12 Best Sci-Fi Shows Streaming On Prime Video

The streaming era of television has been great for sci-fi fans. Streaming services regularly shell out millions of dollars on big-budget science fiction spectacles, while older series are now available to stream in their entirety. Just this year, Hulu (via FX) made a major impact with its “Alien” spin-off, “Alien: Earth,” while Apple TV features several expensive projects like “Invasion” and “Foundation.”

But what about Prime Video? Sometimes overlooked in discussions about the streaming wars, the platform has consistently produced and hosted some great entertainment. The service has a lot to offer for science fiction fans. From innovative original series to beloved classics to hidden gems, here are the 12 best sci-fi shows on Prime Video right now.

A co-production between Channel 4 and AMC, “Humans” takes a familiar science fiction story to new depths. Set in a parallel universe where humanoid robots, called synths, work and live alongside humans as servants, the series questions our relationship with technology and what it means to be human. We follow Joe Hawkins (Tom Goodman-Hill), who buys a synth for his family despite his wife Laura’s (Katherine Parkinson) objections. Meanwhile, widower George Millican (William Hurt) grows attached to his outdated synth, which holds memories of his deceased wife.

Though the concept of “Humans” isn’t new, the series gets more interesting every season, and the characters and their relationships with one another develop with great nuance. One of the series-long plotlines involves the synths gaining consciousness, bringing up questions about what separates humans from their robotic counterparts. But also, should the synths have rights? Do they have agency?

“Humans” features a terrific cast that delivers consistently compelling performances. The actors playing synths do an amazing job, particularly Gemma Chan, who plays the Hawkins’ synth, Anita. Chan and her fellow synths attended “synth school,” taught by the show’s movement director Dan O’Neill, in order to embody the not-quite-human mannerisms of these creations. Both easily digestible and thought-provoking, “Humans” is a thoroughly satisfying ride.

By our estimation, “The Boys” is one of Prime Video’s greatest TV shows, and it’s been a huge hit for the platform. A satirical take on the superhero story, “The Boys” flips the script when it comes to the good guys and the bad guys. In this universe, people with superpowers, known as “Supes,” work for a corporation called Vought International and are lauded as heroes. In actuality, most of the Supes are self-serving fame-seekers who cause unnecessary collateral damage, putting civilians in jeopardy.

“The Boys” centers on two factions: The Seven, the superhero team led by Vought, and The Boys, a CIA-backed vigilante group working to take down Vought and its so-called heroes. In the first season, we meet Hughie Campbell (Jack Quaid), who joins The Boys after being recruited by Billy Butcher (Karl Urban) when Hughie’s girlfriend is killed by a member of The Seven.

A political satire, a superhero show, and a thrilling, bloody adventure, “The Boys” contains multitudes in its colorful package. You won’t be able to look away from the gory violence and the uncomfortable sex scenes, while the twists and turns keep it from becoming repetitive. And we must give credit to Antony Starr as Homelander, giving a terrifying performance as one of the greatest TV villains in recent memory.

Though it’s a spin-off of “The Boys,” “Gen V” succeeds in striking out on its own, much like its young protagonists. The action takes place at Godolkin University School of Crimefighting, an institution that turns superpowered teens into heroes -– at least in the eyes of Vought International. We begin with Marie Moreau (Jaz Sinclair), a young woman with the ability to manipulate blood. Marie is determined to rise through the ranks and join The Seven, but as she gets closer to achieving her dreams, she realizes something sinister is lurking just beneath the surface.

Godolkin allows “Gen V” to explore many of the themes in “The Boys” in a different setting. We know how corrupt The Seven and Vought International are, but how does this affect the younger generation? Marie and her new friends were all let down by the adults in their lives, and face a world in which decisions made by previous generations have led to a veritable hellscape. Indeed, though these young adults have superpowers, many of the issues they struggle with are analogous to the concerns of adolescents in our world.

Like “The Boys,” “Gen V” is a maximalist show that doesn’t hold back, whether regarding violence, sex, or a combination of the two. Messy, brutal, and hilarious, the series commences at full speed and never slows down. At the same time, the acting is superb and the characters well-drawn, which prevents the viewer from getting lost in the sauce (or blood).

As its title suggests, “The Expanse” tells an epic tale that spans the vastness of space. Set hundreds of years into the future, the show depicts a world where humans have colonized the solar system. Three factions fight for dominance: Earth, Mars, and the Outer Planets Alliance (OPA), made up of colonies spread across the asteroid belt. On Earth, capitalism is the law of the land, while Mars has become a militaristic power. On the brink of war, the two powerful nations exploit those living in OPA colonies, known as “Belters,” for their natural resources.

The show explores this complex web of politics and survival through the eyes of several characters spread across the solar system. UN official Chrisjen Avasarala (Shohreh Aghdashloo) attempts to manage the tenuous relationship between Earth and Mars. Detective Joe Miller (Thomas Jane) tries to find a missing woman in the Asteroid Belt. The surviving crew of an ice-harvesting ship commandeers a Martian ship after an attack.

“The Expanse” is hardcore science fiction, which means there are no gimmicks or obvious storylines. The series demands your attention and assumes its audience is intelligent and patient enough to follow along as a vast conspiracy begins to slowly reveal itself. The three narratives start to connect as the first season wears on, and what follows is a superbly written story about the folly of humanity and the evil forces of capitalism.

One of the best video game adaptations in recent years, the Prime Video series “Fallout” provides a delightful ride for gamers and non-gamers alike. Ella Purnell plays Lucy, a young woman who was born and raised underground following a nuclear holocaust. She lives in Vault 33, a bunker built by a corporation called Vault-Tec more than 200 years ago. Though Lucy has never been outside, she leaves the safety of the vault and travels the vast wasteland that was Los Angeles in search of her kidnapped father (Kyle MacLachlan).

While on the surface, she meets many strange people who teach her about the world. Walton Goggins plays Ghoul, a gun-wielding zombie without a nose. Somehow, Ghoul is still alive after surviving the nuclear attack more than two centuries ago. Aaron Moten plays Maximus, a member of a military group called the Brotherhood of Steel that begins to question his loyalties.

Whether you’re familiar with the video game or not, “Fallout” is great fun. The acting is top-notch, as Purnell handles Lucy’s development beautifully but never overplays her naivety, and Goggins makes us wonder how such a terrifying creature could also have a soul. While extremely funny and self-aware, “Fallout” doesn’t sacrifice character development for laughs. The perfect combination of style and substance, the show’s dazzling visuals and clever world-building buoy compelling character arcs for all.

The Prime Video original series “The Man in the High Castle” portrays a dark alternative universe that’s just as chilling today -– if not more so –- than it was when Philip K. Dick published his novel of the same name in 1962. The series takes place in the 1960s, depicting a world in which the Axis powers won World War II. Germany controls the Eastern half of the United States, and Japan controls the West, with a neutral zone across the Rockies.

Can (and will) ordinary people fight back against these fascist regimes? This is one of the questions “The Man in the High Castle” asks, with powerful results. In San Francisco, we meet Juliana (Alexa Davalos), who is living a semi-normal life under Japanese rule. When Juliana discovers a film showing an alternate reality where the Allies won WWII, she begins to resist. On the other coast, Joe (Luke Kleintank), an American Nazi, feels conflicted about his allegiance to the Greater Nazi Reich.

The show’s world-building is incredible, and the ’60s design, overlayed with fascist symbols, makes a huge impact. Though it may take a few episodes to become grounded in this world, it’s the characters that grab your attention. A Nazi who’s also a dedicated family man gives evil a human face, while the resistance fighters weighing freedom and survival remind us of the power of hope.

The CBS series “Person of Interest” functions like a Trojan Horse. In the first season, it introduces itself as a typical crime procedural, only for it to grow into something far more complex. Michael Emerson plays Harold Finch, a reclusive billionaire software engineer who created a program called the Machine. Built to prevent terrorist attacks, the computer system uses surveillance footage to identify potential crimes, giving Finch the social security numbers of “persons of interest” -– either the future victims or perpetrators of crimes.

Armed with all of this information but with limited means to act on it, Finch enlists the services of John Reese (Jim Caviezel), a disillusioned CIA operative, to serve as his agent in the field. They are joined by corrupt NYPD cop Lionel Fusco (Kevin Chapman) and upstanding detective Joss Carter (Taraji P. Henson). Later in the series, the team includes unhinged assassin and hacker Root (Amy Acker) and stoic former Marine Sameen Shaw (Sarah Shahi).

Though “Person of Interest” is a compelling series from the start, it gets better as it goes, blossoming into a profound treatise on human nature and the importance of connection in an increasingly fractured world. The show touches on questions about artificial intelligence and surveillance that seem to have predicted the future we’re living in today. However, the series doesn’t imagine a techno dystopia, but instead highlights the importance of maintaining our humanity in the face of technofascism.

Without strong characterization or emotional resonance, science fiction stories can get lost in plotting. That’s why “Stargate SG-1” co-creator Brad Wright had one rule: “A story must have heart.” That focus on moving the audience explains why “Stargate SG-1” has maintained such a loyal following for all these years. Based on the 1994 film “Stargate,” the series premiered on Showtime in 1997, following the group of scientists and soldiers who venture to other planets. The SG-1 team uses an ancient alien portal called the Stargate for intergalactic travel, in search of friendly civilizations and technology that will help them defend against Earth’s alien enemies.

“Stargate SG-1” features a complex web of lore that defines the universe. The series’ fascinating alien mythology draws on ancient stories such as Egyptian mythology, Norse mythology, and the legend of King Arthur. But, as per Wright’s rule about always leading with heart, the characters, rather than the mythology, drive the show. Fans who describe “Stargate SG-1” as their comfort show often highlight the camaraderie between the SG-1 team as one of the reasons the show means so much to them.

Indeed, “Stargate SG-1” maintains a sense of wholesomeness throughout its 10 seasons, depicting characters with good intentions doing their best in difficult situations. The show’s focus on character dynamics, combined with the intellectually stimulating exercise of imagining other civilizations in our galaxy, makes for an engrossing watch.

As the most significant science fiction program in television’s first few decades, “The Twilight Zone” remains a common point of reference today. Rod Serling’s masterpiece premiered in 1959, taking the medium to new heights. Already a veteran TV producer by the time “The Twilight Zone” premiered, Serling had grown tired of censorship, exemplified by his inability to bring the story of Emmett Till to television. Still wanting to tackle more controversial, prescient issues in his work, Serling turned to the realm of science fiction. In this context, he was able to explore the issues he was passionate about by telling allegorical stories.

“The Twilight Zone” remains a timeless classic whose relevance hasn’t waned in the decades since it first aired. Serling was a master of twists, tricking the viewer into believing something was true only to reveal a different shocking truth at the end of the episode. In addition to illustrating Serling’s mastery of the craft of writing, these stories emphasized the power of perception and just how tenuous the concepts of truth and objective reality really are. Many episodes of the show explore the dangers of mob-like behavior and brainlessly following the status quo, in turn highlighting the importance of independent thinking. “The Twilight Zone” was science fiction at its best, using the genre as a vehicle to expound upon pressing social and political issues. Television was never the same again.

It’s difficult to describe the Prime original series “Undone” because there’s nothing like it on television. The brainchild of “BoJack Horseman” writer Kate Purdy and creator Raphael Bob-Waksberg, the animated series explores grief and mental illness with a distinctly artistic flair. The show employs rotoscoping, an animation technique where actors are filmed and then digitally painted over by animators. The result is a trippy, hyperreal, and hauntingly beautiful look that serves the show’s ambitious narrative.

Rosa Salazar plays Alma, a 28-year-old woman trudging through life with little excitement. Her boyfriend (Siddarth Dhananjay) loves her, but she can’t muster up the same feelings, while her perfectionist sister (Angelique Cabral) and worried mother (Constance Marie) drive her crazy. Adding to that, Alma still hasn’t gotten over the death of her father (Bob Odenkirk), who died many years ago. When Alma gets in a car accident, her perception of reality shatters. She begins having visions of he dead father, and finds that she can see the future through psychic time travel.

Alma’s sudden mental change may be a result of inherited schizophrenia or magical powers; she’s not sure. This kind of plot device can be a slippery slope in terms of fetishizing or mishandling mental illness, but “Undone” allows space for both explanations to exist, drawing from science and spirituality in its exploration of Alma’s mental journey. Both an impressive artistic achievement and a moving exploration of grief, the show’s innovative depiction of reality has to be seen to be believed.

If you like your science fiction focused more on characters and emotions than scientific logic or myth-building, “Tales From the Loop” will be right up your alley. Based on Swedish artist Simon Stålenhag’s book of the same name, the series takes place in the town of Mercer, Ohio. Mercer is home to the Loop, an experimental underground research facility about which little is known. The Loop makes strange things happen in Mercer, but for its residents, such oddities are par for the course.

“Tales From the Loop” functions like an anthology series, though the episodes overlap and feature some of the same characters. These beautifully drawn vignettes, which can theoretically be watched in any order, use science fiction themes to explore the most human of experiences, such as love, yearning, loss, and growing up. A man named Russ Willard (Jonathan Pryce) founded the Loop, and his family members, including grandson Cole (Duncan Joiner) and daughter-in-law Loretta (Rebecca Hall), serve as the series’ protagonists.

In one episode, a metal sphere predicts the length of visitors’ lives, while in another, a security guard (Ato Essandoh) travels to an alternate universe where everything is better. The show isn’t interested in explaining what the Loop is or why these strange things happen, focusing instead on their emotional impact. Featuring collaborators like “Finding Nemo” and “WALL-E” director Andrew Stanton and composer Philip Glass, “Tales From the Loop” settles into a tone somewhere between quiet reverence and deep melancholy.

The Syfy series “Warehouse 13” may be a mishmash of common science fiction, mystery, and procedural tropes, but when it works, it works. Before it premiered in 2009, the network described the series as “part ‘The X-Files,’ part ‘Raiders of the Lost Ark,’ and part ‘Moonlighting'” – an apt characterization. 

“Warehouse 13” follows two U.S. Secret Service agents, Myka Bering (Joanne Kelly) and Pete Lattimer (Eddie McClintock), who are assigned to a mysterious facility called Warehouse 13, located in the middle of South Dakota. Though Myka and Pete are initially dismayed by the assignment, they soon realize how significant and fascinating Warehouse 13 is: The warehouse houses every supernatural artifact discovered by the U.S. government, and their task is to collect more objects and bring them back to the warehouse for safekeeping.

Myka and Pete represent a classic pair of mismatched agents. Myka is a buttoned-up rule follower, while Pete acts on instinct. Their boss, Artie (Saul Rubinek), is an eccentric genius, and they gain an enthusiastic tech expert in the form of Claudia (Allison Scagliotti). The structure should sound familiar to you, and indeed, the show’s references aren’t hard to locate. But what it lacks in novelty, it makes up for in entertainment value, and the actors bring these archetypal characters to life quite memorably. Though often compared to “The X-Files,” “Warehouse 13” has more in common with “Fringe,” with an added element of satisfying silliness.