Dispatch Ajax! Podcast

We start with the big thesis: the Sci-Fi Channel is an early masterclass in niche marketing, built on the belief that sci-fi fans are loyal and underserved. From there we dig into the credibility play of bringing in Gene Roddenberry and Isaac Asimov, and how the network’s direction shifts once the people with real “skin in the game” are gone. We also revisit the weirdest, most charming early experiments like Faster-Than-Light Newsfeed, the idea that the network itself has a story, and the scrappy reality of filling a schedule with syndicated classics before the bigger deals arrive.

In our classic third installment of the Highlander franchise (because of the reported first footage of the remake premiering) we really have a blast talking about all the other fun stuff we'd been waiting to cover. 

Believe it or not, Highlander is supposed to be simple: immortals fight, heads come off, lightning happens. Then the sequels show up and the canon turns into a sword fight with itself. We pick apart why Highlander 2 and Highlander 3 feel like they were written in a different universe, and why the Highlander TV series quietly becomes the place where the franchise finally gets rules, structure, and something like continuity.

This is part 2 of our revisitation of the Highlander franchise - since the official footage of the Highlander reboot recently debuted at CinemaCon.

The Highlander remake is officially moving from rumor to reality, which means it’s time to revisit the series on one of our earliest explainers. We go deep on the franchise’s core mythology of immortals who can’t die unless they’re beheaded, who are pulled toward the Gathering, and who chase the mysterious Prize even when the canon can’t decide what the Prize really is. If you’ve ever argued about continuity, retcons, or “how does that even work,” you’re in the right place.

We're Back! And with that we start a new mini series about The Sci-Fi Channel (SyFy, if ya nasty) and its wild diaspora. 

Something strange happened on old-school satellite TV: a channel appeared out of nowhere, looping wormholes and bright “screensaver” tunnels with no station ID, no ads, and no explanation. Then it teased an invasion and started a countdown clock. That mystery wasn’t pirate radio, it was the marketing fuse that lit the Sci-Fi Channel’s 1992 launch, and we can still feel the ripple effects today.

Rumors of our death have been greatly exaggerated! We're still going, just having some hiccups, kinda like the rest of the world.  

We open the door to the underexplained corners of Nerd and Geek culture—where a driveway TARDIS keeps you warm at the bus stop, Flash Gordon becomes a friendship hinge, and debates about whether Star Wars is science fiction or fantasy spark better ways to watch everything else.

This is a brief note from Podfest in Orlando earlier this year. 

We celebrate our 159th with - among many Geeky things - a fast, funny tour of Star Trek’s dangling threads, from Tasha Yar’s exit to the lost “Conspiracy” arc, plus DS9’s long-game brilliance and Voyager’s resets. We field listener questions on Avengers, The Question, X-Men deep cuts, and stage a Borg Cube vs Death Star face-off. Plus, Data and the Force?

...It's Erich Von Däniken. In the 1960's a Swiss hotelier wrote a book that changed how millions see the past—and how pop culture tells stories about it. We revisit the wild trajectory of Chariots of the Gods, the “ancient aliens” hypothesis it popularized, and the uncomfortable roots that made its rise possible. Then we pull the camera back: how the Space Age, New Age mysticism, and a collapsing trust in old narratives set the stage for infotainment, speculative nonfiction, and a meme that just won’t die.

RIP Gil Gerard. A New York cab, a day job in drama class, and a shot at the 25th century: that’s the unlikely runway that launched Gil Gerard into Buck Rogers, and it still glows with neon charm. We open the vault on Gerard’s early grind through commercials, soaps, and 70s disaster flicks, then follow the thread back to Buck’s pulp origins in newspapers, radio waves, and the 1939 serials that taught America to love ray guns, zeppelins, and cliffhangers. It’s a fast, affectionate tour of the DNA that links John Carter’s planetary romance, Flash Gordon’s space opera, and Lucas-era spectacle, all converging in a TV series that dared to mix swagger with sincere camp.