On a worn space station hovering above Mars, a struggling Chinese restaurant provides an unexpected backdrop for pursuing dreams, even in a dystopian future where Earth is off the table. This peculiar setting seeds the animated sci-fi dramedy series “Ancient China of Mars,” which is featured at Rome’s MIA Market from October 6 to 10.
Conceived by Andrew Leung, known for his work as a concept artist on Disney’s “Mulan” and Marvel’s “Black Panther: Wakanda Forever,” the series chronicles the journey of the Lees, a Chinese family from Earth seeking refuge on Mars. They leave behind an environmentally ravaged planet and a rigid socioeconomic caste system, yearning for a chance to thrive on the Red Planet, only to find themselves stuck in limbo on a space station functioning as a refuge for stateless migrants caught between two worlds.
In this new chapter of their lives, the Lees establish a Chinese eatery, hoping it serves as the foundation upon which they can build a better future for their children. However, the path is fraught with difficulties, particularly for newcomers in an alien environment, especially in what Leung characterizes as the “terraformed fascist paradise of Mars.”
“Ancient China of Mars” draws inspiration from our increasingly dystopian present, with Leung using the term “enshittification”—coined by tech critic Cory Doctorow to describe the gradual decline of technologies impacting our lives—to underscore that “everything is starting to suck.”
“The American dream feels increasingly like a mirage. Achieving it seems beyond reach, and I wanted to explore this narrative,” Leung explained to Variety. “What better perspective to tell this story from than the eyes of those who are often excluded from that dream but participate in it through the immigrant experience?”
Growing up in rural Oregon, which he described as “the middle of nowhere,” Leung remembered enduring the racially charged taunts of classmates urging him to “go back to China” and finding solace in the family restaurant. A devoted sci-fi enthusiast since childhood, he often retreated to his sketchbook, immersing himself in “Star Trek: The Next Generation,” which inspired him to envision “a future we could all belong to.”
While “Ancient China of Mars” is informed by Leung’s experiences as a member of the only Chinese American family in his town, he emphasizes that the series transcends a singular narrative.
“It’s fundamentally about the experience of feeling out of place in a world that is not designed for you,” he stated. “What if the tech industry achieved everything they desired? They envision creating this paradise, but upon arriving, one realizes, ‘Oh, we’re merely the Uber drivers in this realm.’”
Although countless underpaid and overworked individuals in today’s gig economy would resonate with this concept, Leung believes a more universal element will draw viewers to “Ancient China of Mars.” “I genuinely think it will be an entertaining show,” he remarked. “I believe it’s genuinely humorous.”
Neal Ludevig, a producer at Snarky Elephant Productions, was immediately captivated by Leung’s vision for a series that, while not necessarily sky-high in ambition, can easily resonate across various cultures.
“He could have framed this as a strictly American narrative centered on immigration and the pursuit of the American dream, but he’s repurposed it to create an experience that speaks to a broader audience,” Ludevig stated. “Every nation encounters immigration issues, social stratifications, and people who are displaced.”
Leung is part of the Snarky Elephant Incubator, an extensive developmental initiative aimed at supporting emerging creators in the film industry whose works reflect the mission of diversifying screen content.
“As we say, we create content that tackles the elephant in the room with wit—topics about race, identity, climate, immigration, and sexuality,” Ludevig said. “Our goal is to shine a spotlight on stories often overlooked in mainstream media.”
“Ancient China of Mars” is among 15-20 projects currently being developed by Snarky Elephant, which also includes Craig T. Williams’ “Black Boys Don’t Sew,” with executive producers Viola Davis and Julius Tennon. While Ludevig describes the program as an “effective pipeline for intellectual property,” its primary strength lies in identifying promising creators and investing long-term in their artistic visions.
“It generates excitement and momentum, fostering a larger vision that encourages others to tell their stories,” he explained. “The more narratives featuring diverse backgrounds and experiences we see, the more people will be inspired to continue creating their own.”
The MIA Market in Rome takes place from October 6 to 10.
