Finding the Fifth Element
I’m on my way to Las Vegas for a Star Trek convention, where I’ll be speaking on a panel about writing for genre entertainment. This trip has got me reflecting on one of the key elements that make genre stories truly resonate: the fifth element, love.
In Luc Besson’s movie The Fifth Element, love is the ultimate force that sustains life and saves the universe. With help from Leeloo Multipass, Corbin Dallas, and don’t forget Ruby Rohd! I’ve found Besson’s McGuffin is just as vital in my sci-fi, spy-fi, and horror stories. Let’s roll out on a road trip through some of the shows I’ve scribbled on to illustrate how finding love, empathy, and human connection elevates genre entertainment.
The clearest example is a show I found squeamish to watch but thrilling and moving to write. Hannibal wasn’t just a show about a brilliant but twisted serial killer; it was a love story between two unique people who couldn’t find their place in the world. The bond between these “two wizards” was the hook that captivated those of us lucky enough to work on the show and engaged the audience. Even in Hannibal’s dark world, finding someone who really “sees you” is relatable and compelling.
While Hannibal explored the darker side of human connection, my work on Star Trek: Discovery allowed me to examine how empathy can be a source of strength. In the Harry Mudd episode that I co-wrote with Aron Coleite, we focused on Burnham’s emotional journey. Using the time-loop trope, we aimed to strip away some of her Vulcan attitude, unlocking the chance for her character to be more empathetic and human in her relationships with the crew.
Watching subsequent seasons of Discovery lean into these emotional relationships has been awesome. This focus on human connection is why Strange New Worlds is my favorite of the current Trek franchise. My Alias alum Alex Kurtzman and his team truly understand that Star Trek is about characters recognizing the strengths and stretches in each other and collaborating despite differences.
TV is all about character relationships. In Season 2 of American Gods, budgetary challenges turned out to be a blessing. They forced us to put characters together in “B” and “C” stories where they could share experiences and emotions and develop friendships - and be filmed in one location or on a standing set. A favorite runner of mine had Ian McShane and Orlando Jones’ characters on a road trip for the entire episode, riffing ad infinitum. Pure bliss!
My work on Da Vinci's Demons allowed me to delve into another crucial aspect of human connection: self-love. In Season 3, we expanded Lucrezia Donati's role, designing storylines for Laura Haddock’s character to develop self-love and self-respect. This challenging emotional journey made her more relatable and empathetic, earning rooting interest from the audience.
Lucrezia's journey of self-discovery touches on the search for belonging. The quest to find one's crew or tribe. The people who understand, see, and help us be the best version of ourselves. From Alias to Lost, the theme of family, both biological and chosen, has been a profound touchpoint for my genre scribbling. In Star Trek, the found family is the crew of the Enterprise.
I went to my first Star Trek convention when I was nine. I felt like I had found my crew. When I took my son Simon to his first Doctor Who convention, he said, "These are my people." He’s now a professional Dungeon Master working with his crew at Gen Con in Indianapolis, and I’m road-tripping to join my crew in Las Vegas. Both of us grateful to have found the fifth element!
It’s crucial to set goals, obstacles, and expectations for your characters, but the real secret to scribbling genre tales that resonate is finding love, empathy, and relatable human connection.
