From the outset, Star Trek: Deep Space Nine was about conflict. Producers Rick Berman and Michael Piller challenged the utopian ideals of Gene Roddenberry's Star Trek universe to create something totally different from its predecessors. That meant no familial camaraderie, squeaky-clean Federation diplomacy, or beige décor. Instead they wanted inter-personal friction, ruthless enemies (Gamma Quadrant Imperialists-The Dominion) and rebellion at every turn. The DS9 concept was originally facilitated by introducing the Cardassian/Bajoran war during The Next Generation's final days. After a muted first reception fans gradually came to accept the new look, but no-one liked Star Trek without a starship and eventually the producers capitulated to viewers' wishes by introducing the USS Defiant (an apt name) in Season 3. Relying far less on technobabble than TNG, DS9 was unafraid to focus on matters of the spirit instead, demonstrating a gutsy independence from its parent shows. Taking up the gauntlet thrown down by Babylon 5, improved CGI space battles also became a fan favourite. Throughout the increasingly serialised story arc there were rebellious factions within the different establishments: Kira had belonged to the Shakaar resistance cell; The Maquis was Starfleet vs Cardassians; Section 31 was a secret Starfleet group; The True Way was a Bajoran group opposed to peace; the Cardassians had their Obsidian Order and the Romulans their Gestapo-like Tal Shiar. 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. [+]

Mad Max 2 is a strong candidate for the designation of most thrilling action movie ever made (the turbo-charged exhilaration of its full-throttle highway chases has never been equalled); the second part of George Miller's post-apocalyptic trilogy is also a magnificently imagined movie myth. Like the Star Wars trilogy (by that other George) the Mad Max films draw their inspiration from the works of mythologist Joseph Campbell. In the 1979 original, Max (Mel Gibson) is a policeman, the last guardian of civilisation and order in a devastated world reduced to chaos. But when a leather-clad gang of sadomasochistic speed demons mows down Max's family, his remaining connections to humanity are also permanently severed. After brutally exacting his revenge, Max wanders off into the wasteland alone, "a burned out shell of a man" who (to paraphrase The Searchers) is destined to wander forever between the winds. In The Road Warrior, Max rediscovers a sliver of his shattered humanity, and a spark of redemption, when he helps an embattled colony of pioneers fight off the savages who are after that most precious of all commodities: "guzzline. " Max is transformed into a legendary hero, just as Mel Gibson was catapulted to international film stardom. With its final stirring images, The Road Warrior transcends its genre (whatever that may be-science fiction? Western? action adventure?) and becomes something timeless. -Jim Emerson, Amazon. com.

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. [+]