That mind is partly revealed through Herzog’s running narration, such as when he muses about collective behavior and whether fish have souls—a digression sparked by his interview with Siri co-inventor Tom Gruber. “In the background, I saw his TV screen still on, we didn’t switch it off, and I saw some very, very strange school of fish,” said Herzog. “I asked him about the school of fish, which he had filmed himself. And all of a sudden, I’m only interested in the fish and common behavior. Why do they behave in big schools, in unison? Why do they do that? Do they dream? And if they think, what are they thinking about? I immerse the audience into a very strange form of underwater landscape and behavior of fish.”
Werner Herzog’s inspiration for Theater of Thought arose from conversations with Columbia University neuroscientist Rafael Yuste, who served as science advisor on the film. Argot Pictures
We glimpse the inner workings of Herzog’s mind in the kinds of questions he asks his subjects, such as when he queries IBM’s Dario Gil, who works on quantum computing, about his passion for fishing, eliciting an enthusiastic smile in response. He agrees to interview University of Washington neuroscientist Christof Koch after Koch’s early-morning row on the Puget Sound and includes music from New York University neuroscientist Joseph LeDoux‘s band, the Amygdaloids, in the film’s soundtrack. He asks married scientists Cori Bargmann and Richard Axel about music, their dinner conversations, and the linguistic capabilities of parrots. In so doing, he brings out their innate humanity, not just their scientific expertise.
“That’s what I do. If you don’t have it in you, you shouldn’t be a filmmaker,” said Herzog. “But you see, also, the joy of getting into all of this and the joy of meeting these scientists. We are talking about speaking parrots. What if two parrots learned a language that is already extinct and they would speak to each other? What would we make of it? So I’m asking, spontaneously, because I saw it, I sensed it, there was something I should depart completely from scientific quests. And yet there’s a deep scientific background to it.”
New NatGeo documentary was directed by the same duo who brought us the Oscar-winning Free Solo.
The intact stern of the good ship Endurance. Credit: Falklands Maritime Heritage Trust
The story of Arctic explorer Ernest Shackleton’s failed 1914 expedition to be the first to traverse the continent of Antarctica has long captured the popular imagination, as have the various efforts to locate the wreckage of his ship, the Endurance. The ship was finally found in 2022, nearly 107 years after it sank beneath the ice. The stories of Shackleton’s adventures and the 2022 expedition are told in parallel in Endurance, a new documentary from National Geographic now streaming on Disney+.
Endurance is directed by Oscar winners Jimmy Chin and Chai Vasarhelyi (Free Solo). According to Vasarhelyi, she and Chin had been obsessed with the Shackleton story for a long time. The discovery of the shipwreck in 2022 gave them the perfect opportunity to tell the story again for a new audience, making use of all the technological advances that have been made in recent years.
“I think the Shackleton story is at the heart of the DNA of our films,” Vasarhelyi told Ars. “It’s the greatest human survival story ever. It really speaks to having these audacious objectives and dreams. When everyone tells you that you can’t, you want to do it anyway. It requires you to then have the actual courage, grit, discipline, and strength of character to see it through. Shackleton is that story. He didn’t sensibly achieve any of his goals, but through his failure he found his strength: being able to inspire the confidence of his men.”
As previously reported, Endurance set sail from Plymouth on August 6, 1914, with Shackleton joining his crew in Buenos Aires, Argentina. By the time they reached the Weddell Sea in January 1915, accumulating pack ice and strong gales slowed progress to a crawl. Endurance became completely icebound on January 24, and by mid-February, Shackleton ordered the boilers to be shut off so that the ship would drift with the ice until the weather warmed sufficiently for the pack to break up. It would be a long wait. For 10 months, the crew endured the freezing conditions. In August, ice floes pressed into the ship with such force that the ship’s decks buckled.
The ship’s structure nonetheless remained intact, but by October 25, Shackleton realized Endurance was doomed. He and his men opted to camp out on the ice some two miles (3.2 km) away, taking as many supplies as they could with them. Compacted ice and snow continued to fill the ship until a pressure wave hit on November 13, crushing the bow and splitting the main mast—all of which was captured on camera by crew photographer Frank Hurley. Another pressure wave hit in the late afternoon on November 21, lifting the ship’s stern. The ice floes parted just long enough for Endurance to finally sink into the ocean before closing again to erase any trace of the wreckage.
When the sea ice finally disintegrated in April 1916, the crew launched lifeboats and managed to reach Elephant Island five days later. Shackleton and five of his men set off for South Georgia the next month to get help—a treacherous 720-mile journey by open boat. A storm blew them off course, and they ended up landing on the unoccupied southern shore. So Shackleton left three men behind while he and a companion navigated dangerous mountain terrain to reach the whaling station at Stromness on May 2. A relief ship collected the other three men and finally arrived back on Elephant Island in August. Miraculously, Shackleton’s crew was still alive.
Icebound
Ernest Shackleton aboard the Endurance. BF/Frank Hurley
Hurley’s photographs and footage—including Hurley’s 1919 feature documentary, South—were a crucial source for Vasarhelyi and Chin, as was the use of supplementary footage from 1920s and 1930s films depicting polar expeditions. The directors even convinced the British Film Institute to let them color-treat some of the original expedition footage.
“The BFI had lovingly restored the footage and been great custodians of it, but they also had been very strict about never color treating the footage,” said Vasarhelyi. “We made our argument and it shows what great partners they were that they agreed. It’s not colorized, it’s color treated, which is a slight difference. It just added drama and personality where suddenly you could kind of see the faces in a way that you couldn’t just by adding contrast. It was just trying to animate and identify and connect audiences with this story.”
The directors filmed original re-enactments for those parts of the Shackleton story that Hurley was not on hand to visually document firsthand, because he left his equipment behind when the crew was forced to abandon the Endurance. All he had after that was a small pocket camera. And Hurley wasn’t with Shackleton for the final rescue expedition. Most of the outdoor re-enactments were shot on location in Iceland, while some interior re-enactments were shot on a soundstage in Los Angeles.
This involved shooting under harsh freezing conditions on Icelandic glaciers in January and required building replica boats and sourcing period-specific costumes. Fortunately, “Burberry, who had made the original Shackleton gear, had the pattern still and they knew what type of leather it was,” said Vasarhelyi. “And so they made us 11 costume outfits that are the real costumes. We were able to source models of the real artifacts. The ice was freezing on the Burberry coats. The [re-enactors] had 9-millimeter wetsuits inside the Burberry outfits.”
Chin and Vasarhelyi also relied on the diaries of various crew members to capture the events in the crew’s voices. “The proper way into the Shackleton stories is through the diaries because you have primary accounts from many different points of view of the same events,” said Vasarhelyi. “But how to make it feel… vivid was the question.” The answer: using AI to reproduce the voices of Shackleton and others as preserved in historical recordings. They were able to sample those original voices and build an AI model from that, applying it to present-day voices (selected for their similarities to the original voices) reading the text.
Vasarhelyi acknowledges this was a controversial choice but defends the decision because it brought another dimension of immediacy to the final documentary. “Every part of me thinks that we have to educate ourselves; we need to regulate it,” she said. “I support our guilds in trying to protect our creative rights. But in this case, it was a good tool to use. For me, there was a real goosebump moment, watching Frank Hurley’s footage and you realize that you actually are watching real events that are 110 years old that were filmed by guys who survived two years in the ice without their boat. And then you add the tools of sound design and there is just something magical about it.“
The hunt for Endurance
The S.A. Agulhas II surrounded by sea ice as it makes its way toward the coordinates to find the Endurance. Falklands Maritime Heritage Trust/James Blake
People had been hunting for the wreckage of the Endurance ever since its sinking. Shackleton’s brilliant navigator, Frank Worsley, painstakingly calculated the coordinates for the position where Endurance sank using a sextant and chronometer. He recorded that position in his log book: 68°39’30” south; 52°26’30” west. But there was some question as to the accuracy of the marine chronometers he used to fix longitude, which would have affected the final coordinates.
Organized by the Falklands Maritime Heritage Trust, the $10 million Endurance22 expedition team set sail from Cape Town, South Africa, in early February on board the icebreaker S.A. Agulhas II. They arrived at the search area 10 days later. To account for any navigational errors by Worsley, the search area was quite broad. The team used battery-powered submersibles to comb the ocean floor for six-hour stretches, twice a day, augmented with sonar scans of the seabed to hunt for any protrusions. There was a limited window to find the wreck before the ice froze up and trapped the S.A. Agulhas II (the expedition vessel) in the ice, much like the Endurance.
There was a moment when the 2022 expedition members thought they had succeeded, but the object glimpsed in the data turned out to be a debris field from the vessel, not the vessel itself. Still, it was a promising sign, and the expedition persevered. After all, “How can you be associated with the Shackleton story and give up?” said Vasarhelyi.
One sticking point was determining the direction of drift after the Endurance sank. The team had the idea of combining the original 1914 observations with an AI weather model created by the European Union and essentially running it backward to narrow the search further. “That’s another ‘good’ AI moment,” said Vasarhelyi. “It was one of those moments where the past spoke to the present that the whole movie turns on. But there is an argument that they could have maybe looked at this data a little earlier.”
Finally, as the search was coming down to the wire, the Endurance22 team finally found the long-sought wreckage 3,008 meters down, roughly four miles (6.4 km) south of the ship’s last recorded position. The ship was in pristine condition partly because of the lack of wood-eating microbes in those waters. In fact, the Endurance22 expedition’s exploration director, Mensun Bound, told The New York Times at the time that the shipwreck was the finest example he’s ever seen; Endurance was “in a brilliant state of preservation.”
Once the wreck had been found, the team recorded as much as they could with high-resolution cameras and other instruments. Vasarhelyi, particularly, noted the technical challenge of deploying a remote digital 4K camera with lighting at 9,800 feet underwater, and the first deployment at that depth of photogrammetric and laser technology, resulting in a stunning millimeter-scale digital reconstruction of the entire shipwreck. “The payoff [was] seeing that incredible 3D imagery from 3,000 feet below the Weddell Sea,” she said.
What lies beneath
The Endurance as discovered underwater during the 2022 expedition. Falklands Maritime Heritage Trust
Chin and Vasarhelyi skillfully wove together these parallel storylines for their documentary: Shackleton and his men struggling to survive and Expedition22 racing against time to find the wreckage of the Endurance. “Because they actually found it, the 2022 expedition gave us an amazing payoff to this story,” said Vasarhelyi. “But the stakes of both narratives are very different. One is mortal stakes, and the other one is reputational. I think that the reasons why individuals find themselves in these circumstances are really interesting because normally they’re pretty personal, and people can identify with that.”
It was challenging to decide how much to include of both narrative threads; the directors certainly had enough material for five or more hours. They chose to focus on the broad strokes augmented by personal moments of humanity and occasional humor—not to mention heartbreak, such as the moment when Shackleton and his men are forced to kill their sled dogs for food. “We had a debate about whether to include the dogs, and I was like, ‘We have to,'” said Vasarhelyi. “It shows how desperate they were, and it also is a great character moment. That must have been awful, but it was the right thing to do, almost a merciful thing instead of letting them starve to death.”
Along with the tremendous courage and perseverance displayed by Shackleton and his men, Vasarhelyi said she was impressed with their grace under pressure. “I was astonished by the civility that Shackleton and his men depended on to preserve their humanity while they are in this dire circumstance, be it [putting on] burlesque shows or listening to the gramophone,” she said. “The story has an audacity and a strength of will that is inherently human and a view of leadership that felt so daring. This is really the holy grail of survival stories.”
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
Enlarge/Cursed Gold: A Shipwreck Scandal documents the spectacular rise and fall of treasure hunter Tommy Thompson.
Recovery Limited Partnership Liquidating Trust
Many people dream of finding lost or hidden treasure, but sometimes realizing that dream turns out to be a nightmare. Such was the case for Tommy Thompson, an American treasure hunter who famously beat the odds to discover the location of the SS Central America shipwreck in 1988. It had been dubbed the “Ship of Gold” since it sank in 1857 laden with 30,000 pounds of gold bars and coins—collectively worth enough money to have some impact on the Panic of 1857 financial crisis.
Thompson and his team recovered significant amounts of gold and artifacts to great fanfare, with experts at the time suggesting the trove could be worth as much as $400 million. The euphoria proved short-lived. Thirty-nine insurance companies filed lawsuits, claiming the gold was rightfully theirs since the companies had paid damages for the lost gold back in the mid-19th century. Thompson eventually prevailed in 1996, when courts awarded him and his discovery team 92 percent of the gold they’d recovered.
But actually realizing profits from the gold proved challenging; In the end, Thompson sold the gold for just $52 million, almost all of which went to pay off the massive debt the project had accumulated over the ensuing years. So naturally, there were more lawsuits, this time from the investors who had financed Thompson’s expedition, accusing him of fraud. Thompson didn’t help his case when he went on the run in 2012 with his assistant, living off some $4 million in assets stashed in an offshore account.
Thompson was finally captured by US marshals in 2015 to face his investors in court. A jury awarded the investors substantial compensatory damages, and the court ordered Thompson to hand over 500 commemorative gold coins that had been minted out of some of the Central America gold to meet that judgment. Thompson claimed he had forgotten where he’d stashed them and was jailed for contempt of court until the coins had been recovered and handed over. He’s still in prison as of this writing, and the gold coins have yet to be found.
It’s quite a tale, so small wonder that National Geographic has made a riveting three-part documentary about Thompson’s spectacular rise and fall: Cursed Gold: A Shipwreck Scandal, based on the 1998 book by Gary Kinder entitled Ship of Gold in the Deep Blue Sea. Cursed Gold director Sam Benstead read Kinder’s book and was instantly hooked on the story. “Not only was it a hugely exciting story with many twists and turns, but it was also an emotional story, which left you pulling for Tommy and his crew,” he told Ars. “Tommy came through as an extraordinary character: eccentric, brilliant, someone willing to try things no one else had. When I discovered all the things that had happened after the book, I knew it was a story I had to tell.”
Ship of Gold
Engraving by J. Childs of the 1857 sinking of the SS Central America.
Public domain/National Maritime Museum, London
Sonar expert Mike Williamson hard at work during production of Cursed Gold.
National Geographic
John Moore is a lead designer of deep-sea robot Nemo.
National Geographic
Dramatic reconstruction of crew members looking at monitors in the ship’s control room.
National Geographic
Dramatic reconstruction of a crew member looking at computer screens in the ship’s control room.
National Geographic
Dramatic reconstruction of sonar operator John Lettow navigating Nemo from the ship’s control room.
National Geographic
Dramatic reconstruction showing Nemo descending to the seabed off the coast of North Carolina.
National Geographic
Gold bars and coins on the bottom of the sea bed off the coast of North Carolina.
Recovery Limited Partnership Liquidating Trust
Robotic machine recovers gold bars on the bottom of the seabed.
Recovery Limited Partnership Liquidating Trust
Crew members ogle gold bars on deck after being brought up from the sea floor.
Recovery Limited Partnership Liquidating Trust
Crew members looking at gold bars retrieved from the ocean floor.
Recovery Limited Partnership Liquidating Trust
Journalist Dylan Taylor-Lehman looks through case files.
National Geographic
Veteran US Marshal Mark Stroh lifting box of files in a dramatic reconstruction.
National Geographic
Lawyer Quintin Lindsmith works on case files.
Gold bars and coins on the bottom of the sea bed off the cost of North Carolina.
US Marshal Christopher Crotty waits in his car in a dramatic reconstruction.
National Geographic
A case displaying the missing 500 commemorative gold coins.
Recovery Limited Partnership Liquidating Trust
A lot has happened to Thompson since Kinder’s book was published in 1998. Benstead and his production team combed through more than 600 hours of archival footage from the original expedition, as well as over 700 pages of court transcripts. “We also consulted multiple figures who we didn’t film with but who helped inform the story,” said Benstead. “In the editing process, National Geographic’s research department, together with our team, worked diligently to do their best to bottom out every fact, every claim. In a story that is so contested, this really helped us feel confident in standing behind the resulting films.”
“One of the main challenges was in condensing an incredibly complex 30-year saga into three films,” Benstead continued. “There were many legal cases and side stories that we had to exclude or could only touch on. And there were areas of the story that were strongly disputed by different sides. Sometimes we had to make choices that didn’t fully satisfy either camp, but we did our best to remain fair to the plurality of viewpoints, while also telling a powerful story.”
The director remains in awe of the original discovery, however badly the adventure turned out. “For the guys on the boat, almost without exception, this period was one of the best times of their lives,” he said. “It was a privilege to relive their struggles and final triumph in finding the gold. I still find it remarkable that they found the SS Central America in almost two miles of water with the resources they had in the 1980s.”
The experience also instilled “a real respect for the people who shared their story with us, especially Tommy’s family members, who have had so much written about them over the years,” said Benstead. “They didn’t trust us easily, and I feel very fortunate that they took part. Whenever people share the deepest, most affecting parts of their lives with you, you walk away carrying a big responsibility. I hope that they feel we have done their side of the story justice.”
Did Benstead come to his own conclusions about whether or not Thompson committed fraud? “Different people have different viewpoints on Tommy, even amongst those on the boat, investors, lawyers, and law enforcement,” he said. “We felt it was very important to allow the series to reflect this diversity and to allow the audience to make up their own mind. My own view is that Tommy isn’t a con man, and to be in prison for approaching nine years for contempt of court feels like a sad reflection on the US justice system. But it is also the case that, albeit under immense pressure, he made certain choices (like going on the run), which contributed to his own downfall. I hope that in the coming years his achievements, which have been obscured by the legal circus, are given the recognition that they deserve.”
Cursed Gold: A Shipwreck Scandal is now streaming on Disney+ and Hulu.
A collision between subatomic particles in the Large Hadron Collider’s CMS detector.
Particle physics is poised to hit the bright lights of Broadway with the adaptation into a musical of the 2013 documentary Particle Fever, which charts the journey to detect the Higgs boson at the world’s largest particle accelerator. According to Deadline Hollywood, the creators described their musical as being filled with “heart, humor, and hope,” calling it an “exploration of the very nature of exploration itself… Particle Fever proves that even the very best theories are often no match for reality.”
(Spoiler: Physicists discovered the Higgs boson in 2012.)
Johns Hopkins University’s David Kaplan was a film student turned theoretical physicist when he came up with the idea for a documentary on the search for the Higgs boson—at the time, the last remaining piece of the Standard Model of Particle Physics yet to be detected. The Large Hadron Collider at CERN was designed for that purpose, although the physics community hoped (in vain thus far) to also discover exciting new physics.
Kaplan has said he originally planned to make the film himself, but his Los Angeles-based sister talked him out of it. Mark Levinson (a physicist turned filmmaker) ended up directing, with Oscar winner Walter Murch handling the editing, sifting through nearly 500 hours of footage—including amateur video footage shot by CERN physicists themselves.
Enlarge/ Physicist David Kaplan interviews Fabiola Gianotti, head of one of the two teams that found the Higgs Boson at CERN, in a still from Particle Fever.
Anthos Media
The project took seven years to complete and made its debut at various small film festivals before enjoying a limited US release in March 2015. It received critical acclaim, and for fans of popular physics, it was delightful to see working physicists like Monica Dunford—then a post-doc working on the ATLAS experiment, now a professor at Heidelberg University—and Nima Arkani-Hamed of the Institute for Advanced Study front and center, highlighting the give-and-take between experiment and theory as they sought to detect the elusive Higgs boson.
Kaplan and his crew were there in July 2012 when the momentous discovery was announced, capturing the standing ovation for an emotional Peter Higgs. It was physics in action, right down to the theorists’ disappointment that the Higgs mass turned out to be about 125 GeV, consistent with many models predicting new physics.
Still, it’s hardly the first documentary that comes to mind when one thinks “musical.” But ROCO Films CEO Annie Roney, whose company distributed the film, had that vision. “It’s already infused with the elements that make a musical memorable and desirable,” she told The New York Times. “It has universal themes of humankind trying to understand the meaning of our lives and our place in the universe. The story celebrates the best in humanity—collaboration, curiosity.” And while she liked the explanations of the heady physics concepts in the film, “I thought that the bigger concepts can be best communicated by music nonverbally.”
Roney has been working to bring that vision to life ever since, tapping noted Broadway playwright David Henry Hwang (M. Butterfly) to write, with music and lyrics by Bear McCreary (Battlestar Galactica, Rings of Power) and Zoe Sarnak (Galileo: A Rock Musical). Leigh Silverman, who just won a Tony for the Broadway musical Suffs, will direct. There’s no word on when we’ll be seeing Particle Fever: The Musical on Boardway, but the group just held the first private reading: a basement industry-only performance featuring songs about particle physics.
