I have referred to Space: Above and Beyond previously in these pages as “the Firefly of its time.” And the similarities really are quite striking, at least in non plot-related ways.

Like Firefly, it was created by established stars of the genre TV circuit, The X-Files resident wunderkinder Glenn Morgan and James Wong (“Squeeze”, “Beyond the Sea”, “The Field Where I Died”, “Musings of a Cigarette Smoking Man”). Also like Firefly, it took a different approach to episodic Sci-Fi than we’d ever seen by bringing to the forefront a range of disparate, though formerly overlooked, characters, played by a uniformly attractive cast. And, like Firefly, it was cancelled precipitously by FOX executives -- although at least it was given an entire season -- to the outrage and disgust of an ever-growing, if cult-sized, fanbase.

In the years since its cancelation, S:AAB hasn’t quite seen the upsurge in popularity of it’s more recent counterpart. There is no feature film to give fans closure, and while there are a couple of novels, and graphic novels, based on the series, the show’s creators were not involved in them. And Smart Pop have yet to release even one tome dedicated to this show, whereas they have three on Firefly… and counting.

But Space: Above and Beyond deserves just as much praise, and is just as worthy of your time, as the adventures of Malcolm Reynolds and his crew. It’s not as funny, of course -- few shows can hold a candle to a Joss Whedon production when it comes to the funny -- and neither are its performances as faultless. Commodore Ross (Tucker Smallwood) possibly pulls out his guitar just a little too often. But as a show that really brought the space opera into the popular consciousness, as a daringly original twist on the Starship Troopers idea, and as a simply gripping and convoluted relationship drama played out against the backdrop of futuristic discrimination, aerial combat and awesome world-building, this show should earn for itself a high place in every true geek’s heart.

So, our plot. A war rages between humans and a mysterious race of insect-like creatures referred to as Chigs. On the spacecraft carrier U.S.S. Saratoga, a newly formed squadron of marine fighter pilots, the Wild Cards, kicks ass and takes names, and looks damn good doing it.

We have Shane Vansen (Kristen Cloke), beautiful and brilliant, a natural leader who doesn’t always play well with others. She has more than a passing interest in her second-in-command.

Next we have Nathan West (Morgan Weisser), who is that second-in-command and who joined up because he wanted to track down his missing girlfriend. In space. Yeah, not the smartest of cookies, is Nathan. But he sure is pretty.

Also there is Vanessa Damphousse (Lanei Chapman), a scientific prodigy with a troubled personal life whose contribution to the group is eternally underestimated.

Then there’s Paul Wang (Joel de la Fuente), her best-friend and sometime live interest, who is the comic relief of the gang… and not too much else.

And last but very certainly not least, there is one Cooper Hawkes, played by a man surely born to wear US Marine dress uniform, Rodney Rowland. Cooper is a “Tank”, a person grown in an InVitro facility and a part of the distinct underclass; he has a bad attitude, a problem with authority and no social skills to speak of, but he eventually finds a place for himself in the squad and his rivalry with Nathan turns into a bromance of the highest order.

He’s very cute.

The squadron’s commander, T. C. McQueen (James Morrison), is also a Tank; he’s adorably fatherly with all the Wild Cards -- in a firm but fair kind of way -- but his special relationship with Coop is particularly so, and always particularly enjoyable to watch.

As is this show. It may annoy you at times with its aggressive patriotism -- this show labors under no uncertainty as to which country is the best in the world, and it’s initials are U, S and A -- and may occasionally seem overly teen soap operatic, but the viscerally satisfying battles, the intensity of the overarching war, some excellent direction and almost uniformly wonderful scriptwriting all make for compelling viewing. Not to be missed.

Seriously. Not to be missed.

   -- Rachel Hyland