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Some ‘Star Wars’ stories have already become reality

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Star Wars Stories
Tatooine’s moisture farming equipment stands in the desert of Tunisia, where parts of the ‘Star Wars’ movie series were filmed.
Véronique Debord-Lazaro via Flickr, CC BY-SA

Daniel B. Oerther, Missouri University of Science and Technology and William Schonberg, Missouri University of Science and Technology

Just 48 short years ago, movie director George Lucas used the phrase “A long time ago in a galaxy far, far away” as the opening to the first “Star Wars” movie, later labeled “Episode IV: A New Hope.” But at least four important aspects of the “Star Wars” saga are much closer – both in time and space – than Lucas was letting on.

One, the ability to add blue food coloring to milk, was possible even at the time the first film came out. But in 2024, “Star Wars”-themed blue milk became periodically available in grocery stores.

And we, an environmental health engineer and a civil engineer, know there are at least three more elements of these ancient, distant Lucas stories that might seem like science fiction but are, in fact, science reality.

Moisture farming

In that first movie, “Episode IV,” Luke Skywalker’s Uncle Owen was a farmer on the planet of Tatooine. He farmed water from air in the middle of a desert.

It might sound impossible, but it’s exactly what experts discussed at the second International Atmospheric Water Harvesting Summit hosted by Arizona State University in March 2025.

Each day, a human needs to consume about the equivalent of 0.8 gallons of water (3 liters). With more than 8 billion people living on the planet, that means engineers need to produce nearly 2.6 trillion gallons (10 trillion liters) of clean drinking water every year. Taken globally, rainfall would be enough, but it’s distributed very unevenly – including landing in the oceans, where it immediately becomes too salty to drink safely.

Deserts, which cover about one-fifth of the Earth’s land area, are home to about 1 billion people.

Researchers at places such as Berkeley have developed solar-powered systems that can produce clean drinking water from thin air. In general, they use a material that traps water molecules from the air within its structure and then use sunlight to condense that water out of the material and into drinkable liquid. But there is still a ways to go before they are ready for commercial distribution and available to help large numbers of people.

Researchers can harvest water from air in the desert, in a process powered only by the Sun.

Space debris

When the second Death Star was destroyed in “Return of the Jedi,” it made a huge mess, as you would expect when blowing to smithereens an object at least 87 miles across (140 kilometers). But the movie’s mythology helpfully explains a hyperspace wormhole briefly opened, scattering much of the falling debris across the galaxy.

As best as anyone can tell, a hyperspace wormhole has never appeared near Earth. And even if such a thing existed or happened, humans might not have the technology to chuck all our trash in there anyway. So we’re left with a whole lot of stuff all around us, including in space.

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According to the website Orbiting Now, in late April 2025 there were just over 12,000 active satellites orbiting the planet. All in all, the United States and other space-faring nations are trying to keep track of nearly 50,000 objects orbiting Earth. And there are millions of fragments of space debris too small to be observed or tracked.

Just as on Earth’s roads, space vehicles crash into each other if traffic gets too congested. But unlike the debris that falls to the road after an Earth crash, all the bits and pieces that break off in a space crash fly away at speeds of several thousand miles per hour (10,000 to 30,000 kph) and can then hit other satellites or spacecraft that cross their paths.

This accumulation of space debris is creating an increasing problem. With more satellites and spacecraft heading to orbit, and more stuff up there moving around that might hit them, space travel is becoming more like flying the Millennium Falcon through an asteroid field every day.

Engineers at NASA, the European Space Agency and other space programs are exploring a variety of technologies – including a net, a harpoon and a laser – to remove the more dangerous pieces of space junk and clean up the space environment.

Dodging obstacles in space is no picnic.

The Force itself

To most Earth audiences, the Force was a mysterious energy field created by life that binds the galaxy together. That is until 1999, when “Episode I: The Phantom Menace” revealed that the Force came from midi-chlorians, a microscopic, sentient life form that lives within every living cell.

To biologists, midi-chlorians sound suspiciously similar to mitochondria, the powerhouse of our cells.
The current working hypothesis is that mitochondria emerged from bacteria that lived within cells of other living things. And mitochondria can communicate with other life forms, including bacteria.

There are many different kinds of mitochondria, and medical professionals are learning how to transplant mitochondria from one cell to another just like they transplant organs from one person’s body to another. Maybe one day a transplant procedure could help people find the light side of the Force and turn away from the dark side.

May the Fourth – and the Force – be with you.The Conversation

Daniel B. Oerther, Professor of Environmental Health Engineering, Missouri University of Science and Technology and William Schonberg, Professor of Civil Engineering, Missouri University of Science and Technology

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Grief Fest Launches as a Holiday Film Festival for Stories of Love, Loss, and Healing

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people gathering in a street. Grief Fest
Photo by Luis Quintero on Pexels.com

New hybrid event aims to give grieving audiences meaningful holiday viewing, with films from more than 25 countries and a mission centered on love, loss, and emotional truth.

A new film festival debuting in late 2026 is taking a different approach to holiday entertainment. Grief Fest™: The Grief Film Festival, created by My Grief Angels Inc., is being introduced as what organizers believe is the world’s first film festival dedicated entirely to grief, remembrance, resilience, and healing.

The hybrid festival will run in two segments: November 25–29, 2026, during Thanksgiving week, and December 24, 2026, through January 3, 2027, during Christmas and New Year’s. Top Honors films will be announced on December 31, 2026.

My Grief Angels Inc Image
GriefFest.com

Organizers say the timing is intentional. Research cited in the announcement shows that grief and loneliness are major holiday stressors for many Americans, making the season especially difficult for people coping with loss. In that context, Grief Fest™ is positioning itself as an alternative to the flood of traditional feel-good holiday programming.

The festival is open to short films, features, documentaries, experimental work, AI-generated projects, and VR experiences. It is described as inclusive, non-religious, and LGBTQ+ friendly, with submissions already received from more than 25 countries. All films will be presented in English, either spoken or subtitled.

Grief Fest™ will be available both in person and virtually through Film Festival Plus, making it accessible to audiences worldwide. The launch of GriefFest.com also includes Lumen, a multilingual AI guide designed to help filmmakers and attendees navigate the festival in their preferred language.

Rather than focusing on industry prestige, organizers say the festival is centered on community and emotionally honest storytelling. For audiences who feel unseen during the holidays, Grief Fest™ is aiming to offer something rare on the seasonal screen: recognition.

Source: PR Newswire

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Bible Anime Series in Development at Texas Studio With Global Faith-Based Ambitions

A Texas animation studio is developing a TV-MA Bible anime series, blending faith-based storytelling with cinematic anime for global streaming audiences.

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Last Updated on April 10, 2026 by Daily News Staff

A Fort Worth animation company is betting that faith-based storytelling and anime can meet in a way that feels cinematic, serious, and built for modern streaming audiences.

History In Motion Studios has announced Shinjitsu Ugoki (Truth Movement), a TV-MA Bible anime series now in development. The Texas-based studio says the project is designed for mature audiences and will present biblical narratives through serialized storytelling, theological research, and character-driven drama.

vibrant night life in akihabara tokyo. Bible anime series
Photo by Vinny Anugraha on Pexels.com

The announcement places the studio at the intersection of two growing markets: faith-based entertainmentand the global anime industry. Rather than aiming for a traditional family format, the series is being positioned as a more intense, long-form production shaped by conflict, consequence, and spiritual tension.

History In Motion Studios is also using Unreal Engine as part of its production pipeline to support cinematic world-building and high-fidelity environments. Script development, early character design, and broader production planning are underway through 2026.

Founder Edith Alvarado said the studio sees a major opportunity in bringing biblical storytelling into anime.

History In Motion Studios Shinjitsu Ugoki Photo
Key visual from Shinjitsu Ugoki, an original serialized anime by History In Motion Studios, presenting a raw, character-driven narrative shaped by conflict, consequence, and spiritual tension; reflecting the studio’s commitment to mature storytelling, thematic depth, and TV-MA narrative development.

“As audiences continue to seek meaningful, story-driven content, we believe there is significant opportunity within the anime format to engage biblical narratives with depth and seriousness,” Alvarado said. “The question isn’t whether biblical stories belong in anime, it’s why it took this long. We’re here to change that; Anime will know the story of Jesus.”

The women-led Christian studio operates out of Fort Worth, adding to the growing list of independent creative companies building outside traditional entertainment hubs. As of Q1 2026, the series remains in active development, with more partnership and expansion announcements expected later this year.

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Source: History In Motion Studios

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Come Talk to ME Selected for Minneapolis–Saint Paul International Film Festival

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MINNEAPOLIS — The powerful new documentary Come Talk to ME is set to make its big-screen debut at the Minneapolis–Saint Paul International Film Festival (MSPIFF), marking a significant milestone for the independently produced film centered on Parkinson’s disease, communication, and human connection.

A scene from the documentary Come Talk to ME showing Parkinson’s advocate Jackie Hunt Christensen and Alexa Jarombek engaged in conversation, highlighting themes of communication, connection, and living with Parkinson’s disease.
Alexa Jarombek and Jackie Hunt Christensen in a scene from the 2026 documentary, “Come Talk to ME”, a film about Parkinson’s, communication, and relationships.

The 2026 festival, running April 8–19, will feature more than 200 films from around the world. Come Talk to ME is scheduled for two screenings, including a meaningful premiere on April 11—World Parkinson’s Day—followed by a second showing on April 14. Both screenings will take place at the Main Cinema at Saint Anthony Main in Minneapolis.


A Story About Communication and Connection

Directed by Deacon Warner and produced by Jackie Hunt Christensen, the documentary follows Christensen, her husband Paul, and a close-knit group of friends living with Parkinson’s disease.

The film explores how communication evolves as the disease progresses, highlighting the creative and deeply human ways individuals maintain relationships—with family, friends, and healthcare providers—even as traditional speech becomes more challenging.

Christensen, diagnosed with Parkinson’s at just 34, emphasizes that the film is ultimately about preserving connection:

“Having Parkinson’s does not mean that you stop loving, caring, and feeling… communication is everything.”


Innovative Use of AI Voice Technology

One of the film’s most groundbreaking elements is its use of AI-generated narration powered by ElevenLabs.

The filmmakers recreated Christensen’s voice using archival audio recorded shortly after her diagnosis in 2000. This AI-generated voice—nicknamed “JHC2K”—serves as the primary narrator, allowing Christensen to “speak” throughout the film in a way that would otherwise be difficult due to the progression of Parkinson’s.

Director Warner called the experience both innovative and deeply personal:

“To be part of [MSPIFF’s] rich history… while also utilizing cutting-edge AI technology to set us apart from other films is incredible.”


Festival Screenings and Accessibility

Come Talk to ME will screen twice during the festival:

  • Saturday, April 11 (World Parkinson’s Day) – Early afternoon (time TBD)
  • Tuesday, April 14 – Late afternoon (time TBD)

Ticket pricing:

  • MSP Film Society Members: $11
  • General Admission: $17 (+ online fee)
  • Students: $10 (with ID)

In a move aligned with the film’s mission, the April 11 screening will offer free admission (donation-based) for individuals affected by Parkinson’s disease.

The venue also provides limited wheelchair seating on a first-come, first-served basis.


A Film Seeking Broader Impact

Beyond its festival debut, Come Talk to ME is actively seeking sponsors to expand its reach and impact. The filmmakers hope to bring the documentary to wider audiences, particularly within communities affected by Parkinson’s disease.

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At its core, the film delivers a powerful message: even as physical abilities change, the need for connection—and the human drive to communicate—remains constant.


Why This Film Matters

As awareness of Parkinson’s disease continues to grow, Come Talk to ME stands out as both an emotional narrative and a technological milestone. By combining personal storytelling with AI innovation, the film offers a new way to understand life with Parkinson’s—and the enduring importance of being heard.


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