Things to Come

In 1940, John Cabal, a busy businessman living in the city of Everytown in Southern England, cannot enjoy Christmas Day as the news speaks of possible war. His guest, Harding, shares his worries, while another friend, the over-optimistic Pippa Passworthy Edward Chapman, believes that it will not come to pass, and if it does, it will accelerate technological progress. An aerial bombing raid on the city that night sparks general mobilisation and then a full-blown global conflict with an unnamed enemy. Cabal, driven by duty and curiosity, becomes a Royal Air Force pilot and serves bravely, even attempting to rescue an enemy pilot he has shot down, a choice that hints at a rare mercy beneath the fog of war.

The war drags on into the 1960s, dragging humanity into a weary, nearly unrecognisable era. Cities lie in ruins, economies collapse under hyperinflation, and much of the old technology is lost. A chilling pestilence, known as wandering sickness, is unleashed by more aerial bombings and sends victims wandering in a zombie-like trance before they die. The world has forgotten why it fights, and hope seems as exhausted as the machinery that once powered it. In this shattered landscape, Rudolf, who would come to be called the “Boss,” rises as a warlord, ruling what remains of Everytown with a hard grip and erasing the threat of the plague by shooting the infected. He launches yet another conflict, this time against the so-called hill people of the Floss Valley, driven by a brutal hunger for coal and shale to transform into oil for his ragtag fleet of prewar biplanes.

On May Day, a sleek new monoplane lands without warning in Everytown, startling its inhabitants who have not witnessed a new aircraft in years. The pilot, an aging John Cabal Raymond Massey, steps out and unveils a radical plan: the last surviving band of engineers and mechanics have formed an organisation called Wings Over the World. They are headquartered in Basra, Iraq, and their mission is to outlaw war and rebuild civilisation across the Near East and the Mediterranean. Cabal offers the Boss a chance to join Wings, but the Boss rejects the invitation and instead takes Cabal prisoner, forcing him to repair the obsolete biplanes that still keep the town aloft.

With Cabal’s technical know-how and the Boss’s strategic ruthlessness converging, the Boss’s disillusioned mechanic, Richard Gordon [Derrick De Marney], reaches out to Wings Over the World. Gigantic flying wing machines soon fill the skies above Everytown, and a devastating “Gas of Peace” is released, rendering the population unconscious for long enough to allow Wings to seize control. When the people awaken, they find themselves no longer free; the Boss lies dead from an allergic reaction to the gas, and Cabal steps forward with a promise that Wings Over the World will usher in a new era of progress and peace.

Under Cabal’s leadership, Wings Over the World begins a remarkable, if unsettling, reconstruction of civilisation. The world is redesigned around modern, efficient systems and, by 2036, humanity has begun to inhabit solid underground cities, including a newly rebuilt Everytown. Peaceful progress seems within reach, but the gleam of a perfect future comes with its own tensions. A sculptor named Theotocopulos [Cedric Hardwicke] fans the flames of public demand for a measured rest from ceaseless acceleration, foreshadowing resistance to the relentless push of advancement and the idea that perhaps humanity should slow down.

When a public mood threatens to demolish the space gun that will launch the first crewed flight around the Moon, Oswald Cabal [Raymond Massey], the grandson of John Cabal and the current head of government, is compelled to accelerate the timetable. The mission’s passengers are Catherine Cabal and fellow scientist Maurice Passworthy [Kenneth Villiers], racing against the crowd that craves respite from progress. As the countdown dwindles and a faint light breaks the night sky, Cabal confronts the deep philosophical question at the heart of their era: can humanity ever truly rest, or must it relentlessly push outward into the unknown?

In the tense minutes that follow the launch, the central debate intensifies. Cabal confronts Maurice Passworthy’s concerns about a possible future where humans are forever bound to the grind of discovery and conquest, while Oswald Cabal must balance political necessity with the well-being of a population that might demand an end to ambition. The dialogue crystallises into a stark choice: progress at any cost, or the quiet possibility of a different path. As the rocket arcs into space, a stark, almost prophetic line resonates in the dialogue, capturing the core dilemma of their civilization:

All the universe or nothingness…Which shall it be?

In this future-soaked parable, ambition and mercy, control and autonomy, invention and restraint collide. The world the Wings Over the World builds offers order and unparalleled scientific achievement, but it also questions whether a society can sustain itself without the will to rest, to pause, or to simply be. The characters—whether the calculating Ralph Richardson as The Boss, the steadfast Raymond Massey in his dual roles as John Cabal and Oswald Cabal, the perceptive Cedric Hardwicke as Theotocopulos, or the ambitious Pearl Argyle portraying Catherine Cabal—navigate a world where every major stride forward alters the very fabric of life.

Through triumph and tragedy, the saga remains a meditation on civilization itself: a society striving for harmony through knowledge, yet periodically brushed by the quiet fear that progress may outpace humanity’s oldest instincts. The tale ends not with a simple victory or defeat, but with an invitation to consider what kind of future a people choose when faced with the universe—whether in the form of unending invention or the hard-won wisdom to pause and listen to the voice that says maybe, just maybe, rest is also a form of progress.

Last Updated: October 07, 2025 at 09:13