Frank Spotnitz’s New Sci-Fi Series Promises to Challenge Humanity’s Understanding of Aliens!

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Frank Spotnitz, executive producer and writer for “The X-Files,” along with his production company, Big Light Productions based in London, have signed on as co-producers for the Swedish sci-fi series “We Come in Peace.” This information was obtained exclusively by EbMaster just before the London TV Screenings. Spotnitz will serve both as writing supervisor and executive producer, working alongside Adrian Banyard from Big Light Productions.

The recently completed six-episode TV series produced in Sweden is represented internationally by Newen Connect. On February 25, they will showcase excerpts and creative content from this production to potential buyers worldwide at a gathering in London. Both creator/writer Spotnitz and the main Swedish producer Piodor Gustafsson (“Border,” “Lamb”) of Black Spark Film & TV will be present. These two professionals have a long history of working together – back when Gustafsson was a drama buyer and commissioner for the Swedish public broadcaster SVT, he acquired in 2012 the BBC series “Hunted” created by Spotnitz. More recently, Spotnitz has been teaching at the screenwriting training course Serial Eyes for the past twelve years, which Gustafsson co-founded.

The special nature of Spotnitz’s participation in “We Come in Peace” presents a dual aspect. Initially, it marks his debut on a non-English language production, despite his extensive experience with European mega-projects like the opulent RAI-funded “Leonardo” and the two seasons of “Medici,” jointly produced by Rai and Netflix. In this case, the series was commissioned by Swedish commercial broadcaster TV4, with Germany’s ZDF contributing as a co-producer.

Following this, it’s worth mentioning that ‘We Come in Peace’ marks Spotnitz’s first science fiction endeavor since the acclaimed “The X-Files,” a project that garnered him three Golden Globes and an Emmy nomination. Intrigued by the pilot script for ‘We Come in Peace’, he shared, “I’ve been offered numerous opportunities to delve into alien sci-fi dramas since ‘The X-Files’, but I always declined. However, when I read this script, my response was an emphatic ‘yes.’ For me, this isn’t just another science fiction series. It’s captivating, realistic, stimulating, and profoundly human.

We Come in Peace” is a creation of Swedish writer Lars Lundström, known for his successful sci-fi series ‘Real Humans’ on SVT and its English adaptation ‘Humans’ produced by Kudos for Channel 4. This grounded science fiction unfolds as a jellyfish-like object mysteriously appears in the Stockholm sky, causing widespread panic, fear, and confusion among the populace.

The primary characters include Elias Kazemi, portrayed by Fares Fares (from ‘Cairo Conspiracy’ and ‘Westworld’), who heads Sweden’s emergency response agency and struggles to control the growing public anxiety and external interference. Biologist Zandra Kraft, played by Evin Ahmad (of ‘Snabba Cash’), enters the scene, convinced she can communicate with the alien entity and teams up with Elias in her quest for understanding.

In due time, this enigmatic being unleashes an extraordinarily potent energy source that could sustain our planet indefinitely. Smaller beings, seemingly absorbing human DNA, begin to populate Sweden. As malevolent forces amass and chaos escalates, Zandra, Elias, and Prime Minister Moa Holmgren are left pondering whether these entities and their ‘mother’ signal the domination of mankind or our last hope for survival. This is the gist of the storyline.

Meaning of Life

The series seamlessly combines action-packed entertainment and thrilling mystery with thought-provoking discussions on our role within the cosmos, offering intellectual food for thought.

“Lundström expresses that our species currently lacks substantial knowledge about the cosmos, suggesting that future generations might regard us as rather uninformed. This notion was sparked by Lundström reading ‘Queer Nouveau 2.0’ by Anders Fager ten years ago and further developed during the pandemic, which lent a profound significance to this concept of humanity in transformation. In an instant, our species encountered a monumental crisis, forcing governments to respond under pressure while the public sought answers that both politicians and scientists found challenging to provide.”

Reflecting on the harmony between faith and reason in shaping our view of the universe, Gustafsson noted: “As science moves towards areas once dominated by religion, it becomes increasingly evident that concepts religious discourse has been discussing for millennia are only now being delved into by scientists. It seems that time and space may indeed be flexible, implying the existence of multiple dimensions.

As a non-religious individual, I find myself utterly captivated by the realm of religion, often referred to as the uncharted territory that science can’t fathom. Whether one believes in a higher power or not, it’s undeniable that the universe’s enigma demands our humility. We must remember to acknowledge the vast expanse of knowledge we don’t possess and may never discover.

Going beyond the series’ exploration of life’s purpose on Earth, Spotnitz praised Lundström’s intricate portrayal of human-alien dynamics. He explained that while many aspects of ‘The X-Files’ revolved around alien abductions and government conspiracies, films like ‘Independence Day’ depicted humans battling aliens. However, what sets ‘We Come in Peace’ apart is its focus on humans and our interpretations of aliens, offering insights into human nature through the various characters and their reactions to an initially mysterious object in the sky. Throughout the series, trust and suspicion oscillate as viewers are left uncertain about the true intentions of the alien presence.

For me, what truly captivates me about this series is how it mirrors contemporary geopolitics, leaving room for viewers to form their own opinions regarding who might be considered “the heroes or villains.

The story features two main characters, Zandra and Elias, along with several opposing forces. We’ve discussed at length with Lars about ensuring a balanced perspective for everyone involved. It’s important to note that there might be instances where the antagonists are correct and our protagonists could be in the wrong. This dynamic seems particularly pertinent and reflective of our current experiences,” Spotnitz explained.

Additionally, current events involve distrust towards government and the impact of misinformation. As stated by the U.S showrunner, “it plays a significant role in our series.” A key character is a teenager who struggles with these issues, as he has been influenced by them. I have four children who have grown up using social media, so I am aware of the challenges young people face when deciding what information to trust.

For Spotnitz, science fiction – a passion since childhood (“The Twilight Zone,” original “Star Trek” have left lasting impressions) – is the perfect genre that seamlessly blends entertainment and intellectual challenge. He asserts that “The X-Files” played a significant role in popularizing science fiction, and he feels this show has immense potential to draw a large audience.

Lost in Translation

Regarding his initial work on a foreign-language television series, Spotnitz mentioned that language barriers presented some difficulties during the translation of multiple drafts, making it a somewhat tricky process. Obtaining translations promptly was also a challenge. However, he was greatly impressed by the abundance of talent within the team, particularly Lundström’s knack for infusing numerous drafts with extraordinary ideas and subtle details. He praised Gustafsson’s production skills and TV4 Sweden’s significant contributions, describing them as “terrific.” Spotnitz added that they shared a common vision for the show and provided insightful notes that enhanced the narrative. This is not typically the case, he pointed out.

In Gustafsson’s perspective, another significant element in the creative blend of the series was director Jens Jonsson, who had previously collaborated on the 2008 film “The King of Ping Pong,” which won the Grand Jury Prize at Sundance. The producer remarked that “Jens is highly experienced; we knew he was drawn to the mysterious, and his background in graphic design made his early involvement simply wonderful.” Jonsson and episodic director Mani Maserrat-Agah (“Young Wallander,” “Box 21”) both share directing responsibilities for the series.

In my role as a supporter, I’d rephrase it like this: “As part of the Swedish team, I faced an immense task: creating a captivating sci-fi universe with a budget that barely touches Hollywood levels, yet remains high for European productions. While I can’t disclose the exact figures, let me tell you that our production costs for ‘We Come in Peace’ were significantly higher than the average €9 million ($9.5 million) spent on a six-episode Swedish series.

To keep expenses down, the production leaned heavily towards using Sound Effects (SFX) over Visual Effects (VFX), under the guidance of Tom Olsson, CEO of Infinite Entertainment (previously associated with visual effects company Goodbye Kansas). Working in collaboration with a vast team spread across three European regions, Olsson sought practical solutions.

Pivotal figures behind the early development of creatures and the universe were designers Alvaro Tapia and Eric Thunfors from Sweden, Belgian visual effects specialist Eric de Wulf, and Lithuanian artist Zilvinas. The unique character Baby Kasper was brought to life by acclaimed Göran Lundström, who has been nominated for an Oscar for his hair and makeup work in Ridley Scott’s “House of Gucci” and Ali Abbasi’s “Border”. Lundström collaborated on this project with Niklas Hermansson, a special effects expert from Fixas, who has worked on films such as “Triangle of Sadness” and “Border”.

From the beginning, our goals were lofty and distinct, and everyone contributed significantly to attain that exceptional standard,” remarked Gustafsson. He believes that miracles do occur when one is exceptionally dedicated and works intelligently.

Lithuania

95% of filming was done in Lithuania over a period of 55 days, with the remaining days spent in Sweden. Producer Gustafsson, working alongside local production service Dansu, praised Lithuania as an excellent choice for international filmmakers due to its generous 30% tax incentives, skilled workforce, and extended shooting hours. “Sweden’s tax rebate system has proven to be ineffective; we realized it would be challenging or impossible to utilize it,” said the producer, who also arranged for a Lithuanian crew to assist during the Swedish filming. In essence, Lithuania offers numerous benefits and is more accommodating compared to Sweden’s tax rebate system.

In terms of financial support, Newen Connect – a subsidiary of TF1 Group’s Newen Studios based in France – has been involved for more than two years now. They’ve contributed creatively to the global development of the show, financed its development and production, and helped devise the overall marketing and sales strategy. Gustafsson expressed his excitement, saying, “It’s been a lengthy process working with them, and we can’t wait to present our project to potential buyers in London.

In collaboration with Big Light Productions UK, ZDF Germany, and Lundström’s Snyggfin Production, the main series on TV4 was jointly produced by Infinite Entertainment Sweden, Dansu Lithuania, and Beside Productions Belgium, along with TV2 Norway, MTV Finland, and C More Denmark. This production also received funding from Nordisk Film & TV Fond and Creative Europe. The series is scheduled to premiere towards the end of 2025.

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2025-02-24 12:17