New TV Series, Cosmos: A Spacetime Odyssey
Larae Mobus
Cosmos: A Spacetime Odyssey is a 2014 American science documentary television series.[2] The show is a follow-up to the 1980 television series Cosmos: A Personal Voyage, which was presented by Carl Sagan on the Public Broadcasting Service and is considered a milestone for scientific documentaries. This series was developed to bring back the foundation of science to network television at the height of other scientific-based television series and films. The show is presented by astrophysicist Neil deGrasse Tyson, who, as a young high school student, was inspired by Sagan. Among the executive producers are Seth MacFarlane, whose financial investment was instrumental in bringing the show to broadcast television, and Ann Druyan, a co-author and co-creator of the original television series and Sagan's wife.[3] The show is produced by Brannon Braga, and Alan Silvestri composed the score.[4]
The series loosely follows the same thirteen-episode format and storytelling approach that the original Cosmos used, including elements such as the "Ship of the Imagination" and the "Cosmic Calendar", but features information updated since the 1980 series, along with extensive computer-generated graphics and animation footage augmenting the narration.
The series premiered on March 9, 2014,[5] simultaneously in the United States across ten 21st Century Fox networks. The remainder of the series aired on the Fox Network, with the National Geographic Channel rebroadcasting the episodes the next night with extra content. The series has been rebroadcast internationally in dozens of other countries by local National Geographic and Fox stations. The series concluded on June 8, 2014, with home media release of the entire series on June 10, 2014. Cosmos has been critically praised, winning several television broadcasting awards and a Peabody Award for educational content.
The original 13-part Cosmos: A Personal Voyage first aired in 1980 on the Public Broadcasting Service, and was hosted by Carl Sagan. The show has been considered highly significant since its broadcast; David Itzkoff of The New York Times described it as "a watershed moment for science-themed television programming".[7] The show has been watched by at least 400 million people across 60 countries,[7] and until the 1990 documentary The Civil War, remained the network's highest rated program.[8]
Following Sagan's death in 1996, his widow Ann Druyan, the co-creator of the original Cosmos series along with Steven Soter, and astrophysicist Neil deGrasse Tyson sought to create a new version of the series, aimed to appeal to as wide an audience as possible and not just to those interested in the sciences. They had struggled for years with reluctant television networks that failed to see the broad appeal of the show.[7]
Seth MacFarlane had met Druyan through Tyson at the 2008 kickoff event for the Science & Entertainment Exchange, a new Los Angeles office of the National Academy of Sciences, designed to connect Hollywood writers and directors with scientists.[9] A year later, at a 2009 lunch in New York City with Tyson, MacFarlane learned of their interest to re-create Cosmos. He was influenced by Cosmos as a child, believing that Cosmos served to "[bridge] the gap between the academic community and the general public".[9] At the time MacFarlane told Tyson, "I'm at a point in my career where I have some disposable income ... and I'd like to spend it on something worthwhile."[10] MacFarlane had considered the reduction of effort for space travel in recent decades to be part of "our culture of lethargy".[7] MacFarlane, who has several series on the Fox network, was able to bring Druyan to meet the heads of Fox programming, Peter Rice and Kevin Reilly, and helped secure the greenlighting of the show.[7] MacFarlane admits that he is "the least essential person in this equation" and the effort is a departure from work he's done before, but considers this to be "very comfortable territory for me personally".[7] He and Druyan have become close friends, and Druyan stated that she believed that Sagan and MacFarlane would have been "kindred spirits" with their respective "protean talents".[7] In June 2012, MacFarlane provided funding to allow about 800 boxes of Sagan's personal notes and correspondences to be donated to the Library of Congress.[9]
Tyson spoke about the "love-hate relationship" viewers had with the original series' Spaceship of the Imagination, but confirmed during production that they were developing "vehicles of storytelling".[11] Tyson affirmed that defining elements of the original series, such as the Spaceship of the Imagination and the Cosmic Calendar with improved special effects, as well as new elements, would be present. Animation for these sequences was ultimately created by a team hand-picked by MacFarlane for the series.[10] Kara Vallow developed and produced the animation, and the animation studio used was Six Point Harness in Los Angeles, California.[14] The sound of the Spaceship of the Imagination, and sound design in general, was created by Rick Steele, who said of the show: "Cosmos has been, by far, the most challenging show of my career."[15] The updated Spaceship was designed to "remain timeless and very simple", according to MacFarlane, using the ceiling to project future events and the floor for those in the past, to allow Tyson, as the host, to "take [the viewer] to the places that he's talking about".[16]
Tyson opens the episode to reflect on the importance of Sagan's original Cosmos, and the goals of this series. He introduces the viewer to the "Ship of the Imagination", the show's narrative device to explore the universe's past, present, and future. Tyson takes the viewer to show where Earth sits in the scope of the known universe, defining the Earth's "address" within the Virgo Supercluster. Tyson explains how humanity has not always seen the universe in this manner, and describes the hardships and persecution of Renaissance Italian Giordano Bruno in challenging the prevailing geocentric model held by the Catholic Church. To show Bruno's vision of the cosmic order he uses an animated adaptation of the Flammarion engraving, a 19th century illustration that has now become a common meme for the revealing of the mysteries of the Universe.
The episode covers several facets of the origin of life and evolution. Tyson describes both artificial selection via selective breeding, using the example of humankind's domestication of wolves into dogs, and natural selection that created species like polar bears. Tyson uses the Ship of the Imagination to show how DNA, genes, and mutation work, and how these led to the diversity of species as represented by the Tree of life, including how complex organs such as the eye came about as a common element.
Tyson then relates the collaboration between Edmond Halley and Isaac Newton in the last part of the 17th century in Cambridge. The collaboration would result in the publication of Philosophi Naturalis Principia Mathematica, the first major work to describe the laws of physics in mathematical terms, despite objections and claims of plagiarism from Robert Hooke and financial difficulties of the Royal Society of London. Tyson explains how this work challenged the prevailing notion that God had planned out the heavens, but would end up influencing many factors of modern life, including space flight.
Tyson begins the episode by explaining the nature of the speed of light and how much of what is seen of the observable universe is from light emanated from billions of years in the past. Tyson further explains how modern astronomy has used such analyses via deep time to identify the Big Bang event and the age of the universe.
Tyson proceeds to describe how the work of Isaac Newton, William Herschel, Michael Faraday, and James Clerk Maxwell contributed to understanding the nature of electromagnetic waves and gravitational force, and how this work led towards Albert Einstein's Theory of Relativity, that the speed of light is a fundamental constant of the universe and gravity can be seen as distortion of the fabric of space-time. Tyson describes the concept of dark stars as postulated by John Michell which are not visible but detectable by tracking other stars trapped within their gravity wells, an idea Herschel used to discover binary stars.
Tyson then describes the nature of black holes, their enormous gravitational forces that can even capture light, and their discovery via X-ray sources such as Cygnus X-1. Tyson uses the Ship of Imagination to provide a postulate of the warping of spacetime and time dilation as one enters the event horizon of the black hole, and the possibility that these may lead to other points within our universe or others, or even time travel. Tyson ends on noting that Herschel's son, John would be inspired by his father to continue to document the known stars as well as contributions towards photography that play on the same nature of deep time used by astronomers.
This episode explores the wave theory of light as studied by humankind, noting that light has played an important role in scientific progress, with such early experiments from over 2000 years ago involving the camera obscura by the Chinese philosopher Mozi. Tyson describes the work of the 11th century Arabic scientist Ibn al-Haytham, considered to be one of the first to postulate on the nature of light and optics leading to the concept of the telescope, as well as one of the first researchers to use the scientific method.
This episode looks to the nature of the cosmos on the micro and atomic scales, using the Ship of the Imagination to explore these realms. Tyson describes some of the micro-organisms that live within a dew drop, demonstrating parameciums and tardigrades. He proceeds to discuss how plants use photosynthesis via their chloroplasts to convert sunlight into chemical reactions that convert carbon dioxide and water into oxygen and energy-rich sugars. Tyson then discusses the nature of molecules and atoms and how they relate to the evolution of species. He uses the example set forth by Charles Darwin postulating the existence of the long-tongued Morgan's sphinx moth based on the nature of the comet orchid with pollen far within the flower. He further demonstrates that scents from flowers are used to trigger olfactory centers in the brain, stimulating the mind to threats as to aid in the survival of the species.
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