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      ‘Distancing Socially’ Review: Scenes from a Quarantine

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      Little happens in this comedy that follows Hollywood players lonely in lockdown.“Write what you know,” the adage goes. Ben (Rory Scovel) takes these words to heart in “Distancing Socially,” a so-called comedy set during the coronavirus lockdown. Unfolding on screens in a series of interconnected vignettes, the movie begins with Ben, a screenwriter, pitching his idea for a romantic comedy that occurs over video calls.One would be forgiven for guessing that Ben is a proxy for Chris Blake, the movie’s writer and director, who conceived of “Distancing Socially” during the pandemic and shot it remotely by shipping iPhone rigs to actors. The vast ensemble of characters includes Ben’s producer Noel (Alan Tudyk), his financier Andy (Andy Buckley) and Andy’s colleague Ella (Melanie Chandra), who works in casting.A majority of the characters hold Hollywood jobs — save for a poet, a musician and a blogger — and an oddly large number are recently single and boohooing over their exes. Those in committed partnerships don’t get off scot-free, though; they insist that their wives or kids, somewhere offscreen, are driving them nuts.Predictable Covid-era gags about delivered groceries, germaphobia and computer glitches pepper the script, but the real problem here is the expository dialogue. Every time a new character appears, his or her name and relation to the story is awkwardly stated, and then likely reiterated in case we missed it the first time. It’s fine that nothing major happens in this charmless quaran-com; it is concerning, however, that neither the audience nor the actors, sitting stiffly behind their screens, are given reason to care.Distancing SociallyRated R. Broken hearts and bad Wi-Fi. Running time: 1 hour 24 minutes. Rent or buy on Amazon, Google Play and other streaming platforms and pay TV operators. More

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      Russian Film Crew Has Arrived at Space Station

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      The pair arrived at the International Space Station on Tuesday, aiming to shoot scenes for the first feature film made in orbit.The Russian crew — an actress, a director and their professional astronaut guide — arrived at the International Space Station with a mission to shoot scenes for the first feature-length film in space.Roscosmos, via ReutersThe first dog in space. The first man and woman. Now Russia has clinched another spaceflight first before the United States: Beating Hollywood to orbit.A Russian actress, Yulia Peresild, a director, Klim Shipenko, and their veteran Russian astronaut guide, Anton Shkaplerov, launched on a Russian rocket toward the International Space Station on Tuesday. Their mission is to shoot scenes for the first feature-length film in space. While cinematic sequences in space have long been portrayed on big screens using sound stages and advanced computer graphics, never before has a full-length movie been shot and directed in space.Whether the film they shoot in orbit is remembered as a cinematic triumph, the mission highlights the busy efforts of governments as well as private entrepreneurs to expand access to space. Earth’s orbit and beyond were once visited only by astronauts handpicked by government space agencies. But a growing number of visitors in the near future will be more like Ms. Sherepild and Mr. Shipenko, and less like the highly trained Mr. Shkaplerov and his fellow space explorers.A Soyuz rocket, the workhorse of Russia’s space program, lifted off on time at 4:55 a.m. Eastern time from the Baikonur Cosmodrome in Kazakhstan.Before the launch on Tuesday, the MS-19 crew posed for photos and waved to family and fans in Baikonur. Mr. Shipenko, the director of the film which is named “The Challenge,” held up a script as he waved to cameras.“We didn’t forget to take it with us,” he said, according to a translator, before he boarded a bus with the other crew members to get dressed in their flight suits.The crew then raced to catch up with the space station in a trip that took only three hours. Known as a “two-orbit scheme,” it was unusually fast, as journeys to the lab in space typically last between eight and 22 hours over multiple orbits around Earth. (The first three-hour trip was performed by a Soyuz spacecraft in 2020 for Russia’s MS-17 mission, carrying two Russian astronauts and a U.S. astronaut.)The MS-19 spacecraft carrying its three-person crew was expected to dock with the space station at 8:12 a.m. But because of what a mission control official in Moscow described as “ratty comms” between the capsule and mission control in Moscow, possibly the result of weather conditions on Earth, Mr. Shkaplerov, the mission’s commander, was forced to abort an initial automated docking attempt. Mr. Shkaplerov instead manually steered the spacecraft to a port on the station’s Russian segment.“Up, down, left, right,” the mission control official in Moscow instructed Mr. Shkaplerov, as he steered the spacecraft closer to the station’s Russian segment. “Do what you’ve trained for. You’ll be fine.”The capsule latched onto the space station around 8:22 a.m. slightly behind schedule. Opening the hatch door was also delayed as the crew checked for air leaks, and as the Russian astronauts already on the station lined up their first shot: Ms. Peresild’s arrival.“They’re going to open the hatch from their side, and then they’re going to float towards the camera, correct? So we need to stay out of the picture,” Oleg Novitsky, one of two Russian astronauts who’ve been on the station since April, asked mission control in Moscow.Pyotr Dubrov, the other resident of the Russian segment, was behind a large digital cinema camera, recording and waiting for the MS-19 crew to open the hatch door and board the station. When it finally opened more than two hours after docking, at 11 a.m., out floated Mr. Shkaplerov and a smiling Ms. Peresild, followed by Mr. Shipenko, her director. The three then participated in a welcoming ceremony with the space station’s current crew of seven astronauts from NASA, Russia, Europe and Japan, with Ms. Sherepild in a red jumpsuit while her fellow new arrivals wore blue.A screengrab from a video by the Russian Space Agency Roscosmos showed Yulia Peresild entering the I.S.S. on Tuesday.Roscosmos, via Agence France-Presse — Getty Images“I still feel that it’s all just a dream and I am asleep,” she said. “It is almost impossible to believe that this all came to reality.”The two film crew members will spend nearly two weeks moviemaking on the space station before returning on Oct. 17 aboard the MS-18 Soyuz spacecraft. Mr. Novitsky will leave with the film crew, and Mr. Shkaplerov will remain on the station.“Undoubtedly, this mission is special, we have people going to space who are neither tourists nor professional cosmonauts,” said Dmitri Rogozin, director general of Roscosmos, the Russian space agency. He said he hoped the flight would help the agency attract a new generation of talent.As an actress, Ms. Peresild has performed in some 70 roles onscreen, and Russian movie publications have named her among the top 10 actresses under 35 years old. She may be best known among Russian moviegoers for “Battle for Sevastopol” (2015), in which she played the role of Lyudmila Pavlichenko, the deadliest Red Army female sniper during World War II.But her prominence alone wouldn’t have been enough to secure her a seat to orbit: She was picked for the flight from some 3,000 contestants in a two-stage selection procedure that involved both tests of creativity and a stringent medical and physical fitness screening.Ms. Peresild will also become the fifth Russian woman to travel to space, and the first aboard the space station since 2015, when Elena Serova returned to Earth.Aboard the space station, Ms. Peresild will star in “The Challenge.” It’s about a surgeon, played by Ms. Peresild, who embarks on an emergency mission to the orbiting lab to save the life of an ailing cosmonaut (to be performed by Mr. Novitsky). Few other details about the plot or the filming aboard the station have been announced.The crew, using hand-held cameras both on board the capsule and in the space station, started filming scenes for the movie as the spacecraft approached the outpost, Rob Navias, a NASA spokesman, said on Tuesday.For “The Challenge,” cinematic storytelling may take a back seat to the symbolism of shooting a movie in space. The production is a joint project involving Russia’s space agency Roscosmos; Channel One; and Yellow, Black and White, a Russian film studio.Anton Shkaplerov, Klim Shipenko and Ms. Peresild boarding the Soyuz before launch on Tuesday.Roscosmos, via ReutersLike a lot of private missions to space these days, Channel One and Roscosmos hope the film can prove to the public that space isn’t reserved for only government astronauts. One of the production’s core objectives is to show that “spaceflights are gradually becoming available not only for professionals, but also for an ever wider range of interested persons,” Channel One said on its website.Mr. Rogozin, the Russian space agency leader, said he hopes the mission will make “a truly serious work of art and a whole new development of the promotion of space technologies,” in order to attract young talent to Russia’s space program.Funding for Russia’s space program is beginning to wane. Starting in 2011, when the U.S. space shuttle program ended, NASA could only send astronauts to the International Space Station by paying for expensive rides on one of Russia’s Soyuz rockets. But that ended in 2020 when SpaceX’s Crew Dragon proved itself capable of sending astronauts from American soil. And recently, the United States ended purchases of a Russian rocket engine long used for NASA and Pentagon launches to space, which generated billions in revenue for Moscow.Is this really the first movie that has been made on the space station?“The Challenge” is the first full-length movie that will use scenes filmed in orbit. The movie will include about 35 to 40 minutes of scenes made on the station, Channel One says.Other kinds of productions have been made in space in the past, like “Apogee of Fear,” an eight-minute science fiction film shot by Richard Garriott, a private astronaut, in 2008. Mr. Garriott, a video game entrepreneur, paid $30 million for his seat on a Soyuz spacecraft, which he booked through Space Adventures, a space tourism broker. The company is booking future missions to the space station aboard Russia’s Soyuz spacecraft.Several feature-length documentaries have relied heavily on video shot aboard the station. “Space Station 3D,” a short 2002 documentary about the space station’s construction, was one of the earliest IMAX productions filmed in space.Are there other plans to film in orbit?Tom Cruise may have plans to film something on the space station, but it’s unclear exactly when. Deadline, a Hollywood news publication, reported in 2020 that Mr. Cruise would fly to space aboard one of SpaceX’s Crew Dragon capsules for an action-adventure film directed by Doug Liman. Jim Bridenstine, who served as NASA’s administrator under President Donald Trump, confirmed the plans on Twitter at the time and lauded them as a chance to galvanize the public around space exploration.Russia’s space agency announced its intention to send an actress to the space station shortly after Mr. Cruise’s plans emerged.The Nauka multipurpose laboratory module, left, docked to the International Space Station alongside a Soyuz spacecraft in July.Roscosmos, via ReutersWhat problems have the Russians had with the space station recently?Astronauts have been living aboard the space station, a science lab the size of a football field, for more than 20 years, and it’s starting to show signs of decay, particularly on the Russian side.Several air leaks on the Russian segment of the outpost have been detected in recent years, although none have posed immediate danger to the station’s crew. Astronauts found a leak in Russia’s Zvezda service module last year by using tea leaves, and patched the leak with space-grade glue and tape. Another gradual air leak is ongoing, and its source has eluded Russian space officials.And in July, Russia’s new science module, Nauka, carried out a chaotic docking procedure: Shortly after locking onto the station, the module’s thrusters began to fire erroneously, spinning the entire space station by one-and-a-half revolutions. None of the seven astronauts on board were harmed, but it was a rare “spacecraft emergency” that sent NASA and Russian officials scrambling to return the station to its normal orientation.Who else is going to the space station soon?Traffic at the space station will be busy for the next few months.On Oct. 30, NASA is scheduled to send a crew of three U.S. astronauts and one European Space Agency astronaut to the space station for a roughly six-month stay. The mission, named Crew-3, will be NASA’s fourth trek to the station using SpaceX’s Crew Dragon capsule, a spacecraft developed with a mix of NASA and private funds.Then, more private missions. Yusaku Maezawa, a Japanese billionaire, will launch to the orbital laboratory aboard a Soyuz rocket on Dec. 8 for a 12-day stay. Mr. Maezawa, an art collector and the tycoon behind the Japanese fashion retail site Zozotown, booked his first mission to space with SpaceX in 2018, aiming to one day ride the company’s Starship rocket around the moon. That won’t come until 2023, and for Mr. Maezawa’s sooner Soyuz flight, he’ll bring a producer and a camera along to document his trip.Then on Feb. 21, three private astronauts, paying $55 million each, will fly to the space station in a Crew Dragon capsule booked by the company Axiom Space. They will be joined by a fourth crew member, a retired NASA astronaut who will essentially serve as their guide.Valerie Hopkins and Oleg Matsnev contributed reporting from Moscow.Sync your calendar with the solar systemNever miss an eclipse, a meteor shower, a rocket launch or any other astronomical and space event that’s out of this world. More

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      The Future of Movies Collides With the Past at the New York Film Festival

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      Memory and storytelling are intriguingly intertwined in work by world-class filmmakers that confounds and intrigues.For almost six decades, the New York Film Festival has offered a glimpse of the movie future. That has certainly been true this year, with the Lincoln Center screening rooms populated and a busy season of streaming and theatrical releases ahead. Over two autumn weeks — the 59th edition of the festival runs through Sunday — New York cinephiles are treated to a series of sneak previews, early chances to see films that will make their way into the wider world over the next few months.Part of the function of the event is to spark word of mouth and media coverage, to tease the Oscar race and handicap the art-house box office, and to see what people are inclined to argue about. Will it be the lurid provocations of Julia Ducournau’s “Titane”? The wide-screen western psychodrama of Jane Campion’s “The Power of the Dog”? The aching, low-key intimacy of Mike Mills’s “C’mon C’mon”? There has been something reassuring about the ritual of those questions, and about the conversations, blessedly unrelated to pandemics or politics, that they promise.But the excitement of novelty has been tinged with nostalgia. Apart from the required masks and proof of vaccination, this New York festival seemed a lot like the earlier ones. The blend of favored auteurs and up-and-comers felt familiar, and not in a bad way. We expect to see Todd Haynes, Wes Anderson, Bruno Dumont and Hong Sangsoo in this setting, and also to stumble into discoveries and reappraisals. I didn’t know what to expect from “What Do We See When We Look at the Sky?,” from the Georgian director Alexandre Koberidze. After having seen it — a slow-moving, semi-magical romance with a ruminative voice-over and leisurely shots of the town of Kutaisi — I’m still not sure what to make of it. That, too, is a quintessential festival experience.A scene from the Bucharest-set “Bad Luck Banging or Loony Porn.”Silviu Ghetie/Micro FilmAfter watching most of the main slate and a handful of other offerings — and dealing with the inevitable regret about what I’ve missed — my main takeaway is a feeling of comfort. This is unusual, and in the past I might have seen that as a form of disappointment. What I tend to look for, what I believe in to the point of dogmatism, is art that is challenging, difficult, abrasive, shocking. I saw a few attempts at that, including “Titane,” which in spite of its bright colors, extreme violence and sexual aggression didn’t quite succeed for me, and Radu Jude’s “Bad Luck Banging or Loony Porn,” which very much did.Jude shot his film on the streets of Bucharest in 2020, where people are masked, anxious and rude. Like that setting, the story — of a schoolteacher caught up in a culture-war sex scandal — is unpleasantly contemporary, and the overall mood of the picture is rough and dyspeptic. This is the opposite of escapism, and while I can’t say “Bad Luck Banging” is a lot of fun, it has a purgative, present-tense power. This is how we live, and it’s awful.What’s the alternative? Or, more precisely, is there a kind of aesthetic relief from current reality that doesn’t amount to a denial of it? An answer that seems to appeal to many filmmakers at the moment is to treat the medium as a vehicle of memory, to use its tools to construct a record of the past with room for its ambiguities, blank spaces and clashing perspectives.Tilda Swinton is an Englishwoman living in Colombia in “Memoria.”NeonThe most radical and overt gesture of this kind comes, aptly enough, in “Memoria,” from the Thai director Apichatpong Weerasethakul. Like his earlier features (including “Uncle Boonmee Who Can Recall His Past Lives”), this one is dreamy and elusive, less a story than a succession of moods and existential puzzles. Tilda Swinton plays an Englishwoman living in Colombia who starts hearing a loud noise inaudible to anyone else. She asks a young sound engineer to help synthesize what she hears, which turns out not to be the only strange phenomenon she encounters.In a small town in the mountains she meets a man with the same name as the engineer who claims to remember everything that has ever happened to him. Not only that, he can decode “memories” of past events stored in rocks and other inanimate objects. His consciousness is so saturated, he says, that he has never left his hometown, and never watched any movies or television. His new acquaintance is surprised, and tells him some of what he’s been missing. Sports. News. Game shows.It doesn’t sound very persuasive. What would he do with those images? But I don’t think “Memoria” is dismissing its own technology so much as it’s reminding the audience how much more there is to reality than our attempts to represent it. The film is mind-blowing in its ambition and strangeness, but also decidedly modest, as if it were one of those stones packed with information that we might someday learn to unlock.The most memorable films about memory at the festival felt similarly (though also specifically, uniquely) open-ended, inconclusive. Joanna Hogg’s “The Souvenir Part II,” like “Memoria,” evokes memory in its title, and looks through a double rearview mirror. Julie (Honor Swinton Byrne), a London film student in the 1980s, recovers from the death of her lover (Tom Burke, as seen in “The Souvenir”) by turning their relationship into the subject of her thesis project. That movie is also called “The Souvenir,” which makes “Part II” a kind of making-of pseudo-documentary as well as a memoir, a coming-of-age story and a time capsule of the later Thatcher years.Milena Smit, left, and Penélope Cruz in Pedro Almodóvar’s “Parallel Mothers.”Sony Pictures Releasing InternationalPedro Almodóvar’s “Parallel Mothers” moves both forward and backward, with love and politics on its mind. It follows the entwined lives of its two main characters, women (played by Milena Smit and Penélope Cruz) who give birth in the same hospital, over a period of several years. Their fates unfold under the shadow, at times imperceptible, at times unavoidable, of the Spanish Civil War and the dictatorship that followed. The intersection of historical trauma and individual destiny isn’t an uncommon theme in contemporary cinema, but Almodóvar handles it with characteristic elegance and a profoundly melancholy humanism.Almodóvar, the avatar of Spain’s youthful post-Franco awakening, is now in his early 70s. His film will close the festival this weekend, bookending a triptych of major work by his generational cohort. Joel Coen, born in 1954, and Jane Campion, born in 1957, both came on the scene, like Almodóvar, in the 1980s, and are both asserting their seniority by breaking out in new directions: Coen with his swift-moving, stirring “The Tragedy of Macbeth” (his first film without his brother, Ethan) and Campion with the tragic “Power of the Dog.” These movies look like throwbacks — “Macbeth” to the black-and-white Shakespeare of Orson Welles and Laurence Olivier; “Power” to sprawling Technicolor epics like “Giant” — but they are also signs of life. And portents, maybe, of the future. More

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      Watch Live: Russia Launches Film Crew to Space — Time and Video Details

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      The first dog in space. The first man and woman. Now Russia is about to clinch another spaceflight first before the United States: Beating Hollywood to orbit.A Russian actress, a director and their professional Russian astronaut guide launched on a Russian rocket toward the International Space Station on Tuesday. Their mission is to shoot scenes for the first feature-length film in space. While cinematic sequences in space have long been portrayed on big screens using sound stages and advanced computer graphics, never before has a full-length movie been shot and directed in space.Here’s what you need to know:What happened during the launch and what happens next?Who is on the flight?What movie are they making on the space station?Why are they making a movie in orbit?What happened during the launch and what happens next?The Soyuz MS-19 spacecraft lifted off from the Baikonur cosmodrome Tuesday, carrying a film crew to orbit.Roscosmos/Via ReutersA Soyuz rocket, the workhorse of Russia’s space program, lifted off on time at 4:55 a.m. Eastern time from the Baikonur Cosmodrome in Kazakhstan. The MS-19 spacecraft carrying the three-person crew is expected to dock with the space station about three hours later, at 8:12 a.m.The MS-19 crew posed for photos and waved to family and fans during launch preparations in Baikonur on Tuesday. Klim Shipenko, the director of the film, “The Challenge,” held up a script as he waved to cameras.“We didn’t forget to take it with us,” he said, according to a NASA translator, before he boarded a bus with the other crew members to get dressed in their flight suits.NASA, which manages the space station in partnership with Russia, will host another livestream for the spacecraft’s docking beginning at 7:30 a.m. You can also watch the video in the player embedded above.The three-hour trip, called a “two-orbit scheme,” is unusually fast for journeys to the space station, which typically last between eight to 22 hours over multiple orbits around Earth. The first three-hour trip was performed by a Soyuz spacecraft in 2020 for Russia’s MS-17 mission, carrying two Russian astronauts and a U.S. astronaut.Who is on the flight?Yulia Peresild, a Russian actress, during a training session at the Baikonur Cosmodrome in Kazakhstan last month.Andrey Shelepin/GCTC/Roscosmos, via ReutersYulia Peresild, a Russian actress, Mr. Shipenko and Anton Shkaplerov, a veteran astronaut who has completed three treks to and from the space station since 2011, are strapped inside the MS-19 capsule on their way to the space station. Ms. Peresild has spent months training for the mission.The film crew will return to Earth on Oct. 17 along with Oleg Novitsky, an astronaut who’s been on the station since April.“Undoubtedly, this mission is special, we have people going to space who are neither tourists nor professional cosmonauts,” said Dmitri Rogozin, director general of Roscosmos, the Russian space agency. He said he hoped the flight would help the agency attract a new generation of talent.As an actress, Ms. Peresild, has performed in some 70 roles onscreen, and Russian movie publications have named her among the top 10 actresses under 35 years old. She may be best known among Russian moviegoers for “Battle for Sevastopol” (2015), in which she played the role of Lyudmila Pavlichenko, the deadliest Red Army female sniper during World War II.But her prominence alone wouldn’t have been enough to secure her a seat to orbit: She was picked for the flight from some 3,000 contestants in a two-stage selection procedure that involved both tests of creativity and a stringent medical and physical fitness screening.What movie are they making on the space station?The movie’s working title is “The Challenge,” and it’s about a surgeon, played by Ms. Peresild, who embarks on an emergency mission to the space station to save an ailing cosmonaut’s life. Few other details about the plot or the filming aboard the station have been announced, although NASA said on Tuesday that Mr. Novitsky, one of the Russian astronauts currently aboard the station, will play the role of the sick cosmonaut.The crew, using hand-held cameras both on board the capsule and in the space station, started filming scenes for the movie as the spacecraft approached the outpost, Rob Navias, a NASA spokesman, said on the livestream.Why are they making a movie in orbit?For “The Challenge,” cinematic storytelling may take a back seat to the symbolism of shooting a movie in space. The production is a joint project involving Russia’s space agency Roscosmos; Channel One; and Yellow, Black and White, a Russian film studio.Like a lot of private missions to space these days, Channel One and Roscosmos hope the film can prove to the public that space isn’t reserved for only government astronauts. One of the production’s core objectives is to show that “spaceflights are gradually becoming available not only for professionals, but also for an ever wider range of interested persons,” Channel One said on its website.Mr. Rogozin , the Russian space agency leader, said he hopes the mission will make “a truly serious work of art and a whole new development of the promotion of space technologies,” in order to attract young talent to Russia’s space program.Funding for Russia’s space program is beginning to wane. Starting in 2011, when the U.S. space shuttle program ended, NASA could only send astronauts to the International Space Station by paying for expensive rides on one of Russia’s Soyuz rockets. But that ended in 2020 when SpaceX’s Crew Dragon proved itself capable of sending astronauts from American soil. And recently, the United States ended purchases of a Russian rocket engine long used for NASA and Pentagon launches to space, which generated billions in revenue for Moscow.The Nauka multipurpose laboratory module, left, docked to the International Space Station alongside a Soyuz spacecraft in July.Roscosmos, via ReutersIs this really the first movie that has been made on the space station?“The Challenge” is the first full-length movie that will use scenes filmed in orbit. The movie will include about 35 to 40 minutes of scenes made on the station, Channel One says.Other kinds of productions have been made in space in the past, like “Apogee of Fear,” an eight-minute science fiction film shot by Richard Garriott, a private astronaut, in 2008. Mr. Garriott, a video game entrepreneur, paid $30 million for his seat on a Soyuz spacecraft, which he booked through Space Adventures, a space tourism broker. The company is booking future missions to the space station aboard Russia’s Soyuz spacecraft.Several feature-length documentaries have relied heavily on video shot aboard the station. “Space Station 3D,” a short 2002 documentary about the space station’s construction, was the first IMAX production filmed in space.Are there other plans to film in orbit?Tom Cruise may have plans to film something on the space station, but it’s unclear exactly when. Deadline, a Hollywood news publication, reported in 2020 that Mr. Cruise would fly to space aboard one of SpaceX’s Crew Dragon capsules for an action-adventure film directed by Doug Liman. Jim Bridenstine, who served as NASA’s administrator under President Donald Trump, confirmed the plans on Twitter at the time and lauded them as a chance to galvanize the public around space exploration.Russia’s space agency announced its intention to send an actress to the space station shortly after Mr. Cruise’s plans emerged.What problems have the Russians had with the space station recently?Astronauts have been living aboard the space station, a science lab the size of a football field, for more than 20 years, and it’s starting to show signs of decay, particularly on the Russian side.Several air leaks on the Russian segment of the outpost have been detected in recent years, although none have posed immediate danger to the station’s crew. Astronauts found a leak in Russia’s Zvezda service module last year by using tea leaves, and patched the leak with space-grade glue and tape. Another gradual air leak is ongoing, and its source has eluded Russian space officials.And in July, Russia’s new science module, Nauka, carried out a chaotic docking procedure: Shortly after locking onto the station, the module’s thrusters began to fire erroneously, spinning the entire space station by one-and-a-half revolutions. None of the seven astronauts on board were harmed, but it was a rare “spacecraft emergency” that sent NASA and Russian officials scrambling to return the station to its normal orientation.Valerie Hopkins and Oleg Matsnev contributed reporting from Moscow.Sync your calendar with the solar systemNever miss an eclipse, a meteor shower, a rocket launch or any other astronomical and space event that’s out of this world. More

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      ‘Pharma Bro’ Review: Behind the Smirk

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      This documentary grasps at straws trying to prove that the former pharmaceutical executive Martin Shkreli might not be as loathsome as his reputation suggests.In the documentary “Pharma Bro,” the director Brent Hodge asks whether the former pharmaceutical executive Martin Shkreli — who gained infamy for hiking the price of the drug Daraprim and was later convicted of fraud in an unrelated matter — really is as bad as his reputation suggests.Hodge has not obtained significant access to his subject. To prove the unfounded premise that there is more to Shkreli than meets the eye, he moves into Shkreli’s building and does his best to run into him. At one point, he drops by with some beers. He also engages in the time-honored investigative tactic of turning up with a camera at an office building, visiting a company Shkreli founded, Retrophin — and asking to see a P.R. person.The commentators are no more incisive. Hodge interviews a psychology professor who compares Shkreli to comic-book characters; Christie Smythe, who torpedoed her journalistic career after falling for Shkreli, in what an account in Elle suggested was a one-sided romance; the far-right troll Milo Yiannopoulos; and a Daraprim patient who explains how the price hike interfered with his ability to get medication — until Shkreli hooked him up personally, an experience the patient acknowledges was exceptionally lucky. Two reporters who covered Shkreli for The New York Times also weigh in.“Pharma Bro” presents one specious argument after another on Shkreli’s behalf: that “nobody” cared about possible fraud and that authorities pursued those charges more aggressively because of Shkreli’s notoriety. That Shkreli was running companies at such a young age that he had no one to point out wrongdoing. Hodge is not always on Shkreli’s side, but he appears convinced he’s made a well-rounded portrait, as opposed to a dubious, bottom-feeding, bro-to-bro testimonial.Pharma BroNot rated. Running time: 1 hour 25 minutes. Rent or buy on Apple TV, Vudu and other streaming platforms and pay TV operators. More

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      William Shatner Will Launch to Space on Next Blue Origin Flight

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      It’s only the edge of space, but the man who played the “Star Trek” captain is heading there with three other people for Blue Origin’s second flight with passengers.He’s boldly going where Jeff Bezos has gone before.William Shatner, known best from his years as the U.S.S. Enterprise’s Captain James T. Kirk in the “Star Trek” TV and film series, will launch to the edge of space this month aboard New Shepard. That is the tourist rocket built by Blue Origin, the private space company owned by Jeff Bezos, the founder of Amazon.“So now I can say something. Yes, it’s true; I’m going to be a ‘rocket man!’,” Mr. Shatner wrote on Twitter about the news.So now I can say something. Yes, it’s true; I’m going to be a “rocket man!” 😝🤣 https://t.co/B2jFeXrr6L— William Shatner (@WilliamShatner) October 4, 2021
      The news was reported on the website TMZ in September and confirmed on Monday by the company.Mr. Shatner, 90, will become the oldest person to fly to space once he completes the flight.The flight is scheduled for Oct. 12, and Mr. Shatner will be joined by two other paying customers: Chris Boshuizen, a co-founder of the satellite imagery firm Planet Labs, and Glen de Vries, a co-founder of the clinical research software Medidata. The mission’s fourth passenger will be Audrey Powers, a Blue Origin vice president.The company launched its first crew of passengers to space in July. The crew for that mission included Mr. Bezos, his brother Mark Bezos, Wally Funk, 82, a pilot who was denied a chance to become an astronaut in the 1960s because of her sex, and an 18-year-old Dutch student. Ms. Funk, 82, currently holds the record as oldest passenger to space.From Blue Origin’s pad in West Texas, the 16-story-tall rocket will launch to an altitude of roughly 63 miles and release its gumdrop-shaped crew capsule. Passengers experience about four minutes of weightlessness in microgravity. The New Shepard booster will return to Earth for a vertical landing a few miles from where it launched, while the crew capsule will fall back minutes later under a set of parachutes.The flight will not reach orbit, which requires a much more powerful rocket lifting a spacecraft to a much higher altitude.The New Shepard rocket taking off from Launch Site 1 near Van Horn, Texas, in July.Joe Skipper/ReutersBlue Origin’s New Shepard vehicle is the centerpiece of its space tourism business, and Mr. Bezos has said it has over $100 million worth of tickets booked already. The company hasn’t disclosed ticket prices, booking the seats privately instead. Virgin Galactic, the company’s rival in space tourism, sells seats aboard its suborbital space plane starting at $450,000.The mission will come during a hectic time for Blue Origin. Last week, 21 current and former employees said in an essay that the company was rife with sexism and dismissive of employees who spoke up on issues of safety concerning the New Shepard rocket. Blue Origin disputed the allegations, saying the company had an internal hotline for sexual harassment complaints and that New Shepard was the “safest space vehicle ever designed or built.”Mr. de Vries, one of the passengers who will join Mr. Shatner atop New Shepard, said last week that he wasn’t worried about the contents of the essay. “I am confident in Blue Origin’s safety program, spacecraft, and track record, and certainly wouldn’t be flying with them if I wasn’t,” he said last week.The company has other challenges, including sparring with NASA in federal court after losing a major contract to SpaceX, the company founded by Elon Musk, to build a lander to return astronauts to the moon. Development of an engine that will power bigger rockets, including one that was built by the Boeing-Lockheed Martin venture United Launch Alliance, is roughly a year behind schedule.New Shepard is one of a handful of spacecraft offering rides to space for wealthy passengers in the emerging space tourism industry. SpaceX’s Crew Dragon capsule, developed primarily to fly government astronauts to the International Space Station, flew its first private crew of tourists in September and has more private missions lined up for next year. Virgin Galactic, which flew its founder, Richard Branson, and other passengers to space in July, plans to open its commercial space tourism business next year, chipping away at a backlog of some 600 ticket holders. Its next flight, with Italian Air Force officers and researchers aboard, is expected to occur this month. More

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      Clint Eastwood Wins $6.1 Million CBD Lawsuit

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      The Academy Award-winning director accused a Lithuanian company of falsely claiming that he had endorsed CBD products.The actor Clint Eastwood and Garrapata, the company that owns the rights to his likeness, were awarded $6.1 million on Friday in a lawsuit they had filed against a Lithuanian company that was accused of using Mr. Eastwood’s image and likeness to make it appear as though he was endorsing their products.Last year, Mr. Eastwood filed two lawsuits in federal court in Los Angeles against three CBD manufacturers and marketers whose products were featured in an online article falsely claiming that he endorsed CBD products, as well as 10 online retailers who he accused of manipulating search results through meta tags. (CBD is cannabidiol, a nonintoxicating compound in the cannabis sativa plant.)According to the first lawsuit, the online article contained a fake interview with an outlet meant to resemble the “Today” show. It included a photo of Mr. Eastwood from an actual appearance on “Today,” as well as links to buy the items.“Mr. Eastwood has no connection of any kind whatsoever to any CBD products and never gave such an interview,” the court documents said.The judge, R. Gary Klausner of United States District Court for the Central District of California, entered a default judgment after Mediatonas UAB, the company that published a fabricated interview with Mr. Eastwood, failed to respond to a summons in March. Mr. Eastwood and Garrapata were then awarded $6 million based on the company’s unauthorized use of his name and likeness, along with about $95,000 in attorneys’ fees and a permanent injunction that blocks future use of his name and likeness.“In pursuing this case, and obtaining this judgment, Mr. Eastwood has again demonstrated a willingness to confront wrongdoing and hold accountable those who try to illegally profit off his name, likeness, and goodwill,” said Jordan Susman, a lawyer for Mr. Eastwood, in a statement.Mediatonas UAB could not be reached for comment.Mr. Eastwood, 91, who recently starred in and directed “Cry Macho,” has enjoyed a lengthy Hollywood career that has ranged from inhabiting tough-guy roles (“Dirty Harry”) to directing dramas like “Million Dollar Baby” (2004), which won best picture at the 2005 Academy Awards.The original complaint, filed in July 2020, named as defendants the companies whose products were being advertised in the article. In February, Mr. Eastwood’s lawyers filed an amended complaint against Mediatonas UAB, the company that owns the websites where the false stories appear.While the court agreed that Mr. Eastwood and Garrapata were entitled to damages for the unauthorized use of his name and likeness, it declined to grant their full request, which also accounted for defamation claims.“It requires additional context to understand what CBD products are and why a person like Clint Eastwood would not endorse a marijuana-based product,” the judge wrote, adding that the language used “was not libelous on its face.” More

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      Their Film Is One of the Weirdest Prizewinners of the Year. Deal With It.

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      “Titane” may follow a female killer who has sex with a car and impersonates a man’s son, but the director and star say it’s really about love.It’s when Alexia’s breasts start leaking motor oil that there’s no mistaking the father of her baby was the tricked-out Cadillac she had rough sex with after the erotic car show, the night she killed a guy by stabbing him in the ear.That’s before she goes on a killing spree, breaks her nose and disguises herself as the missing son of a fire chief on steroids who agrees: she is his child.That is just a glimpse of the harrowing happenings in “Titane,” Julia Ducournau’s audacious splatter-drama that opened Friday. The film is winning prizes and critical acclaim for its comic carnage and upending of gender — and for a raw performance by the newcomer Agathe Rousselle as Alexia, who’s carnally attracted to cars.“Titane” is also generating dropped jaws and screams from filmgoers scandalized by its gory, outré approach to the story of a woman who, as Ducournau put it, “is driven by her impulses and desires for the dead material that is metal” but who “starts getting in touch with her humanity step by step.” One reviewer called it “the most shocking film of 2021.”A scene from the movie, which won the Palme d’Or at Canne.Carole Bethuel/NeonSitting at a French-enough bistro the day before “Titane” had its first screening at the New York Film Festival, the word Ducournau used most often wasn’t “berserk” or any other scary-sounding adjective reviewers have used. The word was “love.”“The whole point with my film is to make you feel what the characters feel, but it’s hard to make you feel love, to physically feel it” cinematically, she said. “So I decided to do it as a challenge and ask: can you do that with love?”Rousselle, too, used the word to describe the movie in a separate interview: “You have this beautiful love story between my character, who has never been in love before, and a father who doesn’t think he can ever love again and they find out what loving means and what love means,” she said. “Love is the movie.”At 37, after just two feature films, Ducournau, a Paris native, has already become a genre film sensation. In the view of Alexandra West, the author of “Films of the New French Extremity: Visceral Horror and National Identity,” Ducournau’s work is “extreme and absurd but also human” and “part of the driving force behind what’s to come for cinema.”“She’s challenging audiences and getting audiences to react to cinema and to talk to each other,” West said. “That’s exciting.”Ducournau said, “The whole point with my film is to make you feel what the characters feel, but it’s hard to make you feel love, to physically feel it” cinematically. Jeanette Spicer for The New York TimesThe director M. Night Shyamalan took notice: Ducournau directed two episodes of the macabre AppleTV+ series “Servant,” for which he’s an executive producer. “Julia Ducournau killed it. Brooding, shocking & cinematic,” he tweeted.Reviews of “Titane” have been mostly celebratory (Entertainment Weekly called it “outrageously good”) while still mindful of its grisly bravado (“the work of a demented visionary.” IndieWire wrote). Others wondered: to what end? In his review for The Times, A.O. Scott wrote: “For all its reckless style and velocity, ‘Titane’ doesn’t seem to know where it wants to go.”In July, “Titane” was the surprise winner of the Palme d’Or, the top prize at the Cannes Film Festival. It was the first time a woman had won the award since Jane Campion in 1993 for “The Piano.” Ducournau said she was in disbelief until she hugged Sharon Stone and wouldn’t let go. Then the actress asked how she was feeling.“I said, I’m not sure yet, but it feels like history?” Ducournau said. “She started laughing, only the way Sharon Stone can laugh, with no stress and no tension and super radiant, and she said, honey, it is history.”Ducournau was caught off guard at the beginning of the ceremony when Spike Lee, president of the jury, was asked to name the first prizewinner but instead accidentally revealed “Titane” was the first-prize winner. He later said he “messed up,” and apologized to festival organizers.“At the moment it was hard to find the humor in it,” Ducournau said. “But in retrospect, I find it very much.”Ducournau said she knew she wanted a nonprofessional to play Alexia. After her casting director found Rousselle on Instagram, Ducournau said, she made Rousselle return several times over six months before giving her the job, and they worked together for a year before shooting.To prepare for a physically demanding role involving extreme transformations, Rousselle studied dance and boxing, and learned wrenching monologues from other films and shows, like the “Twin Peaks” graveyard speech delivered by Laura Palmer’s best friend.Rousselle also spent up to eight hours a day getting in and out of makeup and prosthetics that gave her larger breasts, expanded belly shapes and three different noses (for a look-if-you-dare nose-breaking scene). It helped that she had worked as a model favored for her androgyny.“Gender was never relevant to me,” said Rousselle. “When I worked in fashion I would take off my clothes for a fitting and they would say, you have boobs? I would say yes, deal with it.”Beneath the gore is a film that’s affectionate in its scrutiny of love and family, made by a director who cares deeply about family, identity and, most tenderly, the lives of women.Rousselle studied dance and boxing for her physically demanding role.Jeanette Spicer for The New York TimesWomen in transformation, actually. That’s what Ducournau explored in her short film “Junior” (2011), about a teenager whose body seeps goo as she evolves from tomboy to girly-girl. She explored transformations again in her debut feature, “Raw” (2017), a blood-soaked coming-of-age story about a young woman who gruesomely converts from vegetarian to carnivore to cannibal.She does it again in “Titane” with Alexia, a woman whose pregnancy (thanks to that Cadillac) and whose propensity to kill at random are connected to the titanium plate doctors put in her head after a car crash she survived as a girl. (“Titane” is French for “titanium.”)Ducournau, left, and Rousselle, who said the movie has been repeat viewing for some French teenagers.Jeanette Spicer for The New York Times“Titane” opened in France in July, and Rousselle said she had been heartened by the response from “the nerdy crowd of high school kids who play video games and have blue hair.” Some have seen the film multiple times, she said.Rousselle thought the movie could be important to teenagers “because it goes through the questions of how you want to be and who you can be and how you can escape where you’re from and how much control you can have in your life,” she said. “It’s freeing for them.”Ducournau said that as she mulls her next project, she found inspiration in the work of the photographer Nan Goldin and the directors Stanley Kubrick, Pier Paolo Pasolini and especially David Cronenberg. In his movies — like “Crash,” about people turned on by car accidents — she said that “everything that people find repulsive could be shown as human.”“A vision that transcends expectations inspires me very much,” she said. More