THE MISSION

Executive Producer: M. Elthan

Lead Writer: D. Caruthers

Series Format
August 17, 2014

FORMAT CONTENTS
Introduction
I.
Phase By Phase
II. A Brief Q &A
III. The Stories
Epilogue: The Hard Sell

INTRODUCTION

Before we go any further ...

Thank you.
You already know what an undertaking this has been. Incredible. Awe-inspiring. Staggering.
These are just words. Only the belief and total discretion of the pre-production crew has made
this possible. Youve been amazing and we promise you wont have to stay quiet much
longer. At the highest level, the enthusiasm of NATRE Group and the network has been
nothing short of jaw-dropping we could not be more appreciative of everything you have
done to get us here. No matter what happens from this point on, for this once-in-a-life-time
opportunity, we express our heartfelt gratitude.
Okay. So what does happen from this point on?
Welcome to The Format.
Obviously, were all rookies at this, but launching a reality series in space leaves very little
room for trial and error. That said, Phase I happens on the ground, giving us a little room to
breathe as we cement the shows shape and locate our essential characters. The greatest
architect in the world can draw up a blueprint for a skyscraper, but building it is a whole new
barrel of biscuits.
This is our shot at a blueprint.
Weve broken this format down into THREE sections:
1. PHASE BY PHASE we break down the shows trajectory.
2. A BRIEF Q&A anticipating the main questions people will be asking through Phase I.
3. TWENTY STORIES we can tell onboard demonstrating out feeling that despite the
challenging timeframes of interstellar travel, the potential for engaging drama is
limitless.
And now, without further ado ...
We have IGNITION.

Part I:

PHASE BY PHASE

OKAY WERE FINALLY DOING IT ... BUT WHATS THE FRANCHISE? WHAT
DOES AN EPISODE LOOK LIKE?
True, THE MISSION doesnt fit into any specific category of reality franchise and this makes
it tricky to see what the show IS. But when you take a step back and look at the big picture, it
becomes clear that we employ MANY franchises:
ITS A SURVIVAL SHOW: Whether its expected (watching Earths best go head-to-head
for a crew selection milestone) or a surprise from leftfield (weathering a potentially lethal
cosmic ray storm) every moment of the show is focused on staying in the game and staying
alive.
ITS A CELEBRITY SHOW: Lets embrace the inherently tabloid elements we have at
our disposal. Fame. Romance. Adventure. Ambition. All of these play out between our crew
as relationships are forged and tested under fire. When THE MISSION is king, everyone is a
pawn.
ITS A CHALLENGE SHOW: Every episode starts with a central challenge. Down on earth,
were judging minds and bodies, pitting ego against ego to see who makes the cut think
Celebrity Apprentice in a centrifuge. In space, the smallest issue can turn lethal in an instant.
Each show sees the crew confronted with mission critical obstacles, whether its a minor fix
or a life-threatening catastrophe.
ITS A FITNESS SHOW: Dealing with the extreme demands of life in space means every
day plays out like The Biggest Loser where the stakes are life and death. On earth its about
breaking points, with ambition and pride on the line as they compete for a shot at
immortality. Up there, the Medical Officer is God and crew fitness is the frontline in a battle
for space survival.
ITS A LAWYER SHOW: Whether its a critical crew decision in the void or a dramatic
microcosm of the battles fought back on earth (what happens when crew members nations
fall into conflict?) every episode provides material for explosive ethical and emotional
arguments.
ITS A PRISON SHOW: Locked in a tin can with no hope of escape, each show is a test of
human psychology under pressure. Its about adjusting to your cage, with all the tribal
conflict youd expect from Orange is the new black.
The simple answer to the franchise question? Basically, we tell the same stories you see on
any other television show, but in the most intense, conflict-inducing setting ever.
One of the essential thing to grasp is that its format also CHANGES as it goes.
How does it evolve? Read on ...

PHASE I:
SELECTING THE SELECTORS
Before we find our crew, we have to show the audience how this all works. Who can put their
hand up? Who decides? What criteria do they use?
An undertaking of this scale demands a rethink of the typical Idol format, where the judges
are simply an embedded fact of the show. THE MISSIONS judges need to be a special
breed, qualified by virtue of their exceptional achievements to appoint the crew of an
interstellar starship. So how do we find such people?
By looking.
The First Phase has a Prologue in which we acclimatize the audience to the show and its
basic premise by conducting a search for the judges themselves.
As we survey the leading movers and shakers in space travel worldwide, we set the scene for
the show itself. We see this as taking up to six episodes, given that range and fascination of
the potential judging panel is a unique and unrepeatable drama in its own right.
Scouring the world for our judges, we a) establish that our search is truly global; b) establish
the pitch of talent were looking for; and c) establish the talent frame within which we will
be looking for crew.

THE CREW CALL

This is where the blood starts really pumping, when we throw open applications to the globe.
The mixture of drama here comes out of an Idol-like process of vetting candidates on paper,
peering into their backgrounds and home lives, while moving on to face to face interviews
and testing.
Each candidate will be applying for a specific role on the ship, such as Communications or
Xenogeologist (see Appendix 2 for a full list). The judging therefore consists of assessing
their ability to fulfil that particular role, as well as the general space fitness standards which
will be demanded of every candidate.
The judges will conduct interviews in Rome, L.A., Copenhagen, Nairobi, Moscow, Beijing,
Dubai, etc. to locate the first round of initiates. Drawing contenders from around the globe, it
will the worlds first truly international Idol-style reality competition, resulting in a small
group of candidates from each region. Following a second round of challenges, each group
will be asked to select its own best contenders. Here we want to capture something of the
spirit of earth in the way the group raises up their strongest candidates. Behind every one of
them: a family, a fan base, a city and country.

The candidates will then be flown to Star City in Moscow Oblast, where this Phase will play
out in the unmatched Yuri Gagarin Cosmonaut Training Centre. A monument to the Cold
War, the venue represents exactly the kind of walls this show is tearing down.
Over twelve weeks, candidates will be subjected to physical, mental and social challenges
mimicking the conditions and qualifications of space travel. At the same time, contenders for
each role will be presented with specialised group challenges testing their professional
capabilities (medical, communications, astronomical, etc.) against those in their field. Well
bring the critical moments to the world, while shaping a coherent drama complete with
heroes, villains, victims and much, much more.
Were pushing the best humanity has to offer as hard as we possibly can. Some will break.
Some will soar. Some will explode.
Every minute will be extraordinary.

PHASE II:
THE REAL WORK
If you believed beating out the competition meant our crew had a guaranteed spot on the ship,
think again. The moment we hit Phase II, one thing is clear if they fail this training phase,
theyll never make it in space.
Leaving the Soviet-era kitsch of Star City, the crew step to REAL training at the EU launch
site in Kazakhstan. This where the Work starts as theyre pushed through an extraordinarily
intense physical and mental regime, designed to stress-test the crew against the absolute
worst that space can throw at them.
Think: a half-marathon followed by 36hrs sensory deprivation. Imagine: locked together in a
small circular room for three weeks straight. Consider: being informed of a death in the
family, then left in the Himalayas with a shovel and a can of applesauce.
As the pressure mounts, personalities flare and spirits break. Theres always the option of
bailing out. Thats the point. Every crew member will be equipped with necklace on that
necklace, a button. One press, and theyre gone. Out. Any time they choose. Were rooting
out anyone whose weakness could compromised THE MISSION before they hit the point of
no return space.
When someone breaks, its heartbreaking AND we have all the drama of contacting one of
our earlier contenders and informing them that theyve got another shot at their dream.
At this point well witness our crew living 24/7 in full scale, fully functional sets of the
spaceships interior. This 150 day simulation lets us test their response to every kind of

situation from communications blackout to micro-meteorite storms, computer malfunctions

and much worse. Trust us when we say: weve got a few surprises up our sleeves.
All of this, however, is a precursor to the real test, which at this stage must remain
confidential. What we can say is, we wont be playing fair.
The conclusion of Phase II arrives following a drastic revision to the training schedule.
Designed as one last test of their ability to adapt to the unexpected, our crew will be literally
thrust into Phase III much sooner than they thought.
This is the final stage of Phase II what calling The Party.
This is where every crew member gets a chance to farewell their families, friends, homes and
lives. When everything great about Earth hits them square in the face then gets yanked
away. Therell be tearful goodbyes with epic embraces, heroic parades and passion to burn..
As our crew realise that this is IT, their last chance to pull the plug, there may be a few
second thoughts.
But dont worry its all part of the fun.

PHASE III:
Space this is where the MISSION literally takes off.
A series of steps that culminate in the launch of the ship from its orbital construction facility,
Phase III is broken into three stages, during which the shape of the show changes
dramatically.
Take away the camera crew, producers and stylists. Cue the fixed cameras and 100% home
set action with a communications bottleneck that means every signal comes through one
channel ours.

STAGE 1: WELCOME TO THE VOID

The shape of this stage is heavily indebted to the good people at Mission Control. Theyre the
ones whose voices well be hearing 50% of the time. As the crew blasts skyward, its them
telling the story. Thanks for your amazing co-operation guys.
This is the obvious touchstone for THE MISSIONs real beginning. Where they move offworld and into their ISS module for a month of acclimatization. Then we meet ...

THE SHIP.
This is the first time anyone in the crew or general population has seen it in full the moment
the world has been waiting for. How do we keep it secret?
The short answer is: We dont.
Leaked photos and designs all work in our favour building anticipation for the real thing.
Humanitys greatest construction endeavour. A masterpiece of technology and collaboration,
built with the knowledge and effort of almost every nation on Earth.
Lets turn it ON.
The two weeks of testing that follows is one of the most intense phases of the entire series,
throwing up shocks, setbacks, tough calls and last minute drama. Can we get replacement
components to the crew in time for their eye-of-the-needle launch window? How do they
respond to REAL systems failures? Working together as a team, in sight of their beloved
Earth for the last time, will they come together or do the cracks start to show?
Add to this an almost limitless stream of futuristic tech-porn as we tell the story of the ships
design and construction, as well as showcasing its many extraordinary functions and you
see why were running this part of the show four times a week, leading up to ...

STAGE 2: THE LONG GOODBYE

Then its time to GO and fire up engines that wont turn off until they arrive.
We hope.
The entirety of Earth is watching as the ship and its crew pulls slowly away from the ISS,
coasting around the curvature of the earth, picking up speed and heading out toward the moon
for a slingshot towards Mars, glancing across the ecliptic and onward ...
Of course, all this takes a long time. Were expecting 7 months to Mars, then another 22 out
to Saturn, by which time theyre moving at 1/3 the speed of light. After that, things get weird
and relativistic, making our job harder, as less seems to happen the faster they go.
But were accounting for this.
These first two weeks is a mixture of formats. Were pushing the episodes up to daily halfhour segments, but also getting underway with user-generated content, highlight reels, all of
it through central platforms that WE own. Well be allowing download of raw content, in
preparation for the way the show will operate in the next stage.
The essential fact to grasp is that EVERYONE is going to want to see whats happening in
the first two weeks. After that, our models suggest viewership will drop off steeply.

The third stage of the third phase is where we reinvent the show or forget about it.

STAGE 3: TO INFINITY AND BEYOND

The show becomes a different creature at this point.
Our premise is this: as the audience base shifts from global interest to the hard core
viewership, most peoples experience of the voyage will shift to platforms delivering video
snippets and highlight reels. Thats why were turning over production to the audience.
Were going to give a small group of people have access to complete, unadulterated footage
from the ship. Literally dumping thousands of hours of ship footage online, we plan to let the
community break it down and build it back up. This is where our narratives come from, preapproved and with an attached audience.
Yes well keep up the series with weekly or twice-weekly half-hour shows, compressing
the action into compelling storylines and communicating ALL the science theyre feeding
back to us. But our user-generated (UG) model shifts broadcast focus at least briefly onto
first tier platforms like YouTube, Zimmet, Snapd and the rest.
As the UG content builds up, more and more of what were providing on the show is
material ported directly from platforms. This lets us recapture our broader audience by
harnessing the self-interest of the UG community. We need to be ready to take a hit on
numbers in the voyages early stages, but its a feedback loop.
Our boomerang comes back.
The real question is what are we going to see in Stage 3? Forget the science. Nothing short
of discovering a UFO on Europa, no amount of fascinating or awe inspiring discoveries
are going to hold a primetime audience over that period. The answer?
The ships cat.
If you thought we were getting away without taking a cat into space, youre wrong. But think
of it as shorthand for those crew members the online community choose to obsess over. The
endlessly productive and mysterious process by which the net produces its own celebrities.
Its a black-box process that we CANNOT control or pre-empt. Luckily, we have an
infinitely more effective mechanism for sorting and distributing content and it costs us
nothing.

Part II:

A BRIEF Q & A

IS THE MISSION A REALITY SHOW?

We would prefer to brand it as an Adventure Show.
Our mandate is to give THE MISSION the same treatment as a Bruce Springsteen song, an
intimate witness to the down-and-dirty drama of life at the limit of human struggle. Every day
is extraordinary, yet we approach it from a real place. If we do it right, the ordinary will be
a major dramatic engine, reminding the audience exactly how incredible the entire setup is.
The same can be said for our crew. The second they stop being amazed by their own
situation, the show becomes inaccessible to the rest of us. Lets face it, theres potential for
boredom in space. Yet with boredom, comes slip ups and with so much at stake in every
moment, that makes for amazing TV. Our point is this: theres almost nothing here that cant
be turned into a powerful narrative arc.
More importantly, there will be episodes where its nothing BUT extraordinary. The
quotidian aspects of life in space will every so often give way to the completely unexpected,
the shocks and discovery that come with any voyage into the unknown. This is what will
keep the long term audience hanging on.

IS IT SELF-CONTAINED OR SERIALIZED?
Both.
We promise.
Yes, the voyage is inherently serialized and the relationships on display serve an ongoing
(and easy to follow) mythology, but every episode has a beginning, middle and end.
Obviously we can assume a degree of knowledge in anyone coming to the show cold, but
crucially the beginning of every episode presents an entirely new dilemma to be resolved
that requires NO knowledge of the characters and events that preceded it.
In other words, every episode is its own complete story, which the audience can step into
knowing nothing more than the average member of the population.
Yes, the character arcs (power struggles, romances, grudges) carry over the scope of the
voyage, but the plots will not. Viewers will be able to drop in at any time and be able to
follow exactly whats going on in a story context.
And yes, things will happen that we cannot expect, but they happen within a self-contained
framework. We are absolutely committed to this shape. THE MISSION can and will be just
as accessible on a twice weekly basis as a traditional reality show.

WHATS THE SHAPE OF A SEASON?

We believe that one of the things that makes THE MISSION compelling is that we
experience every day with our crew.
During the PHASE I selection process thats two forty-four-minute, non-stop episodes every
week, with the possibility of a catch-up Sunday show. Each episode takes place over roughly
three days the following episode picks up right where we left off, so we get to see the realtime struggles for selection and survival.
What makes this style of storytelling so exciting is that the training-for-space concept let
alone the interstellar void is so conducive to it. On the ground, the characters struggle to
prove their worth in an ultra-high pressure environment thats designed to eliminate anyone
who is less than superhuman; to reveal previously unsuspected weaknesses; and generally test
their limits to the extreme.
Then in space, nothing is easy every task is a puzzle or struggle. Audiences wont tune in to
find that our crew has built an elaborate radiation shield from the cannibalized remains of
their booster rocket well watch them build it.
By compacting time, we heighten drama significantly and the experience will be more
authentic for the audience. In the same spirit, THE MISSIONs phases dictate the shape of
the show, with almost (literally) infinite potential for pushing the franchise onward.

SERIOUSLY, HOW ARE YOU GOING TO KEEP IT INTERESTING?

Given that the first two phases map roughly to established models, this is a fundamentally
Phase III question. Phase I/Crew Selection follows a hybrid Survivor/Idol format, while
Phase II/Training maps to the major points of the Biggest Loser. While we acknowledge
parallels to Big Brother, its Phase III that establishes a new reality format. And where we
have to start thinking creatively.
We need to keep our minds open. There are lots of developing stories (relationships,
setbacks, technology, politics) that affect how we shape the narratives of the voyage. Given
that these constitute the weight of the series, the systems we put in place for directing them
will determine the success or otherwise of the show as a whole.
They may be a million miles from earth, but theyll be calling home frequently through
media that we control entirely. Were more than confident of our abilities in guiding families
towards confronting issues, advising the more media-friendly crew on possible storylines,
and generally working behind the camera to keep things moving on a spectrum that reaches
from homesickness and personality clashes, right through to psychotic anxiety,
claustrophobia and extra-judicial violence.

These stories will be managed as they go, but see Part III for our best functional guesses and
arcs that well be looking to cultivate.
The other major card up our sleeves is the Captain. As our man in the can, the ships top
down power structures translates into direct narrative influence.

WHAT HAPPENS IF IT ALL GOES WRONG?

At any point, there is the possibility of the whole thing encountering a negatively decisive
moment: the ship could be sabotaged during construction; unpredicted CMEs or radiation
storms may result in a terminal Far From Earth (FFE) event; something even less foreseeable
could happen.
Theres two sides to this coin. The first is preparation. Were all entering new territory here,
so a few surprises are inevitable even the point of the thing, if that doesnt sound too
flippant. It puts the onus on everyone to make sure theyve planned for everything they can
foresee. In short: theres what we know and theres everything else.
The other side of the coin is, frankly, entertainment. The more dire the situation, the more
intense the drama. Thats what this is about. Obviously, none of us want this mission to fail,
but we wouldnt be doing our jobs if we werent frank about the ratings spike of a disaster in
deep space.
This is the next generation of reality television. So lets be realistic.

HOW DO YOU SERVICE THAT MANY CHARACTERS EACH WEEK?

Its all about balance.
Without question, Phase I positions a core group of crew as leads of the show, and keeps
these dynamic characters at the front and centre of every episode. Of course, all cant share
equal screen time, but over the course of a weeks episodes, each and every one needs to have
the spotlight on them so we (and the audience) can begin to flag who pops.
The operating thesis is this:
Focus on stories that FEATURE three or four crew members (excluding our core cast) every
week. Instead of trying to cram the others into every week in a meaningful way, select stories
that place the crew who are not in the spotlight in roles that service the ones who are. The
following week, pick four more, poke and repeat.

This guarantees that we can stick to an A,B,C story format and the episode will always be
accessible of fresh eyes. Most importantly, by valuing quality over quantity, we always leave
our audience wanting more. The rules change a little in Phase III, which sees us drawing on
elements of a Big Brother template, but well get to that shortly.
Additionally, THE MISSION will rely heavily on VIGNETTING. Short scenes which service
the overall arcs of voyage success the business of a scene while the characters are talking
to each other. The personal and the professional are constantly being overlaid: imagine them
discussing a death in the family on earth, during an EVA near Saturn to repair a broken
transmitter ...

WHAT CAN YOU TELL US ABOUT THE CHARACTERS?

Long before a candidate appears on screen, well have delved deep into their background,
looking for every shred of information. Being ultra-high achievers gives them a rich profile
ecology, so without breaking any laws, we can determine an extraordinary amount about how
a given person will function in the crew long term.
NATRE Group has supplied us with simulation and modelling gear that, when tied to some
off-the-shelf social data mining software, gives us a robust impression of how that characters
arcs will work in the show.
We can also make some fairly confident generalisations. We know, for instance, that every
member of the crew must, by definition, be the sort of person whos willing to step off-planet
for years at a time, breaking with their life and relationships. This makes them the kind who
value adventure over personal ties, e.g. the kind of idealist for whom people will always be
less important than concepts, or the straight-up rule freak, whose sense of self is tied
intimately to achievement within a given set of parameters.
Drama cant help but come from mixing these people.

ARE THERE GOING TO BE GUEST STARS?

Yes in order to tell compelling stories, especially in Phase III, we need them.
But theyre in the middle of space are you insane?
No.
Our guest star pool is literally the entire population of earth. And this is critical contact with
Earth is an essential dramatic driver of the series once it moves to space.
Interactions between the crew and the rest of us keeps our characters connected to their
families, friends and fans on earth, but its also the KEY channel for introducing conflict and
tension as news, developments and the public perception of other crew members trickle in.

The model is this: Crew member A says something negative about Crew member B to their
wife. The wife comments on it to media. Crew member Bs finds out during a call to her
husband. We stand back and watch the fireworks.
The potential is limitless.

SO WHAT ABOUT THIS SPACESHIP?

Knowing what we all now know, the spaceship is everything. Goal. Premise. Character. Its
the point everyone is striving towards in the Phases I and II. And the place everything
happens in Phase III onwards. Its a character in its own right with personality, quirks,
strengths and flaws. Its the reason any of this is happening.
A hidden, almost Kurtz-like object through the crew selection and training phases, the
spaceships physical form is the big reveal at the end of Phase II. Unseen till that moment
(other than as training mock-ups of its internal spaces), the ships first onscreen sighting
embodies the transition from Wow, this is cool to Damn, this just got real.
Currently in prototyping stages, the essence of the ships design is a large central cylinder,
rotated to simulate light gravity. Much of the ship is printed from lightweight alloys, allowing
the crew to fabricate new parts from raw materials, including ion engines, particle shields and
the majority of its mechanical equipment.

I HEARD THERE WAS A COMPUTER?

Programmed by NATRE Group in conjunction with Google, the ships operating system is
called OZZIE. Not yet fully online, models suggest that when finished, OZZIE will possess a
quantity of processors equivalent to the number of neurons in the human brain, and be one of
the most powerful computers ever created.
Each character has a developing relationship with OZZIE from the beginning of Phase II.
Designed to adapt to their identities, OZZIE will know more about each crew member than
almost anyone. Watching them discover just how much more is going to make for some
unique entertainment. Half-servant, half-parent, OZZIE wont judge you, but neither will it
sympathize. Each and every crew member is going to have to deal with the fact that OZZIE
knows everything, and feels nothing.

SO WHOS LOOKING GOOD FOR THE CAPTAINCY?

Were not telling.
Sorry.

Part III:

THE STORIES

And now, to business.

Our greatest challenge on THE MISSION is presenting new, compelling stories at the outset
of each episode. Phase I and II follow familiar formats, even if were turning up the volume a
lot. Were focused on Phase III here.
While it is impossible to break down the specific anatomy of an episode in advance, we know
exactly how it will function.
Weve come to the conclusion were telling four basic story types.
1. Character conflict
2. Survival/Danger in Space
3. Earth stories/flashbacks
4. Discovery/Forces of Nature
The beauty of these paradigms is our ability to mix and match. Some episodes may contain
ALL of the elements above (certainly every episode will feature character conflict), others
may focus squarely on one. Which brings us to what may be the key ingredient for THE
MISSION -PUSHING THE LIMIT.
Every episode will be anchored in some kind of boundary breaking element an event or
task that gives each episode a driving force, whether its crew conflict under extraordinary
conditions, equipment and technology issues, investigating a bizarre new phenomena or
simply dealing with day-to-day existence further from Earth than any human has ever been.
These thirty story templates are the shapes in which we present the action in Phase III. They
reflect most of the possible combinations of the elements above, and everything we know
about their FIRST YEAR IN SPACE, as well as the various day-to-day events that are likely
to prompt drama. If youre privy to recent production meetings, youll know weve got a few
strategies up our sleeve when it comes to that.
Many of these templates are worked out in much greater detail, but so as not to get too dense
here, were presenting them in their tightest form.
So heres what weve got.

THE PROBE
The crew have a large but ultimately limited number of probes for gathering information,
collecting samples and investigating phenomena. Whenever a probe is launched, its a critical

decision. Do we use one? How many are left? Last time was a mistake ... and we can
manufacture some of the parts, but were running out of transistors ...
Theres tension as they make a leap into the unknown, whether it works or vanishes. The
information analysis throws up disagreements, but