Scifi TV Moms aka The Future of Motherhood

Flashback to the 1984 tv series V. Possibly the greatest
subliminal commercial for safe sex & teen abstinence.

In recent times, motherhood has been a dominant theme in various science fiction outings.

The representations vary from interesting to problematic—depending on your interpretation. That's what's great about television; it's a completely personal experience. You end up following a television show, returning episode after episode, because aspects of the narrative, or the characters, appeal. How, or why, varies greatly; sometimes a viewer can't explain the connection. That's the beauty of entertainment—the complex, incredible puzzle of what will appeal to the psyche.

Many people have spoken, and written, on the representation of motherhood across myriad forms of storytelling, so I'm barely dipping the tip of the nail of my tiniest toe into a giant pool, if not an ocean of thoughtful text on the subject. This blog focuses on recent science fiction television's fascination with motherhood, and my reaction to the angles taken, making this an opinion piece more than anything else.

But that's what I love about small screen fare. Everyone is free to reach their own conclusions (basically a mix of opinion and reaction), and can, in a sense, vote with their viewing for the continuation of programs that intrigue, relax, inspire, and/or entertain them. 

Here are my thoughts on the concept of motherhood in the following (relatively fresh) science fiction outings, and the role it played (pardon the pun) in the narrative:

CONTINUUM

Kira aptly holding the key to the
past, present, and future in her hands.

For me, the presence of motherhood in the narrative worked wonderfully in this series. Since this is a beautifully written, thematically complex offering that's probably not surprising. Unlike many other scifi shows that have a grand concept they never explore properly, or characters that lack a certain psychological subtlety, Continuum delivers on all fronts.

Kiera's motherhood is used to tether the character to her original timeline, and to show the audience softer elements of her personality (in contrast to her rigid future cop default workplace persona). 

When it came to establishing an emotional tether, her husband wasn't an option because of their flawed relationship. If she'd ignored all the signs the future she came from was corrupt and questionable just to return to a romantic interest, the audience would have been disappointed, given her character growth during the series. (Also, making him unfaithful freed her up romantically in the present day.)

Her son is a different story. To let go of the timeline she came from would most likely erase his existence, a shockingly difficult act to ask of a mother. As Keira becomes more and more aware that clinging to her old timeline may not be the best choice for society, she continues to do so in great part because her son's existence depends on it. This situation fuels the character's inner conflict, a struggle that feels believable to the audience. 

ORPHAN BLACK

Sarah and Helena.
(Helena is actually my favorite character.)

I haven't seen all episodes currently available, because while I very much enjoy this series and find it entertaining, I don't consider it great scifi. For me the clone characters are too close to caricatures, and often elements of the storyline feel oversimplified. I think the zany humor glosses over the gaps, but unlike most of my friends who would give it a rave 4.75 out of 5, I'd be more inclined to lean toward 3.5.

Once again, motherhood fuels the story from the get-go. The character of Sarah is motivated by the desire to reclaim custody of her daughter Kira. (Personally, I feel the kid was better off with Mrs. S.) Sarah is a flawed hero, and while I like her, frankly she's a bit annoying onscreen. Her love for her daughter is repeatedly touted, referenced by herself and other characters, to the point where it seems in danger of becoming her only defining element.

She's constantly vowing to get her daughter back, threatening anyone who could potentially be a threat to Kira, impulsively dashing here and there when she feels the child may be in danger. For me, she's way too erratic a character, and borders on the traditionally histrionic representation of the mother.

Interestingly enough, Kira seems to exhibit precog skills now and again and occasionally appears more like the parent in the relationship. In this case it's the child character making the motherhood narrative more rounded. Likewise, linking the fertility aspect of the storyline to the health of the clones is a clever twist that makes the motherhood arc even more relevant to the series; a reveal that highlighted some nice writing. 

EXTANT

Space: not as lonely as it's cracked up to be.

From the get-go, Extant struggled under the weight of exceedingly complex themes. I'm guessing the goal was to provide a bridging character for the audience, hence the lead's desire for motherhood, but given the resulting low ratings I think it's clear something was lost in delivery.

For me, Halle Berry's character Molly spends most of the first season a victim. In my mind this is different to a lead that has been victimized; their narrative journey is generally one of self empowerment, in that they find a way to fight back or move forward, even if it's more metaphoric, or emotional. A subtle difference, sure, but a distinction the audience often picks up on. While searching for answers, Molly seems permanently on the edge of hysteria, and despite being so brilliant she made it to space, doesn't appear capable of unraveling what happened to her in a way that empowers the character.

I think the idea was to make her less superhero, more relatable, but she presents too simplistically. I guess I expected more from the lead. Just when you think she's uncovered a new clue she could potentially utilize to gain control of the narrative, the situation repeatedly slips through her fingers. Rather than drawing me in, her lackluster and often shortsighted efforts to unearth the truth both aggravate and alienate.

Making her son at home (basically) a robot and impregnating her with an alien child were story choices that muddied the waters more than anything else. Obviously the goal was to extrapolate on and explore current and potential societal issues (in this case, the "otherness" of alien and AI life, and humanities potential emotional connections) which is one of science fiction's traditional roles, but the plot struggles to do so in an engaging way. Thematically, motherhood fails to tie in seamlessly, as does grief: usually the long-term impact of grief stokes the fires of empathy, but even the reappearance of the dead didn't completely engage me.

I'm yet to catch the next season, but am planning to tune in. Extant is one of those shows where you sense what they're striving for, and I want to see if they manage to hit their stride in the second season.

FALLING SKIES

Is it just me mom, or does my
transformation feel vaguely familiar?

My viewing relationship with Falling Skies has always been problematic. Partly because it maintains the American TV trend for long, flowing, well-conditioned hair on female characters, despite an apocalyptic setting. (Or the fact they're working in the medical section of the camp and really should tie those strands back properly.) 

Aside from that, and a slew of logistical issues (don't get me started), I was interested to see how they would approach Dr. Anne's pregnancy and mothering of Lexi. I was seriously disappointed by the storyline that saw Anne, separated from Tom, search for her daughter while leading a group of people—and essentially lose it.

Basically Anne acts like a crazy person and puts everyone in jeopardy—not to mention is responsible for the slaughter of an innocent truck driver who was trying to save a group of children. Eventually she pushes herself so hard she collapses with a fever. 

Unlike Tom Mason, a character consistently empowered by his role as a father, becoming a mother transforms Dr. Anne Glass into a manic, obsessive, and questionable leader. When Tom's sons are threatened throughout the series, more often than not the character becomes wise and focused, the emotional bond giving him strength and propelling him into action. In stark contrast, a similar scenario sees Anne overwrought and irrational, her judgment skewed by that gosh darn maternal drive.

As for the actual mothering element, the show overcomes the hassle of introducing a baby on set by adding alien genetic tampering for accelerated growth. (Yes, like the eighties television series V, where Robin's baby Elizabeth quickly reached her teenage years, complete with a similar transformative cocoon.) 

Lexi dies in a moment of self-sacrifice, but prior to this most of her time on the series is spent alienated from Anne, wasting a potentially interesting dynamic. The Lexi plotline shifted to focus on her father/daughter relationship with Tom, because the golden rule in Falling Skies is IT'S ALWAYS ABOUT TOM.

HUMANS

Anita and Laura attempt to reach an uneasy compromise.

At this point (only a few episodes in) Humans feels like a good show but not a scifi classic. I guess my qualms are the broad generalizations. Humans are portrayed as somewhat limited, cruel, and awful. The Synths (robots/androids) are either automatons or innocent victims due to sentience. A few exceptions, but overall, the status quo holds.

Artificial intelligence is prime fodder for scifi exploration, but this feels jaded. And it plays into the idea if you give people permission to indulge in cruelty, they will. The series is fundamentally too pessimistic for my tastes; I believe people would be more likely to become emotionally attached to Synths.

In regards to the blog theme of motherhood in scifi, the series offers the human character Sarah. When her husband purchases a Synth called Anita, the script extrapolates beyond the uncomfortableness a working woman may experience when a nanny or housekeeper begins to fulfill aspects of the mother's traditional role in the home.

Unfortunately after the first two episodes I found Laura so unlikeable I would have been okay with the Synth accidentally knocking her off and burying her in the garden. When Laura asks, "Do you think we love our children because we choose to, or because we have to? Are we hardwired to love them because that's what nature needs to keep it all going?" it doesn't make the character any more likeable.

Anita exhibits traits traditionally considered positive and often associated with motherhood. Laura's protectiveness is expressed in a more aggressive, resentful, even hateful way, seemingly inspired by fear, a representation that doesn't say much for modern mothers. In case you missed the dichotomy at work, the point is then expressed in dialogue that infers one character's actions are a result of logic, the other of love—no matter how erratically said emotion is expressed. 

For me, it's too heavy handed an allocation; I prefer a more subtle script, and frankly, a less bleak take on humanity. Perhaps I'll check out the Swedish version, which I've been told has a slightly more upbeat feel.*

*Side note: A number of the cast (William Hurt, Gemma Chan, and Colin Morgan) are so standout, they make up for the less impressive scenes.

SENSE8 

A chaotic, emotive hit and miss series.

Because the program was sold to me primarily as a science fiction series I wasn't impressed with the pilot episode. In reality this is a drama, and better viewed as such. The core science fiction element provides a narrative tool to intertwine the characters (literally). The rest of the scifi aspects are perfunctory at best: evil corporation and all.

After giving up on the series, I ended up watching the rest of the episodes while sick with a virus, and discovered at heart it's about connections—physical and/or emotional—and self-discovery. The inclusion of what amounts to a psychic link (more or less) primarily serves to up the intensity.

The unfolding story of the character Riley, culminating in the season finale, was brilliant. The loss of a baby, whether stillborn or shortly after birth, is obviously horrific. The impact is far-reaching, and I felt the character's subsequent evolution (explained backward from the present day, piece by piece) was fascinating. At first I felt no real connection to the character, but by the time she's presented to the audience in a flashback as an almost unrecognizable innocent brunette, I felt a strong empathic link.

While many elements of Sense8 are weak, and occasionally overindulgent, evoking an emotional response in the audience is one of the showa greatest strengths. I loved the broad spectrum of women presented in the series, and I think Riley's tragic experience of motherhood is one of the strongest representations of the maternal experience I've seen onscreen in a while.

When Riley was forced to confront the location where she lost the baby, and decides to give up on life, her deep-rooted despair leaked from the screen. I've used the image with Will here not because he saved her, but because he helped her reach an emotional place where she found the strength to save them both.

Extant Me, But This Is Terrible.

I really wanted Extant to work. I've lamented before on the uneven quality of recent genre television efforts, but I'll admit, I had high hopes for Extant. Big stars, big budget, big network. What could go wrong?

I suppose its greatest crime is the fact that at heart, Extant is boring, and science fiction should never be boring. On occasion, scifi tv shows might be too violent, overly ambitious, fall back on beloved but well-worn tropes... never just dull, though. Even the horrible mess that is Defiance (terrible, bordering on God-awful), isn't actually dull.

With Extant, it's like the futuristic beige costuming seeped through other layers of the production and beiged my brain.

Beige out.

So I decided to think about why exactly it doesn't work, instead of vaguely slamming it. I mean, the premise is full of promise; an astronaut (Molly, played by Halle Berry) on a solo mission for a year, returns to earth to find herself pregnant. Throw in a robot child, and theoretically, you should be golden (totally wanted to work in some kind of clever reference to PK Dick's novella The Golden Man here, but alas, nothing.)

In an attempt to define why the show falls so flat (and hopefully never replicate the error), I've focused on elements that negatively impacted my viewing experience:

For God's Sake, Hurry Up!

Pacing may be part of the problem. Extant looks like a beautiful movie (especially in terms of production) but it hasn't mastered the faster pacing required in today's television world. Events spread out over the first three or four episodes (and boy do I mean spread out) should have all happened in the pilot. 

Don't get me wrong, I'm a fan of slow paced material (Solaris lover, right here), but only if it's literally seething with thematic complexity. This material should be, but it just isn't - the ideas feel dumbed down for mass consumption.

You get the impression Extant underestimates its audience, and the audience can tell.

John's "robots are exactly the same as real people" schtick,
and the fact this is so obviously his fatal character flaw,
gets real old, real fast.

Dramatic Tension and Reveals that Reveal... Not Much I Hadn't Guessed In 20 Seconds

A big issue is the handling of narrative tension. The few times Extant managed to build it, the narrative threads didn't POP like a balloon (ie with a wild crescendo of drama and revelations). Instead, storylines proved to be more like a balloon blown up with an unseen hole in it; the narrative tension just fizzled out, leaving the audience deflated.

Example? Fellow astronaut Harmon, supposedly dead, who appears in Molly's driveway one night, does the whole "trust no one" shtick and then "vanishes". Fantastic, because who doesn't love a good conspiracy? 

I thought he was going to be part of some vast underground network fighting government/corporate (sadly these labels are now almost interchangeable) "baddies", and an intense web of hidden truths would be revealed bit by bit... 

Couple of episodes later, turns out he's "hiding" in an old caravan by itself on the edge of a deserted cliff (cause THAT'S not conspicuous) and his message is basically, yeah, they did something weird to us/something weird happened to us, in space.

Uh huh.

Seriously Harmon that's ALL you've got?!

Obviously Harmon is rebelling. The man's wearing green, for God sake.

Worse, his secret location is so secret that Molly drives there whenever she wants to chat about, you know, crazy space stuff. The guy faked his own death! Top tip Molly: When under surveillance, maybe you shouldn't drive in what is probably the company car, straight to your paranoid supposed-to-be-dead co-worker's door.

This disappointing mess (in regard to reveals) is a recurring issue. Extant borrows a lot of scifi ideas but can't quite figure out how to run with them, or more accurately, how to utilise them in a way that intrigues the viewer (similar to Flash Forward, a show that alluded to potentially thought-provoking notions but couldn't offer a complex enough script to honour said concepts).

Molly's Boring And Epically Self Indulgent Emotional Turmoil

Don't even get me started on this one. 

Soooo much of the first few episodes revolves around Molly's reluctance to tell her husband what is happening to her. Which, let's face it, is REALLY ANNOYING. She disappears for hours at a time, acts vague/distant, he's not happy about it, and this results in constant conflict that is incredibly lame to watch. By the third episode I was so tired of her I kind of didn't care who'd knocked her up.

Maybe Halle Berry's "star power" is the problem, in that too many pointless scenes are dedicated to her character's inner turmoil and personal journey because emoting equals Emmy? Who knows.

Ironically, the alien impersonating Molly's dead human husband
 feels like the most "real" character so far. That can't be good.

Minor Characters With Better Stories Than The Lead, But With Minimal Screen Time

Potentially fascinating narrative threads for interesting minor characters are hinted at, but not really explored, the camera too busy returning to Molly mulling over her internal conflicts, insecurities, and fears (that to reiterate, deserve much less screen time!).

As the current big baddie (from what the audience can tell), Yasumoto feels under-utilised. Researcher Julie's frustrations with her (sort of) surrogate mother relationship to the robot child, and her professional "wife" connection with Molly's husband John, is actually a much more interesting (almost maternal) relationship narrative than the core motherhood plot, but is only hinted at/inferred, rather than focused on.

The lab scenes are actually interesting, hence they're kept to a minimum.

Are the show's creators putting in place storylines for a seven year run and therefore taking their sweet time getting anywhere? Perhaps they should have focused more on engaging the audience during the first season, if they wanted a second one to play with...!

The potentially fascinating shadowy corporate power figure
has already been dulled down a tad.
Continuum, this aint.

High End Suburbs Will Always Be High End Suburbs, Please Go Back To Space

Go back to space Molly. We liked space.

Strangely, the scenes in space, designed to show Molly isolated in a sterile environment, don't feel that different from the scenes at home. If this was intentional, it would be clever, but I think it might be accidental - it's obvious the homely moments are intended to be warm and fuzzy (hence the "warm" lighting, because whoever works on this show follows these kind of rules ad nauseam) but they just manifest as bland. 

Turns out, even in the future, when facing (possible) alien impregnation and dealing (really badly) with The Good Son robot child, yuppies are still kind of boring.

 

The party scene, where some of the future-people wore colour
for early evening drinks in the lounge room
and my eyes nearly died of excitement.

Molly and John Are God Awful Parents

Ironic, given that motherhood, and by extension parenthood, are such major themes here. Molly's interest in robot child Ethan is lacklustre at best, and for John he's an extension of his professional ego.

What's possibly creepier is that the show honestly thinks the occasional pat on the head and five minutes of attention is enough to convince the audience Molly and John are wonderful, loving parents. Yeah, that's reall-y not how it comes across.

Their negligence toward Ethan is astounding. Molly is subconsciously judging and monitoring the kid 24/7, to the point where any time he doesn't act like an extra from Stepford Wives, he's instantly Children of the Corn, and she freaks. John is basically every pushy parent, tenfold. Sending Ethan to school was the cruelest thing I've seen a character do on television this year.

I think the fact their child was upset and had gone to bed during his mother's birthday party, in their own home, and neither parent EVEN NOTICED, pretty much said it all... 

(That the scriptwriters think this is a valid representation/portrayal of great parenting is actually more interesting, and more disturbing, than the material in the actual show.)

Kid, even robots deserve decent parents.

(Just when we all thought Gossip Girl maxed out 

the self-absorbed parents quota with Lily and Rufus.)

Finally, An Overall Disrespect For The Genre

In my mind, science fiction is clever and well thought out, addressing complex societal fears and attempts to comment on difficult issues facing humanity in a way that both entertains and inspires thought/discussion.

At its core, Extant is mundane, something scifi should never be.

Family dinner in the Land of Beige.
(I'm amazed that uber-green salad made it to the table.)

Coming Up...

These twenty new tv shows are worth considering, although I'm not getting excited until at least the third episode mark (ie once they've survived the early cancellation round).

A couple of upcoming shows don't have easily accessible trailers yet, like iZombie (from the creator of Veronica Mars), Battle Creek (from the creator of Breaking Bad), and Messengers (since the CW gave us The 100, I'm looking on the network's scifi efforts favourably). So, not ignoring, just reluctant to comment without seeing at least thirty seconds of footage - regardless of the production team's pedigree or how good the series seems conceptually.

In no particular order:

1. Extant

Plot: An astronaut returns to Earth after a thirteen month solo mission to discover she's pregnant. Also, her husband made them a robot child while she was away... 
My reaction: Movie quality Spielberg entertainment. Conspiracies, complex family themes, probably aliens, all beautifully presented (editing, sound, brilliant actors, etc). CAN'T WAIT.
Cast: Mega-top notch. Halle Berry, Camryn Manheim, and Goran Visnjic, for starters.

2. Madam Secretary
Plot: Former CIA analyst becomes the Secretary of State, at the President's request.
My reaction: She's too... I don't know. Something in this trailer isn't clicking. I want to love it. Maybe the pilot will sell it better?
Cast: Glad to see Tea Leoni in a small screen leading role.

3. State of Affairs

Plot: CIA agent, who dated the president's son before his death, becomes said president's daily briefer.
My reaction: I'm in. I like Katherine Heigl and believe she deserves better than rom-coms. Story-wise, I can take some overly-dramatic/unrealistic moments in the name of good drama. 
Cast: Aside from Heigl, the wonderful Alfre Woodard. And Parker from Buffy! (Adam Kaufman's great).

4. The Leftovers
Plot: Two percent of the world's population mysteriously disappears, and those left aren't handling it well.

My reaction: Come on, it's HBO. That's enough of a reason to give this one a shot; in recent years the network's been hitting it out of the park. 
Cast: Includes Liv Tyler, and that blonde guy who's appeared in many relatively low grade teen shows (Secret Circle, 90210, Twisted, 10 Things I Hate About You). Glad to see he's graduated.

5. Scorpion

Plot: A bunch of geniuses start a company and end up, you know, sort of almost saving the world a lot.
My reaction: Still on the fence here. Could be fun, I love clever characters, but still, might go wrong. Requires cerebral writers, so let's hope the plots hold up.
Cast: The trailer just finished and I've already forgotten them. That's not a good sign, is it?

6. Gotham
Plot:  Focuses on the city of Gotham when Batman was still just a kid. 
My reaction: Oh, so very many fan boys and fan girls waiting for this one. I'm not really into Batman, but I'll see it so I can have a conversation with DC comic-loving friends.
Cast: Donal Logue and Ben McKenzie. Both solid talents.

7. The Flash
Plot: Scientist struck by lightning discovers he can now move superhumanly quickly. (I can't believe I just made The Flash sound so boring!).
My reaction: Superhero shows are fun and they obviously tap into something in the modern psyche (I mean, the number of youtube views on this trailer alone is wild).
Cast: Mostly young and pretty (because hello, this is the CW).

8. Manhattan
Plot: Scientists in New Mexico rush to build the first atomic bomb.
My reaction: Strange that a show about atomic bomb testing somehow seems so poetic and kind of beautiful. Heard some good things, can't wait to view.
Cast: I saw Olivia Williams (most under-rated modern actress) in a promo shot. Not sure how many episodes she's in, but those are the ones I'll be watching!

9. Halt and Catch Fire
Plot: It's the eighties and the computer revolution is happening, man. Or something like that.
My reaction: The energy of this one catches me. Maybe it's just a great trailer, but I don't think that's all it is. Can't wait to watch the pilot, I'm really curious.
Cast: Relative unknowns albeit with extremely cool bios.

10. Outlander
Plot: A married nurse from 1945 is thrown back in time to the 1700s (and also forced to marry).
My reaction: Interested to see if this will work because there's a whole heap of women-oriented time travel fiction out there, basically a (pretty much) untapped market cinematically.
Cast: Generally relative unknowns who look like they're doing a good, possibly great, job.

11. The Whispers
Plot: Imaginary friends turn out to be aliens getting kids to do bad stuff that will help the invisible invaders take over the world (well, I'm guessing that's the end game?).
My reaction: This idea is so fabulous I am angry at myself for a) not thinking of it first and b) not pitching it first. Definitely the kind of scifi I like. 
Cast: Total fan of Autumn Reeser (fantastic in Last Resort), but it kind of looks like she dies in the pilot?? Hopefully not! 

12. Legends
Plot: An undercover operative is having some identity issues. I sense multiple conspiracies! Good times.
My reaction: Glad to see Sean Bean starring in a series. Not only because he's a fantastic talent, but because, theoretically, it should make it harder to kill him off again. Right? RIGHT?
Cast: Ned Stark.

13. The Last Ship
Plot: A virus has wiped out most of the earth's population, but this lot look like they may have found the key to the cure.
My reaction: Michael Bay executive produces (which pretty much means nothing to me). I've listed the series because there are a number of great actors in the mix. Combined, they could probably make a commercial appear deep. Ocean deep. (Yes, I went there.)
Cast: Eric Dane, Rhona Mitra, Adam Baldwin? I want on that boat!

14. Forever

Plot: A kooky medical examiner who can't die works on cases with a widowed no-nonsense cop.

My reaction: Let's face it, Castle isn't going to last forever. This is in the Castle mould (albeit with a supernatural twist), but I think the ABC knows how to make this style of odd couple procedural work.

Cast: Ioan Gruffudd and Alana De La Garza. Solid leads.

15. Secrets and Lies
Plot: A guy who finds the body of a neighbour's kid while jogging becomes the lead suspect in the murder.
My reaction: This is a remake of an Aussie series, but it looks way better than the Down Under effort. I don't watch (that many) procedurals, but this looks fab.
Cast: Juliette Lewis and Ryane Phillippe face off. Both under-appreciated. Should be brilliant.

16. Gracepoint

Plot: A small town is shaken when a boy is murdered and (almost) everyone becomes a possible suspect.

My reaction: A remake of the British show, but in this case, I think the Brits probably did it better. 

Cast: At least they were smart enough to import David Tennant. 

17. Crossbones

Plot: The high sea adventures of legendary pilot Blackbeard in the 1700s.

My reaction: True, pirates aren't doing so well on the small screen of late, but when in doubt, it helps to cast one of the greatest actors alive today.

Cast: Hello, John Malkovich Being John Malk- no, wait, he's being Blackbeard. Whatever, I'm in.

18. Constantine

Plot: The Hellblazer character Constantine is brought to the small screen.

My reaction: I'm having visions of cancellation. Flashback to The Dresden Files, ie great source material made into a show that just isn't translating well to television.

Cast: No one I find inspiring, frankly. (Wondering why I've included this? A combination of optimism and peer pressure.)

19. The Knick

Plot: A hospital drama, but this one's set in the early 1900s at New York's Knickerbocker Hospital.

My reaction: Am guessing Steven Soderbergh finds medical advancement in the early 1900s extremely interesting, and this is probably very good, but I don't think my stomach could take it. 

Cast: Clive Owen, because when you're Steven Soderbergh, you aim high.

20. The Strain
Plot: A doctor at the New York Centre For Disease Control has to combat the spread of a virus whose symptoms look familiar... (Apparently these vampire types are NOT pretty.)
My reaction: No real trailer yet, so I'm breaking my own rules, but come on, Guillermo del Toro, people. 
Cast: Some creepy, very good actors like David Bradley and Nikolai Witschl.