Imagine the corridors. In 1978, construction crews at Pinewood Studios in Buckinghamshire laid steel frameworks for H.R. Giger's Nostromo — the claustrophobic dread-vessel that would terrify cinema audiences for generations. Forty-seven years later, in May 2026, a new production team arrived at those same studios to begin building the next chapter of the Alien universe. Alien: Earth Season 2 is filming at Pinewood.

The worst version of Klara and the Sun already exists. Taika Waititi made it in his head. It had dumb robot jokes. Klara — the solar-powered "Artificial Friend" at the heart of Kazuo Ishiguro's 2021 novel — was going to be funny, because Waititi is funny, and an AI written from a naïve first-person perspective is, frankly, begging for comedy. Waititi abandoned that instinct.

For seventy years, the most influential space sci-fi film ever made has never been available in its true form for home viewing. That ended on 28 September 2026. Arrow Video's Limited Edition 4K Ultra HD release of Forbidden Planet — Fred M. Wilcox's 1956 masterpiece that gave cinema both its first electronic film score and its most enduring robot — presents the film in its original 2.55:1 CinemaScope aspect ratio for the first time in home media history.

On Tuesday 6 October 2026, a studio that most space sci-fi fans had never heard of six months ago will release what is already being called the best Star Wars game in more than two decades. Star Wars: Galactic Racer, developed by Fuse Games — a British startup founded in 2023 by former lead developers from Criterion Games, the studio behind Burnout and Need for Speed: Most Wanted — has earned a Metacritic score of 88 and an OpenCritic rating of 87, making it the highest-rated Star Wars title since Knights of the Old Republic in 2003.

What happens when the most intellectually ambitious space sci-fi franchise in modern cinema opens against the most commercially dominant superhero property on the same December day? The industry has already coined a term for it: "Dunesday." On 18 December 2026, Denis Villeneuve's Dune: Part Three — the concluding chapter of a trilogy that has elevated space opera from cult niche to prestige blockbuster — will share its theatrical debut with Marvel's Avengers: Doomsday.

The corridor lights have failed. Something is moving beyond the airlock. Unfortunately, the clearest thing on your screen is your own reflection. Watching science fiction away from the living room asks a different question of technology: not simply “How powerful is it?” but “Can this small screen keep me inside the story?” Gaming adds another complication. You might want a demanding game running directly on the device, a console session streamed from home, or access to a cloud-gaming service. Those are different jobs, and they do not necessarily justify the same purchase.

The most radical idea in space sci‑fi this year isn’t a brooding AI apocalypse or a metaphysical trek across parallel universes. It’s a reality‑TV satire set in a bioengineered beauty clinic on an asteroid. When Peacock revealed on 30 September 2026 that Seth MacFarlane’s Fuzzy Door Productions was developing Future Housewives — a scripted drama following ultra‑wealthy socialites as they juggle “interplanetary scandals” in the lavish colony of New Beverly Hills — the announcement sounded like a joke.

New characters, familiar neon and another excellent opportunity to become emotionally attached to people with terrible life expectancy. Here’s why the next Cyberpunk anime matters.

Night City should come with a warning label: do not fall in love with anyone here.