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Sex in space: How movies and TV are picturing your future life on Mars – CNET

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We’re years, if not decades, away from being able to send humans to Mars, but that hasn’t stopped the entertainment industry from imagining what humans might encounter on the red planet.

In the 1960s film The Angry Red Planet, Mars is redder than you’ve ever seen and inhabited by an unfriendly giant bat-spider. In Paul Verhoeven’s Total Recall (1990) the red planet is a colony on the brink of war with a strong population of mutants. If we learned anything from the film John Carter, a 2012 adaptation of Edgar Rice Burroughs’ novel, it’s that humans have almost unlimited abilities on Mars and human-looking Martians/Barsoomians speak with a British accent.

But Hollywood’s most recent portrayals of Mars or even its colonization have been less about the green-skinned, head-exploding creatures of Tim Burton’s Mars Attacks! (1996) and more about what the planet would realistically look like after we arrive and terraform it. 

I’m talking about movies like James Gray’s Ad Astra, where Brad Pitt, en route to Neptune, finds himself making a pit stop at an oppressive and charmless Martian colony. Or TV shows like MARS, a National Geographic docudrama that blends interviews with real scientists, astronauts and other Mars experts with the fictional story of the first crew that lands on Mars, in 2033. These kinds of titles, while leaning on fiction, also confer an idea of what the future of Mars colonization could end up looking like.

“You can’t portray Mars in purely fanciful ways anymore without straining suspension of disbelief,” Andy Weir, author of the 2011 best seller The Martian, tells me. He says modern-day people are too well-educated about the realities of the planet.

More science in science fiction

That increased authenticity, and increasingly more educated audience, could be due in part to the collaboration filmmakers seek with space agencies like NASA. Last year alone, NASA worked with the makers of 30 television programs and 19 feature films, including Ad Astra, Star Wars: The Rise of Skywalker and Star Trek: Picard.

The agency even vets scripts, working back and forth with filmmakers. “Not everything becomes accurate, but it’s at least a bit more accurate than it would have been had they not contacted us,” Bert Ulrich, NASA’s Multimedia Liaison, tells me during a phone conversation. NASA gives production teams access to footage and imagery. 

“I think it’s definitely possible to make a story that’s 100% correct in terms of science,” Weir tells me when I ask if it’s fair to say Hollywood stories about space are always going to contain some scientific imprecisions. Weir’s book was the source material for a 2015 Ridley Scott movie with a star-packed cast led by Matt Damon and Jessica Chastain

His initially self-published book was lauded for its scientific accuracy and research. “I try to stick with real science as much as I possibly can,” Weir said. “Sometimes I’ll hand-wave, but only if there’s no other option.” The Martian’s protagonist, Mark Watney, popularized the catchphrase “I’m gonna have to science the shit out of this.” 

Both the book and its cinematic adaptation take dramatic license, though. As Ulrich points out, there are no sandstorms on Mars like the one shown at the beginning of The Martian, which initially strands Watney on the planet. NASA suggested the filmmakers opt for a lightning strike instead, but Ridley Scott decided to stick to the story of the sandstorm. “We were fine with that. We understand that artists are artists,” says Ulrich. 

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Brad Pitt in Ad Astra.


Twentieth Century Fox

The Martian isn’t the only offender. Former NASA astronaut and USC Professor Garrett Reisman tells me about the teardrop that rolls down Brad Pitt’s face in Ad Astra. James Gray, the movie’s director, was perfectly aware that’s not possible in zero gravity, but he decided to leave it and ignore the laws of physics because it looked good. “Brad Pitt was expressing such amazing emotion,” Reisman, who was a consultant for the film, explains in a phone conversation. “Nobody ever goes to a movie for the orbital mechanics. They go for the story.”

And stories need to be appealing, thought-provoking and human in a way that resonates with the audience and piques people’s interest.

During the presentation of the second season of MARS in front of the Television Critics Association, executive producer Ron Howard spoke about the need for a balance between facts versus storytelling in the show. “Our desire is to deal with science in as accurate a way as we could, as well-researched a way as we could. But also to make a great show,” he said. “We’re not unwilling to take a few leaps.”

He was referring to the fact that the show toys with the idea of life on Mars, even though no definitive proof has been found. MARS also broaches the subject of death and loss, and one of its characters becomes pregnant, too. And here’s where human relationships and good old-fashioned drama come into the science fiction equation.

Sex in space

Not everything in Hollywood’s new wave of Mars and space representations is necessarily naturalistic. As author Mary Roach describes in her book Packing for Mars, “[t]ake away or greatly reduce the force of gravity, and thrusting just pushes the object of one’s affections away.” That’s to say that sex in space isn’t necessarily what we’re used to experiencing on Earth.

“If you want to see some hilariously lame zero-g sex scenes, check out the porno film (The Uranus Experiment),” Roach recommends via email after I inquire whether she’s seen the sex scenes from The Expanse. I’m curious about their accuracy. The Expanse is based on the series of novels by Daniel Abraham and Ty Franck and is set in a future where the solar system has been colonized by humans.

Roach hasn’t watched The Expanse, but she throws more light on the subject of weightless intercourse and its practicability in her book, implying that it’s hard to imagine that absolutely every astronaut has resisted the urge when given the opportunity.

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Dominique Tipper, Cas Anvar, Wes Chatham and Steven Strait in the fourth season of The Expanse.


Amazon Prime Video

“I don’t think there’s any question that it’s physically possible,” Reisman says when I inquire about the subject of sex in space, but he notes he hasn’t tried it or talked to anyone who has. “Just based on the sheer kinematics and mechanics involved … There’s no reason why it couldn’t work.”

Or, as astronaut Roger Crouch told Roach for her book, sex in space is a matter of the imagination of the participants. “The Kama Sutra couldn’t start to cover all the possibilities.”

Those words would tickle any Hollywood producer.

A boring affair?

The thing is, when we finally make it to Mars, it remains to be seen how much the planet will look like what Hollywood has represented. The astronauts probably won’t look as dazzling and perfectly bearded as Pitt’s character did in Ad Astra after a long journey back to Earth inside a spaceship. It’s unlikely they’ll sound half as witty as Mark Watney did in The Martian. And hopefully, no human feces will be used as potato fertilizer. 

Weir tells me the first settlers on Mars will take things very seriously and nothing will be left to chance. “There will be setbacks, but it’ll probably be a boring, successful affair,” he says.

Reisman doesn’t necessarily agree. For the former astronaut, something as complex as going to another planet always comes with the element of surprise and challenges. “It’s never going to be as predictable as you might think,” he says. 

However close to a Hollywood production Mars ends up being, Reisman says there are signs the story will keep going, and he highlights the money, resources and time devoted to Mars by people such as Blue Origin founder Jeff Bezos, SpaceX founder Elon Musk and Virgin Galactic founder Richard Branson.

“They want to make science fiction real,” Reisman says. And space tourism sounds like the perfect sequel for this story.

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Here’s how Helene and other storms dumped a whopping 40 trillion gallons of rain on the South

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More than 40 trillion gallons of rain drenched the Southeast United States in the last week from Hurricane Helene and a run-of-the-mill rainstorm that sloshed in ahead of it — an unheard of amount of water that has stunned experts.

That’s enough to fill the Dallas Cowboys’ stadium 51,000 times, or Lake Tahoe just once. If it was concentrated just on the state of North Carolina that much water would be 3.5 feet deep (more than 1 meter). It’s enough to fill more than 60 million Olympic-size swimming pools.

“That’s an astronomical amount of precipitation,” said Ed Clark, head of the National Oceanic and Atmospheric Administration’s National Water Center in Tuscaloosa, Alabama. “I have not seen something in my 25 years of working at the weather service that is this geographically large of an extent and the sheer volume of water that fell from the sky.”

The flood damage from the rain is apocalyptic, meteorologists said. More than 100 people are dead, according to officials.

Private meteorologist Ryan Maue, a former NOAA chief scientist, calculated the amount of rain, using precipitation measurements made in 2.5-mile-by-2.5 mile grids as measured by satellites and ground observations. He came up with 40 trillion gallons through Sunday for the eastern United States, with 20 trillion gallons of that hitting just Georgia, Tennessee, the Carolinas and Florida from Hurricane Helene.

Clark did the calculations independently and said the 40 trillion gallon figure (151 trillion liters) is about right and, if anything, conservative. Maue said maybe 1 to 2 trillion more gallons of rain had fallen, much if it in Virginia, since his calculations.

Clark, who spends much of his work on issues of shrinking western water supplies, said to put the amount of rain in perspective, it’s more than twice the combined amount of water stored by two key Colorado River basin reservoirs: Lake Powell and Lake Mead.

Several meteorologists said this was a combination of two, maybe three storm systems. Before Helene struck, rain had fallen heavily for days because a low pressure system had “cut off” from the jet stream — which moves weather systems along west to east — and stalled over the Southeast. That funneled plenty of warm water from the Gulf of Mexico. And a storm that fell just short of named status parked along North Carolina’s Atlantic coast, dumping as much as 20 inches of rain, said North Carolina state climatologist Kathie Dello.

Then add Helene, one of the largest storms in the last couple decades and one that held plenty of rain because it was young and moved fast before it hit the Appalachians, said University of Albany hurricane expert Kristen Corbosiero.

“It was not just a perfect storm, but it was a combination of multiple storms that that led to the enormous amount of rain,” Maue said. “That collected at high elevation, we’re talking 3,000 to 6000 feet. And when you drop trillions of gallons on a mountain, that has to go down.”

The fact that these storms hit the mountains made everything worse, and not just because of runoff. The interaction between the mountains and the storm systems wrings more moisture out of the air, Clark, Maue and Corbosiero said.

North Carolina weather officials said their top measurement total was 31.33 inches in the tiny town of Busick. Mount Mitchell also got more than 2 feet of rainfall.

Before 2017’s Hurricane Harvey, “I said to our colleagues, you know, I never thought in my career that we would measure rainfall in feet,” Clark said. “And after Harvey, Florence, the more isolated events in eastern Kentucky, portions of South Dakota. We’re seeing events year in and year out where we are measuring rainfall in feet.”

Storms are getting wetter as the climate change s, said Corbosiero and Dello. A basic law of physics says the air holds nearly 4% more moisture for every degree Fahrenheit warmer (7% for every degree Celsius) and the world has warmed more than 2 degrees (1.2 degrees Celsius) since pre-industrial times.

Corbosiero said meteorologists are vigorously debating how much of Helene is due to worsening climate change and how much is random.

For Dello, the “fingerprints of climate change” were clear.

“We’ve seen tropical storm impacts in western North Carolina. But these storms are wetter and these storms are warmer. And there would have been a time when a tropical storm would have been heading toward North Carolina and would have caused some rain and some damage, but not apocalyptic destruction. ”

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Follow AP’s climate coverage at https://apnews.com/hub/climate

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Follow Seth Borenstein on Twitter at @borenbears

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Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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‘Big Sam’: Paleontologists unearth giant skull of Pachyrhinosaurus in Alberta

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It’s a dinosaur that roamed Alberta’s badlands more than 70 million years ago, sporting a big, bumpy, bony head the size of a baby elephant.

On Wednesday, paleontologists near Grande Prairie pulled its 272-kilogram skull from the ground.

They call it “Big Sam.”

The adult Pachyrhinosaurus is the second plant-eating dinosaur to be unearthed from a dense bonebed belonging to a herd that died together on the edge of a valley that now sits 450 kilometres northwest of Edmonton.

It didn’t die alone.

“We have hundreds of juvenile bones in the bonebed, so we know that there are many babies and some adults among all of the big adults,” Emily Bamforth, a paleontologist with the nearby Philip J. Currie Dinosaur Museum, said in an interview on the way to the dig site.

She described the horned Pachyrhinosaurus as “the smaller, older cousin of the triceratops.”

“This species of dinosaur is endemic to the Grand Prairie area, so it’s found here and nowhere else in the world. They are … kind of about the size of an Indian elephant and a rhino,” she added.

The head alone, she said, is about the size of a baby elephant.

The discovery was a long time coming.

The bonebed was first discovered by a high school teacher out for a walk about 50 years ago. It took the teacher a decade to get anyone from southern Alberta to come to take a look.

“At the time, sort of in the ’70s and ’80s, paleontology in northern Alberta was virtually unknown,” said Bamforth.

When paleontogists eventually got to the site, Bamforth said, they learned “it’s actually one of the densest dinosaur bonebeds in North America.”

“It contains about 100 to 300 bones per square metre,” she said.

Paleontologists have been at the site sporadically ever since, combing through bones belonging to turtles, dinosaurs and lizards. Sixteen years ago, they discovered a large skull of an approximately 30-year-old Pachyrhinosaurus, which is now at the museum.

About a year ago, they found the second adult: Big Sam.

Bamforth said both dinosaurs are believed to have been the elders in the herd.

“Their distinguishing feature is that, instead of having a horn on their nose like a triceratops, they had this big, bony bump called a boss. And they have big, bony bumps over their eyes as well,” she said.

“It makes them look a little strange. It’s the one dinosaur that if you find it, it’s the only possible thing it can be.”

The genders of the two adults are unknown.

Bamforth said the extraction was difficult because Big Sam was intertwined in a cluster of about 300 other bones.

The skull was found upside down, “as if the animal was lying on its back,” but was well preserved, she said.

She said the excavation process involved putting plaster on the skull and wooden planks around if for stability. From there, it was lifted out — very carefully — with a crane, and was to be shipped on a trolley to the museum for study.

“I have extracted skulls in the past. This is probably the biggest one I’ve ever done though,” said Bamforth.

“It’s pretty exciting.”

This report by The Canadian Press was first published Sept. 25, 2024.

The Canadian Press. All rights reserved.

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The ancient jar smashed by a 4-year-old is back on display at an Israeli museum after repair

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TEL AVIV, Israel (AP) — A rare Bronze-Era jar accidentally smashed by a 4-year-old visiting a museum was back on display Wednesday after restoration experts were able to carefully piece the artifact back together.

Last month, a family from northern Israel was visiting the museum when their youngest son tipped over the jar, which smashed into pieces.

Alex Geller, the boy’s father, said his son — the youngest of three — is exceptionally curious, and that the moment he heard the crash, “please let that not be my child” was the first thought that raced through his head.

The jar has been on display at the Hecht Museum in Haifa for 35 years. It was one of the only containers of its size and from that period still complete when it was discovered.

The Bronze Age jar is one of many artifacts exhibited out in the open, part of the Hecht Museum’s vision of letting visitors explore history without glass barriers, said Inbal Rivlin, the director of the museum, which is associated with Haifa University in northern Israel.

It was likely used to hold wine or oil, and dates back to between 2200 and 1500 B.C.

Rivlin and the museum decided to turn the moment, which captured international attention, into a teaching moment, inviting the Geller family back for a special visit and hands-on activity to illustrate the restoration process.

Rivlin added that the incident provided a welcome distraction from the ongoing war in Gaza. “Well, he’s just a kid. So I think that somehow it touches the heart of the people in Israel and around the world,“ said Rivlin.

Roee Shafir, a restoration expert at the museum, said the repairs would be fairly simple, as the pieces were from a single, complete jar. Archaeologists often face the more daunting task of sifting through piles of shards from multiple objects and trying to piece them together.

Experts used 3D technology, hi-resolution videos, and special glue to painstakingly reconstruct the large jar.

Less than two weeks after it broke, the jar went back on display at the museum. The gluing process left small hairline cracks, and a few pieces are missing, but the jar’s impressive size remains.

The only noticeable difference in the exhibit was a new sign reading “please don’t touch.”

The Canadian Press. All rights reserved.

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