David Lynch’s Dune Kept Science Fiction Cinema Strange | Tor.com:

Lynch might not be a science fiction scholar. But Lynch understood the mystic and strange side of Herbert’s creation, and of so much brilliant science fiction literature that gets scrubbed on its way to a film adaptation. So yes, Lynch’s Dune is a mess with many flaws. But science fiction cinema would be a poorer place without it.

2001: A Space Odyssey Tried to Break Us Out of Our Comfort Zone | Tor.com:

But of all the genres, science fiction seems the most suited to the task. Straight drama, or comedy, or even musicals remain rooted in our earthly, observable realities; what can be glimpsed outside your window can also be up on the screen. SF—by dint of reaching beyond, by speculating on the possible, by asking, What if…?—can break through the simple equation of “what is seen is what is,” can prompt us to imagine alternatives, and can get us to question whether what we know about ourselves is as absolute as we believe.

When We Have Come to This Place: The Aliens Series as Cosmic Horror | Tor.com:

In cosmic horror, meanwhile, the villains (whom I am going to refer to as The Horrors, to distinguish them from other villains) are built on a vastly different scale along many possible axes. Often, they’re millions or billions of years old; they’re immune to weapons; they’re able to modify the laws of space and time; they have other powers that humans don’t have and can’t acquire; and they’re just generally so over-the-top Every Adjective In The Dictionary that humans often can’t even look at them (or think about them, depending on the story) without losing their grip on reality.