5. Lost Galaxy
In 1998, the original story of teenagers with “attitude” led in a battle against evil by Zordon came to a close. While the story was brought to an end with the understanding that “In Space” would be the final season, its ratings ultimately bounced back and led to the order of a new season.
In “Lost Galaxy,” showrunner Judd Lynn was tasked with keeping the show going with a new formula, which would involve introducing new stories and character casts each season for the future of the franchise, while additionally avoiding a total loss of continuity despite abandoning nearly all of the plot-oriented “Mighty Morphin’” material.
In “Lost Galaxy,” showrunner Judd Lynn was tasked with keeping the show going with a new formula, which would involve introducing new stories and character casts each season for the future of the franchise, while additionally avoiding a total loss of continuity despite abandoning nearly all of the plot-oriented “Mighty Morphin’” material.
Though not without its own residual clunkiness, the result was a space faring adventure, evocative of classical space operas while adding a certain complexity to the show’s heroes vs. villains formula that has played a hand in its longevity.
The voyage of Earth’s first Space Colony, Terra Venture, into the unexplored sectors of space leads humanity to a plethora of dangerous extraterrestrial enemies in their search for a habitable new world.
Headstrong colony stowaway Leo Corbett is joined by no-nonsense military officer Kai Chen, friendly and personable science officer, Kendrix Morgan, laid back mechanic Damon Henderson and Maya, a girl from a conquered planet, in order to defend the Terra Venture from the threats that it faces from space warlord Scorpius and his empire.
As stated before, “Lost Galaxy” is not without a fair bit of clunkiness. Adapted from the nature themed “Super Sentai” series “Seiju Sentai Gingaman,” the show attempted to take the stock footage of an earthbound series and turn it into a space opera, requiring more extensive writing, editing and original footage than typical “Ranger” seasons. Despite the difficulties of adaptation however, the extra effort led to added care, higher production value and more coherent storytelling than most of the seasons preceding it.
All of the characters are well defined by the first appearances and genuinely learn from the dangers and perils of the journey that they undertake, proving to be heroes worthy of the legacy that they inherit.
Their adventures through space in a serialized capacity almost give off the feel of a “Star Trek” for kids. Although the content stayed family friendly, it wasn’t afraid to test the limits of what their primary audience was willing to swallow, with special nods to “The Rescue,” an episode playing blatant homage to James Cameron’s “Aliens,” and “The Power of Pink” which had the daring to depict an onscreen ranger death.
Plot, character and production were bold and brilliant in their day and still hold up decently despite some age. Where “Lost Galaxy” truly excelled however, in ways that few of seasons have captured since, was in the execution of its villains.
For the first time in the franchise, the antagonists were more than hammy overacted performances in rubber and foam suits. The generals and associates of Scorpius’ army had distinct personalities and unique endgame goals that the rangers unfortunately found themselves in the middle of. Betrayals, backstabbing and setups galore, each of the villains had their own set of ethics and rules that often brought themselves into conflict with each other almost as regularly as they combated the rangers.
The undertones of Arthurian themes and imagery helped to play a role in fleshing out character motivations beyond what suited the story. Despite the dialogue’s inability to go beyond boiling motives down to black and white morality, the villains actually stick out from the expectations of the franchise. From Treacheron’s almost ironic coveting of loyalty amongst his ranks, to Villamax’s code of honor and honesty, to Trakeena’s drive for revenge against the rangers that killed her father in battle, the Power Rangers’ war with an evil alien empire ironically helped to solidify an element of humanity that the franchise had only begun to develop in its, then recent years, despite a 7 year run.
A lot of the best moments of future seasons, both good and bad, owe a lot to “Lost Galaxy’s” willingness to break tradition and make each season a strong self-contained effort rather than bloat a single storyline past its prime.
The voyage of Earth’s first Space Colony, Terra Venture, into the unexplored sectors of space leads humanity to a plethora of dangerous extraterrestrial enemies in their search for a habitable new world.
Headstrong colony stowaway Leo Corbett is joined by no-nonsense military officer Kai Chen, friendly and personable science officer, Kendrix Morgan, laid back mechanic Damon Henderson and Maya, a girl from a conquered planet, in order to defend the Terra Venture from the threats that it faces from space warlord Scorpius and his empire.
As stated before, “Lost Galaxy” is not without a fair bit of clunkiness. Adapted from the nature themed “Super Sentai” series “Seiju Sentai Gingaman,” the show attempted to take the stock footage of an earthbound series and turn it into a space opera, requiring more extensive writing, editing and original footage than typical “Ranger” seasons. Despite the difficulties of adaptation however, the extra effort led to added care, higher production value and more coherent storytelling than most of the seasons preceding it.
All of the characters are well defined by the first appearances and genuinely learn from the dangers and perils of the journey that they undertake, proving to be heroes worthy of the legacy that they inherit.
Their adventures through space in a serialized capacity almost give off the feel of a “Star Trek” for kids. Although the content stayed family friendly, it wasn’t afraid to test the limits of what their primary audience was willing to swallow, with special nods to “The Rescue,” an episode playing blatant homage to James Cameron’s “Aliens,” and “The Power of Pink” which had the daring to depict an onscreen ranger death.
Plot, character and production were bold and brilliant in their day and still hold up decently despite some age. Where “Lost Galaxy” truly excelled however, in ways that few of seasons have captured since, was in the execution of its villains.
For the first time in the franchise, the antagonists were more than hammy overacted performances in rubber and foam suits. The generals and associates of Scorpius’ army had distinct personalities and unique endgame goals that the rangers unfortunately found themselves in the middle of. Betrayals, backstabbing and setups galore, each of the villains had their own set of ethics and rules that often brought themselves into conflict with each other almost as regularly as they combated the rangers.
The undertones of Arthurian themes and imagery helped to play a role in fleshing out character motivations beyond what suited the story. Despite the dialogue’s inability to go beyond boiling motives down to black and white morality, the villains actually stick out from the expectations of the franchise. From Treacheron’s almost ironic coveting of loyalty amongst his ranks, to Villamax’s code of honor and honesty, to Trakeena’s drive for revenge against the rangers that killed her father in battle, the Power Rangers’ war with an evil alien empire ironically helped to solidify an element of humanity that the franchise had only begun to develop in its, then recent years, despite a 7 year run.
A lot of the best moments of future seasons, both good and bad, owe a lot to “Lost Galaxy’s” willingness to break tradition and make each season a strong self-contained effort rather than bloat a single storyline past its prime.
4. Dino Thunder
I admit, in some ways, I'm cheating on this one a bit but I'd be hard pressed as a fan to not bring up one of the best seasons to come from Disney's tenure on the franchise and probably the best legacy that the "Mighty Morphin'" era has contributed to the franchise and possibly American tokusatsu.
While previous seasons under Disney's supervision had been less than stellar (Wild Force, Ninja Storm), showrunner Doug Sloan took a different approach with "Dino Thunder."By putting his trademarked humor on the backburner as opposed to the foreground, the strengths of the show shine brighter than his previous work while showing his own willingness to deconstruct his contributions to the franchise rather than solely embrace them.
"Dino Thunder" sees veteran ranger Tommy Oliver (reprised by Jason Frank) return to a starring role as a High School science teacher attempting to move on from his ranger past and a brief career of ethically questionable paleontology experiments.
His discovery of certain artifacts that are in turn stumbled upon by students of his drags him along with star soccer player Connor McKnight, wannabe singer Kira Ford and geeky hacker Ethan James into a corporate conspiracy manipulated by a megalomaniac bent on setting the state of the Earth back to the era of Dinosaurs.
While the set up to the season sounds more than a tad corny, it is to the benefit of the show that it is played as such.
"Dino Thunder" almost seems to have a reverence for comic book style sensibilities. The color palette and creature designs feel highly reminiscent of new millennium superhero comics of the last decade and while the humor doesn't always work, its background placement makes it less overbearing and in some ways, charming even, similarly to more lighthearted comic book faire. It also is the first series in quite some time to directly prey on classic superhero tropes, such as secret identities, perception of the public and civilian usage of heroic abilities.
These tropes are even played with in the form of Trent Mercer, the White Dino Thunder Ranger, who despite his own secret desire to be a superhero, is driven to play villain temporarily by the corrupting hold that his powers have over his mind.
While the franchise seemed to be going in a more cinematic direction, "Dino Thunder's" decision to go the comic book route opened up new possibilities, the biggest of which that was ultimately explored was giving "Mighty Morphin'" a proper modernization.
Not content to leave the season stuck in the past as the rest of the franchise moved forward, "Dino Thunder" deconstructs and studies many of the conventions that were iconic to early seasons of "Power Rangers" and redefines their meanings in the modern day.
Tommy's defenses of Trent's villainous actions citing his own anti-hero status at one time, the difficulty of the relatively more normal teens of "Dino Thunder" to maintain double lives compared to the Mary Sues of "Mighty Morphin'" and the air of Tommy's mentorship as a veteran training a group of newbie's really show's how far the franchise has come from its roots as a continuity light Monster-of-the-week beat 'em up.
The season is not without its fill of unnecessary silliness. Sentai footage aside, their are several episode concepts that are rather boggling when keeping the villain Mesogog's endgame goal in mind. However for all of its oddities, "Dino Thunder's" pressence serves as a delightfully entertaining exercise in attempting a cerebus retcon without belittling the franchise's origins, no matter how dumb they may be.
Not content to leave the season stuck in the past as the rest of the franchise moved forward, "Dino Thunder" deconstructs and studies many of the conventions that were iconic to early seasons of "Power Rangers" and redefines their meanings in the modern day.
Tommy's defenses of Trent's villainous actions citing his own anti-hero status at one time, the difficulty of the relatively more normal teens of "Dino Thunder" to maintain double lives compared to the Mary Sues of "Mighty Morphin'" and the air of Tommy's mentorship as a veteran training a group of newbie's really show's how far the franchise has come from its roots as a continuity light Monster-of-the-week beat 'em up.
The season is not without its fill of unnecessary silliness. Sentai footage aside, their are several episode concepts that are rather boggling when keeping the villain Mesogog's endgame goal in mind. However for all of its oddities, "Dino Thunder's" pressence serves as a delightfully entertaining exercise in attempting a cerebus retcon without belittling the franchise's origins, no matter how dumb they may be.
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