Philip Levins: On Ascension

"This was secretly launched by President Kennedy soon after the Cuban Missile Crisis.

The real Orion Project had begun in the Fifties, but was killed in 1963 when Kennedy saw the mock-up of the Orion spacecraft, because it terrified him.

It looked like the Death Star.

It was a military project that had been designed to stay in orbit over the Soviet Union and destroy them at a moment’s notice.

After the Cuban Missile Crisis, Kennedy killed the project.

But in this fictional narrative, it’s intended to be a life-well for humanity.

If we kill everyone on Earth, these people and their descendants will make sure humanity survives."

 

-Writer Philip Levins, SciFiNow Online-

 

 

Ascension may be an imperfect bit of science fiction, but it does offer a fairly intriguing alternate reality story within the generation ship subgenre. Within it are a host of interesting science fiction ideas that give pause for reflection even if execution isn't perfect as an entertainment. Be sure to visit a full review of our three part analysis of Ascension here.

Ascension: Night 3

"This ship landed?"

-Stockyard Master John Stokes-

 

"You never left."

-Samantha Krueger-

The shit hits the proverbial fan in a generally enthralling third and final act.

There is a great irony to the idea of the generation ship as lifeboat. With the Ascension we have a boat for the generations, a true generation ship, but it is a facade, a trap, a container for living and dying, but ultimately a lie. It's a boat to nowhere. And speaking of life, are these people truly alive?



Ascension culminates in Ascension, Night 3, with a ceremony called Ostara whereby men and women's names are matched or paired and selected by a birthing computer. "No man or woman will reproduce who has not been selected from the birth list." An unsanctioned birth results in an unclaimed child. There are ramifications here based on this rule. Ascension takes on a whole new level of creepy in Night 3 as the inhabitants aboard the generation ship are forced to live by a set of self-contained guidelines. These confining rules suppress freedom and further amplify the prison-like nature of their severed, tiny universe.



The fertility festival is by its very design established out of a necessity of survival. Humanity is attempting to ensure humanity endures ignorant of the true reality. It is the ultimate program in eugenics. Survival is also about improving the genetic make-up of the human race. There is also a class structure that has hardened aboard the U.S.S. Ascension that also facilitates and feeds the program again echoing a population that has stagnated culturally and socially back to the era from which the project was spawned.



But what is the end game? Is it a legacy for those aboard Ascension? Or is there something more nefarious in play by those in control of the experiment? Night 3 takes us toward the long view of the project.

On Ascension humankind has relinquished the freedoms to meet, fall in love and procreate by choice, instead turning the reins aboard the vessel over to science and math to ensure the survivability of the human race.



On the Ascension people live in a bubble, in effect, focused on developing science and advancing technology at rates of speed much higher than they would on the outside world. The belief by Abraham Enzmann is that the human mind, too, would develop generationally into something well beyond the average ordinary human mind if left uninhibited or unmolested thus the control variable. Christa Valis is the first known product of this grand experiment on humanity---she is the result of controlled evolution. She is a child with Akira-like powers, an evolution also visited upon in the Rian Johnson film Looper (2012).



Thus, as noted once earlier, my complaints about not seeing enough of the Ascension vessel herself were somewhat unfounded. This is after all not technically a space ship-based science fiction. It is and it isn't. It's at least logical why we don't see the U.S.S. Ascension like Babylon 5 or the U.S.S. Enterprise or Destiny, Ascension is about human interaction within a contained environment. It's an experiment an in keeping with science fiction themes and concepts. Unfortunately Ascension isn't entirely well-executed science fiction and as a result is not a fantastic mini-series. It's good. It's decent, but it's not essential unfortunately. However it is a story with a beginning, middle and end, but not one that hasn't been written and/or executed by science fiction authors to greater effect in literary form. But things come to a rousing, generally satisfying conclusion and much of the chaos coalesces within the narrative in Night 3. It doesn't short change the viewer like so many failed or canceled series.



Additionally pacing picks up for the final installment as things begin to completely unravel and efforts are made to contain and continue to conceal the illusion of Ascension to its residents within. A much needed bit of energy is infused into its conclusion. The writers and creators bring their best conflict-resolution to the third act. While not as convincing as Battlestar Galactica's mini-series all of the components and characters were in place to continue the story, but as it stands Ascension is better served as a short series allowing are imaginations to fill in the holes.



There is a terrific sequence whereby wave interference from the outside comes across monitors and James Toback catches a glimpse of something extraordinary of which he has never seen. Gordon Shumway is spotted on a television monitor. Yes, friendly, strange, little, extraterrestrial Alf.

For the sci-fi geeks there are tributes to sci-fi like Forbidden Planet, an I Grock Spock bumper sticker and other notable moments that enhance an entertaining finale.

Character development is merely cursory to the mini-series, though Tricia Helfer shines in this installment as the seductive, venomous but also vulnerable Viondra.



Performances by Brad Carter as Stokes, the underrated Ryan Robbins as Duke Vanderhaus, John Ralston as Dr. Robert Bryce (the man and mole handling experimental operations on the inside) and others are also at their best in this last act.

And one final point, I still have difficulty wrapping my head around the fact there would be sufficient enough technology, top secret or not, to generate an Ascension program fifty-one years ago. This is part of the suspension of disbelief in this sci-fi tale. However, the 1960s aesthetic is well placed in production, writing and wardrobe throughout the ship.



Offering some insight into Ascension's production, Helfer explained to TV.com that the characters' "morals and the values that they're dealing with are still from the 60s. The society on the ship is very hierarchical.... Viondra started out on the lower decks but rose through the ranks, as did her husband. They're a power couple. Viondra will do anything to stay in power."

Creator Philip Levens explained to Zap2it, "Ascension will explore how technology has evolved on the ship and the way morality is still rooted in an early '60s, pre-Civil Rights Act view [of] humanity."



Ascension, on thematic terms, analyzes our humanity like any sound science fiction tale should when taking a step back from it. Ascension asks us to question what is real and what is artifice. Is what we see manufactured, digitally reproduced, artificial or authentic? Even today, when we view television, is what we see a physical reality or a digitally created construct? Ascension wants us to ask these questions. Are we steered by forces around us to facts or truths that aren't true at all? We are asked to wonder if what is before us is real or truth. But with shifting agendas, computer technology and television we wonder what isn't a deception or illusion and ask can anything really be trusted today?



Ascension also begs the question of morality. How far should we be able to go with our fellow man? Is it ethical to manipulate the lives of others for a perceived end however just, noble or beneficial? Or does playing God present a moral dilemma?

As noted earlier, Ascension analyzes the social animal and human behavior. Despite being placed in a controlled environment hierarchies still exist and the quest for power remains an aphrodisiac leaving the potential for utopia an impossibility. Questions of class, obedience and coming of age are all relevant components on a series that has splintered and developed its thinking from the 1960s and moved in a unique direction from our Earth reality. Nevertheless, controlled environment or not, the same problems and issues persist.



Finally, Ascension also deals with the evolution of humankind and the mind and the idea space travel or time travel can be achieved through tapping the potential of the mind. Are space ships and transporter rooms really a requirement? Ascension essentially proffers the idea of a generational human incubator for the evolution of humankind and the mind. This component of a child representing the evolution of man and where it might go presents the greatest science fiction potential here beyond the mini-series had it continued.



When the Battlestar Galactica mini-series arrived it was clear how exceptional it was. It was an easy decision to pick that property up for a series, but Ascension fails to sell its viability as a long-term series. We may never understand the omission of wisdom by SyFy in not renewing Stargate Universe for a third season, but Ascension gives SyFy plenty of justification in not moving the story forward. By comparison, it's better than Caprica but nowhere near as good as a Battlestar Galactica or SGU.

Despite the fact it took oddly 51 years to unravel, for those interested Ascension is buoyed by fine performances and does rally in Night 3 pulling all of its story elements together reasonably well for this lifeboat concept.

Sadly, despite all of these efforts, the worthy Ascension was the recipient of a DVD only release treatment. What a shame. Still, a mild recommendation goes out to the mini-series particularly for the science fiction fan.

Writer: Melody Fox/ Philip Levens.
Director: Mairzee Almas (Defiance, The 100)/ Nicholas Copus (Painkiller Jane, The 4400).

Ascension Night 1 here.
Ascension Night 2 here.

 

Ascension: Night 2

"Trap"
-A clue from Lorelei Wright-

 

"I pledge allegiance to the flag of the United States of America and to this mission to which we're bound. One people under God for the hope and future of humanity."

We continue with the murder mystery/space drama/sci-fi-based concept that is Ascension with Ascension, Night 2, the second of two parts.

The story centers on a Twin Peaks-styled Who Killed Laura Palmer?-like mystery to lure characters out of their fictional universe. Only the story is theoretically space-based minus the overly eccentric trappings of David Lynch's storytelling. In this case the young woman killed was Lorelei Wright. Who Killed Lorelei Wright?




Ascension Night 1 revealed this was a 100 year journey at the 51st year mark. Ascension was also in fact a great social experiment inside of a top secret government facility.

All of the inhabitants aboard the vessel were chosen, like Dr. Juliet Bryce, and have lived aboard the ship for fifty-one years under the illusion they are not in Kansas anymore but rather outer space.



Earth is a great distance from their current position and point in space as they make their way to Alpha Centauri. All of it is entirely the work of fiction a la The Truman Show (1998).

It's an intriguing experiment on human behavior and of the sociological and psychological impact. In many ways time has stood still on the vessel. People exist each with their respective roles to the end of the collective. Like North Koreans or a secluded tribe in the Amazon, what they know is all they have been provided. What they are aware of is their unique reality.



Will the sociological experiment be compromised or revealed?

Only a young child named Christa Valis knows Globus is watching. She has untapped abilities and she sees things others cannot. Is this a product of adaptation? Is it merely a gift?

Scoring work is provided by Canadian Trevor Morris and while it may not reach the soaring heights of Joel Goldsmith's still unreleased and remarkable Stargate Universe (2009-2011) compositions it does elevate the quality of Ascension and enhances a number of stirring moments elevating the dramatic tone. Sadly, it is yet another score, along with Stargate Universe, Dark Matter (2015-present) and The Expanse (2015-present) that are simply unavailable to the consumer.



More is learned of an event called the inferno incident, an accident pertaining to a cobalt generator.

This secret project is directed by Harris Enzmann, the son of Abraham Enzmann who initiated the project in the 1960s. Enzmann plans to keep the illusion going under the direction of a Director Katherine Warren. As Enzmann notes Ascension was "designed to test the long-term viability of inner generational space flight."



Building upon the unraveling of the illusion and the murder an explosion occurs in the Terra Lab. With messages on the wall like No Future, who is behind these terrible events?

Director Katherine Warren has hired an outside investigator in Samantha Krueger.

A character named John Stokes was essentially "spaced" (blown out an airlock, into reality and out of the experiment) at the end of Night 1, but here exits the experiment into a lockdown complete with psychotic break.



Aboard the Ascension more time is spent at the fake, artificial beach for a number of characters. Lorelei's body was found at the beach.

But this synthetic reality, as a result of these events, is becoming more and more difficult to contain. The illusion is beginning to exhibit cracks. Executive Officer (XO) Aaron Gault is getting closer to the truth like Fox Mulder. Like Mulder he is a dogged pursuer of truth and justice. Born in the lower decks Gault has become a true professional.



Sex, lies and videotape are literally happening aboard the microcosm of life that is the Ascension. Politics internal and external to the experiment swirl as lives are manipulated accordingly. Passive class warfare and more is also in the offering and on display in this space Titanic.

Ultimately, Ascension Night 2 doesn't leave quite the intriguing mark as Night 1. The concept of children with special powers bubbles to the forefront by the end of Night 2. We're also left to question how far are governments will go utilizing people as mere guinea pigs, but I'm on the fence to recommend Ascension at this point. The verdict is still out. There are a great many characters and the sci-fi portion of the story doesn't deliver the kind of catnip that immerses a sci-fi fan into Dark Matter or that established fans adored in series like Battlestar Galactica and Stargate Universe. But this is a different animal. This is much more a story of ideas. It's indeed a very different space illusion, but the science fiction components are very much in place. Tricia Helfer, while terrific, the drama in play isn't quite as compelling as the best sci-fi has to offer.



Though production is generally top notch we'll discover if Ascension concludes its conceptual journey on a high note with Night 3 or if this is but a marginal exercise in science fiction within the generation ship subgenre that never quite reaches its full potential or destination like the Ascension. Time will tell and the folks aboard the Ascension have plenty.

Writer: Philip Levens/ Adrian A. Cruz.
Director: Vincenzo Natali (Splice)/ Rob Lieberman (The X-Files).

Up Next: Night 3.

Ascension Night 1 here.
Ascension Night 3 here.

It does have its moments.