A "Light Universe" and a "Dark Zone" keep good and bad apart for the characters of Lexx, even though it's often hard to tell the difference between the two in this offbeat and unique sci-fi show that delights in its own nastiness. With flashes of nudity and surgical gore, and a collection of extreme hairstyles and accents, the show's overall look is often akin to a sci-fi Eurotrash. Aboard the stolen 10-kilometre-long spaceship Lexx (designed to look like a dragonfly) are the "Dirty Three-and-a-Half": insufferable coward Stanley H. Tweedle (Brian Downey), the Edward Scissorhands clone and 2,000 years-dead Kai (Michael McManus), decapitated and lovestruck robot head 790 (voiced by writer Jeffrey Hirschfield), and the skimpily wardrobed Zev (Eva Habermann), replaced in Season Two by Xev (Xenia Seeberg). A disregard both for genre conventions and good taste makes the show a constant series of surprises: by the time of the third season, the expression "anything goes" had long passed being understatement. On this tape: Following straight on from the cliffhanger ending of "Garden", the "Battle" of the title becomes a game of strategic cat and mouse aboard squadrons of hot air balloons. This season's budget helps return the look of the show to its stunning beginnings, and in this episode there are some of the best-conceived effects shots from the entire run. In some ways it feels like plot filler when paired against the far superior "Girltown". By now it's obvious that each community on the planet Fire is a thinly veiled satire on an aspect of modern society. A splendidly theatrical cameo from Ellen Dubin as Queen allows the viewer to question feminism, bureaucracy, and why the hell Giggerota has been reincarnated to taunt poor Stan. [+]

A "Light Universe" and a "Dark Zone" keep good and bad apart for the characters of Lexx, even though it's often hard to tell the difference between the two in this offbeat and unique sci-fi show that delights in its own nastiness. With flashes of nudity and surgical gore, and a collection of extreme hairstyles and accents, the show's overall look is often akin to a sci-fi Eurotrash. Aboard the stolen 10-kilometre-long spaceship Lexx (designed to look like a dragonfly) are the "Dirty Three-and-a-Half": insufferable coward Stanley H. Tweedle (Brian Downey), the Edward Scissorhands clone and 2,000 years-dead Kai (Michael McManus), decapitated and lovestruck robot head 790 (voiced by writer Jeffrey Hirschfield), and the skimpily wardrobed Zev (Eva Habermann), replaced in Season Two by Xev (Xenia Seeberg). A disregard both for genre conventions and good taste makes the show a constant series of surprises: by the time of the third season, the expression "anything goes" had long passed being understatement. On this tape: At last all questions are answered in what might as well be a two-part finale. "The Beach" would for any other series be considered the clips show: on an idyllic yet purgatorial stretch of sand, Stan is forced to account for his life by viewing events of the past. Judged by his harshest critic-himself-he then suffers all that Prince has promised and more as the true meaning of "Heaven and Hell" is revealed. Creator Paul Donovan clearly maintained a strong hand in every aspect of this season, but in directing his own work with these last two episodes we witness a genuinely rare example of personal vision. The narrative has been consistently surprising, but the twist left for last is literally breathtaking. [+]

The second instalment of the popular Japanese anime, Bubblegum Crisis 2 contains the fourth, fifth and sixth episodes of the eight original videos. In a devastated high-tech Tokyo of a Blade Runner-ish future, four beautiful women disguised by their heavily armed exoskeletons protect society from killer androids and from an ambitious corporation that tries to take over the world, while also having complicated personal lives. The cute teenager NeNe always has a crush on someone or other; flighty Linna has to fit her superhero life into a busy social schedule; and Priss has her career as a rock singer as well as a habit of feeling emotional. Only the austere Sylia is entirely in control of her life-so much so that she needs the others for a bit of productive chaos. In the episodes included they deal with a mysterious car that is riding down motorcyclists, help a tragic android who is vampirising citizens to feed a damaged friend and cope with attempts by an evil conspirator to frame them for mass mayhem. The stories rely rather too heavily on extended sequences of fast bikes and car racing, or mechanised bodysuits and big robots tearing each other apart, but the plotting can be subtle and the emotional scenes tense and fraught. Someone trying to get a sense of anime's strengths and weaknesses could do a lot worse than start here. On the DVD: the disc is presented in a visual aspect ratio of 1. 33:1 and has a very loud Dolby Digital 2. 0 soundtrack which presents every screech of tortured metal vehemently and every pounding anthem in the slightly pompous score. [+]

A "Light Universe" and a "Dark Zone" keep good and bad apart for the characters of Lexx, even though it's often hard to tell the difference between the two in this offbeat and unique sci-fi show that delights in its own nastiness. With flashes of nudity and surgical gore, and a collection of extreme hairstyles and accents, the show's overall look is often akin to a sci-fi Eurotrash. Aboard the stolen 10-kilometre-long spaceship Lexx (designed to look like a dragonfly) are the "Dirty Three-and-a-Half": insufferable coward Stanley H. Tweedle (Brian Downey), the Edward Scissorhands clone and 2,000 years-dead Kai (Michael McManus), decapitated and lovestruck robot head 790 (voiced by writer Jeffrey Hirschfield) and the skimpily wardrobed Zev (Eva Habermann), replaced for Season Two by Xev (Xenia Seeberg). A disregard both for genre conventions and good taste makes the show a constant series of surprises: by the time of the third season, the expression "anything goes" had long passed being understatementOn this tape: We've seen Xev in the shower, Stanley without his hat, and even the inside of 790's head. So seeing Kai in the nude was only a matter of time. Lost among the schizophrenic denizens of "K-Town", Stan and Xev are eventually found by the dead assassin whose biomechanical systems are malfunctioning. It takes a shock re-appearance of season 2's Universe-destroying Mantrid to make sense of his groin-located repair mechanism. Subsequently split up, Kai suffers the red tape of petty bureaucracy in Hog Town while Stan and Xev descend 39,000 steps to the planet's "Tunnels". Stan bumps into show writer Lex Gigeroff cameoing as insane surgeon Doctor Rainbow, and escape is determined by another death and resurrection from the enigmatic Prince. [+]

"Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines-the real stars of the show-while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company. ) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. In this pod: The first 16 episodes on four VHS tapes in a special presentation box.

An international co-production of Jim Henson's Creature Shop, Australia' s Channel 9 and Hallmark Entertainment, Farscape is genre television at its most ambitious, inspired both by the cult appeal of Babylon 5 and the continuing success of the Star Trek franchise. Making extensive use of CGI, prosthetics and state-of-the-art puppetry, Farscape takes a visual leap beyond previous shows. Admittedly, the basic premise may be borrowed from Buck Rogers (American astronaut catapulted to far-flung galaxy populated by strange aliens), while the crew have something of Blake's 7 about them (a motley bunch of escaped convicts pursued by a relentless foe), and ideas like the living ship are borrowed from Babylon 5, but the Farscape concept has a freshness that makes it look and feel completely original. The production design is all bio-mechanical curves and the script never takes itself too seriously (fart jokes and double-entendres pop up when you least expect them). It must have been expensive to make, but it certainly looks (and sounds-in Dolby Digital 5. 1) like every penny made it to the screen. In true Buck Rogers style, Ben Browder plays leading man John Crichton as an all-American astronaut, although with a more believable sense of bewilderment; the supporting cast is a mixture of Australian and British actors, mostly disguised under heavy make-up. On this tape: Two more episodes from Season One: "Bone to be Wild" and "Family Ties", plus a profile of the Australian Creature Shop. -Mark Walker.

"Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines-the real stars of the show-while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company. ) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. In this pod: Episodes 17-32 on four VHS tapes in a special presentation box.

In 1987, some 20 years after the original series had ended, Star Trek: The Next Generation was launched into a decade renowned for its materialistic greed, but also for its hesitant steps towards a more unified world order. Creator Gene Roddenberry revised his vision of humanity's future accordingly, shifting the Trek timeline 80 years on and reinventing the new Starship Enterprise as an Ark-like exploration vessel full of families, schools, soothing recreational facilities and a maternally pacifying computer voice (Roddenberry's wife, Majel Barrett). The Next Generation crew were not soldiers, but scientists and diplomats. Unlike the fiercely individualistic Captain Kirk, Patrick Stewart's patrician Captain Jean-Luc Picard was a model team leader: no matter how desperate the crisis, he ensured that everyone got to sit round the Conference Room table and talk it over. And in a true late-1980s touch, a key member of the Bridge crew was psychoanalyst Counsellor Troi, always on hand to discuss everyone's feelings. Season Two saw the welcome introduction of the cybernetic horror that was the Borg. Originally a powerful symbol of technological misuse in an otherwise technologically utopian universe, ultimately their hive-like existence served to reinforce the message that everyone would be much happier as a team player. Even renegade super-entity Q (John De Lancie) relied on Picard as much as his fellow god-like playmates; Data followed Pinocchio and Spock in a quest to discard what made him an individual; and there was even an episode that rationalised why all aliens basically looked alike (we're all one big family). Even the slogan change to "Where no one has gone before" acknowledges that there's no "one" in a team. But for all its earnest political correctness and an over-reliance on "technobabble", good stories played by an appealing ensemble cast were at the heart of the show's success. [+]

Perhaps these films are like the Star Trek movies: the even-numbered episodes are the best ones. Certainly Alien Resurrection film (directed by French stylist Jean-Pierre Jeunet) is an improvement on Alien 3, with a script that breathes exciting new life into the franchise. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died in Alien 3; in doing so, however, they've mixed alien DNA with Ripley's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens-and when the multi-mouthed melonheads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. Winona Ryder is on hand as the smugglers' most unlikely crew-member (with a secret of her own), but this one is Sigourney's all the way. -Marshall Fine Alien: Resurrection, the fourth entry in the franchise, is directed by French stylist Jean-Pierre Jeunet in a much more straightforward action-adventure manner than its predecessor, the dark and confusing Alien 3. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died in Alien 3; in doing so, however, they've mixed alien DNA with Ripley's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens-and when the multi-mouthed melon heads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. [+]

Star Trek: Voyager, the first Trek spin-off to be made without any input at all from Gene Roddenberry, made its debut in 1995 and quickly established itself both as markedly different from cosmic cousin Deep Space Nine and as the successor to The Next Generation. Despite a lack of originality in its premise (Lost in Space anyone?), Voyager has been a bigger ratings success than any of its predecessors. Catapulted unwittingly to the far-flung Delta Quadrant, the crew of the Federation vessel Voyager must try somehow to get back home. The ghost of Katherine Hepburn lives on in Kate Mulgrew's forceful Captain Janeway. Until the fourth season, the fan favourite was the straight-funny man role of Robert Picardo's nameless Doctor. Then, with the brave Borg storyline "Scorpion Part 2", a serious improvement in the show's behind-the-scenes thinking introduced actress Jeri Ryan as Seven of Nine, who immediately upped sex appeal and viewing numbers. -Paul Tonks On this tape: Told in retrospect to the Borg children by Neelix, "The Haunting of Deck Twelve" involves Voyager enduring a complete power shut-down while passing through a nebula. "The Haunting" of course isn't a ghost but a non-corporeal-living-nebula-creature that manifests itself in a series of malfunctions throughout the ship. Like other "ship malfunction" stories it can't create enough drama to sustain an entire episode. "Unimatrix Zero" takes another twist on Borg individuality by creating a "dream realm" for their individual minds to inhabit when regenerating. [+]

It's worth watching in one go Alien, Aliens, Alien 3 and Alien Resurrection, here collected in one nifty box set, if only for the chance to see how different directors handle essentially the same idea. The results are decidedly mixed. Ridley Scott's Alien is the most traditional of the bunch, essentially a haunted-house picture set on a space freighter, where a monster is picking off crew members one by one. James Cameron's Aliens is the all-out adrenaline bath, a pulse-pounding action thriller from start to finish. It plays a little like a Western in outer space, where the settlers are waiting for a cavalry that never comes-and the Indians are acid-veined aliens. And David Fincher's Alien 3 is the rock-video version, in which substance and storytelling are sacrificed to editing and imagery, as the aliens attempt to take over a space penal colony. Alien Resurrection sports amusing set-design, a signature of its director Jean-Pierre Jeunet (Delicatessen), but feels too derivative of Jurassic Park in both its genetic engineering plotting and too-fluid computer-generated effects. -Marshall Fine, Amazon. com.

A "Light Universe" and a "Dark Zone" keep good and bad apart for the characters of Lexx, even though it's often hard to tell the difference between the two in this offbeat and unique sci-fi show that delights in its own nastiness. With flashes of nudity and surgical gore, and a collection of extreme hairstyles and accents, the show's overall look is often akin to a sci-fi Eurotrash. Aboard the stolen 10-kilometre-long spaceship Lexx (designed to look like a dragonfly) are the "Dirty Three-and-a-Half": insufferable coward Stanley H. Tweedle (Brian Downey), the Edward Scissorhands clone and 2,000 years-dead Kai (Michael McManus), decapitated and lovestruck robot head 790 (voiced by writer Jeffrey Hirschfield) and the skimpily wardrobed Zev (Eva Habermann), replaced for Season Two by Xev (Xenia Seeberg). A disregard both for genre conventions and good taste makes the show a constant series of surprises: by the time of the third season, the expression "anything goes" had long passed being understatement. On this tape: Stan has been endlessly teased by Xev. They got it together (in a manner of speaking) in "Love Grows", but here at last they experience the "ultimate in sexual satisfaction". Don't they? "The Key" metaphorically stands for a number of things in this ship-bound episode, which furthers the season's mystery considerably. And as if the sexual tension wasn't high enough already, the lifestyle offered Stan on the Water planet's "Garden" is all too tempting. It even causes Kai to down roots-in a soil box! The biggest lure is the return of beautiful plant gal Lyekka. [+]

One of the most popular and influential shows in the history of television, for many viewers the original Star Trek (1966-9) defines good science fiction: however much it tries to be about the future, it cannot help but reflect the values of its own time, and Star Trek's vision was very much a product of creator Gene Roddenberry's 1960s liberal-humanist idealism. Conceived at the height of the Cold War and during the escalation of the Vietnam conflict, his was a radical vision of a world where national and racial differences have been put aside and all people work together. With a policy of non-intervention in the affairs of other civilisations, and violence only as a last resort, Star Trek embodied a lost dream, a fantasy of what America could have been had John F Kennedy not been assassinated in 1963. Captain James Tiberius Kirk (William Shatner) had the middle name of a Roman emperor, but otherwise shared his initials with the late president, and both were young, good-looking, womanising, charismatic popular heroes. If Kirk didn't uphold truth, justice and the American way from the White House, a big white starship was the next best thing. There was even a Russian, Mr Chekov (Walter Koenig), on the bridge, and the show delivered network TV's first inter-racial kiss between Kirk and Uhura (Nichelle Nichols). Even though there was a white American male in control, it was still all a bit much for 1960s mainstream TV, hence the voyages of the Starship Enterprise, boldly going on its five-year mission to explore strange new worlds, only lasted three seasons and 72 episodes before being cancelled in 1969, the year man first walked on the moon. While the once-ground-breaking special effects now look routine, and the then-radical politics have now become part of the politically correct global mainstream, Star Trek retains an enduring popularity due to its strong storytelling-the show employed such top science fiction writers as Robert Bloch, Harlan Elllison, Richard Matheson, Norman Spinrad and Theodore Sturgeon-and admirable characters. Spock (Leonard Nimoy), McCoy (DeForest Kelley) and Scotty (James Doohan), Sulu (George Takei), Kirk, Chekov and Uhura remain icons for a world short of real heroes: loyal to the end, honest and utterly dedicated, these were the friends and colleagues who week after week trusted each other with their lives. Devoid of cynicism and self-interest the crew of the USS Enterprise never, ever let anyone down, and ultimately that is a very big reason for Star Trek's enduring popularity. [+]

The second instalment of the popular Japanese anime, Bubblegum Crisis 2 contains the fourth, fifth and sixth episodes of the eight original videos. In a devastated high-tech Tokyo of a Blade Runner-ish future, four beautiful women disguised by their heavily armed exoskeletons protect society from killer androids and from an ambitious corporation that tries to take over the world, while also having complicated personal lives. The cute teenager NeNe always has a crush on someone or other; flighty Linna has to fit her superhero life into a busy social schedule; and Priss has her career as a rock singer as well as a habit of feeling emotional. Only the austere Sylia is entirely in control of her life-so much so that she needs the others for a bit of productive chaos. In the episodes included they deal with a mysterious car that is riding down motorcyclists, help a tragic android who is vampirising citizens to feed a damaged friend and cope with attempts by an evil conspirator to frame them for mass mayhem. The stories rely rather too heavily on extended sequences of fast bikes and car racing, or mechanised bodysuits and big robots tearing each other apart, but the plotting can be subtle and the emotional scenes tense and fraught. Someone trying to get a sense of anime's strengths and weaknesses could do a lot worse than start here. On the DVD: the disc is presented in a visual aspect ratio of 1. 33:1 and has a very loud Dolby Digital 2. 0 soundtrack which presents every screech of tortured metal vehemently and every pounding anthem in the slightly pompous score. [+]

The second instalment of the popular Japanese anime, Bubblegum Crisis 2 contains the fourth, fifth and sixth episodes of the eight original videos. In a devastated high-tech Tokyo of a Blade Runner-ish future, four beautiful women disguised by their heavily armed exoskeletons protect society from killer androids and from an ambitious corporation that tries to take over the world, while also having complicated personal lives. The cute teenager NeNe always has a crush on someone or other; flighty Linna has to fit her superhero life into a busy social schedule; and Priss has her career as a rock singer as well as a habit of feeling emotional. Only the austere Sylia is entirely in control of her life-so much so that she needs the others for a bit of productive chaos. In the episodes included they deal with a mysterious car that is riding down motorcyclists, help a tragic android who is vampirising citizens to feed a damaged friend and cope with attempts by an evil conspirator to frame them for mass mayhem. The stories rely rather too heavily on extended sequences of fast bikes and car racing, or mechanised bodysuits and big robots tearing each other apart, but the plotting can be subtle and the emotional scenes tense and fraught. Someone trying to get a sense of anime's strengths and weaknesses could do a lot worse than start here. On the DVD: the disc is presented in a visual aspect ratio of 1. 33:1 and has a very loud Dolby Digital 2. 0 soundtrack which presents every screech of tortured metal vehemently and every pounding anthem in the slightly pompous score. [+]

"Filmed in Videcolor [explosions, drum roll, music builds to a climax] and Supermarionation"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies such as The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines-the real stars of the show-while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catchphrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company. ) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. In this box set: All 32 episodes on nine videos, plus "The Brains Behind Thunderbirds", an exclusive-to-video introduction to the series narrated by Brains himself. -Mark Walker.