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We need more space exploration movies in the near future like Ad Astra



Image: Twentieth Century Fox

At the beginning of the release of Ad Astra many of them calls it this year Interstellar . The two films have some similarities – a title that mentions stars, a notoriety for a father's relationship in outer space with his grown-up child, threats to the environment on Earth – but the two projects are quite different from each other. After all, the comprehensive comparisons between Ad Astra's and Christopher Nolan's 2014 science fiction epic are indicative of how few space exploration films have been made in the near future of Hollywood.

I suggest directors produce more of them, especially now.

Yet, even with just a few more, projects of this type of studio slabs in the coming years could fuel the public excitement for real travel outside our atmosphere at a crucial time for the future of space exploration. Against the backdrop of a vast library of sci-fi movies and shows put into space, there are a small number of them that take place in less than a few centuries (unlike Star Trek Firefly Set centuries in the future, and Star Wars set long ago) and contains no more fantastic than plausible items: no monsters, no water messing with your mind, no reign of the sun.

Now, don't take this to let me know that I'm not interested in watching more great films about banners like Jupiter Ascending or cosmic horror flickers like Alien and Life or any kind of movie about what happens when space comes to us, for example Arrival and Attack of the Block . Please continue to do so. But there is a shortage of films that happen within our own lives that portray space travel as something close to how it might actually happen in the decades to come.

Yet, even with just a few more, projects of this type of studio slabs in the coming years can fuel the public excitement of real travel outside our atmosphere at a crucial time for the future of space exploration.

As excellently discussed in the new Washington Post podcast Moonrise the promotion of science fiction as a genre from the 1930s to the 1950s deserves some credit for the successful funding of Mercury's Gemini missions and Apollo. "No one is going to say that science fiction readers have brought man to the moon," Isaac Azimov said in an archive tape in 1971 presented to Moonrise "but we can say that science fiction, published in 1940, helped prepare the public for the adoption of programs to take a person to the moon. "Today's science fiction can do the same for 21st century space exploration.

We are on the verge of a new era of manned space travel, following a relatively dry spell from the end of the Cold War space race. Man has not set foot on the moon since 1972, NASA is far back in the Mars crew, which had a launch date on June 9, 1984, and NASA's last space shuttle mission returned to Earth eight hours ago. years. The achievements and sacrifices of scientists, engineers and astronauts contributing to the work of the International Space Station and robotic spacecraft are of course important, but there is still work to be done, as it seems, to the private industry and at the federal level. funded agencies in different countries, we will finally return to the moon and beyond in the next few decades.

When it comes to space exploration – the studies that benefit Earth's life, as well as the steps taken to expand what people can call "home" (all done with assessed risks and ethical issues that should are taken into account) – there are some immediate and longer-term benefits to humanity. But the captivating depictions of what space travel may look like in the short term have a particular, valuable power to excite the enthusiasm for space missions currently underway now .

Movies that depict the real life of 20th Century space exploration (such as Apollo 13 Hidden Figures and First Man ) have the ability to be as inspiring as films space travel near the future may remind us that people traveling thousands of miles across Earth are not just a thing of the past, or something that only our descendants can look forward to. This is something that we, several generations alive today, will witness and experience – if space travel receives sufficient public support.

Let's dive into five films that have contributed to this public support while entertaining us expertly. These films – released in the last decade or so and set in the 21st century – also have much to say about other issues, such as mass incarceration and climate change as they make their way to the stars.


Image: Warner Bros.

Gravity (2013)

Setting the best guesses: 2013

After its release, Gravity can be said to take place anywhere between the very near future or quite recent past, depending on how active you are imagining NASA's fictional space shuttle missions in the movie world. (The shuttle mission in the movie is called STS-157 – in fact, NASA's latest shuttle mission, STS-135, launched in July 2011.) This is a rare fictional space travel movie that may not deserve the sci-fi label . "

Gravity is not the kind of movie that makes you want to go into space. "I hate space," says Dr. Ryan Stone of Sandra Bullock after miraculously surviving a second cloud of debris 240 miles above Earth when there is still much trouble. However, Gravity is the kind of movie that can make you appreciate the courage of real-life astronauts embarking on missions that are always dangerous on some level. This gives us the chance, from the safety of hard land, to experience the enviable enviable workplace of astronauts ("I can't beat the view," George Clooney's character points out) and the heart-wrenching struggle to survive a lost space path.

Image: Sony Pictures Classics

Moon (2009)

Set Up: 2035

Director Duncan's First Feature Jones represents the closest celestial body on Earth as a source of clean energy, Lunar Industries yield helium-3 from the soil of the moon. In the end, we find that the corporation has made some wild cuts in labor costs and has thrown wind ethics to make its fortune. The moon functions as a compelling science fiction mystery / thriller and as a warning of corporate corruption in the cosmic endeavors of the future. With Sam Rockwell in one of the best performances of his career as the clone of Sam Bell, Moon shows how a three-year, solitary contract in space can change man, for better and for worse. [19659007] Moon also supplies food for thought for artificial intelligence and human cloning. GERTY, AI-based, is Jones' response to HAL's 2001: Space Odyssey . The movie makes you wonder if GERTY will ultimately be loyal to Sam Bell (s) or to Lunar Industries, and by the end of the AI ​​and the clone they find they have a few things in common. In his final engagement, Sam insists, “GERTY, we are not programmed. We are humans, you see?

Image: Twentieth Century Fox

The Martian (2015)

Setting: 2035 g

An exciting, shaking image of human resilience, The Martian is largely remembered for the clever ass, always upbeat Mark Wanthey, a botanical astronaut left to Mars, played by Matt Damon Andy Weir. His relentless problem-solving and striving to make the most of this strange opportunity to explore the beautiful sights of Mars have accumulated more excitement for humanity in order to achieve this long-awaited first step on Mars. But heroes and events back on Earth illuminate the realities of space exploration while delivering exciting images of brilliant minds in collaboration. Potential impacts on public opinion and congressional funding are considered every step toward saving Watney. At the end of the film, there is an inspiring collaboration between NASA and the Chinese National Space Administration, and the whole world rejoices in both the safe return of Watney and, later, the successful funding and launch of another Mars mission.

Image: Paramount Pictures, Warner Bros.

Interstellar (2014)

Setting the Best Assumption: 2070s [19659019] "We have no intention of saving the world. We intend to leave it, "Professor Brand (Michael Kane) stated in Interstellar at NASA's Underground Remnant Facility. Public opinion does not allow funding for space exploration during the global food crisis, and school textbooks spread the lie that Apollo's missions were false.

The tesseract at the emotional end of Interstellar is more of a whimsical fantasy than a believability, but the rest of the movie is based in very real science and faces real problems for Earth's life at the end of the 21st century . The character of John Lithgow, a member of the only one still alive who remembers the Earth as the audience of Interstellar in 2014 knows him, probably from Gen Z or perhaps from the youngest millennia (he says, that there were 6 billion people on Earth when he was a kid). One wonders if the space exploration is not funded by Blight through Interstellar what about NASA and other space agencies when dealing with the serious effects of climate change? The Interstellar makes us think of our past, present and future: the dust court and the Irish Potato Famine, our actions (and inactions) today, and how (and how) our species will continue to exist when this planet becomes less hospitable.

Image: Alcatraz Films

High Life (2019)

Best guess: end of 21 Century

Motor, disturbing, often distorted film, French director Claire Dennis' debut in English presents a dishonest answer to the problem of mass incarceration in the United States: condemned second chance death sentences sent on one-way research trip through our solar system. A spacecraft created solely by convicted criminals – at least some of them have committed violent crimes – turns out to be as bad an idea as it sounds. The non-linear film begins with the character of Robert Pattinson, apparently the only survivor of the mission – the horrors that led to the death of others are soon revealed.

It may seem strange to regard this gloomy film as a contribution to inspiring space exploration in real life, but think about it: The High Life can make you grateful that we are leaving exploration beyond the Earth's atmosphere for now paid specialists trained in the scientific method.

Emily Rome is a journalist who has written for such publications as the Los Angeles Times, Entertainment Weekly, HitFix, Inverse and Mental Floss.


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