In an interview last week, Fringe creator/executive producer J.J. Abrams was asked whether the evidence of big-buzz, high-gloss sci-fi shows like Fringe, Heroes, Lost, and Battlestar Galactica suggested that we might be living in "almost the golden age of sci-fi." (The question came from Niagara-area entertainment reporter Joshua Maloni.)

This is an interesting question, because it seems like TV sci-fi / fantasy is riding high right now. In addition to the shows mentioned to Abrams, there's a whole raft of serious, well-crafted sci-fi being produced today -- shows as different as Supernatural and Pushing Daisies are being carefully made and attracting both casual and devoted weekly viewers. Outside the U.S., shows like Doctor Who and Torchwood have created a new interest in sci-fi that's aggressively aimed not at the geeks but at regular viewers, affecting and sometimes effecting the development of shows like Primeval and Robin Hood in past seasons and upcoming ventures like Merlin. (Abrams was also asked about the increasingly high proportion of imports and how it further shrinks the window of opportunity for aspiring writers.)

Part of this sci-fi resurgence on TV is related to the massive success of summer blockbuster sci-fi movies in recent years, primarily in comic-book-based films like The Dark Knight and Iron Man and movies that could have been based on comic books, like Transformers.

But does this constitute a golden age? There's a certain loudness to the summer popcorn blockbuster that isn't quite the same as a Blade Runner or a 2001 -- though there are certainly exceptions: Dark Knight has lots of explosions but is one of the more intensely thoughtful movies of the year.

Meanwhile is the Emmys' partial recognition of Pushing Daisies grounds for applause, or a stark reminder of how the rest of the high-quality sci-fi we've been talking about was ignored for acting and directing? And if I ponder the depth of a golden age that fosters a slew of great shows but also allows certain pet favorites of mine, like the serious fantasies Journeyman and New Amsterdam, to die on the vine only to be replaced by the crass guilty pleasure of Knight Rider, is that valid concern -- or sour grapes?