title: Tick, Tick... Boom! (film)

text: Discouraged, Jonathan begs Michael for a corporate job, but Michael, having changed his mind after seeing the workshop, urges Jonathan to continue in musical theater, revealing he is HIV-positive. Realizing that his career obsession has cost him Susan and harmed his friendship with Michael, Jonathan wanders through New York before finding himself at the Delacorte Theater. He finds a piano and reflects on his friendship with Michael and the sacrifices he must make for his career. He and Michael reconcile. On the morning of Jonathan's 30th birthday, Sondheim calls, congratulating him and wanting to talk more about "Superbia", lifting his spirits. Holding his birthday party at the Moondance Diner, he is relieved to hear Freddy is to be discharged from the hospital. Susan gifts him blank sheet music paper to help in his career and they part on amicable terms. She narrates that his next project was "Tick, Tick... Boom!", before he returned to working on a previous project, which became "Rent". She reveals he died of a sudden aortic aneurysm the night before "Rent" began previews Off-Broadway. He never experienced the success he desired, but his work lives on. In 1992, Jonathan performs the final song from "Tick, Tick... Boom!" as he optimistically looks to the future.


title: Tick, Tick... Boom! (film)

text: New York Theatre Workshop artistic director James C. Nicola and Roger Bart make credited appearances as "featured diners" at the Moondance Diner in the background of the opening scene. Both knew and worked with the real Larson: Nicola was in charge of New York Theatre Workshop at the time of the film's events and helped program "Rent", while Bart was a close friend and frequent collaborator who contributed backing vocals to the original rock-monologue version of "Tick, Tick... Boom!". The character "Roger", played by Joshua Henry, is loosely inspired by Bart.


title: Tick, Tick... Boom! (film)

text: The song "Sunday" features cameos from André De Shields, Bebe Neuwirth, Beth Malone, Brian Stokes Mitchell, Chita Rivera, Chuck Cooper, Howard McGillin, Joel Grey, Renée Elise Goldsberry, Phillipa Soo, Phylicia Rashad, and Bernadette Peters. It also prominently features Adam Pascal, Daphne Rubin-Vega, and Wilson Jermaine Heredia as homeless bums: all three were original cast members of the Broadway production of "Rent", which was also written by Larson. Rubin-Vega's costume includes a pair of shoes she wore onstage in the original production of "Rent", and a black hoodie which once belonged to Larson. Director Miranda also cameos as a cook at the Moondance Diner during the scene.


title: Tick, Tick... Boom! (film)

text: The musical theater workshop scene includes cameos by various established theater composers and lyricists as "aspiring composers and lyricists", including Alex Lacamoire, Amanda Green, Chad Beguelin, Jaime Lozano, Dave Malloy, Eisa Davis, Georgia Stitt, Grace McLean, Helen Park, Jason Robert Brown, Jeanine Tesori, Joe Iconis, Marc Shaiman, Matthew Sklar, Nick Blaemire, Quiara Alegría Hudes, Shaina Taub, Stephen Schwartz, Stephen Trask, screenwriter Steven Levenson, and Tom Kitt. Blaemire previously portrayed Jonathan Larson in the 2016 Off-Broadway revival of "Tick, Tick... Boom!". Green, Beguelin, Malloy, Iconis, Sklar, and Taub are all previous recipients of the Jonathan Larson Grant for aspiring composers.


title: Tick, Tick... Boom! (film)

text: Several members of Miranda's hip-hop improv group Freestyle Love Supreme have roles throughout the film: besides Aneesa Folds and Utkarsh Ambudkar, Shockwave and Andrew "JellyDonut" Bancroft appear in "No More", and Christopher Jackson appears as a patron at the New York Theatre Workshop performance of "Tick, Tick... Boom!". Miranda's father Luis A. Miranda Jr. cameos as a building concierge in "No More." Additionally, Janet Dacal, Kenita Miller, Eddy Lee and Jared Loftin appear as performers in the "Superbia" workshop. Although Whitford portrays Sondheim onscreen, Sondheim voices himself when he leaves a message on Jonathan's voicemail, as he does in the original musical. Miranda's wife Vanessa Nadal voices "Deborah", Susan's friend who calls Jonathan towards the beginning of the film about equipment for Susan's dance show. Anna Louizos, who designed the set for the 2001 Off-Broadway run of "Tick, Tick... Boom!", and her wife Robyn Goodman, who co-produced the run and was friends with the real Larson, play Michelle and Gay respectively, Jonathan's neighbors who attend his party. Among the audience members in the final scene are Scott Schwartz, the director of the 2001 Off-Broadway production of "Tick, Tick... Boom!", and Julie Larson, Larson's sister.


title: Tick, Tick... Boom! (film)

text: Anthony Rapp, Idina Menzel, and Fredi Walker-Browne appear via archive footage of the original production of "Rent". Archival footage of the Japanese and Cuban productions are also used, the latter sourced from the 2019 documentary "Revolution Rent".


title: Tick, Tick... Boom! (film)

text: A prop playbill for the workshop mentions Jace Alexander, Michael Lindsay, and Marin Mazzie as members of the cast. All three knew and worked with the real Larson, Alexander through the Naked Angels, Lindsay from their days at Adelphi University and at several "Superbia" workshops, and Mazzie as a "Superbia" cast member and collaborator on her and Larson's cabaret act "J. Glitz." It is not clear, however, if any of the performers in the onscreen workshop are actually meant to be these actors.


title: Tick, Tick... Boom! (film)

text: "Tick, Tick... Boom!" began as a rock monologue titled "30/90" and later "Boho Days" that Larson wrote between 1989 and 1990 and first performed at Second Stage Theater from September 6–9, 1990. "Boho Days" was a semi-autobiographical work following a musical theater composer named "Jon" who tries to figure out his next project after a failed workshop of his musical "Superbia", based on Larson's own experience in trying to get "Superbia" staged. Larson later rewrote it into "Tick, Tick... Boom!" which he performed at the Village Gate in November 1991, and later at New York Theatre Workshop's "O Solo Mio" Festivals in 1992 and 1993 before turning his attention to "Rent". The piece changed significantly in this period, as it was written in response to events in Larson's life: the character of Susan notably changed with each iteration based on Larson's relationship with his real girlfriend Janet Charleston. Larson's friend and producer Victoria Leacock Hoffman recalled the work became increasingly pessimistic with Larson's increasing frustrations with his career.


title: Tick, Tick... Boom! (film)

text: Following Larson's death, Leacock Hoffman and Robyn Goodman recruited playwright David Auburn to transform the solo piece into a three person musical. Auburn reworked both the story and structure of "Tick, Tick... Boom!" while still attempting to preserve Larson's writing. Besides the addition of dialogue, one of Auburn's most significant contributions was the "Superbia" workshop plot (in all of Larson's versions of the script, the "Superbia" workshop took place before the events of the show). This change, besides giving a sense of plot progression, also provided the opportunity to include the previously-unreleased song "Come to Your Senses", which was originally written for "Superbia". J. Collis, the author of the oral history "Boho Days: The Wider Works of Jonathan Larson", describes Auburn's changes as giving the musical a better dramaturgical structure, changing the show from a story about the artist's struggle––something which Larson's mentor Sondheim criticized the original rock monologue for being, feeling such a story was overdone––to one about making adult choices and dealing with the consequences. This production ran Off-Broadway at the Jane Street Theatre in 2001 and is arguably the version most familiar to audiences.


title: Tick, Tick... Boom! (film)

text: Producer Julie Oh was first inspired to bring "Tick, Tick... Boom!" to the screen after seeing Lin-Manuel Miranda star in the 2014 production at New York City Center as part of Encores!. After viewing a "New York Times" article by Miranda about how "Tick, Tick... Boom!" inspired him when he saw the Off-Broadway production in 2001, she felt it was important for the story to become a film. Oh felt the only director who would be able to do so was Miranda, who immediately expressed interest after she reached out to him. Oh and Miranda began formal discussions about the film while he was in London filming "Mary Poppins Returns".


title: Tick, Tick... Boom! (film)

text: The film was announced in July 2018 with the news that Miranda would make his directorial debut with the musical adaptation, with Imagine Entertainment and Julie Oh producing and "Dear Evan Hansen"'s Steven Levenson penning the script. Miranda, Levenson, and Oh treated the process like creating a musical, including holding a secret workshop at the United Palace in Washington Heights on July 16, 2018. It was during this stage that Andrew Garfield joined the process, having finished his run in the Broadway revival of "Angels in America" the day before. The team set a production start date of March 2020, in order to give Miranda and Levenson time to conduct research, and for Garfield to take formal vocal and piano training.


title: Tick, Tick... Boom! (film)

text: By June 2019, Netflix had acquired the film, with Andrew Garfield the top choice to star. In January 2020, it was also announced that choreographer Ryan Heffington would be working on the film.


title: Tick, Tick... Boom! (film)

text: In order to adapt the musical for film, Miranda and Levenson conducted a significant amount of their own research. This included interviews with friends, family and colleagues such as Charleston, Roger Bart, Matt O'Grady (whom Michael is based on), and Ira Weitzman, the latter of whom became a character in the film as a direct result of these conversations. Larson's sister Julie, who was a producer on the film, discouraged Miranda and Levenson from sanitizing Larson's image, telling them to "get all the warts. Get all of that good stuff." Bart recalled that Larson had a tendency to lash out when his work was not being received the way he wanted, but he was generous to his collaborators once in the rehearsal room. This insight heavily influenced Larson's portrayal in the finished film.


title: Tick, Tick... Boom! (film)

text: Miranda and Levenson also accessed the Jonathan Larson Papers at the Library of Congress, in which the original scripts and demo tapes for "Superbia", "30/90", "Boho Days", and "Tick, Tick... Boom!" exist. Scenes from these scripts were used to create new scenes for the film: for example, a section where Larson recalled receiving feedback from a man named "Robert Rimer" at a musical theater workshop was adapted for the film, with "Rimer" replaced by the man's real name, Stephen Sondheim. In one early draft, Larson wrote that Susan's green dress was a commission made by a fashion designer/fellow waiter at the Moondance Diner named Carolyn: this led to the creation of the character Carolyn, played by Michaela Jaé Rodriguez, for the film.


title: Tick, Tick... Boom! (film)

text: The screenplay features a framing device loosely inspired by the Auburn script of Larson performing the monologue with two other performers, in this case Roger and Karessa, the former of whom is inspired by Roger Bart's role as background vocalist for performances of "Boho Days" and "Tick, Tick... Boom!". As a result of this device, certain songs that are sung in the Auburn script by characters in the narrative are instead sung by Jonathan, Roger, and Karessa, interwoven with the drama onscreen. According to Levenson, Larson is telling the story to an audience, with most of the film taking place within his mind. "Come to Your Senses" is an example of a song that changed because of this device. In the 2001 production it was performed by the actress who plays both Susan and Karessa, while in the film it was turned into a duet between Karessa and Susan for dramatic purposes.


title: Tick, Tick... Boom! (film)

text: Two songs present in the 2001 Auburn script were cut during the writing process: "Sugar", which Jonathan and Karessa sing while bonding over their love of Twinkies, and "See Her Smile", a song sung by Jonathan about his relationship with Susan. However, Jonathan sings a riff of "Sugar" to Ira Weitzman at one point in the finished film. A third song, "Green Green Dress", was filmed but cut during post-production. The finished sequence was uploaded to Netflix's Youtube channel.


title: Tick, Tick... Boom! (film)

text: Miranda and Levenson also added three songs that were in previous versions of "Tick, Tick... Boom!" but not included in the Auburn script: "Boho Days", "Play Game", and "Swimming". In the latter's case, the song had been cut by Larson himself after the show's 1990 performances and had not been heard by the public in thirty years. "Boho Days" was the original opening number of "Boho Days" and was previously only available as a bonus track on the 2001 Off-Broadway cast recording, extracted from a demo tape recorded by Larson himself. Like Auburn had in 2001 by including "Come to Your Senses", Miranda and Levenson used the film as an opportunity to release more of the "Superbia" soundtrack, specifically a song titled "Sextet" as the lyrics "Everyone will be there" thematically fit with Larson's anxieties about the workshop.


title: Tick, Tick... Boom! (film)

text: Garfield was confirmed to star in October with Alexandra Shipp, Vanessa Hudgens, and Robin de Jesús joining in November 2019. Joshua Henry, Judith Light, and Bradley Whitford would join in January 2020.


title: Tick, Tick... Boom! (film)

text: Jordan Fisher, who had starred in "", was meant to appear in the film as a character named "Simon" but due to the film's delays his wedding was scheduled on the same day his scene was to be shot, so he was replaced by Noah Robbins. However, the scene was ultimately cut from the film. Fisher's name had been listed on the film's casting announcements, and press reports continued to list both him and Robbins as members of the cast even after the film's release.


title: Tick, Tick... Boom! (film)

text: In preparation for his role as Sondheim, Whitford studied interviews with him from around the time the film takes place. He noted his performance is somewhat dialed back, as he described Sondheim as almost an "orangutan" in his physicality in interviews. To simplify his performance, he would think "Crooked smile on an unmade bed" before cameras started rolling, which he felt was the key element of physicality he needed.


title: Tick, Tick... Boom! (film)

text: Principal photography began in March 2020, However, the production only filmed for eight days before the COVID-19 pandemic forced a shutdown, with the last day of filming taking place on March 12, 2020 outside of Larson's real apartment at 508 Greenwich Street. During the hiatus the cast, crew, and producers held weekly meetings on Zoom, which were colloquially referred to as "Tick, Tick... Zooms!". Production resumed in September 2020 under strict COVID protocols, and wrapped in November 2020.


title: Tick, Tick... Boom! (film)

text: The singing in the finished film is a mix of actors lip-syncing to pre-recorded tracks, re-recording their vocals in post-production, and singing live on set, with the choice to use one or the others dependent on the environment and tone of the scene. In the case of "Why", Garfield felt the emotions in the pre-recorded playback track were insufficient, and so sang the song live during filming at the Delacorte Theater in March. This flexibility had to be limited after production resumed under COVID protocols, with the team limiting live singing to only certain moments. Miranda recalled one incident where Garfield spontaneously sang live on an impulse during one of the first days of shooting under the new protocols, leading Miranda to be scolded by the film's COVID Compliance Monitor. "Boho Days" was one of the few musical numbers filmed with live singing during this period: all of the actors in the scene had to quarantine for 14 days in order to film it.


title: Tick, Tick... Boom! (film)

text: The film includes a number of references, both visual and auditory, to Larson's later work "Rent": besides Pascal, Rubin-Vega, and Heredia's cameos, Jonathan calls Michael "pookie" in several scenes, the Cat Scratch Club appears in the background of "Play Game", and Jonathan plays "One Song Glory" on his keyboard at one point. The team had hoped to include more locations associated with "Rent", such as Tompkins Square Park and the Life Cafe in the East Village, but COVID restrictions resulted in most of these scenes being moved to the diner. The film's "Superbia" workshop montage consists of footage of the actors lip-syncing to a playlist compiled by Miranda, including songs from "American Idiot" and "Hair": the last song on the playlist was "Seasons of Love".


title: Tick, Tick... Boom! (film)

text: During filming in late 2020, rumors leaked that Garfield was to make a return appearance as Peter Parker in the then-unnamed . Miranda approached Garfield on-set to ask if he was in it, to which Garfield gave an unconvincing denial. Miranda walked away from the conversation thinking Garfield would need to get better at lying: Garfield later became well-known for his repeated denials that he was in "Spider-Man: No Way Home" during the press tour for "Tick, Tick... Boom!".


title: Tick, Tick... Boom! (film)

text: The film's production designers painstakingly recreated both the Moondance Diner and Larson's former apartment at 508 Greenwich Street. In the latter case, the team had access to footage of the apartment shot by Larson himself for insurance purposes, a mere two weeks before his death. This footage allowed them to identify the exact positions of objects, some of which were actually sourced to decorate the set. Pascal, Rubin-Vega, and Heredia described visiting the apartment set as a surreal experience, as all three had gathered at the real Larson's apartment during "Rent"<nowiki>'</nowiki>s development. The team also had access to eight years of Betacam footage shot by Larson's friend Victoria Leacock Hoffman, who was the daughter of a documentary filmmaker and filmed Larson's performances and his life. This footage was recreated in the film using an actual Betacam when attempts at recreating the look through visual effects did not work. The minor character Donna, played by Lauren Marcus, is based on Hoffman and is usually seen in the film following Jonathan around with a camera. The team was mindful of the role New York Theatre Workshop played in Larson's development as an artist, and initially planned to recreate the interior on a soundstage à la the Moondance Diner and 508 Greenwich, as the real theater was booked during the initial production period. However, because of the pandemic the theater was available when production restarted, allowing them to film on the same stage Jonathan Larson had performed "Tick, Tick... Boom!" 30 years earlier.


title: Tick, Tick... Boom! (film)

text: In directing the film's musical sequences, Miranda borrowed heavily from his experience working with Jon M. Chu on the film adaptation of his musical "In the Heights", namely balancing out a realistic approach versus allowing the musical sequences to exist in Jonathan's head. Cinematographer Alice Brooks highlighted "Sunday" and "Swimming" as two particularly challenging sequences, as the two exist in Larson's head more so than other songs in the film. The scenes were conceptualized between Miranda, Brooks, Levenson, the assistant director, the storyboard artist, and the production designer in a collaborative process akin to theater, based on making discoveries at each step. For "Swimming", Miranda came up with the idea for the "30" at the bottom of the swimming pool to turn into a treble clef, and thus the pool floor becoming sheet music, during a scouting visit to the pool with Brooks. The pool, which is located at the Tony Dapolito Recreation Center in the West Village, was chosen due to its resemblance to that described in the lyrics of "Swimming": it was only during filming that the designers and creative team learned this was the actual swimming pool Larson frequented. Although David Armstrong is credited as Andrew Garfield's swimming double, Garfield performed all of the swimming in the film himself: his father Richard Garfield is the head coach of the Guildford City Swimming Club and had trained him in the past. Miranda recalled that Armstrong turned to him after watching Garfield's swimming and declared, "I can't swim that fast." The elder Garfield was originally supposed to cameo as the man whom Jonathan tries to overtake in the pool, but he was unable to come to New York for the shoot due to the film's COVID delays.


title: Tick, Tick... Boom! (film)

text: For "Sunday," which parodies the Act 1 finale of the same name from Sondheim's "Sunday in the Park with George", the team set up the sequence as a deliberate contrast to the look of the rest of the film, as it is Larson's "wildest dream." This included the idea to turn the Moondance Diner into a proscenium stage by having the front come down, and overexposing the footage to resemble a painting, especially with the transition to a pointillist look at the very end of the song. The song had only ever been performed by Larson himself during his lifetime, so Miranda wanted to depict Larson's "dream choir" for the pivotal sequence. This included the actors who inspired him, particularly Peters for her role in "Sunday in the Park with George", but also his future collaborators in Pascal, Rubin-Vega, and Heredia, as well as cast members from shows that Miranda considers "direct descendants" of Larson's work: Malone appears dressed as Big Alison from "Fun Home", while Goldsberry and Soo wear the colors and strike the pose of the Schuyler sisters from Miranda's own "Hamilton". Miranda also recruited Michael Starobin, who orchestrated "Sunday in the Park with George", to achieve the sound of the Sondheim parody. The scene was shot under heavy COVID protocols, particularly for some of the older actors. Miranda's cameo in the scene was written for Chip Zien and Joanna Gleason, who starred in the original Broadway cast of Sondheim's "Into the Woods", but COVID restrictions prevented them from appearing.


title: Tick, Tick... Boom! (film)

text: Andrew Weisblum served as the initial editor of the film up to the first development screening. Due to the film's COVID delays, he had to leave for a Darren Aronofsky project and was replaced by Myron Kerstein. Miranda's original assembly cut ran 2 hours and 20 minutes, whereas he preferred the film to run less than two hours.


title: Tick, Tick... Boom! (film)

text: The film originally opened with a sequence focusing on Jonathan pacing anxiously backstage before the "Tick, Tick... Boom!" performance. This was mostly cut because it was decided the opening of the film needed to be about who Larson was, rather than the character Jonathan's anxieties. Footage from this deleted opening is present in the film's initial teaser trailer. The first scene at the diner during "30/90" was originally a different scene with Michael and Jonathan packing up Michael's things at their apartment. During preparation for reshoots, Kerstein pitched the scene at the diner so the sequence could introduce the characters of Freddy and Carolyn, minimizing time needed later in the film: he was alarmed when Levenson and Miranda shot a four-page scene in response, though he was relieved to learn they were open to cutting dialogue if needed.


title: Tick, Tick... Boom! (film)

text: A question that arose during post-production was how to address the real Jonathan Larson's death. David Auburn had intentionally avoided doing so for the 2001 production, feeling that such a move would cheapen the effect of the story onstage. He had even gone so far as to remove lines Larson wrote about feeling like his heart would explode, as he felt it would serve to distract audience members whom he assumed knew the circumstances of Larson's death. However, Miranda, Weisblum, and Kerstein realized that, with the passage of time, there were more audience members unfamiliar with Larson who would need to get on the same page as the filmmakers about his "ticking clock". Likewise, they would need the context of not just Larson's death, but his legacy through his most well-known show, "Rent". Miranda did not want this information conveyed through onscreen text at the end, despite Kerstein joking this is traditional with even critically-acclaimed biopics. Miranda argued such a method was too obvious, and that the information needed to be incorporated into the film in a natural way. The team eventually settled on documentary-style bookends that combine narration, archival footage, and recreated Betacam footage, which Kerstein described as bringing the film "full circle" and thus allowing the information to be an effective part of the film's storytelling.


title: Tick, Tick... Boom! (film)

text: Sondheim's vocal cameo (a concept that carries over from productions of the original musical) came about when he asked to rewrite his voicemail message after viewing the film, as he felt he would not say what had originally been written. However, at this point in production Whitford was not available to re-record the line, so Sondheim offered to record it himself. The cameo was Sondheim's last film appearance before his death on November 26, 2021.


title: Tick, Tick... Boom! (film)

text: One of the film's more controversial cuts was the removal of the "Green Green Dress" musical number. In the stage version, the song is a duet between Jonathan and Susan singing about their love for one another by way of the green dress that Susan wears, whereas in the film it plays as an R&B cover performed by Joshua Henry over a scene of the two making love. The song was filmed as a fully choreographed number, but Miranda found that it slowed the pace of the film. Though reluctant to cut it, he felt it was necessary to remove it as it was the only song where no story occurs. Miranda did not want to completely lose the song, hence the presence of the cover, and Garfield and Shipp's version was included in the end credits and on the soundtrack. Following fan demand, the deleted scene was released on social media on March 17, 2022 to celebrate Saint Patrick's Day.


title: Tick, Tick... Boom! (film)

text: Margaret Hall, writing for "TheaterMania", observed that most of the songs in the film are presented as diegetic music, a part of the world of the film, whereas "Green Green Dress" is one of the few numbers that is non-diegetic, where the characters do not necessarily know they are singing. While the final cut does include non-diegetic numbers such as "No More" and "Swimming", unlike those songs "Green Green Dress" does not offer new information about the characters singing it, nor does it offer much more insight into Jonathan and Susan's relationship than what is already presented. One of the film's major plot elements is that Jonathan is so focused on his career he is unable to stay on the same page as Susan, which is achieved by Susan not getting a solo for the majority of the film: one of her duets with Jonathan, "Therapy", instead becomes a diegetic performance by Jonathan and Karessa that contrasts with the couple's real-life argument. Removing "Green Green Dress" serves to finalize this disconnect, with Susan never singing a solo on a song until "Come to Your Senses", and in this case it is purely in Jonathan's head. Hall concluded that removing "Green Green Dress" was an example of one of the many changes to "Tick, Tick... Boom!" that showed the production team's ability to engage with film as a medium rather than produce a straightforward stage-to-screen adaptation.


title: Tick, Tick... Boom! (film)

text: The original "Tick, Tick... Boom!" rock monologue is a semi-autobiographical work: it derives from Larson's life but the events described are partially fictionalized. While the film affirms the "Jon" character as Jonathan Larson (only loosely confirmed in the original musical) and includes significant additional research done by Levenson and Miranda, the script alludes to the fact that there are parts of the story that "Jonathan made up."


title: Tick, Tick... Boom! (film)

text: The "Tick, Tick... Boom!" soundtrack was released for streaming/digital on November 12, 2021, by Masterworks Broadway on the same day as the film's theatrical release. A physical CD is scheduled for release on December 3, 2021. All Jonathan Larson songs in the film were produced by Alex Lacamoire, Bill Sherman, and Kurt Crowley (who cameos in the film as the rehearsal pianist for "Superbia", Francis). The songs were mixed by Greg Wells, and music supervised by Steven Gizicki. "30/90" was released via streaming on October 5, 2021. "Louder Than Words" was also released as a single along with the album's pre-order date on October 22, 2021.


title: Tick, Tick... Boom! (film)

text: Levenson and Miranda felt it was important for the film to play with the credit "score by Jonathan Larson" and so sourced many songs from the Library of Congress archives, including several that had never received an official release. This includes three songs from "Superbia" not included in the soundtrack: "Ever After" (used to underscore the focus group meeting), "LCD Readout", and "Sextet". Kurt Crowley released a solo arrangement of the latter featuring Joshua Henry during the COVID-induced break in the film's production. After considerable fan demand, the newly titled "Sextet Montage" was released as a single on February 4, 2022 in honor of what would have been Larson's 62nd birthday.


title: Tick, Tick... Boom! (film)

text: A song called "Debtor Club" underscores the scene of Jonathan inviting various industry professionals to his reading. This was a song originally written for "Boho Days", described as a "Tears-for-Fears-esque track" which was replaced with "No More". The film also includes three stand-alone songs by Larson: "Rhapsody", which plays in the background of Susan's dance recital and over the film's credits; "Out of My Dreams" covered by Veronica Vazquez, which can be heard when Jonathan meets Susan on the roof; and "It Only Takes a Few", covered by The Mountain Goats, which plays over the credits. Of these, only "Out of My Dreams" and "It Only Takes a Few" were released on the film's soundtrack. Additionally, a rejected CNN jingle that Larson wrote plays in the background of Jonathan and Michael's car ride. The cut song "Sugar" is referenced when Jonathan sings a riff from it to Ira Weitzman.


title: Tick, Tick... Boom! (film)

text: As an easter egg, Jonathan plays the opening melody of "One Song Glory" from "Rent" at one point in the film.


title: Tick, Tick... Boom! (film)

text: On June 10, 2021, the first trailer for the film was released online, confirming that the film would be released on Netflix and in select theaters in late 2021. It had its Los Angeles premiere at AFI Fest on November 10, 2021, as the festival's opening night film, and its NY premiere at the Schoenfeld Theater. It was released in a limited release on November 12, 2021, prior to its streaming release on Netflix on November 19, 2021.


title: Tick, Tick... Boom! (film)

text: On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 88% based on 217 reviews, with an average rating of 7.6/10. The website's critical consensus reads, ""Tick, Tick... BOOM!" makes musical magic out of a story focused on the creative process—an impressive feat for debuting director Lin-Manuel Miranda." On Metacritic, the film has a weighted average score of 74 out of 100, based on 44 critics, indicating "generally favorable reviews".


title: Tick, Tick... Boom! (film)

text: The film was universally praised for its adaptation of the original musical, with "Vulture"<nowiki>'</nowiki>s Jackson McHenry highlighting the expanded cast and depiction of the world of the show. Garfield and de Jesús's performances were particularly praised, due to Garfield's surprising musical ability and de Jesús's starring turn in a film after largely working in theater. Jessica Derschowitz of "Entertainment Weekly" dubbed the film a "totem for the thrills and trials of making art, with all the sacrifices and empathy it requires", also praising it as a tribute to Larson. Miranda's directing debut was also praised, particularly due to the challenge of adapting the material. "Variety"<nowiki>'</nowiki>s Peter Debruge noted that despite Miranda's own personal connection to Larson's story, his direction seemed devoid of ego and purely focused on centering Larson.


title: Tick, Tick... Boom! (film)

text: The film's choice to contextualize Larson's career and legacy through the documentary-style bookends was criticized even by positive reviewers. McHenry noted it reduced Larson to his most successful work and the film was stronger when the character was telling his story. McHenry also noted that like "Rent", "Tick, Tick... Boom!" views the AIDS crisis from the perspective of a straight male who did not contract the disease, and though the film adaptation expands its view on the crisis, the gesture feels incomplete.


title: Tick, Tick... Boom! (film)

text: Julia Delbel, writing for "ComingSoon.net", observed that in a year of musical movie releases that saw films such as "In the Heights", "Dear Evan Hansen", and "West Side Story", "Tick, Tick... Boom!" stood out for generating considerable buzz, whereas the other films struggled at the box office. She suggested the continued effect of the pandemic on movie theater attendance was to blame, noting the popularity of Miranda's "Encanto" following its release on Disney+ after underperforming at the box office, with "Tick, Tick... Boom!"<nowiki>'</nowiki>s status as a streaming release making it more easily accessible to its audience.


title: Apollo 13

text: Apollo 13 (April 1117, 1970) was the seventh crewed mission in the Apollo space program and the third meant to land on the Moon. The craft was launched from Kennedy Space Center on April 11, 1970, but the lunar landing was aborted after an oxygen tank in the service module (SM) failed two days into the mission. The crew instead looped around the Moon and returned safely to Earth on April 17. The mission was commanded by Jim Lovell, with Jack Swigert as command module (CM) pilot and Fred Haise as Lunar Module (LM) pilot. Swigert was a late replacement for Ken Mattingly, who was grounded after exposure to rubella.


title: Apollo 13

text: A routine stir of an oxygen tank ignited damaged wire insulation inside it, causing an explosion that vented the contents of both of the SM's oxygen tanks to space. Without oxygen, needed for breathing and for generating electric power, the SM's propulsion and life support systems could not operate. The CM's systems had to be shut down to conserve its remaining resources for reentry, forcing the crew to transfer to the LM as a lifeboat. With the lunar landing canceled, mission controllers worked to bring the crew home alive.


title: Apollo 13

text: Although the LM was designed to support two men on the lunar surface for two days, Mission Control in Houston improvised new procedures so it could support three men for four days. The crew experienced great hardship, caused by limited power, a chilly and wet cabin and a shortage of potable water. There was a critical need to adapt the CM's cartridges for the carbon dioxide scrubber system to work in the LM; the crew and mission controllers were successful in improvising a solution. The astronauts' peril briefly renewed public interest in the Apollo program; tens of millions watched the splashdown in the South Pacific Ocean on television.


title: Apollo 13

text: An investigative review board found fault with preflight testing of the oxygen tank and Teflon being placed inside it. The board recommended changes, including minimizing the use of potentially combustible items inside the tank; this was done for Apollo 14. The story of Apollo 13 has been dramatized several times, most notably in the 1995 film "Apollo 13" – based on "Lost Moon", the 1994 memoir co-authored by Lovell – and an episode of the 1998 miniseries "From the Earth to the Moon".


title: Apollo 13

text: In 1961, U.S. President John F. Kennedy challenged his nation to land an astronaut on the Moon by the end of the decade, with a safe return to Earth. NASA worked towards this goal incrementally, sending astronauts into space during Project Mercury and Project Gemini, leading up to the Apollo program. The goal was achieved with Apollo 11, which landed on the Moon on July 20, 1969. Neil Armstrong and Buzz Aldrin walked on the lunar surface while Michael Collins orbited the Moon in Command Module "Columbia". The mission returned to Earth on July 24, 1969, fulfilling Kennedy's challenge.


title: Apollo 13

text: NASA had contracted for fifteen Saturn V rockets to achieve the goal; at the time no one knew how many missions this would require. Since success was obtained in 1969 with the sixth SaturnV on Apollo 11, nine rockets remained available for a hoped-for total of ten landings. After the excitement of Apollo 11, the general public grew apathetic towards the space program and Congress continued to cut NASA's budget; Apollo 20 was canceled. Despite the successful lunar landing, the missions were considered so risky that astronauts could not afford life insurance to provide for their families if they died in space.


title: Apollo 13

text: Even before the first U.S. astronaut entered space in 1961, planning for a centralized facility to communicate with the spacecraft and monitor its performance had begun, for the most part the brainchild of Christopher C. Kraft Jr., who became NASA's first flight director. During John Glenn's Mercury "Friendship 7" flight in February 1962 (the first crewed orbital flight by the U.S.), one of Kraft's decisions was overruled by NASA managers. He was vindicated by post-mission analysis and implemented a rule that, during the mission, the flight director's word was absolute – to overrule him, NASA would have to fire him on the spot. Flight directors during Apollo had a one-sentence job description, "The flight director may take any actions necessary for crew safety and mission success."


title: Apollo 13

text: In 1965, Houston's Mission Control Center opened, in part designed by Kraft and now named for him. In Mission Control, each flight controller, in addition to monitoring telemetry from the spacecraft, was in communication via voice loop to specialists in a Staff Support Room (or "back room"), who focused on specific spacecraft systems.


title: Apollo 13

text: Apollo 13 was to be the second H mission, meant to demonstrate precision lunar landings and explore specific sites on the Moon. With Kennedy's goal accomplished by Apollo 11, and Apollo 12 demonstrating that the astronauts could perform a precision landing, mission planners were able to focus on more than just landing safely and having astronauts minimally trained in geology gather lunar samples to take home to Earth. There was a greater role for science on Apollo 13, especially for geology, something emphasized by the mission's motto, "Ex luna, scientia" (From the Moon, knowledge).


title: Apollo 13

text: Apollo 13's mission commander, Jim Lovell, was 42 years old at the time of the spaceflight. He was a graduate of the United States Naval Academy and had been a naval aviator and test pilot before being selected for the second group of astronauts in 1962; he flew with Frank Borman in Gemini 7 in 1965 and Buzz Aldrin in Gemini 12 the following year before flying in Apollo 8 in 1968, the first spacecraft to orbit the Moon. At the time of Apollo 13, Lovell was the NASA astronaut with the most time in space, with 572 hours over the three missions.


title: Apollo 13

text: Jack Swigert, the command module pilot (CMP), was 38 years old and held a B.S. in mechanical engineering and an M.S. in aerospace science; he had served in the Air Force and in state Air National Guards and was an engineering test pilot before being selected for the fifth group of astronauts in 1966. Fred Haise, the lunar module pilot (LMP), was 35 years old. He held a B.S. in aeronautical engineering, had been a Marine Corps fighter pilot, and was a civilian research pilot for NASA when he was selected as a Group5 astronaut.


title: Apollo 13

text: According to the standard Apollo crew rotation, the prime crew for Apollo 13 would have been the backup crew for Apollo 10, with Mercury and Gemini veteran Gordon Cooper in command, Donn F. Eisele as CMP and Edgar Mitchell as LMP. Deke Slayton, NASA's Director of Flight Crew Operations, never intended to rotate Cooper and Eisele to a prime crew assignment, as both were out of favorCooper for his lax attitude towards training, and Eisele for incidents aboard Apollo7 and an extramarital affair. He assigned them to the backup crew because no other veteran astronauts were available. Slayton's original choices for Apollo 13 were Alan Shepard as commander, Stuart Roosa as CMP, and Mitchell as LMP. However, management felt Shepard needed more training time, as he had only recently resumed active status after surgery for an inner ear disorder and had not flown since 1961. Thus, Lovell's crew (himself, Haise and Ken Mattingly), having all backed up Apollo 11 and being slated for Apollo 14, was swapped with Shepard's.


title: Apollo 13

text: Swigert was originally CMP of Apollo 13's backup crew, with John Young as commander and Charles Duke as lunar module pilot. Seven days before launch, Duke contracted rubella from a friend of his son. This exposed both the prime and backup crews, who trained together. Of the five, only Mattingly was not immune through prior exposure. Normally, if any member of the prime crew had to be grounded, the remaining crew would be replaced as well, and the backup crew substituted, but Duke's illness ruled this out, so two days before launch, Mattingly was replaced by Swigert. Mattingly never developed rubella and later flew on Apollo 16.


title: Apollo 13

text: For Apollo, a third crew of astronauts, known as the support crew, was designated in addition to the prime and backup crews used on projects Mercury and Gemini. Slayton created the support crews because James McDivitt, who would command Apollo 9, believed that, with preparation going on in facilities across the US, meetings that needed a member of the flight crew would be missed. Support crew members were to assist as directed by the mission commander. Usually low in seniority, they assembled the mission's rules, flight plan, and checklists, and kept them updated; for Apollo 13, they were Vance D. Brand, Jack Lousma and either William Pogue or Joseph Kerwin.


title: Apollo 13

text: For Apollo 13, flight directors were Gene Kranz, White team (the lead flight director); Glynn Lunney, Black team; Milton Windler, Maroon team and Gerry Griffin, Gold team. The CAPCOMs (the person in Mission Control, during the Apollo program an astronaut, who was responsible for voice communications with the crew) for Apollo 13 were Kerwin, Brand, Lousma, Young and Mattingly.


title: Apollo 13

text: The Apollo 13 mission insignia depicts the Greek god of the Sun, Apollo, with three horses pulling his chariot across the face of the Moon, and the Earth seen in the distance. This is meant to symbolize the Apollo flights bringing the light of knowledge to all people. The mission motto, "Ex luna, scientia" ("From the Moon, knowledge"), appears. In choosing it, Lovell adapted the motto of his alma mater, the Naval Academy, "Ex scientia, tridens" ("From knowledge, sea power").


title: Apollo 13

text: On the patch, the mission number appeared in Roman numerals as Apollo XIII. It did not have to be modified after Swigert replaced Mattingly, as it is one of only two Apollo mission insigniathe other being Apollo 11not to include the names of the crew. It was designed by artist Lumen Martin Winter, who based it on a mural he had painted for the St. Regis Hotel in New York City. The mural was later purchased by actor Tom Hanks, who portrayed Lovell in the movie "Apollo 13", and is now in the Captain James A. Lovell Federal Health Care Center in Illinois.


title: Apollo 13

text: The mission's motto was in Lovell's mind when he chose the call sign "Aquarius" for the lunar module, taken from Aquarius, the bringer of water. Some in the media erroneously reported that the call sign was taken from a song by that name from the musical "Hair". The command module's call sign, "Odyssey", was chosen not only for its Homeric association but to refer to the recent movie, "", based on a short story by science fiction author Arthur C. Clarke. In his book, Lovell indicated he chose the name "Odyssey" because he liked the word and its definition: a long voyage with many changes of fortune.


title: Apollo 13

text: The Saturn V rocket used to carry Apollo 13 to the Moon was numbered SA-508, and was almost identical to those used on Apollo8 through 12. Including the spacecraft, the rocket weighed in at . The S-IC first stage's engines were rated to generate less total thrust than Apollo 12's, though they remained within specifications. To keep its liquid hydrogen propellent cold, the S-II second stage's cryogenic tanks were insulated; on earlier Apollo missions this came in the form of panels that were affixed, but beginning with Apollo 13, insulation was sprayed onto the exterior of the tanks. Extra propellant was carried as a test, since future J missions to the Moon would require more propellant for their heavier payloads. This made the vehicle the heaviest yet flown by NASA, and Apollo 13 was visibly slower to clear the launch tower than earlier missions.


title: Apollo 13

text: The Apollo 13 spacecraft consisted of Command Module 109 and Service Module 109 (together CSM-109), called "Odyssey", and Lunar Module7 (LM-7), called "Aquarius". Also considered part of the spacecraft was the launch escape system, which would propel the command module (CM) to safety in the event of a problem during liftoff, and the Spacecraft–LM Adapter, numbered as SLA-16, which housed the lunar module (LM) during the first hours of the mission.


title: Apollo 13

text: The LM stages, CM and service module (SM) were received at Kennedy Space Center (KSC) in June 1969; the portions of the Saturn V were received in June and July. Thereafter, testing and assembly proceeded, culminating with the rollout of the launch vehicle, with the spacecraft atop it, on December 15, 1969. Apollo 13 was originally scheduled for launch on March 12, 1970; in January of that year, NASA announced the mission would be postponed until April 11, both to allow more time for planning and to spread the Apollo missions over a longer period of time. The plan was to have two Apollo flights per year and was in response to budgetary constraints that had recently seen the cancellation of Apollo 20.


title: Apollo 13

text: The Apollo 13 prime crew undertook over 1,000 hours of mission-specific training, more than five hours for every hour of the mission's ten-day planned duration. Each member of the prime crew spent over 400 hours in simulators of the CM and (for Lovell and Haise) of the LM at KSC and at Houston, some of which involved the flight controllers at Mission Control. Flight controllers participated in many simulations of problems with the spacecraft in flight, which taught them how to react in an emergency. Specialized simulators at other locations were also used by the crew members.


title: Apollo 13

text: The astronauts of Apollo 11 had minimal time for geology training, with only six months between crew assignment and launch; higher priorities took much of their time. Apollo 12 saw more such training, including practice in the field, using a CAPCOM and a simulated backroom of scientists, to whom the astronauts had to describe what they saw. Scientist-astronaut Harrison Schmitt saw that there was limited enthusiasm for geology field trips. Believing an inspirational teacher was needed, Schmitt arranged for Lovell and Haise to meet his old professor, Caltech's Lee Silver. The two astronauts, and backups Young and Duke, went on a field trip with Silver at their own time and expense. At the end of their week together, Lovell made Silver their geology mentor, who would be extensively involved in the geology planning for Apollo 13. Farouk El-Baz oversaw the training of Mattingly and his backup, Swigert, which involved describing and photographing simulated lunar landmarks from airplanes. El-Baz had all three prime crew astronauts describe geologic features they saw during their flights between Houston and KSC; Mattingly's enthusiasm caused other astronauts, such as Apollo 14's CMP, Roosa, to seek out El-Baz as a teacher.


title: Apollo 13

text: Concerned about how close Apollo 11's LM, "Eagle", had come to running out of propellant during its lunar descent, mission planners decided that beginning with Apollo 13, the CSM would bring the LM to the low orbit from which the landing attempt would commence. This was a change from Apollo 11 and 12, on which the LM made the burn to bring it to the lower orbit. The change was part of an effort to increase the amount of hover time available to the astronauts as the missions headed into rougher terrain.


title: Apollo 13

text: The plan was to devote the first of the two four-hour lunar surface extravehicular activities (EVAs) to setting up the Apollo Lunar Surface Experiments Package (ALSEP) group of scientific instruments; during the second, Lovell and Haise would investigate Cone crater, near the planned landing site. The two astronauts wore their spacesuits for some 20 walk-throughs of EVA procedures, including sample gathering and use of tools and other equipment. They flew in the "Vomit Comet" in simulated microgravity or lunar gravity, including practice in donning and doffing spacesuits. To prepare for the descent to the Moon's surface, Lovell flew the Lunar Landing Training Vehicle (LLTV). Despite four of the five LLTVs and similar Lunar Landing Research Vehicles having crashed during the Apollo program, mission commanders considered flying them invaluable experience.


title: Apollo 13

text: Apollo 13's designated landing site was near Fra Mauro crater; the Fra Mauro formation was believed to contain much material spattered by the impact that had filled the Imbrium basin early in the Moon's history. Dating it would provide information not only about the Moon, but about the Earth's early history. Such material was likely to be available at Cone crater, a site where an impact was believed to have drilled deep into the lunar regolith.


title: Apollo 13

text: Apollo 11 had left a seismometer on the Moon, but the solar-powered unit did not survive its first two-week-long lunar night. The Apollo 12 astronauts also left one as part of its ALSEP, which was nuclear-powered. Apollo 13 also carried a seismometer (known as the Passive Seismic Experiment, or PSE), similar to Apollo 12's, as part of its ALSEP, to be left on the Moon by the astronauts. That seismometer was to be calibrated by the impact, after jettison, of the ascent stage of Apollo 13's LM, an object of known mass and velocity impacting at a known location.


title: Apollo 13

text: Other ALSEP experiments on Apollo 13 included a Heat Flow Experiment (HFE), which would involve drilling two holes deep. This was Haise's responsibility; he was also to drill a third hole of that depth for a core sample. A Charged Particle Lunar Environment Experiment (CPLEE) measured the protons and electrons of solar origin reaching the Moon. The package also included a Lunar Atmosphere Detector (LAD) and a Dust Detector, to measure the accumulation of debris. The Heat Flow Experiment and the CPLEE were flown for the first time on Apollo 13; the other experiments had been flown before.


title: Apollo 13

text: To power the ALSEP, the SNAP-27 radioisotope thermoelectric generator (RTG) was flown. Developed by the U.S. Atomic Energy Commission, SNAP-27 was first flown on Apollo 12. The fuel capsule contained about of plutonium oxide. The cask placed around the capsule for transport to the Moon was built with heat shields of graphite and of beryllium, and with structural parts of titanium and of Inconel materials. Thus, it was built to withstand the heat of reentry into the Earth's atmosphere rather than pollute the air with plutonium in the event of an aborted mission.


title: Apollo 13

text: A United States flag was also taken, to be erected on the Moon's surface. For Apollo 11 and 12, the flag had been placed in a heat-resistant tube on the front landing leg; it was moved for Apollo 13 to the Modularized Equipment Stowage Assembly (MESA) in the LM descent stage. The structure to fly the flag on the airless Moon was improved from Apollo 12's.


title: Apollo 13

text: For the first time, red stripes were placed on the helmet, arms and legs of the commander's A7L spacesuit. This was done as, after Apollo 11, those reviewing the images taken had trouble distinguishing Armstrong from Aldrin, but the change was approved too late for Apollo 12. New drink bags that attached inside the helmets and were to be sipped from as the astronauts walked on the Moon were demonstrated by Haise during Apollo 13's final television broadcast before the accident.


title: Apollo 13

text: Apollo 13's primary mission objectives were to: "Perform selenological inspection, survey, and sampling of materials in a preselected region of the Fra Mauro Formation. Deploy and activate an Apollo Lunar Surface Experiments Package. Develop man's capability to work in the lunar environment. Obtain photographs of candidate exploration sites." The astronauts were also to accomplish other photographic objectives, including of the Gegenschein from lunar orbit, and of the Moon itself on the journey back to Earth. Some of this photography was to be performed by Swigert as Lovell and Haise walked on the Moon. Swigert was also to take photographs of the Lagrangian points of the Earth-Moon system. Apollo 13 had twelve cameras on board, including those for television and moving pictures. The crew was also to downlink bistatic radar observations of the Moon. None of these was attempted because of the accident.


title: Apollo 13

text: The mission was launched at the planned time, 2:13:00 pm EST (19:13:00 UTC) on April 11. An anomaly occurred when the second-stage, center (inboard) engine shut down about two minutes early. This was caused by severe pogo oscillations. Starting with Apollo 10, the vehicle's guidance system was designed to shut the engine down in response to chamber pressure excursions. Pogo oscillations had occurred on Titan rockets (used during the Gemini program) and on previous Apollo missions, but on Apollo 13 they were amplified by an interaction with turbopump cavitation. A fix to prevent pogo was ready for the mission, but schedule pressure did not permit the hardware's integration into the Apollo 13 vehicle. A post-flight investigation revealed the engine was one cycle away from catastrophic failure. The four outboard engines and the S-IVB third stage burned longer to compensate, and the vehicle achieved very close to the planned circular parking orbit, followed by a translunar injection (TLI) about two hours later, setting the mission on course for the Moon.


title: Apollo 13

text: After TLI, Swigert performed the separation and transposition maneuvers before docking the CSM "Odyssey" to the LM "Aquarius", and the spacecraft pulled away from the third stage. Ground controllers then sent the third stage on a course to impact the Moon in range of the Apollo 12 seismometer, which it did just over three days into the mission.


title: Apollo 13

text: The crew settled in for the three-day trip to Fra Mauro. At 30:40:50 into the mission, with the TV camera running, the crew performed a burn to place Apollo 13 on a hybrid trajectory. The departure from a free-return trajectory meant that if no further burns were performed, Apollo 13 would miss Earth on its return trajectory, rather than intercept it, as with a free return. A free return trajectory could only reach sites near the lunar equator; a hybrid trajectory, which could be started at any point after TLI, allowed sites with higher latitudes, such as Fra Mauro, to be reached. Communications were enlivened when Swigert realized that in the last-minute rush, he had omitted to file his federal income tax return (due April 15), and amid laughter from mission controllers, asked how he could get an extension. He was found to be entitled to a 60-day extension for being out of the country at the deadline.


title: Apollo 13

text: Entry into the LM to test its systems had been scheduled for 58:00:00; when the crew awoke on the third day of the mission, they were informed it had been moved up three hours and was later moved up again by another hour. A television broadcast was scheduled for 55:00:00; Lovell, acting as emcee, showed the audience the interiors of "Odyssey" and "Aquarius". The audience was limited since none of the television networks were carrying the broadcast, forcing Marilyn Lovell (Jim Lovell's wife) to go to the VIP room at Mission Control if she wanted to watch her husband and his crewmates.


title: Apollo 13

text: Approximately six and a half minutes after the TV broadcastapproaching 56:00:00Apollo 13 was about from Earth. Haise was completing the shutdown of the LM after testing its systems while Lovell stowed the TV camera. Jack Lousma, the CAPCOM, sent minor instructions to Swigert, including changing the attitude of the craft to facilitate photography of Comet Bennett.


title: Apollo 13

text: The pressure sensor in one of the SM's oxygen tanks had earlier appeared to be malfunctioning, so Sy Liebergot (the EECOM, in charge of monitoring the CSM's electrical system) requested that the stirring fans in the tanks be activated. Normally this was done once daily; a stir would destratify the contents of the tanks, making the pressure readings more accurate. The Flight Director, Kranz, had Liebergot wait a few minutes for the crew to settle down after the telecast, then Lousma relayed the request to Swigert, who activated the switches controlling the fans, and after a few seconds turned them off again.


title: Apollo 13

text: Ninety-five seconds after Swigert activated those switches, the astronauts heard a "pretty large bang", accompanied by fluctuations in electrical power and the firing of the attitude control thrusters. Communications and telemetry to Earth were lost for 1.8 seconds, until the system automatically corrected by switching the high-gain S-band antenna, used for translunar communications, from narrow-beam to wide-beam mode. The accident happened at 55:54:53 (03:08 UTC on April 14, 10:08 PM EST, April 13). Swigert reported 26 seconds later, "Okay, Houston, we've had a problem here," echoed at 55:55:42 by Lovell, "Houston, we've had a problem. We've had a Main B Bus undervolt." William Fenner was the guidance officer (GUIDO) who was the first to report a problem in the control room to Kranz.


title: Apollo 13

text: Lovell's initial thought on hearing the noise was that Haise had activated the LM's cabin-repressurization valve, which also produced a bang (Haise enjoyed doing so to startle his crewmates), but Lovell could see that Haise had no idea what had happened. Swigert initially thought that a meteoroid might have struck the LM, but he and Lovell quickly realized there was no leak. The "Main Bus B undervolt" meant that there was insufficient voltage produced by the SM's three fuel cells (fueled by hydrogen and oxygen piped from their respective tanks) to the second of the SM's two electric power distribution systems. Almost everything in the CSM required power. Although the bus momentarily returned to normal status, soon both buses A and B were short on voltage. Haise checked the status of the fuel cells and found that two of them were dead. Mission rules forbade entering lunar orbit unless all fuel cells were operational.


title: Apollo 13

text: In the minutes after the accident, there were several unusual readings, showing that tank2 was empty and tank1's pressure slowly falling, that the computer on the spacecraft had reset and that the high-gain antenna was not working. Liebergot initially missed the worrying signs from tank2 following the stir, as he was focusing on tank1, believing that its reading would be a good guide to what was present in tank2; so did controllers supporting him in the "back room". When Kranz questioned Liebergot on this, he initially responded that there might be false readings due to an instrumentation problem; he was often teased about that in the years to come. Lovell, looking out the window, reported "a gas of some sort" venting into space, making it clear that there was a serious problem.


title: Apollo 13

text: Since the fuel cells needed oxygen to operate, when Oxygen Tank1 ran dry, the remaining fuel cell would shut down, meaning the CSM's only significant sources of power and oxygen would be the CM's batteries and its oxygen "surge tank". These would be needed for the final hours of the mission, but the remaining fuel cell, already starved for oxygen, was drawing from the surge tank. Kranz ordered the surge tank isolated, saving its oxygen, but this meant that the remaining fuel cell would die within two hours, as the oxygen in tank1 was consumed or leaked away. The volume surrounding the spacecraft was filled with myriad small bits of debris from the accident, complicating any efforts to use the stars for navigation. The mission's goal became simply getting the astronauts back to Earth alive.


title: Apollo 13

text: The lunar module had charged batteries and full oxygen tanks for use on the lunar surface, so Kranz directed that the astronauts power up the LM and use it as a "lifeboat"a scenario anticipated but considered unlikely. Procedures for using the LM in this way had been developed by LM flight controllers after a training simulation for Apollo 10 in which the LM was needed for survival, but could not be powered up in time. Had Apollo 13's accident occurred on the return voyage, with the LM already jettisoned, the astronauts would have died, as they would have following an explosion in lunar orbit, including one while Lovell and Haise walked on the Moon.


title: Apollo 13

text: A key decision was the choice of return path. A "direct abort" would use the SM's main engine (the Service Propulsion System or SPS) to return before reaching the Moon. However, the accident could have damaged the SPS, and the fuel cells would have to last at least another hour to meet its power requirements, so Kranz instead decided on a longer route: the spacecraft would swing around the Moon before heading back to Earth. Apollo 13 was on the hybrid trajectory which was to take it to Fra Mauro; it now needed to be brought back to a free return. The LM's Descent Propulsion System (DPS), although not as powerful as the SPS, could do this, but new software for Mission Control's computers needed to be written by technicians as it had never been contemplated that the CSM/LM spacecraft would have to be maneuvered from the LM. As the CM was being shut down, Lovell copied down its guidance system's orientation information and performed hand calculations to transfer it to the LM's guidance system, which had been turned off; at his request Mission Control checked his figures. At 61:29:43.49 the DPS burn of 34.23 seconds took Apollo 13 back to a free return trajectory.


title: Apollo 13

text: The change would get Apollo 13 back to Earth in about four days' timethough with splashdown in the Indian Ocean, where NASA had few recovery forces. Jerry Bostick and other Flight Dynamics Officers (FIDOs) were anxious both to shorten the travel time and to move splashdown to the Pacific Ocean, where the main recovery forces were located. One option would shave 36 hours off the return time, but required jettisoning the SM; this would expose the CM's heat shield to space during the return journey, something for which it had not been designed. The FIDOs also proposed other solutions. After a meeting involving NASA officials and engineers, the senior individual present, Manned Spaceflight Center director Robert R. Gilruth, decided on a burn using the DPS, that would save 12 hours and land Apollo 13 in the Pacific. This "PC+2" burn would take place two hours after pericynthion, the closest approach to the Moon. At pericynthion, Apollo 13 set the record (per the "Guinness Book of World Records"), which still stands, for the highest absolute altitude attained by a crewed spacecraft: from Earth at 7:21 pm EST, April 14 (00:21:00 UTC April 15).


title: Apollo 13

text: While preparing for the burn the crew was told that the S-IVB had impacted the Moon as planned, leading Lovell to quip, "Well, at least something worked on this flight." Kranz's White team of mission controllers, who had spent most of their time supporting other teams and developing the procedures urgently needed to get the astronauts home, took their consoles for the PC+2 procedure. Normally, the accuracy of such a burn could be assured by checking the alignment Lovell had transferred to the LM's computer against the position of one of the stars astronauts used for navigation, but the light glinting off the many pieces of debris accompanying the spacecraft made that impractical. The astronauts used the one star available whose position could not be obscured – the Sun. Houston also informed them that the Moon would be centered in the commander's window of the LM as they made the burn, which was almost perfectless than 0.3 meters (1 foot) per second off. The burn, at 79:27:38.95, lasted four minutes and 23 seconds. The crew then shut down most LM systems to conserve consumables.


title: Apollo 13

text: The LM carried enough oxygen, but that still left the problem of removing carbon dioxide, which was absorbed by canisters of lithium hydroxide pellets.


title: Apollo 13

text: The LM's stock of canisters, meant to accommodate two astronauts for 45 hours on the Moon, was not enough to support three astronauts for the return journey to Earth. The CM had enough canisters, but they were of a different shape and size to the LM's, hence unable to be used in the LM's equipment. Engineers on the ground devised a way to bridge the gap, using plastic, covers ripped from procedures manuals, duct tape, and other items. NASA engineers referred to the improvised device as "the mailbox". The procedure for building the device was read to the crew by CAPCOM Joseph Kerwin over the course of an hour, and it was built by Swigert and Haise; carbon dioxide levels began dropping immediately. Lovell later described this improvisation as "a fine example of cooperation between ground and space".


title: Apollo 13

text: The CSM's electricity came from fuel cells that produced water as a byproduct, but the LM was powered by silver-zinc batteries which did not, so both electrical power and water (needed for equipment cooling as well as drinking) would be critical. LM power consumption was reduced to the lowest level possible; Swigert was able to fill some drinking bags with water from the CM's water tap, but even assuming rationing of personal consumption, Haise initially calculated they would run out of water for cooling about five hours before reentry. This seemed acceptable because the systems of Apollo 11's LM, once jettisoned in lunar orbit, had continued to operate for seven to eight hours even with the water cut off. In the end, Apollo 13 returned to Earth with of water remaining. The crew's ration was 0.2 liters (6.8 fl oz) of water per person per day; the three astronauts lost a total of among them, and Haise developed a urinary tract infection. This infection was probably caused by the reduced water intake, but microgravity and effects of cosmic radiation might have impaired his immune system's reaction to the pathogen.


title: Apollo 13

text: Inside the darkened spacecraft, the temperature dropped as low as . Lovell considered having the crew don their spacesuits, but decided this would be too hot. Instead, Lovell and Haise wore their lunar EVA boots and Swigert put on an extra coverall. All three astronauts were cold, especially Swigert, who had got his feet wet while filling the water bags and had no lunar overshoes (since he had not been scheduled to walk on the Moon). As they had been told not to discharge their urine to space to avoid disturbing the trajectory, they had to store it in bags. Water condensed on the walls, though any condensation that may have been behind equipment panels caused no problems, partly because of the extensive electrical insulation improvements instituted after the Apollo 1 fire. Despite all this, the crew voiced few complaints.


title: Apollo 13

text: Flight controller John Aaron, along with Mattingly and several engineers and designers, devised a procedure for powering up the command module from full shutdownsomething never intended to be done in flight, much less under Apollo 13's severe power and time constraints. The astronauts implemented the procedure without apparent difficulty: Kranz later credited all three astronauts having been test pilots, accustomed to having to work in critical situations with their lives on the line, for their survival.


title: Apollo 13

text: Recognizing that the cold conditions combined with insufficient rest would hinder the time critical startup of the command module prior to reentry, at 133 hours into flight Mission Control gave Lovell the okay to fully power up the LM to raise the cabin temperature, which included restarting the LM's guidance computer. Having the LM's computer running enabled Lovell to perform a navigational sighting and calibrate the LM's IMU. With the lunar module's computer aware of its location and orientation, the command module's computer was later calibrated in a reverse of the normal procedures used to set up the LM, shaving steps from the restart process and increasing the accuracy of the PGNCS-controlled reentry.


title: Apollo 13

text: Despite the accuracy of the transearth injection, the spacecraft slowly drifted off course, necessitating a correction. As the LM's guidance system had been shut down following the PC+2 burn, the crew was told to use the line between night and day on the Earth to guide them, a technique used on NASA's Earth-orbit missions but never on the way back from the Moon. This DPS burn, at 105:18:42 for 14 seconds, brought the projected entry flight path angle back within safe limits. Nevertheless, yet another burn was needed at 137:40:13, using the LM's reaction control system (RCS) thrusters, for 21.5 seconds. The SM was jettisoned less than half an hour later, allowing the crew to see the damage for the first time, and photograph it. They reported that an entire panel was missing from the SM's exterior, the fuel cells above the oxygen tank shelf were tilted, that the high-gain antenna was damaged, and there was a considerable amount of debris elsewhere. Haise could see possible damage to the SM's engine bell, validating Kranz's decision not to use the SPS.


title: Apollo 13

text: The last problem to be solved was how to separate the lunar module a safe distance away from the command module just before reentry. The normal procedure, in lunar orbit, was to release the LM and then use the service module's RCS to pull the CSM away, but by this point, the SM had already been released. Grumman, manufacturer of the LM, assigned a team of University of Toronto engineers, led by senior scientist Bernard Etkin, to solve the problem of how much air pressure to use to push the modules apart. The astronauts applied the solution, which was successful. The LM reentered Earth's atmosphere and was destroyed, the remaining pieces falling in the deep ocean. Apollo 13's final midcourse correction had addressed the concerns of the Atomic Energy Commission, which wanted the cask containing the plutonium oxide intended for the SNAP-27 RTG to land in a safe place. The impact point was over the Tonga Trench in the Pacific, one of its deepest points, and the cask sank to the bottom. Later helicopter surveys found no radioactive leakage.


title: Apollo 13

text: Ionization of the air around the command module during reentry would typically cause a four-minute communications blackout. Apollo 13's shallow reentry path lengthened this to six minutes, longer than had been expected; controllers feared that the CM's heat shield had failed. "Odyssey" regained radio contact and splashed down safely in the South Pacific Ocean, , southeast of American Samoa and from the recovery ship, USS "Iwo Jima". Although fatigued, the crew was in good condition except for Haise, who had developed a serious urinary tract infection because of insufficient water intake. The crew stayed overnight on the ship and flew to Pago Pago, American Samoa, the next day. They flew to Hawaii, where President Richard Nixon awarded them the Presidential Medal of Freedom, the highest civilian honor. They stayed overnight, and then were flown back to Houston.


title: Apollo 13

text: En route to Honolulu, President Nixon stopped at Houston to award the Presidential Medal of Freedom to the Apollo 13 Mission Operations Team. He originally planned to give the award to NASA administrator Thomas O. Paine, but Paine recommended the mission operations team.


title: Apollo 13

text: Worldwide interest in the Apollo program was reawakened by the incident; television coverage was seen by millions. Four Soviet ships headed toward the landing area to assist if needed, and other nations offered assistance should the craft have to splash down elsewhere. President Nixon canceled appointments, phoned the astronauts' families, and drove to NASA's Goddard Space Flight Center in Greenbelt, Maryland, where Apollo's tracking and communications were coordinated.


title: Apollo 13

text: The rescue received more public attention than any spaceflight to that point, other than the first Moon landing on Apollo 11. There were worldwide headlines, and people surrounded television sets to get the latest developments, offered by networks who interrupted their regular programming for bulletins. Pope Paul VI led a congregation of 10,000 people in praying for the astronauts' safe return; ten times that number offered prayers at a religious festival in India. The United States Senate on April 14 passed a resolution urging businesses to pause at 9:00pm local time that evening to allow for employee prayer.


title: Apollo 13

text: An estimated 40million Americans watched Apollo13's splashdown, carried live on all three networks, with another 30million watching some portion of the six and one-half hour telecast. Even more outside the U.S. watched. Jack Gould of "The New York Times" stated that Apollo13, "which came so close to tragic disaster, in all probability united the world in mutual concern more fully than another successful landing on the Moon would have".


title: Apollo 13

text: Immediately upon the crew's return, NASA Administrator Paine and Deputy Administrator George Low appointed a review boardchaired by NASA Langley Research Center Director Edgar M. Cortright and including Neil Armstrong and six othersto investigate the accident.


title: Apollo 13

text: found that the failure began in the service module's number2 oxygen tank. Damaged Teflon insulation on the wires to the stirring fan inside Oxygen Tank2 allowed the wires to short circuit and ignite this insulation. The resulting fire increased the pressure inside the tank until the tank dome failed, filling the fuel cell bay (SM Sector4) with rapidly expanding gaseous oxygen and combustion products. The pressure rise was sufficient to pop the rivets holding the aluminum exterior panel covering Sector4 and blow it out, exposing the sector to space and snuffing out the fire. The detached panel hit the nearby high-gain antenna, disabling the narrow-beam communication mode and interrupting communication with Earth for 1.8 seconds while the system automatically switched to the backup wide-beam mode. The sectors of the SM were not airtight from each other, and had there been time for the entire SM to become as pressurized as Sector4, the force on the CM's heat shield would have separated the two modules. The report questioned the use of Teflon and other materials shown to be flammable in supercritical oxygen, such as aluminum, within the tank. The board found no evidence pointing to any other theory of the accident.


title: Apollo 13

text: Mechanical shock forced the oxygen valves closed on the number1 and number3 fuel cells, putting them out of commission. The sudden failure of Oxygen Tank2 compromised Oxygen Tank1, causing its contents to leak out, possibly through a damaged line or valve, over the next 130 minutes, entirely depleting the SM's oxygen supply. With both SM oxygen tanks emptying, and with other damage to the SM, the mission had to be aborted. The board praised the response to the emergency: "The imperfection in Apollo 13 constituted a near disaster, averted only by outstanding performance on the part of the crew and the ground control team which supported them."


title: Apollo 13

text: Oxygen Tank 2 was manufactured by the Beech Aircraft Company of Boulder, Colorado, as subcontractor to North American Rockwell (NAR) of Downey, California, prime contractor for the CSM. It contained two thermostatic switches, originally designed for the command module's 28-volt DC power, but which could fail if subjected to the 65 volts used during ground testing at KSC. Under the original 1962 specifications, the switches would be rated for 28 volts, but revised specifications issued in 1965 called for 65 volts to allow for quicker tank pressurization at KSC. Nonetheless, the switches Beech used were not rated for 65 volts.


title: Apollo 13

text: At NAR's facility, Oxygen Tank 2 had been originally installed in an oxygen shelf placed in the Apollo 10 service module, SM-106, but which was removed to fix a potential electromagnetic interference problem and another shelf substituted. During removal, the shelf was accidentally dropped at least , because a retaining bolt had not been removed. The probability of damage from this was low, but it is possible that the fill line assembly was loose and made worse by the fall. After some retesting (which did not include filling the tank with liquid oxygen), in November 1968 the shelf was re-installed in SM-109, intended for Apollo 13, which was shipped to KSC in June 1969.


title: Apollo 13

text: The Countdown Demonstration Test took place with SM-109 in its place near the top of the Saturn V and began on March 16, 1970. During the test, the cryogenic tanks were filled, but Oxygen Tank 2 could not be emptied through the normal drain line, and a report was written documenting the problem. After discussion among NASA and the contractors, attempts to empty the tank resumed on March 27. When it would not empty normally, the heaters in the tank were turned on to boil off the oxygen. The thermostatic switches were designed to prevent the heaters from raising the temperature higher than , but they failed under the 65-volt power supply applied. Temperatures on the heater tube within the tank may have reached , most likely damaging the Teflon insulation. The temperature gauge was not designed to read higher than , so the technician monitoring the procedure detected nothing unusual. This heating had been approved by Lovell and Mattingly of the prime crew, as well as by NASA managers and engineers. Replacement of the tank would have delayed the mission by at least a month. The tank was filled with liquid oxygen again before launch; once electric power was connected, it was in a hazardous condition. The board found that Swigert's activation of the Oxygen Tank2 fan at the request of Mission Control caused an electric arc that set the tank on fire.


title: Apollo 13

text: The board conducted a test of an oxygen tank rigged with hot-wire ignitors that caused a rapid rise in temperature within the tank, after which it failed, producing telemetry similar to that seen with the Apollo 13 Oxygen Tank 2. Tests with panels similar to the one that was seen to be missing on SM Sector4 caused separation of the panel in the test apparatus.


title: Apollo 13

text: For Apollo 14 and subsequent missions, the oxygen tank was redesigned, the thermostats being upgraded to handle the proper voltage. The heaters were retained since they were necessary to maintain oxygen pressure. The stirring fans, with their unsealed motors, were removed, which meant the oxygen quantity gauge was no longer accurate. This required adding a third tank so that no tank would go below half full. The third tank was placed in Bay1 of the SM, on the side opposite the other two, and was given an isolation valve that could isolate it from the fuel cells and from the other two oxygen tanks in an emergency and allow it to feed the CM's environmental system only. The quantity probe was upgraded from aluminum to stainless steel.


title: Apollo 13

text: All electrical wiring in Bay4 was sheathed in stainless steel. The fuel cell oxygen supply valves were redesigned to isolate the Teflon-coated wiring from the oxygen. The spacecraft and Mission Control monitoring systems were modified to give more immediate and visible warnings of anomalies. An emergency supply of of water was stored in the CM, and an emergency battery, identical to those that powered the LM's descent stage, was placed in the SM. The LM was modified to make transfer of power from the LM to the CM easier.


title: Apollo 13

text: On February 5, 1971, Apollo 14's LM, "Antares", landed on the Moon with astronauts Alan Shepard and Edgar Mitchell aboard, near Fra Mauro, the site Apollo 13 had been intended to explore. Haise served as CAPCOM during the descent to the Moon, and during the second EVA, during which Shepard and Mitchell explored near Cone crater.


title: Apollo 13

text: None of the Apollo 13 astronauts flew in space again. Lovell retired from NASA and the Navy in 1973, entering the private sector. Swigert was to have flown on the 1975 Apollo–Soyuz Test Project (the first joint mission with the Soviet Union) but was removed as part of the fallout from the Apollo 15 postal covers incident. He took a leave of absence from NASA in 1973 and left the agency to enter politics, being elected to the House of Representatives in 1982, but died of cancer before he could be sworn in. Haise was slated to have been the commander of the canceled Apollo 19 mission, and flew the Space Shuttle Approach and Landing Tests before retiring from NASA in 1979.


title: Apollo 13

text: Several experiments were completed during Apollo 13, even though the mission did not land on the Moon. One involved the launch vehicle's S-IVB (the Saturn V's third stage), which on prior missions had been sent into solar orbit once detached. The seismometer left by Apollo 12 had detected frequent impacts of small objects onto the Moon, but larger impacts would yield more information about the Moon's crust, so it was decided that, beginning with Apollo 13, the S-IVB would be crashed into the Moon. The impact occurred at 77:56:40 into the mission and produced enough energy that the gain on the seismometer, from the impact, had to be reduced. An experiment to measure the amount of atmospheric electrical phenomena during the ascent to orbitadded after Apollo 12 was struck by lightningreturned data indicating a heightened risk during marginal weather. A series of photographs of Earth, taken to test whether cloud height could be determined from synchronous satellites, achieved the desired results.


title: Apollo 13

text: As a joke, Grumman issued an invoice to North American Rockwell, prime contractor for the CSM, for "towing" the CSM most of the way to the Moon and back. Line items included 400001 miles at $1 each (plus $4 for the first mile); $536.05 for battery charging; oxygen; and four nights at $8 per night for an "additional guest in room" (Swigert). After a 20% "commercial discount", and a 2% discount for timely payment, the final total was $312,421.24. North American declined payment, noting that it had ferried three previous Grumman LMs to the Moon without compensation.


title: Apollo 13

text: The CM was disassembled for testing and parts remained in storage for years; some were used for a trainer for the Skylab Rescue Mission. That trainer was subsequently displayed at the Kentucky Science Center. Max Ary of the Cosmosphere made it a project to restore "Odyssey"; it is on display there, in Hutchinson, Kansas.


title: Apollo 13

text: Apollo 13 was called a "successful failure" by Lovell. Mike Massimino, a Space Shuttle astronaut, stated that Apollo 13 "showed teamwork, camaraderie and what NASA was really made of". The response to the accident has been repeatedly called "NASA's finest hour"; it is still viewed that way. Author Colin Burgess wrote, "the life-or-death flight of Apollo 13 dramatically evinced the colossal risks inherent in manned spaceflight. Then, with the crew safely back on Earth, public apathy set in once again."


title: Apollo 13

text: William R. Compton, in his book about the Apollo Program, said of Apollo 13, "Only a heroic effort of real-time improvisation by mission operations teams saved the crew." Rick Houston and Milt Heflin, in their history of Mission Control, stated, "Apollo 13 proved mission control could bring those space voyagers back home again when their lives were on the line." Former NASA chief historian Roger D. Launius wrote, "More than any other incident in the history of spaceflight, recovery from this accident solidified the world's belief in NASA's capabilities". Nevertheless, the accident convinced some officials, such as Manned Spaceflight Center director Gilruth, that if NASA kept sending astronauts on Apollo missions, some would inevitably be killed, and they called for as quick an end as possible to the program. Nixon's advisers recommended canceling the remaining lunar missions, saying that a disaster in space would cost him political capital. Budget cuts made such a decision easier, and during the pause after Apollo 13, two missions were canceled, meaning that the program ended with Apollo 17 in December 1972.


title: Apollo 13

text: The 1974 movie "Houston, We've Got a Problem", while set around the Apollo 13 incident, is a fictional drama about the crises faced by ground personnel when the emergency disrupts their work schedules and places further stress on their lives. Lovell publicly complained about the movie, saying it was "fictitious and in poor taste".


title: Apollo 13

text: "Houston... We've Got a Problem" was the title of an episode of the BBC documentary series "A Life At Stake", broadcast in March 1978. This was an accurate, if simplified, reconstruction of the events. In 1994, during the 25th anniversary of Apollo 11, PBS released a 90-minute documentary titled "Apollo 13: To the Edge and Back".


title: Apollo 13

text: Following the flight, the crew planned to write a book, but they all left NASA without starting it. After Lovell retired in 1991, he was approached by journalist Jeffrey Kluger about writing a non-fiction account of the mission. Swigert died in 1982 and Haise was no longer interested in such a project. The resultant book, "Lost Moon: The Perilous Voyage of Apollo 13", was published in 1994.


title: Apollo 13

text: The next year, in 1995, a film adaptation of the book, "Apollo 13", was released, directed by Ron Howard and starring Tom Hanks as Lovell, Bill Paxton as Haise, Kevin Bacon as Swigert, Gary Sinise as Mattingly, Ed Harris as Kranz, and Kathleen Quinlan as Marilyn Lovell. James Lovell, Kranz, and other principals have stated that this film depicted the events of the mission with reasonable accuracy, given that some dramatic license was taken. For example, the film changes the tense of Lovell's famous follow-up to Swigert's original words from, "Houston, we've had a problem" to "Houston, we have a problem". The film also invented the phrase "Failure is not an option", uttered by Harris as Kranz in the film; the phrase became so closely associated with Kranz that he used it for the title of his 2000 autobiography. The film won two of the nine Academy Awards it was nominated for, Best Film Editing and Best Sound.


title: Apollo 13

text: In the 1998 miniseries "From the Earth to the Moon", co-produced by Hanks and Howard, the mission is dramatized in the episode "We Interrupt This Program". Rather than showing the incident from the crew's perspective as in the "Apollo 13" feature film, it is instead presented from an Earth-bound perspective of television reporters competing for coverage of the event.


title: Apollo 13

text: In 2020, the BBC World Service began airing "13 Minutes to the Moon", radio programs which draw on NASA audio from the mission, as well as archival and recent interviews with participants. Episodes began airing for Season 2 starting on March 8, 2020, with episode 1, "Time bomb: Apollo 13", explaining the launch and the explosion. Episode 2 details Mission Control's denial and disbelief of the accident, with other episodes covering other aspects of the mission. The seventh and final episode was delayed due to the COVID-19 pandemic. In "Delay to Episode 7", the BBC explained that the presenter of the series, medical doctor Kevin Fong, had been called into service.


title: Apollo 13

text: In advance of the 50th anniversary of the mission in 2020, an Apollo in Real Time site for the mission went online, allowing viewers to follow along as the mission unfolds, view photographs and video, and listen to audio of conversations between Houston and the astronauts as well as between mission controllers. Due to the COVID-19 pandemic, NASA did not hold any in-person events during April 2020 for the flight's 50th anniversary, but premiered a new documentary, "Apollo 13: Home Safe" on April 10, 2020. A number of events were rescheduled for later in 2020.


title: Dionysus

text: Dionysus (; ) is the god of the grape-harvest, winemaking, orchards and fruit, vegetation, fertility, insanity, ritual madness, religious ecstasy, festivity, and theatre in ancient Greek religion and myth. He is also known as Bacchus ( or ; ) by the Greeks. This name was later adopted by the Romans; the frenzy that he induces is "bakkheia". As Eleutherios ("the liberator"), his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His "thyrsus", a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself.


title: Dionysus

text: His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In Orphic religion, he was variously a son of Zeus and Persephone; a chthonic or underworld aspect of Zeus; or the twice-born son of Zeus and the mortal Semele. The Eleusinian Mysteries identify him with Iacchus, the son or husband of Demeter. Most accounts say he was born in Thrace, traveled abroad, and arrived in Greece as a foreigner. His attribute of "foreignness" as an arriving outsider-god may be inherent and essential to his cults, as he is a god of epiphany, sometimes called "the god that comes".


title: Dionysus

text: Wine was a religious focus in the cult of Dionysus and was his earthly incarnation. Wine could ease suffering, bring joy, and inspire divine madness. Festivals of Dionysus included the performance of sacred dramas enacting his myths, the initial driving force behind the development of theatre in Western culture. The cult of Dionysus is also a "cult of the souls"; his maenads feed the dead through blood-offerings, and he acts as a divine communicant between the living and the dead. He is sometimes categorised as a dying-and-rising god.


title: Dionysus

text: Romans identified Bacchus with their own Liber Pater, the "Free Father" of the Liberalia festival, patron of viniculture, wine and male fertility, and guardian of the traditions, rituals and freedoms attached to coming of age and citizenship, but the Roman state treated independent, popular festivals of Bacchus (Bacchanalia) as subversive, partly because their free mixing of classes and genders transgressed traditional social and moral constraints. Celebration of the Bacchanalia was made a capital offence, except in the toned-down forms and greatly diminished congregations approved and supervised by the State. Festivals of Bacchus were merged with those of Liber and Dionysus.


title: Dionysus

text: The "dio-" prefix in Ancient Greek (Diónūsos; /di.ó.nyː.sos/) has been associated since antiquity with "Zeus" (genitive "Dios"), and the variants of the name seem to point to an original "*Dios-nysos". The earliest attestation is the Mycenaean Greek dative form "(di-wo-nu-so)", featured on two tablets that had been found at Mycenaean Pylos and dated to the twelfth or thirteenth century BC. At that time, there could be no certainty on whether this was indeed a theonym, but the 1989–90 Greek-Swedish Excavations at Kastelli Hill, Chania, unearthed, "inter alia", four artefacts bearing Linear B inscriptions; among them, the inscription on item KH Gq 5 is thought to confirm Dionysus's early worship.


title: Dionysus

text: In Mycenaean Greek the form of Zeus is "di-wo". The second element is of unknown origin. It is perhaps associated with Mount Nysa, the birthplace of the god in Greek mythology, where he was nursed by nymphs (the Nysiads), although Pherecydes of Syros had postulated as an archaic word for "tree" by the sixth century BC. On a vase of Sophilos the Nysiads are named (). Kretschmer asserted that () is a Thracian word that has the same meaning as (), a word similar with () (daughter in law, or bride, I-E *snusós, Sanskr. "snusā"). He suggested that the male form is () and this would make Dionysus the "son of Zeus". Jane Ellen Harrison believed that the name Dionysus means "young Zeus". Robert S. P. Beekes has suggested a Pre-Greek origin of the name, since all attempts to find an Indo-European etymology are doubtful.


title: Dionysus

text: Later variants include and in Boeotia; in Thessaly; and in Ionia; and in Aeolia, besides other variants. A prefix is found in other names, such as that of the Dioscures, and may derive from "Dios", the genitive of the name of Zeus.


title: Dionysus

text: Nonnus, in his "Dionysiaca", writes that the name Dionysus means "Zeus-limp" and that Hermes named the new born Dionysus this, "because Zeus while he carried his burden lifted one foot with a limp from the weight of his thigh, and "nysos" in Syracusan language means limping". In his note to these lines, W. H. D. Rouse writes "It need hardly be said that these etymologies are wrong". The "Suda", a Byzantine encyclopedia based on classical sources, states that Dionysus was so named "from accomplishing [διανύειν] for each of those who live the wild life. Or from providing [διανοεῖν] everything for those who live the wild life."


title: Dionysus

text: Academics in the nineteenth century, using study of philology and comparative mythology, often regarded Dionysus as a foreign deity who was only reluctantly accepted into the standard Greek pantheon at a relatively late date, based on his myths which often involve this theme – a god who spends much of his time on earth abroad, and struggles for acceptance when he returns to Greece. However, more recent evidence has shown that Dionysus was in fact one of the earliest gods attested in mainland Greek culture. The earliest written records of Dionysus worship come from Mycenaean Greece, specifically in and around the Palace of Nestor in Pylos, dated to around 1300 BC. The details of any religion surrounding Dionysus in this period are scant, and most evidence comes in the form only of his name, written as "di-wo-nu-su-jo" ("Dionysoio" = 'of Dionysus') in Linear B, preserved on fragments of clay tablets that indicate a connection to offerings or payments of wine, which was described as being "of Dionysoio". References have also been uncovered to "women of Oinoa", the "place of wine", who may correspond to the Dionysian women of later periods.


title: Dionysus

text: Other Mycenaean records from Pylos record the worship of a god named Eleuther, who was the son of Zeus, and to whom oxen were sacrificed. The link to both Zeus and oxen, as well as etymological links between the name Eleuther or Eleutheros with the Latin name Liber Pater, indicates that this may have been another name for Dionysus. According to Károly Kerényi, these clues suggest that even in the thirteenth century BC, the core religion of Dionysus was in place, as were his important myths. At Knossos in Minoan Crete, men were often given the name "Pentheus", who is a figure in later Dionysian myth and which also means "suffering". Kerényi argued that to give such a name to one's child implies a strong religious connection, potentially not the separate character of Pentheus who suffers at the hands of Dionysus' followers in later myths, but as an epithet of Dionysus himself, whose mythology describes a god who must endure suffering before triumphing over it. According to Kerényi, the title of "man who suffers" likely originally referred to the god himself, only being applied to distinct characters as the myth developed.


title: Dionysus

text: The oldest known image of Dionysus, accompanied by his name, is found on a dinos by the Attic potter Sophilos around 570 BC and is located in the British Museum. By the seventh century, iconography found on pottery shows that Dionysus was already worshiped as more than just a god associated with wine. He was associated with weddings, death, sacrifice, and sexuality, and his retinue of satyrs and dancers was already established. A common theme in these early depictions was the metamorphosis, at the hand of the god, of his followers into hybrid creatures, usually represented by both tame and wild satyrs, representing the transition from civilized life back to nature as a means of escape.


title: Dionysus

text: Adoneus, a rare archaism in Roman literature, a Latinised form of Adonis, used as epithet for Bacchus.


title: Dionysus

text: Androgynos "Ἀνδρόγυνος" (androgynous, specifically in intercourse) referring to the god taking both an active male and a passive female role.