Broadly speaking, Through the Eye of Eternity was a metafictional time travel adventure sitcom. However, the different episodes spanned a number of themes and genres; the genre of each episode would be indicated by the colour of the Eye of Eternity in the title sequence. The show featured a small set of cast members who, across the episodes, played characters with widely different roles, personalities, and genders, but always the same names; this was explained in the show's backstory through a mixture of parallel universes, clones, brainwashing, and skilled female assassins.
The show was created by Chad Vandemeer, who produced 56 of its 77 episodes. He often saved money for the production by calling bomb alerts on the studios of older and more established science fiction shows, breaking in to film on their sets, and then calling it an homage. In 1996, when searching UPN storage for futuristic props for the show, Vandemeer discovered the GCI processor, which he used to make the episodes "Oops Titanic", "There's No Ball Like Cher-No-Ball", and "Miss Hiroshima" before passing it along to Michael Brookhaven. Brookhaven executive produced the tie-in video release Through the Eye of Eternity: First Sight in 1997.
By the summer of 1996, the show had developed a cult following, and fans began wearing Eye of Eternity pins of different colours. They would behave like their lives were set in a story with the themes corresponding to the colours used each week. For instance, an apprentice mortician was fired after laughing at a client's somber comment while wearing a Black Eye pin; after being served the wrong pizza, another fan drove his Buick into a New York restaurant while screaming about the Eye being "on red". More broadly, after the airing of the only episode to feature a White Eye, there was a noticeable rash of engagements among the fanbase.
Since each colour meant something different to each fan, the Eye acted as less of a guidance than a stimulus, with fans accepting the colours as behavioural cues. This paralleled the behaviour of members of Remote colonies in later centuries, who would dress in simple primary colours and think of colour-coding as vitally important. (PROSE: The Book of the War)