Strange
Horizons
Like many of
you, I've been eagerly following a handful of new TV shows via Netflix and
SyFy, courtesy of Amazon where I have no qualms about paying for
commercial-free TV. I shotgunned the entire season of Sense8, the moody, epic,
sweeping science fiction opera spearheaded by J. Michael Strazynski of Babylon
5 fame and the Wachowskis of Matrix fame. I, like thousands of others, was
blown away by the breadth and ambition of it, and remained in awe of the
creators who can make something on a truly speculative scale.
Then I heard
about a new SyFy show called "Dark Matter." Six astronauts, awakened
on board an interstellar ship, but with no memory of who they were or why they
were there. This show is still getting its legs, but the premise is maintaining
its intrigue. The show that surprised me, however, is "Killjoys,"
another SyFy show. This one has a more developed cast with stronger character
personalities. The premise is Intergalactic Bounty Hunters. It's got a kickass
heroine, her two sidekicks, and a great potential balance of long-form story in
the form of characters With A Past mixed with the warrant-of-the-week spine.
The showrunners seem to know what they're doing.
What really
made me think about these three shows was how much--and how little--worldbuilding
they do. Sense8 is ambitious--behind the scenes, the cast and crew flew all
over the world to film, and the scenes take place from Chicago to Nairobi, San
Francisco to Seoul, and the places in which the stories happen are just as much
a part of the series as the characters and the speculative premise. Dark Matter
and Killjoys, on the other hand, are very limited in scope...but no less large
in concept.
Granted, on
one hand, it's like comparing apples and watermelons--Dark Matter and Killjoys
are both short-season summer fillers, Sense8 is a straight-to-Netflix headliner
spearheaded by big names familiar with big screens and big budgets. On the
other hand, it's an exercise in just how much you can say with so little.
Both Dark
Matter and Killjoys have limited sets, Dark Matter moreso than Killjoys. Dark
Matter takes place mostly on the interstellar ship's multiple locations, with
occasional forays into space stations that all look like the Toronto airport,
and population centers that look like municipal water treatment plants. It
follows the long and storied tradition of such shows as Star Trek, where the
Planet With The Cave wore different Christmas lights to portray different
exotic interplanetary locales for the duration of an episode. The universe of
Dark Matter includes planets whose entire government is based on feudal Japan,
and multi-planetary corporations with their own military fleets, all operating
under a vague umbrella of a galactic government.
Killjoys, on
the other hand, maintains a less open-ended location. There's a definite
boundary to the everyday world of the main characters. Dutch, D'avin, and John
operate in an area of space known as "The Quad" - one planet, and
three habitable moons (or rather, two habitable moons and one future plotline).
In addition to their ship (aptly named "Lucy"), the Killjoys live
their story out on the moon of Leith and Westerley's Old Town, occasionally
returning to the RAC (the bounty hunting organization under whose authority
they work) which is maintained on a huge ship.
The
universes of the Killjoys and of Dark Matter have an implied vastness to
them...but it is a vastness that the viewer never needs to see. The creative
use of lighting, small spaces, backstory, and a handful of panoramic shots of
(digital?) matte paintings, are all cleverly utilized to present the illusion
of large, diverse, interplanetary spaces...yet at the same time, these spaces
have an all-too-familiar analogue to them. Spaceports look like airports.
Outside looks like outside, even if your farm equipment operates on fusion
instead of bio-diesel.
On the
surface, this feels like low-budget, syndicated sci-fi shows making do with
what they have. Scratch a little deeper, and this feels like filmmakers who
know how to use creative lighting, set design, and editing without an endless
budget for computer-generated effects. But dig even deeper--down to the
narrative-hacking level, and this is what science fiction is all about.
Science
fiction is about exploring the human continuum, even when we are separated by
immense measures of time, space, and circumstance. "Dark Matter's"
storyline shows us that families--even royal ones--are families. One of the
persistent locations in "Killjoys" is a Westerlan bar that--despite
its futuristic setting--is still a watering hole. No matter how our fate spins
us out into the vast universe going forward, we will still be human, and our
settings may change, but our spirits will remain the same.
***
Athena
Grayson started out writing a book about an interplanetary bounty hunter. It
turned into twelve episodes of a space opera. You can find all twelve episodes
of “Huntress of the Star Empire” collected in convenient bundle form at
athenagrayson.com/huntress and even get the first episode free! You can find other
narrative hacking at her blog at athenagrayson.com.
