The document discusses audience expectations for science fiction based on historical context and how those expectations guide the look, story, and budget of sci-fi works. It then analyzes how sci-fi can provide critical dystopias by questioning power structures and maintaining hope. Invasions in sci-fi disrupt society but relationships, systems, and morals were already vulnerable. Invasions separate people into those who can change and those who give in to authority. There is no single fixed ideology among different invasion narratives due to their origins in authors and historical context.

1. Landscapes
&
Historical Context

2. Audience Expectations for Sci-Fi:
• Look
• space ships/robots/city-scapes
• Story
• tech/future/utopia/dystopia
• Budget
• set design/costuming
Audience Expectations guided
by Historical Context:
• Thatcher
• Recession
• Political Unrest
• Discussion Cold War “Ending”

3. US dominance
• Look
• Story
• Budget

4. Critical Dystopia
• Analyzing contemporary issues
– Current to the series’ release; often cyclical repetition
• Maintaining possibility for change
– Corruption, marginalization, social mobility
• Questions government structures
– Focuses on weaknesses of the system; shows how the
system can be fought
• Provides a sense of hope

6. Missing the Beat
• Expectations and
Historical Context
affect Financial Success
and thereby program
viability
• Narrative, empathy,
and sociology  yes
• Look, Budgets  no

7. Invasion TV
Context
Look
Budget
Story

8. Invasion Action
• Rural to City and Government to
Individual
• Disrupts existing, contemporary
world
• Mostly focused on battles at
Invasion’s beginning
• Ideal vs Cult
• Safe Haven vs Dictatorship
Power
Privilege
Institutional Power
Religion
 Congregating

9. Invasion Effects
• Relationships, systems, morals are vulnerable but not
caused by invasions
• Invasions separate humanity into those who can
change and those who give in/up
• Disorder and heightened conflict as effect of invasion
Paranoia amplified; authority and conformity both
challenged and negotiated
NO FIXED IDEOLOGY among different forms of Invasion
Narrative

10. Cultural Relativism
The text is posing that ideologies are
flexible because of texts’ origins
(authors bio, historical context,
market). It refers to the trope of
cultural relativism. In brief:
Meaning, moral beliefs etc. are
always and can ONLY be created and
derived from WITHIN a social system
in connection to its own contexts!