40 Best Science Fiction TV Shows of All Time – Rolling Stone
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40 Best Science Fiction TV Shows of All Time

From superhero shows and space operas to creepy anthology series, the greatest small-screen sci-fi of all time

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It’s odd to think that, once upon a time, a TV show set in space — one that declared, in its opening narration, as the cosmos being the “final frontier” — was considered the pop-cultural equivalent of an unwanted party-crasher. Yes, a concept like Star Trek was both of its time and clearly ahead of it; history has more than vindicated Gene Rodenberry’s notion of boldly going where no man had gone before. But given the number of top-notch shows set in the far reaches of the galaxy and that used genre for pulpy and profound purposes over the last 30 or so years, it seems crazy to think that one of the most groundbreaking SF series was a network pariah and a ratings dud. Today, there’s an entire cable network devoted to this kind of programming. You can’t turn on your TV/Roku/cut-cord viewing device without bumping into spaceships, alien invasion and wonky sci-fi food-for-thought.

Science fiction has been around in one form or another since the early-ish days of television, both here and abroad, and its legacy now looms larger than ever. So what better time to count down the 40 best sci-fi TV shows of all time? From anime classics to outer-space soap operas, spooky British anthology shows to worst-case-scenario postapocalyptic dramas, primetime pop hits to obscure but beloved cult classics, here are our choices for the best the television genre has to offer — submitted, for your approval.

40; Best; Sci-F;i TV; Shows; Star Trek; The Twilight Zone; The Flash; Max Headroom

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3

‘Battlestar Galactica’ (2004-2009)

You can't throw a remote without hitting one of TV's infinite reboots, but none has done it better than new, vastly improved BSG. Working from the original idea of humanity's last remnants seeking out a new home, (re-)creator Ronald D. Moore explored how societies are born and how they almost die, the temptations toward religious zealotry and fascism, and whether the human race was really worth saving at all. Its notorious finale polarized even diehard fans — but its turn toward mysticism was always part of the show's abiding interest in the power of faith, and even that sting has faded over time, leaving it as one of the genre's greatest accomplishments. So say we all. SA

40; Best; Sci-F;i TV; Shows; Star Trek; The Twilight Zone; The Flash; Max Headroom

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2

‘The Twilight Zone’ (1959-1964)

When Rod Serling got tired of TV networks watering down the social commentary in his scripts, he had a bright idea: to couch his politics in science-fiction scenarios. That was the original hook for The Twilight Zone, yet the reason this particular anthology series outshines all others is not because of the  metaphor-heavy moralizing in its tales of "ugly" plastic-surgery patients, living dolls and tyrannical teens who can make adults disappear. Rather, its the way the spooky premises tapped into primal fears — hey, what's that out on that plane wing?! — and how Serling’s cynical take on human nature manifested in memorably ironic twists. (Take care of your eyeglasses after the apocalypse, kids; and beware of alien cookbooks.) And what makes this show really creepy is how it suggests that ordinary American homes and workplaces can suddenly transform into something straight out of our collective nightmares. The monsters are due on Maple Street — and they are us. NM

40; Best; Sci-F;i TV; Shows; Star Trek; The Twilight Zone; The Flash; Max Headroom

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1

‘Star Trek’ (1966-1969)

Nearly every word of its opening monologue entered the popular parlance. Nearly every nuance of its actor’s performances became (in)famous. Nearly every science-fiction series to come afterwards owes it a huge debt, up to and including the oh-so-similarly titled Star Wars. Yes, Gene Roddenberry's groundbreaking show is the sun around which the entire SF genre orbits. Its yin-and-yang leads, hotheaded Captain James T. Kirk and coolly logical science officer Mr. Spock, rightfully made actors William Shatner and Leonard Nimoy icons. Its aliens and enemies — Tribbles and Klingons and Khan, oh my! — remain indelibly entertaining. And its muscular, humane cold-war liberalism still holds up, as does its New Frontier zeal for exploration and optimism. May the Starship Enterprise never stop boldly going into the hearts and minds of the sci-fi faithful. STC

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