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    There should be a subdivision of sffy designated pseudoscience-fiction.  This is stories (usually in comics or movies) that are not pure fantasy or weird fiction, because they offer a pseudo scientific explanation.  "bitten by a radioactive spider", "big rigs maddened by a rogue comet". " I suppose it could have something to do with harmonics, ethereal vibrations caused by your music", or the multifarious effects of meteorites in the vicinity of Smallville.  But those are explanations that a layman's knowledge of science would brand as clearly false, and therefore not science-fiction.

    There's a further category of sf ideas that a scientific mind would know to be false, but the popular imagination tolerates.  These include vitalism (the idea that living things are alive because of the "life force"), the idea that thought exists apart from the brain, the idea that psi powers are possible, the idea that giant things can move the same as scaled-down versions, or the idea that a ship can exceed the speed of light by "folding space" or something.

    At times the distinction between pseudoscience-fiction and pure fantasy must be thin, as in distinguishing between My Favorite Martian and I Dream of Jeannie.  But the former probably comes within Clarke's rule that a sufficiently advanced technology will seem indistinguishable from magic.  The Martian's abilities aren't presented as magic; they're given the pseudo explanation that Martians can do anything.

    A one-hour Twilight Zone during the recent TZ marathon was No Time Like the Past. a curious mixture.

    In the first half hour. the hero tried thrice to change history, and each time was frustrated.  Twice it was because responsible men wouldn't believe his warning.  Why should they, when he wouldn't tell how he knew?  The other time, it was as if the thread of history was deliberately interfering with him; there was always a chambermaid knocking on the door, or something, to keep him from shooting Hitler when he had the chance.

    The second half hour was largely derived from the half-hour TZ Willoughby episode and the longer and happier revision of that story for a TZ movie.  This time the time traveler had stopped in the 1880s but was determined not to do anything to disturb the thread of history.  This time the ghods of time made him the instrument causing a chronicled event, fire in a childcare center.

    This is one of the standard solutions (fallacious) of the time paradox.  On a larger scale, it was done in ST The Voyage Home, where Scotty gave new technology to a factory in 20th-century San Francisco, and the script writers concluded this was no change in history; it was what all along had happened.

    Mighty Joe Young, recently rerun, was all derivative, mostly from King Kong of course.  The conclusion was pure corn, as the huge ape's rescuers stopped his getaway for a fire in an orphanage, where Joe Young so heroically rescued children that the order to kill him was revoked

    The latest remake of Brave New World, rerun recently, was more like present-day American and European society than like Aldous Huxley's novel.