It’s official: Stargate SG-1 rules the earthly television universe.

Embarking on a record-breaking 10th season of production, the B.C.-shot TV series has entered uncharted territory, laying claim as the longest-running drama series ever produced for cable television, and the longest-running North American science fiction drama of all time, outlasting The X-Files, The Twilight Zone and every installment of Star Trek.

‘This is a big deal – a really big deal – and everyone in Vancouver knows it,’ says Jeanie Bradley, executive VP, current programming at Sony Pictures Television, who flew up from L.A. with MGM and Sci Fi Channel execs to celebrate the shooting of the 200th episode with cast, crew and media on the Stargate SG-1 set at The Bridge Studios in Burnaby, BC.

B.C. film commissioner Susan Croome joined the party and confirmed it was a toast-worthy occasion.

‘Stargate has been a great economic boost to B.C.’s economy,’ she says. ‘They’ve provided long-term employment and given opportunities to local actors, writers, directors and crews to grow in their craft. They’ve played a major role in contributing to the industry infrastructure, and by showcasing B.C. worldwide they’re building our tourism industry, too. All round, this is a win-win-win for everyone.’

Another major benefactor of the series has been Bridge, which rents 75% of its soundstage space to the Stargate franchise. The producers’ long-term commitment has also allowed for the studio’s building expansion.

‘A TV series can run one year, or max four. A feature film is here for six months. To have a series here for 10 years – it doesn’t get better than that,’ says Ron Hrynuik, GM of Bridge.

And the show is not creatively controlled by transplanted Americans, but rather by Canucks Brad Wright, the series cofounder, and Robert Cooper, who share executive producer, showrunner and head writer duties.

‘I’m proud of what we’ve done,’ says Wright. ‘To have a long-running TV show written, produced and directed in Canada by Canadians is a dream.’

SG-1 and its spinoff series Stargate Atlantis have brought US$500 million in production spending to B.C. and created 400 jobs in the past nine years, according to the show’s exec producers.

‘We put U.S. dollars back into the Canadian economy. I like to think of this as a Canadian company employing U.S. actors,’ Wright said at the celebratory media event.

‘Eeeaasy,’ laughs Richard Dean Anderson, SG-1’s best-known cast member, who starred in the first eight seasons and exec produced seasons two to eight. Anderson has returned to reprise his role as Major General Jack O’Neill for episode 200.

Next day, in The Bridge Studios office, Wright picks up where he left off. ‘Someone at the Toronto Star said to me that we were ‘industrially Canadian.’ I was so angry,’ he says. ‘Come on – most of the cast is Canadian, the crew is almost 100%, and all the writers, directors and producers are Canadian. Maybe it’s because we don’t write about moose and beavers and don’t depend on Canadian public funds.’

Cooper shares in his partner’s frustration. ‘It’s like, even now, they’re saying ‘longevity is your award,” he says. ‘The hardest part of that for me is that the people who do amazing work on this show aren’t recognized for it and they should be.’

Stargate, a 6/10 Canadian show by Crtc definition, has been historically snubbed by Canadian award shows. In its history, SG-1 has but two Gemini Awards to its name – one for production design and one for visual effects. But no one can deny the show’s success. More than 10 million people in 120 countries tune in to follow a team of soldiers, scientists and aliens step through ‘the stargate’ and travel to other planets to explore, defuse crises, investigate ancient mysteries and defend Earth from hostile forces.

The fan base’s fierce loyalty spawned Stargate Atlantis in 2004 – it is now shooting its third season – not to mention a merchandise industry that encompasses fan conventions, action figures, comic books, clothing and theme park rides. The franchise’s US$30 million in DVD sales places it second only to the mighty James Bond series.

It all began a decade ago, when Wright was working as writer and exec producer on MGM’s The Outer Limits in Vancouver. He saw Kurt Russell’s 1994 feature film Stargate and pitched it to MGM as a series. MGM bought the idea and partnered Wright with John Glassner, another Outer Limits exec, to co-develop and launch the series in Vancouver.

‘[MGM was] already shooting Outer Limits here; I was here; they recognized the production value here; it made sense to do it here,’ Wright recalls.

After three years, Glassner headed home to the U.S. and Toronto transplant Cooper, a writer on the show from day one, stepped in to partner with Wright. It’s been a creatively fruitful collaboration ever since.

For the first five seasons they solidified their working relationship with MGM, which grew to trust what Cooper describes as ‘our unorthodox methods. We were constantly thinking outside of the box, which isn’t something an institutional organization deals with easily.’

But trust takes time, says Wright, who adds, ‘they knew we could deliver. We and they figured out the importance of the writer. The writer can decree the budget.’ (The average budget for the program is US$2 million per episode.)

‘They knew I wrote shows cheaply, because I know how – I’m Canadian,’ Wright continues.

After the five-year mark, the commitment from U.S. broadcaster Showtime was up, Anderson wanted to spend more time in the States with his family, and Cooper and Wright thought it was the end. Instead, Sony joined as a production partner, and the show moved to the Sci Fi Channel in the U.S. (It airs on Space: The Imagination Station in Canada.) According to Wright, that’s when the show really took off.

‘We were under the radar for a long time, but with a very loyal following, especially in England. Suddenly, it’s like we were this new hot show,’ he says.

DVDs further propelled it into North America’s consciousness, and Anderson’s eventual departure after season eight was far from a disaster – rather, it created new opportunities.

While Wright shifted his focus to Atlantis, Cooper retooled SG-1. The role of commander left vacant by Anderson was filled by multiple Emmy Award winner Beau Bridges, and Ben Browder joined as leading man.

‘It was a new start, with new adventures and new cast members, which is what sci-fi should be about,’ Cooper says.

Some of the most significant changes over the course of the franchise’s run have been technological.

‘Digital has made a huge difference,’ says Wright. ‘We now have our own in-house special effects, and since season eight we’ve been shooting HD on both series.’

He figures the HD format saves them US$12,000 per episode.

‘On the other hand,’ he adds, ’10 years ago it cost $5,000 each time [a character] walked through ‘the gate,’ and it still does.’

Wright and Cooper attribute Stargate’s legs to the continuity and consistency of the core creative team, cast and crew – all that, and a sense of humor.

‘We don’t take ourselves seriously. Maybe that’s why some people don’t either,’ Wright says with a laugh.

Fittingly, the landmark 200th episode pokes fun at the past 10 years. Wright didn’t count on Anderson returning for the occasion, ‘so we wrote him in as appearing invisible, like walking down the hallway and all you’d see was his coffee mug.’

In the special episode, Anderson joins original cast members Amanda Tapping (as Major Samantha Carter), Christopher Judge (Teal’c) and Michael Shanks (Daniel Jackson), as well as SG-1 new-comers Bridges (Major General Hank Landry), Browder (Lt. Col. Cameron Mitchell) and Claudia Black (Vala Mal Doran). Fan fave Willie Garson (Martin Lloyd) also makes a special appearance. (Tapping and Shanks are Canadian.)

Aptly titled ‘200,’ the episode is written by all seven series writers and centers on the SG-1 team as it serves as advisors on a TV series bearing remarkable similarities to the goings-on at Stargate Command. As the team members pitch the producer on the many adventures they have been involved in over the years, they discover that truth really is stranger than fiction, especially in Hollywood. ‘200’ airs this July on Sci Fi. *

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