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    "Fallback Position — Astronaut"

    Space geek Stephen Colbert's video love letter to NASA ends with the right stuff

    Tarra Gaines
    Jun 25, 2010 | 7:06 am

    Stephen Colbert came to Houston with a dream, a dream of becoming an astronaut — just in case that talk show host gig doesn’t work out. For three nights this week, The Colbert Report chronicled his triumphs and tears at Johnson Space Center as NASA trained him to become one of the best, those “highly qualified” for space travel.

    In part one of “Fallback Position - Astronaut,” Colbert went through the initial interview process with Discovery Commander, Steven Lindsey, though Colbert managed to ask the majority of the questions, mostly about sex in space. In part two, Colbert experienced arduous astronaut training, working in simulated zero gravity in a Partial Gravity Simulator, and driving on simulated Martian terrain in an Lunar Electric Rover. He also underwent psychological training by facing his fear of space spiders.

    In part three, shown Thursday night, came the final trial — a trip in the space shuttle simulator where he was tested on launching and landing. When the crisis came, did he have right stuff to land the shuttle with no engines? Once, he put down his beloved Skymall catalog and took care of the “payload” in his pants, yes he did.

    For all Colbert’s antics, “Fallback Position - Astronaut” was a true video love letter to NASA and manned space flight. Hidden behind comedy and satire, the Colbert Report has continued to be a champion for the U.S space program. Past episodes saw Colbert interviewing astronauts and scientists about the importance of maintaining a human presence in space, and most recently in an interview aired earlier this month, he spoke with the orbiting crew of Space Shuttle Atlantis.

    It’s clear: “Stephen Colbert” conservative-blowhard pundit and the man who plays him, Stephen Colbert, comic actor and writer, are both space geeks. Clowning his way through the halls and simulators of the Johnson Space Center, he revealed the dignity, dedication and, yes, sense of humor of everyone at NASA who helped him “train” for astronaut duty.

    So goodbye, Stephen Colbert. We will never put you on our “On Notice” board again. We would, however, like you to return that Lunar Electric Rover you hot-wired.

    If anyone driving down I-45 spots a guy, in a bright orange jumpsuit, doing 70 in an electric Moon Rover, please contact us here at CultureMap. We’ll be sure to get it back to NASA, just as soon as we’ve "inspected" it for a few days.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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