Apple TV’s Sci-Fi Lineup Rethinks the Genre

From Isaac Asimov’s sweeping empire in “Foundation” to the workplace dread of “Severance,” Apple TV has quietly built a sci-fi identity since Apple TV+ launched in November 2019. With its subscriber base now over 45 million and a string of awards-heavy hits—fr

When sci-fi fans talk about what “counts” on a streaming service, it usually comes down to two things: ambition and follow-through. Apple TV has leaned hard into both since it launched Apple TV+ in November 2019, keeping science fiction at the center of its programming from day one.

Two of the series available on launch day were sci-fi dramas, including one that’s still running today. Over the years. Apple TV dropped the “plus” branding and built a subscriber base to over 45 million—while continuing to invest heavily in the genre. Apple has drawn on the $4 trillion value of its parent company to produce a lineup of sci-fi shows built for immersion. using cutting-edge and emerging production techniques.

Apple’s approach isn’t only about producing strange worlds. It’s about making those worlds land. And if you want to see how that strategy plays out in the stories people keep coming back to, these shows are the clearest proof.

“Foundation” sits like a cornerstone in the genre. and not just because Isaac Asimov’s novels helped define the intergalactic empire as a staple. In 1966, the series won a special Hugo Award as best sci-fi series to that date. Adapting source material of this scope was always going to be a massive undertaking. Forbes reported that Apple spent $45 million to produce Season 1.

The risk didn’t vanish—if anything, the show leaned into it. “Foundation” has gathered plenty of industry honors in its three seasons to date, including a pair of Emmy nominations in production categories in 2022. Saturn Award nods followed in 2024 and 2026 as best sci-fi TV show.

The honors extended beyond the usual crowd. “Foundation” has been nominated by the American, British, and Canadian Societies of Cinematographers, as well as the Art Directors Guild and Visual Effects Society.

Co-creator David S. Goyer has spoken openly about the difficulty of taking Asimov to television while still staying faithful to what made the books work. He told The Hollywood Reporter that Apple TV was supportive of his team’s aggressive vision. “Apple, by and large, went for it,” Goyer said. “We do very unusual things … I remember what I said to them was: ‘Don’t note me on the science-fiction. I can handle the science fiction. Note me on the drama, note me on the characters, note me on their relationships. I’ll take care of the other crap.’”.

“The Murderbot” earns its reputation by flipping expectations without losing the core pleasure of sci-fi. Rogue robots are nothing new, but “Murderbot” adds a twist that makes the trope feel fresher. Alexander Skarsgård stars in the title role as a cyborg working security for a scientific team. The twist is in how the character watches the world: his steady internal monologue about free will and behavioral ethics keeps getting interrupted by frequent breaks to watch a campy sci-fi TV show.

It’s a series that plays like a sci-fi lasagna—layering familiar elements from classics like “Robocop” and “Star Trek” alongside serious situations and some goofiness.

The show’s reception followed the premise. Season 1 earned a 95% Rotten Tomatoes score from critics. Apple TV+ renewed “Murderbot” for Season 2 while Season 1 was still airing.

In its rookie season, the series earned Saturn Award attention with a Saturn Award nomination, two Hugo nods, and recognition from the Art Directors Guild, Costume Designers Guild, and American Society of Cinematographers.

“Murderbot” also matters to sci-fi fans for the simple reason that it’s built on more story. The series is based on the first title in Martha Wells’ seven-book series “The Murderbot Diaries,” leaving plenty of room for the show to continue if it stays popular.

If you want a different kind of sci-fi—one that proves laser weapons aren’t required to pull people in—“For All Mankind” is the cleanest example. It was one of Apple TV’s day-of-launch shows in 2019, and Apple TV has now renewed “For All Mankind” for a 6th and final season.

The series takes place in an alternate reality where Soviet cosmonaut Alexei Leonov beats NASA’s Neil Armstrong to the moon. It lives closer to the “sci” end of the sci-fi spectrum, with meticulous attention to detail that stretches from haircuts and shoes to NASA’s command centers and spacecraft.

Tracy Stevens is played by Sarah Jones, and she has pointed to how patient the storytelling can be. She told UPI: “What the writers did and what Apple allowed — because ultimately you are at the mercy of the people writing the paychecks — is that the first couple of episodes really take their time … putting people into the world and setting it all up.”.

The show also leans on real-world experience. Veteran astronaut Garrett Reisman serves as a technical consultant and played himself as a space shuttle commander in Season 2. In an interview with CollectSpace. Reisman described the set as a credible stand-in for a real shuttle: “Let me put it to you this way: the switches were all in the right place.”.

The metrics back up the craftsmanship. “For All Mankind” currently has a 91% Tomatometer score. It has earned awards consideration through nominations by the Art Directors Guild and Television Critics Association. and it won the 2021 Saturn Award as best fantasy TV series. An interactive special and an augmented reality app each won juried Emmy Awards for new media. and two episodes have been nominated for Hugo Awards.

There’s a pattern across these shows that doesn’t need a slogan to be obvious: Apple TV is spending like it intends to compete for attention. then building productions that hold up under scrutiny. “Severance” may look like a different creature entirely than the space-age epics. but the underlying promise is the same—big imagination. precise execution. and story choices that reward repeat viewing.

That commitment shows up in “Pluribus,” too, even if the scale is disguised under narrative playfulness. Vince Gilligan. creator of “Breaking Bad” and “Better Call Saul. ” wrote for “The X-Files” early in his career. and he wanted to return to sci-fi after his time with Walter White (Bryan Cranston) and associates.

Studios and streaming outlets were eager to get behind his next idea after “Better Call Saul” wrapped. and Apple’s case was especially convincing. Gilligan told Variety that the “two gifts of trust and time” made Apple the best choice for his new series. He could have included Apple’s trillions as a third factor when thinking about why the project landed there.

Apple TV and Gilligan built a cul-de-sac and neighborhood of several houses for “Pluribus. ” including space for parts of the set to be destroyed with fireworks and a hand grenade. Add in a re-creation of Air Force One, gourmet on-screen meals, and a filming itinerary that covers multiple continents. The bill for Season 1 totaled about $15 million per episode.

And the results are the kind that tend to travel well with awards committees and fans. “Pluribus” has a 99% Tomatometer score and a long list of industry honors. Emmy nominations for the year won’t be announced until July. but “Pluribus” already won the American Film Institute’s award as best TV show of 2026. It also won Satellite and Saturn Awards for best drama or genre series.

Individual performances landed, too. Rhea Seehorn and Karolina Wydra each won a Saturn for their performances. Seehorn also took home Golden Globe, Satellite, and Critics Choice Awards for playing fantasy author Carol Sturka.

Before “Pluribus. ” “Severance” was probably Apple TV’s flagship sci-fi program—and it still feels that way when you look at the attention it keeps generating. The series has only aired 25 episodes, but it has had a nearly three-year gap between Seasons 1 and 2. Even with the long wait, it became a cultural phenomenon.

Fans didn’t just watch. They dissected. There are dozens of “Severance” podcasts and countless published articles focused on analyzing every frame and word of the series and its bizarre universe.

Executive producer Ben Stiller has acknowledged that the chatter is part of the show’s life outside the screen. He told Decider: “The fact that it’s in the conversation, just culturally, it’s really been fun to be a part of.”

“Severance” is built on a retro, mid-20th-century aesthetic. The fictional science, however, is futuristic—and designed to raise ethical concerns that stick to you after the credits.

Variety described the universe as “completely unlike ours and yet terrifyingly similar enough to prove jarring.” Adam Scott. Britt Lower. Patricia Arquette. John Turturro. and Zach Cherry help make that strange world relatable. and the series has succeeded with critics. fans. and awards organizations.

Awards are where the momentum becomes hard to ignore: “Severance” has won 10 Emmys from 41 nominations in its brief lifespan. Lower won in 2025 as outstanding lead actress in a drama, the same year Scott was nominated as outstanding lead actor. Multiple supporting roles followed with Emmy nomination wins for John Turturro, Zach Cherry, Patricia Arquette, Christopher Walken, and Tramell Tillman.

Even the guest work found its way into the awards conversation. Gwendolyn Christie, Jane Alexander, and Merritt Wever were also nominated for Emmys as guest stars. The series and its players have earned multiple Hugo, Saturn, and Satellite nominations.

It’s also the third show on this list with at least a 95% Rotten Tomatoes score—coming in at exactly that mark. Apple TV+ renewed “Severance” for Season 3 last year, with production on new episodes set to begin soon.

For Apple TV, these aren’t just sci-fi titles. They’re the argument the platform has been making since November 2019: that science fiction isn’t only about what’s out there—it’s about what happens to people when the future arrives, fully formed, and consequences start immediately.

Apple TV+ sci-fi shows Foundation Severance For All Mankind Murderbot Pluribus