The premise statements lay out clear conflict situations in a single sentence. They're good premise statements. However, a lot of them have little or nothing to do with science fiction in particular. If you're looking for cool science fiction ideas, a lot of the situations will disappoint you. The situations themselves aren't bad. You could still have a good adventure when the PCs have been framed for a crime, for example. I'm just pointing out that the focus is on story ideas more than science fiction ideas.

Probably all of the premise statements are suitable for a single adventure. Many of them could also be turned into longer story arcs or even campaign premises.

The protagonist notes are good. They offer guidance that helps you decide whether the PCs themselves are the protagonists, and whether you'll need any NPCs to be the protagonists or to fill in knowledge or skill gaps for the PCs.

I like having story goals. At least in my games, players usually want something to focus on, whether it's a short-term goal or a long-term goal. A good story goal gives you a concrete way to mark an achievement, whether it's a good success or a "big one that got away" failure. Most of the story goals presented here are good concrete goals that tell you when success has been achieved and the story is over. Where some of the story goals fall short is that they tell you what success looks like, but they don't tell you what failure looks like.

Take stopping an assassination as an example of a good story goal. The objective is to stop an assassination attempt. It's not making sure that the target is never assassinated; it's making sure that a particular assassination plot is foiled. If you foil that particular attempt, you've got concrete success. If the target is assassinated, you've got concrete failure. Either way, you know when the story is over. Compare this to a story about finding something ("a scientific find, a treasure that brings them financial gain, or a personal epiphany that changes their life for the better"). If the PCs find it, you've got concrete success. Failure, however, is left open-ended. The story goal would be stronger if it made failure more concrete, such as needing to find whatever they're after before a certain event occurs. Obviously, you can add concrete failure yourself, but the story goal would have been stronger if it had talked about concrete failure as well as success.

In any event, I take the story goals as initial defaults. In play, the story could take a whole new direction and the players might come up with a different goal. That's all part of the fun too.

The obstacle notes are good. In the space of a paragraph, they suggest the types of obstacles the PCs should encounter, how they might escalate in difficulty, and what the final obstacle to success should be.

The antagonist notes on goals and motivations are also good. Each entry also suggests whether the antagonist should be a recurring character, a new opponent, or either.

All of the guidance is fairly general, and it's up to you to make things specific for your setting. For example: "This premise requires the protagonists to have connection to the tech start-up or its employees. If they do not, be sure to include a supporting character who does and can ask the protagonists for help." You need to fill in the blanks.

The story ideas have varying degrees of replay value. Take the assassination plot as an example. On the one hand, you could have multiple assassination plots, with each one different from the last in some way, but you'd still be doing the same basic story over and over. A go-and-find-the-thing story allows for a lot more variety, so you could probably get a lot more replay value out of that. Nevertheless, even the ones with low replay value don't have to come up very often, given all the other story premises available.

Overall, it's a good mix.