Fantasy and science fiction series firing childish imaginations down the
decades have ranged from fairytales to far-flung futures. One of the earliest
genre examples, The Silver Swan (BBC, 1952-53), transported viewers into past
eras by way of an heirloomed violin. But in truth this was closer to magic than
rational science fiction. Time-travel would similarly act as a semi-educational
history class in Jamie (ITV, 1971), The Georgian House (ITV, 1976) and Into the
Labyrinth (ITV, 1981-82).
In the 1950s, as the space race heated up, science-fiction, or at least
juvenile outer-space adventure, slowly overtook cowboys and cops and robbers as
the fictional genre most exciting young minds. Lack of budget seemed to limit
British television's dealings in the genre - as it would for decades - and the
earliest 'space' adventure was the earthbound Stranger from Space (BBC,
1951-52), with a crash-landed Martian befriended by an Earth boy. True
spacefaring followed in The Lost Planet (BBC, 1954-55), with intrepid scientist
Dr Lachlan McKinnon encountering benevolent galactic telepaths, and futuristic
semi-educational serial Space School (BBC, 1956).
Puppet heroes best captured the childish thrills of the age, in the
sophisticated 'marionations' from husband and wife team Gerry and Sylvia
Anderson. The jokey Supercar (ITV, 1961-62), space opera Fireball XL5 (ITV,
1962-63) and submarine adventures of Stingray (ITV, 1963-64) all proved popular,
but deathless peril and altruistic heroism in Thunderbirds (ITV, 1965-66)
provided their biggest hit. The grim Captain Scarlet and the Mysterons (ITV,
1967-68) was distinctly adult, the twee Joe 90 (ITV, 1968-69) less so. Children
remained glued to attempts at intelligent live action SF in UFO (ITV, 1970-71)
and Space: 1999 (ITV, 1975-77), but adult viewers and schedulers alike
pigeonholed Anderson fare as kids' stuff.
ITV's live action SF hit of the 1960s was the cliffhanging Pathfinders (ITV,
1960-62), taking the very English Wedgwood family to the moon, Mars and Venus.
Creator Sydney Newman forged something similar at the BBC with Doctor Who
(1963-89), helping to develop the idea of a semi-educational series, part
history and science classroom, featuring a mysterious time-traveller. The second
serial introduced the robot-like Daleks, establishing an enduring template for
futuristic adventure and monstrous adversaries and spawning a Saturday teatime
ritual. Its time travel core and ability to switch styles along with its lead
actor's persona has made it the ultimate, inherently flexible SF format.
Forged in the white heat of 1960s technology, the 'spy-fi' genre encompassed
the hi-tech gadgetry of James Bond movies and US import The Man from UNCLE (1964-68), both eagerly followed by British children. Junior derivatives included
Sierra Nine (ITV, 1963), Orlando (ITV, 1965-68) and Freewheelers (ITV, 1968-73).
Mad scientists and even madder science saw death rays regularly threaten world
capitals.
Ace of Wands' (ITV, 1970-72) spy-fi mix of sports cars and flares soon
mutated into something odder and more downbeat, while its successor, The Tomorrow People (ITV, 1973-79), dominated the coming decade with hi-tech
gadgetry, idealist liberalism and honest thrills. But glossy US import Star Trek
(1966-69) made British efforts suddenly look homespun when aired here from 1969.
A primetime hit for a decade, it ran in repeat form in BBC1 children's slots in
1984. Blake's 7 (BBC, 1978-81) was a cynical, grimy British primetime space
opera similarly popular with children.
1970s kids' TV steered clear of galactic epics to explore other areas. The Owl Service (1969-70) delved into adolescent lust and the occult, ushering in a counter-culturally-inspired cycle. Arthurian magic and the 'gaia' concept of the
planet's capacity for self-renewal cropped up in The Changes (BBC, 1975), Sky
(ITV, 1975), Children of the Stones (ITV, 1977), Raven (ITV, 1977) and The Moon Stallion (BBC, 1978). Existential nightmare King of the Castle (ITV, 1977) sprung from the same creative well.
Concerns over the portrayal of occult and black magic practices on children's
TV meant it was seldom handled. Shadows (ITV, 1975-78) initially featured
outright supernatural tales, before taking clever turns into the less
frightening. The Clifton House Mystery (ITV, 1978) was terrifying, if educational. Sapphire & Steel (ITV, 1979-82) rendered ghosts in SF terms and
was developed as a children's series, but it was promoted to primetime when
Joanna Lumley and David McCallum were cast as leads.
Ghosts were deemed suitable subjects for comedic treatments Rentaghost (BBC,
1976-84) and The Ghosts of Motley Hall (ITV, 1976-78) and a superior 1970s
comedy drama entry was charming contemporary fairytale Lizzie Dripping (BBC,
1972-75). This 'imaginary friend' trope asked if Lizzie's witch friend was in
her imagination or if the fantasy was 'for real'.
Amid modish psychedelia were a few quintessentially English period fantasy
tales, with E. Nesbit's The Phoenix and the Carpet (BBC, 1977) and The Enchanted
Castle (BBC, 1979) both tackled. Sunday teatime 'classic' adaptations Gulliver
in Lilliput (1981), Alice in Wonderland (1985) and a frightening version of The
Invisible Man (1984) all showcased complex effects.
Period settings persisted, but when the real-world 1980s went computer-crazy,
it was all TV could do to catch up. One of its first responses the hi-tech
espionage thriller Codename Icarus (BBC, 1981). Star Wars (US,
1977) had heralded an era of cinema special effects blockbusters with which TV
couldn't hope to compete - instead Saturday morning shows and kids sitcoms alike
had bacofoil makeovers. Fantasy output moved outside of drama fiction into other
formats: interactive whodunit Captain Zep - Space Detective (BBC, 1983-84) mixed
comic strip drawings with live action; game shows included The Adventure Game
(BBC, 1980-86) and sword and sorcery effort Knightmare (ITV, 1987-94). In
'serious' SF, Chocky (ITV, 1984-86) satisfied while ponderous epic The Tripods
(BBC, 1984-85) lacked SF hardware. Comedy Luna (ITV, 1983-84), starring a young
Patsy Kensit, was among few series playing with genuine SF ideas.
Those preferring the supernatural to silver-tinted futurism had the brooding
Ghost in the Water (BBC, 1982) and anthology Spooky (ITV, 1983). Dramarama plays
(ITV, 1983-89) also regularly featured fantasy material, from ghost stories to
whimsical SF comedy and allegorical weirdness.
The Tripods had enjoyed Australian co-finance, but more significant was the
international funding of The Box of Delights (BBC, 1984), featuring a
time-travelling magician hiding out in a rosy glow Edwardian Christmas. Similar
lavish heritage fantasies with Trans-Atlantic export potential followed,
including The Chronicles of Narnia (BBC, 1988-90) and The Borrowers (BBC,
1992-3).
Contrasting with cosy nostalgia, tougher Sunday serial Knights of God (ITV,
1987) offered an SF take on King Arthur legends set in a futuristic fascist
republic Britain. Hints of post-Grange Hill (BBC, 1978-2008) contemporary
realism were seen in Aliens in the Family (BBC, 1987), the spooky Moondial (BBC,
1988) and the sensual Shadow of the Stone (1987), where fantasy provided
metaphors for adolescent angst.
Contemporary 90s soaps such as Byker Grove (BBC, 1989-2006) squeezed out
fantasy, and an incoming policy that all but abandoned children over 10 for
ratings reasons largely shut out more serious fare. Fantasy retreated into
slapstick fairytales like Bernard's Watch (ITV, 1997-2001), but occasional
successes included Russell T. Davies' quirky Dark Season (BBC, 1991) and the
same writer's sombre Century Falls (BBC, 1993), inventive adaptation Elidor
(BBC, 1995) and a Tomorrow People revival (ITV, 1992-95).
By the turn of the millennium, JK Rowling's Harry Potter novels had rekindled
a childhood fascination with magic. The Worst Witch (ITV, 1986; 1998-2001;
2005-6), a comedy about a junior witch academy, now found new life. Time
travelling magic series The Magician's House (BBC, 1999-2000) and would-be epic
Shoebox Zoo (BBC, 2004-5) were costly BBC/Canada co-productions.
But with children now watching the Potter movies on home DVD on constant
loop, it was difficult for children's TV to match such spectacle. Quality SF
serial Life Force (2000) was dumped into morning slots by ITV for poor ratings,
and cloning thriller The Fugitives (2005) sadly became ITV's final homegrown
fantasy show. The BBC cancelled telepath series Powers (2004) after one
excellent run.
Resources appear to have been diverted into primetime since, with Russell T.
Davies' bravura revival of Doctor Who (BBC, 2005-) drawing massive family
audiences and critical acclaim and inspiring Saturday night fantasies Primeval
(ITV, 2007-), Merlin (BBC, 2008-) and Demons (ITV, 2009). In children's slots,
only Doctor Who spin-off The Sarah-Jane Adventures (BBC, 2007-) and spy-fi
comedy M.I. High (BBC, 2007-) currently fly the fantasy flag.
Alistair McGown
|
