Danny Boyle

Iain M. Banks

Neal Stephenson

Aldous Huxley

Despite voluminous protest and nitpicking criticism from loyal fans of the original TV series (1978-80), the 2003 version of Battlestar Galacticaturned out surprisingly well for viewers with a tolerance for change. Originally broadcast on the Sci-Fi Channelin December 2003 and conceived by Star Trek: The Next Generationalumnus Ronald D Moore as the pilot episode for a "reimagined" TV series, this four-hour mini series reprises the basic premise of the original show while giving a major overhaul to several characters and plot elements. Gone are the flowing robes, disco-era hairstyles, and mock-Egyptian fighter helmets, and thankfully there's not a fluffy "Daggit" in sight... at least, not yet. Also missing are the "chrome toaster" Cylons, replaced by new, more formidable varieties of the invading Cylon enemy, including "Number Six" in hot red skirts and ample cleavage, who tricks the human genius Baltar! into a scenario that nearly annihilates the human inhabitants of 12 colonial worlds.

Thus begins the epic battle and eventual retreat of a "ragtag fleet" of humans, searching for the mythical planet Earth under the military command of Adama (Edward James Olmos) and the political leadership of Laura Roslin (Mary McDonnell), a former secretary of education, 43rd in line of succession and rising to the occasion of her unexpected Presidency. As directed by Michael Rymer (Queen of the Damned), Moore's ambitious teleplay also includes newfangled CGI space battles (featuring "handheld" camera moves and subdued sound effects for "enhanced realism"), a dysfunctional Col. Tigh (Michael Hogan) who's provoked into action by the insubordinate Starbuck (Katee Sackhoff), and a father-son reunion steeped in familial tragedy. To fans of the original BGseries, many of these changes are blasphemous, but for the most part they work—including an ominous cliffhanger ending. The remade Galacticais brimming with smart, well-drawn characters ripe with dramati! c potential, and it readily qualifies as serious-minded science fiction, even as it gives BGloyalists ample fuel for lively debate. —Jeff Shannon

Felix Enriques Alcala The revival of Battlestar Galacticahas proven not just to be a roaring success with viewers, but one of the most critically-acclaimed science-fiction series too. Battlestar Galactica: Razor's place is as an introduction to the events that take place in the fourth season of the show. Yet it's also a terrific feature-length TV movie in its own right.

The story of Battlestar Galactica: Razoractually focuses quite a lot on a different Battlestar, the Pegasus. Throughout the movie, we see it under the command of the love-to-hate Admiral Helena Cain, while we also follow Lieutenant Kendra Shaw under her tutelage, and Lee Adama's first mission in charge of the Pegasus.

Naturally too, Battlestar Galactica: Razorisn't shy of Cylons, as we see them in the infancy of their attack on humankind. And all of these ingredients make for some interesting back story to the main show, and a great one-off piece of entertainment too. It doesn't pull its punches when it comes to the action sequences, and there's some worthwhile character work in there too.

While clearly intended as an appetite-whetter for the fourth season of Battlestar Galactica, Razornonetheless has enough in the tank to more than hold its own. It proves to be yet another example as to why Battlestaris the show that's been topping science fiction fans' favourites lists for some time. —Jon Foster

Michael Rymer Let's get straight to the point: bar none, Battlestar Galacticais the best science fiction television programme currently showing. In fact, let's go further. It's the best of the last decade. And truthfully? You'd find very few sci-fi fans who'd disagree.

What's more, plenty of people must be busy eating their words, too. Back when it was announced that Battlestar Galacticawas being revived, feelings were mixed, not helped by the divided reaction to the mini-series that kickstarted this iteration of the show. Yet over the past couple of years, it's cleverly proven to be a tense, gripping mix of action and drama, with a tightly-woven plot.

This third season? It's arguably the best so far. A delicious soup of mystery, relevations, actions, striking characters and winding narrative, Battlestar Galacticais also served superbly well by a quality cast, some quality special effects, and a real focus on what matters from behind the camera.

As usual, there are no spoilers in this review, although it's not giving much away to say that the deadly cylons have to share the screen time with some intriguing and revealing character development this time round. And with word that season four of the revived Battlestar Galacticawill be the last, things are set up for a terrific final act.

Season three of the show though is extraordinarily good, a real, genuine sci-fi classic that's going to have one mighty shelf life once this particularly iteration of the programme has gone. And with umpteen surprises to go back and check out, it's never likely to be one to gather dust on the shelf, either. —Jon Foster

Michael Rymer

Neal Stephenson

H.P. Lovecraft

Carnivale The second season of HBO's Depression-era gothic—John Steinbeck by way of Tod Browning—picks up where the first left off. Professor Lodz (Patrick Bauchau) is dead. Ben (Nick Stahl), the show's protagonist, appears to be the culprit. Samson (Michael J. Anderson) helps him dispose of the body. Later he tells the other carnival workers that Lodz "took a powder." Lila (Debra Christofferson) doesn't buy it. Meanwhile, Sophie (Clea DuVall), who lost her mother to fire the previous year, feels unmoored without her guidance. A few states away, Brother Justin (Clancy Brown) harbors ever greater delusions of grandeur—and inappropriate thoughts about his sister, Iris (Amy Madigan). In "Alamagordo, NM," he decides to establish a temple, which he dubs Jonestown, er, Jericho. At the same time, life amongst the carnies, who are heading towards Justin's California, is becoming increasingly tense. Ruthie (Adrienne Barbeau), for instance, is starting to see dead people—like Lodz—and Stumpy (Toby Huss) is no longer able to keep his gambling in check. As with the first season, the action continues to alternate between the carnival and the congregation. What binds the two is a man named Scudder (John Savage), who has connections to Ben and Justin. Although writer/creator Dan Knauf had planned to tie things up between seasons three and six, HBO did not renew Carnivàle a second time. Nonetheless, a surprising number of questions are answered, like the identity of "Management" (voiced by an un-credited Linda Hunt) and whether Ben and Justin will have a final showdown. The answer to the latter question is: Yes, they will—and there’ll be casualties. —Kathleen C. Fennessy

Alastair Reynolds

John Wyndham

Arthur C. Clarke

Neal Stephenson Frederick George

Isaac Asimov

Peter F. Hamilton Remember those fact-filled appendices in Frank Herbert's Dune and JRR. Tolkien's The Lord of the Rings? Here's the equivalent—though separately packaged—for Peter Hamilton's enormous and popular Night's Dawn SF trilogy, comprising The Reality Dysfunction, The Neutronium Alchemist and The Naked God, plus related stories collected in A Second Chance at Eden.

As a "non-fiction" companion volume, The Confederation Handbook maps out this future galaxy's joyous complications. Technologies: the affinity gene allowing telepathic man/machine communication; neural-nanonics implants which link your brain to the net; intelligent voidhawk and blackhawk spacecraft; forbidden antimatter weapons; and space drives. People: human Adamists who reject the affinity gene; Edenists whose affinity links offer a "real" afterlife that replaces religion, struggling colonists everywhere; and three very different alien species—the Tyrathca, Kiint and Jiciro. Places: crowded old Earth with its O'Neill halo of orbital installations; communist Mars; utopian Edenist habitats mining helium-3 fusion fuel from gas-giant planets; quirkily various colony worlds; and the mysterious alien wreckage of the Ruin Ring.

The Handbook carefully, almost too carefully, avoids spoiler revelations about the apocalyptic action of Night's Dawn. As in those books, its Timeline stops before the main story begins, and—besides names of "Possessors" in a cast list slightly updated from The Naked God's—the superpowered returned dead who threaten the entire Federation aren't mentioned at all. Readers nervous of SF terminology may find this a useful guide to the trilogy's huge, exhilarating blend of roller-coaster action and ghost-train chills. —David Langford

Neal Stephenson

Neal Stephenson

Peter F. Hamilton

Peter F. Hamilton The acclaimed Peter Hamilton's standalone SF adventure Fallen Dragon sees him taking a breather after the immense, galaxy-spanning Night's Dawn trilogy, with a tauter story of future skirmishing in a mere few solar systems.

Centuries hence, despite faster-than-light travel, human interstellar exploration is stagnating. There's not enough money in it for the vast controlling companies such as Zantiu-Braun, now reduced to extracting profits via "asset realisation"—plundering established colonies that can't withstand Earth's superior weapons tech.

Lawrence Newton's childhood dreams were all about space exploration. Now he's just another Z-B squaddie, trained to use the feared, half-alive "Skin" combat biosuits, which offer super-muscles, armour and massive firepower, all queasily hooked into the wearer's bloodstream and nervous system. Commanding a platoon in Z-B's raid on planet Thallspring, Lawrence has secret plans to make off with a rumoured alien treasure.

But Thallspring resistance is unexpectedly tough, thanks to locals such as Denise Ebourn who have mysterious access to neuro-electronic subversion gear far subtler and perhaps more dangerous than Skin. Meanwhile, how fictional are the stories Denise tells her school pupils, about a fabled Empire that ruled our galaxy for a million years before becoming... something else?

Hamilton excels at violent action, but not with the dreadful simplicity of space opera. Despite his role in the explosive Thallspring situation, Lawrence genuinely hopes to avoid bloodshed—while Denise's lofty idealism results in chilling atrocities, and even Z-B may be less cruel and monolithic than it seems.

A breakneck interstellar chase leads to a satisfying finale and an unexpected romantic twist. This is solid, meaty SF entertainment. —David Langford

Gene Wolfe

Jane Espenson

Much praised and much missed after its premature cancellation, Fireflyis the first SF TV series to be conceived by Joss Whedon, creator of Buffyand cocreator of Angel. Set five centuries in the future, it is a show where the mysterious personal pasts of the crew of the tramp spaceship Serenitycontinually surface. In fact, it's a Western in space where the losers in a Civil War are heading out to a barren frontier. Mal Reynolds is a man embittered by the war, yet whose love of his comrades perpetually dents his cynicism—even in the 14 episodes that exist we see him warm to the bubbly young mechanic Kaylee, the preacher Book, the idealistic doctor Simon, even to the often demented River, Simon's sister, the psychic result of malign experiments.

Fireflyis also about adult emotional relationships, for example Kaylee's crush on Simon, the happy marriage of Mal's second officer Zoe and the pilot Wash, the disastrous erotic stalemate between Mal and the courtesan Inara. Individual episodes deal with capers going vaguely wrong, or threats narrowly circumvented; character and plot arcs were starting to emerge when the show was cancelled. Fortunately, the spin-off movie Serenityis planned; and in the meantime, what there is of Fireflyis a show to marvel at, both for its tight writing and ensemble acting, and the idiocy of the executives who cancelled it.

On the DVD:Fireflyon DVD is presented in anamorphic 1.78:1 with Dolby Surround Sound. It includes commentaries on six episodes by various writers, directors, designers and cast members as well as featurettes on the conception of the show and the design of the spaceship Serenity, four deleted scenes, a gag reel, and Joss Whedon singing the show's theme tune, more or less. One of the things that emerges from all of this is how committed to the project everyone involved with it was, and is—unusually, you end up caring as much for the cast and crew as for the characters. The discs have subtitles in English and Spanish and the option of listening to the soundtrack dubbed into Spanish or French. —Roz Kaveney

Isaac Asimov

Isaac Asimov

Greg Bear

Isaac Asimov

Isaac Asimov

Isaac Asimov

Gregory Benford

David Brin

Dwayne Carey-Hill

Douglas Adams

John Swartzwelder A comedy science fiction novel, featuring slow-witted detective Frank Burly. By John Swartzwelder, the author of "The Time Machine Did It", "Double Wonderful", and 59 episodes of The Simpsons.

Daniel H. Wilson

Dan Simmons

Richard Matheson It seems strange to find a 1954 vampire novel in Millennium's "SF Masterworks" classic reprints series. I Am Legend, though, was a trailblazing and later much imitated story that reinvented the vampire myth as SF. Without losing the horror, it presents vampirism as a disease whose secrets can be unlocked by scientific tools. The hero Robert Neville, perhaps the last uninfected man on Earth, finds himself in a paranoid nightmare. By night, the bloodthirsty undead of small-town America besiege his barricaded house: their repeated cry "Come out, Neville!" is a famous SF catchphrase. By day, when they hide in shadow and become comatose, Neville gets out his wooden stakes for an orgy of slaughter. He also discovers pseudoscientific explanations, some rather strained, for vampires' fear of light, vulnerability to stakes though not bullets, loathing of garlic, and so on. What gives the story its uneasy power is the gradual perspective shift which shows that by fighting monsters Neville is himself becoming monstrous—not a vampire but something to terrify vampires and haunt their dreams as a dreadful legend from the bad old days. I Am Legend was altered out of recognition when filmed as The Omega Man (1971), starring Charlton Heston. Avoid the movie; read the book. —David Langford

As paranoid cop Del Spooner, Will Smith displays both his trademark quips and some impressive pectoral muscles in I, Robot. Only Spooner suspects that the robots that provide the near future with menial labor are going to turn on mankind—he—he's just not sure how. When a leading roboticist dies suspiciously, Spooner pursues a trail that may prove his suspicions. Don't expect much of a connection to Isaac Asimov's classic science fiction stories;I, Robot, the action movie, isn't prepared for any ruminations on the significance of artificial intelligence. This likable, efficient movie won't break any new ground, but it does have an idea or two to accompany its jolts and thrills, which puts it ahead of most recent action flicks. Also featuring Bridget Moynahan, Bruce Greenwood, and James Cromwell. —Bret Fetzer

Ray Bradbury

Neal Stephenson, Frederick George

Peter F. Hamilton Peter F. Hamilton's flair for huge, star-spanning SF adventures continues with Judas Unchained. This concludes the single long novel—over 1,800 pages in all—whose first half is Pandora's Star.

Humanity's interstellar Commonwealth is in serious trouble. Thirteen of its hundreds of worlds (linked by wormholes and high-speed trains) were lost to a first mass attack by the insanely hostile alien Primes. The controlling Prime intelligence, MorningLightMountain, can imagine no way of dealing with first contact but genocide—and has the resources to do it.

Amid political and personal chaos, it's becoming clear that the war was arranged by a third party. For centuries, only the fanatical, outlawed Guardians cult believed in this mysterious influence called the Starflyer. New evidence emerges, only to vanish again. Key figures are destroyed by near-invincible assassins crammed with inbuilt "wetwired" weaponry. One determined detective is on the track, but she faces massive political opposition.

The multi-stranded action follows many criss-crossing human stories, with fights, pursuits, quests, deaths, resurrections, exotic landscapes and armaments, good sex, and several interesting aliens. Betrayals are frequent, thanks to brainwashed Starflyer agents in positions of trust. Only the Guardians have a scheme to deal with the Starflyer itself—a grandiose strategy known as "the planet's revenge"—but no one trusts those crazy cultists…

In space, the arms race becomes dizzying, with Prime doomsday weapons used against suns while frantic human research leads to "quantumbusters" so appalling that there's serious moral debate about their use. Can we face the guilt of total genocide, even against a horror like MorningLightMountain? Or is there some way to force this psychopathic genie back into the bottle?

The action climaxes in a long, exhilarating chase sequence spiced with ultra-violent skirmishing as the Starflyer comes into the open at last. Stormgliding, an extreme sport introduced in book one, becomes vital to the race against time. Meanwhile, rival starships with different plans chase one another to the Prime system. Hamilton delivers the expected multiple payoffs with suitable pyrotechnics and a satisfying scatter of happy endings. A long, colourful, suspenseful example of modern British space opera. —David Langford

John Wyndham

Eric Brown Philip K. Dick

Peter F. Hamilton Peter Hamilton is famed for SF blockbusters of far-future interstellar adventure. By contrast Misspent Youth is a social comedy set in the year 2040 in England. When gene therapy rewinds Jeff Baker's age back to his early 20s he finds that wisdom and experience are no match for hormones...

The rejuvenation treatment, developed by federal Europe to impress laggard America, is so complex and expensive that only one person every 18 months can receive it. Jeff is the first because he's a celebrity inventor, father of the "datasphere" which superseded the Internet.

Family upheavals follow. An "arrangement" with his much younger, still beautiful wife Sue lets her enjoy lovers while the aged Jeff turns a blind eye: now things are different. Meanwhile their 18-year-old son Tim is struggling ineptly with teenage sexual pangs and the impossibility of understanding girls. All part of growing up, but Jeff's renewed youth brings farcical complications.

It's not just that Jeff now fancies Sue again. He can't resist even younger women. An early one-night stand is publicised all over the datasphere. Embarrassment escalates when he's seduced by the granddaughter of a long-time pub companion. Worse, several of Tim's ravishing female schoolmates are interested in Jeff the celebrity stud. The dishiest of all is Tim's latest, most hopelessly adoring girlfriend.

Can it be coincidence that the action mostly happens in Rutland?

This comedy of embarrassments and revelations has a darker background: Europe is plagued by separatist movements whose terrorist habits make the old IRA look like pussycats. The turning point in Jeff's tangled relationships comes when he attends a London conference surrounded by protest that breeds riot—with Tim among the protesters.

A foreshadowed twist leads to a finale that mixes cynicism with sentiment. En route Misspent Youth is a lot of fun. —David Langford

John Christopher

Peter F. Hamilton

William Gibson Case was the best interface cowboy who ever ran in Earth's computer matrix. Then he double- crossed the wrong people.… Winner of the Hugo, Nebula and Philip K. Dick Awards.

Peter F. Hamilton

Peter F. Hamilton

Isaac Asimov

Jane Austen, Seth Grahame-Smith

William Goldman

Neal Stephenson Quicksilver is a massive, exuberant and wildly ambitious historical novel that's also Neal Stephenson's eagerly awaited prequel to Cryptonomicon—his pyrotechnic reworking of the 20th century, from World War II codebreaking and disinformation to the latest issues of Internet data privacy.

Quicksilver, "Volume One of the Baroque Cycle", backtracks to another time of high intellectual ferment: the late 17th century, with the natural philosophers of England's newly formed Royal Society questioning the universe and dissecting everything that moves. One founding member, the Rev John Wilkins, really did write science fiction and a book on cryptography—but this isn't history as we know it, for here his code book is called not Mercury but Cryptonomicon. And although the key political schemers of Charles II's government still have initials spelling the word CABAL, their names are all different...

While towering geniuses like Newton and Leibniz decode nature itself, bizarre adventures (merely beginning with the Great Plague and Great Fire) happen to the fictional Royal Society member Daniel Waterhouse, who knows everyone but isn't quite bright enough for cutting-edge science. Two generations of Daniel's family appear in Cryptonomicon, as does a descendant of the Shaftoes who here are soldiers and vagabonds. Other links include the island realm of Qwghlm with its impossible language and the mysterious, seemingly ageless alchemist Enoch Root.

As the reign of Charles II gives way to that of James II and then William of Orange, Stephenson traces the complex lines of finance and power that form the 17th-century Internet. Gold and silver, lead and (repeatedly) mercury or quicksilver flow in glittering patterns between centres of marketing and intrigue in England, Germany, France and Holland. Paper flows as well: stocks, shares, scams and letters holding layers of concealed code messages. Binary code? Yes, even that had already been invented and described by Francis Bacon.

Quicksilver is crammed with unexpected incidents, fascinating digressions and deep-laid plots. Who'd believe that Eliza, a Qwghlmian slave girl liberated from a Turkish harem by mad Jack Shaftoe (King of the Vagabonds) could become a major player in European finance and politics? Still less believable, but all too historically authentic, are the appalling medical procedures of the time—about which we learn a lot. There are frequent passages of high comedy, like the lengthy description of a foppish earl's costume which memorably explains that someone seemed to have been painted in glue before "shaking and rolling him in a bin containing thousands of black silk doilies".

This is a huge, exhausting read, full of rewards and quirky insights that no other author could have created. Fantastic or farcical episodes sometimes clash strangely with the deep cruelty and suffering of 17th-century realism. Recommended, though not to the faint-hearted. —David Langford

Peter F. Hamilton The term "space opera" has evolved over the decades. Originally it meant "hacky, grinding, stinking, outworn, spaceship yarn" (Wilson Tucker), but since then it has come to be (slightly) less pejorative, encompassing any sci-fi action story on an interplanetary or interstellar scale. The Reality Dysfunction rests firmly in the space- opera camp with its intense starship combat, roguish space captains and raw frontier planets, but Peter Hamilton keeps the formula fresh and up-to-date with an infusion of "modern" science fiction technology. His universe is digitally and nanotechnologically savvy, which opens up plenty of possibilities for new perils and plot twists.

It is the late 26th century and humanity's thriving culture spans 200 planets. The usual squabbles and disagreements continue, but generally everyone gets along and lives well as humanity's outward expansion continues apace. On newly colonized Lalonde, though, a strange force emerges from the jungle, lobotomizing people and turning them into super-powered soldiers. At the same time, the story of Joshua Calvert emerges. He's the young captain of a trading ship, who innocently travels to Lalonde and becomes embroiled in the mysteries there. Both threads have plenty of action and exotic scenery. Peter Hamilton's descriptive prose, particularly in action sequences, is breathtaking (and scientifically accurate), creating a dramatic backdrop for a story where the stakes keep getting higher, the villains keep growing more evil and the heroes keep surviving—but only just. Space-opera fans will enjoy this deftly written and engaging novel. Those who feel they don't like the genre might give this example a try to see just how unhacky, ungrinding, sweet-smelling, and robust it can be. —Brooks Peck

Ed Bye The third series of Red Dwarfintroduced some radical changes—all of them for the better—but the scripts remained as sharp and character-focussed as ever, making this a firm candidate for the show's best year. Gone were the dull metallic grey sets and costumes, gone too was Norman Lovett's lugubrious Holly, replaced now by comedienne Hattie Hayridge, who had previously played Hilly in the Series 2 episode "Parallel Universe". New this year were custom-made costumes, more elaborate sets, the zippy pea-green Starbug, bigger special effects and the wholly admirable Robert Llewellyn as Kryten.

The benefits of the show's changes are apparent from the outset, with the mind-bending hilarity of "Backwards", in which Kryten and Rimmer establish themselves as a forwards-talking double-act on a reverse Earth. After a modest two-hander that sees Rimmer and Lister "Marooned", comes one of the Dwarf's most beloved episodes, "Polymorph". Here is the ensemble working at its best, as each character unwittingly has their strongest emotion sucked out of them. Lister loses his fear; Cat his vanity; Kryten his reserve; and Rimmer his anger ("Chameleonic Life-Forms. No Thanks"). "Body Swap" sees Lister and Rimmer involved in a bizarre attempt to prevent the ship from self-destructing. "Timeslides" delves deep into Rimmer's psyche as the boys journey haphazardly through history. Finally, "The Last Day" shows how completely Kryten has been adopted as a crewmember, when his replacement Hudzen unexpectedly shows up.

On the DVD:Red Dwarf, Series 3two-disc set maintains the high standard of presentation and wealth of extra material established by its predecessors. Among other delights there are the usual "Smeg Ups" and deleted scenes, plus another fun commentary with the cast. There's a lengthy documentary, "All Change", specifically about Series 3, a tribute to costume designer Mel Bibby, Hattie Hayridge's convention video diary, and—most fascinating—the opportunity to watch "Backwards" played forwards, so you can finally understand what Arthur Smith's backwards-talking pub manager actually says to Rimmer and Kryten in the dressing room. —Mark Walker

Ed Bye By the end of this fourth year, Red Dwarfhad completed its metamorphosis from a modest studio-bound sitcom with a futuristic premise to a full-blown science-fiction series, complete with a relatively lavish (by BBC standards) special-effects budget, more impressive sets and more location shooting. Despite the heavier emphasis on SF, the character-based comedy remained as sharp as ever. Witness the Cat's reaction to Lister's pus-filled exploding head; Kryten's devastatingly sarcastic defence of Rimmer; or, the classic scene that opens the series, Lister teaching Kryten to lie.

In "Camille", Robert Llewellyn's real-life wife plays a female mechanoid who transforms into something else entirely, as does the episode, which by the end becomes a delightful skit on Casablanca. "DNA" comes over all SF, with lots of techno-speak about a matter transmogrifier and a RoboCophomage—but in typical Dwarffashion, turns out to be all about curry. "Justice" sees Rimmer on trial for the murder of the entire crew, while Lister attempts to evade a psychotic cyborg. Holly gets her IQ back in "White Hole", but wastes time debating bread products with the toaster. "Dimension Jump" introduces dashing doppelganger Ace Rimmer for the first time—he was to return in later series, with diminishingly funny results. Here his appearance is all the better for its apparent improbability. Finally, "Meltdown" goes on location (to a park in North London) where waxdroids of historical characters (played by a miscellaneous selection of cheesy lookalikes) are at war. Only intermittently successful, this episode is really memorable for Chris Barrie's tour-de-force performance, as Rimmer becomes a crazed, Patton-esque general.

On the DVD:Red Dwarf, Series 4, like its predecessors, comes as a two-disc set complete with full cast commentary for every episode, an extensive retrospective documentary (mostly featuring the cast reminiscing), deleted scenes and lots of other fun bits of trivia. —Mark Walker

It's brown alert time all over again for Red Dwarffans with the fifth season of the much-loved sci-fi/comedy series. Episode-wise, it's business as usual for the crew of the Red Dwarf—that is, if one considers encountering an alien squid that squirts a despair-inducing hallucinogen ("Back to Reality", later voted the best episode of the series by viewers and Stephen Hawking!), evil (and not particularly bright) versions of the crew ("Demons and Angels"), a virus that causes insanity ("Quarantine"), and a trip to a moon created entirely from the mind of the insufferable hologram Rimmer ("Terrorform") business as usual.

In short, it's six hilarious episodes, highlighted by the typically terrific writing of creators Rob Grant and Doug Naylor (who also direct two episodes). As with the previous deluxe DVD releases, Series Vfeatures a wealth of supplemental features, the most intriguing of which is a look at the failed attempt to recreate the show in America (with U.K. cast member Robert Llewellyn and Star Trek: Deep Space Nine's Terry Farrell as Cat). Also included are cast and fan commentaries, featurettes on the show's "science" and villains, special effects tests, blooper reels, and a sampling of Grant and Naylor's BBC 4 radio sketch "Dave Hollins, Space Cadet", which served as the inspiration for Red Dwarf. Dedicated DVD owners will also be rewarded by Easter eggs lurking throughout the menus. —Paul Gaita

Series 6 is possibly the most eagerly awaited of the Red DwarfDVD sets, due to its acclaimed third episode, "Gunmen of the Apocalypse", which earned the program an International Emmy Award in 1994. However, the five other episodes in the series have their own share of absurd laughs, and the two-disc set features enough supplemental features to keep even the most demanding RDfan happy. The crux of series 6 is that the Red Dwarfhas been stolen (no thanks to Lister, who can't remember where he left it), and the crew must recover it; their pursuit brings them in contact with brain-consuming aliens ("Psirens", with guest star Jenny Agutter), a polymorph that turns Rimmer and Cat into their alternate identities from Series V ("Emohawk—Polymorph II"), the Four Horsemen of the Apocalypse tricked out as gunslingers ("Gunmen of the Apocalypse"), an army of Rimmer clones ("Rimmerworld"), and finally, their own future selves, who turn out to be particularly awful (worse than the present-day ones, that is), and cause a cliffhanger ending that just might spell the end for the Red Dwarf crew.... In short, series 6 more than earns its popular status among Red Dwarf's fanbase, thanks to its sharp writing (sadly, it would be the last series to feature scripts by co-creator Rob Grant) and energetic performances. And the double-disc set matches the quality of the programs with some terrific extras, including commentaries by the RD crew and fans (the latter on "Gunmen of the Apocalypse" only), and featurettes on composer Howard Goodall and series director Andy de Emmony; these are rounded out by the usual collections of "smeg-ups" (bloopers), deleted scenes, behind-the-scenes footage, and another episode of the "Dave Hollins, Space Cadet" radio sketch that inspired the show. And again, the most patient of viewers will find Easter eggs on the menus (happy hunting). —Paul Gaita

Cordwainer Smith

Isaac Asimov

Serenityis a film that, by rights, shouldn't have been made. For starters, it's spun out of the short-lived and quickly-cancelled TV series Firefly, which has only itself got the full recognition it deserves on DVD. It then marries up two seemingly incompatible genres, the western and science fiction, has no major stars to speak of, and pretty much has `hard sell' written all over it.

Perhaps that explains its modest box office performance back in 2005. What it fails to reflect, however, is that this is one of the most energetic, downright enjoyable sci-fi flicks in some time. Not for nothing did many rate it higher than the Star Warsmovie that appeared in the same year.

It follows renegade captain Mal Reynolds and his quirkily assembled crew, as they work on the outskirts of space, trying to keep out of the way of the governing Alliance. That plan quickly changes when they take on a couple of passengers who have attracted the attention of said Alliance, and thus the scene is set for an action-packed, cleverly written movie that deserves many of the plaudits that have rightly been thrust in its direction.

What's more, Serenityworks whether you've seen the TV series that precedes it or not. Clearly fans of the Fireflyshow will be in their element, but even the casual viewer will find an immense amount to enjoy.

The only real problem is that given the film's box office returns, further adventures of Reynolds and his crew look unlikely. Unless Serenityturns into a major hit on DVD, that is. It's well worth playing your part in making that happen.—Simon Brew

Joss Whedon

Keith R.A. DeCandido

Neal Stephenson

Jon Courtenay Grimwood

Martin Wood A feature-length adventure that bases itself around the universe of Stargate SG-1, Continuum makes the most of the increased budget clearly available, and serves up a hugely enjoyable, action-packed slice of science-fiction that makes you wish they'd all hurry up and make the next instalment.

Stargate: Continuum follows on from the earlier feature-length The Ark Of Truth, and it focuses on a staple storyline of science fiction television, the alternate timeline. In this instance, it's an Earth where the Stargate simply hasn't been discovered, and nobody has any knowledge of the crew's adventures.

Wisely using this story mechanic as a basis rather than the main thrust of Stargate: Continuum, the action soon focuses on a well-realised attempt by the Ba'al to conquer Earth. It's exciting stuff, and while the credits arguably roll a little too early, it's very welcome work from the SG-1 favourites that builds up to a strong outing for all concerned. And in the midst of them is the returning Richard Dean Anderson as O'Neill, and very welcome he is too.

Stargate: Continuum makes good use of both the extended running time that a feature offers, as well as the extra resources that were clearly available in front of and behind the camera. It's inevitably going to be enjoyed most of all by SG-1's fanbase, but there's plenty in here too for the casual science-fiction enthusiast. —Jon Foster

Robert C. Cooper

Neal Stephenson

Peter F. Hamilton

John Carpenter

Marc Scott Zicree

Max Brooks

Adam Roberts

Max Brooks