So while the Kromaggs might've been his way to reinvent the show after the Peckinpah stuff, there's a chance he would've never mentioned the tracking device again if he'd stayed on the show indefinitely.
I agree and disagree. With "Invasion," the tracking device means that if the sliders get home, the Kromaggs will invade. The natural endpoint of the series -- getting home -- is now irrevocably entangled with "Invasion" and the Kromaggs cannot be ignored.
But, I admit, Torme could have had a storyline where the sliders are caught in an electromagnetic pulse and the implant, whoever it's in, is presumably destroyed. Kind of a waste, though.
No need for kromaggs to make sense when sliders never did from the start
1) Quinn's dad died when he was 12 but in the picture in the pilot there they are the same height as they are at the end of the pilot when he comes home from work.
2) After skipping a grade in school Quinn said he was smaller then his classmates (the picture in the pilot makes him ruffly 6" at 12 did he go to Giant dude high school?)but still managed to be QB on the football team.
Also why did the mags drive Hummers instead of some antigravity mini manta idk
Maybe the felt demasculinized and need to overcompensate
Well, this is a discussion forum and as fans, we'll naturally discuss the absurdities of the series. We may not find sense, but we do search for meaning. And I do find meaning in SLIDERS' absurdities, especially in how the more ridiculous aspects of the first 22 episodes feed the depth and mythic nature of the characters.
In the first two seasons, the sliders never carry luggage, yet the characters alternate between outfits and maintain the same styles: Quinn's flannel and jeans, Wade's casual dressiness, Rembrandt and Arturo's fitted, tailored suits.
And money! In Season 1, the sliders find jobs despite having no verifiable identification; in Season 2, they always have money for food and hotels without explanation. These plot points were set aside because dealing with it every episode was repetitive and distracting.
You could see that as a plothole. Or you could see it as an indication that the sliders are innately gifted as interdimensional nomads. They are just that good. The rationalization (if there is one) is not as important as the meaning behind it.
That said, if I *had* to explain it -- I'd go by the DOCTOR WHO story that every supposed mistake is just a missing story away from explaining it. I imagine a lost Season 1 episode: the sliders land on a world where the Cold War never ended and the world lives in terror of impending nuclear war. The sliders are caught up in an espionage plot, mistaken for enemy spies and seek refuge in the Dominion Hotel (instead of the Motel 12).
There, they find a secret storage space left by two Communist agents who died in the 70s and never recovered their cache. In the storage space is a suitcase full of cash and a variety of outfits for different identities to pass for Americans -- which allow the sliders to maintain their styles and even alternate between the same outfits.
Subsequently, any time there's a Dominion Hotel in a parallel Earth, the sliders visit the storage space and 30 per cent of the time, the cash and the clothes are there -- which is why they always stay at the Dominion Hotel starting in Season 2.
As for the inconsistency between the Pilot and "The Guardian" regarding Quinn's childhood:
Quinn being smaller than his classmates because he's younger and Quinn being athletic as he grew are not mutually exclusive concepts. The former serves as a solid explanation for Quinn's awkwardness when he's Jerry O'Connell. The latter is reinforced by Quinn's love for sports as indicated by all the gear in his bedroom. There's nothing in the Pilot to contradict this backstory.
However, there is indeed a contradiction: the Pilot puts Michael's death in Quinn's teens via the family photograph. "The Guardian" declares that the death of Quinn's father at age 10 caused Quinn to become socially isolated and racked with guilt over how his final words to his dad were spoken in anger.
I don't think it's an error; I think Tracy Torme, who wrote both episodes, deliberately altered Quinn's backstory.
You could conceivably rationalize the continuity here. If I had to explain it, I'd say that Quinn had a growth spurt on his home Earth that his "Guardian" double would experience later. I might suggest that in the family photo of Jerry O'Connell and Tom Butler, Jerry isn't playing Quinn; he is one of Quinn's cousins and Quinn keeps the photo to think of how it might be had his father lived.
You could even go so far to say that there were two timelines; the original timeline in which Quinn's dad died when Quinn was a teen and then an altered timeline resulting from the Season 5 Combine experiment retroactively reaching into the past and warping reality causing a corrupted version of history that now had Quinn further traumatized by this new version of his formative years...
But to me, rationalizations obscure the purpose of the "Guardian" retcon -- which was to reconcile Quinn Mallory being an awkward, isolated nerd who is played by the attractive and charismatic Jerry O'Connell.
Torme's solution: he changed his plan for Quinn's father. Originally, Torme's idea was that Michael Mallory had faked his death and gone into hiding (possibly because foreign powers sought to use him to develop weapons for their ends?). This could have led to a storyline where (a) Quinn discovers a double of his father staged the car accident and wonders if back home, his father is still alive or (b) the sliders make it home, but due to Michael Mallory being alive, they cannot be sure if this is home or not.
But, because of how Quinn was cast and how Jerry played him, Torme decided to revise Michael Mallory's role in Quinn's life. With "The Guardian," Michael isn't a future plot point to pay off. Instead, he became a life-defining trauma for Quinn.
The inconsistency between the Pilot and "The Guardian" is really the creator noting the inconsistency between the actor and the character. The retcon merges them into a unified whole. But the discrepancy speaks to the contradictions within Quinn Mallory. He's both an adventurer and a withdrawn scientist. He's both athletic and physically vulnerable. He's both glowingly charismatic and traumatized into isolation. These conflicts make the character rich and multifaceted.
Anyway. The sliders never earning money and Quinn having two conflicting backstories is, of course, ridiculous. But that's why SLIDERS is such a special show. Like the very best superhero concepts, SLIDERS tapped into mythic absurdity where myths are always ridiculous.
A godlike being lives as a mild-mannered reporter? A billionaire playboy fights street crime? Four homeless people never struggle financially? It's absurd, but the absurdities speak to deeper truths of human nature. Like the sliders, we can solve anything by working together with ingenuity, inventiveness and ideas. And like Quinn Mallory, we all have multiple sides to ourselves.