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When are you all going to start thinking for yourselves?вЂќ).

SheвЂ™s agnostic about the plan (вЂњSeldonвЂ™s gone. The first centers on Salvor Hardin (Leah Harvey), the Warden of Terminus, who defends its fledgling settlement from invasion.

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The TV series has three arcs, each dramatizing an orientation toward the future. Though sprinkled with timely allusions, its hero-centered narrative obscures AsimovвЂ™s most pressing question for an era of political and ecological precarity: What does it mean to engage in a survival struggle that lasts far longer than any individual life? The series attempts to rescue the novels from their atomic-age limitations but largely squanders its material on a clone of every other blockbuster fantasy quest. Planned for eight seasons, and just renewed for a second, вЂњFoundationвЂќ gathers the originalвЂ™s far-flung strands into an action-packed morality play about agency and legacy, freedom and fate. Goyer-whoвЂ™s best known for co-writing вЂњ The Dark KnightвЂќ with Christopher Nolan-has not only adapted AsimovвЂ™s saga but overhauled it. (Asimov kept writing prequels and sequels until his death, in 1992.) Yet the seriesвЂ™ onscreen presence has been restricted to its influence on other science-fiction sagas, especially вЂњ Star Wars.вЂќ Zealously noting these homages, Asimov fans have waited decades for their own epic.

AsimovвЂ™s saga has been enormously popular since the publication of its first trilogy-вЂњ FoundationвЂќ (1951), вЂњ Foundation and EmpireвЂќ (1952), and вЂњ Second FoundationвЂќ (1953)-which sold millions of copies. This is no invitation to cinematic extravagance. They are ordinary scholars, traders, politicians, and scientists: the tale spans light-years and millennia, but never forgets its human proportions.

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(вЂњI was so sorry afterward I had not counted the number of spaceships that had exploded,вЂќ Asimov wrote in a withering review of the 1978 movie вЂњ Battlestar Galactica.вЂќ) Their appeal is subtler, relying on the tension between SeldonвЂ™s plan and the individuals caught in its weave. The novels conspicuously lack aliens, mysticism, and other space-opera standbys, not least battle scenes. The Foundation confronts barbarian kingdoms, imperial revanchists, and shadowy telepaths who elude psychohistoryвЂ™s grasp. Left ignorant of its details (such knowledge would play havoc with prediction), each generation must solve its own crises. His followers establish a Foundation on the frontier world of Terminus-a colony tasked with conserving all human knowledge-where they spend the next millennium fulfilling вЂњSeldonвЂ™s planвЂќ to reunite the galaxy. вЂњThe storm-blast whistles through the branches of the Empire even now.вЂќ вЂњInterstellar wars will be endless,вЂќ he warns. Its inventor, Hari Seldon, lives in a twelve-thousand-year-old galactic empire, which, his equations reveal, is about to collapse. Isaac AsimovвЂ™s classic saga revolves around the dismal science of вЂњpsychohistory,вЂќ a hybrid of math and psychology that can predict the future.

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An innocent viewer of the new Apple TV+ series вЂњFoundationвЂќ-a lavish production complete with clone emperors, a haunted starship, and a killer android who tears off her own face-might be surprised to learn that the novels itвЂ™s based on inspired Paul Krugman to become an economist.

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