On Project Hail Mary and “Apolitical” Sci-Fi
A few weeks back, Andy Weir, author of Project Hail Mary and The Martian, appeared on a reactionary podcast to promote his new film and said the following:
I never put any politics or messaging in any of my stories at all. There's no deeper meaning; there isn't even any symbolism, even non-political.
With due respect to Mr. Weir, I have no fucking idea what he’s talking about.
It’s not a novel observation that all science fiction is political. You can’t speculate on the potential future of our species and the possibilities of our technology without saying something about the socio-political decisions that would lead us there.
Even if Weir would like to believe he’s somehow managed to achieve the impossible and avoid politics in his writing, he’s demonstrably wrong. The climax of The Martian involves NASA and the Chinese overcoming mutual suspicion to mount a rescue of a stranded astronaut. Project Hail Mary, published in the immediate aftermath of COVID-19, tells the story of an international effort to research an interstellar virus that’s infected our sun and threatens our species’ very existence. I’m sorry, Andy, but it seems you’ve accidentally included some political themes in your writing!
I spent some time trying to parse out Weir’s belief in apolitical storytelling, until I came across another statement he made on the same press tour. On the subject of Star Trek he said, “it's always bothered me that there is a presumed 'responsibility' within 'Star Trek' shows to talk about social issues. I just want to watch Romulans and the Federation shoot at each other.”
For the readers who haven’t watched Star Trek, I cannot stress enough that literally half of all Star Trek episodes going all the way back to 1966 are morality plays about concepts and themes we’re now told are “woke.” It’s all DEI and it always has been.
I’m left to conclude that Andy Weir has simply stumbled on the ability to construct serviceable technical thrillers while not actually understanding sci-fi or even storytelling as a medium. It’s honestly impressive.
Weir’s statements have been rattling around in my head particularly loudly for the last few days as I’ve watched the Artemis II mission carrying people around the moon for the first time in over half a century. You find the updates sandwiched between breaking news stories about a war we’re prosecuting to dubious ends and increasing social and economic turmoil domestically. Broadcasts from the capsule feel like watching transmissions from an alternate dimension. I don’t know how you can watch that multinational, multiracial crew describe the power of peaceful scientific cooperation and the tranquility of Earth viewed from a spacecraft window and think there are no politics going on here.
Anyway, I think I was supposed to give you a review of the newly released film adaptation of Project Hail Mary. Here you go:
Project Hail Mary is a fun and engaging sci-fi blockbuster about a lone astronaut on a long shot mission to save humanity with the help of science and an unlikely interspecies partnership. It’s elevated by trading some of the original work’s technical detail in favor of focusing on an interspecies friendship between Ryan Gosling and a delightful little alien rock monster.
You heard me right. While Gosling may get star billing, it’s Rocky—a diminutive spider-like alien made of rock and rendered via old-school puppetry—who steals the show. It’s a huge creative risk to hinge your film on a weird little guy, and it’s honestly impressive to watch directors Lord and Miller pull it off. Rocky is a character unlike anything we’ve seen since E.T. and I would die for him.
Aside from Rocky, who may be the only good thing left in this sick world, we have Gosling delivering a mostly comedic performance reminiscent of the physical slapstick he perfected in Barbie. The film’s box office success is being hailed as proof that he’s a bankable Hollywood star. Any excuse for more opportunities for Gosling to do his thing is okay by me.
The only other speaking role of note is Sandra Hüller (Anatomy of a Fall, Zone of Interest) who we meet in flashbacks as the head of the international effort to save humanity. Hüller’s performance somehow captures what it would be like for one person to be saddled with the mission to save the entire planet from almost certain annihilation. She’s mission-driven to the point of ruthlessness, save for brief moments that hint at the burden she carries just under the surface—best showcased in a soulful karaoke performance that may move you to tears.
The film is largely a balancing act between Gosling and Rocky’s zany antics, moments of sober contemplation about the fragility of human existence, and pretty standard sci-fi action. Outside of the performances (which are great!) and the practical SFX (have I mentioned my new best friend Rocky, who we should elect president?) Project Hail Mary feels by-the-numbers. Problems arise, some briefly-explained science happens, rinse and repeat. It’s a fun watch, especially if you’re looking for some escapism right now.
Tyler Haas