A familjen reser till Egypten och faller in i en annan värld en gång inuti en pyramid?

Det här är förmodligen Otherworld enligt this svara .

We all have a sense of home. It’s where we feel safe, where we feel comfortable, where we know we can center ourselves and be who we really are, and always be accepted. Or, at least, that’s the hope of most of us, and the reality for many. But for the Sterling family, a 1985 vacation outing to the Great Pyramid of Giza turned that whole idea upside-down, and for them, home suddenly became some Otherworld.

How it happened isn’t really that important. Something about a rare once-every-ten-thousand-year planetary alignment, and being stuck in the Great Pyramid of Giza (by some crooked sightseeing guide who ducked and ran the minute the walls started shaking). The important part is, by the end of the first act, you know this: The Sterling family (father Hal, mother June, older teenage boy Trace, slightly younger teen girl Gina, and youngest son Smith) have all been transported to who-knows-where via some green misty vortex. By the end of the second act, in the midst of trying to get help to figure out where they are, they’ve accidentally assaulted a vindictive military type named Kroll. They’ve also taken his rather unique crystal, which is used to access all sorts of computers and such. More importantly, the crystal is used to help cross the “Forbidden Zones” that have been set up to separate different groups of people to keep them tranquil, unique, and easier to control (at least from the military point of view). In other words, in no time at all, they’ve officially gone from Egyptian sightseers to militant rabble-rousers, a threat to the peace in an unfamiliar new world, and have the worst of the military brass as their personal enemy… and all they essentially did was stop and ask for directions.

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Actually, once you get past the set-up, Otherworld is a great show, full of unique concepts on the old “What if…?” SF question, like “What if there’d never been Rock and Roll?” or “What if women ran everything and men were the ones always objectified?” These concepts weren’t always done with the most subtlety, or with the best production values (it is the mid-80’s we’re talking about here, and special effects on TV aren’t all that special), but the ideas were at least solid, if not provocative, and the show had one hidden value I’ll mention in a bit..

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