My Science School

From the depths of the ocean floor to the freezing glaciers of the Antarctica, you may have heard of films being shot in the most extreme locations on the planet. And now for the first time, a Russian film crew-racing ahead of Hollywood-is attempting to shoot a feature film in space, aboard the actual International Space Station, which orbits the Earth at about 400 km above its surface.

A Russian cosmonaut Anton Shkaplerov along with the film crew actor Yulia Peresild and film producer Klim Shipenko rocketed to space on October 5 aboard Russia's MS-19 Soyuz spacecraft to shoot what might become the first feature film in t orbit.

History in the making

While space has often been portrayed on the silver screen using advanced computer graphics, there has never been a full-length film shot and directed in space. Hence, the mission if successful will truly become an important landmark in cinematic history.

What it's about

The film named "The Challenge" is about a surgeon, played by Peresild, who goes on an emergency mission to the space station to treat an injured cosmonaut.

Since the crew has to travel light they are not carrying any heavy cameras and equipment Instead, the scenes will be shot using hand-held cameras. The film will include about 35 to 40 minutes of scenes made on the station.

The crew has only two weeks to complete shooting the film, before making their return to Earth on October 17. Obviously, once the shoot wraps up, there will be no retakes!

The space race

During the Cold War, the US and the then Soviet Union were caught in a space race, with both the countries wanting to be the first to make forays into space. In 1957, the Soviet Union beat the US by sending Laika the dog aboard Sputnik 2. Laika became the first living creature to be shot into space and orbit Earth

Similarly Russia's Yuri Gagarin became the first kuuman to rocket into the Earthy orbit just a few days before American Alan Shepard. And with the latest space film mission, the space race seems to have taken a cinematic turn.

In 2020, it was reported that Hollywood megastar Tom Cruise plans to fly to space aboard one of Spacers Crew Dragon capsules for an action-adventure film directed by Doug Liman However, it is unclear when this will happen.

Space tourism

A few years back, it was unimaginable for anyone but a trained astronaut to travel to space. However, over the year concerted efforts are being made to promote space tourism. In July 2021, the nearly 71-year-old Richard Branson and five crewmates from his space-tourism company Virgin Galactic flew to an altitude of about 88 km over the New Mexico desert. They experienced three to four minutes of weightlessness and saw the curvature of the Earth before making a safe landing. Not to be left behind, few days later, billionaire Jeff Bezos too made a quick sojourn to space on his rocket ship, New Shepard. His company, Blue Origin plans to carry William Shatner, who played Captain Kirk in the popular "Star Trek" series on October 12.

Did you know?

Some of the films shot in space:

• In 2008, Richard Gamott, a private astronaut shot a short sci-film in space named "Apogee of Fear The film was only eight minutes long. Garriott paid $30 million to travel on the Soyuz spacecraft
• In 2002, IMAX productions used videos shot aboard the space station in its documentary "Space Station 3D".

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For many people, supercalifragilisticexpialidocious and the 1964 movie Mary Poppins are inextricably linked. Indeed, it was this movie that popularized the word. The songwriters, brothers Richard and Robert Sherman, have explained the word as originating in the same way they, like many others, used to make up humorously big, nonsensical words as children.

Coincidentally, there was also a song called Supercalafajalistickespeealadojus that was written in 1949, and the authors of the song brought a suit against the Sherman brothers for copyright infringement. In the end, the court decided in the Shermans’ favor because, among other things, affidavits were produced that claimed that variants of the word were known many years prior to 1949, making the plaintiffs' claim unfounded.

In fact, the earliest known written record of a variant is for supercaliflawjalisticexpialidoshus from an "A-muse-ings" column by Helen Herman in The Syracuse Daily Orange (Syracuse University), March 10, 1931. The columnist muses about her made-up word, describing it as including "all words in the category of something wonderful" and "though rather long and tiring before one reaches its conclusion, ... once you arrive at the end, you have said in one word what it would ordinarily take four paragraphs to explain."

The word supercalifragilisticexpialidocious in Mary Poppins is said to be simply a word used as "something to say when you have nothing to say," but the mouthful of nonsensical syllables certainly has brought cheer to audiences for decades. That cheer has inspired people to use it, like Helen Herman used her word, for things that are extraordinarily good or wonderful.

People also began to use a shortened adjective form, supercalifragilistic, as well as the adverbial supercalifragilistically. These forms don't appear often, but when they do, they mean something along the lines of "wonderful" or "amazing,"

Finally, what of the claim made in Mary Poppins that saying the word loud enough will cause the speaker to sound precocious? We do not have sufficient evidence to support that conclusion at this time.

Credit : Merriam Webster

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Dorothy is a young girl who lives with her Aunt Em, Uncle Henry, and dog, Toto, on a farm on the Kansas prairie. One day, she and Toto are caught up in a cyclone that deposits them and the farmhouse into Munchkin Country in the magical Land of Oz.

Dorothy Gale is a fictional character created by L. Frank Baum, author and creator of the Oz Legacy. She is the orphan protagonist and adolescent heroine of Baum's first Oz book, The Wonderful Wizard of Oz, published in 1900 and which is considered one of the earliest American Fairytales written. The story begins with Dorothy, her name being the very first word of the very first chapter titled "The Cyclone".

Dorothy's name is a loosely based version of "Theodore" which means "Gift of the Gods". "Dorothy", therefore, as a female companion to Theodore would translate to "Goddess of Gifts". The Wonderful Wizard of Oz was written in 1900, so Dorothy was born before the twentieth century, in the late 1800s. In Baum's Oz series it states she was on June 10th. Coincidently, she shares her birthday with her iconic 1939 movie musical counterpart portrayed by Judy Garland. Like Garland, her Zodiac sign is Gemini. Surprisingly, her last name "Gale" isn't revealed in Baum's original novel. In fact, it was not mentioned until the 1902 stage version of the story Baum created a few years after the book's publication and subsequent success; "My name is Dorothy Gale. I'm one of the Kansas Gales." To which the Scarecrow replies, "Well, that explains your breezy manner. " In the later Oz books, Baum kept the last name but mercifully spared his readers the pun.

Credit :  Fandom 

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In May 1928, Disney produced his first silent cartoon short, Plane Crazy, starring his new anthropomorphic character, Mickey Mouse. The cartoon was not well received by the studio, so it was put aside. Six months later, Mickey Mouse finally made his public debut in the black-and-white film short Steamboat Willie.

The premiere of Steamboat Willie marked a breakthrough moment in animation history not just for the character, but for the introduction of sound. The film lasted a mere seven minutes and the plot was simple. Mickey is a deckhand on a steamship who causes trouble and chaos for the Captain. Minnie Mouse makes her debut when Mickey plucks her off the riverbank with a crane and drops her on the boat. Using makeshift instruments found aboard, such as garbage cans, pots and pans, barrels, and washboards, Mickey serenades his sweetheart, Minnie.

The cartoon’s major innovation was synchronized sound—something we now take for granted. For the first time the soundtrack corresponded to the actions on the screen with the characters acting in cue with the voices and music. The music for the cartoon was provided by a 17-piece orchestra, including a harmonica player and three sound-effects men. While we cannot be certain, most of the animation was probably done by Iwerks, under the close supervision of Disney, who voiced all the characters. Steamboat Willie was a sensation after its premiere in New York City, and Mickey began to achieve worldwide recognition. Today, his likeness is one of the most widely used images for products and advertisements.

Over the years, Mickey Mouse has gone through several transformations to his physical appearance and personality. In his early years, the impish and mischievous Mickey looked more rat-like, with a long pointy nose, black eyes, a smallish body with spindly legs and a long tail. Parents wrote in expressing dismay at Mickey’s antics in the cartoons and complained that Mickey was no role model for children. Fred Moore, a Disney animator stepped in to refine Mickey’s physical image and his character. The change was gradual but significant; Mickey’s eyes were enlarged and pupils were added to make him more expressive and life like. His ears became rounder and more pronounced, his nose was shortened, and his physique took on a short, stocky build—more youthful and childlike. More importantly, Mickey dropped his insolent attitude and became a happy, funny, polite, and kindhearted mouse—a much more acceptable role model for his biggest fans: children. The rest is history. Today, Mickey Mouse is a universal and much-loved figure that is the heart and soul of the Disney organization.

Credit : National Museum of American History

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Simba is a male lion. He is the king of Pride Rock who succeeded Scar. He is the son of Mufasa and Sarabi, and the mate of Nala, with whom he has a son, Kion, and a daughter, Kiara.

Shortly after his birth, Simba was anointed the future king of Pride Rock and presented to the animals of the Pride Lands. Growing up, he was taught by his father, Mufasa, to respect the Circle of Life and thus maintain balance between predator and prey. During this time, Simba's uncle, Scar, used a wildebeest stampede to put Simba in harm's way and thus lure Mufasa into danger. Scar managed to assassinate Mufasa, after which he sent his hyena minions to dispatch of Simba. However, when the hyenas failed to kill Simba, the cub escaped into the desert and took refuge with a meerkat named Timon and a warthog named Pumbaa.

Many seasons later, Rafiki confronted a full-grown Simba and facilitated his communion with the spirit of Mufasa, who implored him to return to the Pride Lands and reclaim his birthright. Simba did as he had been prompted and challenged Scar for the throne of Pride Rock. The lions fought one another for the right to rule the Pride Lands alongside their respective allies, and Simba eventually emerged victorious. Meanwhile, Scar was betrayed and killed by his own hyena minions. Afterward, Simba ascended Pride Rock and became the new king of the Pride Lands.

As king, Simba exiled any lionesses who retained loyalty to Scar to the Outlands. There, the exiles plotted to avenge Scar's death, assassinate Simba, and put Scar's protégé, Kovu, on the throne of Pride Rock. Per Zira's instructions, Kovu saved the life of Simba's daughter, Kiara, and used the seemingly noble act to infiltrate Simba's pride. However, when Kovu fell in love with Kiara, he betrayed and abandoned the Outsiders. A battle soon broke out between the Outsiders and Simba's pride, but Kovu and Kiara intervened and convinced the feuding lions to reunite. In the aftermath of the battle, Simba accepted Kovu back into the pride and approved of his marriage to Kiara.

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In 1905, John P. Harris and Harry Davis opened a five-cents-admission movie theater in a Pittsburgh storefront, naming it the Nickelodeon and setting the style for the first common type of movie theater. By 1908 there were thousands of storefront Nickelodeons, Gems and Bijous across North America. A few theaters from the nickelodeon era are still showing films today.

The 1913 opening of the Regent Theater in New York City signaled a new respectability for the medium, and the start of the two-decade heyday of American cinema design. The million dollar Mark Strand Theatre at 47th Street and Broadway in New York City opened in 1914 by Mitchell Mark was the archetypical movie palace. The ornate Al. Ringling Theatre was built in Baraboo, WI by Al Ringling, one of the founders of the Ringling Bros. Circus, for the then-incredible sum of $100,000. Los Angeles showman Sid Grauman continued the trend of theater-as-destination with his ornate "Million Dollar Theater", using the same design firm as Ringling. It opened on Broadway in downtown Los Angeles in 1918.

In 1915, the tremendous success of The Birth of a Nation helped to establish the supremacy of feature films, which forced the owners of five-cent theaters to increase the ticket price to ten cents or more, then either remodel to provide a more comfortable and pleasant environment or relocate to a bigger and better auditorium, bringing the nickelodeon era to an end.

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Indiana Jones is an American media franchise based on the adventures of Dr. Henry Walton "Indiana" Jones, Jr., a fictional professor of archaeology, that began in 1981 with the film Raiders of the Lost Ark. 

Jones had a difficult relationship with his son which worsened following the untimely death of Anna in 1912. The two drifted further apart but when the Joneses were reunited during their search for the Holy Grail years later, near-death experiences for the both of them undid their estrangement and strengthened the connection between father and son.

Over the years following the Grail crusade, Henry Sr. occassionally accompanied Indiana on other adventures which included a pursuit of the Spear of Longinus towards the close of World War II, and he later filled in for the younger Jones as professor at Barnett College in 1947. He hoped his son would eventually settle down but passed away in 1951 before that could come to be.

Henry Walton Jones was born in Scotland on December 12 in 1872. Jack Williams was a childhood friend, and when he was five years old Jones would go swimming in the loch. At least once, he ran away from home. He went on to be educated under the tutelage of Helen Margaret Seymour at Oxford University, where he developed friendships with Marcus Brody, Richard Medlicot and Eric Scythe. In addition to Oxford lecturer, Professor Nigel Wolcott was also one of his mentors. Henry graduated from university in 1893, and his relationship with an American woman named Anna led to marriage in 1898.

While living together in New Haven, Connecticut, Jones beheld a vision. As he prepared a gloss for a colleague's seminar one April evening, his wine glass rose before his eyes and filled the study with a glow. It transformed into the Holy Grail and a disembodied voice informed him that he would seek the treasure like the knights of old. The next day, firm in the belief he had been given a quest, Jones began his Grail diary and dedicated his life to finding the cup of Jesus Christ. A year later, Jones and Anna had moved to Princeton, New Jersey, where their son Henry Walton Jones, Junior was born on July 1. Their union also produced a daughter, Susie, but illness took her life early. However, a new addition to the Jones family would come in the form of Indiana, an Alaskan Malamute puppy who Henry and Anna introduced to "Junior" in the crib. When Henry Jr. had first learned to walk, he demonstrated the ability by somehow finding his way up the roof of the family house, which forced his father to climb up after him.

In 1900, Jones took a teaching position as professor of medieval literature at Princeton University. In the August of that year, he headed for Massachusetts to attend the conference of the Association of American Medievalists but was disappointed to find his paper on the Grail was met with embarrassment, skepticism and ridicule by his peers. Nevertheless, he ignored their encouragement to pursue a more "serious" subject, and continued his research traveling in the summer of 1905 to visit Europe, including Oxford, where he met Marcus Brody; during his voyage he attempted to inspire other scholars on Grail research.

When he'd returned to America, Jones saw the first "fruit" of the "seeds" he planted; he received a letter from Brody on November 14 which held the promising news that an abbey in Brittany contained a text which treated the Grail as an historical genuine artifact.

Jones made plans for the family to visit France for confirmation the following year. While there, he found a text tracking the Grail's last known resting place in Iona, until sacked by the Vikings; a monk also told him where he would find other artifacts related to the legend. That July, while the professor wrote of his findings from an inn in Cantaney, the actions of a rebellious son armed with a slingshot forced the Joneses to find accommodation elsewhere.

The following week found the Joneses at Klasenheim in Austria-Hungary after that monk's information. Henry traveled to a castle where he saw a painting made by a Franciscan friar who supposedly met a knight of the first crusade, who had found the Grail with his brothers "in a canyon deep in a range of mountains." Logic told him the tale was rubbish since by the painting's time, that legendary knight would be over 150 years old and the painter could not had met him; but Jones's spiritual side saw it as confirmation of the Grail bestowing eternal life. However, he would not continue his grail diary for another six years.

Credit : Fandom 

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Louis Ducos du Hauron produced the first printed anaglyphs in 1891. This process consisted of printing the two negatives which form a stereoscopic photograph on to the same paper, one in blue (or green), one in red. The viewer would then use colored glasses with red (for the left eye) and blue or green (right eye). The left eye would see the blue image which would appear black, whilst it would not see the red; similarly the right eye would see the red image, this registering as black. Thus a three dimensional image would result.

William Friese-Green created the first three-dimensional anaglyphic motion pictures in 1889, which had public exhibition in 1893. 3-D films enjoyed something of a boom in the 1920s. The term "3-D" was coined in the 1950s.[citation needed] As late as 1954, films such as Creature from the Black Lagoon remained very successful. Originally shot and exhibited using the Polaroid system, Creature from the Black Lagoon was successfully reissued much later in an anaglyph format so it could be shown in cinemas without the need for special equipment. In 1953, the anaglyph had begun appearing in newspapers, magazines and comic books. The 3-D comic books were one of the most interesting applications of anaglyph to printing.

Over the years, anaglyphic pictures have sporadically appeared in comics and magazine ads. Although not anaglyphic, Jaws 3-D was a box-office success in 1983. At present the excellent quality of computer displays and user-friendly stereo-editing programs offer new and exciting possibilities for experimenting with anaglyph stereo.

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Willy Wonka & the Chocolate Factory is a 1971 American musical fantasy film directed by Mel Stuart and starring Gene Wilder as Willy Wonka. It is an adaptation of the 1964 novel Charlie and the Chocolate Factory by Roald Dahl.

Charlie Bucket lives on the outskirts of town with his poverty-stricken family: his parents and all four grandparents. Each day on his way to school, Charlie passes the best and biggest chocolate factory in the world, run by the secretive Willy Wonka. When Charlie’s father loses his job, things go from bad to worse. Grandpa Joe tells Charlie that in the past, competitors stole Wonka’s candy-making secrets, and the factory shut down. Later, the factory resumed production, but no one was ever seen entering or leaving. One day, Wonka announces that he has hidden golden tickets in five Wonka chocolate bars, with the prize of a tour of the factory and a lifetime supply of Wonka products for each child who finds a ticket. Wonka-mania encircles the globe, and one by one four of the tickets are found. Charlie finds money sticking out of a snowbank and buys himself two Wonka chocolate bars; the second contains the last golden ticket.

The five children are greeted outside the factory by the eccentric visionary Willy Wonka. The inside of the chocolate factory is magical, and the workers are revealed to be the tiny cacao-loving Oompa-Loompas, rescued from Loompaland by Wonka. As the tour progresses, four of the children, too self-centred to follow the rules, suffer bizarre—and often painful—consequences. In the Chocolate Room, the gluttonous Augustus Gloop falls into the river of chocolate and is sucked into a glass pipe carrying the liquid chocolate to be made into fudge. The gum-obsessed Violet Beauregarde steals a piece of experimental chewing gum, which turns her into a blueberry. The extremely spoiled Veruca Salt tries to seize a trained squirrel to have for herself, but the squirrels identify her as a bad nut and toss her down a garbage chute. Mike Teavee inserts himself into an experiment on sending candy bars through television and is shrunk to pocket size. The Oompa-Loompas regularly break into moralizing songs to comment on the children’s misbehaviour. At last, Wonka tells Charlie that, because of his respectful behaviour, he is being given the chocolate factory.

Credit : Britannica 

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For most of us, "going to the movies" isn't just about seeing a movie. Rather, it's a powerful multi-sensory experience—one so powerful, in fact, that there's a decent chance the mere suggestion of going to the theater has your mind drifting to thoughts of popcorn and candy. That's why theater owners sometimes joke, "We're not in the movie theater business. We're in the popcorn and candy business."

But if you're wondering what previous generations ate at the movies, or just want to take a trip down memory lane, we've got you covered.

Just as it is today, popcorn was a movie theater staple in the 1970s. It was also the first movie theater snack, the one which started it all back in the 1930s. Although movie theaters had been around since the turn of the 20th century, snacks weren't part of the early theater-going experience. Back then, most theater owners were building theaters as grand entertainment "palaces" meant to rival the sophistication of European opera houses, and movie snacks didn't seem to fit with that aesthetic.

But everything changed as the Great Depression put a squeeze on American wallets, forcing movie theater owners to figure out new ways to get their dwindling audiences to spend more money. Although candy and soda arrived in movie theaters soon after, sugar rationing during World War II put popcorn back at center stage. By the end of the war, popcorn and the movies were now "inextricably bound," as Smithsonian puts it, with more than half of all American popcorn being consumed in movie theaters. After all, it was certainly easier to get it at the movies than it was to pop it at home in those pre-microwave days.

Credit : Eat This Not That 

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E.T. the Extra-Terrestrial (also known simply as E.T.) is a 1982 American science fiction film produced and directed by Steven Spielberg, and written by Melissa Mathison. It tells the story of Elliott, a boy who befriends an extraterrestrial, dubbed E.T., who is stranded on Earth. Along with his friends and family, Elliott must find a way to help E.T. return home while avoiding the government. The film stars Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton, and Drew Barrymore.

E.T. was his most successful in terms of revenue. Spielberg’s combination of alien supernatural occurances and suburban reality created an incredibly loved film. The use of a mysterious film elements created such an interesting atmosphere of uncertainty and possibility, which when in contact with Elliott, was able to provide answers for the concerns he was dealing with. The authentic human characters and normal day to day situations made the film seem relatable, in many ways, to a large audience. As Andrew Gordon, in his article “E.T. as Fairy Tale” puts it, “For children, E.T. is a voyage of emotional discovery, for adults, a rediscovery of feeling we thought we had lost or outgrown”(Gordon, 303). With the target audience being kids, each of the three siblings could appeal to a different age children viewing the movie. With the film appealing to such a wide audience, it became the highest grossing movie of its time, beating the current records of another film that Spielberg made, Jaws; both films were made early in the modern blockbuster process that Spielberg played a huge role in. E.T. had an incredible heartwarming impact with a happy ending, and would pave the way for future science fiction films to come that would involve children and their experiences with the extraterrestrial.

The link between reality and the supernatural in this film as a means of displaying childhood conflicts and their solutions played a large role in the success of the movie. Gordon argues that E.T. the Extra-Terrestrial depicts a fairy tale environment that is suitable for all children, while the characters experience meaningful conflicts throughout the film. His argument goes along with mine, in that this film depicts childhood conflict, and because of this, it adds to the films greatness and the film is successful. Spielberg was able to create a masterpiece by combining realistic problems with a non-realistic environment; attracting people who either wanted to see a cool sci-fi film or a family friendly film, or both.

Credit : Digital Exhibits 

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Jean Grey is an evolved mutant with powerful telekinetic and telepathic abilities, further enhanced by the cosmic energies of the Phoenix Force. She studied at Xavier's School for Gifted Youngsters and trained as a second-generation member of the X-Men under the tutelage of Professor X.

Jean experienced a transformation into the Phoenix in the X-Men storyline "The Dark Phoenix Saga". She has faced death numerous times in the history of the series. Her first death was under her guise as Marvel Girl, when she died and was "reborn" as Phoenix in "The Dark Phoenix Saga". This transformation led to her second death, which was suicide, though not her last.

Jean was enrolled at Xavier's School for Gifted Youngsters, where Charles recognized her limitless potential as a class five mutant. However, because most of Jean's power was tied to her unconscious mind, Charles decided to create a series of psychic barriers to isolate them from her conscious mind. This resulted in Jean developing a dual personality, which called itself the "Phoenix" in her sessions with Charles. The Phoenix was a purely instinctual being, comprised of Jean's deepest desires, joy and rage. It was unclear how much Jean was aware of the Phoenix, but for most of her life, the dual personality remained dormant.

Along with Scott Summers and Ororo Munroe, Jean was taught by Charles to control her powers. The three of them went on to become the X-Men, a team formed by Charles to protect the world from threats posed by dangerous mutants. Jean became romantically involved with Scott and eventually went on to become a medical doctor.

Credit : Fandom 

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Snowy is Tintin's Wire Fox Terrier dog and a protagonist of the series. The bond between the two is significantly strong, as they have saved each other's lives numerous times throughout the series. Snowy seldom "speaks", but is instead seen thinking. When we are in Snowy's mind, it generally consists of a debate between a "good" and "bad" version of Snowy's conscience. This usually ends up in catastrophe for Snowy, as usually the "wrong" choice is made. Finally, note the interesting evolution of the character over the albums, lost the gift of thought expressed in words to images and content become virtually silent. Snowy is clearly able to communicate with Tintin in the series. Like Captain Haddock, Snowy is quite fond of Loch Lomond brand whisky. Snowy rarely leaves Tintin's side intentionally, only doing so when the two have been forcefully separated. Unfailingly, the pairs are always reunited at the end of the adventure.

Throughout the series, Snowy is Tintin's sidekick and companion on journeys. Along with Tintin he is the only character to appear in all of the comic albums. In the debut album Tintin in the Land of the Soviets, Snowy is a source of comic relief. Throughout the first eight stories Snowy is the series' co-star, able to understand human language, and communicates with speech bubbles. His verbal responses to various situations include jokes, expressions of fright, and pleas to Tintin to exercise caution. In the early albums he takes an interest in mechanics and geography; in Tintin in the Congo, he makes biblical references. As a dog, he also sniffs, tracks, chases, and bites.

The character of Snowy evolved through the course of the Tintin series. In early works he exchanges dialog with other characters, including animals, and provides a running commentary on the situation. His character then became affected by the introduction of Captain Haddock in The Crab with the Golden Claws. Before Haddock's appearance, Snowy was the source of dry and cynical side-commentary, which balanced out Tintin's constantly positive, optimistic perspective. When Haddock entered the series, the Captain took over the role of the cynic, and Snowy gradually shifted into a more light-hearted role, having dialog only with Tintin.

Snowy is portrayed as brave and is often fearless, even against much larger creatures when Tintin is threatened. He has no qualms attacking animals larger than himself, which consistently leads to him being sacrificed by humans, although he is always rescued. These can be seen in Cigars of the Pharaoh and The Broken Ear. He repeatedly frees Tintin from captivity, saving him from dangerous situations, and will sometimes identify a villain before Tintin. The Black Island and The Shooting Star show his only fear of arachnophobia. Snowy is loyal to Tintin and always wishes to stay by his master's side: in a scene in The Shooting Star when Tintin temporarily abandoned him, Snowy was inconsolable.

Snowy loves whiskey, and occasionally gets drunk (as occurred in Tintin in the Land of the Soviets, Tintin in Tibet and Tintin and the Picaros. His appetite for food is the basis for several short, comical sequences. The dog's biggest lust is for bones. This is repeatedly the centre of moral dilemmas, as Snowy has to decide between carrying out important tasks, such as carrying an SOS message, and picking up a bone, as evidenced in King Ottokar's Sceptre. Snowy indulges in rowdy behaviour chasing the Siamese cat at Marlinspike Hall until the two become friends at the end of The Calculus Affair. Snowy often adds to the story in notable ways. For instance, Snowy is the only character in Flight 714 to Sydney to escape mass hypnosis and to know of their abduction by aliens.

Credit : Fandom

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Lightning McQueen is the main character of the Cars franchise. He is a main character in Cars and Cars 3, and a supporting character in Cars 2. He also appears as Mater's sidekick in Mater's Tall Tales. He is a red 2006 rookie race car. He races for the sponsor, Rust-eze.

Before getting into Radiator Springs, Lightning McQueen is flashy, brash, and supremely confident and had a lot of drive. A real whiz on the track, he's determined to race to victory on his first attempt in the prestigious Piston Cup. Lightning loves all the attention and adulation that comes with being famous. He has his eyes on a new lucrative sponsorship deal with Dinoco, which would replace his current deal with second-rate rust removal ointment Rust-eze. For Lightning, this would mean more money, fans, free helicopter rides, and even more fame.

Since the race track is always so well lit, Lightning McQueen isn't equipped with any headlights. Instead he wears a pair of fake headlight stickers. Lightning takes a dim view of those cars who find this fact absolutely hilarious.

Although Lightning McQueen finds his lifestyle a real gas, deep down something is not quite right. Concentrating so much on winning has cost him all of his support team, and he has no real friends apart from his loyal driver truck, Mack. Often lapsing into daydreams, Lightning doesn't seem to know how to enjoy the here and now.

After getting into Radiator Springs, his time in the town has taught him what's really important, like true friends. Lightning values time with his girlfriend, Sally Carrera, and his friends, especially Mater, in Radiator Springs. He learned most of what he knows about racing from the late great Doc Hudson, and he is looking forward to passing this knowledge on as he enters the next phase of his career.

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The Invention of Hugo Cabret is not exactly a novel, and it’s not quite a picture book, and it’s not really a graphic novel, or a flip book, or a movie, but a combination of all these things.

The Invention of Hugo Cabret is a historical fiction book written and illustrated by Brian Selznick and published by Scholastic. It takes place in France as a young boy finds his purpose. The hardcover edition was released on January 30, 2007, and the paperback edition was released on June 2, 2008. With 284 pictures between the book's 533 pages, the book depends as much on its pictures as it does on the words. Selznick himself has described the book as "not exactly a novel, not quite a picture book, not really a graphic novel, or a flip book or a movie, but a combination of all these things". The book won the 2008 Caldecott Medal, the first novel to do so, as the Caldecott Medal is for picture books, and was adapted by Martin Scorsese as the 2011 film Hugo.

The book's primary inspiration is the true story of turn-of-the-century French pioneer filmmaker Georges Méliès, his surviving films, and his collection of mechanical, wind-up figures called automata. Selznick decided to add an Automaton to the storyline after reading Gaby Wood's 2007 book Edison's Eve, which tells the story of Edison's attempt to create a talking wind-up doll. Méliès owned a set of automata, which were sold to a museum but lay forgotten in an attic for decades. Eventually, when someone re-discovered them, they had been ruined by rainwater. At the end of his life, Méliès was destitute, even as his films were screening widely in the United States. He sold toys from a booth in a Paris railway station, which provides the setting of the story. Selznick drew Méliès's real door in the book, as well as real columns and other details from the Montparnasse railway station in Paris, France.

Picture Credit : Google