By the time SeaQuest DSV finished its second season in May of 1995, it had long since veered off course from its original mission. The brainchild of future Farscape creator Rockne S. O’Bannon, the show’s initial brief was a little like Star Trek, but underwater: imagine a near-future where the oceans were the true final frontier, with undersea colonies, militaries and mercenaries fighting over territory, and the mysteries of the deep rife to be explored.
Throw in a Federation-style organization (in this case, the United Earth Oceans Organization, or UEO), and a highly-advanced submarine that basically functioned as an aquatic USS Enterprise, and you’ve got a recipe for success.
All at Sea
The promise was there from the start: executive producer Steven Spielberg threw a lot of money at the production, a primetime NBC series with feature-quality sets and big-name stars. Jaws’ Roy Scheider starred as the Bob Ballard-like captain, Nathan Bridger, and we also got teen heartthrob Jonathan Brandis as Lucas Wolenczak, the cocky whiz-kid who ran the computers (and developed a technology to help the ship’s resident dolphin, Darwin, talk).
But the show’s ratings quickly flatlined, and Season 2 saw a boatload (heh) of new changes that all but sealed the show’s fate. Skittish producers, hoping to cut costs, moved the production to Florida; half the cast was jettisoned, many of them replaced by younger, sexier crew; the storylines turned from dorky undersea exploration to shoot-em-up kitsch featuring aliens and psychics.
The Season 2 finale featured the SeaQuest literally getting sucked into a spaceship and flown to an alien planet to fight in an underwater war, ending in the ship getting destroyed and most of its crew presumed dead.
“The show had been such a high profile disappointment,” says Javier Grillo-Marxuach, a veteran of shows like Lost and The 100, who cut his teeth on SeaQuest DSV as an executive producer (and later writer).
Part of that could be laid at the feet of the troubling feud between showrunners Patrick Hasburgh (a TV veteran whose claim to fame is the teen-cop series 21 Jump Street) and David Burke. The latter wrote scripts from Florida, where the show was being produced, while the former stayed in LA; neither of them talked to each other.
“That’s why, for example, the King Neptune episode [‘Watergate’ – S2, Ep16] is about a demonic possession, and then it’s followed two episodes later by an episode about a demonic possession,” Grillo-Marxuach jokes.
“As the network executive, I’d call and be like, ‘Guys, you’ve got two episodes here about demonic possession! Didn’t you guys have a conversation about this?’”Javier Grillo-Marxuach
The answer, of course, was no; not only that, neither producer wanted to withdraw that script.
With two captains feuding over control of the ship, the series fractured even further. Characters got little to do, or were called different names depending on the producer (sometimes, Lt. Lonnie Henderson was ‘Lenore’ in the scripts), and shows focused more on high-octane intensity than storytelling.
This did not go down well with Scheider, who resented the more schlocky direction the show had gone and engaged in a very public feud with the producers of the show.
“It’s childish trash,” Scheider once remarked to the press, describing the second season as “Saturday afternoon 4 o’clock junk for children. Just junk—old, tired, time-warp robot crap… 21 Jump Street meets Star Dreck.”
But hope shone anew, as it turned out that the show that was set to replace SeaQuest – a series called Rolling Thunder, in which spies fought crime in monster trucks (“Because that’s what you do when you’re a spy, you roll around in your monster truck,” says Grillo-Marxuach) – was even worse. At the last minute, NBC renewed SeaQuest, and the voyage was back on.
Some changes would need to be made, not just to find a replacement for Scheider (who was adamant in not returning to the captain’s chair) but to revamp the show to fix the problems of its first two seasons. The result was SeaQuest 2032, a darker, more serialized take on the show that had the potential to right the ship… even if it was more like rearranging the deck chairs on the Titanic.
Fins Can Only Get Better
All but ignoring the wild circumstances of the previous season’s finale, 2032 flings the titular sub back to Earth ten years into the future, where the UEO’s power has weakened and the oceans have fallen under threat from the authoritarian Macronesian Alliance – a group of Australian(?) despots led by Michael York’s President Bourne. (“We turned the nicest people in the world – the Australians – into the fascists!” laughs Naren Shankar.)
To usher Sea Quest into this new, more militaristic world, they replaced Scheider’s soft-touch captaincy with the hard-nosed authority of Canadian actor Michael Ironside’s Captain Oliver Hudson – a UEO hardliner and old friend of Bridger’s, who’d searched for the boat ever since it disappeared ten years prior.
This had the added benefit of giving Scheider the out he wanted, though he was contractually obligated to return for a few episodes.
Grillo-Marxuach stayed, as did fellow producers Carlton Eastlake, Clifton Campbell, and Patrick Hasburgh; virtually everyone else, save most of the cast, was fired or jumped ship. But Grillo-Marxuach brought in Naren Shankar – a veteran of Star Trek: The Next Generation and the current showrunner of Amazon Prime Video’s The Expanse – to help write scripts and produce, which led to a close friendship that lasts to this day.
“The mandate was to make a more hard-edged, realistic, grounded show with Ironside’s character leading the way in that new direction,” asserts Grillo-Marxuach. And so it was: gone were the episodic jaunts to shoot space aliens or chase off killer plants underwater, replaced by more serialized sorties against the Macronesian Alliance, murder mysteries aboard speeding underwater monorails, and defections from enemy pilots.
Few of the show’s goofier elements remained. Sure, Lucas the whiz kid was still around, but Hudson forces him to formally enlist in the UEO, and episodes actually explore the ways this thrusts him from the cocksure civilian into the responsibilities of adulthood. Darwin remained on board as the resident talking dolphin, but he was pushed far into the background (Captain Hudson hardly ever talked to him, reportedly a stipulation for Ironside taking the role).
If Season 1 was Next Gen underwater, and Season 2 was a bizarre mix of The X-Files and Baywatch, Season 3 became Das Boot meets Deep Space Nine. Hudson’s command of the ship was dramatically different from the gee-whiz friendliness of Nathan Bridger – he was stern, brash, authoritative, barking orders and never suffering fools lightly.
Ironside played him much more like a submarine commander, as opposed to Scheider’s blend of his character from Jaws and the wide-eyed explorer styled after noted oceanographer Bob Ballard (who famously bombarded audiences with sea facts in the closing credits of the show’s first season). It’s an interesting portent to other militaristic characters he’d play later in his career – the following year, he’d hone Hudson’s gruff authoritativeness into Sgt. Rasczak in Paul Verhoeven’s Starship Troopers.
That said, Hudson wasn’t a complete hardass: despite his tough exterior, Ironside imbued him with his own charming quirks and an unexpected soft side that crew members got to see in the right moments. He was a virtuoso violin player, an appreciator of classic art and literature, and firm believer in the character-building aspects of military service. For both Lucas and Dagwood – who were forced into service to stay on SeaQuest – Hudson showed a tough but gentle hand, leading through discipline and offering object lessons on dedication throughout the season. We even occasionally saw glimpses of his personal life, including recurring run-ins with Patricia Charbonneau’s headstrong Elaine Morse, security officer and ex-wife of Hudson’s. While Scheider’s Bridger was ostensibly the warmer, more open skipper, it felt like we actually got to know Hudson more intimately in 13 episodes than Scheider got for two whole seasons.
That more character-centric approach was reflected in the rest of the crew, who at least got marginal opportunities to develop under Hudson’s stern, fatherly mentorship. Commander Ford (Don Franklin), ever the steady hand, wrestled with mistakes in his military past and forged a relationship with ship’s helmsman Lonnie Henderson (Kathy Evigan), who found herself the focus of storylines for basically the first time. They elevated the nerdy Lt. O’Neil, played by Ted Raimi (brother of Spider-Man and Evil Dead director Sam), from background comms guy to a major character.
Even hunky security officer James Brody (Edward Kerr) – a tongue-in-cheek reference to Scheider’s character from Jaws – faced a few intriguing command decisions before producers decided to kill him off six episodes into the third season. (Despite rumors this was because Kerr wanted off the show, Grillo-Marxuach and Shankar credit it with the producers’ constant desire to shake up the series.)
Maybe the most heartening character developments came from paroled-prisoner-with gills Tony Piccolo and genetically-engineered janitor Dagwood, played respectively by Michael and Peter DeLuise, whom Hasburgh had cast in Jump Street. (Peter, of course, would go on to play a major role as a writer, producer, and director on Stargate SG-1, Atlantis, and Universe.)
While their characters were some of the few new players from Season 2 to stand out from the pack, 2032 finally started giving them things to do. Piccolo, in particular, developed an interesting relationship with Hudson, who saw a plucky potential in the dyslexic ex-con. A frequent subplot in 2032 was Hudson constantly pushing books on Piccolo, including The Red Badge of Courage. (He also handed Piccolo a pair of futuristic pink glasses to cure his dyslexia; what wonders the future holds!)
As for Dagwood, he was played less for laughs and more for pathos this season, torn more realistically between his friends on SeaQuest and the genetically-engineered life forms (GELFs, or pejoratively, ‘daggers’) treated as second-class citizens in the world of the show. It was a nifty way to play up a character who, by today’s standards, treads the line of ableism a little too precariously – but DeLuise’s wide-eyed innocence somehow makes it work.
Shoutouts: A huge thanks to David Gian-Cursio, Ed Lee, and Sam Constantas, some of our Kickstarter backers who made The Companion possible!
Part 2 of our deep dive (Get it? Because it’s a long feature AND it takes place underwater, you get it? Yeah?) into the wasted promise of SeaQuest 2032 continues tomorrow.
Clint Worthington is the founder and editor-in-chief of The Spool, as well as a Senior Writer for Consequence of Sound. He’s also the host of the podcasts More of a Comment, Really…, and Travolta/Cage (with co-host Nathan Rabin). You can find other bylines at Vulture, IndieWire, RogerEbert.com, StarTrek.com, The Takeout, and others. He lives in Chicago with his wife, his cat, and far too many Criterions.Follow him on Twitter @clintworthing