From the new season of Stranger Things to CBS’s long-awaited Star Trek: Discovery, DQ presents 10 of the hottest drama trailers to premiere at this year’s Comic Con event, which concluded in San Diego yesterday
Despite all the noise surrounding big-screen blockbusters such as Justice League, Thor: Ragnarok and Ready Player One, these days San Diego Comic Con is as much about television as it is about the movies.
This year’s event saw panels and special events surrounding shows such as The Walking Dead, Doctor Who, Game of Thrones and Westworld, delighting fans with behind-the-scenes gossip and clips of forthcoming adventures.
Lucky visitors were also able to catch a sneak peek at new series such as Stephen King adaptation Mr Mercedes, Syfy’s Ghost Wars and Star Trek: Discovery (pictured above), the CBS reboot of the hallowed sci-fi franchise.
Here DQ picks out 10 of the hottest new TV trailers to come out of the four-day event.
The towering landscapes of Superman’s home planet are brought to life in US cable network Syfy’s first-look teaser for its upcoming Superman prequel, which is based on the characters created by DC Comics. The series will explore the Man of Steel’s lineage, focusing on the House of El. The series airs in 2018.
Family tensions run high in the latest Marvel offshoot to hit the small screen. The series follows the royal family of the Inhumans, a race of human beings altered by experiments carried out by an alien race known as the Kree, as they face a growing threat on their home planet and from their enemies on Earth. The series premieres on ABC on September 29, while the first two episodes will also be shown globally in IMAX theatres from the beginning of September.
American Horror Story: Cult
The teasers for American Horror Story never fail to be anything less than disturbing and unsettling, a tradition that continues with the first look at the seventh season of the FX anthology as row upon row of creepy clowns spell out their simple message: “Join us.” Creator Ryan Murphy took to Twitter to tease details of the latest instalment before Comic Con, revealing it would be known as Cult. Fans in San Diego then got to see some of the first clues to the series ahead of its launch launch on September 5.
San Diego was awash with volunteers ready and willing to lead the hunt for mutants in a stunt designed for Fox’s forthcoming X-Men series The Gifted. The series, which launches on October 2, tells the story of a suburban couple whose ordinary lives are rocked by the sudden discovery that their children possess mutant powers. The opening of this trailer leans on Carrie as the teenagers unwittingly destroy a high school while simultaneously discovering they aren’t exactly average, as their family is forced to go on the run to evade capture by the authorities.
The Netflix series that became one of the television talking points of 2016 is back for a second season, and this new trailer shows poor Will Byers once again in the ‘Upside Down’ as he faces a monster considerably bigger than season one’s Demogorgon. The use of Michael Jackson’s Thriller with Vincent Price’s iconic spoken-word part adds to the 1980s nostalgia. Stranger Things returns on October 27.
Marvel’s The Defenders
After the lukewarm reaction to Iron Fist, Netflix aims to get its Marvel franchise back on track with The Defenders, which brings together Daredevil, Jessica Jones, Luke Cage and Iron Fist as they face off against an enemy – led by Sigourney Weaver – hellbent on destroying New York City. The Netflix series launches globally on August 18.
Star Trek: Discovery
Fans at Comic Con were given a first glimpse at this new trailer for the long-awaited series during a panel with the cast and creative team behind the show, which will premiere on CBS and CBS All Access on September 24, in Canada on Space and in 188 countries on Netflix. The new incarnation of the space franchise sets up a conflict between the Federation and the Klingons.
With an astonishing 22 Emmy nominations, HBO’s robot-centric western has certainly been one of the biggest shows of the last 12 months – and the robots aren’t finished yet. Here’s a teaser for the upcoming second season, which will air in 2018.
The Walking Dead
Like one of the zombies that stalk AMC’s hit series, The Walking Dead shows no sign of stopping – though the war now looks set to take place between Rick’s crew and the Saviours, with both sides gearing up for battle. Season eight debuts in the US on October 22.
Game of Thrones
After an extended break, Game of Thrones is back on air and two episodes into its seven-part penultimate season. That doesn’t mean there’s any less excitement for new footage of this epic series, as this teaser reveals some of what’s in store as Jon, Cersei, Daenerys et al ramp up their fight for the Iron Throne.
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.
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.”
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.”
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.”
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.”
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.
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.
As the dust settles on another action-packed San Diego Comic-Con, there is plenty to look forward to if the new footage previewed at the event is anything to go by.
From teasers for forthcoming new series to big reveals about new seasons of fan favourites, expectations were certainly heightened by what was showcased during four days of panels, screenings and guest appearances at the San Diego Convention Centre.
Here’s a rundown of the best videos unveiled at Comic-Con:
Starz unveiled the first trailer for American Gods, based on the novel by Neil Gaiman and due to air in 2017
BBC America also dropped the first footage of comic book adaptation Dirk Gently’s Holistic Detective Agency
Fox previewed a new trailer for its take on classic horror movie The Exorcist
Another new series Syfy’s Incorporated, which is set in a world controlled by corporations. It is produced by Ben Affleck and Matt Damon
The trailer for The Walking Dead season seven introduces King Ezekiel and his tiger (pictured at the top of this page)
But not to be outdone, spin-off Fear The Walking Dead gave fans a teaser of a new storyline that feature a cult that sacrifices its own members in the second half of season two
If that wasn’t enough blood, Starz also previewed season two of Ash vs Evil Dead as star Bruce Campbell announced Lee Majors was joining the cast
Fans saw the first glimpse of season four of Sherlock
Here’s the first footage from Prison Break, which is returning to Fox in 2016/17
ABC used Comic-Con to reveal that Aladdin and Jafar would be making their debuts in the first scene of sixth season of Once Upon a Time
But excitement for the sixth season trailer of MTV’s Teen Wolf was tempered with the announcement that the new run would also be its last
Of course, Comic-Con royalty status is reserved for the big comic book publishers, and this year was no exception in terms of their television crossovers.
Among its film and television panels, DC Comics unveiled the third-season trailer for The CW’s The Flash, which introduces the comic’s Flashpoint storyline after Barry Allen goes back in time to prevent his mother’s murder
Fans inside the convention centre also saw footage from the fifth season of Arrow
The most recent entry into the DC Comics television landscape, Legends of Tomorrow, debuted its season-two trailer
Meanwhile, Batman prequel Gotham unveiled clues about its upcoming third season
It was Marvel, however, that stole the show and provided some of the biggest talking points from this year’s event.
The studio unveiled the first trailer for Legion, the new FX drama from Noah Hawley (Fargo) that is set in the X-Men universe
Marvel also debuted footage from its upcoming Netflix shows. First up is Luke Cage, which debuts online on September 30
Iron Fist follows, completing the line-up of superheroes to appear on the SVoD service in the wake of Daredevil, Jessica Jones and Luke Cage
The studio also confirmed there will be a third season of Daredevil with this teaser
But also in 2017, the quartet will come together in miniseries The Defenders, as previewed in this teaser that plays against the soundtrack of Nirvana’s Come As You Are
Not to be forgotten, however, is a little show called Star Trek, which returns to television next year on CBS and CBS All Access in the US and Netflix around the world. And in the week the latest feature film in the franchise, Star Trek Beyond, hit cinemas, Trekkies got to see this test footage from Star Trek: Discovery, which will follow the crew of the USS Discovery.