Tag Archives: Hyperion

Classic sci-fi novels – TV’s new frontier

Over the years there have been scores of great science fiction-based series, ranging from Star Trek and The X-Files to Doctor Who and The Prisoner. But it’s interesting to note that very few of them have been based on sci-fi novels. It’s as though the soapy plots and larger-than-life characterisations of TV sci-fi have operated in a parallel universe to the best sci-fi literary works.

As with so many areas of TV, this distinction is now blurring because of the rise of the high-end SVoD/pay TV-style limited series. Books that could never have been adapted in the pre-Netflix era suddenly look ripe for reimagining.

This week, for example, cable channel Syfy revealed it was adapting Robert Heinlein’s classic 1961 novel Stranger in a Strange Land – widely regarded as one of the greatest of all sci-fi novels. The story of a human who comes to Earth in early adulthood after being born on Mars and raised by Martians, it will be produced by Paramount TV and Universal Cable Productions.

To celebrate the news of this ambitious project, we’re looking at classic sci-fi novels that have been adapted for television already or that are – like Heinlein’s novel – now in the works.

The Man in the High Castle
The Man in the High Castle’s second season launches on Amazon next month

The Man in the High Castle: Amazon’s series is based on a 1962 alternative-history novel by the screen industry’s favourite sci-fi author, Philip K Dick. The first season launched in early 2015 and was an immediate hit for Amazon, generating an 8.0 rating on IMDb. The second run launches on December 16. Dick’s work also inspired the Minority Report movie and subsequent Fox TV series of the same name, though the show strayed a long way from the original concept and probably suffered as a result, quickly being axed. Also coming up is Electric Dreams: The World Of Philip K Dick, an anthology series that will be based on some of Dick’s works. Until recently, Dick’s work was mostly adapted for the movies.

The Day of the Triffids: John Wyndham’s The Day of the Triffids sits slightly outside the classic sci-fi canon – rather like Brave New World (Aldous Huxley), The Time Machine (HG Wells), War of the Worlds (also HG Wells) and Frankenstein (Mary Shelley). The story of a blind humanity battling killer plants has proved popular with TV producers. A small-screen version was originally created in 1981 and another was made in 2009. The latter version, which aired on the BBC in the UK, had a strong cast including Dougray Scott. It attracted a strong 6.1 million audience for episode one.

11.22.63
11.22.63 is based on a story by Stephen King

11.22.63: This 2011 time-travel story from Stephen King was adapted into a TV series by Hulu in 2015. It tells the story of a schoolteacher who goes back in time to try to prevent the assassination of president John F Kennedy. With James Franco in the lead role, the series proved popular – generating an 8.3 rating on IMDb and playing on Fox internationally. King’s epic novel series The Dark Tower is also being adapted by Sony as a feature film for release in 2017. There are reports that this will then be followed up a TV series set in the same fantasy world.

The Martian Chronicles: Ray Bradbury’s famous short-story collection was published in 1950. It has been adapted for most media, including a 1979 miniseries commissioned by NBC in the US and the BBC in the UK. Bradbury himself wasn’t a fan of the TV adaptation, which starred Rock Hudson, calling it “just boring.”

Childhood's End
Childhood’s End aired on Syfy last year

Childhood’s End: This is a 1953 sci-fi novel by Arthur C Clarke about a peaceful alien invasion by the mysterious ‘Overlords.’ Stanley Kubrick looked at doing a film adaptation as long ago as the 1960s but it wasn’t until 2015 that the novel was adapted for the screen. Instead of a movie, Syfy commissioned a four-hour TV miniseries, which you can still find sitting in pay TV platform box sets. The show didn’t get a particularly strong response – with its IMDb rating just 7.0. Part of its problem, according to critics, was that the adaptation came too late to really grab viewers. Although still quite fresh and original in its day, the novel’s alien invasion theme has now being played out in countless other TV projects.

The Handmaid’s Tale: Margaret Atwood’s troubling view of a future US society, where women are property of the state, was first published in 1985. It is now on the verge of being launched as a TV series by Hulu. Starring Elisabeth Moss and Joseph Fiennes, the show will debut on March 29 next year. Out of all the upcoming book adaptations doing the rounds, this has the feel of one that might work – because it is more about human interaction than sci-fi imagery like spaceships, aliens and extraterrestrial terrain (all of which can either distract from storytelling and characterisation or look like poor imitations of Star Wars).

The 100: The 100 is interesting because it’s an example of a TV sci-fi show based on a book series that is still in the process of being written (by Kass Morgan). The first book came in 2013 and the debut TV season appeared a year later on The CW. The fourth book comes out next month, while the fourth season of the show will air in 2017. The series is set three centuries after a nuclear apocalypse, with survivors living on a colony of spaceships in orbit around the Earth. One hundred teenagers are then sent down to investigate whether Earth is habitable. The last season of The 100 attracted a reasonable 1.3 million viewers.

The Expanse
The Expanse centres on Earth’s response to overpopulation

The Expanse: Based on James SA Corey’s books series, The Expanse is a Syfy series that imagines a world in which Earth’s population has grown to 30 billion and humans have started to populate the solar system. The first season, which aired in 2015, started well (1.2 million) but faded (to 0.55 million). Nevertheless, Syfy commissioned a second run. Like The 100, this is a living book series. Corey’s first Expanse novel was published in 2011 and the sixth is due out next month.

The Hitchhiker’s Guide to the Galaxy: Douglas Adams’ classic sci-fi comedy book series was first adapted as a radio series. The success of that adaptation soon led to a six-part TV version, which aired on BBC2 in the UK in 1981. There was also a later film version. Although the key reason for the franchise’s popularity was its wit, the science in the books was also pretty interesting.

With the success of epic series like Game of Thrones, Westworld and The Walking Dead, it’s no surprise that even the most ambitious sci-fi novels are now regarded as fair game by writers and producers.

Among the sci-fi novel-based TV projects in the works are Kim Stanley Robinson’s Red Mars (with Spike), Dan Simmons’ Hyperion (with Syfy) and Aldous Huxley’s Brave New World. The latter, which is rightly regarded as one of the best novels of the 20th century irrespective of genre, is being adapted for Syfy by Steven Spielberg’s Amblin Television. The 1931 novel has also been turned into a film twice, while there are reports that Ridley Scott and Leonardo DiCaprio are planning a new movie version.

In 2014 it was also reported that Jonathan Nolan was going to adapt Isaac Asimov’s Foundation for HBO – an epic project if ever there was one. This story has since gone quiet, presumably because Nolan is involved in HBO’s current epic Westworld.

Other sci-fi novels that really ought to be on a to-do list for producers include Frank Herbert’s Dune, Ursula K Le Guin’s The Left Hand of Darkness, Philip Jose Farmer’s To Your Scattered Bodies Go, Iain Banks’ Culture and George Orwell’s 1984.

Note: This column has not attempted to cover fantasy classics like Game of Thrones, Outlander, American Gods, The Magicians and the Shannara series, all of which have been adapted for television.

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The shape of things to come: what next for sci-fi and fantasy?

Stephen Arnell casts his eye over the television landscape and finds there are plenty of science-fiction and fantasy series in the works to keep genre fans happy.

At the same time as a tide of comic book and graphic novel TV adaptations have hit the screen, there has been a less trumpeted but increasingly visible trend in series based on ‘hard’ science fiction and ‘serious’ fantasy.

With the recent announcement of Bryan Cranston’s new Philip K Dick anthology series Electric Dreams (produced by Sony Pictures Television for Channel 4), there seems to be an unmistakable head of steam behind adaptations of ‘hard’ sci-fi – coming hot on the heels of Amazon’s critically lauded The Man in the High Castle (also based on a Philip K Dick novel) and Syfy’s miniseries version of Arthur C Clarke’s downbeat Childhood’s End.

This resurgence of more serious-minded sci-fi is demonstrated in the UK, with Channel 4 leading the way with the AMC coproduction Humans and the less viewed, but well-regarded, Utopia.

The alternate-history Axis victory premise of Amazon’s High Castle will be mirrored by BBC1’s upcoming SS-GB, which itself harks back to 1978’s BBC2 production An Englishman’s Castle, which starred Kenneth More as a TV soap writer in Nazi-occupied Britain.

Broadcasters and OTT providers have discovered a new vein to mine, as evidenced by a slew of shows being developed or in production, including HBO’s series version of Michael Crichton’s Westworld (pictured top), best known to older readers from the 1973 movie starring Yul Brynner, James Brolin and Richard Benjamin.

The alternate-history premise of The Man in the High Castle (pictured) is mirrored in SS-GB
The alternate-history premise of The Man in the High Castle (pictured) is mirrored in upcoming BBC series SS-GB

The successful movie was followed by the sequel Futureworld (1976) and short-lived 1980 series Beyond Westworld (CBS), both unfortunately following the law of diminishing returns.

Despite reported production problems, 2016’s Westworld’s stellar cast (including Anthony Hopkins, Ed Harris and Thandie Newton) and strong proposition should guarantee high initial sampling when it debuts this autumn.

Westworld creator Jonathan Nolan (co-writer with his brother Christopher of The Prestige, Interstellar, The Dark Knight and The Dark Knight Rises) is also apparently developing a series version of Isaac Asimov’s classic Foundation trilogy (also for HBO), which is surely a prospect that will have sci-fi fans salivating.

Back in 2009, Sony reportedly tried to crack the novels with director Roland Emmerich (Independence Day, White House Down) attached, but when the project stalled, HBO stepped in to acquire the rights.

Along with JRR Tolkien’s The Lord of the Rings and Frank Herbert’s Dune, Foundation was regarded as ‘unfilmable’ due to its epic scope but, following Game of Thrones’ success, epic is something HBO can confidently handle.

Other sci-fi classics reportedly in development include Stephen Spielberg’s Amblin’s take on dystopian Aldous Huxley novel Brave New World and Dan Simmons’ Hyperion, produced by aficionado Bradley Cooper.

Both have been ordered by Syfy, which is also teaming with Battlestar Galactica writer/exec producer David Eick for the series version of Frederik Pohl’s 1977 Hugo and Nebula award-winning Gateway.

On the SVoD front, Hulu has given a straight-to-series order for a 10-part adaptation of Margaret Atwood’s The Handmaid’s Tale, a feminist story set in a grim US of the future, ruled by a Ted Cruz-style totalitarian Christian theocracy, starring Elizabeth Moss (Mad Men, Top of the Lake).

Syfy miniseries Childhood's End
Syfy miniseries Childhood’s End

A movie of the novel was released in 1990, boasting an all-star cast that included Robert Duvall, Faye Dunaway and Downton Abbey’s Elizabeth McGovern, but the film suffered from script problems and was generally felt to be an interesting failure.

Darren Aronofsky (Black Swan, Noah) is said to be developing a TV series with HBO based on Atwood’s post-apocalyptic novel trilogy Oryx and Crake, The Year of the Flood and MaddAddam, set in a world where most of humanity has been wiped out by a pandemic and the survivors fight to find a reason to continue.

Back in 2011, there was talk of a remake of Ray Bradbury’s 1980 movie The Martian Chronicles (starring Rock Hudson), but this appears to have been abandoned. The revival of interest in the genre may see it resurrected, though.

US cable channel Spike has commissioned Kim Stanley Robinson’s hard sci-fi classic Red Mars for a 10-episode series debuting in January 2017. Dealing with the human colonisation of the Red Planet, the series features Vince Geradis (Game of Thrones) as exec producer.

And speaking of Mars, the daddy of all sci-fi stories – HG Wells’ War of the Worlds – is currently being developed by ITV-owned Mammoth Screen for an ostensibly authentic period version of the classic novel, scripted by Peter Harness (Jonathan Strange & Mr Norrell, City of Vice, Doctor Who).

Neil Marshall (Game of Thrones, Dog Soldiers, The Descent) is on board to direct, while reports earlier this year of Poldark star Aidan Turner taking the lead role of the narrator have since been denied.

HG Wells features as the protagonist of ABC’s Time After Time (based on Nicholas Meyers’ 1979 movie), which involves the author travelling from Victorian England to the present day. Kevin Williamson (The Vampire Diaries, The Following, Dawson’s Creek) is showrunner for the series.

Sky's adaptation of Neil Gaiman's Likely Stories
Sky’s adaptation of Neil Gaiman’s Likely Stories

Although Robert A Heinlein’s Starship Troopers was successfully transferred to the cinema screen by Paul Verhoeven in 1997, it remains doubtful whether a TV version of his most famous work, the controversial 1961 novel Stranger in a Strange Land (once promoted as “the most famous sci-fi novel ever written”) will ever see the light of day.

In terms of the serious fantasy genre, the BBC’s upcoming version of Philip Pullman’s His Dark Materials trilogy should benefit from having writer Jack Thorne (The Last Panthers, Skins, The Fades) guiding the show, which will hopefully avoid the pitfalls of 2007’s movie adaptation The Golden Compass and maintain more of an adult tone.

Scheduling and advertising will be important for the series, as the excellent Jonathan Strange & Mr Norrell suffered from misleading promotion, which gave the impression of a Harry Potter-style fantasy – and aired on the wrong channel, BBC1, when BBC2 would have been far more appropriate.

Fantasy legend Neil Gaiman has certainly been a busy lad, with no less than four TV adaptations of his writings in the works, as well as his mooted big-screen version of Gormenghast, which was last seen as a BBC2 series in 2000.

Actor Joseph Gordon-Levitt (Looper) was due to direct a movie version of Gaiman’s Sandman, but that recently hit the buffers.

First up is American Gods for Starz in the US, which has an impressive cast including Ian McShane, Peter Stormare, Jonathan Tucker and Crispin Glover.

Jonathan Strange & Mr Norrell
Would BBC1’s Jonathan Strange & Mr Norrell have fared better on BBC2?

Sean Harris (Mission Impossible: Rogue Nation, Jamaica Inn, The Borgias) has since left the production to be replaced by Pablo Schreiber (Orange is the New Black, The Wire) in the role of troubled Leprechaun Mad Sweeney, with Bryan Fuller (Hannibal, Pushing Daisies) as showrunner.

Gaiman’s Anansi Boys, which occupies the same fictional universe as American Gods, was optioned by BBC1 in the UK back in 2014, while his anthology Likely Stories has been commissioned by Sky Arts in the UK, featuring a cast that numbers Johnny Vegas (Benidorm, Ideal) and industry veteran Kenneth Cranham (Rome, War & Peace, Layer Cake), with a score by Pulp frontman Jarvis Cocker.

Directors Iain Forsyth and Jane Pollard helmed and co-wrote the critically acclaimed 2,000 Days On Earth, a portrait of Aussie Renaissance Man Nick Cave.

Good Omens, Gaiman’s end-of-the-world collaboration with the late Terry Pratchett, is also being considered by the BBC for a miniseries, while Lucifer, the Fox show based on Gaiman’s character from Sandman, has recently been renewed for a second season.

Other fantasy projects with adult themes on the horizon include NBC’s Midnight, Texas (due to be transmitted this autumn), based on the novels by Charlaine Harris (True Blood), and the BBC’s The City and The City – Tony Grisoni (Red Riding, Fear and Loathing in Las Vegas, Southcliffe) developing China Mieville’s cult novel about the cities Beszel and Ul Quoma, which occupy the same point in space and time.

And last, but by no means least, Robert Jordan’s Wheel of Time series, said to be the highest-selling serious fantasy novels since The Lord of the Rings, are rumoured to be under consideration by Sony for either AMC, Netflix or Amazon.

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The age of ‘sigh’-fi?

Big names including Bradley Cooper and Todd Phillips are on board the adaptation of Dan Simmons’ Hyperion
Big names including Bradley Cooper and Todd Phillips are on board the TV adaptation of Dan Simmons’ Hyperion

Simon Pegg (Shaun of the Dead, Spaced) recently lamented the number of sci-fi and superhero sagas that are appearing on television and in the movies. Speaking to The Radio Times, he said: “Obviously I’m a self-confessed fan of science fiction and genre cinema. But part of me looks at society as it is now and thinks we’ve been infantilised by our own taste. We’re all consuming very childish things – comic books, superheroes… Adults are watching this stuff, and taking it seriously.”

He has a point – particularly when you look at the factory-farm exploitation of the DC and Marvel mythologies by Warner Bros and Disney. But there is a flip side to sci-fi and fantasy – which is that it provides creatives with new ways to address important themes about the way humanity conducts itself. The best projects, many of which start in book form, are superb treatises on power, war, gender, immigration, the environment, medical ethics and the advance of AI. So many of the challenges and opportunities we are living through now were first identified and debated by the farsighted sci-fi writers of the last century.

US sci-fi channel Syfy has broadcast its fair share of tripe down the years, but more recently it has really been getting to grips with what the genre can offer at its best. This week, for example, it announced that it is teaming up with Bradley Cooper (American Sniper), Graham King (The Departed, Argo) and Todd Phillips (The Hangover, Old School) to develop Dan Simmons’ Hugo Award-winning best-selling novel Hyperion as an event series. As if that isn’t enough top talent to be getting on with, the screenplay will be written by Itamar Moses, best known for Boardwalk Empire.

Power creator Courtney Kemp Agboh
Power creator Courtney Kemp Agboh

Set on the eve of Armageddon with the galaxy at war, Hyperion is the story of seven pilgrims who set forth on a voyage to seek the answers to the unsolved riddles of their lives. A complex and intelligent work that employs a similar narrative structure to The Canterbury Tales, it’s a million miles from the kind of projects Pegg is concerned about. Commenting on the project, Syfy and Chiller president Dave Howe said: “Epitomising the gold standard of science-fiction story-telling, Hyperion tackles smart, provocative themes that help define Syfy’s development vision.”

Syfy isn’t completely free of the shackles of comic book tyranny (it recently greenlit David Goyer’s Superman prequel Krypton, for example), but there’s no questioning the channel’s ambition. Aside from Hyperion, recently announced projects include The Magicians, based on Lev Grossman’s best-selling books; a futuristic detective series called The Expanse; Childhood’s End, based on an Arthur C. Clarke’s 1953 classic about a peaceful alien invasion; and Brave New World, a series from Amblin Television based on Aldous Huxley’s superb novel. For Howe, the latter is another example of the way the channel is heading: “Brave New World is precisely the groundbreaking programming that is becoming the hallmark of Syfy. It is one of the most influential genre classics of all time. Its provocative vision of a future gone awry remains as powerful and as timeless as ever.”

The inclusion of Bradley Cooper in its roster of talent is, of course, a coup for Syfy. But it’s not the only example of Syfy’s ability to attract A-listers. In April, it greenlit Incorporated, a futuristic espionage thriller from Matt Damon and Ben Affleck’s Pearl Street Productions, CBS TV Studios and Universal Cable Productions.

Curtis '50 Cent' Jackson (right) exec produces and has a role in Power
Curtis ’50 Cent’ Jackson (right) exec produces and has a role in Power

Set in a future where companies have unlimited power, Incorporated tells the story of executive Ben Larson, forced to change his identity in order to infiltrate a cut-throat corporate world and save the woman he loves. In the process, he will take on the entire system – with deadly consequences. Syfy says the dystopian future of the show – created by David and Alex Pastor (Selfless, The Last Days) – reflects contemporary trends: the growing influence of corporations and private interests in Washington, the slow but steady dismantling of the public sector, and the accumulation of an amazing amount of wealth by an ever-shrinking minority. “It is an electrifying example of what science fiction does best,” says Howe, “holding a mirror to present realities and projecting forward to a recognisable future in which we face the impact and consequences of our actions.” And there won’t be a cape in sight.

Back in the here and now, Starz has just greenlit a third series of Power, the New York-based drama from Courtney Kemp Agboh that came with Curtis ‘50 Cent’ Jackson on board as an executive producer. Power is a crime drama set in two different worlds: the glamorous New York club scene and its brutal drug trade. With its predominantly black cast, it has been a revelation for Starz. The first episode of the second series, which aired on June 6, logged 1.43 million Live+SD viewers, the most ever for a Starz Original series season premiere. More than 3.62 million Live+SD viewers watched the episode over the initial weekend.

Episodes will return for a fifth run
Episodes will return for a fifth run

Kemp Agboh, who created the show, has much to celebrate this week. In addition to record ratings and a third season pick-up for Power, Starz has just signed her to an overall deal. Commenting, Starz MD Carmi Zlotnik said: “Courtney is a highly regarded showrunner whose creative vision brings viewers into the two worlds of Power. We are extremely pleased to continue our relationship with Courtney in the coming years.”

There was also good news for Matt LeBlanc this week, following Showtime’s decision to order a fifth season of Episodes, a scripted comedy starring the former Friends actor as a fictionalised version of himself. After a relatively low-key launch in 2011, the Hat Trick Productions show has emerged as one of best comedies of the last few years. Now up to 43 episodes in total, it has also sold well internationally for distributor Hat Trick International.

Finally, it seems Nordic, French and Israeli drama producers might have a new competitor. At the New Europe Market in Dubrovnik, FremantleMedia and Jadran Film Zagreb announced a strategic partnership to bring the literary works of one of Croatia’s most popular writers, Marija Jurić Zagorka, to global audiences.

Croatian author Marija Jurić Zagorka
Croatian author Marija Jurić Zagorka

Zagorka, who died in 1957, is one of the most read writers in Central and Eastern Europe, although her novels have never been translated into English. The partnership kicks off with a joint production of one of Zagorka’s most famous works: The Witch of Grich (Grička vještica), which has sold more than 10 million copies in Eastern Europe.

Set in the second half of the 18th century, it tells the story of a young countess called Nera, whose popularity among men causes envy among her female peers. When Nera tries to save a group of poor women from a witch-hunt, her rivals see this as an opportunity to accuse her of witchcraft. FremantleMedia and Jadran Film are also looking at developing titles such as Kneginja iz Petrinjske ulice, Gordana and Jadranka.

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