The Rise And Fall Of The V Franchise

During the 1980s, the big three networks — ABC, CBS, and NBC — were in a constant battle to draw audiences. At the beginning of the decade, NBC had fallen behind and was sorely in need of a television event that would engage audiences and take advantage of the public's hunger for sci-fi in the wake of the "Star Wars" trilogy. This arrived in the form of "V," a big-budget miniseries about visitors from outer space.

Broadcast for the first time in 1983, "V" was far more than a science fiction miniseries — it was also a cautionary tale about the tactics used by fascist regimes to take over a country, while also focusing on how everyday people respond to an occupying force. The mix of an intriguing plot, excellent performances and special effects was an immediate hit, attracting 40% of viewers during the broadcast of the first episode (via The New York Times). But people wanted more, and NBC responded by greenlighting a second miniseries and a TV series, as well as licensing different types of merchandise like novelizations, comics, and toys.

Sadly, the results were not what producers expected. "V: The Final Battle" had good ratings but failed to capture the themes and tone of the original. The franchise, which had started as a commentary on the threat of fascist regimes, had turned into a sci-fi supernatural action adventure, and things only got worse from there. "V: The Series" was produced with only part of the cast and half the budget; ratings dropped and the show lasted only 19 episodes. Additional efforts were made to revive "V" in the form of remakes, sequel novels, and even a manga, but none of these attempts were able to replicate the success of the original. Here's the story of the rise and fall of the "V" franchise.

In 1983, fears of nuclear attacks and invasions had replaced worries about fascist regimes triggering a world war. To capture people's attention, Johnson's script would have to reintroduce the concept in an intriguing way, using invaders from outer space as the main antagonists. The visitors, as they were called in the series, would wear red and black uniforms and use symbols that would resemble nazi iconography while still feeling alien and new. They would arrive with the promise of peace and scientific exchange, and use people's trust and desire for power to slowly take over society, using techniques employed by real fascist regimes.

NBC loved the idea. After all, they were repeatedly losing in the ratings, and they needed to broadcast something that would feel like an event (via Jane Badler Fans). This explains why Tartikoff approved Johnson's story immediately and without any notes, something that rarely happens when pitching a TV production. NBC also gave Johnson a lot of control, but there was a catch: NBC needed "V" to become part of their lineup sooner than expected. In fact, Johnson had only two and a half weeks to start filming the two-episode miniseries, something the director wasn't completely sure he would be able to accomplish.

Once filming was completed, Johnson saw the first cut of the miniseries. Even without any special effects, he was able to realize the team had made something special. The only remaining question was how to convince people to tune in for the first episode. To answer this, Johnson took a lesson from history books and, remembering German World War II propaganda, proposed the creation of posters depicting the visitors smiling next to children and elderly people with the message "Friendship is Universal." Three weeks before the release date, the posters were to be placed in the subway and train stations of different cities, with no references to a TV series or network. Two weeks before the first episode aired, the advertisement team would then send groups of young people with spray cans to publicly draw a V sign on top of the posters, a symbol of victory used in World War II by resistance groups in occupied territories. Then the title "The Battle Begins on NBC ” was added (via Jane Badler Fans). The results were nothing less than outstanding.

After repeatedly falling behind ABC and CBS, NBC finally got its moment of glory. According to The New York Times, 40% of people watching TV in the U.S. at the time tuned in to watch the first episode of "V," and while only 24% came back for the second part, it was still considered the first hit for NBC in a while. People wanted more, and some even thought that toys were already available for purchase, as a shuttle and figures for John and Diana were shown in the series. However, this were apparently just a model used for special effects shots and a pair of modified figures from other lines (via Secret Galaxy). The demand for merchandise and additional content was so high that NBC greenlit a second three-episode miniseries, but catching lighting on a jar twice isn't easy — especially without the creator in the director's chair.

Kenneth had intended for the first miniseries to function as a pilot for a TV series, which is why the story seems incomplete (via Secret Galaxy). The pilot's ending hints at Rose's possible pregnancy, while Michael's child remains abducted by the visitors. Furthermore, the potential allies for the resistance in the form of a rebellious visitor faction and the mysterious alien enemy they refer to are also left unexplained. Johnson saw his plans realized, but not as he originally intended. NBC ordered a sequel miniseries and a TV series to complete the story, but this offer came with a catch.

In an interview for "The V-Files Book Five: The Conclusion," executive story consultant David Ambromowitz explained that the TV series had to be made with half the time and budget (via Starlogged). The results were evident: Only a few of the main characters remained, and many of them were killed off or simply never shown again. The TV series is also infamous for the amount of times it reused footage. Shots involving special effects, in particular, were broadcast several times. The writing also suffered considerably, with character interactions and plots resembling more a cheap melodrama than a sci-fi thriller. It didn't help that the visitors' wardrobe and hairstyles changed drastically to adopt the fashion seen on TV shows of the era. In the end, "V: The Series" was unable to retain the attention of the public, and the show was canceled after only 19 episodes.

The popularity of "V: The Original Miniseries” and "V: The Final Battle" led to the publication of different novelizations. The first one summarized the original and sequel miniseries, but the rest would tell stories about the main characters and new resistance groups before and after the events of the shows. According to Gizmodo, the first books were intended to introduce some characters from the upcoming "V: The Series," but the strict deadline led to some inconsistencies between the books and the show. The tone is also different, aiming at a more adult audience in terms of violence, and occasionally venturing into different genres, like horror.

In 2004, Johnson had a chance to discuss a potential sequel to "V: The Original Series" with a network. The conversations ended without an agreement, but led Johnson to realize how much he wanted to tell his story. After years of work, he wrote "V: The Second Generation," a book that ignores the events from "V: The Final Battle" and "V: The Series" as well as any other novels. The story takes place 20 years later, after Juliet and Elias send a signal to outer space, hoping to find and form an alliance with the enemies of the visitors. The resistance has been almost decimated, but just as everything seems lost, the remaining fighters are visited by another species of aliens who offer their assistance (via Ain't It Cool News).

The story also deals with a common element of Johnson's work: discrimination. After two decades of occupation, many people have had hybrid children with the visitors; this group faces backlash from a population who sees them as a reminder of the occupying alien force. The novel received positive reviews, praised for its engaging style and relevant commentary on social issues while giving the franchise a satisfying conclusion.

In 2009, Scott Rosenbaum, known for producing successful series like "Chuck" and "The Shield," spearheaded a "V" revival based on the original series. Kenneth Johnson was still credited as the creator, but had no involvement in writing or directing the new show, which told the story of the arrival of a group of alien visitors led by Anna, portrayed by Morena Baccarin. It deviates considerably from the 1980s miniseries, but incorporates some recognizable elements like the visitors hiding their reptilian nature as well as their plans to take over the planet.

As Collider explains, one of the most interesting changes was that the visitors' takeover doesn't begin with their first appearance; in fact, it's been gestating for years. By the time the visitors arrive, they've already infiltrated institutions like intelligence agencies and religious organizations. As in the original miniseries, the show explores the possibility of losing a family member as they join the invading force. However, this time the visitors' leader Anna and her daughter Lisa experience a similar situation, as Lisa starts to develop empathy towards humans and reconsider her mother's plans.

Although the 2009 revival is an interesting new take, it failed to draw the same level of attention achieved by the original miniseries. According to Johnson himself, the producers didn't understand what "V" was really about, and to their credit, they admitted it (via Cherry the Geek TV). It also suffered from budget limitations that affected the series visuals, which featured prominently during scenes taking place inside a mothership or depicting the visitors without their human skin. The show only lasted two seasons and earned a 60% score in Rotten Tomatoes — 7 points lower than "V: The Series."