In 1984, The Terminator exploded onto movie screens and changed sci-fi forever.
But just as quickly as James Cameron’s cyborg assassin began its box office rampage, a bombshell dropped from the world of television: legendary sci-fi writer Harlan Ellison accused Cameron of ripping off one of his Outer Limits episodes.
According to Ellison, The Terminator borrowed heavily from a 1964 episode he wrote called “Soldier.” And it wasn’t just vibes. Ellison pointed to four specific claims:
- The overall theme of a time-traveling soldier
- The use of an electrical storm to signal the arrival from the future
- The pacing and structure of the scenes
- And an ending he said was nearly identical
So let’s break this down, piece by piece—because while the lawsuit ended in Ellison’s favor, not all of these claims hold up under the spotlight.
The Theme and the Storm: Yeah, That Tracks
Let’s start with the two strongest claims.
Both Soldier and The Terminator revolve around a future warrior hurled into the past—one to protect, the other to fight. Ellison’s soldier, Quarlo, is zapped into our timeline by accident. Cameron’s Kyle Reese is deliberately sent back to protect Sarah Connor. Same backbone. Different stakes.
And then there’s the storm.
Both works kick off with electrical storms acting as a gateway between timelines. It’s a visually striking motif that sets the tone and the rules. And yes—it’s one of the most iconic images in The Terminator. Seeing it echoed in Soldier made Ellison’s radar light up like a T-800 targeting system.
The Pacing? Not So Fast…
This is where Ellison’s argument starts to stretch.
He claimed the scenes, the pacing, even the way the camera moved felt nearly identical. But let’s compare apples to ammo clips here.
The Terminator is an 80s action sci-fi, shot with handheld cameras during chase scenes, pulsing with synth-heavy music and relentless pacing.
Soldier? It’s a suspense-driven TV episode from the 60s. Steady tripod shots. Sparse alleyway standoffs. A crane shot here and there, sure—but not the high-adrenaline, propulsive feel of Cameron’s film.
Same genre? Technically.
Same tone? Not even close.
The Endings: Total Mismatch
Here’s where Ellison really loses me.
In The Terminator, Kyle Reese dies after placing a pipe bomb inside the Terminator. Sarah Connor ultimately finishes the job by crushing it in a hydraulic press.
In Soldier, Quarlo and the rival soldier disappear during a final skirmish, and the episode ends with a haunting cliffhanger about the unknown future.
…Wait, what?
These endings couldn’t be more different. One closes with a bang and the birth of a legend. The other fades into ambiguity and existential dread.
So Why Did Ellison Sue—and Win?
At the time, Ellison had already written for nine television shows and was working as a TV critic. He normally received early screeners—but his request for a Terminator screening pass was denied. So was his request for the script. Suspicious?
To Ellison, that secrecy said everything.
So he did what any sci-fi writer with a hunch and a history of courtroom wins would do: he bought a ticket and watched it publicly. When he saw that opening electrical storm, his gut turned into a gavel.
And it wasn’t just Soldier he accused Cameron of lifting from. He also cited another Outer Limits episode he wrote—“Demon With a Glass Hand”—as source material.
This wasn’t his first rodeo either. Ellison had already sued ABC over Future Cop, a show he said was lifted from his short story Brillo. He won that one. And he won this one too.
Inside Sources and an Industry Whisper Network
Ellison’s case got a boost from some unexpected corners.
Tracy Tormé, a screenwriter, told him that Cameron used to joke about ripping off Outer Limits episodes. The editor of Starlog Magazine claimed that in an early interview, Cameron even admitted to being inspired by them.
According to Ellison, once the studio got wind of that quote, they pressured the magazine to scrub it. But the damage was done. With alleged confessions and two smoking episodes, Hemdale and Orion Pictures caved.
The case was settled quietly, with Ellison reportedly walking away with anywhere between $65,000 and $400,000, and—more importantly—an official credit on all future Terminator prints.
But there was a gag order. No one involved could publicly talk about the settlement ever again.
Cameron Was Not Happy
James Cameron later said he was furious about the decision.
He insisted that any similarities were coincidental and rooted in generic sci-fi concepts. He even claimed that the studio threatened to hold him personally liable if they lost in court, forcing his hand in settling. Afterward, he referred to Ellison as a parasite.
But to Ellison, it wasn’t about the money or the drama.
It was about acknowledgment.
He said he liked The Terminator—he just wanted proper credit for helping plant its seeds.
Fair? Petty? You decide.
The Marvel Side Quest
Oh, and Ellison also went after Marvel Comics.
In 1983, a Hulk storyline riffed off the premise of Soldier. Instead of dragging things out, Marvel quickly settled and gave Ellison credit. He also cheekily asked for a lifetime subscription to Marvel Comics as part of the deal. (No word on whether they delivered.)
So… Did Cameron Rip Off Ellison?
That’s the million-dollar (or $400K) question.
Ellison had a case. Cameron had his defenders.
And depending on who you believe, The Terminator was either an homage gone too far—or a totally original work that got too close to a couple of classic episodes by coincidence.
One thing’s for sure: The Terminator still credited Ellison.
Terminator 2: Judgment Day didn’t—because by then, the franchise had fully evolved into something new.
To this day, fans are split.
Was Harlan Ellison fiercely defending his legacy?
Or cashing in on a hit?
Was James Cameron inspired… or exposed?
You be the judge.
But if you want my take? Ellison didn’t prove his case as much as the producers did—by settling.
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