On 5 November 2026, Audible will release a scripted audio drama with the credentials of a major screen production. Exoplanet, executive produced by Andy Weir, written by Benjamin Percy and starring Anthony Mackie, Ariana DeBose and John Leguizamo, represents an ambitious bet on space sci-fi without a screen.

Disney has spent $226.5 million on Star Wars: Starfighter before a single frame of visual effects has been finalised. The figure, disclosed in UK production filings for the Pinewood Studios shoot, represents a gross spend recorded through 31 January 2026 — and it already eclipses the production costs Star Wars: The Force Awakens had accumulated at the same stage of its cycle.

What does it mean to adapt a novel that invented an entire genre — a book so dense with neologisms, so structurally unconventional, so fundamentally concerned with the dissolution of physical reality that four decades of Hollywood development have collectively failed to bring it to screen? On 22 January 2027, Apple TV will attempt an answer. Neuromancer, the ten-episode adaptation of William Gibson's 1984 cyberpunk cornerstone, premieres with a two-episode debut followed by weekly releases through 19 March 2027.

What if the most significant space sci-fi film of 2026 arrived in cinemas and you almost missed it — and now, that it is out on streaming, you have a second chance to fix that mistake? That is the precise situation with Disclosure Day, Steven Spielberg's alien conspiracy thriller, which landed on Peacock in the United States and on digital platforms globally from, 9 October.

A starship on the bookcase. A familiar droid beside the monitor. A small, suspiciously well-armed robot that arrived as a box of plastic parts. The pleasure of a sci-fi collectible is not necessarily its rarity, price or size. It is the connection it creates: to a character, an imagined future or the memory of discovering a fictional universe for the first time.

Stargate fans know better than most that an incoming connection is not necessarily good news. Sometimes it brings explorers. Sometimes it brings trouble. And sometimes, apparently, it brings another development announcement. After abandoning Martin Gero’s planned revival earlier this year, Amazon MGM Studios is taking another run at the franchise.

Between now and the end of 2027, every major streaming platform — Netflix, Apple TV, Max, Paramount+, Disney+, Amazon Prime Video — will stake a significant portion of its prestige identity on the genre. Not as a side bet, not as a genre experiment, but as the central plank of long-term subscriber strategy. The evidence is not circumstantial. It is financial, contractual, and already in production.

In 1999, the Hubble Space Telescope stared at a white dwarf 270 light-years away and saw something it could not explain. The star, catalogued as HS 0209+0832, was polluting its own atmosphere with chemicals that had no business being there — niobium, zinc, copper — elements forged not in stellar birth but in stellar death. For twenty-seven years, the data sat in archives like an unsolved crime. Then, this week, a team led by the University of Warwick published their findings in Nature Astronomy and changed how we understand planetary survival.