X Minus One, widely regarded as one of the finest science fiction dramas ever produced for radio, was broadcast on NBC from 1955 until 1958. It began as a revival of NBC's Dimension X, which ran for just a year and a half, from 1950 to 1951.

If there's one lesson to be learned from science-fiction, it's that nothing lasts forever. From human lives to vast civilizations, the overarching theme of the genre is that the old will give way to the new. Look to futures past with X Minus One! One of the most imaginative series of the 1950s brings you to adventures in worlds beyond fear, beyond imagination, beyond the farthest stars. Works by the leading genre authors of the day (including Philip K. Dick, Robert Sheckley, and Clifford Simak) were turned into tight, well-acted half-hour dramatizations.

Launch your imagination and break the bonds of time and space with radio's highly acclaimed science-fiction anthology X Minus One! Produced in cooperation with science fiction magazines of the day, the series featured provocative stories by the genre's top genre authors. Ray Bradbury, Ernest Kinoy, Robert Sheckley, and more helped Americans of the 1950s look to the future. Dramatized with an atmosphere of excitement, top radio voices like Raymond Edward Johnson, Les Damon, Staats Cotsworth, Ruby Dee, Mandel Kramer, Joe DeSantis, and Bill Lipton gave voice to their visionary tales.

"The last man on Earth sat alone in a room. There was a knock on the door." A new crop of writers emerged from the dawning of the nuclear age, grappling with humankind's place in the universe. While imagining the wonders of space exploration and the rise of technological advancements, they questioned whether we were prepared to encounter aliens, or even control the machines and weapons we'd built ourselves.

All of us fear and fantasize about what is to come - be it tomorrow or next year or for the next generation. Sixty-five years after its creation, radio's most successful early venture into adult science fiction continues to entertain - and to stimulate the imaginations of a whole new audience.

Ryland Grace is the sole survivor on a desperate, last-chance mission - and if he fails, humanity and the Earth itself will perish. Except that right now, he doesn't know that. He can't even remember his own name, let alone the nature of his assignment or how to complete it. All he knows is that he's been asleep for a very, very long time. And he's just been awakened to find himself millions of miles from home, with nothing but two corpses for company.

It’s 1984, and life has changed beyond recognition. Airstrip One, formerly known as Great Britain, is a place where Big Brother is always watching, and nobody can hide. Except, perhaps, for Winston Smith. Whilst working at the Ministry of Truth, rewriting history, he secretly dreams of freedom. And in a world where love and sex are forbidden, where it’s hard to distinguish between friend and foe, he meets Julia and O’Brien and vows to rebel.

Inheriting your uncle's supervillain business is more complicated than you might think. Particularly when you discover who's running the place. Charlie's life is going nowhere fast. A divorced substitute teacher living with his cat in a house his siblings want to sell, all he wants is to open a pub downtown, if only the bank will approve his loan. Then his long-lost uncle Jake dies and leaves his supervillain business (complete with island volcano lair) to Charlie. But becoming a supervillain isn't all giant laser death rays and lava pits.

Six days ago, astronaut Mark Watney became one of the first people to walk on Mars. Now, he's sure he'll be the first person to die there. After a dust storm nearly kills him and forces his crew to evacuate while thinking him dead, Mark finds himself stranded and completely alone with no way to even signal Earth that he’s alive - and even if he could get word out, his supplies would be gone long before a rescue could arrive. But Mark isn't ready to give up yet.

Jazz Bashara is a criminal. Well, sort of. Life on Artemis, the first and only city on the moon, is tough if you're not a rich tourist or an eccentric billionaire. So smuggling in the occasional harmless bit of contraband barely counts, right? Not when you've got debts to pay and your job as a porter barely covers the rent. Everything changes when Jazz sees the chance to commit the perfect crime, with a reward too lucrative to turn down.