This month, Carrie Vaughn reviews the monsters and mayhem of Colossal.

But one of the network’s strongest offerings is the ambitious post-apocalyptic epic, The 100, now in its fourth season and renewed for a fifth. You might be sick of apocalypse stories. You might not want another grim show in your nightly lineup. Maybe you have something against teen protagonists. We’re here—as two people who rarely agree on what to watch—to tell you why you need to give it a try anyway.

This month, Carrie Vaughn reviews Resident Evil: The Final Chapter, the final installment of the Resident Evil films.

The role of the fictional detective is to strike at the unknown and restore order to the universe. Someone has stolen something or killed someone or otherwise gone outside the bounds of statutory, moral, or, in some cases, natural law, and it is up to the detective to resolve the tension of this trespass.

Each season of Black Mirror is like an issue of a great science fiction magazine, particularly one with a focus on near-future tales that examine the complex, usually dark aspects of technology. Like The Twilight Zone, Black Mirror multitasks, mixing in cultural critique with its slick SFnal concepts, jaw-dropping reveals, and intriguing story structures. But whereas The Twilight Zone had a broad genre approach, Black Mirror’s is more specifically centered on futurism and information technology.

Carrie Vaughn reviews Moana, Rogue One, and Passengers.

The Inevitable Broken Heart If you’ve read the story Arrival is based on, “Story of Your Life” by Ted Chiang, you already know the alien language and you will understand everything about the movie from the first frame, you will know exactly how it’s going to unfold, and you will watch it all anyway, enthralled. […]

John Joseph Adams, Theresa Delucci, and Rajan Khanna join David Barr Kirtley in a panel discussion for The Geek’s Guide to the Galaxy to dissect and analyze the first four episodes of the new HBO show Westworld.

The real world may seem increasingly dystopian lately, but that doesn’t seem to have quenched our thirst for dystopian visions. Two current shows—one that reaches into the cinematic past, the other straight into the modern zeitgeist—are leveraging the science fictional furniture of dystopia to powerful, if decidedly different, effect.

The opening credits of Sense8 (2015, streaming on Netflix) effectively convey what sort of show it is. Images from around the world set to calm music that slowly give way to more vibrant scenes of life and love as the music increases in intensity, betraying a hint of darkness. This is the planet Earth and the people who live there, it says as it revels in their beauty.