America and Hollywood might feel like the natural home of sci-fi, but Britain has quite the science fiction pedigree of its own.

Doctor Who is obviously our great nation's most famous sci-fi export, standing tall amongst the other giants of the genre, but it's far from our only contribution. From television to literature, there is a history of some truly great and groundbreaking science fiction coming from this loose collection of islands.

So, make yourself a nice cup of tea and have a seat while we break down the UK’s 10 best science fiction shows of all time (in no particular order).

1. Doctor Who

Release date: November 23, 1963 | Seasons: 41 | Cast: William Hartnell, Patrick Troughton, Jon Pertwee, Tom Baker, Peter Davison, Colin Baker, Sylvester McCoy, Paul McGann, Christopher Eccleston, David Tennant, Matt Smith, Peter Capaldi, Jodie Whittaker, Ncuti Gatwa (& many more)

Doctor Who might not be the juggernaut that it once was, but it is one of the longest-running science fiction shows in the world. It's been going (on and off) since 1963, and it has always had something important to teach its audience.

From the off, it was a show championing scientific curiosity, kindness, and openness, though the stern tones and prickly demeanour of William Hartnell have since given way to a minimum of 14 different actors playing the same role.

While there’s certainly a difference between the original run of television serials and the typically self-contained format of the modern incarnation, the sheer wealth of different stories available means you can find something for everyone.

2. The Quatermass Experiment

Release date: July 18, 1953 | Seasons: 4 | Cast: Reginald Tate, Wilfrid Brambell, Katie Johnson

From Doctor Who to one of its contemporaries, or rather, the show that inspired it. The Quatermass Experiment was a set of four different sci-fi serials, each containing 6 episodes, that debuted in 1953, a full decade before Who hit our screens.

The Quatermass Experiment is a striking piece of television, partially because it was really the first of its kind, because it was squarely aimed at adults. Before this, most sci-fi TV was aimed at kids, while silver screen efforts focused on schlocky B-movie-style effects, such as those seen in “The Day the Earth Stood Still”.

Humanity's first rocket launch to space goes awry when it returns to Earth with two crew members missing, and the one remaining astronaut is gravely ill. Professor Quatermass and his team are left struggling to unravel the mystery of what happened to the crew.

While only the first two episodes managed to survive the original live broadcast, the serial still went on to have a huge impact on science fiction. It was one of the first sci-fi shows with mass appeal, and the trio of follow-up serials kept Bernard Quatermass as an icon of pop culture all the way into the 70s, with a variety of Hammer Horror adaptations to bring the character to new audiences.

3. Blake’s 7

Release date: January 2, 1978 | Seasons: 4 | Cast: Gareth Thomas, Michael Keating, Sally Knyvette, Paul Darrow

And now for something completely different: Blake 7, aka one of the grittiest and most depressing space shows that Britain ever produced.

Blake’s 7 tells the story of Roj Blake, a political dissident working against the totalitarian Federation controlling Earth and its colonies. On his way to a lifetime of false imprisonment, Blake manages to escape and capture a powerful alien vessel, which he then crews with another 5 people and 1 computer, to work together to overthrow the federation.

While most sci-fi of the time was chipper and optimistic about our future, Blake’s 7 was a sci-fi show that explored themes of political dissidence, cynicism, and freedom fighting. It’s a show about a small group fighting a much more powerful enemy, and frankly, it goes to some very, very dark places. When the phrase “mass-murder” has to be bandied around more than once, you know you've left happy-go-lucky behind.

It has an incredibly dour feeling most of the way through, and the ending does nothing to change that vibe. Dark tone aside, Blake’s 7 is the sort of sci-fi show that we just don’t see anymore.

4. The Prisoner

Release date: September 29, 1967 | Seasons: 1 | Cast: Patrick McGoohan, Angelo Muscat, Peter Swanwick, Denis Shaw, Fenella Fielding

If you’re a British sci-fi fan of a certain vintage, then you should already be familiar with The Prisoner.

Filmed (mostly) in Portmeirion, the show has some of the most iconic visuals in sci-fi history, despite only being a single self-contained series. From the giant evil balloon, known as Rover, to the beautiful houses of Portmeirion itself, The Prisoner is an incredibly visually striking show.

It follows the plot of a British secret agent who becomes frustrated with his position and resigns. While preparing for a trip, he is rendered unconscious using knockout gas and awakes to find himself inside a perfect recreation of his own home, but this one is located in a mysterious settlement known as The Village.

The plot goes to some wild places from there, but the story is deeply rooted in the societal fear that was surrounding the ongoing counter-cultural movements of the day. Individualism is pitted against collectivism throughout the show, and it’s a testament to the writing that neither ideal is shown to be the obvious right choice by the end.

5. Red Dwarf

Release date: February 15, 1988 | Seasons: 12 | Cast: Chris Barrie, Craig Charles, Danny John-Jules, Robert Llewellyn, Norman Lovett

If you’re into Space and British Comedy but you’ve not watched Red Dwarf yet, then what the smeg have you been doing?

This space sitcom follows the adventures of mega-slob Dave Lister, his neurotic, hologramatic bunk-mate Rimmer, their evolved Cat (of the same name), and square-headed mechanoid Kryten. Each episode sees the crew dealing with various sci-fi calamities, from emotion-sucking monsters and time travel shenanigans to being stuck on a frozen asteroid, as they make their way through a harsh galaxy.

The show packs some of the funniest moments in British TV history, especially during the first 5 series or so. They parody every sci-fi concept known to humanity, balancing straight comedy, horror, and drama. You'll get introspective looks at what it means to be human alongside ridiculous situations where Lister gets turned into a 6-inch-tall RoboCop rip-off.

It's also deeply rooted in the British working-class culture of the time, which means plenty of time for curry, beer, banter, and slobbing around the place.

6. Hyperdrive

Release date: January 11, 2006 | Seasons: 2 | Cast: Nick Frost, Kevin Eldon, Miranda Hart, Stephen Evans

In a similar vein to Red Dwarf, but nowhere near as popular, Hyperdrive is a Nick Frost-led sci-fi sitcom from 2006. It tells the tale of a British spaceship, the HMS Camden Lock, in its attempts to serve the national interest in an ever-evolving galaxy.

Starring British comedy favourites such as Kevin Eldon and Miranda Hart, Hyperdrive is a very silly show that ended up more like a workplace sitcom in space rather than the next Red Dwarf.

What saves Hyperdrive is the dry humour and the slightly insane set and character design. The series is replete with a baffling array of alien races, almost all of which are basically humans with varying levels of prosthetic facial makeup or zany outfits. Some of these guys are obvious parodies of alien races from classic shows, but they’re all thoroughly weird and worth the price of admission on their own.

7. The Hitchhiker’s Guide to the Galaxy

Release date: January 5, 1981 | Seasons: 1 | Cast: Peter Jones, Simon Jones, David Dixon, Mark Wing-Davey, Sandra Dickinson

If you’re more familiar with the movie adaptation or the original radio show, then you might have missed out on the slightly more obscure The Hitchhiker’s Guide to the Galaxy TV series. A decent amount of the radio cast reprise their roles in this single season of British TV, and much like the radio show, the production was ground-breaking for its time.

The show is a ramshackle blend of production techniques, using everything from model shots, classical animation, and even a fair few instances of matte painting to show the truly impossible on a grand scale.

As a result, the TV show has its own surreal vibe that isn’t always found in other versions, and it can get surprisingly grimy and dark when it needs to. Plus, if you get the DVD version, there’s an added joke where every so often it’ll pretend to have an ‘infinite improbability drive’ issue and stop working.

8. Black Mirror

Release date: December 4, 2011 | Seasons: 7 | Cast: Basically everyone

Any talk about British sci-fi cannot fail to mention Charlie Brooker’s seminal science fiction Netflix series that was so popular it damn-near became a phenomenon.

If you’ve somehow missed out on the show so far, it’s a sci-fi anthology series where each episode tells a self-contained story, usually about an element of modern-day society. This ‘reflecting society’ element is why it’s called ‘Black Mirror’, as it could be said the show is holding up a ‘black mirror’ to society.

Black Mirror mostly works in the realm of speculative fiction, but several episodes have a more contemporary, real-world setting. The bulk of the show, though, deals with the pitfalls of technology, modern consumer culture, and the modern media landscape, certainly realms more than familiar to science fiction.

9. Life on Mars

Release date: January 9, 2006 | Seasons: 2 | Cast: John Simm, Philip Glenister, Liz White, Dean Andrews, Marshall Lancaster

While it might not be what you immediately think of when it comes to sci-fi, Life on Mars is a fantastic show that straddles the space between speculative science fiction and crime drama, though it’s closer to ‘A Stir of Echoes’ rather than ‘Childhood’s End’.

The show tells the story of Sam Tyler, a modern-day police officer who hits his head and wakes up in the 1970s. While trying to figure out what’s going on, Sam has to deal with the realities of life and policing in the UK in the early 70s, something that’s shockingly entertaining to watch him attempt to juggle.

The real draw of the show is the mystery. Throughout the runtime, you’re never really sure if he has travelled back in time or if he’s either dead or in a coma. Even when you start to think that the show is giving you answers, you’ll soon find the rug pulled out from under you, and the want to finally learn what is happening will keep you coming back.

10. Utopia

Release date: January 15, 2013 | Seasons: 2 | Cast: Alexandra Roach, Nathan Stewart-Jarrett, Paul Higgins, Fiona O'Shaughnessy, Adeel Akhtar

The final entry on the list is a bit more of an obscure one. Back in 2014, Channel 4 put out Utopia, a sci-fi conspiracy thriller with a comedic bent to it.

Utopia follows a group of nerds who discover a comic has been predicting historic events and accidentally unmask a shadowy conspiracy. While the show was unceremoniously ended after only two series, and on something of a cliffhanger, it offers something that is dark, gritty, humorous, and horrific in equal measure.

Utopia doesn’t shy away from the violence inherent in telling a dystopian story. In fact, the level of violence can be a bit much at times, which is part of the reason some audiences shied away from it. But, if you can stomach it, Utopia is some of the most thrilling British sci-fi ever produced.

More sci-fi TV

That’s it for our list of excellent British Sci-Fi Shows, but if you enjoyed the list, you might want to check out our list of upcoming sci-fi shows. If the big screen is more your speed, we also have a list of upcoming sci-fi movies.

As our planet revels in the recent achievements of this spring’s Artemis 2 mission and its four astronaut crew members, a new four-part PBS documentary series takes a scrutinizing look at space exploration and its inherent perils and promises. "Once Upon a Time in Space" will be available to watch on PBS (and the PBS app) starting on July 14, 2026 (9pm ET).

Directed by James Bluemel and his filmmaking team — the crew behind the award-winning "Once Upon a Time in Northern Ireland" and "Once Upon a Time in Iraq" — "Once Upon a Time in Space" explores the connections between those venturing beyond Earth's gravity and the support staff remaining behind while pioneering souls venture into hostile outer space territory.

"'Once Upon a Time in Space' tells the human stories behind one of our most extraordinary endeavors: the exploration of space," states the official synopsis. "Moving beyond scientific achievement, the series examines the personal experiences of astronauts, cosmonauts, ground-based participants, and the loved ones left on Earth. Across four episodes, it traces significant landmarks in spacefaring history, from the birth of the Shuttle and the pioneering Space Station Mir to the rise of commercial spaceflight."

"Through powerful firsthand testimony and intimate, unseen archival footage, a complex portrait of humanity emerges: one that lays bare both our fragility and boundless curiosity. Accounts of bravery, friendship, and tragedy are told against the backdrop of a rapidly changing world, connecting technical and geopolitical developments to those who experienced them."

Here’s a schedule of the docuseries’ chapters and their slated air dates:

• Episode 1 "America First" – Tuesday, July 14 – 9:00 p.m. ET
• Episode 2 "The Russian Thing" – Tuesday, July 21
• Episode 3 "Politics Always Wins" – Tuesday, July 28
• Episode 4 "Friends Forever" – Tuesday, August 4

This remarkable show features NASA astronauts Charlie Bolden, Anna Lee Fisher, Bill Fisher, Michael Foale, Jerry Linenger, Mike Mullane, Dan Tani, and Terry Virts. They’re joined by cosmonauts Sergei Zalyotin and Alexander ‘Sasha’ Lazutkin, NASA officials, aerospace engineers, and numerous family members.

Produced in collaboration with the BBC, "Once Upon a Time in Space" was first broadcast last fall in the UK, but now makes its U.S. premiere at 9:00 p.m. ET on PBS, PBS.org and the PBS app.

Disney+’s imaginative anime anthology series, "Star Wars: Visions", is getting a standalone expansion next month with "Star Wars: Visions Presents –The Ninth Jedi".

This 8-episode limited series is a continuation of the saga of Lah Kara, Margrave Juro, and their ragtag crew in the search for her kidnapped father. "Star Wars: Visions Presents – The Ninth Jedi" debuts on Disney+ on Aug. 5, 2026.

Fans were first introduced to the intriguing story in "Star Wars: Visions" Volume 1’s chapter titled "The Ninth Jedi", and now writer/director Kenji Kamiyama and his animation studio Production IG will revisit Kara’s world to elaborate more on the mythology behind lightsabers of different hues.

In the original 2021 episode, viewers met a bright Force-sensitive girl named Kara and her sabersmith father, Zhima, as they harvest Kyber Crystals to forge new lightsabers for Margrave Juro, the leader of an outer rim planet called Hy Izlan.

Juro is collecting worthy Jedi to help repopulate the Jedi Order, but evil Sith mercenaries are hiding within his candidates’ ranks. Kamiyama’s short initially presented the cool notion of lightsabers changing colors to reflect their users’ true links to the Force.

A direct sequel to Kamiyama's episode, "The Ninth Jedi: Child of Hope," was delivered by anime master Naoyoshi Shiotani and premiered on Oct. 29, 2025, for "Star Wars: Visions" Volume 3. Lucasfilm's new show takes place shortly after the events seen in the two "Star Wars: Visions" shorts as Kara advances her training and searches for her father.

"Every time we finished one of the anthologies, the first conversation would be, 'God, I’d love to expand that story,'" James Waugh, Lucasfilm Senior V.P. and "Star Wars: Visions" executive producer, told TechRadar last year after the project was announced at Star Wars Celebration Japan.

"We love the shorts, but Kathy [Kennedy] heard that, and there was a moment to say, 'Let’s see what could happen if we expanded this.' That’s really where 'Visions Presents' comes from. If we could give a bigger canvas to paint on, what would we get? We’ve been so impressed with what Kamiyama and his Production IG team has delivered so far."

Directed by Shunsuke Tada and with Kenji Kamiyama acting as supervising director, "Star Wars: Visions Presents - The Ninth Jedi" arrives Aug. 5 on Disney+ and Hulu.

On Episode 218 of This Week In Space, Rod Pyle and Tariq Malik discuss NASA's new moonbase plans with planetary scientist Dr. Pascal Lee.

Starting with Artemis V (so far), the US plans to begin preparations for a permanent base situated in the south polar regions of the moon. Details are somewhat fluid, but one thing stands out: the poles are likely to be the most challenging places to set up shop in an already hostile environment. Pascal joins us to discuss moonbase siting options and why the poles may not be the best choice at first.

Download or subscribe to this show at: https://twit.tv/shows/this-week-in-space.

Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit

Space news of the week

• Making history! China lands rocket during an orbital launch for 1st time ever
• NASA's New Horizons probe just woke up from hibernation 6 billion miles away beyond Pluto. What's it doing out there?
• Wally Funk, trailblazing pilot and astronaut, passes away at 87
• Moon Base - NASA
• Project Horizon - Wikipedia
• The Artemis Accords
• NASA, Department of Energy to Develop Lunar Surface Reactor by 2030

Model Falcon 9!

Finally, did you know you can launch your own SpaceX rocket? Model rocket maker Estes' stunning scale model of a Falcon 9 rocket that you can pick up now. The launchable model is a detailed recreation of the Falcon 9 and retails for $149.99. You can save 10% by using the code IN-COLLECTSPACE at checkout, courtesy of our partners collectSPACE.com.

About This Week In Space

This Week in Space covers the new space age. Every Friday we take a deep dive into a fascinating topic. What's happening with the new race to the moon and other planets? When will SpaceX really send people to Mars?

Join Rod Pyle and Tariq Malik from Space.com as they tackle those questions and more each week on Friday afternoons. You can subscribe today on your favorite podcatcher.

We didn't realize it at the time — nobody ever does — but the '90s were a vintage era in Hollywood.

It was a time when major studios were happy to take a punt on original scripts, knowing that people would, as often as not, buy theater tickets to watch quality releases. Good movies will always be made, of course — just as even the most golden of ages produce their fair share of stinkers — but this was a time when the Venn diagram circles labelled 'acclaimed' and 'popular' intersected on a satisfyingly regular basis.

But beyond the critic-friendly fare produced by the likes of Quentin Tarantino, the Coen Brothers, Paul Thomas Anderson, and Martin Scorsese, this was also a peak period for popcorn-friendly action movies… and especially sci-fi action movies. Highbrow reviewers didn't always appreciate their brilliance back then, but looking back all these decades later, many of the best examples still stand up now.

"Independence Day" — which turned 30 last week — isn't even the best entry in the genre, but it repeatedly shows why the end of the 20th century was the perfect time to experience blockbuster thrills and spills in a multiplex. And, spoiler, there was barely a superhero in sight.

The '80s had teed up the subsequent decade's action explosion perfectly. On one side was the family-friendly fare championed by George Lucas and Steven Spielberg, timeless movies like the "Star Wars" sequels, "ET", "Back to the Future," and "Indiana Jones" that produced a generation of budding cinephiles. They were complemented by the more rugged, violent, and grown-up adventures popularized by the likes of "Aliens", "Predator", and "Die Hard".

Anything less than spectacular would no longer cut it in the blockbuster stakes, as the kids of the '80s got that little bit older and decided to take their new favorite genre with them.

It's easy to dismiss this kind of filmmaking as simplistic and dumbed down. Its poster boys were uber-producers Jerry Bruckheimer and his late filmmaking partner Don Simpson, whose "high concept" ethos distilled movies down to a pithy elevator pitch you could squeeze into a single sentence.

But the company's undisputed classics of the era make it obvious they were on to something — "Crimson Tide" (feuding submariners try to avert World War III), "The Rock" (rogue marines capture Alcatraz to hold San Francisco to ransom) and "Con Air" (a bunch of prisoners capture their transport plane). It's a formula that also worked for "Speed" (a bomb will explode if a bus goes under 50mph), "Twister" (scientists chase tornadoes across America), and "Under Siege" ("Die Hard" on a boat).

The director/producer duo of Roland Emmerich and Dean Devlin were clearly paying attention when they made "Independence Day", their follow-up to 1994's "Stargate". Let's start with their own high concept, easily summed up as a modern-day spin on HG Wells' "The War of the Worlds", but with bigger spaceships and a more pronounced fetish for major landmarks.

Speaking to the Guardian, Devlin recalled Emmerich's original idea. "[He said], 'What if we woke up tomorrow morning and we walked outside to get the newspaper and above it was a 15-mile-wide spaceship blotting out the sun for an entire city?' Then he turned to look at me and goes, 'I think I have our next movie.'"

"Independence Day" didn't need to be part of a major franchise to get noticed. The teaser trailers, with their carefully choreographed moments of tourist hotspot destruction, were enough for that, as was the brilliant sci-fi movie poster, which saw Manhattan dwarfed by a flying saucer. "The question of whether or not we are alone in the universe has been answered," said the wonderfully doom-mongering tagline.

As with many of the other action movie classics of the era — not to mention the classic Irwin Allen disaster epics of the 1970s, such as "The Poseidon Adventure" and "The Towering Inferno" — "Independence Day" prioritized its cast over spectacle.

The biggest name on the roster was arguably Jeff Goldblum, who, thanks to the double whammy of "Jurassic Park" and "ID4", briefly had the two highest-grossing films of all time on his resumé.

But Emmerich and Devlin also spotted the star power of Will Smith before he became a bona fide A-lister, and packed out the vast supporting cast with familiar — though not necessarily movie star — names: "Taxi"'s Judd Hirsch as Goldblum's dad, Bill Pullman as an idealistic POTUS, and Randy Quaid as a former pilot with a bone to pick with ET. They also boosted the film's geek credentials by casting Brent Spiner ("Star Trek: The Next Generation"'s Data) as Area 51's eccentric head of ET research.

Populating the film with quality actors paid big dividends, helping to ground a film whose script rarely shied away from the ridiculous. In a screenplay that shifts from gung-ho action to self-aware gags to over-earnest, tub-thumping presidential speeches (and back again), it certainly helps if your cast can play their roles as if they're on stage at the Royal Shakespeare Company. In the same way, nobody could watch Ed Harris in "The Rock" or Gene Hackman in "Enemy of the State" and claim they were phoning it in.

There's also a lot to be said for the "Independence Day"'s deployment of practical effects. The mid-'90s were a dangerous time to be a filmmaker, when many were tempted to use computer effects when they should have known better. Look at the best action movies of the era, however, and they tend to use the CG to enhance, rather than replace, more traditional techniques.

As groundbreaking as "Jurassic Park" was, Steven Spielberg was remarkably sparing with the digital moments, while "The Matrix" — a film whose bullet-time effects quickly became ubiquitous — hung its action credentials on its live-action fights and wire work.

"Independence Day" was cut from the same cloth, using CG in the right places (most notably in its spectacular aerial dogfights) while also building (and subsequently blowing up) intricate practical models to deliver moments of pure, joyous cinematic carnage. These moments would undoubtedly be animated in a computer now, losing the tactile qualities — and the intrinsic gravity of the situation — you only capture in real life.

Thirty years on, "Independence Day" and its '90s action brethren have come to feel like relics. Sure, superhero movies, their most obvious descendants, still set their eyes on top acting talent, and the best directors (most notably Christopher Nolan) tend to make a point of shooting practically when they can.

But, aside from the numerous "Die Hard" spin-offs, the '90s generation were predominantly telling original stories, well away from the restrictions of franchise filmmaking, starting and finishing an entire story in roughly two hours. Indeed, it's remarkable how few of the classics of the era were followed up by a successful sequel. ("Independence Day: Resurgence" took 20 years to arrive, and when it did, didn't even make half as much at the box-office as its predecessor.)

And crucially, the action movies of the late 20th century were usually about people. Most of the time, they were ridiculous, over-the-top, broadly drawn, clichéd, cookie-cutter characters, but they also tended to — more or less — obey the laws of physics. Without superpowers or magic to fall back on, heroes had to rely on little more than implausible levels of ingenuity and resilience, a capacity to dodge bullets/laser fire, and a gift for making the right quip at the right time. "Independence Day" may just have been on to something.

"Independence Day" is available on Hulu in the US and Disney+ in the UK.

Avatar: Fire and Ash was a box office smash hit when it dropped in December 2025, and it's easy to see why. Compelling characters, breathtaking action, beautiful environments, and an array of wondrous alien creatures.

We've explored the strange creatures of the Avatar universe before, but now that the third movie has finally hit Disney+, we're taking another look at three more awe-inspiring alien creatures from these movies, including some new stunners introduced in Fire & Ash.

If you’re more of an RDA fan (or at least admire the humans’ technology), we also took a good look at Avatar’s most iconic spaceships and vehicles. James Cameron rarely misses when it comes to gorgeous sci-fi designs — man-made or natural — and eagle-eyed veterans might even spot an explicit reference (which we won’t spoil here) to Aliens in Fire and Ash.

It might be a while before we get more updates on Avatar 4 and 5’s status, so if you're itching to explore Pandora more after watching Fire and Ash on Disney+, then you should also check out the video game, Avatar: Frontiers of Pandora. Ubisoft’s open-world game is a memorable – and surprisingly brutal at times – experience, but it also lets fans explore the world, see the creatures, and dive deeper into the lore.

Now, let's mask up and prepare to drop into the wilderness of Pandora as we look at three of the Avatar series’ coolest (and weirdest) alien creatures.

Akula

First seen in Avatar: The Way of Water, the akula is a carnivorous fish that essentially acts as the great white shark of Pandora’s oceans, though it’ll remind paleofanatics of Earth’s armored Dunkleosteus. Its most shocking feature — and one perfectly showcased when it tries to eat Lo’ak in the second movie — is a three-part jaw that opens up in a big triangular shape.

Like most creatures in the Pandoran seas, the akula is important to the Metkayina’s culture. Those Na’vi choose to model their traditional knives after the teeth of the fearsome creature, and some members of the tribe even wear the akula’s actual teeth with necklaces. It’s terrifying to them, too, and thus deserves respect.

The lead creature designer on the Avatar sequels, Zachary Berger, revealed the process behind the akula’s creation, stating the basis for the final design was born from a sketch Wētā Workshop had done a long time ago. Unsurprisingly, it seems the mouth “reveal” was the final touch the otherwise familiar design needed to fully come together.

Nightwraith (ska’avum)

Another scary aerial predator introduced in the sequels is the nightwraith, which the Na’vi call ska’avum.

First seen in Fire and Ash as the ride of choice of villain Varang, it’s a four-winged monster with folding vanes that give it a distinct shape against the sky. It’s also slightly larger in size than the more common ikran, as seen during Varang and Neytiri’s ferocious clashes. Moreover, its “bony crests” give it an additional edge when it comes to attack and defense.

As far as we know, Varang is the only Na’vi to ride a nightwraith. This is a good fit considering the character’s fiery nature, but it wasn’t always the plan, as her aerial partner wasn’t defined in the script and was developed into an all-new creature after shooting had wrapped. Word is that Varang was originally meant to ride an armored ikran instead.

Southern squidray (tsyong)

Fire and Ash also added Pandora’s own giant squids to the already crowded bestiary, and those things are gnarly... even outside the water. When Eywa goes to war (again) during that third act, things get scary very fast if you’re on the human invaders’ side. Enter the four-eyed southern squidray, called tsyong by the Na’vi.

With razor-toothed tentacles and an oversized beak that opens up horizontally and can bite through most natural materials, these deep-sea hunters can feed on almost any other animal in the sea due to their impressive speed and strength in numbers.

Even the agile ilu have a hard time escaping them, so you can quickly understand why the Na’vi treat them as “dark spirits” sent by Eywa to judge. By the end of the third Avatar movie, the RDA is the one being judged (harshly) by the nightmare-inducing cephalopods.

Adult Swim's smash animated series "Rick and Morty" recently unleashed its ninth season, and it's already shaping up to be one of the best seasons so far, with plenty of interdimensional shenanigans, existential excursions, evolutionary entanglements, hostile living room furniture, a potential trip to Boob World, and Pool Time!

We chatted to the creators Dan Harmon and Scott Marder earlier this month, but now we're catching up with the main cast to hear from Ian Cardoni (Rick), Sarah Chalke (Beth), Harry Belden (Morty), and Spencer Grammer (Summer) on the rigors of voice acting, playing in the multiverse, and watching all your plosives.

"We've got what we would consider classic adventures, balanced by a lot of fresh and new directions for these characters and for these stories," Cardoni tells Space.

"I can honestly say that some of my favorite moments of episodes of the whole series run are coming in season 9, and I'm excited for fans to see that. Sci-fi in its best form is human stories. It may be our future, and I think we get glimpses of that by tapping into the human elements. With all the wacky hijinks that take place, we're in for a really amazing season and some real good science fiction."

Those hijinks call for some suitably animated vocal performances from the vast though. "These are voices that take a toll, even when it’s not a session, when it requires the intense gravel or yelling of Rick," explains Cardoni.

"It requires your full instrument. I like to prep with a full cardio workout because oxygen support is what you need. Then I go on vocal rest before and after sessions. I have all kinds of warm, hot, viscous liquids to soothe. I use a vocal steamer. Harry [Belden] is really religious about his regimen, but I’ve got my own way to get myself into the voice, but not burn out. Voice acting is acting. And the show doesn’t pull any punches emotionally."

Chalke relishes her time playing Beth and Space Beth and adamantly declares season 9 as her favorite season they’ve ever done.

"There's a couple of specific episodes, 'Salute Your Morts' and 'Jer Bud' where you really get to go deeper into the relationships," she notes. "The fun part of 'Rick and Morty' as an actor is all the unique challenges because there's no limits and because it's a multiverse and because the show can go anywhere, you’re always doing things with your voice you've never done before.

"None of us have to do the voice intensity Ian does with Rick. You're working those vocal chords so hard with the burping and all of that," Chalke remarks to Cardoni. "For me, Space Beth is more in that direction than Beth. So I always record all of that first and Space Beth second because she has more of a gravelly, raspy quality to it. It's whatever you need to do to make it grounded and as real as you can."

For Belden, it was gratifying for Morty to experience a great deal of personal growth this season.

"There are a lot of intense situations that he finds himself in, and I’m excited for fans to see him go through that and come out the other side," he adds. "For me, my favorite episode is going to be the finale ["Field of Dreams"] for sure, and the journey that Morty goes on. There's so much good stuff in there."

Regarding his own regimen of keeping his vocal health tip-top, Belden explains:

"I like to run a couple of miles before I start, stretch out the entire body, do the actual vocal warmups. Morty being such a particular voice, I need a lot of breath support, so I have a wide stance and create a powerful base. I’m expanding my ribcage to support myself. And that’s not without even getting into tongue placement, spreading your lips wide to get the sound out, watching your plosives on the letter 'p.' It's all this stuff you would never ever think about."

Grammer is thrilled to see some fan favorite characters make return cameos in season 9, as we get to watch Summer and Morty just being terrible teenagers, and loves the fact that the Smith family gets a swimming pool.

"I kind of learned on the job about 14 years ago," she reveals. "I was trained as an actor though, so I have a pretty good vocal ability. But it's very demanding, especially as you get older. There’s these tiny muscles and tiny folds. The last few years, I’ve really devoted to vocal health and got to a place where I can comfortably do the Summer role really well."

Grammer has really embraced the role of Summer, but it's also led to some major lifestyle changes for her. "You have to choose where you want to live. I don’t see a lot of people now. I just work a lot", explains Grammer.

"I can’t go to a party that’s going to be loud and talk to people. And that's fine. Alcohol is really bad for hydration, so I don’t really drink anymore. I’m constantly drinking water or something really slimy all the time. I have a whole kit of just things for your voice that I always take with me."

Executive produced by Dan Harmon and showrunner Scott Marder, "Rick and Morty season 9" airs Sundays at 11 p.m. on Cartoon Network's Adult Swim, and will also begin streaming weekly on Hulu and HBO Max starting June 15, 2026.

'Project Hail Mary' has finally landed on a streaming service, though maybe not the one you were expecting.

Amazon MGM Studios' "Project Hail Mary" recently launched (June 18) first on the MGM+ streaming platform, which is a sister site to Prime Video, after its 90-day theatrical window was up. As a bonus, there is a summer deal that lets you snag the Amazon Prime Video MGM+ channel for $0.99/month for 2 months. Be quick, though; this offer ends June 26.

"Project Hail Mary" sees reluctant astronaut Ryland Grace embarking on a cosmic rescue mission to save Earth, aided by a stone-skinned alien named Rocky. Fans looking for the Ryan Gosling space epic to show up on Prime Video out of the gate might be a little surprised, but as they say, That’s Hollywood, Baby.

Why MGM+ and not Amazon Prime Video?

Since Amazon MGM Studios is both a theatrical and streaming studio, deals are often shifted depending on the different monetization models involved.

In "Project Hail Mary's" case, MGM+ becomes the initial outlet for streaming and PVOD, with Prime Video as the secondary streaming destination. Movies making their first streaming stop on Prime Video, like "Red One," are handled differently within the corporation, especially if their costs were paid by Prime Video.

Directed by Phil Lord and Chris Miller, "Project Hail Mary" was a certified crowd-pleaser after a juggernaut marketing campaign that saw waves of teasers, trailers, clips, and interview videos anywhere and everywhere, which helped to catapult the popular sci-fi film adapted from Andy Weir's bestselling novel to a decent $678 million global haul.

Amazon, the behemoth parent company of both Prime Video and MGM+, possibly also made a decision to deliver the spring blockbuster initially to MGM+ as an enticement to lure prospective customers to the much smaller platform as a way to drive up subscription numbers. Prime Video's sweet MGM+ deal is further evidence of this plan's logic.

For now, "Project Hail Mary"'s interstellar odyssey is available exclusively on MGM+, but we’ll keep you updated when its official Prime Video date arrives.

On Episode 215 of This Week In Space, Rod Pyle and guest co-host Susan Karlin talk with bestselling sci-fi/sci-fact author Dr. David Brin.

If you've seen "Disclosure Day" or "Age of Disclosure," you're going to want to join us for this fascinating discussion. Long known for his universe-spanning visions, storytelling skills, and occasionally contrarian viewpoints, Dr. Brin will not disappoint! Our discussion ranged from reactions to Spielberg's "Disclosure Day" to why people believe in AI and more.

Download or subscribe to this show at: https://twit.tv/shows/this-week-in-space.

Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit

Space news of the week

• AiLIEN MINDS

Model Falcon 9!

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About This Week In Space

This Week in Space covers the new space age. Every Friday we take a deep dive into a fascinating topic. What's happening with the new race to the moon and other planets? When will SpaceX really send people to Mars?

Join Rod Pyle and Tariq Malik from Space.com as they tackle those questions and more each week on Friday afternoons. You can subscribe today on your favorite podcatcher.

Apple TV’s "For All Mankind" spinoff series, "Star City," places viewers directly behind the scenes of the hush-hush Soviet space program community in the late ‘60s and early ‘70s to witness all the harrowing missions, love triangles, espionage, sabotage, interrogation, and torture of those turbulent times. And believe us, there’s more than a little truth behind this alternative-history re-enactment.

Priya Kansara (who also voiced Ryan Gosling's AI spaceship in "Project Hail Mary") portrays Lakshmi Chadha in the absorbing new series. A gifted Indian aerospace scientist, Chadma, is recruited to Star City for a special, under-the-radar project by Rhys Ifans’ Chief Designer for the risky Venera-7 mission to Venus.

Josef Davies plays a younger version of Sergei Nikulov, a rocket engineer working at Soviet Ground Control, a character previously portrayed by Piotr Adamczyk in "For All Mankind." In that series, Nikulov becomes the director of Roscosmos and develops a relationship with Margo Madison (Wrenn Schmidt) during the Apollo-Soyuz program that leads to costly secrets shared and a very bad outcome.

Both Kansara and Davies both play pivotal roles in the show’s experimental Venera-7 deep space expedition and we spoke to them about crafting their roles. "I was very excited to play a much-loved character which people already know," Davies tells Space.

"But also to dive into it because this show has its own completely different identity. To be able to play that character that feels familiar but tells a lot more of the story to people who are interested in him and the world he came from.

"The whole experience has been incredible and something I hope continues for a very long time. I loved it deeply. Finding every moment of that character and really being able to have the reins to take control of it and play with it is my favorite part of the whole thing."

Kansara considered it a supreme privilege to play Lakshmi and to conjure up the character’s confident demeanor and innate determinism.

"She never questions her own ability even if the situation is not what was expected or somebody else doesn't believe in her," she reveals. "She really believes in herself. And when presented with a challenge she takes it head on even if it's terrifying."

"I really respect that strength that she has," continues Kansara. "It was so much fun to play and to explore that journey with her. The circumstances are so intense. Just some of the scenarios that are thrown at you, you’re like, 'I don’t have a relatable thing. This is not like life that we’ve experienced.' But it was fun to play with that as well."

Both Davies and Kansara had specific costumes touches that allowed them to create layered performances in their "Star City" episodes.

"The watch was a big one for me because it felt like it was mechanical," Davies mentions. "Everything was about precision and timing and all that. So that helped and it felt like an anchoring. Also my tie. I always liked for it to be a little bit too tight so I could feel it. That helped me get into that space. Honestly the whole thing was an amazing six months."

To stand out amid the drab colorless environment of Star City, costumers thankfully brightened things up for Lakshmi’s wardrobe.

"Lakshmi naturally had a little bit more color in her clothing because we wanted her to feel and look like an outsider," Kansara adds. "That was really important in terms of me walking into these bleak spaces. That physical reminder of me being someone who’s from the outside. The other thing was the Sindoor that I wear on my head, which is the red powder that symbolizes a married woman for Hindu and South Asian women. I wanted a piece of her that she can’t let go of. That’s hugely important. To put that on every day was a real grounding for me.

"We laughed a lot on set, we had so much fun filming together. It was amazing."

"Star City" season 1 is streaming now exclusively on Apple TV.

Emmy Award-winner Barrie Gower has helped created some of the most memorable beasts and creatures in the entertainment sphere, including "Stranger Things"' Vecna, "Game of Thrones"' chilling White Walker, the Night King, and the freaky fungus mutants of HBO's "The Last of Us."

For director Travis Knight’s sci-fi fantasy film, "Masters of the Universe," Gower called upon all of his veteran skills to provide special makeup and prosthetic applications for Jared Leto's Skeletor and his entire band of weird henchmen, plus He-Man's gang of crazy companions. From iconic characters like Spikor and Moss Man to Goat Man and Trap Jaw, Gower’s ace crew was tasked with bringing these monsters to the big screen.

"We got contacted a few years ago about 'Masters of the Universe' in 2018 or 2019," Gower tells Space.

"It was with a different director at the time and a different studio. It was two writer/directors, the Nee Brothers, who co-wrote the screenplay for this latest integration."

"The project changed studios two or three times and eventually they came back to us and the timing was bang on," explains Gower. "They’d enlisted Travis Knight and his vision was quite different to the original take, which was very high tech, very clean, very Marvelesque. Travis was a huge fan of He-Man and the '80s cartoon, the toy line, and the whole IP and franchise. His passion and love was really trying to do this film project justice and make it as true as possible."

The master plan was to still give the $200 million feature a fun modern spin, but Knight was interested from a character perspective of creating full-sized human equivalent action figures.

"He wanted the world to be ultra colorful, ultra bright, and have this sense of awe and eye candy. We went through the characters to decide what would be practical, what would be purely digital, and what would be a combination of the two. Because of Travis’s background with Laika Studios he was very much into the practical techniques."

That was all music to Gower's ears and his BGFX team began the process of bringing the menacing egomaniacal antagonist called Skeletor to life.

"Originally Skeletor was going to have some sort of decorative golden mask in the shape of a skull with possibly some kind of disfigured makeup underneath," he notes. "But Travis said we’re doing Skeletor properly. He’s going to have a skull for a talking face and a blue muscular body. And this is the prefect example of a combination between practical and digital effects.

"He was set on the idea of creating a practical muscle suit for Jared, and his head would be animated digitally. We had a scan of Jared's head that we reduced and classically sculpted the skull based on the concept art, then we 3D scanned that for a digital file which we shared with the visual effects department for them to use as an asset to animate."

Creating this blue-hued Skeletor muscle suit was quite a complex job that included upper and lower body appliances crafted out of foam latex.

"It was using a lot of Jared’s muscle tones that we over-exaggerated and sculpted in more muscle sets and tones, but kept everything relatively anatomically accurate," adds Gower. "Then we went through a lot of testing and paint schemes. We originally did some silicone work, which is one of the most commonly used products in the prosthetics industry now because you get a beautiful translucency with it. But it’s very dense and non-porous and very heavy. So Jared would have been walking around with pounds and pounds of rubber on him. We did R&D and it was going in the right direction but we were running out of time, so we reverted to foam latex."

Jared's otherworldly outfit consisted of a foam suit, skeletal silicone gloves that fit over his hands, a foam latex collar, and then a hood fabricated by the costume department.

"We'd actually built two suits based on Jared. It was on a January morning and we met him at a hotel near the London airport," Gower recalls. "We had a very small window of time before filming so we were praying we weren’t going to have many adjustments to make. Jared came in, we got the stuff on him, and he was really lovely with us. Very funny, very jovial. He had just stepped off a plane!

"It went really well, just a couple tiny adjustments. We had a small team looking after him with his suit every day. Usually with prosthetics if you’re gluing it over the entire body you’re looking at seven or eight hours to do an application each day. Apart from times where we had to glue a few things on him here or there, we actually got him into his suit in about 15 minutes. He was a joy to work with. He was a lot of fun on set and there was this charismatic presence every day."

"Masters of the Universe" is currently in theaters everywhere.