Tomorrow is April 1, and space seems to bring out the prankster in all of us. From fake UFO photos and moon-landing conspiracies to astronauts in gorilla suits aboard the International Space Station, the line between hoax and reality can be surprisingly thin. The odd thing is that the real universe is usually stranger—and far more entertaining—than anything we could invent.
Science fiction cinema in 2026 isn’t following the usual blockbuster script. Instead of obvious juggernauts, the year is shaping up to be a mix of risky adaptations, franchise experiments, and quieter films that could surprise everyone. From Project Hail Mary to lesser-known titles flying under the radar, this may be the year sci-fi stops playing it safe—and starts getting interesting again.
Lucasfilm is moving The Mandalorian from Disney+ to the big screen with The Mandalorian and Grogu. But will audiences follow the story from TV to theaters? With many viewers now preferring streaming at home—and with the series built around character arcs rather than blockbuster spectacle—the shift raises an interesting question: are TV and film audiences really interchangeable anymore?
I forgot to bring my own time-travel thriller to the market. Not sold out—forgot to order it. Which is impressive, considering I wrote it. If you like high-stakes time travel, moral consequences, and science that actually matters, this is your reminder.
I sat down with a simple goal: find something new to read. Not search for a specific title. Not hunt down an author I already knew. Just browse — the way readers have always done. Twenty minutes later, I gave up. Not because there aren’t books, but because real discovery has quietly vanished. What used to be shelves are now funnels, and finding new science fiction online has become far harder than it should be.
After 35 years, On Spec magazine is closing its doors—a loss not just for Canadian science fiction, but for the speculative fiction world at large. Based in Edmonton, On Spec championed stories with a uniquely Canadian voice and offered a home for emerging and established writers alike. Its final issue, The Final Voyage, marks the end of an era and raises the ever-relevant question: is this just another case of magazine churn, or a sign of the times?
Tech futurists Ray Kurzweil and Kevin Kelly offer radically different visions of the Singularity—one fast and transformative, the other slow and uneven. In this post, I explore both views, share a surprising take from ChatGPT, and offer my own perspective on how the future might unfold—not with a bang, but in a hundred quiet revolutions.
Brandon Sanderson is stepping into science fiction with Tailored Realities, and at the same time, I’ve been watching Daredevil: Reborn — a superhero story that feels a lot more like fantasy than you’d expect. It got me thinking: where do superhero stories fall in the speculative spectrum? Is sci-fi and fantasy really a spectrum at all? This week, I’m diving into how genre boundaries are shifting, and what that means for readers, writers, and masked vigilantes alike.
Two Cameron Cooper titles published in 2025 are eligible for nomination in the 2026 Hugo, Nebula, Aurora, and Dragon Awards. If you’re voting this year, here’s what to know.
“Someone online called Dune ‘just epic fantasy in spacesuits’ and I resisted the urge to flame them… mostly. Here’s why Dune is firmly science fiction — space opera at its finest — and why the spice matters not for magic, but for who controls the stars.”
