Posts Tagged movies
What ‘Project Hail Mary’ Gets Right about Science
Posted by Bill Storage in History of Science on February 11, 2026
Most reviews of Project Hail Mary focus on the science, the plot, or the plausibility of first contact. This one asks a different question: what does the story assume science is?
Andy Weir’s novel, and the upcoming film adaptation, treats science not as individual brilliance but as a coordination technology, a way fallible minds synchronize their guesses about the world. That framing quietly explains why an alien civilization could master interstellar travel while missing radiation, and why human weakness turns out to be an epistemic strength.
This review looks at Project Hail Mary as a rare piece of science fiction where epistemology is central. Things like:
- Science as method rather than facts
- Individual intelligence vs collective knowledge
- Why discovery depends on social structure, not genius
- Rocky’s cognition and epistemic blind spots
- Why humans “stumble” into deep structure
Most people think science is something smart individuals discover. Project Hail Mary argues the opposite: science works because none of us is very smart alone. This idea is the structure that holds the whole story together.
Science is not a property of brains. It’s a coordination technology we built to synchronize our predictions about nature. Very few novels even notice this distinction. Project Hail Mary, a 2021 novel by Andy Weir and a 2026 film starring Ryan Gosling, puts it at the center of the story. The question here isn’t whether Weir gets the science right, but what the story assumes science is.
I’m going to give you a philosopher-of-science take on why Hail Mary works when so much science fiction doesn’t.
Most science fiction forgets about epistemology, the theory of knowledge. How do we know? What counts as evidence? What methods justify belief? Epistemology sounds abstract, but it’s basic enough that it could be taught to sixth graders, and once was. Project Hail Mary never uses the word, and its characters never discuss it explicitly. Instead, epistemology is the plot – which is oddly refreshing.
Every observation and every conclusion in the book flows from astronaut Ryland Grace’s constrained first-person perspective. Weir keeps epistemology inside the story rather than lecturing about it. Walter Miller gestured at something similar in his 1959 A Canticle for Leibowitz, where the complementary mental habits of Michael Faraday and James Clerk Maxwell are mirrored without ever being named. Insiders catch it, outsiders don’t need to. Weir pushes that technique much further. Epistemology becomes the engine that moves the story forward. I hope the movie retains this aspect of the book. Weir’s early praise of the movie is a good sign.
From a literary standpoint, science fiction has mostly lagged behind other genres in abandoning omniscient reporting of mental states. Weir avoids this almost to a fault. Grace knows only what he can operationalize. Awakening from a coma, even his own memories arrive like experimental results rather than introspection. This feels less like literary minimalism than engineering discipline. Knowledge is revealed through constrained interaction with apparatus, not through authorial mind-reading. Bradbury told us what characters thought because he was taught that was realism. Weir understands that realism in science is procedural.
Reactions to Hail Mary are mixed but mostly positive. Many readers praise its ingenuity while criticizing its thin prose, quippy dialogue, and engineered optimism. Weir has admitted that scientific accuracy takes priority over literary polish. Grace can feel like a bundle of dad jokes attached to a physics degree. But that tone does more work than it seems. We are, after all, inside the head of a physics nerd solving problems under extreme constraint.
The novel openly teaches science: pendulums, gravitation, momentum. Less openly, it teaches philosophy of science. That second lesson is never announced. It’s embedded.
Grace encounters an extraterrestrial engineer named Rocky. Rocky evolved in an ammonia atmosphere far denser and hotter than Earth’s. His blood is mercury. He has no eyes, five legs, speaks in chords, is the size of a dog but weighs 400 pounds, and can only interact with Grace across physical barriers. The differences pile up gradually.
Rocky is astonishingly capable. His memory is perfect. His computation is nearly instantaneous. And yet his civilization never discovered radiation. It’s a blind spot with lethal consequences. They developed interstellar travel without any theory of relativity. Rocky is not inferior to humans. He is orthogonal. Weir refuses to treat language, vision, or the ability to abstract as universal yardsticks. Rocky’s cognition is constrained by temperature, pressure, materials science, acoustics, and survival heuristics that are alien in the literal sense.
Interstellar travel without knowledge of relativity sounds implausible until you think like a historian of science. Discovery is path-dependent. Humans built steam engines before thermodynamics, radios before quantum mechanics, and turbochargers without a general solution to the Navier–Stokes equations. In fact, general relativity was understood faster, with fewer people and fewer unknowns, than modern turbomachinery. Intelligence does not guarantee theoretical completeness.
We often talk as if engineering is applied science, as though scientists discover laws and engineers merely execute them. Historically, it’s mostly the reverse. Engineering drove hydrostatics, thermodynamics, and much of electromagnetism. Science condensed out of practice. Rocky shows us a civilization that pushed engineering heuristics to extraordinary limits without building the meta-theory we associate with modern physics.
Weir shows us that ignorance has consequences. Rocky’s civilization has blind spots, not just gaps. They solve problems locally, not universally. That matches real scientific history, which is full of “how did they not notice that?” moments. Epistemic humility matters.
The deeper point is easy to miss. Rocky’s raw intelligence is overwhelming, yet Weir shows how insufficient that is. Computational power is not the same thing as epistemic traction.
Humans compensate for limited individual cognition by externalizing thought. Books, instruments, equations, replication, argument, peer irritation. Science is not what smart people know. It’s what happens when disagreement is preserved instead of suppressed.
Consider the neutron lifetime puzzle. Isolated neutrons decay in about fifteen minutes. Bottle experiments and beam experiments both work, both are careful, and their measurements disagree by nearly ten seconds. That discrepancy feeds directly into Big Bang nucleosynthesis and cosmology. No one is happy about it. That discomfort is the system working. Science as a council of experts would smooth it over. Science as a messy coordination technology will not.
Rocky’s science advances by heroic individual problem-solving. Human science advances by distributed skepticism. His civilization seems optimized for survival and local success, not for epistemic reach. Humans stumble into deep structure because we are bad enough at thinking alone that we are forced to think together.
Relativity illustrates this point. Einstein is often treated as a counterexample, the lone genius who leapt beyond intuition. But strip away the myth and the leap shrinks. Maxwell’s equations had already broken classical time and space. Michelson–Morley refused to go away. Lorentz supplied transformations that worked but felt evasive. Einstein inherited the problem fully formed. His leap was short because the runway was long. What made it remarkable was not distance but direction. He was willing to look where others would not. No one is epistemically self-sufficient. Not Einstein, not Rocky, not us.
There’s another evolutionary angle Weir hints at. Vision didn’t just give humans data. It gave easily shared data. You can point. You can draw on a cave wall. You can argue over the same thing in space. In Rocky’s sightless world, translating private perception into communal objects is harder. That alone could delay theoretical physics by centuries.
The book’s real claim is stronger than “different minds think differently.” Scientific knowledge depends on social failure modes as much as on cognitive gifts. Progress requires tolerance for being wrong in public and for wasting effort on anomalies.
Thankfully, Weir doesn’t sermonize. Rocky saves the mission by being smarter. Humanity saves itself by having invented a way for dull humans to coordinate across centuries. It’s a quietly anti-heroic view of intelligence.
Project Hail Mary treats science as failure analysis rather than genius theater. Something breaks. What do we test next? That may be why it succeeds where so much science fiction fails.
Here’s my video review shot with an action cam as I wander the streets of ancient and renaissance Rome.
I’m Only Neurotic When You Do It Wrong
Posted by Bill Storage in Commentary on October 6, 2025
I don’t think of myself as obsessive. I think of myself as correct. Other people confuse those two things because they’ve grown comfortable in a world that tolerates sloppiness. I’m only neurotic when you do it wrong.
In Full Metal Jacket, Stanley Kubrick mocks the need for precision. Gunnery Sergeant Hartman, played by R. Lee Ermey, has a strict regimen for everything from cellular function on up. Kubrick has Hartman tell Private Pyle, “If there is one thing in this world that I hate, it is an unlocked footlocker!” Of course, Hartman hates an infinity of things, but all of them are things we secretly hate too. For those who missed the point, Kubrick has the colonel later tell Joker, “Son, all I’ve ever asked of my Marines is that they obey my orders as they would the word of God.”
The facets of life lacking due attention to detail are manifold, but since we’ve started with entertainment, let’s stay there. Entertainment budgets dwarf those of most countries. All I’ve ever asked of screenwriters is to hire historical consultants who can spell anachronism. Kubrick is credited with meticulous attention to detail. Hah. He might learn something from Sgt. Hartman. In Kubrick’s Barry Lyndon duel scene, a glance over Lord Bullingdon’s shoulder reveals a map with a decorative picture of a steam train, something not invented for another fifty years. The scene of the Lyndon family finances shows receipts bound by modern staples. Later, someone mentions the Kingdom of Belgium. Oops. Painterly cinematography and candlelit genius, yes – but the first thing that comes to mind when I hear Barry Lyndon is the Dom Pérignon bottle glaring on the desk, half a century out of place.
Soldiers carry a 13-star flag in The Patriot. Troy features zippers. Braveheart wears a kilt. Andy Dufresne hides his tunnel behind a Raquel Welch poster in Shawshank Redemption. Forrest Gump owns Apple stock. Need I go on? All I’ve ever asked of filmmakers is that they get every last detail right. I’m only neurotic when they blow it.
Take song lyrics. These are supposedly the most polished, publicly consumed lines in the English language. Entire industries depend on them. There are producers, mixers, consultants galore – whole marketing teams – and yet no one, apparently, ever said, “Hold on, Jim, that doesn’t make any sense.
Jim Morrison, I mean. Riders on the Storm is moody and hypnotic. On first hearing I settled in for what I knew, even at twelve, was an instant classic. Until he says of the killer: “his brain is squirming like a toad.” Not the brain of a toad, not a brain that toaded. There it was – a mental image of a brain doing a toad impression. The trance was gone. Minds squirm, not toads. Toads hold still, then hop, then hold still again. Rhyming dictionaries existed in 1970. He could have found anything else. Try: “His mind was like a dark abode.” Proofreader? Editor? QA department? Peer review? Fifty years on, I still can’t hear it without reliving my early rock-crooner trauma.
Rocket Man surely ranks near Elton’s John’s best. But clearly Elton is better at composition than at contractor oversight. Bernie Taupin wrote, “And all this science, I don’t understand.” Fair. But then: “It’s just my job, five days a week.” So wait, you don’t understand science, but NASA gave you a five-day schedule and weekends off because of what skill profile? Maybe that explains Challenger and Columbia.
Every Breath You Take by The Police. It’s supposed to be about obsession, but Sting (Sting? – really, Gordon Sumner?) somehow thought “every move you make, every bond you break” sounded romantic. Bond? Who’s out there breaking bonds in daily life? Chemical engineers? Sting later claimed people misunderstood it, but that’s because it’s badly written. If your stalker anthem is being played at weddings, maybe you missed a comma somewhere, Gordon.
“As sure as Kilimanjaro rises like Olympus above the Serengeti,” sings Toto in Africa. Last I looked, Kilimanjaro was in Tanzania, 200 miles from the Serengeti. Olympus is in Greece. Why not “As sure as the Eiffel Tower rises above the Outback”? The lyricist admitted he wrote it based on National Geographic photos. Translation: “I’m paid to look at pictures, not read the captions.”
“Plasticine porters with looking glass ties,” wrote John Lennon in Lucy in the Sky with Diamonds. Plasticine must have sounded to John like some high-gloss super-polymer. But as the 1960s English-speaking world knew, Plasticine is a children’s modeling clay. Were these porters melting in the sun? No other psychedelic substances available that day? The smell of kindergarten fails to transport me into Lennon’s hallucinatory dream world.
And finally, Take Me Home, Country Roads. This one I take personally. John Denver, already richer than God, sat down to write a love letter to West Virginia and somehow imported the Blue Ridge Mountains and Shenandoah River from Virginia. Maybe he looked at an atlas once, diagonally. The border between WV and VA is admittedly jagged, but at least try to feign some domain knowledge. Apologists say he meant blue-ridged mountains or west(ern) Virginia – which only makes it worse. The song should have been called Almost Geographically Adjacent to Heaven.
Precision may not make art, but art that ignores precision is just noise with a budget. I don’t need perfection – only coherence, proportion, and the occasional working map. I’m not obsessive. I just want a world where the train on the wall doesn’t leave the station half a century early. I’ve learned to live among the lax, even as they do it all wrong.
anachronism, entertainment, film, films, humor, movies, music
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