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      ‘Children of the Mist’ Review: Stolen Youth

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      A documentarian traces a Hmong girl’s experience with a custom that permits boys to detain girls with the intention of marriage.In the disturbing Vietnamese documentary “Children of the Mist,” a plucky 12-year-old girl named Di is abducted after a Lunar New Year celebration. Her parents are frustrated at best — who will feed the pigs when they go drinking? But their response is not unusual in this remote mountain region of northern Vietnam, where the Hmong — one of the country’s largest ethnic groups — reside.“Bride-napping” is a Hmong custom that permits boys, often with the help of their families, to nab girls and detain them for three days. Throughout this time, the girl can decide whether she wants to go through with the marriage, though in practice, rejections can be violently challenged. That’s the norm in these parts: Di’s mother and older sister were bride-napped as well.Di, however, is the first person in her family to receive a formal education; she’s quick, chatty and understands all too well the pitfalls of her community’s patriarchal mores. Still, she’s a child herself, glued to her phone when she’s not working the field or cooking meals, and prone to engaging in online flirtations.The filmmaker Ha Le Diem shot “Children of the Mist” over the course of three years, integrating herself into Di’s life in a way that complicates the documentary’s otherwise unobtrusive, observational approach. When Di cozies up to a smitten boy, Diem’s camera watches them walk away. The boy says not to follow them, shouting back from a distance that he has no intention of kidnapping Di.Then he does, though Di has no intention of getting married. Diem is told not to interfere, but at one crucial moment, she must. It’s an upsetting scene, though one senses that without the presence of the camera, Di would have fared far worse.Children of the MistNot rated. In Hmong and Vietnamese, with subtitles. Running time: 1 hour 30 minutes. In theaters. More

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      ‘The Apology’ Review: Regrets, He’s Had a Few

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      A surprise visitor derails a grieving mother’s holiday plans in this gloomy, overwrought family drama.“The Apology” might arrive a week before Christmas and take place on Christmas Eve, but this deeply depressing picture is less ho-ho-ho than no-no-no.With the help of an isolated home, a convenient snowstorm and essentially two actors (unless you count Janeane Garofalo’s pop-in, pop-out turn as the best friend), the writer and director, Alison Star Locke, stirs up a turgid tale of grief, guilt and attempted atonement. It all starts innocently enough as Darlene (Anna Gunn), a sober alcoholic, is preparing to host a family Christmas for the first time in the two decades since her teenage daughter, Sally, disappeared. Darlene, though — who blames herself for being drunk at the time of the disappearance — is clearly a mess.Just as she’s about to topple off the wagon, her long-estranged former brother-in-law, Jack (Linus Roache), arrives bearing surprise gifts and shocking secrets. Jack, it turns out, has feelings — oh boy, does he ever — and he would like to share. First, though, for safety’s sake, he’ll just show Darlene his collection of zip ties and move the kitchen knives out of her reach. Now that they’re both comfortable, the talking can begin.Unfortunately, it never seems to end. A play-like trudge through seesawing power dynamics, bursts of violence, perpetual gloom and a ludicrously attenuated finale, “The Apology” could have doubled its tension by halving its running time. When the resolution of a movie depends in part on a fortuitously constipated dog, the only apology required is from whoever convinced you to watch in the first place.The ApologyNot rated. Running time: 1 hour 31 minutes. In theaters and available on Shudder. More

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      ‘The Almond and the Seahorse’ Review: Like Sand Through an Hourglass

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      In this drama, two couples grapple with how their relationships are changed through a partner’s brain injuries.“The Almond and the Seahorse” gets its title from two limbic structures inside the brain: the amygdala and the hippocampus, each shaped like their nickname, which team up to store memories. “It is remarkable what that kilo-and-a-half blob at the top of your neck files away,” a neuropsychologist (Meera Syal) says to a frazzled archaeologist named Sarah (Rebel Wilson) whose husband, Joe (Celyn Jones), has a tumor that causes his cerebral cache to continually delete every minute or so. When it happens, the piano score curdles, the camera swirls in circles, or the film cuts to waves smoothing the sandy creases on a beach — a poetic flourish more impactful than the film’s resolution which is as artificially rosy as a bag of seaside taffy.This debut feature from the directors Tom Stern (a longtime cinematographer for Clint Eastwood) and Jones (who originated the role of Joe onstage, and now adapts the play with its author Kaite O’Reilly) plays out like an educational film strip. Vignettes of Sarah and Joe’s lightly comic struggles are spliced alongside the darker grievances of the couple Toni (Charlotte Gainsbourg) and Gwen (Trine Dyrholm), the latter of whom suffered a traumatic brain injury 15 years ago and gasps in horror every time she’s surprised by her partner’s wrinkles.Smartly, Joe and Gwen are more petulant than pitiful. (They’d both be happier not being reminded of all they’ve forgotten.) If the audience, too, loses track of where things are trudging, the original soundtrack by Gruff Rhys constantly chimes in to describe the plot, crooning, “I want my old life back.” Only when Sarah and Toni meet for the first time, an hour in, does the film allow a genuine conversation — and, gratefully, a moment of recognition.The Almond and the SeahorseNot rated. Running time: 1 hour 36 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Harrison Ford Loves His Craft. ‘1923’ Tested His Limits.

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      LOS ANGELES — In the course of 20 months and in the midst of a pandemic, Harrison Ford filmed a “Raiders of the Lost Ark” sequel in England. He shot a 10-part comedy, “Shrinking,” in Burbank. He herded cattle up a mountain in subzero Montana temperatures for “1923,” the latest prequel to the hit western series “Yellowstone.”He also celebrated his 80th birthday.“I’ve been working pretty much back-to-back, which is not what I normally do,” said Ford, unshaven, wearing bluejeans and boots and easing into a chair at the Luxe Sunset Boulevard Hotel here earlier this month. He was in Los Angeles for one night, for the premiere of “1923,” debuting Sunday on Paramount+. From here, it was on to Las Vegas the next morning for the next screening, yet another stop after a stretch of filming, travel and promotion that would exhaust an actor half his age.“I don’t how it happened,” Ford said, taking a sip from his cup of coffee. “But it happened.”It has been 45 years since Ford leaped off the screen as Han Solo in the first “Star Wars” movie, laying the foundation for a blockbuster career in which he has personified some of the most commercially successful movie franchises in film history. He has appeared in over 70 movies, with a combined worldwide box office gross of more than $9 billion. By now, it would seem, he has nothing left to prove.But at an age when many of his contemporaries have receded from public view, Ford is not slowing down, much less stepping away to spend more time at his ranch in Jackson, Wyo. He is still trying new things — “1923” represents his first major television part — still searching for one more role, still driven to stay before the camera.“I love it,” he said. “I love the challenge and the process of making a movie. I feel at home. It’s what I’ve spent my life doing.”And why should he slow down? Ford shows no sign of fading, physically or mentally — he was fleet and limber as he strode into the Luxe for our interview, cap pulled down, and later, as he worked the room at the post-premiere party at the Hollywood restaurant Mother Wolf. In his pace and eclectic choice of roles, including the weathered and weary rancher Jacob Dutton of “1923,” he seems as determined as ever to show that he can be more than just the swashbuckling action hero who gave the world Han Solo and Indiana Jones.“He can rest on his laurels: He doesn’t need to work financially,” said Mark Hamill, who played Luke Skywalker in “Star Wars” and who, at 71, does not miss the 5 a.m. wake-up calls and the hustling for the next role. “To be doing another ‘Indiana Jones’ — I’m in awe of him.”Ford is known for being gruff and nonresponsive, an actor not given to introspection and with little patience for “put me on the couch” questions. There were flashes of that during our 45 minutes together. “I know I walked myself into that dark alley where you’re now going to have to ask me to describe the character,” he said at one point. “And I don’t want to.”But for the most part Ford was forthcoming, relaxed and contemplative. This was a promotional tour, and after a half-century in the business, he knows how to do this. “I’m here to sell a movie,” Ford said, though, of course, he was there to sell a TV show — and to some extent, himself.“I don’t want to reinvent myself,” he said. “I just want to work.”Ford, center, as Jacob Dutton, an earlier patriarch of what will become the Dutton ranching empire of “Yellowstone.”Emerson Miller/Paramount+Jason Segel, left, with Ford in the Apple TV+ show “Shrinking,” of which Segel is a creator. Ford will play a psychiatrist, his second major TV role.Apple TV+FORD WAS ALWAYS more than just another charismatic Hollywood action star. He could act. There was the swagger and the smirk, but they were put to service in presenting complex heroes with flaws and self-doubt, including John Book, the detective in “Witness”; Jack Ryan, the C.I.A. analyst at the center of the Tom Clancy novels that inspired the films; and Rick Deckard, battling bioengineered humanoids in “Blade Runner.”That style distinguished him for much of his career from monosyllabic, musclebound action stars like Arnold Schwarzenegger or Jean-Claude Van Damme, and it has always been integral to his appeal: Hamill said he was struck by it the first time they acted together.“He was impossibly cool, world-weary, wary, somewhat snarky, flippant,” Hamill said.Television isn’t entirely new territory for Ford. When George Lucas cast him as a white-cowboy-hat-wearing drag racer in the 1973 film “American Graffiti,” Ford was 30, making a living as a part-time carpenter in Los Angeles. By then he had already been picking up modest roles in series like “Ironside,” “The Virginian” and “Gunsmoke” since the late 1960s.His role in “1923” is anything but modest: the great-great-great uncle of John Dutton III, the family patriarch portrayed by Kevin Costner in “Yellowstone,” TV’s most popular drama. As with “Yellowstone,” the scope of “1923” is vast — the Western vistas, the sweeping aerial shots, the complexity of the characters and their stories. It also features another major star, Helen Mirren, as his wife, Cara, the tough matriarch of the family.Ford watches little television — he said doesn’t have the time — and he knew little about “Yellowstone” when his agent first brought him the role. (In preparation, he watched some of “1883,” the first “Yellowstone” prequel, which follows an earlier generation of Duttons as they travel west by wagon train to establish the family ranch.) Based on an advance screener of the pilot, the cinematic ambitions of “1923” would be familiar to anyone who has watched “Game of Thrones” or “Breaking Bad.” But they have, these past four months, been a pleasant surprise for Ford.“They keeping calling it television,” Ford said, gesturing with a twist of his upper torso to a television screen in the next room. “But it’s so un-television. It is, you know, a huge vista. It’s an incredibly ambitious story that he’s telling in epic scale. The scale of the thing is enormous I think for the television.”Ford said he had agreed to the role after Taylor Sheridan, the lead creator behind the “Yellowstone” franchise, brought him to his ranch outside Fort Worth and sketched out the character. (“I’m 80, and I’m playing 77,” Ford said with a wry grin. “It’s a bit of a stretch.”) Ford was intrigued by Dutton, a stoic and somber rancher who must battle in the final years of his life to protect his land and family.“The character is not the usual character for me,” Ford said, likening it to his role playing a psychiatrist with Jason Segel in “Shrinking,” created by Segel and Bill Lawrence and Brett Goldstein (of “Ted Lasso”), debuting next month on Apple TV+. “I’ve never been to a psychiatrist in my life.”“I’m aware of the interest in the politics of the characters,” he said of the “Yellowstone” franchise. Of his own character, he added: “I’m not interested in the man’s politics.”Chantal Anderson for The New York TimesFilming “1923” tested his resilience and his love of the craft. Montana proved a brutal place to work; the cast and crew encountered blinding blizzards and stunningly cold temperatures during 10-hour days spent almost entirely outdoors.“It was a nightmare,” said Timothy Dalton, a former James Bond, who plays a rancher who challenges Ford for control of the land. “We are on top of a hill with a blasting wind coming at us. The cameras freeze up. Your toes freeze up.”Ben Richardson, who directed most of the “1923” episodes, described filming Ford as he rode horses up steep mountains, against knife-sharp winds, as Dutton herds cattle to higher altitudes and the promise of fields to graze.“I’ve never had a complaint from him,” Richardson said. “I can’t express how much of a team player he is — to the point that it’s shocking. He’s Harrison Ford. He could be doing anything. I’m sure there are people who would prefer to have a double standing in. He did not.” He added that he had “probably seen ‘Blade Runner’ 20 times,” studying how Ford presented himself onscreen.“There’s something truly compelling about watching him deal with difficult situations,” he said.From Ford’s earliest days as Han Solo, he has been wary of being typecast as a go-to action hero. He agreed to do the blockbusters urged on him by a Lucas or Steven Spielberg, but he also sought more than laser guns and bullwhips, gravitating to films like Peter Weir’s “Witness” (1985), and to directors like Alan J. Pakula (“Presumed Innocent,” “The Devil’s Own”).“I always went from a movie for me to a movie for them,” he said, referring to directors — and audiences — with a taste for action-hero blockbusters. “I don’t want to work for just one audience.”So it is that Ford will play a rancher in “1923” and a therapist in “Shrinking”— six months before his fifth “Indiana Jones” movie, “The Dial of Destiny,” opens in June.“He doesn’t get the credit for the diversity of his choices that he has chosen,” Hamill said. “Everybody loves ‘Indiana Jones,’ but we know what it is, and we’ve seen it before — he could do those for the rest of his life. The fact that he is doing something more challenging and more thought-provoking is something I admire about him.”Ford (right, with Carrie Fisher and Mark Hamill) leaped off the screen in his breakout role as Han Solo in the first “Star Wars” movie 45 years ago.20th Century FoxFord, left, with Sean Connery in the third movie of the “Indiana Jones” franchise, “The Last Crusade.” The fifth is scheduled for June 2023.Paramount Pictures, via Everett CollectionA CENTRAL PARADOX of Ford’s biography is that “Star Wars,” the franchise arguably most responsible for reshaping the industry in its image, made him one of the last true movie stars, a man whose name alone could sell tickets; Hollywood’s shift from star vehicles to intellectual property, from big screen to small, can now be neatly tracked over the arc of his career.“Star Wars” united a country — crossing geographic, class and political lines — enthralling audiences who gathered in theaters to share in its fairy-tale story of love and adventure. These days, audiences are made up of friends and family gathered in a living room, and Ford faces questions about whether the “Yellowstone” franchise is a paean to Red America.“I’m aware of the interest in the politics of the characters,” he said, adding that he had no interest in the political beliefs of Jacob Dutton. (Ford, who was born in Chicago to Democratic parents and supported Joe Biden against Donald Trump in 2020, suggested that the audience for “Yellowstone” was so vast that it was unlikely to be made up of only Republicans.)When Ford began working on “1923,” Sheridan told him to approach it as if it was 10 hourlong movies. “And that’s the way it feels to me,” Ford said. “But we’re working at a television pace. There’s something about movies that allows for, you know, a little bit, you know, a kind of luxury of time and a certain …”He hesitated as he considered the risks of a road better not taken, of Harrison Ford weighing in on the merits of movies versus television. “I don’t think I really want to get too deep into this because there’s no place to go with it, for me.”“I’m doing the same job,” he said. “It’s just being boxed and distributed in a different way.”At a time when many contemporaries are winding down, Ford still keeps a demanding schedule. “I love it,” he said of his work. “It’s what I’ve spent my life doing.”Chantal Anderson for The New York TimesFord is not a pioneer. He resisted television for many years, and in finally relenting, he is following other major box office stars — Kevin Costner on “Yellowstone” and Sylvester Stallone on “Tulsa King” — who have joined Taylor Sheridan television productions.Still, as he prepared to attend the premiere of “1923,” at a big screen tucked away in an American Legion Hall in Hollywood, it was clear where his heart remained.“The important thing is to go into a dark room with strangers, experience the same thing and have an opportunity to consider your common humanity,” Ford said. “With strangers. And the music — the sound system is better, right? The dark is deeper, right? And the icebox not so close.”Ford paused at his revealing reference to a kitchen appliance from another era — the era when he grew up. He could not help but laugh at his lapse. “Icebox!” he said. More

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      ‘See You Friday, Robinson’ Review: Dear Godard

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      In Mitra Farahani’s film, Jean-Luc Godard and the Iranian writer-director Ebrahim Golestan undertake an epistolary dialogue, puttering and pondering at their homes.In “See You Friday, Robinson,” Mitra Farahani orchestrates a freewheeling correspondence between Ebrahim Golestan, the Iranian director and writer, and Jean-Luc Godard, who spent 60-plus years reinventing cinema. The playfully profound film connects the pair through word and image, as they exchange emails, putter, and ponder, one in Sussex, England, the other in Rolle, Switzerland.Farahani marries homebody scenes to a Godardian style of compressed reflections and audiovisual flourishes. Golestan, a retiring figure in a Gothic mansion, puzzles over Godard’s sometimes nutty-sounding koans, which arrive with attachments such as Goya’s “Saturn Devouring His Son,” a clip from the dolphin-dog friendship film “Zeus and Roxanne,” and selfies.Godard is by turns merry and moody, with intimations of mortality in his ruminations; a touching camaraderie emerges when both men weather hospital visits. Godard’s laundry-draped domesticity is endearing, and his hands-on approach to working with images — watching and making them — remains invigorating.Golestan, a key figure in Iran’s pre-revolutionary cognoscenti linked to the poet Forough Farrokhzad, yields the perspective of a monumental exile: impressed by Godard but readily skeptical. “It’s fine if he’s saying something brilliant that I don’t get,” he says, musing on Godard’s Christian upbringing and whether he has a female companion. His letters sound more traditionally discursive than Godard’s, suggesting a greater contrast between modernist sensibilities.With Godard’s recent death, Farahani (who co-produced Godard’s film “The Image Book”) also gives us a fond remembrance, like a drink with an old friend who never stopped thinking onscreen.See You Friday, RobinsonNot rated. In French and Persian, with subtitles. Running time: 1 hour 36 minutes. In theaters. More

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      ‘The Little Mermaid’ and ‘Iron Man’ Join National Film Registry

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      Those movies, along with ‘Hairspray’ and ‘When Harry Met Sally,’ are among 25 selected by the Librarian of Congress.Ariel is officially part of the human world.“The Little Mermaid,” the 1989 Disney animated movie that revolves around a rebellious teenage mermaid fascinated by life on land, is among the motion pictures that have been selected for preservation this year on the Library of Congress’s National Film Registry. Also being added are “Iron Man” (2008), the first film in the Marvel Cinematic Universe, and “When Harry Met Sally,” the beloved 1989 romantic comedy that begins with a pair of college graduates embarking on a cross-country drive from Chicago to New York.On Wednesday, the library plans to announce that a total of 25 more films, dating from 1898 to 2011, will be honored for their historical and cultural significance and added to the registry, helping to preserve them for future generations.The library also allows the public to nominate movies at its website, and other titles that were among the most submitted were Brian De Palma’s 1976 horror classic “Carrie,” an adaptation of Stephen King’s novel of the same title; and “Betty Tells Her Story” (1972), the Liane Brandon film that was the first independent documentary of the women’s movement to explore issues of body image, self-worth and appearance in American culture.A group of notable comedies were also among the selections: “Hairspray,” John Waters’s 1988 musical about a bubbly, overweight Baltimore teenager and her friends who integrate a local TV dance show in the early 1960s; “Cyrano de Bergerac,” Michael Gordon’s 1950 adventure comedy adaptation that made José Ferrer the first Hispanic performer to win an Oscar for best actor; and “House Party,” Reginald Hudlin’s 1990 film about a high school student who sneaks out, a comedy that introduced hip-hop music and new jack swing to mainstream America.Two significant genre films were also included: “The Ballad of Gregorio Cortez” (1982), the Robert M. Young western that was part of the 1980s Chicano film movement and starred Edward James Olmos; and “Super Fly” (1972), Gordon Parks Jr.’s searing commentary on the American dream that is considered a classic of the Blaxploitation genre.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Golden Globe Nominations: Here are some of the most eyebrow-raising snubs and surprises from this year’s list of nominees.Gotham Awards: At the first official show of the season, “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.Rian Johnson:  The “Glass Onion” director explains the streaming plan for his “Knives Out” franchise.Four films that broke ground in depicting LGBTQ+ issues onscreen were also selected: “Behind Every Good Man” (1967), Nikolai Ursin’s student short that offered an early look at Black gender fluidity in Los Angeles; “Word Is Out: Stories of Some of Our Lives” (1977), which was created by six queer filmmakers collectively known as the Mariposa Film Group and which featured a diverse group of gay men and lesbians discussing their lives at a time when such onscreen depictions were rare; “Tongues Untied” (1989), a video essay by Marlon Riggs about Black men loving Black men; and the most recent film to join the registry, Dee Rees’s “Pariah” (2011), about a Black teenager in Brooklyn as she comes to terms with her identity.The lineup also honors nine documentaries, including the oldest film in this year’s class, “Mardi Gras Carnival” (1898), the earliest known surviving footage of the New Orleans festival. It was long thought to be lost before being recently discovered at a museum in the Netherlands. Other nonfiction films being added include “Titicut Follies” (1967), Frederick Wiseman’s classic look inside the Bridgewater State Prison for the Criminally Insane in Massachusetts that exposed the abuse of patients; and “Union Maids” (1976), a portrait of three female labor activists involved in workers’ movements from the early 1930s to the present. That film was directed by Julia Reichert, who died last week, James Klein and Miles Mogulescu.The Library of Congress said in a statement that these additions bring the total number of titles on the registry to 850, chosen for “their cultural, historic or aesthetic importance to preserve the nation’s film heritage.” Movies must be at least 10 years old to be eligible, and are chosen by Carla Hayden, the Librarian of Congress, after consulting with members of the National Film Preservation Board and other specialists. More than 6,800 films were nominated by the public this year.A television special, featuring several of these titles and a conversation between Hayden and the film historian Jacqueline Stewart, will be shown Dec. 27 on TCM.Here is the complete list of the 25 movies being added to the National Film Registry:1. “Mardi Gras Carnival” (1898)2. “Cab Calloway Home Movies” (1948-51)3. “Cyrano de Bergerac” (1950)4. “Charade” (1963)5. “Scorpio Rising” (1963)6. “Behind Every Good Man” (1967)7. “Titicut Follies” (1967)8. “Mingus” (1968)9. “Manzanar” (1971)10. “Super Fly” (1972)11. “Betty Tells Her Story” (1972)12. “Attica” (1974)13. “Carrie” (1976)14. “Union Maids” (1976)15. “Word Is Out: Stories of Some of Our Lives” (1977)16. “Bush Mama” (1979)17. “The Ballad of Gregorio Cortez” (1982)18. “Itam Hakim, Hopiit” (1984)19. “Hairspray” (1988)20. “The Little Mermaid” (1989)21. “Tongues Untied” (1989)22. “When Harry Met Sally” (1989)23. “House Party” (1990)24. “Iron Man” (2008)25. “Pariah” (2011) More

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      How Science Fiction Movies Prepared Us for the Nuclear Fusion Breakthrough

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      The promise of a new, bountiful energy source, not to mention the giant lasers, may sound familiar to fans of science fiction and comics.Today we step into the future. And it looks a lot like a movie we’ve all seen.Researchers at Lawrence Livermore National Laboratory announced Tuesday that they had made a major breakthrough in studying fusion, a.k.a. the thermonuclear reaction that keeps the sun going. The news, about trying to harness literal star power the likes of which Hollywood could only dream, stirred great hopes because, if replicated and controlled, it could one day provide a bountiful source of carbon-free energy.If that sounds like science fiction, well, that’s because we’ve been amply primed for this discovery in pop culture, where alternative versions of our present and fantastical imaginings of our future have shown us impossible technologies powered by some combination of special effects and incomprehensible jargon.You probably already have some familiarity with fusion thanks to movies.At the end of the 1985 sci-fi classic “Back to the Future,” Dr. Emmett Brown, played by Christopher Lloyd, soups up his tricked-out time-traveling DeLorean by feeding trash into a canister called the Mr. Fusion Home Energy Reactor attached to the top of the car. And in “Spider-Man 2,” from 2004, the well-meaning scientist Dr. Octavius (a.k.a. Doc Ock, played by Alfred Molina) creates a fusion reactor with an artificial sun at the center. But when it gets out of control, so does he, transforming into a villain who aims to re-create the dangerous machine.Pop culture’s fascination with fusion goes beyond a process that sustains robotics and machinery; our culture’s collective dreams of safe, unlimited energy have even been epitomized by some of our heroes.Comic book protagonists like Captain Atom and Doctor Solar have bodies that can manipulate atoms to create blasts of energy. Firestorm, who was a regular in the CW’s Arrowverse, can change the particle structures of any substance and transmute it; and he himself is a kind of metaphor for the power of fusion, in that he was, in his first incarnation, a combination of two different people, Ronnie Raymond (played by Robbie Amell) and Martin Stein (Victor Garber). The DC Comics hero Damage has a body that functions as a biochemical fusion reactor, and then there’s the Marvel Cinematic Universe’s darling, Tony Stark, an engineer who Einsteins himself a miniature arc reactor (that glowing bit of chest jewelry) to power his Iron Man suit and keep him alive.The New York City of the M.C.U. is transformed by Stark technology, most prominently the arc reactor. Stark Tower appears in various Marvel movies and TV shows as the symbol of an alternate reality in which energy — and possibilities, superheroic or otherwise — are limitless.The same is true in many popular science-fiction universes, like “Star Wars,” where there are mentions of fusion generators and fusion reactors, and “Star Trek,” where the engineering systems of Federation starships use a “fusion reaction subsystem.”The workings of these fictional sciences are functional, plot-wise, but not always precise, clear or accurate. No matter how many times I watch my favorite sci-fi films and series, I still can’t tell a parsec from a cylinder of drugstore plutonium. And even now that fusion energy might be in our future, my relationship with it remains unchanged: Leave science to the scientists and MacGuffins to the writers.As long as we’re not breaking any scientific laws or introducing blatant contradictions, as a viewer I’m just here for the ride. Because it will be some time before we’re using fusion reactors to power our personal supersuits and fly off to boldly go where no sci-fi creator has gone before. Still, the science of today will lead us into a tomorrow where — great Scott! — there is no cap on the possibilities. More

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      Angelo Badalamenti, Composer for ‘Twin Peaks,’ Is Dead at 85

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      The filmmaker David Lynch turned to his haunting work again and again, for “Blue Velvet,” “Mulholland Drive” and other neo-noir films.Angelo Badalamenti, an internationally sought-after composer who wrote the hypnotic theme to “Twin Peaks,” David Lynch’s 1990s television drama series, and the music for five Lynch films, including “Blue Velvet” (1986), died on Sunday at his home in Lincoln Park, N.J. He was 85.His niece Frances Badalamenti confirmed the death. She said she did not know the cause.Mr. Badalamenti was at the piano behind Isabella Rossellini when she sang “Blue Velvet” at the Slow Club in Lumberton, N.C., a flower-filled, picket-fence kind of town with a very dark side. Aside from the title song, a Bobby Vinton hit from 1963, he had composed much of the film’s music.He also wrote the music for Mr. Lynch’s 2001 neo-noir mystery “Mulholland Drive” and had a small role in the film as one of two mobster brothers who spits out his espresso in a conference-room scene.His best-known work was the “Twin Peaks” theme, recognizable from its first three ominous, otherworldly notes. He won the 1990 Grammy for best instrumental pop performance for the number, which was, according to the Allmusic website, “dark, cloying and obsessive — and one of the best scores ever written for television.”In 2015, a Billboard writer described the theme as “gorgeous and gentle one second, eerie and unsettling the next.” It was, according to Rolling Stone, the “most influential soundtrack in TV history.”Mr. Badalamenti didn’t really disagree.“Music and composing — I almost feel a little guilty about it — come so easily for me,” he told the north New Jersey newspaper The Record in 2004. “It’s like the well doesn’t seem to run dry.”Angelo Daniel Badalamenti was born on March 22, 1937, in Brooklyn. A second-generation Italian-American, he was the second of four children of John Badalamenti, a fish market owner, and Leonora (Ferrari) Badalamenti, a seamstress.Growing up in the Bensonhurst section, he started piano lessons at 8 but quit because he preferred playing stickball outdoors with his friends. He took it up again at his older brother’s insistence and came to appreciate the piano when girls admired his playing. He was soon accompanying vocalists and other acts at Catskills resorts during summers off from high school and college.Mr. Badalamenti attended the Eastman School of Music in Rochester, N.Y., and earned a master’s degree at the Manhattan School of Music in 1960.His first job was teaching the seventh grade in a public school, but when he wrote a musical Christmas program for his students, members of the Board of Education saw the production and told the local public TV station Channel 13 about it. The station videotaped and broadcast the show, and the Monday after Christmas, Mr. Badalamenti got a call from a Manhattan music publisher with a job offer.Nina Simone recorded some of his first songs, including “I Hold No Grudge,” in 1965. Nancy Wilson sang “Face It, Girl, It’s Over” (1968).Mr. Badalamenti got started in films by writing music for “Gordon’s War,” a 1973 blaxploitation film. Ossie Davis, the director, wanted an all-black crew, all “brothers,” he said. Mr. Badalamenti pointed to Sicily on a world map. “You do seven strokes from Sicily, and you’re in Africa,” he said he told Mr. Davis. “I may not be your brother, but I’m certainly your cousin!”Mr. Badalamenti was at the piano when Isabella Rossellini sang “Blue Velvet” in the 1986 David Lynch movie of the same title. De Laurentis Group/Courtesy Everett CollectionHe and Mr. Lynch met when Mr. Badalamenti was called in as a vocal coach for Ms. Rossellini on the set of “Blue Velvet.”Jamie Stewart, whose band Xiu Xiu did an album of “Twin Peaks” music, saw Mr. Badalamenti’s Lynchian work in a historical midcentury context: a postwar world where everything appeared to be sunshine and pastels but where the evil unleashed by World War II still lurked.“It’s very romantic but can be terrifying,” Mr. Stewart said of the music, speaking to The Guardian in 2017. “It has a violence and a sincere sentimentality — sadness but not despair.”Mr. Lynch, who described Mr. Badalamenti’s work as having “a deep and powerful beauty,” said that he and the composer would be entirely in sync in expressing Mr. Lynch’s vision for a film. “I sit next to him and I talk to him, and he plays what I say,” he said in an interview with the American Film Institute.As Mr. Badalamenti explained on NPR’s “All Things Considered,” that’s how he wrote “Laura Palmer’s Theme” for “Twin Peaks.” Sitting beside him at his Fender Rhodes keyboard, Mr. Lynch began talking.“It’s the dead of night,” Mr. Badalamenti said. “We’re in a dark wood. There’s a full moon out. There are sycamore trees that are gently swaying in the wind. There’s an owl.”The words became notes that evoked the story of a murdered homecoming queen in the Pacific Northwest.They collaborated again and again, on the films “Wild at Heart” (1990), “Lost Highway” (1997) and “The Straight Story” (1999), in addition to “Mulholland Drive.” There were five iterations of “Twin Peaks,” including the film “Twin Peaks: Fire Walk With Me” (1992) and an 18-episode sequel series (2017).In between, Mr. Badalamenti wrote for a wide variety of movies, among them “Nightmare on Elm Street 3: Dream Warriors” (1987), “The Comfort of Strangers” (1990), “Naked in New York” (1993), “The City of Lost Children” (1995), “A Very Long Engagement” (2004) and “The Wicker Man” (2006).He used what he called his “classical chops” to score “Stalingrad” (2013), a wartime love story set against that pivotal 1942 battle. It was an enormous box office success in Russia, where it was produced.One of his longest-running projects was the music for the PBS program “Inside the Actors Studio,” which was on the air from 1994 through 2019, hosted by James Lipton.Writer’s block was rarely a problem for Mr. Badalamenti, but composing a torch-lighting theme for the 1992 Summer Olympics in Barcelona had him stumped. The notes finally came to him in the shower, he recalled, and he hurried downstairs to his piano. “I wrote it in half an hour,” he said.He received the Henry Mancini Award from Ascap, the American Society of Composers, Authors and Publishers, and a Lifetime Achievement honor from the World Soundtrack Awards.Mr. Badalamenti is survived by his wife, Lonny; his daughter, Danielle; and four grandchildren. His son, André, died in 2012.His niece Frances interviewed him for a magazine, The Believer, in 2019. He remembered being drawn to film noir in his youth, telling her, “The haunting sounds have been there, the off-center instrumentals, ever since I was a child.”Alex Traub More