Do you have a story that is just BURSTING to be expressed and shared?  Are you seeking a creative way to release your Pre-Millennial Tension?

Spaced Out is calling for submissions for its first club fanzine, to be launched in 2001, the start of the next millennium!

Submissions must be original and we reserve the right to make a future determination about suitability for publication.

For further information, contact the Editors at Spaced Out, Post Office Box 363, Preston, Victoria 3072, AUSTRALIA.

From The Earth to the Moon, Jules Verne, chapter 1, page 1.

I was recently reading an annotated version of Jules Verne's classic novel, as edited by W Miller and published by T Cromwell in 1978. It's certainly worth a look and I thoroughly recommend it to everyone. Of course, it has nothing specifically to do with gay or lesbian issues, but it contains a few generic ideas that are worthy of consideration.

This version used footnotes to explain the background of Verne's life, era and readers. The USA was suffering the Civil War and was at the cutting edge of technology.

Nowadays, we see the USA waging a Civil Rights war for glbts, while mass communication and the Internet have helped the "global village" to become more of a reality.

For Jules Verne's quote, perhaps substitute the words "world citizen" for "American", and you have virtually the story of this club so far. Pioneers are daring to venture forth into unexplored territory, and we are banding together into a club.

Spaced Out has become an officially incorporated association and we will shortly hold our first mini-convention. We have also adopted a worthy cause as our club charity. We are laying the groundwork for what we hope will become a long and proud tradition. We invite you to join us.

One early member of Spaced Out read our Ten-Point Charter and asked whether these were "political" aims. That was not our intention - unless, perhaps, by getting together and having fun, by being creative and proud, we can use our club's very existence to challenge homophobia and to suggest that gays, lesbians, bisexuals and transgendereds have a valid place in the future of humanity.

Maybe, in a generation, there will be no need for such a club. Maybe science fiction will learn to incorporate glbt characters, concepts and fans. Maybe, in fifty years' time, people will wonder why a glbt science fiction club was even necessary. In a way, I hope so.

Getting there will be half the fun.

Media-based science fiction, however, is often produced according to formula. In its rush to appeal to the maximum possible consumer audience, it carefully sets out to offend nobody.

The existence and treatment of transgender-type characters in media science fiction is a good case in point. Its one exception proves the rule that trans-characters are generally avoided.

Frankie is undoubtedly the world's most famous sweet transvestite mad scientist. In the last generation, Frankie and his evil servants have taught millions of unsuspecting teenagers and adults alike how to dance the Time Warp. (Editor's note: see elsewhere in this newsletter for a detailed review of "Rocky Horror")

It is clear, though, that the appeal of "Rocky Horror" is its in-your-face rejection of all things conventional. The show was clearly not intended as a straight, down-the-line mainstream film, but rather as a "rebel yell" with an attitude problem. From its opening scenes, which overtly reject marriage as the goal to which millions of middle-Americans aspire, through to its final scenes of wild dancing in fishnet stockings and swimming pools, this film dares to push the boundaries of acceptable behaviour.

But ultimately, the film seems to have two messages. Frankenfurter is punished for his evil deeds, which gives conservative audiences grounds to permit the existence of the film. They can allow Frankie to pillage our sensitivities because, ultimately, he gets his just desserts.

However, Frankie is still presented in a sympathetic and fun way. Even whilst accepting his punishment, he pleads to the audience with the film's primary message: don't dream it, be it. Two decades before "Priscilla: Queen of the Desert", his transvestite message is a plea for honesty, tolerance and acceptance.

One early "Star Trek" episode which touched upon the theme of gender swapping was the final episode of the original series, "Turnabout Intruder" (1969). The plot concerned an embittered ex-girlfriend of Captain Kirk, who uses an alien machine to swap bodies with him and exact her revenge. The subsequent adventure involved the intruder giving herself away whilst living in Kirk's body, by exhibiting temper tantrums and hysterical outbursts which were possibly implied as standard female attributes. This episode is praised by some fans as a condemnation of sexism, while jointly being condemned by others as a typical example of that very same sexism. In either case, the issue of changing sex was merely a plot device to heighten a story of intrigue and mystery. Kirk firmly stayed a man's man.

An early media SF character with ongoing transgender attributes, however, was from the classic and short-lived series, "Quark". Filmed in 1978, "Quark" was a series with characters and situations that sent up traditional SF films and shows.

One of its regular cast members was a character with a fluid sexuality and gender identity. While remaining in a male body, the character of Jean/Gene alternated between butch male and delicate female persona. However, this character, along with the whole series, was played purely for laughs and so Jean/Gene was never seriously examined as a transgender personality.

A dozen years later, the SF series "Alien Nation" (series made between 1989 - 1990; movies between 1994 - 1997) examined homosexuality, racism and gender roles in a serious and thought provoking way. Part of its ongoing plot included two distinct male Tenctonese ("Newcomer") genders, both of which were necessary for fertilisation of female eggs. 

Another missed opportunity in TV science fiction came from Britain. I seem to recall some fan speculation (possibly apocryphal) towards the end of the series (late 1980s?) that "Doctor Who" might recast its lead role with a female incarnation of the world's most famous time lord. Such a twist in his/her personality could have added interesting new dimensions to the doctor and a 1980s/1990s anti-sexism twist to the whole series. Whether this fan speculation was correct or merely idle rumour is unknown, but the doctor remained male and the series died.

A more recent British series that touched upon mixed gender roles was "Red Dwarf" (produced intermittently between 1987 - 1999) which had its main character, Dave Lister, affected by alternate universe sex-changes and the birth of twin sons in 1987. Like everything else in "Red Dwarf", the gender confusion was played for fun rather than a serious examination.

"Quantum Leap" (1988 - 1993) featured a scientist, Dr. Sam Beckett, who leaped from person to person and era to era within his own lifetime. The series focussed heavily upon a number of social issues, including racism, prejudice and disability. Part of this social examination included episodes where Sam discovered himself inside a woman's body and life, experiencing prejudice, sexual harassment, pregnancy and the aftermath of rape. These episodes required the actor, Scott Bakula, to dress in drag. His partner, character Al Calavicci, even fell in love with one of his female personas. This series showed a tendency towards presenting a sensitive female perspective even though the main characters and actors remained male.