Tech / Technology

‘The Curse’ review: Emma Stone, Nathan Fielder, and Benny Safdie are here to break your brains

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“The Curse” stars Emma Stone and Nathan Fielder as a couple with an upcoming HGTV show, and Benny Safdie plays their producer.
A man and woman smiling in front of a mirrored house; a boom mic hangs over them.

From the bizarre business schemes of Nathan for You to the mind-melting experiments of The Rehearsal, Nathan Fielder has always had a knack for interrogating the “reality” behind reality television. Now, he teams up with Benny Safide — co-director of nail-biting films like Uncut Gems and Good Time — to continue breaking our brains with the new scripted series, The Curse.

Starring Emma Stone, Fielder, and Safdie, and produced by A24 and Showtime, The Curse defies easy categorization. It’s the perfect storm of wince-worthy comedy, HGTV spoof, and surreal (and possibly supernatural?) drama, with plenty of commentary on everything from race to social media thrown in for good measure. As tough as it can be to watch at times — I dare you to go five minutes without cringing — there’s no doubt that The Curse is one of the funniest, strangest, and most unsettling shows of the year.

What is The Curse about?

A man and woman are interviewed by a news crew.

Nathan Fielder, Emma Stone, and Tessa Mentus in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime

Stone and Fielder play Whitney and Asher Siegel, a married couple at the center of an upcoming HGTV show awkwardly titled Flipanthropy. (Say it three times fast.) Their goal is to build eco-friendly homes in the city of Española, New Mexico, and “revitalize” the community by bringing in upscale coffee chains and jeans stores. It’s textbook gentrification, but Whitney and Asher want to distance themselves from that label. In Whitney’s perfect world, these new businesses will only employ locals, everyone will buy her passive homes, and she and Asher can subsidize any higher rent Española’s current residents may face. “Everybody’s a winner,” Asher tells a local reporter (Tessa Mentus) when she brings up the dreaded “G word.”

Of course, Asher’s blithe statement couldn’t be farther from the truth. The new businesses are more a front for Flipanthropy than they are new staples in Española, and Whitney’s plan to subsidize rent is just a Band-Aid lazily slapped on America’s much bigger issues. Then there are the passive homes themselves, with their garish mirrored facades that Whitney proudly says, “reflect the community.” If anything, the constant reflection is more of a visual nuisance for Asher and Whitney’s neighbors. It doesn’t help that the deceptive mirrors lead to the deaths of birds who fly smack dab into the walls. When bird corpses are a common occurrence around your house, maybe it’s time to rethink whether it’s as environmentally friendly as you claim it is.

Capturing Whitney and Asher’s so-called service work on camera is their producer Dougie Schechter (Safdie). He’ll try anything to make the show as entertaining as possible, no matter the ethics. Take the very first scene, which sees him pouring water on a woman’s face to create the illusion of a tearful response. It’s just one of many exploitative tricks he’ll use on his subjects in order to shape a new reality for the camera. Whitney and Asher are initially put off by these methods, unable to see that they, too, are exploiting the residents of Española.

One of Dougie’s filming plans leads us to The Curse‘s titular malediction. When he sees a young girl named Nala (Dahabo Ahmed) selling sodas in a parking lot, Dougie tells Asher to give her some money, thinking it’ll make good B-roll for the show. Asher hands her the only cash he has on him — a $100 bill — and immediately tries to take it back once they’ve stopped filming. Nala, understandably upset by this turn of events, proceeds to fix her gaze on Asher and deliver three fateful words: “I curse you.”

From there on out, things are… off with Asher, Whitney, and the production. There’s conflict with potential home buyers, complications with Asher and Whitney’s plans to conceive, and even discord in their marriage. Are all these bumps in the road Nala and the curse’s doing? Or were these problems always there, and did Asher and Whitney only start to notice them with the threat of a curse hanging over their heads? (Notably, the two also argue about whether it’s racist to assume Nala is even capable of cursing them.)

The Curse skewers reality TV with surreal stylings and a tinge of horror.

A camera crew discusses how to film something in a parking lot.

D.J. Arvizo, Nathan Fielder, Benny Safdie, and Oscar Avila in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime

The Curse plays with just how real Nala’s curse is over the course of its 10 episodes. Strange events on the set of Flipanthropy are commonplace, yet they could just as easily be attributed to human error as to magic. However, The Curse doesn’t rule out the supernatural outright. Horror-adjacent imagery appears throughout, from the dead birds to long shots tracking characters’ movements that would be right at home in a slasher. Discussions of troubled pregnancy invoke the subgenre of motherhood horror, and composer John Medeski (working with music producer and frequent Safdie collaborator Daniel Lopatin) crafts a soundscape that wrings unease out of even the most mundane moments.

The ambiguity of the curse plays into the show’s larger fascination with how we engineer and interact with false narratives. Reality TV serves as the prime source of artifice here, with Asher and especially Whitney crafting how their marriage and their work comes across onscreen. If enough people believe the fantasy they’re being sold, does that make it true? And if you spend your relationship living for the camera, how can you tell what’s real or not?

To further hammer home these ideas of warped reality, The Curse makes liberal use of mirror shots and distorted mirror imagery. It pairs these with shots of conversations framed in windows or doorways, or filmed from a great distance, lending the show a voyeuristic quality. What are we truly meant to be seeing?

The Curse‘s main characters will make you cringe and laugh (but mostly cringe).

A woman in a white T-shirt and green bucket hat walks in front of a mirrored house.

Emma Stone in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime

The Curse‘s preoccupation with artifice manifests itself most in Whitney. She cares so much about her self-image that she forces Asher to recreate their cutest moments beat-for-beat for her Instagram followers. Her activism is a facade as well — although she may not be self-aware enough to realize that. She fervently claims to support Española’s residents, including the Pueblo people of New Mexico. However, she frequently uses and tokenizes the Native Americans she meets, like her artist friend Cara Durand (Nizhonniya Luxi Austin). In a show full of moments that make you want to crawl out of your skin, Whitney’s interactions with Cara are among the most horrifying.

Asher is no stranger to fantasy either, with The Curse relishing unpicking his self-imposed ideas of masculinity. Between jokes about penis size and being called Whitney’s “jester” instead of her “king,” Asher goes through the humiliation gauntlet with a brave face that is always seconds from slipping. Then there’s Dougie, whose sleazy producer persona masks a deeper sadness and some wildly unhealthy coping mechanisms.

With these three characters and their conflicting senses of self firmly in place, The Curse simmers with an at-times unbearable awkwardness. Will you feel a combination of embarrassment and disgust toward Whitney, Asher, and Dougie’s actions? Yes. Will you occasionally recognize yourself in them? Horrifyingly, also yes. When broader moments of comedy arise — like the aforementioned penis jokes — they come as a welcome, tension-breaking relief. Yet The Curse refuses to let you get comfortable for long. Often, these laugh-out-loud jokes will resurface down the line in an even more squirm-worthy scene, as if The Curse is wielding your own prior comfort against you.

Emma Stone, Nathan Fielder, and Benny Safdie make for an excellent trio in The Curse.

A man and woman sit on a white couch, while another man stands up and shows them something on TV.

Emma Stone, Nathan Fielder, and Benny Safdie in “The Curse.”
Credit: Richard Foreman Jr. / A24 / Paramount+ with Showtime

The Curse wouldn’t work half as well as it does without the total commitment of Stone, Fielder, and Safdie, who make for an unlikely (but well-matched) supergroup. Stone has already proven her comedic chops ten times over with films like Easy A and The Favourite, but The Curse may be her funniest turn yet. Whitney’s eco-influencer jargon is gold in Stone’s hands, but she blends it with a discomfiting sense of artificiality completely in sync with the tone Fielder and Safdie have created. It’s pitch-perfect work, and when paired with the release of Poor Things, it helps mark a banner year for Stone.

In a departure from shows like Nathan for You and The Rehearsal, Fielder is not playing a version of himself but rather an entirely new character. Still, you’ll recognize elements of his prior performances in Asher’s awkward deadpan. He’s a total punching bag for the show, with Flipanthropy focus groups wondering why Whitney would even marry him. That disbelief makes it all the funnier — and uncomfortable, naturally — when Asher inevitably loses his cool. Prepare yourself for some angry, desperate rants from Fielder that will leave you speechless, and some especially inspired physical comedy in later episodes.

As Dougie, Safdie is slippery and scummy, the ideal contrast to Whitney’s earnest(ish) idealism. While shooting Flipanthropy, he reads as a dirtbag Machiavellian schemer looking to get the perfect shot — even at the expense of people like Asher. But in his personal life, he’s a flailing mess. Here, Safdie must shoulder some of The Curse‘s most painful revelations, resulting in tragi-comic scenes like a first date gone off the rails.

These three off-the-wall performances combine with The Curse‘s ambitious genre-bending to make for one of 2023’s most original TV series yet. It’s densely layered with bizarro comedy, bold set pieces, and pertinent social criticism. Yes, Asher, Whitney, and Dougie’s convictions may be hollow, but The Curse is filled to the brim with things to say — and some absolutely wild ways to say them.

The Curse premieres on Paramount+ with Showtime on Nov. 10.

Tech / Technology

Could humans have babies in space safely? Here’s what we know.

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Some scientists seek to solve the potential problems caused by microgravity and cosmic radiation for human reproduction in space.
Baby floating in spaceship

The recently married couple tip their bellhop, drop their suitcases, and breathe out a sigh as they fall back on the bed. They wanted a gramworthy honeymoon, and for a few million dollars, they’ve got it.

Once their initial travel sickness wears off, they’re feeling as frisky as any other newlyweds. Perhaps the only thing that could distract them from the marital act now is that incredible cabin view of infinite space, and the faint reminders of civilization glinting at them from Earth, some 250 miles below.

If space hotels come to fruition in the coming years or more realistically decades, cosmic vacations won’t be a sci-fi fantasy. Even without hotels, longer orbital space flights all but guarantee tourists opportunities to join the 60-miles-high club. It’s the “souvenirs” these couples could bring home that have a few researchers worried — enough to publish a public report on the risks associated with human conception in the future space tourism sector.

Bottomline: No one knows whether babies could be conceived in space without detrimental consequences to their health — there simply isn’t enough research. While professional astronauts likely have a good grasp on why they shouldn’t set out to make a starchild, less-informed travelers might not demonstrate the same level of restraint.

“It’s going to be a very strong magnet for these couples. They’ll want to be maybe in the history books, like, ‘Hey, we created the very first naturally conceived baby in space,'” said Egbert Edelbroek, CEO of the space research company SpaceBorn United and one of the co-authors, “but they shouldn’t want to.”

The paper published in April captured some buzz — even some snickers from late-night host Jimmy Kimmel, who called them “nine very lonely authors” — for broaching a little-discussed issue. Though the intent was to get the burgeoning space tourism sector to think about how to discourage space sex that leads to pregnancy (Not sex altogether, one of the researchers assured Mashable. They’re not prudes.), the topic brings into focus an existential problem: How could humans ever leave Earth in the event of a global crisis if people don’t know how to procreate in space or any other world?

SpaceX founder Elon Musk has said his ultimate vision is to use a fleet of Starships to send 1 million humans to Mars by 2050. But if those pioneers die off because they can’t have children, or healthy children, what’s the point?


“They’ll want to be maybe in the history books, like, ‘Hey, we created the very first naturally conceived baby in space,’ but they shouldn’t want to.”

a family colonizing Mars

Will the first long-duration space journeys involving astronauts and their descendants have to be planned as one-way trips?
Credit: Steven Hobbs / Stocktrek Images via Getty Images illustration

Gravity and radiation levels pose challenges

In spaceflight, humans are exposed to different levels of gravity — sometimes less, sometimes more. Think about those roller coaster warnings at amusement parks prohibiting pregnant people from riding. They’re in part because extra G-forces can lead to premature separation of the placenta from the wall of the uterus.

On the other hand, little or no gravity like on the International Space Station presents its own challenges: For the past 60 years, NASA has been working on how to keep adults healthy in weightlessness. As it is, astronauts are expected to exercise at least two hours a day on a treadmill or stationary bicycle to combat bone and muscle deterioration.

Research also suggests that cosmic radiation, like other sources of radiation, could damage DNA, reproductive organs, and sperm and egg cells. In women, depending on the amount of exposure, that might mean sterility, ovarian failure, and cancer, which may lead to early menopause or death. In pregnancy, the risks could include miscarriage and premature births. For men, too much radiation could also lead to reduced sperm count or sterility, though some scientific findings indicate sperm could be safely stored in space for a time.

When it comes to embryos and fetuses, the news is just as grim. Radiation can cause growth delays, cognitive impairments, deformities, and higher risks of newborn death.

“We’ve got some ideas that there will be quite a lot of negative issues in the development of bones and musculature,” said David Cullen, professor of astrobiology and space biotechnology at Cranfield University in the United Kingdom. “And all these other kinds of things inherently are driven by a combination of genetics, biochemistry, and responses to the local environment. So if you change that local environment, you expect all of those development states to be affected in some way — and, most likely, in a negative way.”

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Startup seeks to make reproduction in space work

The Dutch entrepreneur Edelbroek wants to make human reproduction possible in space by first taking sex out of the equation. His company, SpaceBorn United, may be the first in the world planning space-based research on in vitro fertilization, though it’s hard to know what the often-secretive Chinese government may be doing.

Through a series of missions, the startup wants to conduct experiments observing the effects of partial gravity on embryo development. The company, which has about 30 mostly part-time employees now, would start with animal studies before advancing to human cells. In August, SpaceBorn United partnered with Independence-X, a Malaysian space exploration company, to conduct a suborbital drop test of its re-entry capsule containing biological samples.

So far SpaceBorn United has developed a miniature IVF and embryo incubator using microfluidics technology. The prototype hardware, which looks like a CD, has multiple tiny channels that hold sperm and eggs. The disc spins to simulate different loads of gravity while the device automatically impregnates embryos. Now the venture is working with a German company, Atmos Space Cargo, to launch mouse embryos on an orbital test flight by the end of next year, Edelbroek said.

A SpaceBorn United capsule orbiting Earth

SpaceBorn United has developed a miniaturized IVF and embryo incubator using microfluidic technology.
Credit: SpaceBorn United illustration

The logistics of doing these experiments are complicated. Because the team needs to work with freshly harvested female cells, the company must have last-minute access to the rocket payload, making ride-sharing programs unfeasible. The cells only remain fertile for four to six hours.

But private industry will have to lead the way on space reproduction research, he said, because NASA and other government space agencies have onerous political challenges to navigate before engaging in such studies. In the United States, for instance, sex is already a taboo subject. Add on top of that the nation’s complex culture war over reproductive rights, and the hurdles are monumental. Experts say the U.S. space agency isn’t likely to get Congress on board with funding such endeavors.

They “can only work with baby steps — with fruit flies and frog eggs and some rodents — and never, never even speak about doing it with human reproductive cells,” he said.

Astronauts conducting frog experiment in space

While the experiment was largely deemed a reproduction success story in the mass media, tadpoles raised in microgravity were documented as having enlarged heads and eyes in scientific journals.
Credit: Tom Trower / NASA Ames Research Center

Most of the company’s investors are in the fertility sector because of the potential to improve assisted reproductive technology on Earth. They’ve also received interest in collaborating from neophyte spacefaring nations, such as the United Arab Emirates, that may want the prestige of being involved in a first like human embryo conception in space.

In the same vein as the space burial market, SpaceBorn United anticipates there will be affluent customers interested in paying for space-fertilized babies long before humans are even living somewhere beyond Earth.

“We’ve had other suggestions, like space cats and dogs,” Edelbroek said.

SpaceBorn United developing prototype IVF hardware

The prototype hardware, which looks like a CD, has multiple mini channels that hold semen and eggs.
Credit: SpaceBorn United

Ethics of human reproduction research in space

Though the ultimate goal may be to one day make natural conception and childbirth possible in space, doing so won’t be possible anytime soon, said Alexandra Proshchina, a neuroscientist at the Petrovsky National Research Center for Surgery in Moscow.

She and her colleagues have worked on animal reproduction studies in microgravity through several missions organized by the Institute of Biomedical Problems. In the 1990s, they participated in a Russian-Canadian experiment on the BION-10 biosatellite involving clawed frog tadpoles and an 11-day Russian-American experiment on space shuttle Atlantis centered on the development of rat embryos.


“(They) can only work with baby steps — with fruit flies and frog eggs and some rodents — and never, never even speak about doing it with human reproductive cells.”

Then in 2014, along with Rustam Berdiev, a physiologist at the Lomonosov Moscow State University, they performed the world’s first attempt to mate ornate day geckos in spaceflight on the Russian FOTON-M4 satellite, though the lizards died due to difficulties with the mission. The team has since started preparing an orbital experiment involving veiled chameleon embryos, but the project has stalled, in part because of funding challenges, researchers told Mashable.

human embryo gestating

Likely private industry will have to lead the way on space reproduction research because NASA and other government space agencies have political challenges to navigate before engaging in such studies.
Credit: DEA / L. RICCIARINI / De Agostini via Getty Images

During pregnancy, women adapt to changes in body mass, hormone levels, metabolism, and a host of other biological processes that put significant strain on their bodies. Even astronauts at peak fitness get spacesick, said Proshchina, who, along with morphologist Victoria Gulimova, responded to Mashable in writing to overcome translation issues.

“Subjecting pregnant women to such physical stress is not very humane,” Proshchina said. “Moreover, it would be unacceptable to put the baby at risk.”

Even if a baby could be delivered safely in space, scientists know even less about the impacts of the space environment on children and teenagers, said Alex Layendecker, a former Air Force space operations officer with a doctorate in human sexuality. He has recently founded the Astrosexological Research Institute, a nonprofit organization aimed at facilitating studies of sex and reproduction in space.

Cell division is more rapid in children than adults. When ionizing radiation penetrates a human body, it destroys bonds and can lead to cancer. If a child were to develop cancer, it might spread faster in outer space conditions than it would for an adult, he said.

Child existing in space

Even if a baby could be delivered in space, scientists know even less about the impacts of the space environment on children and teenagers.
Credit: A. Martin UW Photography via Getty Images

In terms of ethics, taking a minor away from the planet, even just for a space cruise, would cross a line, given the lack of data: Children can’t provide informed consent, yet their lives likely would be at a much higher risk of negative impacts, he said.

Whether a human conceived and born in space would be able to adapt to other planets is a looming unknown. It’s not even clear whether such a child could survive on Earth after coming home, said Gulimova, who also works at the Petrovsky National Research Center for Surgery.

Or, would the first long-duration space journeys crewed with astronauts and their descendants have to be planned as one-way trips?

“There are many questions, and many more ground-based and orbital experiments that will have to be carried out, before happy parents on board the spacecraft hear the first cry of the first citizen of the Universe,” she said.