My point is that almost any effort is several order of magnitudes smaller than that of relocating humanity to another planet. Especially when the effort risks o

My point is that almost any effort is several order of magnitudes smaller than that of relocating humanity to another planet. Especially when the effort risks of being completely vane because you risk bringing the problem with yourself. And it's pretty strange that from inside the multi-dimensional room built by humans of the far future there's the data you need to relocate humanity but not that needed to kill a humble parasite. Now, the blight is just a McGuffin: an unimportant device to ignite the plot without really taking part in it, and it can be easily forgotten- like the fact that people are used as batteries in The Matrix, or the storm on Mars at the beginning of The Martian. Maybe it's also metaphorical of the plague of ignorance and anti-scientific thought. Still, it's a bit disappointing that not more thought was put into it- you can imagine Nolan putting infinite hours into getting the picture of a believable black hole, and yet the framework of the story is sloppy. (One also wonders why he didn't use climate change instead of the blight- political reasons?). The rest of the plot is similarly sloppy: a secretive remnant of NASA is building a giant rocket without external support- and I find the idea that such endeavours can be taken in isolation, outiside of a thriving scientific and engineering environment, profoundly anti-scientific. Someone without specific training is recruited on the spot (despite not having even been contacted before). The rocket leaves from the hall of the office and building area (which might double as a silo, still the offices are directly looking into it). Once in space people happily take off and land from planets without issues of fuel and rockets. The various planets they visit on the way add nothing to the plot: they are just the "they have several adventures and difficulties" part, and could be repaced with different ones without effect. Finally the Hero sacrifices his life, gets the mysterious key to saving humanity, and is granted survival and a new hot lady waiting for him (I have a bit of doubts here as after all those passages near and within black holes, they might be living in two completely different timeframes, where 10 or 20 years are just a rounding error). Science fiction is a tough genre, because good SF is philosophical, logical, and scientific- stuff that doesn't really appeal a large part of the population. Space travel is even harder, because its reality and glacial pace are so different from what we consider exciting. For its mechanics, 2001 has already said almost everything that could be said for the next 100 years without going into total fantasy.