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Freddy Krueger at 40 – the ultimate horror movie monster (and Halloween costume)

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Movie monsters have captivated audiences since the days of early cinema. They evoke fascination and terror, allowing audiences to confront their fears from the safety of the movie theatre or living room. Arguably one of the most enduring and captivating of these monsters is Freddy Krueger, the villain of the <a href="https://www.imdb.com/title/tt0087800/">A Nightmare on Elm Street</a> series who celebrates his 40th screen birthday this November. Memorably played by Robert Englund, Freddy quickly became a cultural icon of the 1980s and 1990s. Beyond his burned face and iconic bladed glove, Freddy’s dark humour and acidic personality set him apart from other silent, faceless killers of the era, such as Michael Myers in <a href="https://www.imdb.com/title/tt0077651/?ref_=nv_sr_srsg_2_tt_6_nm_0_in_0_q_halloween">Halloween</a> or Jason Vorhees in <a href="https://www.imdb.com/title/tt0080761/?ref_=fn_al_tt_1">Friday the 13th</a>. Written and directed by horror maven <a href="https://theconversation.com/wes-craven-the-scream-of-our-times-46915">Wes Craven</a>, 1984’s A Nightmare on Elm Street garnered positive reviews for its innovative concept: Freddy stalked and attacked his victims in their dreams, making him inescapable and allowing him to tap into their deepest fears. The series (seven films plus a 2010 remake and <a href="https://www.imdb.com/title/tt0329101/?ref_=fn_al_tt_1">Freddy vs. Jason</a> spin offs) blended supernatural horror and surrealism with a dark and twisted sense of humour. <h2>Scary … but funny</h2> Humour was key to Freddy’s “popularity”. Both sinister and strangely charismatic, Freddy’s psychological torture of his adolescent victims often oscillated between terrifying and amusing. A famous kill scene from 1987’s <a href="https://www.imdb.com/title/tt0093629/?ref_=fn_al_tt_1">A Nightmare on Elm Street 3: Dream Warriors</a> demonstrates this paradox. Aspiring actress Jennifer drifts off to sleep while watching a talk show on TV. In her dream, the host of the talk show suddenly transforms into Freddy, who attacks his guest before the TV blinks out. When Jennifer timidly approaches the TV set, Freddy’s head and clawed hands emerge from the device, snatching her while delivering an iconic one-liner: “This is it, Jennifer – your big break in TV!” Freddy turns his victims’ fears or aspirations – their dreams – against them. <figure><iframe src="https://www.youtube.com/embed/dCVh4lBfW-c?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Whatever you do, don’t fall asleep.’</figcaption></figure> <h2>Creating a monster</h2> Craven has shared how the character of Krueger came to life in <a href="https://www.imdb.com/title/tt1510985/?ref_=fn_al_tt_1">Never Sleep Again: The Elm Street Legacy</a>, an oral history of the series. He described a childhood experience of seeing a strange mumbling man walking past his childhood home. The man stopped, he said, and looked directly at him “with a sick sense of malice”. This deeply unsettling experience helped shape Freddy’s menacing presence. The character’s creation also emerged from the filmmaker’s interest in <a href="https://www.iflscience.com/nightmare-on-elm-street-was-inspired-by-a-real-life-medical-mystery-60527">numerous reports of Southeast Asian refugees dying in their sleep</a> after experiencing vivid nightmares. In the film, Krueger’s origin story reveals him as a child murderer who was apprehended but released due to a technicality in his arrest. Seeking justice, the parents of his victims take matters into their own hands, and form a vigilante mob. They corner him in his boiler room and burn him alive. But Freddy’s spirit survives to haunt and kill the children of his executioners. <h2>Cultural repression, expressed on film</h2> Film critic and essayist <a href="https://www.cineaste.com/summer2019/robin-wood-on-horror-film-collected-essays-and-reviews#:%7E:text=Freudian%20theory%2C%20a%20crucial%20theoretical,the%20horror%20film%20perpetually%20enacts.">Robin Wood argued</a> horror films often bring to the surface elements society has repressed. These fears, desires, or cultural taboos are not openly acknowledged. But movie monsters act as manifestations of what society suppresses, such as sexuality, violence or deviant behaviour. American academic <a href="https://www.tandfonline.com/doi/abs/10.1080/01956051.1995.9943696">Gary Heba</a> argues Freddy is: <blockquote> an example of America’s political unconscious violently unleashed upon itself, manifesting everything that is unspeakable and repressed in the master narrative (perversion, child abuse and murder, vigilantism, the breakdown of rationality, order, and the family, among others), but still always present in the collective unconscious of the dominant culture. </blockquote> <figure><iframe src="https://www.youtube.com/embed/UBrl4H0Uzng?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Actor Robert Englund calls Freddy Krueger ‘the gift that keeps on giving’.</figcaption></figure> <h2>The monster decades</h2> The 1970s and 1980s marked a golden era for the creation of horror film nasties like Krueger, Myers, <a href="https://www.imdb.com/title/tt0072271/?ref_=fn_al_tt_3">The Texas Chainsaw Massacre</a>’s Leatherface and <a href="https://www.imdb.com/title/tt0094862/?ref_=fn_al_tt_19">killer doll Chucky</a>. Since then, the landscape of horror has shifted, with fewer singular monsters emerging. The diversification of horror sub-genres (zombie virus horror, anyone?), the rise of psychological horror (<a href="https://www.imdb.com/title/tt7784604/?ref_=nv_sr_srsg_2_tt_4_nm_2_in_0_q_heredi">Hereditary</a>), and an emphasis on human-driven terror (<a href="https://www.imdb.com/title/tt0416315/?ref_=nv_sr_srsg_1_tt_7_nm_0_in_0_q_wolf%2520creek">Wolf Creek</a>) or supernatural forces all contribute to this shift. While modern horror continues to thrive, few characters have achieved the same iconic status as Freddy – although some would argue Art the Clown from the recent <a href="https://www.imdb.com/title/tt4281724/">Terrifier</a> franchise and the reinvigorated Pennywise from <a href="https://www.imdb.com/title/tt1396484/?ref_=nv_sr_srsg_1_tt_6_nm_1_in_0_q_it">IT</a> could join this exclusive group. <figure><iframe src="https://www.youtube.com/embed/ZuYoEtEI_go?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Five, six, grab your crucifix.’ A 2010 Nightmare on Elm St reboot failed to fire.</figcaption></figure> <h2>Happy Halloween!</h2> Despite a <a href="https://www.imdb.com/title/tt1179056/">failed reboot in 2010</a>, the legacy of A Nightmare on Elm Street is strong, having influenced numerous filmmakers with its skilful mix of surrealism and slasher horror. However, it’s the orchestrator of the titular nightmares whose legacy is perhaps the strongest. With each Halloween, new fans choose Freddy for their costume. All it takes is a tattered striped sweater, a brown fedora hat, and a glove with sharp, finger-lengthening blades. Don’t forget makeup to re-create Krueger’s grisly facial burns. Sweet dreams!<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/240905/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, Associate Lecturer in Communications, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Image credits: New Line Cinema - IMDB This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/freddy-krueger-at-40-the-ultimate-horror-movie-monster-and-halloween-costume-240905">original article</a>. </div>

Movies

200-year-old message in a bottle unearthed

In a discovery that has the archaeology world buzzing (and possibly rolling its ancient eyes), a team of student volunteers in northern France has unearthed something rather unexpected during their dig at a Gaulish village. While they were hoping for the usual – ancient pottery shards, perhaps a coin or two – they instead stumbled upon what can only be described as the 19th-century equivalent of a DM in a bottle. The scene played out like a low-budget historical drama: volunteers painstakingly sifting through centuries-old dirt on the cliff-tops near Dieppe when, voilà! They found an earthenware pot containing a small glass vial, like something you might see in a vintage pharmacy, but with fewer essential oils and more existential surprises. Guillaume Blondel, the team leader and head of the archaeological service for the nearby town of Eu, was immediately intrigued. “It was the kind of vial that women used to wear around their necks containing smelling salts,” he explained, before casually dropping the bombshell: inside the vial was a note. Cue dramatic music. After what we can only assume was a long, suspenseful pause, Blondel and his team opened the note, which turned out to be written by none other than P.J. Féret, a 19th-century intellectual who clearly had a flair for both excavation and theatrics. The note, written with all the panache of a man who had just unearthed Caesar’s salad fork, read: "P.J. Féret, a native of Dieppe, member of various intellectual societies, carried out excavations here in January 1825. He continues his investigations in this vast area known as the Cité de Limes or Caesar’s Camp." Naturally, Blondel was floored. “It was an absolutely magic moment,” he said, no doubt imagining Féret winking at him from the beyond. “We knew there had been excavations here in the past, but to find this message from 200 years ago? It was a total surprise.” Local records confirm that P.J. Féret was indeed the real deal. He wasn’t just a dabbler in dirt – he was a notable dabbler in dirt who had conducted an earlier dig at the site in 1825. In a stroke of irony not lost on Blondel, he mused, “Most archaeologists prefer to think that there won’t be anyone coming after them because they’ve done all the work.” Féret, however, clearly believed in leaving a trail of breadcrumbs – or, in this case, a literal note in a bottle, just to remind future archaeologists that he got there first. Féret: 1, Modern Archaeology: 0. Of course, this whole affair raises some important questions: Did Féret expect someone to find this? Did he laugh to himself as he buried it, imagining Blondel’s reaction? Did Féret know how cliff erosion would eventually turn his humble Gaulish village into a treasure trove for future archaeologists? Or was he simply trolling them from the past? Whatever the case, Féret’s note may not have contained ancient secrets, but it certainly delivered some 19th-century sass. And if we’ve learned anything from this dig, it’s this: archaeology isn’t just about discovering the past – it’s also about being occasionally roasted by it. As Blondel and his team continue their emergency dig (which was ordered due to cliff erosion eating away at the site like a bad buffet), they’ve already uncovered a number of artefacts, mostly pottery, from around 2,000 years ago. But will any of them have the audacity to leave a note for the archaeologists of 2225? We’ll have to wait and see. In the meantime, Féret is probably laughing somewhere in the afterlife, shaking his head and muttering, “Amateurs”. Images: Guillaume Blondel / Facebook

International Travel

Boeing Starliner astronauts: what six months stuck in space may do to their perception of time

<a href="https://theconversation.com/profiles/ruth-ogden-1182467">Ruth Ogden</a>, <a href="https://theconversation.com/institutions/liverpool-john-moores-university-1319">Liverpool John Moores University</a> and <a href="https://theconversation.com/profiles/daniel-eduardo-vigo-1631723">Daniel Eduardo Vigo</a>, <a href="https://theconversation.com/institutions/pontificia-universidad-catolica-de-argentina-5531">Pontificia Universidad Católica de Argentina</a> Two astronauts marooned in space may sound like the plot of a Hollywood blockbuster, but for two <a href="https://www.nasa.gov/">Nasa</a> crew members, it is now a reality. Commander Barry Wilmore and pilot Sunita Williams are currently in limbo on the International Space Station (ISS). They arrived in the Boeing Starliner spacecraft – the first test of the spaceship with astronauts. Wilmore and Williams were supposed to stay on the ISS for around eight days and return on the same spacecraft. But there is now debate about the safety of Starliner after it experienced <a href="https://www.bbc.co.uk/news/articles/c6pp29gdwe6o">helium leaks and thruster problems</a> on its way to the ISS. In coming days, Nasa and Boeing may decide to clear Starliner to carry the astronauts back to Earth. This means their stay might not last too much longer. But if officials decide against Starliner, the astronauts face waiting an <a href="https://www.nasa.gov/news-release/update-nasa-boeing-to-stream-flight-test-mission-briefing-on-nasa/">additional six months in orbit</a> before returning. So how do astronauts cope with a potential six-month wait for a lift home? <a href="https://www.sciencedirect.com/science/article/abs/pii/0022249685900203">Waiting for things is difficult</a> at the best of times. Under normal circumstances, it is <a href="https://journals.sagepub.com/doi/full/10.1177/2043808718778982">frustrating, stressful and anxiety-provoking</a>. But in extreme situations, with high stakes, <a href="https://onlinelibrary.wiley.com/doi/full/10.1111/j.1365-2648.2011.05638.x?casa_token=jC_hT4wqbuIAAAAA%3AGTrJPmd496aDTdirdwYi7CvLK8Q1g_oR-Em2E3EpDP0AwRCs2ko13Jpqui15BlkPiAx7MMRqA0MC">waiting can be purgatory</a>. Part of the reason that waiting is difficult is that it distorts our sense of time. Think of last time you were waiting for a delayed train, test results or a text from a potential new partner. Did it fly by or drag? For most people, time spent waiting crawls at a glacial pace. As a result, delays and periods of anticipation often feel much longer than they actually are. Waiting slows our perception of time, because it changes the amount of time that we spend <a href="https://www.jstor.org/stable/23324610?casa_token=KmtJWWmtHwQAAAAA%3AN_CUdtNakK46j4ItZaH_f__QcIGOjMnasX1NeMTRFH5YPpcmYx1JpigTfTb1bPYi5Fcus-IhtzDX0Jsz3xpqZRMDUxg0RWYhSr87V-zXz_pqS0zM&seq=2">thinking about time</a>. During normal daily life we often ignore time; our brains have a limited capacity. If time isn’t important, we simply don’t think about it, and this helps it to pass quickly. When we are waiting, our desire to know when the wait is over increases how much we think about time. This “clock watching” can make the minutes and hours feel like they are <a href="https://doi.org/10.1016/0278-2626(90)90026-K">passing at a snail’s pace</a>. Stress, discomfort and pain exacerbate this effect, meaning that waiting in difficult situations <a href="https://doi.org/10.1002/ejp.2211">can seem even longer</a>. Waiting also slows our perception of time because it what we do and how we feel. Normal life is busy and full of ever-changing activities and interactions. The sudden need to wait halts the flow of life, often leaving us with nothing else to do, thus increasing levels of boredom and frustration. In general, time filled with activity <a href="https://doi.org/10.1016/0278-2626(90)90026-K">passes more quickly</a>. We all got a taste of this during <a href="https://doi.org/10.1371/journal.pone.0235871">COVID lockdowns</a>. When we were stuck inside unable to see friends and engage in normal daily activities, the loss of routine and distractions caused time to drag for many. For the astronauts stuck on the ISS, anxiety about when they will return, limited opportunities for activities and fewer opportunities to contact friends and families combine to make their wait to return home feel significantly longer than six months – if it should come to that. However, as academics who research the effects of time on human psychology and biology, our ongoing work with crew members at research stations in Antarctica aims to shed light on whether waiting in extreme environments is different to waiting during normal daily life. <h2>A year in Antarctica</h2> While being stuck for six months on the ISS may sound like many people’s worst nightmare, it is not uncommon for scientists to spend long periods isolated and confined in extreme environments. Every year, organisations such as the Instituto Antártico Argentino (which uses the Belgrano II Antarctic station), the French Polar Institute and the Italian Antarctic Programme, in cooperation with the European Space Agency (which all use Antarctica’s Concordia station), send crews of people for up to 16 months to conduct research on the frozen continent. During the March to October <a href="https://www.bas.ac.uk/">polar winter</a>, teams spend six months in near darkness – and from May to August, in complete darkness – facing outside temperatures of up to -60C, wind speeds of 160 km/h (100 mph) and storms which prevent almost all outdoor activity. Limited internet coverage can also prevent constant communication with the outside world. For the last year, we have researched how life in Antarctica influences people’s experience of time. Each month, we asked crew members how time felt like it was passing in comparison to before their mission. Trapped on base, with limited contact with the outside world, you might expect time to drag. However, our results suggest the opposite may be true. Analysis of crew members’ experiences indicated that being constantly busy with complex tasks such as scientific research helped time to pass swiftly, according to 80% of crew responses. Only 3% of responses indicated that time actually dragged, and these reports occurred when nights were long and there was little to do. These experiences may provide hope for those stuck on the ISS. Like life on an Antarctic station, these Nasa astronauts have a busy and mentally demanding existence. These factors may help time to pass quickly. However, a key factor of their wait may be their ability to <a href="https://journals.sagepub.com/doi/10.1177/2043808718778982">tolerate the uncertainty</a> of when they will return. Wilmore and Williams will spend their time in a space equivalent to the <a href="https://www.nasa.gov/international-space-station/space-station-facts-and-figures/">inside a Boeing 747</a> plane. But better information about “when” things will happen and “why” delays are being incurred can help people to tolerate waiting and reduce its impact on their wellbeing.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/236546/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ruth-ogden-1182467">Ruth Ogden</a>, Professor of the Psychology of Time, <a href="https://theconversation.com/institutions/liverpool-john-moores-university-1319">Liverpool John Moores University</a> and <a href="https://theconversation.com/profiles/daniel-eduardo-vigo-1631723">Daniel Eduardo Vigo</a>, Senior Researcher in Chronobiology, <a href="https://theconversation.com/institutions/pontificia-universidad-catolica-de-argentina-5531">Pontificia Universidad Católica de Argentina</a> Image credits: NASA This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/boeing-starliner-astronauts-what-six-months-stuck-in-space-may-do-to-their-perception-of-time-236546">original article</a>.

Mind

Woman “bullied” on plane over budget seating trick

A young woman has recalled a flight from hell when she was “bullied” by a couple who were trying to utilise a seating hack that went viral on TikTok. The solo traveller took to Reddit to recount the story and ask social media users if she was in the wrong for her action. The woman began by saying she usually pays more to select her plane seat ahead of time, but a medical emergency on another plane had her waiting on standby and left with no option other than to sit in a middle seat. When she was finally able to board, she was greeted by a couple who had purchased both the window and aisle seats in a bid to have more space, utilising a travel “trick” that has been popular on TikTok. The method, which has been dubbed the 'poor man's business class', usually leaves travellers with an empty middle seat and more space, and few travellers opt to pick a middle seat. “When I got to my row the man and woman were chatting and sharing a snack... it was obvious they were together. I mentioned to the man that I'm in the middle, and he got up to let me in,” the unsuspecting traveller wrote on Reddit. “I asked them if they would prefer to sit together, I said I was totally okay with that. The woman reacted rudely to this and said ‘you're not supposed to be sitting here anyway’.” After noticing how the plane was full, she offered to show the pair her new ticket with the correct seat number on it. “She flicked her hand at my ticket and made a disgusted sound. I offered again if they wanted to sit together to which she didn't reply, her partner said it's okay and... made some small talk,” she continued. The man’s girlfriend then interrupted their conversation to ask,”'Did you use one of those third party websites to book your flight? It's so frustrating when people cheap out to inconvenience others.” The American woman explained that she had booked her flight directly and she had been placed on standby like everyone else and didn't choose the middle seat - she was assigned it. She then tried to keep the peace by refusing to engage with the furious woman. “I was so done with her attitude, I put my headphones on and attempted to do my own thing,” she explained. But the “entitled” girlfriend wasn't letting it go, as the woman explained, “This woman kept reaching over me and tapping her partner and trying to talk to him in a way that was super intrusive.” “I could tell even her partner was trying to engage her less so that she would hopefully stop, but she didn't.” “I think they tried to pull that tactic where they don't sit together on purpose...hoping no one will sit between them. But on full flights it doesn't work. And even so - it's not the other person's fault.” The traveller's post was met with hundreds of comments slamming the girlfriend’s behaviour, as one person wrote, “It's like a toddler having a tantrum.” “She was disappointed and a total a**hole. Gross entitled people,” another added. Another person applauded the traveller’s level-headed behaviour, writing, “Wow! You are my hero for keeping it classy - I’m afraid I would not have been as kind as you.” Image credits: Shutterstock

Travel Trouble

NASA astronauts stranded in space

Two astronauts are stranded in space after a simple week-long trip to the International Space Station (ISS) has turned into a possible eight-month trip. NASA astronauts Butch Wilmore and Suni Williams encountered technical issues with Boeing’s Starliner spacecraft days after departing for their eight-day trip in June and now may be stuck indefinitely. The trip Mr Wilmore, 61, and Ms Williams, 58, were on was designed to see how the new spacecraft performs before it is used more regularly. However, problems emerged as it made its approach to the ISS, including leaks in its propulsion system and some of its thrusters shutting down. While they made it to the space station safely, they will need an alternative mode of transport to get home if the Starliner is not deemed safe to return to Earth. One potential option being considered to get the astronauts safely home is to attach the two astronauts to a separate mission that is scheduled to launch in September, and return them to earth with that mission in February 2025. That flight to the space station will be made by a SpaceX Crew Dragon craft, and while the initial plan was for four crew members to be aboard, two of the seats could be left empty if needed. That plan would mean the astronauts would spend more than eight months, rather than eight days, aboard the International Space Station. NASA officials said it could take a week or more for a final decision to be made about how to get the stranded astronauts safely home. Thankfully, NASA has used a SpaceX rocket to deliver more food and supplies to the ISS, including extra clothes for the two astronauts, as the pair remain in high spirits. Image credits: NASA

Travel Trouble

Still fab after 60 years: how The Beatles’ A Hard Day’s Night made pop cinema history

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> I first saw A Hard Day’s Night at a film festival over 20 years ago, at the insistence of my mum. By then, it was already decades old, but I remember being enthralled by its high-spirited energy. A Beatles fan, mum had introduced me to the band’s records in my childhood. At home, we listened to Please Please Me, the band’s 1963 single, and the Rubber Soul album from 1965, which I loved. Television regularly showed old black-and-white scenes of Beatlemania that, to a ten-year-old in the neon-lit 1980s, seemed like ancient history. But then, I’d never seen a full-length Beatles film. I had no idea what I was in for. When the lights went down at Dunedin’s Regent Theatre, the opening chord of the film’s title song announced its intentions: an explosion of youthful vitality, rhythmic visuals, comical high jinks and the electrifying thrill of Beatlemania in 1964. This time, it didn’t seem ancient at all. Since that first viewing, I’ve returned to A Hard Day’s Night again and again. I now show it to my students as a historically significant example of pop music film making – visually inventive cinema, emblematic of a fresh era in youth culture, popular music and fandom. <h2>Beatlemania on celluloid</h2> A musical comedy depicting a chaotic 36 hours in the life of the Beatles, A Hard Day’s Night has now reached its 60th anniversary. Directed by <a href="https://www.imdb.com/name/nm0504513/">Richard Lester</a>, the film premiered in London on July 6 1964, with its first public screening a day later (incidentally, also Ringo Starr’s birthday), and the <a href="https://www.discogs.com/master/24003-The-Beatles-A-Hard-Days-Night">album of the same name</a> released on July 10. The band’s popularity was by then reaching dizzying heights of hysteria, all reflected in the film. The Beatles are chased by hordes of fans, take a train trip, appear on TV, run from the police in a Keystone Cops-style sequence, and play a televised concert in front of screaming real-life Beatles fans. Side one of the album provides the soundtrack, and the film inspired pop music film and video from then on, from the <a href="https://www.imdb.com/title/tt0060010/">Monkees TV series</a> (1966–68) to the Spice Girls’ <a href="https://www.imdb.com/title/tt0120185/">Spice World</a> (1997) and music videos as we know them today. <h2>The original music video</h2> Postwar teen culture and consumerism had been on the rise since the 1950s. In 1960s Britain, youth music TV programmes, notably <a href="https://www.imdb.com/title/tt0196287/">Ready Steady Go!</a> (1963–66), meant pop music now had a developing visual culture. The youthful zest and vitality of ‘60s London was reflected in the pop-cultural sensibility, modern satirical humour and crisp visual impact of A Hard Day’s Night. Influenced by <a href="https://nofilmschool.com/french-new-wave-cinema">French New Wave</a> film making, and particularly the early 1960s work of <a href="https://www.imdb.com/name/nm0000419/">Jean-Luc Godard</a>, A Hard Day’s Night employs <a href="https://indiefilmhustle.com/cinema-verite/">cinéma vérité</a>-style hand-held cinematography, brisk jump cuts, unusual framing and dynamic angles, high-spirited action, and a self-referential nonchalance. The film also breaks the “fourth wall”, with characters directly addressing the audience in closeup, and reveals the apparatus of the visual performance of music: cameras and TV monitors are all part of the frame. Cutting the shots to the beat of the music – as in the Can’t Buy Me Love sequence – lends a visual rhythm that would later become the norm in music video editing. Lester developed this technique further in the second Beatles film, <a href="https://www.imdb.com/title/tt0059260/">Help!</a> (1965). The closing sequence of A Hard Day’s Night is possibly the film’s most dynamic: photographic images of the band edited to the beat in the style of stop-motion animation. Sixty years on, it still feels fresh, especially as so much contemporary film making remains hidebound by formulaic Hollywood rules. <figure class="align-center "><img src="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=453&fit=crop&dpr=1 600w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=453&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=453&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=569&fit=crop&dpr=1 754w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=569&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=569&fit=crop&dpr=3 2262w" alt="A Hard Day's Night movie poster" /><figcaption>A new pop aesthetic: original film poster for A Hard Day’s Night. Getty Images</figcaption></figure> <h2>Slapstick and class awareness</h2> As with much popular culture from the past, the humour in A Hard Day’s Night doesn’t always doesn’t land the way it would have in 1964. And yet, there are moments that seem surprisingly modern in their razor-sharp irony. In particular, the band’s Liverpudlian working-class-lad jibes and chaotic energy contrast brilliantly with the film’s upper-class characters. Actor Victor Spinetti’s comically over-anxious TV director, constantly hand-wringing over the boys’ rebelliousness, underscores the era-defining change the Beatles represented. Corporate pop-culture consumerism is also satirised. John Lennon “snorts” from a Coca-Cola bottle, a moment so knowingly silly it registers as more contemporary than it really is. George Harrison deflects a journalist’s banal questions with scathingly witty answers, and cuts a fashion company down to size by describing their shirt designs as “grotesque”. And there is Paul McCartney’s running joke that his grandfather – played by Wilfred Brambell from groundbreaking sitcom <a href="https://www.imdb.com/title/tt0057785/">Steptoe and Son</a> (1962–74) – is “very clean”. Even the film’s old-fashioned visual slapstick still holds up in 2024. Showing the film to this year’s students, I didn’t expect quite as much laughter when Ringo’s attempts to be chivalrous result in a fall-down-a-hole mishap. In 2022, the <a href="https://www.criterion.com/">Criterion Collection</a> released a high-resolution restoration of the film, so today A Hard Day’s Night can be seen in all its fresh, black-and-white, youthful vigour. Happy 60th, A Hard Day’s Night. And happy 84th, Ringo. Both still as lively and energetic as ever.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/228598/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, Teaching Fellow in Music, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> Image credits: THA/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/still-fab-after-60-years-how-the-beatles-a-hard-days-night-made-pop-cinema-history-228598">original article</a>. </div>

Movies

$10,000 reasons to become a Hire A Hubby franchisee

For more than 25 years, Hire A Hubby has been a cornerstone of excellence in the property maintenance industry. From humble beginnings, where franchisees were solo operators handling small repairs, we’ve grown to an expansive network of 50 franchisees, big and small, right across New Zealand. These franchisees are now managing larger operations with skilled teams, delivering top-notch services to enhance and protect the most valued assets – our customers' properties. And now more than ever, we are looking for ways to help you help yourself. With two very special Hire A Hubby offers that will give you the incentive you’ve been waiting for to make that life-changing decision and take the first step towards an exciting and profitable future. But first a little background… <h2>Choosing your path to prosperity</h2> <img src="https://oversixtydev.blob.core.windows.net/media/2024/07/Brett-and-Ged_O60.jpg" alt="" width="1280" height="720" /> From the moment you start your Hire A Hubby business journey, right through to eventually selling it for a profit, Hire A Hubby is dedicated to supporting its franchisees every step of the way. But that first all-important step involves selecting the distinct business model that best suits your goals and lifestyle ambitions: Option 1 – Man in a Van: Perfect for individuals who prefer working independently, managing jobs from start to finish on smaller projects. Option 2 – Enterprise: Ideal for couples or partnerships aiming to scale their business by managing a team and taking on larger projects. Option 3 – Big Business: Designed for ambitious entrepreneurs looking to own multiple territories, manage teams and handle both commercial and residential projects. You just need to ask yourself: Are you practical, hands-on and have a passion for home improvement? Then Hire A Hubby could be your pathway not just to financial independence but immense personal satisfaction as well. Hire A Hubby franchisees come from diverse backgrounds, from laidback surfers to steely-eyed future tycoons, but without exception they share a common goal: to create successful businesses that support their dream lifestyles. And make no mistake, with the Hire A Hubby support network in place, they do not do it alone. Just ask Tony Veale, a Hire A Hubby Big Business Owner from Te Awamutu: “It's great to be involved in Hire A Hubby as a franchise owner,” says Tony. “As we are part of a team and we can always ask each other to gain advice on tricky jobs we encounter in our everyday work life.” Or Rob Daniels, a Hire A Hubby Man in a Van from Whangaparaoa: “It’s a friendly team that makes you feel part of the family from day one,” explains Rob. “There is a lot of business support and guidance from the Head Office and other Hubbies around the area, who are always happy to give advice and help where needed, which makes running a business easier than if I had gone out on my own.” <h2>Comprehensive training and support</h2> <img src="https://oversixtydev.blob.core.windows.net/media/2024/07/Brett-and-Ged_2_O60.jpg" alt="" width="1280" height="720" /> The extensive Hire A Hubby training program covers everything from setting up your business to attracting and retaining customers. You’ll learn how to price, quote, invoice, manage finances and even conduct local marketing. Plus, ongoing education will help keep you updated on industry trends and best practices. As well as leveraging the strength of the Hire A Hubby brand, which is renowned throughout New Zealand for its high-quality service, you’ll also benefit from national marketing campaigns and strong digital assets to promote your business year-round. You’ll also reap the benefits of unlimited support from a dedicated business advisor – prestigious winner of the Westpac New Zealand Field Manager of the Year Award in 2022 – who will assist with franchise development, marketing, financial management and continuous training, ensuring your business thrives. <h2>Celebrating Hubby excellence</h2> Hire A Hubby’s commitment to excellence is reflected in our culture and our awards. We celebrate our franchisees' considerable achievements with an annual awards evening and national competitions. Notably, Craig Burrowes from Auckland won the Westpac New Zealand Supreme Franchisee of the Year Award in 2023, and says he’ll not soon forget that crowning moment. “I can’t believe the energy that was in the room,” he recalls of the evening. “There were hundreds of people there, all so enthused about the business they are in, all so vested in their business and their brand … It was incredible – and then it got even better. We won! It was a bit of a shock, we were stunned and humbled.” But the final word goes to Hire A Hubby franchisee and Man in a Van Shaun Williams from Tauranga: “I’m extremely proud to be part of the Hire A Hubby family,” says Shaun. “Knowing that you have them supporting you is really morale boosting. There is a comfort level being part of an established brand, and I’ve been able to strike the right balance between running my business and spending time with my family.” <h2>Helping you get the start you need</h2> And now, without further ado, here are the two life-changing offers that could set you on your way to a new career. Offer 1: If you are interested in becoming our next Hire a Hubby Business owner and becoming part of a successful team of franchisees, we have a special offer of $5,000 toward the cost of the equipment and training package. Simply use Reference Code HAH1 to redeem this offer. Offer 2: If you have a friend, family member or colleague that you just know would make a great Hire A Hubby business owner, we are offering a $5,000 referral bonus if you refer someone and their application is successful! Simply use Reference Code HAH2 to redeem this offer. That’s how committed we are to seeing Hire A Hubby continue to grow throughout New Zealand, and to continue building successful, proactive, community-minded businesses that help you achieve your lifestyle dreams. For more information about becoming a Hire A Hubby business owner and the support we offer, please visit <a href="https://www.hireahubby.co.nz/" target="_blank" rel="noopener">Hire A Hubby.co.nz</a> or contact our franchise sales team via email on <a href="mailto:Sales@hireahubby.co.nz" target="_blank" rel="noopener">Sales@hireahubby.co.nz</a> or call 0800 485 042. All images: Hire A Hubby This is a sponsored article produced in partnership with Hire A Hubby.

Money & Banking

Incredible treasure trove of unseen royal images

In a mesmerising blend of history and artistry, Buckingham Palace's newly christened King's Gallery has unveiled a captivating journey through time and royalty with the debut of "Royal Portraits: A Century of Photography". Opening its on May 17, this groundbreaking exhibition delves into the illustrious lineage of the Royal Family through more than 150 carefully curated portraits – some never before seen by the public eye. A highlight among these treasures is a poignant snapshot capturing a rare familial moment: Queen Elizabeth II, Princess Margaret, Princess Alexandra, and The Duchess of Kent cradling their newborns. Lord Snowdon, Princess Margaret's husband, immortalised this touching scene as a token of gratitude to Sir John Peel, the esteemed royal obstetrician responsible for delivering all four babies within a mere two-month span. In this heartfelt image, Queen Elizabeth II tenderly holds Prince Edward, her youngest offspring, while Princess Margaret, Princess Alexandra and The Duchess of Kent embrace their own bundles of joy. Accompanying this snapshot is a handwritten letter penned by Princess Margaret to her sister, affectionately addressed as "Darling Lilibet", requesting a signature on a print destined as a cherished memento for the esteemed doctor. The exhibition transcends mere family portraits, delving deep into the evolution of royal portraiture over the past century. Visitors are treated to a visual feast of iconic images captured by renowned photographers, including Dorothy Wilding, Annie Leibovitz, David Bailey and Rankin. Notably, the legendary Cecil Beaton's immortalisation of Queen Elizabeth II's coronation remains a cornerstone of the collection, offering a timeless glimpse into history. The exhibition also pays homage to the enduring allure of Princess Anne through her striking appearances on Vogue covers and a celebrated coming-of-age portrait by Norman Parkinson, commemorating her 21st birthday. From the timeless elegance of Princess Anne to the radiant charm of Prince William and Kate Middleton, and the spirited grace of Zara Tindall, the exhibition showcases a diverse tapestry of royal personalities spanning generations. Yet, it is not merely the portraits themselves that captivate visitors, but the untold stories and intimate moments woven into each frame. Delving into the depths of royal history, the exhibition reveals unseen wartime images by Cecil Beaton, illustrating King George VI and Queen Elizabeth's unwavering resolve amidst the chaos of conflict. As visitors explore the gallery, they are guided by a free multimedia experience narrated by Dame Joanna Lumley, offering a behind-the-scenes glimpse into the artistry and craftsmanship behind these timeless portraits. From Hugo Burnand's vivid recollections of photographing the royal coronation to the candid insights of royal photographers such as Rankin and John Swannell, the multimedia guide adds depth and dimension to the exhibition, inviting visitors to immerse themselves fully in the rich tapestry of royal history. "Royal Portraits: A Century of Photography" is not merely an exhibition; it is a testament to the enduring legacy of the British monarchy, captured through the lens of some of the most esteemed photographers of our time. From the grandeur of coronations to the tender embrace of a mother cradling her newborn, each portrait tells a story – a story of tradition, resilience and the timeless allure of royalty. Images: Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Leap of imagination: how February 29 reminds us of our mysterious relationship with time and space

<a href="https://theconversation.com/profiles/emily-ohara-874665">Emily O'Hara</a>, <a href="https://theconversation.com/institutions/auckland-university-of-technology-1137">Auckland University of Technology</a> If you find it intriguing that February 28 will be followed this week by February 29, rather than March 1 as it usually is, spare a thought for those alive in 1582. Back then, Thursday October 4 was followed by Friday October 15. Ten whole days were snatched from the present when Pope Gregory XIII issued a papal bull to “restore” the calendar from discrepancies that had crept into the Julian calendar, introduced by Julius Caesar in 45 BCE. The new Gregorian calendar returned the northern hemisphere’s vernal equinox to its “proper” place, around March 21. (The equinox is when the Earth’s axis is tilted neither toward nor away from the sun, and is used to determine the date of Easter.) The Julian calendar had observed a leap year every four years, but this meant time had drifted out of alignment with the dates of celestial events and astronomical seasons. In the Gregorian calendar, leap days were added only to years that were a multiple of four – like 2024 – with an exception for years that were evenly divisible by 100, but not 400 – like 1700. Simply put, leap days exist because it doesn’t take a neat 365 days for Earth to orbit the Sun. It takes 365.2422 days. Tracking the movement of celestial objects through space in an orderly pattern doesn’t quite work, which is why we have February – time’s great mop. <h2>Time and space</h2> This is just part of the history of how February – the shortest month, and originally the last month in the Roman calendar – came to have the job of absorbing those inconsistencies in the temporal calculations of the world’s most commonly used calendar. There is plenty of <a href="https://theconversation.com/leap-day-fixing-the-faults-in-our-stars-54032">science</a>, <a href="https://theconversation.com/explainer-the-science-behind-leap-years-and-how-they-work-54788">maths</a> and <a href="https://theconversation.com/how-a-seasonal-snarl-up-in-the-mid-1500s-gave-us-our-strange-rules-for-leap-years-132659">astrophysics</a> explaining the relationship between time and the planet we live on. But I like to think leap years and days offer something even more interesting to consider: why do we have calendars anyway? And what have they got to do with how we understand the wonder and strangeness of our existence in the universe? Because calendars tell a story, not just about time, but also about space. Our reckoning of time on Earth is through our spatial relationship to the Sun, Moon and stars. Time, and its place in our lives, sits somewhere between the scientific, the celestial and the spiritual. It is <a href="https://shop.whitechapelgallery.org/products/time">notoriously slippery, subjective and experiential</a>. It is also marked, tracked and determined in myriad ways across different cultures, from tropical to solar to <a href="https://www.stuff.co.nz/pou-tiaki/300062097/matariki-and-the-maramataka-the-mori-lunar-calendar">lunar</a> calendars. It is the Sun that measures a day and gives us our first reference point for understanding time. But it is the <a href="https://librarysearch.aut.ac.nz/vufind/Record/1145999?sid=25214690">Moon</a>, as a major celestial body, that extends our perception of time. By stretching a span of one day into something longer, it offers us a chance for philosophical reflection. The Sun (or its effect at least) is either present or not present. The Moon, however, goes through phases of transformation. It appears and disappears, changing shape and hinting that one night is not exactly like the one before or after. The Moon also has a distinct rhythm that can be tracked and understood as a pattern, giving us another sense of duration. Time is just that – overlapping durations: instants, seconds, minutes, hours, days, weeks, months, years, decades, lifetimes, centuries, ages. <h2>The elusive Moon</h2> It is almost impossible to imagine how time might feel in the absence of all the tools and gadgets we use to track, control and corral it. But it’s also hard to know what we might do in the absence of time as a unit of productivity – a measurable, dispensable resource. The closest we might come is simply to imagine what life might feel like in the absence of the Moon. Each day would rise and fall, in a rhythm of its own, but without visible reference to anything else. Just endless shifts from light to dark. Nights would be almost completely dark without the light of the Moon. Only stars at a much further distance would puncture the inky sky. The world around us would change – trees would grow, mammals would age and die, land masses would shift and change – but all would happen in an endless cycle of sunrise to sunset. The light from the Sun takes <a href="https://www.skyatnightmagazine.com/space-science/how-take-light-from-sun-reach-earth">eight minutes</a> to reach Earth, so the sunlight we see is always eight minutes in the past. I remember sitting outside when I first learned this, and wondering what the temporal delay might be between me and other objects: a plum tree, trees at the end of the street, hills in the distance, light on the horizon when looking out over the ocean, stars in the night sky. Moonlight, for reference, takes about <a href="https://www.pbs.org/seeinginthedark/astronomy-topics/light-as-a-cosmic-time-machine.html">1.3 seconds</a> to get to Earth. Light always travels at the same speed, it is entirely constant. The differing duration between how long it takes for sunlight or moonlight to reach the Earth is determined by the space in between. Time on the other hand, is anything but constant. There are countless ways we characterise it. The mere fact we have so many calendars and ways of describing perceptual time hints at our inability to pin it down. Calendars give us the impression we can, and have, made time predictable and understandable. Leap years, days and seconds serve as a periodic reminder that we haven’t.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/224503/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/emily-ohara-874665">Emily O'Hara</a>, Senior Lecturer, Spatial Design + Temporary Practices, <a href="https://theconversation.com/institutions/auckland-university-of-technology-1137">Auckland University of Technology</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/leap-of-imagination-how-february-29-reminds-us-of-our-mysterious-relationship-with-time-and-space-224503">original article</a>.

Technology

How to turn your handy skills into material wealth

If you’re looking for an opportunity to be your own boss, minus all of the uncertainties that come with starting a business from scratch, a <a href="https://www.hireahubby.co.nz/franchise/" target="_blank" rel="noopener">Hire A Hubby franchise</a> offers the perfect chance for you to take charge of your time, your future, and do what you love while building a successful business. This is no flash-in-the-pan start-up venture either; with more than 25 years of experience, the recognition and solid reputation already cemented by Hire A Hubby provide a valuable head start, making it far easier for you to connect with clients and build lasting relationships in your local community and beyond. Combining a proven business model refined and perfected over the years with all of the experience and insights of a solid Franchise Support Team, the risks commonly associated with entrepreneurship are virtually eliminated. Not only will you be stepping into a well-established brand that has earned the trust of customers nationwide, you’ll also be saying goodbye to the daily grind and hello to work-life harmony. One of the standout features of a Hire A Hubby franchise is the diverse range of services it offers. From general maintenance to renovations and repairs, franchisees have the opportunity to cater to a wide spectrum of customer needs. This versatility means you will not only attract a broader clientele, but also ensures a steady stream of business throughout the year, contributing to your long-term success. With New Zealand's property market experiencing a strong, continuous upward trend, there’s an equally strong demand for home maintenance and improvement services. What better way to position yourself to capitalise on this expanding market than with a Hire A Hubby franchise? As homeowners and businesses continue to place property upkeep front and centre, you’ll find yourself in a lucrative position to meet those needs – while contributing to the overall well-being of your community. And there’s no need to go it alone. Since success in any venture is most often the result of proper guidance and support, you’ll also benefit from Hire A Hubby’s comprehensive training programs, designed to equip you with all the necessary skills and knowledge to run a successful business. Backed by ongoing help from the Franchise Support Team, you’ll be able to stay well ahead of any industry trends and challenges standing in the way of success. <iframe title="YouTube video player" src="https://www.youtube.com/embed/uNvVOK5UgPk?si=rbZkgdrP5fzmZ1m4" width="560" height="315" frameborder="0" data-mce-fragment="1"></iframe> But how best to get your name out there? Hire A Hubby understands all too well that visibility is key in any competitive marketplace. That’s why you’ll be able to tap into the collective strength of a national advertising and marketing campaign to not only boosts local visibility, but do wonders for your credibility at the same time, leading to new customers, new experiences and even greater success. The flexibility that comes with owning a Hire A Hubby franchise can’t help but add a serious dose of satisfaction to your lifestyle. You're not just running a business; you're crafting a life that allows you to balance work and play. That freedom to set your schedule means more time for the things you love. Speaking of which – as the proud owner of a Hire A Hubby franchise, you're not just fixing homes; you're also spreading joy one repair at a time. Whether it's a leaky roof or a wonky shelf, your expertise becomes a beacon of happiness for your clients. Imagine the pleasure of seeing a problem solved and the smiles on your customers' faces? These are priceless rewards that we all know come with the handyman territory. In the world of Hire A Hubby, happy customers aren’t just a metric; they are the real currency of success. That’s because satisfied clients are not just repeat clients; they are ambassadors for your brand, sharing their positive experiences and spreading the joy of your services. <img class="alignnone size-full wp-image-13682" src="https://oversixtydev.blob.core.windows.net/media/2024/01/HireAHubby01_060.jpg" alt="" width="1280" height="720" /> Owning and running a Hire A Hubby franchise means building a community of satisfied customers who appreciate not just your skills but the positive energy you bring to their homes. In the end, Hire A Hubby isn't just a brand; it's a positive force in the world of home maintenance and improvement. Becoming a part of that means contributing to a brand that is known for its reliability, professionalism and, most importantly, its ability to bring smiles to the faces of homeowners across New Zealand. So put on that tool belt, square your shoulders and get ready to join The Everything Experts! For more information on how to transform your handy skills into easy material wealth, head to <a href="https://www.hireahubby.co.nz/franchise/" target="_blank" rel="noopener">www.hireahubby.co.nz/franchise</a> Images: Supplied. This is a sponsored article produced in partnership with Hire A Hubby.

Home & Garden

7 things you never knew about MAS*H

Did you know M*A*S*H ran more than three times longer than the actual Korean War? It may have graced our screens for 11 years, but you might not know all there is to know about the classic TV series, M*A*S*H. <ol> <li>No one wanted a laugh track – Despite pleas from the show’s producers, the network (CBS) went ahead and added in canned laughter. You might have noticed the laugh track growing quieter and quieter as the years progressed, and in the UK, the laugh track was removed entirely.</li> <li>CBS banned an “unpatriotic” episode – An idea for an episode was shot down by the network for being “unpatriotic”. It involved soldiers standing outside in the freezing cold to make themselves sick enough to be sent home – a tactic actually used during the war.</li> <li>The writers got back at complaining cast members – If ever an actor complained about their script (or asked for changes), the writing team would change the script to make it “parka weather”, making the cast swelter in jackets through days in excess of 32°C on their Florida film set.</li> <li>Patients were named after sports teams – After running out of names for patients visiting the hospital, the writers turned to baseball teams. In season six, four Marines are named after California Angels infielders, while in season seven, they named patients after the 1978 Los Angeles Dodgers.</li> <li>M*A*S*H hosted some big-name stars – Guest appearances on the show include Ron Howard, Leslie Nielsen, Patrick Swayze, Laurence Fishburne and Rita Wilson.</li> <li>The series finale broke records – The two-and-a-half-hour 1983 series finale, “Goodbye, Farewell and Amen,” was watched by a staggering 121.6 million people in the US alone – back then, that was 77 per cent of households with TV sets. It remains the most-watched episode of a TV show in US history.</li> <li>The time capsule didn’t stay buried long – In the series’ second-last episode, the M*A*S*H gang bury a time capsule. When the show wrapped up, the land used as the show’s set was sold, and a construction worker found the capsule just months later. After getting in contact with Alan Alda to return it, Alda told the worker he could keep it.</li> </ol> Image credits: Getty Images

Almost half of Moon missions fail. Why is space still so hard?

<a href="https://theconversation.com/profiles/gail-iles-761554">Gail Iles</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> In 2019, India attempted to land a spacecraft on the Moon – and ended up painting a kilometres-long streak of debris on its barren surface. Now the Indian Space Research Organisation has returned in triumph, with the Chandrayaan-3 lander <a href="https://www.reuters.com/world/india/india-counts-down-crucial-moon-landing-2023-08-23/">successfully touching down</a> near the south pole of Earth’s rocky neighbour. India’s success came just days after a <a href="https://www.nature.com/articles/d41586-023-02659-6">spectacular Russian failure</a>, when the Luna 25 mission tried to land nearby and “ceased to exist as a result of a collision with the lunar surface”. These twin missions remind us that, close to 60 years after the first successful “soft landing” on the Moon, spaceflight is still difficult and dangerous. Moon missions in particular are still a coin flip, and we have seen several high-profile failures in recent years. Why were these missions unsuccessful and why did they fail? Is there a secret to the success of countries and agencies who have achieved a space mission triumph? <h2>An exclusive club</h2> The Moon is the only celestial location humans have visited (so far). It makes sense to go there first: it’s the closest planetary body to us, at a distance of around 400,000 kilometres. Yet only four countries have achieved successful “soft landings” – landings which the spacecraft survives – on the lunar surface. The USSR was the first. The <a href="https://en.wikipedia.org/wiki/Luna_9">Luna 9</a> mission safely touched down on the Moon almost 60 years ago, in February 1966. The United States followed suit a few months later, in June 1966, with the <a href="https://www.smithsonianmag.com/air-space-magazine/1966-the-real-first-moon-landing-118785850/">Surveyor 1</a> mission. China was the next country to join the club, with the <a href="https://en.wikipedia.org/wiki/Chang%27e_3">Chang'e 3</a> mission in 2013. And now India too has arrived, with <a href="https://amp.theguardian.com/science/2023/aug/23/india-chandrayaan-3-moon-landing-mission">Chandrayaan-3</a>. Missions from Japan, the United Arab Emirates, Israel, Russia, the European Space Agency, Luxembourg, South Korea and Italy have also had <a href="https://en.wikipedia.org/wiki/List_of_missions_to_the_Moon">some measure of lunar success</a> with fly-bys, orbiters and impacts (whether intentional or not). <h2>Crashes are not uncommon</h2> On August 19 2023, the Russian space agency Roscosmos announced that “communication with the <a href="https://www.nature.com/articles/d41586-023-02659-6">Luna 25 spacecraft</a> was interrupted”, after an impulse command was sent to the spacecraft to lower its orbit around the Moon. Attempts to contact the spacecraft on August 20 were unsuccessful, leading Roscosmos to determine Luna 25 had crashed. Despite more than 60 years of spaceflight experience extending from the USSR to modern Russia, this mission failed. We don’t know exactly what happened – but the current situation in Russia, where resources are stretched thin and tensions are high due to the ongoing war in Ukraine, may well have been a factor. The Luna 25 failure recalled two high-profile lunar crashes in 2019. In April that year, the Israeli <a href="https://en.wikipedia.org/wiki/Beresheet">Beresheet lander</a> crash-landed after a gyroscope failed during the braking procedure, and the ground control crew was unable to reset the component due to a loss of communications. It was later reported a capsule containing microscopic creatures called tardigrades, in a dormant “cryptobiotic” state, may have survived the crash. And in September, India sent its own Vikram lander down to the surface of the Moon – but it did not survive the landing. NASA later <a href="https://www.theguardian.com/science/2019/dec/03/indias-crashed-vikram-moon-lander-spotted-on-lunar-surface">released an image</a> taken by its Lunar Reconnaissance Orbiter showing the site of the Vikram lander’s impact. Debris was scattered over almost two dozen locations spanning several kilometres. <h2>Space is still risky</h2> Space missions are a risky business. Just over <a href="https://www.businessinsider.in/science/space/news/success-rate-of-lunar-missions-is-a-little-over-50-as-per-nasa-database/articleshow/101774227.cms">50% of lunar missions succeed</a>. Even <a href="https://ntrs.nasa.gov/api/citations/20190002705/downloads/20190002705.pdf">small satellite missions</a> to Earth’s orbit don’t have a perfect track record, with a success rate somewhere between 40% and 70%. We could compare uncrewed with crewed missions: around <a href="https://www.bbc.com/future/article/20230518-what-are-the-odds-of-a-successful-space-launch">98% of the latter are successful</a>, because people are more invested in people. Ground staff working to support a crewed mission will be more focused, management will invest more resources, and delays will be accepted to prioritise the safety of the crew. We could talk about the details of why so many uncrewed missions fail. We could talk about technological difficulties, lack of experience, and even the political landscapes of individual countries. But perhaps it’s better to step back from the details of individual missions and look at averages, to see the overall picture more clearly. <h2>The big picture</h2> Rocket launches and space launches are not very common in the scheme of things. There are <a href="https://www.pd.com.au/blogs/how-many-cars-in-the-world/">around 1.5 billion cars</a> in the world, and perhaps <a href="https://www.travelweek.ca/news/exactly-many-planes-world-today/">40,000 aeroplanes</a>. By contrast, there have been fewer than <a href="https://planet4589.org/space/gcat/data/derived/launchlog.html">20,000 space launches</a> in all of history. Plenty of things still go wrong with cars, and problems occur even in the better-regulated world of planes, from loose rivets to computers overriding pilot inputs. And we have more than a century of experience with these vehicles, in every country on the planet. So perhaps it’s unrealistic to expect spaceflight – whether it’s the launch stage of rockets, or the even rarer stage of trying to land on an alien world – to have ironed out all its problems. We are still very much in the early, pioneering days of space exploration. <h2>Monumental challenges remain</h2> If humanity is ever to create a fully fledged space-faring civilisation, we must <a href="https://www.wired.com/2016/02/space-is-cold-vast-and-deadly-humans-will-explore-it-anyway/">overcome monumental challenges</a>. To make long-duration, long-distance space travel possible, there are a huge number of problems to be solved. Some of them seem within the realm of the possible, such as better radiation shielding, self-sustaining ecosystems, autonomous robots, extracting air and water from raw resources, and zero-gravity manufacturing. Others are still speculative hopes, such as faster-than-light travel, instantaneous communication, and artificial gravity. Progress will be little by little, small step by slightly larger step. Engineers and space enthusiasts will keep putting their brainpower, time and energy into space missions, and they will gradually become more reliable. And maybe one day we’ll see a time when going for a ride in your spacecraft is as safe as getting in your car. <hr /> Correction: a typing error in the original version of this article put the Surveyor 1 mission in 1996, rather than its actual year of 1966.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/211914/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/gail-iles-761554">Gail Iles</a>, Senior Lecturer in Physics, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/almost-half-of-moon-missions-fail-why-is-space-still-so-hard-211914">original article</a>.

International Travel

2001: A Space Odyssey still leaves an indelible mark on our culture 55 years on

<a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a> 2001: A Space Odyssey is a landmark film in the history of cinema. It is a work of extraordinary imagination that has transcended film history to become something of a cultural marker. And since 1968, it has penetrated the psyche of not only other filmmakers but society in general. It is not an exaggeration to say that 2001 single-handedly reinvented the science fiction genre. The visuals, music and themes of 2001 left an inedible mark on subsequent science fiction that is still evident today. When <a href="https://www.simonandschuster.com/books/Kubrick/Robert-P-Kolker/9781639366248">Stanley Kubrick</a> began work on 2001 in the mid-1960s, he was told by studio executive Lew Wasserman: “Kid, you don’t spend over a million dollars on science fiction movies. You just don’t do that.” By that point, the golden age of science fiction film had run its course. During its heyday, there was a considerable variety of content within the overarching genre. There had been serious attempts to foretell space travel. Destination Moon, directed by Irving Pichel and produced by George Pal in 1950, and, in mid-century, Byron Haskin’s Conquest of Space both fantasised space travel and, in Haskin’s film, a space station, which Kubrick would elaborate on in 2001. <figure><iframe src="https://www.youtube.com/embed/oR_e9y-bka0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The trailer for 2001: A Space Odyssey.</figcaption></figure> Most 1950s science fiction films, though, were cheap B-movie fare and looked it. They involved alien invasions with an ideological and allegorical subtext. They were cultural, cinematic imaginations of the danger of communism, which in the overheated political atmosphere of the time was seen as an imminent threat to the American way of life. The aliens in most science fiction films were out simply to destroy or take over humanity; they were expressions, to use the title of a Susan Sontag essay, of “<a href="https://americanfuturesiup.files.wordpress.com/2013/01/sontag-the-imagination-of-disaster.pdf">the imagination of disaster</a>”. There were some exceptions, including Byron Haskin’s film version of The War of the Worlds and Robert Wise’s The Day the Earth Stood Still. By 1968, then, as the lights went down, very few people knew what was about to transpire and they certainly were not prepared for what did. The film opened in near darkness as the strains of Thus Spake Zarathustra by Richard Strauss were heard. The cinema was dazzled into light, as if Kubrick had <a href="https://www.rutgersuniversitypress.org/stanley-kubrick/9780813587110">remade Genesis</a>. The subsequent 160 or so minutes (the length of his original cut before he edited 19 minutes out of it) took the viewer on what was marketed as “the ultimate trip”. Kubrick had excised almost every element of explanation leaving an elusive, ambiguous and thoroughly unclear film. His decisions contributed to long silent scenes, offered without elucidation. It contributed to the film’s almost immediate critical failure but its ultimate success. It was practically a silent movie. 2001 was an experiment in film form and content. It exploded the conventional narrative form, restructuring the conventions of the three-act drama. The narrative was linear, but radically, spanning aeons and ending in a timeless realm, all without a conventional movie score. Kubrick used 19th-century and modernist music, such as Strauss, György Ligeti and Aram Khachaturian. <h2>Vietnam</h2> The movie was made during a tumultuous period of American history, which it seemingly ignored. The war in Vietnam was already a highly divisive issue and was spiralling into a crisis. The <a href="https://www.britannica.com/topic/Tet-Offensive">Tet offensive</a>, which began on January 31 1968, had claimed tens of thousands of lives. As US involvement in Vietnam escalated, domestic unrest and violence at home intensified. Increasingly, young Americans expected their artists to address the chaos that roared around them. But in exploring the origins of humanity’s propensity for violence and its future destiny, 2001 dealt with the big questions and ones that were burning at the time of its release. They fuelled what Variety magazine called the “coffee cup debate” over “what the film means”, which is still ongoing today. The design of the film has touched many other films. Silent Running by Douglas Trumbull (who worked on 2001’s special effects) owes the most obvious debt but Star Wars would be also unthinkable without it. Popular culture is full of imagery from the film. The <a href="https://faroutmagazine.co.uk/stanley-kubrick-2001-a-space-odyssey-music/">music</a> Kubrick used in the film, especially Strauss’s The Blue Danube, is now considered <a href="https://theweek.com/articles/702734/planetarium-brief-history-space-music">“space music”</a>. Images from the movie have appeared <a href="https://www.youtube.com/watch?v=kfK9pEQZyy0">in iPhone adverts</a>, in The Simpsons and even the trailer for the new <a href="https://metro.co.uk/2022/12/16/trailer-for-greta-gerwigs-barbie-spoofs-classic-film-in-best-way-17951854/">Barbie movie</a>. <figure><iframe src="https://www.youtube.com/embed/8zIf0XvoL9Y?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>2001: A Space Odyssey’s influence on this Barbie movie trailer couldn’t be more obvious.</figcaption></figure> The warnings of the danger of technology embodied in the film’s murderous supercomputer HAL-9000 can be felt in the “tech noir” films of the late 1970s and 1980s, such as Westworld, <a href="https://theconversation.com/how-alien-mutated-from-a-sci-fi-horror-film-into-a-multimedia-universe-204567">Alien</a>, Blade Runner and Terminator. HAL’s single red eye can be seen in the children’s series, Q Pootle 5, and Pixar’s animated feature, Wall-E. HAL has become shorthand for the untrammelled march of artificial intelligence (AI). In the age of ChatGPT and other AI, the metaphor of Kubrick’s computer is <a href="https://www.nytimes.com/2023/02/22/movies/ai-movies-microsoft-bing-robots.html">frequently evoked</a>. But why when there have been so many other images such as Frankenstein, Prometheus, terminators and other murderous cyborgs? Because there is something so uncanny and human about HAL who was deliberately designed to be more <a href="https://www.tandfonline.com/doi/abs/10.1080/01439685.2017.1342328?journalCode=chjf20">empathic and human than the people in the film</a>. In making 2001, Stanley Kubrick created a cultural phenomenon that continues to speak to us eloquently today.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/209152/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, Professor of Film Studies, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/2001-a-space-odyssey-still-leaves-an-indelible-mark-on-our-culture-55-years-on-209152">original article</a>.

Movies

Virgin Galactic’s use of the ‘Overview Effect’ to promote space tourism is a terrible irony

<a href="https://theconversation.com/profiles/ariane-moore-1060920">Ariane Moore</a>, <a href="https://theconversation.com/institutions/university-of-tasmania-888">University of Tasmania</a> Virgin Galactic, the space tourism company founded in 2004 by Richard Branson, <a href="https://www.virgingalactic.com/">promotes its flights</a> as offering: <blockquote> A Brand New Perspective: Deepen your connection to Earth and to humanity with the transformational experience known as the Overview Effect. </blockquote> First discussed in 1987 by space philosopher Frank White, the Overview Effect is a result of viewing Earth from space. Expressions of the effect range broadly. Astronauts might experience profound awe and wonder at the perception of Earth as a fragile living being. Some suffer crushing grief when considering the harm humans inflict on nature. While Virgin Galactic promotes access to the Overview Effect as a major drawcard, it is a terrible irony that space tourism is <a href="https://www.thespacereview.com/article/4527/1">enormously damaging</a> for the environment. <figure><iframe src="https://www.youtube.com/embed/Z6d7hyW5FDw?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>On May 25, Virgin Galactic completed a final test flight before it starts taking paying customers.</figcaption></figure> <h2>The Overview Effect</h2> The Overview Effect is not limited to astronauts from the West. Their Chinese and Russian counterparts have described the same profound connection to Earth when witnessing the planet from space. As Soviet Russian cosmonaut Yuri Artyushkin <a href="https://psycnet.apa.org/doiLanding?doi=10.1037%2Fcns0000086">reported</a>: <blockquote> The feeling of unity is not simply an observation. With it comes a strong sense of compassion and concern for the state of our planet and the effect humans are having on it. It isn’t important in which sea or lake you observe a slick of pollution, or in the forests of which country a fire breaks out, or on which continent a hurricane arises. You are standing guard over the whole of our Earth. </blockquote> Until recently, researching the Overview Effect has required interviews with professional astronauts. Today, commercial space tourism is increasing awareness of the phenomenon, particularly when experienced by celebrities with large platforms. In 2021, Star Trek actor William Shatner completed a suborbital flight with Jeff Bezos’ space tourism company <a href="https://www.blueorigin.com/">Blue Origin</a>. Shatner had anticipated emotions of celebration and joy when viewing “<a href="https://www.nytimes.com/2021/10/13/science/bezos-shatner-star-trek.html">mother and Earth and comfort</a>” from space. Instead, he <a href="https://variety.com/2022/tv/news/william-shatner-space-boldly-go-excerpt-1235395113/">later wrote</a>, he struggled with “the strongest feelings of grief I have ever encountered”. Shatner attributed his experience to the Overview Effect. <h2>Space flight has a huge environmental impact</h2> Virgin Galactic promotes the Overview Effect on its <a href="https://www.virgingalactic.com/">homepage</a> as an experience exclusive to space flight. However, access is extremely costly. While an eager space tourist consents to parting with US$450,000 to experience a profound connection with Earth, the planet itself has no say in receiving the massive pollution a single trip produces. Rocket emissions impact Earth’s atmosphere, temperatures and the ozone layer at an unprecedented level. A <a href="https://agupubs.onlinelibrary.wiley.com/doi/10.1029/2021EF002612">2022 study</a> found space tourism produces black carbon particles that are almost 500 times more efficient at warming the atmosphere than all surface and airline sources of soot combined. After being released into the upper atmosphere, the black carbon particles circulate for <a href="https://www.cnbc.com/2021/08/27/how-blue-origin-spacex-virgin-galactic-space-race-could-impact-the-atmosphere.html#:%7E:text=Experiencing%20a%20few%20minutes%20of,plane%20continuously%20for%20about%20three">four to five years</a> in a fine layer. This acts as a thin black umbrella <a href="https://www.cnbc.com/2021/08/27/how-blue-origin-spacex-virgin-galactic-space-race-could-impact-the-atmosphere.html#:%7E:text=Experiencing%20a%20few%20minutes%20of,plane%20continuously%20for%20about%20three">absorbing solar radiation while blocking it from reaching Earth’s surface</a>. A 1.5-hour Virgin Galactic flight generates emissions <a href="https://www.nsr.com/space-com-the-rise-of-space-tourism-could-affect-earths-climate-in-unforeseen-ways-scientists-worry/">equivalent to a ten-hour trans-Atlantic commercial air flight</a>. However, the latter carries hundreds of passengers. With a passenger limit of six, a Virgin Galactic launch <a href="https://theconversation.com/tourisme-spatial-quand-les-plaisirs-de-quelques-uns-polluent-la-planete-de-tous-146552">emits 4.5 tonnes of carbon per person</a>. That’s more than twice the Paris Agreement’s recommended annual individual carbon budget. Space tourism rocket launches don’t currently compare to commercial airline flights in number. But the suborbital transportation and space tourism market is expected to be worth <a href="https://www.prnewswire.com/news-releases/outlook-on-the-sub-orbital-transportation-and-space-tourism-global-market-to-2031---featuring-blue-origin-spacex-and-virgin-galactic-among-others-301333701.html">US$2.58 billion by 2031</a>. It’s growing at an annual rate of 17.15%. Virgin Galactic is aiming to launch <a href="https://www.cnbc.com/2020/11/06/virgin-galactic-each-spaceport-is-1-billion-annual-revenue-opportunity.html">400 space tourism flights every year</a>. <figure><iframe src="https://www.youtube.com/embed/1SJ1ENmfgmE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>In this video on its website, Virgin Galactic uses the Overview Effect to promote its space tourism business.</figcaption></figure> <h2>Caring for Earth doesn’t depend on space flight</h2> The desirability of the Overview Effect is not the overwhelming emotions experienced when witnessing Earth from space. As was evident in Shatner’s feelings of immense grief, these emotions are not always pleasant. Instead, researchers, astronauts and space philosophers are interested in the spontaneous and powerful awareness that occurs. Astronauts’ accounts of the moment vary, but a consistent theme emerges: a connection to planet Earth that inspires environmental care. Importantly, such clarity can be achieved without a suborbital space flight. <a href="https://www.google.com.au/books/edition/The_Overview_Effect/3a2rz-s3JJsC?hl=en">Frank White argues</a> that, while viewing Earth from space produces the “ultimate” Overview Effect, it might also be had while looking at landscapes from a great height – such as a mountain range. Commercial pilots flying at high altitudes have experienced similar phenomena. And for those considering a Virgin Galactic flight, there are no guarantees. Many astronauts with long careers <a href="https://psycnet.apa.org/doiLanding?doi=10.1037%2Fcns0000086">report</a> never experiencing the Overview Effect. <figure class="align-center "><img src="https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=755&fit=crop&dpr=1 754w, https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=755&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/530799/original/file-20230608-27-brv39q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=755&fit=crop&dpr=3 2262w" alt="View of whole Earth photographed by the orbiting Apollo 17 mission and dubbed 'Blue Marble'" /><figcaption>Being able to see the whole Earth from space was regarded as a transformative moment, but people can have environmental epiphanies without flying into space. <a class="source" href="https://www.nasa.gov/content/blue-marble-image-of-the-earth-from-apollo-17">NASA/Apollo 17</a></figcaption></figure> <h2>Environmental epiphanies happen on Earth</h2> Spontaneous clarity about the importance of nature can occur while standing on solid ground. “<a href="https://www.jstor.org/stable/26506666#:%7E:text=The%20working%20definition%20of%20Environmental,shifts%20in%20a%20meaningful%20manner.">Environmental epiphanies</a>” are well documented and have no connection to specific religious or cultural beliefs. Involving profound emotions and sudden awareness similar to the Overview Effect, environmental epiphanies can be accessed for free in mundane locations – such as reading a book at home. And, like the Overview Effect, environmental epiphanies can lead to lasting change. As space tourism continues to “take off”, misaligned marketing tactics like Virgin Galactic’s promotion of the Overview Effect must be scrutinised. Being launched into space – and the massive pollution the process creates – isn’t necessary for us to want to sustain our Earth.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/206868/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ariane-moore-1060920">Ariane Moore</a>, PhD Candidate in Philosophy, <a href="https://theconversation.com/institutions/university-of-tasmania-888">University of Tasmania</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/virgin-galactics-use-of-the-overview-effect-to-promote-space-tourism-is-a-terrible-irony-206868">original article</a>. Images: Getty

Travel Trouble

National Duck Day: Diana Chan's Seared Duck breast with nashi pears, honey and star anise

Food & Wine

National Duck Day: Diana Chan’s Luv-a-Duck Peking Duck breast with egg noodles, five spice sauce and fresh cucumber salad

The family owned business and Australia’s leading duck producer Luv-a-Duck has partnered up with MasterChef alum and duck lover Diana Chan, to officially launch National Duck Day, which falls on Tuesday May 23rd, 2023. Diana Chan is a Malaysian-Australian and won the 9th season of MasterChef in 2017. She has since become a well-known TV host, menu designer, product creator and restaurateur, turning her passion for food into her career. Diana Chan’s Luv-a-Duck Peking Duck breast with egg noodles, five spice sauce and fresh cucumber salad Serves: 2 Prep time: 10 mins Cook time: 10 mins INGREDIENTS: <ul> <li dir="ltr" aria-level="1"> 2 x precooked Luv-A Duck peking duck breasts </li> <li dir="ltr" aria-level="1"> 1 x 400g packet fresh egg noodles (medium thickness) </li> </ul> For the five spice sauce: <ul> <li dir="ltr" aria-level="1"> 1 tbsp cooking oil </li> <li dir="ltr" aria-level="1"> 2 cloves garlic, minced </li> <li dir="ltr" aria-level="1"> 3 shallots, finely diced </li> <li dir="ltr" aria-level="1"> 50g galangal, sliced </li> <li dir="ltr" aria-level="1"> 50g ginger, sliced </li> <li dir="ltr" aria-level="1"> Leftover liquid from the packet </li> <li dir="ltr" aria-level="1"> 1 tbsp five spice powder </li> <li dir="ltr" aria-level="1"> 1 tbsp tapioca starch mixed with 2 tbsp of water </li> </ul> For the cucumber salad: <ul> <li dir="ltr" aria-level="1"> 1 continental cucumber, halved and sliced into 5mm thick chunks </li> <li dir="ltr" aria-level="1"> 30g coriander, roughly chopped </li> <li dir="ltr" aria-level="1"> 1 tbsp black vinegar </li> <li dir="ltr" aria-level="1"> 1 tsp sugar </li> <li dir="ltr" aria-level="1"> 1 tbsp soy sauce </li> </ul> To garnish: <ul> <li dir="ltr" aria-level="1"> Freshly sliced spring onions </li> <li dir="ltr" aria-level="1"> 1 tsp toasted sesame seeds </li> </ul> METHOD: <ol> <li dir="ltr" aria-level="1"> Cook the peking duck breasts according to the packet instructions (microwave or oven) and set aside somewhere warm. </li> <li dir="ltr" aria-level="1"> Preheat a large braising pot or wok. Add cooking oil. Add the garlic, shallots, galangal and ginger and fry until aromatic - about 3 minutes or so. Add the sauce from the packet and the five spice. Allow to reduce for 10 minutes. </li> <li dir="ltr" aria-level="1"> Mix tapioca starch with water. Pour it into the sauce liquid while stirring at the same time and the liquid will start to thicken. You can add more tapioca mixture if you don't think the sauce is thick enough. </li> <li dir="ltr" aria-level="1"> While the sauce simmers, reheat the noodles according to the packet instructions. </li> <li dir="ltr" aria-level="1"> To assemble, remove the cooked duck breasts from the packet and slice them into 5mm thickness. </li> <li dir="ltr" aria-level="1"> In a mixing bowl, add in all the ingredients for the cucumber salad and mix to combine. </li> <li dir="ltr" aria-level="1"> Place the reduced sauce into the serving bowls, divide the noodles into 2 portions, top with the duck breasts and pour over the sauce. Serve with the cucumber salad on the side. Garnish with some spring onions and sesame seeds. </li> </ol> Image credit: Luv-A-Duck

Food & Wine

Erin Doherty’s new role sure to be approved by Princess Anne

Erin Doherty might just get the tick of approval from Princess Anne as she holds the reins in the forthcoming series A Thousand Blows. Doherty, 30, who played the role of horse-mad Princess Anne in The Crown, will star in the new drama which tells the story of the Forty Elephants, an all-woman crime syndicate specialising in shoplifting from department stores. Much like her role as Princess Anne, images from the upcoming series have seen the actress in a Victorian outfit driving a horse-drawn carriage on set in London. The period drama will also star actor Stephen Graham and it’s created by Stephen Knight who was responsible for the hit gangster drama Peaky Blinders. The presence of horses is sure to please King Charle’s sister as she is a known horse-lover. Prince Phillip once joked, “If it doesn’t fart or eat hay, she isn’t interested.” The series will also be heavy on boxing but will explore the social climate of London during the post-industrial revolution era. It is still under production and is set to be released on Disney+ with 12 episodes. Image credit: Instagram

National Duck Day: Diana Chan’s Luv-a-Duck whole roasted duck with a cinnamon and orange glaze

The family owned business and Australia’s leading duck producer Luv-a-Duck has partnered up with MasterChef alum and duck lover Diana Chan, to officially launch National Duck Day, which falls on Tuesday May 23rd, 2023. Diana Chan is a Malaysian-Australian and won the 9th season of MasterChef in 2017. She has since become a well-known TV host, menu designer, product creator and restaurateur, turning her passion for food into her career. Diana Chan’s Luv-a-Duck whole roasted duck with a cinnamon and orange glaze Serves: 6-8 Prep time: 20 mins Cook time: Approximately 3 hours INGREDIENTS: <ul> <li dir="ltr" aria-level="1"> 1 x Luv-A Duck whole duck </li> <li dir="ltr" aria-level="1"> 1 lemon, sliced into wheels </li> <li dir="ltr" aria-level="1"> 5 cloves of garlic, chopped </li> <li dir="ltr" aria-level="1"> 2 cinnamon quill </li> <li dir="ltr" aria-level="1"> Cooking salt to rub </li> </ul> For the cinnamon and orange glaze: <ul> <li dir="ltr" aria-level="1"> ½ cup balsamic vinegar </li> <li dir="ltr" aria-level="1"> ¼ cup honey </li> <li dir="ltr" aria-level="1"> Juice of ½ a lemon </li> <li dir="ltr" aria-level="1"> Juice of 1 whole orange </li> <li dir="ltr" aria-level="1"> Pinch of salt </li> <li dir="ltr" aria-level="1"> 1 tsp ground cinnamon </li> </ul> Buttered greens: <ul> <li dir="ltr" aria-level="1"> 200g green beans, blanched in boiling water </li> <li dir="ltr" aria-level="1"> 2 garlic cloves minced </li> <li dir="ltr" aria-level="1"> 50g butter </li> <li dir="ltr" aria-level="1"> Pinch of salt and pepper </li> </ul> To garnish: <ul> <li dir="ltr" aria-level="1"> Freshly chopped coriander </li> </ul> METHOD: <ol> <li dir="ltr" aria-level="1"> Preheat the oven to 180C. </li> <li dir="ltr" aria-level="1"> To prepare the duck, remove the giblets from inside the duck. Rinse the duck, inside and outside, with cold water. Pat dry with paper towels. </li> <li dir="ltr" aria-level="1"> Set the duck on the working surface. Score the duck's skin on the breast in a diamond pattern, making sure you only cut the skin, without reaching the meat. Poke the other fatty parts of the duck with the tip of the knife all over, to ensure fat releases. Season the duck very generously with salt both inside the cavity of the duck and outside on the skin, legs, all over. Place the duck breast side up. </li> <li dir="ltr" aria-level="1"> Put the chopped garlic, sliced lemons and cinnamon quills inside the duck cavity (NB:these are just for flavor, not for eating - you will discard them after cooking). The duck will have flapping skin on both ends - fold that skin inwards, to hold the garlic and lemon inside. Tie up the duck legs with butcher's twine. </li> <li dir="ltr" aria-level="1"> Place the duck breast side up on a large roasting pan with a rack within (roasting pan should have a roasting rack to lift the duck from the bottom of the pan and allow the fat to drip below the duck). </li> <li dir="ltr" aria-level="1"> Roast the duck, breast side up, for 1 hour at 180C. </li> <li dir="ltr" aria-level="1"> After 1 hour of roasting, flip the duck on its breast and roast it breast side down (roast the other side) for 40 minutes at the same temperature. </li> <li dir="ltr" aria-level="1"> Remove the roasting pan with the duck from the oven and carefully pour off all the duck fat juices from the roasting pan into a large glass or metal bowl. </li> <li dir="ltr" aria-level="1"> Flip the duck, breast side up again, and place back on the rack in the roasting pan. </li> <li dir="ltr" aria-level="1"> Add to the bowl with the juices from the duck fat, combine the balsamic vinegar, honey, lemon juice with the freshly squeezed juice of 1 orange. </li> <li dir="ltr" aria-level="1"> Brush all over the duck with the balsamic mixture and cook the duck, breast side up for another 40-50 minutes at 180C, brushing every 10 minutes with the mixture. </li> <li dir="ltr" aria-level="1"> You can carefully use the grill function in the oven to crisp up the duck skin for the last 10-15 minutes (do it carefully, checking the duck regularly to make sure it doesn't burn). </li> <li dir="ltr" aria-level="1"> In the meantime, prepare to cook the beans. Using a pan over medium heat, add in the butter. Once melted add in the garlic and toss for a few seconds before adding in the beans to coat through. </li> <li dir="ltr" aria-level="1"> After the duck is cooked, remove it from the oven, let the duck stand for 15 minutes. Then, carefully remove and discard the lemon from the cavity (being careful not to get burned). Carve the duck and serve with the beans as a side. </li> </ol> Image credit: Luv-a-Duck

Food & Wine

6 household items to complete your space

Forget perfect furnishings and decorations and focus on the household items that are easy to forget. 1. A comfy seat As basic as it sounds, it is definitely a necessity. We all do a lot of sitting at home so make sure you invest in a nice, comfy chair or fold-out sofa that won’t hurt your back. 2. A lamp Power outages can and do happen, so make sure you’re prepared with a torch or solar-powered lamp. You’ll thank yourself during an emergency! 3. A shower curtain Buy a fresh shower curtain and experiment with different colours. You could also match the colour of your shower curtain, towels and floor mat to really bring the room together. 4. A good mattress This one is so obvious, but have you bought the right size? Is it good quality? You spend around a third of your life asleep, so make sure you get a good one. A mattress should be more of an investment than a simple purchase. 5. Kitchen utensils Prepare yourself to cook! Make sure you have a wooden spoon, a spatula and basic cutlery. Invest in a fry pan and some saucepans too. 6. Potted plants Your home is going to feel fresh and healthy with a few indoor plants around. They will help clean the air and add a little style to your room as well. Image credit: Shutterstock

Home & Garden

Review: A Routine Infidelity

Established screenwriter Elizabeth Coleman has quite the resume behind her - from contributing to every season of Miss Fisher’s Murder Mysteries and Miss Fisher’s Modern Murder Mysteries to penning four published plays, she’s tried it all. And now, she has added ‘author of “a delightfully sharp and clever murder mystery”’ to the mix. A Routine Infidelity marks Coleman’s entry into the cosy crime genre, and sees protagonist Edwina ‘Ted’ Bristol - a private investigator based in Melbourne - spending her days hunting down “cheating husbands and missing chihuahuas”, dreaming of something more exciting. Her wish comes true when her sister, Bob, falls victim to a catfisher. With her trusty sidekick Miss Marple - a miniature schnauzer and star of the show - in tow, Ted sets out to get to the bottom of Bob’s trouble. Nothing is ever quite so simple though, especially not for Ted, who soon must find a way to juggle the scam, a case worth millions, and the heavy weight of her past. With twists and turns abound, and characters bursting with life, Coleman’s novel will keep readers turning the pages to see what transpires next. Although a heavy family plot carries throughout the novel - a secret hangs over Ted, one she’d prefer to avoid - there are plenty of moments for a chuckle out loud, like when Ted wants very much to hit someone she’s not best pleased with, “but not as much as she wanted to avoid a negative Google review.” There are multiple plots that take place over the course of the book, and there are points where the story might have benefitted from focussing more on one, to help build reader investment beyond interest in what it meant for the characters. There are also a few instances where the book feels as though it needs to get as much information out as possible, and errs on the side of ‘telling’ where it should be ‘showing’ to achieve this. However, as this is only the first in a series of books, it’s likely that there’s much more to be seen after the initial setup, and any remaining questions are simply yet to be answered. The relationships between Coleman’s characters are what make the book. Ted and her sister Bob - who is, by all accounts, the nicest person in Coleman’s Melbourne - are thick as thieves, though their roles don’t necessarily align with what is typically expected of two sisters. Ted would do anything for Bob, and by the end of the novel, so would many readers. Ted’s ‘connection’ with local neighbourhood medium Chantel is a point of both frustration and amusement throughout - Ted initially wants nothing to do with her, but when Chantel has a premonition with the potential to change Ted’s entire life, she’s forced to reevaluate her feelings. And most importantly, Ted’s bond with her beloved canine companion, Miss Marple, is nothing short of a highlight. Miss Marple’s ‘I-don’t-have-time-for-this’ attitude is something pet owners all across the world can relate to, but in a perfect demonstration of a dog’s love, she is always there when Ted needs her most - even if she isn’t quite so willing to offer that sought-after cuddle. And so, as publisher Pantera Press have said, “if you love the madcap adventures of Phryne Fisher, you’re sure to love Ted Bristol, written by Elizabeth Coleman, screenwriter for Miss Fisher’s Murder Mysteries”. Overall rating: 3.5/5 Find your copy here, and at all good local booksellers: <a href="https://www.amazon.com.au/Routine-Infidelity-Elizabeth-Coleman/dp/064547679X/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1678940919&sr=8-1">Amazon</a> (Kindle: $11.50, paperback: $19.99) <a href="https://www.booktopia.com.au/a-routine-infidelity-elizabeth-coleman/book/9780645476798.html">Booktopia </a>(Paperback: $24.90) <a href="https://www.qbd.com.au/a-routine-infidelity/elizabeth-coleman/9780645476798/">QBD Books</a> (Paperback: $19.99) <a href="https://www.dymocks.com.au/book/a-routine-infidelity-by-elizabeth-coleman-9780645476798">Dymocks</a> (Paperback: $24.99) Images: OverSixty

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