Tag Archives: The 100

Dystopian blues

The television landscape is awash with series set in alternative – and not particularly bright – futures. Stephen Arnell casts his eye over the dystopian series on screen, and also finds sci-fi series with a more optimistic outlook.

All-conquering AI, robots that are more human than human, apps that can mimic any possible experience, egomaniacal billionaires searching for eternal life, a world wreathed in perpetual smog, unstoppable viruses, re-animated corpses, Nazi victors in the Second World War and the knock on the door from black-garbed members of the secret police.

Sound familiar?

One would think that in a world with Donald J Trump as US president, Brexit, North Korea, Russia, global warming, cyber warfare and other woes, viewers would be looking for escapist entertainment. But perhaps counter-intuitively, the vision of an even more dire future provides some comfort in the present.

Dystopian drama has become a major TV trend over recent years, and it’s showing no sign of stopping, although there are some signs of possible fatigue, with lacklustre audiences in the UK for SS-GB (BBC1, 2017), Channel 4’s Electric Dreams (2017-18) and the recent Hard Sun (BBC1, 2018).

All had very different themes. SS-GB envisioned a Nazi occupation of the UK, Electric Dreams is an anthology series based on the work of hard sci-fi author Philip K Dick and Hard Sun was a police thriller set in a pre-apocalypse London.

Philip K Dick’s Electric Dreams didn’t perform as well as Channel 4 would have hoped

In terms of the BBC1 dramas, it could be said that the rather bleak material was better suited to sister channel BBC2, while the hit-and-miss nature of portmanteau series such as Electric Dreams are known to sometimes struggle to find audiences – with the obvious exception of Charlie Brooker’s Black Mirror (the former C4 show now at home on Netflix).

In the US, Syfy’s Incorporated (2016-17), a Matt Damon/Ben Affleck production set in a US ruled by corporations folded after one season, as did the channel’s exploitation Death Race homage Blood Drive (2017).

Are we approaching ‘peak dystopia?’ Not just yet. In fact, not by a long chalk.

It must be noted that anticipation was high for the second seasons of The Handmaid’s Tale (Hulu) and Westworld (HBO), both of which premiered recently and have been well received. Viewers are now eagerly awaiting season three of The Man in the High Castle (Amazon Prime), while Black Mirror goes from strength to strength, with filming on season five beginning recently. And AMC’s future feudal Samurai-style society drama Into the Badlands returned in April for a third run.

Netflix’s Brazilian sci-fi series 3% deals with a world very much divided into the haves and have-nots; after favourable reactions to 2016’s debut run, the drama returned for season two on April 27.

On cable, dystopian series continue to thrive. The 100 (The CW) returned for a fifth season on April 24, The Colony came back for a third run on May 2 and Van Helsing (Syfy) had a third season order in December 2017.

Netflix’s The Rain focuses on a virus carried by precipitation

Netflix’s Altered Carbon (pictured top) launched to mixed reviews this February – there was high praise for the set design and production values but it was also criticised by some as owing too much to Ridley Scott’s Bladerunner (1982) and for objectifying its female characters.

Weeks after Altered Carbon dropped, Netflix also released two dystopian movies – Duncan Jones’s generally slated Mute (which shared a similar visual palate to Altered Carbon) and Alex Garland (Ex Machina)’s well-reviewed Annihilation – which may have been overkill in such a short space of time.

Data from Parrot Analytics suggests the budget-busting Altered Carbon’s patchy performance could make a sophomore season unlikely.

This year will see new dystopian drama on our screens in addition to returning series. Last week, continuing its interest in the genre, Netflix dropped the Danish thriller The Rain, which is being touted by some as its answer to The Walking Dead, except with a distinct young-adult skew.

The show is set after a brutal virus wipes out most of the population, as two young siblings embark on a perilous search for safety.

The fact the virus is spread through precipitation has led some to draw somewhat unfortunate comparisons to Chubby Rain, the fictional ‘film within a film’ in the Steve Martin/Eddie Murphy comedy Bowfinger.

Netflix Brazilian original 3% recently returned for a second season

ABC’s The Crossing, meanwhile, debuted on April 2. The show centres on an influx of refugees in present-day Oregon, but with the twist that they are from a war-torn USA, 180 years in the future.

Starring Steve Zahn (War for the Planet of the Apes, Treme), The Crossing debuted with a modest 5.5 million viewers, with audiences declining for subsequent episodes.

On May 19, HBO will premiere its feature-length version of Fahrenheit 451, an adaptation of Ray Bradbury’s sci-fi classic that depicts a totalitarian society where books are outlawed and burned by ‘firemen.’

Fahrenheit 451 takes its title from the autoignition temperature of paper. The book was last adapted for the screen in 1966 by French auteur filmmaker Francois Truffaut and was his only English-language movie. HBO’s version boasts a stellar cast including Michael Shannon (The Shape of Water) and Michael B Jordan (Black Panther). Shannon has previously worked with Fahrenheit 451 director Ramin Bahrani on the award-winning foreclosure drama 99 Homes (2014).

On the horizon from Fremantle’s UFA Fiction (Deutschland 83) is Kelvin’s Book, from art-house film writer/director Michael Haneke (The Piano Teacher, Hidden). An English-language project, the 10×60′ series tells the story of a group of young people in the not-too-distant future who are “forced to make an emergency landing outside of their home and are confronted with the actual face of their home country for the first time.”

Michael Shannon (left) and Michael B Jordan in Fahrenheit 451

Next year sees the debut of Amazon Prime Video/Liberty Global’s London-set series The Feed, which “centres on the family of the man who invented an omnipresent technology called The Feed. Implanted into nearly everyone’s brain, The Feed enables people to share information, emotions and memories instantly. But when things start to go wrong and users become murderous, they struggle to control the monster they have unleashed.”

Guy Burnet, Nina Toussaint White, David Thewlis and Michelle Fairley will star in the psychological thriller, which will be distributed by All3Media International.

One new project that many spectators now believe may never make it to the screen is HBO’s Confederate, as creators David Benioff and DB Weiss (Game of Thrones) are now on board the Star Wars franchise – and the show’s concept of a continuing Southern slave-owning state has proved highly controversial in the current US political climate.

FX has recently ordered a pilot of Y: The Last Man, set in a world with only one surviving male – with strong production credentials from co-showrunners Michael Green (Logan, Bladerunner 2049, American Gods) and Aida Mashaka Croal (Turn, Luke Cage).

Israeli VoD service/cablenet HOT TV will debut Autonomies this year, which imagines the present-day country divided by a wall into two Jewish states – secular in Tel Aviv and ultra-orthodox in Jerusalem.

And to round off the dystopian shows in development, Amazon recently announced a series based on William Gibson’s The Peripheral, set in a bleak not-too-distant future (and beyond), with the Westworld team of Lisa Joy and Jonathan Nolan as showrunners.

Seth McFarlane’s The Orville serves up more lighthearted sci-fi fare

Syfy’s 2015 miniseries adaptation of Arthur C Clarke’s Childhood’s End must take the prize for one of the most downbeat endings ever – concluding as it does in the total destruction of the Earth, after the planet’s mutated psychic children have been subsumed into an all-powerful alien ‘overmind.’

But lest we fall into total despair, it should be recognised that there are actually a few sci-fi TV dramas that depict a future that isn’t unrelentingly grim.

The Star Trek franchise is notable for showing an optimistic view of the times to come, with mankind becoming a force for good in the galaxy after (with notable exceptions such as Harry Mudd) curbing its greed and war-mongering.

Seth McFarlane’s affectionate Trek tribute The Orville (Fox) also has rosier take on the future, whileNetflix’s Lost in Space reboot has a not-entirely-pessimistic vision of humanity in the 21st century.

Hulu/Ch4’s upcoming Beau Willimon-scripted Martian colony drama The First (starring Sean Penn and Natasha McElhone) appears to promise a relatively upbeat approach, or at least one that’s not tipped totally in the direction of dystopian misery.

The long-running Stargate SG1 and its spin-offs portrayed a universe that was inhabited by at least a few alien species willing to befriend mankind rather than instantly vaporise Earth.

Meanwhile, Doctor Who (BBC1) generally takes a more upbeat road, as befits its family audience. Although end-of-the-world scenarios and alien domination feature frequently, the Doctor usually conveys a positive attitude, occasionally (in some incarnations) to the point of what some may deem mania.

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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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Comic cuts: A round-up of the hottest trailers unveiled in San Diego

As the dust settles on another Comic-Con, Michael Pickard rounds up all the news and casts his eye over the hottest trailers that were unveiled to thousands of fans in San Diego.

Comic-Con-fans. Credit-@DCComics
Costumed Comic-Con fans get into the spirit of the event

And so Comic-Con ends for another year. As more than 130,000 people make their way home from the San Diego Convention Centre, the latest round of this annual four-day event has only served to establish it further as the new must-go place for television series, and their producers, directors, writers and cast members, to build up the noise surrounding their launch or return to our screens.

Alongside announcements about series renewals and surprise star appearances, it’s always intriguing to see where television drama – and genre fare in particular – is heading over the coming year.

Panels were hosted by shows including Limitless, Orphan Black, iZombie, Scorpion and Sherlock. Game of Thrones, The 100 and Marvel’s broadcast series – Agent Carter and Agents of S.H.I.E.L.D. – also drew fans to hear gossip from the set and more about what fate might lie in store for their favourite characters.

Elsewhere, MTV announced Teen Wolf had been renewed for a sixth season, while cable network WGN America ordered a third run of its spellbinding period drama Salem.

Comic book drama Arrow released an image of the Green Arrow’s costume ahead of season four launching on The CW this fall, while the casts of DC’s Legends of Tomorrow and The Flash, both also on The CW, joined in the fun.

Universal Cable Productions announced it is teaming with Warren Ellis and Gale Anne Hurd (The Walking Dead) to adapt 1970s Mexican network Televisa’s format El Pantera, as well as adapting UK film The Machine with writer Caradog James for Syfy. It has also optioned IDW Publishing comic Kill Shakespeare.

The producer of NBC reboot Heroes Reborn, Imperative Entertainment, said it had optioned rights to adapt Hugh Howey novel Sand, which tells of a family of sand divers who use wetsuit-type technology to dive beneath the desert that covers a lawless dystopian world to retrieve valuable relics that help them survive.

The cast of DC’s Legends of Tomorrow gather at the San Diego event
The cast of DC’s Legends of Tomorrow gather at the San Diego event

Minority Report producer Darryl Frank also revealed that Steven Spielberg had been working with executives on the Fox reboot of the celebrated director’s 2002 feature film.

At Syfy, the network revealed new details about its six-hour adaptation of Arthur C Clark’s novel Childhood’s End, and former Lost star Josh Holloway was reunited with the show’s executive producer Carlton Cuse as they discussed their latest collaboration: USA Network’s forthcoming Colony.

Showrunner Bryan Fuller also gave hope to fans of Hannibal that the now-cancelled NBC drama could be resurrected as a feature film, though there were celebrations at the Grimm panel, where the show’s stars and executive producers discussed plans for the NBC series’ landmark 100th episode.

But for all the talk at Comic-Con, its the exclusive clips and trailers that got fans off their seats and on their feet inside the convention centre.

Here DQ showcases trailers for some of the most anticipated shows heading to television over the next year:

See you next year in San Diego!

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