project hail mary + space

the concept of star-eating microbes causing a crisis and the solution being the introduction of space wolves to space yellowstone to control the space elk population. i love a good trophic cascade

dr ryland grace immediately pitching "turn the spaceship into a giant centrifuge to generate gravity" and then not balancing his actual centrifuge later on

the entire "life is reason" scene really

grace forgetting to open the mystery alien container in a fume hood AND immediately sticking his nose in it. if we did this in chemistry lab we were executed on the spot

academia drama being one of the cornerstones of grace's character

grace switching through every spectrum setting on the microscope to try to see into the astrophages and not being able to (relatable)

also: the astrophage dying and grace going "ohhh it died..." (very relatable)

grace having his not-scientist buddy Carl to give him frank solutions when he's overthinking. yes, often the solution is just to put the box in another box

copious duct tape usage

just sticking a filter into the path of the petrova line to collect astrophage goop

eva going "so it's alive" when grace tells them the astrophage are moving, and him being like "WELL ok that could be for a lot of reasons" in the tone of someone who doesn't even know where to start explaining why that's a hasty assumption

grace referring to the first new astrophage as his and carl's baby multiple times (HIGHLY relatable)

Eurylochus: What was the song of the sirens like? Odysseus: All the things you wanted to be and then all the things you wished you never wished for. It was a delicious itch you want to scratch but you find it under the skin and can't reach it. So the delicious itch becomes unbearable. It told you what you most want is what you most can't have and that the most you can't have is what you already had and lost. It was a song of all the promises I failed to keep. And it told me I don't really want to go home.

Ancient myths were told by travelling bard. They were sung to please an audience. To praise a king, to teach children lessons, to entertain the people of the time.

The ancient versions were not written for us. They do not match up to our societal expectations. They do not teach lessons that we consider useful. They tell tall tales rather than histories.

Which is why adaptations very much can and should change things.

It's not a book from a few years ago that they're remaking into a new medium. It's an ancient and well-known story that they're recrafting for a new audience.

Medusa is the perfect example. The original story is a warning of the dangers of messing with gods (The even earlier original has her born a monster with no backstory at all). Today we switch the perspective of the narrative, and she is a victim of higher powers treating her as an object, as many women are today.

It is for the same reason that while in the original Odyssey Odysseus spends a year with Circe and has 2 children with her, in almost any modern adaptation he refuses her advances. Because Odysseus and Penelope's loyalty to each other is a consistent theme of the story, so we adapt it to fit our definition of loyalty.

These myths are meant to be passed down, shared and changed for a new audience to enjoy and learn from.

The Greeks used the excuse of a woman and the war of gods to wage war with an economic competitor, then showed up on their enemy's shores and broke their own laws of hospitality to win the war and ransacked the city and its people. The story of those actions traveled the world, making everyone afraid of the "people from the sea," even the Greeks who WERE the people from the sea.

The suitors cried about the laws not being upheld for them but were unwilling to uphold them themselves. The same society was terrified of this invisible enemy that would invade because of their lack of morals, unaware that THEY are the ones who broke the laws first. They are their own boogeyman. The fear of foreignors was never about the actions of foreignors but their own actions.

The gods haunt the narrative as an ideal. If they were confirmed real, then this movie becomes a warning against breaking away from "the correct religion." Instead, it is a warning of how mutual care and respect for your fellow man, whether gods exist or not, is the backbone of society, and without it, morality becomes something to twist and fear monger.

The gods couldn't exist in this adaptation, so a lot of the plot points involving the gods had to be changed or left out. "Nobody" only matters if Odysseus doxxes himself for poseidon to punish. (The crew members insisting that they definitely heard the cyclops say posiedon and jumping to the conclusion that he was poseidon's son and they were cursed was a great change in my opinion.) The wind bag can only exist if the gods exist. Athena can only guide Telemechus and Odysseus if the gods exist. ("Athena" potentially only being Odysseus's guilt for the preistess he let die who only shows up in times where his actions in Troy are thematically important was *chef's kiss*.) The Trojan War is only a war sanctioned by the gods if the gods exist. Odysseus being stuck with Calypso for so long needs another reason (the lotus) if it's not by the will of the gods. What would Circe and Calypso be like if they weren't eternal goddesses? Did the crew go to Hades, or did they just perform a spell that raised the dead?

Magic and Monsters can still exist without the gods, and everything else can be explained by superstition, nature, and bad luck. The ideal of the gods haunt the narrative so wonderfully.

I'm not a fan of Nolan's directorial aesthetic, but for the themes he wanted to explore, I think this was a fantastic retelling of the original. Accuracy isn't and shouldn't always be the goal. Sometimes, taking an existing story and making something new in order to speak to a different aspect of humanity is all we can really hope for.

Also me, scrolling the tag for (1) minute: