The 2000s were an exceptional decade for science fiction television, a golden age for the genre much in the same vein as the 1990s. Packed with refreshingly creative ideas, cutting-edge special effects, groundbreaking serialized stories, and a shift toward more "prestige" television, the living room was the place to be for sci-fi fans during the 2000s.
Three years after James Gunn and Peter Safran took the reins of the new DCU, things are mostly firing on all cylinders. Superman proved to be the exact cinematic start the new franchise needed last year, introducing David Corenswet's Clark Kent to solid reviews and an inspiring $618.7 million. There have since been a few deviations from the original plan for the universe's first chapter, Gods and Monsters, laid out back in 2023 to capitalize on the success and work around other projects still developing. The next two years, for instance, will see the release of two projects not among the ten titles originally announced — the Mike Flanagan-penned Clayface movie in October and the Lex Luthor and Superman team-up, Man of Tomorrow, premiering next summer — alongside Supergirl and Lanterns this summer.
The thriller genre has come a long way from simply making the audience question what comes next. There’s no denying that suspense and shocking twists are still important to a great thriller story, but tension alone isn't enough. Modern thrillers are striking a chord with the audience because they aren’t afraid to explore the depths of fear, obsession, morality, and the darker sides of human nature.
Lostis a TV show that dabbles in a couple of different themes. It follows a group of plane crash survivors, each of which has their time to shine in the spotlight thanks to the use of flashback scenes. However, they island they crash land on is more than meets the eye, as they encounter things beyond human understanding. These things let the show dip its toes into both sci-fi and fantasy.
As one 97%‑rated series ends, Apple TV is enjoying the success of another. The new show couldn't be more different from the first, even though both have identical scores on the aggregator website and are fundamentally comedies. The first of these two new shows is Margo's Got Money Troubles, and together with the second, they're proving that Apple's slate of excellent content isn't limited to the sci-fi genre. Over the years, Apple has become somewhat synonymous with shows such as Severance, Foundation, Silo, and more recently, Pluribus. The streak continued on May 29 with Star City, a companion piece to the streamer's first-ever sci-fi series, For All Mankind.
George R. R. Martin, for better or worse, knows storytelling. But the man behind the biggest fantasy series in the world, a series which famously did not stick the landing in any way, shape or form, has a bone to pick with another series that once caught the imagination of the viewing public. From the very start, viewers were wowed by polar bears, smoke monsters, cursed numbers, secret bunkers, time travel, and while Martin was one of them, he had a big problem with the grand finale.
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