Of course, as far as I'm concerned, the closer to real physics it is, the better, but the main point is the assumption that real physics and nothing else, is what makes the universe work. Once you introduce anything supernatural, it stops being sci-fi and becomes fantasy - and it doesn't matter if it's in the far future, on spaceships, or distant planets, supernatural forces are by definition outside of physics and therefore have no place in science fiction.
In fact, I'd go farther still and say that if something we once believed to be a real physical phenomenon, or believed might be real, has been conclusively shown by science to be a false belief, that should not be included in sci-fi either. The best example of this I know is "psi" phenomena (telepathy, telekinesis, clairvoyancy, etc.) which have been well and truly debunked over and over again. Their inclusion in modern sci-fi must therefore count as introducing the supernatural. (However, sci-fi of the fifties, sixties, and even the early seventies, still counts as sci-fi because the question of the reality of these phenomena was still an open scientific question at the time it was written.)
In reference to the guys blog post - with the big epic I was writing and set mostly in space, I tried to stay true to what is possible in science. I had no artificial gravity for the human space ship, its hull had to rotate for gravity, and when they were in a much smaller shuttle they had to strap themselves in. But the aliens had worked out artificial gravity. I really had fun with the ways the humans and the aliens communicate, it's not in in spoken English. The way they communicate helped the plot differentiate itself from plots of other space operas and added to the intrigue and the ability of the humans to deceive the aliens. I used a wormhole to get the crew into distant space too. I never make it clear whether the wormhole were made by some alien race or just part of the fabric of space, because the humans don't know, they have only recently discovered it.
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