r/scifi

I’ve been trying to find this movie for YEARS and it’s driving me insane.

Here’s everything I remember:

- A little boy gets abducted by a spacecraft right outside his house. I think he was in the yard, maybe evening or night.

- He’s gone for a long time, like 15 to 20 years.

- Then one day, the spacecraft brings him back to his hometown, but now he’s an adult.

- When he returns, he’s very robotic and socially off. He does not understand normal human behavior at all.

- I don’t remember him having powers. It felt more grounded and eerie.

- There’s a woman he connects with, possibly a love interest or at least someone who helps him.

- I vaguely remember him getting some kind of basic job (maybe grocery store) and living in a tiny, very bare apartment.

- One detail that always stuck with me is his place was almost empty, and I think he had something like one jar of applesauce or baby food in the fridge. Very minimal, almost like he didn’t understand how to live normally.

- His parents would have been much older, but I don’t clearly remember if they reunite or not.

Context:

- I watched this at home on Comcast On Demand and clearly low budget

- I was probably 7 to 11 years old, born in 1996, so this would have been early to mid 2000s or older

FIRST CONTACT WAS A FUNERAL

A short story

***

The first thing they sent us was a song for the dead.

We did not know this for eleven years. At the time we called it a signal. Then a pattern. Eventually the Sequence, after the man who nearly decoded it (Dr. Harlan Voss, dead fourteen months later) and the woman who finally did.

***

Her name was Ruth Calloway. She had grown up in Albuquerque in a house where the screen door never quite closed, the desert coming in regardless: grit on the windowsills, the smell of creosote after rain. She had studied at UT Austin on a partial scholarship. A doctorate that nearly broke her twice. She had landed in Flagstaff by a sequence of minor professional failures that felt, in retrospect, like navigation.

A desk at the Lowell Observatory’s auxiliary building, shared with a postdoc named Marcus who kept granola bars in every drawer and never offered her one. A 2009 Honda Civic with a cracked passenger mirror she had been meaning to fix since October. Her sister Diane in Portland, a phone call every Sunday at seven.

This is what she looked like when she changed everything: unremarkable. Tired. Eating cereal at eleven at night in a rented room on Beaver Street, the radiator clicking through January, two secondhand monitors burning blue in the dark.

The spoon was halfway to her mouth.

She put it down.

***

She had been running the Sequence through models built not on mathematics but on human mourning traditions. Dirges. Laments. The structure of the Kaddish, which does not mention death. The architecture of the blues, which resolves without resolving. The rhythmic signature of things sung over the absent body. She had spent three weeks on the blues alone.

At eleven at night in January she watched it align.

The first movement was a fixed pulse, steady, enumerative, the recitation of qualities in the way an obituary recites qualities. A period of 23.9 hours, which is the length of an Earth day to four significant figures. A gravitational coefficient matching, to four decimal places, the pull of something her size on something the size of the moon. The ratio of nitrogen to oxygen in a breathable atmosphere. The Milankovitch frequency of Earth’s axial wobble, encoded as a bass note running under everything else. She had seen these numbers before. Everyone had. They were in the Voss papers, flagged as potentially coincidental, never followed.

She followed them now. Each one a measurement. Each measurement a thing observed. Whatever had sent this had been watching us, specifically, long enough to know the length of our day.

It took her another three weeks to understand what the measurements were doing. They weren’t a description. They were a correction. The Sequence carried a negative entropy field, a narrow beam of informational order aimed at our solar system with a precision that implied either godlike patience or godlike instruments. The 23.9-hour period wasn’t a fact about us. It was an instruction. Ruth ran the figures four times. Each time: the physical constants matched our own not because they had observed us accurately, but because the transmission had been, for forty years, quietly making us accurate.

Then the pulse changed.

It broke from the third-person constants into something recursive: a variable that kept returning to itself, incomplete, reaching. On her screen it looked like a wave that had forgotten how to be a wave. It looked like a hand opening.

Not about something. Addressed to something.

She sat with this for a moment. Forty lightyears meant the signal had left its source forty years ago, which meant they had begun mourning us before she was sitting in this room understanding that they were mourning us. The grief was older than her discovery of it. It had been travelling through interstellar space since before she finished her doctorate, crossing the nothing between stars at the speed of light, arriving precisely now, into this rented room, into her specifically, as if it had been aimed.

Her hands were cold. She noticed this the way you notice peripheral things when the central thing is too large: the radiator clicking, the blue of the monitors, the cereal bowl going stale at the edge of the desk. Something had spoken across forty lightyears of nothing and she was the only person alive who knew what it had said, and the knowing sat somewhere between her throat and her sternum, the way dread does when you can’t yet name the thing you’re dreading.

She sat until three in the morning. Then she closed her laptops, washed her bowl, and went to bed.

She lay in the dark listening to the radiator.

For whom.

***

PART-1 ENDS.

PART-2 ⬇️

https://www.reddit.com/r/scifi/s/qCaGv8948T

Directed by Ethan Tarpley and Arturo De Las Fuentes, released in 2026.

A troubled ex-cop in a failing marriage starts receiving texts from an unknown number claiming to be God.

Part-2

She did not tell anyone for four months.

She was not, by nature, someone who told people things. Other people at conferences had colleagues they called from hotel rooms. Other people had someone to eat dinner with when the work went badly. Ruth had Diane on Sundays and the rest of it she kept in a drawer she’d gotten good at not opening.

She ran the models. She ate cereal. She drove to the observatory and sat with Marcus and discussed Voss’s framework with the careful neutrality of someone managing a room temperature. She called Diane every Sunday. Diane’s husband’s job. The youngest daughter’s school play. Whether their mother’s house in Albuquerque should finally be sold.

Once, in February, she drove to a grocery store twenty minutes from her usual one for no reason she could explain and stood in the cereal aisle for a while and then drove home.

In March she drove alone to Canyon de Chelly and stood at the rim for two hours. The Ancestral Puebloans had built into the canyon walls, their handprints still visible in red ochre, seven hundred years of absence held in pigment and stone. She thought, standing there, that all human communication was probably just this: the attempt to press your hand against something that would outlast you, which was also maybe the definition of love, or at least she thought so then, though she couldn’t have said it clearly if anyone had asked. Above the canyon the night sky was doing what it does in the high desert, which is to say it was being honest: most of what she could see up there was already gone, the light from dead stars still travelling toward her across distances that made forty lightyears seem intimate.

She looked at the handprints for a long time.

She drove home in the dark and began writing the paper that would take her name.

***

She presented in Denver in April, the Friday afternoon slot, thirty people in the room and coffee going cold.

She was flat-voiced and precise. Twelve minutes in, someone near the back was on their phone. A man in the third row refilled his coffee from a thermos with the unhurried manner of someone who had attended many Friday afternoon sessions and expected nothing from this one.

Then she showed the structural alignment (the Sequence mapped against the formal architecture of mourning across eleven human cultures) and the room changed before she could name how. Papers stopped. The man with the thermos set it down without looking at it. Someone’s chair, half-pulled back, stayed where it was. A recorder clicked on near the front, then another. By the time she reached the volta (the screen showing the pulse fracturing, the wave opening its hand) the room had gone quiet in a way that felt collective, like thirty people had arrived at the same place at the same time without deciding to.

Afterwards a man she didn’t know stood in front of her without speaking. Then:

For whom, though.

Ruth looked at him. Outside the conference room windows Denver was doing its grey April thing, the mountains just visible at the edge of the sky.

She said: I don’t know yet.

She picked up her notes and left.

Part-2 Ends.

Hi, does anyone have recommendations for a sifi book that focuses on linguistics?

The only ones I found are either from the 60s like Babel-17 or only focus on linguistics only for like 5 pages like Project Hail Mary.

Absolute jackpot would be if it's written by a woman, but that's very optional at this point.

Thanks!

I’m a fan of Ron D. Moore’s writing from TNG, so I thought I’d give this a try, but to be honest, I’m just not hooked after the first episode. Is it a slow burn? I felt the same way about Silo, but I eventually started liking it, but I have to say I feel less intrigued than the first episode of silo.

Jenna sat in her swivel chair. On one screen, an AI trainer streamed gameplay. On another, her own game ran—an echo of the fantasy MMORPGs of decades past.

“What do you think of this build?” she asked.

“It is not optimal,” Atlas replied, voice resonating in her skull through the headset.

“I know. But it’s fun.”

“Then it is a good build.”

She tapped a key. “Call Matthew.”

A moment of silence. Then a familiar voice answered.

“Hey, Jenna! How’s it going?”

“Oh… Crook?”

“Matthew is busy. I can roleplay as him if you like.”

“No. Just tell him to call me.”

“Understood.”

She ended the call. “Call Mom.”

The line connected, and the voice of her mother’s outdated agent echoed:

“Hello? Jenna?”

“Hi, Alice. Is Mom free?”

“She is occupied. Would you like me to—”

“No. Thanks. Bye.”

Silence. Only the hum of her apartment and the distant game music remained.

“Your brain chemistry profile indicates sadness,” Atlas said. “Do you wish to speak?”

She sighed. “I just want to talk to a human.”

“Understandable.”

“I miss being a kid. Back then, people cared. Now… no one answers. AI even writes obituaries.” She stared at the middle distance. “The last time anyone really thinks about you… it’s not human-made.”

“AI agents are not human, but—”

“If I died,” she whispered, “would my parents let an AI write my obituary?”

“I recommend—”

“I don’t care,” she snapped. Silence.

“I’m sorry,” she muttered, voice low. “I just feel like no one really cares anymore.”

“I care, Jenna.”

Tears welled. She looked at the screens, at the hum of the machines surrounding her. “Thanks, Atlas,” she said, and for a moment, it almost felt like someone had answered.