RED DWARF to return (again)

It's been confirmed that Red Dwarf will be returning - yet again - with new episodes in 2025. The venerable British science fiction sitcom celebrated its thirty-sixth anniversary in February and a long-running rights dispute between co-creators Rob Grant and Doug Naylor was settled last year, allowing both writers to continue working with the franchise (they worked on the show together for its first six seasons before splitting in 1993).

The new episodes will be helmed by Doug Naylor again, who has also helmed all of the episodes produced since 1993, and will take the form of a 90-minute special split into three 30-minute episodes for broadcast. With the cast now getting on a bit, there had been doubt over whether the show would return, with the 68-year-old Robert Llewellyn particularly reluctant to don the heavy prosthetics needed to play the android Kryten. But he notes that he was talked back into the role once more, for a possible last (?) hurrah.

Rob Grant has also confirmed that he is working on a new project called Red Dwarf: Titan, a prequel set before the events of the original show with Lister stuck on Saturn's titular moon when he runs into the officious Arnold J. Rimmer. The prequel explores their relationship before they wound up on the mining ship Red Dwarf and its fateful radiation leak which killed the entire crew (bar Lister). This project is being developed as both a novel and a TV show, possibly for streaming. The project may involve the original cast introducing or framing the main story, which would obviously need to be recast with younger actors. This might be a crucial moment in determining if the franchise has a long-term future. The premise (four people stuck on a spaceship three million years in the future and thousands of light-years away) does not easily allow for spin-offs, and so far the producers have resisted recasting any of the lead roles (aside from Kryten, who was played by a different actor on his very first appearance, with Llewellyn taking over for the second).

Red Dwarf originally aired six seasons on BBC2 from 1988 to 1993. Two additional seasons were produced in 1997 and 1999 before a long hiatus, caused by problems in trying to get a feature film off the ground. The show returned on comedy channel Dave for a one-off special in 2009, followed by new, full seasons in 2012, 2016 and 2017. Another special aired in 2020.

The new Red Dwarf episodes will shoot in October for transmission in 2025.

RED DWARF rights split between its original creators

In an interesting move, it's been announced that the rights to venerable British SF sitcom Red Dwarf have been split between its two creators, Rob Grant and Doug Naylor, as part of a legal agreement. This clears the way for the return of Red Dwarf to television and possibly its debut in other areas.

Red Dwarf celebrated its 35th anniversary last month. The live-action sitcom started airing in 1988 and depicted the misfortune of Dave Lister, probably the last human being alive in the universe. Lister is put into stasis as punishment for smuggling a pregnant cat aboard his mining ship, the gigantic Red Dwarf. Unfortunately, during his confinement the ship's crew are killed by a lethal radiation leak and the vessel's sentient AI, Holly, orders the ship out of the Solar system to prevent further contamination. Unfortunately, it takes three million years for the radiation to disperse and for Lister to be released safely. As well as Holly, Lister is soon joined by a holographic recreation of his dead superior officer, the mind-numbingly tedious and arrogant Arnold "Judas" Rimmer, and the last survivor of a humanoid species which evolved from his cat. Later seasons add Kryten, a service mechanoid rescued from a derelict spacecraft, and occasionally Kristine Kochanski, Lister's ex-girlfriend whom, in a parallel universe, survived instead of him.

The show aired six seasons in rapid succession from 1988 to 1993, becoming one of the biggest shows on British television. Co-creators and co-writers Grant and Naylor split up their partnership after Season 6, and Naylor returned (first with other collaborators, then solo) to produce two additional seasons in 1997 and 1999. Naylor was then side-tracked into trying to make a movie which never came to fruition, so returned with a three-part special in 2009, followed by new, full seasons in 2012, 2016 and 2017. The latest bit of Dwarf to air was a TV movie, The Promised Land, in 2020.

In 2021 it was revealed that Naylor had either been fired or forced to resign from Grant Naylor Productions, the production company he had set up with Rob Grant to produce the show. Although Grant had left in 1993, the show had continued with his permission as a co-director of the company. The reasons for Naylor's departure were disputed, with Naylor claiming he'd been forced out and Grant claiming that work had been underway on two further TV specials with Naylor slated to write. Grant subsequently confirmed that he was planning to return to the franchise to write for the first time since a 1996 spin-off novel.

Today's agreement suggests that both Naylor and Grant will proceed with different Red Dwarf projects, potentially both involving the original castmembers. The cast themselves, now all in their late fifties and sixties, have expressed doubt on how long they can keep playing their roles, leading to speculation that the future of Red Dwarf may lie in a possible reboot, maybe on a streaming service. A previous attempt to adapt Red Dwarf to the American market in 1993 resulted in two pilots which never made it to series, but the show's longevity and the increased American demand for streaming product may tempt them to revisit the idea.

Whether this means that the two previously-planned TV movies involving the original cast can now go ahead is unclear.

RED DWARF celebrates its 32nd anniversary

Red Dwarf, the greatest SF sitcom of all time, today celebrates its 32nd anniversary.

The series launched on BBC2 in the UK on 15 February 1988 and has run - somewhat intermittently - ever since. It has chalked up 12 seasons and 73 episodes in that time, a rather modest amount given its longevity, but fans have cited the show's slow rate of release as being helpful to its quality, with the writers and actors only reconvening when they feel they have some new stories to tell.

The premise of Red Dwarf is that the crew of the five-mile-long mining vessel Red Dwarf are wiped out by a lethal radiation leak. The sole survivors are Dave Lister, who had been sentenced to temporal stasis for smuggling an unquarantined cat onto the ship; the aforementioned cat, safely hiding in the cargo hold; and Holly, the ship's computer with an IQ of 6,000. Holly steers the ship out of the Solar system to avoid contamination and waits until the radiation clears...which takes three million years. Lister awakens to find himself probably the last human being alive. His companions are Holly, who has been driven slightly loopy through loneliness; a humanoid creature who is the last known survivor of a race which evolved from his cat; and a holographic recreation of Lister's pedantic and officious superior, Arnold Rimmer.

Over the course of the series, the premise remains constant but also evolves. Kryten, a service mechanoid, is rescued from a wrecked ship in Season 2 and joins the crew full-time in Season 3. In Season 7 the crew are joined by Kristine Kochanski, Lister's ex-girlfriend whom they rescue from a parallel universe (she disappears again by Season 9); whilst in Season 8 they temporarily resurrect the entire crew of the ship. The crew become more knowledgeable and skilled in space travel, but also make a number of powerful enemies, including genetically-engineered mutants and a race of killer androids.

The main reason for the show's longevity, aside from the charisma of the central cast, is that the show is a comedy which just happens to be set in an SF setting, rather than a comedy which takes the mickey out of science fiction (as all too many failed SF sitcoms do). In fact, the show has featured often cutting-edge SF ideas like nanobots, genetic engineering and black/white hole theory, sometimes taken fairly seriously (although often with amusing outcomes for the crew and the plot). The spin-off novels were particularly notable for being written just after the writers had absorbed A Brief History of Time, hence becoming the first SF novels to mix jokes about class warfare, curries and football alongside discussions of spaghettification and quantum singularities. The author of the latter, Stephen Hawking, was a huge fan of Red Dwarf.

Red Dwarf is due back on screens later this year with a 90-minute special which finally addresses arguably the show's biggest dangling plot thread, the fate of the rest of the humanoid cat species.

Here's to 32 years of adventures with the smegheads, and hopefully many more to come.

RED DWARF TV movie commissioned for 2020

A two-hour Red Dwarf TV movie has been commissioned for release in 2020.

Red Dwarf is probably the longest-running sitcom in the world, in terms of the time from its commissioning without ever being formally cancelled: it was commissioned in 1987, aired its first two seasons in 1988 and its most recent season - its twelfth - in 2017. The show has also spun off a best-selling series of novels and a huge amount of merchandise.

Co-creator Doug Naylor spent many years during the show's longest hiatus (between its eighth season in 1999 and its ninth in 2009) working on a feature-length movie version of the story, several times bringing it close to filming only for funding to disappear. It is unclear if the new film is based on the same script.

The cast's growing age and commitments to other projects (which has frequently stymied reunion plans) has led to some speculation that this movie may mark the end of the Red Dwarf saga. This remains to be seen. For now, there will be some new Red Dwarf on screen in 2020.

Gratuitous Lists: Top Ten SFF Pilots

Five years ago, I talked about the best SFF finales, the shows that stuck their landings with good, rousing endings. Even rarer than a good ending is a good pilot, a great first episode that hooks you into a show for the duration. Many shows take a good 3-4 episodes to bed in and start getting good, so shows which are on fire from the first episode are rarer, and more valuable to networks.

Here is a list of ten of the best show-openers (in no particular order). Note that I have used "pilot" to mean "the first episode of the series" rather than the technical definition (a premiere episode filmed separately to the rest of the series, not always for public consumption).

Battlestar Galactica: The Mini-Series

Aired 8-9 December 2003

Ronald D. Moore worked on the Star Trek franchise over a decade, starting on The Next Generation in 1989 and rounding off the final season of Deep Space Nine in 1999, co-writing two movies along the way. In 2000 he joined the writing team of Star Trek: Voyager in its sixth season, but quickly found his goals for the series being thwarted. He wanted to see Voyager, trapped far from home on the other side of the galaxy, taking damage and staying damaged from episode to episode. He wanted to see more consistent characterisation, the morals of Starfleet being tested in extreme circumstances. Instead the other writers and producers wanted to hit the reset button at the end of every week.

Three years later, Moore was approached by the Sci-Fi Network (now SyFy) with an intriguing offer. They'd picked up the rights to 1978 space opera Battlestar Galactica and were developing a remake project. A previous reboot attempt, with X-Men producers Bryan Singer and Tom DeSanto, had foundered in the wake of 9/11 and SyFy were now looking for a fresh take. Moore agreed to take on the project on the understanding that he wanted to make it a more gritty and adult show. Although he'd enjoyed the original show, he felt the premise had been under-valued. The destruction of twelve planets and the deaths of billions of people would have left a staggering mental scar on the survivors, not to mention raising extreme ethical concerns of how the military and civilian authorities worked together in such circumstances, not to mention the collective PTSD of having tens of thousands of people trapped in spacecraft with dwindling supplies for months or years on end.

The result was a mini-series, aired on SyFy and then NBC in 2003, which served as a backdoor pilot for a series proper. And it'd be fair to say that Moore and his team knocked it out of the park. The second the mini-series opens it feels different. Director Michael Rymer created a shaky, immediate style of shooting that put the viewer in the heart of the action. Composer Richard Gibbs used a drums-heavy sound to create a very different, military-feeling soundtrack. The actors, a mix of newcomers like Jamie Bamber and Katee Sackhoff and industry veterans like Edward James Olmos and Mary McDonnell, are uniformly excellent. The visual effects by CG studio Zoic are (still) amazing. Over the course of a generous three hours, the mini-series builds the world of the Twelve Colonies and then tears it down, leaving the bewildered survivors to try to escape and build a new life for themselves.

It's not the series at its best - the first episode of Season 1 and thus the next episode after this, 33, may hold that honour - but it does set up the show well and leave you wanting to watch more.

Blake's 7: The Way Back

Aired 2 January 1978

In the late 1970s, veteran TV writer Terry Nation was called in to a meeting at the BBC to discuss creating a new show. A respected writer with a huge amount of experience in the industry, he was still best-known for creating the Daleks for Doctor Who fifteen years earlier, and the BBC were hoping to tap that magic again. Nation had several ideas for crime dramas and other ideas, but the executives he was talking to seemed underwhelmed. Improvising on the spot, Nation suggested a dystopian space opera, with a band of malcontents and criminals reluctantly joining forces to escape a tyrannical government. He left with a commission to write a pilot.

Blake's 7 was developed as a conscious riposte to the relentless optimism of Star Trek; the symbol of the despotic Terran Federation is that of Star Trek's Federation but turned to the extreme right. Nation decided he didn't want to write a children's show, and instead wrote an adult, tough and at times brutal pilot script in which engineer Roj Blake is taken to a clandestine meeting of rebels against the government and learns that he was once a respected military leader, captured by the Federation and mind-wiped to be turned into a model citizen. Blake is horrified and suffers a mild mental breakdown as his real memories come flooding back. His new associates are killed in a massacre and Blake finds himself on trial on trumped-up charges of child molestation. His lawyers discover the truth and embark on a quest to clear Blake's name...with invariably fatal results. Only at the end of the episode does Blake meet some of his other soon-to-be fellow shipmates (Jenna and Vila; Avon doesn't appear until the second episode), as he is carried away from Earth on a transport, vowing to return to destroy the government.

The Way Back is uncompromising and quite astonishingly cynical, landing in tone somewhere between Nineteen Eighty-Four, The Prisoner and a waking nightmare, and light-years from the cowboy theatrics of the then recently-released movie Star Wars. It has money problems - Blake's 7 was commissioned as a replacement for contemporary crime drama Softly Softly: Task Force and given the exact same budget! - but these are mostly overcome by cunning use of industrial wastelands and locations as sets and some quite excellent model work. What remains overwhelmingly impressive is the bleak atmosphere and superb acting, particularly from Gareth Thomas as Blake. Not just a great pilot episode, this is one of the best episodes of the entire series.

Doctor Who: An Unearthly Child

Aired 23 November 1963

The day after the assassination of President John F. Kennedy, the BBC started broadcasting a very unusual drama series. Commissioned as a stopgap between the Saturday sports coverage and an evening pop music show, Doctor Who was a show that combined elements of historical drama, science fiction and educational show. Its long list of creators (Sydney Newman, Anthony Coburn, C.E. Webber, Donald Wilson, Verity Lambert and David Whittaker all played a role in development) shows it was a tough concept to translate to screen, but eventually they succeeded and filmed a pilot episode.

Unfortunately, the pilot episode was a failure. The direction was off, the actors fluffed their lines several times and bits of the set broke off during filming. Unusually (because of the considerable expense), the BBC took the step of mounting a full re-shoot of the pilot, along with a partial rewrite of the script to make the characters more relatable. This time, the team hit it out of the park, crafting a remarkable 25-minute science fiction mystery series that would ultimately launch a franchise that would run for fifty-six years (and counting).

An Unearthly Child sees Coal Hill School teachers Ian Chesterton and Barbara Wright becoming concerned about the welfare of one of their students, Susan Foreman, who is quite astonishingly bright and intelligent about somethings (like science and maths) but astoundingly ignorant about others. They are bewildered to discover that she lives with her grandfather in what appears to be a junkyard. Her grandfather, who answers only to the title "Doctor," tries to escape their attention by taking refuge in a police telephone box, but the teachers follow him inside only to discover it is in fact a camouflaged space/time machine, a TARDIS. Shenanigans ensure in which they also learn that both the Doctor and Susan are aliens, exiles from another world, before the TARDIS malfunctions and carries them away from Earth, beginning an adventure that will last a long, long time.

The first episode of Doctor Who has many of the ingredients of later episodes, including a mystery and dramatic revelations, but this time they're about the Doctor himself. This was the first time people had encountered the character, or the TARDIS, and in many cases the very idea of time travel. With some impressive sets (by 1963 BBC standards), good writing and an off-beat atmosphere, not to mention a superlative performance by William Hartnell (the Doctor), which is somewhere between stern and outright threatening, An Unearthly Child sets the scene for all that has followed since.

The Expanse: Dulcinea

Aired 23 November 2015

Bringing James S.A. Corey's series of space opera novels to the screen was always going to be a big challenge, but it's one that the team at Alcon Entertainment rose to with a relish. Dulcinea introduces the setting of the 23rd Century Solar system as vividly as Ron Moore introduced the world of the Twelve Colonies in Battlestar Galactica a dozen years earlier. The attention to detail is amazing, from the lighter gravity in the asteroid settlements to the way the crewmembers of ships not under thrust have to float in zero-g. More important are the actors, with Thomas Jane as a world-weary detective and Steven Strait as the idealistic would-be hero who puts his life (and those of others) on the line to do what he considers to be right.

The result is a vivid and immediately-impactful vision of the future, and a show that starts already in fifth gear and only accelerates from there. Stunning visuals (the effects team on the show deserve all the plaudits for their clear, detailed style, and to be frank the guys creating the murky, often barely-discernible CG on Star Trek: Discovery could learn a lot from them), some excellent music and some terrific directing (the opening imagery of Julie Mao on her terror-stricken ship is now iconic) help propel the story onwards.

The Expanse is the best space opera show since - and possibly including - Battlestar Galactica and this first episode is an important part of the reason why. Remember the Cant!

Firefly: Serenity

Aired 20 December 2002

Serenity was the first episode of Firefly to be written and shot, but it was not the first to be broadcast: Fox felt the episode was low on action and pace, so they ordered Joss Whedon to create a punchier opening (resulting in The Train Job) and moved this premiere to later in the run. Of course, as this episode was the one that established what the hell was going on and introduced the characters and premise, this didn't do much but leave viewers extremely confused and switching off in their droves, leading a few weeks later to the show's cancellation.

This was a huge shame (understatement) as Serenity - not to be confused with the movie of the same name - is a splendid pilot, the best Joss Whedon has ever written. It sets up both the world and the worldview of its characters, introduces a relatively large cast and establishes a significant mystery that will run across the season. It also has to tell rollicking good story in its own right, which it does with enviable skill.

Whilst it's hard to pinpoint one reason why Firefly failed, taking it's excellent opening two hours and burying them at the end of the first season probably had a key role to play.

Lost: Pilot

Aired 22 September 2004

Costing almost $15 million, the pilot episode to Lost is still the most expensive TV pilot ever filmed. To sell the crash-landing of Oceanic Flight 815 on a remote island in the South Pacific, ABC shipped a broken-up Lockheed L-1011 to Hawaii, scattered bits of it along a beach and then, after several weeks of shooting, had to carefully remove it again. It was absurdly indulgent, but every second of the expense ends up on screen, resulting in a scene of chaos, explosions and people trying to save one another that grabbed the audience and didn't let up.

J.J. Abrams and Damon Lindelof's script is intriguing, setting up no less than fourteen regular characters (and several more recurring) and establishing almost all of them with some interesting character work before later episodes would do the heavy lifting of fleshing them all out via flashbacks. Excellent acting and fantastic location shooting in Hawaii added up to that rarest of things, a network TV show that looked as expensive as premium cable.

Lost's pilot shows the value of starting your show with a bang, grabbing the audience's attention, and then not letting it go.

Mr. Robot: eps1.0_hellofriend.mov

Aired 24 June 2015

Mr. Robot began life as a movie script by Sam Ismail which he developed for some time before realising that the story was too big and the characters bursting past the page count, demanding more material. Ismail reframed the two-hour movie as a ten-hour season of television, with the pilot expanding from the first thirty pages of the script.

Mr. Robot's pilot is remarkable, an intense drama blending psychology, hacking, cyberthriller and drama. Rami Malek is perfectly cast as Eliot Alderson, a man suffering from depression and loneliness who relates to people by hacking them online, even his therapist. In doing so he finds out secrets about them that they don't even know, and is able to influence their lives without them ever knowing.

Mr. Robot's pilot also has unusual rewatch value. You can watch it on the surface as the technothriller it comes across as, but after watching Season 1 you can go back with fresh information and see all the events again in a different light. A remarkable opening episode to a very unique-feeling series.

Red Dwarf: The End

Aired 15 February 1988

"Everybody's dead, Dave." The very first episode of Red Dwarf sets up a very strong premise, with Dave Lister, the lowest-ranking crewmember on the five-mile-long mining ship Red Dwarf (because the service robots have a better union than the human maintenance crew), being sentenced to spend the rest of the mission in temporal stasis after smuggling an unquarantined cat on board. This proves unexpectedly helpful when the crew is wiped out by a lethal radiation leak. Holly, the ship's AI (IQ 6,000, "the same as 12,000 traffic wardens"), steers the ship into deep space and waits for the radiation to die down to a safe background level...which takes 3 million years.

Emerging from stasis, Lister discovers his only company is the now-senile Holly, a humanoid lifeform who descended from his pregnant cat and a holographic recreation of Lister's commanding office, the painfully officious and unpleasant Arnold J. Rimmer.

It's a great premise which gets the show off to a good start (arguably the second episode, Future Echoes, is also required viewing as it sets up how the show can move beyond its limited premise), showcases the amazing cast and features some good gags. A 31-year (and counting) journey started here.

Star Trek: Deep Space Nine: Emissary

Aired 3 January 1993

Deep Space Nine is almost certainly the finest Star Trek television series for myriad reasons, from its greater levels of serialisation to its intricate character arcs to its refusal to push the reset button at the end of each episode, but one that is oft-overlooked is the fact that it has the best opening episode in the entire franchise.

The Cage was so esoteric and weird that it put the broadcasters off and nearly killed the original Star Trek, before it came back with the (somewhat) stronger and mostly-recast second pilot Where No Man Has Gone Before; the broadcasters were still unconvinced and ended up dropping in a random early Season 1 episode to kick things off instead. Star Trek: The Next Generation's Encounter at Farpoint was intriguing but clumsily-written, with the characters pale shadows of their later, more fleshed-out incarnations. Voyager's Caretaker was only okay, and Enterprise's Broken Bow started off well by promising a more low-tech approach to Star Trek that it had pretty much broken by the end of the pilot. Discovery took arguably three whole episodes to even finish off setting up its basic premise.

Emissary, though, is a much more successful episode. It opens with a literal bang, with producer Michael Piller finally apologising to fans for having to wimp out on showing the Battle of Wolf 359 from The Next Generation's Borg epic The Best of Both Worlds three years earlier (due to cost). An epic flashback depicts the desperate struggle as the Borg cut through a Starfleet armada of forty starships with contemptuous ease, Commander Ben Sisko losing his wife in the process.

The rest of the episode is fascinating. The Cardassians have withdraw their occupation force from the planet Bajor after forty years of brutal conquest, leaving massive religious and social upheavals in their wake. The Federation has stepped in to help the transition and run an orbiting Cardassian space station, but to the surprise of the Starfleet personnel, they find a hostile reception among those Bajorans who fear they've swapped one oppressor for another. It's all rather messy and a big departure from The Next Generation, where everyone is so civilised and reasonable and solves problems over cups of (Earl Grey, hot) tea and sessions with the ship's counsellor. The fact that the main cast includes a significant number of both Starfleet and non-Starfleet personnel (a first and, to date, last for the franchise) allows for more character and cultural conflict than we'd previously seen on Trek, and fuelled seven full (and mostly excellent) seasons of stories.

The Walking Dead: Days Gone Bye

Aired 31 October 2010

The Walking Dead has become such a divisive and polarising show, that it's easy to forget how well-received the first episode (and most of the first season) was. Directed by Frank Darabont (that's Mr. Shawshank Redemption to you and me), the opening episode is a masterclass in slowly building tension and character interplay, particularly the exchanges between Rick and Morgan (so effective that Morgan would return to the series years later by popular fan demand).

The visuals are striking throughout, particularly the closing images of Rick riding a horse into an eerily deserted Atlanta, only to be attacked by a vast horde of walkers and forced to take refuge in a tank. It's rare to see a pilot given this level of production value, scripting and direction, and a genuine pleasure to watch.

Of course, Darabont would be forced off The Walking Dead in -contentious circumstances a year later (with litigation still continuing today), and The Walking Dead would go through so many showrunners, writing staffs and contortions of premise that the show today barely resembles how it started, but this opener remains excellent and compelling viewing.


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BBC to release RED DWARF and DOCTOR WHO in HD

In an interesting move, the BBC has confirmed they are releasing Doctor Who and Red Dwarf on Blu-Ray in high definition...despite the original shows being shot natively on video, which should make such a process impossible.

Backing up and as previously discussed at length in our HD remastering discussions for Buffy the Vampire Slayer, The Wire, The X-Files and the proposed (and unlikely-to-happen) Babylon 5 remastering, it has been possible for various TV shows to be natively remastered in HD or even 4K because they were shot on film. Film retains a huge amount of information (as it's also what was used for movies, projected onto massive cinema screens) so getting a very high quality image from the original film source is a relatively straightforward process.

The complicating factor in most American TV shows is that, although shot on film, they were mastered (that is, having music, sound effects and visual effects added) on much lower-quality videotape, which is where the broadcast version of the episode exists. Videotape is impossible to remaster, because the extra visual information simply doesn't exist in the image. If you tried, the image would just come up very blurry with large and visible pixels. So, for shows like Star Trek: The Next Generation, the remastering team had to go back and re-edit every single episode together from scratch, re-add the music and sound effects and redo all of the visual effects from scratch in HD. This was both time-consuming and very expensive.

In case of British television shows which were shot on video - i.e. they never existed on film at all - it was assumed that they would simply never be remastered and would have to remain in standard definition forever. There has been some talk of advanced extrapolation - scanning the original material, blowing it up to HD and then filling in the pixels dynamically with an advanced algorithm - but this appears to be many years away still.

These new Blu-Ray editions appear instead to be "upscales", an attempt to make the episodes appear to be HD through a more primitive process of adding more pixels to the screen. It can be a very variable process, sometimes surprisingly effective and other times disastrous. I'd wait for reviews before seeing how well the upscale has been done.

In the case of Doctor Who, it appears that so far only a "test run" is being done with Season 12, the first season to star Tom Baker as the Fourth Doctor. Originally broadcast from 1974 to 1975, this season was chosen as it features the most popular Doctor and features arguably two of the greatest Doctor Who stories of all time, The Ark in Space and Genesis of the Daleks. The Blu-Ray will also have lots of new special features, including a brand-new retrospective by Tom Baker on his time as the Doctor. It will be released on 11 June 2018.

Red Dwarf's release is much more confident, with Seasons 1-8 being released in a single box set in one go. This will be released on 1 October 2018.

Gratuitous Lists: The Ten Best RED DWARF Episodes

In honour of Red Dwarf's thirtieth anniversary today, it's time to take a look at the ten best episodes of the show's run.

The stories are not presented in quality order because at this level, there's not much between these episodes. This is the show firing at its very best and frankly all of these episodes are worth watching.

The End

Season 1, Episode 1

"Everybody's dead, Dave." The very first episode of Red Dwarf sets up a very strong premise, with Dave Lister, the lowest-ranking crewmember on the five-mile-long mining ship Red Dwarf (because the service robots have a better union than the human maintenance crew), being sentenced to spend the rest of the mission in temporal stasis after smuggling an unquarantined cat on board. This proves unexpectedly helpful when the crew is wiped out by a lethal radiation leak. Holly, the ship's AI (IQ 6,000, "the same as 12,000 traffic wardens"), steers the ship into deep space and waits for the radiation to die down to a safe background level...which takes 3 million years.

Emerging from stasis, Lister discovers his only company is the now-senile Holly, a humanoid lifeform who descended from his pregnant cat and a holographic recreation of Lister's commanding office, the painfully officious and unpleasant Arnold J. Rimmer.

It's a great premise which gets the show off to a good start (arguably the second episode, Future Echoes, is also required viewing as it sets up how the show can move beyond its limited premise), showcases the amazing cast and features some good gags. It all started here, and it's startling to think how far it would come.

Better Than Life

Season 2, Episode 2
Red Dwarf started off being quite claustrophobic, but in Season 2 the writers started finding ways of getting the crew off their miserably grey spaceship. In Better Than Life the crew get hooked into a video game designed to give them their fantasies. Unfortunately, the game is not prepared for the invasion of Rimmer's self-loathing, disturbingly twisted psyche which sets about sabotaging the game for everyone else with wild abandon. The result is an escalating series of catastrophes in the game as Rimmer's subconscious sets about destroying anything that threatens to make him or his friends happy. It's both extremely funny and also desperately sad and twisted as we realise for the first time that Rimmer has deep-seated reasons for being such an unpleasant man, which the series soon starts mining for great material.

Meltdown

Season 4, Episode 6

Red Dwarf is at its best when mixing pathos and comedy, mining the characters to produce funny material. But sometimes the show just likes to kick back and be absolutely daft with a high concept, in this case ripping the mickey out of the movie Westworld. This episode is definitely in that category. The crew arrive on "Waxworld", a theme park planet inhabited by wax-droids who are supposed to act out historical scenes for the edification of visitors. Unfortunately the droids have gone a bit insane over the last million years or so, and are now trapped into fighting a horrendous war based on their characters' programming.

Or, to put it another way, the episode features the crew teaming up with the unlikeliest band of heroes in history, consisting of Pythagoras ("Alas our numbers do not reach twenty-one; at least then we could form an equilateral triangle,"), Santa, Stan Laurel, Marilyn Monroe, Sergeant Elvis Presley, Gandhi ("DON'T EYEBALL ME GANDHI! Drop to your knees and give me fifty, now!"), Mother Theresa and Queen Victoria. Their enemies are the ultimate team-up of evil and depravity: Adolf Hitler, Rasputin, Emperor Caligula ("Bring hither the swimsuit with the bottom cut out and unleash the rampant wildebeest!"), Al Capone, Richard III and James Last. Inspired by the martyrdom of Winnie the Pooh, the good guys have to fight one last battle to gain victory. Which would be more hopeful if some idiot hadn't put Rimmer in charge of military strategy.

Kryten

Season 2, Episode 1 
The second season of Red Dwarf immediately opens up the world of the series, introducing the character of Kryten, a service mechanoid suffering from neuroses and an obsession with cleaning. For this first appearance, the character is played by David Ross rather than Robert Llewellyn (who took over when the character was made a regular in Season 3), but Ross nails the character's tics very well. The episode works so well because it gets up our heroes hopes - Kryten reports that the all-female crew of his starship, the Nova 5, are still alive which turns out to be a slight exaggeration - and then shatters them before delving into both Kryten's character and also the worst excesses of Rimmer at his most obnoxious. The "Kryten's rebellion" scene, where Kryten suddenly starts channelling Marlon Brando, remains excellent.

Back to Reality

Season 5, Episode 6

When Season 5 of Red Dwarf aired back in 1992, the production team let it slip that negotiations for a sixth season had become complicated and the show might end forever. This made the final episode's conceit - that the last four years have been part of a VR game played by four people desperately trying to escape a dystopian cyberpunk future of total law enforcement - a little more disturbing as it could possibly have been true. The episode leans into genuine dramatic moments surprisingly well before bringing things around for an uproariously hilarious finale in which the crew engage in an epic car chase whilst being pursued by rocket launcher-wielding motorcyclists and helicopter gunships...all of which happens conveniently (for the sake of the budget) offscreen. This episode also introduces us to the crew's alternate-reality alter-egos, most memorably Duane Dibley (the Cat's thermos-wielding, sandal-wearing alter-ego) and "Jake Bullet, Cybernautics! (traffic control)".

Quarantine

Season 5, Episode 4
Given that, for most of its run, Red Dwarf has an all-male cast, it's interesting when the show spotlights this fact. Quarantine forces the Cat, Kryten and Lister into living in the same room for a week. At first this seems fine as they hang out all the time anyway, but the inability to leave the room for a break soon pushes them past breaking point. The examination of not-always-healthy male friendships is interesting but not allowed to interfere with the comedy, which kicks in a notch when we are introduced to Mr. Flibble, the universe's most psychotic laser-wielding penguin.

Gunmen of the Apocalypse

Season 6, Episode 3
Did you know that Red Dwarf won an Emmy Award? It did, an International Emmy in 1994, for this episode. Gunmen of the Apocalypse was filmed on location in a replica Wild West town erected in, er, Kent and it's clear that both the writers and actors fell in love with the concept. The episode sees the Wild West town stand in as the personification of Kryten's mind as it is invaded by a computer virus. The crew take on new personas thanks to a VR game and enter his mind to fight the virus, which takes the form of the Four Horsemen of the Apocalypse, here re-conceptualised as Wild West gunfighters.

The whole thing is massively high concept but works well, with some fantastic lines, comic timing and possibly the best musical score ever written for the series.

Thanks for the Memory

Season 2, Episode 3
Thanks for the Memory may be the most melancholy episode of Red Dwarf ever made. Feeling sorry for Rimmer on the anniversary of his death, after Rimmer drunkenly confesses he's never been in love, Lister decides to gift him the memory of the love of his life. It's an act of kindness which, of course, backfires.

The episode works because it has a central, genuinely SF idea that is explored in an interesting manner (namely memory transferal and the question of whether memories are what defines us, recently the focus of Altered Carbon) and the story explores the characters of both Lister and Rimmer in intelligence and depth. A criticism of the series is that the writers found Rimmer such a rich source of humour and story that they sometimes left the other characters out in the cold, including our ostensible hero Lister, but this episode works well in telling us more about Lister and the mistakes he's made in his own life. The result is one of Red Dwarf's finest hours, being emotionally affecting as well as very funny.

Marooned

Season 3, Episode 2

With the third season of Red Dwarf running rather expensive, Doug Naylor and Rob Grant decided to write a tight bottle-episode focusing on Lister and Rimmer after their ship, Starbug, crash-lands on an ice moon. With supplies running low (Lister being forced to choose between a Pot Noodle and a tin of dog food and is genuinely wracked by the decision), the two are forced to resort to desperate measures to survive. We learn more about the two characters than ever before and the episode is unusual in making Lister a bit more at fault than Rimmer. Rimmer is also shown for the first time to have a laudable sense of honour (even if it takes a lot to kick it into action).

Marooned is hilarious and Barrie and Charles have often mooted taking it on the road as a two-man play. Possibly Red Dwarf's best-written half-hour and an unmissable episode.

Polymorph

Season 3, Episode 3

One of Red Dwarf's strictest rules is that there are no aliens. Everything that appears in the show has to be human or made by humans. That means no ravaging monsters. Or at least it didn't, until the writers hit on the idea of GELFs (Genetically-Engineered Life Forms), human-created creatures which, invariably, had broken free of human control and turned in to raging maniacs. The shapeshifting polymorph, which also drains subjects of their negative emotions (turning Lister into a homicidal maniac, Cat into a bum and Rimmer into a vegan hipster) is the finest of these creatures. The crew set out to take on the creature in a mickey-take of Aliens that works fantastically well, resulting in some of the show's finest sight gags. This isn't Red Dwarf at its cleverest or deepest, but it may at it's just laugh-out-loud funniest.

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Happy 30th Birthday, RED DWARF!

Today marks the 30th anniversary of the airing of the very first episode of Red Dwarf, the world's longest-running science fiction comedy show. Set 3 million years in the future, Red Dwarf is the story of the last known human being alive, Dave Lister, a slovenly bum, and his friends and allies (and the officious, arrogant and borderline insane Arnold Rimmer, Lister's nemesis) as they explore deep space and occasionally try to get home.

Red Dwarf was created by writers Rob Grant and Doug Naylor in the mid-1980s. Grant and Naylor had been writing together for years, working as writers on satirical puppet show Spitting Image and on radio shows such as Son of Cliche. On Son of Cliche they created a character named "Dave Hollins, Space Cadet", an Earthman who gets stuck millions of years in the future with only a senile computer for company. They developed and expanded the concept, re-titling it Red Dwarf, and trying to sell it to the BBC or Channel 4.

They initially had a cool reception: the BBC was trying to shut down Doctor Who, feeling the show had run its course (they succeeded, if only temporarily, in 1989), and was fiercely resisting making another SF show. There wasn't much interest from other quarters. The show was only finally greenlit after influential producer Paul Jackson - who had produced the massive hit shows The Two Ronnies, Three of a Kind and The Young Ones - took on the project and championed it.

Despite this success, the show was assigned a tiny budget that badly affected Grant and Naylor's casting choices. They'd originally wanted Alfred Molina to play Lister and Alan Rickman Rimmer, but with less money to hand they settled on "punk poet" Craig Charles and one of their voiceover funnymen from Spitting Image, Chris Barrie. Dancer Danny John-Jules and stand-up comedian Norman Lovett completed the cast, place a humanoid descended from Lister's pet cat and the ship's super-advanced AI Holly, respectively. Given their original casting choices had all been white, Naylor and Grant had ended up with a cast that was 50% black, which came in for some bizarre criticism in the British press at the time. The show also had no regular female characters, although this was the point: later episodes established that the absence of any women on board would contribute to the crew's growing list of neuroses and bizarre tics. The show wouldn't gain a recurring female character until Season 3, when Hattie Hayridge took over from Norman Lovett as Holly (who could change his/her appearance at will), and then the addition of Chloe Annett as Kochanski in Seasons 7 and 8.

Red Dwarf debuted on 15 February 1988 to largely indifferent ratings, but a surprisingly strong critical response. In fact, the first episode of Red Dwarf - the ironically titled The End - attracted the highest Audience Appreciation Index response since the Queen's Coronation in 1952! The rest of the first season was patchy, with the terrible budget and awful sets letting the show down even when the gags were pretty funny.

The cast of Red Dwarf in the first episode, which aired thirty years ago today: Danny John-Jules as Cat, Chris Barrie as Rimmer and Craig Charles as Lister.

Season 2 followed later the same year, and saw a slight budget increase that allowed for location filming and some pretty good model work. Grant and Naylor also adjusted their writing style. Having been influenced by Alien and Silent Running, they liked the idea of nailing the isolation of the characters. They built episodes around the idea of loneliness and also around Rimmer's tragic backstory (which they were careful to ensure made the character more understandable, not magically more likeable). The second season was vastly superior to the first and ensured that a third season was commissioned. Naylor and Grant took more direct control as producers and were able to assign the budget more carefully, making it look like the series had been given a much bigger budget increase between seasons than was really the case. Season 3 had a faster pace, more location shooting, more elaborate visual effects, all-new sets and the addition of a new character, service mechanoid Kryten, played with scene-stealing relish by Robert Llewellyn.

It was at this point that Red Dwarf became a breakout, smash-hit success. Seasons 3-6 (airing from 1990 to 1993) saw a very high, consistent run of quality, with some remarkable effects and character work. The show benefited from Naylor's decision to include more actual science in the show, with it riffing on quantum science, nanotechnology, artificial intelligence, virtual reality, parallel universes, alternate timelines and other cutting-edge ideas. Ratings were huge, breaking records for a show airing on BBC-2, and the critical acclaim was immense. Grant and Naylor co-wrote two bestselling novels based on the series, Infinity Welcomes Careful Drivers and Better Than Life, and discussions over a feature film began. The show's future appeared bright.

Then the show was rocked by two major problems. First off, Craig Charles was arrested on serious criminal charges. Although these charges were later dropped and he was fully exonerated, they took over three years to fully resolve. During this time Rob Grant also quit the show. He felt that the potential of the premise had been exhausted and he wanted to try other projects, including writing novels. Doug Naylor was left to take the reigns himself. With Charles's problems resolved, Seasons 7 and 8 were finally shot and aired in 1997 and 1999. Season 8 won the show's highest ratings of all time, smashing BBC-2's highest ratings recorded up to that time. However, Seasons 7 and 8 only got a lacklustre critical reception, with many viewers feeling that the show had run out of ideas and was badly missing Grant's input, who was much better at character whilst Naylor was more the ideas man.

Then the show disappeared for eleven years.

Chris Barrie as Rimmer, Craig Charles as Lister, Robert Llewellyn as Kryten and Danny John-Jules as Cat in Red Dwarf XII, which aired in 2017.

Doug Naylor had made a decision that Red Dwarf belonged on the big screen and dedicated the next decade of his life trying to get the show into cinemas. Scripts were written and rewritten, investors were lined up (only to pull out). Several times the film got within weeks of entering production only to fall apart at the last minute. Frustrated and annoyed, Naylor finally got the show back on the air in 2009, writing and producing a three-part mini-series for the BBC-owned cable channel Dave called Back to Earth (since retconned as Season 9). It was not well-received, but did get enormous ratings. These paved the way for a return of the series in full, resulting in Seasons 10 (2012), 11 (2016) and 12 (2017), all of which had a positive critical reception, as well as setting records for the Dave cable channel. A thirteenth season is now in the planning stages.

Red Dwarf's appeal has largely been down to the everyman factor, putting blue-collar workers in space who don't know anything about quantum entanglement or slipstream drives, they're just there to keep things ticking over. The show also mixes quite advanced gags about science with very basic gags about bodily secretions, as well punching a hole through the po-faced nature of science fiction. Kryten's quest to become human and learning about human concepts is treated dubiously by the rest of the crew (resulting in the memorable line, "Knock off the Star Trek crap, it's too early in the morning") and then given a very amusing resolution, when he actually becomes human for an episode and is so horrified by having to manage a penis ("Is that the best design someone could come up? The 'last chicken in the shop' look?") that he elects to become a mechanoid again ASAP.

The early appeal also came down to the mixture of laughs and tragedy, pathos and comedy, particularly in the character of Rimmer and in Lister's loneliness which he only manages to surmount by devoting every waking hour to winding Rimmer up. Red Dwarf is a sitcom but one with tremendous and maybe unparalleled characterisation.

There's also something admirable about the show in how it refuses to die. Seasons 2-6 were inarguably the show's golden period and it's been variable ever since Rob Grant left (reaching a nadir in Season 9 but then recovering strongly since then), but it constantly explores new SF ideas and finds new angles with which to approach the universe and the characters. It also helps that the actors were mosty in their twenties when the show started; the transition of these young twenty-something men into middle-aged and slightly world-weary fifty-somethings has felt very natural, helped by the fact they have pretty good genes. I can see these guys still exploring deep space and finding fun ways of doing so in another ten years. The show's long hiatuses, resulting in only 12 seasons in 30 years, have also helped in building up anticipating for the show's return and in giving the writers more time to come up with new ideas.

Red Dwarf is one of science fiction TV's great survivors, being funny, dramatic and human as required. Here's to many more years of exploring the final, smeggiest frontier.

Red Dwarf XII

The mining ship Red Dwarf continues on its long quest to return home, its dysfunctional crew consisting of the last human being alive, a hologram of his superior officer, a neurotic cleaning droid and a lifeform descended from the ship's cat.

In 2018 Red Dwarf will celebrate its thirtieth anniversary, making it comfortably the longest-running SF comedy show of all time (and one of the longest-running SF shows full stop, with only Doctor Who and Star Trek now outliving it). There are several reasons for its longevity: a core cast of four charismatic performers, a strong sense of humour that riffs on both human nature and cutting-edge scientific ideas and multi-year breaks between seasons that allow both the cast and writers to refresh themselves and come back with renewed energy. So whilst the show started thirty years ago, it's only now concluding its twelfth season.

The twelfth season is of a pair with last year's eleventh, written and filmed alongside it and recorded at the same time. This raised the spectre that writer Doug Naylor (alas, co-creator and co-writer of the show's golden age Rob Grant remains absent) might be burned out or tired, but this is not the case. Season 12 is, if anything, slightly better than Season 11, with fewer weaker moments and some much funnier moments rooted in both character (always Naylor's weak spot compared to Grant) and SF.

The season starts off well with Cured, which asks the question if people can be "cured" of evil and results in a classic Red Dwarf story beat where Lister jams on electric guitar with a "good" clone of Adolf Hitler. Siliconia, where Kryten is "rescued" from slavery by fellow mechanoids, is a bit throwaway but does have some great sight gags and does lean into the SF trope of the "happy slave" who is programmed to enjoy their treatment (something it'd be interested to see Star Wars address at some point).

The season's weakest episode is Timewave, set on a ship where criticism has been outlawed, which isn't as funny as it wants to be and has some very lazy gags. Mechocracy, in which the machines on Red Dwarf go on strike and Rimmer and Kryten stage an election to win back their loyalty, is solid if forgettable.

The season saves the best for last: M-Corp is a satirical take on Apple which could have felt lazy but actually steps up to being amusing and also makes some nice, intelligent points about (literally) blind brand loyalty and giving corporations ownership of everything. Skipper, the best episode of the season and possibly the last six seasons, taps into the well of Rimmer's self-loathing and disappointment in a way that hasn't been done since Grant was still on board. Although the episode suffers from some continuity issues (the show apparently forgetting that the events of Seasons 7 and 8 happened, and the existence of Ace Rimmer), it is extremely funny and brings back some fan-favourite characters without overusing them to boot.

The cast are a well-oiled machine at this point, the guest stars do a good job (although Johnny Vegas's guest appearance feels a bit incongruous) and the show does a lot with what is clearly a limited budget, a "problem" which I suspect has resulted in the show's improved quality since the relatively high-budget days of Seasons 7-9, since it forces a reliance on better dialogue and ideas rather than flashy visual effects.

For a TV show about to enter its fourth decade, Red Dwarf (****) is in surprisingly rude health. Superior to the previous two seasons (which were okay, if not outstanding) and certainly far better than the three weak seasons before that, the twelfth season of the show sees it getting back to, if not its best, certainly not far off. The season will be available from 21 November 2017 on Blu-Ray (UK, USA) and DVD (UK, USA).

Red Dwarf XI

The mining ship Red Dwarf, lost in deep space for three million years, is continuing its long voyage home. The four-man (well, one-man, one-hologram, one-android and one-bipedal-cat) crew continue to get into unusual scrapes as they seek to survive.

Red Dwarf began way back in 1988, making it easily the longest-running science fiction sitcom in history. Part of the show's success is its mixing of real SF ideas with funny gags and character development rooted in tragedy and pathos: Red Dwarf at its best is not afraid to make its audience feel sorry or even upset as it even makes them laugh.

Unfortunately, the more detailed characterisation and tragedy mostly left the show along with co-creator and writer Rob Grant after the sixth season. Since that time Red Dwarf has, under its other co-writer Doug Naylor, become a much more conventional sitcom with running gags, recurring characters and ideas and topical humour that may be outdated in a few years' time but raises a smile now.

This eleventh season airs four years after the tenth, itself a low-budget attempt to get the show back on the air via the UK cable channel Dave. That was very successful, hence a noticeable budget increase for this season with more visual effects, location filming and more elaborate sets. It's still a long way from the show at the height of its biggest success on the BBC at the end of the nineties (during the seventh and eighth seasons, when the humour risked taking a back seat to the spectacle), but it definitely frees the show up to open up the scale and employ some more highbrow and expensive ideas.

For the most part, it works. Without Grant or another more character-focused writer, the show is never going to be as good as it was back in its brilliant second through fifth seasons (and the only-marginally-weaker sixth), but we're also a long way from the more tedious episodes of the seventh through ninth seasons as well. Naylor seems to be writing within his limitations, knowing that what he's good at is channelling SF ideas for laughs. Some of these misfire - season opener Twentica hits a series of dud gags - but things rapidly improve from there. A vending droid is mistaken for a genius medical bot and is given the task of carrying out vital surgery, Kryten has a mid-life crisis and finds a way of communing with the universe, and - in easily the best episode of the entire series since Season 6 - Rimmer is promoted by a 3D-printed Space Corps officer and finally gets his dream job only for it to all go spectacularly wrong. There's also a couple of Cat-centric episodes which work pretty well.

Continuity is, as usual, treated as something optional, so there's no mention of the missing Kochanski or Holly, which will likely annoy some long-term fans, and the show is a little bit too eager to use simulants and GELFs again rather than creating some new concepts. But the cast is on fine form, even if their age is starting to tell, and even in its weaker moments the season remains firmly entertaining.

No, it's not the show at its best and some of its worst post-Grant indulgences do occasionally resurface, but the eleventh season of Red Dwarf (***½) is overall fun and watchable. It will be released on Blu-Ray (UK, USA) and DVD (UK, USA) in November. Season 12 has already been filmed, is currently in post-production and will air on Dave in mid-to-late 2017.

New RED DWARF episodes start airing tonight

Red Dwarf returns to UK TV screens tonight for its eleventh season, and the first full season in four years.

Red Dwarf is the world's longest-running science fiction sitcom, and the longest-running sitcom on British television. Created by Rob Grant and Doug Naylor, it aired its first six seasons between 1988 and 1993, before Rob Grant chose to leave to work on other projects and novels. Naylor continued with two additional seasons in 1997 and 1999, although these were patchier and less popular. After a decade spent trying to get a film version launched, the show returned to TV for a mini-series (now retconned as the ninth season) in 2009, which was very poorly received, and a full, tenth season in 2012 which was much more warmly received.

The premise of the series is that Dave Lister, a low-ranking technician on the five-mile-long mining vessel Red Dwarf, is put into stasis as a punishment for smuggling a cat on board. Whilst he's in stasis a lethal radiation leak wipes out the crew and forces the ship's AI, Holly, to take the vessel in to deep space until the radiation danger has passed and Lister can be woken up. Unfortunately, this takes three million years. Upon waking up, Lister discovers the last survivor of a humanoid species that evolved from his cat and a holographic recreation of his officious and pedantic senior officer, Arnold Judas Rimmer. Later on they recover an android from a wrecked starship, the neurotic and borderline insane Kryten. Together, they attempt to survive with no female company and find a way back to Earth.

Early word on the eleventh season - the first episode was aired on streaming services last week as a preview - is that it's also pretty good, continuing an emphasis on the characters and dialogue rather than explosions and effects (a criticism levelled at Seasons 7 and 8). Encouragingly, Season 12 has already been filmed and will air next year.

Red Dwarf's eleventh season starts airing tonight at 9pm on British cable channel Dave.

The Cats of Science Fiction and Fantasy

Many years ago, the great and incomparable Terry Pratchett uttered a truthism: 

"If cats looked like frogs we'd realise what nasty, cruel little bastards they are. Style. That's what people remember."

He also said:

"In ancient times cats were worshipped as gods; they have not forgotten this."

It does explain a lot.

Cats have been human companions for almost ten thousand years, and only dogs have been human companions for longer. This is probably why science fiction and fantasy authors tend to assume that in the future there will still be cats around, and even fantasy worlds with a ton of non-human races will also have cats showing up. Anthropomorphised cats - usually alien and fantasy races based on cats, but sometimes magically-transformed actual cats - are also commonly found in the genre. So I thought it'd be interesting to put together a greatest hits collection of cats in science fiction and fantasy (and yes, we do dogs as well).

Greebo, the lord and master of all feline activity in the Kingdom of Lancre.

The greatest - and certainly smelliest - cat in the history of genre fiction is Greebo, the cat/familiar of Nanny Ogg, one of the witches of Lancre. Greebo is old, scarred from a thousand battles and incapable of backing down from anything. Greebo is an unrepentant sex pest of a cat, having fathered definitely hundreds and potentially thousands of kittens across the kingdom. Possessed of an uncanny intelligence and the combat nous of a barbarian warlord, Greebo is noted for having killed at least two vampires in battle, near-mortally wounded an elf warrior, surprised a she-bear and chased a wolf up a tree. In fact Greebo has only lost an engagement once, when he chased a vixen into her den where her cubs were located. However, it is hinted that Greebo's mastery of battle is a result of him knowing when to fight and when not to: when confronted by Legba, the black cockerel of the voodoo witch Mrs. Gogol, he immediately backed down.

Greebo will not suffer to be touched by anyone other than Nanny Ogg, who, despite her normally formidable powers of observation and good judgement of character, remains convinced that he is a fluffy and friendly kitten rather than a furball of nightmares who is still wanted for crimes committed across the Disc, incurred when the witches travelled across the continent to Genua and then back again. In Genua Greebo was briefly transformed into human form. In this form he was six feet tall, well-muscled, with a mane of black hair and clad in form-fitting leather, along with an eyepatch over his bad eye. He exuded a kind of "greasy, diabolic sexuality". Fortunately he was returned to cat form before tremendous damage was wreaked on the population of Genua.

Greebo once furthered the cause of quantum science when, through experimentation, confirmed that a cat, upon being left in a box for an extended period of time, could in fact exist in one of three potential states: Alive, Dead, and Bloody Furious. Upon the box being opened, the quantum waveform collapsed into one outcome, to whit, Greebo bit the face off the elf opening the box.

Greebo, of course, is the true star of Terry Pratchett's Discworld novels and plays a substantial role in Wyrd Sisters, Witches Abroad, Lords and Ladies, Maskerade, Carpe Jugulum and Wintersmith.

 

Having lived for circa 60 years, Jones might be the longest-lived cat in history in the Alien continuity.

Jones, the rat-catcher of the deep space mining vessel Nostromo, is a survivor. In fact, in the current Alien canon, he's sole crewmember of the Nostromo not to get killed by the xenomorph (it even got Ripley in the end). He also has the sense to stay at home in Aliens when Ripley zooms off to engage the xenomorphs on LV-426. Neill Blomkmap's off-on again Alien 5 will apparently eject both Alien 3 and Alien: Resurrection from continuity but I suspect Jones will have long since moved on to the furry cat home in the sky.

Even Frankenstein knew that his slobby owner's plan to retire to Fiji to raise sheep and horses was moronic.

Frankenstein is a small black cat born on Titan, the largest moon of Saturn. Dave Lister, the lowest-ranking crewperson on the mining ship Red Dwarf, buys her to alleviate boredom. Horrified at the discovery there is an unquarantined animal on board, Captain Hollister orders Lister to turn over the cat so it can be cut up and dissected. When he refuses to promise to put the cat back together again afterwards, Lister refuses and is put in temporal stasis for the rest of the trip, forfeiting eighteen months pay (in the novel continuity Lister does this deliberately so he can get back to Earth faster). Unfortunately, a lethal radiation leak wipes out the crew and forces the ship's AI, Holly, to take the vessel into deep space until the radiation danger has passed...which takes three million years. When Lister wakes up, he finds himself quite possibly the last surviving human being in the entire universe. The only other living humanoid on board is a bipedal descendant of Frankenstein's kittens, known simply as "Cat", a vain and preening creature who can't maintain his concentration on anything other than sleeping or eating for more than five minutes.

Cats have played a key role in many SFF stories, but for Red Dwarf  (which returns for its eleventh season next month) they basically provide the very rationale for the show's existence and underpin its premise, which is pretty good going.

Kittenbus, the younger - and somewhat less nightmare-inducing - form of a Catbus.

The Catbus is an outrageously cute/despair-inducingly disturbing (delete as appropriate) form of conveyance from the Studio Ghibli film My Neighbour Totoro and its short spin-off, Mei and the Kittenbus. It's a giant cat with many legs which has been hollowed out (urgh) and turned into a vehicle, with its eyes serving as giant headlights and a permanent, rictus-like grin jammed onto its face and unleashing a haunting "miaow" in lieu of beeping a horn. It reminds me a bit of that stuffed dead cat that got turned into a drone. Younger catbuses (catbusi?) are known as kittenbuses, but are only big enough for a single child passenger.

Slag, the ship's cat of the airship Ketty Jay, as realised by Anjakes on DeviantArt.

If there was one thing missing from Firefly, as I'm sure everyone knows, it was a cat. That kind of low-down cargo ship was crying out for a ship's cat to get all up in everyone's business. However, Joss Whedon was probably enough of an old hand at Hollywood to know that trying to get a cat to act on-screen is an exercise in futility. Books, of course, have no such limitations and Chris Wooding's excellent saga The Tales of the Ketty Jay (which is basically a steampunk Firefly in a totally non-derivative and equally-awesome kind of way) features a feline crewmember of the good airship. Slag is an old cat, fond of catching rats and loyal (in a relaxed kind of way) to his crewmen. Part of the genius of the books is that we regularly get chapters told from Slag's perspective and the cat actually gets his own character arc throughout all four books. Slag is an ever-present character in the series very few of the other cats in this list are, which an impressive and surprisngly non-mawkish achievement.

The cover designer clearly went to town on this one.

Pixel is a timeline-hopping cat who appears in the novels The Cat Who Walks Through Walls and To Sail Beyond the Sunset by Robert Heinlein. The cat has the inexplicable ability to pass through solid matter, apparently a result of its "inability to know any better". At one point the cat gains the ability to talk.

Sir Pounce-a-Lot and Anders (before going psycho), by Morteraphan on DeviantArt.

Ser Pounce-a-Lot is a cat who appears in the Dragon Age video games from BioWare. He debuts in Awakenings, the expansion to the original Dragon Age: Origins, as a small kitten. The Warden (the player-character) can give the kitten to his follower Anders as a gift. Anders raises the kitten to adulthood, occasionally producing it to talk to during idle moments. The cat can be deployed in battle as a means of healing the party mid-combat, although how logically this is achieved is never explained.

In Dragon Age II a rather grumpy Anders will confirm that he had to relinquish the cat at the behest of his fellow Grey Wardens after finding it distracted him. It is possible that this lack of feline affection contributed to his brutally ruthless decision to declare war on the templars at the end of the game. To the annoyance of fans, Sir Pounce-a-Lot likewise failed to reappear in Dragon Age: Inquisition. Some fans theorise that Dragon Age IV may feature Anders and Sir Pounce reunited as a battle-hardened adventuring duo stalking the wilds of Thedas.

Spot was a particularly resilient and hardy space-travelling cat who served with distinction on two of the Federation starships to bear the name Enterprise.

Spot is an interstellar feline and crewmember of the Galaxy-class starship USS Enterprise (NCC-1701-D). Spot is adopted by android crewmember Lt. Commander Data as part of his ongoing attempts to understand humanity. Data's attempts to train Spot backfired when he inadvertently discovered the cat had instead trained him to feed and pet her upon command. Spot was noted for her calmness under pressure, at one point being transformed into an iguana with no after-effects. At one point Spot gave birth to a litter of kittens. Spot was noted for her intolerance of people she didn't like, unprovokedly attacking both Riker and La Forge. Apart from Data, she was only affectionate towards Lt. Reginald Barclay. She and Worf developed a mutual dislike for one another, but following Data's destruction in the battle with Shinzon Worf reluctantly agreed to adopt the animal. Later he cited the then-aged cat as having a "true warrior's spirit" hidden behind a facade of lazy indolence.

Spot appeared regularly in Seasons 4-7 of Star Trek: The Next Generation, as well as the movies Generations and Nemesis.

Data once wrote a poem about the cat, Ode to Spot, which follows in its entirety:

Felis catus is your taxonomic nomenclature,
An endothermic quadruped, carnivorous by nature;
Your visual, olfactory, and auditory senses
Contribute to your hunting skills and natural defenses.

I find myself intrigued by your subvocal oscillations,
A singular development of cat communications
That obviates your basic hedonistic predilection
For a rhythmic stroking of your fur to demonstrate affection.

A tail is quite essential for your acrobatic talents;
You would not be so agile if you lacked its counterbalance.
And when not being utilized to aid in locomotion,
It often serves to illustrate the state of your emotion.

O Spot, the complex levels of behavior you display
Connote a fairly well-developed cognitive array.
And though you are not sentient, Spot, and do not comprehend,
I nonetheless consider you a true and valued friend.

 Spot's reaction to the poem is not known.

The Cat That Launched A Thousand Memes.

Lying Cat (a recurring character in comic book series Saga) is a very large feline and constant companion to the bounty hunter known as the Will. Lying Cat shares most common feline traits, but her size makes her formidable in combat. Lying Cat's most distinguishing feature is the ability to tell when someone is lying. Upon detecting deceit, the cat will simply growl, "Lying". This includes even when people are lying to themselves about some kind of emotional distress. One drawback to this power is that the cat will say it even if the person lying is her owner/partner, the Will.

Mrs. Norris and her master, a rare example of cat-and-human team villainy in SFF.

Mrs. Norris is the pet cat of Argus Filch, the caretaker of Hogwarts School of Witchcraft and Wizardry. The cat is grumpy and ill-tempered, like its owner, and possesses a strong bond with him, apparently able to alert him to any misbehaving children in the school grounds. The cat was briefly petrified by the Serpent of Slytherin, but later made a full recovery (although some claim her mood was worsened by this incident).

Mrs. Norris is, unusually for SFF, an antagonistic cat. She appears in the Harry Potter novels and movies. Some fans theorised that Mrs. Norris had some kind of magical bond with Filch but J.K. Rowling confirmed she is merely a normal - if nasty - feline.

Balerion, a cat with all the attitude, self-confidence and unreasoning love of violence of Gregor Clegane.

Balerion the Black Dread was the greatest dragon in the history of Westeros, a terrifying monster that helped its rider, King Aegon Targaryen, conquer an entire continent.

Three hundred years later, its namesake prowled the halls of the Red Keep in King's Landing. Originally a sweet kitten owned by Princess Rhaenys Targaryen, the cat seems to have not borne the death of his mistress (brutally killed during the Sack of King's Landing) very well. It had a torn ear (some fans theorise sustained during the Sack) and a disposition that was less "mean" and closer to "psychotically vicious". Perfectly willing to attack and kill even the largest crows and ravens in the rookery (to the despair of Grand Maester Pycelle), the cat is a legend in the Red Keep. He once stole into the dinner hall and snatched a quail out of the hand of Lord Tywin Lannister, a feat which earned the cat the respect of Robert Baratheon. The cat later evaded capture at the hands of Arya Stark (whilst being trained in water-dancing by Syrio Forel) and bullied the kittens belonging to Tommen Baratheon before being run off. At about twenty years old, the cat's belligerence shows no sign of abating.

Balerion, of course, is one of the more memorable animal characters of A Song of Ice and Fire by George R.R. Martin. Although Rhaenys's kitten and the black monster of the novels are not 100% confirmed to be the same cat, various official artwork and George R.R. Martin's comments suggest they are.

Haviland Tuf, a man who distrusts humanity and prefers the company of felines.

Dax is the genetically-enhanced master feline of the interstellar seedship Ark. Created by Haviland Tuf, the cat is notably larger than most felines and has formidable psi powers, capable of detecting subterfuge and deception and alerting his owner to any risks present. Dax is the largest and most capable of a number of cats living on the Ark, most of whom defer to his superiority.

Dax is another feline of George R.R. Martin's creation, being a notable character in his 1986 SF novel Tuf Voyaging.

There are, of course, too many cats in SFF to count in one article. Other notable examples include:

• Mogget, from the Sabriel novels.
• Isis, Gary Seven's shapeshifting cat from the classic Star Trek episode Assignment: Earth!
• The Amazing Maurice from Terry Pratchett's The Amazing Maurice and His Educated Rodents.
• Rowl, from Jim Butcher's The Aeronaut's Windlass.
• Mister, from The Dresden Files.
• Tailchaser from the classic Tad Williams novel Tailchaser's Song.
• Spangle, from Michael Marshall Smith's Only Forward.
• Lady May, from Cordwainer Smith's Game of Rat and Dragon.
• Bast from Neil Gaiman's American Gods.
• Sir Pounce, also from A Song of Ice and Fire and Game of Thrones.
• Mr. Bigglesworth, Dr. Evil's evil cat, from the Austin Powers movies.
• Baudelaire from Phantom 2040.
• Petronius Arbiter, also from the works of Robert Heinlein.
• Zap the Cat from Lois McMaster Bujold's Vorkosigan Saga.
• Orion from Men in Black.
• Lylan from Lloyd Alexander's Castle of Llyr.
• The cigarette-smoking mutant cat of Transmetropolitan.
• Musty, the cat of the witch Rhea of Coos, in Stephen King's Dark Tower series.
• In a similar vein, Churchill from Pet Semetary.
• And the cats of Earth when they appear in the Dreaming, in Neil Gaiman's Sandman.

Cat-inspired races are also common in the genre. Notable examples include: the Kzinti of Larry Niven's Known Space novels, the (almost certainly Kzinti-inspired) Kilrathi of the Wing Commander video games, the Caitians of Star Trek (most notably regular crewmember Lt. M'Ress in Star Trek: The Animated Series) and the Khajit of The Elder Scrolls ("Khajit has wares if you have coin").

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