Movies & TV Hard Science Fiction 10 Hard Sci-Fi Movies Not Set in Space When you prefer your sci-fi to be a little more grounded By Matthew Byrd | Published on July 6, 2026 Credit: Columbia Pictures Comment 0 Share New Share Credit: Columbia Pictures Hard sci-fi movies are surprisingly rare beasts. As is the case with hard sci-fi video games, it’s a subgenre that has really exploded in popularity in recent years thanks largely to the release of a few tentpole projects. In the case of movies, The Martian and Interstellar most certainly helped kick off a new era of studios slowly realizing there is a sizeable (if sometimes simply vocal) audience for genre movies that feel a bit more scientific and a little less fantastical. Interestingly, what few hard sci-fi movies we have largely take place in outer space. That’s understandable given that we are still talking about sci-fi movies, but the fact of the matter is that some of the most important and fascinating hard sci-fi films never leave our planet. These are movies that, at the very least, remind us that we have so much to learn about ourselves and our world before we ever start looking toward the stars. And though the classification of some of these movies as hard sci-fi may ruffle a few feathers (don’t such discussions always do so?), these films all show the fantastical possibilities of theories, processes, practices, experiments, and the logical pursuit of the meaning behind advancements and wonders. Above all, these movies are, rather appropriately, quite grounded. Colossus: The Forbin Project (1970) A fundamental problem with hard sci-fi films from an older era is that many of their ideas will have inevitably been disproven in the years that followed. What you’re really looking for when praising such a movie is the validity of its intentions. So far as that goes, Colossus: The Forbin Project stands apart. In the not-too-distant future, the United States has decided to give a computer program known as Colossus control of its entire defense system. Yes, things go wrong, but the brilliance of this movie lies in the way it examines the slow-burn of that process. The irony here is that Colossus’ attempts at authoritarian control in the name of global peace actually force the United States and Russia to engage in talks about deactivating their nuclear weapons. The often surprising events that follow really examine how such programs represent our darkest needs for control despite what we may say they are intended for. It’s all wrapped in surprisingly plausible observations about how such programs (and humanity) may act in this increasingly relevant scenario. The Andromeda Strain (1971) Considered to be one of the premier examples of relative scientific accuracy in a movie, Michael Crichton’s The Andromeda Strain has lost little of its potency in the 55 years since its release. It’s an appropriate legacy for a movie that boasts this banger of a tagline: The picture runs 130 minutes… The story covers 96 of the most critical hours in man’s history… The suspense will last through your lifetime! The Andromeda Strain begins in the aftermath of a catastrophic event that resulted in the death of all but two residents of a small New Mexico town. A group of scientists soon discover that the event was caused by the return of a satellite that has apparently brought back an unknown deadly substance. For a movie that mostly consists of older gentlemen examining ‘70s technology and discussing hypothetical possibilities, The Andromeda Strain is a true thriller. There is so much joy to be found in watching these incredibly capable scientists realistically breaking down a situation that is both fantastical (quite literally alien) and perhaps a little too close for comfort in modern times. Altered States (1980) Altered States is undoubtedly the trippiest and most surreal movie one will ever try to describe as “hard sci-fi.” If you asked me to try to justify the validity of the movie’s many scientific ideas, you’d soon be speaking to a melting mass desperately trying to escape an awkward situation. Instead, the argument for this film’s inclusion is partially based on its appreciation of the wonderful, almost magical possibilities of science itself. Loosely inspired by the experiments of John C. Lilly and contentiously based on a novel by Paddy Chayefsky, Altered States follows a researcher who uses a combination of sensory deprivation and hallucinogens to explore the furthest reaches of the human mind. What follows is pretty much what you’d expect from a Ken Russell movie. In lesser hands, such a story could have been a “hell yeah, brother!” moment for microdosing bros everywhere. Fortunately, Altered States is more interested in the humanity behind our sometimes unfathomable urge to “transcend.” Gattaca (1997) One of the great hard sci-fi films regardless of setting, the acclaim for Gattaca has grown louder in recent years due to both the relevancy of its core scientific subject matter (eugenics) and the subtle, yet undeniable craft of its filmmaking and storytelling. Gattaca follows a young man named Vincent Freeman who, at a young age, was determined to be a genetically inferior human with a short lifespan. Disheartened by this news, Vincent’s parents decide to have a genetically altered second child whom Vincent develops a brotherly rivalry with as he attempts to subvert his supposed genetic fate and join a space program. Gattaca’s greatest claim to fame may be the world it builds around the idea of eugenics becoming common. It’s not that the ethics of an unethical idea are not discussed, but rather that they are discussed within the context of a setting in which Pandora’s Box has already been opened. It is a warning about a pressing issue that doesn’t talk down to viewers so much as it invites you to listen to a challenging but pressing conversation. Primer (2004) Watching Primer is an exercise in overcoming two notable frustrations. The first is the nature of the film’s plot, which attempts to convey a “realistic” form of time travel that results in a story that is often maddeningly difficult to follow without the help of several charts and often unbearable explainers. The second is the nature of the movie’s fanbase, which certainly hosts a number of film, tech, and science bros whose overly vocal fondness for the film generated a polarizing effect. It’s classic Breaking Bad syndrome stuff. Now that we’re somewhat removed from the peak of Primer fandom, though, it’s easier than ever to appreciate that the film is very much what its two main characters are conducting: a messy experiment. The beauty of Primer’s premise is that it’s not really a movie about time travel. It’s a movie about two tech bros (admittedly tech bros who are intelligent in a very specific way) whose genuine desire to create something beneficial leads them down a rabbit hole forged by their own hubris. It’s the story of the fate that befalls many modern tech “visionaries” and a fairly noble attempt to narratively incorporate some heavy scientific ideas. The Man From Earth (2007) It’s difficult to talk about The Man From Earth as a work of potential science fiction (or even hard sci-fi) without getting too deep into spoilers. Even then, your classification of the material may be based largely on your interpretation of it. Regardless, The Man From Earth is a testament to the beauty of the scientific method and simply “figuring things out.” The film introduces us to a respected professor named John Oldman who is throwing a party for his friends and colleagues before he moves away. At that party, Oldman tells his friends he’s not quite the man they think he is. In fact, he claims to be a kind of eternal being who has been alive for thousands of years. What follows is a prolonged conversation between experts in various fields who all attempt to disprove that seemingly impossible claim. If the thought of such a conversation excites you (and you don’t mind movies shot on what is essentially a negative budget), then you will absolutely love this modern masterpiece about the intersection between hard science and something close to faith. Robot & Frank (2012) Frank Weld is a retired ex-thief who is suffering from dementia. His son can’t quite bring himself to put his father in a home, so he buys Frank an advanced robot that is capable of offering both care and companionship. Bolstered by the robot’s presence, Frank begins to slip into old habits to win the affection of a local librarian in ways that cause his kids to argue over the ethics of their father’s new care system. Robot & Frank is a heartbreaking (seriously, prepare yourself for this one) examination of our cultural treatment of the elderly and how technology can factor into such arrangements for good and ill. It’s the “good” element of the equation that makes this a particularly challenging watch from an ethical scientific standpoint. There is a wholesome genuineness to the relationship between the robot and Frank that is undercut by the horrors of the idea of leaving our loved ones in the hands of technology in the final years of their lives. It is a powerful and realistic examination of the ethics of such advancements and our struggles to live (and die) with it all. Her (2013) It’s not that anyone thought that Her was an unrealistic depiction of fundamentally broken men who turn to chatbot companions in order to falsely fulfill a desire for relationships in their lives. It’s just that you kind of have to wonder why certain prominent people saw this as a weirdly aspirational premise rather than a nightmare dystopian vision of how much humanity we are willing to sacrifice in the name of weaponizing and monetizing loneliness. It does in fact feel a little strange to talk about Her as a work of science fiction given that we’re living in a world where a man like Joaquin Phoenix’s Theodore Twombly has access to these same tools—where real people may not only fall deeply in love with a program but be empowered by the madness of it all. The film’s real-world impact on technology is terrifying, but it is also a testament to the ways this movie conveys a darkly, darkly sweet portrayal of what we will let in our hearts when they have been ripped open wide enough. Coherence (2014) Eight friends attend a dinner party the night that a comet is expected to pass over the Earth. When the nearby comet seemingly knocks out the power in the area, the friends decide to go to the one house in the neighborhood that seemingly hasn’t lost electricity to use their phone. Upon inspection, they discover that the house seems to be kind of twisted mirror version of their own home. It’s a fantastical idea to say the least. The brilliance of Coherence as a piece of hard sci-fi, though, can be attributed to the nature of its characters. They are not scientists. In fact, one of them is desperately trying to reach his physicist brother in order to help figure out what is happening to them. Yet, they try their best to logically solve this incredible situation through a series of tests that are at least based on their understanding of sound scientific principles. If you are like me and are especially fond of a weirdly specific subgenre I will refer to as “logical solutions to supernatural problems,” this is certainly one of the best movies you can immediately add to your watchlist. Ex Machina (2015) An obvious inclusion, perhaps, though some things earn that distinction for a reason. In terms of this weirdly specific subgenre within a subgenre, Ex Machina is both the culmination of several trends we’ve previously discussed and a rather pressing look into the then-future, now-present of the mentalities and personalities we’ve allowed to dictate our technological reality. Nathan Bateman has developed the first humanoid robot with artificial intelligence that is capable of passing a version of the Turing Test. He has also, to put it bluntly, designed an elaborate sex slave. Oscar Isaac gives an arguable career performance (a hell of a statement in its own right) as a tech CEO who almost feels comically on the nose when viewed through the lens of the modern world. His curated overly hyper-masculine aura lends an unearned air of superiority to what is essentially a modern-day Dr. Frankenstein. Actually, this is the far better example of Isaac portraying Dr. Frankenstein. Like movies before it, Ex Machina deals with artificial intelligence, eugenics, and robotics. However, it also asks “Who decided to let these narcissistic dudes dictate the future of humanity?” [end-mark] The post 10 Hard Sci-Fi Movies Not Set in Space appeared first on Reactor.

News Siren Head Siren Head: Zach Cregger & Brian Duffield Working on Horror Movie Based on Internet Phenomenon NINE. EIGHTEEN. ONE. CHILD. SEVENTEEN. REMOVE. VILE. By Vanessa Armstrong | Published on July 1, 2026 Image: Warner Bros. Studios Comment 0 Share New Share Image: Warner Bros. Studios After the success of Backrooms, it’s no surprise that horror-related internet sensations are getting picked up and turned into movies. I must confess, however, that I didn’t guess that Siren Head would be next, or that horror heavyweight Zach Cregger (Weapons, Barbarian) would be attached to the project along with Whalefall writer/director Brian Duffield. The Hollywood Reporter, however, broke the news that Warner Bros. just picked up the rights to that project in a bidding war before everyone left town for the Fourth of July weekend. At present, it’s believed that Cregger and Duffield will co-write the script for a Siren Head movie, which Duffield will also reportedly direct. Siren Head originated in 2018, when creature designer Trevor Henderson posted an image on Instagram of a giant-sized being with long, spindly arms and legs. Where the head should have been are two giant bullhorn sirens. Henderson included the following in the caption: She was on vacation with her husband and they were scoping out graveyards on the way, as you do, when she saw it. Rising out of the old cemetery, big as an old (macabre) telephone pole. Was this some kind of bizarre art piece the authorities hadn’t gotten wise to yet? Even as she stepped out of the car, the megaphones on its “head” screeched to life. “NINE. EIGHTEEN. ONE. CHILD. SEVENTEEN. REMOVE. VILE.”. A buzzing, doubled voice screamed random words at her. At this point, it jerked into motion, striding down the hill towards her. The image became an internet sensation, with folks creating fan art, videos, video games, and more. It ran (please forgive me), so six-seven could ramble. An elaborate mythology also developed around Siren Head, which reportedly will be the source from which Cregger and Duffield will draw to craft their story. This project is still in its early days, so no news on casting, including on who will play Siren Head.[end-mark] The post <i>Siren Head</i>: Zach Cregger & Brian Duffield Working on Horror Movie Based on Internet Phenomenon appeared first on Reactor.

Movies & TV Watchlist The Best Sci-Fi, Fantasy, and Horror Movies and Shows Streaming This July The best additions to ever-growing streaming libraries for July 2026 By Matthew Byrd | Published on July 1, 2026 Comment 0 Share New Share July is that special time of year when romantic notions of summer excursions meet the brutal reality of the thermometer. It’s hot out there, y’all. The good news is that those of us who wage war against the sun like a cartoon supervillain can stay inside and enjoy a surprisingly strong slate of genre releases coming to streaming this month. If you’re looking for the best genre new releases this month, we’ve got you covered elsewhere. But if you need a little help sorting through the hundreds of movies and shows added to every streaming service each month, you’ve come to the right place. From the good kind of summer ticks to games of death and Arthurian legends, here are the best sci-fi, fantasy, and horror movies and shows streaming this month. The Tick (2016) (Netflix — July 15) The addition of The Tick to Netflix is kind of a big deal to some longtime fans. The cult classic Prime Video series has long been considered one of the great unsung comedies of the (relatively) modern streaming era. Before The Boys did its thing, The Tick dissected the superhero genre with a fundamentally silly wit that may be familiar to those who grew up on the other Tick shows (or have seen any of the Deadpool movies) but which is otherwise a breath of fresh air to those who remember that superheroes are supposed to be fun above all. There is genuine hope this show’s Netflix debut may stir up enough interest for a revival. Sliders (Tubi — July 1) Sliders is, at the very least, the perfect sci-fi show for those who prefer their genre entertainment to be as ‘90s as humanly possible. The series follows a group of people who are able to move (“slide”) between parallel versions of Earth. Though they are primarily using that technology to try to find their way back to their version of Earth, they naturally must do what they can to help the inhabitants of other universes along the way. The (largely) episodic nature of the series allowed its writers to have a ton of fun exploring the various possible versions of our planet that could have come to pass if only something had gone slightly differently. And while Sliders’ first two seasons are undoubtedly its best, the show remains an often underappreciated attempt to explore the depths of an incredible concept. The Long Walk (HBO Max — July 10) Horror fans really have been eating well in recent years. The only downside to this golden age for the genre is that some truly great works sometimes fall through the cracks. And while The Long Walk was a modest box office success, this movie will almost certainly find the larger audiences it deserves on streaming. Set in a dystopian future (which, I’m told, is different from a dystopian present), The Long Walk follows a group of teenage boys who must participate in a brutal annual event. Basically, they have to keep walking until only one of them remains. Though based on the novel by Stephen King (technically Richard Bachman), The Long Walk makes several changes to its source material that ultimately result in one of the rare “game of death” stories that are worth the trauma. Every Hunger Games Movie (Netflix — July 14) Speaking of games of death, we’ve got a new Hunger Games movie coming out later this year: the prequel film The Hunger Games: Sunrise on the Reaping. And while there is plenty of time to re-watch the original Hunger Games movie before that prequel release in November, the addition of those movies to Netflix this month is a good enough reason to volunteer as tribute. Along with the first four Hunger Games movies, Netflix users will also have the chance to give The Hunger Games: The Ballad of Songbirds & Snakes a second (or quite possibly first) look. Though met with a mixed (largely negative) reception at the time of its 2023 release, The Ballad of Songbirds and Snakes has held up surprisingly well and may just be the most complete “movie” of the series. Interestingly, Ballad of Songbirds and Snakes was also directed by The Long Walk director Francis Lawrence. One supposes there are worse things than being Hollywood’s go-to name for games of death movies. The Wild Robot (Prime Video — July 26) One of the greatest animated films of the last several years, The Wild Robot may have been produced by DreamWorks, but it really is the closest thing we’ve gotten to a golden age Pixar movie in quite some time. The film follows a robot named Roz who must survive a harsh island with help from its various animal inhabitants. You can probably tell from that description that this movie is going to tug at your heartstrings, and you wouldn’t be wrong. It’s a lovely, lovely movie, especially if we’re talking about its wonderful visuals that you will almost certainly have to admire through tears. Every Evil Dead Movie (HBO Max — July 1) In celebration of the release of Evil Dead Burn on July 10, HBO Max is adding every Evil Dead movie released so far to its library. That’s pretty excellent news given that there has never been a bad Evil Dead movie and there are no signs that Evil Dead Burn will break that streak. However, I’d like to spotlight the unlikely black sheep of the Evil Dead franchise: the original film. Evil Dead II is rightfully considered to be one of the greatest horror movies of all-time, but since that sequel is a soft reimagining of the original film that changed the series’ tone and lore forever, the debut movie sometimes gets lost in the shuffle. That’s a shame, because 1981’s The Evil Dead remains one of the most powerful and visceral horror experiences ever crafted by devious hands. It’s also one of the movies that helped solidify an indie horror boom period in the early 1980s, which is especially important to consider as we appear to be on the cusp of another, similar period at the moment. Paprika (Tubi — July 1) It’s not entirely fair to call director Satoshi Kon’s works (which include Perfect Blue, Tokyo Godfathers, and Millennium Actress) love-or-hate affairs. They’re all widely acclaimed for their wonderful animation and complex themes. It’s just that you do need to steel yourself to really enjoy their often bleak, heavy, and complex subject matter. Well, the addition of Paprika to the always-wonderful Tubi library offers the perfect chance to bite the bullet and dive into the wonderful, weird world of Satoshi Kon if you haven’t already done so. For those who don’t know, Paprika revolves around a stolen machine that allows therapists to enter their patients’ dreams. Yes, this has been widely cited as one of the likely inspirations for Christopher Nolan’s Inception, but comparisons aside, Paprika remains an emotionally and intellectually challenging tribute to the wonderful power of animation. The Green Knight (Tubi — July 1) Now, The Green Knight most certainly tends to be a love-or-hate affair. This David Lowery film was practically defined by its divisive reaction when it was released in 2021. And while the reception to The Green Knight has certainly veered towards the more positive side of the divide in the years since its release, there is never a bad time to either challenge your initial read or simply see what all the fuss was about. This adaptation of the 14th-century poem “Sir Gawain and the Green Knight” achieves the remarkable feat of dissecting and re-imagining those classic legends while also offering one of the most effective portrayals of such a legend that we’ve ever seen on the screen. At the heart of this incredible revisionist fantasy is Dev Patel giving the kind of performance that will once again force you to ask why he is not one of the most in-demand, indisputable leading men in film today. Talk to Me (Netflix — July 1) As Backrooms and Obsession send studios scrambling for the next YouTuber turned filmmaker sensations, it’s important that we both pay homage to and keep an eye on the works of Danny and Michael Philippou. The twin brothers helped kick off this exciting era of new creators with the release of their surprise 2022 horror hit, Talk to Me. Talk to Me’s premise revolves around a severed hand that can supposedly summon spirits. The hand soon becomes the centerpiece of a party for a group of kids who treat it like an especially effective Ouija board, and… well, I’d better not say more here if you haven’t already had the pleasure of discovering this one for yourself. For now, it’s enough to say that anyone who found themselves gripped by the absurd, violent creativity of Obsession’s premise absolutely owes it to themselves to check out Talk to Me.[end-mark] The post The Best Sci-Fi, Fantasy, and Horror Movies and Shows Streaming This July appeared first on Reactor.

News Tempest Victoria Aveyard’s Tempest Picked Up for TV Adaptation Before Publication The novel is an adult pirate fantasy and Aveyard’s first foray outside of young adult books By Vanessa Armstrong | Published on July 1, 2026 Victoria Aveyard headshot: Lucas Passmore Comment 0 Share New Share Victoria Aveyard headshot: Lucas Passmore Victoria Aveyard, author of the popular Red Queen and Realm Breaker young adult series, has her adult fantasy debut, Tempest, coming out this September. And even though the book has yet to hit the shelves, Deadline reports that Chernin Entertainment has picked up the rights to adapt it for television. Tempest, which is the first installment in The Lyrian Sea duology, is a pirate fantasy. Here’s the book’s blurb, per Goodreads: Cat Rose knows what it is to live in two worlds, in two times. Before—as Lady Catrine Rose of the Meridian Empire, chained to a loathsome lord with a dwindling fortune. And after—as the Widow Rose, queen of a pirate tavern in the Lyrian Sea, determined to be the master of her own fate. But tides turn and winds change. The Meridian Empire looms on the horizon, the full weight of her navy falling on the Lyrian, bent on reclaiming the wealthy colonies and crushing the pirate republic once and for all. Ship after ship is captured, save for one, captained by a pirate who continually evades both noose and blade: the legendary Valerian Kane. With his fearsome ship and uncanny connection to the song of the sea, Valerian is the only man who might rally the pirates who remain. The only man who threatens the Empire. And the only man Cat has ever loved, blazing in and out of her life like a star. Desperate for victory, the Empire offers Cat a devastating choice: bring them Valerian or hang. In truth, no choice at all. But Cat Rose is nothing if not a survivor. This isn’t the only adaptation Aveyard has in the works. Back in 2021, Peacock picked up the rights to the Red Queen books, with Elizabeth Banks on board to direct and act in the series. That project, Deadline reports, is still in development and hasn’t fallen completely to the wayside. The Tempest adaptation is obviously in its early days; there’s no news yet on who will direct, showrun, or star in the television show, or if/when it makes its way to production. [end-mark] The post Victoria Aveyard’s <i>Tempest</i> Picked Up for TV Adaptation Before Publication appeared first on Reactor.

Books Reading the Weird Keep Your Hands Inside the Car: Matthew MacDonald’s “How to Deal with Fallen Gods” The first god’s arrival was an event, now they’re just another fact of life… By Ruthanna Emrys | Published on July 1, 2026 Comment 0 Share New Share Welcome back to Reading the Weird, in which we get girl cooties all over weird fiction, cosmic horror, and Lovecraftiana—from its historical roots through its most recent branches. This week, we cover Matthew MacDonald’s “How to Deal with Fallen Gods,” first published in the May 2026 issue of Cosmic Horror Monthly. Spoilers ahead! Understand the fallen gods may feel confused or scared, in a world so different from their far-off home. DO NOT intervene in their activities. They won’t respond, and you may be harmed. * * * The unnamed narrator’s (UN’s) first god sighting: Leaving Pilates class, they saw a fallen titan. A small crowd had gathered. They and UN lingered until night fell to hush their excited voices. Still, the titan did not stir. Confronted with the same sight now, UN would simply scramble over its body and go about their business. * * * Everyone’s first question was Why are they here? UN’s friend Tiff thinks that the gods are all about humanity. But they don’t speak to us, UN counters, or even seem to notice us. Nor does UN buy the Facebook claim that some woman saw a god playing with her six-year-old. UN scoffs at Tiff’s conviction that the gods have an epic purpose or that they want to show us something, “a magical artifact from another dimension” or simply a message. What UN thinks, with more anxiety than they intend to betray, is that the gods aren’t moving toward us but away from wherever they started. Here’s just where they ended up. Not innocent, nor likely ever to be at peace again. * * * The first ever sighting of a fallen god was on a lake, by a fisherman. A bronze-skinned “thunderous mass” with flowing blond locks lumbered clumsily out of the water. He was later identified as Forseti, the Norse god of justice, peace, and truth, but like all the earliest visitors, he wandered aimlessly, alone. Later, people would spot gods in groups; given that their interactions with each other and the world were minimal, those clumpings may have been coincidental. Soon a subreddit would be dedicated to deity identification. UN likened their neighbors’ enthusiasm to a “slightly unusual game of Pokémon Go.” UN themselves couldn’t shake a foreboding sense of movement deep in the earth, “in a place that never shifted.” * * * How to speak to a god: Use a calm voice, a comforting tone. Experts think the god will understand, but probably won’t respond. DO NOT offer worship or sacrifice. * * * The gods damage roads and buildings, disrupt traffic, crush the unwary. When a god falls and is dragged off to a warehouse, its “psychic weight” lingers. * * * UN and Tiff argue about the gods before Pilates class. She claims that she locked eyes with Freyja and saw a blank emptiness, as if the god couldn’t remember why she was there. UN tells Tiff she’s crazy. She shrugs off the comment. A minute later, she asks, “Do you think they’re becoming more human?” * * * UN tries to live a normal life now that the “initial frenzy” has passed. They take detours around god sightings, but get to work and Pilates on time. And they resolutely push aside the feeling that “substances that should never meet and mix are slowly seeping together.” They’ve had an encounter they haven’t shared, even with Tiff. While walking along the river, they were the first to sight a white-bearded god curled around his weathered shield. UN wanted to run but was frozen in place. The god’s unearthly black eyes burned with accusation. A question rang deafeningly in UN’s mind, would continue ringing after they’d fled: “For what purpose did you make me?” * * * Thousands flock to the “Greater Midlands” since the arrival of the gods. One should take pictures from a safe distance, for gods prefer to avoid humans. But encounters do occur, which can be disturbing to both the mortal and deity. Here are newly revised guidelines: DO NOT use “bear spray, noise canisters, or other irritants.” DO NOT climb trees. DO NOT make eye contact. Above all, don’t worry, have fun. Follow these tips, and you can safely enjoy your stay! What’s Cyclopean: “…the great limbs of a titan, body the size of a fallen redwood” sure sounds cyclopean to us! The multisyllabic vocabulary remains implicit, though: “Our eyes met, and it was like all the florid and archaic adjectives from an H. P. Lovecraft novel washed through me in an instant.” Weirdbuilding: They are not here to share a cosmic message. They are not here to play with our toddlers. They don’t want our worship or sacrifices. “Their needs are not human needs.” Madness Takes Its Toll: Tiffany has a “crazy” experience meeting a god’s eyes. UN scoffs, but hides some craziness of their own. Ruthanna’s Commentary If I had to nail down one systematic difference between early 20th century cosmic horror, and early 21st, it would be how you’re expected to react. In the wake of World War I, we expected that worldshaking events would shake the world. The lives of anyone who knew would have to change. That’s what worldshaking means, right? People leave their jobs for the front lines, or take on new work to support the war effort. The horror comes from that disruption—or from being one of the few who know, and trying to protect the tissue of normality that allows the ignorant to remain so. In the 21st century, that tissue is a group effort. We all know, but we aren’t permitted to be shaken. There’s the economy to think of, after all. It started after 9/11, with Bush telling us to get out and shop. Twenty-five years later, people are shocked by the idea that a life-threatening pandemic would change their lifestyles for more than a month or so. You certainly can’t cancel Pilates class for an interdimensional incursion. To be fair, the gods coming out of the Greater Midlands lake are safer than an airborne virus. They’re largely ignoring humans, causing some incidental danger via property damage. Oh, and completely undermining everyone’s understanding of how the universe works and humanity’s place in it. But you certainly can’t expect to stay home for that. Besides, it’s a helluva tourist draw. Putting aside my thematic cynicism, what sells this kind of thing is the little mundane details, and I love how those are handled here. Reactions move from awe to gossip to Pokémon Go. I would 100% be torn between awe and nerdy entity ID. You could add them to Merlin alongside your favorite birds! My household would be very excited by the early appearance of an obscure Frisian/Norse deity: Forseti is not one of the stars of Ragnarok, but his name—“the presiding one”—is the title for the modern Icelandic president. Which is probably also what “president” means, I just realized, shut up. (Household would also be eagerly looking out for Nehalennia, hometown fave who has an old Roman temple near us.) The newcomers stagger around unprotected by divine auras, collapse, get carted off by Waste Removal. Don’t call 911, it’s not an emergency. And don’t, for pity’s sake, climb a tree. Bears can climb trees after you; gods can knock them down. Stay in your car. Pretend it’s a safari. Giraffes and rhinos, Horus and Tlaloc, same difference. Don’t forget to buy a t-shirt! And yet, the existential questions aren’t entirely avoidable. Meet a visitor’s eyes and your experience will be, as Tiffany suggests, crazy. Craziness, in this case, describes the old madness of the god-touched, visions and revelations terribly inconvenient to one’s schedule. For what purpose did you make me? Maybe that’s the classic fantasy trope of gods created by human belief, the lack of which now drives them from Olympian heights. Or maybe they’ve been made by a more recent desperation, for something to break through that tissue-veil of normality in a way we’re allowed to recognize. In which case they never existed at all before emerging. That might be preferable to some of the alternatives. Because if they’re not simply losing power in the face of modern disbelief, and if they’ve been around all this time—what’s driving them into exile? A stampede is dangerous in its own right, but sometimes the danger following behind is worse. Our narrator imagines a drifting oil tanker, out in the fog, coming nearer with its load of toxic spillage. Not a predator, not something that cares about us any more than the gods do, but some disaster beyond imagination or control. And when that disaster arrives, how will we ever get to Pilates? Anne’s Non-Commentary: Anne has been dragged away to a mysterious island and will return after July 4th. Unless, of course, the lake in which the island sits becomes infested by wayward deities. Next week, we wrap up Good Stab’s gospel in Chapters 21-22 of The Buffalo Hunter Hunter.[end-mark] The post Keep Your Hands Inside the Car: Matthew MacDonald’s “How to Deal with Fallen Gods” appeared first on Reactor.