the twentieth-century scientist to health.
And did I mention that Lyra-a has two belly buttons?
So, from the haze of a half-coma, Dylan begs Lyra-a: “make me want to live.” She happily obliges. Note to self: if I am ever in suspended animation for 154 years, I would like Lyra-a to be present to revive me.
Anyway, cut to sometime later (*ahem*) and Lyra-a is still nursing the recuperating Dylan Hunt back to health. She promptly asks if Dylan remembers how she “cared” for him and then strips down to a bikini and shows off her double-belly button. Okay: best post-apocalyptic TV pilot ever,
As Lyra-a flaunts her fetching twin navels, she also provides some critical story exposition. Tyranians are apparently mutants with two hearts, and vastly superior strength. And they need Dylan’s help because their nuclear reactor is malfunctioning. Lyra-a also claims that the people of PAX are militaristic plunderers (looting various c
In other words, in a world ruined by war, the greatest wrong imaginable is killing…even the “justifiable” killing of an enemy. If the human race is to grow up, it must eschew violence totally. The people of PAX will not sacrifice their ideals for security; not murder other people in the name of “peace.”
“I hope I’m up to it,” says Hunt, committing to a bold, and perhaps difficult future.
I’ve written above, perhaps a bit too snarkily, about the sexual aspects of Genesis II, but in fairness, this pilot also boasts Roddenberry’s penchant for intelligent social commentary. Not merely in terms of the anti-war, pro-peace message, either, but in terms of gender and race equality. For instance, the attentive viewer will notice immediately the “unisex” and integrated nature of PAX. Blacks, and whites, men and women, hold the title “Primus” and work together to build the future. There’s also great (and highly-amusing) scene here in which Harper-Smythe complains bitterly that the world was destroyed by “lust” (lust between the sexes, lust for property, lust for power…), and it rings true enough that we recognize the concern.
And even though Genesis II occurs post-holocaust, there is room for hope (Roddenberry’s famous, trademark optimism) in this troubled world. The Earth survives, and has been gifted with “a second chance.”
On the other hand, this message is muddled by some of the visuals. For instance, much of Genesis II occurs underground, in dark, unpleasant caves. True, some caves are decorated with art; and there’s also a garden in evidence, but the visual reveals the truth: the peaceful (good) people of PAX have been relegated to living in a basement. They wear rags that look like potato sacks. Though the citizenry are idealistic, though they have hope, their “home” looks pretty grim. This is one element that is changed in Planet Earth. It infuses PAX’s world with spiffy uniforms (recalling Star Trek) and vibrant, upbeat-colors (more Star Trek). Genesis II is probably more intellectually honest about what a post-apocalyptic state would look like; but Planet Earth is definitely more palatable in terms of visuals.
Other visuals are a mixed bag on Genesis II. The Tyranian City is a perfect example. It is depicted with a great matte painting (from a distance.) But up close, the city looks just like your friendly neighborhood community college campus. Likewise, some exterior vistas are impressive (like Hunt’s first view of the outside world), while other locations look suspiciously like Southern California ranches. And, there’s some clumsy insertion of stock footage here too. When Lyra-a and Dylan ride to the Tyranian city, the episode cuts to stock material of squirrels and raccoons gallivanting.
So, how is one to assess the pilot overall? Well, the climactic action in Genesis II is pretty darn uninspiring, truth be told, and the overall tone lacks Star Trek’s joie-de-vivre. Also, there’s little sense of esprit-de-corps between the protagonists. (Again, this is understandable, given the grave circumstances…) However, the set-up of the series (it’s just one sub-shuttle ride to new civilizations and new life forms…) and the powerful ideals of the PAX characters (their evolved view towards violence and war) certainly held great potential. Also, the idea of a man like Hunt – who embodies both the best and worst of the 20th century – dealing with a “brave new world” seemed to promise so much.
I still think this would have been a great series and I mourn the decision not to green light it. The pilot offers the Roddenberry touch (and his writing style) in spades, and is immensely entertaining. Also, you can’t deny Genesis II was ahead of its time. Just a few years later, the short-lived Logan’s Run TV series would adopt a familiar formula. That series involved hover-craft (not sub-shuttle) trips to various post-apocalyptic cultures-of-the-week.
If you think about it, Roddenberry nearly accomplished the impossible here: he excavated a second great series formula, one that held for the possibility of so many exciting and diverse stories. I don’t know that there is any Mr. Spock-style break out character in Genesis II, but Lyra-a, with her philosophy of “self-interest” and her inability to “feel love” as humans “understand” it, could have made for some very interesting moments and dynamic character interaction. Also, the idea of Earth getting a new beginning – a second genesis – is one of enormous optimism, something that over time (and some brighter photography…) might have resonated with audiences the way Star Trek’s spirit of universal brotherhood did.
So why isn’t anybody remaking this as a series, using the 20 original scripts as foundational material?ivilizations for ancient treasures), descendants of the very soldiers responsible for the “Great Conflict” in the first place.
Lyra-a helps Dylan escape from PAX in a still-functioning sub-shuttle and escorts him to the grand Tyranian metropolis (located in old Arizona). There, Dylan learns the truth: Tyranians practice deceit as “a virtue” and believe that “self-interest is the natural order of life.” The Tyranians also enslave human beings, whom they euphemistically refer to as “Our Helpers.”
Furthermore, the Tyranians control human beings with technological wands called “stims,” devices which can deliver eight degrees of pain…or eight degrees of pleasure. Again, this is incredibly kinky when put in practice (what with all the wand touching and all…), but frankly, that’s the patented Roddenberrian touch I missed most in the modern incarnations of the Trek franchise. Bring on the double-belly buttons and the pleasure sticks. Please.
The remainder of the TV-movie involves Dylan learning that PAX is actually a noble organization, one committed to “preserving the best of the past” and “letting the worst of it be forgotten.” With the help of a PAX team, including a Native American named Isiah (Ted Cassidy), Dylan stages an insurrection to free the Tyranians’ human slaves. He also learns why Lyra-a really brought him to the city: they have a nuclear missile aimed at PAX’s headquarters, and need Dylan’s help making it functional.
Genesis II ends with a nuclear detonation at the Tyranian nuclear facility (far from the city). Dylan has double-crossed the Tyranians and removed their weapons of mass destruction permanently. Interestingly, the pilot then ends on a strongly pacifist, philosophical note. The men and women of PAX, though facing annihilation, are angry that Hunt has killed Tyranians. “Did you take lives?” They ask with disapproval. Of course, he has (“I saved everyone!” he says), but the people of PAX believe his choice was immoral, and don’t just talk the talk. They walk the walk. “You must swear to give your life rather than to take another,” they insist.