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We talk with astronaut Michael Foale about the 1997 Space Station Mir crisis: 'He took all the blame of the collision on his shoulders'

All systems are go! PBS just launched the second episode of its "Once Upon a Time in Space" miniseries on Tuesday, titled "The Russian Thing," and we’ve got an exclusive clip from the harrowing chapter that focuses on near disasters aboard the Space Station Mir in 1997.

In addition to the video, we’re also proud to share an exclusive interview with NASA's celebrated British-American astronaut Michael Foale, who is featured prominently in the new segment regarding the infamous cargo pod collision on Mir, which caused a decompression incident that became a life-threatening crisis.

Hailing from British filmmaker James Bluemel and his crew that delivered the award-winning "Once Upon a Time in Northern Ireland," "Once Upon a Time in Space" is a 4-part exploration of human spaceflight. Its weekly episodes trace pivotal events in spacefaring history via the personal experiences of astronauts, cosmonauts, and loved ones left on Earth from the birth of the Space Shuttle program to the blossoming of today’s commercial spaceflight industry.

"James Bluemel is a very perceptive director, and he was different from others that have interviewed me," Foale tells Space.

"What I loved about his method was he would dig up clips from our training or at different points when I was a brand new astronaut, looking really young and had a surfer boy haircut. I love windsurfing. He would dig up clips I don't know where from. And then he'd show it to you, and then he'd say, 'What do you think?'"

Foale — a distinguished veteran of six space missions who retired in 2013 — takes us back to that day of May 25, 1997, when a manual docking maneuver caused an unmanned Progress cargo ship to collide with Mir, ripping a large hole in the Russian space station’s Spektr module.

The crew’s valiant attempt to halt the pressure leak and save the station is like something straight out of a Hollywood thriller. With only 23 minutes of oxygen left, Foale and cosmonauts Vasily Tsibliev and Alexander ‘Sasha’ Lazutkin were able to repair the damage and stop the tumbling spacecraft from spinning wildly out of control.

"The root cause of the accident was trying to save money," he explains. "And the root cause was an attempt to do a manual docking from a large distance longer than any cosmonaut or astronaut does a manual docking from and doing it without the radar. The radar was built in Ukraine and cost $2 million in that timeframe. And the Russian managers did not want to pay Ukraine $2 million.

"So someone in the Energia corporation — they're the guilty company — decided they would try and get this crew at the last minute to try and do a manual rendezvous and docking without the radar from about a six-kilometer starting point. And that test was with a Progress we'd already filled up with trash and was meant to be de-orbited into the Pacific Ocean. Before it was going to be de-orbited finally, it was going to do this test."

a promo poster for a space documentary

(Image credit: PBS)

Unfortunately, that test went horribly wrong due to Vasily Tsibliev not being able, based on measurements he could make in real time, to determine the exact closing velocity of the Progress.

"He couldn't ascertain distance very well, but you need the distance first, and then you need to divide by time to get the velocity,” notes Foale. “That was not possible in that situation and never attempted again. It caused a much higher velocity than Vasily could extinguish using the one thruster set that were turned on the Progress.

"So it bounced off, literally bounced off after crumpling part of the Spektr module and bending one of the solar arrays. The joint cracked at the base of the solar array into the module, and that's where the unseen hole is or was. And that's where the air was leaving from. It was a multiple hit that caused it to float away. And we were told as a crew about three days later, because we asked what had happened to it. They said, 'Well, engine was capable of being fired. It was capable of reorienting itself, and it de-orbited into the Pacific.'"

a Russian space station in orbit

The Soviet space station Mir before being de-orbited in 2001 (Image credit: NASA)

In the aftermath of the collision, an adapter was sent up to try and connect power back from the Spektr module into the Mir system.

"Vasily and Sasha were planned to do an internal spacewalk into the Spektr module to get to those cables that Sasha and I had had to disconnect to save the station," Foale adds. "They were going to go back in during an internal EVA. Vasily, because of the stress of the event, didn't pass the medical test done before the spacewalk, and they wire you up for a heart monitor.

"So then a day later, a call came up from the head of the program, Valery Ryumin, saying, 'Oh, Michael, you're on the radio. I'm going to ask you, would you be willing to go in and do the spacewalk inside the Spektr module instead of Vasily?'", remembers Foale. "I just knew that that was going to create a huge issue with me and Vasily because it was so humiliating for him. And he took all the blame of the collision on his shoulders, which was unfair."

Foale retired from NASA and space travel after a brilliant 30-year career with the agency and six space shuttle missions, but the lifestyle adjustment was a bit troubling at first.

Two astronauts aboard a space station

Alexander 'Sasha' Lazutkin (L) and Michael Foale (R) aboard Mir (Image credit: NASA/BBC/PBS)

“That was a depressing moment when I was being told, 'Oh, you're done,'" he shares. "I knew I couldn't survive the envy of my astronaut colleagues who are younger than me and haven't flown but once or twice. So I knew I was kind of done in space, at least with NASA. I was dreaming of being an astronaut guide like Peggy Whitson or Michael Lopez-Alegria on an Axiom mission. Those were my daydreams initially. I miss space, but I’ve found other things to replace that fun.

“I've always been turned on emotionally and romantically by soaring and flying. So living in Texas amongst the mountains with fantastic stars every night and soaring here, it's not space. It's not in a spacesuit outside the Mir looking at it, but it's pretty cool. I do go back to a much more comfortable situation in the evening, and I do ride my bike.

"As a 69-year-old now, I have a pretty good late-life pastime. But you have to make do. And hey, you have to keep telling yourself you're one of the luckiest guys around. I would say I was naively optimistic about the international collaboration in space. The show that James Bluemel has put together, "Once Upon a Time in Space," in some ways it looks like a fairytale to me when I look back on it."

"Once Upon a Time in Space's" "The Russian Thing" episode aired on July 21, 2026, at 9:00 p.m. ET on PBS, PBS.org, and the PBS app, with the final two chapters coming on July 28 and Aug. 4.

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This Week In Space podcast: Episode 220 — First on Mars

On Episode 220 of This Week In Space, Rod Pyle and Tariq Malik are joined by Dr. Pascal Lee and astrobiologist Dr. Penny Boston to mark the 50th anniversary of Viking 1's landing on Mars.

This week, we cover how Starship Flight 13 finally prepares to launch amid a legal battle over SpaceX's proposed land swap at Starbase, plus a Chinese Long March 3B rocket gets struck by lightning during liftoff, yet still delivers its satellite safely.

Then, we revisit the Viking 1 mission's groundbreaking life-detection experiments and the decades-long controversy over what they actually found. The conversation traces Mars exploration from the earliest Mariner flybys through Viking's ambiguous, still-debated results — later explained by perchlorates in the Martian soil — and the fierce scientific rivalry the findings sparked. Join us!

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

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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.

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We boldly chat with 'Star Trek: Strange New Worlds' showrunners about space dinosaurs and Lovecraftian horrors for season 4 (interview)

Henry Alonso Myers and Akiva Goldsman are the primary ringleaders behind "Star Trek: Strange New Worlds", and they're about to unleash the next cluster of 10 Season 4 episodes for their spirited space show.

With an abundance of genre-crossing indulgences that are scary, surreal, and sometimes silly, the Paramount+ hit is operating at full warp speed in this penultimate outing, the debut episode of which just premiered on July 23, 2026.

We hitched a ride with the acclaimed executive producers to learn all about their vision for "Strange New Worlds'" fourth season and why they believe it will prove to be the finest one yet, taking cues from ‘90s-style time-travel odysseys, haunted starships, noir crime thrillers, puppet mishaps, and utopian fantasies.

(L-R): Rebecca Romijn as Una, Christina Chong as La’an Noonien-Singh, and Melissa Navia as Erica Ortegas in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

"It’s hard to come up through the ‘90s and not feel affected by a lot of the films that came out in that era, some of which my partner is directly responsible for," Myers tells Space regarding the solid one-two punch of the first two episodes.

"I think part of the goal is to come out swinging when you do a premiere. It needs its own premise that stands on its own, and then you need to figure out how to set up everything else for the season through that.

"How do you tell an emotional story that expresses where the season is going to go? And also, we want something that we think is cool. The minute we started talking about doing dinosaurs [In "Valles Marineris"], we were like, 'Yeah, let’s figure out a way to do that.' Then it became a question of how do we fit all of this into the same box."

For the unsettling (and pretty gruesome) horror episode titled "The Griffin Incident," Myers admits that Goldsman is his true north for all the horror elements because the Oscar-winning screenwriter loves it so deeply.

Celia Rose Gooding as Uhura in season 4, episode 2, of Star Trek: Strange New Worlds

Celia Rose Gooding as Lt. Nyota Uhura in "Strange New Worlds" Season 4 (Image credit: Paramount)

"I always look to see his reaction if whether or not we feel like we've hit it. And every season we’ve tried to do one, and we’ve done some decent ones. But we haven’t quite done something like a ghost story. His reaction to that made it all worth doing."

Goldsman finds it interesting that he understands the rules of the horror genre, yet he actually doesn't watch that much horror anymore, short of the horror projects that he's somehow been involved with creatively.

"The older I get, the harder it is for me to watch," he reveals. "This particular convergence of the open-hearted optimism of 'Star Trek' and the kind of haunted nature of the world behind the world. There's a cadence to this, an almost Lovecraftian sense of there’s something out there that’s more than we know and maybe not so pleasant. I just think that is really interesting in 'Star Trek.' So we built it and shot it like a horror movie, and for me it worked. It’s nice and scary.”

Three sci-fi crew members on a scary spaceship

A disturbing scene in "Strange New Worlds" Season 4's "The Griffin Incident" (Image credit: Paramount+)

In choosing some of their favorite moments of Season 4, Myers and Goldsman share observations on a few key crew members as they embark on their own inner voyages.

"There is stuff that Uhura goes through this season that really gets me," notes Myers. "She was the new recruit at the beginning of the show, and this is the part where she's suddenly a bit more in charge. She also manages to risk her life and save people in ways we haven't seen on screen. And it builds to something I love, which is she looks at who she's going to be, and looks back at who she was, and has some really great emotional stories around that. I love seeing her on that journey."

Picking his pair of intrepid Starfleet officers, Goldsman looks toward Sickbay.

"I think there's a set of relationship beats between M’Benga and Chapel in the back half of the season that really deepens both those characters and helps us understand where everybody's going that I think Jess and Babs did beautifully," he adds. "So I’m really looking forward to that."

"Star Trek: Strange New Worlds" Season 4 is now streaming on Paramount+.

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'Star Trek: Strange New Worlds' Season 4: Release date & how to watch Paramount+’s sensational sci-fi series

2026 is the 60th anniversary of "Star Trek". To help celebrate the show that creator Gene Roddenberry described as "Wagon Train to the Stars,""Star Trek: Strange New Worlds" returns to Paramount+ for its penultimate season.

From teasers and trailers that first dropped last summer and fall, we’re anticipating a rollicking batch of dynamic episodes that draw on diverse subgenres, with everything from classic film noir crime stories and time travel to spooky ghost stories and sword-clashing swashbucklers.

But the end is nigh for this colorful modern interpretation of "Trek". Next year's truncated fifth season will be the crew's final mission, so let's revel in the time we have left and beam onto the Enterprise bridge for a promising round of missions. Here's our guide to everything you need to know about "Strange New Worlds" Season 4. Hit it!

When is the "Star Trek: Strange New Worlds" Season 4 release date?

Three space travelers on a strange planet

An exotic scene from Episode 401 titled "Valles Marineris" (Image credit: Paramount)

"Strange New Worlds" season 4 premieres Thursday, July 23, 2026, exclusively on Paramount+ in the US, Canada, and the UK with the first of 10 weekly episodes.

Fans can catch up and binge on all three previous seasons on the streaming platform. There are 30 previous sci-fi excursions into the known and unknown corners of the vast universe.

Forthcoming episodes of "Strange New Worlds" will land each Thursday after that, with the season finale warping into your living rooms on Sept. 24, 2026. Not signed up yet? We’ve got you covered with links to help get you up and running!

How to watch "Strange New Worlds" Season 4

Celia Rose Gooding as Uhura in season 4, episode 1, of Star Trek: Strange New Worlds

(Image credit: Paramount)

"Strange New Worlds" season 4 streams on Paramount+ in the US, UK, Canada, Latin America, Australia, Italy, France, Germany, Switzerland, Austria, and Japan.

The engaging sci-fi series will also be available on SkyShowtime in the Nordics, the Netherlands, Spain, Portugal, and Central and Eastern Europe, starting July 24, 2026.

If you want to check out "Star Trek: Strange New Worlds" or any of the other great shows on Paramount+ while you're abroad, you can also use a VPN to access your subscription from anywhere in the world. It doesn’t work so well in neighboring solar systems or in the proximity of supermassive black holes!

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What is the plot of "Strange New Worlds" Season 4?

a colorful promo poster for a sci-fi fantasy TV series

(Image credit: Paramount+)

After the bittersweet season 3 goodbye to Captain Marie Batel, Captain Pike’s longstanding love interest, it's back to bold business seeking out new life and new civilizations in the galaxy.

"The crew of the U.S.S. Enterprise, led by Captain Christopher Pike, embarks on a series of thrilling and emotional adventures across the stars," states the official synopsis. "On their journey, they will battle inner demons and external threats, encounter colorful new characters, reunite with familiar faces, and confront terrifying aliens. Through it all, they strive to embrace a bright, hopeful future."

Check out the individual episode titles and their scheduled air dates:

  • Episode 401: "Valles Marineris" — Jul. 23
  • Episode 402: "The Griffin Incident" — Jul. 30
  • Episode 403: "Human Best Friend" — Aug. 6
  • Episode 404: "A Case of Chiaroscuro" — Aug. 13
  • Episode 405: "Level Five Transporter Accident" — Aug. 20
  • Episode 406: "Off-Hour" — Aug. 27
  • Episode 407: "Like Chronitons Through the Hourglass" — Sept. 3
  • Episode 408: "Orders of Magnitude" — Sept. 10
  • Episode 409: "Once La'An a Time" — Sept. 17
  • Episode 410: "Tomorrow's Enterprise" — Sept. 24

Are There Teasers and Trailers for "Star Trek: Strange New Worlds" season 4?

You bet your coveted dilithium crystals there are!

Paramount+ delivered the main full trailer for season 4 on June 15, 2026, and it’s packed with dinosaurs, cowboys, horses, space storms, dreams, nightmares, fire-breathing dragons, haunted spaceships, and hallucinatory pleasure planets. Strap in for another genre-hopping season that could be the series’ best yet as we honor the franchise's big 60th birthday!

On July 18, Paramount+ also offered up a fun 20-minute video presenting some of the most memorable moments of Season 3 and it’s definitely worth a watch… or two!

But the funniest surprise came last summer on July 25, 2025 during San Diego Comic-Con, with the hilarious teaser that featured Captain Pike in the center seat as a Muppet! Yep, a Muppet! And we guarantee that episode is destined for immortality.

Who Are The "Strange New Worlds" Season 4 Cast And Creators?

Star Trek Strange New Worlds cast (Left to Right):  Nurse Christine Chapel (Jess Bush), Erica Ortegas (Melissa Navia), La'An Noonien Singh (Christina Chong), Una Chin-Riley (Rebecca Romijn), Christopher Pike (Anson Mount), Spock (Ethan Peck), Nyota Uhura (Celia Rose Gooding), Joseph M'Benga (Babs Olusanmokun), and Lt Hemmer (Bruce Horak).

(Image credit: Paramount)

It’s going to be all hands on deck for this fourth and penultimate season of "Strange New Worlds," with the U.S.S. Enterprise exploring the final frontier with a full cast complement and its tireless executive producers and co-showrunners Akiva Goldsman and Henry Alonso Myers at the creative helm.

Returning to Paramount+'s adventurous space fantasy show are Anson Mount (Capt. Christopher Pike), Rebecca Romijn (Number One), Ethan Peck (Spock), Jess Bush (Christine Chapel), Christina Chong (La’An Noonien-Singh), Celia Rose Gooding (Nyota Uhura), Melissa Navia (Erica Ortegas), Babs Olusanmokun (Dr. Joseph M’Benga), and Martin Quinn (Montgomery Scott), and Adrian Holmes (Admiral April).

Recurring guest stars for "Strange New Worlds" season 4 include Carol Kane as the quirky long-lived Lanthanite engineer Commander Pelia and a charismatic Paul Wesley as a younger James T. Kirk.

Will there be a "Strange New Worlds" season 5?

Anson Mount as Captain Pike in season 4, Episode 1 of Strange New Worlds streaming on Paramount+. Photo Credit: Jan Thijs/Paramount+

Anson Mount stars as Captain Christopher Pike in "Strange New Worlds" Season 4 (Image credit: Paramount)

Yes indeed, we will be getting one final season next year, shortened to just six episodes.

The series' swan song will introduce Thomas Jane portraying Leonard "Bones" McCoy and Kai Murakami playing Hikaru Sulu. The original gang's almost all here. Will we get an Original Series reboot/reimagining after this? Our money's on yes.

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'Star Trek: Strange New Worlds'' season 4 opener is a pulpy sci-fi joy packed with dinosaurs, martians, and a 5th planet where the asteroid belt should be

If you're of a Martian persuasion, "Strange New Worlds"' season 4 opener couldn't have timed itself much better.

Not only does this week mark the 50th anniversary of Viking 1 touching down on the surface of the red planet, new research from University of Oxford scientists recently suggested that Mars once had an active, interconnected system of magma beneath its surface. If accurate, this discovery might have made our Solar System next-door neighbor more habitable in its distant past.

While life on Mars has long been an obsession of sci-fi creators — from HG Wells' "War of the Worlds" to "Doom" via John Carter and John Carpenter — "Star Trek"'s Martians have tended to be human expats. Indeed, by the 24th century of "The Next Generation", "Deep Space Nine" and "Voyager", it's home to the Utopia Planitia Fleet Yards that would later be destroyed by rogue synths ahead of "Star Trek: Picard"'s debut season.

SPOILERS AHEAD! ANYONE YET TO WATCH "VALLES MARINERIS" SHOULD PROCEED WITH CAUTION TO AVOID VIOLATING TEMPORAL PRIME DIRECTIVES.

Homegrown Martians had traditionally been in shorter supply, however, until "Valles Marineris" paid them a visit. The only catch? Captain Pike and his USS Enterprise crew have to travel a mere 65 million years back in time to say hi.

There's something undeniably delicious (though not, luckily, the crew) about Una Chin-Riley (Rebecca Romijn), La'an Noonien-Singh (Christina Chong) and Erica Ortegas (Melissa Navia) getting to visit the real Jurassic Park (technically Cretaceous Park) on an away mission to recover the iridium they need to repair an Enterprise stricken by its accidental trip through a quantum entangled spatial anomaly.

Three space travelers on a strange planet

(Image credit: Paramount)

In the tradition of "Planet of the Apes", it turns out that this particular third rock from the sun was Earth all along. It also, according to star Rebecca Romijn, features an actual puppet from the original "Jurassic Park", and gives La'an that rare opportunity to punch a dinosaur in the face. That's definitely one to tell the grandkids — assuming, of course, you can avoid stepping on a bug, unleashing a butterfly effect, and preventing them (and the entire human race, for that matter) from ever being born.

But it's no coincidence that Pike has a copy of Edgar Rice Burroughs' "A Princess of Mars" on his bookshelf, because it's what happens in orbit that makes this episode such a pulpy sci-fi joy.

Although Battle Commander Cassell (Saffron Burrows) and her crew have the familiar, human-esque appearance of most "Star Trek" aliens, Martian evolution has got them there millions of years before Vulcans, Klingons, and the rest become top dogs in the galaxy. (Spock notes that Martian DNA is present in many modern-day species, though it's unclear how their family tree aligns with the "Progenitor" origin story of "TNG"'s "The Chase".)

Anson Mount as Captain Pike in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

These technologically advanced Martians are embroiled in a bloody ongoing war with a "Starship Troopers"-adjacent arachnid species known as the Dol'Drm, who call the fifth planet of the Sol System home. Science purists will note that this strange new world is not the famously gaseous Jupiter, but an extra, science textbook-rewriting ball of rock located roughly where the Asteroid Belt is now.

Unfortunately, once Cassell has sneaked a peek at a future where her "homeworld is a barren red wasteland", she's in no mood to listen to Federation lectures about finding diplomatic solutions. She subsequently steals some of the Enterprise's antimatter and fashions a makeshift weapon of mass destruction to eliminate the Dol'Drm once and for all. But the shockwaves of this cataclysmic blast will stretch far beyond the fifth planet.

Spock confirms that many of the fragments left behind by the obliteration of the Dol'Drm homeworld will form the Asteroid Belt, essentially a riff on the so-called "Disruption Hypothesis" of the belt's origins.

(L-R): Rebecca Romijn as Una, Christina Chong as La’an Noonien-Singh, and Melissa Navia as Erica Ortegas in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

Originally postulated by German astronomer Heinrich Wilhelm Matthias Olbers in the early 19th century, the theory suggested that a rocky planet, roughly the size of our Moon, existed between the orbits of Mars and Jupiter.

It was the destruction of this world (by means unknown, though we doubt anyone suggested an antimatter explosion) that led to the formation of the belt. The hypothesis is now largely discredited — current scientific thinking suggests that the belt is the result of dust and rock coalescing due to gravity — but it's a fun revisionist spin on old scientific ideas.

And the Enterprise's involvement in the Solar System's origin story stretches even further. The gravimetric shift caused by the absence of the Dol'Drm planet shifts Mars' orbit, making it too cold to support life. It also launches arguably the most famous asteroid in history, the Chicxulub meteorite, on a collision course with Earth, wiping out the dinosaurs, kickstarting the Cenozoic Era, and sending the planet on an evolutionary journey that will eventually lead to, well, us.

Rebecca Romijn as Una in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

When it comes to interfering with past events, the implications are rather larger than Scotty passing on the formula for yet-to-be-invented transparent aluminum in "Star Trek IV: The Voyage Home". Even the Borg meddling with a few centuries of history in "First Contact" is small fry next to killing off the dinosaurs.

The intriguing twist here, of course, is that humanity's existence is briefly on a knife-edge, as Pike makes the biggest decision of his (or, indeed, anyone's) life. Standard Starfleet protocol would usually dictate that the Enterprise intervene to prevent the Dol'Drm being destroyed by stolen Federation technology, but its commanding officer sees the bigger picture.

Anson Mount as Captain Pike in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

What if the Enterprise was always meant to be there? What if the human race only exists because the ship has gone back in time to answer its own 65-million-year-old Mayday? "In our future there is no fifth planet," he reasons, before allowing the Martians to deliver their deadly payload.

It's a wonderful "what if" that puts 65 million years of history in one man's hands. Indeed, you could tie yourself in knots with all that timey-wimey stuff, but the episode is so much pulpy fun that you barely notice the unbearable weight of those existential dilemmas. Dinosaurs, Martians and an origin story for the human race? What more could you want from a season opener?

New episodes of "Star Trek: Strange New Worlds" debut on Paramount+ on Thursdays.

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5 disturbing things we saw after digging into the recent 'Dune: Part 3' trailer

The latest "Dune: Part 3" trailer arrived back on July 8, and it was a sumptuous banquet of startling set pieces, intergalactic political unrest, close-quarter combat, and a whole lot of sand and ash. A fine follow-up to the initial March teaser, to be sure.

After letting it marinate in our minds for a while, let’s break down five items of particular interest in this newest preview of the Denis Villeneuve-directed conclusion to his trilogy of far-future sci-fi epics adapted from author Frank Herbert’s novels, "Dune" and "Dune: Messiah."

Set 17 years after Paul Atreides (Timothée Chalamet) has ascended to the Emperor’s throne, "Dune: Part 3" explores the corrupting side of political power as his holy war against the Imperium’s Great Houses advances towards a destructive destiny.

Right out of the gate, Chani (Zendaya) is certainly not shy about displaying her displeasure with his ultimate betrayal, which was first fleshed out at the end of 2024’s Dune: Part 2. It’s also pretty cool to see Duncan Idaho (Jason Momoa) back as a cloned “ghola” and Paul’s powerful sister, Alia, portrayed by Anya Taylor-Joy.

So behold, our five takeaways from this brand new look at Villeneuve’s "Dune: Part 3".

1. The chilling gaze of Scytale

A blonde-haired man in a sci-fi movie

Robert Pattinson as the shapeshifting Face Dancer, Scytale (Image credit: Warner Bros.)

We already knew that a platinum-haired Robert Pattinson plays Scytale, one of the film’s main villains.

Some might have scoffed at the concept of Pattinson as an intimidating foe, but from these extra snippets in the new trailer, his shapeshifting Tleilaxu Face Dancer seems up to the task of carrying out a careful plan to remove the ruthless Paul Atreides from the throne.

Pattinson has the acting chops to pull off an intimidated foe, so he might just steal the show. And come on, folks, Pattinson was The Dark Knight!! Have a little faith.

2. Alia’s bloody scream

a woman in a white sheet covered in blood

Anya Taylor-Joy portrays Alia Atreides in "Dune: Part 3" (Image credit: Warner Bros.)

Alia Atreides, played by Anya Taylor-Joy, is Paul’s sister. The Bene Gesserit Revered Mother Mohiam called her an "abomination" due to the Water of Life that Lady Jessica drank while she was in the womb.

A blood-covered Alia is perhaps unleashing her god-like power on a captive Mohiam in response to a conversation we’re not privy to here, which could be not exactly a scream of peril, but a stern command.

She’s definitely not someone to cross thanks to her otherworldly paranormal skills.

3. Where did Paul’s eyes go?

a man with a shaved head and burned eyes

Timothée Chalamet plays the brutal tyrant Paul Atreides in "Dune: Part 3" (Image credit: Warner Bros.)

Towards the end of the 3-minute trailer, we catch a shot of Paul in the aftermath of a nasty Stone Burner radiation bomb detonated by conspirators in the Arrakis capital, Arrakeen, as Paul and his personal Fedaykin guard accompany him outside the palace.

We can see his eyes are severely damaged after the intense detonation flash strikes him square in the face, causing blindness and eventual exile into the deep desert per the Fremen way.

This will open up his prescient sight abilities in new and extraordinary ways as we’ll soon see for ourselves in this third "Dune" installment.

4. Attack of the Clone

a man in a white uniform bows his head

Jason Momoa as the Duncan Idaho clone named Hayt in "Dune: Part 3" (Image credit: Warner Bros.)

Jason Momoa’s master swordsman Duncan Idaho returns here with more sneak peek screen time.

He's shown resplendent in his crisp white uniform, heavily criticizing Paul for the thousands of worlds he’s destroyed during the terror campaign inflicted by his brutal Jihad.

But, as fans of the books will know, this is not technically the same person as his former mentor. He has been resurrected as a Ghola clone named Hayt as a ‘gift’ from the Bene Tleilaxu, and unbeknownst to Paul, he plans to assassinate the crazed ruler who is deemed beyond redemption.

5. Flight of the Navigator

a group of robe humans in a sci-fi movie

Edric the Guild Navigator makes his ominous entrance in "Dune: Part 3" (Image credit: Warner Bros.)

One of the major grumbles coming from fans, myself included, is the lack of the Spacing Guild and its bizarre Guild Navigators in Villeneuve’s "Dune" films, but all that’s seemingly about to change.

In this trailer, we see a hovering coffin tank that no doubt contains one of the mutated human creatures warped by the spice Melange, enabling them to fold space. This former Spacing Guild member is named Edric and is a pivotal player in the plot to overthrow Paul and House Atreides.

Also seen is Edric’s sinister pod sliding silently into one of the gigantic Guild Heighliner starships.

Warner Bros.' "Dune: Part 3" lands on Dec. 18, 2026.

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'Terminator 2: Judgment Day' is time-travelling back into theaters next month for a 35th anniversary re-release

We’re not going to bombard you with a bunch of "Hasta La Vista, Baby" jokes, but you might want to mark your calendars for Aug. 28, 2026, because James Cameron's Oscar-winning "Terminator 2: Judgment Day" is heading back into U.S. and global theaters later this summer in honor of its 35th anniversary.

While the actual anniversary of the movie's release was back on July 3rd, StudioCanal has a great reason for delaying the re-release until August.

Judgment Day in the sci-fi franchise’s mythology occurs on August 29, 1997. It's when Skynet becomes self-aware and launches a doomsday nuclear attack on the world, so that weekend chosen for the re-release is particularly appropriate and pretty cool. In honor of these big birthday party plans, a special new anniversary trailer and nostalgia poster have been composed to heighten the excitement and anticipation.

a sci-fi movie poster of a cyborg on a motorcycle

"Terminator 2" roars back into theaters on Aug. 28 for its 35th anniversary (Image credit: StudioCanal)

Starring Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick, "Terminator 2" was unleashed into theaters on July 3, 1991, and was ultimately awarded four Oscars, instantly cementing its legacy as one of the most influential sci-fi flicks ever.

This anniversary re-release presentation utilizes StudioCanal’s 2017 restoration and 3D conversion. For residents in Australia, the seminal classic arrives back on Sept. 3, with a United Kingdom release due to strike beginning Sept. 4. Tickets in the United States for "Terminator 2: Judgment Day" 35th Anniversary have been available online since July 17.

"T2 was made for theatres, and our lovingly-prepared 3D version, coming back to the big screen, is the absolute best way to see the film," director James Cameron added in an official announcement.

"I believe it’s safe to do spoilers after 35 years, so SPOILER ALERT: the good guys win against the AI superintelligence! And maybe that’s a message of hope we all could use this summer."

If you don't want to wait until next month, you can watch "Terminator 2: Judgment Day" on Paramount+

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The 'Avengers Doomsday' trailer is cool, but it's missing something... where's all the space stuff?

The first trailer for "Avengers: Doomsday" dropped yesterday, and while it’s jammed full of superheroes, surprises, and our first extended look at Dr. Doom, it is missing one big thing that has been a constant in the MCU ever since "Avengers" was released and the Infinity Stone saga kicked off: outer space.

Believe it or not, the MCU has been very sci-fi heavy for the past decade as the universe expanded into space with "Guardians of the Galaxy", "Captain Marvel", and the entire throughline of Thanos’ quest to bring balance to the universe.

Entire films took place in space, and extended exposition was delivered inside the hulls of spaceships. Alien heroes and villains swung around made-up planets and lived in the skulls of dead space giants. That whole "Eternals" thing. It's safe to say that the Marvel movies were into outer space in a big way. The MCU leaned heavily into science fiction and space for much of its life, but judging from this trailer, that may be coming to an end.

This is a very Earth-based trailer, and while the remnants of years of science fiction still permeate throughout the MCU (superhero comics are almost always dabbling in the genre), the focus on it is clearly gone. This trailer is all about the Earth and superheroes, pulling back hard on the bigger universe. Sure, it opens with the Fantastic Four exiting their spaceship — probably an unintentional visual metaphor for the MCU’s abandonment of the cosmos — but we’re kept mainly on Earth otherwise.

We have absolutely no alien heroes appearing on screen in this trailer outside of Thor and, of course, our main villain is decidedly earthbound even if he may be from a different multiverse (for those not in the know, that’s Robert Downey Jr. behind Dr. Doom’s mask).

The Avengers, Fantastic Four, and Thunderbolts in Avengers Doomsday

(Image credit: Marvel Studios)

There are plenty of reasons that the MCU may be pulling out of space. Introducing all of the X-Men means you’ve got plenty of Earth stuff to mess around with anyway, and there’s very little reason to need space travel when you’ve got time travel, quantum realms, and multiverses expanding your universe in other ways.

To be fair, all of those are sci-fi as well, but it’s not the same as outer space. We do know from casting that some of our favorite space-based heroes will be returning, but what is clear is that space is no longer the focus here. The MCU has been pulling back on space ever since Thanos fell, and this new trailer for "Avengers: Doomsday" just hammers another nail into the coffin of that universe.

Of course, Marvel is a master of misdirection and fake-outs, so anything could change as we get more details and the film finally releases, but for now it seems that the Marvel Cinematic Universe isn’t so interested in the universe part.

"Avengers: Doomsday" will hit theaters on December 18.

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The 1st 'Avengers: Doomsday' trailer is here, and it's stuffed to bursting with superheroes

One thing is for certain: there will absolutely be no shortage of superheroes in Marvel Studios' "Avengers: Doomsday", as evidenced by this first full trailer that showcases everyone from the Wakandans and the X-Men to the Fantastic Four and Earth's Mightiest Heroes, the Avengers.

Plus, we get slivers of a metal-masked Victor Von Doom looming over the mayhem to further whet the appetites of MCU acolytes before the Russo Brothers’ epic lands Dec. 18.

"Something's coming," Downey's Doom declares as the trailer rolls out before later stopping Thor's Stormbreaker axe with two fingers. "Something we may not be able to deter. Before this day is done, we shall be faced with an unthinkable decision."

Opening with a blinding explosion witnessed by Professor X, fans are treated to a cavalcade of nearly everyone in the Marvel Cinematic Universe teaming up to stop a series of multiverse incursions and intentional destructions seemingly orchestrated by the mad monarch of Latveria.

"Beloved heroes from three distinct universes will be set on a deadly collision course and face an existential threat unlike anything they've ever encountered," states the official synopsis for the highly-anticipated $400 million tentpole project.

a caped villain in green showcases a movie promo poster

Robert Downey's Doctor Doom is on full display in new "Avengers: Doomsday" trailer (Image credit: Marvel Studios)

"Put aside your petty squabbles," Chris Hemsworth's Thor demands as we glimpse Patrick Stewart’s Professor X and Ian McKellen's Magneto together.

Paul Rudd’s Ant-Man arrives to join the party as a welcome addition, as does Channing Tatum reprising his "Deadpool and Wolverine" role as Gambit, who's having a showdown with Simu Liu's Shang-Chi, and a beaded, long-haired Chris Evans as Steve Rogers is surprisingly seen after an encounter with Tom Hiddleston's Loki and his Time Variance Authority character. It's also fun seeing Rogers display his worthiness by snagging Thor's silver hammer! We're just relieved the tone on display is respectful and serious and not choked with jokes and gags as in the most recent MCU outings.

"You are far stronger than all of us put together," the Asgardian warns his brethren in the extended sneak peek. "And they died facing enemies and threats; that's going to be far less than this one. Everything that they sacrificed will be for nothing if we do not stand together."

With its countless superhero cameos and callbacks building to a chaotic crescendo, "Avengers: Doomsday" storms into theaters on Dec. 18, 2026.

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'Stranger Things' at 10: The Netflix streaming icon that made it cool to like science again

In July 2016, "Stranger Things" stormed its way into the pantheon of pop culture greats. Finding the sweet spot of '80s nostalgia, horror, and sci-fi, the Duffer Brothers' series established itself as one of Netflix's flagship shows and a favourite water cooler topic for close to a decade.

Much like "Jurassic Park" encouraged an entire generation to suddenly view paleontology through a new set of eyes, the same can be said about "Stranger Things" and science. Seriously, how many of us discovered the many-worlds theory because of the concept of the Upside Down on the show? Even wormholes are easier to understand now because of Mr Clarke's lessons than whatever the heck happens in "Interstellar" that has Matthew McConaughey bawling like he's been forced to sit through a Jared Leto movie marathon.

Parents and government groups have long highlighted the negative effects of entertainment, but not enough is said about its positive influences, especially the ability to inspire. In fact, it's often underestimated how invaluable a show like "Stranger Things" has been to educators who want to turn around the declining numbers in STEM graduates.

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Screenshot from the Netflix sci-fi TV show

(Image credit: Netflix)

For University of Liverpool physics professor Carsten Welsch, "Star Wars" references were no longer cutting it with his students. However, the "Stranger Things" science allowed him to relate to a younger generation of learners. " It's a really good way to talk about science, which can be quite a challenge, especially with teenagers," Welsch told NPR. "Normally, the moment you mention physics or engineering, they run away."

This is something echoed by Louis Bearson, the director of science, business, and education at the Institute of Physics. Bearson mentioned how some of the devices used on the show and its delicate unpacking of complex topics like quantum physics could widen the appeal of science and physics beyond the explanations in the textbooks.

"One of the issues we have is that physics really needs to be more representative of the community at large," Bearson told The Times. "If we can get a broader base of people interested through things like 'Stranger Things', that's only going to be for the good."

Screenshot from

(Image credit: Netflix)

It wasn't only the educators who appreciated the power of "Stranger Things" to connect with others, but also government departments like the U.S. Department of Energy.

The official website used the premise of the Upside Down to explain its own work, especially in terms of its search for other dimensions and how this is done in a real-world setting. While the information was always out there for anybody interested in finding out more, how many people would have read and taken an interest in any of it without the influence of "Stranger Things"?Apart from the natural benefit to educators and government departments wanting to increase the interest in STEM education, "Stranger Things" opened up the doors to something else equally important: intelligent discourse among its fanbase — the kind that's often missing in an online world where trolls walk among us and bring their bad manners from under-the-bridge living.

Reddit and social media forums were flooded with young fans discussing what they watched, the possibilities of where it could go, and even providing explanations to others who might not have understood the scientific concepts. It was encouraging, insightful, and fun, as people learned through interaction and exploration, which to this day is still the best way to learn anything.

Screenshot from the Netflix sci-fi TV show

(Image credit: Netflix)

In 2017, Olivia Richter, a then-student at the School of Communication and College of Arts and Sciences and writer for The Eagle, wrote a column about how "Stranger Things" served as a modern role model for curiosity.

The author explained how the Hawkins gang expressed "a great thirst for knowledge" and dispelled the notion that being smart or nerdy was something to be ashamed of. "It is encouraging a culture of curiosity and learning in its viewers," Richter wrote. "Much of the science in the show is based in fiction, though it is still highly successful in making science look exciting and fun and creating a model for young people that it is cool to be inquisitive."

Fans demonstrated an example of this ultra-curious attitude after the series finale. Science has always been about hypotheses and proving theories, and this approach was applied to the Conformity Gate theory that spread like wildfire online. Sure, some people might call it a conspiracy theory and looking for something that isn't there, but the fans from around the world rallied to find clues and provide evidence for their unique hypothesis about the show's ending.

Screenshot from the Netflix sci-fi TV show

(Image credit: Netflix)

They might not have been right in the end — maybe even being deliberately misled by Netflix's marketing — but the fact that they questioned, critiqued, and researched to such an extent is a positive sign that the show's message had an impact. It's also proof that critical thinking isn't dead and intelligent life is still out there.

Say what you want about the final season of "Stranger Things" and whether the ending stuck the landing or not, but there's no disputing the Demogorgon-shaped mark it left on viewers around the globe. More than that, it was a show that provoked curiosity and discovery, as well as encouraging a new generation to find out more about science.

In a world riddled with fake news, false information, endless rage-bait, and sustained pushes for conformity rather than curiosity, we desperately need more neuron-firing programming like this.

All five seasons of "Stranger Things" are on Netflix.

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This Week In Space podcast: Episode 219 — SpaceX Goes to War!

On Episode 219 of This Week In Space, Rod Pyle and Tariq Malik discuss the space headlines for the past few weeks.

It's been busy, and some exciting things are happening! A couple of companies are moving into the space solar power arena — something we've long advocated — and that's welcome progress. Starship is set to fly Starship test number 13, and a lot is riding on this — the system is overdue for some proof of concept to keep up with NASA's HLS contract.

An exoplanet spotted a decade ago has shown signs of a potentially habitable atmosphere; there are landslides — big ones — on Pluto, and evidence of "space candy" sugars in an interstellar cloud are in the news. Finally, SpaceX is doubling down on their big defense contracts with a well-funded US Space Force. Join us for all the latest!

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

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Space news of the week

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Looking for a telescope to see planets and comets? We recommend the Celestron Astro Fi 102 as the top pick in our best beginner's telescope guide.

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.

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'We knew we had a lot to live up to': As 'Aliens' turns 40, we chat to the legendary VFX masters who created the Alien Queen (interview)

It's almost inconceivable that 40 years have passed since what's been called the greatest sci-fi action film of all time (and not just by us) assaulted theaters with the juiced-up sequel to Ridley Scott's 1979 classic, "Alien."

Director James Cameron's propulsive vision for a gung-ho military-style movie would call upon Stan Winston Studio's elite creature effects crew from 1984's "The Terminator" — a team that would later work on "Predator," "Terminator 2: Judgment Day," "Jurassic Park," and "Predator 2."

Cameron's "Aliens" greatly expands upon the xenomorph life cycle with the inclusion of a matriarchal beast that his screenplay described as "a massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen."

The brilliant filmmaker and Winston's energetic gang would craft and operate this 14-foot-tall articulated hydraulic puppet fabricated from fiberglass, foam rubber, and plastic. It contained two stunt performers in the torso and puppeteers on the ground manipulating legs and limbs.

Production was led by Stan Winston, Shane Mahan, Alec Gillis, John Rosengrant, Tom Woodruff Jr., and Lindsay MacGowan, the core wizards who’d later found the acclaimed Legacy Effects firm with J. Alan Scott following Stan Winston’s unfortunate death in 2008. Gillis and Woodruff would eventually split off to form Amalgamated Dynamics in 1988.

We caught up with Mahan and MacGowan to have them offer memories of working on "Aliens" at Pinewood Studios and specifically constructing this magnificent drooling, hissing monster that's spawned countless nightmares since the blockbuster landed on July 18, 1986.

"It was 1983 when I started at Stan's on the first 'Terminator,'” Mahan tells Space. "I’d worked with Jim on a Roger Corman movie that Makeup Effects Lab was doing, 'Battle Beyond the Stars.' [...] During 'Terminator,' Jim had drawings of Sigourney and the Power Loader he'd brought into the shop. I'd see them out of the corner of my eye and knew exactly what it was supposed to be. It was clearly an alien of that world with Sigourney Weaver.

"I was intrigued by it all because four years before, when 'Alien' had come out, it was so amazing cinematically. The lifecycle of the creature, and the organic nature of it. I had no idea that seven years later we'd be in England doing a sequel."

Mahan and posse began working on the Queen's preliminary designs in Southern California at Stan Winston's shop, where they conducted the infamous 'garbage bag test' out in the back parking lot, so named due to the flailing puppet being wrapped in black plastic trash bags.

"It was a proof of concept of how that was going to work," he explains. "Moving to Windsor, England, and setting up shop at Pinewood Studios was extraordinarily exciting. We then started making the full-size process of making the Queen and all the other effects, and we met the English crew, and Lindsay was one of them."

MacGowan fondly remembers his experience on the ambitious project and being recruited to join Stan Winston and the rest of the guys.

"They were legends at that point for us. We were also young and goofy, and it's amazing they actually let us do what we did when we were that young," MacGowan notes. "I was at college at the time, and I’d skip off college and make my way to Pinewood. It was like here’s the rock ‘n' roll Americans, and then we have our more reserved English team that got influenced by the American team. It was a lot of fun and some of my favorite memories of starting in the business.

"I remember it being incredibly cold at Pinewood at the time. There was no insulation in the warehouse, and we had these giant propane jet heaters, and they kept going out. We’d be nice and warm, then suddenly the flame would be out. It was a great time to get to know Shane, John, Alec, and Tom. I look at them as my American brothers."

Having everything under one roof, being created pre-shooting, was a great asset as it allowed Cameron to constantly oversee the process and monitor the progress being made.

"We were life-casting all the actors, various teams were doing the xenomorph warriors and the eggs and the facehuggers," Mahan adds. "It was a pretty big build list, and we had four or five months to get everything done. John Richardson was a great special effects man from the Bond films, and we all thought that was cool to work with guys that had done James Bond movies.

"That was my first time in England, so the setting was very new and exciting. Of course, we blew off a lot of steam occasionally, but we were very serious about just getting it all done. We knew we had a lot to live up to because of the first film. Very few people, if any, had come back from working on that first film. You don’t know how it's going to turn out. We all thought the 'Aliens' script was great. Jim had a lot of turmoil there and didn’t have a good time on his own for various reasons, but we weren't really privy to that."

a man standing between two armored robot suits

Legacy Effects' Lindsay MacGowan between two armored supersuits created for 2008's "Ironman" (Image credit: Legacy Effects)

Before hopping across the pond to the UK, Mahan and his ace crew did molds and castings using a quarter-scale maquette of the Alien Queen sculpted at Stan Winston's shop for their design master.

"Back then, everything had to be done by measurements, by plotting out, and by eye. Today, it's so simple to have a computer generate and mill out a perfectly formed section. You had to use a really focused artistic eye to get exactly where we were supposed to be.

"We also had to make action suits, and there were a lot of them. I think there were 13 or 14, and then there were like eight eight-foot-tall puppets that were more spindly and long that were going to be used on wires and get hit and blow up and get shot. Then there was one articulated half-animatronic that would play in various scenes. You have to imagine an era that was pre-CGI. There was no reliance on rod removal or performer puppeteer removal. You had to hide everything and everybody in the frame. So in the dropship fight, it’s an enormous amount of people making the Queen operate, and you don’t see them.

"That all comes down to Jim Cameron and his magnificent eye for framing this action scene without seeing the crane or any of the support devices. Directors today, most of them don't even have any idea how to do that. And that was the magic of Jim Cameron and still is. He had the designing thought of shot composition and action that played off the best attributes of that hydraulic/actor-driven Queen. Because there were two guys inside and nine of us on her tail, her head, the cable, her hands, the feet. We were everywhere."

MacGowan took his role very seriously to get the fit and finishing perfect for this elegant egg-laying beast that would end up being the seething, android-ripping superstar of the popular 1986 sequel. -

"It was really just to honor what Giger had done in the past, but also to give Jim what he was looking for in his vision for the Queen," he recalls. "The Queen is really Jim's design and entire look. Our focus was making sure that we got what Jim wanted, but still make sure that fans of the original movie, which was all of us, could really appreciate."

As a mentor to his dedicated young crew of VFX creators, Winston schooled them in the subtle art of injecting personality and emotion into their creature performances.

"It's something they always reinforced, but if you’re a student of horror and science fiction films, you know all the great creatures and monsters have got some sympathetic or some interesting personality," adds Mahan. "Even the xenomorph in the first film, the personality is that it does not care. It's just going to kill you. But that’s still a personality trait.

"We were always taught by Stan that these are not effects; these are characters that we’re making; these are actors in the film. It just happens to be a creature from space, or a robot from the future, or a dinosaur. Whatever it is, it has to be believed, and we’ve always carried that philosophy through."

As to the mystery of exactly where the original Alien Queen screen-used puppet ended up, Mahan has a few clues, but sadly admits that most of it has unfortunately been lost to time.

a VFX master at work on an alien creature

Legacy Effects' Shane Mahan working on a xenomorph design for "Alien: Romulus" (Image credit: Legacy Effects)

"Jim has one in his museum, and I think collector Bob Burns did have a head," Mahan shares. "The rest of it might be that it's fallen into disrepair. I know when we left, a lot of it was put into containers at Pinewood, and it sat and rotted for years. We always wanted to get that back, but I’ve not seen a real Queen in a while.

While the classic design hasn't changed much over the years, Mahan notes that the materials used to make creatures like the Alien Queen have.

"The head was fiberglass and had other foam rubber parts. The materials back then were not very sophisticated," explains Mahan. "The materials we have today, like what we did on 'Alien: Romulus', are like from outer space. They're translucent silicones, and they stretch well, and there’s lightweight plastic 3D-grown parts."

"Back then, the only thing we had was clear urethane that I got the cowl of her head to kind of move around. The original idea was that the skin on her face was supposed to be translucent. It ended up being foam rubber painted to look translucent. A lot of those materials have just fallen apart. On screen, it's pretty impressive.

"When we did 'Alien: Romulus,' Lindsay and I had not done an 'Alien' film since 'Aliens.' When that opportunity came up to revisit that world, the sensory memories came flooding back. It's one of those movies where I think I remember every day that I was on set for that film.”

"Aliens" is available to stream on Disney+ in the UK, and to rent and buy on various platforms in the US.

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Remembering 'Ulysses 31', the '80s cartoon that transported 'The Odyssey' to outer space

It's not known whether "Ulysses 31" was on Christopher Nolan's radar in his teenage years, but it's intriguing to think it could have influenced the director's decision to take on Homer's "The Odyssey".

This animated space opera, a French/Japanese co-production, delivered a crash course in Greek mythology to a generation of kids who grew up in the '80s. And, although it looks more like "Star Wars" than Homer's original tale, it had a decent stab at transferring the Classics to the 31st century (the clue really was in the title), years before the Coen brothers took "The Odyssey" to the Deep South in "O Brother, Where Art Thou?"

The cartoon's core premise would be familiar to any Greek scholar, even though purists would surely bristle at the hero going under his Roman pseudonym, Ulysses, rather than the original Greek Odysseus.

Screenshot from the 1980s sci-fi anime

(Image credit: DIC Audiovisuel & Tokyo Movie Shinsha)

At heart, it's that old story of a ship's captain racing to get home from Troy (in this case, a starbase) before his wife, Penelope, marries another man. That voyage is soon waylaid, however, when Ulysses' son, Telemachus, is abducted to become a sacrifice to a giant robot Cyclops.

Ulysses quickly lives up to the promise of his famous theme song — "Always fighting all the evil forces, bringing peace and justice to all" — by vanquishing the one-eyed menace and rescuing Telemachus along with Yumi and Numinor (a pair of blue alien Zotrians who, as far as we can tell, do not feature in the original Homer).

Unfortunately for Ulysses and his crew, he messed with the wrong giant robot Cyclops, because this one happened to belong to the Greek sea god Poseidon, who's now taken up residence in outer space. The deity is so annoyed at the puny mortal's impudence that he gets his brother, Zeus (aka the head honcho in Olympus), to inflict divine retribution.

Screenshot from the 1980s sci-fi anime

(Image credit: DIC Audiovisuel & Tokyo Movie Shinsha)

Ulysses is subsequently sentenced to "travel among unknown stars" (his ship, the Odyssey, has its navigational databanks purged) while his crewmates — referred to, in what now sounds like contemporary corporate jargon, as "companions" — are put into a perpetual slumber. If he's going to make it home to Penelope, he'll need to find the Kingdom of Hades before his 26-episode run comes to an end.

It's less an update of Homer than a riff on his greatest hits, with several other notable classics of the Classical period thrown in for good measure. In addition to slaying the Cyclops, Ulysses follows in OG Odysseus's footsteps when he meets the Sirens and Lotus Eaters.

But he also ventures beyond the confines of Homer's narrative when he encounters Sisyphus (fated to devote his entire life to a repetitive, pointless task), Orpheus (en route to Hades to rescue Eurydice, the love of his life), and three-headed dog Cerberus, reinvented as an interceptor satellite with, yes, three heads.

Screenshot from the 1980s sci-fi anime

(Image credit: DIC Audiovisuel & Tokyo Movie Shinsha)

Many of the character names are also familiar. Priam, the commander of the Troy starbase, shares his name with Troy's last king in antiquity, while Nestor, Ulysses' second in command, is an advisor in the original story. Shirka, the computer on Ulysses' ship, takes her name from Circe, a sorceress.

But the show also adopts a pretty liberal approach to the source material. Homer's version of Telemachus spends much of the story separated from his dad, whereas "Ulysses 31"'s is a constant presence. While Odysseus's shipmates mostly wound up dead, here they're plunged into a state of literal suspended animation, lifelessly floating in the ship's hold.

And Ulysses is already aware of the Greek gods before he makes first contact — in one episode, he even travels back thousands of years in time to meet his famous namesake.

Screenshot from the 1980s sci-fi anime

(Image credit: DIC Audiovisuel & Tokyo Movie Shinsha)

If this sounds like writers sanitising the story for younger audiences, well, it didn't feel that way if you watched the show as a kid. At times, "Ulysses 31" is genuinely freaky, from those levitating lifeless bodies to some truly grotesque monsters. The gods themselves are also an unnerving presence, omnipresent beings of colossal power who see humans as their playthings and view Ulysses' toils as some twisted spectator sport.

Besides, unlike "Masters of the Universe" and many of the other biggest sci-fi cartoons of the '80s, the good guys weren't always guaranteed to win. Being Ulysses — a single dad guiding his son and adopted daughter Yumi through the cosmos — wasn't easy.

Now 45 years old (though it didn't find its way onto British and American TV screens until the mid-'80s), "Ulysses 31" is showing its age. The animation is often rudimentary, particularly in outer-space scenes that are effectively a cut-out of a starship being dragged across a stellar background. The dialogue, meanwhile, is played hilariously straight — good luck finding a laugh among these uncharted stars — and often consists of someone shouting another character's name. "Telemachus!" "Father!" "My son!" "Yumi!" etc. Telemachus's small red robot pal, Nono, is up there with the most irritating "cute" sidekicks of the era — quite the achievement in an extremely competitive field.

Screenshot from the 1980s sci-fi anime

(Image credit: DIC Audiovisuel & Tokyo Movie Shinsha)

But there's also plenty to like. As static as they sometimes look, the spaceship designs have the feel of a classic space opera book cover, particularly Ulysses' eye-shaped craft, the aptly named Odyssey. The series also borrows heavily from a more modern piece of mythology, namely the "Star Wars" saga. Ulysses may not be a Jedi (as far as we know), but his gun/laser sword weapon looks a lot like a lightsaber. Some of the incidental music even apes John Williams' score from a galaxy far, far away.

Which brings us on to the soundtrack, the main reason this show lives on in the collective consciousness of a generation.

The work of Denny Crockett, Ike Egan, and, on selected tracks, Shuki Levy and Haim Saban (the latter duo also composed for "Masters of the Universe", "Jayce and the Wheeled Warriors," and many more cartoon classics), the music is a cut above. "The Curse of the Gods" refrain is loaded with menace, totally living up to its portentous title, and then there's that theme song.

Seriously, to people of a certain age — even those who remember nothing else about the show — hearing the name "Ulysses" is enough to get them singing "Ulysee-ee-ee-ee-ees" ad infinitum, an earworm truly worthy of the gods of Olympus.

Homer's tales may still be remembered thousands of years after he wrote them, but you can guarantee he didn't have a tune quite like that.

"Ulysses 31" isn't on any major streaming service, but there are fan uploads on YouTube if you want to experience the show for yourself.

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'Aliens' at 40: Here are 26 reasons why James Cameron's sequel is still the greatest sci-fi action movie of all time

Making a sequel to Ridley Scott's 1979 classic "Alien" should have been a disaster. This was a movie that defined a whole new sub-genre of outer-space horror, a perfectly structured scarefest that also introduced one of cinema's greatest-ever monsters to the world.

Luckily, James Cameron — then one of Hollywood's hottest properties off the back of "The Terminator" — has never been a shrinking violet, and was brave enough to face the Xenomorph challenge head-on. Reinventing the franchise as a muscular sci-fi action movie, he created a whole new sub-genre of his own with a film every bit as memorable as its predecessor.

So, as the peerless "Aliens" turns 40, here — in honour of LV-426, the moon where the movie takes place — are 26 reasons it's still the greatest sci-fi action movie of all time.

1. James Cameron’$ original pitch

Aliens movie logo and tagline

(Image credit: 20th Century Fox)

With only "The Terminator" (and the long-forgotten "Piranha II") on his resumé, James Cameron was yet to ascend to "king of the world" status when he pitched for the "Alien" sequel. His subsequent meeting with studio execs has since become the stuff of Hollywood legend.

The story goes that he turned over a copy of the script, wrote "ALIEN", added an S to the end, and then scrawled a couple of lines through the final letter. "ALIEN$" was a language the bigwigs understood, and you know what? Cameron was kinda right.

2. A new genre

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Same continuity, same creature, same lead character… "Aliens" is undeniably a sequel to "Alien".

But while Ridley Scott's original film was already the definitive outer-space horror, Cameron boldly shifted genres to make the definitive outer-space action movie. Forty years on, fans are still debating which one is best.

3. Nothing is wasted

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Anyone teaching action movie screenwriting should use "Aliens" as a core text. It's lean, it's efficient, and every line and moment is integral to the all-time classic whole.

It's no accident that Ripley shows off her Power Loader skills in the opening act — it's Cameron's version of Chekhov's gun.

4. The time jump

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Some sequels pick up immediately after their predecessor left off. But by leaving Ellen Ripley in hypersleep for 57 years, the universe has a chance to evolve around her. Indeed, that's enough time for Weyland-Yutani to colonize LV-426 and — just maybe — pay a visit to that mysterious spaceship with all those eggs in its cargo hold.

What could possibly go wrong?

5. Ellen Ripley

Screenshot showing Sigourney Weaver in the sci-fi movie Aliens (1986).

(Image credit: 20th Century Studios)

Ellen Ripley may have been the accidental hero of "Alien", but she's 100% proactive in "Aliens". At the beginning of the movie, she's still traumatized by her experience on the Nostromo, and her employers at Weyland-Yutani are doing little to help. But her cool head in a high-pressure situation puts highly trained Colonial Marines to shame, and by the final act, she's grown into one of cinema's greatest heroes.

Sigourney Weaver rightly earned herself an Academy Award nomination for her tour de force performance.

6. The Colonial Marines

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Cameron waited until late on in production to shoot the scene where the Colonial Marines wake up from hypersleep. It's a genius move, their real-life familiarity helping to establish a convincing camaraderie between these elite soldiers.

Even though most are lucky if they speak more than a line or two, Cameron's writing is so tight that we already know plenty — and care — about them when they inevitably become Xenomorph fodder. (Top fact: with the exception of Lt Gorman and Corporal Hicks, the Marines all share a first initial with the actor who plays them.)

7. The Dropship

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Physics purists can bemoan the science all they like, but there's something undeniably cool about the craft that plunges the Marines to the surface of LV-426. A wonderfully utilitarian example of pre-CG model work.

8. The slow-build

Several levels of metal floors melted by alien acid blood in Aliens

(Image credit: 20th Century Studios)

In the original version of the movie, an entire hour has passed before you see an alien. Cameron doesn't waste a second of that time, however, establishing characters (see above), introducing Newt, showing off the geography of the Hadley's Hope terraforming base, and building a creeping sense of dread.

Those acid burns on the floor can't be good news, right?

9. The shouldercams

Bodycam footage from the sci-fi movie Aliens

(Image credit: 20th Century Fox)

In an era when cameras can be shrunk down into phones or even a pair of glasses, anybody can film anything. But when Cameron gave his soldiers shoulder-mounted video units, it felt genuinely groundbreaking. It provides a suitably chaotic Marine's-eye-view as the carnage unfolds, but you always know whose perspective you're following because, well, their names are written on screen.

10. The ambush

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

"Aliens" may take its time getting to the actual aliens, but when it does, it doesn't hold back.

The walls start moving, flame-throwers start flaming, and suddenly the Marines are on the back foot against a vastly superior enemy. Throw in an exploding bag of ammunition, and it's all so brilliantly disconcerting that you need several rewatches to work out what you've just witnessed.

Within a matter of minutes, Hicks, Hudson, Vasquez, and Gorman are the only Marines left standing — and Gorman's technically comatose.

11. The Xenomorph drones

Aliens (1986)_Twentieth Century Fox

(Image credit: Twentieth Century Fox)

HR Giger's original Xenomorph is a design classic, but Cameron was more concerned about practicality than looks.

The new alien suits (usually occupied by gymnasts and acrobats) prioritized movement, as the director went big on research and development to make sure their motion was as inhuman — and as fast — as possible.

Remarkably, only six suits were built for "Aliens", but ingenious editing makes it look like Hadley's Hope is swarming with them.

12. The Alien Queen

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

We'd seen the eggs, the Facehuggers, and the drones. But, as Ripley pointedly asks, "Who's laying the eggs?"

The answer is a truly terrifying new stage in the Xenomorph life cycle, and arguably the last essential addition to the franchise's mythology.

Designed by Stan Winston (who'd worked with Cameron on "The Terminator" and won an Oscar for his work on "Aliens"), the Alien Queen is a towering apex predator who'll do anything to protect her kids.

13. Newt

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

Introducing a kid to a hard-boiled action franchise can be a risky move, but Rebecca Jordan (known to everyone as Newt, played by Carrie Henn) is totally integral to "Aliens".

As the last known survivor of Hadley's Hope, she's resourceful as hell and has plenty to teach the heavily armed Marines about survival in a Xenomorph-infested world. She also brings out the maternal instinct in Ripley, a key theme of the movie that comes to a head in her famous face-off against the Queen: "Get away from her, you bitch!"

Speaking of which…

14. The quotable dialogue

Hudson (Bill Paxton) in the sci-fi movie Aliens (1986).

(Image credit: 20th Century Fox)

"We're on an express elevator to hell." "They mostly come at night… mostly." "Game over, man. Game over." "I say we take off, nuke the site from orbit. It's the only way to be sure."

Few action movies — with the possible exception of "Predator" and "Die Hard" — are quite as chock-full of zingers as "Aliens".

15. The APC

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

The Armored Personnel Carrier is every bit as iconic as the dropship it calls home.

Part mobile base-of-operations, part all-terrain action vehicle, it's the reason the few remaining Marines escape their close encounter in one piece — even if its transaxles have issues dealing with concentrated acid blood.

It's telling that the Resources Development Administration hardware in the "Avatar" series is so heavily influenced by this timeless "Aliens" tech.

16. Facehuggers on the move

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

The Facehugger that jumped — and subsequently impregnated — Kane in the original “Alien was already the stuff of nightmares. But the parasites in the sequel are much more than some acid-blooded jack-in-a-box.

In “Aliens”, those spider-like legs allow them to scurry around to hunt down their prey, ensuring they're a clear and present danger — even if you're not foolhardy enough to put your face over an open egg.

17. Carter Burke

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

If there’s one thing the "Alien" saga has taught us, it's that you should never, ever trust Weyland-Yutani, chillingly referred to simply as "the Company".

If "Alien"'s Ash was the ultimate company android, Burke (Paul Reiser) is the epitome of the company man, a total scumbag whose friendly, "I'm-your-best-friend demeanor" can’t disguise the fact that he’d screw you over for a percentage, kiddo. The only character in the movie whose death by Xenomorph elicits a cheer.

18. The motion trackers

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

You don't need to see the Xenomorphs to know they're there.

The ominous beep of the Marines' motion trackers is a highly effective way of teasing the approaching menace — even when they're hiding in the ceiling.

19. A countdown to detonation

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

It's bad enough that you're trapped on a barren moon surrounded by a vicious hive of extraterrestrials who want to use you as hosts for their offspring. And that your primary choice of rescue has crashed on the surface, leaving you even more stranded.

Then, fate (or, to be more accurate, James Cameron) throws you a curveball in the form of an atmospheric processor about to go nuclear. The clock is well and truly ticking…

20. Bill Paxton

Aliens 1986 movie

(Image credit: 20th Century Fox)

The late Bill Paxton was Cameron's lucky charm, also turning up in "The Terminator", "True Lies", and "Titanic". But "Aliens" is his signature role, as the famously pessimistic Private Hudson makes the most of his limited dialogue.

As an interesting sidenote, Paxton had the honor of being killed on screen by a Terminator, a Predator, and a Xenomorph.

21. The Power Loader

Aliens 1986 movie

(Image credit: 20th Century Fox)

Part Japanese mecha, part Transformer, Ripley's Power Loader is an instantly iconic piece of kit, so painstakingly designed that it looks like it could actually work IRL.

If you're going to go woman-to-woman with an angry Alien Queen, never leave the house without one.

22. Bishop

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

Ash, the Nostromo's resident synthetic in "Alien", was a bona fide bad 'un, prepared to sacrifice the crew in the name of getting a valuable Xenomorph back to "the Company"’s weapons division.

It's hardly a surprise, then, that Ripley is suspicious of Bishop (Lance Henriksen) from the off. Luckily for everyone, he gradually proves his worth via his skills with the knife game, elite dropship-piloting abilities, and generally being an all-round good egg.

Not bad for an android… (Bishop is manufactured by Hyperdyne Systems, a nod to Cyberdyne in Cameron’s “Terminator” movies.)

23. The music

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

"Aliens" was James Horner's first collaboration with Cameron (he went on to write the scores for "Titanic" and "Avatar"), and the then-32-year-old provided the perfect musical backdrop for the action unfolding on screen.

Sure, some of the themes are derivative of the composer's own "The Wrath of Khan" soundtrack, but it's impossible to imagine "Aliens" without Horner's contribution.

24. The sound effects

Screenshot from the sci-fi movie Aliens (1986)

(Image credit: 20th Century Fox)

The best sci-fi franchises are as recognisable for their sound as their visuals. So, just as, say, "Star Wars"’ lightsabers and "Star Trek"s transporters are aurally unmistakable, "Aliens" has its own distinctive soundscape.

Hear a pulse rifle firing or the squeal of a Xenomorph, and you know exactly where you are. Best Sound Effects Editing was one of the film's two Academy Award wins, and it's easy to see why.

25. The Special Edition

Screenshot from the 1986 sci-fi movie

(Image credit: 20th Century Fox)

If you've never seen "Aliens", the tighter theatrical cut is definitely the place to start. But once you know what's waiting for the Colonial Marines on LV-426, the Special Edition is the definitive version of the movie.

From Newt's family making first contact with a Facehugger to a wonderfully tense sentry gun sequence, Cameron's extra footage enhances a classic. It also adds to the film's mother/child subtext when we learn that Ripley had a daughter, Amanda, who died just before Ellen was discovered by the Weyland-Yutani recovery crew.

Amanda would later be retconned to become the lead character in the survival horror video game "Alien: Isolation".

26. Cameron himself

Director James Cameron on the set of his film Aliens.

(Image credit: Getty Images (Bob Penn))

Cameron's intense working methods famously didn't go down well with his unionized British crew, who famously made t-shirts bearing the slogan "You can't scare me, I work for James Cameron".

But whatever the on-set experience, it's impossible to deny that he marshalled proceedings to perfection. Even the director's lesser works — the "Avatar" sequels, for example — feature action beats of unassailable genius. "Aliens", however, demonstrates a filmmaker at the pinnacle of his powers.

Every sci-fi action movie ever made will be judged against "Aliens". Even the brilliant "Predator" lives in the shadow of a movie that remains untouchable — and endlessly rewatchable — four decades after its original release.

"Aliens" is available to stream on Disney+ in the UK, and to rent and buy on various platforms in the US.

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An animated sci-fi rom-com wasn't on our wish list, but we'll be damned if 'Not Alone' doesn't look sweet, stylish, and hilarious

After cracking into the animation world with family-friendly animated features from the "Despicable Me " and "Minions" franchise, "The Lorax," and the musical menagerie of "Sing," Illumination is finally setting their sights on outer space with next year's "Not Alone."

"Not Alone" isn’t due to arrive in theaters until Apr. 16, 2027 but this sneak peek — accompanied by David Bowie's somber 1969 anthem "Space Oddity" — sets a sweet tone telling the lively tale of an introverted rocket mechanic name Joe, and Fran, his astro-botanist colleague who has engineered the planet's first plant-based rocket, when alien fugitives toss their lives into chaos.

Xenomorph monstrosities and spaceship laser battles can often dominate sci-fi, so it's great to see something different on the horizon, and while a space rom-com starring Timothée Chalamet and Selena Gomez wasn't on our bingo card, the trailer has us really hyped for this one.

It's a wholly original story that's a definite departure for Illumination, but one that could strongly connect with audiences via the project’s colorful Euro style and humor. Vocal duties include the talents of Timothée Chalamet, Selena Gomez, Brett Goldstein, Rob Brydon, Jamie Demetriou, Diane Morgan, Allison Janney, and Lamorne Morris.

"When Joe and Fran are brought together to prepare for the inaugural launch of this revolutionary rocket, there are immediate sparks, but neither is particularly adept at romance," states the official synopsis.

two cartoon scientists working on a yellow robot

Illumination's "Not Alone" lands in theaters on April 16, 2027. (Image credit: Illumination)

"Life becomes more complicated when three aliens—tiny, unruly, and adorable—take refuge in Joe's home. Dunk, Welly, and Shirm are on the interplanetary run from a zealous-yet-inept officer of the law named Zandro. The aliens determine that Fran’s rocket could provide their means of getting back home to safety."

The French animation factory recently launched an early trailer for this charming romantic comedy directed by Eric Guillon, Claire Dodgson, and Jonathan Del Val.

Four colorful alien blobs from a sci-fi movie

(Image credit: Illumination)

Guillon is an Illumination veteran whose career includes serving as lead designer for "Despicable Me" and "Minions," as well as co-directing "Despicable Me 3." Here he's joined by seasoned editor Claire Dodgson ("The Lorax," "Minions," Despicable Me 3," "Minions: The Rise of Gru") and Jonathan Del Val (co-director of "Minions: The Rise of Gru" and "The Secret Life of Pets 2").

This fun animated rom-com is produced by Illumination founder and CEO Chris Meledandri and executive produced by Joy Poirel, Richard Curtis, and David Distenfeld.

"Not Alone" rockets into theaters Apr. 16, 2027.

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The 10 best British sci-fi shows of all time

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

David Tennant and Billie Piper as The Doctor and Rose Tyler in Doctor Who.

(Image credit: BBC)

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

Screenshot from The Quatermass Experiment (1953)

(Image credit: BBC)

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

Screenshot from sci-fi show Blake's 7

(Image credit: BBC)

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

Screenshot from The Prisoner (1967)

(Image credit: ITV Studios)

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

Screenshot from the TV show Red Dwarf

(Image credit: BBC)

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

Screenshot from Hyperdrive (2006)

(Image credit: BBC)

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

Screenshot from the The Hitchhiker’s Guide to the Galaxy Tv series

(Image credit: BBC)

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

a man is hooked up to a VR memory machine

(Image credit: Netflix)

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

Screenshot from Life on Mars TV show

(Image credit: BBC)

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

Screenshot from Utopia TV show (2013)

(Image credit: Channel 4)

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.

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'Once Upon a Time in Space': How to watch PBS's out-of-this-world astronaut documentary

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."

a promo poster for a space documentary series

"Once Upon a Time in Space" launches on PBS on July 14 (Image credit: PBS/BBC)

"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.

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"The Ninth Jedi" is a bold new Star Wars anime project hitting Disney+ next month, and it looks sick!

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.

a poster for an anime series with a girl holding a green lightsaber

(Image credit: Disney+)

"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.

Watch The Ninth Jedi on Disney+:
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Watch The Ninth Jedi on Hulu:
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This Week In Space podcast: Episode 218 — Which Way to the Moonbase?

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

Model Falcon 9!

TOP TELESCOPE PICK:

A Celestron telescope on a white background

(Image credit: Celestron)

Looking for a telescope to see planets and comets? We recommend the Celestron Astro Fi 102 as the top pick in our best beginner's telescope guide.

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.

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Sci-fi action movies were better in the '90s. 'Independence Day' is full of reasons why

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".

Alien spaceships attacking an airbase in Independence Day (1996)

(Image credit: 20th Century Studios)

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 movie poster for Independence Day (1996), showing a huge spaceship over New York.

(Image credit: 20th Century Studios)

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.

Will Smith and Jeff Goldblum from the movie Independence Day

(Image credit: The Independent )

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.

Independence Day (1996)

(Image credit: 20th Century Studios)

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.

Screenshot from Independence Day (1996) showing a massive spaceship floating over New York.

(Image credit: 20th Century Studios)

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.

Watch Independence Day on Hulu:
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