It's one year after the events of the original motion picture. We find that Colonel O'Neill (Richard Dean Anderson replacing Kurt Russell) has retired from the military, thinking he can forget about the Stargate and those who were left behind. Events conspire to re-commission him alongside old faces and new when it's discovered there's more than one Gate in the galaxy. A lot more! Although it assumes familiarity with the preceding movie, "Children of the Gods" is still an excellent pilot show. Characters are introduced sensibly, the expanded premise is engaging, and there's clearly a healthy sense of never taking itself too seriously. -Paul Tonks The 1994 movie Stargate was originally intended as the start of a franchise, but creators Roland Emmerich and Dean Devlin were distracted celebrating their Independence Day. Episodic TV treatment was the natural next step. Replacing the Kurt Russell and James Spader roles of Colonel Jack O'Neill and Dr. Daniel Jackson respectively are Richard Dean Anderson and Michael Shanks. They are joined by Captain Samantha Carter (Amanda Tapping) and guilt-stricken former alien baddie Teal'c (Christopher Judge) to form the teacher's pet primary unit SG-1. With a seemingly endless network of Stargates found to exist on planets all across the known universe, their mission is to make first contact with as many friendly races as possible. Chasing their heels at almost every turn are the "overlord" pharaohnic Goa'uld-the ancient Egyptian Gods who are none too chummy after the events of the original film. The welcome notion of a continued plot thread sees offshoots that follow the reincarnation of Daniel's wife, Sam's father literally joining a renegade faction of the Goa'uld, and Jack in an unending quest to out-sarcasm everyone. There's something of The Time Tunnel to the show's premise, but amid a dearth of derivative look-a-likes, Stargate has held its own with stories that put the science fiction back into TV sci-fi. The episodes are not always properly sequenced on the tapes, making the order of events potentially confusing, something that ought to be taken into account when viewing. Following straight on from Vol. 10, "Politics" sees Jackson banging his head against a brick wall when Senator Kinsey (a powerful cameo from Ronnie Cox) threatens to exercise his hold over the Stargate programme. This is what's known in TV as a "clips episode", but the flashbacks are cleverly incorporated to continue building suspense toward the finale. And "Within the Serpent's Grasp" is the pay-off. The SG-1 team ignore orders and follow Jackson's warning about an attack. It's a case of out of the frying pan and into the fire however; when their disobedience leads them to the one place they really shouldn't be-aboard the lead attack ship headed to destroy Earth! -Paul Tonks.

We get an early sign that the higher echelons of the military are not so pure of thought as the SGC in "Enigma". Survivors of a volcanic eruption on planet Tollan could offer massive technological advances, but Earth's top brass only seem interested in weaponry. Then "Solitudes" ranks as amongst the very best of the series, exploring further the notion of the Gates operating like a telephone exchange. O'Neill and Carter effectively encounter an engaged signal and are deposited seemingly at random in an icy cave. The plot, Wizard of Oz banter and performances are simply outstanding. -Paul Tonks.

Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

Yet for all its constant bickering and espionage (even Bashir got to be James Bond!), there was always some contemporary social commentary lurking: the Ferengi were used as a comedic foil to frown on materialistic greed; drugs were looked at via the Jem'Hadar foot soldiers' addiction to Ketracel White. Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

It's one year after the events of the original motion picture. We find that Colonel O'Neill (Richard Dean Anderson replacing Kurt Russell) has retired from the military, thinking he can forget about the Stargate and those who were left behind. Events conspire to re-commission him alongside old faces and new when it's discovered there's more than one Gate in the galaxy. A lot more! Although it assumes familiarity with the preceding movie, "Children of the Gods" is still an excellent pilot show. Characters are introduced sensibly, the expanded premise is engaging, and there's clearly a healthy sense of never taking itself too seriously. -Paul Tonks The 1994 movie Stargate was originally intended as the start of a franchise, but creators Roland Emmerich and Dean Devlin were distracted celebrating their Independence Day. Episodic TV treatment was the natural next step. Replacing the Kurt Russell and James Spader roles of Colonel Jack O'Neill and Dr Daniel Jackson respectively are Richard Dean Anderson and Michael Shanks. They are joined by Captain Samantha Carter (Amanda Tapping) and guilt-stricken former alien baddie Teal'c (Christopher Judge) to form the teacher's pet primary unit SG-1 With a seemingly endless network of Stargates found to exist on planets all across the known universe, their mission is to make first contact with as many friendly races as possible. Chasing their heels at almost every turn are the "overlord" pharaoh-like Goa'uld-the ancient Egyptian Gods who are none too chummy after the events of the original film. The welcome notion of a continued plot thread sees offshoots that follow the reincarnation of Daniel's wife; Sam's father literally joining a renegade faction of the Goa'uld; and Jack in an unending quest to out-sarcasm everyone. There's something of The Time Tunnel to the show's premise, but amid a dearth of derivative look-a-likes, Stargate has held its own with stories that put the science fiction back into TV sci-fi. The episodes are not always properly sequenced on the tapes, making the order of events potentially confusing, something that ought to be taken into account when viewing. This volume presents another fantastic coupling of episodes. "Tin Man" sustains the most unnerving of mysteries through to the very end. The team awakes after being zapped unconscious and is reassured by crackpot scientist Harlan that they've been "improved". Exactly what he means, and why they can never go back makes this a truly thought-provoking segment. The same can be said for the alternate universe presented in "There but for the Grace of God", when Daniel's curiosity over an alien artefact presents him with a view of the explosive way things may go with the Goa'uld. This is the start of a trilogy building toward the season climax. -Paul Tonks.

Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

Yet for all its constant bickering and espionage (even Bashir got to be James Bond) there was always some contemporary social commentary lurking: the Ferengi were used as a comedic foil to frown on materialistic greed; drugs were looked at via the Jem'Hadar foot soldiers' addiction to Ketracel White. Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.