Latest news with #Triceratops
Time Out
4 hours ago
- Entertainment
- Time Out
‘Jurassic World Rebirth' locations: the tropical real-life settings behind the dino adventure
The seventh 'Jurassic' movie, Jurassic World Rebirth is a return to form for a franchise that was looked to be going the way of that ailing Triceratops in the Spielberg original. Props to director Gareth Edwards (The Creator) and OG screenwriter David Koepp (Jurassic Park, The Lost World: Jurassic Park) for getting back to basics. Their new action-adventure flings terrifying prehistoric critters – swimming, flying and stomping – at a brave band of under-prepared humans on a lush tropical island and pulls it off in often thrilling style. The movie spans a range of suitably exotic locations, from New York to the Atlantic to the fictional equatorial island of Saint-Hubert, Rebirth 's answer to Isla Nublar off the coast of Costa Rica. To capture its spectacular Central American beaches, valleys and waterfalls, the cast and crew travelled to… South East Asia. Here's where, and how, it all came together. What happens in Jurassic World Rebirth? Dinos may be old hat in the world at large, but humanity hasn't given up on exploiting them for financial gain in the new movie. With a potential cure for heart disease in his sight, slippery pharma exec Martin Krebs (The French Dispatch 's Rupert Friend) assembles a team to head to the forbidden, dinosaur-laden Ile Saint-Hubert and extract the blood from three different species. On the team are Jonathan Bailey's paleontologist Dr Henry Loomis, an acolyte of Jurassic Park 's Alan Grant, who will provide the expertise. Providing the firepower are security consultant Zora Bennett (Scarlett Johansson) and her team leader Duncan Kincaid (Mahershala Ali), plus some extra muscle courtesy of Ed Skrein, But a mishap with a Mosasaurus leaves them, and the shipwrecked Delgado family, ill-equipped, ashore and facing an array of fierce prehistoric beasties – including a few newbies of the 'killer mutant monster' variety. Where was Jurassic World Rebirth filmed? Unlike the original Jurassic Park, which shot its fictional Isla Nublar on the Hawaiian island of Kauai, Edwards turned to Thailand for his Ile Saint-Hubert. Also on the shooting schedule were Brooklyn, a few UK locations and sets, and one of Hollywood's favourite water tanks. Here's where it all happened. The New York dinosaur encounter took place in Dumbo, New York The movie kicks off with Martin Krebs assembling his team in New York. The corporate gun-for-hire gets stuck in a traffic jam caused by a rogue dinosaur. The scene was filmed in Brooklyn's waterfront DUMBO (Down Under the Manhattan Bridge Overpass) area. The museum scene was filmed at the University of Greenwich, London Next stop: the work place of paleontologist Dr Henry Loomis (Bailey), a New York museum that, IRL, was actually London's University of Greenwich. Van Dyke's Bar was filmed in Krabi, Thailand Still on a recruitment drive, Krebs, Bennett and Loomis pitch up at Duncan Kincaid's (Ali) waterside bar, Van Dyke's, to persuade the security operative to join the mission. In the story, this sun-splashed establishment, full of Jaws Easter eggs, is found on the northern coast of South America. To film it, a derelict outdoor café was repurposed in a remote fishing village called Bah Gun. The Mosasaurus attack was shot at Malta Film Studios Taking a yachting holiday through dinosaur-y waters, the unfortunate Delgado family encounter a grumpy Mosasaurus in the Atlantic. Luckily, Duncan's boat, The Essex, is on hand to rescue them – although things only get more perilous from there. Those scenes were filmed at Malta Studios' famous water tanks. 'Malta was one nonstop stunt,' remembers Ali. 'We're working on this rig moving in different ways, getting hit with wind machines and water cannons; they made it very easy to pretend you're at sea!' Ile Saint-Hubert was shot in Thailand To create the fictional island of Saint-Hubert, Gareth Edwards and his team scouted locations in Dominican Republic, Mauritius, Panama and Costa Rica (an early option for Spielberg in the 1993 movie). He settled on 'the very primeval' wilds of Thailand, familiar terrain from his 2023 sci-fi The Creator, with a strong lean toward the latter. 'We sent pictures over to Steven Spielberg,' recalls producer Patrick Crowley, '[and] he said, 'We're done! That's the place.'' 📍 Time Out's essential guide to Thailand The Ile Saint-Hubert beach shipwreck was shot at Ko Kradan, Thailand The southern Thailand island of Ko Kradan was the setting for the shipwreck scenes, when the Delgado clan washes up on Ile Saint-Hubert. Other Thailand locations used include Krabi's Khao Phanom Bencha National Park and Ao Phang Nga National Park in Phang Nga. The T-rex rapids attack was filmed at Lee Valley White Water Centre, UK This white water rapids outside of London was originally created to host the canoe slalom event at the 2012 Olympics. Thirteen years on, it was hosting a T-rex slalom as the Delgado family try to escape the jaws of one of the island's apex predators. Shots of the rapids were blended with footage of a flooded quarry in Thailand to create one of the action set pieces of the year. 📍Here's how to visit Lee Valley White Water Centre The ancient temple was shot at Sky Studios Elstree, UK One of the UK's newest film studios, Sky Studios has hosted Paddington in Peru and Wicked in recent years. In Jurassic World Rebirth, its sound stages were used for a spectacular sequence involving a vicious Quetzalcoatlus nesting in an ancient temple, augmenting footage taken in a Thai national park. Scenes of Zora and her team abseiling into the nest were filmed in a Sky Studios backlot. Other scenes filmed at Sky Studios include the gas station, the abandoned InGen complex, and the tunnel network below Ile Saint-Hubert.
Time of India
5 days ago
- Science
- Time of India
10 birds from the time of dinosaurs and how they looked like
The article explores the evolutionary link between dinosaurs and modern birds, highlighting various bird-like creatures from the Mesozoic Era. Fossils reveal a mix of reptilian and avian traits in these early birds, showcasing the gradual development of flight. These ancient species, though now extinct, provide crucial insights into avian evolution and the origins of modern birds. When we think of dinosaurs, massive creatures like Tyrannosaurus rex or Triceratops come to mind. But what many don't realize is that modern birds are direct descendants of dinosaurs. In fact, some bird-like creatures lived alongside the giant reptiles of the Mesozoic Era. These early birds were part of an interesting evolutionary journey, gradually shifting from reptilian ancestors to the feathered friends we know today. Fossils from millions of years ago reveal that bird-like dinosaurs and early birds coexisted, with many of them showing a mix of traits, like feathers, wings, claws, and teeth. Some could glide, others may have just flapped, and most of those avian ancestors looked far more bizarre than any bird we see now. Though they're extinct, these ancient birds left behind clues that have helped scientists understand how flight evolved and how birds became what they are today. Here are 10 bird species from the age of dinosaurs Archaeopteryx Archaeopteryx lived around 150 million years ago and is often called the first true bird. It had feathered wings like modern birds but also sharp teeth, claws on its wings, and a long, bony tail, clear signs of being dinosaur ancestors. Confuciusornis Confuciusornis appeared around 125 million years ago in China. It had a beak with no teeth and long tail feathers, probably for display. Though it resembled modern birds, it still had clawed fingers and likely wasn't a strong flier. Ichthyornis Living about 90 million years ago, Ichthyornis looked a lot like today's seabirds but with one key difference that it had sharp teeth. Its strong wings and sleek body suggest it was a skilled flier, likely hunting fish by diving into waters from the air. Hesperornis Hesperornis lived in the Late Cretaceous and was more like a prehistoric penguin. It couldn't fly but was an excellent swimmer, using its strong legs and teeth-filled jaws to catch fish in the seas of ancient North America. Jeholornis Jeholornis, from around 120 million years ago, had a long, feathered tail and teeth in its beak. Though it had wings, it probably didn't fly well. It may have used its feathers more for gliding or display than for a stable flight. Rahonavis Rahonavis was a small, feathered creature from Madagascar that lived about 70 million years ago. Though it was tiny, it had strong legs and arms with claws, suggesting it may have been flexible and comfortable in trees and possibly capable of powered flight. Sapeornis Sapeornis lived about 125 million years ago and had a mix of bird and dinosaur traits. It had long wings and could glide or fly short distances. With claws on its wings and a primitive tail, it looked like a bird in making. Enantiornithes This entire group of birds survived during the Cretaceous period but went extinct with the dinosaurs. They had teeth, clawed wings, and varied in size and shape. They were widespread and successful, but no direct descendants survive today. Anchiornis Anchiornis had feathers and wings but wasn't quite a bird. It lived about 160 million years ago and had four feathered limbs both arms and legs, which could be a hint at an early stage in the evolution of flight. It likely glided more than flew. Patagopteryx Patagopteryx lived around 80 million years ago and was completely flightless. About the size of a chicken, it had strong legs for running and small wings that couldn't support flight. It's one of the earliest examples of a bird that adapted to life on the ground.
The Sun
25-06-2025
- Entertainment
- The Sun
BBC's Walking with Dinosaurs returns with second season
HOLLYWOOD has a long history of making villains out of dinosaurs for dramatic and entertainment purposes. Given their immense size and reputation for danger, dinosaurs have been frequently depicted as fearsome monsters. A new BBC Studios documentary, however, shows a gentler side of them. Returning after 25 years, BBC classic documentary series Walking with Dinosaurs follows the lives of six dinosaurs, including the famous T-Rex and Triceratops. It can be watched on BBC Earth via Unifi TV channel 501 or Astro channel 554 on Sundays at 8pm. Each episode interweaves scenes of CGI dinosaur life with the work of scientists uncovering their fossilised remains. BBC head of development Thomas Scott and Dr Nizar Ibrahim, a scientist who worked on the series, spoke to theSun on bringing the documentary to life. How does it feel to bring back the series after 25 years? Scott: It has been a huge honour and a privilege to get the opportunity to do it. We were on the 25th anniversary of the first series and there have been many extraordinary scientific breakthroughs since then. So, between the opportunity to use new visuals and tell new stories, it was the perfect time to do it. The new series has since been watched by millions of people and it is still being watched as it launches in all the different territories. So, it has been an honour and a privilege. Nizar: I grew up watching the first season, which is such an iconic title and series. So, to work on the second series as an established scientist now feels very exciting. It feels surreal because it is something that you experienced as a child. To contribute and write the new chapter for the series was a special experience. Fortunately, the people working on the series felt the same as they were extremely passionate about the project. Everyone wanted to do science justice. Did you feel pressure to live up to or outdo the original series? Scott: I was 14 when the first series came out. I remember watching it with my parents and was inspired to do the degree I did at university and the career I have been doing from watching it. I know the same is true for lots of people in the field. So, you do feel a huge responsibility because you are not just making an amazing piece of television, you are also creating the start of a lifelong passion for palaeontology and science. That is one of the things I love about the series. Nizar: Definitely because the original series set the bar very high. It was this amazing spectacle as many people watched it. But with nostalgia tinting things a little, we tend to forget that there were a few inaccuracies pointed out by palaeontologists and scientists. It is difficult for people to distinguish between things that are directly based on fossils and things that are not. People who do not have background knowledge of palaeontology and natural history, may believe that 90% of what they are watching is made up. All they hear is an authoritative narrator telling them things but do they really know these things? So, with the new series, we are taking it one step further and ensuring viewers are not only entertained but also learn something new. What were some sources you referred to during pre-production? Scott: There is science running through every element of this. Just in terms of the scientists we work with, every episode has a key palaeontologist who is excavating the bones of the individual dinosaur. We work with those experts in the field to tell the stories of what is coming out of the ground. We also work with them to combine our knowledge of science and natural history storytelling to create the story for our individual dinosaurs. In terms of designing the dinosaurs, we work with our scientists, using their academic publications and others. Additionally, we have another layer of experts who are our series consultants who sit across the whole series. Was it easier to re-imagine the legendary creatures with the new visual effects and updated scientific knowledge? Scott: It did not make it easier because it was a different challenge. In the first series, they used a combination of CGI when it was wide shots, long lenses and close-ups. The models were anatomically correct as they could be back then. With pure CGI, you can create more dramatic sequences to build a sense of character. For instance, it enables you to have features and expressions, allowing you to build an emotional bond with the dinosaurs. But some of the CGI made things harder such as putting more feathers on dinosaurs. There is a lot more texture, lighting, colours, shading and complexities going on. But that is a challenge we are happy to embrace. Nizar: It is interesting how some of the movements of the dinosaurs look alien and surprising to some people. It is the first time that many actually see what a T-Rex or an Albertosaurus would actually look like when it is walking. It is supposed to look weird and alien-looking when you actually do it right. If you look at a T-Rex walking in Jurassic Park, it looks more like your typical Hollywood monster and it roars like a lion. But the reality is these animals are like aliens. There is nothing like a T-Rex or a Spinosaurus around today. So, it is interesting to be able to capture the alien nature of these creatures with new CGI. Will this series provide a warmer perception of dinosaurs, given the many violent portrayals of them? Scott: Certainly because we are spending so much time with an individual dinosaur. There is the chance to tell a more complex story of their social structure, their relationship with their offspring or with other members of their pack. You, as a result, get a more rounded sense of what these animals would have been like. You will get to see a Spinosaurus looking after his babies. You will see two Albertosaurs comforting each other after a failed hunt. We want people to walk away thinking that these are not monsters. Nizar: There will be a stark difference. In Hollywood movies, dinosaurs are one-dimensional creatures. They are out to destroy and eat you. Whereas with Walking with Dinosaurs, you see a palette of behaviours such as protecting their offspring, feeding and going on long journeys. You have a richer picture of an animal and not a monster. This rich palette of behaviours is something you only see in Walking with Dinosaurs. Do you think dinosaurs will ever walk this earth again through regenerative cloning? Nizar: No, but we are very fortunate that we still live in an age of dinosaurs. Birds are living dinosaurs and they carry some old fossil genes, which allowed them to switch from their dinosaurian ancestors. So, if you tweak some of those genes, you can make a chicken grow some tooth buds, a long tail and grasping arms. But it still would not be a velociraptor. Instead, it would be a very scary-looking chicken. The genetic material is far too degraded and essentially non-existent in almost all chickens. You might be able to do it one day with extinct mammals such as thylacine and mammoth. It would still be hugely challenging but we might be able to pull that off, but not a T-Rex. Dinosaurs are thousands of times older than most of us. Even if we could, it would not be a good idea as I am sure they will suffer from our human activities. It is probably better for them to be extinct.
The Sun
25-06-2025
- Entertainment
- The Sun
Reimagining prehistoric villains
HOLLYWOOD has a long history of making villains out of dinosaurs for dramatic and entertainment purposes. Given their immense size and reputation for danger, dinosaurs have been frequently depicted as fearsome monsters. A new BBC Studios documentary, however, shows a gentler side of them. Returning after 25 years, BBC classic documentary series Walking with Dinosaurs follows the lives of six dinosaurs, including the famous T-Rex and Triceratops. It can be watched on BBC Earth via Unifi TV channel 501 or Astro channel 554 on Sundays at 8pm. Each episode interweaves scenes of CGI dinosaur life with the work of scientists uncovering their fossilised remains. BBC head of development Thomas Scott and Dr Nizar Ibrahim, a scientist who worked on the series, spoke to theSun on bringing the documentary to life. How does it feel to bring back the series after 25 years? Scott: It has been a huge honour and a privilege to get the opportunity to do it. We were on the 25th anniversary of the first series and there have been many extraordinary scientific breakthroughs since then. So, between the opportunity to use new visuals and tell new stories, it was the perfect time to do it. The new series has since been watched by millions of people and it is still being watched as it launches in all the different territories. So, it has been an honour and a privilege. Nizar: I grew up watching the first season, which is such an iconic title and series. So, to work on the second series as an established scientist now feels very exciting. It feels surreal because it is something that you experienced as a child. To contribute and write the new chapter for the series was a special experience. Fortunately, the people working on the series felt the same as they were extremely passionate about the project. Everyone wanted to do science justice. Did you feel pressure to live up to or outdo the original series? Scott: I was 14 when the first series came out. I remember watching it with my parents and was inspired to do the degree I did at university and the career I have been doing from watching it. I know the same is true for lots of people in the field. So, you do feel a huge responsibility because you are not just making an amazing piece of television, you are also creating the start of a lifelong passion for palaeontology and science. That is one of the things I love about the series. Nizar: Definitely because the original series set the bar very high. It was this amazing spectacle as many people watched it. But with nostalgia tinting things a little, we tend to forget that there were a few inaccuracies pointed out by palaeontologists and scientists. It is difficult for people to distinguish between things that are directly based on fossils and things that are not. People who do not have background knowledge of palaeontology and natural history, may believe that 90% of what they are watching is made up. All they hear is an authoritative narrator telling them things but do they really know these things? So, with the new series, we are taking it one step further and ensuring viewers are not only entertained but also learn something new. What were some sources you referred to during pre-production? Scott: There is science running through every element of this. Just in terms of the scientists we work with, every episode has a key palaeontologist who is excavating the bones of the individual dinosaur. We work with those experts in the field to tell the stories of what is coming out of the ground. We also work with them to combine our knowledge of science and natural history storytelling to create the story for our individual dinosaurs. In terms of designing the dinosaurs, we work with our scientists, using their academic publications and others. Additionally, we have another layer of experts who are our series consultants who sit across the whole series. Was it easier to re-imagine the legendary creatures with the new visual effects and updated scientific knowledge? Scott: It did not make it easier because it was a different challenge. In the first series, they used a combination of CGI when it was wide shots, long lenses and close-ups. The models were anatomically correct as they could be back then. With pure CGI, you can create more dramatic sequences to build a sense of character. For instance, it enables you to have features and expressions, allowing you to build an emotional bond with the dinosaurs. But some of the CGI made things harder such as putting more feathers on dinosaurs. There is a lot more texture, lighting, colours, shading and complexities going on. But that is a challenge we are happy to embrace. Nizar: It is interesting how some of the movements of the dinosaurs look alien and surprising to some people. It is the first time that many actually see what a T-Rex or an Albertosaurus would actually look like when it is walking. It is supposed to look weird and alien-looking when you actually do it right. If you look at a T-Rex walking in Jurassic Park, it looks more like your typical Hollywood monster and it roars like a lion. But the reality is these animals are like aliens. There is nothing like a T-Rex or a Spinosaurus around today. So, it is interesting to be able to capture the alien nature of these creatures with new CGI. Will this series provide a warmer perception of dinosaurs, given the many violent portrayals of them? Scott: Certainly because we are spending so much time with an individual dinosaur. There is the chance to tell a more complex story of their social structure, their relationship with their offspring or with other members of their pack. You, as a result, get a more rounded sense of what these animals would have been like. You will get to see a Spinosaurus looking after his babies. You will see two Albertosaurs comforting each other after a failed hunt. We want people to walk away thinking that these are not monsters. Nizar: There will be a stark difference. In Hollywood movies, dinosaurs are one-dimensional creatures. They are out to destroy and eat you. Whereas with Walking with Dinosaurs, you see a palette of behaviours such as protecting their offspring, feeding and going on long journeys. You have a richer picture of an animal and not a monster. This rich palette of behaviours is something you only see in Walking with Dinosaurs. Do you think dinosaurs will ever walk this earth again through regenerative cloning? Nizar: No, but we are very fortunate that we still live in an age of dinosaurs. Birds are living dinosaurs and they carry some old fossil genes, which allowed them to switch from their dinosaurian ancestors. So, if you tweak some of those genes, you can make a chicken grow some tooth buds, a long tail and grasping arms. But it still would not be a velociraptor. Instead, it would be a very scary-looking chicken. The genetic material is far too degraded and essentially non-existent in almost all chickens. You might be able to do it one day with extinct mammals such as thylacine and mammoth. It would still be hugely challenging but we might be able to pull that off, but not a T-Rex. Dinosaurs are thousands of times older than most of us. Even if we could, it would not be a good idea as I am sure they will suffer from our human activities. It is probably better for them to be extinct.
Boston Globe
20-06-2025
- Science
- Boston Globe
Take me to the river: The many ways to enjoy the Charles this summer
Many bridges over the Charles get more attention, but the Charles River Dam and locks are the most critical pieces of infrastructure. They shut out the sea and modulate the height of the river's waters, turning otherwise tidal mudflats into the placid lake-like basin we know and love. The dam and locks, which were completed in 1978, definitely deserve a look. From North Station, walk past Lovejoy Wharf (with the flagship brewery and restaurant of Night Shift Brewing) through the parking lot to reach the footpath over the locks. When you walk across the dam from the West End to Charlestown you might even get lucky and see the locks in action. If not, you can still check out the massive gears that enable them to open and close. Before stepping into Charlestown, strike a melodious note on the gongs of Paul Matisse's 'Charlestown Bells.' It's the first of many public art installations you'll encounter along the river banks. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up This playground in Paul Revere Park is on the Charlestown side of the Charles River Dam. David Lyon Advertisement The Zakim Bridge dominates the skyline here, yet some surprising green spaces have sprouted in its shadows. Paul Revere Park features playgrounds and ballfields, while the gracefully arching North Bank Bridge leads to North Point Park in Cambridge with another playground and spray pad. Directly under the elevated roadways, the scoops and ridges of the Lynch Family Skatepark boast a coat of colorful (and sanctioned) graffiti. Follow the water around a basin to Museum Way, which deposits you at the Museum of Science atop the original 1910 Charles River Dam and locks. Advertisement In the Museum of Science, the Yawkey Gallery on the Charles River offers interactive exhibits to learn about the natural science and the engineering of the river. David Lyon The museum is perhaps the ultimate destination for nerdy fun. There's no shortage of gee-whiz exhibits (such as the lightning bolts in the Theater of Electricity or a 65-million-year-old Triceratops skeleton), but the Yawkey Gallery on the Charles River holds its own. It may have huge windows on the river, but kids are more drawn to the interactive exhibits that combine natural history lessons with scale-model engineering puzzles about water quality and flood control. They can build variations on bridges and water control gates or even crawl around in a simulated sewer system. Cute life-size bronze statues of turtles, ducks, an otter, and a muskrat bring the river fauna inside. The bow of the ‶Henry Longfellow″ cruise vessel offers broad views of the Charles River. David Lyon ON THE WATER Feeling lazy? The Charles River Boat Company offers leisurely 70-minute cruises. Leaving from Lechmere Canal on the Cambridge side, the boat glides past rowers, sailors, and flocks of waterfowl up the river to the John W. Weeks Footbridge and back. You'll look from side to side as a guide points out landmarks along the banks, including the Back Bay skyscrapers and the 100-foot-diameter Great Dome of MIT. Keep your eyes peeled for the CSX Railroad Bridge below the BU Bridge, popular with graffiti artists. Many of the tags represent the logos of crew teams from various universities. Just upriver of the Harvard (Mass. Ave.) Bridge, the vibrant ‶Patterned Behavior″ mural by Silvia López Chavez along the multiuse path got a fresh coat of paint this spring. Advertisement Kayakers head out of Broad Canal into the Charles River basin toward the Longfellow Bridge. David Lyon If you'd rather move at your own pace, rent a kayak at Paddle Boston's Kendall Square location. You might not travel as far under your own power, but you'll be sitting inches off the water the whole way. Yes, you will get wet, but the water quality of the Charles has come a long way since the 1990s. This is the best way to admire the blue herons stalking prey in the shallows along the shores, to study the underbellies of the bridges, or to paddle through the lagoons of the Charles River Esplanade. Famed for the July 4 Pops concert, the Hatch Shell is a focal point of the Charles River Esplanade. David Lyon GREEN BANKS The Charles River Esplanade between the Longfellow and Harvard bridges is the best-known stretch of riverbank, thanks to the Boston Pops concert and fireworks on Independence Day. From the Longfellow Bridge, you'll pass Community Boating — another chance to rent a kayak, or, for experienced sailors, a small keelboat. The heart of the Esplanade, though, is the Hatch Shell. The Art Deco concert stage, which predates World War II, doesn't go dark after July 4. It's a summer-long venue for concerts and movies. Among the statues ringing the field in front of the shell, the presiding spirit is the bronze of philanthropist David G. Mugar, who introduced pyrotechnics to the July 4 Pops concert. He famously told legendary Boston Pops conductor Arthur Fiedler, 'You bring the music, and I'll bring the fireworks.' Cross any of the bridges over the lagoon to see the monumental bust of Fiedler. Night Shift Brewing operates a beer garden on the Charles River Esplanade. David Lyon Picnic tables and benches make this stretch an excellent area to spread a repast. Or check out the Night Shift Beer Garden, where there's often at least one food truck operating next to the beer taps. If you have kids in tow, you'll find a playground near the beer garden and another farther upriver closer to the Harvard Bridge. Advertisement Charles River Boat Company runs river cruises from the Lechmere Canal behind the CambridgeSide mall. David Lyon BUCOLIC BASIN It's a little more than a five-mile walk upriver from the Hatch Shell to Christian Herter Park in Brighton. For a less ambitious walk, start at the John W. Weeks Footbridge at the bottom of DeWolfe Street outside Harvard Square in Cambridge. You'll have great views of the winding river from atop the bridge — a prime viewpoint to watch rowing regattas. Cross to the Boston side, where the footpath skirts the roadway until you reach an underpass at the Eliot Bridge. Christian Herter Park is the largest park on the Charles River basin. David Lyon Suddenly, the narrow way opens into the sprawling meadow of Herter Park, the largest section of open parkland along the Charles River basin. It's big enough to include a playground and spray fountain, a large green lawn favored by volleyball and badminton players, a Night Shift beer garden, a 350-seat amphitheater for outdoor music and theater performances, and another Paddle Boston rental kiosk. Kayakers often rent here to explore the tranquil upper reaches of the river basin, where ducks, geese, and swans paddle on the water and red-winged blackbirds flit in the marshy borders. This monumental bust of Arthur Fiedler on Charles River Esplanade is constructed of stacked aluminum slabs. David Lyon This should be enough to fill several summer weekends in the city. And when you're done, the Charles continues upriver another 70 miles or so to Echo Lake in Hopkinton. Patricia Harris and David Lyon can be reached at . Paddle Boston's kayak and paddleboard kiosk in Christian Herter Park is a good place to rent a watercraft to explore the more tranquil upriver portion of the Charles River basin. David Lyon If you go … For schedule of Free Friday Flicks at the Esplanade see . For the schedule of Landmarks Orchestra performances at the Hatch Shell, see Advertisement For information on the July 12 Charles River Jazz Festival at the Herter Park Amphitheater see For more on public art, see Night Shift Brewing 617-456-7687, 1 Lovejoy Wharf, Boston Mon.-Thu. 3-9 p.m., Fri.-Sat. 11:30 a.m.-11 p.m., Sun. 11:30 a.m.-8 p.m. Charles River Esplanade Beer Garden Wed.-Fri. 4-10 p.m., Sat. noon-10 p.m., Sun. noon-8 p.m. Christian Herter Park Beer Garden Thu.-Fri. 4-10 p.m., Sat. noon-10 p.m., Sun. noon-8 p.m. Museum of Science 1 Science Park, Boston 617-723-2500, Open daily 9 a.m.-5 p.m. Adults, $31; seniors, $27; ages 3-11, $26 Charles River Boat Company 100 Cambridgeside Place (Lechmere Canal), Cambridge 617-621-3001, Sightseeing tours at 12:30 p.m., 2 p.m., and 3:30 p.m., daily through Sept. 1, Wed.-Sun. Sept. 23-28. Adults, $28.50; seniors and students, $25.50; under age 12, $19; under age 3, $5 Paddle Boston 617-965-5110, Kendall Square, Cambridge 15 Broad Canal Way Allston/Brighton 1071 Soldiers Field Road Check website for hours and weather conditions Kayaks, paddleboards, and canoes, $33-$85 Community Boating 21 David G. Mugar Way 617-523-1038, Kayaks and paddleboards, $40; keelboat for up to 4 people, $99 Check website for hours Silvia López Chavez's ‶Patterned Behavior″ mural brightens the Charles River walking/cycling path. David Lyon Patricia Harris can be reached at
