There will be one:

You might depart the theater after Gravity with mixed emotions about going to space yourself. Cuaron’s tracking shots and sweeping vistas of the blue marble below evoke a sort of spiritual response, especially in the spaces between suspense when the movie gets quiet. Of course, the Bullock and Clooney spend much of the film spinning and flailing in mortal danger, dodging hunks of metal that become ballistic missiles at orbital speed. Jones sees Gravity as appearing amid a rising wave of interest in space brought on by the emerging private space industry, and that’s a hopeful trend. But humanity has to be realistic about risk assessment, and ready for the high drama of trying to rescue space travelers after a disaster in orbit. Perhaps when space travel becomes common, and not simply the domain of professional astronauts, we’ll treat space disasters like plane crashes—tragedies that can be made extremely uncommon, but never eliminated. And that will be a good thing.

Yes. That’s the fundamental premise of my book.