The Synthesis: The Martian Ch. 1-3 (Episode 3)

Alexander Winn and Lacey Hannan discuss the first three chapters of Andy Weir’s The Martian, in which we learn how Matt Damon… err, Mark Watney’s butt worked as hard as his brain (hint: P O O P P O T A T O E S).

𝕋𝕙𝕖 𝕊𝕪𝕟𝕥𝕙𝕖𝕤𝕚𝕤 is a live talk show that aims to find the relationship between science and fiction in pop culture. We’ll discuss a book, movie, or show each week that’s science-focused and talk about just how realistic it is, where reality is cooler than fiction, and exactly where certain liberties were taken.

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Hey, folks, this is Alexander Winn and.

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We’re off to a good start, and we. You want me to take.

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Hi, folks, this is Alexander Winn and Lacey here, and we’re here to talk to you about the first three chapters of The Martian today. All right, so I would never I would never do well on SNL, I would I would break constantly. Yeah. Oh, my God. Sorry. It’s just like it’s on you and Lacey just cracks. I’m sorry.

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Hey, listen, there were things happening I about.

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All right. So for the last couple of weeks, we’ve been talking about Apollo 13 and gravity. We sort of accidentally fell into a space disaster series. My favorite. Yep. So why not keep it going? This week, we’re going to be talking about The Martian, the first three chapters. We’re going to be taking it week by week and working our way through the book because this book is dense.

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It’s awesome. But there’s a lot going on. There is a lot going on. And I like it for the for that reason. It’s a matter of fact, I’ve been looking forward to doing The Martian because The Martian is fantastic. So while Lacy finds her chill, I’m going to give some background.

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Listen, at least I’m obviously the fun one here.

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So The Martian was written by Andy Weir. It is the novel on which the movie is based. Of course, he started writing it in 2009. And where is the son of a particle physicist and an electrical engineer? Oh, well, no wonder. Yeah, exactly. If I had parents that smart, I’d be smarter, too. He had a background in computer science. He began writing and in 2009, just for fun to sort of see how this would go.

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Apparently I didn’t know this until today, but apparently he had already had a webcomic called Casey and Andy, which had this same premise being stranded on Mars.

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I take it Andy is him and Casey is I have no idea.

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This is right off of Wikipedia.

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He did he did some well researched work for you guys four minutes before we went on on the area.

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So one thing that I really love about this story is the response that he had to this series. He started publishing it as a blog and people started finding it in particular, people in the space science community started finding it and they started feeding him information. He would present a problem in one chapter and then he’d start getting emails from people who, like, literally work at NASA, being like, here’s how we would approach that problem. And it became this whole thing. So apparently he had been burned by literary agents before, so he just didn’t even bother trying to get this thing published. So he just started putting it out online and people asked him to

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make a Kindle version so that they could read it on their Kindle. You know, that’s nice. But apparently, you know, he wasn’t in it for the money. He just wanted these people to be able to read what he was reading in the most convenient format. But on Kindle, you have to have cost at least 99 cents. So he put it up for 99 cents and it shot to the top of Amazon’s sci fi bestsellers, just like this little convenience thing that he did for his for his fans, he ended up selling the rights to a genuine publisher. It debuted on The New York Times best seller list in both hardcover and paperback versions. There’s a there was an audio book version by someone named RC Bray, but then it was rereleased narrated by Wil Wheaton. And for those who don’t know, Wil Wheaton is super famous in the nerd community. He played Wesley Crusher on Star Trek The Next Generation and now is like a super guru in all things like tabletop gaming and nerd communities. Huge on YouTube and Twitter.

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I would be interested why they would do the hard back in the paper back at the same time.

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Oh, they didn’t. I just miss it. Now, on when it came out in hardback, it debuted on the New York Times bestseller list. And then when it came out in paperback, it also debuted on the New York Times book. I was very confused. Yeah, OK. And then the last a little bit of background that I have here is on December 5th, 2014, the cover page for the script of The Martian was launched into space on an Orion spacecraft because that’s just cool.

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Is it? Yeah.

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Ok, so for those of you who have been living under a rock or haven’t read the book or watched the movie, The Martian is the story of an astronaut who is stranded on Mars after his whole crew thinks that he died and they blast off an emergency. Yes.

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Reasonably think that he has died and they blast off to save themselves in an emergency situation. They leave him behind. And now he’s presented with how do I survive on Mars alone for what he expects is going to be four years until the next Mars mission arrives. And, yeah, it’s just fantastic.

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Ok, can I start with the intro? Go for it. OK, you guys, my favorite part. Not my favorite part. There’s going to be so much more about this that I love, of course. But the very it’s like one of the very best interest to a book ever.

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The first couple of lines, I’m going to read them to you. If you have children nearby, cover their ears. This has swearwords.

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I’m pretty much fucked. That’s my. Considered opinion fucked.

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It’s just the best line, it’s just the best. Like what? Oh, like it just it just captures your attention. Yeah, it’s funny. And I love it. And I, I, I love the humor of this book.

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I think that’s one of my favorite things. In the first page you just get so you get so much insight to who this guy like, what this guy’s character is and and his sense of humor, which is super dry. And I love it really.

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It’s like the two most important aspects of the book are included in the first line, which is impending doom and humor. Like this is a guy who’s going to be presented with a situation where he’s probably going to die, but he’s going to do it in an upbeat, funny way.

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Well, and there’s a third thing. Yeah. His considered opinion. Yeah. This is a scientist who is smart to heck he’s doing. And he has considered this.

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Yeah. He’s not panicking. He’s assess the situation. He’s fucked. And it’s funny.

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Yeah. Welcome to The Martian. And then you get like a quarter of the way through that first page and you already have so much information. The exposition is phenomenally done. Yes. They don’t. He doesn’t nothing is overwrought. He explains what’s happening. He explains it concisely. But you don’t feel like, you know, you get some of those movies that you’re just like, oh, this is oh, like Gravity where the beginning of it. It’s just like the exposition is so stupid. We’re here because of your experiment, which I know nothing about. Will you please explain the whole thing to me? Like, that’s not what this is. Yeah, that’s what gravity was.

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It is helped along by the fact one of the smartest decisions that were made is that it is a it’s not just a first person dialogue. It’s it’s really it’s almost a second person dialogue or second person narrative. He’s telling you this. This is a this is the story of someone writing a journal. Basically, we are reading his logs. And so it’s not a third person narrative where omniscient God is telling us this and

it’s not even a first person narrative. We’re we’re experiencing things as he experiences them. He’s laying it out in his log. And therefore, the whole thing is sort of given a license to be expositional because he’s describing a situation and it still doesn’t feel overly expositional.

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Yeah, like crazy. And I so. OK, going back to the sense of humor. Yeah, he has this line where he’s talking about, you know, if he were in command and and he talks about how he’s lowest on the totem pole. He is the last one in line. If everyone else were dead and he was the last one alive, he would be in command. And then he says, what do you know? I’m in command. And and it’s just it’s just a little wicked, which I think is so great anyway. So there’s that. Yes.

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And just really like I’m sure we’re going to be coming back to this over and over both tonight and for the rest of the time that we do The Martian, which is he’s just so much fun. The character is fun. And that is like I’m sure that other writers would have approached this and tried to make it dire and grim and like kind of hopeless and really trying to raise the we’ve seen that so many times. We’ve seen it so many times. And at a certain point it starts to strain credulity because you know what? You are fucked, man. You’re stranded on Mars. Nobody’s coming. You don’t have any food. You’re going to die. Why is he not just taking the Vicodin that he specifically mentions he had or morphine that he specifically mentions he has and just ending it quickly because he’s an upbeat guy? Yeah, he’s an optimist. Yeah, exactly. He is. We have established that this is the kind of guy who doesn’t get depressed easily, who approaches situations logically, who tries to work through and who believes that he can pull it off. And that’s what keeps the whole story afloat.

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So we have not gotten very far in this chapter like at all.

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So moving along, one of the things that I really, really like and I’m going to probably hit this multiple times throughout talking about Chapter one, which is he says it wasn’t your fault. He doesn’t it wasn’t your fault. Note to the crew just in case they ever get to read it or hear about it. And it puts the audience in his pocket because. We love it when people are funny and gracious, even when their circumstances directly argue against them being funny and gracious and forgiving and forgiving. Yeah, and he he lays out exactly why the crew would think he’s dead. And he would he says he would have thought the exact same thing and so would we like he makes a good case.

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Clearly, anybody reading this who thinks I wouldn’t have assumed he was dead is kidding themselves.

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Yes. Yes. And so the nice thing is, is now we as the audience don’t have to think about it again. We just get to go, OK, this is a good guy. He’s not going to be bitter the entire time. And we don’t have to concern ourselves with his feelings about being left behind. And we have to concern ourselves with his survival.

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And we also don’t carry a burden of blame through the whole thing. You know, we aren’t going to get there in these three chapters, but we do eventually meet the rest of his crew and we don’t hate them. You know, like this is, if anything, we feel bad for them because they are the victims of circumstance that, you know, we know they feel terrible about this and it’s totally understandable that they did it. So it really sets everybody up to be a hero.

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I like how he he talks about they had four months on the Hermès and how much fun it could have been. And he says, you know, I could tell you about that, but I’m I’m too depressed right now. And all I could think about was like, who could I spend four months with?

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I mean, honestly, like, I don’t know. There are not very many people. Obviously, you.

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Well, I love him, but I mean, we don’t know how many people can be, so how many people could be locked in a tin can with for four months?

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Yeah, and really, it’s more like 12 months because you have four months there and then a month on the surface and then like four or five months back. And it’s like that’s a lot.

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So I don’t know, I just I was just sitting there going, OK, I have a couple of friends that I think I could get through a good while with you. It might wear our friendship thin. But, you know, I don’t I don’t know that the Edwards team would want to spend that much time together.

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Yeah. To be fair, they get to go to Mars. The number of people I would want to spend four months with is pretty small. The number of people that I would be willing to spend four months with to go to Mars is a lot bigger.

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I mean, no know the inverse for me because I’m sitting here going, but I need everybody to be on the ball and my survival depends on these other people.

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No, no, no, no. It’s actually I’d much I’d be much more willing to spend four months with people for no reason at all than on like an adventure. That could be very stressful.

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You know, one thing that’s interesting. So I imagine that most of our audience that’s listening to this has seen the movie. Whether or not they’ve read the book, I certainly have. I’m going to try to sort of keep the movie discussion to a minimum. But every so often there are going to be little things that creep in. And one is that the book is based on his diary and it starts after the disaster on page one, his crew has already left. He’s alone. The story has begun in the movie. They naturally started a little earlier and you actually see the crisis that gets them all kicked out. And so as we’re talking about sort of who would you spend all this time with, there is a funny little thing which is in the book. We don’t actually know about these people very much like he mentions Johannsson. He mentions, you know, like a few people. Yeah, yeah. Like he mentions a few people. But we don’t really get a sense of the team dynamic. Whereas in the movie, by the time they leave, we have seen them bantering, we’ve seen them sort of, you know, giving each other a hard time around. Yeah, exactly. Yeah. So it’s it’s interesting to start from this place of only knowing him.

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I will say for those of you who know Editrix entire Genesis, you might know this, but for those of you who don’t, Terra Genesis came about because of this movie. So like it just as a part of the community, I feel like if you haven’t watched this movie, it’s imperative that you watch it mostly for your own sake, but also because like.

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Yeah, there it is. Yeah.

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It’s for those who don’t know, I had been thinking about making a terraforming game for a long time, but it was actually during lasing I went to go see a movie and one of the trailers before that movie was a trailer for The Martian. And all of a sudden it occurred to me, you know. I should really have my game about colonizing Mars available when this movie about colonizing Mars comes out, and that was the impetus to start making Terra Genesis and get it going.

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So, yeah, it was it was, you know, an integral bit of the history of that game.

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So something else about this book that I think is is that is similar to you is this guy, Mark Watney, is going to make science cool. I just kept thinking that over and over again because, like, there’s there’s a lot of detail which I love. Like, we complained about that in Gravity and even a little bit in Apollo 13 that we did find some some areas in which they had a lot of detail. Yeah, but this one, like he talks about how this applies for Aries three being on route while the Aries two crew heads home. And there’s like that fractional portion of me that’s Taipei that loves all of this detail and like the organization and how does it work? And hearing him talk about it is just cool. And I kept sitting here going, where was this? Where were these stories? When I was in high school, I really thought I hated science until this guy came along. And he’s like, no science. Cool. Let me tell you why. And I was like, I’m never going to learn any of this stuff, but you can talk to me about it always. And that’s how I was learning it. Well, I mean, yes, but but Mark Watney, this character makes science cool, which is which is interesting. I just never you know, it’s taken me a long time to recognize that that could be true for me as a non. I was always the the theater kid and the I liked English and history and science was not my jam.

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And that is really one of the things that The Martian is rightfully famous for is like we’re going to we’re going to walk you through atmospheric composition calculations and make it really cool, like everything is laid out in a very smart and approachable way. I actually have a note here that it’s interesting how, like from the very beginning, it’s clear that this is going to be a smart story. But it’s interesting how there are certain things that he explains, like how the thrusters work or how the suit’s air cycles work. He goes into a lot of detail, but then there are other things that he just kind of tosses out there and just kind of assumes that you’ll pick up or that or assumes that you already know.

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Like he just starts referring to the hab and he doesn’t he never actually says what the hab is. But you you either know or you pick it up, you know, and that I think is a is a sort of a sneaky way of making the audience feel smart, too, that he’s not just teaching you. He’s telling you a story that you’re keeping up with. Yeah.

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And that’s also good, too, I feel like and that’s something we talk a lot about at work is is the how do you how how do we have stories that don’t dumb things down for the audience who is not dumb. Exactly. Audiences are not stupid. They’re really smart. And you

might know more about science than I do, but that doesn’t make me an idiot. Right. So don’t talk to stuff is cool. Yeah, it’s cool. So make it cool and make it interesting enough for me to want to watch it and get invested. So I don’t know. I feel like this first chapter just really hits a lot of like this is who we are and this is what we want to be. So it feels really good to read it and see it happen.

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So this is a show about scientific accuracy. So we would be remiss if we didn’t mention the one thing in this book that isn’t scientifically accurate. This is a.. Put a huge premium on keeping everything scientifically accurate. In fact, he actually built a physics simulator on a computer to calculate the orbits of Earth and Mars and calculate the acceleration of the Hermès spacecraft. And you can actually look up on YouTube these simulations of how the ship sort of pings around the solar system and how many days it takes, like when they show up on sold for sixty nine, it’s because that’s actually how long it would take, given the orbits of all that. That’s but Andy Weir did say he gave himself one pass, one thing that is not realistic, and that is the opening incident. So the way Mark Watney gets stranded on Mars is there’s a dust storm, the likes of which have never been seen, and it reaches the thresholds that NASA calls an abort on the mission. They were going to be there for 30 days and instead they’re there for six and they blast off because this dust storm is threatening to tip over the maybe the Mars ascent vehicle, which is what they’re going to use to get back up to orbit. So rather than let it get knocked over and now the whole crew is stranded, they tell them, just blast off now. This is not scientifically accurate, Mars’s atmosphere is half of one percent as thick as Earth’s atmosphere, you could get hurricane speed winds on Mars and you wouldn’t even be able to feel it through your spacesuit like this. It would be a gentle breeze on your face if you weren’t wearing a helmet, because the air is so just whisper thin that nothing is going to get that thing moving with enough force to knock over the Navy. Right, let alone toss people around and rip off antennas and everything that it does. So the dust storm that starts the story is sort of an earth phenomenon. But then from then on, pretty much everything in this story is dead on scientifically accurate.

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Well, OK, so let’s go into how does he survive it? Because this is one of my favorite parts is first of all, there’s this quote, which is. Delightful. I really like curse words, so I’m going to read all of them to you, not all of them.

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There are many more in the book that I’m going to read and what I’m going to read out loud. But he says about waking up. A steady, obnoxious beeping that eventually roused me from a deep and profound desire to just fucking die. Honestly, it’s it’s just so lovely. It’s just so lovely. But so what he’s talking about is the he starts to describe the hole in his suit and how the antenna went through the zoo and through his side. And and it made a because he ended up on it like upside.

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He landed face down in the sand. It created torque, which helped seal the well, the seal came from the gunk of the blood, but it created what the the talk of the thing as he lay on it, sort of pulled the hole closed a little bit.

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Yeah. And then his blood falls into the hole. And again, Mars’s atmosphere is so thin that water naturally sublimates it just sort of instantly evaporates. So as his blood hit the hole, it immediately evaporated, which means it basically formed an insta scab that filled in the hole for the most part.

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So there is one question that I have, and I feel like I should know the answer to this because we’re scuba divers. Yeah, but why does it backfill with nitrogen?

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Ok, so a quick primer on how humans breathe. Earth’s atmosphere is about 70 percent nitrogen and 21 percent oxygen, and then the rest is just sort of other stuff. Oxygen is obviously very important to humans for breathing. Nitrogen, on the other hand, does nothing like literally it’s just filler.

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Nitrogen is utterly useless. And so there are situations like with scuba diving where you can actually breathe other things. There’s something called argon, which is oxygen and argon. There’s helium, which is oxygen and helium. You can put a lot of gases in instead of nitrogen. But what nitrogen does is it keeps up the air pressure. So it just sort of fills the air enough to where it has as much air pressure as humans need. And then you keep a certain amount of oxygen. So every spacesuit has an oxygen tank and then a nitrogen tank that it can use to keep the pressure up. So when his suit started venting out into the Martian atmosphere, it was giving him some oxygen to keep the oxygen level up. But mostly it was giving him nitrogen to keep the air pressure up in his suit. OK, and so what? And so as he walks you through the steps of what was happening, it’s venting nitrogen. It’s backfilling with nitrogen, but then it runs out of nitrogen and so it starts back filling with oxygen. But there is actually such a thing as too much oxygen. There’s oxygen system, which is why all of a sudden it starts venting that to sort of try to keep him at the right level of carbon dioxide, nitrogen, oxygen, everything. And finally, the oxygen alarm is what Weixin is. You’re getting too much oxygen. It might do damage wake you up.

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And he says, like, at the moment that he wakes up, it’s like 80 percent. Yeah. So he’s a lot, which is a lot. But he it’s it’s low enough that he should be able to get back to the hab. Yeah, fine. If he gets a move on. Um, so one of the other things that that happens here

is do you guys remember I’ve been thinking about it a lot. Do you guys remember that viral video that went around of the guy who was like trail running and then what, a mountain lion comes out like he sees like the cub and then the mountain lion follows him for a long time, like six or seven minutes of him slowly backing away.

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And this thing just getting along and doing like the the thing we’re like scrabbles sort of like, yeah, Beth’s caught him. There’s this moment in the video that makes me laugh really hard because he’s like new and it’s just like it’s something that is so today.

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Like that’s that’s a phrasing that we that’s kind of a colloquialism of right now. And I love I love how Andy Weir writes Mark Watney, because there’s a moment where he says that, like he he uses yay and bu in parentheses.

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Yeah.

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He says, I came up over the ridge and I saw something that made me really happy and something that made me really sad. The hab was intact. Yay! But the Amobi was gone. And it’s just like these little bits kind of keep the whole thing from feeling really depressing and grim or to science like this is this is not a college professor who’s here to just tell you about electrical engineering. This is a guy who’s going to tell you about electrical engineering. But then, you know, 30 seconds later, he’s going, yay, boo.

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Yeah, I so he talks about why the the crew leaves like they have to get to the Hermès and the Hermès has to go now. Yes. And he says that it’s the orbital dynamics make the trip safer and. The shorter the earlier you leave now, is that true or is that just up the stakes?

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No, no, that’s definitely true. So what what he’s referring to is if I’m remembering the the part correctly, he’s talking about why they didn’t come back and get his body because he says, why give that up for some sentimentality?

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Well, no, why the Hermes has to leave because he’s already talked about why they you don’t want to have extra weight and the MAV can’t land again because it doesn’t have the parachutes. So that’s just not going to happen. But he’s talking about why I mean, they leave why the Hermes has to go immediately. Like as soon as the crew gets there, they have to leave.

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Yeah. So, I mean, it’s sort of twofold. The first is, yes, from a normal orbital dynamics standpoint, you know, Mars and Earth are getting farther and farther away from each other every second. So if you’re trying to hurry back home, you the longer you wait, the longer the journey is. That’s one of those weird things about space that sort of has no analog on Earth. It’s a different islands are always the same distance from each other. They aren’t drifting around, whereas in space, however long you wait, determines how long the journey is going to be. But then the other factor is that, you know, they took the movie. So like, what would you wait for? There’s nothing coming back to the surface. So you just go you just kind of wave at Mars. You’re supposed to be sad. Like you have got four months to get back to Earth. You’re going to plenty of time. Right.

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Um, so I guess I don’t know. I’ve got one. I’ve got just like one thing I want to reiterate before we end chapter one. I really like that Andy Weir feels like a magician because he’s he’s laid out this great argument for why why Mark Watney is screwed and why no one is at fault. And so because of that, we can focus on his survival rather than, like we said, all of the feelings that might come up with him being left behind. So it’s like Andy Weir’s like, look over here, look over here instead of over here at what we would normally look at the what what these stories often are in terms of being grim. And we get really caught up in our humanity, essentially, which means we get really caught up in our emotions and our feelings and our emotions and our emotions and that lizard brain instead of our scientists. Yeah, exactly. So I just it really feels like magic in the way that I because I as a person who loves story and acting and all of that, I tend to get very caught up in what’s fair and what’s not. And he’s just completely overridden that for me. Yeah. And that’s that that’s really special in my opinion.

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Oh, it’s so good on Andy.

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We’re well. And it’s actually kind of the perfect segue into Chapter two, because, you know, on the one hand, he wants to keep this story upbeat. He wants to keep it from just being grim. But on the other hand, you do need stakes. And so one really great way of dealing with that is chapter one. He’s kind of depressed, like he starts out with I’m fucked and he ends the chapter with, yeah, so I’m fucked. And then Chapter two starts and he immediately says, All right, so I feel a lot better after a night’s sleep. And it’s like, OK, don’t we established the stakes. We’ve established everything that’s against him. We’ve established all the reasons why he’s going to die.

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Now, let’s get to work like, OK, he’s Mark Watney, he’s he’s an upbeat guy, he’s had a night’s sleep, he’s had some food. Let’s get to work and solve the problem.

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And that’s like what this story is about and part of and part of the having a good night’s sleep and thinking of everything logically is he even says pretty up front, as we mentioned before, is I’m not going to slowly starve to death. I’ll tell you that because he’s got morphine, he’s like, I will fight. I will I will take that. Yeah. I’m not going to starve to death. So I just I can’t I couldn’t believe that when I read that it didn’t just sound super grim. It sounded like a logical decision by an optimistic man. Yeah, that’s that’s the baseline. Yeah. Let’s work up from here. Yes. Yeah. So, um, again, go on. Andy Weir. Yes.

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Markwayne, the first line that I have here about Chapter two is great inventory of assets and problems. Chapter two starts with just a list. Here’s what I’ve got. Here’s what is arrayed against me. Just bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam, bam. Here, you just sort of sets the stage so you can almost think of it like a workmans table. Here are all my tools. What can we make with this? Yeah. And it really has, you know, back a couple of weeks ago when we were talking about Apollo 13, there’s a there’s a moment where they have to get an air filter from one machine to work in a different machine that wasn’t designed for it. And they sort of spill all this stuff out onto the table and they say this is what we have to work with. Let’s figure this out.

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And there’s a quote that I that I read, which was The Martian, is for everyone who wished that that scene was the whole movie. Yeah. And that really feels true. It’s like that’s that’s what this chapter is that’s laying everything out on the table and saying, OK, what can we do with this?

[00:31:04]

That scene in Apollo 13 is just so great and it’s so short. So that’s exactly what this book feels like. And it’s just like the in a fun, high stakes way.

[00:31:16]

By the way, while we’re mentioning Apollo 13, one thing that struck me on so I’ve read The Martian before. I’ve seen the movie. One thing that struck me on this reread is clearly this story is inspired by Apollo 13. And a lot of ways this is, you know, things going wrong in space is always going to have some kind of connection to back to Apollo 13, especially if it’s things going wrong in space and we’re working the problem. But one thing that really struck me this time is there are a lot of pretty direct homages to Apollo 13. Stuff like this is the third mission. He specifically outlines a progression of the Aries missions that parallels the Apollo missions. Apollo 11 was the first to land on the moon. Apollo 12 landed on the moon, and then Apollo 13 was going to be the third mission. And then things went wrong. Aries one landed on Mars. Aries two landed on Mars One.

[00:32:05]

I just I was thinking back to that episode of Apollo 13. I was like, yeah, we landed on Mars once, like the moon or the moon once. That Alex is like, yeah, we played it on the moon a lot more than that.

[00:32:21]

I had to pull her aside after the after the be like we landed on the moon.

[00:32:25]

Was it. I know nothing about space. History is not my job. So that’s why I love like I was thinking of. Oh my God, how embarrassing.

[00:32:34]

Well I wasn’t going to bring it up but you know, you did. But yeah.

[00:32:38]

So this is this is clearly, you know, the he specifically says Aries one was the first group to land on Mars. They came back and they had like, you know, tickertape parades and everything.

[00:32:48]

Aries two landed on Mars and they got like a firm handshake and a cup of coffee, which is kind of what Apollo Twelve got. Like people got jaded about landing on the moon pretty quick. And then Apollo 13 was the one where everything went wrong, just like Aries three is the one where everything went wrong. So it’s definitely drawing a lot from the Apollo 13 experience.

[00:33:07]

Um, I like I liked this log entry that was, um, and well fed. And I have a purpose. Fix the damn radio. Yeah.

[00:33:18]

And it’s just he’s so goal oriented and he he explicitly tells you what he’s going to do next and explains how he’s going to do it and what he’s been thinking about. And, you know, you get to kind of see the muling, which is just I don’t know, there’s just something fun about being inside someone’s brain that is so smart and getting to follow along as someone who, while quite intelligent, is not that kind of smart. That’s not that’s not my thing. That will never be my thing. I don’t want it to be. And but but I still get to follow it and I get to understand it. It’s so neat.

[00:33:55]

That is one of the things that I think this story does better than almost maybe any story I’ve ever seen is it captures the important part of science, because so much of what people think of as science is really memorizing other people’s results. It’s memorizing how the life cycle of a cell works or, you know, like these. Things that scientists have discovered, but that’s not science, science is not a body

of knowledge, science is a process of approaching problems. And this story really captures that, that, you know, when you’re presented with a problem, you don’t need to give in to your emotions. You don’t need to freak out. You don’t need to, you know, reach for any of these things. You just work the problem. And a lot of what he does is beyond what the audience could do. You know, like you need to know electrical engineering. You need to know all sorts of chemical formulas and stuff like that. But a lot of what he does is pretty simple math. You know, like at one point he’s just totaling up the square footage of the hab.

[00:34:59]

And here’s how much land area I have to grow potatoes. OK, then I’ve also got these bunks that I’m not using there each to square meters. So that brings it up to, you know, one or two. And then I’ve got the the rovers and like, he’s doing this stuff. How much water do I need for this this much soil? Well, that’s something that if you just walked up to somebody on the street and was like, hey, you’ve got one hundred and seventeen square meters of soil, how much water do you need for that? I think most people would be like, I don’t know. But think about it like how much water do you need for one square meter of soil? You can probably just look that up and then you multiply that by a hundred and sixteen or whatever, and then you’re done.

[00:35:34]

Like a lot of these are not really complicated problems. They’re just not the kind of thing that the average person has trained themselves to just figure out.

[00:35:43]

Yeah, and that’s the spirit of this story.

[00:35:45]

And that is what science is.

[00:35:48]

It goes a little bit further than that, because I think that what we see is a lot of simple problems that are compounded by other problems. Yes. And so he talks about how this is how many potatoes I can grow. And then he comes back and he’s like, no, it’s not. I can when they when they start to Germany, I can push them deeper and I can plant potatoes on top of it, which most move them to deeper soil and then plant new. No, no, no. I think he’s talking about you push them deeper into plants above them, because that’s how a lot of potato growing works is. You can do it in layers, but potato farmers wouldn’t do that because they’ve got millions of potatoes to deal with. It’s not cost effective. It’s not. Yeah. And and so why would you do that? But for him, he’s going to do the potatoes in layers and that’s really smart. I mean, now that was my understanding of it because I think he’s going to have the same depth of dirt for the entire place.

[00:36:43]

Maybe my understanding was moving them to a different spot, but who knows?

[00:36:47]

I’m so a lot of from my gardening experience, I know that I think it’s like potatoes and onions. You can do layers of that. Yeah, it’s fascinating. Um. Oh, look at that. I my gardening has come in handy for your botany powers. That’s right. Flowers.

[00:37:07]

Yeah, it’s that is just what I love about this story.

[00:37:11]

I mean there’s there’s one log entry soul eleven. Yeah. Where he just says it’s one line. I wonder how the cubs are doing. And I’m like, dude, my dude, my dude, I’m with you.

[00:37:25]

How are the cubs doing. And I love that Mark Watney is from Chicago and and he’s like rooting for the underdog because at this point.

[00:37:34]

The Cubs had not broken their curse when this book came out. They had not overcome that. And I was just sitting here going, spoiler alert, my friend, if you live long enough, you will lose your mind, because the cubs were will also be like making this great big comeback.

[00:37:51]

So you guys can be friends forever. And I’m so like, I don’t know, there’s just something about the underdog rooting for the underdog. And I always love the underdog. And so I was here for it.

[00:38:00]

By the way, Chicago earned their ownership of Mark Watney because among those people that we were talking about earlier, as people would email in and talk to Andy Weir about how we would solve this kind of problem, apparently a significant contingent of them were from the the University of Chicago or whatever. He mentions his alma mater at one point. And the reason that that is his alma mater is because they had a strong contributor.

[00:38:27]

So it’s like one person was like, hey, did you guys read this comic? You have to read this. Yeah, exactly. Oh, I love that. That’s awesome.

[00:38:34]

There is a I made I made a note here, which is, you know, as much as I love the first person sort of or second person kind of diary format of this story, it is an interesting choice because what it means is we never actually see him working out a problem. We only ever see him talking about how I don’t know how I’m going to solve this. And then he shows up the next day and he says, So I figured it out. Here’s how I did it.

[00:38:59]

I don’t completely agree with that. In Chapter three, he he you get to see I mean, he goes back through how he works, worked out a problem.

[00:39:08]

Well, that’s what I mean is it’s it’s interesting because these are diary entries. We don’t actually see him sort of trial and error his way through. He mostly it’s just it’s a fait accompli. Hey, I figured it out. Here’s what I did yesterday. And he sort of walks you through the solution, which I think simultaneously, you know, keeps the story flowing because he’s not going down a million false starts. But it also helps contribute to the sense of, again, that term that we keep using on the show competence, porn. And because we sort of only see the successes because he says, oh, yeah, I read a few things, but here’s what worked. And so it’s just a series of him describing the success and it’s just that it’s so good, so good.

[00:39:50]

There’s another great, uh, there are two great quotes, and you already alluded to one of them, but I have them here. He’s talking about how he’s going to make soil out of Martian dirt. And at one end, he’s talking about how he’s gathered up all of the the bags of poop that have been left out on on on the surface of Mars from his crewmates and how he is going to put them all into all of it. He’s going to open and put into a big, you know, container or whatever, and he’s going to put in his newer excrement and he’s going to put in a little water in the bacteria is going to do its thing.

[00:40:34]

And he sees how he’s making soil that then his potatoes can grow.

[00:40:38]

He can he can put in sand and then Martian dirt and then this fertilizer and then, um, uh, earth dirt. And he goes, my asshole is doing as much to keep me alive as my brain.

[00:40:55]

And I cackled. I got old. I loved it. It was so funny. Oh, good, good swearing.

[00:41:03]

The asides and the little you know, whenever he gets increasingly invested in the TV shows that his clients brought, like Three’s Company. And, you know, there’s just there’s so many good little sort of character moments and asides that are like this one.

[00:41:18]

Hell, yeah, I’m a botanist. Fear my botany powers. Yeah. Which, like I said, you just alluded to, but it’s oh again, I’m just like this man is funny. I want to be his friend.

[00:41:28]

One of one of the great lines from the movie trailers that got played everywhere that I think comes in later in the book. It might have been invented for the movie. Is Mark Watney looking up into the camera and saying, I am the greatest botanist on this planet, which is just one of those great little.

[00:41:46]

Yeah. Technically true kind of jokes.

[00:41:48]

Yeah, I feel like I actually was friends with this guy in high school and he talks about how he was like a dead guy, was like, yeah, I don’t know if you if you know this, but I was a big nerd in high school and it just makes me shout out to Travis, who was the biggest nerd I knew and I didn’t fully know it.

[00:42:06]

But this it just he’s not an optimist like this, but I feel like I would have been this guy’s friend and shout out to Laci, who, if anybody doubts Laci’s nerd cred, she brought me into her weekly indie game. I had never played Dungeons and Dragons until I met her.

[00:42:22]

It’s is it in this? Oh, yes. OK, we’ll talk about the Dungeons and Dragons stuff in Chapter three because he talks about it more, which I’m all done with Chapter two.

[00:42:31]

I’m, uh, I think. OK, so my last thing about. Uh, chapter. Ta ta is holding, um, he he Andy, we are got me so caught up in the science

that I managed to forget how anyone connected to this character might feel, which is fascinating because he’s done that. He’s forgotten, like to think about how his parents are feeling. And I was so caught up in the science that I didn’t think about it. And that’s out of that is not normal at all for who I am as a person. And then and then he at the end of the chapter, reality comes crashing back. And we’ve had a lot of fun. This chapter. There’s been a lot of humor and a lot of optimism. And there’s just like this pattern. And I got really upset because I was like, oh, yeah, we’re going he’s going to survive. We’re going to do this. Yes. And then Andy Weir’s like and he comes in and he just like Godzilla’s all over it.

[00:43:31]

And the rose colored glasses just go like, shatter everywhere. And I, I found it upsetting. I found it really what I do, what he how did he stop all over. I don’t even remember. I mean I can look but I don’t remember exactly what it was.

[00:43:46]

I think it’s, I think it’s the water. I think he says he has no idea how he’s going to come out, what it is. Yeah, I don’t know, because then chapter three begins as he’s talking about.

[00:43:55]

Oh yeah. How do I generate water. Oh yeah. He talks about how like he’s got a thousand days.

[00:43:59]

It’s, it’s the water but it’s the potatoes and he has to continually grow them. And how many calories does he need. And so you end with there’s about a thousand days of food I don’t have and I don’t have a plan for how to get it. Shit. So and you’re just like, oh um.

[00:44:19]

But luckily he comes through and the Aries three mission was supposed to be on Mars over Thanksgiving. And so the shrinks at NASA, as he put it, decided that the crew ought to cook a meal together rather than having everything just ready to be microwaved or whatever, as astronauts generally do. They sent along a small package of real live non freeze dried potatoes so the crew can cook a Thanksgiving dinner.

[00:44:50]

The only reason that he would manage to be able to manage any of this is because normally that’s not you know, they would be frozen potatoes and then he’d have been screwed.

[00:45:00]

Yes. And I think in general, he can generate soil. He can plant the potatoes and grown more potatoes. And that becomes his plan.

[00:45:09]

Mm hmm. All right. Chapter three. Yep. All right. So he’s doing a bunch of algebra and he doesn’t explain it. And I, I have this thing about the first few chapters. He’s been going through all of the math. And I. What is it? What is he trying to calculate? I don’t see. Listen, you guys, I tried to reread Chapter three, so I was fresh in my mind and my husband kept distracting me like, sure, he’ll be shocked, shocked at that. He was so rude that he would go so far to find that there’s gambling going on in this establishment. Oh, my God, that’s a little. And whatever whatever. Casablanca. Watch it. It’s also. For once, he wasn’t talking to me carry on. I have actually seen it now finally as of this summer. OK, so what is he doing? Because you did ask. So he’s talking about still creating calories. Yeah. Um, so he needs essentially one thousand four hundred twenty five days of food. So anyway, I, I would not have minded him doing the algebra because I feel like if Marwah Mark Watney explained it to me, I would understand it. And he didn’t explain it to me and I don’t entirely begrudge him of that. But so far so good on the explanations. Yes, excellently done.

[00:46:34]

So he has this plan. He’s going to plant potatoes in the soil that he’s generating himself all over the floor of the hab, but he needs water. And that is sort of the the problem that we are left with, uh, at the end of Chapter three. But he’s working through how do I generate water? And he’s shoveling in a lot of dirt from the Martian surface and trying to maximize where he can grow it. He’s going it on the ground. He’s growing it on his crewmates bunks. He’s growing it on tables. He’s growing it in the rovers and the rovers pop tents, which are for emergencies. He’s really maximizing the amount of area that he can turn into farmland on Mars.

[00:47:16]

There was one moment where he said that he had prepped the the bunks so that they could carry that amount of weight of soil, and I was like, the soil is going to.

[00:47:28]

The soil is going to be heavier than a person, really, but, yeah, that’s true.

[00:47:33]

I mean, well, I mean, I guess you picture a bag of fertilizer that is smaller than a person and it’s heavy as hell.

[00:47:40]

Yeah, well, I mean, remember, we’ve got these like, I started gardening and we’ve got these massive pots and back that are unmoveable. I don’t know how we’re ever going to move them through. You guys, there are tricks for this. Put up milk, milk bottles at the bottom and then put soil on top. Then you can move them just so you know.

[00:48:01]

That’s why we fill the entire thing.

[00:48:05]

Ok, so I felt like he’s done a really good job with the emotional roller coaster just in the in the explaining of all of the math and the science. He’s still he’s not making the science and math super dry. He’s still you’re encountering all of the emotions that come with this and not just his, but yours. And I don’t know, I I thought it was woven quite love. Lovely.

[00:48:35]

Yeah, that is exactly how I say that, not a word I one thing that I really appreciate because again, this is one of those things that I think any lesser writer would have been tempted to do. And Andy Weerd doesn’t. And it’s so the right choice. And that is he doesn’t flirt with madness. You know, a lot of these stories like Castaway, you’ve got Tom Hanks developing a budding relationship with a volleyball and like kind of going into, you know, crazy guy to say that that wouldn’t happen. No, but it might not. And a lot of writers treat it as sort of a given that if you’re alone for more than three days, then you’re immediately going nuts. And I really appreciate that. No, you know what? Mark Watney is lonely and he’s scared and he’s worried that he’s going to die.

[00:49:18]

But he’s also like, OK, he’s also got tethers to the outside world in ways that, like, Castaway doesn’t, you know, because you he still can listen to music, he can watch shows and he can, you know, pretend like he’s talking to someone by doing the diary.

[00:49:35]

It’s true. The volleyball again, I’m not I’m not saying that, like, this had to be.

[00:49:40]

What I’m what I’m saying is that a lot of these stories, you know, I’ve seen movies and TV shows where somebody left alone for, like, you know, a few months and all of a sudden they’re like super quirky and eccentric. And it’s like, OK, but it’s refreshing that, you know, spoiler alert by the end of this story, he’s still not really going like he’s well. So a pretty resilient guy. And I just think that was the right choice for this.

[00:50:03]

I think it was the right choice. But I will say there’s a line where he says, um, little hab on the prairie. And for me, I found that really jolting as someone who grew up in the Midwest.

[00:50:14]

I’m from South Dakota and, you know, Little House on the Prairie takes place in South Dakota. And I hated those books. I hated them because it was too lonely. It was too barren. It was, you know, the the guy up and moves his family because he can, like, see a house and he’s like, no, no, no. That’s not why I’m out here. We’re leaving. So he’s constantly like he’s trying to get away from society.

[00:50:41]

Now, I could be wrong on some of this because I did not read all the books because I hated it. Sorry, Christina. Um, but I. I can’t stand it. And so the the the fact that he even said that, like, brought up some serious anxiety for me, because I don’t I don’t want that for him, you know, and like he I like I said, he has these tethers to his past life and to the outside world.

[00:51:10]

But it’s it’s still it’s just it sounds so lonely and it’s so scary. And for me, I found that incredibly jolting. Now, people who maybe don’t have the same reaction to you, Laura Ingalls Wilder might not have that might not be so.

[00:51:27]

I think that was privatizing like that was meant to be a real zinger line. No, not for not for the boys. Boys are me to read that crap.

[00:51:38]

So one of the other manages to Apollo 13 is he talks about how the PUP tents, how he would love to be able to use two of the three. Um, uh, what are those called the pup tent. Well, no, no, there are two pop tents and he’s got like essentially three exits out of the airlock, the airlocks. And he would happily do give up two of the airlocks for the PUP tents, but he can’t figure out how the how the hab airlocks are so much bigger than the pup tent. He can’t figure out how to connect the two. And all I could think of was Apollo 13 and how they had to get the two filters to fit together. And I was like, man, if he had access to his Houston, yeah, he he’d have an answer. Someone would figure it out for him. And I don’t know, it just and he has to not do it. He has to choose like, OK, I’m going to have to lose air every time I go in and out of the pup tent, which is actually something that is sort of worth mentioning is that Mark Watney is not a superhero.

[00:52:42]

There are moments in this story where he comes against a problem and you just can’t do that.

[00:52:47]

I guess, like, that’s just there’s no there’s no fix.

[00:52:49]

You just have to work around it or he’s not going to be the one who comes up with the answer. Yeah, he he his his expertise only goes so far. He doesn’t have a roundtable of people.

[00:53:02]

Yeah. He had to lend their help. He specifically tells us his role in the mission was as the botanist and as the mechanic chemical engineer. And so he’s good at repairing things which is great, he’s good at growing food, which is great. But he’s not going to be the one who, you know, rewrites the code of the rover or anything like that. He has a specific skill set and he’s not a just sort of all around perfect hero who can do anything yet, which again, just makes the story more interesting.

[00:53:31]

So can we talk about the D.A. part?

[00:53:32]

Yes, we can talk about the D.A., the D.A. part, you guys, he he he’s talking about how he had played a cleric and he had this spell that was create water and he thought it was stupid. So we never used it. And now he’s wishing he had create water. And all I could think was. What would I want to do?

[00:53:52]

I always play barbarians, and so, like I mean, you make it sound effects now, but like I just I do I like rages and I don’t those aren’t really things you need in real life.

[00:54:12]

But you play clerics.

[00:54:14]

I do. And I have great water. I’ve never used it.

[00:54:19]

Is there a spell that you wish you could have in real life?

[00:54:21]

There’s so many spells I wish I could have. And we’re like all of the spells. I wish I could have created water. Even though you don’t use it. Yeah, I don’t use it in the game. I would use it in real life.

[00:54:32]

Oh man. I’m typing code. I don’t want to go over to the water cooler just for you, so you just get real lazy.

[00:54:37]

Yeah. This is why we don’t have the budget. This is why we don’t have it. Because you may be lazy assholes. Yep.

[00:54:46]

That’s the idea. I would be real sneaky. That would that’s what I would do.

[00:54:50]

I would like create you’re a barbarian in the game but you are a rogue in real life.

[00:54:56]

We don’t need to talk about that. It’s true, though.

[00:55:00]

Ok. All right, so we’re nearing the end of Chapter nine. Thank you. What do you get?

[00:55:06]

Ok, so there’s a moment, um, I, I just.

[00:55:12]

There’s a moment at the end that’s like sexy as fuck, you know, yeah, yeah, it’s totally weird, but the breakdown of the complex systems and he’s weighing the advantages and disadvantages and he’s explaining it all. And I’m not following it all super well because this guy is distracting me. But I’m still I’m sitting here being distracted by my husband while going, oh, God, this guy’s brain, it’s so sexy.

[00:55:40]

Leave me alone. That’s that’s a healthy marriage.

[00:55:46]

Anyway, I just I, I really liked that. I liked the explanation of all of those, how he’s going to get water and why he’s not going to do it this way because it’s not worth it. It’s really like he’s got an idea, but it’s up our whole air supply and we don’t want to. And he’s like, I’ve got an idea. It’s real dangerous and dumb, but it’s not dumb. It’s incredibly intelligent. It’s just real danger and risky. And, um, I, I loved it. I loved that part.

[00:56:17]

That takes us into Chapter four, which will be next week.

[00:56:20]

No, no, no. We’re not done yet. He I don’t remember what he says, but he’s at one point he’s like, I’ll be too dead to appreciate it. And I something about the water. But again. Cackling So much cackling you guys. But it ends. Do you know do you remember how Chapter three ends Three’s Company reference? Yes. I simply can’t abide the replacement of Crecy with Cindy. Three’s Company may never be the same after this fiasco. Time will tell.

[00:56:48]

And I’m just like, oh, my God, look, I don’t the the random. Yeah, old. They’re not pop culture references. They’re like part culture. Yes. Yeah. And I love them even though they don’t all make sense to me because like hell if I watched Three’s Company, I don’t know anything about it.

[00:57:06]

But I’ve seen in two different contexts people making jokes about how repetitive that show was. One of them is in The Martian where he jokes that I watched the episode of Three’s Company where one of them sees something and takes it out of context. The joke being that that happens in every episode of Three’s Company and then again on Friends. There’s a moment where they’re watching Three’s Company. And Chandler says, oh, this must be the episode of Three’s Company where there’s some kind of misunderstanding. And Phoebe picks up the remote and goes, oh, well, then I’ve seen this one and changes the channel. So like, yeah, I want me to watch Three’s Company. And apparently it’s all the same joke.

[00:57:42]

But apparently, um, but apparently replacing this character is unacceptable. Yeah. So anyway, so that takes us to Chapter four.

[00:57:51]

We’re going to be picking up with Chapter four next week and continuing our way through this book. It’s going to be the next several episodes of our show, making our way through The Martian. And then when we wrap up the book, we’re going to have a special episode talking about the movie and how it did, adapting both the science and the book.

[00:58:11]

So, you know, go get the book, because it’s most excellent and it’s not the exact same as the movie, which is also incredible awesome. But make sure you get it. We’re going to start with Chapter four.

[00:58:23]

Hmm. Follow along if you want. If you’ve got comments, you can leave them on our YouTube page, where we’ll be mirroring this episode. You can put them on Facebook or Twitter. We’re all over the place, Sedgwicks Entertainment. And yeah, if you have any questions, we can jump in to them in the next episode. And we love for you to follow along.

[00:58:41]

Yes, yes. Ask us questions and we’ll make Alex explain things to us together.

[00:58:48]

All right. Thank you, guys. Have a good night.

[00:58:49]

Thank you. Be sure to subscribe so you get the next episode

The Synthesis: Gravity (Episode 2)

On the topic of the blockbuster hit Gravity starring Sandra Bullock, Lacey Hannan thinks you should get a load of this guy (Alexander Winn) talking about how George Clooney should have been liquefied in a dramatic sonic boom.

𝕋𝕙𝕖 𝕊𝕪𝕟𝕥𝕙𝕖𝕤𝕚𝕤 is a live talk show that aims to find the relationship between science and fiction in pop culture. We’ll discuss a book, movie, or show each week that’s science-focused and talk about just how realistic it is, where reality is cooler than fiction, and exactly where certain liberties were taken. Join us!

[00:00:09] [00:00:52]

Hey, folks, this is Alexander Winn. Hi, and I’m Lacey Hannan.

[00:00:56]

We are the co-founders of Edgeworks Entertainment. And you are watching the synthesis episode two.

[00:01:01]

Yes. It’s good to be back. It’s good to be back.

[00:01:05]

We hope you’re excited. Yep. So what is the synthesis? Tell us, Alex. So you’re more concise. So there’s something some days. Not always. Not always true.

[00:01:19]

So the synthesis is the new show from Hedrick’s Entertainment, where we’re going to be taking a look at movies and TV shows, video games and books and all sorts of stuff, and talk about not only how did they do as popular entertainment, but also how did they represent real science and real history as part of the entertainment.

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Yes, that’s that that is that is that is the thing Hedrick’s entertainment for those who don’t know, we are the makers of terror Genesis, which is your dark horse. Once upon a time, it was an indeed.

[00:01:48]

Can we do we still call it. We’re still in Eddie. I mean, we’ve just gotten a lot of downloads. Yeah. So I was I was going with 20 million downloads. And so based on real science. Based on real science, we do. We like it.

[00:02:01]

I mean, he loves it. I like it.

[00:02:07]

All right, be sure to give us a follow if you haven’t already so you can see new episodes as they come out. We’re going to be doing these weekly.

[00:02:13]

So, yeah, we’re doing I mean, weekly except for next week. Yes. Listen, I don’t. For those of you who aren’t in the U.S., next Thursday is Thanksgiving major holiday. So we won’t be here now. We’re going to be in a cabin in the woods.

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We’ll be back way to make its own gravy. We’ll be back right after this. Oh, yeah. Real quick, we’re married. So, like, just this isn’t very important. Delacey that everyone knows.

[00:02:41]

Listen, I just feel like when people are going to be like, what is this relationship. It’s, I don’t know, it just probably helps people to have that understanding, that base level of knowledge. Yeah. Real history.

[00:02:54]

All right. So this week we’re going to be talking about gravity, which is a space disaster movie from 2013. We’re coming hot off the heels of our last episode about Apollo 13, which was a real space disaster. And now we’re going to be talking about a fictional space

START OF TRANSCRIPT

disaster. And for those of you who don’t know, Lacey is terrified of space disasters. So, Lace, how did you feel about watching gravity?

[00:03:17]

Oh, gravity tried to give me a heart attack until. Until I started watching it, just for the real science of it all, yeah, and then it mostly just made me mad. All right. So that’s that’s where we’re coming in. The music that we have that like introduces the show so gentle. And I feel bad because I am not feeling very gentle about this movie. So it’s all right. So false advertising from the intro. Yes.

[00:03:50]

So some quick background notes before we get started. Directed by and I’m going to butcher this pronunciation. Maybe you know how. No, I don’t. Alfonso Cuarón, maybe. Yeah, that’s what I’m going to direct. Written by Alfonso and his son Jonas Onis. Yeah, written by Father and Son, which is the title. I assumed it’d be like brothers. Yeah. Starring Sandra Bullock and George Clooney with a voiceover from Ed Harris. I Knew It. Right. And Music by Steven Price. We don’t always mention the music, but I feel like in this one we absolutely had to because the character of the gut wrenching tension. Yes. Comes from the soundtrack.

[00:04:36]

Oh, my God. The I also have a note here that the British visual effects company, Framestore, spent more than three years working on this movie and over 80 of its 91 one minutes are special effects from this company.

[00:04:51]

So definitely a tour de force of what is possible with computer animation. So, yeah, for those who haven’t seen it, gravity is about a space mission. Modern day two astronauts repairing the Hubble Space Telescope when an accident happens elsewhere in orbit. When the Russians are trying to demolish this, I wouldn’t call it an accident. Well, I mean, they were trying to demolish a satellite. They didn’t mean to do all of that. They set off an accidental chain reaction. Right. But that’s because someone wasn’t thinking, yeah, and debris begins flying around orbit. And it’s about these two people and eventually this one person trying to get back to Earth amid this unfolding disaster. Do you have any feelings? Yeah. Do you have any overarching thoughts to get into before we start stepping through the story?

[00:05:43]

I mean it. Well, let’s I think we should just start with the very beginning, OK, which which the the the moment it opens, you’ve got some words coming across the screen and it says. At six kilometres above planet Earth, the temperature fluctuates between two hundred and fifty eight and negative one hundred and forty eight degrees Fahrenheit. There’s nothing to carry sound, no air pressure, no oxygen. Life in space is impossible. Setting the tone. I was going, all right, like maybe there’s real science in this movie. Crushing blow to my hopes and dreams for it. OK, OK, I will be nicer. I will not I will not just I mean really I don’t have a lot of good notes. No, no. OK, so overall, thumbs down from you. I mean, I like this movie for the art. If you’re just watching it for the art of it all, I think there’s something to it. There’s probably some great things to be said for it. But, um, I think that it’s, um, kind of hammers you over the head with its themes and the allegorical nature of of it. And I find that really frustrating as an artist. Like I come from the film industry and I just I, I like subtlety. And there’s just zero subtlety to this movie. It is beautiful. Um, I do think that there are some solid acting moments. Um, but I, I really struggled with the direction from beginning to end. And seeing as he is the director and writer and producer like that’s all on this one guy. So, um, and from a scientific aspect, like maybe you can tell me that there’s actual real science in it.

[00:07:42]

But from from my amateur, I there’s just not so, you know, I was actually so I’ve got some notes that I was that I had for the end, but I’ll go ahead and sort of tease them now, which is anybody who is sort of interested in real science and movies and TV shows based on real science, we’ll start to notice a pattern, which is that a lot of movies pat themselves on the back for being historically accurate or scientifically accurate.

[00:08:08]

And then the experts like Neil deGrasse Tyson or whoever will come in and be like, no, no, no, no, no, no, you’re not.

[00:08:15]

Here are all the ways you’re not. And you can tell that, like, the creatives are really excited to sort of do do this thing that’s scientifically accurate and it’s just not up to snuff from the perspective of the professionals. Gravity is the first movie I have ever seen where all the creatives were like, I don’t know, it’s not that scientifically accurate. Like we tried to do our best, but we didn’t really do that well. And all of the experts are jumping in, going, it’s incredible. They did so much. Right. And obviously there are some things that they got wrong and we’ll we’ll go through them.

[00:08:49]

But there are so many things I’m suspicious of this I’ve got I’ve got quote after quote from, like astronauts and NASA professionals and things that that range from the really nit picky, like individual pieces of gear that they have on the space station that like who would have thought to put that particular wrench?

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Except they did put that particular wrench and. Yeah, all sorts of stuff.

[00:09:15]

So I’m I mean, I’d kind of love to hear it. Maybe it’ll help color my review of it. All right. In a positive thing because I have next to nothing positive to say so.

[00:09:25]

The director said this is not a documentary. This is a piece of fiction. The costume designer made a big deal about how apparently no space suit opens from the front. Whenever you’re putting on a space suit, someone else helps you do it because it sort of buckles up in the back. But they needed her to be able to get in and out on her own. So they had to redesign it and re-adapt all the functions of the suit for a front opening and a bunch of stuff like a bunch of different creatives. We’re talking about the things they had to change or the things that weren’t accurate. But anyway, so Michael J. Massimino, who took part in the Hubble Space Telescope telescope servicing missions, which is to say he’s doing what the characters in this movie are doing, OK, said nothing was out of place. Nothing was missing. There was a one of a kind of wire cutter we used on one of my spacewalks. And sure enough, they had that wire cutter in the movie. Buzz Aldrin, very famous Buzz Aldrin, landed on the moon, said, I was so extravagantly impressed by the portrayal of the real of the reality of zero gravity going through the space station was done just the way I’ve seen people do it. In reality, the spinning is going to happen, maybe not quite that vigorous, but certainly we’ve been fortunate that people haven’t been in these situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft.

[00:10:49]

Did a PR company pay for these quotes? I’m pretty sure that’s what happened here.

[00:10:56]

So let’s see, here’s one. One of them is praising the, uh, the use of 3D, which is not quite, but OK.

[00:11:07]

Beyond the tools, beyond the gravity stuff like the actual work done. Yeah. OK, let’s just go ahead. We can go back to the top and you can find your notes on it later.

[00:11:22]

One other quote just in from Cody Coleman said, The only really big mistake they made in the movie is that you if you were up there on a space mission, the last thing you do is let George Clooney go, which, you know, yeah, that was George Clooney call and he made it too quickly.

[00:11:41]

Let’s start at the beginning of the movie. OK, so I, I this the sound effect that, you know, they they tell you right at the beginning there’s nothing to carry sound. And as soon as you’ve got that sound and that rising, rising, rising tension and then it just cuts out and it’s like the sound effects really set up the the the movie, which is, you know, they they do a good job. I don’t appreciate it because it tries to give me a heart attack. Yes, I feel like.

[00:12:16]

So my take on this movie overall is only OK. I had a lot of criticisms of this movie too. But I feel like by the end of this episode, we’re going to have ended with you talking about all the things that are terrible of me just trying to shore up the other side. So let’s start with the opening shot is really impressive, 13 minute long without a cut like I have from a filmmaking standpoint. I have no idea how they pulled that off. But one of the things just to point out what you were talking about with sound effects, the music does an incredible job with rising tension. But I did find a note that apparently when the trailers for Gravity came out, they had sound effects in space. You could hear the explosions and all that sort of thing. But that is not true in the movie. There’s no sound in space and that’s how they do it. But I did notice one thing that was very subtly done, but I really appreciated it as soon as I noticed it, which is there is sound in space as long as she’s touching something.

[00:13:14]

Whenever she’s, like, holding on to the side of the ship, you can hear the ship creaking and shaking and then as soon as she lets go, it instantly cuts out because it’s the sound isn’t being transferred through her gloves.

[00:13:25]

Yeah, they they do a couple of things really well within the environmental aspect, and that’s one of them. I do have to say that they did a great job of a couple of things like that.

[00:13:38]

I feel like that’s kind of where probably 60 or 70 percent of their effort went is just evoking the environment of space, whether it’s in the cinematography or in the sound design or in any of this. I feel like the point of this movie was make you feel like you are out of control in zero G.

[00:13:57]

And that’s maybe to the detriment of other parts of the movie where a lot of the creative effort went into. And you can tell, but you can also tell that, you know, time wasn’t spent on other things. Mm hmm.

[00:14:12]

I mean, I think time wasn’t spent on the science within the script environmentally, they they did some cool things. But what is she doing with the panels? We have no clue.

[00:14:24]

She’s installing some kind of prototype. She talks about she’s designed a thing and she’s installing it.

[00:14:28]

Yes. And and even that comes into question because he’s like NASA doesn’t do prototypes, like they put millions of dollars into this. This is they wouldn’t do something that they are unsure of.

[00:14:42]

Well, I mean, my read of that was that she was being self-deprecating. She was saying, yeah, I made this thing in my garage and he’s like, they don’t do things.

[00:14:49]

But that’s what I’m saying is like. Even the stuff that we’re told is walked back. Yeah, exactly, and so we don’t know what she’s doing with the panel. There’s a lack of info that I was I wanted. Like she she warned engineering that this could happen and they didn’t take heed. And then, of course, they don’t apologize. And it’s Mel when she’s right there. And I, I, I was really frustrated with that because I don’t believe. OK, so last week we watched Apollo 13. There’s so much redundancy and there and I fell in love with that. If you watch the first episode, I was severely injured. Yes, I loved that. And I felt like this movie is the polar opposite of Apollo 13.

[00:15:32]

And they there there’s no redundancy and no no redundancy and a surprising lack of preparation. Yes. The biggest thing like I feel like this is a really interesting movie about what would happen if NASA had lower standards, like, you know, because they’re really good.

[00:15:49]

But because, you know, the thing is, it’s one of the things that a lot of people talk about with this movie and I know is one of the issues that you had.

[00:15:57]

It is one of the issues that I had with it, is that she doesn’t seem very thoroughly trained, know it’s like she’s a newbie and she has to be sort of walked through what to do every step of the way. And at first I just thought that was OK. Well, somebody didn’t know how to write really competent characters. Not everybody can be anywhere.

[00:16:13]

But then I started to notice that even within the script, they kind of hint that she is kind of a new like at one point, George Clooney specifically asks her, how long did you train? And she says, six months. And then the Indian guy says, including holidays. And she goes, Yeah. Which sort of draws our attention even more to the fact that she’s apparently not done as much training as her crewmates would have expected, and not only that, but she didn’t train with them.

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You know, they don’t seem they don’t he doesn’t know how long she trained. He had to ask her while they were up there.

[00:16:51]

And that seems to me I’m highly suspicious.

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Yeah, I think that even if they didn’t even if she was like a last minute replacement, which I’m sure, you know, somebody gets away because she went up to put the prototype in. Well, right. Right. But what I’m saying is, like, even if somebody else was supposed to be on that mission and they got bumped at the last minute, like in Apollo 13.

[00:17:12]

George Clooney would have reviewed her file, like he wouldn’t be asking, what are you installing? How long did you train? Like, why don’t you know this?

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Yeah, yeah, that is. And and like I said, the weird part is that it’s almost like the script itself is asking you to ask the it wants you to ask these questions because it keeps bringing up things that you didn’t have to put that in the script. Like all you needed was for George Clooney to not ask that question. And we would just assume that they train together.

[00:17:38]

And I like I meant to go look up NASA like training protocols because it was I found it so upsetting that they would send someone such an amateur up there. And, you know, it gets underlined again and again that she doesn’t she has always crash landed the I don’t remember what it’s called. So. Yes. Yeah. Like. Excuse me, what like I know she’s not supposed to pilot, but, my God, you you can’t do something that is so only important to your survival or not even important to your survival, because theoretically, they weren’t supposed to use that spacecraft at all.

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But I’m surprised that anybody in a in an astronaut training program gets to just fail.

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Like if you tried a thing and then you failed and you failed and you failed. And then I guess they were just like a. Like, why didn’t you keep trying?

[00:18:34]

There’s like there’s a phrase for people who get promoted past their competency. Yeah. And to me, like, I don’t remember what it is, but to me that’s what’s happened is rising to the level of your incompetence. Yeah. And to me, it’s more like she I’ve got an uncle who does who who does project management for for various companies that end up putting experiments on on shuttles and things like that. He’s a legitimate rocket scientist and project manager and he’s never been in space. To me, this would be a project that had been project managed by this woman and she would never have left Earth like she she has. There’s no good reason for her to be up there. And I I found that so frustrating. And I found it kind of insulting to actual astronauts because the amount of work they do and I was like, you didn’t work hard enough to get here.

[00:19:28]

Yeah, I actually I’ve got a note here at the beginning. So one thing that our viewers will either already have picked up on or pick up on as the show continues is I don’t like just straight up criticizing things like I always try to look on the other side.

[00:19:45]

Yeah, I always try to spin it in a positive light. And so actually at the beginning, when the crisis starts happening, I have a note here that says Panic. This movie is an interesting exploration of what is totally understandable, but still unprofessional where like, I can’t fault her for hyperventilating when she’s spinning off into space. Like, yes, that is a totally reasonable response, except that the reason that you get to be an astronaut is because you have that trained out of you. And so I kept sort of bouncing back and forth between, OK, this is a reasonable human response, but it’s still unprofessional.

[00:20:19]

Just like with a soldier, if somebody is shooting at you, it is totally reasonable to want to turn around and run away. But you’re a soldier, so don’t turn around and run away like this is what you trained for. And as the movie went on, I have little indented notes below that line that just get more and more and more critical because as the movie goes on, it’s less and less. You know, when it first happens, everybody’s freaking out. The lizard brain kicks in. Sure. But after a while it’s like, OK, but you got to like, get on, get with the program. There’s a shot when he George Clooney goes out to get her and brings her back and they’re coming in toward the the ruined shuttle. And he tells her because he’s got his hands on the jet controls, he tells her grab the body of the third astronaut who has died. And there’s a thing they do throughout this movie where they cut to a first person camera. And I will have to say, not many movies do a straight first person camera where you can literally see the hands. And this is the best version of it I’ve ever seen. Like they did it and they did it in the movie. They do it every once in a while and it’s always awful. And this time it’s at least reasonably well done, except that she’s flying in and he says, get hit, grab his body. And she’s like, OK. And so the hands are out like this. And then she’s coming in faster and faster and she does like this. Which is like, OK.

[00:21:43]

You’re you’re trying to prevent an impact, but also like you’re supposed to grab the like so off like three or four times throughout this movie, she’s given instructions to grab on. And when she gets close, she does like this. But that’s not how you grab onto things. That is specifically like that’s the opposite. Yeah, that’s that’s a pushing away young.

[00:22:04]

One of my biggest frustrations before we even get to the her flying off into space, the the lack of professional voice during high stress moments drove me crazy because especially what’s his name. Ed Ed Harris. Right. Ed Harris, I we talked about an Apollo 13. Ed Harris and Tom Hanks had excellent professional voices like all of these people would, would just go from like high stress into their mask. Yeah, like professional carboy. Yeah. And and we are hearing from Ed Harris the exact opposite a week later of him flipping out.

[00:22:44]

And I’m saying you’re going wait way, way. Is anybody in control here who did it? Yeah. By the time he’s even yelling at one point.

[00:22:53]

Yeah. And I was just I was about to like, lose my mind because, like, the lack of following directions when told to abort, I mean, even Kevin Bacon and Apollo 13 followed directions and I was willing to blame everything on him. He does great. But like, I kept going, wow, Hanks is a better leader than Clooney, obviously. But the way they are, accuracy can be more than just about science and history. It can be about the way you comport yourself while in in situations that for other people are actually real life. Yes. And I felt like the director purposefully pushed the drama in a way that was totally unnecessary. The these astronauts could have been professional and competent the entire time and still had all of this happen. And it would have been incredibly dramatic, but it would have been more realistic to me, therefore, more powerful and more powerful. And again, not as like hitting me over the head with the drama.

[00:24:00]

Yeah, I feel like there’s a there’s a central tenant of the disaster film genre, which. Not everybody picked up on it. I think that the filmmakers here didn’t really pick up on it, which is disaster films are very much like Sherlock Holmes stories, which is the the thrill is watching people overcome stuff that you don’t think you could have. Right. Just like Sherlock Holmes. The whole point of watching a Sherlock Holmes story is watching him solve a crime and being mystified at how brilliant he is. If you’re watching a disaster film and you’re leaning back the whole time going, why are they doing this? That’s not fun. Fun is watching people overcome insurmountable odds. And if they’re reacting with less competence than the audience feels that they would have in that situation, then. The whole thing just becomes a what not to do.

[00:24:51]

Yeah, and this this entire movie kind of feels like that.

[00:24:56]

I will say we sort of breezed by the initial crisis. Yeah. Which is worth taking a minute. First off, can you imagine how the fallout from this movie? Like, I kind of want a sequel to Gravity that is not a disaster movie, but is like a West Wing style or like an Aaron Sorkin political legal drama around Hey, Russia, you tried to destroy one missile with a rocket and you instead knocked out the entire planet’s satellite grid. Oh, like what?

[00:25:27]

I and I wanted to know the fallout from that.

[00:25:29]

Like, that was way more important to me than this woman getting back to Earth because was alienating at a certain point, if all of the space stations are shredded, we have to assume that all of the communication satellites are shredded. We know that they lost their communications. You’d think that they would have bounced something off, something if there was anything left. But the implication is that there’s literally nothing in orbit anymore except debris. GPS is out. Yeah, communications are out.

[00:25:54]

This is like apocalyptic kind of stuff.

[00:25:57]

Like this is the kind of thing where entire power grids start dropping because, you know, this is like Y2K wasn’t but could have been. Yeah. And that is a story worth exploring.

[00:26:08]

I wrote the explosion kind of sucks. I don’t really know what that means. So if you know what that means, let me know. But just because we’re going back to, like, the actual story of it, there’s that point. There’s a moment where Clunies says doing that thing you’re doing is the point of the mission. What a dumb line that is like the most exposition, but like it’s it’s crap exposition with zero information. Yeah, like what is she doing? What is this mission like? Can we can we talk about that before we get into this disaster?

[00:26:51]

Because I want to know what she’s good at, man, because you make her look bad at everything.

[00:26:56]

Also, if that’s the whole point of the mission, why don’t you know what she’s installing? Yes.

[00:27:01]

I will say, though, on on the upside, one thing that I did have to did have to give it is the speed with which things fall apart, I feel like was perfect.

[00:27:14]

I feel like a lot of filmmakers would have wanted to absolutely blindside them. Like this is just coming out of nowhere and all of a sudden the world is ending, whereas and then others would have wanted to sort of drag it out and tease it and and make it this slower build. Whereas I feel like so the the debris wave comes around three times by the end of the film and each time. I feel like there is enough time for the audience to recognize what’s happening, you start to see things whizzing by in the background, you start to pick up on, oh, wait, I think it might be here, but then by the time it starts, it’s happening so fast that you sort of can’t respond fast enough. You know, like, yes, she should have stopped what she was doing and headed back to the shuttle. But as George Clooney points out later, they were never going to make it. Like in retrospect, there was no way they had enough time to get back into the shuttle. There was no way, you know, she she goes out at one point to detach the parachute from the Soyuz and you start to see things whizzing in the background and the music starts ramping up. And it’s just like there’s we’ve already established how long this thing takes and there’s not enough time to get.

[00:28:21]

Well, I think that’s actually part of one of the problems for me is that Houston explains to them that this has happened and that engineering or whoever says it’s not going to hit you. And I’m sitting here going, OK, but it’s going on because it’s the movie. It’s a movie. So it does.

[00:28:44]

But how are the how are these brilliant minds who are double checking each other? How are they so wrong? It’s again, the lack of redundancy and to me, the lack of competency. And I’m just sitting here going, NASA has some of the smartest people alive working for them. This isn’t how this would go down. Yeah, I mean, this made me so angry for the real people out there doing this job.

[00:29:09]

I mean, the answer to your question, Ed Harris does say the debris, the initial debris cloud wasn’t going to hit them. But what happens is the thing that happens in this movie is that it hit something and then that one blew up and that’s headed their way. That is so before I watched this this week, four to four tonight, there were two things in my mind that went down as like the major inaccuracies in this movie. And one of them is and this one is like, to be honest, I’m willing to give it to them, because this is just the nature of drama.

[00:29:42]

I’m not I’m not willing to give them anything right now. So show me your way.

[00:29:45]

I file this under the same category as the dust storm in The Martian, which is way more powerful than any dust storm on Mars is ever actually going to be.

[00:29:55]

But we need it for the drama. And that is that space is so big that there’s no such thing as a cloud of debris that comes back around. Like if there was debris, it might hit you. But as soon as it does, it just scatters out into the universe.

[00:30:11]

And then there’s like a point zero zero zero zero zero zero three percent chance of another one passing within a mile of you.

[00:30:16]

You know, there’s just no I wasn’t willing to give that to them because it was to me, again, forced the story in a way that I thought was unnecessary. They didn’t have to do the repeat. Coming back around, yeah, they didn’t have to do it again, that that was already going to be hard enough for her to get back to Earth by herself as someone who never trained properly. It was going to be hard enough for her to do that. I don’t think that they had to underline it over and over and over again. Just I mean, I don’t understand what the point was to make it that that bad.

[00:31:05]

I mean, I think the answer is because otherwise she would have just gone to the soldiers and come back down and like you needed you needed some kind of ongoing threat because the Soyuz wasn’t going to be able to get her to Earth anyway because that parachute had already gone.

[00:31:22]

Right. True. So she needed to get to the to the Chinese station. Yeah. Um, either way. And that was already going to be problematic. I just I guess to me, they took it so far out of reality that I had a hard time suspending my disbelief right. Enough to to be willing to engage with the movie the way they wanted me to.

[00:31:47]

This is fun. This is the first time I think I’ve ever encountered a thing where your standards of scientific excellence are higher than mine.

[00:31:54]

This is weird. You’re freaking me out. Where is my husband? I am. I have concerns.

[00:32:00]

So quick history lesson, by the way. The Soyuz spacecraft dates back all the way to the 1960s and was designed as part of the Soviet lunar program.

[00:32:10]

And they’ve been using it ever since. They’ve obviously been updating it and building new ones and coming up with new versions. But it is the most reliable spacecraft ever designed with over one hundred and forty manned flights. Wow. Yeah, it’s the rocket that gets it up into space, was built out of a Russian ICBM, which is to say intercontinental ballistic missile. This thing rides a nuke into space.

[00:32:36]

And after the space shuttle was retired in 2011, it was the only vehicle that Americans could use to get to the ISS until this year, spring 2020 with space X.

[00:32:48]

Oh, look at that. We are no longer reliant on Soyuz.

[00:32:53]

Um, so I think now we are to George Clooney has picked her up. She has headed by the trauma of carrying a dead body, which, by the way, whoa, the guy’s face. It turned into a zombie movie for a little bit with seeing all all of the different dead crew members. I was I don’t do zombies either. Listen, I don’t like space disasters and I don’t like zombies and I don’t like postapocalyptic anything. And this is her.

[00:33:27]

And yet, weirdly, she loves the experience which has space disasters and zombies.

[00:33:33]

They get one that is the one that does it anyway.

[00:33:37]

So I this movie kind of I mean, I know it’s not a postapocalyptic movie, but it is her postapocalyptic like. That’s part of the theme, but OK, so we are now to they are having their little conversation.

[00:33:54]

They’re heading for the US to take Soyuzes down.

[00:33:59]

Yeah. And and they’re talking about her trauma. You know, who’s on earth. Yeah.

[00:34:06]

And I am displaying the fact that he knows nothing about this one, doesn’t know she’s married, doesn’t know if she has any kids or.

[00:34:12]

It’s utterly bizarre. Yeah. Especially because as we learned in Apollo 13, knowing your crew the way that they the tone of their voice and the way they breathe is so important. It was weird.

[00:34:27]

Also insists that you keep talking while she’s running out of oxygen, which is.

[00:34:32]

Oh, so I just I, I had like a hole. She keeps saying, sorry, there’s heavy breathing and she’s swearing all the time and like, girlfriend get it together. Um, she really doesn’t for the longest time.

[00:34:45]

Although I have to say I did laugh out loud at George Clooney saying we’re going back to the shuttle. Copy that. And she just says, fuck. And he goes, Roger, copy that.

[00:34:57]

That yes. That is exactly how that would go down.

[00:35:01]

Yeah. With someone who’s panicking. Yes, absolutely. But they’re talking about her trauma and you guys like, again, towards accuracy. I don’t think NASA would have let this woman up there because this woman needs therapy and therapy, I don’t say is a bad word because I go to therapy.

[00:35:20]

Therapy is great. People should do that. But she didn’t get it. And she’s got like PTSD.

[00:35:27]

Yeah, she’s got PTSD. And the other thing that that occurred to me, and this isn’t really something that sort of comes up within the script, but it’s something that once you start thinking about it, they sort of try to have their cake and eat it, too, where on the one hand she’s really sort of depressed and like she’s she what she talks about are symptoms of clinical depression, just driving for hours on end, like her social life is coming apart. She sort of doesn’t exist out of work. These are all big red flags for clinical depression, even suicidal tendencies.

[00:36:01]

And yet she made it through an astronaut selection program like that. The woman that just drives every evening for hours on end is not the kind of person who beats out a thousand other applicants to go on a space not without help.

[00:36:17]

And that’s kind of where I kept going, is like the I just drive line. It sounds poignant because the whole thing is she’s lost her daughter to what she calls a stupid accident. Our daughter’s on the playground. She trips and falls, hits her head, and that’s it. That’s the end. And it crushes this woman as it obviously would. Of course it does. And she gets the call while she is in her car. And now what she does in the evening, George Clooney asks her what her evenings look like and she says she listens to the radio while driving. That’s what she does. And I’m sitting here going, she’s putting herself through her trauma on repeat. And you don’t get through a psych eval when that’s the way you live your life. And at NASA, anybody an employer should be like you. We you need leave you. You need help. And out of here, we’ll put you on the next mission. Exactly. But that’s not how she is. She didn’t go through therapy. She shouldn’t be here. And I really frustrated by it because. The the dumb accidents that can happen in space, Russia does this dumb thing and it sets off this chain reaction that they underscore multiple times like. They’re dumb accidents and it’s happening again, and that’s what space is, accidents happen and that’s why you have redundancy so accidents don’t happen.

Gravity Movie

[00:37:52]

And when they do, they’re dumb, really what they should have done. And I’m just making this up now, but I’m pulling out a little piece of the Mars trilogy in early in the Mars trilogy. There’s this sequence where you learn that everybody on that first mission to Mars was lying through their teeth during their psych eval. And like the way that you get to go to Mars is that you just present yourself as the perfect candidate and you just don’t tell the truth to the shrinks at NASA. And it’s the sort of ongoing joke about how they’re all crazy because you have to be crazy to go to Mars. What they should have done with this movie that would have fixed a lot of problems is lean into her hyper competence early on that she is in control of every situation. She has trained every single situation. And what you realize halfway through the movie is, oh, this was her coping mechanism and that first she has to get to where she is in the movie. First she has to go from hyper competent to freaking out and then she can heal.

[00:38:51]

Yeah, exactly. And yeah, yeah, yeah. That would have to me that would have worked.

[00:38:56]

Yeah. If, if, if, if this was the thing that was finally more than she could take because she’d been gripping so hard, handling every situation that nobody can handle this. Yeah. And so it sort of forced her to come to grips with things you can’t control.

[00:39:11]

Yeah. Um so at this point we are to, we get to the ISIS. Um, well, hold on. ISIS is the first step, right. Yeah. So we kind of get to ISIS. They neither of them manage to grab on, to grab on. And I, I, I was really frustrated by that because he’s like, she’s like, you need to break and he’s like, I’ve only got one good thrust left. And I’m like, dude, you’re a pilot. And I feel like he should recognize they can’t come in too fast because you just I mean he says at one point, oh well that’s it.

[00:39:47]

That we’re coming in this fast. That’s all I’ve got.

[00:39:50]

Right. But to me, I feel like they had enough time from where they were to where they were going that he would not have let them come in that fast.

[00:40:00]

So this is this is one area where I will jump in and defend because there is specifically a line as they’re coming toward the ISIS where she notes, we’re not headed the right direction. We’re going this way. And he says, I’m not firing the rockets yet because I’m running out. And then later, he does course correct. They’re coming into the ISIS and she says, slow down. And he says, that was my last thing. So I was under the impression that the reason they were coming in so fast is because he had to use all of his rocket stuff to keep all of his fuel, to keep them on course. Otherwise they would be going at a reasonable speed in the wrong direction.

[00:40:35]

See, I was under the impression that he was like, this is all like he was saying as he was doing that last bit, I was under the impression that it was. I’m going to do this one last thing, because it’ll get us there and I’m sitting here going, but we know that an object in motion.

[00:40:51]

Oh yeah. Like yeah, he was course correcting rather than accelerating. OK, but if you want to hit on George Clooney, I will say this is the next of the two big things that I remember being inaccuracies, because this is one of those things that just.

[00:41:08]

It’s fine if you don’t.

[00:41:11]

Like, if you don’t spend all your time thinking about space, if you don’t spend all your time thinking about space physics, then it makes sense.

[00:41:17]

But the way George Clooney dies. Not only is unnecessary, it’s impossible because what happens is they’re they they go toward the space station, they’re trying to grab on to something, they’re trying to grab on to something they can’t and they end up getting detached.

[00:41:35]

The cable that connects them gets detached. And so they’re each flying around. She ends up getting tangled up in the parachute netting of the Soyuz, which is deployed. And so she kind of gets stopped and she’s able to grab on to the to the cable that was previously connecting them. He’s on the other side. He keeps drifting, but she’s connected to the to the parachute. And then she’s got his thing. He reaches the end. And then there’s basically a cliff moment where he’s like she’s trying to pull him up off the cliff.

[00:42:03]

And he’s like, you have to let me go. And then he ends up letting himself go and falling off the cliff.

[00:42:07]

Except here’s the thing. In space, you’re either moving or you’re not. There’s no gravity that’s going to keep pulling you down, which means that if she’s able to grab that an arrest, his momentum, he would automatically start moving back to her. He would go out and then it would start moving back like she could pull him. But she wouldn’t even really need to do that. She would just need to stop his momentum. And then he would either stop and then start slowly drifting back or and this is what they should have done for for movie drama. He would have cracked like a whip. Which would be so much more of a shocking death, because for those of you who don’t know, when you take a whip and you do like that and it cracks that sound that happens when you crack a whip, that’s actually a sonic boom. What happens is you take a whip, which is thick when you hold it and you use the you use the leverage and the tapering, the tapering with the mass of it. And so when you do like that, the the end moves so fast that it breaks the sound barrier and the same thing that like an airplane creating a sonic boom, that’s the crack of a whip. And so what they could have done is she gets tangled up in the net. They’re drifting, she reaches out, grabs the cable, he’s moving, and all of a sudden all the angular momentum of the parachute and her and the cable and him gets drifted out until he just. And now she’s she will just like basically liquefies it like he’s just all of the angular momentum gets put into his body as the end of the whip.

[00:43:52]

And now she either lets go because you can’t hold onto that much force or she gets it like wrapped around herself so that she’s still holding on to now his dead body. Right. That is the trauma that they were looking for from that instead of this weird thing where it’s like, OK, but what is pulling him? Yeah. Why? What is he?

[00:44:12]

Yes. And I was like, is he’s letting go. Was poorly thought through. It was impulsive, which I also like. I think we’ve seen enough astronaut things to know that there is something else, even if they have that fighter jock mentality. Yet however, there they are also freaking scientists and to me there’s an impulsiveness in his decision to die that I found remarkably out of character, even though his character is not set up to seem like the smartest person on the planet or the most capable or whatever. I just found it out of character for what we’ve seen of astronauts.

[00:45:00]

And they didn’t set him up as outside of that realm enough for me to believe it, especially because the fact that this was not a thing, according to physics, sort of undercuts the drama. But also because even if you don’t know enough science to not recognize that this isn’t a thing. They never really established what was the problem like she’s got him, she’s holding on to it. So why is he going to drift away, like if one of his thrusters was, like, broken and constantly pushing? And so it was like pulling him away from her and she was trying to hold on, then it would make sense. But as it was, it was like he’s just right there and he’s like, you have to let me go.

[00:45:39]

And it’s like, yeah, I guess I do, because that that the cable is coming loose around her foot. And I think the idea is she’s going to float away, but she’s her momentum is arrested, too.

[00:45:50]

Yeah. Like just pull him like, what’s the problem. Just get in here quick.

[00:45:54]

And honestly, you know, honestly, him managing like her pulling him is likely going to get him past her to the parts of the parachute jump. A real Horin.

[00:46:07]

Yeah. At a certain point she yanks him. He goes past and now he’s pulling her back to we’re not even halfway through this.

[00:46:12]

And it’s true, you guys, I’m sorry. We like there’s just a lot to kind of dive. It’s interesting how much you can dive into how little there is. And that’s kind of what we’re dealing with.

[00:46:26]

I will say this. This is not something I think they were trying to do specifically, but it did make me smile. The scene where she’s growing more and more delirious and he’s talking to her, did give me a fond memory, which is a scene from Firefly where Alan Ticketek and Nathan Fillion are being tortured and they’re being tortured by the bad guy. And the whole time, Nathan Fillion is just talking about how he’s going to have sex with Allenton ex-wife because it’s keeping him pissed off and it’s keeping his morale up. And and like, it’s this really funny scene because the bad guys are torturing them and they’re just fighting between each other, like ignoring the bad guy.

[00:47:09]

And I did think it was well done as he’s drifting away, not dead yet, but beyond help that he kept talking to her. And clearly the way he was talking to her was in that same spirit. It’s like talking trying to sort of keep her engaged, keep her focused so that she can get to safety.

[00:47:28]

One of the things that I was struggling with, as she’s trying to find the hatch that will allow her into the ISIS is that she keeps stopping to catch her breath. Yeah. And I’m like, no breath to catch. Yeah. Lady, you are breathing CO2. You need to get inside. You don’t get to stop. You are about to suffocate or whatever or CO2 poisoning. I don’t know. But is that what it is. Yeah. OK, so listen, I, I don’t I don’t love science the way he does and so I have to double check.

[00:48:02]

Sometimes I will say this quite possibly the scariest thing in the entire movie is that gas canister with the blue flame flying around in zero G in an enclosed environment that freaked me out when the ISIS is on fire and that, like fire in space is already scary. But that thing whipping around like a little rocket in the room like that, I would have lost my cool in that moment.

[00:48:30]

I thought, well, that’s cool, because she, for the first time ever, was calm enough to be like, I’m going to put out this fire, but then somehow didn’t stabilize herself so that she could actually put out.

[00:48:45]

I was so mad. I was so mad. I was like, you are oh for ten.

[00:48:51]

And this is the first time you’re going to be calm enough to actually fix anything and not have somebody save you and you screw it up by not stabilizing yourself. You’re in zero g lady. I was.

[00:49:02]

Oh you guys. I just got real mad. I got real mad.

[00:49:06]

All right. So at this point she goes out to the Soyuz, she’s going to get it hooked up, but she realizes that she’s still attached to the parachutes. So she has to detach the parachute. And I will say, I think one of my favorite moments in this whole movie is her trying to detach the parachute cables.

[00:49:22]

And then in the background, you just see one thing was by.

[00:49:26]

And then two things was by and she hasn’t, like, picked up on it yet, and you just the music starts to build up and build up and she turns and she sees it. And just the way that it revs back up to, oh, it’s here. Yeah, it was really well done.

[00:49:42]

You jumped the gun, OK? I’m not done with the fire. OK, we can get back to that. It’s going to be four hours.

[00:49:50]

I have, uh, OK, I the I want to know. How did this fire not?

[00:50:03]

Like, eat up all of the oxygen, that fire seemed big enough that it seemed like the oxygen would just have been burned away.

[00:50:10]

Oh, it would have just not I mean, I don’t know how fast fires burn up. Like, I don’t know what the rate of oxygen consumption is, but it would have eventually.

[00:50:19]

But in the 30 seconds that she was engaged, except for the fact that that fire became a roaring inferno explosion thing behind her. And I was sitting there going, if it’s that big, I just I don’t know that I believe that I am actually.

[00:50:38]

I’m not enough of an expert. And. All right. I was hoping know. But my but my guess is that if it’s inaccurate, it’s not by much. Because the thing is, the ISIS is pretty big. There’s a lot of air in a lot of different branching hallways. And so even like the the the path that she took through the ISIS was not much of the ISIS. So there was still plenty of air sort of coming into the room. And it may have suffocated itself just, you know, within that area.

[00:51:06]

But I think it works. I, I think my other problem with the fire portion is they’ve shown us to be shown her to be incompetent enough. That I don’t believe that she’d remember to take the fire extinguisher, which is important that she does.

[00:51:25]

Yeah, which I’m not in her defense, she didn’t remember. She tried to close the hatch and it closed on the fire extinguisher. So she just grabbed it.

[00:51:33]

Yeah, I thought she had purposely brought it with her and I was going, but I guess, OK, so maybe I’m right. She wasn’t. And it just was a happy accident. Good for her.

[00:51:44]

I will say the destruction of the SS from outside was quite spectacular. That was gorgeous to watch just the the destruction physics and the particle physics of all the different pieces flying around in the she’s going around it as it’s sort of tearing itself apart. And that was really impressive from a filmmaking standpoint.

[00:52:07]

Um, so she’s in the Soyuz. Yeah. And the parachute is keeping her there. And you want to know what the second time she doesn’t panic. It’s the second time of this entire film so far. She wants to swear and she doesn’t. And I was like. Really, I don’t. Again, I don’t believe you. So she’s like you. Yeah, like like, oh, you’ve earned it. I don’t know, I just was like you because you, Sandra Bullock does this nice thing where I mean, she obviously makes it look like she’s going to drop an F bomb and she doesn’t. And I’m sitting here going, oh, that’s a nice moment, Sandra. But that’s not what your character would do. Yeah, you’re alone. Yeah. Hero. Yeah. So, OK, we can we can move on.

Gravity

[00:52:56]

All right, so I will point out one thing, which is just kind of fun, which is if you enjoyed the moment of her getting on the radio with Orning Guk, I think his name is and sort of having this moment of human connection, even though she doesn’t understand the

language, which I thought was pretty, pretty poignant and pretty, you know, I enjoyed it is there is actually a short film that is out there, which is from his perspective, it’s he’s like a shepherd or something in Mongolia. And it was written and directed by the son, by the the co-writer of the film. And you can I mean, it’s like Sandra Bullock, Sandra Bullock’s voice coming in through the radio and he’s like holding his baby and, you know, sort of chatting with her. There’s subtitles so you can see what he’s saying. And yeah, it’s just a neat little tie. End of the film I.

[00:53:49]

I don’t want to take that moment from anybody. But I did have the frustration of why can she talk to him, but not a single space program can talk to her, why? Why is this happening? And. Why is there no fuel and where is the redundancy? I, I that that was my overall question and I made it made me feel like humanity is just incredibly incompetent. And I didn’t like that.

[00:54:21]

It’s actually one could argue that gravity is a really good advertisement for NASA under the heading of this wouldn’t happen.

[00:54:29]

Yeah. Like like look at how inaccurate this movie is. Look at how good we are. Yeah. You know. Yeah.

[00:54:36]

Um, so sitting in that hatch talking to Onaga, I will say the I appreciate that when George Clooney opens the hatch, even though we quickly realized that none of this is actually happening, I appreciate how they portrayed him opening the hatch, because that is pretty realistic. Humans can survive in a vacuum. Yeah, that’s true. And I like that she didn’t get sucked out into space or anything. Like they he sits down, he and he’s kind of like unconcerned. Like he dials up the air and he’s like, I have I got a story for you.

[00:55:12]

I liked it. There are a couple of things that I like. I mean, OK, first of all, I will go back and say I liked heard her doing the the dog sounds. Yes. It was very it was very human and very mean, sort of primal.

[00:55:25]

Like this is a thing that the humans who don’t know each other language have been doing for, you know, fifty thousand years ago. You can imagine two people meeting in the forest and just sort of howling at the moon together.

[00:55:36]

Yeah, it definitely had, like. Yeah. Man’s best friend sort of feeling. And so I did like that. And then going into that to that, um, moment with George Clooney and yeah, I can appreciate it. I did want the end of his Mardi Gras story, so I was hoping we would get that. But no, they took that away from me too. Yeah. You guys, they tortured me.

[00:56:02]

George Clooney is just so charming. Yeah. It’s hard not to enjoy George Clooney just being George Clooney, but yeah, they’re not killing her with the vacuum was great.

[00:56:11]

I appreciated that.

[00:56:12]

While at the same time the abject horror of the moment when he does open the hatch and everything drops to silence and it’s just like, I don’t know about you, but me as an audience member, I was just like kind of took my breath away. How awful. It was like, no, no, no, no, no. You know, and he opens and it’s. Yeah, yeah. They did a good job of that.

[00:56:33]

Yeah, they did.

[00:56:34]

Um, so and then I, I mean I’m a I’m a sucker for, for, you know, sort of poignant. Like I’m, I’m, she’s friendly. But I do have to say I really enjoyed him.

[00:56:49]

Like this this sort of semi spiritual moment of of her, her self-preservation instinct manifesting through him and sort of kicking her into gear, I think that.

[00:57:03]

There was one of his lines was it’s safe, that’s why he likes space is because it’s safe. And to me, that should have at least got her to crack a smile because no, it’s not like.

[00:57:17]

Well, I think I don’t think he was saying space is safe. I think he was saying here in this room, we’re safe from other people.

[00:57:24]

That’s what he’s saying is like. And I’m sitting here going. It didn’t crack a smile. Oh, right, it’s a hallucination. Would her brain have come up with it safe because. I don’t know that it would I mean, I guess she felt like it was safe enough for her to die there, so, yeah, that that at least was part of what he was saying is it’s safe in this room.

[00:57:45]

It’s safe to just turn down the air and drift off to sleep instead of.

[00:57:51]

Facing the situation, you know, and I did think so one thing there, there is there are a few things in this movie that I think were really done well. There aren’t very many things that I thought were were done sort of uniquely well. But I did think there was one moment, which was a very interesting take and a very interesting twist on the formula, which is, you know, in in filmmaking, there’s an idea in the three act structure of a screenplay that some people call the whiff of death or or things like that, which is generally around the transition from the second act to the third. There is some kind of a defeat or a a surrender and then you rise up from it. And so in gravity, that is obviously the moment that she almost kills herself and then decides not to. But I thought it was interesting because usually and in moments like that, in movies, what you do, what the character does is renew their commitment to life. They they double down on I’m not going to die here. I’m you know, it’s a it’s a proactive statement. But I thought it was interesting that in this movie, it’s not framed as committing to life. It’s framed as saying goodbye to death. She’s saying, you’re going to meet my daughter up there. Tell her I’m going to be a minute. I’m not going to see her yet. Tell her goodbye for me.

[00:59:18]

And the whole thing is framed as a letting go instead of as a coming forward, which is exactly what the theme of the movie is, because he tells her, you have to learn to let go. Yes. And so it’s so yeah, I agree with that.

[00:59:32]

But I thought that was interesting, saying goodbye to death rather than renewing commitment to life.

[00:59:37]

I, I like that better than some of the stuff that I had to come up with. Um, so, uh, then I think we’ve gotten to the what is it called. The zoo. Yes.

[00:59:50]

Ok, so, um, the, the Tiangong is the space station and the zoo is the ship that she’s going to take. Right.

[00:59:58]

Right. Um, I will say one, the one thing that I will defend to the death about this movie that is absolutely perfect is the reentry sequence. The whole period, the the music and the the way she delivers the performance as they’re re-entering the atmosphere.

[01:00:19]

I’ve watched that probably 50 times. I’ve watched this movie twice. And that little chunk where she’s going into the atmosphere and the the space station is ripping itself apart around her and then sort of writes itself as it comes.

[01:00:33]

So what I was struggling with is. She’s not even inside, I guess she’s she’s gotten to the space station and it looks like it’s already itself working on falling to Earth. Yeah, kissing at I think she calls it. Yeah. And it’s moving so fast.

[01:00:53]

How does she’s like there’s no way that she is strong enough to stay holding on to it and she’s leaping around on it because they’re all going fast, like the SS is going thousands of miles an hour, but there’s no atmosphere and that thing is starting to kiss the atmosphere. But there’s very like I mean, obviously, I don’t know the exact stats, but we’re talking about like zero point zero one percent Earth’s atmosphere pressure up there.

[01:01:23]

And so it’s enough that, like, the panels are starting to shake and things like that. But it’s not actually enough to blow her around yet because it’s just so thin.

[01:01:33]

Right. But I just. She doesn’t. It doesn’t seem like she’d be strong enough to be able to like because she jumps and holds on to things, and as we’ve seen up until this moment, she’s not good at grabbing. So the fact that she finally figures out how to put her arms out and reach for things is, I guess also.

[01:02:00]

Symbolism, yeah. OK, well, I.

[01:02:04]

Well, and fundamentally, it’s you know, again, this goes back to the Martian, the dust storm in the Martian.

[01:02:10]

There are storms on Mars that are more than hurricane speeds with these winds.

[01:02:18]

But the thing is, the air pressure of Mars is half of one percent of Earth’s atmosphere, which is to say that when the wind is going at hurricane speeds, it’s like a gentle breeze on your face. It’s not that it exerts no force because the air is so thin. And so that’s basically what’s happening is that it’s whizzing by her at hundreds of miles an hour.

[01:02:37]

It just turns out that I’m willing to just say I’m wrong about that because why not?

[01:02:44]

Um, but yeah, that musical theme, the music, the full heroic theme as she’s coming back into the atmosphere is just so gorgeous. I bought the soundtrack just for that one song.

[01:02:54]

I wanted to know, why is this zoo like losing its mind? It has like all of these alarms going off. And I’m like, no, but you’re made to re- enter because she’s not doing it right.

[01:03:08]

Like she had the eeny, meeny, miny her. I mean, I saw that. So presumably those I mean, I don’t speak Chinese, but presumably what’s on what’s on the screens there is like, you forgot to do this. You forgot to turn this off, you forgot to do this and this. And you didn’t strap in. And you’re, you know, like all of that, like all the steps of reentry that she’s skipping. Mm hmm. Yeah, I she I did think that Sandra Bullock did a really good job with as she’s doing reentry, she’s like sort of defiantly, I’m going to do this. But she’s still terrified. Yeah. Like the hurt her performance walks the line of screw you space and oh my God, I don’t want to die really.

[01:03:54]

Well, I felt like so essentially we’re at the end. Yeah. She lands in the water. They at one point ask her to identify herself, which is just. Comically dumb because it’s not as if. I like it’s not like stuff isn’t raining all over the planet, all over the planet, like I just. Are you kidding me? It’s not like there is an alien in there. There is one of five people that could be in there. Yeah, get over yourselves. Um, I just I like the idea that it’s some weird spy mission or like aliens are invading, like, I don’t know what they think is happening, but you’ve just completely detached from giving them any credit.

[01:04:37]

No, they don’t. I’m sorry, but they don’t deserve it.

[01:04:39]

Ok, so here she she lands in the water. She almost drowned, which is another one of my least favorite things to see in movies. And then she thinks out.

[01:04:49]

If I did have a note. Oh, you thought you were done just because we’re back on Earth. You thought that you were going to be OK.

Gravity Movie

[01:04:54]

No. And so she goes from you know, we saw her in that fetal position with the umbilical cord like thing with light behind her. And now she is being birthed into the world and she kicks off her clothes and she looks like a tadpole and she washes up on the shore and she can laugh and she laughs as she tries to stand because she’s struggling the DeAndre. OK, great. So I just like here’s the deal, I, I, I want to know, a, what is the ending? That’s to me that’s not the ending. That is that is the end of her story. I’m done with her story. I want to know the fallout from this story. And I’m mad that I don’t get it. But I want to know why she had to do this by herself. Why is this a story of one woman who barely manages to make it? That’s not how you make it through the worst point of your life. So few people can do it by like. By themselves, why, why? Because doing it by herself. Why can’t this be a story of a crew?

[01:06:03]

What you’re asking for is a story about healing. Nobody heals entirely on their own. But I think that this is more a story of someone finding their will to live, which can happen on their own often. Oftentimes, when people are placed alone in situations, they find this kind of like determination to survive.

[01:06:23]

And I know that that’s true. But to me, that was. It was almost a little bit secondary because to me, this actually felt kind of like an allegory for the Book of Job, you were going to take everything from you and and you like you’re going to suffer and you’re going to you’re going to curse the day you were born and then you’re going to be reborn. And suffering should cause us to look for answers like that’s the book of job. That’s essentially what happens to her. And you you focus on the future and what’s in store for us. And to me, that’s kind of what they’ve done here. But I just don’t. I don’t know, I felt like it was. It was a boring story to tell, honestly, I fear it being as dramatic as it was, if you take out the three debris field, if you take out two of the debris fields and stop trying to like. Make drama happen. The story just kind of falls flat, which I think is why they have to do so much drama. And I found that really. Frustrating. Yeah, which I think ultimately so there’s a show runner named Glen Mazzara. And he was speaking to the art of writing and he wrote on the highly acclaimed Twitter, he said, Your own inner confusion about what to do with your life is probably not as cinematically captivating as you think it is. That’s his advice to other writers, is that inner confusion isn’t great for the screen, which is what they did. They took someone’s inner confusion and then layered drama, drama, drama, drama, drama over it. And it’s the foundation of the story wasn’t strong enough to hold up all of that drama. And that’s why it falls apart for me. You don’t have anything that scientifically you have very little that’s scientifically accurate. You have not a very good story as the foundation, and then you just layered it to how it is cake with too much frosting.

[01:08:31]

All right. Well, you lost me there because that’s not possible. Yes, it is.

[01:08:39]

Yeah, it’s definitely not a perfect film, I think if anybody really loves the idea of survival stories, if anybody if that’s like your thing is, is overcoming adversity and watching people almost die, then there’s a lot to be enjoyed here.

[01:08:55]

But, yeah, it’s definitely it’s one of those stories that sort of extra frustrating because of how close to greatness it came. There are a lot of situations. We’re just changing that. One line would have made this so much better or, you know, give it a little bit more complexity.

[01:09:11]

Give it give it more detail. I just felt like they used, uh, a big brush for the entire thing.

[01:09:18]

The main I think the central problem that if they if they could only fix one thing, the central problem was unlike Apollo 13 and unlike the Martian and unlike a lot of these stories, this was actually not the story of someone solving problems. This was the story of someone just desperately holding on. And like it’s almost presented like there is nothing to be done. You’re just in the hurricane. Hold on until it. And yeah. And that’s that’s not quite like you got to give her some credit. She does take action in some moments, but it’s the the overarching. Yeah. The overarching thing is luckily she didn’t get hit by debris, you know, luckily she landed in water. Yeah, exactly. And so there you lose again the competence point that we were talking about with Apollo 13 or with the Martian, you lose the proactive nature of addressing the problem and just hanging on only gets it. It’s only interesting if the thing that you’re hanging on against is huge and overwhelming and awe inspiring on its own, which is what they try to do.

[01:10:33]

But you need more than that.

[01:10:34]

Yeah, yeah, you guys, I’m so sorry, like, normally I love I love to love things and I’m willing to be critical.

[01:10:40]

But this I just I can’t get behind this movie. Not a fan. I know. I mean, in theaters when we saw it, I found it incredibly stressful. So I just struggled with it. And but because of that, I couldn’t go back and look at it critically. And now watching it with a critical eye, I’m just like, this movie doesn’t hold up. It just it just doesn’t. And I’m so sad about it because I want it to. I love me some Sandra Bullock and I love me some Ed Harris now because of Apollo 13. And George Clooney, I thought could do no wrong. And this whole thing was just I maintain director, writer, producer just screwed the pooch. Sorry.

[01:11:17]

I’m sorry. Well, we’ve gone a little over, but I think that pretty much covers it.

[01:11:22]

I would hope so, yeah. Oh, what a downer, guys. I’m sorry.

[01:11:26]

Lacey and Lacey and I will be starting our new YouTube channel called Things Wrong with Gravity, where you can tune in for our twenty six part series.

[01:11:37]

But yeah, thank you for sticking around.

[01:11:40]

Be sure to share in the comments what you thought. I’m always interested to hear new perspectives.

[01:11:44]

I would love for someone to tell me why they love it and like convince me because you guys, I’m that is something that is true. If you love something and you can convince me that the reason I like happened with Ed Harris just last week. Yeah. Like it can be done. So tell me why you love it. Hey, if there’s if there’s a science, anything out there, book, movie, TV show, not the whole TV show probably, but like an episode or two that you’re like, oh my God, you guys will love this and you won’t hate it. He’s like, let us know.

[01:12:18]

Let us know what we can do it on the show. We’ll put it on the we’ll put it on the list. Yes, OK. All right. Well, be sure to give us a follow and like and subscribe and comment and all that good stuff and thank you for watching.

[01:12:30]

We’ll see. You will be in what, December and. Yeah. Two weeks. Two weeks. Two weeks on Thursday. OK, all right. Thanks, guys.