In a thought-provoking assertion in The Grand Design (2012), Stephen Hawking, alongside Leonard Mlodinow, proclaimed that “philosophy is dead” (p. 5). They articulated the human experience as fleeting, with our inquiries spanning only a minuscule fraction of the universe. Humans, inherently curious, have always posed profound questions: How can we comprehend our surroundings? What governs the universe? What constitutes reality? Did the universe require a creator? Traditionally, such inquiries fell under the domain of philosophy, yet Hawking and Mlodinow emphasized that philosophy has not kept pace with the rapid advancements in science, particularly in physics (p. 5).

While academic philosophy persists in journals and books, its relevance in popular culture has significantly waned. This decline is particularly evident as contemporary philosophy struggles to forge a cohesive narrative that connects humanity's origins and future with the vast universe—an expanse of 100 billion light years, filled with 2 trillion galaxies and countless celestial bodies. This philosophical stagnation can be traced back to the aftermath of the Apollo 8 mission and its iconic Earthrise image.

The shortcomings of philosophy are mirrored in contemporary arts. Aside from a few intellectually stimulating films like 2001: A Space Odyssey (1968) and Interstellar (2014), the cinematic portrayal of space often devolves into a spectacle of monsters and apocalyptic conflicts, with little emphasis on awe or exploration. The recent Star Trek films reflect this trend, echoing the cosmic narcissism and human exceptionalism that have persisted for decades.

In the absence of a meaningful cosmic philosophy, the television series Ancient Aliens (2010-) has commandeered the narrative of space exploration, claiming to elucidate the origins and fate of humanity. The show exemplifies a failed philosophical discourse, where a superficial interpretation of space and existence is presented as profound truth.

The ancient-astronaut hypothesis is grounded in two significant cosmological ideas: the vastness of space-time and the potential existence of advanced civilizations beyond Earth. With the observable universe dating back 13.7 billion years and the Kepler telescope suggesting a multitude of planets within the Milky Way, it's plausible that intelligent life could exist elsewhere. However, the chances of Earth being visited by such civilizations are minuscule, primarily due to the sheer distances involved.

The allure of 2001: A Space Odyssey stems from its captivating portrayal of human origins and future. The possibility of discovering a black monolith signaling extraterrestrial intelligence is intriguing. If ancient astronauts had visited Earth, they would have appeared god-like to our ancestors, much like the apes in 2001 who were awed by advanced technology.

Where, then, is the equivalent of the black monolith, a definitive artifact of extraterrestrial origin? The quest for verifiable evidence of ancient astronauts enlightening humanity has yielded scant results, leaving theorists to point to ambiguous artifacts that do not substantiate their claims.

The popularity of Ancient Aliens has given rise to numerous extraordinary claims about ancient visitors influencing human history, from consulting on the Mayan calendar to advising historical figures like Leonardo da Vinci. These assertions, however, lack credible evidence and often disregard the creativity and ingenuity inherent in human civilization.

The series exemplifies a retreat from rational inquiry, appealing instead to a belief system steeped in mythology and superstition. In a post-truth era, where "alternative facts" have emerged, the narrative of ancient astronauts serves as a substitute for genuine philosophical discourse.

The rise of this new cosmic narrative mirrors traditional creator myths, suggesting that humanity's achievements are the result of divine intervention rather than human ingenuity. Such beliefs fill the void left by contemporary philosophy, which struggles to articulate a coherent worldview in the face of modern cosmological discoveries.

Ultimately, Ancient Aliens supports Hawking's assertion that philosophy has become obsolete. The show's popularity highlights a void in cosmic understanding, as paranormal narratives proliferate in popular culture. In a world where fundamentalist ideologies challenge scientific progress, there is a pressing need for a new philosophy that embraces the universe's vastness and humanity's place within it.

With individuals increasingly engrossed in screens, the spectacle of modern media has overshadowed philosophical inquiry, fostering a culture steeped in sensationalism and tribalism. Prominent scientists have attempted to bridge the gap between science and popular culture, yet the challenge remains to integrate scientific understanding into a meaningful narrative that resonates with humanity.

I often fantasize about the day when extraterrestrial beings might visit Earth, potentially shattering our illusions of cosmic centrality. Such an encounter could inspire profound reflection on our existence and prompt a reevaluation of our place in the universe.

Ultimately, the quest for enlightenment requires a philosophical framework that acknowledges our insignificance in the grand cosmic scheme. It is time to transcend outdated worldviews and embrace a more expansive understanding of existence.

[1] John T. Omohundro, “Von Daniken’s Chariots: A Primer in the Art of Cooked Science,” Skeptical Inquirer, vol. 1.1 (Winter 1976); Ronald Story, The Space Gods Revealed: A Close Look at the Theories of Erich von Daniken (New York: Harper & Row, 1976).

[2] “The Case of the Ancient Astronauts,” Nova, BBC Horizon/PBS, 1977.

This essay is an excerpt from my 2017 book, Specter of the Monolith. For those interested in further exploration of these ideas, I invite you to read the full text.