Dominic West, John Doman, Wendell Pierce, Lance Reddick, Deirdre Lovejoy Directors: Brad Anderson, Clark Johnson, Clément Virgo, Edward Bianchi, Gloria Muzio

Picking up after the dramatic events of its maiden season, the second series of The Wireachieves something really rather special: it even manages to outclass the first.

For those fresh to the show, surely the best, most intelligent piece of scripted drama to emerge from America in the last decade, the actual premise is fairly simple. Across the thirteen episodes of its season, it charts one case, and the numerous influences upon it. So it devotes roughly equal time to those committing the crimes as it does to those chasing them.

This time, the Baltimore Police Department have twin worries. There's the continuing, festering narrative of events from the season before, along with a new problem when a container of dead bodies turns up at the nearby docks. After initial battles over whose statistics the bodies will be attributed to, a fresh case begins for the embattled officers of the Major Crimes Unit.

Yet season two is about much more than the case itself. Bubbling under the surface are characters with real problems, that take their toll on the day-to-day, while at the docks themselves there are union struggles underway, which also have a part to play. Thanks to, frankly, superb scripting, these various narrative threads are woven together quite brilliantly, and the result is perhaps the finest series of The Wireto date. And that's no small feat.

If you're one of the many who have let The Wirefly under their radar thus far, then you're urged to rectify that. Clearly season one is the logical starting point, but begin your adventure in the knowledge that this second series is simple exceptional. For the rest of the US television industry, this is the standard to aim for. —Simon Brew

The argument will rage long after the boxset of The Simpsons: Season Nine has been released about when exactly America’s finest television animated export actually peaked. Some arguably, with genuine gusto, that it was a year or two before this series was first shown. Most purists though satisfy themselves that it’s the single digit seasons where the best of The Simpsons, and there’s certainly plenty of gold in this latest set.

Boasting twenty five episodes in all, and backed up by the superb selection of extras we’ve come to expect from Simpsons boxsets, there are some terrific episodes to be found. The 200th episode of the show, for instance, "Trash Of The Titans" makes compelling viewing out of, literally, sanitation, while "The City Of New York vs Homer Simpson" is likewise outstanding, as Homer trots off to recover his car.

Truth be told, for this reviewer’s money, The Simpsons: Season Nine isn’t the equal of the two boxsets that preceded it, and it certainly has its fair share of easily forgettable episodes. But these are still in the minority, with the bulk of this set being as representative of the great writing, humour and wry observations we’ve come to expect from The Simpsons. Cracking value for money, too.—Simon Brew

Corruption is rife throughout The Wire: The Complete Third Season, which picks up the further adventures of the Baltimore Major Crimes Unit as they continue to wage war on drugs. Only as this is The Wire, that's just the beginnings of their problems. Once again, the show that's rightly being acclaimed as one of America's finest and most intelligent dramas covers the story from all areas. There's the investigating cops on one hand, their targets on the other, and the small matter of heavy political influence both with the Police Department itself, and from the Mayor's Office too.

Cleverly sowing the seeds for the series that'll follow, while lacing the narrative with a wealth of challenging ideas to deal with there and then, season three isn't perhaps the finest of The Wireto date, but it sure does run things close. From its willingness to explore a solution of tolerance to the problem in hand, through to the political ambitions of one man determined to make a name for himself, and the small matter of a drugs operation riddled with in-fighting, it's compelling drama.

It's also unequalled in recent times, courtesy of its outstanding writing, measured performances and willingness to take some bold gambles. Put bluntly, The Wire: The Complete Third Seasonis a quite brilliant piece of television drama, and easily rewards a purchase. —Simon Brew

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royaleoffers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royaleis the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument", reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armour" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.

For longtime fans of the franchise, Casino Royaleoffers some retro kicks. Bond wins his iconic Aston-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its ill-fated romance, Casino Royaleis a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in Private Benjamin, now I know what I've been faking all these years. —Donald Liebenson

Both series of Ricky Gervais and Stephen Merchant’s triumphant Extras are united in this box, and with nothing more than a Yuletide special planned beyond these episodes, it’s a great chance to catch up with this star-packed, offbeat programme.

Unlike their previous The Office, Gervais and Merchant have delivered a less accessible but no less rewarding programme with Extras. It starts with Andy Millman, a ‘background artist’, sitting in the shadows of a variety of different shows, before, in the second series, he gets his own spot in the limelight.

What’s helped characterise the series, of course, has been the continued presence of star names in cameo roles. These range from Hollywood bigshots—Samuel L Jackson, Kate Winslet and Harry Pott.., sorry, Daniel Radcliffe—and continue through to familiar faces from British TV—step forward Les Dennis, Ross Kemp and Barry from EastEnders. Most of the plaudits, though, rightly go in the direction of the splendid Ashley Jensen, who emerges as the most likeable and rounded of all the show’s characters.

There’s little danger, it seems, that Extras will dethrone The Office from the top of its creators’ CVs, but thanks to its strong writing, its measured mix between melancholy and amusement, and some superb performances, it more than carves a very strong niche for itself. —Jon Foster

Arrested Development—one of the greatest comedies in the history of television—went out in a blaze of glory. The truncated final season packed more biting humor per minute than ever before. In only 13 episodes, dozens of intertwining storylines spun in all directions: In addition to the overarching story about the fractious infighting of the Bluth family and the family's housing development company being investigated for treason in Iraq (a plot arc that comes to a dazzlingly surreal conclusion), the put-upon "good son" Michael Bluth (Jason Bateman, Teen Wolf Too) pursues romance with a lovely British woman (Charlize Theron, Monster) who turns out to be woefully inappropriate; swaggering magician Gob (Will Arnett, Monster-In-Law) flees from his newly-discovered teenage son while still pandering for the affection of his self-absorbed father (Jeffrey Tambor, The Larry Sanders Show); flighty Lindsay (Portia de Rossi, Ally McBeal) and her sexually blurry husband Tobias (David Cross, Mr. Show) both get the hots for the family's new lawyer, Bob Loblaw (Scott Baio, Charles in Charge); and much, much more.

It's difficult to describe what makes Arrested Developmentso brilliant. The ensemble is uniformly superb (Jessica Walter, as the family's boozing, scheming matriarch, is particularly devastating this season) and the surprising guest stars (including Andy Richter, James Lipton, Justine Bateman, and many others) are perfectly cast; the characters' abominable behavior defies conventional television notions of "likability", yet they only grow more endearing the more you watch; the humour embraces wild slapstick and sharp satire, often within a single scene; and the nimble documentary style allows for sly glancing references to jokes and scenes from long-past episodes, rewarding devoted fans. But the key is that, no matter how screwball Arrested Developmentbecomes, the show offers a rich, textured, and wonderfully coherent world in which these characters feel genuine, a world completely unlike the flat, plastic simulacrum offered by the average sitcom. Arrested Developmentwas true to itself to the end. Its followers will cherish it forever. —Bret Fetzer

If you don't recognise the name, this is the sequel to Mario Smash Football on the GameCube (the name will likely change for the UK release). The original was one of the hidden gems on Nintendo's previous console, but this new game is not planning to be quite so coy. For a start it will be one of, if not the, first Wii games to be fully playable online, as Mario and his usual company of heroes and villains take to the pitch for some truly bizarre 5-a-side action. Although the basic rules of football are observed this is no serious simulation, with special moves galore and lots of Mario Kart style power-ups to pick up along the way.

The game uses the analogue stick on the nunchuck to move, with the Wii remote itself being used to tackle by gesturing in the appropriate direction. There's no such thing as a foul in this game so not only do you take possession via a range of painful looking barges but you can also try and push an opposing player off the side of the pitch and into an electrified fence. Other elements not usually featured in the beautiful game include the "mega strike", which is a special move unique to each captain and which creates an automatic shot on goal which the other player has to save with the Wii remote. With football games becoming ever more serious and complicated this should please both sports fans and those simply looking for the next big multiplayer hit.
HARRISON DENT

If you think you knew what it felt like to be the bounty hunter behind the visor, think again. The Galactic Federation?s network computer, Aurora Unit, is suddenly and completely corrupted with something like a virus. The Federation believes Space Pirates may be behind the problem and are soon attacked. Samus and other hunters leap to their defense only to find that the enemy they face is Dark Samus, armed with immense power that no one can withstand. Players control Samus by moving with the Nunchuk and aiming with the Wii Remote allowing for a level of immersion unlike anything they have ever experienced. Through the eyes of Samus, players experience a quantum leap in first-person control as they wield the Wii Remote, the ultimate device for the first-person shooter genre. Samus will employ well-known power-ups like the Grapple Beam and Morph Ball, as well as a bunch of new surprises, to help her survive her coming trials. The game also incorporates a new system involving Phazon. If you fill Samus' Phazon supply to a certain level, Samus will temporarily go into hyper mode, a state in which she can pull off incredible feats. On the flip side, if she exceeds the maximum Phazon level, she'll perish. Also, for the first time in the Metroid series, Samus' ship will be used in active game play

The ultimate Nintendo hero is taking the ultimate step ? out into space. Join Mario as he ushers in a new era of video games, defying gravity across all the planets in the galaxy. Features: Shake, tilt and point! Mario takes advantage of all the unique aspects of the Wii Remote and Nunchuk controller, unleashing new moves as players shake the controller and even point at and drag items with the pointer. Mario essentially defined the 3-D platforming genre with Super Mario® 64, and this game proves once again that he is king. Players perform mind-bending, lowgravity jumps across wild alien terrain as they experience platforming for a new generation.

For over a decade now fans have been wondering just what a team-up between Mario and Sonic the Hedgehog would be like. Everything from traditional platform games to complex role-playing titles have been suggested, but it's fair to say nobody imagined that it would finally happen in the form of an athletics simulator. It's officially licensed from the 2008 Beijing Olympics though (Sega already had the license for their own more traditional tie-in) and contains all the usual events you'd expect including the 100m sprint, swimming, judo, table tennis, hammer throwing and archery. Sega have even been talking about using the new Wii Zapper controller for a spot of clay pigeon shooting.

More than twenty-five characters from both universes will be playable in the game, including not just Mario and Sonic but also Luigi, Tails, Yoshi, Knuckles, Bowser, Doctor Eggman, Princess Peach and Amy. Other characters will have cameos as judges such as Cream the Cat and Toad. You'd expect some characters to be naturally better at some sports than others but each has their own strengths and weakness, with even Sonic's incredible speed mitigated by his slow acceleration. The whole game is developed by Sega but overseen by legendary Nintendo creator Shigeru Miyamoto, with full tournament and missions modes as well as online leaderboards for all the different events. The name may sound like an April Fool's joke at first but this crossover could well be the beginning of a beautiful friendship.

Harrison Dent

Jason Beaird

Ray Bradbury

Bill Bryson

Richard Dawkins

Richard P. Feynman

Kristin Gore

Stephen Jay Gould

Peter F. Hamilton Remember those fact-filled appendices in Frank Herbert's Dune and JRR. Tolkien's The Lord of the Rings? Here's the equivalent—though separately packaged—for Peter Hamilton's enormous and popular Night's Dawn SF trilogy, comprising The Reality Dysfunction, The Neutronium Alchemist and The Naked God, plus related stories collected in A Second Chance at Eden.

As a "non-fiction" companion volume, The Confederation Handbook maps out this future galaxy's joyous complications. Technologies: the affinity gene allowing telepathic man/machine communication; neural-nanonics implants which link your brain to the net; intelligent voidhawk and blackhawk spacecraft; forbidden antimatter weapons; and space drives. People: human Adamists who reject the affinity gene; Edenists whose affinity links offer a "real" afterlife that replaces religion, struggling colonists everywhere; and three very different alien species—the Tyrathca, Kiint and Jiciro. Places: crowded old Earth with its O'Neill halo of orbital installations; communist Mars; utopian Edenist habitats mining helium-3 fusion fuel from gas-giant planets; quirkily various colony worlds; and the mysterious alien wreckage of the Ruin Ring.

The Handbook carefully, almost too carefully, avoids spoiler revelations about the apocalyptic action of Night's Dawn. As in those books, its Timeline stops before the main story begins, and—besides names of "Possessors" in a cast list slightly updated from The Naked God's—the superpowered returned dead who threaten the entire Federation aren't mentioned at all. Readers nervous of SF terminology may find this a useful guide to the trilogy's huge, exhilarating blend of roller-coaster action and ghost-train chills. —David Langford

Peter F. Hamilton

Peter F. Hamilton Peter F. Hamilton's flair for huge, star-spanning SF adventures continues with Judas Unchained. This concludes the single long novel—over 1,800 pages in all—whose first half is Pandora's Star.

Humanity's interstellar Commonwealth is in serious trouble. Thirteen of its hundreds of worlds (linked by wormholes and high-speed trains) were lost to a first mass attack by the insanely hostile alien Primes. The controlling Prime intelligence, MorningLightMountain, can imagine no way of dealing with first contact but genocide—and has the resources to do it.

Amid political and personal chaos, it's becoming clear that the war was arranged by a third party. For centuries, only the fanatical, outlawed Guardians cult believed in this mysterious influence called the Starflyer. New evidence emerges, only to vanish again. Key figures are destroyed by near-invincible assassins crammed with inbuilt "wetwired" weaponry. One determined detective is on the track, but she faces massive political opposition.

The multi-stranded action follows many criss-crossing human stories, with fights, pursuits, quests, deaths, resurrections, exotic landscapes and armaments, good sex, and several interesting aliens. Betrayals are frequent, thanks to brainwashed Starflyer agents in positions of trust. Only the Guardians have a scheme to deal with the Starflyer itself—a grandiose strategy known as "the planet's revenge"—but no one trusts those crazy cultists…

In space, the arms race becomes dizzying, with Prime doomsday weapons used against suns while frantic human research leads to "quantumbusters" so appalling that there's serious moral debate about their use. Can we face the guilt of total genocide, even against a horror like MorningLightMountain? Or is there some way to force this psychopathic genie back into the bottle?

The action climaxes in a long, exhilarating chase sequence spiced with ultra-violent skirmishing as the Starflyer comes into the open at last. Stormgliding, an extreme sport introduced in book one, becomes vital to the race against time. Meanwhile, rival starships with different plans chase one another to the Prime system. Hamilton delivers the expected multiple payoffs with suitable pyrotechnics and a satisfying scatter of happy endings. A long, colourful, suspenseful example of modern British space opera. —David Langford

Peter F. Hamilton

Fake Steve Jobs

Mike Judge Office Spaceis a movie for anyone who's ever spent eight hours in a "Productivity Bin", had to endure a smarmy, condescending boss, had worries about layoffs, or just had the urge to demolish a temperamental printer or fax machine. Peter (Ron Livingston) spends the day doing stupefyingly dull computer work in a cubicle. He goes home to an apartment sparsely furnished by IKEA and Target, then starts for a maddening commute to work again in the morning.

His co-workers in the cube farm are an annoying lot, his boss is a snide, patronising jerk, and his days are consumed with tedium. In desperation, he turns to career hypnotherapy, but when his hypno-induced relaxation takes hold, there's no shutting it off. Layoffs are in the air at his corporation and with two colleagues (both of whom are slated for the chute) he devises a scheme to skim funds from company accounts. The scam soon snowballs, however, throwing the three into a panic until the unexpected happens and saves the day.

A little bit like a US version of The Office, director Mike (King of the Hill) Judge's debut movie is a spot-on look at work in corporate America circa 1999. With well-drawn characters and situations instantly familiar to the white-collar milieu, he captures the joylessness of many a cube denizen's work life perfectly. Jennifer Aniston, a waitress at Chotchkie's, a generic beer-and-burger joint, plays Peter's love interest and Diedrich Bader has a minor but hilarious turn as Peter's moustached, long-haired, drywall-installin' neighbour. —Jerry Renshaw

Killswitch Engage

Becky Martin

Jim Reardon Pete Michels Even as we arrive at season ten, these Simpsons DVD boxsets remain irresistible. Put together comprehensively and with real care, this latest release upholds the standard for terrific (and many) DVD extras to back up and complement the episodes themselves.

Season ten of The Simpsons features 23 episodes, spread across four discs, and there are some belters contained within. "Lard Of The Dance", for instance, finds Homer and Bart trying to steal and sell grease, against the backdrop of Lisa’s school dance. "Lisa Gets An ‘A’" meanwhile sees the Simpsons’ eldest daughter getting addicted to videogames, while "Mayored To The Mob" throws in Mark Hamill and a science fiction convention. Quite brilliant stuff.

The lazy argument though is that by season ten, The Simpsons was on the slide, but there’s plenty of compelling evidence in this boxset to counter that. Sure, not every episode’s a classic, but there are a lot of laughs and much entertainment to be gleamed here.

Furthermore, when you factor in the commentaries, deleted scenes, sketch gallery and look at the upcoming film, once again the stops have been pulled off for a distinguishable TV collection. Again, The Simpsons—in more than one sense—sets the standard that the others look up to. —Jon Foster

Cameron Moll

Muse Black Holes and Revelations finds Muse finally achieving their full potential, producing an album that is their biggest yet. And for a band that was responsible for the grandiose Origin of the Symmetry, that's no mean feat. In a time when lo-fi and acoustic acts are devouring the charts, Muse are resolutely swimming against the tide. Black Holes and Revelations is an epic album, and it sounds huge—listening to it, it's difficult to remember that Muse are just a trio. This is a band who enter a studio determined to get their money's worth—it wouldn't be a surprise to hear a kitchen sink clanging away in the background. In the hands of a lesser band, Black Holes and Revelations would sound either ironic or silly, with songs like "Starlight" sounding like a beefed-up ELO track, right down to its lyrics about spaceships. And that's not the only 1970's British rock band that's referenced here: by the end of "Soldier's Poem", you'll swear that Freddie Mercury and Queen are providing the harmonies. And the influence of Queen sticks around right through the energetic rocker "Assassin". Black Holes and Revelations wears the comparison well—this is an arena-rock album, carefully constructed by a band who by having no fear of the absurd, manage to transcend it. Quite simply, this album rocks. —Robert Burrow

Miguel De Cervantes Saavedra

Carl Sagan

Will Self

Serj Tankian

David Silverman Racking up impressive box office numbers right across the globe, the arrival of The Simpsons Movie onto the big screen proved, for many, to be more than worth the wait. But with its DVD release, there’s a compelling argument that Springfield’s finest have come back to their natural home.

The film itself is primarily Homer-centred, with the head of The Simpsons family seemingly consigning Springfield to certain doom when he dumps his waste where he shouldn’t. But, in the true spirit of the show, the plot takes a relative back seat to the antics of America’s first family.

And it’s those antics that offer the film’s gold. As you’d hope, it boasts several laugh-out-loud moments, from visual gags (the rock and hard place being a favourite) through to the by-now infamous Spider-pig. There’s not quite enough material to keep the chuckle counter going for the full duration of The Simpsons Movie, and the criticism that it’s effectively three episodes strung together has some truth to it. But you’d still be hard-pushed to complain for one key reason: The Simpsons Movie is grand entertainment, with plenty of rewatch potential.

So while you can add us to the queue of people who wanted more Mr Burns, and while it doesn’t quite measure up to some of the show’s best episodes, The Simpsons Movie still delivers, and does it with some quality. And Spider-pig is a work of genius…—Jon Foster

John Swartzwelder One of a series of comedy science fiction novels featuring slow-witted detective Frank Burly. By John Swartzwelder, the author of "The Time Machine Did It", "Double Wonderful", "How I Conquered Your Planet", and 59 episodes of The Simpsons.

Shaun Udal

Ben Fuller John F.D. Northover Paul Wheeler (IV)

Edgar Wright Spacedis a sitcom like no other. The premise is simple enough: Daisy (Jessica Stevenson) and Tim (Simon Pegg) are out of luck and love, so pretend to be a couple in order to rent a flat together. Downstairs neighbour and eccentric painter Brian suspects someone's fibbing, and almost blows their cover with their lecherous lush of a landlady, Marsha. Fortunately he soon falls for Daisy's health-freak friend Twist, while Daisy herself goes ga-ga for pet dog Colin. Tim remains happily platonic with lifemate Mike; a sweet-at-heart guns 'n' ammo obsessive. The series is chock-full of pop culture references. In fact, each episode is themed after at least one movie, with nods to The Shiningand Close Encounters of the Third Kindproving especially hilarious. Hardly five minutes goes by without a Star Warsreference, and every second of screen time from Bill Bailey as owner of the comic shop where Tim works is comedic gold. The look of the series is its other outstanding element, with slam-zooms, dizzying montages, and inspired lighting effects (often paying homage to the Evil Deadmovies). It's an affectionate fantasy on the life of the twenty-something that's uncomfortably close to the truth.

The second series finds the gang at 23 Meteor Street a little older, but definitely none the wiser. Tim's career is hampered by severe hang-ups over The Phantom Menace. Daisy's career is just plain non-existent. There is still a spark of sexual tension between them, but it's overshadowed by Brian and Twist getting it on. Propelling the seven-episode series arc is the threat of Marsha discovering that none of the relationships are what they seem, Mike's increasing jealousy and a new love interest for Tim. That's the basis for a never-ending stream of in-jokes and references that easily match the quality of the first series. Tim has a Return of the Jediflashback, then déjà vu in reliving the end of The Empire Strikes Back. There are spoofs of One Flew Over the Cuckoo's Nest, Robocop, The Sixth Senseand comedy rival The Royle Family. There are guest spots from Bill Bailey, Peter (voice of Darth Maul) Serafinowicz and The League of Gentlemen's Mark Gatiss and Reece Shearsmith. Every episode is packed with highlights, but this series' guaranteed geek pant-wetting moments have to be the mock gun battles, slagging off Babylon 5and learning that "The second rule of Robot Club is: no smoking." Jessica Stevenson won a British Comedy Award for this year. It deserved a whole lot more. —Paul Tonks

On the DVD:This three-disc collector's edition contains all the extras from the previous DVD releases, plus a host of brand new features including music promos, cast interviews, and an in-depth and specially filmed documentary featuring interviews with cast members including Simon Pegg, Jessica Stevenson, Nick Frost, cameo actors (Bill Bailey, David Walliams, Mark Gatiss, Reece Shearsmith) and journalists. It also includes a tour made by Simon, Jessica and Edgar of different show locations with clips of archive footage from the very first programmes Simon and Jess appeared in together.

John Wyndham