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Sci-fi high

Science fiction has a long association with television, but it’s now more visible than ever. DQ explores how a shift in storytelling has pushed the genre into the mainstream.

When it finally launches later this year, Star Trek: Discovery will carry the hopes of the next generation of science-fiction fans. But the show is also a perfect example of the state of the genre on television.

The space-set franchise, which has been on air in some form since 1966, embodies the long-running popularity of sci-fi, which has roots as far back as the 1930s with the BBC’s fledgling broadcast service and a 35-minute play called RUR.

The fact that Star Trek is returning to television, albeit on US network CBS’s SVoD service All Access, is also proof of the current strength of the genre and the new opportunities it is finding on non-traditional platforms. But space-focused shows such as Star Trek, Doctor Who, The Expanse (pictured top) and Dark Matter represent just one part of a genre that continues to inspire and amaze – and shock and scare – viewers around the world.

Series like Orphan Black, Westworld, Black Mirror, Stranger Things, Sense8 and Legion represent the sheer breadth of stories that can sit under the sci-fi umbrella, offering unbridled creativity to those behind the camera. And though it was once the preserve of an elite group of fans, the genre has gone mainstream by focusing less on science-fiction and more on ‘science-possible,’ asking questions that resonate in the present day, whatever the setting.

The BBC’s Doctor Who currently stars Peter Capaldi

Regardless of whether series fall into the space opera or speculative fiction camps, Martin Baynton, chief creative officer at Pukeko Pictures, believes that sci-fi dramas “at their best are fairy stories for adults – they allow us to ask difficult questions, they’re stories of consequences and are often moral fables.”

He continues: “People don’t watch The Walking Dead for the zombies. It’s actually how these human beings deal with the implications of having to stay alive and function as a group. Everyone watches it fascinated by the drift of the moral compass of the characters and what it means to be human. Good science fiction always asks that question.”

Australian drama Cleverman, on which Pukeko is a producing partner, is set in a near future when creatures known as ‘Hairypeople’ must live among humans and battle for survival in a world that wants to exploit and destroy them, touching on themes of immigration and racism. Season two launches later this month on ABC in Australiana and SundanceTV in the US.

“Science fiction allows you to explore really fundamental consequences safely because it puts issues at a distance,” Baynton continues. “If you put it in a contemporary setting, it can become almost too powerful. So by putting it in the near future, it becomes a cautionary tale where you think, ‘We’ve got time to change direction and not go down that path.’”

For many viewers, the words ‘science fiction’ still conjure images of “spaceships, aliens and the planet Zargon,” observes Sam Vincent, co-creator of British drama Humans, which is based on Swedish series Äkta Människor (Real Humans). “They don’t necessarily think of things that are a little bit more grounded, more speculative and use ideas about the future to explore things that are happening in the present. That’s what Humans is.”

Channel 4 and AMC coproduction Humans centres on humanoid androids called ‘synths’

The series, produced by Kudos for Channel 4 and AMC and distributed by Endemol Shine Distribution, posits a “parallel present” in which robots known as ‘synths’ have become part of everyday life.

“Everything looks like it does now, except there are these humanoid androids,” adds Vincent’s writing partner Jonathan Brackley. “That was such a smart way of bringing this idea to be much more accessible for an audience, allowing us to enter this sci-fi world on a very grounded, domestic level, and having an everyday family at the heart of the show.”

Humans is also notable for dispensing with traditional sci-fi logic and, like HBO’s sci-fi western Westworld, wanting the audience to feel sympathy for the robots, rather than their human masters. “They’re really different shows, with different settings, tones and scales, but the most interesting thing for us about Westworld is that viewers are encouraged to root for and see through the eyes of these machines as consciousness dawns on them, much like in Humans,” Vincent says of the “companion” shows. “The humans are the bad guys now and that’s undeniably an interesting parallel.”

Artificial intelligence is also at the centre of Danish drama Unpunished, which follows a group of scientists as they attempt to create AI as a defence against a cyber virus that threatens to reveal the world’s best-kept secrets. Currently in development with producers Investigate North and distributor About Premium Content, it is slated to begin production in March next year.

But creator and producer Niels Wetterberg believes it’s a “fallacy” to say sci-fi is becoming more mainstream: “It’s always been very mainstream,” he argues, citing movies such as Alien, ET and Jurassic Park. “But the future is threatening us in a new way, and so the shows you see now are more science-possible. They’re moving from the realms of the fantastical to something more achievable, and that resonates better with a wider audience.”

Travelers sees a group of time-travellers from the future attempting to save mankind in the present

Humans and Unpunished are just two of the sci-fi shows rooted in some kind of present-day reality that allows them to tap into themes and issues affecting contemporary society – none more so than the increasing role of technology, which is also at the heart of Charlie Brooker’s darkly satirical Black Mirror. The anthology series, first commissioned by the UK’s Channel 4, is now exclusive to Netflix, which launched the third season last October.

The global SVoD platform and its competitors have undoubtedly had a huge effect on the way sci-fi is created, commissioned and consumed, while also giving writers the opportunity to explore ideas over 10 hours, where perhaps previously they might have been limited to a 90-minute movie.

Netflix series such as 1980s-inspired Stranger Things and mystery thriller The OA have ensured television can still have its water-cooler moments in an on-demand world, and the streamer has also been investing in a host of other sci-fi shows.

One example is The Expanse, the Syfy drama set in a future when humanity has colonised the solar system. Netflix acquired the series, which has been renewed for a third season, for global distribution late last year. There’s also Canadian time-travel series Travelers, on which Netflix linked up with broadcaster Showcase. Starring Eric McCormack (Will & Grace) and distributed by Sky Vision, the show centres on a group of time-travellers from the future who come to the present to save mankind.

“What’s interesting about this is sci-fi shows aren’t going anywhere,” notes Carrie Mudd, president of Travelers producer Peacock Alley Entertainment. “Travelers is not like the Terminator films, where you see glimpses of a dystopian future. Instead, that comes out through the characters and their experiences because they’ve never had a piece of fruit or heard a bird sing. It’s so much more character-driven and draws a much broader audience as a result of the drama and the characters.”

Concept art for in-development Danish drama Unpunished

Sci-fi isn’t appreciated the world over, however. Vlad Ryashin, producer and president of Star Media Group (Mata Hari), explains: “Russian viewers prefer more emotional dramas, focused on human collisions between the protagonists. Since the early 1990s, soap operas and comedies have represented solid options for the channels, while historical films and series are also a big attraction for mass audiences. Sci-fi is a bit too tough for a viewer who is looking for relaxation without being involved so quickly in some alternate reality or parallel world.”

But Star Media isn’t giving up on the genre just yet, and its efforts in the region could be buoyed by The Contact, produced by Ukraine’s Film.UA. The sci-fi crime drama sees three people – a criminal, a writer and a photographer – realise they can enter each other’s minds.

Series director Mikhail Barkan believes the secret to successful sci-fi drama lies in looking at the world in a new way. “It’s not about chasing impressive visual effects or creating realistic monsters, it’s about looking at timeless issues from a different angle,” he says.

“Only three things are of greatest concern for humans: where are we coming from, what are we living for and where are we going after death? Unfortunately, there are no answers we can all agree on – but science-fiction offers the possibility to imagine ‘what if?’”

Sci-fi has always encouraged viewers to question what the future may hold but it’s telling that the shift in dynamic towards science-possible fiction has led the genre to become more visible than ever.

“It used to be second-tier drama,” Pukeko’s Baynton says. “Now it’s of such high sophistication that it’s a leading dramatic art form. Clearly new formats have changed the landscape, because you have the ability to tell complex stories in which characters can develop over 10 hours.”

Mudd adds: “There will always be a lot of room for sci-fi, in whatever sub-genre you choose to define a show. But everything’s cyclical. There hasn’t been a big space opera like Battlestar Galactica or Stargate SG-1 in a long time – maybe that comes back next.”

Not all sci-fi is rooted so firmly in reality, however. Currently in development at Toronto-based True Gravity Productions, Election Day is set on Earth but undoubtedly has some fantastical elements – pondering what might happen if historical leaders could be resurrected.

Taking place in 2055, the show, which is yet to be attached to a broadcaster, sees companies, not countries, ruling the global population. Tech advancements mean humans can be grown from DNA samples, leading to some of history’s best leaders being brought back to life and battling to be elected world president.

“There are no boundaries,” True Gravity Productions creative director David Merry says of working in sci-fi. “You don’t have to adhere to the regular norms of society or the planet, because we’re inventing stuff that could potentially be around 30 years from now. It’s fun to just step outside the realm of normalcy.”


Clockwise from top: The first image from the forthcoming Star Trek: Discovery pictured alongside The Next Generation and Voyager

Humans co-creator Sam Vincent on the significance of Star Trek

In terms of pure science fiction, Star Trek is both a space adventure and a sci-fi of ideas – both of the main strands of the genre – and for me it remains one of the more thoughtful and thrilling explorations of sci-fi on TV.

All the Star Trek shows are notable but the high point is The Next Generation [1987-1994]. That stands apart. Each of the six Star Trek shows [Discovery will be the seventh] reflected the values of the era really interestingly and commented on them in a fascinating way. You watch the original show and it’s very rooted in the era and yet, at the same time, had some of the great sci-fi writers of the 20th century like Harlan Ellison contributing ideas and scripts. It was also very much an expression of values.

Sam Vincent

At its core, Star Trek has always been about exploration, which is a hopeful and optimistic venture. So there is an optimism hardwired into Star Trek. When you look at The Next Generation, it was very much an expression of a high point of liberal ideals – that you should not interfere in other cultures, that you should be peaceful. It was a very diverse crew, there were all kinds of aliens, there were even people with disabilities. It was very ahead of its time but simultaneously it was the most optimistic, thoughtful and humane version of Star Trek. The shows that followed were very interesting takes on that.

Deep Space Nine [1993-1999] was set on a space station and was all about the aftermath of a horrendous war between two alien races. It had huge parallels with what was happening in the former Yugoslavia, focusing on people trying to come to an accommodation after this conflict. Interestingly, it was the one Star Trek that didn’t move, being set on a space station. That was very important for the DNA – it wasn’t about a ship going into other territories.

Then you had Voyager [1995-2001], which was about getting lost on the other side of the galaxy, arguably reflecting more uncertain times. The most recent series was Enterprise [2001-2005], which was a strange one. It became more conservative again, slightly more empire-building. It harked back to the early series quite a lot; it reflected the George Bush era and was a bit more traditional.

I cannot wait for the new Star Trek. The creative pedigree is really interesting and it will be intriguing to see how the show deals with the world in which we live now.

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Acorn TV is US growth opportunity

And Then There Were None
And Then There Were None is among the overseas shows that have been added to Acorn

Opportunities for international content to be aired in the US have always been limited – outside of scripted formats, Spanish-language drama for the Hispanic audience and commercially driven Canadian series produced with the US in mind.

However, the emergence of SVoD platform Acorn TV has helped open up the market. Over the last few months, the platform has acquired rights to shows like The Secret Agent (UK), Jericho (UK), Jack Irish (Australia), The Brokenwood Mysteries (New Zealand), Dominion Creek (Republic of Ireland) and The Disappearance (France).

This week, RLJ Entertainment-owned Acorn has continued its acquisition spree by picking up exclusive SVoD rights to UK dramas And Then There Were None and Capital from Agatha Christie Limited and FremantleMedia respectively.

Both are miniseries, underlining the fact that Acorn is a way for producers of short-run content to reach a market that favours longer series.

Acorn’s role in the market is reinforced in a couple of other ways. The first is that it is also an established player in DVD and blu-ray, which means it is able to offer content owners broad-based home entertainment deals. The second is that it is also exploring the potential for coproductions with European partners. Its goal is to make original Agatha Christie dramas for the US market.

Wolf Creek stars John Jarratt
Wolf Creek stars John Jarratt

Acorn isn’t the only emerging opportunity for non-US content to crack the Americas. This week, Zodiak Rights licensed all North and Latin American rights for Australia thriller Wolf Creek to Lionsgate. Within the US, Wolf Creek will air in 80 million homes via Pop TV, a joint-venture channel that Lionsgate runs with CBS.

Based on the feature film of the same name, Wolf Creek tells the story of a murdering psychopath who wreaks havoc in the Australian Outback.

Lionsgate president of worldwide television and digital distribution Jim Packer said: “This is the kind of terrifying, in-your-face thriller that has become a Lionsgate trademark, and we expect it to resonate with audiences. We believe Wolf Creek will add an exciting new dimension to Pop’s growing roster of programming.”

Still on acquisitions, Viacom International Media Networks has picked Syfy’s Wynnona Earp series for its Spike channel in the UK, Australia, New Zealand, the Netherlands, Belgium, the Middle East and Africa. The series is based on the IDW Publishing graphic novel from Beau Smith, which follows a descendent of Wyatt Earp as she battles demons and other supernatural beings. VIMN’s pick up follows Syfy’s decision to renew the series for season two last week.

Dwayne 'The Rock' Johnson in HBO's Ballers
Dwayne ‘The Rock’ Johnson in HBO’s Ballers

Main production headlines include the news that A+E-owned channel Lifetime has greenlit a TV version of 1988 movie Beaches, with Frozen star Idina Menzel in the lead role. The movie-to-TV series trend has been very prevalent in the US over the last couple of years, with cable channels tending to fare a bit better than the big four networks.

Lifetime, for example, adapted Steel Magnolias in 2012 and was rewarded with record ratings. Beaches was a big hit in 1988. It starred Bette Midler and introduced the world to the Grammy award-winning song Wind Beneath My Wings.

HBO, meanwhile, has renewed Dwayne ‘The Rock’ Johnson’s sports-themed comedy-drama Ballers for a third season. Created by Stephen Levinson, the show features Johnson as a retired NFL superstar mentoring younger players. The season three renewal comes despite the fact the second season has just kicked off with low ratings compared with season one. The latest episodes scored 1.3 million viewers compared with season one’s 1.7 million average.

HBO is also having to field constant questions about the future for its hit series Games of Thrones, season six of which finished in late June. The network has said the show will end after season eight, but rumours abound that HBO is looking at spin-offs. Such is the strength of the franchise that it would be very surprising if HBO gives up on this ratings juggernaut without a serious fight.

The Last Ship
The Last Ship has been given a fourth run on TNT

Also renewed this week was TNT’s The Last Ship, which has been given a fourth season of 13 episodes. That decision is no surprise given that the show is reaching an average of 7.6 million viewers per episode across all platforms.

Based on William Brinkley’s novel, the series chronicles a global catastrophe that nearly wipes out the world’s population. Because of its positioning, the Navy destroyer USS Nathan James avoids falling victim to the devastating tragedy. But now, the captain and crew must confront a new existence where they may be among the few survivors.

In a slightly unusual story, US pay TV network Epix has created a 360-degree interactive video experience to support its upcoming original drama Berlin Station. The interactive video, which is available online and via mobile, includes extended storylines developed with the show’s writers. According to Epix, the interactive content will “provide additional information about the characters and extend plot lines with an immersive experience that expands with each new episode of the series. (It will) build fan engagement and facilitate deeper exploration of the plot.”

Mark Greenberg, president and CEO of Epix, added: “Epix was designed for cross-platform viewing. Now, we’re tapping the latest technology to create new approaches to storytelling.”

The Last Tycoon has been adapted from the F Scott Fitzgerald novel of the same name
The Last Tycoon has been adapted from the F Scott Fitzgerald novel of the same name

Ayzenberg designed the digital experience and led the project development. “The best stories have many layers and seemingly endless possibilities,” said Rebecca Markarian, its senior VP of digital and social media. “We aimed to deliver that with BerlinStation.com and I’m confident we delivered through authentic storytelling and innovative technology.”

In other news, Amazon has greenlit a full miniseries version of F Scott Fitzgerald’s The Last Tycoon after the pilot received a positive response from subscribers.

News from Canada, meanwhile, is that production company True Gravity has joined a sci-fi drama series from filmmaker Robert Watts. Called Election Day, the show is set in the year 2055 with the world heading towards economic collapse. It follows the first election to select a world president whose mission is to contain a global revolution from humans with enhanced capabilities.

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