Science Fiction Television Economics and Distribution
In general, science fiction series are subject to the same financial constraints as other television shows. However, high production costs increase the financial risk, while limited audiences further complicate the business case for continuing production. Star Trek was the first television series to cost more than $100,000 per episode, while Star Trek: The Next Generation was the first to cost more than $1 million per episode.
The innovative nature of science fiction means that new shows cannot rely on predictable market-tested formulas like legal dramas or sitcoms; the involvement of creative talent outside the Hollywood mainstream introduces more variables to the budget forecasts.
In the past, science fiction television shows have maintained a family friendly format that rendered them suitable for all ages, especially children, as the majority of them were of the action-adventure format. This enabled merchandising such as toy lines, animated cartoon adaptations, and other licensing. Many modern shows, however, include a significant amount of adult themes (such as sexual sitiuations, nudity, profanity and graphic violence) rendering them unsuitable for young audiences, and severely limiting the remaining audience demographic and the potential for merchandising.
The perception, more than the reality, of science fiction shows being cancelled unreasonably is greatly increased by the attachment of fans to their favorite shows, which is much stronger in science fiction fandom than it is in the general population. While mainstream shows are often more strictly episodic, where ending shows can allow viewers to imagine that characters live happily, or at least normally, ever after, science fiction shows generate questions and loose ends that, when unresolved, cause dissatisfaction among devoted viewers. Creative settings also often call for broader story arcs than is often found in mainstream television, requiring science fiction shows many episodes to resolve an ongoing major conflict. Science fiction television producers will sometimes end a season with a dramatic cliffhanger episode to attract viewer interest, but the short-term effect rarely influences financial partners. Dark Angel is one of many shows ending with a cliffhanger scene that left critical questions open when the series was cancelled.
Read more about this topic: Science Fiction On Television
Famous quotes containing the words science fiction, science, fiction, television, economics and/or distribution:
“What a phenomenon it has been—science fiction, space fiction—exploding out of nowhere, unexpectedly of course, as always happens when the human mind is being forced to expand; this time starwards, galaxy-wise, and who knows where next.”
—Doris Lessing (b. 1919)
“The essence of acting is the conveyance of truth through the medium of the actor’s mind and person. The science of acting deals with the perfecting of that medium.”
—Minnie Maddern Fiske (1865–1932)
“Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today—but the core of science fiction, its essence ... has become crucial to our salvation if we are to be saved at all.”
—Isaac Asimov (1920–1992)
“There was a girl who was running the traffic desk, and there was a woman who was on the overnight for radio as a producer, and my desk assistant was a woman. So when the world came to an end, we took over.”
—Marya McLaughlin, U.S. television newswoman. As quoted in Women in Television News, ch. 3, by Judith S. Gelfman (1976)
“Women’s battle for financial equality has barely been joined, much less won. Society still traditionally assigns to woman the role of money-handler rather than money-maker, and our assigned specialty is far more likely to be home economics than financial economics.”
—Paula Nelson (b. 1945)
“In this distribution of functions, the scholar is the delegated intellect. In the right state, he is, Man Thinking. In the degenerate state, when the victim of society, he tends to become a mere thinker, or, still worse, the parrot of other men’s thinking.”
—Ralph Waldo Emerson (1803–1882)