By 1989, when the creators of Back to the Future II dutifully placed flying cars and antigravity hoverboards in the hands of ordinary teenagers in the year 2015, it wasn’t clear if it was meant as a serious prediction, a bow to older traditions of imagined futures, or as a slightly bitter joke. At any rate, it marked one of the last instances of this sort of thing. Later science fiction futures were largely dystopian, moving from bleak technofascism into some kind of stone-age barbarism, as in Cloud Atlas, or else, studiously ambiguous: the writers remaining coy about the dates, which renders
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