This week brought the dreaded news that the SyFy channel would not be picking up the series adaptation of The Expanse novels for a fourth season. The move was not quite shocking, but still somewhat of a surprise. The show’s productions values are top notch and not cheap, so the fact that it has not garnered a broad fan base like Game of Thrones made its future uncertain. But the universal critical acclaim seemed to suggest that SyFy would want to keep it around for bragging rights, if nothing else.
In the glory days of the SciFi network (before the questionable and to many, odious name change) the network took a similar gamble on an expensive critical darling that never really had the viewership to justify its budget but was a flagship for what the network wanted to be–before it decided to be the home of craptacular fare like Sharknado. Battlestar Galactica was part of the early wave of revitalizations and everything-old-is-new-again fervor that has gripped Hollywood throughout the twenty-first century. The show took name recognition and the outline of the original series’s concept and created a “gritty” and “philosophical” version of a pulp sci-fi dud from the 70s.
It worked and the network spun the long-running show into a prestige piece with a dedicated fan base that still argues for the series as one of the best sci-fi shows of all time.
Here’s the thing, though: The Expanse is better and will continue to be better than Battlestar Galactica.
Early in its life, the remade Battlestar Galactica (BSG to aficionados) promised its viewers that its nefarious android antagonists had “a plan.” But the producers and writers have since admitted that they included that bit in the show’s crawl simply because it sounded cool. Not only did the Cylons not have a plan, neither did the show runners.
The series sometimes raced and other times lurched through a thinky, but often incoherent exploration of man’s relationship to technology and the age-old question science fiction never gets tired of reheating: what does it mean to be human? Along the way there were some great characters rendered in fantastic performances (often having to overcome inconsistent writing) and some truly intolerable ones (looking at you, Apollo).
Many a science fiction series has waded through such unevenness. Star Trek: the Next Generation‘s first season is unwatchable today and rarely suggests the heights the show would someday reach. It’s natural enough for a series to take its time to find its footing.
It would be easy to look at the first few episodes of The Expanse and think that’s what was happening, but the pacing is not a sign of uncertainty, but confidence. The Expanse rewards patience as it builds its world and its characters. Now, in the third season, the complexity of that world and the investment in those characters is paying off in a tense conflict of epic scale.
But that conflict is only prelude to what’s coming.
Many other science fiction and fantasy shows struggle with endings just as much as many flail about for sure footing at the beginning. One only has to look back at the last few seasons of the X-files (to say nothing of the disastrous rebooted seasons) to see how a lack of “a plan” can be disastrous to a show built on mystery and intrigue. The same could be argued of Lost and, if last season was any indication, may taint the denouement of Game of Thrones.
But fans of The Expanse novels have no fear for that outcome. We know the shape of many things to come and they are earth-shatteringly awesome. Fans like me aren’t worried by this (hopefully momentary) cancellation because it means we won’t ever know what happens in the story. What we’re afraid of is being deprived of the cinematic rendering of that story that we know it so richly deserves.
Hopefully, that won’t come to pass. Hopefully, the press swirling around the cancellation–every article I read reiterates that SyFy’s move is either a crying shame or down right tragic–will find it a new home at Netflix or Hulu and the Cinderella story will inspire more people to watch it.
It is a show that deserves viewers, but more than that, it is the space opera the Golden Age of Television deserves.