Great news this morning for fans of Andy and Lana Wachowski, and of original sci-fi storytelling. We’ve known for a while now that the Wachowskis have a forthcoming series for Netflix called Sense8—but further details have been sparse. Until now.
Paste has the scoop on the plot of the show, which will release in spring 2015:
The series follows eight characters around the world who, in the aftermath of a tragic death, find themselves linked to each other mentally and emotionally…They can not only see and talk to each other as though they were in the same place, they have access to each other’s deepest secrets. Not only must they figure out what happened and why and what it means for the future of humanity, they must do so while being hunted by an organization out to capture, kill or vivisect them.
This is especially interesting news given the recent delay of the Wachowskis’ Jupiter Ascending. The delay has been credited to the time needed for special effects—but there’s speculation WB’s decision to move the release from 2014 to 2015 reflects the studio’s worries about how the unique premise will be received by audiences. To me, the whole thing just serves as another reminder that when it comes to original sci-fi, it’s not movies, but TV where the truly interesting storytellers want to be.
For another example of the same, just consider Darren Aronofsky. As a writer/director, he’s shown a penchant for interesting sci-fi storytelling—but his most daring film, The Fountain, was a commercial failure in theaters. (Though I admired Aronofsky’s chutzpah in making the film, I also think it was an artistic failure, but Chris and I disagree on that point.) But now, after the success of Noah, Aronofsky is adapting and possibly directing an adaptation of Margaret Atwood’s MaddAddam series, an absolutely fantastic trilogy of science fiction novels. The show will air on HBO—and I’m hopeful that the material will finally provide Aronofsky with a chance to really show us what he can do with an awesome sci-fi premise.
There are good reasons why auteurs who have difficulty telling the sci-fi stories they want to tell in the movie business flock to TV. TV offers things to sci-fi storytellers that the movies can’t—mainly, multiple episodes that allow for more expansive worldbuilding, which is crucial for the genre. TV comes the closest to offering the broad narrative canvas of a complex, plot- or idea-driven novel. Plus, TV executives are just taking more creative risks right now, even as the movies continue to retreat to the safety of sequels, superheroes, and reboots of existing sci-fi material.
I am very interested in the differences between TV and Film. Nowhere does that split seem more palpable than in sc-fi, where the production values can be so important. If you get it right or wrong with a lower TV budget you can blow the whole premise. But the best TV sci-fi has understood how to make it work-think X-Files, which used low-fi in-camera tricks or BSG, which used low-tech on-screen CGI.
Anyway. The Wachowskis have always depended on the very highest production values. Curious to see what they can do at Netflix.