How Dick Cavett Brought Sophistication to Late Night Talk Shows: Watch 270 Classic Interviews Online

Just as the avun­cu­lar pres­ence of Ed Sul­li­van helped ease mid­dle Amer­i­ca into accept­ing Elvis Pres­ley and The Bea­t­les, the aw-shucks mid­west­ern charm of Dick Cavett made Wood­stock hip­pies seem down­right cud­dly when he had Jef­fer­son Air­plane, David Cros­by, and Joni Mitchell on just after the leg­endary music fes­ti­val in 1969. He had a way of mak­ing every­one around him com­fort­able enough to reveal just a lit­tle more than they might oth­er­wise. (See Jimi Hen­drix talk about his Nation­al Anthem per­for­mance, below.)

Born in Nebras­ka in 1937, “the only per­sona [Cavett] both­ered to, or need­ed to, devel­op for work­ing on cam­era was of a boy from Nebras­ka daz­zled by the bright lights of New York,” as Clive James writes in an appre­ci­a­tion of the TV host. As he inter­viewed the biggest stars of late six­ties, sev­en­ties, and eight­ies on the long-run­ning Dick Cavett Show, Cavett’s easy­go­ing Mid­west­ern demeanor dis­armed both his guests and audi­ences. He kept them engaged with his eru­di­tion, quick wit, and breadth of cul­tur­al knowl­edge.

Cavett, writes James, was “the most dis­tin­guished talk-show host in Amer­i­ca… a true sophis­ti­cate with a daunt­ing intel­lec­tu­al range.” He was also an empath­ic inter­view­er who could lead his guests beyond the stock respons­es they were used to giv­ing in TV inter­views. (David Bowie, below, reveals how he was influ­enced by his fans.)

A trained gym­nast and self-taught magician—Cavett met fel­low magi­cian John­ny Car­son in the ear­ly 50s at a mag­ic convention—the talk-show host left Nebras­ka for Yale and nev­er looked back. (He once joked, quot­ing Abe Bur­rows, “How ya gonna keep ‘em down on the farm, after they’ve seen the farm?”) After col­lege, he moved to New York to pur­sue act­ing. There, he got his first com­e­dy writ­ing job, when he hand­ed some of his jokes to Tonight Show host Jack Paar in an ele­va­tor. He befriend­ed Stan Lau­rel, Grou­cho Marx, and all the biggest names in com­e­dy, and wrote for Jer­ry Lewis and Merv Grif­fin.

Once he had his own late-night talk show, how­ev­er, which ran oppo­site John­ny Carson’s Tonight Show, it became clear that he was doing some­thing very dif­fer­ent. “Cavett nev­er mugged, nev­er whooped it up for the audi­ence, rarely told a for­mal­ly con­struct­ed joke, and lis­tened to the guest,” writes James. He became “famous enough not to be able to go out except in dis­guise,” but “his style did not suit a mass audi­ence.” This is what made—and still makes—Cavett worth watch­ing.

He had Bri­an de Pal­ma and Mar­tin Scors­ese on to talk about how they’re each other’s best crit­ics, and Scors­ese revealed that he did addi­tion­al shoot­ing for The Last Waltz after De Pal­ma saw it.

Robin Williams came on to demon­strate his devel­op­ing Pop­eye voice dur­ing the shoot­ing of the Robert Alt­man film in 1979. In the clip above, he talks about feel­ing like “a mon­key on a string” and work­ing through his depres­sion.

Lucille Ball told the sto­ry of her ear­ly years in show busi­ness, and her time work­ing as a mod­el, and Dick Van Dyke talked frankly about his alco­holism and the stig­ma sur­round­ing addic­tion.

These are just a few of the 270+ sur­pris­ing clips you’ll find on the Dick Cavett Show YouTube chan­nel, where George Car­lin, Muham­mad Ali, Mar­lon Bran­do, George Har­ri­son, John Lennon, Ian McK­ellen, Julie Andrews, and too many more stars to name say things they rarely said any­where else, as Cavett draws them out and keeps them talk­ing.

Relat­ed Con­tent:

Dick Cavett’s Wide-Rang­ing TV Inter­view with Ing­mar Bergman and Lead Actress Bibi Ander­s­son (1971)

George Har­ri­son in the Spot­light: The Dick Cavett Show (1971)

John Lennon & Yoko Ono’s Two Appear­ances on The Dick Cavett Show in 1971 and 72

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

Pretty Much Pop: A Culture Podcast #26 Discusses Alan Moore’s Watchmen Comic and the HBO Show with Cornell Psychology Professor David Pizarro

Per­haps the most laud­ed graph­ic nov­el has been sequelized for HBO, and amaz­ing­ly, it turned out pret­ty darn well (with a 96% Rot­ten Toma­toes rat­ing!).

Your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt are joined by the Cor­nel­l’s David Pizarro, host of the pop­u­lar Very Bad Wiz­ards pod­cast. We con­sid­er Alan Moore’s 1986 graph­ic nov­el, the 2009 Zack Sny­der film, and of course most­ly the recent­ly com­plet­ed (we hope) show by Damon Lin­de­lof, the cre­ator of Lost and The Left­overs.

How does Moore’s idio­syn­crat­ic writ­ing style trans­late to the screen? Did the show make best use of its nine hours? Are there oth­er sto­ries in this alter­nate his­to­ry that should still be told, per­haps to reflect on oth­er recur­rent social ills or crises of what­ev­er moment might be depict­ed? Was Lin­de­lof real­ly the guy to tell this sto­ry about race, and does mak­ing the show about racism (which is bad!) under­mine Moore’s rejec­tion of (moral­ly) black-and-white heroes and vil­lains?

Some of the arti­cles we used to warm up for this dis­cus­sion includ­ed:

You might want to also check out HBO’s Watch­men page, which includes extra essays and the offi­cial pod­cast with Damon Lin­de­lof com­ment­ing on the episodes.

Fol­low Dave @peezHear him on The Par­tial­ly Exam­ined Life, undoubt­ed­ly the apex of his pro­fes­sion­al career.

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

A Map of the Disney Entertainment Empire Reveals the Deep Connections Between Its Movies, Its Merchandise, Disneyland & More (1967)

We all remem­ber the first Dis­ney movie we ever saw. In most of our child­hoods, one Dis­ney movie led to anoth­er, which stoked in us the desire for Dis­ney toys, Dis­ney games, Dis­ney comics, Dis­ney music, and so on. If we were lucky, we might also take a trip to Dis­ney­land or one of its descen­dants else­where in the world. Many of us spent the bulk of our youngest years as hap­py res­i­dents of the Dis­ney enter­tain­ment empire; some of us, into adult­hood or even old age, remain there still.

Die-hard Dis­ney fans appre­ci­ate that the world of Dis­ney — com­pris­ing not just films and theme parks but tele­vi­sion shows, print­ed mat­ter, attrac­tions on the inter­net, and mer­chan­dise of near­ly every kind — is too vast ever to com­pre­hend, let alone ful­ly explore.

It was already big half a cen­tu­ry ago, but not too big to grasp. You can see the whole of the oper­a­tion laid out in this orga­ni­za­tion­al syn­er­gy dia­gram cre­at­ed by Walt Dis­ney Pro­duc­tions in 1967. Depict­ing “the many and var­ied syn­er­gis­tic rela­tion­ships between the divi­sions of Walt Dis­ney Pro­duc­tions,” the infor­ma­tion graph­ic reveals the links between each divi­sion.

Along the arrow­head­ed lines indi­cat­ing the flows of man­pow­er, mate­r­i­al, and intel­lec­tu­al prop­er­ty, “short tex­tu­al descrip­tions show what each divi­sion sup­plies and con­tributes to the oth­ers.” The motion pic­ture divi­sion “feeds tunes and tal­ent” to the music divi­sion, for exam­ple, which “pro­motes pre­mi­ums for tie-ins” to the mer­chan­dise licens­ing depart­ment, which “feeds ideas for retail items” to WED Enter­pris­es (the hold­ing com­pa­ny found­ed by Walt Dis­ney in 1950), which pro­duces “audio-ani­ma­tron­ics” for Dis­ney­land.

Some of the nexus­es on the dia­gram will be as famil­iar as Mick­ey Mouse, Goofy, Tin­ker­bell, and the char­ac­ters cavort­ing here and there around it. Oth­ers will be less so: the 16-mil­lime­ter films divi­sion, for instance, which would even­tu­al­ly be replaced by a colos­sal home-video divi­sion (itself sure­ly being eat­en into, now, by stream­ing). The Celebri­ty Sports Cen­ter, an indoor enter­tain­ment com­plex out­side Den­ver, closed in 1994. MAPO refers to a theme-park ani­ma­tron­ics unit formed in the 1960s with the prof­its of Mary Pop­pins (hence its name) and dis­solved in 2012. And as for Min­er­al King, a pro­posed ski resort in Cal­i­for­ni­a’s Sequoia Nation­al Park, it was nev­er even built.

“The ski resort was one of sev­er­al ambi­tious projects that Walt Dis­ney spear­head­ed in the years before his death in 1966,” writes Nathan Mas­ters at Giz­mo­do. But as the size of the Min­er­al King plans grew, wilder­ness-activist oppo­si­tion inten­si­fied. After years of oppo­si­tion by the Sier­ra Club, as well as the pas­sage of the Nation­al Envi­ron­men­tal Pol­i­cy Act 1970 and the Nation­al Parks and Recre­ation Act of 1978, cor­po­rate inter­est in the project final­ly fiz­zled out. Though that would no doubt have come as a dis­ap­point­ment to Walt Dis­ney him­self, he might also have known to keep the fail­ure in per­spec­tive. As he once said of the empire bear­ing his name, “I only hope that we nev­er lose sight of one thing — that it was all start­ed by a mouse.”

h/t Eli and via Howard Low­ery

Relat­ed Con­tent:

Dis­ney­land 1957: A Lit­tle Stroll Down Mem­o­ry Lane

How Walt Dis­ney Car­toons Are Made: 1939 Doc­u­men­tary Gives an Inside Look

Walt Dis­ney Presents the Super Car­toon Cam­era

Disney’s 12 Time­less Prin­ci­ples of Ani­ma­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Itzhak Perlman Appears on Sesame Street and Poignantly Shows Kids How to Play the Violin and Push Through Life’s Limits (1981)

I always cham­pi­on any­thing that will improve the lives of peo­ple with dis­abil­i­ties and put it on the front burn­er. — Itzhak Perl­man

At its best, the Inter­net expands our hori­zons, intro­duc­ing us to new inter­ests and per­spec­tives, forg­ing con­nec­tions and cre­at­ing empa­thy.

The edu­ca­tion­al chil­dren’s series Sesame Street was doing all that decades ear­li­er.

Wit­ness this brief clip from 1981, star­ring vio­lin vir­tu­oso Itzhak Perl­man and a six-year-old stu­dent from the Man­hat­tan School of Music.

For many child—and per­haps adult—viewers, this excerpt pre­sent­ed their first sig­nif­i­cant encounter with clas­si­cal musi­cal and/or dis­abil­i­ty.

The lit­tle girl scam­pers up the steps to the stage as Perl­man, who relies on crutch­es and a motor­ized scoot­er to get around, fol­lows behind, heav­ing a sigh of relief as he low­ers him­self into his seat.

Already the point has been made that what is easy to the point of uncon­scious­ness for some presents a chal­lenge for oth­ers.

Then each takes a turn on their vio­lin.

Perlman’s skills are, of course, unpar­al­leled, and the young girl’s seem pret­ty excep­tion­al, too, par­tic­u­lar­ly to those of us who nev­er man­aged to get the hang of an instru­ment. (She began lessons at 3, and told the Suzu­ki Asso­ci­a­tion of the Amer­i­c­as that her Sesame Street appear­ance with Perl­man was the “high­light of [her] pro­fes­sion­al career.”)

In the near­ly 40 years since this episode first aired, pub­lic aware­ness of dis­abil­i­ty and acces­si­bil­i­ty has become more nuanced, a devel­op­ment Perl­man dis­cussed in a 2014 inter­view with the Wall Street Jour­nal, below.

Hav­ing resent­ed the way ear­ly fea­tures about him invari­ably show­cased his dis­abil­i­ty, he found that he missed the oppor­tu­ni­ty to advo­cate for oth­ers when men­tions dropped off.

Trans­paren­cy cou­pled with celebri­ty pro­vides him with a mighty plat­form. Here he is speak­ing in the East Room of the White House in 2015, on the day that Pres­i­dent Oba­ma hon­ored him with the Medal of Free­dom:

And his col­lab­o­ra­tions with Sesame Street have con­tin­ued through­out the decadesinclud­ing per­for­mances of “You Can Clean Almost Any­thing” (to the tune of Bach’s Par­ti­ta for Solo Vio­lin), “Put Down the Duck­ie,” Pagli­ac­ci’s Vesti la giub­ba (back­ing up Placido Flamin­go), and Beethoven’s Min­uet in G, below.

Read more of Perlman’s thoughts on dis­abil­i­ty, and enroll in his Mas­ter Class here.

Relat­ed Con­tent:

Great Vio­lin­ists Play­ing as Kids: Itzhak Perl­man, Anne-Sophie Mut­ter, & More

Philip Glass Com­pos­es Music for a Sesame Street Ani­ma­tion (1979)

See Ste­vie Won­der Play “Super­sti­tion” and Ban­ter with Grover on Sesame Street in 1973

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domaincel­e­brates Cape-Cod­di­ties by Roger Liv­ingston Scaife (1920). Fol­low her @AyunHalliday.

Bob Ross’ Christmas Special: Celebrate, Relax, Nod Off

I don’t know if you got every­thing you want­ed on Christ­mas, but we here at Open Cul­ture have what you need. And that’s a very spe­cial Bob Ross Christ­mas Spe­cial. No spe­cial guests, no musi­cal num­bers. Just Bob, his palette filled with phtha­lo blue, Van dyke Brown, and oth­er favorite paints, and a sol­id black can­vas which Bob turns into a Christ­mas Eve snow scene. (In 2018, Ross’ offi­cial YouTube Chan­nel post­ed all 31 sea­sons of The Joy of Paint­ing online, a total of 403 episodes.)

While watch­ing (and maybe fol­low­ing along at home), con­sid­er that Bob Ross acci­den­tal­ly invent­ed ASMR with his shows, all those years ago. His pleas­ant, slight­ly gruff south­ern accent com­ple­ments the sound of the swish­ing brush and scrap­ing knife on can­vas. Con­sid­er also the per­cent­age of peo­ple who watch these not to paint, but to med­i­tate or go to sleep. (There’s an app for that.)

Bob Ross *is* the sound of a Christ­mas Eve noc­turne, a moment when the air is crisp and clean, a lit­tle bit of peace falls over the world, and there’s a chance to reflect. It’s time to start a new can­vas. The pos­si­bil­i­ties are end­less, and you can always change as you go. Heed Ross’ famous words: “We don’t make mis­takes. We have hap­py acci­dents.”

Relat­ed Con­tent:

Mr. Rogers Goes to Con­gress and Saves PBS: Heart­warm­ing Video from 1969

Pup­pet Mak­ing with Jim Hen­son: A Price­less Primer from 1969

A Big List of Free Art Lessons on YouTube

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Pretty Much Pop: A Culture Podcast #24 Considers Holiday Viewing: What’s Canon?

Join Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt for a spe­cial “snake draft,” where we take turns pick­ing the hol­i­day films and TV spe­cials that we think are (or should be) part of Amer­i­ca’s year­ly view­ing tra­di­tions.

Were I to list all the shows and films we men­tion, that would give away our picks now, would­n’t it? Com­pare your intu­itions about what is clas­sic or sem­i­nal or over-rat­ed with ours!

Here are some arti­cles with most of the like­ly sus­pects to get you warmed up:

We did NOT before­hand actu­al­ly look at IMD­B’s Top 25 Christ­mas Movies or their Great­est Christ­mas Spe­cials list, but YOU cer­tain­ly can. Nei­ther did we look this rank­ing of the var­i­ous ver­sions of A Christ­mas Car­ol by Dave Trum­bore. While we’re at it, here are times where TV shows ripped off It’s a Won­der­ful Life.

Oth­er ref­er­ences and infor­ma­tion: 

When does A Christ­mas Sto­ry take place? 1940; read triv­ia about that film. The Dare Daniel pod­cast has a bru­tal take-down of the lit­tle-seen 2012 sequel  that serves as a great sub­sti­tute for actu­al­ly view­ing that pile of garbage.

You can watch the quick ver­sion of the very fun­ny Riff­trax run­ning com­men­tary on the Star Wars Hol­i­day Spe­cial on YouTube or buy the whole thing. Did George Lucas real­ly want to smash all copies of it as Mark said?

Bri­an refers to this arti­cle, “Diag­nos­ing the Home Alone Bur­glars’ Injuries: A Pro­fes­sion­al Weighs In” by Lau­ren Hansen.

It’s actu­al­ly the Thanks­giv­ing Char­lie Brown spe­cial that has been blast­ed as racist, not the Xmas one. Here’s an arti­cle about the his­to­ry of Franklin being includ­ed in the strip.

When­ev­er dis­cussing or watch­ing It’s a Won­der­ful Life, I can’t help but think of the Sat­ur­day Night Live “lost end­ing” to the film.

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

David Lynch Turns Twin Peaks into a Virtual Reality Game: Watch the Official Trailer

When David Lynch and Mark Frost’s Twin Peaks pre­miered on ABC in 1990, view­ers across Amer­i­ca were treat­ed to a tele­vi­su­al expe­ri­ence like none they’d ever had before. Four years ear­li­er, some­thing sim­i­lar had hap­pened to the unsus­pect­ing movie­go­ers who went to see Lynch’s break­out fea­ture Blue Vel­vet, an expe­ri­ence described as eye-open­ing by even David Fos­ter Wal­lace. A ded­i­cat­ed med­i­ta­tor with an inter­est in plung­ing into unex­plored realms of con­scious­ness, Lynch tends to bring his audi­ence right along with him in his work, whether that work be cin­e­ma, tele­vi­sion, visu­al art, music, or com­ic strips. Only nat­ur­al, then, that Lynch would take an inter­est in the artis­tic and expe­ri­en­tial pos­si­bil­i­ties of vir­tu­al real­i­ty.

Last year we fea­tured the first glimpse of a Twin Peaks vir­tu­al real­i­ty expe­ri­ence in devel­op­ment, revealed at Lynch’s Fes­ti­val of Dis­rup­tion in Los Ange­les. “The best news is that the com­pa­ny devel­op­ing the game, Col­lid­er Games, is giv­ing cre­ative con­trol to Lynch,” wrote Ted Mills, and now, with the release of Twin Peaks VR’s offi­cial trail­er, we can get a clear­er idea of what Lynch has planned for play­ers. As Lau­ra Snoad writes at It’s Nice That, Lynch has used the oppor­tu­ni­ty to revis­it “well-known envi­ron­ments fea­tured in the series, such as the icon­ic Red Room (the stripy-floored, vel­vet cur­tain-clad par­al­lel uni­verse where Agent Coop­er meets mur­dered teen Lau­ra Palmer), the Twin Peaks’ Sheriff’s Depart­ment and the pine-filled for­est around the fic­tion­al Wash­ing­ton town.”

This will come as good news indeed to those of us Twin Peaks enthu­si­asts who’ve made the pil­grim­age to Sno­qualmie, North Bend, and Fall City, the real-life Wash­ing­ton towns where Lynch and his col­lab­o­ra­tors shot the series. But Twin Peak VR will offer a greater vari­ety of chal­lenges than snap­ping pho­tos of the series’ loca­tions and chat­ting with bemused locals: Snoad writes that each envi­ron­ment is con­struct­ed like an escape room. “Solv­ing puz­zles to help Agent Coop­er and Gor­don Cole (the FBI agent played by Lynch him­self), play­ers will also meet some of the show’s weird and ter­ri­fy­ing char­ac­ters, from the back­wards-speak­ing inhab­i­tants of the Black Lodge to the ter­ri­fy­ing Bob him­self.”

Avail­able via Steam on Ocu­lus Rift, Vive, and Valve Index this month, with Ocu­lus Quest and PlaySta­tion VR ver­sions sched­uled, Twin Peaks VR should give a fair few vir­tu­al-real­i­ty hold­outs a com­pelling rea­son to put on the gog­gles — much as Twin Peaks the show caused the cinéastes of the 1990s to break down and watch evening TV. Enjoy­ing Lynch’s work, what­ev­er its medi­um, has always felt like plung­ing into a dream: not like watch­ing his dream, but expe­ri­enc­ing a dream he’s made for us. If vir­tu­al-real­i­ty tech­nol­o­gy has final­ly come any­where close to the vivid­ness of Lynch’s imag­i­na­tion, Twin Peaks VR will mark the next step in his artis­tic evo­lu­tion. But for now, to para­phrase no less a Lynch fan than Wal­lace, the one thing we can say with total con­fi­dence is that it will be… Lynchi­an.

via It’s Nice That

Relat­ed Con­tent:

Watch an Epic, 4‑Hour Video Essay on the Mak­ing & Mythol­o­gy of David Lynch’s Twin Peaks

Twin Peaks Actu­al­ly Explained: A Four-Hour Video Essay Demys­ti­fies It All

David Lynch Is Cre­at­ing a Vir­tu­al Real­i­ty Expe­ri­ence for Twin Peaks

Twin Peaks Tarot Cards Now Avail­able as 78-Card Deck

Watch the Twin Peaks Visu­al Sound­track Released Only in Japan: A New Way to Expe­ri­ence David Lynch’s Clas­sic Show

David Lynch Directs a Mini-Sea­son of Twin Peaks in the Form of Japan­ese Cof­fee Com­mer­cials

Play the Twin Peaks Video Game: Retro Fun for David Lynch Fans

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Pretty Much Pop #22 Untangles Time-Travel Scenarios in the Terminator Franchise and Other Media

This image has an empty alt attribute; its file name is PMP-Untangling-Time-Travel-400-x-800.jpg

Time-trav­el rules in The Ter­mi­na­tor fran­chise are noto­ri­ous­ly incon­sis­tent. Is it pos­si­ble for some­one from the future to trav­el back­wards to change events, giv­en the para­dox that with a changed future, the trav­el­er would­n’t then have had the prob­lem to try to come back and fix? Nei­ther the closed-loop series of events in the first Ter­mi­na­tor film nor the changed (post­poned) future in the sec­ond make sense, and mat­ters just get worse through the sub­se­quent films.

Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt are joined by Bri­an’s broth­er and co-author Ken Ger­ber to talk through the var­i­ous time trav­el rule­sets and plot sce­nar­ios (a good starter list is at tvtropes.org), cov­er­ing Dr. Who, Back to the Future, Loop­er, Dark (the Ger­man TV show), time loop films a la Ground­hog Day (Edge of Tomor­row, Hap­py Death Day), time-trav­el come­dies (Future Man), his­tor­i­cal tourism (Mr. Peabody and Sher­man), Time­cop’s “The same mat­ter can­not occu­py the same space,” using time-trav­el to sen­ti­men­tal­ize (About Time) or clone your­self (see that Brak Show episode about avoid­ing home­work), and freez­ing time (like in the old Twi­light Zone).

Some arti­cles we looked at includ­ed:

You can find the Bri­an and Ken short sto­ries we talk about at gerberbrothers.net. Lis­ten to them pod­cast togeth­er and read the sci­ence fic­tion sto­ries they pub­lish at constellary.com. The Par­tial­ly Exam­ined Life pod­cast episode Mark host­ed where the dan­gers of AI are dis­cussed is #108 with Nick Bostrom.

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

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