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Master auteur Ridley Scott promised to scare the pants off people With Alien: Covenant, his return to the beloved Alien franchise, which started in 1979 with his iconic Alien. After his polarizing 2012 prequel Prometheus, Alien: Covenant returns to the elements that captivated audiences in the original: a crew in trouble, an alpha no-nonsense female lead (this time played by Katherine Waterston) and plenty of blood-curdling aliens popping up everywhere.

There has been no lack of discussion about Netflix’s 13 Reasons Why, the series adapted by Brian Yorkey from Jay Asher’s tale of high school angst and teenage tragedy. Along with the success has come controversy about the sensitive nature of the issues touched upon in the story of Hannah Baker (Katherine Langford) and the (literal) post-mortem of her life and death.

The Guardians of The Galaxy Vol. 2 maneuvered into position as the juggernaut of spring with reported pre-sales of upwards of $150 million.

Rob and Sharon are back with their uniquely contemporary brand of romance, neurosis and romantic neuroses. Airing on Britain’s Channel Four and streaming stateside on Amazon Prime, Catastrophe brings a uniquely bi-national perspective to bear on modern adult comedy, to hilarious effect.

Adapted from the Hugo and Nebula award-winning novel by Neil Gaiman, American Gods brings to the small screen a story, which Starz hopes will connect with the legion of fans, which made up the cult following for the book. The show follows the fallen Gods who move among us as they fight for relevance in a world, which has abandoned its ancient worships for the new shiny amulets of money and technology.

As further evidence of the changing landscape of television comes The Good Fight, a spinoff/sequel to CBS’ hit The Good Wife with which creators Robert and Michelle King have found a new avenue to plumb the rich characters of the original series while the network experiments with redirecting viewers to its streaming platform CBS All Access. The new narrative revolves around a face familiar to fans: Diane Lockhart (Christine Baranski) who begins the series seemingly entering a gilded retirement, possibly in the South of France.

Enigmatic and at times cryptic, The Leftovers has rewarded loyal fans with some of the most interesting television in recent memory as it explores issues of faith, fanaticism, fatalism and Americana in one sometimes messy, thoroughly compelling package. The unique characters brought to the screen by Damon Lindelof from the pages of David Perotta’s novel of the same name have proven to be some of the most flawed and yet sympathetic to ever come to terms with a possible apocalypse in a story that deftly blends science fiction, mysticism and pop culture in a narrative which is ultimately thoroughly human.

Albert Einstein’s name has become fairly synonymous with “genius”, the elusive designation that denotes intellectual superpower. In the case of the German patent clerk who rose to become the preeminent theoretical physicist of the Twentieth Century, the aura extends to encompass creativity, contrarianism, whimsy and sheer brilliance.

The case of Henrietta Lacks and the cancer cells harvested from her biopsy, which became the source of an “immortalized” cell line used by science research labs worldwide, sits squarely at the crossroads of science, ethics and racial identity in America. For all the scientific advances that came from using the cells unbeknownst to the patient or her family, the story, first told in depth by reporter Rebecca Skloot, is emblematic of the sometimes-equivocal ethics that bind scientific research.

Margaret Atwood’s dystopian tale of life in a theocratic near-future, totalitarian America won the Arthur C. Clarke award and was nominated for a Nebula and the Booker Prize in 1986.