History Main / ScifiGhetto

20th Aug '16 9:47:23 AM Tre
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*** In a business decision that can only be regarded as insane, SyFy gave up the first run rights on ''Doctor Who'' to BBC America. BBC America, who unlike SyFy seem to [[AdoredByTheNetwork genuinely love the show]], have promoted it to death and the 2008-2010 specials (which SyFy refused to air) and the first Eleventh Doctor season gave BBC America its best ratings ''ever''. Even though it's easily among the highest rated non-American shows on American television, it still isn't as ingrained in mainstream pop culture in the US as it is in Britain. The fact that it's not only British, but a science fiction show, probably has something to do with it.

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*** In a business decision that can only be regarded as insane, SyFy Creator/{{Syfy}} gave up the first run rights on ''Doctor Who'' to BBC America. BBC America, who unlike SyFy Syfy seem to [[AdoredByTheNetwork genuinely love the show]], have promoted it to death and the 2008-2010 specials (which SyFy Syfy refused to air) and the first Eleventh Doctor season gave BBC America its best ratings ''ever''. Even though it's easily among the highest rated non-American shows on American television, it still isn't as ingrained in mainstream pop culture in the US as it is in Britain. The fact that it's not only British, but a science fiction show, probably has something to do with it.
18th Aug '16 2:55:56 PM Tre
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** In the US, ''Series/DoctorWho'' is still in the SciFiGhetto due to its checkered broadcast history. During the show's original run, Creator/{{PBS}} was its US distributor, which immediately meant that it was never going to attain a wide audience like shows on the [[Creator/{{CBS}} Big]] [[Creator/{{NBC}} Three]] [[Creator/{{ABC}} networks]]. Worse, PBS stations generally aired it only at OtakuOClock. Getting ScrewedByTheNetwork had nothing to do with the show's content, and everything to do with the fact that it was a ''British'' show; on most PBS stations it was shown in blocks with things like ''Series/MontyPythonsFlyingCircus'' and ''Series/AreYouBeingServed'', which always had comparatively smaller audiences in the States. The 2005 revival was even worse off in this regard, because until SciFiChannel actually decided to run the show they had the US rights to, it was only broadcast in repeats on [[Creator/TheBBC BBC America]], a network that, until quite recently, huge chunks of the country didn't even get unless they had digital cable or satellite.

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** In the US, ''Series/DoctorWho'' is still in the SciFiGhetto due to its checkered broadcast history. During the show's original run, Creator/{{PBS}} was its US distributor, which immediately meant that it was never going to attain a wide audience like shows on the [[Creator/{{CBS}} Big]] [[Creator/{{NBC}} Three]] [[Creator/{{ABC}} networks]]. Worse, PBS stations generally aired it only at OtakuOClock. Getting ScrewedByTheNetwork had nothing to do with the show's content, and everything to do with the fact that it was a ''British'' show; on most PBS stations it was shown in blocks with things like ''Series/MontyPythonsFlyingCircus'' and ''Series/AreYouBeingServed'', which always had comparatively smaller audiences in the States. The 2005 revival was even worse off in this regard, because until SciFiChannel [[Creator/{{Syfy}} Sci Fi Channel]] actually decided to run the show they had the US rights to, it was only broadcast in repeats on [[Creator/TheBBC BBC America]], a network that, until quite recently, huge chunks of the country didn't even get unless they had digital cable or satellite.



* This was why the American Creator/SciFiChannel changed its name to [[http://www.syfy.com/press.html "SyFy"]], because [=SyFy=] as a name "more clearly captures the mainstream appeal of the world's biggest entertainment category, and reflects the network's ongoing strategy to create programming that's more accessible and relatable to new audiences." The importance of the female viewer demographic is usually noted due to the popularized notion of their low regard towards science fiction. The name [=SyFy=] can also be trademarked, in contrast to "Sci-Fi," which is a generic, pre-existing term. Many critics accused the channel of trying to distance themselves from negative stereotypes of science fiction.

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* This was why the American Creator/SciFiChannel Sci Fi Channel changed its name to [[http://www.syfy.com/press.html "SyFy"]], Creator/{{Syfy}}, because [=SyFy=] Syfy as a name "more clearly captures the mainstream appeal of the world's biggest entertainment category, and reflects the network's ongoing strategy to create programming that's more accessible and relatable to new audiences." The importance of the female viewer demographic is usually noted due to the popularized notion of their low regard towards science fiction. The name [=SyFy=] Syfy can also be trademarked, in contrast to "Sci-Fi," which is a generic, pre-existing term. Many critics accused the channel of trying to distance themselves from negative stereotypes of science fiction.
15th Aug '16 4:21:22 PM ElectricBoogaloo
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* A variant of this happened with ''Videogame/{{Titanfall}}'', a Mech Ghetto if you will. [[http://www.mechadamashii.com/wp-content/uploads/2013/07/titanfail.jpg In a magazine interview]], the staff [[InternetBackdraft infamously]] renounced the "mech" label for their Titans, insisting they were more like nimble mechanical soldiers and an extension of the pilot rather than clunky and slow machines, [[RealRobotGenre apparently unaware that there exists an entire genre with this sort of thing]], not just ''TabletopGame/{{Battletech}}''.
24th Jul '16 6:19:19 PM nombretomado
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* ''TheCuriousCaseOfBenjaminButton'' was nominated for several Academy Awards and Golden Globes, including Best Drama and Best Actor. It's about a man who is born old and ages in reverse. That sound like MagicRealism to you?[[note]]But Magical Realism isn't fantasy. Cough cough, ahem. Sorry, I had something in my throat. (Sarcasm)[[/note]]

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* ''TheCuriousCaseOfBenjaminButton'' ''Film/TheCuriousCaseOfBenjaminButton'' was nominated for several Academy Awards and Golden Globes, including Best Drama and Best Actor. It's about a man who is born old and ages in reverse. That sound like MagicRealism to you?[[note]]But Magical Realism isn't fantasy. Cough cough, ahem. Sorry, I had something in my throat. (Sarcasm)[[/note]]
1st Jul '16 7:52:35 PM nombretomado
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** Likewise, AndreNorton has written historical novels, spy stories, and Gothic romances. Guess where you'll find them ('''if''' you find them) in a bookstore or library (granted, at least two of the romances have fantasy elements).

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** Likewise, AndreNorton Creator/AndreNorton has written historical novels, spy stories, and Gothic romances. Guess where you'll find them ('''if''' you find them) in a bookstore or library (granted, at least two of the romances have fantasy elements).
28th Jun '16 6:58:17 AM Morgenthaler
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* It can be said that the best-known author of that kind of "ghetto literature" gave their work a bent that set it apart from others of the same category, often combining it with another, usually entirely different genre. Creator/JRRTolkien's body of work had actually more in common with ancient and medieval mythology (which scholars usually don't dismiss outright as frivolous or unworthy of attention) than modern fantasy, though he pretty much gave birth to that genre. Creator/HPLovecraft gave his horror stories a strong scientific-fictional bent, often writing them in the form of letters, diaries or reports. Creator/JKRowling wrote a story that at that times reads more as a boarding school/coming of age/mystery novel, where the fantasy only offers the framework. CSLewis wrote children novels that also qualified as allegories. Creator/FrankHerbert's ''Franchise/{{Dune}}'' is set so far in the future that it might as well take place in an entirely different universe, and has strong fantasy elements in it. Creator/RobertAHeinlein included social criticism in his work. GeorgeOrwell's 1984 and Aldous Huxley's ''Literature/BraveNewWorld'' are more comments on politics and ideology which might have been set in entirely different genres without altering the stories that much (in fact, Orwell pulled that off when writing Literature/AnimalFarm which has a lot in common with 1984, despite being the one in a sci-fi-setting and the other a fable).

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* It can be said that the best-known author of that kind of "ghetto literature" gave their work a bent that set it apart from others of the same category, often combining it with another, usually entirely different genre. Creator/JRRTolkien's body of work had actually more in common with ancient and medieval mythology (which scholars usually don't dismiss outright as frivolous or unworthy of attention) than modern fantasy, though he pretty much gave birth to that genre. Creator/HPLovecraft gave his horror stories a strong scientific-fictional bent, often writing them in the form of letters, diaries or reports. Creator/JKRowling wrote a story that at that times reads more as a boarding school/coming of age/mystery novel, where the fantasy only offers the framework. CSLewis wrote children novels that also qualified as allegories. Creator/FrankHerbert's ''Franchise/{{Dune}}'' is set so far in the future that it might as well take place in an entirely different universe, and has strong fantasy elements in it. Creator/RobertAHeinlein included social criticism in his work. GeorgeOrwell's 1984 Creator/GeorgeOrwell's ''Literature/NineteenEightyFour'' and Aldous Huxley's ''Literature/BraveNewWorld'' are more comments on politics and ideology which might have been set in entirely different genres without altering the stories that much (in fact, Orwell pulled that off when writing Literature/AnimalFarm which has a lot in common with 1984, despite being the one in a sci-fi-setting and the other a fable).
27th Jun '16 2:55:42 PM Morgenthaler
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* It can be said that the best-known author of that kind of "ghetto literature" gave their work a bent that set it apart from others of the same category, often combining it with another, usually entirely different genre. Creator/JRRTolkien's body of work had actually more in common with ancient and medieval mythology (which scholars usually don't dismiss outright as frivolous or unworthy of attention) than modern fantasy, though he pretty much gave birth to that genre. Creator/HPLovecraft gave his horror stories a strong scientific-fictional bent, often writing them in the form of letters, diaries or reports. Creator/JKRowling wrote a story that at that times reads more as a boarding school/coming of age/mystery novel, where the fantasy only offers the framework. CSLewis wrote children novels that also qualified as allegories. Creator/FrankHerbert's ''Franchise/{{Dune}}'' is set so far in the future that it might as well take place in an entirely different universe, and has strong fantasy elements in it. Creator/RobertAHeinlein included social criticism in his work. GeorgeOrwell's 1984 and Aldous Huxley's ''Literature/BraveNewWorld'' are more comments on politics and ideology which might have been set in entirely different genres without altering the stories that much (in fact, Orwell pulled that off when writing AnimalFarm which has a lot in common with 1984, despite being the one in a sci-fi-setting and the other a fable).

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* It can be said that the best-known author of that kind of "ghetto literature" gave their work a bent that set it apart from others of the same category, often combining it with another, usually entirely different genre. Creator/JRRTolkien's body of work had actually more in common with ancient and medieval mythology (which scholars usually don't dismiss outright as frivolous or unworthy of attention) than modern fantasy, though he pretty much gave birth to that genre. Creator/HPLovecraft gave his horror stories a strong scientific-fictional bent, often writing them in the form of letters, diaries or reports. Creator/JKRowling wrote a story that at that times reads more as a boarding school/coming of age/mystery novel, where the fantasy only offers the framework. CSLewis wrote children novels that also qualified as allegories. Creator/FrankHerbert's ''Franchise/{{Dune}}'' is set so far in the future that it might as well take place in an entirely different universe, and has strong fantasy elements in it. Creator/RobertAHeinlein included social criticism in his work. GeorgeOrwell's 1984 and Aldous Huxley's ''Literature/BraveNewWorld'' are more comments on politics and ideology which might have been set in entirely different genres without altering the stories that much (in fact, Orwell pulled that off when writing AnimalFarm Literature/AnimalFarm which has a lot in common with 1984, despite being the one in a sci-fi-setting and the other a fable).
13th Jun '16 9:16:47 PM Lizardon
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* Averted with ''Series/TheTwilightZone'' series, which still continues to be one of the most beloved television shows ever made.
10th Jun '16 1:57:59 AM Morgenthaler
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* OrsonScottCard wrote a foreword to ''EndersGame'', railing against the SciFiGhetto. Well, that and the fact he was accused of [[HollywoodPsych failing psychology forever]] by people working with talented kids and less so by actual talented kids.

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* OrsonScottCard Creator/OrsonScottCard wrote a foreword to ''EndersGame'', ''Literature/EndersGame'', railing against the SciFiGhetto. Well, that and the fact he was accused of [[HollywoodPsych failing psychology forever]] by people working with talented kids and less so by actual talented kids.



* Margaret Atwood's near-future (at the time of writing) ''TheHandmaidsTale'' was obviously social/cultural science-fiction [[note]]It takes place in a BadFuture where high levels of radiation and strains of HIV and syphilis caused wide-spread sterility, and when an extremist StayInTheKitchen Christian group took over the US, the entirely digital currency made it easy to deprive women of economic power.[[/note]] (and even won a prestigious scifi award), but she refused to admit that. Another Atwood novel, ''Literature/OryxAndCrake'', is even more blatantly science fiction: [[GeneticEngineeringIsTheNewNuke genetic engineering]] has run amok and [[DepopulationBomb destroyed everybody except the protagonist]].

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* Margaret Atwood's near-future (at the time of writing) ''TheHandmaidsTale'' ''Literature/TheHandmaidsTale'' was obviously social/cultural science-fiction [[note]]It takes place in a BadFuture where high levels of radiation and strains of HIV and syphilis caused wide-spread sterility, and when an extremist StayInTheKitchen Christian group took over the US, the entirely digital currency made it easy to deprive women of economic power.[[/note]] (and even won a prestigious scifi award), but she refused to admit that. Another Atwood novel, ''Literature/OryxAndCrake'', is even more blatantly science fiction: [[GeneticEngineeringIsTheNewNuke genetic engineering]] has run amok and [[DepopulationBomb destroyed everybody except the protagonist]].



* An early Soviet edition of the ''LordOfTheRings'' which was heavily revamped to look like SciFi (obvious cause: publication of some "suspicious" "fantasy" was unthinkable, whereas SciFi had some respect). Just one quote: "[[ClarkesThirdLaw It's not a Ring, it's some kind of gadget]]".

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* An early Soviet edition of the ''LordOfTheRings'' ''Literature/TheLordOfTheRings'' which was heavily revamped to look like SciFi (obvious cause: publication of some "suspicious" "fantasy" was unthinkable, whereas SciFi had some respect). Just one quote: "[[ClarkesThirdLaw It's not a Ring, it's some kind of gadget]]".
22nd May '16 6:10:45 PM MadCat221
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* A number of sci-fi and fantasy authors banded together to blow the lid on [=PublishAmerica=], a publisher that denied it was a [[VanityPublishing vanity press]], and responded derogatorily to sci-fi and fantasy authors about their purview when the authors asserted that [=PublishAmerica=] was indeed a vanity press. How did they do so? They banded together to create ''Literature/AtlantaNights'' a novel [[StylisticSuck so awful that the authors considered it unpublishable]]. [=PublishAmerica=] still offered to publish, until the hoax was revealed.

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* A number of sci-fi and fantasy authors banded together to blow the lid on [=PublishAmerica=], a publisher that denied it was a [[VanityPublishing vanity press]], and responded derogatorily to sci-fi and fantasy authors about their purview when the authors asserted that [=PublishAmerica=] was indeed a vanity press. How did they do so? They banded together to create ''Literature/AtlantaNights'' a novel [[StylisticSuck so awful that the authors considered it unpublishable]]. [=PublishAmerica=] still offered to publish, until the hoax was revealed.
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