Videos from Hormoz Island in Iran could be confused with scenes from a NASA mission to Mars, but it isn’t science fiction, just science.
File photo: A woman walks along the beach on Hormoz Island in the Gulf Strait of Hormuz, off the Iranian port city of Bandar Abbas, on April 29, 2019. (Photo: ATTA KENARE/AFP via Getty Images)
After recent rain on Dec. 16, the island’s coast turned crimson as the rain created a unique and wild phenomenon on the mineral-rich island. A video recorded after the rain showed a red waterfall rushing down the cliffside and ruby-colored waves crashing against the shoreline.
So here’s what makes Mars and this natural beauty look alike — sometimes.
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On the island off the Iranian coast, the soil is rich with iron oxide. Iron oxide is a key element in determining the reddish color of Mars and the rusting of metals on Earth.
When rain mixes with iron oxide in the soil, the water runoff rushes into the ocean, turning the tide blood red. This otherworldly phenomenon differs from 'blood rain,' when raindrops mix with dust or dirt high in the atmosphere, causing the raindrops to fall to Earth with an eerie color.
Welcome to Literary Quotable Quotes, a quiz that tests your recognition of memorable lines. This week’s installment highlights lines from notable 20th-century science fiction novels. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books if you want to experience the entire work in context.
The formula is simple: Combine the best-loved traits of J.R.R. Tolkien’s high fantasy and of modern romance novels, make the characters’ sex lives explicit and very detailed, and include a lot of descriptions of beautiful gowns and luxurious bathtubs. Put a lushly illustrated cover on the front. Back it up with authors who have very active social media presences, and get the ever-growing world of fans on BookTok (the book-focused corner of TikTok) and Goodreads to read and review. Call it romantasy or faerie smut—the new genre is everywhere.
Of course, it’s not really a new genre. I say that not because romantasy combines strands of several previously existing genres—romance, fantasy, and (often) horror. A new kind of pastiche still counts as something new. But literature that combines fantasy and sex is at least as old as the 12th century lais of Marie de France. In one such lai, Lanval, a knight in King Arthur’s court is wooed and seduced by a beautiful barely clad fairy maiden he meets in an ornate golden tent in a meadow. Yonec tells of an unhappily married young woman whose lover transforms himself into a bird to fly in her window. Bisclavret is the story of a werewolf baron who is betrayed by his human wife. Shakespeare’s A Midsummer Night’s Dream shows the audience Titania, the fairy queen, and the very human weaver Nick Bottom in love and in bed. And Christina Rossetti’s poem Goblin Market is a Victorian fever dream about the pleasures and consequences of sucking on goblin fruit.
The world of faerie is the world of the other, the mysterious, the forbidden. And all of that is sexy and dangerous in ways that have appealed to humans for a very long time. It’s really only with the rise of sharp genre distinctions—evidenced by bookstore section headings that cloister romance, fantasy, and science fiction from one another—that this kind of erotic, adventurous, magical melange became uncategorizable and thus unmarketable. (I’m inclined to think that the way Amazon and other online bookstores break down the distinction between genres and sections of a traditional bookstore might be a small technical driver for the return of romantasy.)
Technical questions aside, there may be something uniquely 2025 about the way romantasy has come roaring back to life. The overturning of Roe v. Wade and the rise of the hard right have put questions of women’s autonomy and power at the center of American political and cultural discussions. Though it may surprise those who haven’t read much in the genre, romantasy puts those questions right in the center of its texts.
The classic plotline of a generic romantasy novel runs something like this: A young woman who is overlooked and undervalued in her normal life enters a different, magical world where she is a being of extraordinary abilities. She attracts a passionate and highly desirable partner who introduces her to sexual heights she has never before experienced while also drawing her into political and military intrigues that allow her to utilize her newly valuable abilities. Over the course of the story, there will be heartbreak and separation, but an eventual happily ever after is nearly certain.
There is nothing revolutionary about the standard romantasy plotline. Its basic steps align precisely with Joseph Campbell’s idea of the “hero’s journey,” marked by separation from a familiar environment, initiation into a new one, and a return to the old world once the hero has been transformed by experience. Swap in hungry hobbits for horny heroines and you have Tolkien. Subtract the magic and you have the plot of Jane Eyre. Subtract the sex and you have The Chronicles of Narnia. But fantasy novels that focus on an adult female lead character and her journey and desires, while far more common than they were when I began reading them in the ’70s and ’80s, still feel a bit radical, just by virtue of taking a woman’s point of view.
It is the genre’s focus on transformation, stepping into power, and recognition that seems to me to be its most compelling aspect for readers right now. While traditional fairy tales often focus on a magical transformation that comes from outside the main character—think of Cinderella’s gown and coach, or the frog who is changed into a prince—romantasy often deals with a character whose strong sense of self remains unchanged, but whose importance, skills, and even physical beauty change in value as she enters a new world.
This moment where the undervalued becomes valued may be the defining dream of fiction produced for a largely female audience. The best-selling series A Court of Thorns and Roses features a protagonist, Feyre, who begins the series as a neglected and overworked middle sister, hunting game to feed her impoverished and unappreciative family. By the end of the first three books in the series, she is the high lady of the Night Court. She has used her hunting skills to vanquish terrifying monsters, her intellect to outsmart several enemies, and a physical attractiveness that no one has ever noticed before to win the love of two faerie high lords. She has also died and been resurrected, brought her family into the faerie world with her, fought in several military campaigns, and (in a classic fairy-tale trope) seen her small kindnesses to magical creatures repaid with assistance at crucial moments. She says of herself, by the end of the second installment of the series, “No one was my master—but I might be master of everything, if I wished. If I dared.”
Rebecca Yarros’ The Empyrean series presents us with a heroine with a similar trajectory. Violet Sorrengail, who has studied her whole life to be a scribe, is thrust by her mother into a military college that trains cadets to partner with dragons for battle. Suffering from a mysterious ailment that causes her constant pain and frequent joint dislocations (based on the author’s own experience with Ehlers-Danlos syndrome), Violet seems like the least likely survivor of the war college’s vicious training. Not only does she survive, but she also bonds with the rarest and most powerful type of dragon. And then she bonds with a second dragon, of a type no one has ever bonded with before, and is told, “I waited six hundred and fifty years to hatch. Waited until your eighteenth summer, when I heard our elders talk about the weakling daughter of their general, the girl forecasted to become the head of the scribes, and I knew. You would have the mind of a scribe and the heart of a rider. You would be mine.” Violet develops a series of increasingly impressive magical powers, attracts the love of a (nearly equally powered) fellow soldier who turns out to be a duke, restores the protective wards around her country, battles vicious enemies, and becomes an impressive military strategist, often using her formerly undervalued scribal skills to find creative and unexpected solutions to political and military problems.
That both these series place their heroines into positions where they must be politically and militarily savvy is, I think, no accident. Readers of this fiction grew up on epic fantasy novels with complex world-building and political wrangling, and they want the same attention to detail from romantasy. This means that romantasy heroines must, in general, be prepared to tangle with warring fairy courts, espionage, maintaining magical defenses and supply lines for troops, and diplomacy in cultures and languages that are wildly alien to their own. Romantasy heroines have personal problems to solve that matter intensely to them, but they are equally involved in the world-altering problems that surround them. Just as in the real world, the personal and the political both demand the heroine’s attention and talents. In the world of romantasy, it is possible to triumph simultaneously at both. Romantasy heroines can have it all and a dragon, too.
As I read through both series and a selection of other romantasy novels while researching for this article, I kept thinking of economist Claudia Goldin and her lecture, “The Quiet Revolution That Transformed Women’s Employment, Education, and Family.” Goldin observes that women’s gradual move into the labor force “was a change from agents who work because they and their families ‘need the money’ to those who are employed, at least in part, because occupation and employment define one’s fundamental identity and societal worth.”
In romantasy, the work of the hero and heroine often intertwines as they try to save the world, protect their communities, discover hidden knowledge, or generally engage in a quest. Importantly, it gives them a project that they are working on together. Work has always played an underappreciated role in romantic fiction. But as contemporary politics mean that male and female spheres of interest and influence feel increasingly separate, the appeal of reading about that kind of shared project only increases. Istvhan, the berserker knight, and Clara, the nun and werebear, from T. Kingfisher’s Paladin’s Strength have unique capacities for destruction that often go unappreciated by the rest of the world. As a team, they are a well-matched delight, wreaking mayhem when necessary and fighting together with élan.
“Protect the nun!” roared Istvhan, yanking his sword free.
“Protect your own damn self!” Clara roared back.
Romantasy heroines are not sidelined in politics or in battle. They are equal, even superior partners.
It’s not all violence, either. There is an entire subgenre of romantasy dedicated to heroines who are busy building small businesses. Legends and Lattes by Travis Baldree, for example, tells the story of an orc who is retired from mercenary work and just wants to open a coffee shop. A sequel explores the same orc’s stint of working in a bookshop while recuperating from battle injuries. That novel’s best-known tagline, “Things don’t have to stay what they started out as,” is a fairly good shorthand for Goldin’s quiet revolution.
Even now that we are well-established in the labor force, women obviously still find stories about women finding identity and worth through occupation and employment enormously compelling. Women who long to achieve that kind of satisfaction are inspired by reading stories of others doing the same. It is this longing that makes stories of entrepreneurs so important and popular. It is this longing that drives the success of dubious multilevel marketing companies that persuade aspiring girlbosses that they can become millionaires by selling leggings. And it is this longing that fuels romantasy, where the jobs may be slightly less plausible but the quest for identity and desire for worth are the same.
That same longing for recognition fuels the romantic and erotic relationships in romantasy. While traditional fantasy may sometimes contain romantic elements, romantasy treats the romantic and erotic desires of its characters as equally important to their quest to resolve the magical and political tumult that surrounds them. A friend of mine who is a devoted romantasy fan noted that the love interests of these books are often mysterious and emotionally remote “damaged” characters who open up to only one person—the previously overlooked heroine. His attention, given to no one else, is another indication of her unique value. And his ability to see how remarkable she is marks him out as unusual and worthy of love as well.
The intense romantic bonds between the heroes and heroines of romantasy are often depicted not just in emotional terms, but also as part of their magic. Frequently, they are able to read one another’s minds, telepathically communicate over long distances, and strengthen one another’s individual magical gifts. It is not far from Cathy’s insistence in Wuthering Heights that, “I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being. So don’t talk of our separation again: it is impracticable.” The subgenre of romantasy that focuses on shape-shifters like werewolves and other human/beast hybrids makes much of a mysticized version of animal pair-bonding when it explores its characters’ romantic connections. There can be no more intimate connection imaginable than to have a partner who is destined to you by both fate and pheromones, who can read your mind, and who can communicate with you when no one else can.
The erotic scenes between these characters are often extremely explicit, and they often explore kinky and alternative sexualities. Romantasy is a genre where erotic and emotional combinations of all genders, species, and magical races are embraced with enthusiasm and delight. Many discussions of the genre express feminist qualms over the way that the male heroes are supportive of their high-powered partners outside the bedroom, but inclined to dominate them in bed. It’s a reasonable point. But these books revel in the sexiness of explicit consent. That erotic dynamic of exploring and experimenting with the taboo aligns with the way the genre as a whole plays with questions of what it means to have power and to be powerless. In the same way romantasy heroines shift from powerless to powerful as they enter the world of magic, their erotic life enables them, and the reader, to explore those changes in a physical context.
Those explorations can be very dark indeed. The vampire romances that seemed so edgy in Buffy the Vampire Slayer and Twilight are weak tea for romantasy readers. Laura Thalassa’s The Four Horsemen series takes the incarnations of Pestilence, War, Famine, and Death as its romantic heroes. Kingdom of the Wicked has a prince of hell as the romantic lead. The darker the hero, the more likely one is to run into the recurring romantasy trope of a woman who can take endless damage, often at the hands of a sexual partner, and bounce back physically and emotionally. It will be a long time before I recover from reading Lindsay Straube’s Kiss of the Basilisk, where a woman is so violently mated by her shape-shifting partner that her pelvis breaks. A recent conversation with some horror writers, however, makes me wonder whether writers who eroticize this kind of violence are using it as a way to cope with increasingly threatening sexual politics. Getting the monster to fall in love with you is one way to solve the problem of a culture that sees you as prey.
Read too much romantasy in too little time, and all the dark faerie lords and maladroit human women with special gifts begin to melt together. You’ll begin to notice the sometimes awkward juxtaposition of Instagram-inspired fantasies of a magical good life marked by glamorous gowns, palaces, jewels—all those bathtubs!—and the rugged woman warrior tropes borrowed from dystopian fiction. These books are fantasies of infinite luxury and of rugged survival against all odds at the same time. Part of the appeal, I suspect, is that these heroines are simultaneously ready for a Vogue cover shoot and drenched in the blood of their enemies.
Like other kinds of romance, romantasy is escapist fiction, and that’s always easy to mock. But the interesting thing about romantasy is that its readers know that. Their TikTok videos and commentary on Goodreads and elsewhere make it clear that the readers love these books—often passionately—but they also read them with a critical mindset and very little patience for authors they don’t respect. Yarros, in particular, has come under fire online for a ludicrously overpowered heroine and a plot that, readers argue, has been stitched together from elements of previous successful series.
But that sharply critical eye doesn’t prevent romantasy readers from defending the genre against all outside detractors. Those who write articles with titles like “The Porn-Brained Women of Monster Smut” that criticize the “spice level” of romantasy or moralize about it as just “pornography for women” are likely to be reminded that the multibillion-dollar pornography industry caters almost exclusively to men. Readers will point out that the romantasy industry’s estimated value of $610 million is nothing in comparison. Is it targeted because it’s largely written by women, for women, with women’s desires at the forefront? Surely, even the most explicit faerie sex scenes one can imagine have analogs in porn films or in the fantasy novels of George R.R. Martin. I was pointed to the pelvis-shattering violence of Kiss of the Basilisk, in fact, because it had inspired such a vigorous online discussion on exactly these lines.
Readers don’t just consume these books. They debate and discuss them, trace the fairy tales and myths that lie behind them, speculate about future series installments, and put that discussion up online. That community is at least as important to the readers as the books are. Readers have countless stories of making friends in online chats and in the aisles of bookstores as they find others who are browsing the same sections. And the upcoming release of a romantasy novel that began as a darkly explicit work of Harry Potter fan fiction reminds readers that their favorite genre belongs to its fans in a way that most other genres do not.
Popular culture—art, music, television, film, and yes, romantasy—can tell us a lot about what we value enough to spend time and money on. It can tell us even more about our wishful thinking. Mysterious magical beings will always be sexy. But right now, romantasy might be telling us how much we wish for a world where the things that make us weird turn out to be the things that make us special and lovable. And maybe also for a dragon.
This article originally appeared in print under the headline “Like Tolkien, but the Elves Have More Sex.”
The Nebula Award! It’s like a Hugo Award, but slightly less prestigious. Don’t let that fool you into thinking that a Nebula Award winning novel is only “second best.” Think of the Nebula as Hugo’s hipster cousin. Like a collection of obscure vinyl, you might not of heard of every one of these titles hand picked for the award, but sometimes sweetest literary pools trickle off from the mainstream. These 10 novels are some of the finest sci-fi works ever penned, dating back awards’ beginnings in the latter half of the 20th century. Here they are, 10 Nebula Award winning sci-fi novels you need to read – way cooler than whatever conventional sci-fi books that Hugo is into.
The Left Hand of Darkness
(Ace Books)
An all time genre great, Ursula K. Le Guin’s The Left Hand of Darkness is one of the most decorated works of sci-fi ever penned. The novel follows Genly Ai – an ambassador to the alien world of Gethen. The people of Gethen are an offshoot of humanity that evolved into an “ambisexual” species, they only take on sexual characteristics during a brief monthly mating period called “kemmer.” As a result, traditional human gender roles are entirely alien to them – and their society is completely different from the rest of the human-conquered universe. After Genly Ai’s cultural misunderstandings cause him to become a social exile, he and a Gethenian politician are forced to cross an icy wasteland in order to seek asylum. Part political thriller, part wilderness survival epic, part treatise on gender, The Left Hand of Darkness was entirely ahead of its time – perfect Nebula Award material.
Network Effect
(Tor Books)
The fourth installment of Martha Wells’ The Murderbot Diaries, Network Effect is the story of a soap-opera binging security android and the humans that it is growing to (sort of) love. While accompanying an interstellar research team dispatched to a faraway world, Murderbot is forced to fend off an assault from a transport vessel and the hostile grey-skinned humanoids inside. But what are these almost-human beings? Alien shapeshifters that almost got our physiology almost right? Extraterrestrial parasites wearing humans as skin-puppets? Or something even more otherworldly and bizarre? Murderbot doesn’t need to know all the particulars to do as name suggests and take them out, and its human friends are certainly thankful for that.
A Song For A New Day
(Penguin Publishing Group)
A Song For A New Day by Sarah Pinsker is dystopian sci-fi that needs to be turned into a musical STAT. The plot follows Luce Cannon, a singer whose career was cut short by a totalitarian regime. In response to terror attacks and disease epidemics, the powers that be have made concerts illegal – much to the chagrin of music fans everywhere. Music still exists in pockets – guerrilla concerts that are attended by few and outlawed with extreme prejudice. Meanwhile, a virtual reality nine-to-five worker may have discovered a way to get music heard – by connecting artists and fans through the digital world. It’s essentially a sci-fi novel detailing the rise of the Zoom concert, but so, so, so much better than that.
The Calculating Stars
(Tor Books)
The Calculating Stars by Mary Robinette Kowal is an alternate history of the United States’ space program, which was forever changed after a meteorite wiped out a swath of the Eastern Seaboard. The surviving members of the American government have decided to greenlight an effort toward space colonization, but all of the astronauts they’ve chosen for the task are male. Led by pilot and mathematician Elma York, a group of humanity’s best minds have come together to challenge the status quo and set women up for scientific success. A feminist reimagining of the early years of spaceflight, The Calculating Stars shines a light on women whose contributions to science have been reduced to a footnote in the history books. This time, they fill every page.
Annihilation
(Farrar, Straus and Giroux)
An environmental cosmic horror novel, Jeff VanderMeer’s Annihilation is set in an undisclosed stretch of wilderness that has been affected by an extraterrestrial anomaly. Dubbed “Area X” by the research organization tasked with containing it, this environmental anomaly is slowly spreading, subtly mutating everything that crosses its shimmering border. Anyone who enters the anomaly comes back forever changed, if at all. The plot follows a group of four women who are tasked with trekking into Area X, and uncovering the mysteries within. Instead of answers, it’s only horror that they find. Never before has the pristine stillness of the natural world seemed so… sinister. While this novel poses more eerie questions than solutions, the trilogy’s sequels paint the full, awful picture of eldritch truth.
Ancillary Justice
(Image: Orbit)
Ann Leckie’s Ancillary Justice is set in a faraway corner of the universe that is ruled by the Radchaai Empire – a star-spanning social structure defended by spaceship fleets piloted by artificial intelligence. When not controlling vast armadas, this synthetic minds pilot “ancillaries” – artificial human bodies meant to serve as infantry. After waking up in the wreckage of a former fleet, an AI named Breq finds herself trapped in the body of a single ancillary, with no idea how she got there. Confused, furious, and thirsty for revenge, Breq intends to bang on the Empire’s door for answers. If the powers that be don’t open up, she’ll just have to bash that door down.
The Windup Girl
(Night Shade Books)
The Windup Girl by Paolo Bacigalupi is set in a near future where fossil fuels are a thing of the past. I hate to burst your “utopia” bubble, but capitalism has found a new way to destroy the planet. The world is ruled by megacorporations known as “calorie companies” – bioengineering conglomerates that use food as a source of fuel. By genetically engineering crops and designing plagues to weed out the competition, the calorie companies are able to sell seeds to the hungry world as exorbitantly high prices. Thailand is one of the last few countries on Earth safe from the corporations’ influence, but a calorie company agent named Anderson Lake is sent to excavate a corporate foothold from within the nation’s borders. After meeting a genetically engineered human named Emiko who has gone rogue from her handlers, Anderson soon discovers that his job won’t be as easy as he thought.
Parable of The Talents
(Seven Stories Press)
The sequel to Parable of The Sower, Octavia Butler’s Parable of The Talents continues the story of Lauren Oya Olamina – the creator of the new religion known as Earthseed. In response to a societal collapse brought on by climate catastrophe and wealth inequality, Lauren shaped a belief system for a chaotic world, whose central tenant is “God is change.” After creating a community of adherents, Lauren finds that her hard-won peace is threatened by the arrival of a Christian fundamentalist sect led by a powerful demagogue. With an eerie similarity to a real world brand of American ultranationalism, the nationalists of Parable adopt the slogan “Make America Great Again” and seek to eliminate all non-Christians – including the Earthseed community. Lauren dreams of the day humanity will leave the Earth and travel to the stars. In order for her to survive, that day may have to come sooner rather than later.
Neuromancer
(Ace)
The quintessential cyberpunk novel, William Gibson’s Necromancer launched the sci-fi sub-genre into pop culture consciousness. Set in the sprawling metropolis of Night City, the novel follows a washed up hacker named Case, who is hired to pull off a digital heist by shadowy employer. Accompanied by a knife-fingered “razorgirl” named Molly Millions, Case dives into the even seedier digital underbelly of an already seedy city. As he gets deeper into the job, he begins suspect that he’s being haunted by a ghost in the machine, a synthetic intelligence that is secretly pulling the strings. Cerebral and surprisingly emotional, Neuromancer is the story of a man navigating an increasingly isolating world, where technology divides human minds more than it brings them together.
2312
(Orbit)
2312 by Kim Stanley Robinson is a hard sci-fi novel set in a colonized Solar System, where humans have spread from Asteroid Belt to Mercury. As it turns out, settling on the boiling hot rock right next to the Sun wasn’t such a good idea. A technological attack causes the mobile city of Terminator to stop moving, and metropolis and its inhabitants are burned to a crisp as Mercury rotates towards the star. How was such a complex technological attack possible? That’s exactly what Martian police detective Jean Genette wants to figure out. The murder weapon? All signs point to a new built quantum computer whose awesome processing power was aimed toward nefarious ends. A sweeping sci-fi epic based in sound scientific principles, 2312 is perhaps the most intellectually satisfying read on this list. Even holding this big book in your hands makes you feel smart! Imagine carrying it around at a party and telling people how much you loved the complicated physics and computing conundrums posed within, that’ll make you a hit for sure.
Sarah Fimm (they/them) is actually nine choirs of biblically accurate angels crammed into one pair of $10 overalls. They have been writing articles for nerds on the internet for less than a year now. They really like anime. Like… REALLY like it. Like you know those annoying little kids that will only eat hotdogs and chicken fingers? They’re like that… but with anime. It’s starting to get sad.
Remember during the COVID-19 pandemic we all rewatched Contagion? I’ve created this list to scratch that same viral itch. The course of human history has been shaped by deadly disease. Smallpox, the Bubonic Plague. the Spanish Flu, with each strain of infection, our culture mutates as well. Science fiction authors throughout history have utilized infection narratives to do what they do best: conjure up all the ways the future could go wrong. Humanity needs to read these 10 sci-fi books with terrifying viruses and plagues, so when COVID-20 comes around, we’ll all be better prepared.
The Stand
(Doubleday)
Arguably tied with It for the best Stephen Kingnovel, The Stand is a post apocalyptic tale about a deadly pandemic, and a world that refuses to die. After a government engineered super-virus wiped out 99% of the population, the few immune survivors struggle on in a forever changed world. Like many of King’s characters, each survivor experiences “the shining” – a type of psychic attunement that appears in other works like The Green Mile, The Shining and Carrie. Depending on whichever direction their moral compass points, the survivors begin having visions of two separate spiritual leaders. The good dream of America’s oldest woman, a folk guitarist and prophet who lives in rural Nebraska. The bad dream of a mysterious man in black, an agent of chaos who is setting up shop in Las Vegas. As the survivors journey across plague-ridden nation to answer their respective callings, it becomes clear that Armageddon is only just beginning.
The MaddAdam trilogy
(Anchor Books)
Margaret Atwood’s MaddAdam trilogy begins with the end of the world, and continues from there. Told in a series of flashbacks, the series’ first novel Oryx and Crake tells the tale of a mad genius who engineered humanity’s doom. A brilliant bioengineer, the scientist Crake imagined a world populated by “Crakers,” post-human beings of his own genetic design. After patenting a wonder drug that was secretly laced with Crake’s “Jetspeed Ultra Virus Extraordinary,” the scientist distributed lab-made doom across the planet. The second novel tells an alternate perspective of the end, focusing on two women who survived the apocalypse by sheltering with a religious cult – which obviously has its pros and cons. Part Mad Max, part Children of Men, part Frankenstein, this trilogy tells the tale of the man who spliced apart the world, and the survivors left to pick up the mutated pieces.
Station Eleven
(Knopf)
One of the most uplifting post-apocalyptic novels ever written, Station Eleven by Emily St. John Mandel is theatre kid Armageddon. The novel follows the Traveling Symphony, a perambulatory band of actors and musicians who travel about a post-pandemic world performing Shakespeare. Jumping back and forth between the post-collapse present and the pre-pandemic past, the novel plays out The Tragedie of Planet Earthe in real time. Society fell due to a deadly super-virus – no government bio-weapon, no mad scientist engineering, just a freak of nature disease that our immune systems couldn’t beat. Told with all the subtle grace of a Shakespearean sonnet, Station Eleven paints a picture of humanity during our planet’s final act. The show must go on, after all.
The Andromeda Strain
(Avon)
From the mind that brought us Jurassic Park, Michael Crichton returns with another novel about humanity’s poor decision making skills. Like building a theme park full of resurrected dinosaurs, The Andromeda Strain chronicles the ill-thought out plan to collect alien microorganisms from the far reaches of space. After a germ-collecting satellite crash lands in Arizona, scientists are shocked to discover that a small town has been entirely annihilated by disease – save for an old man and a baby. The Tyrannosaurs Rex in this novel is “Andromeda” an extraterrestrial virus capable of rapid mutation. Clever girl. Sadly, Jeff Goldblum isn’t there to stop it.
The Girl With All The Gifts
(Orbit Books)
The Girl With All The Gifts by M.R. Carey isn’t your average zombie apocalypse novel, rather a subversion of the genre. After a global pandemic turns average people into flesh-eating “hungries,” scientists in Beacon set up a facility to study a special group of children infected by the disease. Unlike their mindless adult counterparts, child hungries are able to retain their mental faculties, but become hostile when exposed human scent. Melanie is one of these young hungries, a 10 year old with a genius level IQ and a love for Greek mythology. The novel is a day in the life of a little girl who, despite her occasional ravenous hunger for flesh, is just like any other kid. If Ellie from The Last of Us grew up in a Firefly research facility instead of the mean streets of the Boston DMZ, you’d have this book.
The Last Man
(Henry Colburn)
Not to be confused with Y: The Last Man: a comic book about a mediocre dude who is the survivor of a plague that kills everything with a Y chromosome – Mary Shelley’s The Last Man is a pandemic story from the mind that brought us Frankenstein. Hailed as the first great post-apocalyptic novel, the story takes place in the late 21st century, where a resurgence of the bubonic plague is causing rapid societal collapse. The novel follows Lionel Verney and Lord Raymond, two aristocrats who travel the world with their loved ones in a doomed attempt to outrun the disease. A elegiac, grief haunted novel, The Last Man was written after the death of Shelley’s husband and their mutual friend Lord Byron. It single-handedly birthed the trope of the “lone post-apocalyptic wanderer,” further cementing Mary Shelley’s legacy as the great-grandmother of science fiction. Without her, the genre as we know it simply wouldn’t exist.
Zone One
(Doubleday)
Zone One by Colson Whitehead is a zombie apocalypse story that focuses on the minutiae of post-collapse life. Humanity has managed to stabilize itself, and the military is now mopping up the infected with procedural efficiency. In an effort to retake New York City, civilian volunteers have been tasked with eliminating a less dangerous strain of infected, who go about their un-lives in state of catatonia. Centered around an everyman named Mark Spitz, the novel swings back and forth between the bad old days of the early pandemic and the rebuilding efforts of the present. It’s kind of like a day in the life novel about Fallout NPCs, just going about their end of the world business, until things go horribly wrong.
Blindness
(Mariner Books)
Blindess by José Saramago is set in a world ravaged by an epidemic of sightlessness. Set in an unnamed city and revolving around a cast of unnamed characters, the novel details the early days of the pandemic. The government has quarantined the infected into a hospital, where rule of law breaks down as desperate people attempt to horde supplies and resources. An unrelated group of infected people (along with one woman who remains curiously immune) evolve into a tight-knit found family, and attempt to navigate their way through the claustrophobic world. A literary take on the post-apocalyptic novel, Blindness is strange, surreal, and thought provoking meditation on human nature. When things go wrong, we tend to lash out with one hand reach for each other with the other.
Clay’s Ark
(Warner Books)
When it comes to Octavia Butler’s Clay’s Ark, I can firmly guarantee you’ve never read a post-apocalyptic novel like this before. The story takes place in the not so distant future, where societal collapse has caused humanity to band together in small groups called “car families.” Dr. Blake Maslin and his twin teenage daughters are a car family traveling across the Mojave desert, carjacked by a spaceship crash survivor who is infected with an alien microbe. The alien disease causes anyone infected to be consumed with the desire to reproduce, the result of which is the inevitable birth of something far from human. After Blake and his daughters are kidnapped and taken to the crash survivor’s creepy ranch to meet his own “family,” things really hit the fan. Yes, this novel is about an alien sex plague that results in mutated offspring. Yes, it is as exciting, grotesque, and fascinating as it sounds.
The Companions
(Gallery/Scout Press)
Another highly unique take on the post-apocalyptic virus novel, The Companions by Katie M. Flynn takes place in a world where a deadly plague has forced humanity to remain indoors. Stuck in eternal lockdown, the living can only be visited by the dead. I don’t mean zombies, I mean the digitally uploaded consciousnesses of the deceased who are implanted into machines. The “companionship” program allows people to return from beyond the grave, implanted inside everything from rolling R2-D2 style robots to androids that pass for human. While wealthy companions are able to return to their families, the less fortunate are “leased” to strangers in order to ease the epidemic of loneliness. A sixteen year old girl named Lilac is one of these unfortunates, digitally resurrected in a mechanical body and forced to obey commands – but when she overrides her own programing, she mounts a daring escape into the post-pandemic wasteland. It’s a novel about how capitalism, like a cockroach, is able to survive and thrive in the grimmest of circumstances – and so can its victims.
Sarah Fimm (they/them) is actually nine choirs of biblically accurate angels crammed into one pair of $10 overalls. They have been writing articles for nerds on the internet for less than a year now. They really like anime. Like… REALLY like it. Like you know those annoying little kids that will only eat hotdogs and chicken fingers? They’re like that… but with anime. It’s starting to get sad.
Reading these sci-fi and fantasy novels is like getting a warm hug. Courtesy the publishers
Now more than ever readers need stress relief, and as a result, there’s a growing demand for cozy fantasy and science fiction novels. The cozy fantasy genre burst onto the scene with hits like The House in the Cerulean Sea by T.J. Klune and Legends & Lattes by Travis Baldree, and now science fiction is catching up with its own cozy hits. While cozy fantasy as a genre has become popular in the last few years, authors like Diana Wynne Jones, Mercedes Lackey, Patricia Wrede, Robin McKinley and William Golding were all writing heartwarming fantasy novels long before the trend became a trend.
‘Cozy’ is best defined as a genre that feels like a warm hug, though that doesn’t mean authors avoid tough topics. Many cozy reads portray characters recovering from trauma and finding new people and paths that validate them. These ten cozy fantasy and science fiction novels include books about surviving abuse and war, but hopeful themes win out. Most importantly, they’re magical, transportive and guaranteed to make you smile.
A Letter to the Luminous Deep by Sylvie Cathrall
A Letter to the Luminous Deep by Sylvie Cathrall. Hachette Book Group
This lovely cozy fantasy novel is told entirely through letters and miscellaneous documents exchanged between E., Scholar Henerey and their siblings. It’s set in a world mostly covered by water. E. lives in the only underwater house, the Deep House, which her eccentric (and deceased) scholar mother designed. After seeing a strange marine animal, she writes to Scholar Henerey, a renowned marine naturalist, for his thoughts. The two start a delightful exchange of letters that leads to deeper feelings. Meanwhile, in the future, their siblings believe the two to be dead and begin exchanging their own letters to try to better understand what happened. It’s a heartwarming, beautifully written debut and the first in a planned series.
The Mimicking of Known Successes by Malka Ann Older
The Mimicking of Known Successes by Malka Ann Older.
Malka Ann Older sets this fun, cozy murder mystery on Jupiter. Researcher Pleiti studies classic literature as part of an academic discipline attempting to recreate ecosystems to possibly rehabilitate Earth. Then her former flame Mossa, now a detective, appears on her doorstep asking for her help in a murder investigation. The two characters are so adorable together! Another novella in the series has recently been released, The Imposition of Unnecessary Obstacles, and it’s just as good as the first, with the bonus of more romance.
Emily Wilde’s Encyclopaedia of Faeries by Heather Fawcett
Emily Wilde’s Encyclopaedia of Faeries by Heather Fawcett. Random House Worlds
This delightful historical fantasy with fae is pure escapism. It takes place in a fictional version of the early 1900s where fae are real. Emily Wilde is an immensely practical Cambridge scholar of the fae currently compiling research with the hopes of publishing an encyclopedia. She journeys to a remote Scandinavian village to research their fae, which have never been studied before and are rumored to be dangerous. She keeps a journal of her findings, and the novel is written as a series of journal entries. Soon, her ridiculously charming and handsome fellow fae scholar and rival, Bambleby, joins her. Everyone fawns over Bambleby, but she can’t stand him. Right? Right!? The second book in the series, Emily Wilde’s Map of the Otherlands, is just as much fun as the first.
A Psalm for the Wild-Built by Becky Chambers
A Psalm for the Wild-Built by Becky Chambers. Macmillan Publishers
Becky Chambers is best known for her hugely popular Wayfarers space opera series, but equally good is this quiet, beautiful novella—the first book in a completed duology—which brims with hope. It takes place in a future where humanity actually does the right thing. When Sibling Dex, a nonbinary tea-mixing monk, decides to travel to the wilderness, they encounter a wild-built robot named Mosscap. The two quickly become friends, and on their journey through the forest, they discuss philosophy, consciousness, death, happiness and the meaning of life. It’s a moving and heartwarming meditation on the connection between nature and humanity.
The Very Secret Society of Irregular Witches by Sangu Mandanna
The Very Secret Society of Irregular Witches by Sangu Mandanna. Penguin Random House
This is a charming fantasy romance with secretive witches, cranky librarians, adorable witch children and found family. England’s covert witch society is small, and Mika Moon chooses an unusual way to mask her identity—in plain sight. She runs a popular social media account where she pretends to be a witch while actually being a witch. Then she receives a mysterious job offer from someone who clearly sees through her witch masquerade. The job would require her to live in a remote mansion and train several witch children who are being kept secret from the society. The money is good enough that she agrees. Unexpectedly, she finds the family she wishes she’d always had. This is such a happy read, and I adored the audiobook.
The Spellshop by Sarah Beth Durst
The Spellshop by Sarah Beth Durst. Pan Macmillan
Disgruntled librarian Kiela is forced to flee the city with her magical talking houseplant Caz when war encroaches. She returns to the island she lived on as a child, where villagers herd merhorses, with a crate of spellbooks she stole from the library before it burned. Her family cottage is in ruins, and it’s clear the town is struggling, too. But Kiela has an idea—she’ll bring magic back to the island under the ruse of making jam. Meanwhile, a handsome neighbor is making her rethink her introverted ways. Sarah Beth Durst is a prolific fantasy author, but this delicious cottagecore fantasy is her coziest book yet. The Spellshop will be on shelves July 9th.
Light from Uncommon Stars by Ryka Aoki
Light from Uncommon Stars by Ryka Aoki. Tor Books, St Martin’s Press
Just because a story feels cozy doesn’t mean it avoids traumatic topics; this blend of sci-fi and fantasy is a great example. Shizuka Satomi, known as the Queen of Hell in the violin scene, is a famed violin teacher who made a pact with the devil to deliver seven souls. Katrina Nguyen, whose most cherished possession is her violin, leaves her abusive family who refuse to accept her as trans. Lan Tran, an alien Starship Captain, has fled an intergalactic war with her family across space and is now running a donut shop disguised as a human. This is such a magical read with themes of found family, with a touch of romance.
The Goblin Emperor by Katherine Addison
The Goblin Emperor by Katherine Addison. Tor Books
Like Light from Uncommon Stars, The Goblin Emperor manages to feel cozy while addressing traumatic events. Maia is the fourth son of the elfish emperor and the only son of the emperor’s goblin wife. Due to the emperor’s hatred of his goblin wife, who died when Maia was eight, Maia lived his first eighteen years isolated from the emperor and society, raised by an abusive mentor. When the emperor and his eldest three sons die in an airship explosion, Maia becomes emperor, the first half-goblin to do so. This is one of my favorite fantasy novels. Maia is such a sweet and thoughtful character. Addison has set another cozy series in this same universe—The Cemeteries of Amalo—though they don’t directly relate to the events in The Goblin Emperor.
The Magician’s Daughter by H.G. Parry
The Magician’s Daughter by H.G. Parry. Hachette Book Group
H.G. Parry pairs gorgeous writing with rich characters and folklore in this stand-alone historical fantasy full of adventure and heart set in an alternative version of 1912 Ireland. Biddy has been raised by a magician and his rabbit familiar on the magical island of Hy-Brasil and has never ventured off the island. When her adoptive father is put at risk, she leaves the island for the first time to rescue not only him but magic itself. It’s a beautiful novel, and the audiobook is wonderfully narrated.
Sorcerer to the Crown by Zen Cho
Sorcerer to the Crown by Zen Cho. Pan Macmillan
This entertaining historical fantasy offers up a heavy dose of romance. Prunella is a spunky sorceress of mixed Indian and British heritage who isn’t about to let men tell her she can’t practice magic. With magic becoming scarce in Regency-era England, the country needs her, even if they’re not ready to admit it. When Black sorcerer Zacharias meets her for the first time, he immediately decides to take Prunella on as a student. But Zacharias’ cautious nature is no match for Prunella’s exuberance, and soon his pupil is outpacing him as she battles dark forces crossing over from fairyland. Book two in the series, The True Queen, is almost as fun to read as this first one.
Philosopher Nick Bostrom is surprisingly cheerful for someone who has spent so much time worrying about ways that humanity might destroy itself. In photographs he often looks deadly serious, perhaps appropriately haunted by the existential dangers roaming around his brain. When we talk over Zoom, he looks relaxed and is smiling.
Bostrom has made it his life’s work to ponder far-off technological advancement and existential risks to humanity. With the publication of his last book, Superintelligence: Paths, Dangers, Strategies, in 2014, Bostrom drew public attention to what was then a fringe idea—that AI would advance to a point where it might turn against and delete humanity.
Bostrom’s new book takes a very different tack. Rather than play the doomy hits, Deep Utopia: Life and Meaning in a Solved World, considers a future in which humanity has successfully developed superintelligent machines but averted disaster. All disease has been ended and humans can live indefinitely in infinite abundance. Bostrom’s book examines what meaning there would be in life inside a techno-utopia, and asks if it might be rather hollow. He spoke with WIRED over Zoom, in a conversation that has been lightly edited for length and clarity.
Will Knight: Why switch from writing about superintelligent AI threatening humanity to considering a future in which it’s used to do good?
Nick Bostrom: The various things that could go wrong with the development of AI are now receiving a lot more attention. It’s a big shift in the last 10 years. Now all the leading frontier AI labs have research groups trying to develop scalable alignment methods. And in the last couple of years also, we see political leaders starting to pay attention to AI.
There hasn’t yet been a commensurate increase in depth and sophistication in terms of thinking of where things go if we don’t fall into one of these pits. Thinking has been quite superficial on the topic.
When you wrote Superintelligence, few would have expected existential AI risks to become a mainstream debate so quickly. Will we need to worry about the problems in your new book sooner than people might think?
As we start to see automation roll out, assuming progress continues, then I think these conversations will start to happen and eventually deepen.
Social companion applications will become increasingly prominent. People will have all sorts of different views and it’s a great place to maybe have a little culture war. It could be great for people who couldn’t find fulfillment in ordinary life but what if there is a segment of the population that takes pleasure in being abusive to them?
In the political and information spheres we could see the use of AI in political campaigns, marketing, automated propaganda systems. But if we have a sufficient level of wisdom these things could really amplify our ability to sort of be constructive democratic citizens, with individual advice explaining what policy proposals mean for you. There will be a whole bunch of dynamics for society.
Would a future in which AI has solved many problems, like climate change, disease, and the need to work, really be so bad?
Walk me through your own decision to do this—to use Orchid’s technology on yourself.
I mean, I started the company because I wanted to test my own embryos.
Because of your mom, or because of who you are as a person?
Both. Reproduction is one of the most fundamental things in life. It’s like you die, taxes, and, you know, people have kids.
You always knew you wanted to have kids.
Oh, yeah. Yeah.
How old were you when you were like, “I should be able to sequence my embryos”?
I don’t think it was sequence my embryos specifically. I’ve always had an interest in genetics. I’ve always had an interest in fertility and reproductive tech.
Even as, like, a teenager?
I remember one of my applications for the Thiel Fellowship definitely had a version of Orchid on there.
That was, what, over a decade ago, and a lot of prospective parents still rely on the same genetic testing we used back then.
I would consider it negligent to use the old technology. Because you’re by definition missing hundreds of things that could have been detected. Parents who are not told that this new technology exists are being done a huge disservice and will probably be suing if their child ends up with a condition.
You think that’s a legitimate lawsuit?
Of course. If your doctor doesn’t tell you that there’s a way for you to screen for your child to not have a condition that would be either life-threatening or life-altering for them—I mean, it’s already happened. [Parents have been suing physicians for failing to perform genetic tests since the late 1980s.]
How much does an Orchid screening cost?
It’s $2,500 per embryo.
And presumably you’d be screening several embryos. What about for families that can’t afford that?
We have a philanthropic program, so people can apply to that, and we’re excited to accept as many cases as we can.
Your clientele, at the moment, must tend toward well-off optimizers—people who really fuss about numbers.
I guess you’re right. I mean, I don’t know.
Do you ever worry about that? Giving people, like, more things to worry about?
No, no, no. I think it’s the opposite. For the vast majority of our patients, it reduces worry.
There must be exceptions.
There are some people who, I agree, are kind of anxious. And I just don’t think they should do any genetic testing.
Oh yeah?
I mean, everyone’s different. It’s just that I want to expand the menu of choice. You get to choose your partner. You get to choose when and if you have kids. This is, like, this is your kid. Why would you censor information about that?
But this still makes a lot of people extremely uncomfortable. There’s a fear, so often, around anything that touches reproduction. Are we, I don’t know, afraid of playing God or something?
Every other time we examine something, we develop—we develop insulin, right? We’re like, “That’s great!” It’s not like you’re playing God there. But you actually are, right? You’re creating something that didn’t exist before.
What happens when the co-creators of Game of Thrones adapt a world-renowned science fiction novel? You get eight episodes of cosmic intrigue, fantastical technology, and just a touch of gore.
3 Body Problem, which hits Netflix on March 21, begins with a young scientist in 1960s China named Ye Wenjie (Rosalind Chao). Ye watches her life and her future go up in smoke as the Cultural Revolution sends scientists to brutal reeducation camps, and a split-second decision Ye makes ends up having world-changing effects. In the present day, research facilities like particle accelerators start spitting out nonsense. One researcher, Auggie Salazar (Eiza González), starts seeing a phantom countdown that seems to have been implanted in her brain, and a mysterious visitor assures her that she doesn’t want to find out what happens when it runs out.
Then things get really weird.
3 Body Problem is based, of course, on the novel The Three-Body Problem by Chinese science fiction writer Cixin Liu. The novel and its sequels are a tour de force of computing and theoretical physics, plus a bracing sociological study of Earth and its hypothetical neighbors. What will a civilization do to survive when it’s wiped out again and again by a stroke of cosmic bad luck? What happens when the universe is such a hostile place that the briefest moment of contact can mean annihilation?
The Netflix series could have focused on the first book, but instead, it weaves in elements of the second and third books, The Dark Forest and Death’s End. The result is a story that’s swifter and more streamlined than the source material. It mostly works as a TV series, if you’re not into the old school hard science fiction of Liu’s novels. Fans of the books may be disappointed at how much of Liu’s scientific thought experiments have been compressed and softened.
What really makes the series work is the characters, and although they may be slow to grow on you, you’ll be rooting for them by the end. The series focuses on a group of friends and scientists called the Oxford Five: Auggie, Jin (Jess Hong), Jack (John Bradley), Will (Alex Sharp), and Saul (Jovan Adepo). Their bond is the connective tissue of the first season, as they deal with an increasingly disturbing series of events: a colleague’s gruesome fate, an inscrutable VR game, and a chain of events that spirals into global panic. Will’s story is particularly engrossing, as he receives life-changing news that leads him on an unexpected odyssey. Jack provides plenty of comic relief, while Jin and Saul’s stories emerge as a slow burn throughout the season.
Ye herself, played in the present by Chao and in the past by Zine Tseng, is complicated and charismatic, scarred by trauma and driven by a questionable vision of how to make things right. Some of her actions are objectionable, yet everything she does is understandable, and both Chao and Tseng play her with nuance and heart.
Benedict Wong plays Da Shi, an ordinary detective caught up in extraordinary circumstances. At one moment, he’s investigating occurrences wilder than any human has ever encountered; at the next, he’s trying to figure out his son’s video game. Liam Cunningham plays as the ruthless Thomas Wade, who works with Da Shi and comes up with an audacious plan to fight the forces threatening humanity. Throughout the series, an eerily tranquil AI (Sea Shimooka) becomes increasingly menacing.
3 Body Problem is very different than the books it’s based on. Is it as good as them? Maybe not quite, but I’m still looking forward to season 2.
3 Body Problem, created by David Benioff, D.B. Weiss and Alexander Woo, premieres on March 21 on Netflix.
Julia Glassman (she/her) holds an MFA from the Iowa Writers’ Workshop, and has been covering feminism and media since 2007. As a staff writer for The Mary Sue, Julia covers Marvel movies, folk horror, sci fi and fantasy, film and TV, comics, and all things witchy. Under the pen name Asa West, she’s the author of the popular zine ‘Five Principles of Green Witchcraft’ (Gods & Radicals Press). You can check out more of her writing at <a href=”https://juliaglassman.carrd.co/”>https://juliaglassman.carrd.co/.</a>
These days, if you’re an epic sci-fi story looking to be told, there’s only one destination: Apple TV+. From popular novels like Foundation and Silo to originals like For All Mankind and Severance, the streamer is a haven for weird, bold sci-fi. Which is why it feels like the perfect, natural home for William Gibson’s Neuromancer.
“We’re incredibly excited to be bringing this iconic property to Apple TV+,” Roland and Dillard said in a statement. “Since we became friends nearly 10 years ago, we’ve looked for something to team up on, so this collaboration marks a dream come true. Neuromancer has inspired so much of the science fiction that’s come after it and we’re looking forward to bringing television audiences into Gibson’s definitive ‘cyberpunk’ world.”
That world follows a futuristic hacker on a secret mission against an advanced artificial intelligence. Which, admittedly, sounds kind of familiar, but that’s because, as Roland and Dillard said, the novel was so influential. Plus, Gibson followed it up with two sequels—Count Zero in 1986 and Mona Lisa Overdrive in 1988— so this could go on for longer than just a season.
It’s a pair that feels perfectly up for the challenge, too. In addition to creating Dark Winds, Roland was a writer on Lost and a writer-producer on Fringe. Dillard has written and directed several features, including the criminally underrated genre films Sleight and Sweetheart. They’ll both produce the series with Roland showrunning and Dillard directing at least the pilot.
Explore the world of love through a variety of lenses. Here’s a collection of powerful films that each portray love and romance in a unique way, spanning multiple genres including drama, comedy, fantasy, animation, and sci-fi.
“Cinema is a mirror by which we often see ourselves.”
Alejandro Gonzalez Inarritu
Movies give us the opportunity to explore major themes in life in a meaningful and profound way.
A powerful film can lead to a better understanding of your own experiences. It can communicate thoughts and emotions that may have been challenging to express; and, at times, completely reshape our perspective on life.
For better or worse, movies play a pivotal role in shaping our beliefs and map of reality. We pick up ideas through films, sometimes absorbed at a very young age, and those ideas find their way into our daily lives influencing our choices and perspectives.
Filmmakers understand the transformative power of cinema, purposely using it to shake up people’s consciousness. The goal of a solid film is to create an experience that leaves you a different person by the end of it.
As viewers, it’s essential to be aware of a film’s effects both emotionally and intellectually. Often, the movies that linger in our thoughts long after watching are the most impactful and life-changing.
Here’s a collection of classic films about love and romance. Each movie has had a lasting influence on audiences in one way or another. It’s an eclectic list that spans multiple genres, including drama, comedy, animation, fantasy, mystery, and sci-fi.
Titanic (1997)
James Cameron’s epic tale blends love and tragedy against the historical backdrop of the Titanic’s sinking in 1912. The film weaves a captivating narrative of a forbidden romance blossoming amidst a natural disaster.
Eternal Sunshine of the Spotless Mind (2004)
In this mind-bending story, a man attempts to erase the memories of a lost love using cutting-edge technology, only to find fate conspiring to bring the couple back together repeatedly. The film explores the complexities of memory, love, and destiny.
Beauty and the Beast (1991)
Disney’s classic adaptation of the French fairy tale is celebrated for its beautiful animation and memorable songs. The film goes beyond appearances, illustrating the transformative power of true love.
Her (2013)
Set in a near-future world, “Her” tells the unconventional love story of a lonely man who forms a deep connection with his computer’s operating system. The film delves into themes of technology, loneliness, and the nature of human connection.
Before Sunrise (1995)
Richard Linklater’s film follows two young tourists who meet on a train in Europe and share an unforgettable night in Vienna. The movie explores the transient nature of connections and the profound impact of brief encounters.
Lost in Translation (2003)
Sofia Coppola’s film features a washed-up American celebrity and a young woman forging an unexpected bond in Tokyo. “Lost in Translation” navigates themes of loneliness, connection, and self-discovery.
Cinema Paradiso (1988)
An Italian filmmaker reflects on his past and learns how to channel his love in a different and creative way through his art and craftsmanship.
Past Lives (2023)
Two childhood friends reconnect after years apart, seeking to unravel the meaning behind their enduring connection. The film explores the complexities of friendship, time, and shared history.
Set in a dystopian future, “The Lobster” challenges societal norms by presenting a world where individuals must choose a romantic partner within 45 days or face transformation into an animal. The film satirizes the pressure to conform in matters of love.
Annie Hall (1977)
Woody Allen’s classic romantic comedy is a hilarious and heartfelt movie that explores neurotic love and the psychological obstacles we commonly face in marriage and long-term relationships.
Your Name. (2016)
A masterful anime that combines elements of science fiction, fantasy, and romance. It centers on a mysterious connection between a boy and girl who swap bodies, learn about each other’s lives, and search to find each other in real life.
A Woman Under the Influence (1974)
John Cassavetes’ uncomfortably raw and dramatic portrayal of the profound impact of mental illness on marriage and family, navigating the complexities with unflinching honesty.
The Fountain (2006)
Darren Aronofsky’s “The Fountain” explores love and mortality through three interconnected storylines spanning different time periods. The film delves into themes of eternal love and the quest for immortality, providing a visually stunning and emotionally resonant experience.
Scenes From a Marriage (1974)
Legendary director Ingmar Bergman’s deeply incisive and detailed chronicle of a rocky marriage’s final days.
Choose one movie and analyze it
Each of these films offers a different perspective on love while also pushing the boundaries of cinema and story-telling.
It’s fun to compare each story: How did the couples meet? What defined “love” for them? What obstacles did they face? Did the relationship work out in the end or not? Why?
While films are often seen as just a source of entertainment or healthy escapism, they can also be an avenue for self-improvement and growth.
The “Movie Analysis Worksheet” is designed to make you think about the deeper themes behind a film and extract some lessons from it that you can apply to your life.
Watch with a friend and discuss
If you don’t want to do the worksheet, just watch one of the movies with a friend (or loved one) – then discuss it after.
Watching a film together is an opportunity to share a new experience. It can also spark up interesting conversations. This is one reason why bonding through movies is one of the most common ways we connect with people in today’s world.
Which film will you check out?
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The new high-altitude thriller I.S.S. comes out in theaters this Friday, and for both star Ariana DeBose and director Gabriela Cowperthwaite, the move was a way of testing their limits as artists.
“For me, it’s new territory,” Cowperthwaite said when we sat down with her and DeBose to talk about I.S.S. “I’ve always been a thriller film goer. I love thrillers, I love horror, all these things that I’ve never been allowed to make. So it was really fun to be able to do something completely new.”
“I was very clear with myself that I don’t want to be a one-trick pony,” DeBose added. “I told my team, ‘just find me anything that I can go for’ … Dr. Kira Foster felt so different from any other character I’ve played thus far.”
In I.S.S., Kira is the newest crewmember aboard the International Space Station. At first, she and the other researchers bond over the quirks and peculiarities of life in microgravity. However, when an apocalyptic war breaks out on Earth, the American and Russian contingents aboard the station each get new orders: take control of the I.S.S. at all costs.
But stepping out of their comfort zones opened up a whole host of challenges. “The biggest [challenge] for me involved this big production machine that I hadn’t experienced before,” Cowperthwaite said. “My filmmaking in the past has been very agile. You come in, there’s a lot of feeling the room and seeing what actors want to do, and taking that as the lead …. There was a new, exciting, rather intimidating aspect to[I.S.S.], in that I had to have everything ready to go before I stepped on the stage.”
“This film taught me about the limits of my own body,” DeBose said—especially since filming involved performing in harnesses to mimic microgravity. “No matter the amount of pain or fatigue you’re feeling, there’s always a little bit left in the tank. If you just quiet your mind, your character will speak and come through in a way that will surprise you.”
Check out our full interview below! You can also see our other interviews on our Youtube channel.
Julia Glassman (she/her) holds an MFA from the Iowa Writers’ Workshop, and has been covering feminism and media since 2007. As a staff writer for The Mary Sue, Julia covers Marvel movies, folk horror, sci fi and fantasy, film and TV, comics, and all things witchy. Under the pen name Asa West, she’s the author of the popular zine ‘Five Principles of Green Witchcraft’ (Gods & Radicals Press). You can check out more of her writing at <a href=”https://juliaglassman.carrd.co/”>https://juliaglassman.carrd.co/.</a>
The new AI thriller T.I.M. hits theaters this week, and it’s a darkly comic look at what happens when AI (inevitably) goes off the rails and turns on its masters. One of the best parts of the movie is the rivalry between T.I.M. (Eamon Farren) and disgruntled house husband Paul (Mark Rowley)—and it turns out that rivalry was as fun behind the scenes as it was onscreen.
T.I.M. tells the story of Abi (Georgina Campbell), a prosthetics engineer who lands a new job at an AI company. The job comes with a robotic servant named T.I.M., who gradually becomes obsessed with Abi and jealous of Paul. We sat down with Farren and Rowley to talk about T.I.M., Paul, and what makes the film so much fun.
“The script reminded me very quickly of 90s thrillers I watched growing up, especially The Good Son,” Farren says. “I was nervous, of course, but the challenge of playing a humanoid in something that was this fast and furious was kind of great to me.”
“When you read the script, it’s got this fun energy to it,” Rowley adds. “Think of the coffee test: If I can have just one coffee while reading a script, then it’s good. This script only needed one, so there we go.”
One important aspect of T.I.M.’s character is his physicality. “I first decided that I wanted to know how he moved,” Farren says. “Physicality was important to me. Because this is such a cat and mouse story, the way T.I.M. moves around the space was important. Early on in the film, when there’s this other being placed in Abi and Paul’s home, the way this being moves around the house could add to the tension and the feeling of destabilization.”
Rowley grins and jerks his arms around like a robot. “Beep boop!”
Farren laughs. “That was my first draft,” he jokes. “That was my first coffee.”
But Farren says that he didn’t just take inspiration from other robots. “There have been so many great portrayals of humanoids in film, so that’s on your mind,” he says. “But I wanted to try and find something that sparked my interest a little more out of left field. This may sound strange, but I was thinking about movement, and I love the movie Memoirs of a Geisha. I thought, ‘How interesting, if I could play with the idea of strength in soft movement. When T.I.M. moves, there’s a feeling of gliding, but a sharp edge, as well.”
Paul, of course, is the perfect foil to T.I.M.: brooding and volatile, with a marriage that’s already on thin ice. “People are complex,” Rowley says. “We have flaws. But we make up for our mistakes through our actions. We try to better ourselves. But if you have something that’s constantly perfect [like T.I.M.], you constantly compare yourself to them. With robots and AI, there’s no redemption, there’s just perfection.”
But the rivalry that comes to a shocking head in T.I.M. was the result of a close partnership on set. “We did have fun with it, didn’t we?” Rowley says. “I would try something in a take, then you would try something different just to mess with my head.”
“They gave us permission to needle each other,” Farren says. “But I felt very lucky to work with someone like Mark, who’s very funny and works very hard, and who can give you so many great offers in one take. It didn’t feel like we had to draw anything out of each other. There was a nice camaraderie between the three of us.”
T.I.M. comes out in theaters and on demand on January 12.
I should not have been surprised, but I still marveled at just how little it took to get under the skin of President Donald Trump and his allies. By February 2019, I had been the executive editor of The Washington Post for six years. That month, the newspaper aired a one-minute Super Bowl ad, with a voice-over by Tom Hanks, championing the role of a free press, commemorating journalists killed and captured, and concluding with the Post’s logo and the message “Democracy dies in darkness.” The ad highlighted the strong and often courageous work done by journalists at the Post and elsewhere—including by Fox News’s Bret Baier—because we were striving to signal that this wasn’t just about us and wasn’t a political statement.
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“There’s someone to gather the facts,” Hanks said in the ad. “To bring you the story. No matter the cost. Because knowing empowers us. Knowing helps us decide. Knowing keeps us free.”
Even that simple, foundational idea of democracy was a step too far for the Trump clan. The president’s son Donald Trump Jr. couldn’t contain himself. “You know how MSM journalists could avoid having to spend millions on a #superbowl commercial to gain some undeserved credibility?” he tweeted with typical two-bit belligerence. “How about report the news and not their leftist BS for a change.”
Two years earlier—a month into Trump’s presidency—the Post had affixed “Democracy dies in darkness” under its nameplate on the printed newspaper, as well as at the top of its website and on everything it produced. As the newspaper’s owner, Jeff Bezos, envisioned it, this was not a slogan but a “mission statement.” And it was not about Trump, although his allies took it to be. Producing a mission statement had been in the works for two years before Trump took office. That it emerged when it did is testimony to the tortuous, and torturous, process of coming up with something sufficiently memorable and meaningful that Bezos would bless.
Bezos, the founder and now executive chair of Amazon, had bought The Washington Post in 2013. In early 2015, he had expressed his wish for a phrase that might encapsulate the newspaper’s purpose: a phrase that would convey an idea, not a product; fit nicely on a T-shirt; make a claim uniquely ours, given our heritage and our base in the nation’s capital; and be both aspirational and disruptive. “Not a paper I want to subscribe to,” as Bezos put it, but rather “an idea I want to belong to.” The idea: We love this country, so we hold it accountable.
No small order, coming up with the right phrase. And Bezos was no distant observer. “On this topic,” he told us, “I’d like to see all the sausage-making. Don’t worry about whether it’s a good use of my time.” Bezos, so fixated on metrics in other contexts, now advised ditching them. “I just think we’re going to have to use gut and intuition.” And he insisted that the chosen words recognize our “historic mission,” not a new one. “We don’t have to be afraid of the democracy word,” he said; it’s “the thing that makes the Post unique.”
Staff teams were assembled. Months of meetings were held. Frustrations deepened. Outside branding consultants were retained, to no avail. (“Typical,” Bezos said.) Desperation led to a long list of options, venturing into the inane. The ideas totaled at least 1,000: “A bias for truth,” “Know,” “A right to know,” “You have a right to know,” “Unstoppable journalism,” “The power is yours,” “Power read,” “Relentless pursuit of the truth,” “The facts matter,” “It’s about America,” “Spotlight on democracy,” “Democracy matters,” “A light on the nation,” “Democracy lives in light,” “Democracy takes work. We’ll do our part,” “The news democracy needs,” “Toward a more perfect union” (rejected lest it summon thoughts of our own workforce union).
By September 2016, an impatient Bezos was forcing the issue. We had to settle on something. Nine Post executives and Bezos met in a private room at the Four Seasons in Georgetown to finally get over the finish line. Because of Bezos’s tight schedule, we had only half an hour, starting at 7:45 a.m. A handful of options remained on the table: “A bright light for a free people” or, simply, “A bright light for free people”; “The story must be told” (recalling the inspiring words of the late photographer Michel du Cille); “To challenge and inform”; “For a world that demands to know”; “For people who demand to know.” None of those passed muster.
In the end, we settled on “A free people demand to know” (subject to a grammar check by our copy desk, which gave its assent). Success was short-lived—mercifully, no doubt. Late that evening, Bezos dispatched an email in the “not what you’re hoping for category,” as he put it. He had run our consensus pick by his then-wife, MacKenzie Scott, a novelist and “my in-house wordsmith,” who had pronounced the phrase clunky. “Frankenslogan” was the word she used.
By then, we needed Bezos to take unilateral action. Finally, he did. “Let’s go with ‘Democracy dies in darkness,’ ” he decreed. It had been on our list from the start, and was a phrase Bezos had used previously in speaking of the Post’s mission; he himself had heard it from the Washington Post legend Bob Woodward. It was a twist on a phrase in a 2002 ruling by the federal-appellate-court judge Damon J. Keith, who wrote that “democracies die behind closed doors.”
“Democracy dies in darkness” made its debut, without announcement, in mid-February 2017. And I’ve never seen a slogan—I mean, mission statement—get such a reaction. It even drew attention from People’s Daily in China, which tweeted, “ ‘Democracy dies in darkness’ @washingtonpost puts on new slogan, on the same day @realDonaldTrump calls media as the enemy of Americans.” Merriam-Webster reported a sudden surge in searches for the word democracy. The Late Show host Stephen Colbert joked that some of the rejected phrases had included “No, you shut up” and “We took down Nixon—who wants next?” Twitter commentators remarked on the Post’s “new goth vibe.” The media critic Jack Shafer tweeted a handful of his own “rejected Washington Post mottos,” among them “We’re really full of ourselves” and “Democracy Gets Sunburned If It Doesn’t Use Sunscreen.”
Bezos couldn’t have been more thrilled. The mission statement was getting noticed. “It’s a good sign when you’re the subject of satire,” he said a couple of weeks later. The four words atop our journalism had certainly drawn attention to our mission. Much worse would have been a collective shrug. Like others at the Post, I had questioned the wisdom of branding all our work with death and darkness. All I could think of at that point, though, was the Serenity Prayer: “God grant me the serenity to accept the things I cannot change.”
But the phrase stuck with readers, who saw it as perfect for the Trump era, even if that was not its intent.
The Post’s publisher, Fred Ryan, speaks to the newsroom as the staff celebrates winning a Pulitzer Prize in 2016. (Chip Somodevilla / Getty)
We must have been an odd-looking group, sitting around the dining-room table in the egg-shaped Blue Room of the White House: Bezos, recognizable anywhere by his bald head, short stature, booming laugh, and radiant intensity; Fred Ryan, the Post’s publisher, an alumnus of the Reagan administration who was a head taller than my own 5 feet 11 inches, with graying blond hair and a giant, glistening smile; the editorial-page editor, Fred Hiatt, a 36-year Post veteran and former foreign correspondent with an earnest, bookish look; and me, with a trimmed gray beard, woolly head of hair, and what was invariably described as a dour and taciturn demeanor.
Five months after his inauguration, President Trump had responded to a request from the publisher for a meeting, and had invited us to dinner. We were joined by the first lady, Melania Trump, and Trump’s son-in-law and senior adviser, Jared Kushner. By coincidence, just as we were sitting down, at 7 p.m., the Postpublished a report that Special Counsel Robert Mueller was inquiring into Kushner’s business dealings in Russia, part of Mueller’s investigation into that country’s interference in the 2016 election. The story followed another by the Postrevealing that Kushner had met secretly with the Russian ambassador, Sergey Kislyak, and had proposed that a Russian diplomatic post be used to provide a secure communications line between Trump officials and the Kremlin. The Post had reported as well that Kushner met later with Sergey Gorkov, the head of a Russian-owned development bank.
Hope Hicks, a young Trump aide, handed Kushner her phone. Our news alert had just gone out, reaching millions of mobile devices, including hers. “Very Shakespearean,” she whispered to Kushner. “Dining with your enemies.” Hiatt, who had overheard, whispered back, “We’re not your enemies.”
As we dined on cheese soufflé, pan-roasted Dover sole, and chocolate-cream tart, Trump crowed about his election victory, mocked his rivals and even people in his own orbit, boasted of imagined accomplishments, calculated how he could win yet again in four years, and described The Washington Post as the worst of all media outlets, with The New York Times just behind us in his ranking in that moment.
Trump, his family, and his team had put the Post on their enemies list, and nothing was going to change anyone’s mind. We had been neither servile nor sycophantic toward Trump, and we weren’t going to be. Our job was to report aggressively on the president and to hold his administration, like all others, to account. In the mind of the president and those around him, that made us the opposition.
There was political benefit to Trump in going further: We were not just his enemy—we were the country’s enemy. In his telling, we were traitors. Less than a month into his presidency, Trump had denounced the press as “the enemy of the American People” on Twitter. It was an ominous echo of the phrase “enemy of the people,” invoked by Joseph Stalin, Mao Zedong, and Hitler’s propagandist, Joseph Goebbels, and deployed for the purpose of repression and murder. Trump could not have cared less about the history of such incendiary language or how it might incite physical attacks on journalists.
Whenever I was asked about Trump’s rhetoric, my own response was straightforward: “We are not at war with the administration. We are at work.” But it was clear that Trump saw all of us at that table as his foes, most especially Bezos, because he owned the Post and, in Trump’s mind, was pulling the strings—or could pull them if he wished.
At our dinner, Trump sought at times to be charming. It was a superficial charm, without warmth or authenticity. He did almost all the talking. We scarcely said a word, and I said the least, out of discomfort at being there and seeking to avoid any confrontation with him over our coverage. Anything I said could set him off.
He let loose on a long list of perceived enemies and slights: The chief executive of Macy’s was a “coward” for pulling Trump products from store shelves in reaction to Trump’s remarks portraying Mexican immigrants as rapists; he would have been picketed by only “20 Mexicans. Who cares?” Trump had better relations with foreign leaders than former President Barack Obama, who was lazy and never called them. Obama had left disasters around the world for him to solve. Obama had been hesitant to allow the military to kill people in Afghanistan. He, Trump, told the military to just do it; don’t ask for permission. Mueller, Attorney General Jeff Sessions, fired FBI Director James Comey, and FBI Deputy Director Andrew McCabe were slammed for reasons that are now familiar.
Two themes stayed with me from that dinner. First, Trump would govern primarily to retain the support of his base. At the table, he pulled a sheet of paper from his jacket pocket. The figure “47%” appeared above his photo. “This is the latest Rasmussen poll. I can win with that.” The message was clear: That level of support, if he held key states, was all he needed to secure a second term. What other voters thought of him, he seemed to say, would not matter.
Second, his list of grievances appeared limitless. Atop them all was the press, and atop the press was the Post. During dinner, he derided what he had been hearing about our story on the special counsel and his son-in-law, suggesting incorrectly that it alleged money laundering. “He’s a good kid,” he said of Kushner, who at the time was 36 and a father of three, and sitting right there at the table. The Post was awful, Trump said repeatedly. We treated him unfairly. With every such utterance, he poked me in the shoulder with his left elbow.
Baron’s office at the Post. (The Washington Post / Getty)
A few times during that dinner, Trump—for all the shots he had taken during the campaign at Bezos’s company—mentioned that Melania was a big Amazon shopper, prompting Bezos to joke at one point, “Consider me your personal customer-service rep.” Trump’s concern, of course, wasn’t Amazon’s delivery. He wanted Bezos to deliver him from the Post’s coverage.
The effort quickened the next day. Kushner called Fred Ryan in the morning to get his read on how the dinner had gone. After Ryan offered thanks for their generosity and graciousness with their time, Kushner inquired whether the Post’s coverage would now improve as a result. Ryan diplomatically rebuffed him with a reminder that there were to be no expectations about coverage. “It’s not a dial we have to turn one way to make it better and another way to make it worse,” he said.
Trump would be the one to call Bezos’s cellphone that same morning at eight, urging him to get the Post to be “more fair to me.” He said, “I don’t know if you get involved in the newsroom, but I’m sure you do to some degree.” Bezos replied that he didn’t and then delivered a line he’d been prepared to say at the dinner itself if Trump had leaned on him then: “It’s really not appropriate to … I’d feel really bad about it my whole life if I did.” The call ended without bullying about Amazon but with an invitation for Bezos to seek a favor. “If there’s anything I can do for you,” Trump said.
Three days later, the bullying began. Leaders of the technology sector gathered at the White House for a meeting of the American Technology Council, which had been created by executive order a month earlier. Trump briefly pulled Bezos aside to complain bitterly about the Post’s coverage. The dinner, he said, was apparently a wasted two and a half hours.
Then, later in the year, four days after Christmas, Trump in a tweet called for the Postal Service to charge Amazon “MUCH MORE” for package deliveries, claiming that Amazon’s rates were a rip-off of American taxpayers. The following year, he attempted to intervene to obstruct Amazon in its pursuit of a $10 billion cloud-computing contract from the Defense Department. Bezos was to be punished for not reining in the Post.
Meanwhile, Trump was salivating to have an antitrust case filed against Amazon. The hedge-fund titan Leon Cooperman revealed in a CNBC interview that Trump had asked him twice at a White House dinner that summer whether Amazon was a monopoly. On July 24, 2017, Trump tweeted, “Is Fake News Washington Post being used as a lobbyist weapon against Congress to keep Politicians from looking into Amazon no-tax monopoly?”
As Trump sought to tighten the screws, Bezos made plain that the paper had no need to fear that he might capitulate. In March 2018, as we concluded one of our business meetings, Bezos offered some parting words: “You may have noticed that Trump keeps tweeting about us.” The remark was met with silence. “Or maybe you haven’t noticed!” Bezos joked. He wanted to reinforce a statement I had publicly made before. “We are not at war with them,” Bezos said. “They may be at war with us. We just need to do the work.” In July of that year, he once again spoke up unprompted at a business meeting. “Do not worry about me,” he said. “Just do the work. And I’ve got your back.”
A huge advantage of Bezos’s ownership was that he had his eye on a long time horizon. In Texas, he was building a “10,000-year clock” in a hollowed-out mountain—intended as a symbol, he explained, of long-term thinking. He often spoke of what the business or the landscape might look like in “20 years.” When I first heard that timeline, I was startled. News executives I’d dealt with routinely spoke, at best, of next year—and, at worst, next quarter. Even so, Bezos also made decisions at a speed that was unprecedented in my experience. He personally owned 100 percent of the company. He didn’t need to consult anyone. Whatever he spent came directly out of his bank account.
In my interactions with him, Bezos showed integrity and spine. Early in his ownership, he displayed an intuitive appreciation that an ethical compass for the Post was inseparable from its business success. There was much about Bezos and Amazon that the Post needed to vigorously cover and investigate—such as his company’s escalating market power, its heavy-handed labor practices, and the ramifications for individual privacy of its voracious data collection. There was also the announcement that Bezos and MacKenzie Scott were seeking a divorce—followed immediately by an explosive report in the National Enquirer disclosing that Bezos had been involved in a long-running extramarital relationship with Lauren Sánchez, a former TV reporter and news anchor. We were determined to fulfill our journalistic obligations with complete independence, and did so without restriction.
I came to like the Post’s owner as a human being and found him to be a far more complex, thoughtful, and agreeable character than routinely portrayed. He can be startlingly easy to talk to: Just block out any thought of his net worth. Our meetings took place typically every two weeks by teleconference, and only rarely in person. During the pandemic, we were subjected to Amazon’s exasperatingly inferior videoconferencing system, called Chime. The one-hour meetings were a lesson in his unconventional thinking, wry humor (“This is me enthusiastic. Sometimes it’s hard to tell”), and fantastic aphorisms: “Most people start building before they know what they’re building”; “The things that everybody knows are going to work, everybody is already doing.” At one session, we were discussing group subscriptions for college students. Bezos wanted to know the size of the market. As we all started to Google, Bezos interjected, “Hey, why don’t we try this? Alexa, how many college students are there in the United States?” (Alexa pulled up the data from the National Center for Education Statistics.)
In conversation, Bezos could be witty and self-deprecating (“Nothing makes me feel dumber than a New Yorker cartoon”), laughed easily, and posed penetrating questions. When a Post staffer asked him whether he’d join the crew of his space company, Blue Origin, on one of its early launches, he said he wasn’t sure. “Why don’t you wait a while and see how things go?” I advised. “That,” he said, “is the nicest thing you’ve ever said about me.”
Science fiction—particularly Isaac Asimov, Robert Heinlein, Larry Niven—had a huge influence on Bezos in his teenage years. He has spoken of how his interest in space goes back to his childhood love of the Star Trek TV series. Star Trek inspired both the voice-activated Alexa and the name of his holding company, Zefram, drawn from the fictional character Zefram Cochrane, who developed “warp drive,” a technology that allowed space travel at faster-than-light speeds. “The reason he’s earning so much money,” his high-school girlfriend, Ursula Werner, said early in Amazon’s history, “is to get to outer space.”
Baron and the Post’s owner, Jeff Bezos, in 2016 (The Washington Post / Getty)
From the moment Bezos acquired the Post, he made clear that its historic journalistic mission was at the core of its business. I had been in journalism long enough to witness some executives—unmoored by crushing pressures on circulation, advertising, and profits—abandon the foundational journalistic culture, even shunning the vocabulary we use to describe our work. Many publishers took to calling journalism “content,” a term so hollow that I sarcastically advised substituting “stuff.” Journalists were recategorized as “content producers,” top editors retitled “chief content officers.” Bezos was a different breed.
He seemed to value and enjoy encounters with the news staff in small groups, even if they were infrequent. Once, at a dinner with some of the Post’s Pulitzer Prize winners, Bezos asked Carol Leonnig, who had won for exposing security lapses by the Secret Service, how she was able to get people to talk to her when the risks for them were so high. It had to be a subject of understandable curiosity for the head of Amazon, a company that routinely rebuffed reporters’ inquiries with “No comment.” Carol told him she was straightforward about what she sought and directly addressed individuals’ fears and motivations. The Post’s reputation for serious, careful investigative reporting, she told Bezos, carried a lot of weight with potential sources. They wanted injustice or malfeasance revealed, and we needed their help. The Post would protect their identity.
Anonymous leaking out of the government didn’t begin with the Trump administration. It has a long tradition in Washington. Leaks are often the only way for journalists to learn and report what is happening behind the scenes. If sources come forward publicly, they risk being fired, demoted, sidelined, or even prosecuted. The risks were heightened with a vengeful Trump targeting the so-called deep state, what he imagined to be influential government officials conspiring against him. The Department of Justice had announced early in his term that it would become even more aggressive in its search for leakers of classified national-security information. And Trump’s allies and supporters could be counted on to make life a nightmare for anyone who crossed him.
Journalists would much prefer to have government sources on the record, but anonymity has become an inextricable feature of Washington reporting. Though Trump-administration officials claimed to be unjust victims of anonymous sourcing, they were skillful practitioners and beneficiaries as well. The Trump administration was the leakiest in memory. Senior officials leaked regularly, typically as a result of internal rivalries. Trump himself leaked to get news out in a way that he viewed as helpful, just as he had done as a private citizen in New York.
Trump had assembled his government haphazardly, enlisting many individuals who had no relevant experience and no history of previously collaborating with one another—“kind of a crowd of misfit toys,” as Josh Dawsey, a White House reporter for the Post, put it to me. Some were mere opportunists. Many officials, as the Post’s Ashley Parker has observed, came to believe that working in the administration was like being a character in Game of Thrones : Better to knife others before you got knifed yourself. Odds were high that Trump would do the stabbing someday on his own. But many in government leaked out of principle. They were astonished to see the norms of governance and democracy being violated—and by the pervasive lying.
Trump’s gripes about anonymity weren’t based on the rigor of the reporting—or even, for that matter, its veracity. Leaks that reflected poorly on him were condemned as false, and the sources therefore nonexistent, even as he pressed for investigations to identify the supposedly nonexistent sources. With his followers’ distrust of the media, he had little trouble convincing them that the stories were fabrications by media out to get him—and them. Conflating his political self-interest with the public interest, he was prone to labeling the leaks as treasonous.
At the Post, the aim was to get at the facts, no matter the obstacles Trump and his allies put in our way. In January 2018, Dawsey reported that Trump, during a discussion with lawmakers about protecting immigrants from Haiti, El Salvador, and African countries as part of an immigration deal, asked: “Why are we having all these people from shithole countries come here?” In March, Dawsey, Leonnig, and David Nakamura reported that Trump had defied cautions from his national security advisers not to offer well-wishes to Russian President Vladimir Putin on winning reelection to another six-year term. “DO NOT CONGRATULATE,” warned briefing material that Trump may or may not have read. Such advice should have been unnecessary in the first place. After all, it had been anything but a fair election. Prominent opponents were excluded from the ballot, and much of the Russian news media are controlled by the state. “If this story is accurate, that means someone leaked the president’s briefing papers,” said a senior White House official who, as was common in an administration that condemned anonymous sources, insisted on anonymity.
To be sure, sources sometimes want anonymity for ignoble reasons. But providing anonymity is essential to legitimate news-gathering in the public interest. If any doubt remains as to why so many government officials require anonymity to come forward—and why responsible news outlets give them anonymity when necessary—the story of Trump’s famous phone call with Ukrainian President Volodymyr Zelensky offers an instructive case study.
In September 2019, congressional committees received a letter from Michael Atkinson, the inspector general for the intelligence community. A whistleblower had filed a complaint with him, he wrote, and in Atkinson’s assessment, it qualified as credible and a matter of “urgent concern”—defined as a “serious or flagrant problem, abuse or violation of the law or Executive Order” that involves classified information but “does not include differences of opinion concerning public policy matters.”
Soon, a trio of Post national-security reporters published a story that began to flesh out the contents of the whistleblower complaint. The article, written by Ellen Nakashima, Greg Miller, and Shane Harris, cited anonymous sources in reporting that the complaint involved “President Trump’s communications with a foreign leader.” The incident was said to revolve around a phone call.
Step by careful step, news organizations excavated the basic facts: In a phone call with Zelensky, Trump had effectively agreed to provide $250 million in military aid to Ukraine—approved by Congress, but inexplicably put on hold by the administration—only if Zelensky launched an investigation into his likely Democratic foe in the 2020 election, Joe Biden, and his alleged activities in Ukraine. This attempted extortion would lead directly to Trump’s impeachment, making him only the third president in American history to be formally accused by the House of Representatives of high crimes and misdemeanors.
The entire universe of Trump allies endeavored to have the whistleblower’s identity revealed—widely circulating a name—with the spiteful aim of subjecting that individual to fierce harassment and intimidation, or worse. Others who ultimately went public with their concerns, as they responded to congressional subpoenas and provided sworn testimony, became targets of relentless attacks and mockery.
Lieutenant Colonel Alexander Vindman of the National Security Council, who had listened in on the phone call as part of his job, became a central witness, implicating Trump during the impeachment hearings. He was fired after having endured condemnation from the White House and deceitful insinuations by Trump allies that he might be a double agent. Vindman’s twin brother, Yevgeny, an NSC staffer who had raised protests internally about Trump’s phone call with Zelensky, was fired too. Gordon Sondland—the hotelier and Trump donor who was the ambassador to the European Union and an emissary of sorts to Ukraine as well—was also fired. He had admitted in congressional testimony that there had been an explicit quid pro quo conditioning a Zelensky visit to the White House on a Ukrainian investigation of Biden. The Vindmans and Sondland were all dismissed within two days of Trump’s acquittal in his first impeachment trial. Just before their ousters, White House Press Secretary Stephanie Grisham had suggested on Fox News that “people should pay” for what Trump went through.
The acting Pentagon comptroller, Elaine McCusker, had her promotion rescinded, evidently for having merely questioned whether Ukraine aid could be legally withheld. She later resigned. Atkinson, the intelligence community’s inspector general, was fired as well, leaving with a plea for whistleblowers to “use authorized channels to bravely speak up—there is no disgrace for doing so.”
“The Washington Post is constantly quoting ‘anonymous sources’ that do not exist,” Trump had tweeted in 2018 in one of his familiar lines of attack. “Rarely do they use the name of anyone because there is no one to give them the kind of negative quote that they are looking for.” The Ukraine episode made it clear that real people with incriminating information existed in substantial numbers. If they went public, they risked unemployment. If they chose anonymity, as the whistleblower did, Trump and his allies would aim to expose them and have them publicly and savagely denounced.
“We are not at war with the administration. We are at work.” When I made that comment, many fellow journalists enthusiastically embraced the idea that we should not think of ourselves as warriors but instead as professionals merely doing our job to keep the public informed. Others came to view that posture as naive: When truth and democracy are under attack, the only proper response is to be more fiercely and unashamedly bellicose ourselves. One outside critic went so far as to label my statement an “atrocity” when, after my retirement, Fred Ryan, the Post’s publisher, had my quote mounted on the wall overlooking the paper’s national desk.
I believe that responsible journalists should be guided by fundamental principles. Among them: We must support and defend democracy. Citizens have a right to self-governance. Without democracy, there can be no independent press, and without an independent press, there can be no democracy. We must work hard and honestly to discover the truth, and we should tell the public unflinchingly what we learn. We should support the right of all citizens to participate in the electoral process without impediment. We should endorse free speech and understand that vigorous debate over policy is essential to democracy. We should favor equitable treatment for everyone, under the law and out of moral obligation, and abundant opportunity for all to attain what they hope for themselves and their families. We owe special attention to the least fortunate in our society, and have a duty to give voice to those who otherwise would not be heard. We must oppose intolerance and hate, and stand against violence, repression, and abuse of power.
I also believe journalists can best honor those ideals by adhering to traditional professional principles. The press will do itself and our democracy no favors if it abandons what have long been bedrock standards. Too many norms of civic discourse have been trampled. For the press to hold power to account today, we will have to maintain standards that demonstrate that we are practicing our craft honorably, thoroughly, and fairly, with an open mind and with a reverence for evidence over our own opinions. In short, we should practice objective journalism.
The idea of objective journalism has uncertain origins. But it can be traced to the early 20th century, in the aftermath of World War I, when democracy seemed imperiled and propaganda had been developed into a polished instrument for manipulating public opinion and the press during warfare—and, in the United States, for deepening suspicions about marginalized people who were then widely regarded as not fully American.
Baron and his Boston Globe colleagues react to winning the 2003 Pulitzer Prize for Public Service for the paper’s coverage of sexual abuse by priests in the Roman Catholic Church. (The Boston Globe / Getty)
The renowned journalist and thinker Walter Lippmann helped give currency to the term when he wrote Liberty and the News, published in 1920. In that slim volume, he described a time that sounds remarkably similar to today. “There is everywhere an increasingly angry disillusionment about the press, a growing sense of being baffled and misled,” he wrote. The onslaught of news was “helter-skelter, in inconceivable confusion.” The public suffered from “no rules of evidence.” He worried over democratic institutions being pushed off their foundations by the media environment.
Lippmann made no assumption that journalists could be freed of their own opinions. He assumed, in fact, just the opposite: They were as subject to biases as anyone else. He proposed an “objective” method for moving beyond them: Journalists should pursue “as impartial an investigation of the facts as is humanly possible.” That idea of objectivity doesn’t preclude the lie-detector role for the press; it argues for it. It is not an idea that fosters prejudice; it labors against it. “I am convinced,” he wrote, in a line that mirrors my own thinking, “that we shall accomplish more by fighting for truth than by fighting for our theories.”
In championing “objectivity” in our work, I am swimming against what has become, lamentably, a mighty tide in my profession of nearly half a century. No word seems more unpopular today among many mainstream journalists. A report in January 2023 by a previous executive editor at The Washington Post, Leonard Downie Jr., and a former CBS News president, Andrew Heyward, argued that objectivity in journalism is outmoded. They quoted a former close colleague of mine: “Objectivity has got to go.”
Objectivity, in my view, has got to stay. Maintaining that standard does not guarantee the public’s confidence. But it increases the odds that journalists will earn it. The principle of objectivity has been under siege for years, but perhaps never more ferociously than during Trump’s presidency and its aftermath. Several arguments are leveled against it by my fellow journalists: None of us can honestly claim to be objective, and we shouldn’t profess to be. We all have our opinions. Objectivity also is seen as just another word for neutrality, balance, and so-called both-sidesism. It pretends, according to this view, that all assertions deserve equal weight, even when the evidence shows they don’t, and so it fails to deliver the plain truth to the public. Finally, critics argue that objectivity historically excluded the perspectives of those who have long been among the most marginalized in society (and media): women, Black Americans, Latinos, Asian Americans, Indigenous Americans, the LGBTQ community, and others.
Genuine objectivity, however, does not mean any of that. This is what it really means: As journalists, we can never stop obsessing over how to get at the truth—or, to use a less lofty term, “objective reality.” Doing that requires an open mind and a rigorous method. We must be more impressed by what we don’t know than by what we know, or think we know.
Journalists routinely expect objectivity from others. Like everyone else, we want objective judges. We want objective juries. We want police officers to be objective when they make arrests and detectives to be objective in assessing evidence. We want prosecutors to evaluate cases objectively, with no prejudice or preexisting agendas. Without objectivity, there can be no equity in law enforcement, as abhorrent abuses have demonstrated all too often. We want doctors to be objective in diagnosing the medical conditions of their patients, uncontaminated by bigotry or baseless hunches. We want medical researchers and regulators to be objective in determining whether new drugs might work and can be safely consumed. We want scientists to be objective in evaluating the impact of chemicals in the soil, air, and water.
Objectivity in all these fields, and others, gets no argument from journalists. We accept it, even insist on it by seeking to expose transgressions. Journalists should insist on it for ourselves as well.
“Man is something that shall be overcome,” the German philosopher Friedrich Nietzsche wrote in his 1883 classic Thus Spoke Zarathustra. “Man is a rope, tied between beast and superman—a rope over an abyss. What is great in man is that he is a bridge and not an end.”
When he wrote this, the famously troubled intellectual was reckoning with ambivalent feelings about German culture (including a fallout with his friend, the composer Richard Wagner), a series of illnesses, and an opium habit that very likely constituted a drug addiction. But he was also grappling with what historians call the Second Industrial Revolution, that is, the revolution of mass production.
Much of Nietzsche’s writings, obscure in his own lifetime, foreshadowed a 20th century full of what he called “nihilism,” especially his famous proclamation, “God is dead.” In his place was the superman, or “Übermensch,” a determiner of his own life, who eschews traditional Christian mores and births his own system of values that allows him to conquer all human challenges. Now artificial intelligence is here, and modern technologists are proclaiming a “Fourth Industrial Revolution” that will give birth to a new “superhuman,” which begs the question, is humanity still the proverbial rope over the abyss?
It’s worth a look back at how we got here.
Faster than a speeding bullet
During times of technological upheaval, it seems that Nietszche’s prophecy of the birth of the Übermensch always reemerges. There are two famous examples—you already know them.
First, about a half-century after Nietzsche conceived his version, Action Comics released its first issue in 1939, featuring a character named “Superman” who went on to become the very first comic-book superhero just as the world was hurtling into the atomic age, recently depicted in the blockbuster smash hit, “Oppenheimer.” As society digested the breakthroughs of the Second Industrial Revolution, creating modern cities full of elevators, skyscrapers and cars, Superman represented a figure who could easily conquer modern technology. It was all there in the catch phrase: “Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings in a single bound!” (Even this phrase itself was industrial in nature, originating in a 1940 show for the radio, an entirely new technology.)
While Nietzsche’s Übermensch was an embodiment of religious rejection, a being who transcended the mores of the Christian church, the character of Superman nodded to generations of human advancement, with abilities including bulletproof skin and laser-beaming eyes.
Moreover, Nietzsche’s Übermensch was an aspirational concept whose name literally evokes a higher plane, and DC’s Superman is from the alien world of Krypton, a planet more sophisticated than Earth. Not only is Superman physically superior to the normal man, but he retains aspects of the original Übermensch as a pillar of moral uprightness. Even in his alter ego as Clark Kent, he is morally infallible as an idealistic journalist (the most morally correct profession, of course).
The superman goes hand-in-hand with the concept of transhumanism embraced by capitalists and technologists—the idea that advanced technology will allow humans to transformatively augment themselves and their environment. It harkens back to Nietzsche’s vision of man as a “rope” and “something to be overcome,” or in the transhumanist view, a base for mechanization. Within transhumanism is the concept of the “new man,” a utopian ideal of the perfect person, a concept coopted decades after Nietzsche’s death by non-Democratic movements ranging from Communism to Fascism to its subset, Nazism, each of which envisioned the perfect citizen created through science and tech. Even the most casual student of 20th century history knows this went tragically and horrifically wrong.
While these concepts seem bizarre to a 21st century digital native, they’re actually still heavily embedded into mainstream politics and pop culture. The world’s richest man himself, Elon Musk, is a known transhumanist who is actively working on projects to colonize space and insert computer chips into our brains. Science fiction has flourished by examining variations on the superman and the transhuman, often in dystopian ways, for example with Blade Runner in the 1980s and The Matrix more recently. Even this summer’s smash hit Barbie movie dabbles in transhumanism, as a plastic doll blessed with the stereotypical ideal of femininity and beauty ventures into the real world, although several readings of that film land with the takeaway that there’s just no way to be a Superwoman in modern life.
Whatever happened to the Superman of the 21st century?
We see the superman concept, especially as it intersects with technology, as a frequently used political tool because of the inherent stratification an “ideal” person erects. And although transhumanism is toyed with by socialists and capitalists alike, sociologists have theorized that political transhumanism could birth Capitalism 2.0, an era hyperfixated on tech-driven productivity leaps.
Now, as we are rounding the bend on the Fourth Industrial Revolution—the revolution of smart automation, interconnectivity, and artificial intelligence—philosophy buffs may be wondering what will emerge as the Übermensch of our time. While it’s early, to be sure, history hints that people will search for an aspirational icon that can transcend the power frameworks of our time.
One person has already posited a theory that our Übermensch will be A.I.: Masayoshi Son, one of the world’s richest men, has already labeled the invention as the “Birth of Superhuman.” Son, who has been a major venture capital investor for decades and is the CEO of Japan’s SoftBank, announced to investors this year that the emergence of ChatGPT brought him to a tearful existential crisis over A.I. and the meaning of life, before deciding to dedicate his company and career to “design[ing] the future of humanity.” Sounds slightly tangential to Nietzsche’s crisis on nihilism.
This surely isn’t to say that Son is the next Nietzsche—but the resemblance to the Übermensch is unmistakable. Son told SoftBank shareholders that he pitches and refines ideas with A.I. every day, and had used the tool to develop over 600 new inventions in less than a year. Through a transhumanist lens, he’s using emerging technology to hugely augment his intelligence and ideation abilities. As the world goes through another technological upheaval, and people look for an aspirational entity that can transcend the power framework of our time, it’s important to ask what that framework is. Arguably, it’s information.
In the way that Nietzche’s Übermensch controlled his own infallible set of morals, or comic books’ Superman controlled his invulnerable body, perhaps the parallel can be drawn of A.I. controlling its vast, 10,000 chip-cache of knowledge. The difference is that the Übermensch and Superman existed as fictional characters, without any real way for people to interact with them. They were aspirational, while A.I. is a real tool that’s driving rapid change in the world.
It’s too early to say how A.I. will transform the workforce, but we should probably take any notion of a superhuman with a grain of salt. Maybe humanity is a rope over an abyss, but the surest way to fall into it is through the pursuit of superpowers through technology.
For 15 years now, people in Hollywood have been trying to get a live-action Robotech movie made. Specifically, a movie based on Robotech’s first and most popular season, which was a Western repackaging of Japanese masterpiece Macross.
Robotech’s original animated intro
In 2007 it was Tobey Maguire leading the charge for a Warner Bros. production that ultimately went nowhere. Eight years later Sony took a swing, with Aquaman director James Wan attached, but it too would eventually wind up cancelled. Now we’re getting a third and more recent attempt, with Sony trying once again, announcing in 2022 that Hawkeye director Rhys Thomas will be trying to get the adventures of Rick Hunter and friends on the big screen.
This third try might have a better chance of actually getting made; aside from regular Hollywood politics and economics, previous attempts were also plagued by a long-running legal standoff that had stymied Western releases of Macross products for decades. They were largely resolved in 2021, clearly paving the way for Sony’s renewed attempts at getting a Robotech movie made.
Anyway, enough background! This is an art feature, not a history lesson. But I needed to spell all that out so that we’re clear about what’s being showcased tonight: a collection of art from that middle project, Sony’s aborted first attempt that, after suffering a big setback in 2018 when Wan bailed to make Aquaman, was quietly cancelled in 2019.
Most illustrations focus on the SDF-1, Macross Island (whose vibes Price absolutely nails here) and redesigned Veritech fighters, though there are also some works showcasing original plot elements (like the oil rigs) that would have been new for this particular film.
An over-the-top, competitive battle royale set on the surface of a dying planet with a devolving dual-layer board design, asymmetric faction abilities, and over 200 miniatures.
LUMBERTON, Texas, April 25, 2023 (Newswire.com)
– Star Reach Games is thrilled to announce the launch of its highly anticipated sci-fi strategy wargame, Cysmic, going live on Kickstarter on April 25 at 10 a.m. EDT. Inspired by classic disaster movies, Cysmic features an infinite, dual-layered game board that crumbles away during play, revealing powerful ancient relics and providing a cinematic battlefield for the game’s 200+ miniatures — including modular Colony Ships, assembled by each player and looming high above the action at over 6 inches tall.
Cysmic is set on the dying surface of Kepler-62e and places players in command of one of the world’s 18 factions, each with an individualized starting configuration and asymmetric player abilities to guide strategy and unlock new paths to victory. The goal of the game is simple. To survive the end of the world, players must build a spaceship and be the first to launch their people to safety. There’s just one problem: Each faction holds a module blueprint crucial to survival, and to win the game, players must capture those blueprints from their opponents.
In Cysmic, players will be kept on the edge of their seats, constantly adapting, overcoming, and embracing the chaos of a devolving battlefield. Constantly bombarded by earth-shattering seismic activity courtesy of the Tremor Tracker, the frequency of these board-altering events builds over time to an apocalyptic crescendo in flames.
As players obtain blueprints from their enemies and install new modules, they assemble their Colony Ships, creating an eye-catching centerpiece for their territory. Along with significant visual impact, this design provides easy at-a-glance insights into how close each player is to lift-off at any given moment.
Cysmic’s easy-to-learn gameplay is powered by a streamlined three-step system that rewards decisive action and in-the-moment strategic command. Just burn a card, play a card, and choose a bonus action. Every player has the same 10 Command Cards, allowing them to choose which phases occur when — because the end of the world is no time to stick to a sequence of play.
Cysmic is available in two formats: the Core Edition for $99 and the Designer Vision Deluxe Edition for $249. The Core Edition provides the complete cinematic experience in an affordable retail format, featuring Star Reach Games’ signature Tech Chip Field Display. The Deluxe Edition is an all-out explosion, blasting every element of the game into the stratosphere with a larger board, 3-D terrain, custom combat markers, and 200+ miniatures.
Star Reach Games invites you to embrace the chaos of Cysmic, where there are no points to count, no second prizes, and blasting off first means living to fight another day. Don’t miss the launch of this earth-shattering game of sci-fi fighting fun, live on April 25 at 10 a.m. EST.
Yes, Cyberpunk 2077 is already in HD—it goes way past HD for anyone playing in 2K or 4K, even—but if you ever stopped to look at the game’s ground textures and walls, you may have noticed they’re not as sharp as some of the more attention-grabbing parts of the world.
That’s to be expected, of course, no developer in their right mind would spend as much time on a patch of dirt as they would the character’s apartment or car. But when a certain type of game reaches a certain level of popularity, there are people out there who want to see what that looks like, cost be damned.
Well HalkHogan is now back with much the same thing for CDPR’s follow-up, Cyberpunk 2077, announcing that his HD Reworked Project is now underway and posting a video showcasing some of his work.
Cyberpunk 2077 HD Reworked Project – Release Preview
While you’d expect that adding something like this to the game would come with a performance hit, HalkHogan says that so long as you have enough spare VRAM, you won’t notice and slowdown whatsoever. And if you do, he’s releasing two versions of the mod:
In general, the modification doesn’t hit performance in any way if you have enough amount of VRAM (video card memory). Even if you run out of memory a bit, it shouldn’t be a problem (and if it will, you can always easily uninstall the mod).
There are two versions of the modification, adapted to what the graphics card you have.
Cyberpunk 2077 HD Reworked Project Ultra Quality: contains the highest quality textures and gives the best visual experience. Highly recommended for 2K/4K displays. Game can use up to max 800MB more VRAM so most modern graphics cards should easy deal with it.
Cyberpunk 2077 HD Reworked Project Balanced:maintains high textures quality with lower VRAM usage. Recommended for graphics cards with less amount of memory. Game can use up only about 400MB more VRAM so basically everyone who can comfortably play the game can use this without experiencing any significant performance drops while having noticeably better textures.
Even then, though, in the depths of the game’s nadir, I could see something in the distance, past all the anger and frustration of the moment. So much of the negativity seemed to be coming not from a place of true revulsion, but disappointment, of people’s expectations of Cyberpunk 2077 being “The Witcher 3, with cars” being fumbled.
That spot on the horizon, as tiny as it was, nevertheless had shape and form. It was hope. Big games simply cannot be allowed to die, so even then, as Cyberpunk was on the receiving end of an unprecedented backlash, I could see where this story was headed. The world loves nothing more than a bad game’s redemption arc—see No Man’s Sky for a similar example of the genre—and as bad as Cyberpunk had been at release, surely CD Projekt Red, after spending all that time and money to make the game, would eventually spend enough time and money to fix it?
Screenshot: Cyberpunk 2077 | Kotaku
As time did its thing and moved ever onwards, that spot on the periphery would get bigger, until one day it would displace the negative vibes around the game entirely. One day, Cyberpunk 2077 would be good. Could be good. Please, Cyberpunk 2077, you could hear being said louder by the day, be good.
This game has been out for a while. The team is well past the debut of their creative baby, but being the good parents they are, these devs continue to nurture and support their creation. This game, to this day, is still getting new content after all these years.
We were now free, two years after the game’s nightmarish release, to convince ourselves that this was no longer the same game it had been at launch. Two years of work had righted the ship, given people what they wanted. Cyberpunk 2077 was good now.
But was it? I, along with most of you, had played it in 2020 and thought it was terrible. How much could really have changed since then? With a bunch of time to kill on a recent vacation, and to address my own simmering curiosity over the shape the game was in, I spent a few weeks working my way through Cyberpunk 2077, front to back.
IS CYBERPUNK 2077 GOOD NOW?
That’s a complicated question! But it’s why we’re here, now, in March 2023. What I found was that yes, over the past two years and change a bunch of technical improvements have been made. And when I say improvements, I say it like a battlefield medic would, in that “sawing a man’s legs off” is an improvement over “dying”. My first encounter with the game in December 2020 had lasted for around 10 hours, and for that entire time, even with a relatively new PC, Cyberpunk 2077 ran like trash. So bad it was distracting me from the game itself.
Now it runs great. With DLSS working its black magic and a bunch of patches under its belt, Cyberpunk 2077 is a game reborn on my PC—the exact same PC I had played it on in 2020—with even my modest rig able to run it in 4K, ray-tracing enabled, without skipping a beat. A smoother framerate also made the game’s sluggish shooting and driving sections slightly more tolerable, and best of all everything looked fantastic. So far, so good.
Cyberpunk’s countless and often mission-breaking bugs also seemed far less frequent. There are some still there, ones I think are just part of the way the game was built, like how cars don’t appear in the world so much as they’re dropped, still rocking on their suspension as your character first spots them. Or how police chases simply do not work. Pedestrians still walk and stand through one another, like they’re re-enacting the end of Watchmen. But there are a lot less of these, and I didn’t run into any of the formerly huge issues—like cars and bikes catapulting off the screen—so again, progress.
If bugs and weird glitches were your primary hangup, then sure, Cyberpunk 2077 is “good now”. This technical triage didn’t really matter to me, though. I’m a Battlefield 2042 veteran, I am used to finding pleasure amidst uncooperative polygons. What their taming did at least allow, though, was the opportunity to stop worrying about them, and focus on the game itself. Not what I had wanted it to be, or expected it to be in a post-Witcher 3 world, not what its calamitous launch had prevented it from seemingly ever being. Just me, a smooth framerate and the entirety of Cyberpunk 2077 ahead of me.
OK, I have SOME THINGS I need to say that will sound review-like. I played through 85 hours of Cyberpunk 2077, much of it over my vacation, I need to talk about this with someone.
I started this whole endeavour thinking I’d be writing about one game, Cyberpunk 2077, but I ended up playing two very different ones over those hours. So different, in fact, that I’ve had to basically write this whole piece twice, since so much of my first draft would eventually end up in the bin.
The first Cyberpunk 2077 I played was how I imagine—actually, how I know after looking at Steam achievement statistics showing how few players had completed important sidequests—most people’s time with the game went. You aren’t led through the main storyline so much as you’re shoved, bombarded from the outset with urgent phonecalls, frantic messages, cutscenes where you’re coughing up blood, directions to travel here, have a shootout there, and before you know it you’re at the endgame wondering why you’ve barely scratched the surface of Cyberpunk’s world, cast or myriad of RPG systems.
Writing about this Cyberpunk as I went, my notes used the word “dogshit” a lot. The main storyline is the very worst of Cyberpunk. It doubles down on the game’s failed attempts to be an explosive FPS, shines its brightest lights on Night City’s dullest characters and moves so fast that Cyberpunk’s elaborate endings mean nothing because you haven’t had the time or space to give a shit about anyone affected.
My conclusion to this piece, as the credits rolled, was that Cyberpunk 2077 was unsalvageable. Its problems were too fundamental, the scathing reviews from 2020 justified in their damnation.
Screenshot: Cyberpunk 2077 | Kotaku
CYBERPUNK 2077, PART II
But then something weird happened. Instead of being dumped back at my lair in some kind of overpowered postgame, I found myself reloaded back to a checkpoint just before the final mission. There was no real endgame here (the storylines as they wrap up rule that out), just a soft reboot, presumably so players could jump straight back into those final hours and make different choices, enough to unlock one of the game’s four other endings.
Here, with the main quests all but resolved and my need to see a final cutscene already satisfied, another Cyberpunk 2077 unfurled in front of me. This Cyberpunk was full of unresolved sidequests, only now I had the time and space to resolve them. The game finally had time to breathe. It took its foot off the gas, stopped harassing me to sort out Keanu Reeves’ problems and began slowly serving me the game’s most memorable quests, most with meaningful consequence, each one taking me on a tour of previously-unseen corners of the game’s lavish world and giving me a newfound appreciation for its scale and detail.
I met all my favourite Night City residents in this second Cyberpunk, and I think it’s easily the best way to meet them. To be able to savour each little adventure at its own pace, instead of having them crammed in between main quests. In this second game, where I was no longer following a Keanu Reeves-led narrative laced with international intrigue but free to just be a guy doing murderous odd jobs around town, Cyberpunk felt so much closer to what I had expected from it back in 2020. A game about exploration, being a handyman, uncovering unforgettable little stories with sticky moral quandaries. The Witcher 3 with cars, basically.
My conclusion after this second Cyberpunk wrapped, after I’d rinsed it of every substantial (and less so) sidequest on the board, is…well, it’s what you’re reading now. My reflections of a game that is still broken in so many ways, and forgettable in many others, but which is also more than that, so much more than most people who (rightfully and understandably!) bounced off the main storyline in 2020 and never looked back will ever know.
It’s almost as though Cyberpunk’s main problem isnt with its various components themselves, so much as the urgency and order they’re thrown at you. Playing Cyberpunk 2077 as CD Projekt Red designed it is like going to a fancy restaurant and having the steak thrown at your face before you’ve even looked at the menu. Then getting your delicious entrée served 90 minutes later. The food is good, sure! But that wasn’t the best way to eat it.
Everyone who has ever said “just try the side missions, they’re better” in the time since Cyberpunk 2077’s launch, and sounded like a copium addict at the height of a trip, turned out to be right on the money. I’m sorry for ever doubting you. Some of these auxiliary quests are good, but many of them are excellent. A mayoral candidate having a little IT problem is a highlight, as is the tragic and unforgettable case of a cop’s missing nephew and a cattle farm. Claire’s tale of loss and revenge is handled with the utmost care. Judy’s evolution from peripheral quest-giver to her beautiful finale was a joy to play through, and Kerry’s mid-life crisis resolves in possibly the most cathartic moment of the whole game. These stories are well-written, deeply interesting and many of the best ones don’t even need you to shoot anything.
I could go on and on here, and kinda want to, but I’ve wasted enough of your time with my thoughts on a game that’s now over two years old, and was written about, at length, maybe more than any other video game in history. Thank you for sticking with me this long.
IT’S STILL CYBERPUNK 2077
Technical fixes aside—and they make a difference!—this is still Cyberpunk 2077. The good stuff was good in 2020, the bad stuff was bad in 2020, and they will forever be that way because you can’t save a game by patching in a new character arc (or any character arc) for Johnny Silverhand, or turn some dials and suddenly make the entire first-person shooting experience feel even remotely exciting.
I feel like I did everything I was supposed to do here, everything the zeitgeist and the blip on the horizon said I should do when it came to this game. I played it in 2020, bounced, then gave it time—time it may not have deserved if it was any other game from any other studio—to clean itself up. I revisited it to play the game this was supposed to be.
It’s not that game, of course. The “Cyberpunk can be saved” narrative is as delusional here as it is for so many other big-budget failures, when success had seemed assured but for whatever reason never arrived (of course Cyberpunk 2077 will always be, if nothing else, a financial success). Bugs and fundamental shortcomings in the game’s structure are two very different things. One can be patched, and mostly has been. The other, we’re stuck with forever.
Screenshot: Cyberpunk 2077 | Kotaku
And that’s OK? I’m OK with it, at least. There was so much anger and frustration tangled up in this game’s launch, all fed as much on people’s expectations as much as the reality of the game that was on offer before us. This was the next game from The Witcher 3 guys, it cost so much money to make, it took so long to make, it released so many incredible (and, turns out, quite fanciful) trailers, blah blah blah.
All this led to a consensus that the game was both busted and a huge disappointment. Now? Now it’s still a little busted and still disappointing in most of the same ways. There are still huge holes in this game, with shortcomings it will never overcome, but decoupled from the Bad Vibes of its 2020 launch I found myself free in 2023 to just fire up Cyberpunk 2077 and play what was in front of me.
What I found was a game that, when given the chance, could be more than just a trainwreck of a launch. It could also, with a bit of work and a bit more patience, be something truly special. And that was enough of a redemption arc for me.
Feb. 3, 2023 – When I was a child, I watched syndicated episodes of the original Star Trek. I was dazzled by the space travel, sure, but also the medical technology.
A handheld “tricorder” detected diseases, while an intramuscular injector (“hypospray”) could treat them. Sickbay “biobeds” came with real-time health monitors that looked futuristic at the time but seem primitive today.
Such visions inspired a lot of us kids to pursue science. Little did we know the real-life advances many of us would see in our lifetimes.
Artificial intelligence helping to spot disease, robots performing surgery, even video calls between doctor and patient — all these once sounded fantastical but now happen in clinical care.
Now, in the 23rd year of the 21st century, you might not believe what we’ll be capable of next. Three especially wild examples are moving closer to clinical reality.
Human Hibernation
Captain America, Han Solo, and Star Trek villain Khan – all were preserved at low temperatures and then revived, waking up alive and well months, decades, or centuries later. These are fictional examples, to be sure, but the science they’re rooted in is real.
Rare cases of accidental hypothermia prove that full recovery is possible even after the heart stops beating. The drop in body temperature slows metabolism and reduces the need for oxygen, stalling brain damage for an hour or more. (In one extreme case, a climber survived after almost 9 hours of efforts to revive him.)
Useful for a space traveler? Maybe not. But it’s potentially huge for someone with life-threatening injuries from a car accident or a gunshot wound.
That’s the thinking behind a breakthrough procedure that came after decades of research on pigs and dogs, now in a clinical trial. The idea: A person with massive blood loss whose heart has stopped is injected with an ice-cold fluid, cooling them from the inside, down to about 50 F.
Doctors already induce more modest hypothermia to protect the brain and other organs after cardiac arrest and during surgery on the aortic arch (the main artery carrying blood from the heart).
But this experimental procedure – called emergency preservation and resuscitation (EPR) – goes far beyond that, dramatically “decreasing the body’s need for oxygen and blood flow,” says Samuel Tisherman, MD, a trauma surgeon at the University of Maryland Medical Center and the trial’s lead researcher. This puts the patient in a state of suspended animation that “could buy time for surgeons to stop the bleeding and save more of these patients.”
The technique has been done on at least six patients, though none were reported to survive. The trial is expected to include 20 people by the time it wraps up in December, according to the listing on the U.S. clinical trials database. Though given the strict requirements for candidates (emergency trauma victims who are not likely to survive), one can’t exactly rely on a set schedule.
Still, the technology is promising. Someday we may even use it to keep patients in suspended animation for months or years, experts predict, helping astronauts through decades-long spaceflights, or stalling death in sick patients awaiting a cure.
Artificial Womb
Another sci-fi classic: growing human babies outside the womb. Think the fetus fields from The Matrix, or the frozen embryos in Alien: Covenant.
In 1923, British biologist J.B.S. Haldane coined a term for that – ectogenesis. He predicted that 70% of pregnancies would take place, from fertilization to birth, in artificial wombs by 2074. That many seems unlikely, but the timeline is on track.
Developing an embryo outside the womb is already routine in in vitro fertilization. And technology enables preterm babies to survive through much of the second half of gestation. Normal human pregnancy is 40 weeks, and the youngest preterm baby ever to survive was 21 weeks and 1 day old, just a few days younger than a smattering of others who lived.
The biggest obstacle for babies younger than that is lung viability. Mechanical ventilation can damage the lungs and lead to a chronic (sometimes fatal) lung disease known as bronchopulmonary dysplasia. Avoiding this would mean figuring out a way to maintain fetal circulation – the intricate system that delivers oxygenated blood from the placenta to the fetus via the umbilical cord. Researchers at Children’s Hospital of Philadelphia (CHOP) have done this using a fetal lamb.
The key to their invention is a substitute placenta: an oxygenator connected to the lamb’s umbilical cord. Tubes inserted through the umbilical vein and arteries carry oxygenated blood from the “placenta” to the fetus, and deoxygenated blood back out. The lamb resides in an artificial, fluid-filled amniotic sac until its lungs and other organs are developed.
Fertility treatment could benefit, too. “An artificial womb may substitute in situations in which a gestational carrier – surrogate – is indicated,” says Paula Amato, MD, a professor of obstetrics and gynecology at Oregon Health and Science University. (Amato is not involved in the CHOP research.) For example: when the mother is missing a uterus or can’t carry a pregnancy safely.
No date is set for clinical trials yet. But according to the research, the main difference between human and lamb may come down to size. A lamb’s umbilical vessels are larger, so feeding in a tube is easier. With today’s advances in miniaturizing surgical methods, that seems like a challenge scientists can overcome.
Messenger RNA Therapeutics
Back to Star Trek. The hypospray injector’s contents could cure just about any disease, even one newly discovered on a strange planet. That’s not unlike messenger RNA (mRNA) technology, a breakthrough that enabled scientists to quickly develop some of the first COVID-19 vaccines.
But vaccines are just the beginning of what this technology can do.
A whole field of immunotherapy is emerging that uses mRNA to deliver instructions to produce chimeric antigen receptor-modified immune cells (CAR-modified immune cells). These cells are engineered to target diseased cells and tissues, like cancer cells and harmful fibroblasts (scar tissue) that promote fibrosis in, for example, the heart and lungs.
The field is bursting with rodent research, and clinical trials have started for treating some advanced-stage malignancies.
Actual clinical use may be years away, but if all goes well, these medicines could help treat or even cure the core medical problems facing humanity. We’re talking cancer, heart disease, neurodegenerative disease – transforming one therapy into another by simply changing the mRNA’s “nucleotide sequence,” the blueprint containing instructions telling it what to do, and what disease to attack.
As this technology matures, we may start to feel as if we’re really on Star Trek, where Dr. Leonard “Bones” McCoy pulls out the same device to treat just about every disease or injury.