September's New (and Temporary) Arrivals

Stallone. Stone. Boom.

Considering that many of Netflix's September arrivals are returning titles from the 1990s and 2000s (how many times have we seen Big Fish, Hitch, and Days of Thunder come and go?)—and many of those are part of the expiring Epix deal—it's hard to be too impressed. But at least it means the return of inspired zombie comedy Fido, along with Christopher Nolan's excellent (and too often dismissed) Insomnia. I'm also happy to see Robert Altman's Popeye back (even briefly), and am looking forward to checking out the depraved weirdness that should be Larry Clark's latest film, Marfa Girl. Also worth a mention: Paul Schrader's Lindsey Lohan disaster, The Canyons, scheduled to appear in all its controversial glory on September 26th.

For classic film fans there's 1975's controversial-for-its-time Mandingo, not to mention the restored version of David Lean's 1962 Lawrence of Arabia, which is as classic as "classic" gets. Not a bad month for family films, meanwhile, with the arrival of Jon Favreau's Zathura, Robert Rodriquez's The Adventures of Sharkboy & Lavagirl, last year's reboot of Teenage Mutant Ninja Turtles, and Volume 1 of Mister Rogers' Neighborhood. Oh, and if you're a Star Trek or William Shatner fan, be sure to check out his Captains docs, which are surprisingly enjoyable (reviewed here). Other standout titles are listed in bold (and yes, that includes guilty pleasure The Specialist—so sue me).

As I said, many of these titles fall under the Epix contract, which means they're due to expire at the end of the month. Any you don't get to, however, are already on Amazon Prime, and all are expected to appear in October on the increasingly formidable Hulu—which today announced its new ad-free tier. To paraphrase a famous movie character: Now that's an offer I won't refuse!

July's Massive Housecleaning Continues

Just so no one thinks the number of movies expiring from Netflix this month represents business as usual, here's a tally of how many titles left the service each month since December of last year (as tracked by the enormously helpful site, New on Netflix USA):

December (2014) - 281 titles removed
January - 352
February - 224
March - 218
April - 307
May - 246
June - 212

That averages out to 307 departing titles per month, for the last six months. By comparison, July's total is (drum roll, please)...996. And counting. By the end of this month, given what we already know is set to expire, the toll will easily surpass 1,000.*

Making this number even worse is the fact that, as reported in my July 3 post (also picked up by many news outlets), the majority of these titles left with little to no warning—going against Netflix's historic practice of providing at least one week's notice prior to expiration.

That means you went to bed on the 19th with, say, 164 titles in your queue, and in the morning you woke up to find that 18 of them had disappeared. Poof—gone. Without any chance to reorder or prioritize based on Need To Watch. Thought you'd get a chance to bone up on some Mario Bava giallos or classic silents? Or one of those TV movies of the 1970s you were always curious about? Too bad. Netflix had other plans. And if reports of recent customer service calls are correct, the company plans to eliminate its expiration warnings altogether (because, why bother keeping your customers informed?).

June Expiration Watch: Too Many to Tally

Impossible mission, indeed

Well, Netflix has gone and done it: there are officially more titles expiring this month than I have the capacity to process. A good number of these arrived within the last six months, many as recently as April, which makes them even more disheartening to tabulate. Plus, with a large batch of very familiar titles scheduled to return next month, I'm feeling beyond burnt-out in trying to track every coming and going (and coming...and going...). Add to that Netflix's steady stream of original content, mid-month announcements, and the ubiquity of news stories on the company's every move, and this blog has now outgrown one (unpaid) person's ability to manage it.

On a personal level, I'm also finding it increasingly difficult to balance the needs of this site with my own creative work, especially given the number of hours now required to simply update these lists and moderate the comments from all the many helpful contributors out there. Since I don't like the idea of shutting the blog down completely—something I'd been considering—I'm going to instead attempt some streamlining.

A change in approach

My plan, as of now, is to continue to post updates on what's new and what's expiring, but with a few key changes:

1. Updates such as this will consist mainly of lists, with a minimum of editorial comment.
2. Lists will narrow their focus to titles I can personally recommend, in keeping with the blog's original intent.
3. These semi-monthly posts will replace the standalone Expiring and What's New pages.
4. The current Expiring page will be converted into a discussion area, since the increasingly general nature of the comments there seems to dictate such a space is necessary (plus I'm not quite ready to start an actual forum).

June's New Arrivals (and Early Departures)

A small but interesting mix of new and returning titles hit Netflix Instant this month. But before we get to those I should point out a handful of mid-month departures that will definitely be missed...

Leaving Soon

Tin Man

At 12:01 AM on the 15th, Netflix will no longer be streaming Alejandro González Iñárritu's Amores Perros (2000). Like the director's later efforts, such as Babel (2006) and 21 Grams (2003), his feature debut is supposed to be quite good if also a bit intense (especially if you're squeamish about violence toward animals). Iñárritu's more recent Biutiful (2010) also expires this month (on the 27th), which means the director of last year's Oscar-winning Birdman will soon be entirely absent from Netflix—a situation we hope is only temporary.

Departing on the same day as Amores Perros is the Wizard of Oz reboot, Tin Man, a 2007 miniseries starring Zooey Deschanel that's more enjoyable than it has any right to be, especially given the many past attempts at recreating the magic of the 1939 original. This one manages to be both sequel and update, and uses its extended running time to tell a rich tale that allows for many charming—and frightening—moments. Suitable for adults and children alike, the show's impressive cast also includes Alan Cumming and Richard Dreyfuss.

June 19 will see the departure of three movies that arrived in March, marking only a brief, three-month stay for multi-Oscar-winner Amadeus (1984), Arnold Schwarzenegger's 2002 revenge flick, Collateral Damage, and the Sandra Bullock/Nicole Kidman romantic witch comedy, Practical Magic (1998). Granted, the latter two are light entertainment at best, but the fact that they lasted just three months seemed worth noting. (Why, Netflix?)

New in April: Going to 11?

Some interesting titles are making their streaming debuts on Netflix this month, along with a number of impressive standouts. Let's start with the high points, shall we?

STANDING TALL
The Big Lebowski (1998) - What else is there to say, but..."The Dude abides"?
Bound (1996) - A steamy neo-noir from the directors of The Matrix, back when they still knew how to put together a taut, well-constructed entertainment
Natural Born Killers (1994) - Oliver Stone's nasty, tasty slice of '90s nihilism, with Woody Harrelson and Juliette Lewis making Bonnie and Clyde look like Hepburn & Tracy, from a script by Quentin Tarantino
Three Kings (1999) - David O. Russell, better known today for Silver Linings Playbook and American Hustle, cooked up this dark Gulf War comedy that's one part Treasure of the Sierra Madre, one part Catch 22
This Is Spinal Tap (1984) - Even though I own two different DVD editions of this film (one of which is long out of print), I'm very happy to see this seminal rockumentary now online—a comedy that truly goes to 11

There are also a batch of notable titles showing up later in the month, including the much-anticipated first season of Netflix's Daredevil, the off-its-rocker Crank (2006), the latest mind puzzle from Jean-Luc Godard, Goodbye to Language (2014), and a couple of highly regarded new horror films, The Babadook and A Girl Walks Home Alone at Night. I'm looking forward to all of these (except maybe the Godard, which I saw in a theater—in 3D—and which might be tough to watch again, especially in 2D). Premiere dates listed at the bottom of the page.

March Expiration Watch: Hitting Where It Hurts

Welcome to the blog's 100th post. Combined with next month's 2nd anniversary and the recently added Amazon Prime page, these are celebratory times at What's On NETFLIX Now? (Cut to: an exhausted David dozing off at his keyboard). Would that Netflix itself provided greater cause for celebration: unless original series are your be-all/end-all, pretty much every category takes a sock to the jaw this month, from classic Hollywood's biggest stars to underappreciated comedies, cult indies, and, in a big blow to the kid in all of us, nearly the entire stable of Cartoon Network and Adult Swim programs. But let's start with the classics...

Goodbye, Norma Jeane

It's a rough month if you happen to be a Marilyn Monroe fan. On March 31, three of MM's more flamboyant 1950s productions are getting the hook: Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), and There's No Business Like Show Business (1954). Over the last couple of years we've seen these titles come and go, but my faith in their return isn't terribly strong now that Netflix seems to have lost interest in maintaining its back catalog. In fact, at this rate I may need to rename this blog What's NOT on NETFLIX Now?.

These colorful, over-the-top spectaculars (two are musicals) marked an unofficial coming-out party for the former Norma Jeane, who emerged from half a decade of supporting parts, prurient publicity, and a couple of low-profile dramatic leads (Don't Bother to Knock, Niagara) to fully cement her blonde bombshell status and create an iconic persona for the Hollywood ages. So if you've ever wondered what the fuss was about, this trio of films—filled to bursting with star power and production value—makes a pretty good argument for Monroe's status as a larger-than-life sex symbol who could sing, dance, and play the dumb blonde to comic perfection. She was much more than that, of course, as a number of her more dramatic roles would prove (particularly Bus Stop and The Misfits). But these early flowerings of stardom are how a majority still remember her, before her personal and professional problems overtook the headlines and lent a lasting aura of sadness to the woman whose show-stopping performance of "Diamonds Are a Girl's Best Friend" (in Howard Hawks' Gentleman Prefer Blondes) remains a joyful pop-culture touchstone.

New in February: Taking It Slow

This has definitely been one of the slower months I've seen in terms of new releases. More than a third of the new titles were returning ones, while, with the exception of Houseboat (1958), there were no classics added in February, not even with 1980 as a cutoff. For comparison, this time last year Netflix added 10 classic titles, including an excellent group of 1970s films. Given all the recent deletions of older catalog titles—both feature films and BBC shows—that's not a good sign, and seems to further cement Instant's continuing emphasis on original content and new TV shows.

But let's look at the good news: among those TV shows are the second season of Bates Motel (2014), the full 2010-2013 run of the sexy/violent Spartacus, and the first five—some would say best—seasons of all-time classic M*A*S*H (comprising the years 1972 to 1978). The latter is a pretty nice coup, I must say, since it's been a long, long time since a lot of us have had the chance to revisit that landmark show. For those who have never seen it, I'm happy to report it still holds up in most ways—as long as you can get past some of the first season's casual sexism (a holdover from the original movie) and learn to ignore the superfluous laugh track CBS forced on the show's creators (to make sure audiences knew it was, you know, a comedy). No telling if Netflix will add the remaining six seasons, the last three of which are a bit spotty, but for now these episodes from the Frank Burns era should keep fans of the 4077th giggling through their surgical masks.

January Expiration Watch: Not So Bad (if you don't count the BBC)

For a lot of you, this month's expiration story boils down to only one headline: All Those BBC Titles—Gone!

But wrenching as that is, it's become something of an old story already, and now that many of us have had time to work our way through shock, denial, and into acceptance (sort of), there's another story being told this month—one that's peculiar and a bit less devastating. It's the tale of 52 notable, non-BBC titles leaving the service by the 1st of February, a full 31 of which arrived within the last three months—suggesting a chronic case of premature (ahem) expiration on the part of Netflix.

But here's the good news: the bulk of those recent additions aren't exactly what you'd call masterpieces, while the rest seem to pop off and on Instant with the regularity of blinking neon in an old film noir. Here's what we're looking at, broken down by month:

Arrived in November

Batman Returns (1992)
Babes in Toyland (1961)
Breakheart Pass (1975)
The 'Burbs (1989)
The Crimson Cult (1968)
Dirty Rotten Scoundrels (1988)
Hiding Out (1987)
Kingpin (1996)
Live Nude Girls (1995)
Phase IV (1974) - Reviewed
Teenage Mutant Ninja Turtles (1990)
Trading Mom (1994)

BBC Fallout: What's Staying, What's Going

My, my. Who knew there would be such a media firestorm surrounding those BBC titles marked to expire from Netflix Instant? I was pretty surprised to see a record number of news sites citing this blog as a source, resulting in a record number of hits—numbers which continue to boggle (thank you all).

But here's the thing: even with all the attention this story received, so many news sites got—and continue to get—their facts wrong. In one story after another I've read that "all" of the BBC titles were on the chopping block. Or, if not all, then shows like The Office and Sherlock were among them (which they never were). I've also seen claims that the mass expiration was "rumored"—which was pretty rich considering Netflix itself was responsible for slapping on all those expiration labels. And now that a good chunk of the most popular series have been renewed, I'm seeing stories claim that "all" or "most" of the titles have been renewed and, Whew! we needn't have been so worried after all, it's just business as usual, move along, nothing to see here, etc.

Well, I hate to stick my thumb in the (black) pudding, but that's just not the case. As you can see from the lists below, 24 titles were renewed, while another 52 are still marked for 2/1 (actually 1/31) departures. Granted, many of those staying are among the most popular and headline-worthy (hello, Dr. Who and Top Gear), but there are equally important series still getting the axe, among them such stalwarts as Fawlty Towers, Coupling, Black Adder, Red Dwarf, A Bit of Fry & Laurie, and not one but two Diana Rigg miniseries.

Is it possible Netflix will still renew some or all of these shows in the months to come? We can certainly hope. But for now, they're wearing the scarlet letter E. So I'll leave it to the Anglophiles and the nature- and history buffs to sift through the list and decide which are worth bingeing into the wee hours of January's remaining days. All I can say is: Godspeed. And I do mean 'speed'...

On Those (Possibly) Expiring BBC Titles

(1/16 update: Many of these titles have now been renewed, including all of Dr. Who. See next post for the full rundown.)

There's been a lot of buzz in the last 24 hours regarding the large block of BBC shows scheduled to expire from Netflix Instant on the 31st (and which have been listed here for over a week). Sources as diverse as The Huffington Post, CNN, MTV News, and Vulture have all referenced this site's expiration list, which has been awesome, but it's also led to some minor confusion. So, to address any questions some of you might have:

If you don't see it listed, it's probably safe

Not every streaming BBC show is marked to expire. Programs such as Sherlock, Doc Martin, Merlin, and Ripper Street, for example, look to be safe (for now). If there's a specific title you're worried about that you don't see here, just search for it on Netflix's website, then hover your cursor over the thumbnail like so:

See that availability date? It will also be listed on the show's main info page, down on the right beneath Streaming Details:

If there's no availability date, then you're okay (again—for now!). As longtime readers know, this isn't always a foolproof test, since Netflix can be cagey about revealing such dates. But for this block of shows (and TV series in general), it's usually accurate. (Movies, of course, are another matter...)

December Expiration Watch: A Great Sucking Sound

There's no getting around it: things this month look grim. I can barely keep up with all the new titles being dumped daily to the 12/31 pileup. Of course, you could argue it's the end of the year and things looked bad last year, too. But you'd be only partly right. Over 60 expiring titles made the list then—a big number, for sure, but one that was mostly offset by a strong January and the eventual return of 15 of those titles.

But this year is undeniably worse. Over 120 titles are on the list this time—including nearly double the number of pre-1970 classics—plus 14 Woody Allen films (essentially wiping out the director's streaming catalog). Sure, Netflix could add an equivalent number of worthy films in the new year, but based on past experience, the paltry mix announced so far, and the company's increasing emphasis on original TV series over classic movies, I'm not getting my hopes up.

Some other interesting numbers: of the 120+ titles about to expire, 25 arrived in October (i.e., had three-month contracts), half of which were Allen films. Another 17 showed up in January, suggesting one-year contracts that are now ending. These were predominantly 1970s and Roger Corman flicks, so with any luck they'll be renewed in the coming year.

New in November: Tough to Choose

A lot of good stuff this month. A lot. Which is why it's taken me longer than usual to sort through it all and decide which titles to write about. Let's start with something easy:

TV

It's hard not to be happy at new seasons of Portlandia, It's Always Sunny in Philadelphia, and (hooray) Miss Fisher's Murder Mysteries (a series I reviewed earlier this year). Also The Bletchley Circle, which I hear good things about but haven't seen. Making its Netflix debut (on the 10th) is the first season of the sci-fi thriller Helix, which was executive produced by Battlestar Galactica's Ronald D. Moore and should be worth a look or two. If you're more in the mood for science than science fiction, there's the debut of the three-part Your Inner Fish (2014), an entertaining and—to some—provocative look into what we were before we became the sophisticated movie-watching bipeds of today.

Classics

A fairly idiosyncratic mix of pre-1980 movies are on hand, starting with 1962's Hell Is for Heroes, an acclaimed WWII actioner directed by scrappy Don Siegel and starring Steve McQueen and James Coburn. If those two stars aren't steely-eyed enough for you, check out Charles Bronson in Breakheart Pass (1975), a rough-and-tumble western that also features tough guys Ben Johnson and Richard Crenna.

O'Toole, Hepburn

Distinctly less action-heavy is Cleopatra (1963), which, if never exactly considered a good movie, its notoriety makes it a genuine curiosity for a) Dick and Liz fans, b) Joe Mankiewicz fans (he did All About Eve and A Letter to Three Wives), c) fans of historical epics, and d) those who are physically capable of sitting in front of their screens for 4 hours.

But no need to torture yourself—not when you can treat yourself to something bubbly like 1966's How to Steal a Million, a romantic heist comedy directed by William Wyler (Roman Holiday) that features Peter O'Toole and Audrey Hepburn alternately wooing and outwitting each other. Or maybe you're still feeling Halloweeny, in which case you might try laughing yourself scared with The Crimson Cult, a 1968 B-horror movie by way of Brit stalwarts Boris Karloff, Christopher Lee, and Barbara Steele in green (or is it blue?) body paint. And then there's something that tries just a bit harder...

New in October, Pt. 2: Something for Everyone

Now that we've gotten all those Woody Allen titles out of the way, what about the rest of this month's arrivals? They're actually a pretty extensive—and diverse—group and include a number of welcome returnees, some of which snuck back onto Instant in the final days of September. Among those are 1994's tear-jerking basketball doc, Hoop Dreams; arguably the best of the Merchant-Ivory productions, A Room with a View (1986); and the less well-remembered (except by avid '80s cable watchers), The Wild Geese (1978), a satisfyingly virile action yarn from director Andrew McLaglen, starring the Stallone, Statham, and Schwarzenegger of their day: Richard Burton, Richard Harris, and Roger Moore.

Harris, Burton, Moore

As fun as it violent and cool-headed, The Wild Geese is filled with real men doing manly things, and doing them the way God intended—without computer effects. See all those figures parachuting down into enemy territory? Those really are guys in parachutes, jumping out of real airplanes. And the explosions? Actual on-camera fireballs. I mean, yeesh, kids today with their fancy computer-generated men and airplanes and clouds and water that's never quite convincing. We're talkin' old school here, okay? Back when stars could actually be expendable. None of this mamby-pamby digital blood, or worse, fake animals (hire a deer wrangler already!) or talking dogs, or...

Sorry, um, where was I?

Expiration Watch: BATTLESTAR GALACTICA

Tick, tick, tick...

Somehow, one of the greatest science fiction shows of all time is expiring from Netflix at the end of the month. How can that be? By the gods, Netflix, have you no heart?

Of course, all of you have watched it by now. Right? Um, you haven't? Then it's time to get on it! Think you've got what it takes to binge your way through 75 episodes in just three weeks? That's only...let's see...a tad over 3-1/2 episodes per day, including a couple of weekends for extra-large portions. You don't really need all that food and air, do you?

New in September: It's All About Pacing

This month's new offerings are a bit deceptive. On the one hand, most of the titles showing up in the first few days of September don't inspire a lot of excitement. There was the return of a number of on-again, off-again classics (welcome back, Ms. Hepburn and Messrs. Cooper and Wayne), a bunch of 1980s and '90s comedies and sci-fi/horror, and a handful of returning kid flicks. So far, so predictable. But once we look forward, things start to get interesting, with the debuts of a number of recent films that are undeniably top tier, as well as new seasons of quite a few notable TV shows.

Robin Williams down but not out

Flubber

But let's take a moment to break out the older and returning titles. First off, last month's loss of two Robin Williams movies, Popeye and The Fisher King, was certainly bad timing given the actor's own untimely departure. But Netflix seems to be making up for that with the joint arrival of Barry Levinson's beloved wartime comedy, Good Morning, Vietnam (1987), and 1997's Flubber, a serviceable remake of Jerry Lewis' Disney's The Absent-Minded Professor (1961). Which means the late Mr. Williams hasn't been totally left out in the cold, even if his incoming titles are arguably a downgrade from the outgoing. Perhaps the Michael Keaton comedy two-fer of  Mr. Mom (1983) and Multiplicity (1996) will help balance the scales?

Hello, kiddies

It's also more or less a wash as far as family films go, with last month's expirations being offset by a number of  (mostly returning) titles. Among those are the above mentioned Flubber, Barry Sonnenfeld's witty remake of TV's The Addams Family (1991), Disney's Fox's animated Anastasia (1997) and live-action Swiss Family Robinson (1960), Mel Brooks' Star Wars spoof, Spaceballs (1987), Pee-Wee Herman's second big-screen appearance, in Big Top Pee-Wee (1988), and the welcome return of Martin Scorsese's sumptuous ode to cinema, Hugo (2011). Also making its way to streaming is that rite-of-passage film for generations past, Old Yeller (1957), which may be a bit musty but should still leave a tot or two bawling by the end credits.

More Than a Pretty Face: MISS FISHER'S MURDER MYSTERIES

I admit it: mysteries, crime procedurals, and courtroom dramas—with their rote formulas and seemingly predetermined outcomes—tend to trigger my yawn reflex. I prefer stories with characters less bound by the strictures of narrative destiny. It may only be an illusion concocted by a clever writer, but I need to believe a character can at any moment do something that will surprise me, turn the story on its head, or at the very least make me believe the conclusion isn't preordained. And, with apologies to Columbo, TV murder mysteries are about as predictable as it gets: someone is killed, the hero investigates, and, by way of wits and the overcoming of obstacles, the killer is apprehended—all within a neatly wrapped hour. Except by that point I've usually reached for the remote.

But then I got my first glimpse of Miss Phryne (pronounced Fry-nee) Fisher. Sleek and mischievous behind glossy lipstick and jewels, brandishing a pearl-handled revolver and bright blue eyes and that fatal Louise Brooks bob, she made me forget all about my impatience with overly ritualized storytelling. Flappers with perfectly structured cheekbones trump snobbery every time, leaving me little choice but to spool up the first episode of Miss Fisher's Murder Mysteries.

Spaced Gets the Axe, Dick Spared, Garcia Smolders

Well, it looks like The Dick Van Dyke Show's absence from streaming was only temporary. The series is officially back online. That means if you still haven't managed to check out this always funny and engaging program, you've got another chance to see what made it so special and such an integral part of TV history.

But before you catch up on the shenanigans of Rob and Laura Petrie & Co., take a few hours to check out the equally groundbreaking (if not as universally known) British comedy Spaced, scheduled to expire from Instant at midnight on the 17th (that's one minute past 11:59 P.M. on the 16th, for those who get confused by such things). As I wrote back in April, Spaced is far from your average britcom, and not only helped spawn the current era of post-modern television comedy (think 30 Rock and Arrested Development), it introduced the world to the talents of Simon Pegg, Edgar Wright, and Nick Frost, who went on to make Shaun of the Dead and this year's The World's End (among many others). Less well-known but equally praiseworthy is their partner-in-crime, Jessica Stevenson, who co-wrote and co-starred with Pegg and offers a brand of endearing daffiness all her own. Made up of only 14 episodes spread over two seasons, Spaced is perfect for a binge watch before it takes its leave.

The 'A' Word: NEW GIRL (Season 1)

FOX's marketing department insists on calling her "adorkable," but that's no reason to hate Zooey Deschanel or her show New Girl. The woman long ago proved her talents, not just with years of credible indie and big-studio comedies and dramas, but with a series of retro pop albums as one half of She & Him. Sure, she can be quirky and weird and dresses in overly colorful, girly outfits that accentuate her trademark bangs and enormous, perpetually startled eyes. But there's no denying she's found her own Gen-Y style niche--no small accomplishment in a world with Lady Gaga.

And if you watch New Girl, the single-camera comedy she produces and stars in, you'll see her successfully extend her personal style and humor into what over two seasons has become one of the funniest shows on television. Along with show creator Elizabeth Meriwether and a breakout cast, Deschanel and her writers took a questionable Three Horny Roommates and a Girl premise and transformed it from amusing trifle into something genuinely fresh and inventive.

Getting Animated: A Secret STAR TREK

For me one of the great pleasures of streaming services like Netflix Instant (or Amazon Prime) is the ability to quickly indulge a nostalgic twinge by calling up a favorite episode of a fondly remembered TV show—say, The Twilight Zone or Columbo or Star Trek. If you're a Star Trek fan you already know what a godsend these sites are to Trekkies: all five live-action series can be found there—in HD, no less—with every episode available to be queued and streamed quicker than Scotty can beam down a redshirt to his untimely demise. (True ST fans, of course, already own their series of choice in at least one DVD edition, and would rather mix matter with antimatter than give up their slick Starfleet packaging and requisite bonus features.)

The crew returns (minus Chekov, plus a couple of weird aliens)

But what a lot of fans of old-school Trek may not realize is that there was another Star Trek, one that holds its own with much of the existing canon but gets little recognition outside of hardcore ST:TOS fans (that's Star Trek: The Original Series, for you non-Trekkies). This was Star Trek: The Animated Series,—a.k.a. ST:TAS. Produced for Saturday morning TV in 1973 and 1974 to placate the growing base of increasingly rabid fans, it utilized the voices of nearly all the original cast. Kirk, Spock, Bones and the rest were back, ready to complete the Enterprise's aborted five-year mission. Only Walter Koenig as Chekov was M.I.A. (one actor too many for the show's tight budget), replaced by an odd, long-necked creature named Lt. Arex.

Not Your Average Britcom: SPACED

Let's get Spaced

If you like your comedies smart and zingy and fueled with pop culture riffing, you're due for a visit to Spaced. Written by and starring Simon Pegg and Jessica Stevenson, Spaced is a British TV series that ran from 1999 to 2001 and still plays hummingly over a decade later. Long a cult favorite among geeks and filmmakers, it was well ahead of its time and credited as a major influence on the pace and comic style of such shows as Arrested Development, 30 Rock, and Community. What made it unique was not just the way it was made--more like a short film than a situation comedy--but its ability to mash together an offbeat, often surreal sense of humor with the pop culture-soaked psyches of its twenty-something leads.

Set in a suburban North London flat, the show's 14 episodes follow platonic roommates Tim (Pegg) and Daisy (Stevenson) as they learn to deal with living together, their oddball friends, and their larger place in the world. On its face that could describe any number of stories about slacker youth. But with its clever, finely tuned scripts and clueless yet sympathetic characters, Spaced brought a topical freshness to the drab sitcom world not unlike Quentin Tarantino's pop makeover of crime films.

Along with Pegg and Stevenson's scripts, equal credit goes to series director Edgar Wright, who went on to make Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. the World. His resourceful touch utilized every ounce of ingenuity to give practically every scene a visual zip or ping, turning an ostensibly low-rent sitcom into a charmingly baroque cinematic funhouse.