In one of the most daring zoo escapes of recent memory, the National Park announced on January 30 that Ollie, a 25-pound female bobcat, had been reported missing from her enclosure shortly after breakfast.
After a search of the grounds and an investigation of her pen, it was discovered that a small hole in the mesh above Ollie’s space may have allowed her to squeeze out. The 7-year-old—one of three bobcats in the Washington zoo—is not believed to be dangerous to humans, but may dine on small pets and chickens. Zoo officials are hoping she’ll return to her home, but wandering in the adjacent Rock Creek Park might prove attractive as well. Some residents have already claimed to have spotted her in the Cleveland and Woodley Park areas near the zoo.
“She’s very standoffish,” Craig Saffoe, the zoo’s cat curator, told reporters during a press conference. “[She’s] not super friendly. It would be extremely easy on us if she were a cat who would come when called, but that’s not who this individual is.”
The National Zoo is no stranger to break-outs. Previously, a vulture and a red panda named Rusty experienced a brief taste of freedom before being retrieved. If you see this bobcat, the National Zoo would like to hear from you at 202-633-7362.
Though it didn’t make much of a dent in the box office when it hit theaters 20 years ago, Christopher Guest’s mockumentary Waiting for Guffman has become a cult hit in the years since. This movie follows a group of small-town residents-turned-amateur actors from Blaine, Missouri, and their eccentric director, Corky St. Clair, as they put on a production called Red, White and Blaine in honor of the sesquicentennial (that’s a 150th anniversary) of the town’s founding by Blaine Fabin. When they get word that New York film critic Mort Guffman is coming to their performance, they begin to dream about taking their show out of Blaine’s high school gym and onto the Broadway stage—until fate intervenes. Here are a few things you might not have known about Waiting for Guffman.
1. THE MOVIE WAS INSPIRED BY A JUNIOR HIGH PRODUCTION OF ANNIE, GET YOUR GUN.
Christopher Guest told Deborah Theaker, who plays Guffman’s Gwen Fabin-Blunt, that he was watching one of his kids perform in Annie, Get Your Gun when inspiration struck. “There were all these little kids with handlebar moustaches and he thought it was just hilarious and sweet at the same time, and wanted to translate that into a movie. That was the impetus,” Theaker said in Best in Show: The Films of Christopher Guest and Company.
“I was just drawn to the idea how earnest everyone was, how devoted they were to do the best performance they could, albeit at the level that they were working at,” Guest said in DVD commentary. “There’s something charming about the expenditure of energy to watch these amateurs.”
2. THERE WASN’T A SCRIPT …
Guest’s mockumentaries famously have no scripts. Instead, they’re entirely improvised by the actors based on outlines written by Guest and his collaborators—a tradition that began with Guffman.
Guest chose Eugene Levy, who had starred on the Canadian sketch show Second City TV (SCTV), to co-write Guffman with him. (Levy at first thought the call was a joke, but Guest was a fan of his work on SCTV.) Together, they wrote an outline stuffed with details about the story and its characters. “We provide much more information about the characters than you would find in a normal screenplay … anything that will help the actor understand who his character is and then create things on his own,” Levy, who played dentist Alan Pearl in Guffman, explained to Back Stage West. “We know what information has to come out in the movie on a scene-by-scene basis, and the actors know what information has to come out, but how it comes out is entirely up to them.”
That blueprint, Guest told The A.V. Club, is not so flexible. “What is flexible is the dialogue that’s used to convey the actual exposition that we need,” he said. “Every scene has a point; it’s not just people rambling. There’s exposition in every scene that has to be accomplished before we can move on. And so that can’t change, otherwise you have this free-for-all.”
The outline for Guffman ended up being 16 pages long, and as they were writing, some elements changed. For example, Blaine was originally in Kansas, and Corky owned a store called Over the Rainbow. In DVD commentary, Levy said that in the original outline, the cast never made it to the show; instead, a tornado came and destroyed the theater. “The camera was knocked on its side and you saw feet running by the camera,” Guest said. But after Blaine was moved to Missouri, those Kansas-centric details were tweaked, discarded entirely, or relegated to the background.
3. … BUT SOME ELEMENTS OF GUFFMAN DID NEED TO BE SCRIPTED AND REHEARSED.
Namely, the songs and dialogue of Red, White and Blaine. Guest turned to his This is Spinal Tap (1984) collaborators to help him with the music: He and Harry Shearer co-wrote “Stool Boom” and “Nothing Ever Happens on Mars,” while Guest and Michael McKean co-wrote “Covered Wagons, Open Toed Shoes” and “Penny For Your Thoughts.”
The dialogue in Red, White and Blaine is the only dialogue in all of Guffman that isn’t improvised; Guest said in DVD commentary that “writing the book for [Red, White and Blaine] was one of the most fun parts.” The cast rehearsed the choreography for the numbers over the course of four days. “It was just the right amount, because when we eventually did the show, it was at the level it should have been: Under-rehearsed, and if you watch closely, there are many things being screwed up,” Guest said.
4. MARTIN SHORT WANTED TO BE IN THE MOVIE.
Fred Willard, who plays Ron Albertson, recalled in Best in Show that Guest had run the idea for Guffman past some of his friends, including Martin Short, who had worked with Guest on Saturday Night Live and The Big Picture. “[He said] that Marty loved the idea [for the movie]. [Short] said, ‘I love it, when do I start?’ and Chris said, ‘No Martin, I want people who aren’t that recognizable.’” Famous faces, Guest reasoned, would be a distraction.
5. CORKY ST. CLAIR WAS BASED ON PEOPLE GUEST KNEW.
In 2010, Guest told Entertainment Weekly that he based Corky—who moves to Blaine after “living in New York, and working there, as an actor, and director and choreographer for 25 years or so,” as the character says—on “a compilation of people I’ve seen or met over the years, some of whom worked in regional theater. The heart of that character is how guileless he is. He has no concept of his lack of talent.” (Though some people thought Guest had to get a terrible haircut to play Corky, it was actually a toupee: “I thought it would be funny if he had a toupee. There was this box of … I’ll loosely call them wigs. It was just the silliest-looking one and clearly didn’t match the sides.”)
6. CHRISTOPHER GUEST CAST PARKER POSEY AFTER A 10-MINUTE CONVERSATION.
When it comes to casting his movies, Guest often relies on people he knows. “The characters are very much tailored for the actors and actresses … who we want for the parts,” Guest said. “You can’t train them. You can do this or you can’t.”
That said, Guest is open to new talent, and relies on informal interviews rather than auditions. “I just talk to people,” he told Back Stage West. “There’s nothing to read and there’s no audition. I can tell pretty fast if they can do it, just by talking to them. I make a big leap of faith and, again, it’s just based on my instinct—something I get from them during a meeting.”
Parker Posey, for example, had never done improv before Guffman, but as Guest told Back Stage West, “I met [her], and about 10 minutes in I thought, Definitely.” Posey was cast as Dairy Queen employee and ingenue Libby Mae Brown.
7. FRED WILLARD TOOK INSPIRATION FOR HIS AND CATHERINE O’HARA’S CHARACTERS FROM AN ACTING COUPLE HE KNEW.
When he was starting out in New York, Willard took acting lessons from a married couple—and he used them as inspiration for Ron and Sheila Albertson, travel agents who have never left Blaine. “I don’t know that they’d ever worked professionally in their life,” Willard said of the couple, “but they had this acting workshop and you could imagine their home life.”
Willard also drew inspiration from a little closer to home. “My aunts were always drinking, and my uncles were always saying, ‘For god’s sake, put that down,’ and she’d pull away from him,” he said in Best in Show. “Our relationship was based on that. She was drunk, and I’d say ‘We need some coffee over here.’” Willard also came up with the character’s track and field background and how his and O’Hara’s characters had met before cameras rolled.
8. GUEST SUPPLIED THE SONGS, BUT THE ACTORS CAME UP WITH THEIR OWN AUDITIONS.
Though Guest gave the actors their audition songs (most of which had to be in the public domain to avoid fees), he didn’t tell them how they should audition, leaving that up to the actors themselves—so the first time he saw the auditions was when cameras rolled. “The first time we ever did it, was performing in front of the camera,” Levy said in DVD commentary. “So in essence it was more of an audition. We didn’t know if the piece we worked up was going to work, whether it was going to be funny, and not only that, we were doing it in front of a camera.”
O’Hara and Willard’s audition was based on “those coffee commercials that were on TV maybe 15 years ago where they made them almost as if they were little scenes,” Guest said in DVD commentary. “I talked to Catherine about that, and I recommended [the song ‘Midnight at the Oasis’], and they came up with this.”
“We had to actually rehearse these auditions,” O’Hara recalled in Reel Canadians. “So me and Fred are actually trying to get laughs for being bad, but at the same time we had to do our choreography. Fred was so serious, he wanted to wear the towels around his neck and I was so nervous.”
Posey, meanwhile, called Guest from New York and told him she had an idea for her audition. “She sent me this two-page, single-space monologue that she wrote, asked if she could do it in addition to singing ‘Teacher’s Pet,’” Guest recalled in DVD commentary. “It’s one of the most extraordinarily bizarre scenes. For a while I had it in the movie instead of the song. I fell in love with how crazy it was.”
9. BOB BALABAN WAS SUPPOSED TO PLAY THE PIANO.
Bob Balaban said in Best in Show that when he got the call to be in Waiting for Guffman, “I had the good sense not to ask too many questions and just say, ‘Anything you want to do, let’s do that.’” But Guest wanted Balaban to play the music director—and to play the piano during the show’s rehearsals. Though he had taken piano lessons and thought he might be able to memorize the music by the shoot, Balaban ended up not feeling comfortable doing it—so instead, Guest had him train with musical director C.J. Vanston to play the conductor, and an assistant played the piano instead.
10. LOOK CLOSELY AND YOU’LL CATCH A GLIMPSE OF BETTER CALL SAUL’S BOB ODENKIRK.
He’s in the hallway during the audition scenes dressed as a vampire. Odenkirk had been cast as the town minister, but the part was cut when he had a scheduling conflict. You can see his audition in the video above.
11. THE MOVIE FILMED IN LOCKHART, TEXAS—AND A LOCAL WAS CAST FOR ONE PROMINENT AUDITION.
Guffman was shot over the course of 29 days in Lockhart, Texas, and the production cast several locals for bit parts. Most of them were cut for time, but one resident did make it into the final film in one of its most memorable auditions: an older gentleman performing both sides of an expletive-filled scene from 1980’s Raging Bull.
Jerry Turman—who had previously appeared on the big screen as the chauffeur in The Best Little Whorehouse in Texas (1982)—was called in to audition for the role. To prepare, Turman said in Best in Show, “I checked out Raging Bull, and I studied the scene over and over again, and there’s no way that a guy from East Texas is going to do De Niro or Pesci—either one, so I did it in my natural voice and told [Guest] and the casting director at the beginning of it, ‘That’s the only voice I have.’”
He nabbed the part and worked on it for a few days before it was time to film. “I knew it very well, and had to learn both parts because the responses were so strange to me. We don’t talk that way here,” he said. “And sure enough when I got in, he had me do both parts. So I was prepared.” Turman had no problem with the profanity, “but I do have grandkids, and suddenly I’m aware that my grandkids are going to know about this.”
12. GUEST’S DANCING AS CORKY MADE LEVY BREAK CHARACTER.
“There’s a rehearsal scene where Corky tries to teach us that move that we just saw in the apartment,” Levy recalled in DVD commentary. “I was laughing so hard I actually worked my way to the back of the group, fell to my knees, and crawled off the set … When these things are being improvised, you don’t want to ruin something that people are working so hard to create because find you it funny and you laugh instead of the audience laughing. The easiest thing to do is to slink off the set and let the scene continue.” (In a speech at the Austin Film Society in 2010, O’Hara recalled that “Eugene Levy would just leave scenes all the time—just go around a wall and wait” when he thought he’d break character.)
But Levy also made Guest lose it. “The idea of the lazy eye was one of the first things in the writing session that got us both on the floor,” Levy recalled in DVD commentary. “That was a very, very heavy laugh.” Said Guest: “And when you came out in the show … I said, ‘I can’t look at you, when you’re doing this thing. I’m going to look way upstage, if that’s OK.’”
(Look closely in the video above, by the way, and you’ll notice a funny detail about the jeans Guest is wearing. “I put on these jeans,” he recalled in DVD commentary, “I said, ‘These are huge, I could wear them backwards!’ And I am wearing them backwards.”)
13. WILLARD CLUED GUEST IN ON ONE IDEA HE HAD FOR THE CHINESE RESTAURANT SCENE.
Normally, the actors wouldn’t tell Guest any ideas that they had for a scene, but Willard made an exception for the Albertsons’ double date with the Pearls, where Ron reveals that he had penis reduction surgery. “I said to Chris, ‘I have an idea for something I want to do,’” Willard said in Best in Show. “Chris said, ‘I usually don’t like to know what another actor is going to do in an improvised scene, but in your case I have trouble keeping a straight face, so please tell me what you’re about to do.’ So I said, ‘I’d like to get up and drop my trousers to show Eugene my operation.’ What could be more humiliating to someone?”
14. “STOOL BOOM” WAS THE TOUGHEST NUMBER TO PERFORM.
Willard recalled in Best in Show that the hardest number to master was “Stool Boom,” which covers Blaine’s distinction as “The Stool Capital of the World” after President McKinley visited the town and took one of its footstools home with him. “Going in, all of us thought we would just play amateurs trying to dance and sing, and there was some discussion whether or not we’d lip-synch or sing live,” Willard said. “Well, much to our surprise, they brought in a woman, a choreographer, and she put us through paces like we were going to do an Off-Broadway show. We were all taken back with all these steps they had us do.” The cast had to rehearse on Saturday afternoons, and at one point, Levy hurt his foot. He “was taking aspirins and wrapping his foot, so he was in pain during that,” Willard said.
The number wasn’t just painful for the performers—the actors who sat in the audience suffered, too. “It was really tedious,” Theaker said in Best in Show. “I thought if I heard ‘Stool Boom’ one more time, I would just snap like a twig in the wind … I thought I was going to lose my mind.”
According to Willard, “The happiest moment of shooting was when we finished filming that number, and they said, ‘Okay, cut, let’s move on.”’
15. WATCHING GUEST DIRECT IN COSTUME WAS A TRIP.
Michael Hitchcock, who played city councilman Steve Sark, recalled in Best in Show that, “The hardest thing about this was Christopher in Corky-guise giving direction, because he would still be wearing the toupee and those outrageous outfits, and he just looked so funny that it was hard not to be looking all over his body and that silly toupee while he was giving you notes.”
16. THE CAST WATCHED DAILIES TOGETHER AT THEIR HOTEL.
The cast stayed in a hotel in Austin, and, as O’Hara said in 2010, “Every night was movie night … when Chris invited us to watch dailies. You want to go to dailies on a Chris Guest movie, because we shoot 80 hours of improvisation … and then he cuts it down to 86 minutes, so if you don’t go to dailies, you miss 90 percent of the movie.”
17. GUEST HAD TO WHITTLE 58 HOURS OF FOOTAGE DOWN TO 90 MINUTES.
That meant that entire characters and musical numbers had to be cut. Frances Fisher, who played Johnny Savage’s mother, appeared in the trailer (above) but didn’t make it into the movie. Red, White, and Blaine itself ran 40 minutes long, so the numbers “Nothing Ever Happens in Blaine” (which came before “Nothing Ever Happens on Mars”) and “This Bulging River” were cut for time, and a dance sequence and solo were trimmed from “Penny For Your Thoughts.”
Editing the movie took 18 months, and Levy recalled in DVD commentary that at one point, Guest had cut Corky out completely. “In the initial edit, when you cut this thing for the first time, you had literally cut yourself out of the movie. I looked at the first cut, there was no Corky in the movie … You thought your little runs were a little too insane and maybe not grounded, and everybody said ‘Let’s put them all back in, how about that.’”
18. THE ENDING COULD HAVE BEEN DARKER.
In alternate endings, Dr. Pearl ditched his wife and baby to go to Miami to become a performer; the Albertsons supplemented their Hollywood income by selling hand cream; and Corky and Steve lived together in New York. “It started on a close-up of Corky talking,” Hitchcock recalled in Best in Show, and then the camera pulled out to reveal Steve. “We were barbecuing on the roof, and we did a little limbo, so it was a little bizarre, but very funny.” But Levy and Guest ultimately ended up feeling that some of the endings were too dark, and so the epilogue of Guffman sees the Pearls living in Florida; the Albertsons making a go of the acting thing in Hollywood; and Corky back in New York City.
19. THE MOVIE HAS SOME SERIOUS FANS.
Guffman has many famous fans, including Alan Cumming (who told NPR’s All Things Considered that he could watch it “a million times”), Casey Wilson, Kristen Bell, Neil Patrick Harris, and Meryl Streep. But the film has plenty of non-famous fans, too, as Guest found out when he went on tour with McKean and Shearer. “I sang ‘Penny for Your Thoughts,’” Guest told Entertainment Weekly. “People would ask strange things like ‘Where is [Corky] working now?’ I’d say, ‘It was actually a film.’ At one of the performances, a group called the Blaine Players or the Corky St. Clair-something Society showed up. It was about 12 people, and they have meetings … Well, I don’t know exactly what they do. The movie is discussed, I guess. They had T-shirts and a lot of, well, information.” Wonder what Guest would make of the 2014 production of Red, White and Blaine that was put on in Chicago?
20. CORKY MAKES A CAMEO IN ANOTHER ONE OF GUEST’S FILMS.
Posey told The A.V. Club that when Guffman wrapped, “I had never worked in this way that felt so real and felt like family. I loved Corky so much. I was so sad to lose him. I cried in the van on the way home, and he held my hand, and I didn’t think I’d see him again.” So she must have been thrilled when Guest donned the terrible toupee to play Corky in Mascots as the coach of Posey’s character, Cindi Babineaux.
Thanks to Irish designer Kay Bells, you can take a bit of nature with you wherever you go—from miniscule mushrooms to dandelion seeds, she incorporates real flora and fauna into her handmade jewelry.
Most people try to avoid conflict at work—especially while broaching a touchy subject with colleagues. According to Harvard Business Review, a recent survey of nearly 1100 individuals found that around 66 percent of workers want to make the other person feel comfortable during tough chats. However, these diplomatic intentions can be soured by poorly phrased or negative comments, uttered in moments of stress, anger, or sheer carelessness.
To keep awkward office discussions honest yet positive, steer clear of the 12 phrases below. They may seem innocuous at surface level, but the subtext indicates that you’re not a team player.
For example, expressions like “I’m sorry, but,” “I just assumed that,” and “There’s nothing I can do” sound defensive, making it seem like you’re unwilling to accept constructive criticism or acknowledge any need for improvement. “You should have,” “That makes no sense,” and “You’re wrong” are accusatory and dismissive, and can alienate others from sharing their opinions or seeking feedback. And phrases like “That’s not my problem” or “But we’ve always done it that way” suggest that you’re willing to only do the bare minimum, and don’t want to take extra initiative. None of these attitudes are suitable for an office environment, especially one that prizes collaboration, accountability, and hard work.
Still struggling to find the right words to express yourself? Opt for one of the tactful alternatives supplied by loan provider Headway Capital:
In 1983, only 22 California condors—the largest land bird in North America—were left in the wild. The U.S. Fish and Wildlife Service spent years capturing and breeding the surviving scavenger birds to save them from extinction, slowly trying to reintroduce some into the wild.
The work is paying off. About 200 condors currently live in the wild, in Southern California and Arizona, but northern California will soon have its own condor population. Fifteen U.S. agencies and the Yurok tribe have collaborated on a 2-year plan to reintroduce them to the Redwood National and State Parks. They held the first of five public meetings about the program in northern California last week, according to the San Francisco Chronicle and SFist.
The plan for how to restart northern California’s wild condor population isn’t yet solidified, and the agencies will still have to prepare an environmental impact report. And it’s likely that not everyone will be psyched about the birds’ reintroduction. According to the Chronicle:
So far, no significant opposition has come forward, though timber companies have voiced concern that the introduction of an endangered species could interrupt operations. In response, federal officials are considering designating condors an experimental nonessential population, which would allow regulators to relax protections when appropriate.
The upcoming public meetings will be a chance for those opposition groups to bring their concerns forward.
The condor has mythological significance to many Native American tribes in California, but it’s a particularly sacred animal for the Yurok. The idea is to release the birds on the tribe’s ancestral land.
The birds historically covered territory not just in California, but along the Pacific Northwest, so the released condors might migrate to Oregon, where they haven’t been seen in the wild for a century. The Oregon Zoo’s condor breeding program has hatched 60 chicks since it started in 2003. However, California has banned the lead ammunition that poisons condors that eat the remains of animals killed by hunters, while Oregon has not, making it risky to reintroduce them to the wild there.
This weekend, the president signed an executive order imposing a temporary ban on citizens of Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen from entering the United States. The executive order blocks all refugees for the next 120 days, and all citizens of the aforementioned countries for the next 90. The implementation of the order left scores of refugees and travelers with valid visas stranded in U.S. airports and detained by agents of U.S. Customs and Border Protection. There was also a great deal of confusion around the fate of green card holders—women and men who live, work, and pay taxes in the United States—who can be drafted into the U.S. military in a time of war, though they aren’t yet full citizens.
The order was the continuation of a campaign promise, when Trump called for a “total and complete shutdown of Muslims entering the United States until our country’s representatives can figure out what the hell is going on.”
Many foreign-born and first-generation immigrants from countries now temporarily banned from entering the United States have had an undeniable impact on science, culture, and business in America. Here are a few of them, and what they achieved.
1. HAMID AKHAVAN
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Before taking a partnership at a private equity firm, Hamid Akhavan was CEO of Unify (formerly Siemens Enterprise Communications); CEO of T-Mobile International; COO of Deutsche Telekom; and even worked at NASA Jet Propulsion Laboratory as a telemetry engineer. He’s a graduate of Caltech and MIT. He was born in Tehran, Iran.
2. STEVE JOBS
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The Apple co-founder’s story has already passed into American legend. The garage. The business acumen. The obsession with design and detail. Steve Wozniak pioneered the first mass-market personal computer, but Steve Jobs delivered it to the world, and in doing so revolutionized the American personal computer industry. Jobs and Apple are responsible, directly and indirectly, for hundreds of billions of dollars in wealth for the United States and the spawning of countless other industries and enterprises. Jobs is a first generation American: His biological father, Abdul Fattah Jandali, was a Syrian immigrant who met Jobs’s biological mother,Joanne Carol Schieble, in Wisconsin while studying Economics and Political Science. Schieble’s Catholic father wouldn’t allow her to marry Jandali, a Muslim, and the baby was given up for adoption to Paul and Clara Jobs.
3. BOBAK FERDOWSI
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Spacecraft don’t magically appear on Mars. It takes teams of hardworking engineers with the audacity to think they can gently land things on tiny dots in the sky, and the brains to actually make it happen. One of those engineers is Bobak Ferdowsi, who spent nine years on the Mars Science Laboratory mission, and who, during the notorious seven minutes of terror (in which the lander needs to decelerate enough to hit the ground safely), was Flight Director for crews and landing operations. Ferdowsi worked also as a science planner for the Cassini–Huygens mission to the Saturn system. The Curiosity team at NASA would have been left one member short, however, had Ferdowsi’s father not immigrated to the United States from Iran.
4. PAULA ABDUL
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Harry Abdul was born in Aleppo, Syria—the same Aleppo that has recently received international coverage. He immigrated to Brazil and then to the United States, where he met his wife who gave birth to a daughter, who they named Paula. You’ve probably heard of her: She was a cheerleader for the Lakers, a music sensation in the ’80s with six chart-toppers, and a Grammy and Emmy winner. She would later be a judge on American Idol for eight years. Without her hit songs and choreography (for both herself and stars like Janet Jackson), the music video as we know it would not exist.
5. NAWAL M. NOUR
Harvard Medical School graduate and MacArthur Fellow Nawal M. Nour was born in Sudan, and had she not been allowed to immigrate to the United States, we would have been left without one of the world’s foremost experts in treating women subject to genital mutilation/cutting. As the founder of of the African Women’s Health Center—the only center of its kind that focuses on both physical and emotional needs of women who have undergone FGC—she fights against the practice throughout Africa.
6. F. MURRAY ABRAHAM
No one who has seen Amadeus can forget the mesmerizing performance of F. Murray Abraham, who played Antonio Salieri, avowed enemy of Mozart, who at once adores and despises the more famous composer. The role revitalized classical music in the United States, and Abraham won the 1984 Academy Award for Best Actor. His name has since been associated with everything from Star Trek to Homeland, and Wes Anderson to Arnold Schwarzenegger—and he’s the son of a refugee. His father fled Syria during a famine in the 1920s. “My family had to find a refuge, and America opened its arms to them,” Abraham told The Observer in 2016. “I was hoping that would happen again … I’m hoping that America will regain its sense of compassion.”
Okay, okay: It’s probably just a pun to mark the first day of shooting on the spin-off film. But come on, of courseHan shot first.
The Solo-centric film is set to be released next year, with Hail Caesar! star Alden Ehrenreich front and center as a young Solo and Atlanta‘s Donald Glover taking on the role of Lando Calrissian. Woody Harrelson and Emilia Clarke are also involved in the project. Phil Lord will direct alongside Miller; the two have worked together on 21 Jump Street, The LEGO Movie, and their respective sequels.
The universe doesn’t have to be expanding into anything in order to expand. I know that sounds ridiculous, so let me give you a different example that is easier to understand.
Imagine that you have a line that goes on forever. On that line, you have a mark every inch. There are an infinite number of inches. Now move each marker so that they are separated by two inches. The whole pattern has expanded. It still goes to infinity, but the markers are further apart. The pattern has expanded, but the length is still infinite.
Now a new example: Suppose you have a long piece of rubber, going all the way to infinity. (That piece of rubber represents the universe.) The rubber has marks on it every inch. Now stretch the rubber, until the markers are two inches apart. It still goes to infinity—but it has expanded.
Physicists think of “space” not as emptiness, but similar to a piece of rubber. (But they don’t call it rubber; they call it the “vacuum.” “Particles,” in physics, are just vibrations of the vacuum.) The vacuum can expand, just like the piece of rubber. But because it goes all the way to infinity, it doesn’t need more space. A clever way to say it is that “there’s lots of room at infinity”. (That’s clever, but it doesn’t really explain anything.)
Now here is something new that might confuse you, or might help. In the standard physics theory, the galaxies are all getting farther apart; that is the expansion of the universe. Yet in the way the theory describes it (I mean in General Relativity Theory), none of the galaxies are actually moving. All that is happening is that the amount of space (vacuum) in between them is increasing.
No, you will not learn this in school, or even in college (unless you have an extraordinary professor). It is usually taught in graduate school, when you are earning a Ph.D. degree. At that point the language you will encounter is this: “In the Big Bang Theory, all galaxies have fixed coordinates. (That means they are not moving.) The ‘expansion’ is described by the ‘metric tensor,’ which describes the distances between those fixed coordinates. In the Big Bang Theory, it is the metric tensor which is changing; that represents the expansion of the universe, even though the galaxies aren’t moving. The recent discovery of accelerated expansion means that the rate of expansion is increasing.”
Maybe you’ve read about the curvature of space. Put a black hole between two unmoving objects, and the distance between them will suddenly increase—even though they haven’t moved. So “distance” is not as simple as people thought. It was Einstein who came up with the remarkable idea that “space” (that is, vacuum) is flexible; it can curve and stretch.
I expect you will find this to be very confusing. That’s not a bad sign; it is a good one. When you learn new things that are completely different than you ever imagined, then “confusion” is the first step.
Fred Korematsu, the Japanese-American man famous for resisting internment during World War II, would have turned 98 years old today. Born on January 30, 1919 in Oakland, California, Korematsu’s case against the legality of internment was overruled by the Supreme Court in 1944, but his legacy as a hero who stood up for civil liberties during a particularly dark time in world history lives on. Today, Google is paying tribute to the activist in the form of their daily doodle.
Though Korematsu didn’t win his initial case, the U.S. government eventually admitted their fault and began distributing reparations to the affected families in 1988. According to the Civil Liberties Act of that year, the incarceration of Japanese-Americans had been based on “race prejudice, war hysteria, and a failure of political leadership” rather than any legitimate security concerns.
In 2004 (the year before his death), Korematsu published an op-ed in the San Francisco Chronicle comparing the growing prejudices toward Arab Americans to what he had experienced during World War II. He wrote:
“Fears and prejudices directed against minority communities are too easy to evoke and exaggerate, often to serve the political agendas of those who promote those fears. I know what it is like to be at the other end of such scapegoating and how difficult it is to clear one’s name after unjustified suspicions are endorsed as fact by the government. If someone is a spy or terrorist they should be prosecuted for their actions. But no one should ever be locked away simply because they share the same race, ethnicity, or religion as a spy or terrorist. If that principle was not learned from the internment of Japanese Americans, then these are very dangerous times for our democracy.”
