Out of the Unknown

A Forgotten Masterpiece of British Sci-Fi Drama

Premiering on BBC Two in December 1965, Out of the Unknown stands as one of British television’s most intellectually ambitious and artistically accomplished anthology series. Adapted from the works of literary science fiction titans such as Isaac Asimov, John Wyndham, Ray Bradbury, and Frederick Pohl, the series offered a rare fusion of speculative storytelling and sophisticated television drama. Over the course of its four seasons—two broadcast in black and white and the latter two in colour—the series charted a course that, at its best, explored the cutting edge of science fiction with thought-provoking precision.

The creative force behind the show was the remarkable Irene Shubik, a pioneering producer whose vision helped bring a new level of respectability and literary merit to televised science fiction. Having cut her teeth on Armchair Theatre under Sydney Newman, Shubik carried with her a deep understanding of what intelligent drama could achieve within the constraints of television. Her earlier foray into the genre with Out of This World (1962), hosted by Boris Karloff, laid the groundwork for what would eventually become Out of the Unknown when she followed Newman to the BBC.

Shubik’s dedication to quality was evident from the outset. "I had to read hundreds of stories to pick a dozen." She later recalled. "You have no idea how difficult some of these authors are to deal with, and it seems a special thing among SF writers to hedge themselves behind almost impossible copyright barriers, even when they have got a story that is possible to do on television. So many you can't. Either the conception is so way out you would need a fantastic budget to produce it, or the story is too short, too tight to be padded out to make an hour's television." Yet, Shubik persevered, assembling a formidable team of writers and directors. Notable contributors included Terry Nation (co-creator of the Daleks), Leon Griffiths, Bruce Stewart (later to go on to script the first Timeslip stories for ATV), and directors such as Philip Saville and Peter Sasdy. Among the design talent was a then up-and-coming Ridley Scott—later to become one of cinema’s most iconic directors.

What truly set Out of the Unknown apart was its commitment to mature, literate science fiction. It avoided the cliché of “bug-eyed monsters,” instead focusing on the psychological, sociological, and philosophical dimensions of storytelling. The first two seasons, in particular, offered an eclectic and high-quality array of single plays that treated both the audience and the source material with rare intelligence. The calibre of acting talent was equally impressive, with appearances from the likes of David Hemmings, Milo O'Shea, Warren Mitchell, Donald Houston, Rachel Roberts, George Cole, Ed Begley and Marius Goring.

However, the departure of Shubik after the second season marked a turning point. Under new producer Alan Bromly, the series took a noticeable shift away from its roots. Bromly, wary of the costs associated with science fiction special effects and responding to a changing cultural climate, steered the series toward what he termed “plays of psychological suspense.” By the fourth season, the transformation was complete: Out of the Unknown had become more of a supernatural thriller series than a science fiction one.

While Bromly’s tenure still included contributions from respected writers such as Michael J. Bird and Quatermass creator Nigel Kneale, the original vision of the series had been all but lost. The passing of Out of the Unknown at the end of its fourth season effectively marked the end of the classic British science fiction anthology format.

In retrospect, Out of the Unknown was a triumph of ambition over budget, of intellect over spectacle. At its peak, it was a series of immense quality—artfully produced, intelligently written, and performed with sincerity and depth. It demonstrated that science fiction on television could be more than pulp escapism; it could be a mirror held up to society, a vehicle for profound ideas, and a showcase for the very best creative talents of the time.

A true landmark in British television history, Out of the Unknown deserves to be remembered, revisited, and revered—not only as a product of its time, but as a bold statement of what science fiction can achieve when it’s treated with seriousness and care.

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