Track List:

01. Fringe Main Title Theme (00:37)

02. Logan’s Run (00:53)

03. The Bishop Of Essex County (02:27)

04. Transfusion Triumph (01:45)

05. Steig On The Run (01:39)

06. I See Frozen People (03:41)

07. Waking Strife (02:19)

08. Why Can’t I Be Goo? (03:35)

09. The Shocking Dead (02:40)

10. The Chess Club (02:13)

11. The Equation (02:14)

12. The Dreamscape (06:55)

13. The Light Fantastic (04:33)

14. Gurney For Your Thoughts (05:24)

15. Masters Of The Multiverse (02:01)

16. Now That’s Just Nicked Up (01:21)

17. Simultaneous Combustion (02:33)

18. Sanford And Shunned (04:02)

19. A Destroyed Life (03:24)

20. Keeping Up With The Jones (01:35)

21. There’s More Than One Of Everything (01:50)

22. Connecting The Fringe cidents (05:30)

23. Reiden Out The Storm (03:57)

24. All Along The Bell Towers (03:31)

Essays in this work investigate the relationship between our past and science fiction and fantasy television. Some essays contextualize a particular program or series while others discern ways in which a show depicts history. Thus, through close readings of televised science fiction and fantasy, some authors illuminate such topics as Cold War culture, renegotiations of race and gender, anxiety over the impact of technology, and the legacies of colonialism. Other authors study science fiction and fantasy television to show how historical narratives are constructed and communicated to the larger public.

The War Game is a 1965 television film on nuclear war. Written, directed, and produced by Peter Watkins for the BBC s The Wednesday Play strand, its depiction of the impact of Soviet nuclear attack on Britain caused dismay within the BBC and in government. It was scheduled for transmission on 6 August 1966 (the anniversary of the Hiroshima attack) but was not transmitted until 1985, the corporation publicly stating that the effect of the film has been judged by the BBC to be too horrifying for the medium of broadcasting . It was widely viewed before its BBC debut on video and in art-house cinemas, often using prints provided by Watkins, and the film won the Academy Award for Documentary Feature in 1966.

The Vietnam War was the longest and most unpopular war in which Americans ever fought. And there is no reckoning the cost. The toll in suffering, sorrow, in rancorous national turmoil can never be tabulated. No one wants ever to see America so divided again. And for many of the more than two million American veterans of the war, the wounds of Vietnam will never heal.

The Vietnam War was the longest and most unpopular war in which Americans ever fought. And there is no reckoning the cost. The toll in suffering, sorrow, in rancorous national turmoil can never be tabulated. No one wants ever to see America so divided again. And for many of the more than two million American veterans of the war, the wounds of Vietnam will never heal.

The Vietnam War was the longest and most unpopular war in which Americans ever fought. And there is no reckoning the cost. The toll in suffering, sorrow, in rancorous national turmoil can never be tabulated. No one wants ever to see America so divided again. And for many of the more than two million American veterans of the war, the wounds of Vietnam will never heal. Fifty-eight thousand Americans lost their lives.

Patterned after the model of the Family in Sicily, mafia activities in America centered in large industrial centers, such as New York and Chicago. Part of the mob's success was its ability to deliver jobs. It was only natural that its influence would be felt in organized labor. The film looks at those ties and practices, and the unsolved case of Jimmy Hoffa. This episode tells the history of the mafia involvement through the unions. Only after violent protests did unions establish themselves in the USA, and from early on the mafia became involved. Strikes by the unions were broken up by thugs hired by the employers. In turn the union hired gangsters to 'fight fire with fire'. Fratianno tells how he started this way, being hired to lead gangs to protect the workers and fight the opposing thugs in pitch battles in the numerous strikes of the 1920's. Once the gangsters were involved, they gradually assumed power in the unions, particularly the ILA (docker's union) in New York. Workers were then exploited by such means as kick backs for gaining employment. All rivals and those who spoke out were disposed of, until eventually Johnny Dwyer (interviewed here) took a stand to rid the union of the mafia. The union was led by Anthony Anastasia, a high ranking mafiosi, whose brother Albert was head of 'Murder Incorporated'. With the escalating violence, public outcry meant that the Waterfront Commission was established and succeeded in ridding the New York ILA of mafia control. But they just moved on. Miami's docks became a target when the city's profile and business boomed in the 1960's.