Perhaps the task is to read these cinematic and artistic attacks literally—as a wish-fulfillment fantasy—in order to identify their hidden utopian longings. If we look only at the devastation of our cities in film, we may, for instance, imagine a future with no landmarks, since all such signs of national identity may be irrelevant to some possible, unified humanity. As the collective tremors of the global economy now foreshadow, such unification is already well underway, at least economically. It has simply to be recognized consciously and is, instead, replayed traumatically as a game scenario, a dress rehearsal. So, too, do we see in the specter of an often mechanized alien-adversary the glimmer of a future post-humanity already envisioned in the advances of war-accelerated medicine and 3D printing. The future we so anxiously try to incorporate is one where distinctions of animate and inanimate cease to matter, where we triumph over death by merging seamlessly with the un-living. Our films project such chimeras as external threats from the future, but only to screen out more proximate images of military hospitals in our present.