Chantel Becky

it was a distraction

It's probably already been spread around here enough already, but in case anyone's missed it; 7 hours after launch, commander Reid Wiseman, dealing with tech issues, uttered the generational quote "I have two Microsoft Outlooks and neither one of those are working."

After fixing the issues that were afflicting the onboard toilet, mission specialist Christina Koch (who has quickly become my favourite of the four) laughingly said “I’m the space plumber, I’m proud to call myself the space plumber.”

On Easter Sunday, the Artemis II crew hosted a makeshift egg hunt, by hiding packets of dehydrated scrambled eggs around their Orion capsule.

The way the crew always makes sure to make it very clear they're in space when doing interviews. From stuff like Wiseman just hanging out floating sideways on screen or Koch letting her hair loose so it can freely span out flowing around her.

While in transit, the crew decided to record a parody of those bad 80s sitcom intros where everyone turns and smiles at the camera.

When the crew reached the furthest point from Earth in the mission, they jokingly clambored over each other in an effort to get to the far side of the capsule, so that they could individually claim to be the furthest person from earth.

At the same time, on the ISS which was at the time on the other side of earth, the 7 astronauts onboard had a light-hearted race to the far side of the station, making jokes about being the furthest humans from Artemis.

On the way back to earth, NASA actually managed to establish an audio call between the crews of the ISS and Artemis II (where they shared the above info), and Koch called one member of the ISS crew, Jessica Meir, her "astro-sister" as the two of them previously spacewalker together in 2019. Meir then responded I'm so happy that we are back in space together, even if we are a few miles apart" (a few here being 230,000).

Like, despite what parodies might say, Katniss is nowhere near the stereotypical “unqualified teenager chosen to lead a rebellion for no good reason”.  The entire point is that she’s not leading the rebellion. She’s a traumatized teenager who has emotional reactions to the horrors in her society, and is constantly being reined in by more experienced adults who have to tell her, “No, this is not how you fight the government, you are going to get people killed.” She’s not the upstart teenager showing the brainless adults what to do–she’s a teenager being manipulated by smarter and more experienced adults. She has no power in the rebellion except as a useful piece of propaganda, and the entire trilogy is her straining against that role. It’s much more realistic and far more nuanced than anyone who dismisses it as “stereotypical YA dystopian” gives it credit for.

And the misconceptions don’t end there. The Hunger Games has no “stereotypical YA love triangle”–yes, there are two potential love interests, but the romance is so not the point. There’s a war going on! Katniss has more important things to worry about than boys! The romance was never about her choosing between two hot boys–it’s about choosing between two diametrically opposed worldviews. Will she choose anger and war, or compassion and peace? Of course a trilogy filled with the horrors of war ends with her marriage to the peace-loving Peeta. Unlike some of the YA dystopian copycats, the romance here is part of the message, not just something to pacify readers who expect “hot love triangles” in their YA. 

The worldbuilding in the Hunger Games trilogy is simplistic and not realistic, but unlike some of her imitators, Collins does this because she has something to say, not because she’s cobbling together a grim and gritty dystopia that’s “similar to the Hunger Games”. The worldbuilding has an allegorical function, kept simple so we can see beyond it to what Collins is really saying–and it’s nothing so comforting as “we need to fight the evil people who are ruining society”. The Capitol’s not just the powerful, greedy bad guys–the Capitol is us, First World America, living in luxury while we ignore the problems of the rest of the world, and thinking of other nations largely in terms of what resources we can get from them. This simplistic world is a sparsely set stage that lets us explore the larger themes about exploitation and war and the horrors people will commit for the sake of their bread and circuses, meant to make us think deeper about what separates a hero from a villain.