In the iconic 1980 film Star Wars: The Empire Strikes Back, Han Solo and his crew brave the dangers of an asteroid field while fleeing Imperial forces. Droid C-3PO famously states, “The odds of successfully navigating the asteroid belt are about 3,720 to 1.”
This dramatic scene illustrates a chaotic asteroid field filled with swirling rocks, a scenario that has been widely depicted in cinema.
However, the truth about our solar system’s asteroid belt is quite different from Hollywood portrayals. Astronomers estimate that the average distance between asteroids in this belt is nearly 1 million kilometers, based on the volume of the belt and the estimated number and size of the asteroids.
As a result, navigating between asteroids is quite feasible due to the vast distances separating them.
In fact, numerous space probes have successfully traversed the asteroid belt. NASA’s Pioneer 10 was the first spacecraft to do so. On July 15, 1972, this car-sized probe entered the asteroid belt, embarking on a seven-month, 434 million km (267 million mile) journey through the main belt.
Initially, mission planners had limited data on the density of the asteroid belt, but their assumptions proved correct, allowing the spacecraft to pass through without incident.
Since Pioneer 10, eight additional spacecraft—including Pioneer 11, Voyager 1, Voyager 2, Ulysses, Galileo, Cassini, New Horizons, and Juno—have navigated the asteroid belt. Remarkably, none of these missions had to avoid asteroids, and none encountered problems.
Conditions may vary in other star systems, where asteroids could be more densely packed. However, such asteroid formations are generally unstable and do not persist for long due to frequent collisions and fragmentation.
Therefore, the typical science fiction image of a crowded, fast-moving asteroid swarm is unlikely to exist in reality.
This article answers the question posed by Suzanne Baxter of Cornwall: “How difficult would it be to fly through an asteroid belt?”
Just before lunchtime on the third day, the line outside Elon Musk’s newly opened Tesla Diner in Hollywood had swelled to nearly 100 people.
This eatery is described as a “retro-futuristic” drive-in, offering high-end burgers alongside classic films projected on a massive screen while you charge your Tesla.
After much anticipation and debate, the diner suddenly opened on Monday at 4:20 p.m., reminiscent of a humorous quip from a stoner. Hundreds of enthusiasts queued to sample burgers served in cybertruck-shaped boxes and to snap photos of the Optimus robot dishing out popcorn from a sparkling, circular rooftop deck.
However, just two days later, the Tesla Diner experience felt less like a futuristic marvel and more like a lesson in how things can go awry. Various aspects were lacking, and the food was merely average, yet fans continued to form lines and make purchases.
On Wednesday morning, the queue to enter was quite lengthy, partly due to technical difficulties. The app designed for Tesla drivers to order from their vehicles was malfunctioning, leading staff to prioritize Tesla owners who needed to order inside. This caused non-Tesla drivers in the walk-up line to potentially wait 2-3 hours for their meals.
The robot is set to serve popcorn at Tesla Diner in Los Angeles, California, on Tuesday. Photo: Allison Dinner/EPA
We hoped to see some movement in the walk-up line, but only two families of Tesla owners returned to order from their cars. Even with the app’s issues, they would receive their food more quickly. This created a clear hierarchy: while everyone faced difficulties, Tesla owners were buffered from some of them.
For the rest of us, waiting in the hot sun didn’t exactly embody “retrofuturism.” It felt more like a mix of beautiful, Tesla-inspired, modern mid-century architecture combined with slow service. While a Star Trek episode played on a giant screen, the most entertaining sight was the parade of outfitted cybertrucks arriving and leaving. We counted at least six in neon orange with Texas plates riding on grand custom rims. I was documenting my observations on social media, but curiously, I didn’t see any anti-Musk protests planned for later in the week.
‘That’s Reality’
Musk’s special projects often emerge amid some confusion. Most recently, his efforts to disrupt significant portions of the U.S. government resulted in silence alongside the president he supported. He reportedly spent around $300 million on selective initiatives.
While Tesla fans are treated to premium burgers, managing an electric vehicle is considered much simpler than launching a space rocket, creating brain implants, or overseeing a social media platform devoid of hate speech or harassment. Chef Eric Greenspan, who partners with Musk in the diner, has noteworthy culinary credentials, advising businesses like Beast Burger and renowned establishments like Tartine Bakery.
Nevertheless, billionaire CEOs often make grand promises that frequently remain unfulfilled. This seemed to hold true even for the small burger joint.
You don’t need to own a Tesla to enjoy a meal here. Its allure clearly extends beyond Tesla drivers. On Wednesday, many individuals in the walk-up line arrived with young children eager to experience Tesla Diner after seeing it in videos online. While we waited, staff wearing branded shirts served us water and handed out paper menus.
Jake Hook, who operates a “diner theory” social media account focused on Los Angeles, described Tesla Diner’s menu as “eclectic.” It features options that mix “Libs Own the Libs” with “We Are Libs,” offering everything from a “magnificent bacon” dish boasting four types of bacon instead of fries to avocado toast and matcha lattes, even a kale salad served in cardboard cyber trucks. Welcome to Southern California.
Food from Elon Musk’s new Tesla Diner. Photo: Lois Beckett/Guardian
Hook mentioned, “Diners serve as a reflection of the community, and that’s not quite what we’re seeing here. It feels more like a diner-themed restaurant.”
Staff provided an update to diners in the walk-up line, letting them know chicken, waffles, milkshakes, and “recharged soda” with boba and cherries were unavailable.
“It’s getting better and better,” a man behind me sighed.
Josh Bates and his son Phoenix were visiting from Orange County. “We’re major Musk fans,” he stated.
Phoenix, who is 10, was thrilled to visit the diner. “I’ve never seen Elon Musk open a restaurant, so I just wanted to see what the food was like,” he shared.
However, after waiting 20 minutes without moving closer to the counter, Bates chose to look for lunch elsewhere. “It’s an epic opening; things happen,” he remarked. “That’s just how it is. They’re doing their best.”
Bates wasn’t alone in this sentiment. Ivan Daza, 36, a Los Angeles resident, mentioned he had waited two hours the day prior, only to find the Tesla diner kitchen closed. He returned the next day with his 8-year-old daughter, who was particularly eager to see the Optimus robot after watching videos. Unfortunately, it turned out that Optimus was not operational.
Daza expressed surprise at the array of kitchen issues. He expected a “Plan B.” Still, he appreciated the “experience” the diner offered.
The prices, while steep, were reasonable for Los Angeles. A burger, for example, cost $13.50 without fries. He chuckled recounting how long it took him to get his meal: “It was tasty.”
Tesla Diner food is presented in boxes shaped like a cyber truck. Photo: Allison Dinner/EPA
The interior design resembled a blend of Disneyland and fine dining; sparkling chrome, futuristic white chairs, and stunning lighting created an inviting ambiance. A curved staircase leading to a SkyPad showcased robots in a display case, while the actual kitchen appeared surprisingly low-tech behind curved chrome windows.
I stood in line for an entire hour to place my order. Finally reaching the register, I asked the staff what was actually available. She directed me to the screen, stating I would need to check there for options. Contrary to earlier reports, I was indeed able to order both chicken and waffles.
After a prolonged wait outside, my food arrived in about 10 minutes—far shorter than the feared 3-hour wait, yet still unreasonably long for any fast-casual experience. The waffles were disappointingly cold, with a Tesla Lightning Bolt logo, and while the fried chicken had a delicious crust, it too was lukewarm. The kale and tomato salad lacked adequate dressing, tasting oddly of dill. The generic cola tasted cheap and was served with a bamboo straw. That said, the food did come in an elaborate cyber truck box, which was quite fun.
Locals seemed to brush off the initial glitches at the new diner, while some tourists were less forgiving. Rick Ying, 32, visiting Los Angeles from China with his mother, stopped by for a “quick lunch” before heading to the airport, only to find it wasn’t quick at all. Both Yi and Yang expected to see the Optimus robot in action and hoped for a more technologically advanced experience but described it as just a “regular restaurant.”
“It’s okay,” he said while waiting for his meal. Once he finished eating, he stated that he liked the cyber truck box, calling it “the only thing worth it.”
Musk’s “Retrofuturism”
I took my meal to the upper level, Skypad, an outdoor balcony with a view of the recharged Teslas. The Twilight Zone played on two massive screens as I sat near those purchasing Tesla Diner merchandise: a $95 retro diner hoodie, a $65 Tesla salt and pepper shaker, and a $175 “Levitering Cyber Truck” figurine.
A large popcorn machine stood nearby; it seemed like Optimus was serving snacks on opening night. Earlier that morning, I noted Musk’s social media post claiming, “Optimus will deliver food to your car next year,” hinting at the robot potentially donning a “cute” retro outfit.
However, Optimus was nowhere in sight. An employee later informed me, “He’s not here today. Maybe tomorrow.”
A general view of Elon Musk’s new Tesla Diner in Hollywood, California. Photo: Aaronp/Bauer-Griffin/GC Image
“Can I still get popcorn if there’s no robot?” a woman asked.
“It’s probably old popcorn,” the employee regrettably replied.
Another staff member cautioned that I couldn’t take the same staircase I had used to reach Skypad. I will say that it consisted of plain flights of stairs lacking any high-tech embellishments.
Despite the company’s recent revenue and profit declines revealed in Wednesday’s earnings call, Musk touted the diner as a success, calling it “a sparkling beacon of hope amid a gloomy urban landscape.” (It sits near Santa Monica Boulevard, flanked by upscale art galleries.)
While reflecting on the “retrofuturist” experience while standing in line, I contemplated how well it aligned with the conservative political project Musk promotes. This ordinary diner unfolds in a future where electric vehicle delivery expands alongside ongoing public health crises.
To thrive in today’s U.S. landscape, compartmentalization must be exceptionally effective. I lifted the cardboard cyber truck lid, showed my colleagues the Tesla waffles, and continued with my day. There might not be immediate improvements, but hey, at least it was an experience.
oOn a recent Saturday afternoon in Kampala’s informal settlement in Uganda’s capital, a crowd of young men gathered on benches inside a dimly lit shed to enjoy the pirated version of the Hollywood comedy horror film “The Monkey.”
As the English action played out on the screen, a narrated translation in Bantu Luganda by VJ Junior, one of Uganda’s leading video jockeys, reverberated throughout the room.
By freely translating films and TV shows for local audiences, VJ Junior has become a key figure in the TV and film culture across rural and low-income areas of East Africa.
These VJs act as part narrators and part comedians, often simplifying scripts and placing them in relatable contexts. For instance, they might replace a character’s name with that of a local individual or swap out a Western concept for a Ugandan analogy.
Ugandans will view the film “The Monkey” in April at a video hall in Katwe, Kampala. Photo: Carlos Mureithi/The Guardian
In one notable scene, a father discusses his son’s absence, stating, “So I’m away because I have to carry all sorts of weird baggage and deal with it,” to which he adds, “It’s the bad… the evil… that I’ve inherited from my father, and I don’t want to share that with you.”
VJ Junior summarized this moment with: “The reason I didn’t want to be with you is that I am weighed down by burdens. I inherited mental anguish, demonic influences, curses, and more from my father.”
VJs have the ability to infuse humor, exaggeration, and distinctive sound effects into their translations, sometimes diverging significantly from the original script.
Having grown up in Kampala during the 1990s, VJ Junior, born Mary Smart Matobu, developed a passion for film and frequently enjoyed Hollywood movies translated by VJs.
VJ Junior shares that his role involves “helping people understand, entertain, and draw inspiration from films.” Photo: Carlos Mureithi/The Guardian
In 2006, he entered the field, inheriting a recording studio from his older brother, VJ Ronnie, and later moved to the U.S. to pursue filmmaking. He recalled that his debut as a VJ, while working on “Rambo III,” “lacked finesse,” but he enhanced his skills by studying iconic figures like KK The Best and VJ Jingo.
VJ Junior’s big break came in 2009 with the translation of “Promise,” a Filipino soap opera for local channel Bukedde TV. “It was a massive success and became a significant brand for me,” the 40-year-old noted. “People began to trust my work.”
rRonnie’s Entertainment, the bustling video store in Katwe, drew shoppers eager to browse shelves crammed with thousands of VJ DVDs. Employees were busy copying movies onto customers’ flash drives. A DVD would sell for 2,000 Ugandan shillings (£0.41), with the flash drive copy costing 1,000 shillings.
Shop owner Ronald Zentongo reported vending hundreds of films and television shows daily, revealing that blockbuster titles include Marvel films and series like “Prison Break” and “24.” “Customers eagerly anticipate VJ Junior’s translations.”
The culture of Ugandan video jockeys emerged from the colonial practice where evangelists provided microphones to translate Christian films for local audiences. The 1980s saw the rise of video halls as VHS foreign films became more accessible. To bridge the language gap, video hall operators enlisted VJs to translate these films into local languages in real time.
With advancements in technology, VJs have transitioned from VHS to VCDs, and now to DVDs and flash drives. Numerous websites have popped up, allowing viewers to stream and download content via subscriptions.
The industry is also diversifying; some VJs are now dubbing Ugandan films and TV shows, with new VJs translating into languages beyond Luganda, the predominant language in the country.
A DVD being sold at Ronnie Entertainment. Photo: Carlos Mureithi/The Guardian
By adapting foreign films and series for Ugandan viewers, VJs foster a sense of belonging, as noted by Imokola John Baptist, a lecturer at Makerere University. His research suggests audiences feel valued, recognized, and acknowledged, though he cautions against over-translation that may obscure core themes and messages.
Video jockeys and their distributors often find themselves at odds with authorities over copyright infringements, facing the risk of police raids on video stores leading to confiscation of DVDs and copying equipment. VJ Junior expressed that copyright issues pose significant hurdles for his business, making it “incredibly challenging” to obtain dubbing rights for foreign films.
Describing the VJ’s contribution to Ugandan society as pivotal in “helping individuals to understand, entertain, and inspire,” VJ Junior stated he typically dubs around 10 films and TV episodes each week.
“Research is essential. You need to be informed, educated,” he remarks about the skills vital for his role. “The industry is expanding, and the demand is increasing.”
fOr, for many years, double roles have been played primarily for laughs. Think of Jack and Jill’s Adam Sandler’s Razzy Sweep Twin Turn, or Lisa Kudrow as both friends Phoebe and Ursula Buffay. Eddie Murphy has always been particularly prolific, and his most numerous performances as the clutch of clamps for Professor II of Nuts.
Of course, there are exceptions. But all legends and fame have Austin’s Powers, Bowfinger and – trembling turbit. But this year, we are giving us a more dramatic kind of overlap. Robert De Niro took a double dong job with the Alto Knights, Michael B. Jordan played twin leads in the supernatural sinner, and the pair of Robert Pattinson clones currently finds Bong Jun-ho’s Mickey 17.
And there’s more. Monkey provided horror with Theo James’ two bloody scoops. Zac Efron recently wrapped up an A24 thriller playing both a stalker and a superstar. Recently at Sundance, Dylan O’Brien played twin brothers in the dark comic drama Twinless. So, even if you ignore the genre of the film, it’s a noticeable surge in viewers who still watch the double. So why now? And how do these seemingly impossible shots come true?
“For years, filmmakers have been able to use a variety of techniques to show the actors multiple times in the same scene,” says Daniel Harrington, a London-based VFX artist and compositor. “In the parent’s trap, the split screen allowed the same actor to occupy both sides of the frame, while the social network used motion controls to portray the Winkleboss twins by repeating precise camera movements.”
However, before you tackle the technology, there is a brief history of dual roles. Because the concept is almost as old as the film itself. In 1898, pioneer Georges Méliès had already double-exposed to capture the portrait twice within the same frame. His methods jumped to feature films in 1917 when actor William Farnham performed on opposite sides of himself in Dickens’s two city tales adaptation.
The following year, Mary Pickford played dual roles in Stella Maris using new split screen technology that has been used for decades in films such as Deadlinger, Adaptation, and Double Impact of Jean-Claude Van Dam’s Asquado-Shooded Ask Ask. Altonite, more than a century later, uses similar techniques to double De Niro in a particular scene.
But today, split screening is just one of many tools in the dual-roll toybox. The most notable advance in this field was released in 1989 on the commission of future Part II and Director Robert Zemeckis’ Industrial Light and Magic (ILM) to create a vistaglide and create a motion-controlled camera dolly system for the robot.
This remains the most popular dual-roll method, Harrington says. Several mats (the individual shots that make up the final frame) are filmed with the same actor playing separate parts. This footage is then delivered to the rotoscope and paint artists. Rotoscopes and paint artists task by clearing the edges of the raw mats and then stitching the composite together into one seamless whole.
“Ultimately, the success of the fantasy depends on the synergy between onset preparation and post-production artistry,” says Harrington. “Digital effects can be increasingly refined, but when built on a strong practical foundation, they are still the most effective. Therefore, on set, consistent lighting, accurate framing, and stand-in are important to ensure seamless synthesis later. Without these elements, even the most sophisticated digital tools will struggle to create compelling results. It is teamwork, exemplified not only by films but also by television series such as Orphan Black.”
The small screen certainly earned the rewards for these technological advancements. 2025 will also be your final season, where you can also watch Netflix’s debut Twin Jamie Dornans at Underto and Twin Anna Camp. Malaki Kirby doubles for the Anansi boys on Prime Video, while Cynthia Eribo plays the same sexturette as Leanne Johnson’s poker face returns to Peacock. “And we are not solely responsible for breakthroughs, though [for this increase in dual roles]”Recent developments in AI-driven deepfakes and performance cloning have significantly reduced costs and increased production times,” says Harrington.
This deepfake method of swapping faces (Robert Pattinson’s face was digitally ported to replace Mickey 17) was another ILM gimmick developed for the 1993 Jurassic Park. Oscar-nominated VFX supervisor Theo Jones works at Framestore, a studio that worked on many of Joon-Ho’s latest products. And while Jones doesn’t think there’s a single catalyst for the current moment of a dual-roll project, “it’s probably a kind of happy accident,” he says.
Poker face Cynthia Eribo and Natasharillon
Photo: Peacock
“It wasn’t Option 10, and probably not even five years ago,” says Jones. “But even this is not optimal for dual roles. You will need to find someone with similar features and proportions. Baseline performances will come from the stand-in rather than the actor. What’s more, “Off-the-Peg” deepfake technology certainly doesn’t suit IMAX quality at the moment, so VFX work is necessary to be trusted. ”
The Framestore, revealed by Jones, states that it has developed its own “neural face rendering technology” called Facade. “But for a purely dramatic moment,” he adds. “It would be much better to use practical techniques for filming and post-production modifications to make the finished photos seamless with post-production modifications. This may include rewriting the VFX rulebook, and sometimes using techniques that exist before computers become part of filmmaking.”
It’s a great way to approach the art of dual roles. Because whether it’s an actor attracted to creative challenges or a filmmaker trying to advance the technical aspects of his craft, these twin turns have always been a joint effort. By continuing to blend old and new techniques, viewers will not only guarantee performances that dodge envelopes, but the entire concept of dual roles will remain true to its innate patchwork nature.
Hollywood video game performers have voted to go on strike, bringing parts of the entertainment industry back into strike action after new contract negotiations with major game studios collapsed over protections for artificial intelligence.
The walkout, the second by video game voice and motion-capture performers affiliated with the Screen Actors Guild-American Federation of Television and Radio Entertainers (Sag-Aftra), is set to begin on Friday at 12:01 a.m. This move comes after almost two years of negotiations over a new interactive media contract with gaming giants like Activision, Warner Bros., and divisions of The Walt Disney Co.
SAG-AFTRA negotiators state that while video game contracts cover wages and job security, studios are not willing to agree to regulate generative AI. Without safeguards, game companies could train AI to mimic actors’ voices or create digital replicas of their likenesses without their consent or fair compensation, as per the union.
In a prepared statement, union president Fran Drescher mentioned that members will not accept contracts that permit companies to misuse AI.
Company representatives did not immediately respond to email requests for comment.
According to game market forecasters, the global video game industry generates over $100 billion in revenue annually. New Zoo Sag-Aftola emphasized that the individuals who design and bring these games to life are what drives their success.
“Eighteen months of negotiations have shown that our employers are not interested in fair and reasonable AI protections, but rather in exploitative behavior,” stated Sarah Elmaleh, chair of the Interactive Media Agreement Negotiating Committee.
Last month, a union negotiator informed The Associated Press that game studios had declined to provide the same level of protection from AI risks for all members, especially motion picture performers.
Last year, union members overwhelmingly voted to authorize leadership to strike. Fears about how studios might utilize AI in a strike were intensified by AI. Last year, labor unions staged a four-month strike in the film and television industry.
The final interactive contract, expiring in November 2022, did not include protections for AI but established a bonus compensation structure for voice actors and performance capture artists following an 11-month strike that commenced in October 2016. This strike marked SAG-AFTRA’s first significant labor dispute since the merger of Hollywood’s two major actors unions in 2012.
According to the union, the video game contract covers more than 2,500 “off-camera (voice-over) performers, on-camera (motion capture, stunt) performers, stunt coordinators, singers, dancers, puppeteers, and background performers.”
Amidst tense interactive negotiations, SAG-AFTRA entered into a separate deal in February aimed at indie and low-budget video game projects. The Tiered Budget Independent Interactive Media deal consists of some of the AI protections that have been rejected by larger companies in the video game industry.
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