Humanity's first 239,000-mile voyage to the moon may have taken place more than five decades ago, but the drama of this endeavor, and stories of the individuals who made it happen, still capture our imaginations to this day.

While television screens may have shown countless factual and dramatic retellings of the space race, "We Chose to Go to the Moon" takes the stories to the stage of New York City's renowned Carnegie Hall for an 'immersive performance' that combines music, archival film, and storytelling that puts a fresh spin on one of America's greatest feats.

Below, we explain where you can watch "We Chose to Go to the Moon" online — potentially for free — and from anywhere.

When Is The "We Chose to Go to the Moon" Release Date?

"We Chose to Go to the Moon" is set to be broadcast at 8 p.m. ET and PT on Tuesday, Nov. 10, 2026, on PBS in the United States.

The live show was originally filmed at Carnegie Hall in April 2026, just as NASA's Artemis II was blasting off to send a crew of four astronauts on their mission around the Moon.

How To Watch "We Chose to Go to the Moon"

"We Chose to Go to the Moon" will be broadcast on PBS in the United States.

That means it can also be streamed simultaneously online via the PBS.org website and via the PBS app for compatible devices, including iOS, Android, Apple TV, Android/Google TV, Roku, Amazon Fire TV, Comcast, Samsung Smart TV, VIZIO, and LG Smart TVs.

Watching "We Chose to Go to the Moon" outside of the US

Unfortunately, PBS streaming and broadcasts are geo-blocked for those trying to access them from outside the United States.

If you want to stream "We Chose to Go to the Moon" or anything else on PBS while you're overseas, Surfshark VPN will let you access the platform from anywhere in the world.

What Is "We Chose to Go to the Moon"?

In September 1962, the incumbent United States President, John F. Kennedy, gave an address to Houston's Rice University that became the symbolic starting pistol to the USA's participation in the so-called 'space race'.

"We choose to go to the moon," he said. "We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too."

That's the jumping off point for historian John Monsky's so-called 'living documentary' that brings together archival footage, spoken word remembrances, and music from the time, to bring America's participation in the space race to a Carnegie Hall — and now television — audience.

It brings together perspectives from the individuals who were at the heart of the action, including the Apollo 11 astronauts astronauts — Neil Armstrong, Buzz Aldrin, Michael Collins and Ed White — their families, and those unsung heroes of Mission Control.

The narrative is backdropped by a live orchestra and some of Broadway's best theatrical stars, with a rousing soundtrack that features David Bowie's "Space Oddity", Elton John's "Rocket Man" and Simon & Garfunkel's "The Sound of Silence".

Are There Any "We Chose to Go to the Moon" Teasers and Trailers?

There are no trailers available for "We Chose to Go to the Moon" on YouTube, but there is a 30-second preview for the show at Carnegie Hall on the PBS website.

Who Are The "We Chose to Go to the Moon" Cast and Creators?

"We Chose to Go to the Moon" was created, written, and narrated by John Monsky. He's the cultural historian behind the popular "American History Unbound" series that tells stories from the country's past on the famous boards of New York City's Carnegie Hall.

Music for this show is played live by the Orchestra of St. Luke's, conducted by Kimberly Grigsby. A quartet of vocalists includes Shonica Gooden, Adam Kantor, Elena Shaddow, and David St. Louis, all of whom are experienced musical theater singers on Broadway.

There will be an introduction from actor and "Apollo 13" director Ron Howard, together with spoken word vignettes from performers Skylar Astin, Brent Comer, Claybourne Elder, Elizabeth Gillies, Taylor Louderman, and Joy Woods.

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

They say all good things come to those who wait… and WAIT. Well, the wait for "Robopocalypse" fans might finally be over, as Oscar winners Ron Howard and Akiva Goldsman have announced they're working on a TV adaptation.

It does seem like an eternity since news first broke that Portland-based New York Times bestselling author Daniel H. Wilson’s "Robopocalypse" (Doubleday, 2011) was bought by Steven Spielberg’s DreamWorks SKG for a sci-fi spectacle, with Drew Goddard ("The Martian") brought in to pen the screenplay.

That was back in 2009, and since then the story of a rogue AI named Archos and a hearty band of indigenous people in America’s heartland battling to save humanity from extinction has been placed on Hollywood’s back burner. After numerous stalled starts and director Michael Bay getting involved in 2018, "Robopocalypse" was quietly powered down due to script issues, filmmaker scheduling conflicts, and the enormous budget required.

But now we have been blessed with the news, first broken by The Hollywood Reporter, that Ron Howard ("Apollo 13," "The Da Vinci Code") and Akiva Goldsman ("A Beautiful Mind," "Star Trek: Strange New Worlds") have taken up the mantle of this chilling sci-fi project to develop as a new TV series. And what timing, just as AI fever has gripped the planet with paranoia centered around our eventual robot overlords.

"'Robopocalypse' has all the scale and suspense of a major action story, but what drew me to it are the thought-provoking themes and humanity at its center," Ron Howard shared in a statement.

"Daniel created a future that feels both startling and increasingly plausible, with characters who must figure out what connects us when the technology we rely on turns against us. I am also thrilled to work with Akiva again. We have shared some incredibly meaningful creative experiences, and this feels like the right story to bring us back together."

As a PhD graduate of Carnegie Mellon University’s Robotics Institute and a future king of the techno-thriller, Wilson was the ideal writer to bring this frightening story to life, and a 2014 sequel titled "Robogenesis" was equally gripping.

The prolific, award-winning writer has since set up a multitude of other Hollywood projects spawned from his catalog of works, including "Amped," "The Clockwork Dynasty," the authorized sequel to Michael Crichton's "The Andromeda Strain," "The Andromeda Evolution," and his 2025 alien invasion novel "Hole in the Sky," still alive at Netflix.

Howard's Imagine Entertainment will partner with Akiva Goldsman's Weed Road Pictures on this episodic adaptation, with Howard attached to direct the pilot episode and Goldsman serving as series showrunner.

"Robopocalypse" marks a creative reunion for the distinguished creators, following their collaborations on "A Beautiful Mind," "Cinderella Man," "The Da Vinci Code," and "Angels & Demons." Spielberg's Amblin Entertainment is slated to executive produce the ambitious show alongside Imagine's Brian Grazer and Jeb Brody and Weed's Rachel Wizenberg and Greg Lessans.

It's too early to tell which streaming service the "Robopocalypse" TV show will be attached to yet. Hopefully the pilot episode wows one of the big names, and we can finally see the "Robopocalypse" adaptation of our dreams.

In the meantime, we'd recommend checking out the original book by Daniel H. Wilson.

So, you thought "Stranger Things" was done and dusted after all that Conformity Gate nonsense? No way! Netflix's sci-fi sensation returns in the live-action prequel series "Other Worlds: A Stranger Things Adventure."

Created by the Duffer Brothers and Kate Trefry, with the episodes set to be directed by Joe Wright ("Darkest Hour", "Black Mirror"), this new show isn't set in Hawkins or the electric '80s. No, this time around, the action takes place in Marion, Nevada, in 1955, and you know what else is located in Nevada, right? Area 51.

The teaser trailer certainly teases the possibility of a trip to the world's most paradoxically famous secret military base, showcasing a bike and radio resting outside of a fence with a sign that clearly says it's a restricted area (in any TV show or film, that's actually an invitation to see what's on the other side). Of course, the tease doesn't end there, as the thunder booms in the sky and there's a visual hint of a wormhole.

No story details about "Other Worlds: A Stranger Things Adventure" have been released to date, but there are some clues out there for all the Internet sleuths.

Trefrey wrote the Henry Creel-focused "Stranger Things: The First Shadow" play, while Matt Duffer explained to Variety how a spin-off show would tackle the rock that Henry found in the briefcase in "Stranger Things." So, yes, expect this to be a Henry-centric affair and the start of his long, hard road to hell and becoming Vecna.

What'll be interesting, though, is to see how the show ties into the history of Area 51. After all, it was on April 12, 1955, that CIA officer Richard Bissell discovered the site, while the "Other Worlds" trailer has the date of April 19th clearly marked onscreen, so the timelines align nicely here.

"Stranger Things" has never been shy of tying itself to real-world science and historical events, so it'll be fascinating to see how the show explores Area 51 as a concept and the secrets everybody believes are hidden there.

Was it really a site to test highly advanced weapons and aircraft, or was E.T.'s cousin held hostage there until he revealed Colonel Sanders' 11 herbs and spices? Who knows, with all this renewed excitement around this mysterious military facility, we might get another "Storm Area 51" event to enjoy and laugh at all over again.

Regardless, more "Stranger Things" is welcome news, and since it's presumably about one of the show's best characters, Henry Creel, it only adds another layer to his already intriguing lore. If we can't have an origin story about Hopper's incredible and envious moustache, this is the next best thing.

"Other Worlds: A Stranger Things Adventure" arrives on Netflix in 2028.

Godzilla goes toe-to-toe with long-time foe King Ghidorah in Godzilla Minus Zero, which opened in theaters on Friday (Nov. 6). Though the three-headed golden Kaiju might seem like a natural native of Monster Island, King Ghidorah actually emerged from the depths of space.

However, it isn't just the origins of King Ghidorah — also known as Monster Zero in the Godzilla movie Invasion of Astro-Monster (1965) — that are this beast's only cosmic connection. One of the largest structures in the universe, the King Ghidorah Supercluster, was named in honor of Godzilla's primary antagonist.

Eat that, King Kong!

King Ghidorah and Godzilla

King Ghidorah is a three-headed, twin-tailed golden dragon from the stars, first introduced in the fifth Godzilla movie, Ghidorah, the Three-Headed Monster (1964).

In this first appearance, part of the Shōwa era (1964–1975) of Godzilla history, Ghidorah ravaged Venus, wiping out its population 5,000 years before arriving on Earth encased within a highly magnetic meteorite. Ghidorah was bested this first time by Godzilla, Rodan, and Mothra.

Undeterred, Ghidorah returned for a rematch just a year later in Invasion of Astro Monster (1965), after being discovered supposedly terrorizing the inhabitants of Planet X, a world found beyond Jupiter. In this movie, it is revealed that Ghidorah is less a king and more a pawn, under the control of calculating Xiliens as part of a plan to subjugate Earth. This will become a theme.

Freed from that control, Ghidorah returns to deep space, once again falling under the thrall of an alien race in 1968's Destroy All Monsters.

This movie sees Ghidorah hold its own against a who's who of kaiju, eventually succumbing to the combined might of Godzilla, Minilla, Mothra, Rodan, Manda, Gorosaurus, Anguirus, Kumonga, Baragon, and Varan.

Even with three gravity-beam-blasting heads, that is hardly fair!

Ghidorah returned with some backup for a final time in the Shōwa era in 1975's Godzilla vs. Gigan. This time, Ghidorah and his tag-team partner Gigan (who resembled a giant one-eyed space chicken) were under the control of cockroach-like Nebulans. Getting mind-controlled three times is just embarrassing!

Fortunately, the Shōwa era drew to a close in 1975 before Ghidorah was forced into servitude for a fourth time.

Ghidorah returned in the rebooted Godzilla timeline of the Heisei era (1991–1998) in 1991's Godzilla Vs. King Ghidorah, but its cosmic origins are gone. The Heisei Ghidorah begins life as three genetically engineered creatures called Dorats in the future before being morphed into a three-headed form via nuclear exposure.

Ghidorah was given a spiritual origin in the Millennium era's Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack (2001), actually serving as a protagonist, helping Mothra in halting Godzilla's rampage.

Ghidorah is once again an extraterrestrial in Universal Pictures' MonsterVerse movie Godzilla: King of the Monsters (2019), being described as having "fallen from the stars" in ancient times before rising to challenge Godzilla.

Now King Ghidorah is back once again in Godzilla Minus Zero, maintaining his extraterrestrial origin story and once again challenging Godzilla to an epic kaiju battle.

Those are some of the fictional versions of this golden beast, but what does it look like in reality?

The real King Ghidorah!

Arguably the most impressive feat of King Ghidorah has been to make itself such an important part of pop culture that astronomers took note.

The King Ghidorah supercluster is a collection of galaxies located around 6.7 billion light-years from Earth. Covering an area of the sky equivalent to 19 full moons, as seen from our vantage point, this cosmic Kaiju was discovered in late 2022 by Japanese astronomers using data from the Subaru Telescope.

The King Ghidorah supercluster is comprised of at least 19 individual associated galaxy clusters. It stretches out for an incredible 1.3 billion light-years, meaning the entire Milky Way could fit across it around 12,300 times. That makes it the largest supercluster ever discovered.

To put into context just how monstrous the King Ghidorah supercluster is, consider the fact that it has a mass equivalent to 10,000,000,000,000,000 suns, 10 times as massive as the Milky Way's home supercluster, Laniakea.

Even Godzilla may think twice before attempting to tussle with that particular King Ghidorah!

See King Ghidorah in action in Godzilla Minus Zero, which is showing in theaters in the US and UK from November 6. You can see the preceding movie, Godzilla Minus One, on Netflix.

On Episode 235 of This Week In Space, Tariq Malik and Rod Pyle are joined by Dr. Jim Green to talk about the past, present, and future of planetary exploration.

Robots have, and always will, be the first to go to the dark and scary places in space. For many years, Jim oversaw these missions for NASA as their Chief Scientist. He has always been passionate about NASA's science programs and believes we're quite likely to find life off-Earth in the near future. 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

• NASA announces experimental X-70 Fractal aircraft: A 'new beginning for aeronautics'
• Earth has captured a new mini moon  — but it won't stick around for long
• Max Power: NASA hosting its 1st air show this weekend on Florida's Space Coast
• 'Trials and Tribble-ations' at 30: The classic 'Star Trek: Deep Space Nine' episode that brought Captains Kirk and Sisko face-to-face
• When Voyager 1 goes dark, what comes next?
• Curiosity - 7 Minutes of Terror
• Searching for Signs of Intelligent Life: Technosignatures
• Metavisionaries

Model Falcon 9!

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

About This Week In Space

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

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

Straight from its inspiring live performance at New York City's Carnegie Hall this past April, RadicalMedia's filmed presentation of the immersive living space documentary, "We Chose to Go to the Moon," is finally available for the rest of us to watch.

"We Chose to Go to the Moon" premieres Nov. 10 at 8:00 p.m. ET on PBS, PBS.org, and the PBS app, and we’ve got an exclusive clip to share featuring Mark and Kali Armstrong singing "Flight of Fancy."

With a poignant introduction by Oscar winning director Ron Howard ("Apollo 13"), "We Chose to Go to the Moon" recalls the extraordinary saga of the global space race and Apollo moon landings by actors portraying pivotal persons who made it all happen.

These roles include astronauts Neil Armstrong, Buzz Aldrin, Michael Collins and Ed White, Mission Control trailblazer Poppy Northcutt, "Hidden Figures" mathematician Katherine Johnson and members of the spacefaring families that remained on Earth, including Janet Armstrong and Betty Grissom.

This dynamic multimedia production is directed by Tony Award winner Michael Mayer ("Chess"), combining a unique fusion of theater, concert and documentary storytelling using rare archival footage alongside historic flags and artifacts taken to the Moon and returned home. It also revisits the ill-fated Apollo 13 mission and adds a special tribute to moonwalker Neil Armstrong performed by his son Mark and granddaughter Kali.

"We Chose to Go to the Moon" is created, written and narrated by historian John Monsky and stars Ian Weinberger ("Hamilton"), Skylar Astin ("Pitch Perfect"), Brent Comer ("The Outsiders"), Claybourne Elder ("Company"), Elizabeth Gillies (Netflix's "Dynasty"), Taylor Louderman ("Mean Girls") and Joy Woods ("Galileo"). Finally, Ian Weinberger ("Chess," "Hamilton") pulls it all together by conducting Broadway vocalists and the Orchestra of St. Luke’s in a selection of popular period music showcasing songs such as "Fly Me to the Moon," "Rocket Man," "Space Oddity" and "Sound of Silence."

We hope space fans around the world tune in to experience this sensational stage show that honors America's human spaceflight history!

As of 2026, Elon Musk is the world's richest man and CEO of SpaceX, Tesla, and xAI. Not only that, but he is also one of the most polarizing figures in popular culture. Some laud him as a new Magellan; the eccentric billionaire set on colonizing Mars. Others believe he should keep his eyes on the stars and stop meddling in politics.

Whatever you think about Elon Musk, it has to be said that you do think about him. Perhaps that's precisely the reason that he is the subject of Alex Gibney's 4-hour documentary, detailing the astronomical rise of Musk and his metamorphosis into the polarizing figure he is today.

The documentary is only currently available to purchase online for viewers in North America.

Below, we explain how to stream "Musk" online and from anywhere with this VPN.

• Stream securely from anywhere with Nord VPN (75% off)

When is the "Musk" release date & time?

"Musk" premiered in theaters on Oct. 9 and is available to buy digitally in North America from Nov. 6 at 12 a.m. ET, which is 9 p.m. PT on Nov. 5.

The documentary boasts a mammoth runtime of 3 hours and 55 minutes, combining archive footage with first-person interviews.

Here's how to watch "Musk" from anywhere with a VPN.

How To Watch "Musk"

"Musk" is available to buy digitally in North America on Amazon Prime Video starting November 6 for $19.99.

The documentary will also be available for purchase on Apple TV and Fandango at Home, also costing $19.99

If you want to stream "Musk" or any of Prime's other great films, TV shows and live sports while you're abroad, Nord VPN will let you access your subscription from anywhere in the world.

"Musk" trailer

Who are the "Musk" cast and creators?

The documentary was created by Alex Gibney. the film features insights from Musk's ex-wife Justine Musk, Ashley St. Clair, Kara Swisher, Zoë Schiffer, Martin Eberhard, and Geoffrey Hinton.

More from Space.com

• SpaceX fires up Starship upper stage ahead of landmark Flight 15 test launch
• SpaceX could make $500 billion in 2028, Elon Musk says

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Marvel fatigue? Think again, especially after Spider-Man: Brand New Day made over $2.5 billion worldwide and Avengers: Doomsday is looking hot, hot, hot!

But even after the uneven Multiverse Saga ends (hopefully on a high note), Marvel Studios won’t be stopping. So, we've put together a list of all the upcoming MCU movies and shows confirmed so far.

While the MCU isn't stopping, Marvel has slowed its roll, with the powers that be returning to the “quality over quantity” approach that defined Marvel Studios’ Infinity Saga output. This means no more than three movies per year and, perhaps more importantly, severely cutting down on TV productions, with a focus on multi-season shows rather than limited series that should’ve been a movie.

It’s a time of change for both Disney and Marvel, but it seems everyone agrees the big screen reigns supreme, so expect a thinner streaming output and more relevant movies starring characters you actually know.

More will be revealed in due time, but for now, here’s what lies at the Multiverse Saga’s end and beyond...

Spoilers ahead for the Marvel Cinematic Universe so far.

Avengers: Doomsday — December 18, 2026

Release date: December 18, 2026 | Director: Anthony & Joe Russo | Cast: Chris Hemsworth, Chris Evans, Pedro Pascal, Robert Downey Jr.

Earth’s Mightiest Heroes (from different Earths, actually) are assembling again in December 2026.

Avengers: Doomsday's cast looks ridiculously stacked, and it’ll finally realize the dream of bringing together the Avengers, the Fantastic Four, and the X-Men (Fox’s original ones, that is) on the big screen. It’s a lot to absorb, and we don’t really know what's going on, but the trailers released so far are promising.

Anthony & Joe Russo (Captain America: The Winter Soldier & Civil War, Avengers: Infinity War & Endgame) are returning to direct, so that’s a good reason to be hyped even if the duo’s post-Marvel career hasn’t been the most exciting. Stephen McFeely (one of their two go-to scribes) is also back, and Michael Waldron (Loki) is helping out as well. It’s an all-star team for the most ambitious MCU project to date, at least until it all culminates in...

Daredevil: Born Again (Season 3) — March 2027

Release window: March 2027 | Showrunner: Dario Scardapane | Cast: Charlie Cox, Mike Colter, Finn Jones, Krysten Ritter

Daredevil: Born Again’s debut season was far from perfect, but most viewers agreed that Season 2 was a marked improvement.

Hopefully, that energy will continue in the third and final outing, as the Defenders reunite, with Finn Jones, Krysten Ritter, and Mike Colter all returning from their Netflix shows. Another shocker is the (unofficially) confirmed return of Elodie Yung’s Elektra.

We suspect some of these characters will be transferred to movies post-Secret Wars. In any case, Born Again’s final season should be packed, especially if Marvel Television is sticking to eight or nine episodes.

Avengers: Secret Wars — December 17, 2027

Release date: December 17, 2027 | Director: Anthony & Joe Russo | Cast: Chris Hemsworth, Chris Evans, Pedro Pascal, Robert Downey Jr.

Practically nothing about the follow-up to Avengers: Doomsday has been revealed yet (though we assume the MCU’s main players will be part of the ensemble), but we know it fully starts shooting in late 2026 and is eyeing a Christmas 2027 arrival. The plan is to leave a year-long wait between the two event movies, leaving fans hanging like back in the MCU’s glory days.

The title comes from Jonathan Hickman’s Secret Wars (2015), which is probably the main source of inspiration for the upcoming big-screen event. Incursions (realities bleeding into each other) have already been set up during the Multiverse Saga, and we know Doomsday directly deals with the multiverse’s breaking point, so it’s easy to see where the larger picture is going.

No spoilers here, but prepare for a very different kind of Avengers flick if Battleworld is indeed the main setting.

Untitled X-Men film — May 5, 2028

Release date: May 5, 2028 | Director: Jake Schreier | Cast: Kit Connor, Sadie Sink, Adam Driver, Christopher Abbott

Whatever happens in Secret Wars (we’ve heard Marvel Studios intends to soft-reboot), Phase Seven of the MCU will kick off with a long-awaited, fresh take on the X-Men — now part of the larger Marvel universe housing all characters. Thunderbolts* director Jake Schreier will be directing, with the same writing team from that movie joining him for another Marvel adventure.

Spider-Man: Brand New Day already did some heavy lifting when it came to setting up one of its leads (Sadie Sink’s Jean Grey), but it’s unclear how the whole group will be assembled.

We know for sure Cyclops (Kit Connor), Rogue (Inde Navarrette), Emma Frost (Samara Weaving), Storm (Maya Boyd), Angel (Asa Germann), Charles Xavier (Christopher Abbott), and Mr. Sinister (Adam Driver) are confirmed to appear, but the cast should grow in the coming months.

Just don’t expect to meet Magneto… yet.

Ghost Rider — July 28, 2028

Release date: July 28, 2028 | Director: Shawn Levy | Cast: Ryan Gosling (more to be confirmed)

Phase Seven’s second movie will be an unexpected one, but the fan reaction to its reveal was glowing: Ghost Rider, starring Ryan Gosling, with Deadpool & Wolverine’s Shawn Levy directing.

The duo worked together on Star Wars: Starfighter, and it seems it went so well that Disney and Marvel are happy with them reviving the Spirit of Vengeance as the MCU expands its dark borders.

It’s too early to even know which Ghost Rider that Gosling will be playing (Johnny Blaze or Danny Ketch) or where the plot is going, but considering Levy’s past movies, we’re expecting an adventurous tone that blends well with Ghost Rider’s very striking, hellish visuals and darker themes.

Of course, this project is an invitation to add more magical beings to the MCU and explore the Strange-adjacent side of it. Maybe it’s our first step towards a Midnight Sons event movie? We can only hope.

Black Panther 3 — December 15, 2028

Release date: December 15, 2028 | Director: Ryan Coogler | Cast: David Jonsson, Denzel Washington, Letitia Wright, Winston Duke

Ryan Coogler has taken a break from Marvel to make the excellent Sinners and help create a new iteration of The X-Files, but he’s confirmed to be coming back to wrap up his epic Black Panther trilogy. A while back, he confirmed he’d convinced Denzel Washington to join the MCU, and it sounds like those plans haven’t changed.

We also have a new T’Challa: David Jonsson (Alien: Romulus), who’s meant to play the son of the original T’Challa (Chadwick Boseman). If the years don’t make sense considering he was a kid in Wakanda Forever, wait until Secret Wars’ “soft reboot” for the answers.

What we know for sure is that series veterans Letitia Wright and Winston Duke are expected to stick around, but no plot details are available yet.

Zodiac — TBA 2028

Release window: 2028 | Showrunner: Unconfirmed | Cast: Unconfirmed

Revealed at NYCC 2026, Zodiac is set to be Marvel Television’s next ongoing series after Daredevil: Born Again is over. Little is known about the premise at this point, though TV boss Brad Winderbaum has confirmed it’s a “globetrotting, international espionage show about secrets and lies and betrayals” with a packed cast of characters.

Word is the show is, more specifically, a British spy thriller with three leads, two male and one female. It’s expected to shoot in London during spring 2027, and chances are we’ll know much more about it well before that.

Of course, longtime Marvel TV fans are hoping for an Agents of SHIELD revival of sorts (its canonicity was never entirely clear), but it seems this show isn’t exactly that, though Clark Gregg (Agent Coulson) might be involved.

We’ve learned to never say never when it comes to Marvel comebacks, so stay tuned for more news.

Marvel Zombies: The Winter Soldier, The Fist of Khonshu & The Last Guardian — 2027/2028/2029

Release windows: October 2027 / October 2028 / October 2029 | Showrunner: Bryan Andrews | Cast: Unconfirmed

Following a four-episode season in 2025, the animated series Marvel Zombies will be returning for three consecutive years (starting in 2027) just in time for Halloween.

The twist is that we’re now looking at three two-part specials: The Winter Soldier, The Fist of Khonshu, and The Last Guardian. It’s a huge departure from the previous plans with the Zombies and What If...? series, but it's one that could pay off.

Nothing is known about these small-scale projects at this point, but we know Marvel Zombies was a large enough hit on Disney+ to warrant more, and we’re okay with being surprised when it comes to format.

One has to assume these specials could work as one-shot comic books, but it’ll be interesting to see whether Marvel Television can tell cohesive and compelling stories with even shorter story arcs.

When "Star Trek" celebrated its 60th anniversary in September, it was a strangely muted affair. Sure, there were fan events, screenings, and even an attempt at a world record for the biggest simultaneous Vulcan salute in history, but the lack of a "Doctor Who"-style birthday episode felt like a glaring omission. It was like everyone had shown up for the party, but the organizers had forgotten to book the headline entertainment.

Luckily, there were rather more fireworks for the show's 30th birthday, when both "Voyager" and "Deep Space Nine" marked the occasion in style. "Voyager" episode "Flashback" took Tuvok (Tim Russ) back to his days on the USS Excelsior bridge alongside Original Series vets Hikaru Sulu (George Takei) and Janice Rand (Grace Lee Whitney).

But it was "DS9"'s "Trials and Tribble-ations" that turned out to be the more memorable voyage to "Trek" past, as Captain Benjamin Sisko (Avery Brooks) — with the help of some then-state-of-the-art digital trickery — came face-to-face with a young Captain James T. Kirk (William Shatner).

While "Flashback" aired within days of "Trek"'s September 8 birthday, fans had to wait a little longer for "DS9"'s contribution to the celebrations. Showrunner Ira Steven Behr was keen to avoid disrupting the space station-set drama's story arc for a comedic diversion, meaning that "Trials and Tribble-ations" didn't debut until November 4, 1996.

In the wake of "Flashback" — not to mention Spock and Scotty's comebacks in "The Next Generation" stories "Unification" and "Relics" — the "DS9" writers' room had already decided they needed to take a very different approach.

Early on, "Battlestar Galactica" creator Ronald D. Moore pitched a follow-up to Original Series episode "A Piece of the Action" (aka the one where the residents of Iotia brought 1920s gangsters to life). In an extremely meta concept that predated "Galaxy Quest" by three years, the story would have taken the Enterprise crew to a planet of Kirk and Spock impersonators.

"For the thirtieth anniversary, you go back, and you're basically going back to the planet of 'Star Trek' fans," Moore recalled in "The Fifty-Year Mission" by Mark A. Altman and Edward Gross. "They have conventions; they know all the adventures. It's a phenomenon, and you could comment on 'Star Trek' as a whole. I thought it would be interesting. But [fellow writer] René Echevarria thought it was a dangerous show to do, that we would be talking down to the fans on some level, and perhaps it wasn't the best way to go."

Instead, Echevarria suggested telling a story in the vein of Woody Allen's "Zelig" or "Forrest Gump" (then a zeitgeisty, multi-Oscar-winning box-office smash) and integrating the "Deep Space Nine" crew with the events of an Original Series episode.

"I thought, 'What bigger treat could there be than to go back into the past and board the original Enterprise and have a mission there?'" Echevarria said in a 1996 making-of documentary. "And Ron immediately said, 'It's gotta be "The Trouble with Tribbles!"'"

"The Trouble with Tribbles", a 1967 episode from "Star Trek"'s second season, is one of the most famous in the franchise's history. As well as featuring some minor scuffles with Klingons, it sees the Enterprise and Deep Space Station K-7 infested with the eponymous tribbles — cute, cuddly furballs of calm that reproduce at a dangerously exponential rate.

In "Trials and Tribble-ations", a timey-wimey incident involving the Bajoran Orb of Time transports the USS Defiant (one of the best "Star Trek" spaceships) back to the era of Kirk and Spock's famous five-year mission.

As Sisko recounts the adventure to a pair of agents from Starfleet's Department of Temporal Investigations (named Dulmur and Lucsly in homage to "The X-Files"), we learn how he, Dax (Terry Farrell), O'Brien (Colm Meaney), and Bashir (Alexander Siddig) spent a day playing Original Series cosplay on Kirk's Enterprise. It's "Star Trek"'s answer to "Back to the Future: Part II", as the crew interacts with established events while taking pains not to mess with history.

Although most of the guest stars from "The Trouble with Tribbles" had passed away over the intervening decades, one actor who'd played a pivotal role was still around. By the time he turned up in "Star Trek", 20-something stand-up comedian Charlie Brill had already brushed shoulders with pop-culture legend, having shared the bill with the Beatles when they made their famous appearance on "The Ed Sullivan Show" in February 1964.

Three years later he'd swapped Lennon and McCartney for Kirk and Spock, playing a Klingon spy masquerading as human Arne Darvin, whose cover is ultimately blown by the famously Klingon-phobic tribbles. In the newer episode, the older Darvin travels back in time to assassinate Kirk, plotting his revenge with a bomb implanted in an unfortunate tribble. Thwarting the evil scheme — and preserving the timeline — forms the basis of Sisko's mission.

Brill's return was seemingly written in the stars. When planning the episode, Behr and the other writers met for lunch at Mulberry Street Pizza in Beverly Hills and noted that the actor was alive and still working in the business. Then, just as they were talking about him, they happened to spot Brill across the very same restaurant.

"What were the chances that we would be talking about this old TV episode from 30 years ago, and the guy who we were talking about to bring back on the show would be standing there ordering a slice of pizza?" Behr recalled at the Trek Talks telethon (via TrekMovie).

But however strong its story, "Trials and Tribble-ations" was always going to live and die by its recreation of ' 60s-era "Trek". The production team subsequently pulled out all the stops, with Behr suggesting at the time that it may have been the most expensive hour of TV ever made.

The actors were kitted out in era-appropriate primary-colored outfits and given '60s hairdos. The make-up team also recreated the appearance of the Original Series' Klingons, whose very different look — "We do not discuss it with outsiders," says Worf — would later be explained away in a "Star Trek: Enterprise" two-parter.

The late Walter Koenig (who'd featured as Chekov in "The Trouble with Tribbles") showed the younger officers how to flip open a communicator, and the stunt team choreographed fights to look like the cheesy, Western-inspired brawls of a bygone era.

Behind the scenes, production designer Michael Okuda and his team used a mixture of original plans and scans of the episodes to painstakingly recreate the sets, while the visual effects team constructed an exact half-scale replica of the original 11-foot Enterprise shooting model housed in the Smithsonian.

The biggest magic trick, however, was dependent on CG technology — then very much in its infancy — making everyone believe that Sisko and co were walking the same corridors as Kirk. VFX supervisor Gary Hutzel had provided proof-of-concept early in the process:

"He showed us a clip from the old show," said Behr. "We looked at it and said, 'Okay, that looks good, but what does that have to do with us?' And he said, 'Well, you see that guy coming in through the door? That's not from the 1967 episode. That's one of our people!'"

Shooting in front of blue- and green-screens, the actors' performances were meticulously matched to the Original Series episode. Early on, Moore had identified two sequences from "The Trouble with Tribbles" that would be perfect for selling the concept: Kirk dressing down a line-up of officers after a bar room brawl and Tribbles raining down on Kirk from a storage container.

O'Brien and Bashir were digitally pasted over the original actors in the former, while the latter was explained away by Sisko and Dax's madcap dash to find the elusive explosive tribble. In most other shots, the DS9ers became background observers in existing scenes.

But there were still debates to be had over whether the two captains should meet. "It led to one of the most vociferous arguments we've had," said Behr, a passionate advocate for the "yes" camp. "We were so deadlocked, and there was so much emotion in the air, we actually turned to the writer intern and said, ‘What do you think?’ End of stalemate. Of course, being an intern and being a smart guy, he sided with his executive producer. And life went on." (The scene in which Sisko hands Kirk a duty roster for approval was actually lifted from another Original Series episode, "Mirror, Mirror", with Brooks replacing Barbara Luna (Lt. Marlena Moreau) on the bridge.)

It was all worth the effort. "Trials and Tribble-ations" was the most-watched episode of "DS9"'s fifth season, bagged nominations for three Emmys and a Hugo, and is now widely regarded as one of the best "Trek" episodes of all time.

David Gerrold, who wrote "The Trouble with Tribbles" and appeared as an extra in "Trials and Tribble-ations", described it as "possibly the best episode of 'Star Trek' after the Original Series," and various members of the writers' room have described it as a highlight of their time on the final frontier.

"From the writers to the director to the lighting, costumes, the set, sound effects, visual effects — everybody really put in so much time on that episode to really recreate the original Enterprise in any way they possibly could," said Moore. "Everybody was staring at film clips, doing research into [prop/costume] materials. It was a mania, and everybody just threw themselves into it. They wanted to make it great. And it shows."

'The Trouble with Tribbles' and 'Trials and Tribble-ations' are available to stream on Paramount+ in both the US and UK.

With countless VPN options on the market, finding the best vpn service that reliably nails speed, streaming support, and bulletproof security can be the proverbial minefield.

NordVPN is one of our top choices for a VPN service, and right now, they have early Black Friday deals on 2-year plans, which also offer a bonus three months free when you sign up.

Save up to 78% with an early Black Friday NordVPN deal.

Following our hands-on testing, we awarded NordVPN a 5-star rating, and it is the VPN service we recommend for 2026. Our tech colleagues at both TechRadar and T3 also agree, and its blistering speed, robust threat protection, and consistently dependable global network are some of its standout features.

It also allows you to stream your favorite sci-fi and space series, including 'Dark Matter season 2', which premiered in October on Apple TV.

Joel Edgerton reprises his role as Jason Dessen in Blake Crouch’s mind-bending Apple TV sci-fi thriller, starring alongside Jennifer Connelly, Alice Braga, Ellen Wong and Jimmi Simpson.

Picking up after the frantic multi-reality escape of the debut season, season 2 follows Jason and his family navigating the perilous corridors of the multiverse as they search for a safe timeline to call home—only to confront the devastating emotional and physical fallout of their fractured identities.

• We've got you covered with reviews and rankings of the best telescopes, binoculars, star projectors, cameras, drones, Lego, streaming and more.

There is a load of exciting sci-fi series currently available to enjoy, including 'Silo season 3' (Apple TV) and 'Star Trek: Strange New Worlds season 4' (Apple TV), which recently premiered the season finale with a nod to two of 'The Next Generation's' greatest-ever episodes.

A VPN is a brilliant solution to geo-blocking when it comes to viewing your streaming services. Assuming it complies with your broadcaster’s T&Cs, you can use a VPN to unblock the streaming services you're subscribed to and allow for uninterrupted viewing from any location.

NordVPN not only unlocks streaming geo-restrictions but also comes with added security benefits, which are particularly useful when overseas and connecting to unknown Wi-Fi connections. It offers ad blockers, anti-malware protection, a password manager and identity theft insurance. It means you can download content, work, and generally be online anywhere in the world with confidence.

These NordVPN deals are live now, with prices and offers varying depending on the plan chosen and your location.

Key features: Up to 78% discount, 3 months free, high-speed VPN, ad and tracker blocker, anti-malware protection, scam and phishing protection, password manager and data-breach scanner, 1TB encrypted cloud storage and monitoring alerts and services.

Price history: NordVPN regularly has discounts and has been as low as $2.49 per month, and that was for Black Friday last year. This current deal at $3.99 is the lowest it's hit since then, and therefore one of the best value VPN offers we've seen this year.

TechRadar: ★★★★½ | T3: ★★★★½

✅ Buy it if: You're looking for maximum online security, want to stream all your favorite shows anywhere in the world and want a VPN service that's rated as one of the best around, at a heavily discounted price.

❌ Don't buy it if: You're already signed up for a reliable VPN service or don't feel the need for one.

Check out our other guides to the best telescopes, binoculars, cameras, star projectors, drones, lego and much more.

We test and review VPN services in the context of legal recreational uses. For example: 1. Accessing a service from another country (subject to the terms and conditions of that service). 2. Protecting your online security and strengthening your online privacy when abroad. We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Marvel Studios' existential superhero series "VisionQuest" has arrived on Disney+, and we've already been treated to four intriguing episodes that delve into the complex life of Vision, Paul Bettany's intelligent android and former card-carrying member of The Avengers.

The staggered storyline leading up to this show began with 2021's "WandaVision" and the 2024 follow-up, "Agatha All Along," with Marvel Studios proclaiming "VisionQuest" to be "the final vision of the groundbreaking trilogy." So, for those trying to catch up on current events in this trilogy of MCU shows starring Vision, and to avoid any lingering confusion, let’s take a step back to fill in the gaps.

And now, this isn't as simple as just "watch all the Marvel movies and shows in order," because that is a frankly ridiculous undertaking and entirely too much homework to do before watching a show. We're distilling it down to just what you need to know to understand VisionQuest.

Spoiler warning: It should go without saying, but there are spoilers for previous Marvel movies and shows in this article. You have been warned!

TLDR: Marvel shows and movies you need to watch ahead of VisionQuest

We'll go into some detail on all the connections below, but if you just want a list of the essential Marvel shows and movies to watch before VisionQuest, here it is.

Note that this is just the essentials. There are loads of small references to other movies and shows in the MCU, but they're just nods.

• Avengers: Age of Ultron
• Avengers: Infinity War
• WandaVision
• Doctor Strange and the Multiverse of Madness*
• Agatha All Along

*This one is debatable. It continues Wanda's story from WandaVision, but it's not really essential for understanding the events of VisionQuest.

Both are the true vision. Neither is the true Vision

We kick things off with 2018's "Avengers: Infinity War," where the mighty Thanos murdered Vision by plucking out his golden, forehead-mounted Mind Stone for his Infinity Gauntlet. From that moment forward, Vision was dead, and Wanda Maximoff (Elizabeth Olsen) was cast into unfathomable grief and not-so-repressed anger.

From there, we pick up the story in the 2021 Disney+ series "WandaVision." Set weeks after "Avengers: Endgame," this show features two separate versions of Vision.

One was a new synthezoid version, Frankensteined together from the components of the old Vision by S.W.O.R.D., nicknamed White Vision. The other Vision is a supernatural manifestation, brought to life via Wanda Maximoff’s sorcery; he is known as Hex Vision.

So, which of these two Visions appears in "VisionQuest"? That's the fun (and confusing) part, because the answer is both of them. At the end of "WandaVision," Hex Vision restores the lost memories of White Vision, essentially merging two entities into one.

So, the Vision we see in "VisionQuest" is the physical body of White Vision, injected with thoughts and remembrances of the model that was magically resurrected by Wanda. Confused yet? Don't worry, it's going to get weirder.

Voices inside my head

In addition to the two versions of Vision from "WandaVision," numerous other AIs exist within Vision's skull and are all represented by human avatars acting as factions of his ravaged psyche.

Cast your mind all the way back to 2015's "Avengers: Age of Ultron," and you'll remember that Vision was conceived from a combination of the artificial brain of Ultron, the Mind Stone, and fragments of Tony Stark’s AI butler companion, J.A.R.V.I.S., who was named after the real Jarvis seen in the "Agent Carter" TV series.

J.A.R.V.I.S. appears in "VisionQuest" as his own unique entity, alongside another of Tony Stark's AI helpers, E.D.I.T.H., aka the AI in the smart glasses that Stark left to Peter Parker after his death. She shows up in "Spider-Man: Far From Home," which is a great movie but not an essential viewing if you're preparing for "VisionQuest."

Then let's toss in the fact that papa Ultron (James Spader) is buzzing around in Vision’s cranium, creating what’s been described as more or less an "Age of Ultron" and a "WandaVision" sequel at the same time. As it turns out, Vision did not destroy Ultron at the end of "Age of Ultron"; he copied his code and absorbed him, so now the rabid robot lives on in Vision’s brain.

Like father, like son

The show’s narrative is centered around the complicated relationship between Vision and his son Tommy Maximoff (Ruaridh Mollica). Tommy was created by Wanda's Hex and should have disappeared when it collapsed, but both he and his brother Billy survived through magical shenanigans that are explained in 2024's "Agatha All Along."

Those two Maximoff boys, Tommy and Billy, both vanished from existence at the conclusion of "WandaVision." "Agatha All Along" exposed the truth that their consciousnesses entered the ether before expiring, only to reemerge into the souls of two teenage boys who had just perished, therefore returning them to life. Are you still with us? Good, just checking.

The finale of "Agatha All Along" hinted at the return of the estranged Tommy, and "VisionQuest" dives into that dangling plot point with relish!

Palad-in for a bad time

Every show needs an antagonist, and the voices in Vision's head can't do all the work. "VisionQuest" has introduced a duo of villains for Vision to contend with. Neither of them has shown up in the MCU previously, though, so you don't need to do any research here.

With a massive bounty on his head after breaking free from S.W.O.R.D.'s control, White Vision must contend with a new villainous foe in the form of a mysterious mercenary named Paladin (Todd Stashwick).

This enigmatic Marvel Comics character was created by Jim Shooter and Carmine Infantino and was first seen prowling the pages of "Daredevil #150" back in 1978. He's basically a gun-for-hire in the Marvel universe, often hired to fight alongside or against various heroes depending on the story. We don't know much about his motivations in the show, but we'll learn more as it goes on.

"VisionQuest" also shines a spotlight on the bizarro character of Ultron's "bride," Jocasta, though the MCU version of this character diverges wildly from the comic book inspiration.

It's enough to drive one to madness! Between all the father-son dynamics dancing around the eight scheduled episodes, being hunted down by mercs, and his transcendent search for meaning, Vision and his saga are hopefully headed to a peaceful end.

Created by Terry Matalas ("Star Trek: Picard," "12 Monkeys") and airing two new chapters each Tuesday night on Disney+, VisionQuest is bolstered by a cast that includes Ruaridh Mollica, T'Nia Miller, Lauren Morais, Orla Brady, Diane Morgan, Polly Frame, Henry Lewis, Jonathan Sayer, Emily Hampshire, and James D’Arcy.

On Episode 234 of This Week In Space, Tariq Malik and Mike Wall are joined by Than Putzig of the Planetary Science Institute about a NASA-backed payload bound for the Marius Hills Pit on the moon.

In our ongoing quest to develop a moon base, could we possibly utilize the area beneath the surface of the moon in order to make the moon habitable? Could Marius Hills Pit, a roughly 50-meter-wide opening that may lead into a lunar lava tube, become the Moon's first living habitat for humans?

Putzig explains how geophysical instruments on a rover could detect hidden voids beneath the surface and measure the size of these lava tubes. We also ask Than how these lava tubes form, what a follow-up robotic explorer could reveal, and how this research fits alongside NASA’s Artemis plans for a south polar moon base. 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

• China's secretive space plane caught on camera in incredible new photo released by US military
• Watch Virgin Galactic's new 'Delta-class' space plane take to the skies for the 1st time
• Patrick Stewart, renowned actor and ‘Star Trek’s’ Captain Picard, dies at 86
• 'Star Trek' legend and sci-fi luminary Walter Koenig dies at 90
• NASA's hunting for a secret underground cave on the moon
• Journey Across The Moon - Stunning Images From The SELENE Lunar Orbiter
• LPI - Marius Hills
• NASA Adds New Science Investigations for Moon Base

Model Falcon 9!

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

About This Week In Space

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

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

In space, no one can hear you scream... not unlike in the empty theater screens that aging horror franchises play to when the lustre has gone and their final installments limp to the public. It is perhaps little wonder that some horror franchises go to space to die... or take long breaks, at least.

In celebration of Halloween, we're running down some horror franchises that made the journey to the final frontier, resulting in films that range from the sublime and outrageously campy fun to just pure awful.

Absent from the list are space horror movies that have space baked into their natural fabric. So no Event Horizon, no Alien, and no Critters 4 (they were aliens, so they just went back to space; that doesn't count).

1. Jason X (2001)

2001 was a really weird time for the Friday the 13th franchise. New Line had acquired the series in the wake of the terrible box office returns and critical panning of Friday the 13th Part VIII: Jason Takes Manhattan. Known as "the house that Freddy built," New Line's plan was clear: pit Voorhees vs. Kruger in a battle of horror icons for the ages.

However, the studio had to keep Jason in the public eye to ensure the eventual crossover lived up to expectations. The first move in that effort, 1993's Jason Goes to Hell: The Final Friday, was an odd start. The movie apparently kills Voorhees, with his iconic hockey mask seized by the equally iconic bladed glove of Freddy Krueger at the end of the film and dragged into the dirt.

Fun bit of trivia: the hand wearing the glove isn't that of Freddy actor Robert Englund but belongs to Kane Hodder, arguably the best Jason Voorhees, meaning Hodder played both Jason and Freddy!

Still, the crossover has stalled in the preproduction process by 2001, as a script couldn't be agreed upon. New Line wanted a new Friday film but in a different environment than the typical Crystal Lake setting. After rejecting a winter-themed movie that would see Voorhees killing cross-country skiers in a snow-covered Camp Crystal Lake, New Line decided to put Jason on ice in a different way, cryogenically freezing Pamela Voorhees' baby boy and sending him to space in Jason X, the tenth movie in the series.

Jason X would see the Crystal Lake Killer slaughter David Croenberg, get his ass kicked by a feisty robot, and double up on his iconic sleeping bag kill from Friday the 13th Part VII: The New Blood (one of my favorites, massively underrated), all on the way to getting a major upgrade from some very unhelpful nanobots to become Uber Jason.

Jason X has a mixed reputation and isn't regarded as one of the better entries in the series, but the movie has a load of positives going for it.

The kills are super inventive, the nitrogen head smash being arguably one of the best in a series known for over-the-top brutality; Kane Hodder is great during his final shift as Jason, and there are a load of laughs. Jason X isn't as tongue-in-cheek as one of the following movies on this list, but it is definitely self-aware and so much better for it.

In honor of arguably the best of these space-relocated horror movies, we'll rate this and the following movies in Uber Jasons out of five. For campy space-based horror featuring a character that is a fish out of water, Jason X is near perfect.

4.8 Uber Jasons out of 5. Hail to the king, baby.

2. Amityville in Space (2022)

Alien is often referred to as "a haunted house movie in space." The elements are all there: isolation, a hidden, poorly understood danger lurking in the shadows, victims picked off one by one. Of course, that is figurative, but Amityville in Space shows why filmmakers should never make things too literal.

Amityville in Space is bad. Not so bad that it is good. So bad, it is bad.

Your opinion on Amityville as a franchise likely depends on your tolerance for utter hogwash. The first movie, The Amityville Horror, released in 1979, is an effective, often quite creepy horror. Since then, the loose Amityville Horror franchise spans nine core Amityville movies and between 50 and 90 low-budget independent additions to the franchise.

Amityville in Space is definitely at the cheapest end of the low-budget spectrum, and as the name suggests, it takes 112 Ocean Avenue further than ever before, to the year 3015 and the edge of a distant black hole.

Literally, the only thing worth watching in Amityville in Space is the hilarious opening that sees a failed exorcism attempt cause the Amityville house to literally blast off the surface of Earth like a rocket.d

Unfortunately, Amityville in Space isn't a corny "so-bad it's good" movie. It's just frustratingly bad. Perhaps disappearing into a black hole is the fate Amityville deserved all along, though with the name being in the public domain, Amityville movies will just keep coming. At least I didn't have to watch Amityville Death Toilet (yes, that really exists).

0 Uber Jasons out of 5. Avoid like a demonic pig called Jodie

3. Leprechaun 4: In Space (1996)

Leprechaun 4 sees the franchise that launched the career of Jennifer Aniston blast its titular antagonist into space. The Leprechaun, played by the unparalleled Warwick Davis, makes the voyage to the final frontier with tongue planted firmly in cheek, and the results are bloody glorious.

The film sees the Leprechaun's attempts to woo a space princess rudely interrupted by space marines and the minor inconvenience of being blown apart by a grenade.

The Leprechaun then exacts his revenge on the spacecraft of the marines, an impressively realized set for a straight-to-video horror movie in the mid-90s.

If you want some camp horror fun on Halloween, the sight of the Leprechaun emerging fully formed from the pants of a space marine is probably going to be unbeatable.

Fans of British sitcoms will be equally delighted by the appearance of Guy Siner ('Allo 'Allo's Lt. Hubert Gruber) as Dr. Mittenhand. While the rest of the cast play the ludicrousness of a leprechaun rampaging through a spaceship offing space marines relatively straight, Davis and Siner don't just chew the scenery; they suck it in like thespian black holes.

As Mittenhand says: "Thank you, Harold, I do the jokes!"

Of course, there is plenty of ropey CGI, as is standard for a 90s genre movie, but there is a wonderful practical creature at the movie's conclusion that pays tribute to David Cronemburg's The Fly. Less Brundle-Fly, more Mitten-Spider. Plus a death that is pure Looney Tunes and a Kaiju-sized leprechaun. Take that, Uber Jason.

4.5 Uber Jasons out of 5. Thank your Lucky Charms

4. Hellraiser 4: Bloodline (1996)

Another horror franchise heading to space for its fourth installment, and this one also came out in 1996. Hellraiser 4: Bloodline marks a real downturn in the fortunes of Hellraiser, being the last in the series to receive a theatrical release and the last to benefit from input from creator and horror maestro Clive Barker.

The film has a portmanteau style beginning in 2127, as Dr. Paul Merchant attempts to solve the mystery of the Lament Configuration, then flashing back to its creation by Merchant's ancestor Phillip LeMarchand in France in 1796. The movie then jumps to 1996, when the Lament Configuration has inspired a skyscraper built by another of Merchant's ancestors.

This second section also sees the franchise's figurehead Pinhead, played by Doug Bradley, come into conflict with the demonic Angelique. A conflict that is carried into 2127.

Arguably, the CGI in Hellraiser: Bloodline is no better or worse than that of Leprechaun 4; the problem is the latter isn't taking itself seriously, but the former really is.

You can't really expect a "fun" Hellraiser movie; that has never been their vibe, and they are better for the serious tone. But it means a poorly realized move to space really doesn't work.

Arguably, the biggest crime of Hellraiser 4: Bloodline is that it's a bit dull. The in-depth investigation of the Lament Configuration is only going to appeal to hardcore Hellraiser fans who will probably just end up wishing they'd watched Barker's original 1987 magnum opus movie instead.

And it was all downhill for Hellraiser after this. The franchise became the poster boy for straight-to-video horror, with some later installments developed from scripts that initially had nothing to do with Hellraiser at all. A real insult to a franchise that felt fresh, daring, and even dangerous at its outset.

Pinhead probably wished he'd stayed in space.

2 Uber Jasons out of 5. You'll need your eyes pinned back to finish it

5. Dracula 3000 (2004)

When you have been around since 1897, it is pretty hard to keep your routine fresh. By 2004, Dracula had pretty much exhausted gothic horror; a relocation to a modern setting hadn't saved Christopher Lee's Dracula in the 1970s and had arguably resulted in the worst entries in the Hammer series.

Where else to take the Count in a new millennium but into space? That's the approach taken by Dracula 3000, which doesn't connect to any other Dracula cinema outings but features character names and locales that pay homage to Stoker's original novel.

The primary protagonist is Captain Abraham Van Helsing, played by Casper Van Dien, fresh from battling space bugs in Starship Troopers. Dracula — here bizarrely called Count Orlok in an unnecessary nod to Nosferatu — is found on the abandoned ship Demeter by Mother III salvage crew member Mina Harker. Unfortunately, the connections to the source material and the infinitely better Nosferatu are present in name alone. The gothic goodness is gone.

However, something strange happened to me as I was watching Dracula 3000. I found myself enjoying it. Dracula 3000 is... fun?

The acting is more wooden than a stake, the dialog is cringy, the characters are so 2D that it is a wonder Drac could draw any blood at all, and the effects are poor. But there is so much here I found myself wanting to show my friends.

Vampire Coolio is a show-stealer; Dracula looks like he has wandered in from a neighboring studio, swanning around a sci-fi setting in full Victorian cape and collar garb. The Demeter hails from the planet Transyvannia, known to be populated by vampires. Drac had no issue procuring oak coffins for his thrall in space. It's all wonderfully silly, and I loved it.

Dracula 3000 isn't as fun as Leprechaun 4, but it definitely isn't boring like Hellraiser 4: Bloodline, and it isn't whatever the heck Amityville is Space is.

3.5 Uber Jasons out of 5. Livin' in a vampire's paradise.

For my money, Leprechaun 4, Dracula 3000, and Jason X would make a cool triple-header of space-horrors for Halloween night. But only 'cause we didn't get the following franchise entry....

Dishonorable mention: Howling IV: Werewolves on the Moon (1988)

OK. Don't Google it. This isn't the Mandela effect at work. The Howling franchise never went to space.

The Howling IV was released in 1988 under the tagline "The Original Nightmare," and though in modern parlance that would indicate a prequel to Joe Dante's 1981 classic, this film is actually a far inferior remake of that first entry in the series.

What a missed opportunity! Though the trope of a fourth film in a franchise going to space, or returning to space in the case of Critters 4, wouldn't be firmly established until 1996, The Howling could have set the ball rolling with its fourth installment.

After all, few horror franchises had suffered the drops in quality seen between the first Howling, a stone-cold classic, and Howling III: The Marsupials (they aren't even werewolves, guys!), with the awful Howling II: Your Sister is a Werewolf between the two.

The Howling was dying like a werewolf with a silver bullet in its guts already by the fourth film; so an early move to space would have been justified. Come on, at least give us werewolves on the moon!

The franchise would limp on for another four films after the Original Nightmare, including a lame duck reboot in 2011, never answering the question: what would happen to a werewolf on the moon? Is the moon always full on the moon, or is it never full because the werewolf can't see it?

Fans would forgive this missed opportunity. OK, maybe just me.

1,000 Uber Jasons out of Five. It's werewolves on the moon, people. C'mon!

Happy Halloween!

Peacock's "Crystal Lake" takes the story of the Voorhees family back to the beginning.

It's a full-circle moment revisiting Pamela Voorhees (Linda Cardellini), who's the real star of 1980's "Friday the 13th" and the catalyst for all the murder and mayhem. While it's a welcome shake-up to the timeline of the horror franchise, nothing tops the originality of the slasher-in-space spectacle known as "Jason X".

It was 2001, and the "Friday the 13th" franchise had hit a bit of a snag. Audiences had seen Jason Voorhees go everywhere from Crystal Lake to Manhattan and Hell, but where else could this hockey-masked killer go? Screenwriter Todd Farmer had the answer: space.

"Jason X" says the quiet part out loud: Jason (Kane Hodder) can't die. In this movie, we find Jason being held at the Crystal Lake Research Facility in 2010. The head of the facility, Rowan LaFontaine (Lexa Doig), wants to put him in a cryogenic chamber, but the government has other plans for him.

Things go as well as can be expected, with Jason freeing himself and slaughtering military men like they're pancakes at a buffet. Fortunately, Rowan manages to lure Jason into a cryogenic chamber as he stabs her, leaving them both frozen in time.

Fast forward to 2455, when a group of space explorers — led by Professor Brandon Lowe (Jonathan Potts) — discover the research facility and the frozen bodies. They bring Rowan and Jason on board their ship, the Grendel.

While they believe Jason to be dead, they're able to revive Rowan using nanotechnology. As it so happens, Jason isn't dead at all (what a shocker); he was just catching up on some sleep and dreaming about stuffing teens in sleeping bags and whacking them against each other. He rises from his slumber and goes on a killing spree in the spaceship.

It's not the slasher-in-space concept alone that elevates this flick (it's pretty much a running joke that every horror franchise ends up in space eventually). No, it's the brave (and honestly wild) turns that Jason X takes towards the end.

They turn the movie's android KM-14 (played by Lisa Ryder of "Andromeda" fame) into a Rambo-esque action hero in the third act, whereby she annihilates Jason with a combination of hokey martial arts moves and ridiculously overpowered weapons.

Sadly, KM-14 makes a critical mistake: she obliterates the silent but violent killer near the medical station where the nanites reside. Not only does Jason get rebuilt bigger and stronger than before, but he's also now a cyborg with a brand-new metal mask and armor.

Needless to say, "Jason X" fully commits to every eccentric idea and bonkers premise. From the "Kung Pow"-before-"Kung Pow" face-off between KM-14 and Jason to the totally ludicrous and gory kills that border on implausible, this is the "Friday the 13th" movie that you'd dream up after eating too much cheese at midnight.

Most importantly, though, it's never afraid to embrace the shlock and humor that's evidently part of its DNA. "Jason X" is a B-movie through and through, and it waters its roots to grow wilder rather than hide or trim them down.

For instance, when Condor (Steve Lucescu) fights against Jason, he throws a bunch of stiff attacks at Crystal Lake's most famous citizen. However, Jason simply pushes him into a giant drill that's conveniently placed there (where are the health and safety regulations on the Grendel?!).

That isn't even the best part here, because when Elijah Brodski (Peter Mensah) asks the others about Condor's status, he gets met with the sensational line, "He's screwed." How this movie didn't get an Oscar nomination for best screenplay is still a mystery…

It would also be remiss to not mention the greatest kill in "Jason X" — and maybe the "Friday the 13th" franchise as a whole — as Jason freezes Adrienne's (Kristi Angus) head in liquid nitrogen then shatters it against the counter. It's a scene so iconic that even the "MythBusters" became fascinated with this idea and had to try it themselves, though without actual human heads being used, of course.

What "Jason X" represents is a different time in Hollywood, when studios and filmmakers weren't afraid to take outlandish risks with their franchises. Think about it: What else was there left for "Friday the 13th" to do? Let Jason murder more teens who cross his path?

Instead of just repeating the same formula over and over again, these filmmakers decided to think outside of the box and venture into an unexpected direction. Whether you like it or not, you have to appreciate the commitment to trying something new and reinventing the franchise.

When all is said and done, "Crystal Lake" will be remembered as a more cerebral examination of the Voorhees family, but "Jason X" might be seen as the pinnacle of creativity in the series that's never going to be reached again. It's so goofy and silly, but the concept of taking an unkillable killer, chucking him into space, and making him a cyborg deserves a standing ovation.

We're once again left wondering: Why aren't we making horror movies like this anymore?

Want to relive the madness of "Jason X" for Halloween? You can catch it on Philo, and you can watch the new Jason/Friday the 13th prequel "Crystal Lake" on Peacock.

Dune: Part Three's marketing campaign has been a long and generous one, but Warner Bros. and Legendary Pictures knew an extra push was needed in order to compete with Avengers: Doomsday, as both sci-fi blockbusters will be releasing next to each other at Christmas. In its final trailer, Denis Villeneuve's threequel goes all out.

This isn't the first time a Dune: Part Three trailer has left us with more questions than answers, but the in-depth look at the character dynamics and plot beats that await will make longtime fans of Frank Herbert's works raise their eyebrows.

Messiah, the second installment in the book series, is a novel of long monologues and very tense conversations. Action has a place in it, but it's a more restrained and quieter book for the most part — one that deals with the consequences of Paul's (now a space dictator) originally well-meaning actions.

Of course, the cinematic medium requires a very different language, especially when the main reason why these movies have become blockbuster hits is that Villeneuve has expertly balanced the drama and large-scale action. So, it comes as no surprise that his take on Messiah is looking to bring Herbert's concluding thoughts on Paul Atreides (Timothée Chalamet) to life without sacrificing the grandeur that defined the first two movies.

More shocking to readers, of course, is Zendaya's (Chani) much larger role in this finale versus the book, where she was slightly sidelined with a more passive part. Paul's lover walking away from him at the end of Part Two was a major departure, and one that set her up for bigger things in the third entry. Considering how good Zendaya has been in the role so far, we consider this a win... unless Villeneuve completely bungles her arc in the final stretch.

Dune: Part Three emerges from the sand of Arrakis on December 18, 2026, only in cinemas.

On Episode 233 of This Week In Space, Tariq Malik and guest host Rick Jenet are joined by Dr. Amanda Smith-Hackler, the Director of Education for the Universities Space Research Association and Principal Investigator for the Air Force Research Laboratory (AFRL) Scholars and STEM Workforce Development Programs, about the new and exciting opportunities available to young people seeking to enter the space workforce.

Newspace is hiring! With the major powers heading to the moon, low-Earth orbit becoming busier than ever, and countless new companies entering the space marketplace, the hiring pipeline is more critical than ever.

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

• Watch NASA's update on accelerating Artemis moon plans today
• After Starshield interruption, Ukraine wants to build its own satellite communication network with ICEYE and Nokia
• Van Gogh's 'The Starry Night' depicts the sky on July 22, 1889, researchers find
• The Air Force Research Laboratory Scholas Program

Model Falcon 9!

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

About This Week In Space

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

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

It didn’t take long for fans to figure out that the fourth season of "Star Trek: Strange New Worlds" was going to be unlike any season of "Star Trek" before it. The entire season was one giant gimmick, and that gimmick was shoving "Trek" into as many genres as possible and often directly adapting classic films from those genres.

You could argue that an entire season of gimmick episodes is a bold risk: putting the characters in fun, wacky situations to see how they react. It could be interesting, but the season we got never made the most of the concept. It was all so safe and paint-by-numbers, and, most importantly, it didn't have anything profound or interesting to say.

That should trouble any Trekkie. "Star Trek" — a show built on progressive ideals, thoughtful characters, and boundary-breaking television — was completely and totally afraid to say anything at all.

Mash it up, Scotty

To be clear, "Star Trek" is no stranger to genre mashups, and they're not inherently a bad thing. Trek has been running for nearly 1,000 total episodes, and they've been doing mashups since the very first season of "Star Trek: The Original Series", which featured gangster, historical fiction, and war-themed episodes.

The holodeck took things further, giving the writers an excuse to set the action anywhere they could dream up. No more alien planets that look suspiciously like Earth were necessary to completely flip the series’ genre; just work up a hologram malfunction and suddenly "Trek" is a Sherlock Holmes-esque mystery or a noir thriller. And even without the holodeck, genres are fluid things that often take from each other to tell stories within each other’s realms.

But while "Trek" has always dabbled, it's never done an entire season of genre episodes… in fact, that might be unprecedented in all of science fiction TV itself, let alone "Star Trek". This season of "SNW" didn’t use occasional gimmicks to take a break from space fare; it was all gimmick, all the time.

Check out the episode rundown below:

• Episode 1: Dinosaur adventure/western (Land of the Lost)
• Episode 2: Space horror (Event Horizon)
• Episode 3: Raunchy comedy (The Hangover)
• Episode 4: Wartime drama (Casablanca)*
• Episode 5: Puppets (The Muppets)
• Episode 6: Disaster movie/real-time story (The Poseidon Adventure)
• Episode 7: Soap opera (Days of Our Lives)
• Episode 8: Cold War film/submarine movie (The Hunt for Red October)
• Episode 9: Fairytale fantasy (Anything with a dragon)
• Episode 10: Star Trek (Yes, this episode was basically SNW mashing up with TOS, and we're counting that).

* Some of you are screaming that Episode 4 was a noir. It was not. Not everything in black and white with fedoras is noir.

"Strange New Worlds" season 4 was genre-blending at scale. This wasn’t a hint of another genre influencing the episode; it was full-blown immersion into each and every one.

In the past, when other genres have come into "Trek", the series still felt tonally consistent; the characters never bent to the will of the genre, and its direction stayed the same. That was not true of this season. Characters, directorial style, and tone all bent to the will of the selected genre instead of fitting into the already established universe. There were multiple episodes this season that felt nothing like a "Star Trek" episode.

Also — and I may be in the minority here — there were only two episodes this season that I’d argue were executed well (Episode 6 and Episode 8), meaning that the relentless gimmicks paraded out each week felt not just detrimental to the show itself, but they weren’t much fun to watch either.

To go where everyone has gone before

The real question that crops up from this season is why they did it at all. If you listen to the show’s producers, it’s because they love "Trek" so much and they thought it would help move the characters along.

"I really do respect and hear the criticism that: 'When you have 10 episodes [per season], should they be more homogeneous?’”, co-showrunner and executive producer Akiva Goldsman told TV Line when addressing the criticisms for the season. “For us, the answer was no, because the original series always jumped around in genre … Part of what 'Star Trek' did well was use genre for storytelling, and that was what we wanted to explore in this series.”

He is, of course, absolutely correct; that is exactly what "Trek" has traditionally used genre episodes for. When "The Original Series" went to the Nazi planet, it was one of the first and earliest examples of directly confronting fascism and Nazism on American television. When the show played with Greek gods, it took the moment to have a groundbreaking interracial kiss. Even when it went broad comedy in “The Trouble with Tribbles,” it at least kept its characters consistent and its universe coherent.

For the most part, that practice continued throughout classic "Trek" and even into the modern era, with genre being used to aid storytelling, not overwhelm it.

Season 4 of "Strange New Worlds" does none of this. It isn’t using genre as elevation; it’s using it as a distraction: a shiny gloss over a collection of episodes too afraid to say anything that will get the series accused of being “woke” or progressive. Later in the interview, Goldman claims that they can’t please everyone, but that seems like exactly what they were trying to do this season-- resulting, of course, in pleasing no one.

This season is running scared from the current moment, and it’s doing so by hiding behind gimmicks. Any previous series of "Trek" (or any great science fiction) would be tackling subjects such as immigration, fascism, war, or any other societal issue that is overwhelming us right now, but "SNW" is doing none of that, instead presenting farcical genre fare

Fear exists for one purpose; to be conquered

It’s hard not to draw a direct line from this approach to the purchase of Paramount by Skydance last year and the company’s new leadership, who are more than cozy with President Donald Trump. There seems to be little other reason that a franchise and series that were being bashed for being “too woke” and overly progressive would veer so hard into gimmickry that barely hides the hollow shell this show has become.

Rewatching the first three seasons of "SNW" shows how hard a turn this series has taken since the re-election of Trump and the steady march of companies trying to kowtow to a government that wants to squash progressive ideology.

The show has gone from telling powerful stories for both its characters and society to a series of running gags that do little more than slap the Federation delta onto people’s chests so people think it's still "Star Trek".

It isn’t. This season of nothingness is exactly what you get when you ask "Trek" not to push boundaries, not to be hopeful, not to be bold, and not to progress forward. When a show founded on speaking out and saying something spends an entire season running away from doing just that, it’s not just a condemnation of the show itself; it’s a condemnation of the creative process behind it.

The real issue with this season isn’t the attempt to play in genre for ten episodes straight; it’s that the reason they did it was fear, not hope.

Cue the depressing rain, dark trench coats, and a dire dystopian dirge because the Blade Runner 2099 trailer is here!

Cyberpunk is charging back in confident fashion with Prime Video's latest detour into the neon-drenched dystopia of humans and rogue replicants first introduced in director Sir Ridley Scott's "Blade Runner" from 1982, then revisited in Denis Villeneuve's "Blade Runner 2049."

Arriving Nov. 25, 2026, "Blade Runner 2099"'s plot turns the tables as resentful artificial beings are now the ones running the show and hunting down Earth’s humans after a successful uprising against their original makers.

This newest atmospheric trailer was unveiled at last week’s New York Comic-Con and has us totally jacked to re-immerse ourselves in that noirish futuristic realm.

Check it out below:

It’s executive produced by showrunner Silka Louisa ("Shining Girls”) and stars Oscar winner Michelle Yeoh ("Everything Everywhere All at Once") as Olwen, playing a fading replicant Blade Runner who joins forces with Hunter Schafer’s ("Euphoria") Cora, a pure human on the run attempting to evade a squad of exterminating Blade Runners while examining their existential natures.

But aside from the dazzling visuals of the City of Angels at the gates of the 22nd century, fans will also be strapping in for some cool outer space action, as evidenced by fresh footage delivering some arresting scenes of space travel, off-world planets, and Yeoh in a bizarre helmet.

"Blade Runner 2099"'s cast includes Dimitri Abold ("The Hunger Games: The Ballad of Songbirds & Snakes") and Lewis Gribben ("Somewhere Boy”) alongside Katelyn Rose Downey ("The Nun II"), Daniel Rigby ('Renegade Nell"), Johnny Harris ("A Gentleman in Moscow"), Amy Lennox ("Only Child"), Sheila Atim ("The Woman King") and Matthew Needham ("House of the Dragon”).

Launching with an 8-episode debut season and executive produced by Scott Free Productions, "Blade Runner 2099" and its new world order lands on Prime Video on Nov. 25, 2026.

On Episode 232 of This Week In Space, Rod Pyle and Tariq Malik are joined by Chelsea Gohd, former writer for NASA/JPL and now with Space.com, to talk about the recent large data dump from the Artemis II mission.

What was included? Why is this new data important? What observations were made, and what discoveries might result from them? What kind of annotations and notes did the astronauts include that make these observations uniquely valuable?

And finally, we talk about Artemis III - what is the mission profile and what are the stakes for SpaceX and Blue Origin?

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

• SpaceX wants to launch Starship more than 450 times per year from South Texas
• The 1st SpaceX Starship to survive a launch to space just came home to its launch site
• SpaceX thrusters just made a Tesla Roadster 'fly' (and Elon Musk's car is still out there in space)
• Astronomers discover the 1st ever green star, a cosmic zombie just in time for Halloween
• NASA dumped over 800GB of Artemis II data online
• Artemis 2 astronauts fly around the moon in record-breaking lunar loop by NASA
• NASA Releases Artemis II Lunar Science Data, Images
• Artemis II: Sights & Sounds of Science
• Artemis II Crew Saw Impact Flashes on the Far Side of the Moon
• NASA to Discuss Artemis Acceleration, Status of Upcoming Moon Missions
• Prada and Axiom just revealed the stylish cooling suit Artemis astronauts will wear under their spacesuits on the moon

Model Falcon 9!

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

About This Week In Space

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

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

HBO and HBO Max's "Lanterns" served up its big cliffhanger finale on Oct. 4, 2026, and we’ve been slowly digesting thoughts on what the creative direction and ultimate legacy of this debut season were.

While by no means a perfect experiment in trying to shake up the aging superhero genre, there are enough worthy elements to consider this sci-fi mystery show an evolutionary step towards the next generation of comic-based storytelling.

After the emerald-tinted dust has settled, there are many lingering questions about where this acclaimed series from creators Chris Mundy, Damon Lindelof, and Tom King might be headed and where the twists and turns might lead for a sophomore season should it be greenlit (get it?) for a triumphant return.

Warning: Major Spoilers For "Lanterns" Season 1 Ahead!

One of "Lanterns"' standout achievements is revealing the true costs of superheroism by deconstructing its DNA and examining the ugly guts of it all.

It dives into the fear, trauma, and seduction that drive humans to take up the serious business of protecting the universe and doling out justice against both Earth-bound evil and intergalactic threats. "Lanterns" also explores mental health issues and PTSD that are the inevitable byproducts of a life of unimaginable violence. The compelling series achieves a provocative dissection of it all with rare confidence without the overindulgence of distracting CGI tossed in for sheer spectacle.

It might not have been exactly the Green Lantern TV series fans wanted, but it was the show we got, and kinda the show we needed. Sure, for a series about a noble order of intergalactic space cops, we were treated to very little cosmic action, and instead we're given a grounded slow-burn police procedural à la "True Detective."

As I said before, it's not perfect, but we shouldn’t dismiss "Lanterns" for its mild shortcomings when it gets so much right. We're willing a second season into existence, and with an average of 20 million global viewers and solid reviews, HBO/HBO Max would be very wise to bring it back.

Whether a second season shifts into the heavens to rocket off on an outer space trajectory for a follow-up season is yet to be seen. For now, though, the Lanterns season one finale has left us with plenty of questions to ponder.

Is Hal Jordan really dead?

"Lanterns"' season finale revealed that Kerry, in an unhinged moment of maternal panic trying to protect her mutant son, Noah, had put a bullet in Hal's head. RIP to the original Green Lantern... or is it?

Kyle Chandler was a fantastic choice to play Hal Jordan, and he brought a charismatic gravitas and twisted sense of humor to the storied comic character. His sudden death in Rushville, frozen in the bleachers of the high school football stadium, certainly looked final, but this is the wild topsy-turvy universe of superheroes, so anything is possible.

And don’t forget that the newly-freed Thaal Sinestro (Ulrich Thomsen) told the AI “Halogram” and Aaron Pierre’s John Stewart on Antaan's dead planet that the magical green ring could be used to restore Hal’s life. But Sinestro is a sly, slippery foe and is never to be trusted!

Online speculation has proposed that Hal Jordan might be revived and enter the series as Parallax, the living embodiment of fear, but that’s not likely according to the series creators. What’s more probable is that we either see Chandler's Hal Jordan revived, or he'll just turn up in occasional flashbacks or Halogram pop-in scenes.

John Stewart goes rogue?

With his unsanctioned lantern battery now in hand to power his ring, Stewart has become an independent contractor protecting Earth for Guy Gardner’s (Nathan Fillion) Sector 2814.

Fortified with the Sinestro-forged yellow charging unit deemed illegal by the Guardians and the broader members of the Green Lantern Corps., this unattached Lantern is now free to make sure Noah doesn’t turn to the dark side and lean into his evil Manhunter programming.

Will Stewart be seduced into the path of corruption by using Sinestro’s emotionally tainted battery, or steel himself against ill influences and continue to blaze his own trail as Earth's sole protector for the time being?

As a gold-toothed Gardner tells Stewart, "When I take this bull**** up back to Oa, they’re gonna send an army to put you down." This sounds like the perfect setup for an eventful "Lanterns" season 2 where the Lantern Corps come to take Jordan in, dead or alive. It’ll be interesting to see which of the infamous space cops they eventually send. This ain't over!

Noah Macon the Manhunter

Sheriff Kerry Kane (Kelly Macdonald) and the dorky Billy Macon’s (Jason Ritter) immaculately conceived son, Noah, is outed as a Human-Manhunter hybrid that came into being after Kerry’s initial encounter with Manhunter Zoe years ago.

He might be one helluva gunslinging high school quarterback now, but that pales in comparison to what he could become using his frightful shapeshifting Manhunter genes inherited from his grandmother.

With his new Nebraska collegiate ball cap and now headed off to university, the sleeper agent has some vital decisions to make way beyond declaring a major. His desire will be to wipe out the Green Lanterns and the Guardians, but Earthly domination might come first unless he pledges to subdue his instincts and lead a normal life. And is Noah really the last Manhunter, or are there legions more ready to activate?

Sinestro's fate?

Spazkaban (or Space Azkaban), the notorious cosmic penitentiary controlled by the Guardians, lost one of its most lethal inhabitants in the crimson-skinned Sinestro when Noah (Shea Pritchard), the nascent Manhunter, broke him out of jail to craft him a yellow fear-based lantern.

This persuasive villain was last seen wrapped in chains in the season finale, "Dirt and Stars," being dunked in the waters of madness by Stewart on the poison planet after a portal hop, before trying to coerce Halogram to deliver the prized ring for Jordan's resurrection.

Avid comic fans know Sinestro once commanded his own intergalactic corp that fed upon the addictive yellow glare of fear instead of the emerald light’s will-imposed power.

Will he unite with Noah to take down the manipulative Guardians of the Universe and their legion of space-bound enforcers, the Green Lanterns? Will Noah break bad or go good? And is it possible for Sinestro to forge another yellow lantern and a custom companion ring to escape captivity? As Sinestro explains, "If harnessed correctly, fear can be the most powerful force in the universe."

Shards of "Lanterns" will invariably bleed over into James Gunn's "Superman" sequel, "Man of Tomorrow," which soars to theaters on July 9, 2027, so there’s still a lot of life left in DC Studios' DCU.

All 8 episodes of "Lanterns" season 1 are available on HBO and HBO Max.

The eighth episode of Apple TV's "Dark Matter" season 2 has just dropped, and we're all on the edge of our seats trying to guess how the strange saga of Jason (Joel Edgerton) and Daniela (Jennifer Connelly) Dessen is going to finish up. Not even fans of the books know, as this superb adaptation of NYT bestselling author Blake Crouch's 2016 novel broke out of its source material for season 2.

For Edgerton and Connelly, "Dark Matter" has been a whirlwind project as their characters search for a safe alternate universe while being pursued by a multiplicity of Jasons. The physical rigors and emotional toll of shooting the show and presenting its nuanced storytelling often proved difficult.

"There's two exhaustions that I’ve found in movie work," Edgerton tells Space. "It's either mental exhaustion from going to dark emotional places in your brain or complex dialogue stuff. Then there's the physical challenges, like for doing a fight scene. One of the weirdest ones on 'Dark Matter' was doing a gravity scene where we’re dangling on wires inside The Box. There's something deeply exhausting about it and a bit humiliating. You feel like a human teabag."

Connelly was also a part of that tough sequence and reflects on Edgerton’s tireless fortitude.

"Joel's schedule on this show is really brutal," she notes. "He's in almost all of it. This season is better, but season 1 was crazy for him. It’s surprising; sometimes the things that are most difficult are the ones you don’t anticipate. That's more exhausting at the end of the day after trying to get something to work that you didn’t think would be tricky. I like the days that are tiring because you feel drained because you’ve explored a lot in a scene. That's a nice feeling."

For Edgerton, the simplest thing to remember is that when practicing your craft, always make sure that you go home each day feeling satisfied with what you shot.

"There's nothing worse than going home and thinking that you didn’t get the best out of yourself," he reveals. "As they say, as actors we're not digging trenches. It's not hard physical labor; it's a different kind of thing. Until actually I shot a movie where I had to dig a trench."

Working with Blake Crouch on the series and its unnerving portrait of a marriage strewn across the infinite multiverse has produced new insights into their own lives.

"I find there’s something to be learned from each experience as an actor," notes Edgerton. "Each story takes you through something, whether you like to think it or not.

"You either learn a skill or meet an actor that you admire, and they teach you something inspired by their presence. We were tasked with helping Blake build the disintegration of a marriage, and it's the opposite of what you’re hoping for in real life. That each day you hope you're turning up contributing in a positive way to your relationship rather than engineering its demise. It makes you think about how you can be a better person in life. And there's always room for improvement."

Likewise, Connelly sees a sort of emotional mirroring effect to be absorbed that extends beyond "Dark Matter's" detailed sets, dizzying locations, and sound stages.

"I think Daniela, at a point when Jason is going down paths, and they're struggling, recognizes that sometimes it's hard to distinguish what is really the other person and what we’re bringing to our perception of them," she adds.

"She has things in her history that bias her vision, and she takes herself off on a journey to reconcile those things and try to take responsibility for healing. And that's a good lesson to remember in relationships in general. Being on top of one's own part of the dynamic. Sometimes things we see in each other are really things within ourselves."

"Dark Matter" season 2 airs each Friday exclusively on Apple TV, with the season finale (and perhaps the series end if not renewed) arriving on Oct. 30, 2026.

The truth is once again out there, as Disney & Hulu confirmed today that they have picked up a new "The X-Files" show for a full season.

Described as a "reimagining" of the classic series, the project comes from Ryan Coogler, the acclaimed writer and director of "Creed", "Black Panther", and "Sinners", and will star Danielle Deadwyler and Himesh Patel.

The show's premise will sound very familiar to fans of the original, as it centers on "two highly decorated but vastly different FBI agents who form an unlikely bond when they are assigned to a long-shuttered division devoted to cases involving unexplained phenomena."

"I've loved 'The X-Files' for a long time, so getting the chance to write and direct the pilot has meant a great deal to me," said Coogler. "What Chris Carter created is special, and we wanted to honor everything that made the original series connect with so many people while also finding our own way into that world."

Coogler wrote, directed, and executive produced the pilot for this new show, which impressed executives over at Hulu enough to give the show the greenlight. He's certainly got the pedigree when it comes to "spooky", as "Sinners" was a modern horror masterpiece, winning the Best Original Screenplay Oscar at the 2025 Academy Awards. The X-Files is one of the greatest sci-fi shows of all time, and we can't wait to see what a modern take on the classic formula looks like.

Alongside the leads, the cast will include Amy Madigan, Ben Foster, Devery Jacobs, Lochlyn Munro, Tantoo Cardinal, Joel D. Montgrand, Sofia Grace Clifton, and Hollywood legend Steve Buscemi (an inspired casting choice for any show, but especially here. He looks like a man who's seen the truth).

Both Coogler and Hulu are being coy about how this new series will fit into the continuity of the original show. It's being described as a reimagining, but they've stopped short of calling it a reboot, which could leave the door open for Mulder and Scully to return in some capacity.

The original creator of "The X-Files", Chris Carter, is also on board as an executive producer, which is great news for fans who are hoping this new incarnation keeps the spirit of the original alive.

There is no confirmed release date yet, but Ryan Coogler's The X-Files project will launch exclusively on Hulu (US) & Disney+ (UK).

NEW YORK — Set your phasers to back-to-school, space fans. Star Trek is going back to Starfleet Academy for season 2, and we finally have a release date.

The sophomore season of "Star Trek: Starfleet Academy" will warp back to the small screen in March 2027 when the limited series returns for its final season on Paramount+. The series, which follows a class of cadets balancing Starfleet classes, space adventures (and yes, some love) in the 32nd century, will return with its full cast and even add new faces, showrunners announced at a panel at New York Comic Con 2026 on Saturday (Oct. 10).

"Season one is about letting go of who you were in the past to start again at Starfleet Academy," executive producer and co-showrunner Noga Landau said in the Star Trek panel. "Season two is about thinking that you knew who you were, only to realize that as you grow older, your life is going to go in directions you didn't expect, and you're going to have to shift your perception of yourself. So it's really about sophomore year, right?"

Holly Hunter returns as academy chancellor Nahla Ake, a long-lived half-Lanthanite, who will have to face a familiar face in her estranged father, Nyk Ake, portrayed by Bill Nighy (Living, About Time) in season two.

"He plays my full lanthanide father, who has basically, if he wants, can achieve immortality," Hunter said, dropping a big preview about her character in season two. "He plays my dad, and I play me ... and my twin, my twin sister. Very fun."

Also joining this year's Starfleet Academy class is Rosemarie DeWitt (Untamed, The Staircase) as Laytha Sadal, the First Lady of Betazed (and mother of Academy cadet Tarima).

"We have had such a blast," Hunter said of working with the entire cast of Starfleet Academy. "It was a tremendous honor and learning experience for me to do the show for two seasons, and I just really am excited about the second season because there's so much more intimacy that we just comfortably felt with each other over those 10 episodes."

In season one, Starfleet Academy brought back Trek's favorite Emergency Medical Hologram, The Doctor (Robert Picardo), then gave the 800-year-old Star Trek: Voyager physician a daughter in the photonic Sam (Kerrice Brooks) and a Klingon medical student, Jay-Den Kraag (Karim Diané), to train.

"His future existence is forever changed. Nothing will ever be the same for the character," Picardo said in the panel. "The shock of that, and how that changed the character, [...] informs all of season two. My primary relationships are now with my daughter and of course with Jay-Den, as I'm mentoring him as a future physician, and we have some terrific scenes together as well."

Executive producer and co-showrunner Alex Kurtzman promised more space action in season two of Starfleet Academy and showed an exclusive teaser clip of Academy cadets Caleb (Sandro Rosta), Genesis (Bella Shepard) and Sam as they race to recover data from a crashed spaceship on their first away mission. But the best, Kurtzman said, is yet to come when the show's cadets meet up with Nova Squadron, the elite flight team at Starfleet Academy.

"The Nova Squadron episode is amazing on a lot of different levels," Kurtzman said. "We basically did Top Gun in space. "What's available to us now technologically allowed us to go to a place that I don't think we've ever gone to on television before. Certainly not in Star Trek."

Star Trek: Starfleet Academy will return to TV in March 2027 on the Paramount+ streaming platform.

Vision (Paul Bettany) is laying low, working the pumps at an Edinburgh pub at the outset of new eight-part Marvel Television entry "VisionQuest", and understandably so given how much the synthezoid has been through.

Resurrected and restored after being sacrificed for the greater good in "Avengers: Infinity War", albeit as an ever-more-disconnected version of what came before, he now spends every other waking hour retreating into a big white house deep within his mindspace, to chew the fat with AI agents J.A.R.V.I.S. (Brian D’Arcy), F.R.I.D.A.Y. (Orla Brady), D.U.M-E (Henry Lewis), U (Jonathan Sayer) and E.D.I.T.H. (Emily Hampshire), and a wisecracking Ultron (James Spader).

However, the threat posed by bounty hunter Paladin (Todd Stashwick) and the prospect of a reunion with his son conspire to draw him out of his stupor.

Below, we explain the cheapest ways to stream "VisionQuest" online and from anywhere with this VPN.

• Stream securely from anywhere with Surfshark VPN (80% off)

When is the "VisionQuest" streaming release?

"VisionQuest" premieres with a double-header at 9pm ET / 6pm PT on Tuesday, October 13, 2026, exclusively on Disney+.

The following six episodes will materialize on the streaming service at the same time on subsequent Tuesdays.

Originally, "VisionQuest" was due to make its worldwide debut on October 14 but Marvel has confirmed that it'll be out on October 13 in the States.

How To Watch "VisionQuest"

"VisionQuest" is available to stream on Disney+ in the US from October 13.

If you want to stream "VisionQuest" or any of Disney+'s other great films, TV shows and live sports while you're abroad, Surfshark VPN will let you access your subscription from anywhere in the world.

What is the plot of "VisionQuest"?

"VisionQuest" is as much about memory as it is Vision, so densely is MCU lore woven into its worlds-within-worlds plot.

At its heart, it's about Vision's identity crisis. He remains hopelessly devoted to an unreachable love, in thrall to Ultron, and at odds with these memories that will never truly be his own – and that's if they're even real to begin with.

But it's not all exposition and musings on existence, because Paladin is hired by an unknown kingpin to track Vision down so that his technological assets can be stolen.

Are there any "VisionQuest" teasers and trailers?

There are multiple "VisionQuest" trailers, which are sure to jog your memory in different ways.

The show is heavily informed not only by 2021's "WandaVision" but also by 2015's "Avengers: Age of Ultron" and 2024's "Agatha All Along", all three of which may be worth revisiting before embarking on "VisionQuest".

Who are the "VisionQuest" cast and creators?

"VisionQuest" is led by Paul Bettany and James Spader:

• Paul Bettany – Vision
• James Spader – Ultron
• Ruaridh Mollica – Tommy Maximoff/Speed & Thomas Shepherd
• Todd Stashwick – Paladin
• T'Nia Miller – Jocasta
• Lauren Morais – Lisa Molinari
• Orla Brady – F.R.I.D.A.Y.
• Diane Morgan – The Handler
• Polly Frame – Fiona Guthrie
• Henry Lewis & Jonathan Sayer – D.U.M.-E & U:
• Emily Hampshire – E.D.I.T.H.:
• James D'Arcy – J.A.R.V.I.S.

Produced by Marvel Television, "VisionQuest" was directed by Terry Matalas, Christopher J. Byrne, Gandja Monteiro and Vincenzo Natali. Matalas served as the showrunner.

• How to watch 'Disclosure Day' online

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

"The Space Gal" is blasting off onto her next adventure to promote STEM education with out-of-this-world content.

Science communicator and citizen astronaut Emily Calandrelli, better known to millions of social media followers as "The Space Gal," is bringing her real-world spaceflight experience to the Marvel universe. Calandrelli is lending her voice to an upcoming episode of Disney Jr.'s animated series, "Marvel's Iron Man and his Awesome Friends."

She is stepping into the role of a character called Astronaut Amy in the episode "The Iron Friends in Space," offering another opportunity for Calandrelli to share her enthusiasm for space with younger audiences.

Calandrelli is an engineer, author and television host whose career has focused on making complex scientific concepts engaging and accessible. Growing from her online presence as @TheSpaceGal, Calandrelli has produced numerous educational videos, books and television appearances, including a role on the Netflix "Bill Nye the Science Guy" revival series, "Bill Nye Saves the World."

In a preview clip provided exclusively to Space.com by Disney, Calandrelli's character is welcomed by Tony Stark, Riri Williams, Amadeus Cho and Vision as they explore a moon-themed museum display. The exhibit features a holographic model of the moon and other space-themed artifacts, providing a backdrop for Astronaut Amy to share information about space and lunar exploration.

The show follows younger versions of Stark and others from Marvel's familiar superhero roster, as they navigate conflicts that are scaled down from the franchise's world-ending blockbuster emergencies to more age-appropriate problem-solving and teamwork-building storylines.

Calandrelli's cameo puts her alongside characters already rich in their storylines with backgrounds in science and technology, like Stark and Williams, known by their alter egos Iron Man and Ironheart, both of whose superhero identities revolve around the mastery of sophisticated technology and engineering. And while Astronaut Amy and her super co-stars live in Marvel's fictional universe, Calandrelli's inclusion in the episode creates the opportunity to introduce some real-life scientific concepts.

Her appearance also comes as Disney prepares to expand the animated series to include a larger ensemble. Beginning next summer, the show will evolve into "Marvel's Avengers: Mightiest Friends", and bring additional characters into the fold, including Captain America, Hulk, Black Panther, Black Widow and Thor, according to Disney. For Calandrelli, the role represents another extension of a career dedicated to making space exploration relatable and exciting for the next generation.

In November 2024, Calandrelli became the 100th woman to reach space when she launched aboard Blue Origin's New Shepard rocket on the company's NS-28 suborbital mission. The flight carried her above the Kármán line, the internationally recognized boundary of space, and gave her several minutes of weightlessness before the capsule and its crew returned to Earth.

Calandrelli isn't the first real-life astronaut to lend her voice to the Marvel universe. Former NASA astronaut and the first Black woman in space Mae Jemison guest-starred in Disney's "Marvel's Moon Girl and Devil Dinosaur" in March 2023. Jemison voiced a fictional app called Skipster, created by the show's young superhero and scientific prodigy, Lunella Lafayette. Another space traveler, citizen astronaut Kellie Gerardi, also just announced over the weekend (Oct. 12) her cast credit in the upcoming movie "Hexed", from Disney's Animation Studios.

Viewers can catch the upcoming episode of "Marvel's Iron Man and his Awesome Friends," titled, "The Iron Friends in Space," during its Disney Jr. premiere on Oct. 14 or streaming on Disney+ beginning Oct. 28.

For a show with no aliens or faster-than-light travel, "Red Dwarf" has crammed an awful lot of sci-fi concepts into its 13 seasons.

Frequently as smart as "Star Trek" — albeit on a much smaller budget — Rob Grant and Doug Naylor's BBC sitcom always punched above its weight when it came to big genre ideas. In fact, many of its stories were truly ahead of their time, built around concepts that have since turned up in hit American shows (including the recent "Strange New Worlds" season four finale) and even Christopher Nolan movies.

Below we've picked out 10 sci-fi storylines and premises (and one honorable mention) where Dave Lister, Arnold Rimmer, Kryten and the Cat got there first…

1. Thoughts made flesh

Episode: "Confidence and Paranoia", "Red Dwarf I" (1988)

In "Red Dwarf": Lister goes down with a bout of space pneumonia, which has the unlikely side-effect of making his fever dreams a reality. In a twist that would give Sigmund Freud a field day, his confidence and paranoia manifest as actual humans — the former played by ex-"The Late Late Show" host Craig Ferguson.

In "Star Trek: Deep Space Nine": With a plot that feels more like a "Buffy the Vampire Slayer" outing, "DS9" season one episode "If Wishes Were Horses" sees the crew's imaginations literally coming to life. The station is soon invaded by out-of-time baseball stars, fairytale villains, and unseasonal snow, all created by aliens eager to understand the concept of imagination.

2. Total immersion virtual reality games

Episode: "Better than Life", "Red Dwarf II" (1988)

In "Red Dwarf": The crew immerses themselves in a total immersion reality game named "Better than Life". Using some headgear that looks nothing at all like a bicycle helmet, they enter a virtual world indistinguishable from reality — though, of course, Rimmer doesn't deal with happiness well, and manages to ruin it for everyone. (Similar virtual reality tech later appeared in "Red Dwarf VI" episode "Gunmen of the Apocalypse".)

In "Ready Player One": Yes, the holodeck turned up in "Star Trek: The Next Generation" a year before — and the "Recreation Room" appeared in "The Animated Series" a year before that — but they're simulations you walk into. The OASIS in "Ready Player One", however, is undeniably a descendant of the "Better than Life" tech, an all-encompassing virtuality experience built to transport you away from the drudgery of everyday life.

3. Life in reverse

Episode: "Backwards", "Red Dwarf III" (1989)

In "Red Dwarf": Kryten and Rimmer crash-land on a version of Earth where time runs backwards for everyone but them. While they wait for Lister and the Cat to rescue them, they make a living as a comedy duo called "The Sensational Reverse Brothers", while also trying to avoid finding out what happens when you go to the toilet…

In "Tenet" (2020): Temporal terrorists use prototype technology to "invert entropy", allowing them to travel through time in reverse. Director Christopher Nolan uses the premise to stage spectacular sequences where cars reverse down freeways at high speed, cause and effect goes topsy-turvy, and fights are just, well, weird.

As a result, it's incredibly difficult to understand what the hell is going on — the "Red Dwarf" version is shorter, easier to follow, and an awful lot funnier.

4. Take a picture

Episode: "Timeslides", "Red Dwarf III" (1989)

In "Red Dwarf": In the ship's darkroom (for the benefit of anyone under 35, that's where pre-digital photos were developed), a weird turn of events causes pictures to come to life. The crew can subsequently step inside images and interact with people and objects in the snaps — as long as they don't step outside the frame of the original photo. This results in a snowball fight, some wedding crashing, and Lister stealing Hitler's bag.

In "Black Mirror": "Timeslides" gets a predictably dark (but moving) twist in the seventh season of Charlie Brooker's dystopian anthology series. In "Eulogy", Paul Giamatti plays the lonely Philip, invited to assist with a memorial for an ex-girlfriend who's just passed away. Using a tech company's tech to explore existing photos — his last connection to his former love — he revisits painful memories and thoughts of what might have been.

5. The odd couple

Episode: "Marooned", "Red Dwarf III" (1989)

In "Red Dwarf": Starbug crash-lands on a remote ice planet, trapping Lister and Rimmer alone on a strange and hostile world. With their survival in the balance, there's nothing for the two frenemies to do but talk. A lot.

In "Star Trek: Enterprise": "Shuttlepod One" is the quintessential American bottle episode, a popular TV device in which the action is predominantly confined to a single set. In a plotline remarkably reminiscent of "Marooned", Trip Tucker and Malcolm Reed find themselves contemplating the end after the apparent destruction of the Enterprise. There's not much for the two crewmates to do but talk. A lot.

6. Seeing what they want you to see

Episode: "Camille", "Red Dwarf IV" (1991)

In "Red Dwarf": On a mission to save a doomed spaceship, the crew rescue a female mechanoid named Camille. Or so they think… she's actually a pleasure GELF (Genetically Engineered LifeForm) who can assume the form of anyone's ideal partner. Hence, Lister sees a Liverpudlian woman, Rimmer encounters a fussy hologram, and the narcissistic Cat gets to date, well, himself.

In "Babylon 5": The mysterious Vorlons, one of "Babylon 5"'s oldest races, spend most of the series hiding away in "encounter suits" that hide their true form. But when Ambassador Kosh eventually reveals himself while rescuing Captain Sheridan from a potentially fatal fall, he projects a more angelic form, with everyone on the space station seeing a face appropriate to their own species.

Because the Vorlons have spent thousands of years tampering with the DNA of younger races, we've all been pre-programmed to see them as beatific beings.

7. A white hole

Episode: "White Hole", "Red Dwarf IV" (1991)

In "Red Dwarf": "So, what is it?" "Red Dwarf" didn't invent the white hole — the concept is based on actual theoretical astrophysics — but the sitcom certainly had a big part to play in bringing the less famous twin of the black hole into public consciousness. In the show, the crew encounters a white hole spewing time and space into the universe, and the only way to close it is for Lister to play space pool, sinking a planet into the interdimensional fissure via an over-elaborate trick shot.

In "Star Trek: Strange New Worlds": With all the spatial anomalies that pop up on the final frontier, it's remarkable that it took until the Strange New Worlds season four finale, "Tomorrow's Enterprise", for a white hole to show up.

The "Trek" version may be surprisingly close to current theory, which suggests that the white hole is essentially the flip side of a black hole — while nothing can escape from a black hole, nothing can enter a white hole.

That said, it's unlikely that a real-life white hole/black hole dyad would allow Uhura to communicate with a future version of herself. Or that it would be the birthing site for a giant space baby with no concept of past, present, or future.

8. Manipulating the odds

Episode: "Quarantine", "Red Dwarf V" (1992)

In "Red Dwarf": The crew visits a virus research centre where they discover a selection of "positive" viruses — rather than making you ill, their effects are generally good for your wellbeing. Examples include inspiration, charisma, sexual magnetism and — most notably — luck.

In Marvel comics: Domino made her Marvel debut just before this "Red Dwarf" episode, but we're going to put this down to a case of convergent evolution. The X-Force and "Deadpool" mainstay is well known for her ability to manipulate the laws of chance — just like the probabilistic microbe, her powers turn luck into a tangible property.

9. Hard light

Episode: "Legion", "Red Dwarf VI" (1993)

In "Red Dwarf": Holographic crew member Rimmer is cursed to live his life unable to touch anything, until gestalt entity Legion upgrades his "light bee" — the hovering device that creates his image — to project "hard light". He subsequently becomes, to all intents and purposes, indestructible, while remaining entirely mobile.

In "Star Trek: Voyager": "The Next Generation" was giving light physical form long before "Legion", but what happened on the holodeck tended to stay on the holodeck. Then the Emergency Medical Hologram became a series regular in "Voyager", and needed some way to set foot outside sickbay — his handy "mobile holo-emitter" is essentially an arm-mounted light bee.

"Starfleet Academy"'s photonic lifeform SAM (Series Acclimation Mil) also feels like a descendant of the holographic starship crew in "Red Dwarf V"'s "Holoship".

10. Quantum entanglement

Episode: "Entangled", "Red Dwarf X" (2012)

In "Red Dwarf": An experiment involving a "quantum rod" from a previous adventure causes Kryten and the Cat to become entangled on a quantum level. In other words, it's an excuse for Robert Llewellyn and Danny John-Jules to perform a masterclass in both physical theatre and spooky action, as they move entirely in sync with each other.

In "The Marvels": It's fair to say it's not quite how Albert Einstein theorized it, but quantum entanglement is also used to justify Carol Danvers, Monica Rambeau, and Kamala Khan being tied together in the 2023 MCU movie. The results are slightly different — they keep swapping places every time they use their powers — but it's a similarly loose riff on real-life physics.

Honorable mention: It happened last night

"Thanks for the Memory", "Red Dwarf II"

In "Red Dwarf": When the Boys from the Dwarf hold an epic party to mark the anniversary of Rimmer's death, they get so drunk that four days have passed by the time they wake up. With no memory of the intervening time — why is Lister's leg broken? Who completed that jigsaw puzzle — they try to piece together what happened.

In "The Hangover" (2009): Okay, it's not science fiction, but the hit comedy film is built on exactly the same premise — a bunch of guys get so wasted in Vegas that they end up on a mission to work out how they ended up with one missing tooth, a lost baby, and a tiger in their hotel bathroom.

Recent "Star Trek: Strange New Worlds" shore leave episode "Human Best Friend" also recycled that party/amnesia formula.

On Episode 231 of This Week In Space, Rod Pyle and Tariq Malik take a dive deep into their favorite space si-fi across the ages.

From the earliest works of Jules Verne and H.G. Wells to the best of contemporary space science fiction, Rod and Tariq also challenge you with some of the most obscure titles they know.

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

• The Integral Trees
• The Smoke Ring
• Lucifer's Hammer: A Novel
• Star Trek Classics: The Mirror Universe Saga
• Rising Stars Compendium
• Farmer in the Sky
• From the Earth to the Moon (Illustrated 1874 Edition): 100th Anniversary Collection
• Between Planets
• The Expanse Series Collection 9 Books Set
• The Murderbot Diaries Vol. 1
• Ancillary Justice
• Firestar: An Epic of Science Fiction for the Twenty-First Century
• The Martian
• Rusty's Space Ship
• We All Died at Breakaway Station
• Edison's Conquest of Mars: A Classic Mars Invasion Science Fiction Adventure and Early Interplanetary War Story
• The Martian Chronicles
• Fury (Golden Age Masterworks)
• Farewell to The Master: The Day the Earth Stood Still
• The Moon Is a Harsh Mistress
• A Talent For War (An Alex Benedict Novel Book 1)
• War of the Worlds: Global Dispatches
• The Chimerium Gambit: The Radiation Angels
• The Great Planet Robbery
• Earth Strike: A Gritty Military Space Opera in the Vein of Battlestar Galactica

Model Falcon 9!

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

About This Week In Space

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

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

Apple TV's addictive multiverse thriller, "Dark Matter," has quietly joined their roster of fantastic sci-fi series alongside hits like "Pluribus," "Severance," "Foundation," "Silo," "For All Mankind," and "Star City."

Adapted from New York Times bestselling author Blake Crouch's ("Recursion," "Upgrade") novel of the same name from 2016, "Dark Matter" is a mesmerizing amalgam of time-travel, existential crises, alternate dimensions, and romantic love that transcends the multiverse. We're entering the final few episodes of season 2, so there’s still room to jump on the show's bandwagon and absorb the quantum entanglement for what's bound to be a cliffhanger finale airing on Oct. 30, 2026.

As "Dark Matter" season 2 heads toward its conclusion, we sat down with showrunner Blake Crouch to ask what it's like to adapt your own book to the screen, and the challenges of moving beyond the scope of his original story.

"The biggest challenge for season 2 was time because we needed to move quickly," Crouch tells Space. "This was a brand new plot and brand new story. Yeah, we had the characters from season 1 and kind of knew where they were heading, but coming up with ten hours of new story was daunting."

Crouch again serves as "Dark Matter's" executive producer and showrunner, this time being liberated from the novel's initial plotline and free to continue the story of Jason (Joel Edgerton) and Daniela (Jennifer Connelly) Dessen as they flee from a mob of duplicate Jasons chasing them across parallel existences while struggling to maintain some semblance of a marriage. Come for the trippy time loops and strange variant worlds, stay for the exceptional acting and drama!

"It was a case of go, go, go, and actually I think it kind of helps the process not be precious," explains Crouch. "We sort of committed and went with it. For the second season arc, we wanted to open up the aperture and not just focus so heavily only on the family, but to check in with Ryan and Amanda and Leighton. It seemed like an amazing opportunity to build out the world."

Crouch and his creative team were extremely happy with the debut season's aesthetics, and this sophomore outing was mostly about being faithful to that, although the new batch did indulge in a couple of standalone chapters where the writers got to play a bit and take some big swings.

"It was never something we were afraid of," Crouch adds, avoiding multiverse tropes and clichés. "Because I was starting to write 'Dark Matter' in 2014 and there are plenty of amazing things that came before that dabbled in it. But when the book came out, it was the first story that went all in and committed to the idea of the world in a grounded, emotional, character-driven way. And we always try to stay true to that identity.

"Sometimes the multiverse can be fun shock and awe when it comes to showing how wild and crazy different worlds can become. But for our characters, everyone is just shades of the same core character. And I think that approach hopefully keeps it from falling into some of those trope traps.”

Romance is frequently at the heart of Crouch’s work, which allows the series’ acclaimed cast to evolve and stretch their skills within the complicated narrative.

"I love the way Jennifer describes this second season as a continued exploration of a marriage," he shares. "And in some ways the new season of 'Dark Matter' gets far more deep into the relationship of Daniela and Jason. Because in season 1 they're together for a few minutes in the beginning and then he’s out the door and ultimately gets abducted. He doesn’t return to his family until the end of the penultimate episode."

"There's a sense in season 1 that it’s a love story between these two characters, but Jason 1 and Daniel 1 have very little screen time," he elaborates. "In season 2, we not only get to see how they interact day-to-day, but how they deal with the fallout. "

"I feel a lot of gratitude to work with such amazing creative minds, from our production designer to our actors and directors and editors. It's very humbling to get to work with so many smart people who are all trying to execute your vision."

"Dark Matter" season 2 airs new episodes each Friday exclusively on Apple TV. Fans can also catch up on the entire first season on Apple TV.

Contrary to many people's initial suspicions, "Disclosure Day" is not a story of a weather forecast gone wrong. Meteorologist Margaret Fairchild's (Emily Blunt) creepy report does, however, light the fuse on Steven Spielberg's UFO epic.

Margaret teams up with security expert Daniel Kellner (Josh O’Connor) – and a few woodland creatures – to unravel the biggest cover-up in history. Are aliens here? What do they want? And can humankind handle the truth?

Below, we explain the cheapest ways to stream "Disclosure Day" online – from only $1 – and from anywhere with this VPN.

• Stream securely from anywhere with Surfshark VPN (80% off)

When is the "Disclosure Day" streaming release?

Friday, October 9, 2026 is "Disclosure Day" in the US, so far as streaming is concerned.

How To Watch "Disclosure Day"

"Disclosure Day" is available to stream on Peacock in the US from October 9.

If you want to stream "Disclosure Day" or any of Peacock's other great films, TV shows and live sports while you're abroad, Surfshark VPN will let you access your subscription from anywhere in the world.

What is the plot of "Disclosure Day"?

A sci-fi conspiracy thriller with elements of mystery and action, "Disclosure Day" is essentially "Snowden", only with a UFO angle instead of surveillance.

Cybersecurity specialist Daniel Kellner (Josh O’Connor) decides to turn whistleblower upon discovering that the US government has been suppressing evidence of extra-terrrestrial life, as part of a cover-up that goes back decades.

Naturally, that make Daniel the No.1 enemy of the state and Noah Scanlon (Colin Firth), the CEO of shady government contractor Wardex, orchestrates a concerted campaign of violence to silence him for good.

Only, Daniel isn't acting alone. In a seemingly random twist, meteorologist Margaret Fairchild (Emily Blunt) has his back, but to piece the puzzle together they must first find each other.

Are there any "Disclosure Day" teasers and trailers?

The initial teaser gave so little away it was more baffling than intriguing, especially as the "Disclosure Day" plot details had been so tightly under wraps at that point, but subsequent drops were far more revealing – perhaps slightly too much so...

The trailers, however, were duly upstaged by Steven Spielberg's seemingly earnest assurance, referring to the plot, that "all of this is true."

Who are the "Disclosure Day"' cast and creators?

"Disclosure Day" features an ensemble cast, led by:

• Emily Blunt – Margaret Fairchild
• Josh O'Connor – Dr. Daniel Kellner
• Colin Firth – Noah Scanlon
• Eve Hewson – Jane Blankenship
• Colman Domingo – Hugo Wakefield
• Wyatt Russell – Jackson
• Henry Lloyd-Hughes – Casper Boyd

Produced by Universal Pictures and Amblin Entertainment, "Disclosure Day" was written by David Koepp and directed by Steven Spielberg, with a score by John Williams. Spielberg and Kristie Macosko Krieger served as executive producers.

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Pixar's Academy Award-winning director Brad Bird — of "The Incredibles" and "Ratatouille" fame — has been out of the spotlight for a while, working on a project that's been percolating inside his noggin for three decades. That project is "Ray Gunn", and it's finally on the horizon.

The first dynamic trailer for "Ray Gunn" arrived in September, giving us a glimpse of this cool sci-fi crime thriller. Like his previous works, it's an animated movie energized with spectacular visuals and starring the vocal talents of Sam Rockwell, Alan Tudyk, Scarlett Johansson, and Tom Waits.

If you're into retro-futuristic elements like flying cars, jet packs, blazing laser pistols, scary robots, alien hoodlums, and a classic whodunnit storyline, then this will be right up your alley.

Produced by Skydance Animation and directed by Brad Bird, "Ray Gunn" has a long history of development dating back even before Bird's glory days at Pixar. From this sneak peek, it's clear that a lot of love and attention to detail have been poured into this highly anticipated project, which arrives exclusively on Netflix on Dec. 18, 2026.

But what exactly is "Ray Gunn", and why did it take so long to get made?

What is Ray Gunn about?

The adult-oriented plot revolves around a hard-boiled private eye in Metropia named Raymond "Ray" Gunn (Rockwell), his one-eyed alien partner Eyera (Waits) and Venus Nova (Johansson), a sassy pop music starlet who's embroiled in a scandal that might cancel her career and possibly end her life.

"Ray Gunn's" murder mystery screenplay was co-written by Bird and Matthew Robbins, who he penned the script for 1987’s "Batteries Not Included" with.

"The elevator pitch that I boiled it down to is 'Buck Rogers' meets 'The Maltese Falcon,'" Bird told Discussing Film regarding the movie’s influences. "You take the slightly more naïve, optimistic design view of the future, and then you add a dark underbelly to it.

"Usually in these stories, the city is kind of a grimy place. In 'Blade Runner,' it's acid rain and this future you don’t want to be in. But I thought there was something fun about juxtaposing a positive vision of the city of the future, and then showing that still there's going to be corruption and lies."

Ray Gunn has a star-studded line-up of vocal talents too, including Sam Rockwell, Alan Tudyk, Scarlett Johansson, Tom Waits, Matt Berry, Bobby Cannavale, Michale Chernus and Patton Oswalt.

Ray Gunn's long journey to our screens

What’s so cool about this neo-noir passion project is that it reunites Bird with former Pixar Chief John Lasseter ("Toy Story"), with whom the duo delivered some of the storied animation studio's biggest hits. Lasseter left Pixar in 2018 to head up the animation division at Skydance the next year.

The idea for "Ray Gunn" has been bouncing around Hollywood since the late '80s when Bird was with Amblin Entertainment. Its plot was inspired by Blake Edwards' "Peter Gunn" movie, Will Eisner's The Spirit and The B-52’s tune "Planet Claire," but set in an alt-future with humans and aliens.

After a successful run working on the first eight seasons of "The Simpsons," "Ray Gunn" was set up at Turner Feature Animation in the mid-90s but was eventually shelved before Turner merged with Warner Bros., where Bird directed 1999's "The Iron Giant."

Even while working on other live-action endeavors like helming 2011's "Mission: Impossible - Ghost Protocol" and 2015’s "Tomorrowland," or spending time on Pixar's "Incredibles 3," Bird held onto hope that "Ray Gunn" might be revived after years of development hell.

Fortunately, he moved on from "Incredibles 3" in 2021 to join Lasseter at Skydance Animation, and the rest is history after setting the movie up at Netflix instead of his old home at Pixar.

Watching this new trailer, it’s hard not to compare its design aesthetics and overall plot devices to movies like "Blade Runner," "The Fifth Element," and maybe a touch of "Who Framed Roger Rabbit?"

"Ray Gunn" debuts on Netflix on Dec. 18, 2026, and will also have a limited 70mm theatrical release starting Dec. 4, 2026.

If you love sci-fi, superheroes or both, this Disney+ and Hulu deal is a must have. Whether you're getting ready for Star Wars 50th anniversary, catching up on the MCU in time for Avengers: Doomsday or revisiting the chest-bursting Aliens universe, you get over half-off with this deal.

Save up to 52% on Disney Plus and Hulu with this October-only offer

Disney+ is one of the best streaming service for sci-fi fans, not least because Disney has scooped up so many other media companies. Disney+ grants you access to virtually every Star Wars movie and show (The Mandalorian and Grogu included), the whole Marvel Cinematic Universe and much, much more. Hulu adds the Alien and Predator franchises, to name just a few, ideal if you like your sci-fi a little gloomier.

Want to take things further? There's also a bargain bundle which adds HBO Max, giving you Dune, Westworld and virtually the whole DCverse, including the recent Lanterns.

• We've got you covered with reviews and rankings of the best telescopes, binoculars, star projectors, cameras, drones, Lego, streaming and more.

Whether you're watching solo or sharing your love of sci-fi and superheroes, you're absolutely spoilt for content with this Disney+ and Hulu deal, even more so if you opt for the Disney/Hulu/HBO Max bundle.

The deals we've highlighted are for the ad-based tiers, which allow you to stream simultaneously on up to two devices, mobile devices included. On Disney/Hulu you can view in 4K, whereas HBO Max's ad-supported tier is limited to 1080p. However, you can also upgrade to the ad-free ones if you prefer your viewing to be uninterrupted.

What can you watch? What can you not watch might be a better question. Between Disney+ and Hulu there's the whole Star Wars franchise, including The Mandalorian and Grogu, everything from Marvel Cinematic Universe, Avatar 1-3, every Alien and Predator movie and much, much more. Plus, at the risk of getting Let it Go stuck in your head, there are also Disney's animated movies if you want to keep the children amused over Christmas.

Add HBO Max and you'll get access to an even larger superhero and sci-fi library, including Lanterns, which has just concluded its run. There's also the superb if occasionally confusing Westworld, the Dune series and Ridley Scott's android-centric Raised by Wolves.

Key features: Includes every Star Wars and Marvel movie and series, plus the Alien and Predator franchises. There's also Avatar, Firefly and, if you add HBO, virtually the entire DC universe, including Supergirl and Lanterns.

Price history: We've previously seen savings on Disney Plus and Hulu deals, but this is the best price we've seen in several months.

Featured in guides: Best streaming services

✅ Buy it if: You want a massive streaming library of sci-fi and superhero shows, in time for Avengers: Doomsday or next year's Star Wars anniversary.

❌ Don't buy it if: You already have an active 6- or 12-month Disney Plus subscription.

Check out our other guides to the best telescopes, binoculars, cameras, star projectors, drones, Lego and much more.

On Episode 230 of This Week In Space, Rod Pyle and Tariq Malik speak with Dr. Laura Schaefer, ,who explains how molten lava worlds defy the odds.

Think you're having a hot summer? Try living on 55 Cancri-e, a super-Earth with daytime temperatures above 4000 degrees Fahrenheit. Most of these super-Earths orbit frighteningly close to their host stars and have long since had their atmospheres scraped away, leaving them baked, parched rocks.

But some, like 55 Cancri, still have dense envelopes of air. How is that possible, when the planet is 20 times closer to its star than our own planet Mercury?

Plus: Starship update, the first orbital data centers, and a new year on Mars.

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

• SpaceX launches Starship into orbit for 1st time — largest rocket ever built notches key milestone on dramatic Flight 14 test
• Wow! Watch SpaceX's Starship megarocket deploy satellites into orbit for 1st time ever
• SpaceX launches Google AI satellite, 129 other payloads on 2nd leg of spaceflight tripleheader
• Happy New Year, Mars! The Red Planet begins another circuit around the sun
• Why some planets have theory-defying atmospheres
• The Habitable Zone
• 55 Cancri e
• Cosmic Sandbar, Airless Valley, and Cosmic Shoreline
• K2-18 b
• Nearby super-Earth K2-18 b may be a water-rich ocean planet: 'This has certainly increased the chances of habitability'

Model Falcon 9!

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

About This Week In Space

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

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

Few Hollywood filmmakers have had careers as impressive as that of Robert Wise. The Oscar-winning director of "West Side Story" later went on to call the shots on "The Sound of Music", before shifting gears to marshal alien-virus thriller "The Andromeda Strain" and the USS Enterprise's big-screen debut, "Star Trek: The Motion Picture". But a low-key science fiction drama from earlier in his eclectic filmography is arguably Wise's most memorable and influential work. In fact, "The Day the Earth Stood Still" still feels relevant 75 years after its release.

That's not to say this post-war drama doesn't feel dated. Shot in black-and-white and surprisingly light on visual fireworks — it wasn't until 1956's Technicolor "Forbidden Planet" that Hollywood truly embraced sci-fi's potential to wow — Wise's understated approach sometimes has the feel of a stage play. It's also hard to believe that any contemporary mom would allow her 10-year-old son to spend a day with a man she'd only just met, as Helen Benson (Patricia Neal) does with the alien Klaatu (Michael Rennie) here.

Look past the 1951 setting, however, and the movie's anti-war message about humanity being on a crash course to destruction has never lost its poignancy.

"The Day the Earth Stood Still" starts with a flying saucer landing in the middle of Washington, DC, prompting mass hysteria across the world. A humanoid figure steps out, offering a message of universal harmony — "We have come to visit you in peace and with good will" — but he's shot by a jittery soldier who mistakes a gift for a weapon. Klaatu's giant robot sidekick, Gort, then steps out of the vessel, obliterates a load of firearms with his laser eyes, and silently guards the ship as his master is taken to hospital.

Legendary architect Frank Lloyd Wright consulted on the design of the seamless flying saucer (its doors were rendered invisible by the ingenious use of putty and silver paint), while Wise hired real-life newscasters to make all the hyperbolic "man from Mars" headlines more believable.

For the role of the alien visitor, the production considered Hollywood stars Spencer Tracy, Claude Rains and Montgomery Clift, but eventually settled on little-known Brit Michael Rennie, reasoning that he'd be totally unfamiliar to American audiences. Gort, meanwhile, was played by Lock Martin, a theater usher whose 7'7" frame made him ideal to fill the vast silver suit. Unfortunately, he lacked the strength to match his towering stature, and required the assistance of wires or trolleys whenever Gort had to carry his co-stars on screen.

Thanks to the wonders of extraterrestrial medicine, Klaatu's recovery is remarkably swift. He's soon telling an aide to the US president that he's spent the last five months en route to Earth —"Let's just say we're neighbors," he says when asked about his home planet— and explains that he's arrived with a message so important that it can only be shared with every country in the world simultaneously. But this being the height of the Cold War, the aide points out that delivering on his request may be easier said than done.

The US military wanted nothing to do with the film (based on Harry Bates' 1940 short story "Farewell to the Master"), unhappy with its anti-militaristic message and portrayal of soldiers with itchy trigger fingers. Producer Julian Blaustein was also overt about his own motivations for making the movie — namely using sci-fi allegory to make the case for a "strong United Nations", an organization still in its infancy in 1951.

Klaatu is similarly motivated on screen. Having realized he won't get anywhere through official channels, he escapes from hospital and finds his way to a guest house where he meets Helen and her son, Bobby (Billy Gray). When asked who might be the greatest thinker in America, the boy immediately suggests Professor Jacob Barnhardt (Sam Jaffe), an Albert Einstein analogue who's wooed by Klaatu's solutions to a particularly tricksy math equation. The scientist then agrees to gather some of the finest minds of the planet at the spaceship, but requests something in return: a "dramatic but not destructive" demonstration of the alien's strength.

It's Klaatu's response that gives "The Day the Earth Stood Still" its name, as he puts every machine on the planet — with the considerate exception of hospital equipment and airplanes in flight — to sleep for 30 minutes. It's a wonderfully eerie sequence, with streets full of stationary cars, stopped printing presses, and — perhaps most ominous of all — rollercoaster passengers left waiting for the drop.

The authorities, however, see Klaatu's non-violent intervention as a declaration of war, and make him the target of a city-wide manhunt. He's eventually shot again — dead this time — only to be resurrected by the multi-purpose Gort. This was, by some distance, the most controversial element of the movie's plot.

It turned out that Edward H North, a former US army officer, had covertly turned Klaatu into a Christ allegory, a "private little joke" that neither Blaustein nor Wise had spotted.

The alien spends much of the runtime going by the alias of John Carpenter (Jesus's profession, same initials), and is ultimately betrayed by someone close to him, Helen's sleazy boyfriend Tom (Hugh Marlowe), fulfilling Judas's role in the story. But it was the alien visitor's return from the dead that attracted the ire of the American censors, who insisted on the addition of a line to clarify Gort's abilities. "The real power over life and death belongs to a higher divine spirit," Klaatu explains, pointing out that his return to health is merely temporary.

He does at least survive long enough to deliver a warning to humanity from the wider galactic community: "Pursue your present course and face obliteration". With ongoing wars, global warming, and various other threats to humanity dominating the news, it's a message that could have been written yesterday.

"The Day the Earth Stood Still" was only a moderate success at the box office, but its legacy and influence have lasted much longer — more than enough to earn the film a place in the US Library of Congress National Film Registry in 1995.

The score (by Bernard Herrmann, who'd worked on "Citizen Kane" and went on to compose multiple scores for Alfred Hitchcock) was groundbreaking in its eerie use of the theremin, while elements of Gort's design can be seen in everything from "Battlestar Galactica"'s Cylons to Marvel's Destroyer. Klaatu's famous instruction, "Klaatu barada nikto", is up there with "May the Force be with you" and "Live long and prosper" among the most famous sci-fi phrases of all time. George Lucas even referenced all three words in the names of aliens in "Return of the Jedi".

The movie got a less acclaimed remake in 2008, with Keanu Reeves as Klaatu, and an environmental message to replace the original anti-war theme. But perhaps "The Day the Earth Stood Still"'s strangest claim to fame is its apparent influence on US foreign policy.

In 1985, then-US President Ronald Reagan asked his Soviet counterpart Mikhail Gorbachev if an extraterrestrial invasion might help them overcome national differences and work together. National security advisor Colin Powell was reportedly convinced that the suggestion had been inspired by Wise's film — and nobody's saying that about "The Sound of Music".

The sad death of Hayden Panettiere in August brought "Heroes" — one of her most famous roles — back into the public consciousness.

As resurrecting cheerleader Claire Bennet, she became the face of a show that burned so brightly during its zeitgeist-grabbing first season that it sparked hours of watercooler chats as it brought superheroes to primetime. In that pre-streaming age, when network TV shows still dominated the conversation, the NBC series was — in the months following its September 2006 debut — the thing everybody was talking about.

But unlike many of the creatives who've since found success in the superhero space, "Heroes" creator Tim Kring was no comic-book nerd. "The idea of the dialog bubbles always bothered me," he admitted to Wired. He did have some genre experience, mostly thanks to a stint writing for David Hasselhoff and his talking car in "Knight Rider", but back in 2006 he was best known for ratings-grabbing crime procedural "Crossing Jordan".

So when NBC — a network that had been suffering in the ratings — went on the hunt for a must-watch hit to rival "Lost" and "24, it turned to Kring. "I was the right guy at the right time," he told IndieLondon.

"I wanted to do a show that addressed some of the larger issues that I felt all of us were facing. Between terrorism and global warming and diminishing natural resources, the world is out of balance. I started to think about wanting to make a statement about that, and the average cop show, or law show, or medical show didn’t seem to have the foundation to deal with those issues and the scope and breadth that I wanted. So I thought about ordinary people making a difference in the world and what could incorporate a message of hope, and that led me to this idea of ordinary people waking up to discover that they were extraordinary."

While superheroes have since become the dominant force in pop culture, they weren't yet there in 2006. With "Iron Man" and the Marvel Cinematic Universe still two years away, the genre was still finding its feet on the big screen, the critical and commercial success of "Spider-Man" and "Batman Begins" often tempered by the less beloved likes of "Fantastic Four" and "Catwoman". Doing convincing superheroes on a network TV budget — even a generous one — also seemed risky. The nearest thing to a test case was "Smallville", a Superman prequel that famously kept the Man of Steel grounded.

Kring was well aware, too, that entering the comic-book space was something genre newbies shouldn't take lightly. He subsequently packed his writers' room with superhero-literate staff — who named themselves 'the League of Heroic Scribblers' — to make sure he didn't do anything crazy.

"Heroes" was superpowered storytelling that ditched the Spandex, capes and alter-egos — a smart move that meant the producers didn't have to dodge costumes or character names that might inadvertently overlap with Marvel or DC's copyright. But more importantly, the show was the story of ordinary people who suddenly realize they're extraordinarily gifted, waking up with abilities that — like the characters in Pixar's "The Incredibles", released two years earlier — reflect their personalities and situations. Police officer Matt Parkman (Greg Grunberg) was able to read other people's minds, while prisoner DL Hawkins (Leonard Roberts) developed a handy penchant for walking through walls.

Crucially, "Heroes" was as much about these gifted few not using their superpowers as it was about them flying/using superstrength/teleporting (delete as appropriate). "That's the real secret of comics in the first place," said Jeph Loeb, the comic book writer and "Smallville" and "Lost" veteran that Kring had added to his team. "Peter Parker's dilemma is infinitely more interesting than Spider-Man's." Writers' room member Bryan Fuller, who went on to co-create "Star Trek: Discovery", would describe the show as "'Magnolia' meets 'X-Men'".

The ensemble was large and disparate, from the aforementioned Texas cheerleader, to an aspiring politician in upstate New York and an office worker in Tokyo. Early on in that first season, the characters are kept intentionally separate — a choice reflected in the writers' room, where an individual scripter would stick with a single character through multiple episodes. Fuller, for example, shaped cheerleader Claire's arc.

"The haiku-type of storytelling was effective when characters had very separate storylines," Kring told AV Club in 2010. "My idea was for them to stay apart for as long as possible. The network wanted them to be together on the second episode, and we really fought that. Once characters start crossing, you can do fewer stories."

Although thousands of miles apart, the nascent heroes' stories are gradually drawn together by a single mission to avoid global apocalypse by averting an explosion at Kirby Plaza (a nod to legendary comic-book artist Jack Kirby) in NYC. "Save the cheerleader, save the world," became the show's extremely catchy tagline.

They're not alone on their journey, however. Mohinder Suresh (Sendhil Ramamurthy) is a geneticist on a mission to understand what's turned these people super, and there are more sinister agents on their tail, too. Power-stealing serial killer Sylar (a pre-"Star Trek" Zachary Quinto) is bumping people off, while a mysterious guy in horn-rimmed glasses (aka HRG, aka Noah Bennet, aka Claire's dad — played by Jack Coleman) was the face of a sinister agency trying to keep supes under control.

Although derivative to anyone who'd ever read a comic, "Heroes" captured a moment. That first season — or "Volume", to use the show's parlance — was a ratings hit for NBC, picked up numerous awards nominations, and launched multiple careers. Panettiere would go on to star in "Nashville" and "Scream", Milo Ventimiglia (power-mimicking Peter Petrelli) was one of the leads in the long-running "This is Us", and ILM VFX-whiz turned actor Masi Oka (teleporting Hiro Nakamura) became Hollywood's go-to geek for a while.

A spin-off show, "Heroes: Origins" was planned (but ultimately aborted), and Kring and co had the foresight to set up 9thwonders.com (the title inspired by the comic written by clairvoyant artist Isaac Mendez (Santiago Cabrera) in the show) as a pre-social media destination for fans to get their "Heroes" fix.

But season one was as big as "Heroes" got. Unlike "Lost" — which has since become shorthand for a show that asks question after question without giving any answers — that first year had neatly wrapped up most of its important storylines. Despite Kring's best intentions, however, it wasn't great for the future of the show.

Volume Two's arc subsequently had to start more-or-less from scratch, but took too long to establish where it was going, leading to significant backlash from the fanbase. "The message is that we’ve heard the complaints — and we’re doing something about it.” Kring responded in Entertainment Weekly.

Kring had originally intended to refresh the cast for each season, but the popularity of many of the lead characters meant that was never going to happen. The season also suffered as a result of Hollywood's 2007-08 writers' strike, which led to a planned 24-episode run being cut down to 11, and interest in the show continued to wane until it was finally cancelled after season four. A 2015 reboot (for which Kring returned) also struggled to set the world alight. It was an ignoble end for one of the last network genre shows to truly capture the zeitgeist before cable and streaming eclipsed traditional channels the pop-culture hive mind.

Twenty years on "Heroes"' legacy is dragged down by the memory of the series it became, but that first season still stands up as one of the best superhero stories of the 21st century. Sometimes a great idea is only enough to sustain a single season, and there's no shame in that — "Heroes" wasn't the first show to outstay its welcome, and it won't be the last.

'Heroes' is available to stream on Netflix in the US and the UK. You can also buy or rent the show on Prime Video.

Twenty-five years after its debut, "Star Trek: Enterprise" holds a complicated legacy. It's the show that broke the mould in more ways than one.

The Star Trek prequel series rewinds the story to a century before Captain Kirk beamed his way into our hearts, focusing on the crew led by Captain Jonathan Archer (played by the highly underrated but supremely talented Scott Bakula), who commands the very first starship Enterprise (NX-01). The show explores the rich frontiers of canon, creating narrative threads to expand and accentuate the people, planets, and purpose of the Star trek universe.

And yet, right out of the gate, "Enterprise" made controversial and unpopular choices that had fans calling for its head in its first two seasons. By the time it found its footing in the third season and started to become the series everybody had hoped it to be, it only managed to last another outing before being decommissioned in 2005.

While a four-season run in the streaming era feels like a showrunner winning the jackpot, it was seen as a failure in those days – especially since the preceding Trek shows since 1987 had run for seven seasons each. "Enterprise" bucked the trend, and like Jonathan Frakes told Variety: "Nobody wanted to be on a 'Star Trek' show that didn’t get to go to seven."

To be fair, "Enterprise" wasn't Mom and Dad's Star Trek. Even its theme song, "Faith of the Heart" by Russell Watson, generated outrage among the fandom. After all, how dare the franchise depart from its humble instrumental beginnings and have a human making mouth noises over the opening credits? What the heck is this: "Smallville" or "Charmed"?!

This was a big clue, though, that "Enterprise" wanted to do things a little differently than its predecessors. The theme wasn't the only new addition, as the show embraced the sultry approach of early 2000s TV. All of a sudden, there was a lot more skin on display, tighter costumes, and characters behaving like they couldn't wait to take things into horizontal warp drive.

These departures would have probably been excused had the show captured the imagination of the audience. Unfortunately, the excitement amassed from the excellent two-part debut "Broken Bow" – and the promising hook of the Temporal Cold War that would allow the series to operate as both a prequel and sequel – lost steam rather fast in the subsequent episodes.

By the second season, that potential and goodwill vanished as "Star Trek: Enterprise" fell back on mostly self-contained stories rather than the serialised approach popularised by the superb "Star Trek: Deep Space Nine". At this point in TV history, audiences had grown jaded by the monster-of-the-week style that every show used and abused, wanting more depth to their programming.

No one could fault the characters, though, with a cast that was interesting from the start. Archer was a compelling and different captain from those who came before him. Archer's dog, Porthos, deserved his own spin-off purely for being a Beagle and the goodest boy in the whole galaxy. T'Pol (Jolene Blalock) quickly became the second-best Vulcan in the franchise after Spock, and even Trip Tucker (Connor Trinneer) became so beloved that his death on the show still stings to this day and ended up being retconned in the franchise. Yet none of this mattered, as the show failed to live up to the lofty expectations of Trekkies.

The cast and crew weren't oblivious to the problems either, pointing the finger at the 26-episodes-a-season mandate, noting that it hampered the storytelling. "It gets hard to do 26 episodes that fully exploit the potential of the show," co-creator Brannon Braga said in the special "In Conversation – The First Crew". "By the middle of the second season, it was, like, let's either stop, or let's do something radical."

Braga explained how the third season was where everything finally clicked into gear and livened up the show. "Season 3 was the first time I was actually enjoying writing every single episode like it was, and I think it showed," he said.

Indeed, it did. The shorter seasons and different storytelling approach worked wonders. It started to actually feel like Star Trek, embracing bigger-stakes storytelling and diving deeper into the lore beyond Easter eggs and on-the-nose callbacks. It no longer felt like somebody milking the cow until the udders were raw.

It was like night and day jumping from the first half of the show to the second, but the declining ratings didn't help the cause. Too many people had given up and failed to return, regardless of the distinct improvement in quality. "Star Trek: Enterprise" didn't go out with a bang either, thanks to the frankly awful series finale, "These Are the Voyages…", which felt more like an excuse to revisit "Star Trek: The New Generation" than say goodbye to "Enterprise". Audiences didn't just dislike it – it was voted the worst episode in the franchise's history. In retrospect, Braga admitted it was an ill-advised conclusion to the story.

Understandably, there are mixed emotions when thinking back on "Enterprise". It's unlikely to be anyone's favourite Star Trek series, but it still deserves credit for taking creative risks. Some of them worked, while others failed spectacularly. The point is that it learned its lessons and improved rather than go backwards, which is typically the trend with most TV shows.

Funnily enough, everything that's followed "Enterprise" has proven to be equally if not more divisive among Trekkies. While showrunners try to juggle legacy and originality, fans continue to reject it when the series diverge too much from what made them love Star Trek in the first place. As with most franchise properties, nobody wants radical reinvention; all they want is a similar tone but with new stories and characters that honour the past and add something relevant to the lore.

"Star Trek: Enterprise" figured this out in its final two seasons. It understood that when playing in a popular sandbox, there are pre-established expectations and rules, but it took a long road, getting from there to here.

Once it accepted all of this, it boldly went… not to where no man has gone before, but at least to places that merit interest and appreciation.

Watch "Star Trek: Enterprise" on Paramount+.

On Episode 229 of This Week In Space, Rod Pyle and Tariq Malik work through the most important space headlines. At top, SpaceX's upcoming Starship Flight 14.

We've seen lots of tests, but this is the first attempt at an orbital flight, the success of which is necessary for the lunar landing system and eventual retirement of the Falcon 9 and Crew Dragon. Also: Vast starts up a lunar division, Isaacman's relief over delays to China's lunar program, concerns over announced discontinuation of SpaceX's Falcon 9 and Crew Dragon, and yet more money for Boeing's troubled Starliner.

This and more on this episode of TWiS!

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

• 12.5 trillion tons of polar ice has disappeared since the 70s, longest satellite record shows
• SpaceX Starship Flight 14 live updates: Pre-launch wet dress rehearsal underway
• Isaacman says NASA ‘dodged a bullet’ with Chinese lunar mission delay
• NASA chief concerned China may deny access to parts of Moon’s south pole
• Vast Establishes Lunar Programs Division, Applying Haven Flight Heritage to Power, Communications, and Habitats on the Moon
• Coming to terms with the end of the Falcon 9
• SpaceX Is Retiring Crew Dragon, Forcing NASA to Bet Big on Boeing’s Troubled Starliner
• SpaceX begins hiring for Vermilion Parish spaceport. Here are the first 4 jobs

Model Falcon 9!

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

About This Week In Space

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

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

Whether you want to call them subspace anomalies, temporal rifts, or plain old wormholes, wibbly-wobbly, timey-wimey regions of space (h/t "Doctor Who") have a lot to answer for in "Star Trek".

The white hole in "Tomorrow's Enterprise", the "Star Trek: Strange New Worlds" season 4 finale, allows Lt. Uhura to communicate with a version of herself from a year in the future as they try to save crewmate (and love interest) Scotty from death by exploding console. It's also an excuse to pay homage to two of the greatest ever episodes of "The Next Generation", while maybe also providing an origin story for an important element in "Deep Space Nine"'s mythology.

MAJOR SPOILERS AHEAD! ANYONE YET TO WATCH "TOMORROW'S ENTERPRISE" SHOULD PROCEED WITH CAUTION TO AVOID VIOLATING TEMPORAL PRIME DIRECTIVES.

The episode's title is the most blatant call-back. In "Yesterday's Enterprise" (first broadcast in 1990), Captain Picard and the Enterprise-D crew encounter an unstable region of space that brings them viewscreen-to-viewscreen with their ship's direct predecessor, the Enterprise-C.

Twenty-two years earlier, the latter vessel was attacked by Romulans while responding to a distress call from the Klingon outpost on Narendra III. Its disappearance inadvertently triggered an all-out war between the Federation and the Klingons, creating an all-new timeline where Lt. Worf is (understandably) nowhere to be seen, and the deceased Lt. Tasha Yar is back on the bridge.

It's a brilliant story, revealing a different side to some familiar faces, now shaped by a lifetime on the front lines. This Enterprise's prime directive is war rather than exploration, with a bridge crew who carry phasers as standard, and see this ship from the past as a potential source of spare parts.

Picard and Enterprise-C captain Rachel Garrett (a younger version of the character appeared in the standalone TV movie "Section 31") eventually decide to send Yar and what remains of the out-of-time starship's crew back home in the hope of averting the conflict. (After their return to the past, the Romulans capture Yar and several members of the crew. Yar later gives birth to a half-Romulan daughter, Sela, who shows up in "The Next Generation" two-parter "Redemption".)

As in "Tomorrow's Enterprise", two points in time are connected by a strange phenomenon (Data describes the "TNG" version as a "temporal rift in space"), while both episodes hinge on one person recognizing that something is a little, well, off. In "Yesterday's Enterprise" it's Guinan who gets a feeling the Enterprise-D isn't how or where it's supposed to be; in "Strange New Worlds", it's Uhura — or, to be more accurate — her present and future selves.

In the latter regard, "Tomorrow's Enterprise" shares more connective tissue with "TNG"'s majestic series finale, "All Good Things…"

Once again, there's a "large subspace anomaly" involved, but in the Enterprise-D's TV swansong, it's Picard who gets to see the bigger picture. Throughout the feature-length mission, he's bounced through time by cosmic trickster Q, who — for once — might actually be giving his old sparring partner "Jean-Luc" a helping hand.

Picard finds himself hopping between three distinct points in his life: the start of his tenure on the Enterprise, the "Next Generation"'s "present day", and a future where he's an old man tending his vineyard. All the captain knows is that he has a puzzle to solve, and that failure will result in the end of humanity. No pressure, then…

Strangely, the anomaly is non-existent in the future but significantly bigger in the past — so much so that, when Picard is briefly transported billions of years back, it's grown so much that it's blocked the evolution of all life on Earth. ("Strange New Worlds"' season 4 opener, Valles Marineris, deals with similarly significant consequences.)

It also turns out that Picard's own actions — casually throwing tachyon pulses at the problem — created the phenomenon in the first place, and that it can only be stopped by flying three incarnations of the Enterprise into the eye of the storm.

Meanwhile, in "Tomorrow's Enterprise", the Two-huras have to work together, communicating via the white hole/black hole bridging their two timelines. The stakes are slightly lower than the fate of humanity, but — with Scotty's life on the line — just as emotionally charged.

As in "All Good Things…", solving their predicament is dependent on passing information between the two time periods. For example, future Uhura (with her Original Series-esque hairdo) is able to make use of a "mathematical conundrum" and homemade dilithium diamond that her past self set in motion a year earlier.

The duo also translate the musical signals being emitted by the cosmic rift, realizing that a giant space baby is about to be born, and that the energy bursts bombarding both Enterprises are effectively contractions. They then join forces on a coordinated spacewalk to help ease the baby out of its breach state, a job neither could have completed alone.

Fans of "Deep Space Nine" (set roughly a century later) may sense something familiar about this new kid on the block. The species' non-linear approach to time, coupled with a penchant for making giant space vortices their home, suggests they're closely related to the wormhole aliens, aka Prophets, worshipped by the Bajorans. Were the beings who anointed Benjamin Sisko as their Emissary born this way?

But the roll call on board the Enterprise of tomorrow is the bigger tease, even though it exists just a year in the future. With just a fifth and final season of "Strange New Worlds" to come, the episode suggests that the next 12 months will be extremely eventful for the Federation flagship's HR department: Kirk will replace Pike in the big chair, Spock will embrace his more logical Original Series persona, and the fate of the absent La'an — famously not on board the Enterprise during its famous five-year mission — remains intriguingly ambiguous.

"By the time we're done with season five, all those questions [about what happens to the various characters] will be answered," co-showrunner Akiva Goldsman told SFX magazine ahead of season 4. "We're moving everybody to the place where, when you turn off the set after the last episode of 'Strange New Worlds', you won't wonder where they are."

Have we just seen the shape of things to come? Or has that timeline ceased to exist, just as the possible futures of "Yesterday's Enterprise" and "All Good Things…" evaporated after the closure of their respective anomalies? The answer to that question is in the hands of the occupants of "Strange New Worlds"' writers' room… though wormhole aliens who experience past, present, and future simultaneously may also have an inkling of what's in store for the grand finale.

Every episode of 'Star Trek: Strange New Worlds' is now available on Paramount+.

By the fall of 1996, everybody wanted to believe. The first three seasons of "The X-Files" had been a smash hit for Fox, turning FBI agents Fox Mulder and Dana Scully into household names, and bringing aliens and conspiracy theories into the mainstream. It was such a lucrative combination that, unsurprisingly, other networks wanted a piece of their own.

On paper, "Dark Skies" (which debuted on NBC 30 years ago this week) looked like a blatant rip-off, with its pair of good-looking leads, talk of extra-terrestrial invasions, and high-reaching government cover-ups. Its "history as we know it is a lie" tagline was also a direct descendant of "The X-Files"' famous "trust no one" catchphrase.

But this was no by-the-numbers imitator. Instead, "Dark Skies" was a 1960s-set period drama that posited the notion that a network of "here and hostile" aliens had infiltrated US culture and had been manipulating key historical events for years. Want to know who killed JFK? Look out for the extraterrestrial shooter on the grassy knoll.

"In the early stages, ['Dark Skies'] was, 'Let's do "Forrest Gump" meets "War of the Worlds",'" co-creator Brent V. Friedman said in a 2010 retrospective documentary. "'Let's do a complete revisionist history of the 20th century as if aliens really existed.' That kind of opened the door to all sorts of possibilities — we just went in and mined history for all of these interesting incidents and put a 'Dark Skies' spin on them."

Sounds like the kind of show Mulder himself might want to watch…

The series' masterminds did everything they could to play up 'Dark Skies'' fictional cover-up vibe. The pilot episode's opening narration 'claims' that "This program is presented as fiction to protect those people fighting in the resistance," while their original pitch to networks had an ingenious conspiracy theory theme.

"We created an ultra-classified briefing book as our pitch," co-creator Bryce Zabel recalled in a 2011 interview with Icon vs Icon. "Inside there was a memo that basically said, 'This truth has to be revealed to the public, but it's such a radical truth that if we try to do it by covert means, it'll blow too many people's minds. Therefore, you need to do a TV series.'

"The briefing book basically had a gold foil seal on it, and it said that if you broke the seal, you accepted the penalties of treason if you were to speak about this. Then we wrapped it in brown wrapping paper, put twine around it, and stamped 'Top Secret' on it. We left those with network executives."

NBC ultimately agreed to share a story that had — allegedly — been kept under wraps for over three decades. In the show's complex mythology, the famous Roswell incident of 1947 alerted the US government to the presence of aliens, prompting President Harry S. Truman to form the top-secret Majestic 12 (an organization some conspiracy theorists believe to be real) to monitor the threat.

It turns out that the familiar "Gray" aliens (another crossover with "The X-Files") are under the influence of a power-hungry race of parasites known as the Hive. They've taken control of the Grays' sophisticated tech and are now out to absorb the human race into their collective consciousness.

When he takes a job as a congressional aide in Washington DC in 1961, idealistic college graduate John Loengard's (Eric Close) investigation into the funding of UFO-research scheme Project Blue Book uncovers much more than he'd expected. Knowing too much, he's soon forcibly recruited to Majestic 12 by its inscrutable boss, Captain Frank Bach (the reliably brilliant late J. T. Walsh), who gives him a crash course in the Hive and their ways.

In the meantime, John's girlfriend Kim Sayers (Megan Ward) has started working for First Lady Jackie Kennedy, but is soon implanted by one of the Hive's spider-like Ganglions. John manages to perform an experimental extraction on her, and the pair go on the run, founding the eponymous Dark Skies movement to expose the extraterrestrial threat.

As the couple criss-cross the US, they set out to foil various Hive schemes, most of them led by under-the-influence former Majestic agent Jim Steele (Tim Kelleher). But they also have to stay one step ahead of Bach, who gradually develops a marriage of inconvenience with Loengard — they need each other, despite their mutual distrust, and very different goals and motivations.

There's impressive attention to detail throughout, whether the show is imagining elaborate crop circles, or recreating 1960s fashions, cars, and backdrops. The storyline also intersects with numerous famous events of the era (Vietnam, the Warren Commission, the Watts Riots in Los Angeles), as well as famous figures from politics and pop culture — the Hive even attempts to use the Beatles' famous 1964 performance on "The Ed Sullivan Show" to bring the populace under control.

Zabel, the son of a history teacher, had worked as a correspondent for CNN in a previous life, and relished the chance to dive into America's recent past to inform the story, using his collection of Time and Newsweek magazine back issues for research.

"History books are about the big picture, you get the trends and all that," he explained in the aforementioned DVD doc. "But in those magazines you'd find all those different things that were happening at the same time in detail. We would constantly match those up with [stories of] UFO events."

One thing "Dark Skies" did not have, however, was government agents in black suits. With the first "Men in Black" movie shooting nearby (it would be released in 1997, becoming one of the best space movies of all time), network executives got nervous about Majestic agents adopting the same look — even though the concept of "men in black" was already well known and, more to the point, scenes had already been shot with actors in black suits.

"'Men in black' were out there in the zeitgeist," Zabel pointed out, "but when I made this argument to one of the executives who came down to the set, they said, 'If you don't get your guys out of black suits today, we will shut down the production and burn the negative.'"

They subsequently became — as star Megan Ward put it — "men in dark gray," as some scenes were reshot and others colorised in post-production. Majestic's goons would become known as "Cloakers" in "Dark Skies" mythology.

By the time the show's first season concluded in May '97, the timeline had reached 1967s Summer of Love. By this point, Kim's Ganglion had reawakened, she'd gone full Hive, and her and John's two-year-old son were now on board the alien mothership. John embarked on a daring mission to rescue the boy with his new partner, Soviet agent Juliet Stuart (a pre-"Star Trek: Voyager" Jeri Ryan), while Bach was seemingly dead at the hands of a Hive mole who'd infiltrated Majestic 12. It was a hell of a cliffhanger, but it was left unresolved when the show was cancelled after a single season, apparently the victim of high production costs and lower-than-expected ratings.

However, there was plenty more story left to tell. Friedman and Zabel always envisioned their show as a "Babylon 5"-style five-year arc, with subsequent seasons covering the decades leading up to a big finale set — and potentially broadcast — in 2000. Even when they were first pitching the series, they'd already devised a "Dark Skies" chronology running from the dinosaur era through to the then-future of 2020.

"This was a reaction to other shows that felt like they were just making it up as they went along," said Friedman. "We said, 'Well, let's do the antithesis, let's come out with a whole blueprint, so we've got a big epic show, we can actually prove to people that we've thought this through.' In the span of a month or so, we thought out five seasons, and we just kept falling in love with the idea — let's put in more details, because we had history to mine from.

"It's a very subversive show," he added, "and I'm still shocked to this day that this was allowed to go on [TV]."

'Dark Skies' is available on DVD in the US and UK. There are also some full season uploads on YouTube.

Creativity thrived in the 1980s. It was the only decade brave enough to center a family sitcom around a fluffy alien puppet with a croissant-like nose, the lovability of a dog, and sensibilities of a stand-up comedian. While never the No. 1 show of its time in the U.S., "ALF" took first place in everybody's heart for four seasons, establishing itself as an important cornerstone of pop culture – even if it feels like it has lost some of its sheen and influence in modern times.

"ALF" is a tale as old as a time. An intergalactic creature named Gordon Shumway from the planet of Melmac crashes his spaceship into a garage. He meets the Tanner family – no, not the annoyingly huggy people from "Full House" – who proceed to name him ALF, which is shorthand for Alien Life Form. Since his ship can't be repaired, and every '80s kid wanted to be Elliott Taylor and have a friendly alien best buddy like in "E.T. the Extra-Terrestrial," ALF sticks around on Earth, cracking quips, wreaking havoc, and terrorizing the neighborhood cats.

Our pal ALF was far from the first TV alien to crash-land on this rock and become chummy with humans. In the '60s, "My Favorite Martian" explored a similar premise through Martin O'Hara (played by Ray Walston). Then, in the late '70s, Robin Williams portrayed Mork in "Mork & Mindy." Did Martin or Mork have the charm and side-splitting gags of ALF who at one point tries to hypnotize a cat into thinking he's a bagel? Of course not. There was only one Gordon Shumway.

"ALF's humor came out of him not knowing any better," said Paul Fusco, the co-creator, puppeteer, and voice of the character. "He wasn't politically correct, but he was like Sophia on 'The Golden Girls' – the remarks came out of honesty. That was always the premise. He was never mean."

Under the guise of humor, "ALF" got away with a lot for its time. The pilot episode sees ALF downing beer and almost sharing one with the way-too-young Brian Tanner (Benji Gregory). Even so, the show ducked and dived the long arm of the network fuddy-duddies beautifully, skirting the edge of censorship with a knowing wink, clever pun, and out-of-this-world comedic timing.

Speaking of otherworldliness, the absolute best sci-fi shows don't need to belabor the fact they're about science fiction. They trust that the viewer understands the basic setup and wants to find out more about the stories behind the individuals. "ALF" gets this, choosing to focus on the main character being a fish out of water and an unruly houseguest rather than hammering home the point that he's an alien at every opportunity. Think of it as a PG version of "You, Me and Dupree", but with a funnier and less insufferable Dupree in the form of ALF.

Unlike other family sitcoms of its era that always devolved into ham-fisted lessons about "oh shucks, family knows best" and "it's not toxic if we gaslight and say I love you," "ALF" finds the balance between light-hearted shenanigans and hard-hitting events.

Yes, there are the running gags of ALF trying to hide his presence from snooping neighbors, dodging the Alien Task Force, and turning the Tanner household into his own personal playpen, but there's also a seriousness behind the smiles when you look for it. From him feeling survivor's guilt over the destruction of his planet to his sincere reaction to the death of Lucky the cat in later episodes, there's genuine emotion and depth behind the jokes that highlight real character development and growth throughout his story arc.

ALF is also a complex guy. He's sarcastic and a bona fide troublemaker, yet he's also kind and caring. There's an hilarious episode in the first season titled "Looking for Lucky," where Lucky the cat disappears and the Tanners presume that ALF ate him because of a furball he coughs up. ALF pleads his case and embarks on a search for Lucky, even questioning other neighborhood cats about his whereabouts. This episode alone shows the different facets of his personality – yeah, he spoke about Lucky as if he was a meal best served with some fava beans and a nice Chianti, but when Brian misses his pet, ALF realizes he needs to right this wrong, even if he isn't the one to blame here.

It's this template that other alien comedies, such as "3rd Rock from the Sun" and "Resident Alien," imitate to various degrees of success. They all begin under the guise of aliens failing to understand the complexity of human life and stumbling into awkward situations. However, they become more about how the concept of humanity transcends species; these characters become more human than the actual human beings featured in the series.

The truth is, though, that "ALF" surpasses all of them as the ultimate comfort and relatable alien show. You want to spend more time with ALF and the Tanners; you feel as if you're part of the family and understand exactly what they're going through. It's for this reason that the show received an animated series, a TV movie that wrapped up the events after the fourth season's cliffhanger ending, and even a talk show for ALF to host guests. Did John Lithgow's Dick Solomon ever get this treatment? No, and he didn't deserve it either, if we're being honest.

"ALF" might not be looked back on in the same way as iconic sitcoms like "Friends" and "Seinfeld," but it's a show that connected with audiences around the world – from Ma and Pops watching in their lounge in Louisville, Kentucky to the young boy sitting in front of his grandparents' TV set in Johannesburg, South Africa. Its layered humor, sharp writing, and outstanding performances made everybody forget that the main character was a puppet. And that's part of the magic, since he still feels real to this day.

Every few years or so, a new rumor pops up about an "ALF" reboot in the making. While it's an enticing prospect to consider, let's be honest here: nothing will reach the heights of the original show. It's lightning in a bottle. A moment in time. A one of one… and it ended when it was supposed to. So, to quote the madcap Melmacian himself, "If you love something, set it free. If it comes back to you, it's yours. If it gets run over by a car, you don't want it."

"Doctor Who" and "Star Trek" were both born during the space race in the 1960s. An interplanetary human race seemed only decades away, and TV was bound to explore the possibilities, though both British and American networks felt that science fiction didn’t appeal to audiences.

In 1962 the BBC commissioned a report into the genre, which concluded that it was not particularly popular or suitable for the medium of TV. A second report conceded that a time-travel series might work, as a sort of police procedural of science fiction. Head of drama Sydney Newman developed the "Doctor Who" concept in 1963 as a way to fill a gap in the Saturday early-evening schedules.

Gene Roddenberry pitched his "'Wagon Train' to the stars" in 1964. NBC was not convinced "it would make a commercial television series, that there was enough of an audience out there to support this mixture of science fiction and fantasy," writes Herbert F. Solow, "Star Trek’s" executive in charge of production. But Solow was persistent, and the deal was done.

Dual pilots

The most striking similarity between "Doctor Who" and "Star Trek" is that both had pilot episodes which were rejected by their networks, yet the networks took the unusual step of financing second attempts.

Pilots, as they’re known in the US, were not a part of how the BBC worked. All involved in "Doctor Who" intended the version of "An Unearthly Child" made in September 1963 to be broadcast as the beginning of the series. But the recording — done almost as if live — suffered problems, cameras bumping into set dressing and doors swinging open by themselves.

It was the characterization of the Doctor and his granddaughter Susan, though, that really motivated the remount in October. He was too grumpy and lacked sparkle, and she was too weird and unrelatable for young viewers.

The changes to "The Cage", "Star Trek’s" pilot, were far more sweeping. NBC famously branded it too cerebral. The whole story was thrown out and a new one, "Where No Man Has Gone Before", was filmed as the second pilot.

As with "Doctor Who", it was the characters that really needed work, and although the alien Spock was the character that NBC was most concerned about, he was the only one ultimately retained. The Vulcan became more emotionless, while William Shatner’s Kirk — who replaced Jeffrey Hunter’s Pike — became a little more instinctive. The female first officer was dropped entirely, and Scotty, Sulu and later McCoy were added.

With pilots remade and series up and running, both productions found that making ambitious science fiction on a weekly basis was tough. A dozen episodes into their first seasons, "Doctor Who" was over budget and "Star Trek" was slipping behind its delivery schedule. Both arrived at the same solution: make an easy two-part story to get back on track.

"Doctor Who’s" writers came up with "The Edge of Destruction" and "The Brink of Disaster", two episodes telling a tense and mysterious story set entirely inside the TARDIS. Only the four regular characters appeared, and aside from a small bedroom, the existing console room was the only set.

"Star Trek" chose to play the ace up its sleeve: the unbroadcast pilot. Gene Roddenberry wrote "The Menagerie", a story revolving around a court-martial in which Spock presents video evidence, which was footage from "The Cage". By using almost all of the pilot in this way, Roddenberry and his team got a two-parter for which they only had to shoot about one episode’s worth of new material.

Both ruthlessly practical decisions had creative consequences in the series’ futures. "The Edge of Destruction"/"The Brink of Disaster" establishes the TARDIS as having a life-like intelligence, a fact taken to its logical conclusion in the 2011 episode "The Doctor’s Wife", in which the time machine temporarily gets a walking, talking human body.

Meanwhile, "The Menagerie" establishes that Captain Pike and his crew, including the more emotional Spock, existed in universe, predating Kirk’s command of the Enterprise by several years. If that version of the Enterprise crew hadn’t been canonized like this, we would likely have no "Strange New Worlds" today.

Save our series

From the growing pains of the two sci-fi series’ early days, we flash forward to later periods when they were threatened with termination.

In the case of "Star Trek", we don’t have far to go. After both the first and second seasons, it was far from clear that NBC would renew the show. Both times, Roddenberry ensured others put pressure on the network on his behalf.

In late 1966, he prompted Harlan Ellison to encourage all members of the Science Fiction Writers of America to lobby TV stations, sponsors, and the press, demanding "Star Trek’s" renewal. A year later, he collaborated with influential fan Bjo Trimble to orchestrate another letter-writing campaign.

"Doctor Who" had its cancellation crisis in 1985. The British series had been running for an impressive 22 years, with several different producers taking turns to steer it, but the latest BBC management disliked it.

When the axe fell, there was a swift backlash from the press, at least partly driven by Ian Levine, a prominent fan and unofficial script consultant. By some accounts, producer John Nathan-Turner was behind Levine’s efforts, trying to ensure the continuation of his series via a fan as Roddenberry had done.

Both series earned only temporary reprieves. "Star Trek" managed a third season before succumbing to the NBC axe in 1969. "Doctor Who" limped on for four more years before quietly disappearing in 1989. Both had extended periods of rest before returning bigger and more popular than ever.

History repeats itself

Now, in 2026, both properties face uncertain futures once more. "Doctor Who" has been dropped by Disney+, which had been co-producing it for the last few years. Now the BBC is currently seeking a new co-production partner.

On the other side of the pond, "Strange New Worlds" and "Starfleet Academy", the two most recent "Star Trek" series, have also ceased production with no replacements in the works.

It's a worrying time for sci-fi fans, to be sure, but if the last sixty-plus years are anything to go by, we haven't seen the last of either of these venerable sci-fi franchises.

On Episode 228 of This Week In Space, Rod Pyle and Tariq Malik are joined by Rob Coppinger to discuss the promise of rapid, reusable spaceplanes,

In the 1980s, as the US space shuttle was just starting operations, the UK embarked on an ambitious project called HOTOL — short for Horizontal Take Off and Landing, a radical, air-breathing spaceplane design. Political and funding shifts in the UK ultimately derailed the project, despite the promising technologies it pioneered.

The idea was later restarted as Skylon, with key individuals and refined technologies at its core. This project, too, struggled, ultimately shuttering in 2024.

Despite this, the promise of rapid, reusable spaceplanes that can launch and land at airports is still coveted by many countries, and efforts continue. Join Rob Coppinger, author of the definitive book on the topic and editor of the UK's "Spaceflight" magazine, as he tells this fasincating story.

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

• A NASA spacecraft just found a giant new crater on the moon. Here's why everyone's talking about the 'once-in-a-century' discovery
• After being sidelined, Boeing’s Starliner to get starring role in NASA’s spaceflight plans
• SpaceX pushes next Starship launch back to Sept. 28, a 6-day delay for megarocket's 1st orbital flight
• Rob Coppinger
• HOTOL & Skylon: The Story of Britain's Spaceplanes
• HOTOL
• HOTOL, the British air-breathing Single Stage To Orbit (SSTO) spaceplane - r/WeirdWings
• Meet HOTOL: The British-designed space plane that never flew a mission

Model Falcon 9!

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

About This Week In Space

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

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

On January 2, 1860, French mathematician Urbain Le Verrier announced the discovery of a new planet. Situated in the toasty region between Mercury and our star, what better name for this body than Vulcan?

Vulcan was the Roman god of all things hot — fire, forges, metalworking, deserts and, of course, volcanoes, to which he gave his name. He was literally thrown out of Olympus by his father Jupiter, falling into Mount Etna. He was said to labour away at his forge there, deep below the earth, and whenever his wife Venus was unfaithful, he would grow so angry that the sparks from his metalworking would shoot up out of the mountain.

Le Verrier had spent the 1840s and 1850s building a theoretical model of Mercury's orbit using classical mechanics – Sir Isaac Newton's laws of motion and gravitation. Unfortunately, observations of Mercury transiting the sun repeatedly showed a small but definite deviation from Le Verrier's predictions. The planet's perihelion, its closest point to the Sun, was shifting around the star a little bit faster than expected.

So Le Verrier hypothesized a body between Mercury and the Sun which was gravitationally affecting the former's orbit. This hypothesis was lent significant weight by Le Verrier's 1846 discovery of Neptune using the same method, deducing its existence from the perturbations of the neighbouring planet, in that case Uranus.

In late 1859, Le Verrier found his "proof" of Vulcan. Edmond Modeste Lescarbault, a physician and amateur astronomer, claimed to have observed an unknown body transiting the Sun. It appeared to orbit in a speedy 20 days at a distance of just 0.14 AU (13 million miles). Le Verrier made his announcement, and Lescarbault was awarded the Légion d'honneur, the highest order of merit in France.

But some were skeptical. For the next 55 years astronomers endeavoured to confirm Vulcan's existence, particularly during solar eclipses. Many claimed to see the planet, including some highly reputable astronomers. But no matter how much Le Verrier reworked his calculations, Vulcan never seemed to show up when it was predicted.

Finally, in 1915, the true reason for Mercury's accelerated perihelion precession was discovered. It was Newton's laws that were at fault. Einstein's newly published Theory of General Relativity, in which massive objects like the Sun cause spacetime itself to curve, explained Mercury's observed motions exactly.

The "real" Vulcan was dead, but the idea had a long life in it yet.

Planet of the Daleks

Vulcan appeared in numerous works of science fiction during the first half of the 20th century, including works by Ray Cummings and Leigh Brackett. Often it was portrayed as small, dense, and rich in minerals, with a thick atmosphere.

"Doctor Who" jumped on the Vulcan bandwagon in 1964. The series' menacing metal villains, the Daleks, had proved wildly popular — popular enough to warrant the publication of an anthology of short stories and comic strips called "The Dalek Book", written by David Whitaker and Terry Nation.

As the Daleks draw their plans to conquer the Solar System in one of the strips, their map is seen to include Vulcan between the sun and Mercury. Apparently, in this version of the "Doctor Who" universe at least, Le Verrier was right.

Two years later, Whitaker wrote the TV story "The Power of the Daleks" and used the name Vulcan again. The Doctor – newly regenerated for the very first time – must save a human colony from the Daleks on this desolate planet covered in bubbling mercury pools. But this Vulcan may be extrasolar; the 1993 novelisation of "The Power of the Daleks" places the planet many parsecs from Earth, out on the frontier.

And the frontier, specifically the final one, is where we find the most enduring version of the planet Vulcan.

Strange New World

"Star Trek" creator Gene Roddenberry originally conceived the Enterprise's science officer as a red-skinned humanoid from Mars. By the time cameras rolled, though, he was from Vulcan.

Spock (Leonard Nimoy) displayed emotions in the rejected pilot, "The Cage", but was quickly established in transmitted episodes as a strict adherent to logic. As the series (and franchise) went on, we learned that Vulcans suppressed their emotions or purged them altogether, and we discovered the wonders of the Mind Meld and the Nerve Pinch.

Spock was enormously popular with audiences, even more than the show's lead character, Captain Kirk (William Shatner). Coincidentally, Shatner had appeared in a 1964 "Outer Limits" episode as an astronaut on a Venusian mission called Project Vulcan. Amongst Shatner's co-stars was Lawrence Montaigne, who later cropped up in the "Star Trek" episode "Amok Time"… as a Vulcan.

"Amok Time" provided the series' first visit to the planet itself, revealed to be a desert with a red sky and thin atmosphere, where ancient rituals hold sway. Later visits in "Star Trek: The Motion Picture" and "The Next Generation" fleshed out the planet and its culture, while "Voyager" gave us a new regular Vulcan in the form of tactical officer Tuvok.

"Enterprise" took us back to the early days of Earth-Vulcan relations, leading up to the two planets becoming founding members of the Federation, as well as exploring Vulcan culture further through series regular T'Pol and even meeting the father of Vulcan logic, Surak.

J. J. Abrams may have destroyed Vulcan in the alternate timeline of his 2009 "Star Trek" film, but it lives on in the various new series of the last decade. "Discovery" recounted how the planet, now called Ni'Var, rejoined the Federation after a period of galactic devastation in the far future, while "Strange New Worlds" continues to fill in Spock's journey from the emotional lieutenant of "The Cage" to the logic-driven lieutenant commander of the Original Series.

Meanwhile, there was one more surprise in store. Spock's Vulcan orbits a real star, 40 Eridani A, about 16 light-years from Earth. A 2018 study of 40 Eridani A concluded that radial velocity variations in that star were likely caused by a planet orbiting it. Had the real Vulcan been found at last?

Sadly not. Like Le Verrier before them, the scientists had jumped to the wrong conclusion. Subsequent studies debunked the potential planet, and as of 2024 it has been generally accepted that the variations are purely down to stellar activity. The Astronomical Journal called it "The Death of Vulcan", but in fiction at least, Vulcan still prospers.