A 107-Year-Old Irish Farmer Reflects on the Changes He’s Seen During His Life (1965)

Talk to a clear-head­ed 107-year-old today, and you could expect to hear sto­ries of ado­les­cence in the Great Depres­sion, or — if you’re lucky — the Jazz Age seen through a child’s eyes. It’s no com­mon expe­ri­ence to have been formed by the age of radio and live deep into the age of the smart­phone, but arguably, Michael Fitz­patrick lived through even greater civ­i­liza­tion­al trans­for­ma­tion. Born in Ire­land in 1858, he sat for the inter­view above 107 years lat­er in 1965, which was broad­cast on tele­vi­sion. That device was well on its way to sat­u­rat­ing West­ern soci­ety at the time, as the auto­mo­bile already had, while mankind was tak­ing to the skies in jet­lin­ers and even to the stars in rock­et ships.

The con­trast between the world into which Fitz­patrick was born and the one in which he even­tu­al­ly found him­self is made stark­er by his being a son of the land. A life­long farmer, he can hon­est­ly reply, when asked to name the biggest change he’s seen, “Machin­ery.”

Not all of his answers come across quite so clear­ly, owing to his thick dialect that must sure­ly have gone extinct by now, even in rur­al Ire­land. Luck­i­ly, the video comes with sub­ti­tles, mak­ing it eas­i­er to under­stand what he has to say about the advent of the “mow­ing machine” and his mem­o­ries of the Bodyke evic­tions of the eigh­teen-eight­ies, when mêlées broke out over a local land­lord’s attempt to oust his des­ti­tute ten­ants.

One can come up with vague­ly anal­o­gous events to the Bodyke evic­tions in the mod­ern world, but in essence, they belong to the long stretch of his­to­ry when to be human meant to engage in agri­cul­ture, or to over­see it. The Indus­tri­al Rev­o­lu­tion did­n’t hap­pen at the same pace every­where at once, and indeed, Fitz­patrick lived the first part of his life in an effec­tive­ly pre-indus­tri­al real­i­ty, before wit­ness­ing the scarce­ly believ­able process of mech­a­niza­tion take place all around him. He expe­ri­enced, in oth­er words, the arrival of the civ­i­liza­tion into which we were all born, and to which we know no alter­na­tive. As for those of us of a cer­tain age today, we can expect to be asked six or sev­en decades hence — assum­ing we can go the dis­tance — what life was like with only dial-up inter­net.

Relat­ed con­tent:

Real Inter­views with Peo­ple Who Lived in the 1800s

Philoso­pher Bertrand Rus­sell Talks About the Time When His Grand­fa­ther Met Napoleon

1400 Engrav­ings from the 19th Cen­tu­ry Flow Togeth­er in the Short Ani­ma­tion “Still Life”

A Rare Smile Cap­tured in a 19th Cen­tu­ry Pho­to­graph

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Empire Without Limit: Watch Mary Beard’s TV Series on Ancient Rome

As the found­ing myth has it, the city of Rome was estab­lished by a man named Romu­lus, one of two orphaned twin broth­ers raised by a she-wolf on the banks of the Tiber riv­er. The leg­end of Romu­lus and Remus, which involves the for­mer’s frat­ri­ci­dal slay­ing of the lat­ter, lends itself to strik­ing imagery, though it also gives forth more ques­tions than answers. “The Latin for wolf, lupa, also means pros­ti­tute,” for exam­ple, “so was it actu­al­ly a pros­ti­tute who came to the res­cue?” So asks his­to­ri­an Mary Beard in Rome: Empire With­out Lim­it, a four-part series you can watch in its entire­ty above.

In a sense, the sto­ry works either way: the mor­tal clash of broth­er against broth­er makes for a recur­ring metaphor­i­cal theme in the long his­to­ry of Rome, but so does the irre­press­ible pow­er of com­merce. Criss­cross­ing the Euro­pean con­ti­nent, Great Britain, the Mediter­ranean, and Africa by car, boat, bicy­cle, sub­way train, and above all on foot, Beard uses the traces of the might­i­est ancient empire to explain how the whole oper­a­tion actu­al­ly worked, and what its day-to-day expe­ri­ence was like for its sub­jects. When it orig­i­nal­ly aired in 2016, Empire With­out Lim­it fol­lowed up her acclaimed book SPQR: A His­to­ry of Ancient Rome, which cov­ers some of the same themes.

Those who’ve fol­lowed Beard’s work in print, on tele­vi­sion, or in oth­er media know that her ver­sion of Roman his­to­ry is hard­ly anoth­er suc­ces­sion of emper­ors and mil­i­tary cam­paigns. While she does devote time to dis­cussing such sig­nal fig­ures as Julius Cae­sar (who def­i­nite­ly did­n’t say “Et tu, Brute?”), Augus­tus, Hadri­an, and Con­stan­tine, she dis­plays equal or greater inter­est in a four-year-old sil­ver min­er in what’s now Spain, say, or an anony­mous young woman the shape of whose skull sug­gests the extent of migra­tion with­in the empire. And just as wor­thy of con­sid­er­a­tion as any par­tic­u­lar Roman cit­i­zen­ship is the con­cept of Roman cit­i­zen­ship itself, which ulti­mate­ly extend­ed across the vastest empire the world had ever known.

All roads lead to Rome, as the say­ing goes, and in the hey­day of the Roman empire, as Beard points out, it was actu­al­ly true. The ancient Romans were the first to build what she calls “a joined-up world,” where get­ting on a path in Rome and fol­low­ing it could get you all the way to places like Spain or Greece. (And also unprece­dent­ed­ly, you could take a glance at mile mark­ers along that road and imme­di­ate­ly “place your­self in the world.”) Roman dom­i­nance may have end­ed long ago, but the parts of the world have con­tin­ued to join up in much the same way since, and indeed, the broad Roman world­view sur­vives. As Beard puts it, “there’s a lit­tle bit of the Romans in the head of every one of us” — espe­cial­ly those of us who think about their empire every day.

Relat­ed con­tent:

The His­to­ry of Ancient Rome in 20 Quick Min­utes: A Primer Nar­rat­ed by Bri­an Cox

A Map Show­ing How the Ancient Romans Envi­sioned the World in 40 AD

How Rome Began: The His­to­ry As Told by Ancient His­to­ri­ans

Is Amer­i­ca Declin­ing Like Ancient Rome?

Do You Think About Ancient Rome Every Day? Then Browse a Wealth of Videos, Maps & Pho­tos That Explore the Roman Empire

Rick Steves’ Europe: Binge Watch 11 Sea­sons of America’s Favorite Trav­el­er Free Online

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A New 20-Minute Supercut of David Letterman Slamming CBS: “You Can’t Spell CBS Without BS”

The can­cel­la­tion of The Late Show with Stephen Col­bert—CBS insists it was pure­ly a “finan­cial deci­sion,” the result of declin­ing ad rev­enue in late night tele­vi­sion. While some buy this argu­ment, oth­ers see it as a dif­fer­ent kind of “finan­cial deci­sion,” a deci­sion by Para­mount (the par­ent com­pa­ny of CBS) to sac­ri­fice Col­bert so that the Amer­i­can pres­i­dent won’t can­cel a lucra­tive $28-bil­lion merg­er. Yes­ter­day, David Let­ter­man, the pre­vi­ous host of CBS’ The Late Show, released a 20-minute super­cut fea­tur­ing the many times he took CBS to task over the years. The sub­text? He does­n’t seem to buy CBS’s talk­ing points. Nor does Jon Stew­art. More direct than Let­ter­man, Stew­art gives his own take on why CBS can­celed Col­bert: “I think the answer is in the fear and pre-com­pli­ance that is grip­ping all of Amer­i­ca’s insti­tu­tions at this very moment, insti­tu­tions that have cho­sen not to fight the venge­ful and vin­dic­tive actions of our pubic-hair-doo­dling com­man­der-in-chief. This is not the moment to give in. I’m not giv­ing in. I’m not going any­where.” Note to read­er: Jon Stew­art’s The Dai­ly Show airs on Com­e­dy Cen­tral, which is owned by Para­mount.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Stephen Col­bert Reads Flan­nery O’Connor’s Dark­ly Comedic Sto­ry, “The Endur­ing Chill”

Isaac Asi­mov Pre­dicts the Future on The David Let­ter­man Show (1980)

Hunter S. Thompson’s Many Strange, Unpre­dictable Appear­ances on The David Let­ter­man Show

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Ridley Scott’s Cinematic TV Commercials: An 80-Minute Compilation Spanning 1968–2023

“In the future, e‑mail will make the writ­ten word a thing of the past,” declares the nar­ra­tion of a 1999 tele­vi­sion com­mer­cial for Orange, the French tele­com giant. “In the future, we won’t have to trav­el; we’ll meet on video. In the future, we won’t need to play in the wind and rain; com­put­er games will pro­vide all the fun we need. And in the future, man won’t need woman, and woman won’t need man.” Not in our future, the voice has­tens to add, speak­ing for Orange’s cor­po­rate vision: a bit of irony to those of us watch­ing here in 2025, who could be for­giv­en for think­ing that the pre­dic­tions lead­ing up to it just about sum up the progress of the twen­ty-first cen­tu­ry so far. Nor will it sur­prise us to learn that the spot was direct­ed by Rid­ley Scott, that cin­e­mat­ic painter of dystopi­an sheen.

Bleak futures con­sti­tute just one part of Scot­t’s adver­tis­ing port­fo­lio. Watch above through the fea­ture-length com­pi­la­tion of his com­mer­cials (assem­bled by the YouTube chan­nel Shot, Drawn & Cut), and you’ll see dens of Croe­san wealth, deep-sea expe­di­tions, the trench­es of the Great War, the wastes of the Aus­tralian out­back, acts of Cold War espi­onage, a dance at a neon-lined nine­teen-fifties din­er, and the arrival of space aliens in small-town Amer­i­ca — who turn out just to be stop­ping by for a Pep­si.

Not that Scott is a brand loy­al­ist: that he did a good deal of work for Amer­i­ca’s sec­ond-biggest soda brand, some of them not just Mia­mi Vice-themed but star­ring Don John­son him­self, did­n’t stop him from also direct­ing a Coca-Cola spot fea­tur­ing Max Head­room. The decade was, of course, the nine­teen eight­ies, at the begin­ning of which Scott made his most endur­ing mark as a visu­al styl­ist with Blade Run­ner.

A series of spots for Bar­clays bank (whose indict­ments of com­put­er­ized ser­vice now seem pre­scient about our fast-approach­ing AI-“assisted” real­i­ty) hew so close­ly to the Blade Run­ner aes­thet­ic that they might as well have been part of the same pro­duc­tion. But of Scot­t’s dystopi­an adver­tise­ments, none are more cel­e­brat­ed than the Super Bowl spec­ta­cle for the Apple Mac­in­tosh in which a ham­mer-throw­er smash­es a Nine­teen Eighty-Four-style dic­ta­tor-on-video. The com­pi­la­tion also includes a less wide­ly remem­bered com­mer­cial for the Mac­in­tosh’s tech­ni­cal­ly inno­v­a­tive but com­mer­cial­ly failed pre­de­ces­sor, the Apple Lisa. So asso­ci­at­ed did Scott become with cut­ting-edge tech­nol­o­gy that it’s easy to for­get that he rose up through the adver­tis­ing world of his native Britain by mak­ing big impacts, over and over, for down­right quaint brands: Hov­is bread, McDougal­l’s pas­try mix, Find­us frozen fish pies.

It may seem a con­tra­dic­tion that Scott, long prac­ti­cal­ly syn­ony­mous with the large-scale Hol­ly­wood genre block­buster, would have start­ed out by craft­ing such nos­tal­gia-suf­fused minia­tures. And it would take an inat­ten­tive view­er indeed not to note that the man who over­saw the defin­i­tive cin­e­mat­ic vision of a men­ac­ing Asia-inflect­ed urban dystopia would go on to make com­mer­cials for the Sony Mini­Disc and the Nis­san 300ZX. It all makes more sense if you take Scot­t’s artis­tic inter­ests as hav­ing less to do with cul­ture and more to do with bureau­cra­cy, archi­tec­ture, machin­ery, and oth­er such sys­tems in which human­i­ty is con­tained: so nat­ur­al a fit for the realm of adver­tis­ing that it’s almost a sur­prise he’s made fea­tures at all. And indeed, he con­tin­ues to do ad work, bring­ing movie-like grandeur to mul­ti-minute pro­mo­tions for brands like Hen­nessy and Turk­ish Air­lines — each one intro­duced as “a Rid­ley Scott film.”

Relat­ed con­tent:

Rid­ley Scott Demys­ti­fies the Art of Sto­ry­board­ing (and How to Jump­start Your Cre­ative Project)

See Rid­ley Scott’s 1973 Bread Com­mer­cial — Vot­ed England’s Favorite Adver­tise­ment of All Time

Watch Rid­ley Scott’s Con­tro­ver­sial Nis­san Sports Car Ad That Aired Only Once, Dur­ing the Super Bowl (1990)

Rid­ley Scott on the Mak­ing of Apple’s Icon­ic “1984” Com­mer­cial, Aired on Super Bowl Sun­day in 1984

Watch The Jour­ney, the New Rid­ley Scott Short Film Teased Dur­ing the Super Bowl

Rid­ley Scott Walks You Through His Favorite Scene from Blade Run­ner

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

When The Twilight Zone Imagined Fascism in America in a 1963 Episode Starring Dennis Hopper

Watch through The Twi­light Zone, and you’ll find your­self spot­ting no end of famil­iar faces: Julie New­mar, Burt Reynolds, Robert Red­ford, Eliz­a­beth Mont­gomery, William Shat­ner, even Buster Keaton. The 1963 episode “He’s Alive” is at least dou­bly notable in that respect, fea­tur­ing as it does a young (but in act­ing sen­si­bil­i­ty, almost ful­ly formed) Den­nis Hop­per as Peter Vollmer, a ne’er-do-well made into an aspir­ing dic­ta­tor by none oth­er than Adolf Hitler. Played by Curt Con­way, a spe­cial­ist in doc­tors, judges, and oth­er author­i­ty fig­ures, the undead Führer offers his young dis­ci­ple instruc­tions like the above, from an ear­ly scene before his iden­ti­ty is revealed.

“How do you move a mob, Mr. Vollmer? How do you excite them? How do you make them feel as one with you?” Hitler asks. The answer, which he then pro­vides, is first to join them: “When you speak to them, speak to them as if you were a mem­ber of the mob. Speak to them in their lan­guage, on their lev­el. Make their hate your hate. If they are poor, talk to them of pover­ty. If they are afraid, talk to them of their fears. And if they are angry, Mr. Vollmer… if they are angry, give them objects for their anger. But most of all, the thing that is most of the essence, Mr. Vollmer, is that you make this mob an exten­sion of your­self.”

If accused of scape­goat­ing minori­ties, he should address the throng thus: “Should I tell you who are the minori­ties? Should I tell you? We! We are the minori­ties.” Soon, we see Peter in full neo-Nazi gear deliv­er­ing just such a harangue, thor­ough­ly Hop­per-ized in dic­tion, to a mod­est­ly attend­ed ral­ly. How could these ordi­nary-look­ing atten­dees be a minor­i­ty? “Because patri­o­tism is a minor­i­ty. Because love of coun­try is the minor­i­ty. Because to live in a free, white Amer­i­ca seems to be of a minor­i­ty opin­ion!” Though hard­ly art­ful, this rhetoric even­tu­al­ly makes him into a pop­u­lar fig­ure, albeit one whose rise is cut short when he turns to con­spir­a­cy to accel­er­ate his rise to pow­er.

And what of the spir­it of Hitler? “Where will he go next, this phan­tom from anoth­er time, this res­ur­rect­ed ghost of a pre­vi­ous night­mare?” Twi­light Zone cre­ator Rod Ser­ling asks in his episode-clos­ing mono­logue. “Any place, every place where there’s hate, where there’s prej­u­dice, where there’s big­otry.” It was against such broad social phe­nom­e­na that Ser­ling so often used his scripts to argue, and with “He’s Alive,” he made use of an unusu­al­ly vivid ide­o­log­i­cal exam­ple. A vet­er­an of the Sec­ond World War, which had end­ed less than twen­ty years ear­li­er, Ser­ling sure­ly had even fresh­er mem­o­ries of the threat of Hitler than did the gen­er­al Amer­i­can pub­lic — and under­stood even more clear­ly what could hap­pen if those mem­o­ries were to fade away.

Relat­ed con­tent:

When Rod Ser­ling Turned TV Pitch­man: See His Post-Twi­light Zone Ads for Ford, Maz­da, Gulf Oil & Smokey Bear

When 20,000 Amer­i­cans Held a Pro-Nazi Ral­ly in Madi­son Square Gar­den

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Puppets of Fyodor Dostoevsky, Charles Dickens & Edgar Allan Poe Star in 1957 Frank Capra Educational Film

Pro­duced between 1956 and 1964 by AT&T, the Bell Tele­phone Sci­ence Hour TV spe­cials antic­i­pate the lit­er­ary zani­ness of The Mup­pet Show and the sci­en­tif­ic enthu­si­asm of Cos­mos. The “ship of the imag­i­na­tion” in Neil DeGrasse Tyson’s Cos­mos reboot may in fact owe some­thing to the episode above, one of nine, direct­ed by none oth­er than It’s A Won­der­ful Life’s Frank Capra. “Strap on your wits and hop on your mag­ic car­pet,” begins the spe­cial, “You’ve got one, you know: Your imag­i­na­tion.” As a guide for our imag­i­na­tion, The Strange Case of the Cos­mic Rays enlists the humanities—specifically three pup­pets rep­re­sent­ing Edgar Allan Poe, Charles Dick­ens, and, some­what incon­gru­ous­ly for its detec­tive theme, Fyo­dor Dos­toyevsky, who plays the foil as an incu­ri­ous spoil­sport. The show’s host, Frank Bax­ter (“Dr. Research”) was actu­al­ly a pro­fes­sor of Eng­lish at UCLA and appears here with Richard Carl­son, explain­ing sci­en­tif­ic con­cepts with con­fi­dence.

The one-hour films became very pop­u­lar as tools of sci­ence edu­ca­tion, but there are good reasons—other than their dat­ed­ness or Dr. Baxter’s expertise—to approach them crit­i­cal­ly. At times, the degree of spec­u­la­tion indulged by Bax­ter and the writ­ers strains creduli­ty. For exam­ple, writes Geoff Alexan­der in Aca­d­e­m­ic Films for the Class­room: A His­to­ry, 1958’s The Unchained God­dess (above) “intro­duces the view­er to bizarre con­cepts such as the pos­si­bil­i­ty of ‘steer­ing’ hur­ri­canes away from land by cre­at­ing bio-haz­ards such as ocean borne oil-slicks and intro­duc­ing oil-based ocean fires.” These grim, fos­sil fuel indus­try-friend­ly sce­nar­ios nonethe­less open­ly acknowl­edged the pos­si­bil­i­ty of man-made cli­mate change and looked for­ward to solar ener­gy.

Along with some dystopi­an weird­ness, the series also con­tains a good deal of explic­it Chris­t­ian pros­e­ly­tiz­ing, thanks to Capra. As a con­di­tion for tak­ing the job, “the renowned direc­tor would be allowed to embed reli­gious mes­sages in the films.” As Capra him­self said to AT&T pres­i­dent Cleo F. Craig:

If I make a sci­ence film, I will have to say that sci­en­tif­ic research is just anoth­er expres­sion of the Holy Spir­it… I will say that sci­ence, in essence, is just anoth­er facet of man’s quest for God.

At times, writes Alexan­der, “the reli­gious per­spec­tive is tak­en to extremes,” as in the first episode, Our Mr. Sun, which begins with a quo­ta­tion from Psalms and admon­ish­es “view­ers who would dare to ques­tion the causal rela­tion­ship between solar ener­gy and the divin­i­ty.” The Unchained God­dess, above, is the fourth in the series, and Capra’s last.

After­ward, a direc­tor named Owen Crump took over duties on the next four episodes. His films, writes Alexan­der, “did not overt­ly pros­e­ly­tize” and “relied less on ani­mat­ed char­ac­ters inter­act­ing with Dr. Bax­ter.” (Watch the Crump-direct­ed Gate­ways to the Mind above, a more sober-mind­ed, yet still strange­ly off-kil­ter, inquiry into the five sens­es.) The last film, The Rest­less Sea was pro­duced by Walt Dis­ney and direct­ed by Les Clark, and starred Dis­ney him­self and Bax­ter’s replace­ment, Ster­ling Hol­loway.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Oscar-Win­ning Direc­tor Frank Capra Made an Edu­ca­tion­al Sci­ence Film Warn­ing of Cli­mate Change in 1958

The Great­est Shot in Tele­vi­sion: Sci­ence His­to­ri­an James Burke Had One Chance to Nail This Scene … and Nailed It

Pri­vate Sna­fu: The World War II Pro­pa­gan­da Car­toons Cre­at­ed by Dr. Seuss, Frank Capra & Mel Blanc

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Where The Simpsons Began: Discover the Original Shorts That Appeared on The Tracey Ullman Show (1987–1989)

When it first went on air in the late nine­teen-eight­ies, Fox had to prove itself capa­ble of play­ing in a tele­vi­su­al league with the likes of NBC, CBS, and ABC. To that end, it began build­ing its prime-time line­up with two orig­i­nal pro­grams more the­mat­i­cal­ly and aes­thet­i­cal­ly dar­ing than any­thing on those staid net­works: the sit­com Mar­ried… with Chil­dren and the sketch com­e­dy series The Tracey Ull­man Show. Before and after com­mer­cial breaks, the lat­ter treat­ed its ear­ly view­ers to a series of irrev­er­ent ani­mat­ed shorts cre­at­ed by an acclaimed car­toon­ist and fea­tur­ing the vocal tal­ents of Dan Castel­lan­e­ta, Julie Kavn­er, and Nan­cy Cartwright. I speak, of course, of Dr. N!Godatu.

On an alter­nate time­line, per­haps the per­son­al and pro­fes­sion­al adven­tures of that near-unflap­pable psy­chother­a­pist were spun off into their own hit series that broke every record for prime-time ani­ma­tion and is now in its 36th sea­son.

Here in our real­i­ty, how­ev­er, that’s been the des­tiny of The Simp­sons, which also began as The Tracey Ull­man Show’s bumper enter­tain­ment. Dr. N!Godatu van­ished after a few weeks, nev­er to be seen again, but the Simp­son fam­i­ly remained for two full years, mak­ing their final short-from appear­ance in May of 1989. Sev­en months lat­er, The Simp­sons made its Christ­mas-spe­cial debut — an event that, if you don’t remem­ber watch­ing, I can’t count you as a mem­ber of my gen­er­a­tion.

Not that, giv­en my young age, I’d ever actu­al­ly seen The Tracey Ull­man Show at the time. But the hard pro­mo­tion­al push lead­ing up to that first real Simp­sons offered glimpses into an ani­mat­ed world that looked and felt com­plete­ly nov­el. (Hav­ing grown accus­tomed over gen­er­a­tions to the show’s aes­thet­ic, we eas­i­ly for­get how bizarre its yel­low-skinned, uni­ver­sal­ly over­bite-afflict­ed char­ac­ters once looked.) Many who tuned in would­n’t have been aware that that look and feel had­n’t been cre­at­ed out of whole cloth, but rather had emerged through the evo­lu­tion­ary process you can wit­ness in the 48 orig­i­nal Simp­sons shorts col­lect­ed in the Youtube playlist at the top of the post (and the hour-long con­sol­i­dat­ed video here).

To even a casu­al Simp­sons view­er, every­thing in these shorts will seem at once famil­iar and “off” in myr­i­ad ways. The design of the char­ac­ters looks both harsh­er and loos­er than it would lat­er become, and cer­tain of their voic­es, espe­cial­ly Castel­lan­e­ta’s Wal­ter Matthau-esque Homer, have yet to reflect the per­son­al­i­ties they would lat­er devel­op. The con­ven­tion­al­ly “car­toony” ani­ma­tion also dis­torts bod­ies and faces in ways that have long since been pro­hib­it­ed by the show’s offi­cial style guide­lines. Even so, there are occa­sion­al jokes and even haunt­ing moments of the kind we know from the first cou­ple of sea­sons, if noth­ing in par­tic­u­lar to fore­shad­ow The Simp­sons’ nine­teen-nineties gold­en age — or the three decades’ worth of episodes that have fol­lowed it.

Relat­ed con­tent:

The Rise and Fall of The Simp­sons: An In-Depth Video Essay Explores What Made the Show Great, and When It All Came to an End

Before The Simp­sons: Homer Groen­ing Directs a 1969 Short Film, The Sto­ry, Star­ring His Kids Mag­gie, Lisa & Matt

27 Movies Ref­er­ences in The Simp­sons Put Side-by-Side with the Movie Scenes They Paid Trib­ute To

Before The Simp­sons, Matt Groen­ing Illus­trat­ed a “Student’s Guide” for Apple Com­put­ers (1989)

The Simp­sons Reimag­ined as a Russ­ian Art Film

Thomas Pyn­chon Edits His Lines on The Simp­sons: “Homer is my role mod­el and I can’t speak ill of him.”

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A Behind-the-Scenes Tour of Saturday Night Live’s Iconic Studio

To help cel­e­brate SNL’s 50th anniver­sary, Archi­tec­tur­al Digest has released a new video fea­tur­ing Hei­di Gard­ner, Chloe Fine­man, and Ego Nwodim giv­ing a tour of the Sat­ur­day Night Live set. The show has been broad­cast­ing live from Stu­dio 8H, locat­ed at 30 Rock­e­feller, since SNL first pre­miered in 1975. In this 22-minute tour, you’ll vis­it Stu­dio 8H itself, the Make­up Lab, the wardrobe and hair sta­tions, the dress­ing rooms, and the NBC Page Desk, all while meet­ing some of the crew that makes the show run behind the scenes. Enjoy!

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Watch the His­toric First Episode of Sat­ur­day Night Live with Host George Car­lin (1975)

Inside SNL: Al Franken Reveals How Sat­ur­day Night Live Is Craft­ed Every Week

When William S. Bur­roughs Appeared on Sat­ur­day Night Live: His First TV Appear­ance (1981)

Every­thing You Need to Know About Sat­ur­day Night Live: A Deep Dive into Every Sea­son of the Icon­ic Com­e­dy Show

 

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