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, television, economics and/or distribution:
“The great pagan world of which Egypt and Greece were the last living terms ... once had a vast and perhaps perfect science of its own, a science in terms of life. In our era this science crumbled into magic and charlatanry. But even wisdom crumbles.”
—D.H. (David Herbert)
“The purpose of a work of fiction is to appeal to the lingering after-effects in the reader’s mind as differing from, say, the purpose of oratory or philosophy which respectively leave people in a fighting or thoughtful mood.”
—F. Scott Fitzgerald (1896–1940)
“Addison DeWitt: Your next move, it seems to me, should be toward television.
Miss Caswell: Tell me this. Do they have auditions for television?
Addison DeWitt: That’s all television is, my dear. Nothing but auditions.”
—Joseph L. Mankiewicz (1909–1993)
“The new sound-sphere is global. It ripples at great speed across languages, ideologies, frontiers and races.... The economics of this musical esperanto is staggering. Rock and pop breed concentric worlds of fashion, setting and life-style. Popular music has brought with it sociologies of private and public manner, of group solidarity. The politics of Eden come loud.”
—George Steiner (b. 1929)
“The man who pretends that the distribution of income in this country reflects the distribution of ability or character is an ignoramus. The man who says that it could by any possible political device be made to do so is an unpractical visionary. But the man who says that it ought to do so is something worse than an ignoramous and more disastrous than a visionary: he is, in the profoundest Scriptural sense of the word, a fool.”
—George Bernard Shaw (1856–1950)