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That is the bias that Age of Resistance acknowledges it’s up against—but folks, get over it. Allow this incredible production to sweep you away in an epic fantasy journey, one that is able to so much more deeply and fully explore the world Henson and Frank Oz imagined with the original film. You can liken it to Lord of the Rings or Game of Thrones or any high fantasy series you like, but after ten magical hours it truly stands on its own as a gorgeous, innovative, emotional, joyous, and exceptional wonder. If that sounds hyperbolic, it’s only because that’s exactly the kind of sincere enthusiasm the show engenders. Get past any hesitance over the puppets (which are actually outstanding, as CG is used only to smooth out backgrounds and action), turn subtitles on to help you remember all of the character names, and immerse yourself in this incredible sci-fi/fantasy world that we are so, so lucky to have.—Allison Keene

The men and women of Manifest technically don’t leave Earth’s atmosphere, but the series, which ran on NBC for three seasons before being axed and eventually saved by Netflix, is a mysterious sci-fi drama worth your time. The show follows the crew and passengers of Montego Air Flight 828, which lands safely in New York after experiencing turbulence en route from Jamaica. However, they soon find out that in the few hours they were in flight, the rest of the world aged five-and-a-half years, allowing friends and family members to mourn them and move on with their lives (as best as they can, anyway). While some might say the passengers have been given a second chance, others believe they’re meant for something greater than they ever thought possible. —Kaitlin Thomas

There may not be a bigger WTF TV show in the world than Sense8. This globe-trotting and glitzy sci-fi series, created by Lana and Lilly Wachowski (co-directors of The Matrix trilogy) and former Babylon 5 showrunner J. Michael Straczynski, drops us into a world where eight strangers in different parts of the planet are somehow psychically and emotionally linked. Through the first season’s 12 episodes—and the recent Christmas special follow this assortment of confused and beautiful people as they try to understand this connection, use their newfound abilities to help one another, and engage in not one but two blissfully queer orgies. As wacky and over-the-top as Sense8 can often get, the series remains important as it deals with issues of sexuality and gender identity through the work of trans actress Jamie Clayton and performers Miguel Silvestre and Alfonso Herrera’s portrayal of a gay couple in Mexico City. —Robert Ham

Netflix’s recent sci-fi series Altered Carbon rivals HBO’s Westworld in terms of both beautifully constructed future worlds and naked bodies that are essentially ciphers, devoid of human soul. The cyberpunk noir show follows a resistance fighter revived into a new body, or “sleeve,” centuries after his revolution has failed. To win his freedom he must solve a murder mystery for one of the super-elite ancient Meths (short for that Biblical old-timer Methuselah), who buy new cloned bodies to house their back-up personalities, housed in a data core at the base of the brain stem. The technology, which allows for resurrection of the dead and instant travel across star systems, raises questions about religion, justice and familial relationships, like when agnostic police detective Kristin Ortega brings her grandmother home in the body of a pierced, tattooed convict to celebrate All Hallows Eve—her neo-Catholic family believes a soul brought back from the dead can never rest. It’s hard sci-fi without much of a sense of humor, but the acting (Joel Kinnaman, James Purefoy, Renée Elise Goldberry), directing (Game of Thrones’ Miguel Sapochnik handles the pilot) and visual effects give the genre a claim to prestige television, and the hardboiled drama and blockbuster-worthy fight scenes have so far kept me coming back for more. —Josh Jackson

Even dashing off a synopsis of Dark, co-created by Baran bo Odar and Jantje Friese, is no simple task. The first episode opens with the promise that “everything is connected”—intoned over photographs of the same people at different ages, in different fashions, pinned to the wall of an underground fallout shelter and connected by stretches of twine—and on this, at least, the series keeps its word. In the remote outpost of Winden, Germany, in 2019, Jonas Kahnwald (Louis Hofmann), reeling from his father’s suicide and the disappearance of a high-school classmate, embarks on a search for the missing boy and becomes embroiled in a supernatural mystery, one that reaches back to 1986—six months after the Chernobyl disaster—and thence to 1953—when Winden’s own nuclear power plant, slated to go offline in 2020, is under construction. If its initial allusions—Einstein, The Matrix, A Clockwork Orange, Goethe, Back to the Future—feel as threadbare as those of Stranger Things, albeit with a certain “highbrow” gloss, Dark nonetheless succeeds in drawing one in; as with countless sci-fi, horror and crime dramas of recent vintage, it suggests the pleasures of puzzles and riddles, plopping us down in the center of its very own Carcosa and inviting us to scrabble our way out. The problem, though, is not that the series tosses these threads to the four winds and expects us to gather them together. It’s that what it delivers, when we tie it all up, has the heft of an empty package. —Matt Brennan

U.S. shows have long been a part of Netflix’s offering in foreign countries, and the streaming service has brought a handful of foreign TV shows to America. But 3% is Netflix’s first original Brazilian production. Set in a dystopian future where only 3% of the population is chosen to live in a Utopian society, while the rest of humanity struggles in destitution, the show follows a group of 20-year-old candidates competing to be among the chosen, some of whom may be part of a revolutionary group called The Cause. Part pyschological thriller, part sci-fi morality play, the eight-episode series is full of characters on both sides of the test, struggling to win a chance at a better life without abandoning their principles. —Josh Jackson

This post-apocalyptic sci-fi drama is set 97 years after a nuclear war wiped out almost all life on Earth. Survivors are living in a space station orbiting the Earth, hoping to one day return to their home. As resources on the ship become scarce and oxygen levels enter critical condition, the leadership decides to send 100 juvenile prisoners to Earth to see if the land is inhabitable. The “Lord of the Flies”-esque drama series follows these teens as they uncover surprises of what is left of mother earth. If you’re a thrill-lover, The 100 will keep you pressing “next episode.” —Jane Snyder

The degree to which Netflix’s excellent sci-fi series Travelers has continuously flown under the radar is so spooky, one might almost be convinced that psychic time travelers from a post-apocalyptic future really have been quietly taking over the bodies and lives of our friends and family at the moments of their historic death as part of a slow-growth conspiracy to prevent nuclear apocalypse, and we’re all just too wrapped up in our current cultural shitstorm to have noticed. Travelers, whose third season dropped on Friday only to be immediately drowned for oxygen by the flash of the Chilling Adventures of Sabrinaholiday special and the bang of the final season of Voltron: Legendary Defender, has been quietly compelling sci-fi storytelling since its low-key beginning, and from what I’ve treated myself to of Season Three so far, is only getting more creatively self-assured and philosophically complex as time goes on. Plus: It continues to feature a knockout performance from Patrick Gilmore as non-Traveler David Mailer, who is one of the most endearing models of television’s “new masculinity; I’ve seen in the past couple years. —Alexis Gunderson

Richard Dean Anderson was Air Force officer Jack O’Neill, leader of the Stargate team SG-1, longer than he was secret agent Angus MacGyver. Based on the 1994 film Stargate, SG-1 ran for 10 seasons (half on Showtime, half on the Sci Fi channel), delivering Showtime its biggest series premiere in 1997 for an audience of 1.5 million households. Providing scientific explanations for human mythology from the ancient Egyptians to Greek, Norse and Arthurian legends (aliens! wormholes!) wasn’t a new concept, but the show built an epic universe around the original storyline of the film. And if the Goa’uld were the Klingons of Stargate, an immediate threat of human subjugation, Season 3’s Replicators were the show’s Borg, terrifyingly powerful sentient machines capable of reprogramming matter through assimilation. But it was the team itself, Daniel Jackson (Michael Shanks), Samantha Carter (Amanda Tapping), alien Teal’c (Christopher Judge) and surly Jack O’Neill traveling through across the galaxy through ancient portals to keep Earth safe from ever-increasing threats that made Stargate SG-1 such a compelling sci-fi ride around the turn of the Millennium. —Josh Jackson

George R.R. Martin’s latest screen adaptation may not have all the incestuous complexity (or dragons) of Game of Thrones, but it’s certainly got his penchant for ruthless bloodshed. The first episode of Syfy’s Nightflyers opens with a vignette that asks, “What if The Shining went according to plan for Jack Nicholson and was also in space?” then flashes the mouth-agape audience back in time to the moment that everything begins to go wrong for the Nightflyer crew. With psychics, advanced AI and more threatening to tear the minds and bodies of the adventurers apart, making contact with alien life is the least of their problems. The show is stuffed with homages to famous horror and sci-fi, only stopping the Where’s Waldo reference game to shock and strangle your good time. It might not be the most elegant beginning to a show, but the adaptation’s certainly brutal and ballsy enough to keep an eye on. —Jacob Oller

Quantum dots are dominating the Advanced TV market by enabling brighter, more colorful, and vibrant displays. Thanks to a vibrant color palette, consumers can see cinematic worlds and games the way their creators intended them to.

After decades of difficult engineering, we have made quantum dot technology so stable that it can be ink-jet printed on self-emissive OLED panels. Samsung is investing over $11 billion in a factory that will mass-produce displays pairing quantum dots’ hyperreal color with OLED’s incredible contrast and wide-viewing angles, offering an unparalleled experience.

We are perfecting and reducing the cost for producing microLED, allowing for displays with insane brightness and resolution. With quantum dots, we will be able to produce the smallest pixels allowing for everything from gigantic video walls to the tiniest contact lens displays and augmented reality devices to become commercially accessible.

Our ultimate goal is to lower the production barrier for truly disruptive technology and to unlock the possibility of being able to print low cost, durable and flexible displays, and wrap any object, big or small. This technique will be inexpensive and available anywhere around the globe, allowing for incredible innovation across all industries including wearables, events, multimedia entertainment, architecture, and more.

The key to better eating on Mars might be a technology whose main commercial use today is enhancing the colors on television screens… In agricultural settings, quantum dots can be integrated into films that convert sunlight to orange and red light, colors that boost plants’ photosynthetic efficiency.

Advancing display quality and manufacturing techniques isn’t just about creating better TVs. We’re working on making disruptive technology accessible, bolstering innovation across a wide array of industries including consumer electronics, healthcare, and agriculture.

Warning: Same as every major and minor studio"s current anti-piracy warning screen, except both screens are separated by a black screen, and they fade in and out.

Mystery Science Theater 3000 (abbreviated as MST3K) is an American science fiction comedy film review television series created by Joel Hodgson. The show premiered on KTMA-TV (now WUCW) in Minneapolis, Minnesota, on November 24, 1988. It then moved to nationwide broadcast, first on The Comedy Channel/Comedy Central for seven seasons until its cancellation in 1996. Thereafter, it was picked up by The Sci-Fi Channel and aired for three more seasons until another cancellation in August 1999.syndication package titled The Mystery Science Theater Hour was produced in 1993 and broadcast on Comedy Central and syndicated to TV stations in 1995. In 2015, Hodgson led a crowdfunded revival of the series with 14 episodes in its eleventh season, first released on Netflix on April 14, 2017, with another six-episode season following on November 22, 2018. A second successful crowdfunding effort in 2021 will bring at least 13 additional episodes to be shown through the Gizmoplex, an online platform that Hodgson will develop for future MST3K works that launched in March 2022. As of 2022230 episodes and a feature film have been produced as well as three live tours.

At regular intervals throughout the episode, the characters leave the theater and perform sketches usually inspired by the events of the film or short being shown, frequently making use of original songs and prop comedy. Some sketches bring in new or recurring characters or other devices; the host would consult an external camera "Rocket Number Nine" to show events happening outside the Satellite, and the "Hexfield Viewscreen" would be used to communicate with other characters from the ship"s bridge. At the end of each sketch, "Movie Sign" (a reference to the concept of wormsign from Frank Herbert"s classic sci-fi novel Dune), is triggered again and the characters must re-enter the theater.

During Hodgson"s period on the show, the final sketch aboard the Satellite often included reading of fan mail from the "MST3K Info Club". Fan mail readings decreased during Mike Nelson"s tenure as host and were dropped entirely once the show moved onto the Sci-Fi Channel. The final sketch of an episode typically ends on the Mads, with the lead Mad asking their lackey to "push the button" to end the transmission and transitioning to the credit sequence. After the credits, a humorous short clip from the featured film (or the accompanying short, on occasion) is replayed as a "stinger" to end the episode.

The show staff continued to operate for as long as they still had finances to work with.MST3K"s fan base staged a write-in campaign to keep the show alive.USA Networks, to pick up the series. Rod Perth, then-president of programming for USA Networks, helped to bring the show to the Sci-Fi Channel, stating himself to be a huge fan of the show and believing that "the sci-fi genre took itself too seriously and that this show was a great way of lightening up our own presentation".

MST3K ran for three more seasons on the Sci-Fi Channel. During the Sci-Fi era, Best Brains found themselves more limited by the network: the pool of available films was smaller and they were required to use science fiction films (as per the network"s name and programming focus),MST3K fans taking contributions for a full-page ad in the trade publication

In 1993, the show"s staff selected 30 episodes to split into 60 one-hour segments for The Mystery Science Theater Hour. The repackaged series" first-run airings of these half-shows ran from November 1993 to July 1994. Reruns continued through December 1994, and it was syndicated to local stations from September 1995 to September 1996, allowing stations to run the series in a one-hour slot, or the original two hour version.MST3K returned to television for the first time in ten years in July 2014, when RetroTV began broadcasting the series on Saturday nights, with an encore on Sunday evenings.PBS member stations.Sinclair Broadcast Group and MGM"s joint venture sci-fi network Comet picked up the series for a weekly Sunday night double-run;WUCW in the Twin Cities, which had originated the series when it was KTMA-TV, carries Comet on their second subchannel, returning the series to its original home for the first time in 27 years. The show premiered on IFC on January 7, 2020.Z Living.

The first MST3K live event was held on June 5 and 6, 1989 at the Comedy Gallery in Minneapolis. Jim Mallon served as the emcee of the event that featured stand-up sets by Joel, Josh Weinstein, and Trace Beaulieu. A Q&A session about the show was conducted, and the show"s original pilot was shown. The robots and various props were on display for attendees to see.

NEW YORK (Reuters Life!) - Author William Gibson, who has spent much of his career creating fictional futures, says it’s hard to write science fiction when reality is so unbelievable.People look at computer screens inside an Internet cafe in Xining, northwestern China"s Qinghai province November 10, 2006. Author William Gibson, who has spent much of his career creating fictional futures, says it"s hard to write science fiction when reality is so unbelievable. REUTERS/Simon Zo