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Two episodes were provided prior to broadcast.

Truth be told, it’s not very often that I get into a summer series. After intensely following scripted dramas throughout the other seasons of the year – be they for work or pleasure – I just feel like taking a break for a few months to enjoy other things, and maybe you can relate. Plus, you have to it that having dozens of reality shows populating the airwaves for that time doesn’t make channel surfing all that enticing.

So, when a show called Dark Matter came around two years ago, I took a chance and found myself to be pleasantly surprised. And although it featured a half dozen people cruising around space in a ship, it quickly became apparent to me that this genre-bender was more than just another Star Trek clone.

At first, it was about six amnesiacs trying to regain their memories while enduring various trials by fire, but its second season is where it truly shined, generously building upon its own mythology by laying out a scenario that I can certainly see panning out; you know, a future where there are no flags, just corporations running everything. Plus, it didn’t hurt that the characters became more well-rounded, but none of us will probably stray from referring to them by their numbers.

While this year’s premiere didn’t blow me away in the same sense that season 2’s did by going “Prison Break in space” as it were, it succeeds in immediately dropping you back into this world, no apologies whatsoever. That said, I hope you’ve refreshed yourself recently because, as you can probably tell by what I’ve said, we pick up immediately following season 2’s cliffhanger. So, if you’re a new viewer, play some serious catch-up and then get back with us.

Amazingly, the stellar production design and musical score allow us to quickly re-acclimate (those long hiatuses are a real SOB, aren’t they?), but the first hour of the premiere, “Being Better Is So Much Harder,” didn’t quite grab me as much as I would’ve desired, if I’m to be entirely honest. Don’t get me wrong, it’s not bad by any means, but it conforms to the trope of having a group separated by disaster forced to be unsure whether their comrades survived, only to meet up before the credits roll.

By that, you can surmise the Raza crew is splintered, barring Four (Alex Mallari Jr.), and embark on their own little adventures before the big reunion. Actually, even though seeds are planted hinting that the corporate war the entire series has been leading up to may actually occur later this season, it’s the stuff involving the Ishida Empire that gripped me most. The evolution Mallari’s character has undergone has been most compelling and the fact that he gets to share scenes with Ellen Wong’s Misaki, who’s quickly becoming one of my favorites, makes it all the better. However, you’ll have to wait until the second hour of the premiere, titled “It Doesn’t Have To Be Like This,” to see a bit more of her, so I don’t want to get ahead of myself.

On that note, I’ll say that hour two is where things really pick up. While the first was a reassembling of the parts, this harnesses the many things that make the series great. Basically, the Raza crew must infiltrate a Zairon space station in order to reclaim the blink drive, but things go awry when Two (Melissa O’Neil), Three (Anthony Lemke) and Six (Roger Cross) go nowhere (literally). Put simply, scientists working at the behest of Four bungle their usage of said technology, thereby transporting everyone to an area of null space. As such, all involved must put their heads together in order to make it out alive.

While that’s going on, Five (Jodelle Ferland), whom I’ve had an affinity for from the start, thankfully takes on a more proactive role. I’m dancing around major spoilers here, but do brace yourself for some possibly significant changes to her as the show moves forward – in addition to a major revelation.

From what I can gather, the Raza versus Zairon will serve as the series’ backbone for the immediate future, with the gestating corporate war looming in the background. And seeing as how redemption continues to be a central theme, you can’t help but cross your fingers hoping that Four will find his way back to the team. But then again, that’s what we’re expecting, and this is a show that doesn’t always play it safe, lest we forget One’s shocking death a year ago.

So, even if you aren’t immediately enthralled, just stick with it because this is still the show you’ve come to love. For my money, Dark Matter is the sci-fi series that’s not to be missed this summer. Seriously, if you dig space travel, political intrigue and intense action with a little humor thrown in, you can’t go wrong.

It’s probably safe to say that the past year or so has been a resounding success for DC Comics. Not only did the Rebirth initiative do wonders when it came to boosting sales, but it also brought back classic elements to their characters’ enduring legacies that made readers who may have been disillusioned with the New 52 feel willing to once again climb aboard.

With that, the publisher has proudly announced their latest endeavor, Dark Matter. No, it’s not related in any way to the SyFy series of the same name, but rather, it’s a new banner to release more artist-focused series by way of superstar creators. It’s quite fitting then that the event series by Scott Snyder and Greg Capullo, Dark Nights: Metal, be the book that kicks off the line in August.

Other titles readers can look forward to include: Sideways (September), co-written by  Dan DiDio and Justin Jordan and illustrated by Kenneth Rocafort; The Silencer (September), written by Dan Abnett and drawn by John Romita Jr.; Immortal Men (October), written by James Tynion IV and illustrated by John Romita Jr.; Damage (October), written by Robert Venditti with art by Tony S. Daniel; and, finally, New Challengers (December), a modern take on Challengers of the Unknown, written by Snyder with art by Andy Kubert.

DC co-publisher Jim Lee had this to say to Entertainment Weekly:

“What I love about Dark Matter is it’s a return to bringing both the writer and artist to the fore. At our talent summit, we brought together some of our key creators, writers, and artists, and we sat around and talked about what was missing in comics, what we could do to create something different that maybe fans of this generation hadn’t seen before.”

Stay tuned in the coming months for more news pertaining to Dark Matter, be it artwork or other books to be added to the line. We’re not sure yet when exactly DC will start revealing more, but something tells us that San Diego Comic-Con will bear some generous fruit.

Roland Emmerich, director of Independence Day: Resurgence and Hollywood’s harbinger of cinematic destruction, is attached to an adaptation of Blake Crouch’s bestselling sci-fi novel Dark Matter.

Deadline has the scoop, revealing that Emmerich has entered negotiations with Sony Pictures to wrangle Crouch’s page-turner onto the big screen. Matt Tolmach will produce the pic, after striking a pre-emptive $1.25 million deal for Dark Matter more than two years ago. Best known for his work on the Wayward Pines novel trilogy, Crouch’s new IP is inherently cinematic in that it follows a quantum physicist (Jason Dessen) who gives up the dream of breaking new ground in the field of science to carve out a family life in Chicago – white picket fence and all.

Haunted by the choices he made, Dark Matter really kicks into gear when Jason inexplicably finds himself in an alternate timeline, and you can get the gist of Crouch’s mind-bending story, below.

Jason Dessen, a quantum physicist, once had a brilliant research career ahead of him. But after a girlfriend’s unexpected pregnancy and the birth of a son, this future was derailed. Now a professor at a small Chicago college with a warm and loving family life, the physicist is abducted into a world in which his quantum many-worlds theory has become a fully realized technology for inter-dimensional transfer. In the parallel world, he did not marry his girlfriend and they never had a son. He is determined to get back to his other life back, but nefarious powers in the alternate reality conspire to stop him from revealing the criminal lengths they have gone to create the world-hopping technology.

Though his work in the sci-fi genre is defined by the Independence Day franchise – not to mention Stargate and The Day After Tomorrow – Roland Emmerich is an interesting choice for the gig. Coming off the back of the wholly disappointing Resurgence, a foray into a different breed of science fiction – less effects, more story – may just be what the doctor ordered.

Not to be confused with Syfy’s TV series of the same name, Sony’s Dark Matter adaptation is now beginning to spark into life. We’ll keep you posted as these negotiations between Emmerich and the studio unfold.

Although many of our favorite shows are about to take a few months off, that doesn’t mean your TV will become obsolete during the summertime. SyFy intends to heat things up with the release of two trailers promoting the sophomore seasons of Dark Matter and Killjoys.

I it that it’s not often I become addicted to a summer series, but I found myself pleasantly surprised when Dark Matter effectively entralled me with its intrigue, space exploration, and great characters that were just as unaware of who they were as the viewer was. With the team having been betrayed from within during the first season’s finale, I expect the new dynamic added to extend the scope of what’s been established.

In addition to the promo video, which can be viewed at the top, SyFy has released an official synopsis that provides insight into the coming season as well as listing the expanded principal cast.

DARK MATTER SEASON 2

FRIDAY JULY 1 @ 10/9C ON SYFY

In DARK MATTER, the crew of a derelict spaceship awakens with no memories of who they are or how they got there. Facing threats at every turn, they have to work together to survive a voyage fueled by vengeance, betrayal and hidden secrets. In season 2, the crew of the Raza becomes embroiled in an intergalactic conspiracy, seeking a mysterious device that may hold the key to victory in a looming all-out corporate war.  Created by Joseph Mallozzi and Paul Mullie, executive producers and writers of the Stargate franchise, DARK MATTER stars Marc Bendavid (One), Melissa O’Neil (Two), Anthony Lemke (Three), Alex Mallari Jr. (Four), Jodelle Ferland (Five), Roger Cross (Six) and Zoie Palmer (The Android). And as previously announced, Melanie Liburd (“Game Of Thrones”) and Shaun Sipos (“Melrose Place”) will be in DARK MATTER Season 2 as series regulars.

Killjoys, which many said brought the network back to its roots, has also deservedly found itself a cult following. The new footage given hints at a highly action-packed second season, as does the synopsis below. It looks like an ambitious tale, to say the least.

KILLJOYS SEASON 2

FRIDAY JULY 1 @ 9/8C ON SYFY

KILLJOYS follows a trio of interplanetary bounty hunters – or “killjoys” – sworn to remain impartial as they chase deadly warrants throughout the Quad, a distant system on the brink of a bloody, multiplanetary class war. Following the season 1 cliffhanger, Dutch (Hannah John-Kamen), Johnny (Aaron Ashmore) and D’avin (Luke MacFarlane)hit the ground running in season 2 to uncover Dutch’s duplicitous and mysterious childhood mentor, Khlyen’s(Rob Stewart) secret agenda. As shocking truths are revealed, Dutch, D’avin and Johnny realize the Quad’s notorious criminals are no match for the threat within the Reclamation Apprehension Coalition (RAC). The Killjoy’s loyalties are tested as they struggle to find the balance between politics, family, and the good of the Quad. With so much on the line, they begin to wonder if the warrant is indeed all. KILLJOYS is produced by Temple Street Productions (“Orphan Black,” “Being Erica”) in association with Space and Syfy. Creator and showrunner Lovretta serves as executive producer along with Temple Street Productions’ David Fortier and Ivan Schneeberg.  Universal Cable Productions distributes the series worldwide.

While you wait for the aforementioned premieres, you can pick up Dark Matter Season 1 on Blu-ray or DVD on June 14.

One episode was provided for reviewing purposes prior to broadcast.

It took me approximately five minutes to estimate the kind of Syfy series that Dark Matter would be. None would call the network’s track record unblemished, exactly, so deciding to give a new Syfy show a chance is sometimes a crap shoot. You could win big (last year’s Ascension sure came close), or you could lose even bigger. Dark Matter, the network’s new series based on the Dark Horse comic of the same name, fits rightfully on brand with Syfy’s pivot away from quirky ephemerality (Eureka, Warehouse 13) and into the grittier deep space shenanigans of yesteryear – or, you know, when Battlestar Galactica made them a lot of money.

But now, thanks to Dark Matter‘s dramatically preposterous mishandling of both its “adult” themes and that elusive grittiness, Syfy is even further away from the quality programming it so eagerly wants to recapture.

Taking place on an abandoned spaceship, the show focuses on a group of seven individuals, one an android, who must fight to recover their stolen memories, discovering along the way what their ultimate purpose is and why they have amnesia in the first place. If that premise sounds familiar, it’s because from movies (Pandorum) to books (Hull Zero Three), the idea of amnesiacs rummaging about derelict space vessels has been around for a while. And for good reason – it’s a solid, mystery-laden premise, and one that honestly deserves to be mined for all of its inherent kooky potential. After watching the first hour of Dark Matter (the only one provided to critics) though, I’d say that window is still wide open.

After waking up, the crew – names designated by the numeric order upon which each awoke – begins scouring the ship for answers. A few realize they have preternatural skills that circumvent the amnesia, others discover a homicidal android that Two (Melissa O’Neil) quickly reprograms, and all mill about with such little awe-struck agency concerning their mind-numbingly terrifying predicament that you’d swear they were hanging out at their favorite bar. There’s just no truth to anything happening on screen, no cause to care about the outcome. The acting, while never out-and-out awful, succumbs to that same blasé hollowness exuded by everything from the look of the show’s various gadgetry to its opening title card.